Donderdag 6 juni vindt de afstudeerpresentatie plaats van Victor van Nieukerken (Architectuur) met als onderwerp:
“Flux“.

Commissie:

Voorzitter                           : Hinke Majoor (Studio Lommer)
Mentor                                : Roxane van Hoof & Claudio Saccucci ( Studio Verter )
Externe criticus                  : Mark Minkjan (Loom & RAvB)
Toegevoegde criticus         : David Habets (David Habets)

Locatie: Pieter de Hoochweg, Collegezaal 02.51

Tijd: 16:30 uur

FLUX is about change and temporality within architecture. The project is a fictional story that focusses on the inhabitants of architecture, and the relationships with their surroundings. We observe how space can take on different dimensions, shaped by the actions of its occupants, as they adapt, invade, corrupt and break apart the fabric of space.

Central to this project is an attitude that challenges established preconceptions in contemporary building culture, such as the the perceived permanence of the autonomous building, the boundary of nature vs culture and the celebration of the architect-as-hero. Architectural elements that we usually dismiss are highlighted, elevated, and validated.

The events in the story take place within the premises of the cooperative potato starch factory. The liminal qualities – the state of in betweenness – of the ruined factory as I encountered it, as well as the geographical location, evoked glimpses in the past, as well as speculations on the future, provoking the idea of a layered narrative with temporal depth.

Through writing and drawing I immerse myself in the perspectives of the different things and humans that inhabit the space. Each applied drawing technique serves as a conduit for different dimensions; the linocutter excavates, computer drawings organise with precision, the pencil explores botanical nuances, and collages serve as a method to rearrange elements.

FLUX is a meditation on temporality in architecture. The project can be seen as the development of an attitude towards the way we generally view architecture.The approach to this project is fundamentally different from the way one would approach a traditional architecture brief.

The project starts from a practice of refusal. A refusal to partake in the canons and mechanisms that dominate the contemporary culture of building and architecture, in which extreme efficiency is emphasised, buildings are treated as commodities, and stratification of physical and historical context are abstracted to a bare minimum as the tabula rasa is still today’s standard.

Uncertainties and crises that surround our society compels for a re-evaluation of the way we inhabit the planet and use resources, and consequently how we shape and design our environments. The past negligence to think about long term processes and consequences have resulted in the climate crisis we currently find ourselves in. In the practice of building it continues to result in buildings with short lifespans and constant cycles of demolishing and reconstructing.

This dominant culture discourages attitudes outside of what’s usual. But I believe there is many lessons to be learned and value to be found from challenging the status quo, and trying different approaches when it comes to architecture and space.

With FLUX I opted for an attitude that emphasises observation of the pre-existing from different perspectives while focusing on the passage of time spanning over a hundred years.

The attitude of design is one of relinquishment rather than an imposing one, if one could even speak of design at all. This attitude of the observing architect is essential in order to validate each and every inhabitant, human and non- human.

The extent of this project is a comprehensive narrative of a singular place over a long period of time. Rather than a basis to propel a design, the context of the narrative is a fictitious speculation – a fantasy – of the past and future. It is however based on research of the past and presence of the context of the potato starch factory.

I believe that thinking about architecture and space over a long period of time rather than restricting to existing conditions is incredibly valuable, and forces us to question and re-evaluate many things we know about architecture. How do incentives from different users change the meaning of space? How do past circumstances influence the future? What happens if the inhabitant of architecture is something other than human? Can we reveal qualities, potentials and beauty that would otherwise be lost in abstractions?