in pdf

geborsteld RVS trapleuning Ø 3 0bevestigd
aan achterliggende staalconstructie
758
1780
1480
zietekeningopen haard
betonbalk, als bestaand
gemetselde trap
- rollaa g
2350
5000
4220
4130
binnenpui
5390
1650
a design brief
2640
3370
bathroom
3,6m 2
2950 +NGL
4500
terrace
86 m2
2750 +NGL
2235
5800
f
rest room
1,7m 2
2950 +NGL
rest room
2,5m 2
3150 +NGL
glassfloor
closet
dining area
24,0m 2
3150 +NGL
chimney
chimney
balcony
5,0m 2
3150 +NGL
2410
1640
H
3375
balcony
5,0m 2
3150 +NGL
living2
43,0m 2
3150 +NGL
fireplace
living
44 m2
2950 +NGL
original structure
1000
3140
G
1200
4020
F
Y
I
J
2555
K
X
395
1270
2100
E
2000
4800
D
L
W
1000
V
f
1
existingconcrete floor
f
2
cupboards
3
cupboards
kitchen
14,0m 2
3150 +NGL
4
5
living1
41,5m 2
3150 +NGL
f
f
6
f
U
7
T
8
terrace
40 m 2
2950 +NGL
9
5
ok plafond = ca 3580 +
150
Architecture is influenced by a lot of factors. Land-use plans,
environmental directives water boards fire regulations, security, noise
– there are requirements and standards for everything. At the end of
the day – and this is what you’re judged on - it has to be a nice place to
live. You can work within all those restrictions, but we prefer to work
around them if they get in the way of great solutions.
15
On one project w e worked without a building permit until the last week of construction. Then we were issued a building freeze. The project was inspected and everything was Àne.
We were given a permit to complete it, but the ofÀcials and regulators had no inÁuence on the end result; w e simply presented them with a fait accompli.
4430
C
book case
B
switchpanel 1sta n d2nd floor
Z
Clients don·t actually know exactly what they want from you as a n architect, and that·s a s it should be. If the task is too strictly deÀned it will act as a block. As a client you are asking for something you can·t provide yourself, you·re
asking for the interpretation of the person who takes it on. That is the added value.
sliding gate
Hornbillstreet 119
l o t157
You need t o keep developing taste in order to recognise cultural added value as it occurs. W e look for clients who want t o develop their tastes.
rs only work if you change the question.
716
There·s often only one right answer to a question you·re dealing with. Other answe
H2
W e often think things are beautiful because they·ve become natural to us. But the reverse is not necessarily true; beauty i s not universal, naturalness is. Beauty is a question of taste – that·s a sell-out. What we hope to achieve is a
natural development of taste.
T staal, 70x70x8
i nmuur gefreesd
Not everyone wants to have to really think about things. Just take a walk down the street: a building that makes you think b y Àrst alienating you would b e considered by most people to b e a b a d thing.
2284
2004
There are two things we want: clear agreement on what we·re going to d o for you, a n d to work in an atelier type set-up. W e want to force ourselves to think independently. And actually we want to force clients to d o the same.
991
4
W e aren·t trying to create archetypes, we take the task itself a s our starting point. This approach can produce shapes, materials or solutions that are quite uncommon and not used often. And that can change things, make them
innovative and surprising. But our solution evolves entirely from the actual problem.
optr =
aantr
= 209
185
= 48
30
2004
When we were building the concrete table, a lot of steel went into it. Yo u can incorporate a certain amount of steel into concrete to make it stronger, but there·s a Àne line - a lump of steel with a layer of concrete o n it is not a concrete
table. If we had needed any more steel we would have said: Ah, s o what we·re building is actually a steel table. What should that look like? Interesting…
904
3
Masses of people want to live in new buildings. Apparently people think they are attractive, or at least they·re accepted. W e offer a stilled basis. It·s a n outline within which y o u can express your personal preferences, just like with a new
house. T h e difference i s that we design a special outline, not a standard job.
V6
2004
You should never design i n fear. If you let fear in y o u end up with the kind of buildings you see now. People are afraid of wood rot – so you get Trespa o n the front of every house. Homeowner associations are afraid that dark paint will
peel, so they don·t use dark paint on facades. That means that fi y o u as the architect propose dark colours for a project it will be turned down point blank. ¶There·s a risk of it being high-maintenance, so forget it.·
V1
2
W e were looking for a table the right size for our ofÀce. The room needed a large table. W e made a table Àve and a half metres long, because the space demanded it. It·s a Áoating table made of reinforced concrete. We have never had a
visitor in our ofÀce yet who didn·t like it. Concrete is wonderful, sculptural material – you could design a whole kitchen i n concrete if you wanted to. You just have to overcome the associative resistance to concrete as a cold and
unfriendly material. That·s why we built i n table-top heating.
2004
Yes, when a group of people agree that something i s beautiful they do indeed deÀne a general idea of what beauty is at that point in time. What older buildings have done is create a familiar look, a sameness with slight deviations from
that look. New buildings can seem totally garish. But o l d buildings that are also totally garish have stood the test of time because they really are good.
1
There was a Àrst time for everything y o u see. W e want to put something new i n the world, and y o u can·t do t h a t by designing more of the same. If a n innovative design is good it will eventually be just as fully accepted i n the future a s
the things from the p a st that we see all around us.
A
300
S
10
geborsteld RVS trapleuning Ø 3 0bevestigd
aan achterliggende staalconstructie
1730
11
V 1V 2
H1
R
notenhouten treden, uitkragend
795
2150
12
T/D
13
14