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After the second world war two movements evolved as a reaction to the developments the war brought into society and built environment. The comparison involves the movements metabolism and structuralism both from the lenses of the protagonists of these movements: Kenzo Tange and Herman Hertzberger respectively. This thesis aims for an understanding of the core principles of each movement, the origin of these and how they translates themselves into the design of building through the lens of the protagonists of both movements. By doing a literature study, a case studies and a comparative analysis this thesis tries to understand how these movements relate to one another. The research revealed that structuralism critiques the fast paced and functionalistic approach of the CIAM for the reconstruction of cities. It puts an emphasize on the human scale: in particular user experience and the personalisation of spaces. Metabolism reacted to the scarcity in land parallel with the rapid growth of the population of Japan. It focusses on the future change of demand in space by allowing buildings to grow and adapt: unlimiting metabolism for biological organisms only. The Centraalbeheer Achmea building shows the high level of thinking in detail for the user experience in contrast to the Shizuoka Broadcast Centre. Another contrary aspect is the direction of creating spaces in which one colonizes land while the other colonizes air by building higher. Both movements have their own experimental creative approach in which they question the way people thought about architecture. By understanding the principles of these movements and how they translate into design, this thesis offers an insight on how different society and built environment can shape architecture differently., AR2A011, Architectural History Thesis, Architecture, Urbanism and Building Sciences

Herman Hertzberger is an architect who has dealt over many years with the design of school buildings, both in terms of theory and practice. Owing to his vast experience in this field, he has established a theoretical framework on designing stimulating learning spaces for children. The scope of this thesis is firstly to present Hertzberger’s theory on the attributes of such spaces and how architects can achieve designing successful school buildings. There are several remarks of his that can be achieved spatially in various manners. After all, in architecture there is not an unambiguous relationship between theory and practice. In this sense, the research question of the present thesis is how Hertzberger’s theory on designing school buildings has been implemented in different ways. In other words, I will try to display the various architectural ‘solutions’ manifesting the same principles. In order to answer the question above, I will analyse schools (kindergartens and primary schools) designed by Hertzberger to serve contemporary learning approaches and teaching practices. The schools that will be selected cover a large time span, starting from the first buildings he designed until recent projects; the objective is to understand in what ways he himself has implemented his own ideas and probably detect elements that he further developed or departed from., AR2A011, Architectural History Thesis, Architecture, Urbanism and Building Sciences

Life is an ever-evolving process, over time new ideas are born and offer new possibilities and approaches to handle familiar problems or processes differently. This is also the case for educational buildings and the architectural ideas that they represent, especially in the social and interactive realm. The school’s beating heart focuses on the central hearts of three elementary school buildings, built around the year 1980, designed by Jan Verhoeven, Herman Hertzberger, and the Architects firm Van den Broek & Bakema. This thesis in particular addresses the way these central hearts evoke social interaction through their architecture and unravels the ideas of the architects on social interaction in the bigger context of educational and architectural thinking during the time the projects were designed. This resulted in the research question that takes a central place in this thesis: What are the ideas of the architects of ‘t Ronde, Apolloschools, and De Schalm on meeting in the schools and how do the school buildings evoke social interaction? This thesis is structured by exploring the greater context of Dutch education and Western thoughts on the structuralist architectural movement and formulating their main points of focus and concepts. These points are used to analyze the three elementary school buildings in an individual way, which allows the buildings to be compared in an equal way. The thesis concluded by stating that all schools have similar concepts and ideas behind their designs, but that the outcome of the school buildings is largely affected by the organizations that initiated the design and their philosophy on education., AR1A066, Architectural History and Theory, Architecture, Urbanism and Building Sciences

[ES] En el presente trabajo de investigación se lleva a cabo, en primer lugar, una revisión del estado de la cuestión en cuanto a arquitectura escolar se refiere. Para ello, se realiza una revisión histórica de la arquitectura destinada a la docencia, llegando hasta la arquitectura contemporánea en el ámbito escolar. Asimismo, se profundiza en la figura de Herman Hertzberger, arquitecto holandés que entiende arquitectura y educación como dos disciplinas inseparables, asumiendo la complementariedad de estas y entendiendo que la arquitectura es un instrumento pedagógico de importancia trascendental. Posteriormente, se presenta a la médica y pedagoga italiana María Montessori, así como el método educativo Montessori al que Herman Hertzberger se encuentra íntimamente ligado. Sobre una sólida base de pensamiento basada en las ideas de MªÁngeles Durán, Dolores Hayden y Anna Puigjaner entre otras, se emprende un análisis desde la perspectiva de género de las escuelas Montessori de Hertzberger. En dicho análisis de profundiza en las herramientas y recursos arquitectónicos mediante los cuales el holandés implanta de forma brillante en sus escuelas conceptos como el cuidado, lo público, lo privado y lo doméstico. Posteriormente, en base al análisis desarrollado, se genera un método de evaluación mediante marcadores que permite analizar otros espacios educativos desde la perspectiva de género. Finalmente, este será aplicado en un caso de estudio en la ciudad de Valencia., [EN] This research provides, in the first place, information of the current status of school's architecture. To this end, a historical review of architecture for teaching purposes is carried out, including contemporary architecture. Furthermore, the figure of Herman Hertzberger is introduced, as he is a Dutch architect who has understood the binomial architecture-pedagogy as indissoluble, assuming the complementarity of these two and understanding that architecture is a teaching instrument of transcendental importance. Subsequently, the Italian doctor and pedagogue Maria Montessori is presented, as well as the Montessori educational method to which Herman Hertzberger is closely linked. On a solid basis of thought based on the ideas of MªÁngeles Durán, Dolores Hayden and Anna Puigjaner among others, an analysis of Hertzberger's Montessori schools is undertaken from the gender perspective. In the above-mentioned analysis the architectural tools and resources through which the Dutchman brilliantly implements concepts such as care, public, private and domesticity in his schools are documented in depth. Based on the analysis developed, an evaluation method is generated using markers that allow other educational spaces to be analysed from a gender perspective. Finally, the evaluation method is applied in a case study in the city of Valencia, Spain., [CA] En el present treball de recerca es duu a terme, en primer lloc, una revisió de l'estat de la qüestió en quant a arquitectura escolar es refereix. Per a això, es realitza una revisió històrica de l'arquitectura destinada a la docència, arribant fins a l'arquitectura contemporània en l'àmbit escolar. Així mateix, s'aprofundeix en la figura de Herman Hertzberger, arquitecte holandés que ha entés el binomi arquitectura-pedagogia com a indissoluble, assumint la complementarietat d'aquestes i entenent que l'arquitectura és un instrument pedagògic d'importància transcendental. Posteriorment, es presenta a la metgessa i pedagoga italiana María Montessori, així com el mètode educatiu Montessori al qual Herman Hertzberger es troba íntimament lligat. Sobre una sòlida base de pensament basada en les idees de MªÁngeles Durán, Dolores Hayden i Anna Puigjaner entre altres, s'emprén una anàlisi des de la perspectiva de gènere de les escoles Montessori de Hertzberger. En aquesta anàlisi d'aprofundeix en els recursos arquitectònics mitjançant els quals l'holandés implanta de manera brillant a les seues escoles conceptes com la cura, l'àmbit públic, el privat i la domesticitat. Posteriorment, sobre la base de l'anàlisi desenvolupada, es genera un mètode d'avaluació mitjançant marcadors que permet analitzar altres espais educatius des de la perspectiva de gènere. Finalment, aquest serà aplicat en un cas d'estudi a la ciutat de València.

Después de la Segunda Guerra Mundial se inician en distintos países europeos una serie de procesos socioeconómicos que hacia los años sesenta son objeto de una vehemente crítica social. Es entonces cuando situamos el inicio de un interesante episodio de revisión arquitectónica que se produce en paralelo a las crecientes demostraciones de malestar social. Herman Hertzberger fue una figura clave en esta revisión. Consolidó y desarrolló las teorías iniciadas por los integrantes de la sección neerlandesa del Team 10, sentando las bases teóricas de una nueva corriente de carácter local conocida como el estructuralismo holandés. Un análisis preliminar nos permite constatar una serie de influencias en su obra escrita temprana procedentes de otros campos del pensamiento que se opina son claves para la fundamentación de su crítica arquitectónica y de su obra construida. Su investigación en relación con la forma y la estructura supone la traslación a la disciplina arquitectónica de los fundamentos principalmente metodológicos, pero también sociológicos, presentados por Lévi-Strauss, figura clave del Estructuralismo. Por otro lado, su obra temprana se gesta en un momento histórico en el que numerosas ciudades europeas estaban siendo los escenarios de revueltas alentadas por distintos grupos revolucionarios. Estas revueltas encarnaban de alguna forma el descontento social generalizado frente al alejamiento que la construcción del estado del bienestar presentaba frente a sus principios constitutivos, un descontento al que Hertzberger no era ajeno y que trató de contrarrestar mediante el diseño arquitectónico. Desde un punto de vista cultural, estos grupos revolucionarios encuentran en la obra del Letrismo y la Internacional Situacionista el fundamento de sus reclamos. A comienzos de 1968, en un contexto social convulso marcado a nivel regional por las protestas de los provos en Ámsterdam, Hertzberger recibe el encargo de proyectar la sede de la compañía Centraal Beheer en Apeldo, Departamento de Teoría de la Arquitectura y Proyectos Arquitectónicos, Doctorado en Arquitectura

INDESEM has always been an explosion of one week of learning without education. Students themselves are responsible for everything and it is them who make sure that the technical and academic staff warm to the idea of breaking plenty of rules for a week. And you should see what happens when you do! Work continues into the early hours and the building is turned inside out to get at its hidden qualities. The daily routine is disrupted and the cleaners are made aware of their importance. Each time a group of students comes together to perform the task of getting this event off the ground, their own regular studies are largely ignored for the duration. It is only much later that they realize just what they have received in return when, after their studies, it transpires that designing and realizing a building demands a comparable attitude where it is again all down to anticipating, deliberating, seeking out conditions, making (and keeping) appointments.Those taking part come from all over the world, perhaps initially attracted by names and by the Netherlands, but also by the thrill of actually being able to meet and talk with so many others who are in the same boat. The task is no more than a pretext and catalyst for getting into contact with others and discussing with them. The results are merely conceptual models of thinking. The performance that needs generating is to get a group of complete strangers to formulate and present an idea and go on to defend it against all others. In this way, the idea of INDESEM is inciting glimpses of an alternative way of learning, directed to thinking instead of just cultivating external attractiveness. And it deserves to be continued in some way to point at what might be a lesson for the regular education., BK Labs, History, Form & Aesthetics, Urban Studies

The International Design Seminar (INDESEM) has a long and fascinating history. Since the first edition in 1964, each INDESEM has brought students and professionals from all over the world together to explore one relevant architectural issue of their time – in the form of excursions, competitions, and lectures. While INDESEM evolves and changes, depending on the people involved in its organization, each edition exposes current ideas and needs of the students: their views on architecture education, what they deem most relevant, and which designers inspire them. In return, INDESEM inspires educators and helps establish new ways of teaching in architecture. This book presents archive material, publications and interviews with some of the key personalities to tell this exciting story for the first time.

Después de la Segunda Guerra Mundial se inician en distintos países europeos una serie de procesos socioeconómicos que hacia los años sesenta son objeto de una vehemente crítica social. Es entonces cuando situamos el inicio de un interesante episodio de revisión arquitectónica que se produce en paralelo a las crecientes demostraciones de malestar social. Herman Hertzberger fue una figura clave en esta revisión. Consolidó y desarrolló las teorías iniciadas por los integrantes de la sección neerlandesa del Team 10, sentando las bases teóricas de una nueva corriente de carácter local conocida como el estructuralismo holandés. Un análisis preliminar nos permite constatar una serie de influencias en su obra escrita temprana procedentes de otros campos del pensamiento que se opina son claves para la fundamentación de su crítica arquitectónica y de su obra construida. Su investigación en relación con la forma y la estructura supone la traslación a la disciplina arquitectónica de los fundamentos principalmente metodológicos, pero también sociológicos, presentados por Lévi-Strauss, figura clave del Estructuralismo. Por otro lado, su obra temprana se gesta en un momento histórico en el que numerosas ciudades europeas estaban siendo los escenarios de revueltas alentadas por distintos grupos revolucionarios. Estas revueltas encarnaban de alguna forma el descontento social generalizado frente al alejamiento que la construcción del estado del bienestar presentaba frente a sus principios constitutivos, un descontento al que Hertzberger no era ajeno y que trató de contrarrestar mediante el diseño arquitectónico. Desde un punto de vista cultural, estos grupos revolucionarios encuentran en la obra del Letrismo y la Internacional Situacionista el fundamento de sus reclamos. A comienzos de 1968, en un contexto social convulso marcado a nivel regional por las protestas de los provos en Ámsterdam, Hertzberger recibe el encargo de proyectar la sede de la compañía Centraal Beheer en Apeldo, Departamento de Teoría de la Arquitectura y Proyectos Arquitectónicos, Doctorado en Arquitectura

In-between spaces are the gradual transition spaces between two opposites; between inside and outside or public and private. This research will investigate the motives and implementation of the concept within Dutch and Japanese architecture, as it is widely used within architecture of these countries. Because the in-between space concept is perceived differently by architects, theories and works of two Dutch and two Japanese architects are investigated. The Dutch architects are Aldo van Eyck (1918-1999) and Herman Hertzberger (1932) and Japanese architects are Kisho Kurokawa (1934-2007) and Sou Fujimoto (1971). This research reveals that the in-between space concept emerged as a response to the modern movement in the Netherlands. Van Eyck and Hertzberger strived for more human centred architecture and therefore implemented in-between spaces in their buildings. Kurokawa and Fujimoto are both influenced by Japanese culture. The in-between space concept is traced back to the Buddhism origin of the country. Even though the motives of the architects of both countries are different, the implementation is similar. The Dutch architects emphasise the human relationship with each other slightly more, whereas the Japanese architects emphasise the relationship between humans and their environment more. The ambiguous character of an in-between space leaves room for interpretation, providing new perceptions and a different spatial experience. The in-between space is a space in it’s own right and therefore just as important as other spaces., AR2A011, Architecture, Urbanism and Building Sciences

The thesis investigates how a norm-critical perspective on learning can impact the architectural design, and the aim is not to challenge the school as a form but to mediate a more supportive learning environment. The norm-critical, feminist and public pedagogy highlights the necessity of change towards collective learning with the individual in mind that includes introvert and extrovert personalities as well as active and passive activities, challenging existing norms and acknowledge that pedagogic environments surround us and affect our everyday life and development as individuals in society. The thesis uses Actor Network Theory as a method to describe territorial production, power relations and knowledge as things that are mediated and acted and can always be negotiated. I look at the schools of Herman Hertzberger and Jesper Magnusson’s research Clustering Architectures. Hertzberger, as a structuralist, explains how to organise the school spatially to form a spectrum of territory for a small-scale learning environment to give the children a safe home-base and a sense of responsibility. Magnusson highlights the importance of the material by explaining how material assemblages form different clustering effects in public domain. The idea is to find types that cluster people in different constellation and having a higher territorial complexity to establish a diversified composition of norms that supports the individual and collective learning. The pedagogic types formulated in my thesis work are niches, linear places, corridors, courtyards, steps, visual connections and roofs. The project is called Annebergsskolan, located in Malmö and the school spans from preschool to sixth grade. The findings I made in the process was the importance of working in different scales to find a layer in the relation architecture and interior, where it is possible to influence norms. By being very specific and establishing a strong material and construction system I found a new way to wo

In the sixties, the journal Forum voor Architectuur en Daarmee Verbonden Kunsten becomes the media employed by the Dutch wing of Team 10 to lecture on and spread the new architectural theories developed after the dissolution of C.I.A.M. Aldo van Eyck and Jaap Bakema head the editorial board in between 1959 and 1967. The editorial approach gravitates towards the themes defended by these young architects in the last meetings of the International Congresses of Modern Architecture, accompanied by the analysis of works of architecture that, in the editorial board’s opinion, give a correct response to the epoch’s needs. Moreover, the permeability and cross-sectional nature of the content, bring the editors’ board closer to the European architectural, cultural and artistic avant-garde. Thus, it is appreciated that similar theoretical assumptions than the ones that gave support to the different revolts that happened in Paris, London and Amsterdam between 1966 and 1968 underlie in great part of the journal’s writings. Its content is aligned parallel to the revolutionary phenomenon, contributing tosome degree to it. Herman Hertzberger, a young architect who worked for years as a part of the editorial board, was highly influenced by the contents of the journal. His later dedication to education as professor atDelft University of Technology, and hisassociation with Dutch Structuralism as well, turn him a key figure to study, because of the determining role of Forum’s acquired knowledge in his future professional activity.The proposed study pretends, first, to accentuate the content of Forum voor Architectuur en Daarmee Verbonden journal where the approach to the avant-gardes is produced, reflecting on the impact it had on the imagery of Herman Hertzberger based on his diverse contributions to the journal. Furthermore, it is aimed to stress the role of the cross-sectional nature architectural magazines in the transmission and contribution to the cultural and artistic avant-garde

Centraal Beheer in Apeldoorn by dutch architect Herman Hertzberger is considered an icon of structuralism, an architectural movement concerned with human scale, repetition and flexibility. Now vacant, it poses an interesting question on what to do with structuralist heritage in the Netherlands. This plan proposes a multifunctional program including a vertical farm, a restaurant, a hotel and education. While this program is radically different from the office function it was built for, the architectural interventions are minimal, using a restorative approach., Architecture, Urbanism and Building Sciences | Heritage & Architecture

This project elaborates on the transformation design for a professional handball academy in the former Centraal Beheer building in Apeldoorn by Herman Hertzberger. It aims to discover the possibilities and limitations of this icon of Dutch Structruralism, using three different Heritage approaches for transformation being 'preservation', 'intervention' and 'addition'., Graduation Studio: The Future of Structuralism, Architecture, Urbanism and Building Sciences | Heritage & Architecture

This project discovers the future of structuralism by transforming the Centraal Beheer building of Herman Hertzberger into a art and dance academy. Hereby looking at the possibilities to create hierarchy in the building without affecting the value and structural appearance., Graduation studio: Future of Structuralism, Architecture, Urbanism and Building Sciences | Heritage & Architecture

This project seeks to give new purpose to the Centraal Beheer building in Apeldoorn, designed by Herman Hertzberger, by introducing a new Montessori Education program, containing a Primary School and Secondary School. Through interventions this design aims to redefine the spatial structure of Centraal Beheer, to create a well functioning environment for the new program, while keeping in mind the ideology of Herman Hertzberger. By giving the need of purpose the highest standard within the Heritage framework I investigate the adaptability of this Structuralist icon to contemporary demands on both spatial and technological development. This means necessary changes to the building are made, however, the changes aim to incorporate the ideology of Herman Hertzberger regarding the Centraal Beheer building., Graduation Studio: The Future of Structuralism, Architecture, Urbanism and Building Sciences | Heritage & Architecture

L'apropiació de l'espai és el que fa aparèixer l'esdeveniment al cos que és l'obra arquitectònica. Si cos és continent i esdeveniment és contingut, l'apropiació de l'espai és el que es troba entre els dos, és l'acció. L'acció pot prendre infinites formes, unes vegades previsibles i altres no. Que existeixin accions imprevisibles significa que existeix l'atzar, el canvi, l'adaptació, la diversitat i el desenvolupament de la persona i del seu entorn. Com que les formes que poden prendre les accions són infinites és difícil explicar el que és i pot arribar a ser una obra arquitectònica mitjançant la representació gràfica d'aquestes. Per aquest motiu he pres la decisió en aquest treball d'analitzar una obra de cadascun dels tres arquitectes (Giancarlo De Carlo, Aldo van Eyck i Herman Hertzberger) a través del cos i de l'esdeveniment, per a fer-los explícits i per a que, a través d'aquesta separació s'entengui el seu nexe, que és l'apropiació dels espais. A esdeveniment explico les possibilitats d'aquests espais de ser viscuts a través de les relacions entre els recorreguts, els accessos, els intersticis, els llindars, el dins, el fora. Mirant simultàniament els dos, un pot fer una lectura simultània del cos i l'esdeveniment per a fer possible l'apropiació de l'espai no només és anàlisi sinó eina de projecte.

En 1968, Herman Hertzberger comienza el proyecto para Centraal Beheer, influido por las tendencias artísticas y culturales de la época. El concepto de espacio–soporte surge en este contexto fuertemente vinculado a la idea de la ciudad tradicional como marco estable capaz de soportar distintas interpretaciones a lo largo del tiempo y catalizador de las relaciones cotidianas entre el ser y el entorno. Centraal Beheer se considera un ejemplo de espacio–soporte, ya que la estrategia de proyecto de reproducción de las condiciones de habitabilidad de la ciudad tradicional persigue una mayor implicación del usuario en la personalización del espacio y se rige por una clara diferenciación de la forma arquitectónica y la sucesión de acontecimientos. Su funcionamiento se evalúa mediante la aplicación de la técnica de la deriva y la psicogeografía, concebidas inicialmente por la Internacional Situacionista para redescubrir el entorno urbano como un espacio–soporte, en las que el factor tiempo y el papel protagonista de las personas son también determinantes. El artículo busca demostrar cómo el bagaje estructuralista de Herman Hertzberger permite entender la réplica urbana de Centraal Beheer como un espacio–soporte desde una perspectiva antropológica y epistemológica. Por medio de una colección de textos, fotografías y croquis, la hipótesis se demuestra en un estudio de naturaleza transversal que se nutre de investigaciones coetáneas desarrolladas en campos como la arquitectura, el arte, la lingüística o la sociología., In 1968, Herman Hertzberger starts the project for Centraal Beheer inspired by the artistic and cultural trends in the sixties. It is in this context that the support–space concept, strongly linked to the idea of the traditional city, arises as a framework able to bear diverse interpretations throughout time and catalyst for the everyday relationships between the individual and the surroundings. Centraal Beheer is considered an example of a support–space building, up to the extent that the project’s strategy of reproducing the traditional city habitability conditions implies a greater user involvement in the space configuration while it is subject to a clear distinction between the architectural form and the sequence of events. Centraal Beheer’s functioning is assessed through the application of the dérive technique and psychogeography, which was initially conceived by Situationist International to rediscover the urban “milieu” as a support–space in which the time factor and the leading role of the user are also determinantal. This article aims to demonstrate how Herman Hertzberger’s structuralist background allows us to understand the urban replica of Centraal Beheer as a support–space from an anthropological and epistemological perspective. It is by means of a collection of texts, pictures, and unpublished sketches, that the hypothesis is demonstrated in a cross–sectional study nourished by coetaneous researches into fields such as architecture, art, linguistics or sociology.

Projektet utgår ifrån en frågeställning om hur skolbyggnaden i sig kan stimulera till lärande och nyfikenhet. Det finns flera sätt som detta kan utföras på, men det här projektet fokuserar på hur detta kan utföras genom utformning av rumsligheter. Inspirationen kommer huvudsakligen ifrån spelmiljödesign och från arkitekten Herman Hertzberger och hans bok "Space and Learning". Byggnaden består av ett program för en mellan- och högstadieskola, som är distribuerat på ett sätt som gör det utmanande att orientera sig. Rummen är utplacerade som kuber med helt eller delvis massiva väggar. De binds samman av en glasfasad, och mellanrummet som skapas blir en yta av öppen aktivitet och där intressanta rumsligheter skapas. En annan metod för att stimulera och väcka nyfikenhet är att skapa siktlinjer. De är horisontella: genom glaspartier i väggarna, och vertikala: genom öppningar i bjälklaget. Tanken är att eleverna allt eftersom de utforskar och lär känna sin skola också lär sig hitta, inte bara till sina klassrum eller toaletterna, utan också till spännande vrår och rumsligheter som skapas i mellanrummen. Det blir en kontrast mellan rummen; där aktiviteten är styrd av lärare och läroplanen, och ytorna i mellan där aktiviteten inte är styrd utan skapas av eleverna själva., This project is grounded in a question about how a school building in itself can stimulate learning and curiousity. There are many ways of which this can be executed, but this project focuses on spatial design. Inspiration comes mostly from environmental design in games and from the architect Herman Hertzberger and his book "Space and Learning". The building consists of a program for middle school and junior high school, and is distributed in a way that makes orientation intentionally hard. The rooms are placed as cubes with massive or partly massive walls. They are connected by a glass facade, and the space between becomes place for interesting spatialities. Another method for creating stimulation and curiousity is sightlines. They are horizontal: in the shape of glass walls, and vertical: by openings in the floor structure. The idea is that the students, by exploring and getting to know their school, also learns to find not only their classrooms or lavatories, but also those nooks and crannies that is formed in the in between space. There becomes a contrast between the rooms: where the activities are ruled by teachers and the curriculum, and the in between spaces: where the activity is free and formed by the students themselves.

This project discovers the possibilities to accommodate a flexible program for academic education in the iconic structuralism monument in Apeldoorn of Herman Hertzberger. It discusses different types of learning environments and application of a diverse and flexible program in the polyvalent structure. The design attempts to introduce different atmospheres to increase usability of the building. This project could be a pilot to contribute to the Dutch knowledge economy., Graduation studio: Future of Structuralism, Architecture, Urbanism and Building Sciences | Heritage & Architecture

This project is dealing with Centraal Beheer Office, designed by Herman Hertzberger, one of the most representative Structuralism Architects. Despite its architectural meanings and values, Centraal Beheer Office is now disconnected from its surroundings and possess various problems such as sustainability. Since Structuralism Architecture pursued architecture that could flexibly respond to the individual’s way of life and could transform itself based on the changing needs of users, this project also aimed to make a design experiment of balancing between preservation and modification in heritage design. Under the motto of ‘Returning to the Origin,’ this project considered the initial idea of Herman Hertzberger as the starting point of every re-design process. Based on this, the primary position in this project toward re-designing Centraal Beheer Office is ‘keeping the rule while breaking the rule’; more precisely, modifying the existing situations while reusing the underlying principle of the building. In other words, instead of conservation nor mere transformation, the project is aiming to become ‘the reinterpretation’ of Centraal Beheer Office. Based on the study of Hertzberger’s architectural idea and Centraal Beheer Office, I set my architectural themes as ‘in-between space, interaction, and coexistence.’ Along with this themes, I set my research question as 'How to make Centraal Beheer Office create interaction through in-between space?' With the new program, Art Academy, the project aimed to 1. how to retrieve the publicness of Centraal Beheer Office, 2. how to accommodate the new program, and 3. how to improve the comfort of the building while keeping the existing value of the building. With this purpose, I connected the building with the city through the urban axis and broaden the inner street to attract the people to come. As follow step, I reorganized the spatial system of the building to apply the new program, Art Academy, to the building. At the l, Architecture, Urbanism and Building Sciences | Heritage & Architecture

In this graduation project, the future of Structuralism Architecture, I studied an adaptive reuse of Centraal Beheer by Herman Hertzberger. The main ambition of architectural experimentations is to find an appropriate balance between the heritage values protections and the future transformation of this iconic building. The new additions and alterations shall correspond with context, society and scientific frameworks. This research by design were conducted through various perspectives which range from architectural/urban design strategies, techniques, and limitations. The results of these studies provide an essences transformation frameworks, intervention strategies, and design methods that contribute to the adaptive reuse of the Centraal Beheer in the coming future.

Discovering the future potential of Structuralism, by redesigning Centraal Beheer and revitalize its inherent concepts, Architecture, Urbanism and Building Sciences | Heritage & Architecture

"Piensa en las escuelas y, por lo general, siguen conjurando visiones de aulas con pizarras y maestros haciendo todo lo posible por hacer que los niños los vean un poco más sabios" (Hertzberger, 2008) La filosofía de enseñanza Montessori, pretende hacer del profesor un acompañante para los alumnos en su propia búsqueda del aprendizaje. Estas pautas de una enseñanza más libre para el alumno, son cada vez aplicadas en más centros escolares, en cierta medida, sean o no seguidores de esta pedagogía, puesto que son los principios hacia los que está evolucionando la enseñanza hoy en día. Este trabajo propone analizar la arquitectura escolar de los centros basados en la enseñanza Montessori, con el fin de estudiar los modelos realizados por el arquitecto holandés Herman Hertzberger en vistas a la búsqueda de cierta arquitectura en modelos de barrio visitados en la ciudad de Cracovia. Estas escuelas de barrio son capaces de hacernos ver cómo cualquier entorno puede ser válido para realizar una misma actividad, a la vez que marcarnos la gran diferencia entre el uso de un espacio en el que se ha cuidado su arquitectura en vistas a la enseñanza, y otro que parece haberse intentado adaptar a ella sin un esfuerzo en su arquitectura. Una escuela puede hacer ciudad, participando de ella y haciéndola participar en ella. Mediante una arquitectura meditada, podemos cambiar el carácter de un alumno, un aula, un patio y de todo un barrio., "Think of schools and usually it still conjured up visions of classrooms with blackboards and teachers in front doing their best to make the children facing them a little wiser" (Hertzberger, 2008) The philosophy of the Montessori teaching method, aims to make the teacher a partner for students in their own quest for learning. These guidelines of a free education for students, are increasingly applied in more schools, to some extent, whether or not fans of this pedagogy, since they are the principles to which is evolving the education today. This work proposes to analyze the school architecture of the centres based on Montessori education, in order to study the models made by the Dutch architect Herman Hertzberger with the intention of looking for some architecture in the neighborhood models visited in the city of Krakow. These neighborhood schools are able to make us see how any environment can be valid for the same activity, at the same time of highlighting us the great difference between the use of a space carefully created for teaching, and another one that seems to have tried to adapt to it with no effort on its architecture. A school can make city, participating in it and making it participate from itself. Through a good architecture, we can change the character of a student, a classroom, a playground and all of a neighborhood.

Herman Hertzberger pertenece a ese grupo de arquitectos que, desde comienzos del siglo XX hasta nuestros días, han entendido el binomio arquitectura–pedagogía como indisoluble, como dos disciplinas complementarias en el proceso de aprendizaje que recrean un modelo de sociedad y, por ende, del espacio donde esta se desarrolla. Hertzberger entiende la arquitectura como instrumento pedagógico y como oportunidad esencial para la configuración de un espacio de relación. Su obra nos desvela una preocupación máxima por el usuario, por los valores colectivos, en un entendimiento de la arquitectura como soporte de libertad, cuyo antecedente inmediato fue el ideario de su maestro Aldo van Eyck. Pero es en su arquitectura escolar donde esto se observa de forma más radical. A través de los numerosos proyectos realizados vinculados a la educación, se recorren todas las etapas de aprendizaje del hombre desde la infancia hasta la universidad, en los cuales se desarrolla un amplio repertorio de estrategias proyectuales vinculadas a la Escuela Activa como modelo de aprendizaje y más concretamente al Método Montessori. Su dilatada obra vinculada a la enseñanza le permite ensayar en todos los registros posibles la idea de un edificio como ciudad, difuminando los límites entre espacios privados y públicos en todas las escalas entre la escuela y su entorno, en un recorrido que va del aula a la ciudad., Herman Hertzberger belongs to a group of architects that understand the architecture-pedagogy binomial as indissoluble. Ever since the beginning of the 20th Century, they have embraced the complementarity of these two disciplines in the educational world, and have revealed the way architecture and pedagogy collaborate through the recreation of a model for society and therefore influence the place where education takes place. In this context, Hertzberger understands architecture as a pedagogical tool as well as an opportunity for the configuration of a space for interaction. Hertzberger´s work confirms a commitment with the child as the centre of the learning process. Moreover, the architect demonstrates major interest in collective values, together with an understanding of architecture as a basis-foundation for freedom. His direct precedents are the ideas of his teacher, Aldo van Eyck. However, it is in his educational architecture where these can be radically observed. The numerous projects that he has designed cover all the phases of the educational process: from those of early childhood to university studies. In these projects he has developed a wide repertoire of design strategies linked to the Active school and the Montessori Method. His extensive work allows him to try out the full scope of the idea of a building being like a city, by blurring the limits between public and private space, the school and its environment, in a journey that crosses from the classroom to the city.

En los sesenta, el debate acerca de la ciudad gira en torno a la crítica del modelo funcional desarrollado durante la primera mitad del siglo XX. El Team 10, uno de los grupos más críticos, defiende una revisión de las formas urbanas tradicionales para dar respuesta a los problemas de falta de identidad y de desarraigo. Herman Hertzberger, vinculado al Team 10 a través de Aldo van Eyck y Jaap Bakema, plantea un modelo arquitectónico que toma la ciudad tradicional y sus relaciones como referencia. La representación de una ciudad como un paisaje en Centraal Beheer, por medio del uso de ciertos mecanismos compositivos, permite su percepción como un verdadero espacio urbano. El uso social que se promueve vincula la obra de Hertzberger con la ideología de la Internacional Situacionista, consiguiéndose a través de la ‘deriva’ no sólo incentivar su apreciación como una ciudad, sino también forzar al usuario a tomar una actitud activa que le permita reafirmarse en el lugar. Por medio del presente artículo se pretende analizar los mecanismos de proyecto que introducen la realidad del paisaje urbano en Centraal Beheer así como las consecuencias de su implantación sobre los usuarios. Este estudio se apoya en una selección de textos, fotografías y croquis inéditos pertenecientes a distintas fases del proyecto, que contextualizan Centraal Beheer en torno al concepto del paisaje urbano y demuestran la reciprocidad entre las ideas generadoras y el objeto construido., In the sixties, the discussion about city is centred on the critique of the functional model developed during the first half of the twentieth century. Team 10, one of the most critical groups against this model, defends a revision of the traditional urban forms to give response to the lack of identity and the uprootedness problems. Herman Hertzberger, linked to Team 10 through Aldo van Eyck and Jaap Bakema, develops an architectural model that takes the traditional city and its relationships as reference. The representation of a city as a landscape in Centraal Beheer, by using certain compositional mechanisms, allows its understanding as a real urban space. The social use that is promoted links Hertzberger’s works with the International Situationist ideology, achieving through the ‘drifting’ not only to encourage the city’s image, but also to force the user to have an active attitude that permits his reaffirmation in the site. The aim of the present article is to analyse the project mechanisms that introduce the reality of urban landscape in Centraal Beheer as well as the consequences of their implementation on the users. This study is supported by a selection of texts, photographs and unpublished sketches corresponding to diverse phases of the project that set Centraal Beheer in a context around the urban landscape concept and demonstrate the reciprocity between the generating ideas and the built object.

This project outlines the design proposal for an alternative public high school in Toronto, Ontario. For this project the school is re-imagined as a Community Learning Centre. The goal of the Community Centre model is to foster life-long learning in young people which can occur when space emphasizes social interaction, citizenship, and life long learning. The design of the Community Learning Centre is an attempt to align educational priorities with design, to create learning environments that best suit the needs of the users. The focus of the project, is on places between the classrooms where there is opportunity for informal learning to take place. The term schoolscapes is use to describe these spaces. They include all of the places between classrooms and are a way of reimaging the corridors as active, lively and engaging spaces. To support and expand on the idea of schoolscapes, how the environment impacts people and learning, the shifting values in education, and how public space can be related to school interiors, have been investigated. The work of Prakash Nair, Annalise Gehling and Herman Hertzberger, on school design and its correlation to public space have been extremely influential for this project, as has the work of Jan Ghel on lively city spaces. Jan Ghel identifies key features of good public space that can provide the foundation for the design of informal learning spaces. The writing of Nair, Gehling and Hertzberger will be used to support how these characteristics can be applied to the learning environment. The design of the Community Learning Centre explores how the ideals imbedded in public space can be carried over to the interior of a learning environment.

[EN] The concrete block fi rst saw the light of day around the middle of the nineteenth century, when it began to be produced both in Great Britain and the United States. Although the fi rst patents for solid blocks date back to the beginnings of this century, the fi rst hollow blocks did not appear until 1850, when they began to be produced by Englishman Joseph Gibbs.1 Other patents followed in quick succession, mostly involving isolated experiments that never became standardised or entered into mass production. The evolution of this new material did not really take off until the arrival of other technologies such as Portland cement at the turn of the century., [ES] El bloque hueco de hormigón nace a mediados del siglo XIX como una alternativa económica al sillar de piedra natural. Con tan humilde origen, el bloque se ennoblece poco a poco de la mano de célebres arquitectos como Frank Lloyd Wright, primero, o Louis I. Kahn, Aldo van Eyck y Herman Hertzberger, después. El presente artículo recorre el camino que dignifica el bloque de hormigón desde su inicial carácter imitativo hasta su normalización constructiva; para atribuirle finalmente, reducido ya a su forma esencial, funciones relevantes e incluso simbólicas.