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Frank Gehry
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Jane Jacobs
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Walter Gropius
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Le Corbusier
 Colofon Editorial

Bnieuws
Volume 53
Issue 02
WELCOME
FAME & VANITY
October 2019
04 #Bnieuwd
Fame and Vanity; two shallow words that unexpectedly come along with deep
Contact
Room BG.Midden.140 06 Interview: Dick van Gameren insecurities and feelings of anxiety, frustration, envy and self-doubt. How often do we
Julianalaan 134 consider stardom a phenomenon distanced from our daily life, but in honesty, our design
2628 BL Delft
bnieuws-bk@tudelft.nl 10 Credit Where Credit Is Due industry is full of (the ambition for) it. In last year's publication Rumours we were
treated with a filmic scene of Sou Fujimoto's entrance to our humble BK City - crowds
Editorial Team 12 Complaint Cases - Where to Go? went wild. And in response to our Instagram (@Bnieuws) poll 'Do you want to become
Aimee Baars famous?' 42% answered YES. We might have to trivialize the robustness of this outcome
Jan Pruszyński
Nicole van Roij 14 Architectural Misconceptions since evidently people who want to be famous are more eager to respond than the ones
Chun Kit 'CK' Wong who do not. Nonetheless, the ambition for stardom is there! And, according to our dean
17 Bibliotheek Dick van Gameren, whose interview you can read on page 6, it was no different in the
Contributors 80s.
Maartje Damen
Kees Fritschy 18 Vanity, Vanity
Nathan Kramer Why this hunger for fame? And where does vanity come into play? Does it fuel fame? Or
Koen Mulder
Tuomas Peippo 20 Some of My Problems does it sequence it? There are many questions to be answered. According to Tuomas
Peippo (p. 20), psychoanalysis doesn't provide you any answers, and neither do
Cover 22 Bjarke Ingels Portrayed designers themselves. Apparently we are either blind to flaws inherent to the
Nicole van Roij architectural discipline or we choose not to face them and talk our way out of them with
24 Introspection sales patter. Fact is that somehow we, and our patter, have been able to lift the profession
Printed by of designers to a level of 'stardom', and though we might pretend not to care, we
Druk. Tan Heck
1,250 copies 28 House of Machines - AI in Design ourselves are responsible for this phenomenon: we care!

© All rights reserved. 32
Although all content is
treated with great care,
errors may occur. 34
Flying and Falling This tendency to showcase our pride, perhaps even our superiority, either as a
community such as the design industry or as an individual, is human. It is common to
De Rotterdam sketch an ideal image of ourselves when we talk to strangers, tell narratives about how
we wish it would have been, instead of how we actually are. We all want to exude the
best version of ourselves, be acknowledged, seen and heard. Whereas in the past we had
fewer opportunities to rise to stardom, nowadays we are given a voice which transcends
physical space and time synthesis. Social media provide us tools to construct our desired
identities, our image to the outside world. It might even be in the name: BIG TIME, a
documentary - reviewed by Aimee Baars on page 22 - on Bjarke Ingels who is founder of
internationally renowned firm BIG, gives us an insight in the life of a 'starchitect'. It
leaves you feeling conflicted; are the head aches, the jet lags, the haste worth it? For
some people it is, and for some people it isn't - and that is ok. There is certainly no harm
in telling yourself, mirror included, you are worthy every now and then. Come on, say it
now: "I am worth it!" Well done you. And perhaps, in the far future Artificial Intelligence
- as Nathan Kramer suggests in his article on page 28 - has taken control and we won't
even have to worry about superiority, because it is all taken care for.
 #Bnieuwd
To do / TALKS ABOUT ARCHITECTURE SITE PRACTICE
Initiated by Rotterdam based architectural firm De Kort
Van Schaik in collaboration with AIR, TALKS is a series of
lectures which offer a podium to emerging international
architecture practices. The upcoming lecture is by Site
Practice, based in Mumbai and Amsterdam, with
projects all around the globe. By working closely
together with its users and reconstructing design’s in 1:1
models, Site Practice has found its own unique way in
building.
17.10.2019 @ 20.00-23.00
Garage Rotterdam, Goudsewagenstraat 27, Rotterdam
Ticket: 10 euro
To do / I SEE THAT I SEE WHAT YOU DON’T SEE
The exhibition was the Dutch contribution to the XXII
Triennale di Milano which is now on display at the NAI.
The theme reflects on the influence of light and darkness
04 on our senses, mainly our visibility and smell. The
concept of darkness is discussed from several societal
points of views: economical, cultural and technological.
The exhibition presents researches, films, performances
and designs which explore the phenomena and
meanings of (lack of) darkness in our contemporary
and consistenly lit society.
5.10.2019-29.12.2019
Het Nieuwe Instituut, Museumpark 25, Rotterdam
To do / DREAMING IN CONCRETE
The Central Museum in Utrecht presents two utopian
Dutch concrete building complexes with a turbulent
history: the notorious neighborhood Kanaleneiland and
the former shopping centre adjacent to Utrecht Central
train station Hoog Catherijne. Both projects were
presented as solutions for traffic congestion and housing
demand, but nowadays symbolize urban problems. How
do we, in a time of sustainability dilemma’s, reflect on
and learn from our past projects?
28.09.2019-19.01.2020
Centraal Museum, Agnietenstraat 1, Utrecht
#Bnieuwd
To watch / FREUNDE VON FREUNDEN
This Youtube-channel explores the worlds of creatives all
around the world, from photographers to product designers
and urbanists and interviews them around to provide insight
in their working methods and accomplishments. A personal
favorite: Juerg Judin who transformed a derelict Berlin gas
station to his home. This series is part of a larger online
platform Freunde von Freunden (Friends of Friends), founded
in 2009. They are showcasing a diverse cast of people
through long-form profiles, warm and personal conversations:
definitely a source of inspiration!
www.freundevonfreunden.com
www. youtube.com/user/fvonf/
instagram @friendsoffriends
To read / THE FOUNTAINHEAD,
The Fountainhead by Ayn Rand is a novel from the 1940s, a
huge literary success at that time, and still a source of
inspiration to many. Howard Roark, the leading character, is
an individualistic young architect who designs modernist 05
buildings and refuses to compromise with an architectural
establishment unwilling to accept innovation. Roark’s
character was based on Frank Lloyd Wright. Rand later wrote
that architects provide “both art and a basic need of men’s
survival”, and thus formed a solid contextual base for the
individualism versus collectivism dilemma in the narrative. An
interesting read!
To listen / ABOUT BUILDINGS + CITIES
A podcast about architecture, buildings and cities, from the
distant past to the present day. Plus detours into technology,
film, fiction, comics, drawings and the dimly imagined future.
This podcast is hosted by Luke Jones and George Gingell
who are not afraid to dive in deep. Perfectly articulated British
company for a boring train ride home or Sunday morning
walk.
Latest / INSTAGRAM
Keep updated on our recommendations on upcoming events through our instagram account.
Don’t forget that our voice is also yours, so send us or tag us with anything you’d like to share with our
followers. Feel free to contact us via instagram or facebook!
@bnieuws on Instagram / search Bnieuws on Facebook.
 Speak

INTERVIEW: DICK VAN GAMEREN

Words Aimee Baars, Jan Pruszyński & CK Image Faculteit Bouwkunde

After many years of leading the chair of Dwelling, Dick van Gameren has been
appointed Dean of Bouwkunde Faculty in April 2019. We spoke to him about his
own student life during the 80s, his observations of the present issues concerning
BK-students and staff and of course his views on the future BK City.

How has student life changed compared to your own soloist and travel the world. However, you might end
student years? up playing in the orchestra. Ultimately, it might be
I think there is an interesting balance of things that more fulfilling to be part of a team, instead of being

IMAGE
changed and things that haven’t changed at all. I
have noticed that the main ambitions of students
don’t change. They have the same hopes and
methods. For example, all-nighters have a long
history. I think it is not so much related to pressure,
but also to a culture. Somehow we inflict this upon
ourselves. However, the pressure becomes an issue
when it is a consequence of coinciding deadlines –
organisationally we should try to avoid that.
What do you think of the term 'starchitect'?
I think that every era has its own starchitects.
Stardom has happened in the past for predecessors.
I remember that Rem Koolhaas visited the faculty
once, this was in the previous building that burnt
down in 2008. Room A was filled with people,
everyone tried to squeeze in. I don’t see the harm in
starchitects as an inspiration for students. Everybody
needs a hero.
What do think of the endeavour to become a
starchitect?
I think it is a dangerous goal, isn’t it? There are very
few who reach this and the ambition often goes hand
in hand with frustration. In the music industry for
example, which is perhaps even tougher than our the
design field, ambitious students aim to become a
the solitary figure.
What was your goal when you were a student?
To be honest, I was always puzzled by students who
knew what they wanted to achieve in 5 or 10 years. I
never had a long distance goal. It is so difficult to 07
look forward.
What has changed since you graduated?
I think there was less stress and pressure. The
average study time during the 70s was 10 years.
People could study forever. That changed in the
1980s when a new education system was
implemented. Another difference which I have
noticed over the years, is the intensity of student
involvement. When I was a student in Delft, students
had more influence on how the faculty was run, a
democratization process which already started in the
60s. Nowadays, students are still connected, but
more distanced. It probably has to do with the
structure of our education system. Back then, the
program was flexible and as a student you could
organize your own education quite freely.
Nowadays, most students follow the same path.
 Was it a tough time to find a job?
Inherent to the architectural discipline is the cyclical
curve in employment opportunities. When I started
my study program in 1981, job opportunities were
scarce. During our introduction, the dean welcomed
us with the following words: “It might be better to
study something else, because there are no
opportunities for you.” However, that changed in the
90s, which were a golden age for architects,
supported by national government policies which
stimulated architecture culture. Then of course, in
2008, crisis hit. The building industry, thus
architecture, was damaged quite severely.
What would you like to change within the faculty?
As designers we always seek opportunities for
improvement. I have noticed that we often strive for
a structure-oriented solution, designing new
organizational systems. Within our faculty I believe
the organizational structure is quite solid, but we
could be more critical towards the actual content,
08 both in education and research. Currently, there is a
strong division in departments, the disciplines are
set apart. I think our focus is sometimes too
introverted. As a consequence many departments try
to do everything themselves and achieve all the goals
on their own. We thus miss opportunities to
collaborate and connect. I hope we can open up
more to other departments and faculties in the
upcoming years, while narrowing down the
production of knowledge within the departments
towards a stronger focus. Designing is in fact
combining knowledge from different disciplines to
achieve innovation; it is all about bringing different
aspects together to create a whole on whatever scale,
whether it is on an organisational level or a
small-scale physical level. The shared perspective at
this faculty is design, and the interdisciplinary
characteristic of design could be explored and
stimulated more, specifically within the master
programs.
Speaking of structures, why did you move the office?
There was an urge to create extra space for staff,
thus several departments were shifted around. Plus,
I disliked the location of the student advisor rooms.
During counselling hours students were obliged to
wait in the corridor where people were continuously
passing which to me seemed an unpleasant situation;
a quiet place deemed more fitting. I must say though,
it was not a sacrifice to move into this space, the
older place was darker and less inviting.
What is your opinion on the internationalization of
the education system?
I believe that this development has proved to be a
great asset. During my years as a professor, teaching
here, I have observed how well it works. Of course a
separation of students remains; there are students
who benefit from the international community and
students who stick to their own groups. However, in
a wider perspective, our field of work has become so
international, it broadens our horizons, so this
transition makes sense.
How do you combine your partnership at Mecanoo
and your position as dean?
My main focus now is my position as dean. I am still
connected to the office, but on a less intense level.
This is a full time job, I am here everyday.
Do you consider your position as dean comparable
to running a design studio?
That is an interesting thought, but as I mentioned
before, as a designer you are always tempted to
establish new structures. That is not necessary here.
We can be very positive and proud of our
achievements so far; the further I travel from Delft,
the more people I meet who are eager to be
connected to Delft. Willem de Kooning, a famous
Dutch painter, once said: “In order to stay the same,
I have to change consistently.” I don’t want to
convey that we should stay the same, but we must
consistently reflect on implementing improvements
in order to remain a place where people want to
study and work.
Have you observed any other urgent issues within acknowledged and heared. However, it also gives
the faculty that you would like to address? more stress: the teacher doesn’t tell you what to do,
The work pressure of students and staff. The amount they just ask critical questions.
of students and specialisations have increased but
the amount of staff has stayed the same. Plus, we
increasingly rely on exernal research money to bring What do you expect of the new dean? Is there
in temporary staff. It is necessary to attract those anything you would like him to do or change at the
funds to renew and innovate, but it brings a lot of faculty? Let us know via email, Instagram or Facebook!
pressure. We must act on that and on the other
hand, put attention towards high pressure area’s,
specifically in design education. Sometimes I think
there might be too much education. What do you
think? Do you want to see more or less?
Jan: In my case I would have preferred more
guidance. During my studios, I could often speak to
a tutor once a week. Two meetings a week would
have been perfect.
Aimee: I have positively experienced an increase in
educational time throughout my study program,
since I transferred from Utrecht University where 09
generally the master-pupil relationship was very
one-sided, scarce and anonymous. I appreciate the
more informal, personal and open relationship
students here have with their tutors?
CK: In Singapore I was also used to teachers as
media of instruction; there was hardly any dialogue
or dialectic teaching.
Some people think the studio system is outdated,
that it should change along with societal changes,
such as digitization. Many other faculties have
implemented different teaching methods over time.
However, we have been teaching bouwkunde like
this for over a 100 years with good results, so
perhaps this tradition proves to be best suited for
our field of education. We are not stuck in the
master-pupil hierarchy, which can be perceived as
exceptional, compared to other design universities
around the world. Every method has its own
plussides and negatives. Most students here feel
 Speak
building with their own style, ideas, visions and in a the renovating architect or that credits should also
certain time frame. The building is the architect’s be given to the initial architect, it is also harder to
CREDIT WHERE CREDIT IS DUE legacy. While renovating, this original building will
end up differently. What kind of statement does the
distinguish an incredibly well-designed renovation
than it is to do the same for a new-built. Because
Words Maartje Damen renovating architect make with their changes? And every existing building is very different, the tools an
is there a correct way to deal with the initial architect receives when designing are almost
architecture? Does this depend on the quality of the incomparable. Some buildings might have been built
Here at BK, the bachelor program is full of big names Frank Lloyd Wright, Mies original architecture? Of course, there are different with an open space plan and in good condition,
van der Rohe, Richard Rogers or the Dutch pride Rem Koolhaas. And with big ranges in ‘quality’ of an already existing building; while other buildings might come with many more
names come big designs. Falling Water, Farnsworth house, Centre Pompidou, The some buildings are considered monumental, others challenges. This shifts the focus on designing more
Rotterdam. Not only do we learn these big names, but we also learn a lot about durable, meaning to function for a long time. towards handling the given. This is very much
sustainability, ‘Always choose reuse over recycling, and recycling over new build’. However, many buildings are designed for a shorter contrary to the current way of high-end design
Yet, the most prominent designs made by the given role models are newly built. For time span. discipline, in which buildings are in no way
these projects, non-locally sourced materials are being used, and other buildings connected to their surroundings, and where the top
are often demolished to make space. When renovating, the architect has to decide on architects consider their designs successful if the
whether or not he will keep the original style, add building could be placed anywhere. If all of us would
anything or change anything. This decision will have be able to shift the focus from creating something
Over the last years, a worldwide housing problem architects and their relation with fame and vanity. a big impact on the original design idea. Is there a unique and outstanding more towards resolving the
has been arising. People are moving from smaller correct way to handle these situations? Should the complex puzzle of the given, the requested and the
towns and villages to the big cities, resulting in Firstly, our vision on what ‘good’ architecture is, has original architect be included, or at least be creative, it would not matter how complex, irregular
empty houses in the villages and overheated city to drastically change. Of course, there is not one way informed about the redesign? Should the renovating or ugly the given building is. If the architect is
10 centres. to describe good architecture, but as was pointed architect commit to the original style, or make it capable of making sense from the most complex 11
out in the first paragraph, there are some famous extremely explicit that the traansformed elements puzzle, and manages to make something suitable out
For the architects of the future, this demands some architects constantly being named as ‘the big ones’. are different to the original? To what extent is an of it, wouldn’t it be fair to be praised higher than a
creative thinking: a solution has to be found for the All of the famous buildings that these top architects architectural design ‘owned’ by the designer? There really outstanding and one-of-a-kind renovated
shrinkage areas and the big cities should be built are most definitely no renovation projects. are no strict rules about this, and there will probably building with less complexities?
remodelled in a way that more people can make use These architects have received their reputation in a never be straightforward answers to all of these
of it. For the cities, this leaves two options; way that is not desirable nor realistic for the questions. Still, they are important to think about At the end of the day, there is not one answer to any
demolishing an original building, replacing it with renowned architects of the future. However, because before commencing on any renovation project. The of these questions. But by asking them, we get one
something more suitable for the current market, or, of the given role models for architects in the making, redesigning architect plays a central role in the step closer to acknowledging the problem in our
transformation in order to make use of the already it might be hard not to strive for such goals. legacy of not only himself, but also of the original current system, and maybe this will inspire change in
existing buildings. Considering the historical value of Universities could play a big role in changing the architect. These decisions will affect whether or not the way you and I think about architecture, and our
buildings and ecological footprint of demolishing, view on architecture. If the students would follow the legacy of the original architect continues to exist views on future-proof fame.
the first solution might not be suitable. Therefore, more classes with focus on future-proof buildings, in the renovated design.
the second approach seems to gain more outstanding renovation projects and reuse in
importance. different ways, instead of filling the sustainability- Not only the fame of current and past architects Maartje Damen is a 3rd year bachelor student at BK
classes with insulation, solar panels and so on, the should be noted in this article. When looking into City. You can find her on Instagram @maartje.damen or
This is where the main question pops up. To tackle students would have a much broader vision on fame for the future generation we come across send her an email at maartjedamen98@gmail.com
the housing problem in a sustainable way, I believe architecture than just the current famous designs. another problem. Because renovation projects
that renovation and transformation have to become always have an initial architect and a renovating
the standard in architecture. However, there is a Another issue in regard to renovation of buildings, is architect(s), it ends up being extremely hard to give
long way to go. Almost all of the changes we as a that an architect is continuing a project finished by credit. Not only could it activate the discussion on
society need to conquer on this topic, lead back to someone else. The initial architect designed the whether or not the design has been solely made by
 Speak
COMPLAINT CASES - WHERE TO GO?
Words Bnieuws Team
This article both rectifies the article Letter published in Bnieuws issue 52/04
Rumours and lays out possibilities at BK City to reach out for support in case you
want to file a complaint.
In summary, the article Letter brought an injustice at BK City to attention, which had
been communicated to us by an reader. The injustice concerned a professor using racist
and sexist comments and the exploitation of students for their own financial gain. This
letter was published anonymously. As a platform for staff and students at BK City we
ambition to channel thoughts and conversations into written or visual pieces to either
continue the discussion or spark another. Some challenges lie in the principles and
protocols of journalism: fair hearing, grounded statements and transparency. Even
though our intentions to convey a certain message in this Letter remain unchanged, we
were too inaccurate in our approach and communication. In the Letter article a few
12 steps were provided to guide you the way whenever you find yourself in a situation that
feels unjust. However these steps lacked context and content. Every situation requires a
different approach. Thus we would like to use this rectification article as an opportunity
to further explain opportunities at BK City to undertake action if you have a BK City
related complaint.
We hope the overview gives you a clear introduction to organizations and people within
the faculty who can support you in complaint cases. Even though our role is not to
provide any professional advice - other departments within the faculty are better suitable
– we are always here to listen to your story! Remember, our voice is yours.
Following up on this article, we have been noticing a call for more articles on pressing
issues in regard to (mental) health and stress. As much as BK City is a second home to
many - a place of confidence, warmth and trust – this social base also feeds in to
struggles with peer pressure, competitivity and self-doubt. Our faculty is a point of high
tension, both in social and communicative dynamic as in individual thought process and
work load. It is human to be swept away by this, to enter this overpowering whirlpool of
enthusiasm and ambition. Simultaneously, there is a chance of losing sight of our own
conditions and needs along the way. We are all sensitive beings who shy away from
vulnerable conversation, to prevent from being judged as weak. However, we are not
robots – taking off our harnesses every once in a while and talking frank in the end
benefits our mind and our physical health. Thus, we intend to address these issues more
in future publications.
Academic Counsellor & Confidential Adviser
There is a distinction between an academic counsellor (academiccounsellors-bk@tudelft.
nl) and a confidential advisor (vertrouwenspersoon-bk@tudelft.nl). The academic
counsellor is a faculty function, the confidential advisor is a role. If you are dealing with
unwanted behavior or unequal treatment within your study, you can contact the
academic counsellors. For instance, situations regarding (sexual) intimidation, bullying,
discrimination, stalking and violence. The academic counsellors at BK City hold open
consultation sessions on Tuesdays and Thursdays from 12.30 to 13.30 in BG+ Oost
50/70/90. When you want to file an official complaint (see paragraph Complaint
Coordinator) about undesirable behavior such as bullying or sexual harassment, you can
request advice and help from the confidential advisor. The confidential advisor does not
act on the information he or she receives: information is never passed on to anyone else
without permission. As a BK student, you are also able to confide in counsellors at other
faculties.
TU Delft Regulations
Situations involving inappropriate behaviour, such as intimidation (sexual or otherwise),
bullying, aggression or conflicts (personal or work-related) are covered by the TU Delft
Regulations for complaints about undesirable behaviour, which you can check online on
the TU Delft website: Codes of Conduct and Regulations.
Complaint Coordinator 13
Filing a complaint via a formal trajectory can be done through the BK City Complaint
Coordinator, by sending an email: klachtencoordinator-BK@tudelft.nl. However, entering
this formal process must be considered as the final step. Any complaint should first be
submitted to, and dealt with by, the lowest relevant operational level. For example, a
complaint about timetabling should first be raised with the timetabling department. If the
complainant does not agree with the reaction or the solution that is offered, he or she
may take the complaint to the complaint coordinator.
Stylos & FSC
Student organizations Stylos (Bouwkunde Student Union) and FSC (Faculty Student
Council) both take education-related complaints into account. Stylos has an online form
(www.stylos.nl/nl/onderwijs/input) to message the board about an (urgent) issue or a
proposal to improve BK education. The board then makes sure this message reaches the
right person within the faculty.
All students in the Netherlands have a say in the education system. At BK City this is
carried out by the FSC, which is run by nine Bouwkunde students. The FSC has the
position to influence faculty policies. In the case of proposed changes, the FSC has an
advisory role. The FSC keeps track of important issues at BK City, both short term, such
as complaints about a certain course, or long term in order to maintain a certain quality
level in education. You can send a message via FSR-BK@tudelft.nl or pay a visit on the
second floor of the orange staircase in the Oostserre (01.Oost.810).
 Explore

ARCHITECTURAL MISCONCEPTIONS
Words Jan Pruszyński

I remember reading an article several years ago about the influence of police
dramas, such as CSI: Crime Scene Investigation on how police and their work
are perceived by the public in the US. Even though people realise that it is fiction,
most citizens do not have to interact with the police actively and these TV shows
tend to become the only source of their understanding of how the police works.
This led to quite a few problems, such as unrealistic expectations. I believe that the
architecture has a somewhat similar problem.

Writers, directors, producers and actors play major
roles in shaping how millions around the world
perceive different professions. This article, however,
will not focus on misrepresentation of architects in
the media, as I do not think those lie at the roots of
the problem. Moreover, there are not as many
architects on TV, in cinema or in books, as there are
police officers, doctors and lawyers. I would say that
in case of architecture, the problem is not the public
having a distorted idea about architects, but having
no idea at all.
Different tparties are being blamed for that status
quo: architecture schools, which create too many
architects and are failing to provide students with
skills needed to practice; the authorities, for passing
legislation, which lowers the architects position in
the building process; public, for lack of respect 15
towards architects and seemingly being always
surprised by the amount of money they charge; other
architects, who seem to swallow their pride, take
those starvation wages and further the fall of the
profession.

Architects spend about 5-6 years at university and, in
many countries, another 2-3 working professionally
before they receive a license and become full-fledged
professionals. After all this time, you imagine that
they would at least get paid fairly, but that is seldom
the case. Moreover, during their educational years,
they are constantly fed the story of how difficult the
architect's life is; how hard it is to get a job; that they
will have constant (obviously unpaid) over hours;
that they need to love it to do it, because they are
never going to make any (decent) money. Basically,
if you ever want to become successful in life,
architecture is not the right path. If you are an
(aspiring) architect and have not heard any of the
above arguments - good for you! I certainly have.
Perhaps something should be changed in
architecture education and architects should demand
change in legislation. There is some truth to all of
the above statements, however, I want this article to
focus on what I believe forms te roots of all these
issues - knowledge - or, rather, lack thereof. In 2012
InBuilding.org carried out a survey among 2,031
adults. Respondents were asked to select things that
they think are part of the architecural profession
from a list of tasks, all of which were routinely
carried out by architects. The survey was inspired by
The Apprentice star and a London-based architect
Gabrielle Omar, who, in an interview for Architects'
Journal, stated that the public has no idea what
architects do and that the profession is in need of a

< One of countless architectural memes that can be found on the internet.
Source: https://i.pinimg.com/originals/19/d3/9c/19d39c0e42e746376bcf622b137543fa.jpg

brand overhaul. The results of the survey supported
that statement - three quarters of the respondents
were largely ignorant of the work undertaken by
architects on a daily basis. For some, architects are
just people who overcharge for drawing a few lines.
If the general public does not seem to understand
the role of the architect, how are they supposed to
see the need to hire one in the first place? What, or
who, is to blame for that?
I believe that architects themselves are not victims,
but the sole culprit. Somewhere along the way
architecture has lost touch with society - architects
have created a very elitist perception of their field
(even in their own eyes), without ever explaining to
the public what they actually do that makes them so
elite. Add to it a lot of jargon that they use on
everyday basis to describe the work they do and it is
not hard to imagine why they are portrayed as
artistic weirdos, helplessly out of touch with reality,
with an always-present scarf around their necks and
using complex words for simple ideas. So far, the
problem is that architects seem to discuss
architecture solely among themselves. There are of
course those, who underline the importance of
discussing architecture with the public, but they are
still in minority. Most of the public have no idea
what architects do. How are they supposed to be ok
with paying (often large amounts of) money, when
they do not really know where it goes?
What can architects do to change that? Most of all,
they should be responsible for education process of
the client, a prospective one as well. So far architects
are seen as an “additional expense” rather than as
an investment that will pay off down the road.
Architects should do their best to educate people
around them about the importance of properly
designed architecture - not just structural, but
spatial. Until architects can get across that, like a
good doctor or a good lawyer, paying for excellent
service will save the client money in the long run,
they will maintain their losing societal positions.
Speak
Do you agree with Jan's opinion? Perhaps you have a
different outlook on things? Let us know!
BIBLIOTHEEK
Words Koen Mulder
Bibliotheek
Binnen de TU heeft Bouwkunde als enige een eigen bibliotheek – een collectie van
nationaal belang en misschien wel de meest continuerende cultuurdrager van deze
faculteit. Voor onderzoekers zijn boeken per bouwkundig onderwerp chronologisch
gerangschikt, voor ontwerpers staat er tenminste 180 meter architectuurmonografie en
voor studenten is het een geliefde studieplek waar je omringd wordt door ontelbare
potentiele toevalstreffers. Boeken die je in je handen kunt houden en die soms een
wereld van ver vóór Google ontsluiten.
Nieuws
Afgelopen jaar was er de Minor Archineering studentencompetitie voor de zes rode
tentoonstellingskasten, waarin de publicaties van de afdelingen worden tentoongesteld.
Dit jaar hadden we een nieuwe aanvulling: een speciaal meubel waarop de nieuwste
boeken voor het grijpen liggen. Dit was het winnende resultaat van een 17
studentenworkshop Team Resin, samen met kunstenaar Vincent de Rijk. De ontwerper
was student Fikri Yalvac – het hele team heeft samengewerkt om dit kunststuk te
vervaardigen. De bibliotheek is erg blij met deze studentenbijdrage. Dank!
Suggesties
Onze BK bibliotheek hebben we over vele generaties samen gemaakt. En we hebben
jouw inbreng daarbij nodig. Als er een typisch ‘bouwkunde boek’ is dat je mist in onze
verzameling: doe dan alsjeblieft een suggestie. Alle suggesties worden zorgvuldig
overwogen. Suggesties die passen in de verzameling en in het budget, worden over het
algemeen ook aangeschaft. Jij kunt dan de eerste lener zijn. https://www.tudelft.nl/
library/bezoek-gebruik/lenen/aanschafsuggestie/
Vermeld alsjeblieft dat je het boek voor de BK bibliotheek bedoelt.
< Image from Fika Cafe, Toronto, Canada by Patrick Tomasso @impatrickt
 Poem

VANITY, VANITY
Words & Image CK

Vanity of vanities! All is vanity.

What does man gain from all his toil,
The day stretches into years,
The hour passes by
But gain does not come easily,
Even for those who are nifty.

The eye is not satisfied with seeing,

And they aren’t going to start paying.
The lips hide their meaning,

IMAGE
And they are always intervening.
“Do it like the gods!” the client says,
18 Otherwise Gehry is just a stone throw away! 19

That which has been is what will be,

That which is done is what will be done.
And there is nothing new under the sun.
But here comes one who thinks his is new!
And proclaim his works on Dezeen, A+U.
Spectacular, phenomenal, and praises ensue,
And you wonder how much of it is really new.

Vanity of vanities! All is vanity.

What does man gain by all his toil,
A grade, an award, an honor, a discovery
A name, a celebration, fame and glory
But a generation comes, and a generation goes,
Whose name would last forever, I suppose?
 Letters to the Editor
Up to a point, everyone agrees with what problems. Popular as ever amongst architects, Gilles
architecture is. We agree that there needs to be a Deleuze defines thought altogether as a result of an
SOME OF MY PROBLEMS school and a department to teach it, for example.
The issues that really bother us and spark debate
encounter with a problem. All creative processes
arise from problems, but while for example
Words Tuomas Peippo happen inside and after the school, for those ‘in the engineers’ work consists of inventing solutions,
know’. architects primarily invent novel problems. Great
inventions in architecture happen as a result of a
In the previous issue of Bnieuws Sam Eadington wrote on the tendency of "We enter this field of knowledge by way of a unique reimagined problem that opens up paths to new
architects to describe their work with clichés such as problem solving. Taking the experience that consists, quite simply, in being solutions. This is also why students with the same
self-description from the website of an anonymous Berlin office as an example, psychoanalysed. After that, you can talk. Being able brief design different things; the brief is always so
the author makes it clear how insubstantial these kind of statements usually are. to talk does not mean that you do talk. You could. vague that it needs to be specified and reinvented to
Even successful offices feel the need to publish such blabber, the author argues, You could if you wanted to, and you would want to if arrive at a product at all. The final design, or
because most architects don’t really know what ’they stand for’, or what value they you were talking to people like us, people who are in solution, is only ever as interesting as the problem it
bring. Insecure architects then have to resort to pseudo-philosophy to convince the know, but what’s the point? And so we remain describes, and ideally serves to further specify it.
their clients and audiences of their importance. silent with those who do know and with those who
don’t know, because those who don’t know can’t In this light the original snippet seems quite
know."1 inoffensive. Perhaps the architects believe in it
Although not explicitly saying it, the author seems The psychoanalyst and philosopher Jacques Lacan themselves, perhaps they don’t. As long as they
most frustrated by architects engaging with once admitted to an audience of laypeople that he When talking to people outside the profession, we produce interesting work it doesn’t really matter, in
philosophy not genuinely, but as a means to justify has very little idea what psychoanalysis is and how it only offer an easy way in. We say things they already my opinion. As the author notes, architecture is not
their value and necessity to clients and general works. What’s more, anyone who claims to know is recognise. Like psychoanalysis did at the time of philosophy, so maybe writing about architecture
20 public. a phoney. Psychoanalysts, he jokes, as a group have Lacan’s lecture, architecture enjoys a strange should be left to architectural philosophers. Deleuze 21
taken up the habit of implying that they do know, prestige that is unusual in an age of scientific too wrote about art as a philosopher, not as an artist
While I share the author’s sentiment about the without actually saying anything significant. As a demands and belittling of anything artsy. writing philosophy. On the other hand I’m sure most
original blurb, it’s important to note that these texts result everyone thinks they know what remarkable architects are capable of putting their
are written for clients and people outside the field in psychoanalysis is, except for psychoanalysts Undergoing psychoanalysis and architecture school achievements into words. Only it is usually done for
general, not us. In other words, it’s sales patter. For themselves. It is tempting to see architecture as a can be hardly compared of course, except for the others in the know. And of course we should avoid
it to be so easily exposed as such only makes it similar profession. Like an analyst, the function of amount of money and time they take to complete. spreading meaningless sales patter, and expose it
poorly crafted piece. Most of the mission statements an architect is not self-evident and there is no But the effects of sales patter, or boniment as Lacan where we can. However the alternative way to talk
of commercial practices barely have enough content self-explanatory reason for their status or place in calls it, is the same. We begin architecture school about architecture in public is not to put out even
to be even argued against. In this sense I think it’s the world. It is perpetually reinforced and invented thinking that we know what we’re getting into. Only denser patter, but to admit that as operators we have
actually commendable of this particular office to by architects themselves, and people who have we become ’in the know’ by practising doing things nothing to say when it comes to what is most
mention a specific philosopher such as Popper, something to gain from it. The reason architects feel in the way they are expected. Until the very end of essential in our operation. And that is what makes it
however terribly they abuse him. What’s revealing is a pressure to put out such jabber is not because they our education and beyond, we may hope to find interesting to pursue. To answer the titular question
not how banal the text is, but how easily the personally or as a profession don’t know what they some confidence as to what it is that we really do in of the original piece, it turns out my problem is the
audience it is meant for accepts it regardless, and stand for, but because there aren’t any satisfactory essence, but in the meanwhile there’s not much lack (of architecture).
why it takes another architect to point this out. answers. One can stand for the environment or for choice but to resort to a cliché of our choice to
Surely if this office is so clueless as to what it stands social justice or family values all they want, but this explain. Or even better, let others tell us what to tell
for, it should be obvious to their clients too? Rather doesn’t really explain what it is that we do. Just as them. Tuomas Peippo is a master student at architecture
than individual practices, it speaks of a general little what an engineer or an artist stand for say track at BK. If you wish, you can contact him through
condition of the profession and how architects talk about how engineering or art works. What makes Popper admittedly might have been an ill choice for his email: tipeippo@gmail.com
about their work to people outside their field. architects suspect, is that they might believe an architectural manifesto, but it is not difficult to
otherwise. defend a view of architecture as dealing with

1 Lacan, J. (Ed). (2008). My Teaching. London: Verso, p.9

 Inspire/Obsess
In Denmark we are not getting enough accounts, we miss Bjarke's name. That is our greatest
challenge. The people think they are getting Bjarke, but you are not in Scandinavia. You don't
travel much and you don't meet a lot of clients.
BJARKE INGELS PORTRAYED
Words Aimee Baars Images BIG TIME

BIG TIME is a documentary in which young Danish 'starchitect' Bjarke Ingels

is followed around on his trips around the world from 2013 until 2016: we as
viewers are confronted with the priviliges as well as the negative side-effects of
architectural stardom.

The silver looks grey, there is nothing metal about it. If I saw someone who had done this, I would
hate them. That is not what I wanted to build at all. It looks like a dead, grey, horrible building. The sensation surrounding the persona of Bjarke
Ingels is an intriguing phenomenon to behold. The
first shots immediately set the tone. Ingels is
backstage at an American TV show as the make-up
artist gushes over him: "I change your face a little
and you change the face of New York." After that we
see him in his office drawing up his dreams on a
large piece of paper. He explains his passion: "There
22 01 is nothing more amazing than building buildings,
that you try to imagine what kind of city or world it
is you want to live in, and then you build it brick by
There is a strong weight on my shoulders. It is difficult to make sure everything goes well without me brick. Just because you did it, that now becomes how
being there. the world is". In these few seconds the stereotypical
image of the architect is confirmed; a solitary figure,
in a white office sketching schemes composed of
geometrical shapes, idealising the world we are
supposed to live in, as if the world is shapeable and
engineerable [maakbaar] by architects alone. In
many shots he is depicted as an 'einzelganger',
surrounded by people, yet alone and absent,
seemingly caught up in his own mind. It makes me
documentary, when tension slowly builds up. In the
final minutes Bjarke is appointed one of the 100
most influential people in the world. Rem Koolhaas
applauds Ingels with the following words: "Bjarke is
the first major architect who disconnected the
profession completely from angst". Simultaneously,
and quite crudely, angst has by then caught up with
Ingels on a personal level. As he reaches the age of
40, he starts fearing his own personal health and 23
dreams. But all ends well: the curtain closes with a
close-up shot of him smiling lovingly, tooth-achingly
sweet at his new girlfriend in the back of a New York
cab, while she is tying his bow: a cringy yet real shot,
since this is the happiest he has looked throughout
the entire 52 minutes. He is just a human being after
all.
If you would like to watch the documentary yourself,
you can do it online for free at via Avrotros Gemist:
Close Up.

When it comes to things I achieved as an architect, I think I am doing well. But I had expected to wonder how you can keep your life simple, stay
have a family and kids at my 40th. I though about that when I was 15 or 20. So it is weird not to humble, in his context of living. Can someone like
have a love life at this age, it is frustrating. Ingels still consider himself just one of the 7 billion
people on this planet when people consistently treat
him as superior and all-knowing? You can sense the
tension and awe among crowds when he enters a
room, either feeding his ego or making him
uncomfortable - it is hard to tell. Perhaps the image
gradually becomes an inherent part of oneself. We
get more insights towards the end of the

And as a result you can image the skyline of Manhattan suddenly is going to get this striking new
silhouet unlike anyhting Manhattan has ever seen. Eventually it becomes this beacon on the
waterfront of Hudson river.
 Explore

INTROSPECTION
Words CK

In 1954, Graham Sutherland, a renowned English artist, was commissioned to

paint a full-length portrait of Winston Churchill - a work meant to be presented to
the Prime Minister as his 80th birthday gift. Churchill had probably been highly
anticipatory of it, given that it was in conjunction with such a grand affair.
No doubt he had expectations that it would portray him as he saw himself - a
heroic, valiant man in line with the legacy he had left; he had wanted to be
painted in his robes as a Knight of the Garter. Instead, the commission had
specified that he should be dressed according to the typical parliamentary dress
code.

At the Westminster’s Day of Majesty, attended by a
large audience made up of well-known and respected
crowd, the portrait was finally revealed. As the
curtains were drawn, an aged, tired subject slumped
wearily in his arm chair. His arms gripping the
armrest, as if strengthless to support himself. His
clothes crumpled, almost fading into the dreary
brown background, as a heavy countenance hung on
his face. Far from the image of the “heroic, warrior
statesman” that Churchill had in mind, Sutherland
had painted an image of Churchill as he saw his
subject - worn out, the weight of his life lived evident
in his demeanour.
It was no surprise that the painting was ordered to
be destroyed some months after his birthday
celebration. In the multiple sittings Churchill had
with Sutherland, he was never given any previews of
the workings nor markings done by the artist so he
could not possibly have given input or prepared
himself for this. Only 10 days before the grand reveal
did Churchill have a glimpse of the painting in the
form of a photograph brought back by his wife,
whereby he later described it as one that made him
“look like a down-and-out drunk”. Whilst there are
many speculations on whom the decision fell on to
destroy the commissioned artwork, there was no
doubt that Churchill saw an image of himself that he
could not live with. His condescending comment of
the work being a “remarkable example of modern
art”, uncovers his conceited self expectations.
Churchill’s portrait is just one of the plethora of 25
examples of the disparity between how we see
ourselves, how we want to appear to be, and how
others actually see us. At the age of 80, Churchill
was largely immobil and frail in health. Having been
worn out by the immense pressure of his political
life, the painting by Sutherland was likely an
accurate portrayal, though the integrity of this
outsider’s view and depiction went under
appreciated, to say the least. Possibly in the mind of
Churchill, the self portrait was meant to be an
extension to the things unseen, the symbolic
representation to his life and his achievements. It
was meant to capture not just any 80-year-old man,
but the Winston Churchill - the man who had
contributed significantly in the war and to the
country of Britain. It was supposed to portray him in
all his grandeur and glory associated with him, and
not the subject blatantly sitting in front of
Sutherland. Churchill wanted an interpretation;
Sutherland gave an illustration.

< Portrait of Winston Churchill, 1954, Graham Sutherland

 The Emperor, sardonically portrayed in the
children’s story “The Emperor’s New Clothes” was
ignorantly made made a fool of by a young boy,
simply because of his tainted view of how others
perceived him. Having bought the illusion that was
marketed to him, the protagonist revealed his
deepest insecurities and concerns and was played
into it. Mankind’s concern with how we are
portrayed reflects a deep-seated obsession with
ourselves. We burrow ourselves within layers of
impression-making, fine tuning (deception) to curate
a perfect image. In a time when technology and
media so rapidly conjures and propels this, we find
ourselves racing to keep up with it all. Who can say
how accurate that image is? No one will know - not
even ourselves, the artist of the work. In a society
where “authenticity”, “genuineness” have positive
connotations, and we celebrate “being true to
yourself”, the way we instead endeavour to paint a
picture of ourselves seem to be quite the opposite.
26 Before we judge ourselves to be perfidious people, it
would perhaps do good to see that we need these
illusions to keeps us alive. What good would it do to
see something for what it truly is? We desire a hope
and comfort knowing that there is something more
wholesome than the imperfect. In the distant past,
the immediate response would be look to divinities
and religion to fill that gaping hole. It wasn’t until
the 18th century, that enlightened thinkers like
Jean-Jacques Rousseau started to consider looking at
the essence of an individual as a plausible mean to
finding purpose in life. The focus of our pursuit now
turns to ourselves. For some fortunate few, they may
“find themselves” and live with it. Yet, for most of
us, in all our soul-searching and philosophical
discussions, we drown further in the realisation that
we are incomplete, unsatisfactory, unwholesome.
“One studied and educated oneself under an
imperative to find the truth,
yet to live a happy life, which necessarily meant
a purposeful active life, one needs to be impelled by
illusion, not truth - or certainly
not ultimate, philosophical truths.”
- Giocano Leopardi
In an age of individualism, vanity could easily be
re-branded to encompass one’s character or style.
And social psychology reminds us that each of us
IMAGE
possess a desire to be loved and celebrated for our
uniqueness. If not for our outwardly appearances,
then our intelligence, our humour, our skills. And
the illusions that we build and believe in keeps us
afloat amidst the realisations of our shortcomings
KEES
(though comparing to what?). Sutherland’s tearing
down of the impression Churchill so believed in
showed a glimpse of the reality of who he was, yet
Churchill refused to see it for it revealed the
weaknesses and cracks. In the same way, it is easier
for us to think of ourselves as kind, smart, beautiful,
and to ignore or mask the cracks. I am afraid that
dwelling in the truths of who we are would likely
lead to our downfall.
So say what we may about pursuing authenticity and
truths, or the criticisms of vanity; what we really
need is the picture we shall paint for ourselves.
FREAKING OUT
Image Kees Fritschy
You can find Kees Fritschy on Instagram @kfritschy
 Explore

HOUSE OF MACHINES - AI IN DESIGN

Words Nathan Kramer

Recent developments in artificial intelligence have posed a challenge to the world

of architecture and design. Contrary to previous computer methods, which could
only have a deductible output based on a formal input, artificial intelligence
replicates the creative process. This has posed a threat to architects: what role will
AI have for the architectural profession? It is necessary to find the right approach
to handle AI for architects, urban planners and landscape architects, as the
development of techniques for architectural, urban and landscape analysis have
been rapidly developing, with a possible future out-performance of architects by
these techniques.

Artificial Intelligence generator. To use the dome example: say, a baroque

Say a system is desired that creates images of domes.
It does not know what a dome is, so a discriminator
is set up which tries to determine if the picture given
to it is a dome or not using a value from 0 to 1, with
0 meaning: ‘This is not a dome’ and 1 meaning:
‘This is definitely a dome’. To do this properly, a
large dataset containing images of domes is used,
labelled with their according values. To create
images, a generator is set up, which generates an
image from a large number of parameters. The
created image is sent to the discriminator, which
renders the initial image of pure noise to be nothing
like a dome: the discriminator gives a 0 to the image,
with scores being assigned to the parameters of the
generator as well. So the generator adjusts its
parameters to create a more dome-like image,
repeating this process over and over, until the
parameters are tweaked just so that the
discriminator is convinced the generator produces
images of domes. This method is called a generative
adversarial network (GAN) and is one of the most
common methods for content generation using AI
today. A variation on the GAN-method is to use the
‘style’ of pre-existing images as an input for the
dome will be ‘played’ in a gothic style. The
discriminator will decipher the ‘gothicness’ of gothic
images provided and tweak the generated images of 29
baroque domes so that it looks both like a baroque
and a gothic dome.
Design Methodology
Design methodology is the study of the methods of
design, with an emphasis on architecture. The term
‘design methods’ is quite a broad term: it can
describe everything from the process of design in the
mind, to the ways of planning, doing business and
dealing with contractors. Every building or structure
has been built using one or more design methods.
Even animals maintain design methods: a birds nest
is built on the principle of gathering materials
nearby, continuously changing the design according
to the needs at the moment of construction.
Within the history of the design discipline, we can
speak of craftmanship. A person becomes a
craftsman not by reading up on how to become one,
but by trial and error, learning from previous work,
which itself has been the product of years, if not
centuries of trial and error. If one asks a craftsman

< St Peter's Basilica, Rome; Source: RomeWise

 how their craft was made, they most often cannot tell
you how they made their choices of design, other
than by instinct. The craftsmanship approach used
to be the most common way of designing in
architecture during the Classic up to the Gothic
period. During Gothic ages, most buildings were
built without a masterplan. The art of ad hoc stone
masonry, combined with the art of geometry
prevailed the design. And even though the
underlying ideology for Gothic building was fairly
well-documented, the evolution of the style has been
completely due to craftsmen, not published
literature.
Artificial intelligence and design methodology
While the development of ‘design methods’ appears
to occur independently from that of artificial
intelligence, there are essential similarities between
the two, which provide a deeper understanding to
the application of both fields in architecture. Notice
how the generative adversarial network system eerily
30 resembles the craftsmanship approach to design.
The trial and error phase is analogous to the
discriminator and the act of crafting without
knowing how the craft resembles the generator. A
large difference between the two subjects is the
matter of time: where the mastering of a craft takes
centuries, this network takes weeks to do a similar
job.
Critique of Artificial Intelligence in Architecture
Some say that artificial intelligence offers a
cornucopia of creativity, rendering architects
virtually useless, flooding civilization with endless
‘good’ architecture. However, this is far from reality.
AI systems, certainly at this point in time, come with
great limitations, not only in computing power, but
in general logic as well.
Suppose a fully functioning AI system is desired, that
produces CAD-drawings given a list of requirements.
How would this system work? First of all; using
natural language processing, the list of requirements
has to be deconstructed into bite-sized, AI-friendly
pieces to be interpreted properly.
Now that is known what to build, how should it be
built? Propose the system chooses a style at random,
ignoring context. It is assumed this style is a classic
style of architecture, constructed around the rules of
classicism. The system has analysed the distinct
placement of elements and their size, ornaments are
constructed using StyleGAN, mechanical stability of
the proposed structure can be easily calculated using
statics software, et cetera.
However, this is far from perfect: beginning with the
problem of language. While natural language input
processing by AI is improving over time, it remains a
weak link in the chain. Exact input being statements
as ‘the maximum load on this beam is 500 kN’ and
fuzzy input ‘make this room look nice’. The question
arises to what extent exact input in architecture
occurs. Whilst mechanical requirements are
generally clearly defined, statements that appear to
be exact, such as ‘the maximum surface area of this
room is 50m2’ are not always as exact as they seem
in architectural processes. The deviation of these
semi-exact statements and their consequences of
error differ from client to client. And even more so
in architecture than in art: not only does every
culture have their own interpretation of art,
combined with the different ways of building and
demands, there cannot be a consensus of universally
good architecture.
The meaning of architecture in relation to artificial
intelligence
This raises the question: Is it possible to add this
meaning to a system? Meaning can be highly
interpretative, however, discrete meaning exists in
architecture, for example: using chemical analysis, it
is highly certain that the dome of St. Peter’s Basilica
is made of concrete. So while an AI system might
accurately know that Michelangelo painted the dome
of St. Peter’s Basilica using its knowledge of all
domes, for it to know that the sixteen figures functional building design at this point in time.
represent the sixteen first popes, a whole other Because of the difficulties in the notion of meaning
system is needed. For an AI to understand the dome and quality of architecture, one can doubt the
at the level of an expert, an incredible amount of feasibility of an AI-architect becoming a reality in the
useful data would be required. near future.
And what about the generation of such a dome?
Using the GAN method, an image that appears to be Nathan Kramer is a second year bachelor Bouwkunde
such a dome at first glance is generated. The details student. He wrote this piece originally for the course
of the dome are generated based on existing images, Academische Vaardigheden 1 and edited it for
merging the existing details to a smudge without publication in Bnieuws.
meaning. For the system to add meaning, it needs to
know the context which is wanted from the user. In case of any questions you can contact Nathan via
his email address: M.I.N.Kramer@student.tudelft.nl
Is the process of designing a process that can be
reduced to a logical system, or is it truly a black
box? The two groups in this debate are that of the
designer-scientists and that of the designer-artists.
According to the argument of the designer-scientist,
there exists a discrete, logically deductible system
that can produce an architectural design from a list
of requirements, with every step of the way being
entirely understandable in its behaviour. The
designer-artist adheres to the theory of the black
box. According to this argument, while some steps
of the design process can be clearly defined,
creativity and design at their cores consist of
expressions of the philosophical concept of the
sublime: an indescribable sense of quality.
While artificial intelligence could within its logic
easily adhere to the designer-scientist (despite relying
heavily on the black-box theorem), for it to
accurately replicate the sublime, these indescribable
experiences need to be described first, which is
fundamentally impossible. Of course, there remains
the possibility that the sublime consists of made-up
constructs, envisioned by a mystique surrounding
the - to a designer-scientist potentially describable
- quality of the object.
To conclude, artificial intelligence has potential in
the analysis of architecture and to serve as a source
of inspiration. But is far too limited to create a
 Explore

FLYING AND FALLING

Words & Image Nicole van Roij

During our education, we sometimes feel like flying and sometimes like falling.
In my studies I have experienced that being somewhere safe on the ground, in
between flying and falling, is rarely a good feeling. If you are safe on the ground
you cannot fall, but also certainly not fly. Perhaps we should hover above the
ground, with our feet almost touching it.

However, when things suddenly move forward our vanity might increase. We become
more and more confident when the stars come closer again. Therefore, the temptations
to reach them increase. Instead of being in a maze of different directions the solution is
right in front of us. The myth of Icarus and Daedalus warns us that being overconfident
might lead to blindness of failure. Ignoring the warnings of his father, the architect and
sculptor Daedalus, Icarus continues to fly higher and higher until the heat of the sun
dissolves the wax that keeps his wings together. The boy falls into the sea. Icarus’ lifeless
body is recognized by Hercules, who delivers it to Daedalus. In Daedalus' warning to 33
Icarus he pointed out that he should avoid extremes:

"[...] Take care to fly halfway between the sun and the sea. If you fly too high, the sun’s
heat will melt the wax that binds your wings. If you fly too low, the sea’s mist will dampen
the feathers that give you lift. Instead, aim for the middle course and
avoid extremes [..]"
- adapted from 'Metamorphoses' by Ovid

The middle course, a balanced life, might come with age. As we age through the
labyrinth of architecture, we get more familiar with our own fears and greed. Therefore,
we might know better how to direct ourselves. We might become more careful or even
sabotage our own mind with certain beliefs of greatness.

During practice, architects, landscape architects and urban designers experience the
balance between flying and falling through designing. In their first year, bachelor
students might have already experienced these emotions through drawing the corridors
of BK. They might seem easy to draw at first sight, but only by actually drawing it, we
discover that the path to success is not so obvious. It teaches us, like David Hockney
once said, that drawing a line takes time and that a line has time in it. Thus, it might not
matter whether we feel like flying, falling or staying balanced on the ground, as long as
we take the time to learn from it.
 Poem
DE ROTTERDAM
Words Aimee Baars
34
in rotterdam
is niets vanzelfsprekend
wetten doorbroken
het zuidelijk landshoofd
van zijn zwaartekracht beroofd
zweven doet ze
het gezicht aan de Maas
opgelicht
met renders als geld
onze reposts geteld
rotterdam verheven tot merk
^ Images taken from Instagram accounts (from top left to bottom right): @roijaards, @gestaltes, @rijkv_fotografie,
@emmadevisser, @anoukvandesande, @silviabelabalu, @ste_busetto, @patrickberning
BECOME A PEN PAL!
We are always searching for new voices to
join and contribute to Bnieuws. Whether
your talents are in writing, drawing,
photography, graphic design, or you’re filled
with a range of skills, we would love to hear
from you if you have any ideas for the
faculty periodical. If you would like to be on
our contributors list, simply send an email
with your ideas to
bnieuws-BK@tudelft.nl
NEXT ISSUE: 03 DIALOGUE
A mediator, a script, a play, a sharded
meaning, a dualism, an unravelling of
thoughts, a flow of meanings or a small talk
at the breakfast table.
It can take place between two friends, a
group of strangers, a concept and a detail,
an idea and a material, a student and a
teacher, a student and a student, two
monkeys or multiple monkeys.
Consciously and unconsciously,
DIALOGUE is part of day-to-day life.
Bnieuws 53/03 due November 2019.
 Bnieuws

INDEPENDENT PERIODICAL OF THE FACULTY OF ARCHITECTURE AND THE BUILT ENVIRONMENT TU DELFT

VOLUME 53 ISSUE 02