The planning documentation for this ninth issue of DASH contains ten exhibition projects that give an overview of the different approaches to, and motivations behind, housing exhibitions during the past 100 years. All of the documented examples featured homes exhibited on a 1:1 scale. With the exception of the exhibition ‘Die Wohnung unserer Zeit’, which […]
Author Archive for: Frederique
About Frederique van Andel
Frederique van Andel (b. 1971) studied urban planning and architecture at Delft University of Technology and has worked for Mecanoo architecten and DP6 architectuurstudio in Delft. In 1999, she lived in Barcelona, where she worked for architect Toni Gironés Saderra. She is an editor of DASH, and since 2006 has been associated as a researcher with the Department of Architecture and Dwelling. In 2010, she published the Zakboek parkeren voor de woonomgeving (The Pocket-book of Parking in Residential Areas).
Entries by Frederique van Andel
In 1899, Ernst Ludwig von Hessen, the Grand Duke of Hesse-Darmstadt and the grandson of Queen Victoria, founded the Darmstädter Künstlerkolonie (Darmstadt Artists’ Colony). In the previous year, the Darmstadt art publisher Alexander Koch had made it clear in a treatise to the Grand Duke that the intertwining of art and craft was of great […]
The Wiener Werkbundsiedlung was created as the last in a group of example neighbourhoods that were built in Central Europe between 1927 and 1932 as part of a series of architecture exhibitions. They were an initiative of the various Werkbund organizations in Europe, and were intended as showcases for the ideas of modern architecture, and […]
In 1937, a major exhibition was organized in Düsseldorf, at the site where the Nordpark is currently located. The event took place four years after the National Socialists had seized power in Germany, and coincided with the World’s Fair (Exposition Universelle) in Paris. The initiator of the exhibition was the Deutsche Werkbund (the German Association […]
The creation of this international showcase of ‘domestic culture’ dates back to 1960, when the Bouwfonds Nederlandse Gemeenten (a former semi-public company that focused on homes and mortgages) put up a piece of land for sale in the Dutch village of Doorwerth, earmarked to be used for ‘normal development’. But the Bouwfonds’s director at the […]
In early 2012, two buildings that at first sight look like individual houses were realized on Elandsstraat in Amster-dam. Behind the façades, there is a collective project in which six families combined forces to realize their individual housing requirements. One of the initiators is Bastiaan Jongerius. Together with neighbours from a previous collective project (a […]
DASH goes in search of the ideal eco house: from solar houses to Superuse, from Cradle-to-Cradle to support-infill systems and precise prefab-technology. This issue of DASH examines the history and the future of the sustainable home. This includes attention to families of typologies (passive solar energy, semi-climate and ventilation) and material-use concepts. Essays by Daniel A. Barber, Machiel van Dorst, Jacques Vink, and Piet Vollaard provide not only a critical analysis of the current state of affairs, but also an inspirational exploration of possibilities for the future. Drop City pioneer Steve Baer looks back on the construction of his Zome House and Jean-Philippe Vassal talks about his vision on architecture and sustainability. With extensive documentation of trendsetting homes by such architects as Frank Lloyd Wright, Ralph Erskine, Frei Otto, Lacaton & Vassal, Carlos Weeber, DAAD Architecten and 2012Architecten.
The plan documentation for the seventh issue of DASH presents a series of exemplary ecological houses. The majority of them are detached or situated in rural areas or suburbs; two are townhouses, one of which is even an example of stacked individual dwellings. Together they demonstrate how architectural design can contribute to solving the problem […]
In 1966, after having taken various courses at UCLA in California and Amherst College in Massachusetts, doing a few years of service at an American army base in Germany and studying for several years at the ETH in Zurich, Steve Baer returned to the USA. He was fascinated by polyhedral forms, with which he had […]
Located in Wermatswil near Zurich is a round Solarhaus, the residence of architect Otto Kolb (1921-1996). This home, the last project he realized, reflects his radical ideas about housing and living in absolute harmony with nature. In a manuscript Kolb wrote about the house, he quotes the psychoanalyst Carl Jung: ‘The house of man should […]
When 2012Architecten received the commission to design a villa in the Roombeek district in Enschede in 2005, the firm had for years already been designing and realizing smaller projects in which they applied reused materials. The architects conceived the term ‘superuse’ for this system of reuse and published a book on the subject in 2007. […]
What are the reasons for architects in different times, regions and circumstances harking back to images, forms or construction methods from the past? And what means do architects employ in order to achieve the intended effect? These are the pivotal questions in this sixth issue of DASH. Reverting to the architectural past is hardly a new phenomenon. Old forms have served as inspiration at many junctures in the history of architecture: as a protest against dominant views, as a means to bring about renewal or purely because of nostalgia for times past. Rarely has this reversion remained undisputed. In particular, attempts to bring back old forms in modern-day materials have often roused the derision of the profession, whether these involved the early nineteenth-century Gothic Revival, or the work of the twentieth-century Delft School or ‘new traditionalism’.
In the opening article Dick van Gameren traces the parallels between several historical approaches from the previous century, which are also explored in the project documentation. This is followed by a number of essays that take a closer look at various periods from that architectural past. Wolfgang Voigt, for example, describes the work of the ‘traditional modernist’ Paul Schmitthenner in pre-WWII Germany, while Cor Wagenaar argues that both the traditionalists of the Delft School and the early modernists saw themselves as an inevitable product of history. In a comparative study of Italian Neo-Realism and the working methods of Alvaro Siza, Nelson Mota examines the relevance of critical re(gion)alism in this era. An interview with two generations of Bedaux architects and a critical analysis by Dirk Baalman of the nineteenthcentury concept of ‘character’ in architecture mark the transition to the plan documentation, featuring work by
architects as Baillie Scott, Schmitthenner, Ridolfi, Spoerry, Mecanoo, Krier, Bedaux De Brouwer and West8/AWG.