Graduation Week 2025: About Time

Ties Booisma

Romy Esmée

van den Berg

Helena Fernandes

De Raeymaeker

Menno van der Heijden

Minjeong Kim (MJ)

Stefanie Krietemeijer

Evie Lentjes

Marie-Stella Livrieri

Iris de Mooij

Max Sterckel

Heather Stimpson

Josje Staal

Robbertjan van Veen

David Vaca Cartagena

Ibrahim Ahmed

Phuong Dao

Azat Dzhunushev

Robin Frings

Britt Gijzen

Mads Leuverink

Timothée Pignoux

Tara Tayyebi Fard

Merve Yildiz

Iris Zoon

Daniel Ankoné

Lindy Beuk

Tim Gämperle

Daria Agronovskaya

Ayla Azizova

Rytis Budavičius

Luís Garcia

Frederieke Hakman

Emmy Jansen

Madelon Jansen

Bart Jonkers

Eva Kirschbaum

Sung-Ching Lo

Mick Madder

Yara Mahmoudyar

Mustafa Nicanci

Giel Wieggers

Lujia Zhu

AmsterdAm AcAdemy of Architecture ABOUT TIME 2025 GRADUATION PROJECTS

Reinier A. Gramsma

Laura Kragten

Tessa Laarman

Hannah Liem

Robert-Jan van der Linden

Laurens Maertens

Laura Nijmeijer

Maye Pruijn

Fabia Sainz Fernandez

Susanne Vruwink

Boris von der Mohlen

Jeroa Amanupunnjo

GRADUATION

20242025 PROJECTS

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yaR a maHmoudyaR mus TaFa nicanci giel WieggeRs l ujia zHu

aBouT Time

As we gather to celebrate the work of 56 talented designers, we take a moment in this autumn week to pause, and allow graduates to harvest the fruit of their labour. It is a moment of culmination, reflection and a new chapter. About Time is a collective invitation to explore the theme of time in all its facets, peel back its layers, feel its weight and urgency, rewind its course and revisit its familiar timelines. By reading these projects through the lens of time, the intricacies of a place are carefully brought forth and the relationship between space and time becomes evident.

In an era where our attention has become the most precious currency, we choose to spend it thoughtfully here – nurturing reflection and meaningful discussion. Rather than rushing through displays, we invite you into a week-long program that unfolds slowly, with the attention these works deserve. Unprecedented in Academy history, we welcome 56 new graduates, an impressive number of new designers which reflects the current global events. Over the past century, we have come to observe a familiar pattern in the yearly population of graduates – an organic synchronicity with major political events of the time, such as wars, social uprisings or, more recently, global epidemics. This boom in graduates reflects a new generation that is eager to make waves and bring a fresh perspective to the design scene.

This year’s graduation week also offers a new curation structure: last year’s curator Justyna Chmielewska meets new curator Anna Torres, building upon existing knowledge from the previous year and combining it with a fresh perspective and new ideas. Ultimately, these ways of exchanging knowledge are crucial in keeping the design discipline relevant to its time, and are at the very core of the Academy’s modus operandi – a constant open dialogue between diverse generations and the respective challenges they face.

The graduating projects of 2025 unfold across diverse timelines: from personal memory to speculative futures, from cyclical natures to spatial and societal heritage. They showcase strong, engaged and often hopeful stories for the future, building upon the existing structures of the past and powered by an urgency to act. Their work asks: How do we move forward? How do we learn from the past and what futures might grow out of these explorations?

This new generation of designers crafts their own diverse approaches to time: by reframing time, looking critically at memories of the past and anchoring themselves in the present, they often position time as a precious resource – there is no time to waste, and we need to act now! All 56 of this year’s graduation works touch upon four main approaches to time, sometimes clearly aligning with one of these approaches, and other times gravitating towards a place in-between the themes. Nonetheless, these works have been categorized into the four following themes:

Era of Urgency

Memories of a Place

Cyclical Times

Rewriting Timelines

We invite you to discover this graduation show at your own pace. Write your own story as you move through the spaces, rediscover familiar places in a new light by slowing down, speeding up, standing still and going back. Follow the script, or rewrite a new one entirely. Let the works of this year’s graduates speak to you through many timelines – from yesterday to tomorrow – and back again.

The curators, Anna Torres

Justyna Chmielewska

This section of graduation projects directly addresses the urgent and complex struggles of our time – from climate adaptation and community uprooting to political unrest, education, bodily independence, access to housing and human displacement.

These projects do not shy away from the difficult questions; How to respond sustainably to the human demands of a new era? What established structures need to be urgently rethought through direct design action?

To answer them, graduates have explored sensitive spatial research methods, and people-based approaches. Here, the notion of vertical time comes to light – a deep dive into a specific subject, a fascination explored and claimed, a strong rooting in the ‘now’.

At times, the graduates hold emotional connection and a personal relationship to the topics they explore. They investigate an array of positions beyond the traditional definition of a designer – from spatial activists to storytellers, translators, community builders, advocates and beyond. With care, wit and a healthy dose of boldness, they strive for innovative approaches to spatial justice. As a result, their solutions highlight urgency as a catalyst for imagining new ways of living together, and inspire to act on a larger scale.

thE connEction to a gEnErous city

Asylum applicants must have the opportunity to be full participants in society. Facilitating the right accommodation plays an essential role in this.

The discourse in the Netherlands regarding asylum applicants tends to focus on the problems and negative aspects. However, there are great opportunities for the knowledge and qualities of newcomers to flourish. Currently, there is no vision for the accommodation of newcomers. In addition, many problems arise during the asylum procedure due to the way in which accommodation is provided. With my project, het Statushuis, I offer an alternative for accommodating newcomers in society. The challenge: How can an asylum centre contribute to the possibility of integrating into society, improving the well-being of the inhabitants and be an answer to the logistic challenges?

Through embedded research, I was able to properly relate to this assignment and the target group. Conducting interviews and workshops with employees and residents of an asylum centre provided direction for defining the design brief.

Besides that, I volunteered at the MS Galaxy (asylum centre) for 3 months and was able to experience up close who lives there, how people live, what the needs are and what motivates them. With my project, het Statushuis, I offer a utopian alternative for today. Statushuis is a network of proportional accommodations, visible in the city, that besides accommodating newcomers, is a place for interaction between the residents and the environment. Connecting, both socially and physically, creates collectivity and shapes identity.

Het Statushuis is a liveable accommodation that responds to fluctuating asylum requests through a modular system. The corner cast, the connecting vertex, symbolises the essence of the plan. The collective characteristics expressed at both the urban level and in the smallest detail of the plan. The corner cast is reflected in various elements of the building, creating the possibility for the building to breathe and change.

Booisma

about

thE stigMa of social housing

Goed wonen moet je verdienen (Good housing must be earned) is about the stigma of social housing within our Dutch housing system. I grew up in social housing myself and have lived in this house almost my entire life. I was never aware of the stigma attached to social housing. That changed when I started working in the field of urban planning . To my surprise (read: shock), I was confronted with prejudices and negative associations regarding social housing and its occupants. This is where my fascination for this subject started.

When I started this ‘project’, my focus was on ‘why is social housing so clearly recognisable ?’, which is mainly an aesthetic issue. I soon realised that this was not the essence of my story. That essence is more deeply rooted, it goes back to the origin of social housing and to what social housing has now become. The stigma goes much further than outward appearance; it is about people, values and about the spatial inequality within our housing system. It is not merely an architectural task; it starts with urban planning !  I have examined the history and policy of Dutch social housing, which has a clear link with politics. Stigma from society and demographic changes also play a role. I then mirrored my findings with the well-known housing system of Vienna, with the aim that another housing system is, in fact, possible!  After all, everyone deserves good housing – healthy, affordable, qualitative and free of stigma - regardless of background or financial status.

The title of this graduation project is intended to encourage an opposing view and start a discussion. I solemnly hope that anyone who reads ‘housing must be earned’ will immediately think to themselves ‘what nonsense (everyone deserves good housing)!’

Martin Aarts (mentor)

Pepijn Bakker

Sander van der Ham

Additional members for the exam

Riette Bosch

Sebastiaan van Berkel

Romy esmée BeRg

GOED WONEN MOET JE VERDIENEN

camBamBa

Welcome to Angola. During my first visit to the capital, I was amazed by the liveliness of the public space. City life here is fascinating and very dynamic. Streets and squares in Luanda are so busy and intensively used that the road and the sidewalk become one large, shared space where people meet, children play, products are bought and sold, etc. In Luanda, public space is created organically rather than through formal planning. Especially zungueiras and children bring life, colour and shape to these places. That is why this project focuses on them and their most common living environment: the musseque. The landscape of the musseque and therefore also the interactions and activities that take place there are the most vulnerable to the enormous consequences of our changing climate, namely flooding, water nuisance and heat stress. In Amsterdam, climate adaptation has become a core value for design and is already anchored in policymaking, but in Luanda the urban area is growing so fast that planners cannot keep up with climate adaptive interventions.

The resilience that we as landscape architects strive for in urban landscapes is still invisible in Angola and this graduation project seeks to change that.

Looking at the natural conditions of the landscape around the Cambamba river in the Cassequel district, I see the richness of Angolan nature as a key to solutions for flooding, water nuisance and heat stress in the public space. The river becomes a source of life and change in this neighbourhood.

The design builds on the existing qualities of the place and strengthens what is already there: a resilient community. Schools, informal markets, green-blue streets and meeting places support a community that is able to adapt. People live close together, seek shelter under trees or canopies, sell goods, take care of their families and maintain a rich network of daily interactions.

The river functions as a connector – the lifeline and driving force behind change in Luanda’s urban environment.

RaeymaekeR

de coöpeRaTieve sTad

The city is in constant motion, continually presenting us with new social and economic challenges. One of the most pressing issues today is the acute shortage of affordable housing, especially for single-person households. Too often, they earn too much for social housing, but not enough to buy a home. My graduation project De Coöperatieve Stad (The Cooperative City) explores how housing cooperatives can offer a powerful and lasting response.   Housing cooperatives are not just a practical solution, but a social alternative that raises a fundamental question: Who owns the city? Rather than being driven by market logic and individualism, cooperatives focus on collective ownership, democratic governance and affordable, future-proof forms of living. International examples, such as Zurich, demonstrate that co-living and co-building on a large scale is both possible and successful. Through long-term leaseholds, cost-based rent models and deep resident involvement, strong and resilient communities emerge. Shared ownership is the norm.  As the number of single-person households in the Netherlands reaches 3.2 million and continues to rise, there is a growing need to revise current housing policies. The existing housing stock no longer meets their needs, yet this group remains largely overlooked in spatial planning. Housing cooperatives have the potential to change that – not as a niche solution, but as a structural alternative.   In my project, the city of Breda serves as a model. With its ambitious urban expansion plans and a wide variety of development sites, it offers a unique testing ground for new forms of cooperative living. My design explores how a cooperative neighbourhood in Breda could function. This is a spatial and social intervention in the urban fabric.

This project is a plea for a city where shared ownership, public value and collective living play a central role. It is not a blueprint, but a proposition for a new development strategy. A city we create together.

Art ownership disputes are typically resolved through local and national judicial systems. Traditional courts often lack the specific expertise required for understanding the intricacies of the art world and arbitrariness of the art market, leading to misunderstandings or overlooked details in the resolution process. Furthermore, the limited jurisdictional scope of traditional courts poses challenges in effectively addressing cross-border disputes, which require a more flexible and globally accessible dispute resolution mechanism.   ICLA is an international organ for collaboration and arbitration on disputes of art ownership. It is a no man’s land, destined to protect the world’s heritage caught in a legal and diplomatic battle.  Once a claim is submitted, the art object in question is recalled to ICLA. The art object is conserved, screened, documented, restored and investigated by experts to collect data to serve the litigation process. Visitors are able to see the object on display, observe the legal proceedings and access evidentiary halls. Once the dispute is settled, the work of art will travel to its rightful owner(s).

ICLA is an expression of the Art World’s opposing natures: its polished, well-meaning public face and hidden economies that sustain it. The shadowy networks fuelled by opaque transactions, undisclosed sales and discreet exchanges of power supply the Art World’s flow of money and prestige. The road to ownership justice straddles both of these spheres. True reform relies on bridging this divide, holding institutions, nations and networks accountable by illuminating ways of displacement and exploitation that lead to loss of culture and avenues for redress.

This project is a reflection of my own discoveries and opinion about the Art World, and an emblem of what I believe is needed to reinforce effective and fair processes of cultural restitution worldwide.

B.i.e.B - Baas in eigen Buik

a cEntrE for rEsponsiblE rEproduction and knowlEdgE on thE topic

Unintended pregnancies have always existed. In the 1970s, women campaigned to remove abortion from the Dutch Penal Code. However, abortion remains listed there. Although it is now legal, it is still not treated as a regular medical procedure and is not covered by standard healthcare. Nowadays, abortion clinics in the Netherlands are located in existing buildings that were not specifically designed for this procedure. This means that every clinic has had to adapt to an existing space and location. A building for an intervention that evokes a wide range of emotions (loss, shame, relief) and opinions (for, against, murder, master of one’s own body). In my graduation project B.I.E.B - Baas In Eigen Buik (women’s right to choose), I investigate both the current functioning and design of abortion clinics and the emotional and spatial aspects of visiting such a clinic. It is time for a dedicated building, a specific typology and a specific place in the city.

I call my design ‘a centre for conscious and responsible reproduction’. An accessible and inviting place, located at a busy spot in Amsterdam, which is not intimidating to enter. The abortion clinic will be expanded with a programme focused on reproduction and sexuality, which will include prevention, sterilisation, knowledge sharing and education. There is a significant taboo surrounding abortion, and for many people, a visit to the clinic is often a one-off and discreet experience. Therefore, the boundary between open, public and private is very important at this new place. The flexible boundaries of my design allow the building to be approached and used in different ways, both by visitors and passers-by, as well as local residents. The use of ‘wall peels’ creates corridors, squares, courtyards, pavilions and green spaces; places that feel dynamic, sheltered and intimate. The walls are positioned in such a way that you gradually move from a busy, public environment to a quiet, private space. The design functions not only as a clinic, but also as a retreat; a place of rest on Amsterdam’s busy traffic artery.

Hartemink

sTeFanie

Krietemeijer

THe sensiTive scHoolday

a lEarning JournEy

In the Netherlands, highly sensitive children often fall through the cracks in the education system, despite inclusive education. High sensitivity is not an illness but an inherent trait that is an integral part of who someone is. About 20% of children are highly sensitive and are often not well understood in primary and secondary school. This sometimes leads to them being wrongly placed at a lower educational level, referred to special education, or excluded from the system entirely. In short, the current education system falls short for these children.

As architects, we may not have control over the educational methods, but we do have influence over the physical space in which this education takes place. Instead of designing for the norm – the 80% of non-highly sensitive users – I have created a design specifically tailored to the needs of the 20% who are highly sensitive. This design allows highly sensitive students to reach their full potential and feel at home, without excluding non-sensitive students. It’s not about a specific form of education, but about creating a school environment that also provides a place for highly sensitive students to grow and feel comfortable alongside their non-sensitive peers. The project is based on four core elements that form the foundation for designing for high sensitivity: decentralisation, integration of indoor and outdoor spaces, shelter and choice. This comes together in an existing school building in Eindhoven, resulting in a design with clear architectural principles for a secondary school focused on highly sensitive students and teachers, while remaining accessible to everyone.

I invite you to explore what it’s like for a highly sensitive child to attend school and what is needed to truly make this ‘forgotten group’ feel at home in their school environment. I will show you how all of this comes together in my design, in the sensitive school day: an architectural journey of individual choice, connection with nature, shelter and decentralisation. Designed for highly sensitive children, supporting the well-being of everyone.

lenTjes

RegeneRaTing peRcepTions

thE lifE story of l’arlEquin

Regenerating perceptions is about looking at buildings in a different way and adopting a feminist approach to engage with space. It is about telling stories and building new ones. It is about the life story of l’Arlequin. Grenoble, 1970s – l’Arlequin is born. A new ideal building in a new attractive neighbourhood, new people moving in and new stories beginning. Fifty years later, how have those stories evolved? And what is coming next?

The project investigates how to undertake the building and to work with its community in order to heal the architecture, change the perceptions and make space for new stories. In a time where we consume architecture and tear it down when its value does not seem to be high enough anymore, regenerating perceptions proposes an approach of preservation and care. Through immersion in the building, engagement with the community, research and vision for the future of the area, regenerating perceptions became a project of surgical architecture. Surgical architecture refers to approaching a building like a living being that needs healing and care, and to provide a non-invasive treatment that aims to preserve the body and reinforce it, for healing now and a healthier future. The interventions are focused on the plinth, key element of the initial project and main artery of the building connecting its community and its environment. Two types of surgeries are performed – the stitches and the placement of stents –serving three goals: connecting, programming and inviting. The story is told in the form of a play, relating the story of l’Arlequin and my (re)discovery of it. When telling this story, I hope to take you along with me and encourage you to make your own, taking home with you what caught your eye, to regenerate the perception of l’Arlequin, in Grenoble and beyond.

livRieRi

samen Wonen, samen zoRgen

transforMing a 1980s nursing hoME into an inclusivE urban carE cEntrE for pEoplE with dEMEntia

“How would you like to grow old?”

‘Samen wonen, samen zorgen’ (Living together, caring together) demonstrates that quality care begins with the environment in which we live. People with dementia deserve more than a merely functional care facility – they deserve a home; one that enables them to remain themselves for as long as possible; a home that is connected to their surroundings, their memories and their loved ones throughout all stages of the disease. This project illustrates how architecture can contribute to a care environment that is high-quality, liberating and inclusive. The research explores how existing care facilities can be transformed into meaningful, future-proof living environments for people with dementia, right in the heart of the city. Using the typical 1980s nursing home ‘De Klinker’ in the Borgerbuurt neighbourhood of Amsterdam as a case study, the project investigates how architecture, care and social cohesion can come together in a contemporary care centre. In this renewed environment, freedom, a sense of ownership and sensory experience are central throughout the entire disease process.  The transformation of De Klinker demonstrates that demolition is not always necessary. By revaluing the existing structure, adapting it for new uses, increasing spatial density and optimising typologies, the building can be repurposed to address pressing social challenges, and build an inclusive and sustainable city. The new design creates spaces that encourage social interaction and informal oversight, enabling formal care to be supplemented by informal support from local residents. This relieves pressure on the care system and strengthens the local community.

Central to this approach are three key themes: encounter, orientation and wayfinding. These elements enhance the perception and legibility of space, allowing residents with dementia to maintain as much independence and quality of life as possible – even in the final stages of the disease. Samen wonen, samen zorgen has shown me – not only as a designer, but also as a person – how profound the impact of architecture can be on our well-being. With this project, I hope to contribute to a broader conversation about how we want to approach ageing – and, above all, how we want to care for one another.

05 Ground floor layout  06 Sensory landmarks: orientation through the tactility of materials 07 Living together, caring together. Programme for the new care centre; formal care supplemented by informal support  08 The inner world of the new care centre 09 A tour of the block: landmarks (reference points) of the new care centre in the neighbourhood

Experience and interaction in the courtyard

dEsigning a rEsidEntial and trEatMEnt EnvironMEnt for pEoplE with MultiplE sclErosis

My fascination with healthcare and the human body has always inspired me, also during my Architecture studies. Over time, I realised that architecture is more than just function and aesthetics – it can contribute to human well-being. This led to my focus on the living environment of people with multiple sclerosis (MS), a progressive disease that has a profound impact on daily life. Through conversations with patients, I discovered how often their needs are overlooked in spatial design. My ambition is to create a place that feels ‘tailor-made’ – geared towards their changing needs, both physical and mental.

The Vivifica project brings care, research and living together in one integrated location. In addition to a treatment and research centre, a residential environment is being designed for people in the final stages of MS. At the same time, I am investigating whether people with MS actually want to move or would prefer to remain in their familiar environments – an important ethical and spatial consideration. The design also focuses on the environment itself: careful integration into the landscape is essential. That is why the Twickel estate was chosen as the location. This historic area contains a rich variety of landscapes, from English gardens to swamps and moraines. The tranquil natural surroundings, combined with proximity to the urban environment, make it ideal for people with MS. Scientific research shows that a low-stimulus environment can reduce symptoms – and that is exactly what Twickel offers.

This creates a place where care, nature, architecture and history come together in balance – a design that is not only functional, but also meaningful and human-centred.

René Bouman (mentor)

Ed Bijman

Thomas Bögl

sTeRckel

01 Vivifica’s overall master plan, with the farmers’ estates connected to secondary infrastructure. This ensures that the practical care at the central main site is optimal.

02 The main site: a place where various disciplines converge in one building. The carefully-designed forms in the floor plan ensure connection, care and clarity.

03 The master plan has been elaborated into a physical model, in which the grey areas represent the intervention and the 3D-printed buildings are the new designs on the estate.

A view of a residential area where people with multiple sclerosis can live together in a peaceful, low-stimulus environment while still having a social support network surrounding them.

05 One of the ends of the main site, showing how the design works with the available space and height. This creates a lively indoor atmosphere.

06 Vivifica's plot plan, showing the different parts within the various farming estates.

07 Floor plan of a sheltered housing unit. The floor plan provides easy, accessible access from every angle. including wheelchair accessibility.

08 A facade detail of the main building, where the wooden laths provide exactly the right amount of space for the integrated window frames.

A map of a residential area showing the new intervention blending with the existing farms.

Children’s observations, experiences and exposures significantly shape their identities, aspirations and future opportunities. Socioeconomic background remains one of the strongest predictors of educational attainment, with children from disadvantaged communities consistently encountering structural barriers to higher education. These disparities arise not from a lack of ability, but from unequal access and opportunity.

The UK’s education system remains largely modelled on frameworks developed during the Industrial Revolution, designed to instil discipline, punctuality and standardisation. Despite extensive social, technological and economic change over the past century, its structures remain strikingly unchanged: classrooms led by a single teacher, rigid timetables, and curricula privileging measurable outcomes over exploratory and creative learning. However, the current context is no longer industrial, but defined by automation and artificial intelligence, where the nature of work and human contribution is being reconfigured as we know it.

Park Royal, London’s largest and most historic industrial zone, provides a pertinent case study of this transition. As automation and gentrification reshape industrial economies, the skills that remain distinctly human – creativity, empathy and critical thinking – are becoming central to future employability. Preparing children for this landscape requires cultivating these capacities to ensure they thrive alongside technological systems, rather than being displaced by them.

This project grounds its methodology through lived experience, site-based research, participatory engagement, and workshops with children and educators. It demonstrates how creativity can operate as a bridge between childhood and adulthood, past and future, community and opportunity, tradition and innovation. Embedding educational spaces within post-industrial contexts not only challenges spatial and socioeconomic barriers, but also generates local employment by collaborating with makers, artists and craftspeople. In doing so, it promotes sustainable practices, strengthens community identity, and repositions creativity as a critical tool for social and economic resilience.

Beyond sHelTeR

In 2022, I was deeply shocked by images of people forced to sleep on the streets of the reception centre in Ter Apel. I could not believe this was happening in the Netherlands. It made me realise that asylum seekers are too often sidelined, treated as temporary burdens rather than as future neighbours. This was the starting point for my graduation project: exploring how the power of design can contribute to a more humane and inclusive reception and demonstrate a new possible reality.

During my research, I volunteered at VluchtelingenWerk Nederland (the Dutch Council for Refugees), where I met many people who were stuck in the system. One of them was Andres – one of the most joyful and energetic people I know. However, beneath his enthusiasm lies sadness and exhaustion. Having just turned eighteen, he was relocated to a temporary shelter with 600 others, sharing a bedroom with four strangers, stripped of privacy, stability and prospects. Andres is not alone; thousands of people live under similar conditions, being moved from place to place and cut off from meaningful participation in society.

This experience shaped my design approach. I developed The Spectrum of Home: a framework based on universal human needs: foundation, purpose and connection. It demonstrates that good urbanism is not about designing for specific groups, but about creating spaces where everyone can live, grow and create a sense of belonging. The reception of asylum seekers should no longer be treated as a temporary inconvenience, but as a natural and integrated part of urban development.

The second part of my project focuses on emergency shelter. Crises will always occur, but our current response relies on costly and inhumane solutions, such as boats or sports halls. I propose a proactive alternative: parks and public spaces designed for daily use, but ready to provide temporary shelter when needed.

My project De Derde Kamer (The Ministry of Human Affairs ) arose from the observation that the government has become increasingly disconnected from its citizens. Scandals such as the toeslagenaffaire (Dutch childcare benefit scandal ) have painfully revealed that citizens feel unheard, unseen and unprotected. This project proposes to fundamentally reshape the democratic relationship between citizens and government – founded on trust.

That is why a proposal has been made to establish a permanent ‘Third Chamber ’: a structural citizens’ assembly that complements the existing parliamentary system. Citizens will be selected by sortition and deliberate on complex social issues. This will be done in a transparent, representative and phased manner, and the assembly’s recommendations will be incorporated into political decision-making

De Derde Kamer will be housed in a physical location at the heart of our democracy: the Gravenzaal of the Binnenhof – a place steeped in 800 years of history, but largely unused today. The architectural design cleverly reuses existing monumental spaces and adds a new layer: a transparent, inviting building where citizens, policymakers, experts and the media can meet.

The architectural intervention is carefully tailored to the context: historically rooted, yet innovative in its use of materials (such as CO₂-neutral bricks) and spatial organisation. The result is a public space that literally and figuratively offers room for democratic renewal.

De Derde Kamer will thus become a visible, tangible and living symbol of a government that listens, learns and opens itself up –right in the heart of The Hague.

Discipline Architecture

Graduation date

30 September 2024

Graduation committee

Floris Alkemade (mentor)

Rob Hootsmans

Wouter Kroeze

RoBBeRTjan

veen

Tierra de Tránsito (Transit Land) begins with a human encounter. While working in social services in Mexico, I had the opportunity to meet and listen to migrants, many of whom were teenagers, as they moved north across the country. Their stories revealed not only the dangers of the road, exhaustion, violence and exposure to the elements, but also the urgency of finding ways to make the journey more bearable. That experience became the foundation of this project: a question of how architecture can respond with resilience.

The project does not present fixed solutions, but a set of principles. These principles yield different outcomes depending on the place and circumstance. Through sketches and experiments, I developed a toolkit of interventions, portable shelters made from safety blankets and bamboo, cardboard resting modules beneath bridges, water catchers for dew and fog, and flexible structures that provide shade or transform into spaces for play. These are not final answers but gestures that demonstrate how design can open up possibilities.  Central to the work is an awareness of materials and site, utilising what is at hand, such as bamboo, cardboard and fabric, and rethinking what ‘home’ can mean in transit. Sometimes it is no more than a safe corner to rest, a blanket stretched into shade, or a structure that offers temporary relief.

The project culminates in the design of an app that compiles shelter locations and manuals for these tools. More importantly, it is conceived as an open platform, where migrants, designers and organisations can adapt, share and improve interventions. In this way, Tierra de Tránsito is not an ending, but a beginning – a basis for further development, rooted in the belief that even small architectural acts can convey dignity, protection and hope.

caRTagena david vaca

This category of the Graduation Week binds together a series of projects that hold history, memory and archaeology of the past at their core. Multi-generational stories, cultural legacies and intangible heritage are intimately entangled within Memories of a Place.

Often stemming from deeply personal histories and conflicted geographical identities, these projects tap into the emotional layers of space and their inevitable relationship to stratified time. Through deep, archeological research and analysis, these graduates lay out a base map that securely anchors their projects in their respective contexts. With a toolbox of sensitive materialities and passed-down crafting methods, these projects ground us in the felt characteristic of a place.

‭Extending beyond the simple exercise of ‘time-travelling’, the graduates of Memories of a Place‭illustrate with tact just how strongly the past should serve as a jumping point to collectively reimagine hopeful, healing scenarios or to bring back to life forgotten histories. By listening to the ruins of what once was and what remains, these proposals highlight the importance of carefully considering a place’s identity to reveal, reconcile and, ultimately, rebuild places and communities.

a TapesTRy oF Time

This project shares my personal journey with Alexandria. At the age of five, my family relocated from southern Egypt to Alexandria. Growing up, I developed a deep connection with the city, captivated by its architecture and the ever-present companionship of the sea.

I have always been fascinated by what makes Alexandria distinctive – what sets its people apart and gives the city its unique charm. During my studies in architecture, the events of the 2011 revolution in Alexandria became a turning point for me. It reshaped my understanding of the vital role public spaces play in the city – as places where people can gather, connect, and express what matters most. These spaces embody a community’s cultural identity and history.

Tapestry of Time is a dialogue between the city’s history and the political events that have shaped it over time. This dialogue reveals not only the stories of Alexandria’s people but also the evolution of the city itself through its public spaces.

Home, THe BiogRapHy

I have three dreams about a house. In the first dream, the house appears to me as a recollection of my childhood memories about the garden, the stairs, the bed, the study corner and my mother. These memories, although they dwell in the form of my actual house, are big, small, ambiguous and floating, just as cloudy as dreams are.

In the second dream, the house becomes more substantial. I started to see a house with columns, beams, walls and doors that I could live in. But the thing is: I don’t live here alone. The house invites people in different phases of life to come to dwell in it. Here, my house is my house, but also a universal concept of humankind’s home. In the last dream, the house comes closer, but only physically: I saw myself building and living in it. It becomes an experience in which the house, originating from dreams, penetrates reality. After waking up, do dreams make sense? What do I learn from the house? Do time and memories connect to the notion of home? I explore this through the project ‘Home, the biography of time’.

Beyond THe yuRT

knowlEdgE in Motion

This research explores the intersection of nomadic traditions and early childhood education through the development of Jailoo Preschool, a mobile learning environment designed for semi-nomadic children in Kyrgyzstan. By integrating education into the migratory patterns of these communities, the project ensures that children can continue their cultural way of life without compromising access to learning.

The design consists of three modular platforms, inspired by the Kyrgyz landscape – hills, rocks, and mountains – which reflect the nomadic environment. These platforms serve a dual purpose: when covered by yurts, they function as classrooms, and when disassembled, they transform into a dynamic playground. By blending the traditional craftsmanship of the yurt with digital fabrication techniques used in the newly designed platforms, the project balances cultural authenticity with modern efficiency. This fusion allows for scalable and adaptable construction, making the model applicable across all semi-nomadic communities in Kyrgyzstan. Beyond its architectural function, the project introduces an innovative approach to education – knowledge in motion, where learning is fluid, interactive and deeply connected to the environment. The design fosters both cognitive and motor skill development by integrating indoor and outdoor learning experiences. By reinterpreting the traditional yurt and cultural elements, the project preserves Kyrgyz heritage while addressing contemporary educational needs.

This research is grounded in case studies, interviews and personal observations, ensuring that the proposed solution is practical, responsive and culturally relevant. More than just a school, Jailoo Preschool serves as a prototype for mobile education, aiming to inspire similar initiatives in other nomadic communities and contribute to the global discourse on accessible education in remote regions around the world.

dzHunusHev

lies in Ruins!

connEcting thE industrial past with thE city’s futurE

The graduation project explores the potential to breathe new life into an industrial relic: Meelfabriek CO-OP (CO-OP Flour Mill) in Katendrecht, Rotterdam. Once a highly efficient grain-processing machine, the factory now stands as an odd presence amidst a residential neighbourhood in transition. The project poses the question of how such a site can not only be preserved but also transformed into a vibrant place with public significance.

The central ambition is to introduce a nightlife function into an area primarily focused on housing. By integrating the diverse music genres of Jazz, Hip Hop, and Hardcore into the design, a dynamic ‘MusicFACTORY’ emerges – stimulating culture and social interaction. At the same time, the project engages with broader urban developments, such as the shifting of Rotterdam’s city centre toward the southern bank of the river.

Through an iterative research process – including historical analysis, user research, and model studies at various scales and with different materials – the project investigates how the building’s raw industrial identity can be combined with the needs of its future users. The concept of spatial duality, in which the building’s rough exterior contrasts with hidden interior spaces, forms the core of the design approach.

The design not only focuses on the functionality of spaces but also on the unexpected ‘residual spaces’ that emerge through architectural interventions; positioned as zones for spontaneous encounters and experimentation, contributing to a flexible and layered use of the building. The historic core of the engine house – literally and symbolically the backbone of the flour mill – is the connecting element that supports the new dynamics both practically and symbolically.

The MusicFACTORY stands as a symbol of a new vision for adaptive reuse: not merely the adjustment of a building, but the creation of a destination that bridges past, present and future. This research shows how architecture can act as a catalyst for social and urban change, while honouring the unique qualities of the existing structure.

FRings

05 Concept creation: by cutting the concrete into sections, the internal structures of the instrument become visible.

06 Concept creation: the loose parts of the cut trumpet reveal air chambers and internal beauty

07 Concept creation: the cross-section of the trumpet reveals its inner world like a still life

08 Form study: four scenarios using clay models determine how spatial perception can be a leading factor in the design

09 Form study: how small is too small; a deeper look at the compact scenario

10 Form study: in this model, the new programme and the existing building merge together.

11 Form study: this model shows how the building works as an experience

12 The axonometric projection shows how the three music genres relate spatially within the factory.

13 The ground plan of this floor shows how routing, programme and experience interact.

14 The cross-section reveals the layers of the design and shows how the existing and the new interrelate.

aRTisT (Back) in Residence

Heritage contains a story that is continuously rewritten over time, reshaped by the people who engage with it and the context in which it exists. This layered complexity takes a tangible form in the canal house at Keizersgracht 374 in Amsterdam. Originally built as a private residence, the building has a construction history dating back to the 17th century. Over time, it has been repurposed for various artisanal and creative uses: a goldsmith’s workshop (1903–1926), several sewing and fur ateliers (1936–1965), and a painter’s studio (1970–2023). In 2016, the building was donated by its last owner, the artist Clemens Merkelbach van Enkhuizen, to Stadsherstel Amsterdam. Following his passing in 2023, the organisation aims to honour Clemens’s wish by continuing to use the house as a space for artistic and creative development. With this design project, I seek to give new shape to this ‘house for the arts’. In my vision, I approach heritage as a narrative composed of different chapters. This allows space for new layers of use to be added, without compromising the heritage values of the building. The house has undergone numerous transformations and uses, resulting in a ‘collage of temporal layers’ that still lack a coherent connection. In my view, the true strength of a collage – its freedom, spontaneity, and diversity – only becomes meaningful when there is a clear vision that brings these fragments into dialogue. Without such alignment, a collage remains a collection of disconnected fragments without a story. The challenge, therefore, lies in both strengthening the collage by fostering interaction between the fragments and preserving the experience of the individual time layers, so that the identity of the building remains both visible and tangible. The next chapter of this canal house thus exists in the tension between preservation and renewal. How can existing and new temporal layers be read as a coherent whole, without losing the heritage values of the place?

de dRageRs van FliegeRhoRst deelen

I have been living in Arnhem for around ten years now. The city suffered greatly during the Second World War. From an early age, I have had a deep interest in this history. I often went exploring in areas marked by the past and read many books about the war. One lesser-known site is Fliegerhorst Deelen. I discovered this area in 2016 and spent a great deal of time walking through it, fascinated by its mysterious and secretive atmosphere. That sense of intrigue has never left me – as you walk through the landscape, you’re struck by a sense of not fully understanding what you’re seeing. It turns out to be a network of bunkers and hangars, cleverly disguised as farm buildings. These are remnants of what was once the largest air base constructed by Nazi Germany outside of Germany during the war. The creation of this base left a lasting impact on the landscape in various ways. Over the years, the area has changed significantly and is now highly fragmented: some parts are off-limits, some are privately owned and others are public, whereas it used to be one large, unified site.

Fortunately, there are still public areas where elements of the wartime air base system from 1940 to 1944 remain visible. With my thesis De dragers van Fliegerhorst Deelen (The landmarks of Fliegerhorst Deelen), I aim to restore these and use the structure of the base as a means of telling its story. My vision for the area is to make it accessible to the public, so that people can discover this place and its layered history – and in doing so, help preserve it. As the number of people with personal memories of the Second World War continues to decline, and as the war fades further into the past, I want to create a lasting memorial at this site. My hope is that it will not only endure physically into the future, but also serve as a meaningful reminder of the war.

As a landscape architect, my aim is not only to tell this story through design interventions, but also to strengthen the natural qualities of the area.

leuveRink

Raul Correa

a JournEy to sElf-discovEry and hEaling

‘ZONE’ is an immersive installation that explores identity, trauma and self-discovery through a layered narrative intertwining fiction and reality. At the heart of the project lies a novel, In Search of Light, which serves as the key to understanding the story in its entirety. The novel introduces Andreï, a fictional character drawn back to the ruins of Azovstal, a former industrial site in Mariupol, Ukraine. Through his journey, the novel delves into themes of struggle, resilience, and renewal, introducing supporting characters –The Scientist, The Artist, and The Craftsman – each representing distinct facets of creativity, knowledge, and skill. Together, they navigate the metaphorical ‘Zone’, a realm of transformation and healing.

The exhibition unfolds in three distinct acts. The first act, a film titled Echoes, visualises the connection between Timothée, the artist, and Andreï, his creation. Presented on dual screens, the fragmented narrative reveals their shared struggles with loss, anxiety and identity, setting the stage for the journey that follows.

The second act, Chaos and Clarity, explores Timothée’s creative process. This act is presented in a separate room, closed off to the audience during the film, with carefully arranged tables that metaphorically reflect the mind’s effort to organise chaos into clarity, much like The Scientist. At the end, viewers can physically enter this space to tangibly explore the sketches, models, and concepts that shaped the project.

The final act, Faces of Renaissance, centres on a monolith: a vertical sculpture representing Andreï and the three personas of the novel. Each layer of the monolith symbolises their unique attributes and personalities, culminating in a space of healing and unity. Through its interwoven layers of narrative and materiality, ‘ZONE’ invites viewers to reflect on their own experiences of chaos, growth and healing. It transforms destruction into renewal, reminding us that the path to meaning often lies within embracing both the struggle and the resilience it fosters.

Mensinga

Daria Khozhai

Lada Hrsak Paul Kuipers

TimoTHée

pignoux

a story about thE invisiblE layErs of thE city

I’m fascinated by the stories that historical buildings tell; how they embody common memories and present a wealth of knowledge about the society we live in. Following this interest, I started my graduation project with a search for historical buildings in Amsterdam. In doing so, I stumbled upon three identical bath houses with a characteristic round shape built in the 1920s by the architect Westerman. Today, none of the three function as a bath house anymore; one has been transformed into a theatre, one is a drum studio and the third one that stood on Wittenburg has been demolished.    Looking further into that demolition, I collected various layers of archival materials and overlayed them with my own drawings and interpretations. This radically shaped my project as a visual narrative; an illustrated book that shows the multitude of truths about the same history, instead of dictating a definite one; a way to not only tell the story of the demolished bath house, but also to address the social and spatial changes in Amsterdam on an urban level.  Using narration turns research and data into a story, through which we can connect, empathise and remember the information. Here, narrative also acts as a design tool to preserve the demolished bath house and shift its meaning to the bigger social and historical issues that follow us into the future.   Forget Me Not is proof that narration, through design elements like storytelling, can shift a place’s meaning and therefore act as an architectural intervention. This design methodology is especially relevant now as the fast-paced digital world is taking over. It is a plea to look at the design brief in a new way and explore what we already have before conquering new landscapes.

Discipline Architecture

Graduation date

27 March 2025

Graduation committee

Machiel Spaan (mentor)

Bart Visser

Anna Zań

Additional members for the exam

Lada Hrsak

Quita Schabracq

FaRd

Re-acTivaTing yollaRBasi

for a nEw gEnEration of villagErs

With the energy of tradition and architecture, I will give Yollarbasi a new future, where the legacy of the past and the vision of sustainability merge into a lively, connected community. My graduation project focuses on redeveloping Yollarbasi, a village in southern Turkey that is slowly emptying, with abandoned houses, workshops and barns, and a declining sense of community. My grandparents’ stories about their life in Yollarbasi and the traditional crafts have always been a source of inspiration. With these memories as my guide, I aim to transform the village into an eco-village, based on local building materials and crafts. The centre of my strategy is a women’s cooperation that contributes to the reconstruction of the village through weaving, agriculture and livestock farming. The architecture combines traditional building techniques with modern, sustainable solutions. By using local building materials such as natural stone, earth and wood, the cultural heritage is respected, while new initiatives, such as sustainable agriculture and water management, ensure a future in balance with nature.

This project not only offers new economic opportunities, but also reinforces social cohesion. Yollarbasi will once again be a lively community in which tradition and innovation go hand in hand, and where future generations can build on the foundations of the past. My graduation project, ‘Reactivating Yollarbasi’, increases public awareness of the problem of ‘empty villages’ and my design presents a strategy to bring new life to these villages. By respecting old crafts and combining them with sustainable architecture, I draw attention to the use and reuse of local materials and the appreciation of architectural heritage.

de deuR op een kieR

living with duE considEration for othErs

De deur op een kier (the half-open door) is a project about living with due consideration for others. It emphasises a way of living together in which sharing is the main focus. The home is the ideal environment that creates opportunities for connection. This project has led to the design of a new type of flexible home in which the user’s experience and freedom of choice are the key elements. The 17th century paintings of Pieter de Hooch were an important source of inspiration. His interiors are a joy to behold. The rooms are richly decorated with patterned tiled floors, colourful walls adorned with artwork and views of courtyards, gardens, and streets. The paintings are often so multlayered that it makes me feel like there is a lot to discover. You never get tired of looking at them. I observed his city, its courtyards and vistas. It inspired me to design this residential building. Like the characters in the painting, the users of this building are the primary focus. They can feel at home and be amazed in this building.

The home has a core of permanent functions: bathroom, kitchen, box bed. It is an object in the house that makes a clear division between private and collective. The core is the central element around which and with which the resident can move freely. Residents move by opening, closing or partially opening shutters and panels as desired. After the house was built, shared spaces were added and the ensemble was shaped until it blended naturally into its surroundings. This ultimately resulted in the construction of three residential blocks in Hoorn. A walking route has been created between the blocks for local residents. Each block opens onto the communal courtyard and has a front garden facing the courtyard. In terms of materialisation and facade details, the building relates to the Hoorn context without being traditional.

This section of Graduation projects focuses on an integral understanding of temporalities – through rhythms, phases, cycles, seasons and patterns. Through clever interpretations of time’s many scales, these designers work with a rich palette of materials, vernacular building methods, and alternative approaches to natural renewal, through understanding the cyclical nature of things and repeating patterns. From the life cycle of a single building material, to the repeating oscillation of migration patterns, all the way to the ancient global water cycles, the pendulum swings back and invites us to respond in ever adaptive ways. What can we learn if we observe beyond our own timeline? How does design help us accept and embrace the repeating cycles that shape every place?

Here, the proposals rethink our relationship to landscapes, water, soil, food, resources and existing infrastructures, turning them into sites of regeneration and adaptation – honoring non-human chronologies while strengthening our own. In an era of constant change, metamorphosis takes center stage and becomes a design philosophy of its own.

cyclical Times

This graduation project explores how civil infrastructure can be transformed into architectural space. Initially planned for Biarritz, the location shifted due to COVID-19 travel restrictions to Wijk aan Zee – a place with a unique tension between heavy industry, natural dunes, beach, and sea.

The North Pier, extending perpendicularly from the coast, creates a sheltered current where sand accumulates and consistent waves form – ideal for surfers and other adventure sports. The province of North Holland has designated the site as a ‘durfspot’ (challenge spot) with potential for recreational development. At the same time, there are plans to strengthen the pier and integrate it into the primary flood defence system in response to future sea-level rise.   Research question: How can a civil structure be transformed into architectural space, and later be reabsorbed into its original civil function?

Design strategy: The strengthening and heightening of the North Pier uses the caisson principle: modular, prefabricated concrete boxes that are submerged and filled with sand. This repetitive structure of caissons and caisson sleeves forms the spatial framework. Within a 5x5 meter grid, a sequence of rooms emerges, accessible from walkways running along both sides of the dyke. Strategic openings, sliding doors and skylights create flexibility, accessibility, and shelter.  The extra layer of caisson sleeves in the future elevation is used for a surf facility with sleeping cabins, sanitary facilities, changing rooms, a surf school and a pavilion. Stairs and canopies link the structure to the beach, sea and dunes. When the dyke is raised, the openings are sealed and the rooms are filled with sand, returning the structure to a purely civil role. The architecture is simple and robust, attuned to wind, light, sand and sea – balancing comfort with the raw outdoor life of surf culture.

Conclusion: The North Pier demonstrates how civil engineering and architecture can reinforce each other for added social value. Its repeatable, flexible structure offers inspiration for coastal locations where flood safety and recreation intersect, opening new perspectives on the dyke as public space.

01 At the end of a long dead-end road, wedged between the dunes and the Tata Steel site, the dyke begins.

Between the walkways lie the rooms, arranged in the repeating 5x5-meter grid of the caissons.

Visitors choose their walkway: along the dune side, sheltered by sand and grass, or along the canal side, close to the water’s edge.

05 Each rectangular opening frames the landscape in its own way; sun, water and air turn every view into an ever-changing scene.

06 On the beach side, the slope cladding is revealed: large, irregular concrete blocks that hold back the sand and emphasise the raw character of the place.

07 In the wall openings lie sliding doors that disappear completely when open, but when closed provide privacy and a watertight compartment.

08 Filtered light enters through roof openings, casting patterns on floors and walls that shift with the time of day.

09 At times, sand drifts over the walkway, letting the dune landscape’s relief naturally spill into the architecture.

10 Embedded in the slope cladding, robust concrete stairs lead directly to the surf – utilitarian yet natural interventions in the coastal landscape.

11 Views alternate within the rooms: on the sea side, the open horizon; on the canal side, passing ships.

12 At the end of the dyke, concrete blocks step down into the water, a place to look out over the horizon as if from a tribune.

Walking is more than just a hobby for me: it is a way to slow down, explore and reflect. In the Scottish Highlands, I experienced the freedom of wandering in an open landscape without boundaries. In the Netherlands, this feeling is less common – natural areas are often fragmented or fenced off. Seeing this difference made me wonder how we create and take care of our landscapes. Recreation and nature are often linked, but not always in balance. I wanted to explore how they might work together and whether rethinking our walking routes could also help the ecological system.

My project In Beweging (In motion) focuses on the Oostvaardersplassen, a wetland area and national park between Almere and Lelystad. It is an important ecological area, but it also faces challenges in terms of conservation, management, accessibility, and visitor experience. Through fieldwork, analysis of the walking network and conversations with experts, I explored the landscape from multiple perspectives.

The result is a design vision based on three principles: robustness, connectivity and accessibility. By strengthening the landscape and improving its connections, the area can welcome visitors without harming its ecological value. New walking paths and boardwalks enhance the visitor experience while distributing visitors more evenly, protecting the core ecological zone. The design highlights the landscape’s variety, offering experiences that change with the seasons, from open water and reed fields to expansive grasslands.  This project shows that carefully bringing humans and nature together can create spaces for exploration, movement and connection. At the same time, I aim to inspire people to visit and experience the landscape for themselves.

Beuk

Bird’s-eye view of the design, highlighting wooden structures that enable new walking experiences 05 Postcard of the Sluispad, a covered passage through the Oostvaardersplassen 06 Seasonal calendar depicting a year of ever-changing walking experiences

07

Comic-style illustration of a walk from Almere to the Oostvaardersdijk

08 Postcard of the Broekzoom, where wetland and forest meet 09 Postcard of the Hoekstroom, where visitors contribute to wildlife protection

Postcard of the Kade, an elevated walking path through the wetland

Sketch of the spatial context of the Oostvaardersplassen

ecHo van de RHône

While working on my graduation project about the river system of the Rhône, a disaster unfolded that had long loomed as a shadow over the Swiss valley. Extreme weather conditions – intense rainfall, sudden snowmelt, and saturated soils – caused the river to breach its banks. The consequences were devastating: infrastructure was severely damaged, agricultural lands were flooded, a village was wiped out and lives were lost. What had once been seen as a theoretical risk became a harsh and painful reality.  This event was not isolated, but part of a broader trend. The increasing frequency and intensity of floods is inextricably linked to climate change. Both natural systems and human infrastructure are under growing pressure. The flood revealed the shortcomings of the current approach, which is still largely based on control and technical management. What is needed is a fundamentally different perspective – one that is not only focused on protection, but on adaptation, spatial generosity and collaboration with natural processes.

For me, this disaster made the key question of my research more urgent than ever: how can we shape the landscape in a way that not only withstands extreme water events, but also strengthens the ecological and cultural significance of the river? How can we design systems that move with the river, instead of working against it?

‘Echo of the Rhône’ is my response to that question. It is a project that envisions a climate-resilient, safe and experiential landscape – one that no longer fights the water, but slows it down, holds it and allows it to infiltrate. By giving natural processes space, a dynamic balance between the seasons can emerge. At the same time, the centuries-old relationship between people and river is restored – not through control, but through cooperation with the landscape.

gämpeRle

rEstoration of thE nEthErlands’ largEs groundwatEr rEsErvE

The Veluwe is an area familiar to most Dutch people. It is not only known as one of the Netherlands’ largest nature reserves, but also as a place for recreation like long walks over the purple moors. A relatively underexposed feature of the Veluwe are its hill slopes, which have been on a journey of exploitation and development for centuries. This has resulted in a culturally and historically rich landscape of country estates, enkdorpen (villages surrounded by cultivated land), brooks and (man-made) springs.

Today, global climate changes create increasingly extreme dynamics between moments of water and drought. Dutch agricultural fields, which have been carefully developed into a super profitable production landscape, are suddenly faced with a difficult dilemma – forming the context of this project.

The striking angle of the multilayered climate issue, however, is not that it suddenly appears in the form of a downpour that lasts for days, or a drought that turns moors into wildfires. The dilemma that this landscape has found itself in is entirely because it is a man-made landscape. Development and exploitation of the land to reduce water levels to a constant low level, have emptied the natural buffers that should protect it from seasonal and local climate changes. The solution lies in restoring a large groundwater basin; a water system designed to maintain and protect this reservoir below a landscape full of green elements interwoven with a sustainable social fabric.

The Veluwe of the future will be able to withstand the whims of a shifting climate, in times of both abundance of (and nuisance caused by) water, and in times of deficiencies and drought. The human hand in the past and future Veluwe landscape make this project a large-scale restoration project, more than a project creating something from scratch. And as far as I am concerned, this restoration gives ample reason and opportunity to give the good and beautiful things of the past an exciting new future.

Additional members for the exam

Kim Kool Saline Verhoeven

gRamsma

coasTal cRoFTing

rEstoring thE connEction to thE croMarty firth

Intrigued by its nickname ‘the oil rig graveyard’, my curiosity was drawn to explore the Cromarty Firth region. A region where land and water meet in the Northeast of Scotland.

The firth, carved by glaciers and connected to the Moray Firth has known different identities and significant transformations. Once a local agricultural landscape with crofting traditions, has faded due to global industrial expansion. The current contrast between the natural conditions and the towering oil rigs over the waters of the firth is fascinating. It made me wonder: what is the identity of this place and what will the genius loci of this area become once the oil era ends?

To encounter the genius loci, a full immersion from the top of the Highlands to the water of the firth was essential. This revealed a layered landscape: one shaped by forces of nature, history, and human ambitions. The landscape shows a gradient with relicts of all those layers, but is disturbed by barriers that cut across the area. Industrialisation has disrupted the physical and emotional connection of the people and the firth.

The project goal emerged out of the field trips: to restore and revitalise the physical and emotional relationship between the people and the firth, thereby creating a new identity in the post-oil future. Where the water and the land meet, new relationships will be woven.

Crofting forms the foundation for how this reconnection with water and the local landscape will unfold. This typical Scottish smallscale communal agricultural system is adapted to the Cromarty Firth. Small crofts and commons form the base of a new diverse connected landscape. The lost relationship between the villages and the water will be rewoven, allowing nature and community to rediscover one another with a cycle of connection and growth.   With this project, The Cromarty Firth is forming a new identity. Physical and emotional ties are being restored by giving new life to relics from the surrounding landscape. The Cromarty Firth will breathe again. Not as the silent backwater anymore, but as the beating heart of the community.

onlosmakelijk veRBonden

or ElsE wE will farM togEthEr?

Farming is one of the ways in which humans occupy their place in the ecosystem. In recent decades, the Dutch agricultural sector has grown into a multimillion-dollar industry. Growth in scale and intensification not only have a major impact on the sector but also on the landscape and its natural systems.

Our national government, in various formations, has shown that it can only come up with technical conditions and rules for the agricultural transition. However, what we need is a longer-term vision, a dot on the horizon. My project Onlosmakelijk Verbonden (Inextricably Connected) shows the way to a collective agricultural transition.

My personal fascination lies with the connection between people and nature. This led to my graduation assignment, the central question being: ‘How can agricultural transition strengthen the landscape and establish a renewed relationship with its users and inhabitants?’

Thanks to research, experiences and conversations with farmers and organisations, three principles for agricultural transition are emerging: water- and soil-driven, regenerative and from the collective – the preconditions for a new or improved form of farming. The Eemvallei, part of the province of Utrecht, was a testing ground for a landscape and spatial approach to agricultural transition. By focusing on the qualities of the different landscape types, the natural gradient of the landscape is restored. Four types of farmers with new or different forms of agriculture are introduced. Using a holistic approach, it provides insight into how our landscape is locked in a system of money, politics and power. The plan is a promising perspective connecting nature and agriculture and thus addresses the relationship between people and nature. This shows that all spatial tasks should be considered integrally. The interventions increase the resilience of both the natural and the agricultural system. The plan is a guide and inspiration for further development and future vision for the rural area and agricultural transition. The symbiosis between people, nature and agriculture is the basis of our landscape. The project emphasises that nature and agriculture cannot be separated.

laaRman

Discipline Urbanism

Graduation date

Graduation committee

This project connects a landscape regenerative circular water and waste strategy to the growth of economic and educational opportunity for working class and low-income riverside communities in the inner city villages of Jakarta called ‘Kampungs’. This is not only important for the communities themselves, but also vital for the urban metabolism of Jakarta.   Jakarta was the most polluted city in the world in 2023. It is sinking, it is prone to floods and has safe water scarcity at the same time. Jakarta is developing at a fast pace, and the government seems to overlook long-term societal and environmental effects of their interventions. My thesis focuses on the most impactful of three large-scale developments in Jakarta, namely: the flood mitigation method of inner-city rivers called ‘Normalisation. Normalisation has many negative effects. Rivers are permanently widened and encased in concrete to increase the flowrate. This causes soil erosion and damages downstream. It destroys the ability of rivers to sustain a regenerative river ecosystem and triggers the degradation of riverside communities, as gentrification follows normalisation. This is exemplary for the way other large-scale developments are handled and impact Jakarta, which shows that Jakarta is in a ‘TOXIC’ spiral and is in desperate need to ‘DETOX’ its developments and environment.

My design aims to DETOX a current normalisation plan in Kampung Melayu. It creates a secondary course to mitigate extreme flood events, stimulates an already existing recycling culture, restores the river’s regenerative capability and doesn’t trigger fast-gentrification by choice of governance, housing typology and limited car accessibility.

I hope to show that it is possible to battle Jakarta’s many problems through solutions that are Jakarta-style and to course toward a cultural shift. It required careful examination of Jakarta’s potential, by understanding people’s behaviour and incentives to act, through desk research, interviews and a month-long trip to Indonesia with my dad. This came together in a course that elevates a technocratic solution to become meaningful in people’s lifetimes in multiple ways. It layers all researched potentials and empowers people and organisations to ultimately integrate DETOX practices into culture through urbanism.

28 May 2025

Jeroen de Willigen (mentor)

Pauline van Roosmalen

Jossep Frederick William

Additional members for the exam

Markus Appenzeller

Herman Zonderland

a couRse FoR jakaRTa deTox culTuRe HannaH

liem

01

05 It has a factory side to start collective recycling, which can grow into a more complex, comprehensive or even specialised production.

06 The Course has plant-rich water purification basins for people to enjoy and use for community activities.

07 Buildings purify and store water in different ways. No waste is waste.

08 The ecological and regenerative potential of a river that isn’t ‘normalised’ is great.

09 When something is meaningful, it shifts our mindset, thus changing our behaviour. In time, behaviour becomes normal and when multiplied it can turn into a cultural norm.

10 My method used for 3 large scale development briefs to DETOX Jakarta. You can find them in my graduation research.

Graduation

HeT ommeland

whErE city and landscapE MEEt

The spatial pressure on the landscape around cities is immense. The expanding city, ambitions for sustainable local production of energy and food, and the growing demand for recreation and nature development increasingly clash with existing large-scale agriculture. This pressure leads to the fragmentation of valuable landscapes and the disappearance of productive grounds. In my plan, I focus on the Ommeland (surrounding countryside) of Rotterdam: Voorne-Putten.

The landscape plan ‘The Ommeland: Where city and landscape meet’ offers an integrated approach to the urgent issues surrounding agriculture and spatial pressure. By cleverly combining functions and using the natural landscape as a starting point, logical, sustainable solutions emerge that fit the unique qualities of the area. This design method not only results in a future-proof landscape but also creates a spatially more interesting rural experience. Specifically, on Voorne-Putten, the productive landscape is at risk of disappearing due to the pressures of urbanisation, recreation and nature development. There is a danger that the landscape will become ‘parkified’, where the original productive value is displaced by nature, recreation or urban functions. To counter this, I introduce a green-blue framework based on the soil and water systems. This framework provides the landscape at island level with a clear and cohesive structure, while simultaneously restoring landscape logic within the 51 polders that make up Voorne-Putten. Through this approach, each polder gains its own distinctive identity, shaped by stacking and combining functions, tailored to polder-specific characteristics, such as soil conditions, water management and cultural-historical elements. The result is a unique and diverse landscape, where different functions strengthen each other.

This approach creates a landscape that not only retains its productive character but is also ready for the future. A landscape where agriculture, nature and urban functions no longer clash, but instead form a valuable and resilient whole together.

RoBeRT-jan

linden

05 The water storage facilities will support agriculture and are a connection for people and animals.

06 Agriculture leaves little room for other land uses.

07 In addition to agriculture, nature and recreation must also be integrated into the landscape. This takes up a lot of space.

08 The solution is to combine agriculture, nature and recreation. This not only provides space, but also a lot of quality.

09 Forest, water and land use ensure healthy soil. This peat polder is also designed according to the principle of “bodem en water sturend”.

10 Het Ommeland; Where city and landscape meet.

11 A network of 37m2 of green-blue landscape gives substance to landscape policy, delivers a lot of quality and gives farmers space to continue their business durably.

12 All polders of Voorne-Putten will be given their own assignment to solve the problems of the landscape.

Tussen Binnenland en BRanding

rEsEarch into naturE dEvElopMEnt

on the FLemish coast lauRens

The project ‘Tussen Binnenland en Branding’ advocates a fundamentally different approach to the Flemish coastline – a landscape that once again moves in rhythm with natural processes. This research explores how ecological restoration, shaped by forces such as sedimentation, salinisation and tidal action can establish a renewed balance between landscape and economy. The proposed vision calls for thinking both seawards and landwards, recognising the coastal area as a crucial link: a nursery that plays a vital role in the health of the North Sea. Rather than relying on dykes, hard infrastructure and an exclusively seaward focus, the vision draws upon the inherent strength of the original coastal landscape.  The river Yser, between the cities of Diksmuide and Nieuwpoort in West Flanders serves as a turning point: where fresh and saltwater meet lies the key to a resilient, biodiverse and secure coastline. This unique transitional zone is currently fragmented and largely disconnected from natural dynamics, but it holds the potential to be reimagined as a climate-resilient area, an extension of the Flemish coastline 175 km inland. By restoring brackish water zones, reopening ancient channels, and creating space for saltmarsh development and saline habitats, a flexible system can emerge – one that adapts to rising sea levels, drought and flooding.   The project proposes a phased transition in which water safety is integrated with new forms of ecology, experience and food production. This creates an alternative to current policy, which primarily focuses on protection through control. Urbanisation, economic pressure and habitat fragmentation have severely compromised the coastal system’s resilience. Crucial ecosystems, such as coastal peat marshes, mudflats, salt marshes, dune valleys and salt-tolerant grasslands, are disappearing – yet it is precisely these zones that offer natural protection and serve as key nodes in international migration routes for fish and birds. Their loss affects not only local biodiversity but also the broader ecological networks that underpin the health of the North Sea.  Previous Flemish coast plans lacked urgency and vision. This proposal uses an interdisciplinary ecological framework, integrating agriculture, infrastructure, and planning, to create adaptive landscapes where natural dynamics guide design—protecting, enriching, and evolving ecosystems, human life, and coastal resilience.

Discipline

Graduation

Graduation

Lieke

My project De Bewaterde Fivel (The Rewatered Fivel) is a plea for a self-sustaining water system that creates more opportunities for nature and landscape. A system that anticipates a changing climate and is future-proof – precisely because it is rooted in the past.  Since we drew a hard line between nature and agriculture, the province has changed dramatically. Farmers have been highly successful, but the increasing threat of salinisation now seems to put that success at risk.

Centuries of interaction between sea and land have shaped former sea inlets and drainage channels, many of which remained influenced by tides for a long time. Traces of these are still visible today in the meandering creeks and remnant channels. In these places – where contact with the sea lasted longest – the freshwater lens has had less time to develop, and saline groundwater lies closer to the surface.

If we begin to see saline seepage as an opportunity for a new, more varied water dynamic, an entirely new type of landscape can emerge. By combining strategies that both mitigate and embrace seepage – accepting salinisation and managing it in a controlled way – a distinctive landscape can be created.

In this project, the meanders of the former river Fivel form a new ecological corridor that fits perfectly within the scale of Groningen. A network that fosters biodiversity, supports climate adaptation and creates a rich, dynamic landscape with a deep connection to the past – a landscape that offers much not only to animals, but also to people, through engaging and attractive recreational possibilities.

nijmeijeR

THe ReeF oF memoRies

Coral reefs are among the most biodiverse ecosystems on Earth, yet they are vanishing at an alarming rate. Since the nineteenth century, more than half of all reefs have disappeared due to climate change, acidification and pollution. By 2050, nearly all reefs may be under threat, with profound consequences for both ocean and land: no blue, no green – no water, no life.  Based on my connection to the ocean, I explore how design can contribute to ecological restoration and raise awareness of the fragile value of reefs. This project, situated at Ka Lae, Hawai‘i, investigates the interwoven relationship between humans, nature, ritual and memory. The landscape itself is raw and dynamic: dry grasses, lava fields, green sand beaches, black cliffs, and the vast horizon of the Pacific and an endless deep blue ocean covered with a lava seabed and a variety of marine life. Within this setting, parting and regeneration of new life are anchored in a ritual route.

The route follows the Hawaiian movement from mauka (land) to makai (sea), guiding body and place for memory back into the cycles of nature with architectural interventions within the landscape. At its heart lies the transformation of human ashes into memorial stone: a calcareous material, composed of human remains and oceanic biological matter, designed to serve as a substrate for new coral growth. In giving this stone back to the sea, human life comes to an end, yet simultaneously returns as a gift of renewal to the living coral reefs.

The design is inspired by the Kumulipo, the Hawaiian creation chant, in which the coral polyp is the first being, the origin of all life. Guided by this cosmology, the interventions manifest as spaces of remembrance, transition and ecological renewal. Together, they form a sacred reef where parting and new life converge, affirming that all things are deeply connected.

Discipline Architecture

Graduation date

10 July 2025

Graduation committee

Ricky Rijkenberg (mentor)

Sarah Engelhard

Marlies Boterman

Additional members for the exam

Ira Koers

Rogier van den Brink

nomads

rEvitalising thE rural idEntity of asturias.

Asturias, a mountainous region in northern Spain, is characterised by its rough geography which isolated the region from the rest of the Iberian Peninsula, propelling unique and rich rural traditions, only disrupted by the Camino de Santiago pilgrimage routes. This 1000-year-old route has been the main crossing point along the rural landscape of Asturias, connecting small villages to the world.   Central to Asturias’ rural landscape is the Quintana – an autonomous farm complex integrating land, home and auxiliary buildings such as the hórreo, a moveable wooden barn raised above ground unique to the region. Once vital to local life, these farms have become endangered by rural exodus – aging population and urban migration of younger generations, especially women – to places providing better opportunities. Quintanas are increasingly being abandoned, sold or converted into seasonal retreats, thus severing their agricultural and cultural ties to the rural community.    This project intervenes at a critical moment, when urban exodus and migration to the countryside has become popular in the post-epidemic era. Under this circumstance, especially with the emergence of the digital nomads and neo-rural communities, a new farm typology may be able to provide the answer to revitalise the rural landscape.

The new Quintana dismantles the enclosed, private nature of traditional farms and proposes a deconstructed, public system of architectural interventions across the farmland, some embedded, some moveable, inviting relationships between people, landscape and place. These elements are designed to be used and maintained collectively, fostering interaction between locals, newcomers and visitors.

Mountain nomads reclaim this rural landscape not as a relic of the past, but as a living space for cultural exchange, education and renewed identity.

FeRnandez

froM farMyard to circular sawMill, rootEd in thE achtErhoEk rEgion’s landscapE

Welcome to the Saw Pit!*

Amidst the sound of sawing and the rustling of oaks lies my graduation project: the circular transformation of a mixed farm into timber sawmill the Saw Pit. What began as a personal search for my role as an architect evolved into an answer to a pressing question: how can we unite agriculture, ecological restoration and circular construction?

This project weaves together national debates on nitrogen and the future of rural areas with my own childhood on a farm in the Achterhoek. In this graduation work – where past and future converge – I have searched for a new balance and explored the circular opportunities hidden within agricultural heritage.

Architecture

Circular architecture demands a new role for the architect; one in which the consequences of every design decision are consciously considered. This project aims for the smallest possible ecological footprint, creating a new reality with its own form of beauty: circular aesthetics.

The design is based on three pillars: Form Follows Function (programme) – which volumes are needed for the new functions to operate effectively; Form Follows Finds (harvested materials) –which materials and in what quantities are available in the current situation; and Form Follows Designer (concept) – shaping a circular aesthetic that fits both the location and its new function.

Landscape

A farm is inextricably linked to its landscape. The transformation of a farm cannot therefore be viewed in isolation from its surroundings. For this reason, the landscape plays a vital role in this project, with a focus on the blue-green infrastructure that is crucial for the sawmill’s operation.

Through this combination of architecture and landscape, the Saw Pit demonstrates how reimagined heritage can contribute to a resilient and circular countryside.

*Saw Pit: The water basin of a sawmill where logs were once soaked.

vRuWink

de sliBkapiTalisTen

There is a Dutch saying: wonen onder de rook van... (living under the smoke of...). Nowhere is this saying more literal than in Doel, a small village beside the Port of Antwerp and the cooling towers of a nuclear power plant. Once a thriving community, Doel is now nearly a ghost town, its streets largely abandoned due to decades of expropriation plans and ongoing conflict with the port. For years, there has been tension between the village and the port. At stake: the survival of Doel and the Doel polder. The port needs more space, but should this come at the cost of the last Scheldt polder? The clash between social and economic interests continues to spark debate.

Yet, this opposition is not so black and white. The polder itself was created through a rational land reclamation system, often referred to as ‘polderkapitalisme’, where economic factors shaped the landscape.

Currently, large parts of the polder are being converted into nature reserves as compensation for the disruptive dredging activities in the Scheldt. This transformation erases the landscape’s economic foundation.

In this graduation project, the port’s dredging problem is turned into an opportunity to create a new economic foundation: slibkaptalisme (silt capitalism). Broader social challenges in the polder, port and Scheldt are leveraged to make the project financially viable. By reclaiming loose silt through a silt engine and upgrading it into clay, the disruptive effects of dredging are mitigated while creating a new marginal revenue model. Silt farmers maintain the tidal landscape by harvesting, maturing and selling silt.

A constant struggle unfolds between the rational structure imposed by the silt farmer and the Scheldt’s tide, which wipes away those traces. The farmers’ simple industrial homes confirm the port’s presence. Even polluted silt from the harbour docks is processed, opening up possibilities for experimenting with silt bricks, roof tiles and ceramics. In this way, Doel becomes Belgium’s ceramics capital, known worldwide as De Slibkapitalisten (The Silt Capitalists).

Discipline: Urbanism Graduation date 30 January 2025

Graduation committee

Herman Zonderland (mentor)

Mathias Lehner

Jan Maas

for the

Riette Bosch

Iruma Rodríguez Hernández

BoRis

moHlen

06 Silt farmers maintain the tidal landscape by harvesting, maturing and selling silt.

07 A constant struggle unfolds between the rational structure imposed by the silt farmer and the Scheldt’s tide, which wipes away those traces.

08 Plan drawing of the silt economy.

09 The farmers’ simple industrial homes confirm the port’s presence.

10 Doel becomes Belgium’s ceramics capital.

11 Silt brick from clay found in the Scheldt near Doel.

This section of Graduation projects highlights forward-looking visions, which imagine radical new possibilities for the worlds we inhabit – both physical and intangible. By rewriting the scripts of unexplored scenarios, developing new tools, methodologies and technologies, these graduates give hope and unwavering enthusiasm for what is to come. Through their projects, they ask: What do we build for generations of tomorrow, and how do we build on existing times’ narratives? It is precisely by understanding current problematics and past legacies that these designers take us along with them in imagining alternatives, beyond the scope of what is familiar. Potentials are revealed, and diverse temporalities are woven together in an ever-changing transformation process. Here, storytelling plays a key role as a design tool in and of itself, playfully repurposing, rearranging and reusing existing elements – tangible and intangible structures – to project them into hypothetical postcards to the future. By layering up-andcoming technologies with passed down knowledge, these projects open up the conversation to parallel timelines and give a second chance to possible futures, approaching them with a fair share of optimism.

Timelines ReWRiTing

building for digital spacE

The distance between digital and physical worlds is becoming smaller by the day. Children are growing up in a society filled with technological advances and are constantly stimulated with screens all over the place. The industry behind this is growing at a rapid pace, and is developing a branch of professional content creators, e-athletes and gamers worldwide. The Esports scene is changing rapidly, in terms of innovation, people involved and revenue. However, it didn’t have its own purpose-built building – until now. Exploring the depths of digitally created worlds with their limitless powers, to imagine every possible scenario and presenting them to the wider public, who can experience these shaped environments in their own way, has always been of personal interest to me, both inside and outside the field of architecture. Extremely rich storylines in games that take the protagonist from A to B – as opposed to movies – where the player is in control of which path leads there. Discovering (un)intentional interactions with the environment and people that roam the same distant world in their own way sparks my creativity to visualise spaces that have the same effect on those who enter them. This project started with my fascination for people who navigate these imaginary worlds as part of their job every single day. Small creators who have just started streaming their first game or famous internet celebrities, and I even had the privilege of designing for and building the official headquarters of the largest esports team in the world. Having seen multiple levels of digital environments that have physical implementations, my immediate reaction to this was to design a space where these fragmented users could have their own purpose-built place.

Time for the world of gaming to connect to the real world.

Discipline

Graduation

Graduation

Jeroen van Mechelen (mentor)

amanupunnjo

edges oF cHange

a bottoM-up urban dEsign stratEgy to rEstorE

idEntity, balancE and connEction in Moscow’s

pEriphEry

Set in the peripheral district of Northern Izmailovo in Moscow, Edges of Change explores how small-scale, people-centred design can spark broader urban transformation in post-Soviet housing areas. Often perceived as static, underserved and socially fragmented, these neighbourhoods hold untapped potential to become active, adaptive and inclusive parts of the city.

The project challenges the conventional top-down logic of redevelopment by asking: How can microscale interventions rooted in everyday life address systemic urban challenges?

Through spatial analysis, on-site observations and interviews with residents, the project identifies six core issues – ranging from public-private disconnect and functional imbalance to identity erosion and mobility dependency. In response, it proposes a phased design strategy that starts from the doorstep and gradually expands in scale and impact. The first step introduces informal interventions – urban gardens, benches, and symbolic thresholds – placed near building entrances. These evolve into shared pavilions and communal spaces, eventually forming a local social infrastructure embedded within the urban fabric.

What sets Edges of Change apart is its fundamental belief in people as agents of urban transformation – not passive recipients of policy or design, but as collaborators, caretakers and everyday experts. By seeing residents not as obstacles but as essential resources, the project reframes the role of the urban designer: to listen, to respond and to build from the lived experience of place.

Rather than presenting a finished product, Edges of Change offers a methodology: a way to engage the periphery, unlock local capacity and grow change from within.  Discipline

Iruma Rodríguez Hernández (mentor) Léa Soret

Chechetkina

agRonovskaya

space oF coexisTence

inforMal MarkEt as a pEacEbuilding tool

In an era of numerous geopolitical conflicts, architects have an important, yet often underexplored, role as peacebuilders. Space of Coexistence investigates how spatial interventions can rebuild trust, foster dialogue and enhance peaceful interactions between conflicting societies.

This project focuses on territories affected by so-called ‘frozen conflicts’ that have remained unresolved for years, thereby silently creating deeper divisions between societies and risk for future escalations. The goal is to create space that is used for economic exchange, trade before trust, but also has a hidden purpose: peaceful coexistence. By redefining the concept of the border from a means of separation to a means of connection, the design helps heal divisions and foster dialogue between opposing communities.

The project uses the Nagorno-Karabakh conflict between Armenia and Azerbaijan as a model for broader application. The proposal is to revive the former informal market in the town of Sadakhlo, Georgia, where Armenians and Azerbaijanis once peacefully traded. Unfortunately, the market was closed in 2006 due to political pressure. Nevertheless, it provided rare evidence of coexistence despite ongoing conflict. Its revival becomes a spatial act of reconciliation. Design here functions as a flexible, user-driven architecture rather than a fixed spatial solution. The informal market operates without a predetermined axis or formal boundaries. Instead, it is shaped by the existing landscape – tree canopies, fences, ruined walls and remaining infrastructure as focal points for informal trade. These elements generate various trading spatial scenarios, such as kiosks, smuggling corridors and temporary stalls built from gabion walls, wooden pallets or haystacks. The roof emerges as a patchwork over human projection, emphasising dynamic and adaptive spatial experience.

This approach positions trade as a cultural bridge. Architecture becomes a bottom-up peacebuilding tool, enabling communities to build their own shared spaces. The design serves as a manual that allows users to assemble and disassemble elements as needed, highlighting a sense of uniqueness and adaptability. Space of Coexistence proposes architecture not as a monument, but as a living framework for dialogue, where neutrality, landscape and human activity merge into a tool for long-term reconciliation.

azizova

ReconsTRucTivism

rEusing thE architEcturE of opprEssion to rEsist, rEclaiM, rEbuild

This project proposes an architectural approach that reclaims Lithuania’s built environment by transforming its oppressive Soviet past into the foundation for a new vernacular future. Through dismantling, reassembly, and the integration of bioregional materials and social rituals, it explores how a new, unique and locally attuned architectural language can emerge. A Soviet-era housing block becomes the material and spatial basis for an urban hamlet composed of low-rise housing clusters.

The project is set in a Soviet-era neighbourhood in Klaipėda, developed during the 1944 – 1990 Soviet occupation of Lithuania. A nine-storey Type 1-464 prefabricated apartment block – the most widespread housing type of imperial standardisation – becomes the protagonist for transformation. Drawing on personal knowledge of the site, the project investigates how local climate, available materials and urban limitations intersect.

The project responds to decades of architectural and cultural erasure, and the threats posed by monotonous globalisation, by asserting Lithuania’s need to shape its identity through design. Soviet housing is not demolished but dismantled – treated as a quarry of raw material, memory and resistance. The 1-464 building elements are reused, cut and combined with materials native to Lithuania’s bioregion. In this intersection between rough concrete and regional biomaterials, trauma and craft, the foundations of a new vernacular are laid.

This project is both theoretical and technical: it proposes a phased process of deconstruction, temporary timber rehousing and reassembly, maintaining spatial continuity for residents while reshaping the space they inhabit. It suggests that collective healing – architectural and cultural – can only take place through active experimentation and transformative reuse of remnant structures.  By challenging extractive global systems and revaluing the built remnants of occupation, Reconstructivism opens a space for the nation to write its own architectural future: grounded in place, shaped by locality and memory, and directed towards continuity and renewal.

Budavičius

Reconstructivism – an approach used in a project to deconstruct the architecture of Soviet oppression and use it as a raw material to build unique housing typology.

02 The rise of suburbia, disconnected from nature. Urban estrangement is part of current Lithuanian housing culture.

03 Building elevation through three lenses expressing the use of bioregional materials and the reuse of 1-464-Li elements.

04 The new type of architecture that seeks to rewrite the evolution of cultural identity must engage with its surroundings, not as an aesthetic exercise, but as a continuation of local history, culture and

05 The building series 1-464-Li was used as a raw material in the search for architectural identi-ty. Concrete elements of the 1-464-Li were recorded and analysed.

06 Newly designed communal spaces should be appropriated by locals, with houses directly connected to the ground and where an initiative to foster greenery is promoted.

07 Soviet-era concrete in the shape of brutalist housing blocks is not an obsolete burden for Lithuania, but a resource for resistance. Through cutting, reshaping and repurposing, a new, unique and locally attuned architectural language emerges.

08 An architectural approach that grounds design in the ecological, environmental, material and cultural realities of a region, while acknowledging the historical and political forces that have shaped it. Pragmatic and forward-thinking, it challenges extractive global systems by rooting design practices in local climates and promoting the use of regionally available materials.

an architEctural approach on thE iMpacts iMposEd by ExtractivisM in rural arEas

On my first trip to Covas do Barroso in October 2022, I drove through valleys and mountains, following the GPS along roads that seemed to dissolve into the landscape. As I approached the village, small hints began to tell a story – one of resistance and unease. On the backs of road signs, the walls of empty bus stops and tarps rippling in the wind, the same message echoed over and over:

‘No to mines’

These words weren’t just protests against a lithium mine. They were a quiet, urgent reminder of a looming end. They hinted at the fragile balance between a community, its land and the forces threatening to reshape them both.

This graduation project is born from that journey; driven by a desire to understand the weight of those words and the space they occupy in our architectural and cultural landscapes.

DISPLACED seeks to evoke a sense of permanence in an ever-changing landscape. It traces how a PLACE is shaped not just by physical structures, but by the rhythms of daily life, the memories embedded in landscapes, and the deep connections between people and their environment. It brings to a common language the DISPLACED actors, producing drawings based on reports that are filled with technical language.

Rather than imposing new interventions as foreign objects, the project looks to the village itself, using traditional architectural elements and their original uses as the foundation for design. These forms are reimagined to support daily life, reclaim future mining infrastructures and offer a new narrative, PLACED in a landscape marked by transformation.

This project also looks at the way these large developments are managed, highlighting the critical changes needed to address their impact. An EMPLACED approach has the potential to reveal what numbers and graphs cannot. It has the power to show the weight of memories, the continuity of traditions and the deep sense of belonging that anchors people to their environment.

gaRcia

Residing above the hearts of commerce addresses the structural vacancy of upper floors above shops in Amsterdam’s historic city centre. Where it was once common to live above your own shop, this has become virtually impossible. My grandparents still did it. Decades later, however, when my father opened a shop in Amsterdam, living above the sales floor was no longer an option. Today, those upper floors stand empty. What was once a logical and lively way of inhabiting the city has become highly complex. Countless initiatives have been launched, but most remained fictional, one-off, or too fragmented to scale. Instead of dreaming up yet another concept, this project investigates why it keeps failing – and how it might succeed. The result is a scalable redevelopment strategy: one building unlocks access to the entire block, a shared route leads to a rooftop garden with modular extensions – new living spaces at the rear of the historic buildings along the Leidsestraat.

The design specifically responds to the needs of young single-person households, a growing demographic often excluded from the housing market. This concept allows for shared facilities and informal interaction, without compromising autonomy. At a time of acute housing shortage, the city continues to expand outward, while part of the solution may lie right at its core – unused, yet full of potential. This project taps into that overlooked urban interior: not with a one-off idea, but with a scalable, executable system. Modular, socially driven, and grounded in the realities of ownership, regulation, and construction logistics.

FRedeRieke

Residing aBove THe HeaRTs oF commeRce Hakman

BeTekenisvolle leegTe

rEpurposing

In the project Betekenisvolle leegte (Meaningful emptiness), I investigate how vacant agricultural homesteads in the Dutch countryside can regain significance by being repurposed as living spaces for single-person households. The impetus is a combination of demographic shifts – such as aging populations, young people leaving the villages, and shrinking household sizes – rural vacancy and the growing need for affordable, small-scale housing options (for the increasing number of people who live alone).

Through spatial analyses, policy research and case studies in three villages, I focus on the question: ‘In what way can a new, future-proof housing typology for single-person households in rural areas contribute to enhancing the livability of villages, while preserving the memory of the homestead?’

In my design, I do not transform the existing homestead layout and structural frameworks by replacing or demolishing them, but rather by preserving them – as embodiments of the place and as a remembrance of the agricultural past. Within these contours, space emerges for new functions: homes, shared facilities or uses that strengthen the village’s livability. The emptiness that remains is not seen as a shortcoming, but as a spatial quality. This meaningful emptiness offers room for social interaction, collectivity, breathing space and rhythm.

I have applied this concept to various scales of the homestead: landscape architecture, architecture and interior design. This creates a flexible, future-oriented living environment that reactivates the homestead as a social and spatial system. For my design assignment, I selected an existing homestead as a case study. This concept can be applied to any homestead and offers a solution for various homesteads in the Netherlands or elsewhere.

veenendaal als meTRopool

The Netherlands is facing major challenges due to climate change and a growing population. The country will be confronted with extreme flooding, drought, heat stress and urbanisation. Migration from the cities in the west will put pressure on the centre of the Netherlands, the ‘Food Valley’.

The need for housing is great, and space for nature is necessary to be able to (continue to) suppress heat stress. Restoring and preserving the ‘green structure’ requires actions and a new perspective on urbanisation and spatial developments.

With its location at the beginning of the Food Valley, along the A12 motorway and right next to the station of the same name, Veenendaal – De Klomp is the perfect location for densification. As a new development location and one of the NOVEX locations in the Netherlands, this project will serve as a pilot with financial support from the government to stimulate innovation.

The role of the 15-minute city is becoming increasingly important for a healthy city, with functions close by and a focus on a healthy lifestyle. By creating connections for slow traffic and thus stimulating cycling and walking, the city will be set in motion. The Food Valley plays an important role in the development of Veenendaal - De Klomp. By combining functions and integrating the 15-minute city, Veenendaal - De Klomp will become the hotspot of the Valley.

The urban development plan allows for innovative methods of food production, (residential) construction and forms of collectivity. Each neighbourhood has its own character with a suitable design. Crops will be made visible and accessible, which will create awareness about healthy eating and knowledge of the growing process. With all functions close by and food being produced, VeenendaalDe Klomp and, on a larger scale, the ‘Food Valley’ will be self-sufficient. Developing and designing with an eye to the future, looking at the various scenarios that are predicted, plans are being developed that anticipate the needs of the future.

van de Food valley jansen

The idea for this project Een tweede leven voor de buitenwijk (A new lease of life for the suburb) was inspired by my father, who lives alone in a spacious semi-detached house in the Reeshof neighbourhood of Tilburg. He would prefer to live in a smaller home –with less maintenance and more shared amenities, such as a communal living room or a collective garden. However, such housing typologies are hardly available in his neighbourhood, despite a growing demand for them.

In the next ten years, the number of people aged 65 and older in the Netherlands will increase by one million and there will be around 400,000 additional single-person households. At the same time, the country currently has 5.1 million family homes, but only 2.6 million families. This discrepancy inspired me to investigate how we can transform existing suburban neighbourhoods to better meet today’s housing needs.

Many senior citizens wish to remain in their familiar neighbourhoods, but their current homes no longer align with their stage of life – and suitable alternatives are lacking. As a result, large family homes are often occupied by small households, thus increasing the risk of loneliness. Meanwhile, it is becoming increasingly difficult for first-time buyers to find suitable housing. By transforming existing homes, we can create new residential models that serve the needs of both groups. In my design, single-family houses are converted into accessible, age-friendly shared living arrangements. A ground-floor bedroom accommodates elderly residents, while an independent living unit on the upper floor provides housing for a first-time buyer or young couple. At the block level, new opportunities arise as well: private gardens are combined into collective green courtyards with shared amenities, such as a communal living room or workshop. This encourages social interaction without compromising residents’ privacy. Public spaces in the neighbourhood are improved by reducing the dominance of car traffic and creating more room for greenery and social encounters.

With this design, I propose a realistic solution to the housing needs of both senior citizens and first-time buyers. The result is a futureproof, green suburban neighbourhood where people of all ages can live comfortably – exactly what my father, and many others like him, truly need.

jonkeRs

amsTeRdam sensoRy aRcHive

architEcturE bEyond sight

What if architecture listened more than it showed? What if space not only appealed to the eye, but also the hand, the footstep, the breath and the trace of memory?

The Amsterdam Sensory Archive begins with this question – envisioning a new public typology where architecture and landscape form a continuous sensory environment. Located on a post-industrial site in Amsterdam-Noord, between the IJ River and Johan van Hasselt Canal, the project transforms a forgotten peninsula into a layered terrain of experience.

The design grew from conversations with people who navigate the world without relying on vision – and from my own heightened sensitivity to sound, texture and visual overstimulation. Their insights and my lived experience shaped a spatial language focused on rhythm, touch, scent and material presence. The result is not a single object, but a connected sequence of volumes and landscapes – a space that can be explored, not just observed.

The archive collects and shares sensory experiences rather than documents or artifacts. It includes indoor and outdoor zones, each with its own spatial character and sensory atmosphere. Memory, learning and perception unfold across spaces that are immersive, slow and attuned to difference.

In an age shaped by visual saturation and disconnection, the Amsterdam Sensory Archive proposes another way of building –one that embraces sensitivity as a strength, and architecture as a medium for presence and inclusion. It is a living archive of experience, where built form and landscape merge to awaken new ways of sensing the city and ourselves.

Discipline Architecture

Graduation date

1 July 2025

Graduation committee

Machiel Spaan (mentor)

Brigitta van Weeren

Lindsey van de Wetering

Additional members for the exam

Jeroen van Mechelen

Quita Schabracq

kiRscHBaum

This graduation project reimagines Taiwan’s Hsinchu Science Park, once the heart of global semiconductor production, in a speculative future where climate collapse and geopolitical upheaval have rendered its fabs obsolete. As the ‘Silicon Shield’ falls, the project explores how abandoned cleanroom infrastructures could be transformed into a new survival architecture: the GRUB Campus, a corporate-driven food production hub.

Drawing from worldbuilding methods inspired by film and game design, the project situates architecture within a larger narrative of the 2050s–2060s. It envisions a corporate-led era where resource scarcity, food insecurity and environmental extremes redefine urban systems. Within this framework, Hsinchu’s high-tech ruins become laboratories for adaptive reuse – their precision-engineered shells retrofitted into protein farms, greenhouse roofscape and distribution towers.

The proposal introduces three guiding principles: Circular Production Systems linking insect farming and greenhouse cultivation in closed ecological loops; Material Extraction through chitin recovery, feeding new cycles of bio-based construction; and Farm to Table 2.0, a vertically integrated food pipeline enabled by drone logistics. Together, these strategies demonstrate how architecture can operate as resilience infrastructure in the Anthropocene.

From Wafer to Grub positions architecture not only as a technical solution, but as a speculative narrative of transformation. It reflects on how the collapse of Taiwan’s high-tech industry could open unexpected paths toward survival – where the infrastructures of silicon are reimagined as infrastructures of food and the legacy of fabrication becomes the foundation of nourishment.

Part of the speculative series The Broken Silicon Shield.

04 West view of the GRUB Campus

05 North-West elevation of the distribution centre

06 Façade skin, North-West elevation of the distribution centre (model at 1:500 scale)

07 Cantilver structure, North-West elevation of the distribution centre 08 Theoretical chitin-based façade panel material

travElling Music pavilion for priMary school childrEn

KlankKlas (SoundShift) is a travelling music pavilion that connects architecture and music to provide primary school children with access to high-quality music education. The design embodies a musical approach to space, where the pavilion functions as an instrument for growth, inspiration, and the development of cognitive and emotional skills.

The pavilion consists of 16 elements that enable the various configurations and is designed for efficient transport in container format. It unfolds into a flexible building (7.65 m x 13.25 m), inspired by mobile structures, such as fairground attractions. This demountable and travel-friendly design allows the pavilion to be easily relocated to schools, where it adapts to specific needs through different configurations. Options include one large space (approximately 85 m²) for group activities, such as information sessions or performances, one space of 9 elements (35 m²) for a full class, two spaces of 7 elements (20 m² each) for half classes, or three spaces of 5 elements (9 m² each) for individual music lessons. All configurations are aligned with educational music programmes to integrate professional guidance and strengthen music education. The walls/ elements, 2.5 m wide and suspended on rails, are curved for optimal sound diffusion and feature a hard reflective side and a soft absorbent side. This enables users to adjust the acoustics to specific instruments, resulting in a perfect sound experience.

The pavilion integrates inspiring architecture with scientifically-grounded methods, utilising wood types also found in musical instruments for warm, acoustically-optimised interiors. Through absorption and diffusion, a neutral, comfortable environment is created that preserves the natural sound of instruments and stimulates creativity.

KlankKlas works closely with professional musicians and offers a wide range of music lessons. As a travelling music school, it promotes accessibility for all children, enhances social skills and contributes to a world where music is a lasting enrichment.

maddeR

navvaB BazaaRWay

connEcting thE dividEd

Navvab Bazaarway is about reconnecting a once homogeneous neighbourhood. Navvab Highway cuts through Tehran’s second largest historical urban fabric. What used to be 2–3 layers of housing along human-scale, 8-meter-wide local streets with shops and amenities on the ground floor was redefined in 1994 into the Middle East’s largest megacity construction. A 100m-wide strip was wiped clear to make space for thousands of housing units in medium to tall buildings, with no proportion to what was there before and a prioritisation of car movement over human life. Because the development happened in the early 90s, its model was car-centric. Massive hard-surfaced areas were created so cars could move and park freely . But as we know, the more we make space for cars, the more traffic jams we create. With that comes noise pollution, air pollution, health issues, higher city temperatures, accidents and so on. By replacing the car-centric approach with a smart mobility system, we not only make transport more efficient and frequent, but also open up space for programmes – something the city desperately needs. Ever since the demolition, thousands of square metres of neighbourhood amenities and programmes were removed and never rebuilt.

In this proposal, I aim to reconnect by redefining and reimagining one of Iran’s architectural and historical treasures: the Bazaar. A well-integrated urban gem, where daily social life intersects with commerce, schools, religious buildings, health centres and more. The  Bazaarway  will replace the highway and create a platform where both the neighbourhood and the city benefit mutually.

Discipline Architecture

Graduation date

1 July 2025

Graduation committee

Barend Koolhaas (mentor)

Azadeh Arjomand Kermani

Wouter Kroeze

Additional members for the exam

Raul Corrêa-Smith

Miguel Loos

04 Navvab project mobility and programme

05 Creating axial Bazaar connections

06 Developing the network into a well-connected system: uniting east and west through courtyards and programmes

07 An active roofscape with green courtyards

08 Applying passive cooling systems and vernacular strategies.

09 Navvab bazaarway: a glue stitching back the pieces together.

10 Visualization: communal areas organised around the courtyards reflect the rooftop dome structure and benefit from wind towers that cool the spaces.

11 Rooftop plan.

12 -1 Floor plan.

13 Visualization: Bazaarways entry points.

14 Visualization: axial connections integrate the new buildings with the existing architecture through a series of renovated and newly added commercial spaces, pocket parks and green vegetation along the path to cool the corridor during hot days.

back to thE past, forward to thE futurE

Glaswijk (Glass District) is a design proposal for the transformation of the former Koninklijke Nederlandsche Glasfabriek (Royal Glass Factory) site in Leerdam. Rooted in a fascination with the relationship between living, working and industrial architecture, the project explores how historic production grounds can be re-embedded into the urban fabric. For over a century, the Glass Factory has acted as a visual and social anchor in the city, providing the foundation for a contemporary reinterpretation of the traditional factory district.

In today’s urban landscape, where boundaries between functions are dissolving and the need for sustainable, circular and inclusive development is growing, Glaswijk offers a perspective on transformation that bridges heritage and future. As the factory’s original function has diminished, the city around it has expanded, creating sharp divisions between the site and adjacent neighbourhoods . These barriers, both physical and symbolic, have resulted in underused buffer zones that contribute little to the quality of public space.

Glaswijk proposes a fundamental reconfiguration: rather than erasing the factory, it is reshaped into a resilient production hub, interwoven with housing, workspaces and communal amenities. The project introduces a new typology of urban living, compact, flexible and energy-efficient homes directly connected to workshops, shared facilities and collective outdoor spaces. This creates an environment where proximity, sustainability and community form the core of daily life.

Aligned with the concept of urban manufacturing, production adapted to the scale and structure of the city, Glaswijk reimagines how industrial functions can coexist within a livable, vibrant district. The aim is not nostalgia, but a forward-looking neighbourhood where identity, craftsmanship and spatial quality converge.  By doing so, Glaswijk transforms Leerdam’s industrial legacy into a foundation for a socially connected, sustainable and future-oriented urban quarter.

musTaFa

nicanci

THe soil as developeR

urban transforMation drivEn by thE landscapE

Havenstad is an ambitious plan by the City of Amsterdam to transform part of the Western Harbour Area into a new mixed-use urban district starting in 2029, with up to 70,000 homes and 58,000 jobs. Although sustainability and climate adaptation are key themes in municipal policy, they are not yet clearly visible in the current spatial plans. The soil as developer offers an alternative approach, where the landscape forms the foundation for urban development.

In this vision, the underlying landscape takes the lead: soil layers, historic water structures, topography, ecology and hydrology together create a strong framework that guides urban form. The former location of the Oer-IJ river plays a central role. It is made visible again and reconnected with the harbour basins, creating a powerful landscape structure. A closed ground balance reuses soil and sludge material from the area to shape landscape features, such as mounds, shallows, islands and slag heaps.

The plan aims to balance living, working, nature and experience. Industrial structures, such as silos, warehouses and cranes, are preserved and repurposed, for example as studios or homes. Introducing semi-open blocks that allow the surrounding landscape to flow into the built environment creates a rich variety of residential atmospheres.

A key principle is the experience of the landscape. Both introverted seekers of peace and extroverted recreational users can find their place. The Oer-path, a meandering route through the area, connects these diverse experiences.

By weaving together landscape and infrastructure, a resilient urban district emerges, where ecology, climate adaptation, heritage and quality of life come together in a new form of city living.

WieggeRs

The landscape shapes the building blocks and extends into their inner worlds

05 Soil types and height differences create strong contrasts between different natural typologies and experiences within one area

06 The new soil map forms the foundation for urban development

07 In the harbour area, the expansive, water-rich landscape extends deep into the building block, where it takes on a more intimate character

08 The Oer-IJ enters the square and gradually transitions into a harder, more urban surface.

09 A sheltered inner world with a strong sense of social safety provided by the surrounding buildings invites recreation

10 The silos stand with their bases in the Oer-IJ, where the Oer-path gently weaves through the silos.

naTions, danuBe, THose WHo live neaRBy

rE-iMagining thE rivEr-bordEr landscapE bEtwEEn

slovakia and hungary

The focus of this project is the Danube river border between Slovakia and Hungary, and the Gabčikovo Dam located just within Slovak territory. In the past 200 years, complex geopolitical relationships and the demands of water engineering have dramatically altered this section of the river. Its course has been narrowed and straightened, wetlands deprived of water, and the very survival of the river is suppressed and neglected.

The Gabčikovo Hydroelectric Dam, originally initiated by Czechoslovakia and Hungary, is in the end solely completed by the then newly formed Slovakia. The dam diverts 80% of the water from entering the Danube, which results in huge degradation of the river’s ecosystem, altered groundwater levels in both nations and heightened surface water levels in Bratislava – contributing to the city’s worst flood in 30 years in 2024.    In an imagined scenario in which the flood became a turning point in how Slovakia and Hungary perceive the dam, the river and each other, the two nations recognise that the key to their own sustainable future is a healthy river, one with enough water to flow freely. The dam is stopped and the border is re-drawn. The traditional single-line boundary becomes a new region between the two nations – a territory claimed by the river itself, named ‘the River Republic’. The River Republic is realised through the concept of creation by subtraction, which includes removing the dam’s function, clearing poplar production forests and scaling back the maintenance of man-made objects. The result is a dynamic river landscape that is protected by both Slovakia and Hungary. The possible outcome is presented through a 20-metre-long section accompanied by six short stories that describe different spaces. The goal of this project is to remind us that the river is not merely a volume of water, but an entity of ebb and flow, wet and dry, on which a rich variety of life depends.

Colofon

Curated by Justyna Chmielewska

Anna Torres

Advisory board

Madeleine Maaskant

David Keuning

Janna Bystrykh

Anna Gasco

Joost Emmerik

Production

Sanne Blok

Editors

Anne Higler

Mildred Zomerdijk

Translations and proofreading

Richard Glass

Graphic design

Mainstudio (Edwin van Gelder)

Printing Pantheon

Amsterdam Academy of Architecture

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uRgency memories of a place cyclicAl Times Timelines rewriting