Archi-Tectonics
Winka Dubbeldam (*1960) 

 

 

TRANS-FORMAL ARCHITECTURES:

GLOBULES, TEXTURES AND TRACES

G1 - GLOBULES:

- Thing-shapes, or spatio-temporal individuations, corporeal occurrences with specific material qualities, almost smooth surfaces, and vaguely defined edges. - (Globule: a tiny ball or globe, esp., a drop of liquid, Globoid: shaped somewhat like a globe or ball).

T1 - TEXTURES:

- A self-similar system where the micro resembles and informs the macro. (Texture: woven fabric, the arrangement of particles or constituent parts of any material)

T2 - TRACINGS:

- Phoronomic shapes, formations developed out of tracings of gradual perfection, from which new constructions grow (phoron: a combining form meaning bearer, producer)

In the current fast-forwarded process of globalization, architecture is slowly sucked into the turbulent flux of changing urban conditions- conditions which are now no longer defined by local urban but by the increasing forces of global economies, immigration patterns and electronic communication infra-structures. This globalization of our living environment is creating external/internal stimuli which calls for an intricate response mechanism in order to accommodate/integrate these cultural shifts. The realization of this complexity, with its multi-layered systems already calling for a new spatial order, is manifesting itself in ways which are looking to science to discover ways of bringing resolution/understanding to this global existence ; architecture has the role of identifying this globality, extracting and transforming its many systems into a spatial construct. With information technology now linked so closely with the built environment, architects have become the translators of this information. For architecture, the study of science, like philosophy, mathematics or microphysics, will become of critical importance, causing the transformation from a mechanistic approach to an organismic, process-oriented approach. A shift in orientation has developed, which began in science with relativity theory, followed by quantum theory and systems theory. This organismic approach describes the notion that an organism is characterized by its immanent patterns of organization. This is similar to the notion of spirit also described by Leibniz as monads and by Hegel as "Begriff" or Absolute ideas. These phenomena occur on all levels : in society, in behavioral processes, as well as in nature. The question which often comes up - does this move? - is an expression of the mechanistic way of thinking which still pervades; the organismic approach is process-oriented; it develops a space in the way a scientist works- it is based on research : the current global forces will define the behavior of the system (urban textures) and finally distill the outcome (archi-tectures) - not moving but moved- not a machine (Corbusier's machine for living) but a research which results in a set of parameters which are traced, graphed and mapped in order to reflect the complex behaviour of urban forces, programmatic elasticity and the multiple layers of current modern architectures.

Winka Dubbeldam

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Maashaven Towers
Rotterdam, Hollande, 2000

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This project, which Winka Dubbeldam worked on within a team of developers and engineers, involved revitalizing a port district of Rotterdam. The economic changes taking place in the port are actually translated by a shift of industrial activities to the outskirts, thus permitting a potential inflow of new functions. These benefit from the proximity of the city, as well as from huge tracts of land beside the river Maas. Here there is an immense grain silo on a disused wharf which had to be converted into offices and housing. As a noteworthy example of 1930s' industrial architecture, part of the building would be conserved to house offices. The grain storage area would be turned into a vast courtyard where sporting programmes would be held (tennis, track events, fitness club). Housing units, constructed on the silo's concrete foundation using a system of modular metal panels, would close off the rear of this courtyard. On the edge of the pier, three towers cantilevered over the river would house duplex apartments. These three glass blades would reflect the water and the city opposite.

 

Museum of global culture
Göteborg, Suède, 1998

 

archi-tectonics

In her response to this conceptual competition, Winka Dubbeldam was concerned from an architectural standpoint with the issue of "texture", interweave and integration. First and foremost, the building had to be incorporated within its site-not only the site of its local installation but also its overall setting. The museum, which is linked to information systems, was conceived as a nodal point in the world's "web". Balanced between flotation and fixedness, the project also had to incorporate the various programmatic features between themselves and in their broader landscape. The building's structure was made up of several inter-folded and interwoven floors : urban level, public level (accessible on a round-the-clock basis), collections level, and administrative level. The whole formed a matrix, a dynamic system of programmatic interaction. The architecture here took on an "organismic" function : no programme was expressed as such, and all programmes were part of one and the same architectural landscape. The work of natural and artificial light was designed to complement this general movement of space, and this synthesis being sought between art, science and architecture.

 

Millbrook Residence
Millbrook (NY), USA, 1996-1998
 

Weaving itself across, through and into its hillside, the house links the domestic interior with the physical and communications networks that reach to a larger territory beyond. Thought as a knot, the house has been configured as a field of three-dimensional movement and intertwining spaces that retrace the topography of the hilly landscape. A path winds up through the site and continues through the interior, organizing upward and downward movement as it weaves spaces and program together. Workspaces transform and flow smoothly into living spaces and, on the lower level, a media room opens the house to information. Set into the sloping ground are new concrete earthworks-steps and fifty-ft. long flower beds, each with a single type of plant to give the sense of endless extension. Likewise, a long, skinny lap pool stitches together inner and outer realms. Traces of a former house are maintained, including a concrete slab foundation and a stone fireplace and chimney. Recessed concrete plates extend to accommodate the elongated volume of the new house. The structural system joins heavy concrete elements to a light steel framework.

 

Wooster Street Loft
New York, USA 1998
 

Located on the lower west-end of Manhattan, a former six-story warehouse building will be renovated with an additional three-story penthouse on top. Adjacent to the old brick-faced building, a new residential building of 11 stories will be erected. Renovated, the warehouse building will be completely gutted out, enlarging the interior space for the introduction of an open loft plan. Large, tree-like wood columns inside allow for an addition of the penthouse structure in glass and steel. The setback code of New York City is here taken as a design feature rather than a restriction ; this "sky exposure plane" as it is called, is introduced as a tilted glass plane, which separates the penthouses from the planar street facade. These two glass facades then inflect on each other, blurring their singularity and allowing for a folded spatial condition. The ground floor will be occupied by retail space and an art gallery, intended to foster a more active street and ease the transition from the former industrial area to an integrated residential neighborhood.

 

Greenwich street appartments
New York, USA, 2000

Located on the lower west-end of Manhattan, a former six-story warehouse building will be renovated with an additional three-story penthouse on top. Adjacent to the old brick-faced building, a new residential building of 11 stories will be erected. Renovated, the warehouse building will be completely gutted out, enlarging the interior space for the introduction of an open loft plan. Large, tree-like wood columns inside allow for an addition of the penthouse structure in glass and steel. The setback code of New York City is here taken as a design feature rather than a restriction ; this "sky exposure plane" as it is called, is introduced as a tilted glass plane, which separates the penthouses from the planar street facade. These two glass facades then inflect on each other, blurring their singularity and allowing for a folded spatial condition. The ground floor will be occupied by retail space and an art gallery, intended to foster a more active street and ease the transition from the former industrial area to an integrated residential neighborhood.

 

Archi-tectonics / Winka Dubbeldam
Winka Dubbeldam (1960)

1992 – Master of Science in Advanced Architectural Design, Columbia University, New York
1990 – Professional Degree in Architecture, Academy of Architecture, Rotterdam
1983 – Professional Degree in Architectural Design, Academy of Art, Rotterdam
1994 – Création de Archi-Tectonics

Enseignement
2000 / 1998 – "Paperless" Design Studio, Columbia University, New York
2000 / 1994 – "Paperless" Design Studio, University of Pennsylvania, Philadelphia
1997 / 1995 – Academy of Architecture, Rotterdam

Principaux projets et réalisations
2000 – "Maashaven Towers" Rotterdam (en cours) ; "House in Aspen" USA (en cours) ; Urban design, Moscou (projet) ; "Warehouse 6+4 storeys" rénovation (en cours) ; "Duplex Store for a London Fashion Designer" Soho, NYC (en cours) ; "A Hair/Beauty Salon" Uptown, NYC (en cours) ; "Townhouse in Hoboken" rénovation (en cours) ; "Redesign for an Architectural School" Rotterdam (en cours) ; "Greenwich Street Apartments" New York (projet)
1999 – "Duggal Max" Digital Imaging Facility, New York (réalisé) ; "Gear Magazine Office" New York (réalisé)
1998 – "Wooster St. Loft" New York (réalisé) ; "Goteborg Museum of World Culture" (projet)
1998 / 1996 – "Millbrook House" New York (projet)
1997 – "Wall Street Parallel Network Center" New York (concours)
1996 – "Governor's Island : Strategic (Re)occupations" (concours) New York ; "Electronic Media Center" New York (projet)
1995 – "Yokohama Ocean Liner Terminal" (concours), Japon ; "Water Relief" Urban Landscape, Dordrecht (projet)
1994 – "Bio-Lab" Désert Mojave (concours) ; "Cristine Gose Gallery" New York (réalisée)

Expositions récentes
1999 – "Archiprix" ARCAM, Amsterdam, "The Un-private House" Museum of Modern Art, New York ; FOE Gallery, Munich ; T2 Art Gallery, New York ; Parsons Gallery, New York
1998 – "New York's Centennial of Greater NY Exhibition : 100 ideas for the City that could be" Municipal Art Society, New York

Principales publications de Winka Dubbeldam
1996 – "Winka Dubbeldam Architect" 010 Publishers, Rotterdam
1995 – "De Structuur van Water" Waabders, Hollande, Waterwork
1994 – "In Gesprek met Peter Eisenman" Architect (7/8)
1991 – "Strategic Renewal of Moerwijk" 010 Publishers, Rotterdam

Bibliographie sélective
2000 – "10x10" éditions Phaïdon Press, Londres
1999 – A+U (n°344) ; Abitare (mai) "The Un-private house" Museum of Modern Art, New York ; "Hybrid space, New forms in digital architecture, Peter Zellner, éditions Thames & Hudson, Londres ; "Lofts + appartments in New York" Edizioni l'Archivolto ; "Space travel in a loft" New York Times (23 déc.)
1998 – Archimade (mars) "Object 1998-1999" ; Interior Design (avril) ; Object 1998/1999
1997 – Techno-Fiction (vol.1) : The 7th Bauhaus Kolloquium ; Elle (avril)
1996 – World Architecture (oct.) ; Competitions (automne)
1995 – Space, Arts & Architecture and environment (sept.) ; Circuit (sept.)