MUNICIPAL ORPHANAGE ( ) Aldo van Eyck Formal Strategies EVDA 621 M.McFeeters

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1 From Team 10: In Search of a Utopia of the Present (NAi Publishers, Rotterdam) MUNICIPAL ORPHANAGE ( ) Aldo van Eyck

2 Unity through Multiplicity and Diversity Van Eyck developed a complex entity through gathering all program factors of the specific children division and the central administrative facilities required of the orphanage. He configured the building as a whole, which consisted of each individual component functioning autonomously yet be an integral part of the larger unit. Additionally, Van Eyck s radical determination of form was based upon the configuring the relationships between opposites: open-closed, inside-outside, small-big, much-little, many-few. He considered the unbroken relationships between these elements to be equally as important as the individual elements themselves. Roof under construction showing grid of domes, Source: Van Eyck Archives Entrance Condition Van Eyck s understanding of the principles of connection and multiplicity wouldn t be fully discussed until much later by such theorists as Gilles Deleuze and Felix Guattari. Deleuze and Guattari theorized the independent, complex series of relationships and multiplicities found within the realm of Rhizomes to influence the assemblages of intricate relationships in the formation of a single organism. The development of a single thing through the irregular and dispersed patterning of a multiplicity of elements is the principle of Van Eyck s Orphanage form. The design is the assemblage of a multiplicity of small cells - internal and external units. He permitted the multiplicity of each unit to form a loose, complex pattern; the combination of a few larger domes with numerous smaller ones indicates how multiplicity is reconciled with unity and unity with diversity through the recurrence of the basic unit. Despite the seemingly looseness, Van Eyck ensured the pattern was recognizable and homogeneous by implementing a single structural and constructional principle to the elements. Furthermore, Van Eyck employed a technique of multiplicity to the perception of each spatial element. An example of this implied multiplicity of representation is experienced within the immediate entry zone. The visitor enters through the main entrance by passing beneath the raised administrative wing of the building, which leads into the main loggia. A dual experience of belonging here and there, demarcating the outside world and the internal world of the Orphanage is sensed through minor paving pattern variation and two low stairs. The sense of moving beneath something, stairs and paving modification announces the building proper.

3 Plan View - showing grid Source: Van Eyck Archives Exploded view of different layers of single unit; Source: Strauven, 1998 Bouworde: Architectural Order The Orphanage design basis exists within classical architectural conceptual patterning. Van Eyck s architectural order or bouworde organized and informed the building through the limited architectural elements of the dome, column, and architrave, as well as a highly recognizable grid as seen in the top, left image. The column grid is derived from a modern approach, rather than classical for Van Eyck organizes the structure with a shift in composition and asymmetrical order. It was important to Van Eyck to express the regularity of the grid by ensuring continuity of column width, despite the task of a column being load bearing or not. The architrave system is derived from classical architecture, but Van Eyck s inclusion of the architrave is incredibly not-classical. Classical order is suggested through the façade details, which articulate supporting and supported architectural elements. Traditionally, the architrave is an essential structural element, where as Facade Details; Source: Strauven, 1998 Van Eyck s approach is for the architraves to only refer to the structural layer. He erects the architraves upon the columns and implies the span construction on which the domes rest; yet the architraves truly are not part of the structure. The actual dome support consists of concrete beams cast in situ after the architraves are situated on the columns or structural walls. Van Eyck establishes an order where supports and the representation of supporting are kept separate. The frame is comprised from the system of domes, columns, and architraves, which defines the load-bearing layer of the form. An exploded view of the form details the secondary layers of the skin and scenery. The architrave becomes a part of the skin layer when it functions within the façade and divides inside from outside; as well as becoming a part of the scenery layer when the architrave separate and bounds internal spaces. As previously mentioned, Van Eyck s architraves refer to the structural layer but doesn t belong. The architrave becomes the essential common element for articulating the complex relationships between the three layers.

4 Nagele Approach The Orphanage is of a pavilion-like system with the L-shaped units grouped around interior loggias and exterior courts. This system was influenced by a previous project Van Eyck was involved, the Nagele schools in the early 1950 s. The Nagele approach was radically unlike the static symmetrical design preferred for school institutions because it was comprised of a centrifugal courtyard with the same number of classrooms set eccentrically from the centre of the courtyard; the classrooms were arranged in a windmill pattern. Van Eyck merged this Nagele approach with a pavilion system to form a seemingly fanciful form, although the layout of units for each specific age group was to permit as much as possible the morning and afternoon sunlight. Structuralist Form Despite Van Eyck s singular focus and commitment to a humanist approach for the project, the Orphanage has been singled out as one of the first Structuralist buildings. A Structuralist system allows for change and accepts this change without actually altering itself; essentially a fundamental incompleteness. Van Eyck s view on structural flexibility of this degree is it will lead to a design of neutrality lacking any character or integrity. He designed every aspect to meet the requirements of the children, not Source: Leupen, 2006 for the demands of possible future occupants and/or program. The primary intent was a children s home established within the context of architecture. The open and fluid architecture but rigorous grid and segregation was perceived by later educationists to be overly controlling and institutionalized. Through an intervention in the 1980 s before the building was demolished, the building was restored and reprogrammed to facilitate the Berlage Institute a postgraduate architecture laboratory and presently the Esprit Nederland clothing chain and the Lowe Lintas advertising agency. The fundamental relationship between the frame, skin, and scenery layers attributes to the architecture s ability to accept change. Specifically, it is the changeable aspect of the scenery layer that accommodates change, therefore not demanding any alteration of the structure layer. One of the restored rooms for the Berlage Institute, used for a communal meeting room Source: Heuvel, Structuralism in Dutch Architecture, 1992

5 Weak Architecture The past is always contingent on what the future makes of it. E. Grosz At the time of the Orphanage s restoration in the 1980 s, Ignasi de Sola-Morales was theorizing on the distinction of weak architecture. Rather than a literal definition, Sola-Morales identifies weak architecture as consisting of a quiet but significant cultural resonance. An example of weak architecture requires three conditions: diversity of time, temporality, and monumentality. Diversity of Time Van Eyck s design does not mimetic a specific history. There is an underlining form of architectural knowledge Violette Cornelius, Girl ca and precedent rules combined Source: Stedelijk Museum Amsterdam, 2002 with the forming of normative structuring of space, which do not arouse any specific images of past or future worlds. The form allows for an immediate experiential reality. Temporality Temporality is important within architecture for it produces an Violette Cornelius, Girl ca unforeseeable place Source: Stedelijk Museum Amsterdam, 2002 or moment. Van Eyck argued a space to be developed into a place requires temporal meaning and a sense of occasion needs spatial meaning. Temporal and spatial meaning is obtained within Van Eyck s structure by means of memory and anticipation. Aerial view of original derelict site conditions Source: LeFaivre and Tzonis, 1999 Monumentality Once more, a literal meaning is not the intention of Sola-Morales condition of monumentality. It is not the physical magnitude of the structure, but rather the recollection of the architecture after being seen. The recollection of the Orphanage s quiet form indicates its architectural monumentality.