EXIT14 INT TERPROJECTS

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1 fac-ark.be EXIT14 INTERIEURARCHITECTUUR MASTERPROJECTS

2 UHASSELT FACULTY OF ARCHITECTURE AND ARTS _ Universitaire Campus, Gebouw E 3590 Diepenbeek, Belgium T

3 EXIT 14 Interior Design - MASTERPROJECTS Object & Design- Scenography- Retail Design - Adaptive Reuse

4 TEAM - LEO AERTS, SAIDJA HEYNICKX & GILBERTE CLAES FOTO S: STUDENTEN MASTERSTUDIO OBJECT & DESIGN 1. & 2. Adriaan Beirinckx 3. & 4.Stefanie Neven

5 TEAM - LEO AERTS, SAIDJA HEYNICKX & GILBERTE CLAES FOTO S: STUDENTEN MASTERSTUDIO OBJECT & DESIGN 5. Lore Hermans Pieter-Jan Herinckx In the masterstudio Object & Design we focused on technique, which makes furniture more ergonomic and multifunctional and which creates more possibilities for the end consumer. The work in progress is an essential part of the exercise. 3

6 MASTER OBJECT & DESIGN ADRIAAN BEIRINCKX CABINET DE CUROSITÉ The Cabinet De Curiosité is a design with a sense of discovery and collecting. This design should include the sliders and boxes that were present in the original Cabinet De Curiosité. I wanted to incorporate this in my design in a modern way. These slides also create different depths. In the niches or on bulges you can exhibit elements of your collection. This is to indicate the open nature of a collection. As a collector you have a great passion and pride for your collection. And it s just collecting that has been appealing to us as humans for hundreds of years. In my Cabinet De Curiosité I had the intention that the user can exhibit just a limited amount of objects. This limitation is important to allow the object to stand for itself and to emphasize it. The Indescribable value of the object. This cabinet is intended to have the capacity to store. The research also forms a very important part of the idea of the collector and his collection. For some collectors the research is almost as important or even more important than the collection itself. 4

7 MASTER OBJECT & DESIGN LIEN GRAULS LIVING WITH A DISABILITY, APHASIA AS A CASE FOR A FURNITURE DESIGN As a result of my research on the rehabilitation of persons with aphasia, I came into contact with a young pregnant woman. This woman has aphasia and hemiplegia. To help her, designed a changing table to suit her problem. All the important elements needed for the care are placed on the right side. The nursing pillow consists of two parts, an organic element and a flat element. The organic element is higher on the left than on the right side. By increasing the pad on the left, I tried to create a sense of security for the mother and a protective feeling for the baby. The flat element of the cushion is wider than the usual care cushions, because for care the baby needs to be rolled on its side. Everything must be placed on the changing table before the baby is laid on the cushion. To make this process easy, I worked with six boxes which have different colors and icons. The first box is open from the top and has subdivisions. Each division has a specific color and is accompanied by an icon. The colors of the subdivisions are reflected in the other five boxes provided at the front of drawers. If a subdivision is empty, the icon tells what is missing and based on the color the caregiver immediately knows in which drawer that is to be found. 5

8 MASTER OBJECT & DESIGN PIETER-JAN HERINCKX (S)CARVED BOX (S)carved box grew out of four pillars which shape craft into a substantial object. These four pillars are: the uniqueness of creating and inventing, the wood joint, materiality and sustainability through nurturing. Based on these four pillars I have aimed the results of my object at a craft activity, namely sketching. Sketching is an activity, which is very important to me. Additionally I could easily adjust the design to my needs. The inspiration for this design is derived from the evolution of the traditional workshop. I sought an object that encourages concentrated work and thinking. In addition, the object needed to provide a place to store the tools that I need for sketching. This includes the storage of paper, my favourite sketch pen, pencils and charcoal. To translate this concept into an object, I compared it to a portable toolbox. In essence, this involves a massive wooden box in which craft is steering for the perception and use. Specifically, this includes a solid wood worktop resting on a wooden frame, in which the tools are stored. The initial value of this object lies in the portability of craftsmanship and in the fact that you can carry it anywhere. As a second value, I refer to the close relationship between the user and the material. By sketching on a solid wooden surface I tried to improve the tactility between the user and his equipment. A third value relates to careful storage and preservation of the necessary tools. These actions make it possible to really cherish this object whereby it will stand the test of time. 6

9 MASTER OBJECT & DESIGN LORE HERMANS BETWEEN TREE AND BOOK: THE TACTILITY OF PAPER Paper is not just an ordinary material. Yet we don t realize how much paper we use everyday. The concept of Papier Fixé grew out of personal interest in our environment and my solicitude towards logging, which is inextricably linked to the papermaking industry. By studying artisan and culturally bounded methods of papermaking combined with a generous dose of experiment, I developed my own method to process paper waste into a new material with a very particular tactility and the properties of paper as well as textile. subtle pattern applied on the delicate surface of the material. The stitching provides the material of reinforcement. Papier Fixé is a very labour-intensive design and was made with a lot of patience. It s also a pleasant thought that last week s newspaper got a destination other than the bin. When Papier Fixé reaches the end of its life cycle, it can still be recycled as paper. Papier Fixé is a very light folding screen with a honest and simple construction. This folding screen is made of only three materials; handmade recycled paper, wood and thread. The tactility of handmade paper is enforced by a 7

10 MASTER OBJECT & DESIGN STEFANIE NEVEN DIGITALISATION IN DESIGN: PROTOTYPING EXPERIMENTS La sigrita is an illuminated side table. It s a result of a study of prototyping in the design world, particularly prototyping with laser cutting. Experiments in laser cutting proved that the laser cutter is a good method to make a physical model in our design process and to improve our design. It can offer a lot of advantages for certain materials. La Sigrita was designed with four priorities, namely time, construction, materials and tactility. With these four priorities we pushed laser cutting to a higher level. because of its light-wood tones through the veneer sheets. La Sigrita consists of two elements. Each has a different height and shape. One has a removable tray and the other is just flat. An other special item about this design is that you can stack them up. It s like a luminous sculpture in your interior. La Sigrita is also made for outdoor use, this is La Sigrita Outdoor. It creates more atmosphere in your garden. The concept of La Sigrita is the same but the veneer is replaced by a weather-resistant material such as plastic, translucent PVC. It s also available in different colors. It s a playfull, colorfull element in your garden. La Sigrita is a nice addition in your interior, it exudes coziness. A strategically puzzled acrylic construction forms the basis of the design. This construction is coated with Laser-cut strips of veneer. This creates a cosy atmosphere A warm touch in your home or garden, an original light and a fashionable element. This object creates a more cosy atmosphere. A cappuccino or maybe a cocktail by your side has never been so much fun as with La Sigrita. 8

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12 TEAM - JO KLAPS, KRIS PINT & REMCO ROES FOTO S JO KLAPS & STUDENTEN MASTERSTUDIO SCENOGRAPHY 1. Showcase by Shqiponje Beka 2. The Scenorama team Showcase Shana Everaerts 4. Parasite by Jansen Loes 5. Showcase Liese Mertens

13 TEAM - JO KLAPS, KRIS PINT & REMCO ROES FOTO S JO KLAPS & STUDENTEN MASTERSTUDIO SCENOGRAPHY 6. Sceonography and Politics 7. Ballon Bridge 8. Showcase Loes Jansen 9. Showcase Stephanie Kempeneers In the masterstudio Scenography we focused on an experimental showcase for a collection, a parasite exhibition in a Brussels Museum and searching for the link between scenography and politics. Students also designed a theatrical scenography for Caligula by Albert Camus and showed the results at De Vooruit in Ghent. 11

14 MASTER OF SCENOGRAPHY SHQIPONJE BEKA TELLING A STORY WITH LIGHT Light is a basic need in our life. When it gets dark we put on the light. But we can do more with light than to fulfill our basic need of seeing in the dark. Light is something fascinating. This is why I chose to tell the story of Oscar et la Dame Rose (Eric-Emmanuel Schmitt) with light painting. A camera can capture this immaterial wonder, we call light, and something beautiful can be made. The monologue of Oscar et La Dame Rose is composed out of 14 letters. Each letter tells the story of the last days of a young boy with leukemia. He lives every day as a period of 10 years, this way he dies as an old man. I chose develop this story underneath the Europabrug at Vilvoorde. This place is a hanging place for the youth. There are soccer fields, pingpong tables, etc. The most interesting part of this location is the grafitti on the walls that support the bridge. I attempted to include these into my design of the story. I tried to make light painted images based on the graffiti. The spectators who would watch my design, would have to watch how images are built on several walls. Those images have a link with the story, but they are very abstract. When you hear the text of the monologue and you watch those images your imagination is supposed to take over. 12

15 MASTER OF SCENOGRAPHY SHANA EVERAERTS LIMBURG IN THE SPOTLIGHT Limburg doesn t stop at the county borders. Limburg has long been a popular destination for tourists from their own country. However, promotional campaigns are still desperately needed to continue attracting tourists and to pursue new activities. I used scenography as a tool for designing an installation that brings Limburg literally closer to the Flemish people. The key question was: how can an installation be a useful addition to promote a region, but also give an extra dimension to its location? In order to leave a lasting impression, it is important to approach the public personally and to give them a place where they can come together and discover what Limburg has to offer. I translated this into a mobile installation containing a photo exhibition and an accompanying information point in which we (literally) put all facets of Limburg in the spotlight by using luminous pictures. A picture says more than text, but a picture can t replace a visit to a place or an event. However, it could trigger interest in a subject. Claiming a place in another province must also provide value for the location itself. I integrated a space where visitors can relax and enjoy their surroundings or participate in activities and attend small gigs. The result is a modular installation that revolves around the focus words: discover, learn more and meet. 13

16 MASTER OF SCENOGRAPHY - SANDRINA GEMELS nell.m@hotmail.com SITE-SPECIFIC THEATRE that no one pays any attention to them. Almost everyone has ever travelled by train. Whether it was last week or ten years ago, not much has changed. We find all types of people amongst the train passengers, ranging from students, holidaymakers to diplomats. Although we all have different backgrounds, we are all the same: travelers. Once the train has arrived at the various destinations, our normal lives will proceed. We hasten to go to our work or school and take no notice to the beauty of the station itself. The future of the Antwerp Central railway station has been discussed frequently. Not so long ago, the plan was to destroy it, but fortunately this never happened. The building has been renovated and is now one of the most beautiful stations in Belgium. Many beautiful architectural elements are hidden in the building but it seems Each traveler carries its own story and all these individuals together form one great story, that of the station. Most travelers are so busy with themselves that they no longer see the full picture around them. Different stories will be combined and translated into a theater set in the Antwerp Central station, in which the spectators will be the actors. In my design the spectator will not only recognize himself, he will also be the performer and as a plus he will learn something about the hidden treasures of the building. 14

17 MASTER OF SCENOGRAPHY LOES JANSEN FLY ME TO THE MOON I ve always had a passion for Astronomy. This master year I had the possibility to bring an element of the galaxy into scenography. 45 years ago, Neil Armstrong was the first man on the moon. The last time we went there is 42 years ago. I chose the moon, but why the moon?? The way I look at the moon is different than the way you look at the moon. Our closest celestial body gives us the opportunity of an extremely individual experience. At the same time it is also something collective, something we all share. The location for this exhibition is a local Church, Sint- Jozef in Lommel. It has lost its priest and and is now poorly used. The church is the house of God, often in history the moon was a place where the gods lived, like the Greek story of Diana and Endymion. I see it as a chance to bring the moon to the earth. The base for the design are the conclusions of my thesis. This is a visual study that examines the moon as a source of human imagination. It is a search for similarities between religious, mythological and scientific topics, popular culture and dream visions. I will apply the atmosphere I developed on a scenography. In my design I kept a lot of churchly elements. Religion and omething like the moon, art two things that are hard to understand, they give astonishment. My idea is to take the visitors on an extraordinary trip to the moon. You don t have to go km to escape this world for a moment of time. 15

18 MASTER OF SCENOGRAPHY STEPHANIE KEMPENEERS THE SPATIAL EXPERIENCE OF A MENTAL STATE: BORDERLINE Nowadays people all want to be happy. Everyone tries to avoid feelings of sadness or loneliness. These emotions seem very interesting to me. Why avoid them if they are sometimes inevitable? In this project I took Borderline Personality Disorder as a source of inspiration. I investigated how the characteristics of Borderline can be experienced spatially. I designed three installations in three different subway stations in Brussels. These locations are all part of Line 1, which I renamed Border Line. On these locations I did an intervention that refers to a characteristic of Borderline. Instability, contrast and impulsiveness can be experienced in these subway stations: A crooked tunnel located on a staircase would make you feel instable. A huge mirror from floor to ceiling emphasises the contrast of the space. An installation of printed panels, which spin around each time a train arrives, accentuates the impulsiveness of the wind. In all metro stations of Line 1 I made subtle interventions: All vending machines are filled with placebo medication, where people can purchase their daily dose. This symbolises the overuse of medication in case of psychological problems. Also advertisements are replaced by posters representing different voices in your mind. In the background there isn t the usual cheerful music. Instead you can hear very strange sounds that give an awkward awareness of being underground. Visiting Border Line will give people an impression of what it s like to be Borderline. 16

19 MASTER OF SCENOGRAPHY ELINE LOVERIX A SCENOGRAPHIC INTERVENTION FOR PROMOTING THE SHARING ECONOMY IN AN URBAN ENVIRONMENT The sharing economy arose in response to the current economic crisis and the disposable economy. The concept of give and take plays a major role in this economy. More and more people trade objects such as books, toys and clothing. Yet there are still many people who do not know what the sharing economy has to offer. That is why I chose to make an installation to stimulate this type of economy. This installation is mobile and consists of five cargo containers which are transformed into a repair café, a give-box, a car and bike share point and a collection point for fruit and vegetables from a local organic farm. The outer shells of the containers are graphically designed so passers are encouraged to participate in the installation. The sharing economy aims to a lower ecological footprint. I want to achieve this goal by using ecological materials. By using recycled containers, insulation material that is biodegradable and European wood from sustainably managed forests, this design will be ecologically justified. In my research, I became acquainted with the various aspects of the sharing economy and the many benefits of container architecture. Hasselt is the first city that will be a host for this installation. 17

20 MASTER OF SCENOGRAPHY LIESE MERTENS THE RHYTHM OF THE STREET Looking for rhythm of the street through photography. For my research I visited various city s with my camera and with these photographic results, I got inspired to make an exhibition about my own street photography. The self-made street photography was used as the subject as well as the source of inspiration for the scenography. The exhibition is located on the stairs of Montagne de Bueren in Liège. I chose this location because I wanted to bring the street photography back to the street. I chose different spots at the stairs to make several designs for presenting the photographs. By spreading the photographs over the stairs and designing different presentations, I want the visitors to have a variety of experiences when they visit the photo exhibition. 18

21 MASTER OF SCENOGRAPHY STEPHANIE MEYERS A SCENOGRAPHIC PRESENTATION UNIT FOR LOCAL HERITAGE ORGANIZATIONS Flanders has numerous cultural heritage organizations, from large coordinating organizations to small local initiatives. All of them are committed to research and preserve the cultural heritage of their area or region. These associations often have a wealth of information about the local history but do not always have the means to bring it to the public. I researched the need for a physical aid for local heritage organizations with which they can exhibit their work. My research has led to the design of a modular presentation object that can be used to exhibit in a variety of ways. The object serves as a support and help to exhibit and promote local heritage. It is designed in a way that the topic and the location of the exhibitions are variable. The topic can be changed by placing replaceable presentation panels into the unit, these panels can be printed with the information that needs to be displayed. The unit has a presentation showcase which can be used to display objects or valuable documents that need to be protected. It is also possible to integrate a tablet or touchscreen in the presentation showcase and a projector. The unit is foldable into a compact form so it can easily be transported. I gave my presentation object the name Modulus to refer to the modularity of my design, it is modular as a single unit and in combination with multiple units. In this way it is possible to create many different exhibition setups. Modulus is multi-functional, reusable, lendable, flexible, durable and budget friendly. 19

22 MASTER OF SCENOGRAPHY PIET PAESHUYSE (Italy) TRANSFORMING THE VISIT TO AN ARCHAEOLOGICAL WORKSITE INTO A TOTAL EXPERIENCE. My project proposes a practical solution for the Grotto of Fumane (I), an archaeological site of the Middle and Late Palaeolithic periods: a cave inhabited for some 50,000 years, where discoveries of exceptional importance have been made. These crucially significant finds are revolutionising accepted preconceptions and proposing a completely new picture of Neanderthal Man and his relations with Homo Sapiens. Given the quantity of sedimentation, excavations are expected to continue for many decades. As a result, the excavation area will continue to have the appearance of a worksite and visits will be possible only on appointment. The challenge of my project is to find a way to make visits both safer and more interesting. This means making it possible for visitors to observe the excavation area, while at the same time allowing the experts to continue their work undisturbed. The project aims therefore to provide a complete experience for visitors, also drawing on technological and narrative instruments, by communicating the cultural value of the site, presenting the history of the human group that lived there for thousands of years and emphasizing the importance of the traces it left behind. In other words, it aims to transform an improbable visit full of risk and difficulties into a complete and enjoyable experience. 20

23 MASTER OF SCENOGRAPHY LISA PUT SCIENCE FICTION AS INSPIRATION FOR A SCENOGRAPHY. In my thesis I investigate how science fiction can be used as a source of inspiration for a scenography. This research has inspired me to create an exhibition on this subject, which is optimally integrated in the Evoluon. In the Interior of this iconic building I introduced modular volumes, which lead the visitor through the exhibition. The design and appearance of these forms are inspired by the research: they are inspired by the formal language which emerged from the four science fiction movies analyzed. The angular shapes of the modules contrast with the circles and rounded shapes in the Interior of the Evoluon. The modules are multifunctional and allow for different exhibition methods (pictures, information, movies, objects, etc.). The result integrates harmoniously in the building s beautiful original Interior. The impression of a very large open space is retained. The modules create something extra, which motivates the visitor to walk through the exhibition and enjoy it. 21

24 MASTER OF SCENOGRAPHY DANA SCHOOFS DANCE AS INSPIRATION FOR SCENOGRAPHY The dictionary describes dance as the rhythmic movement of the body to the beat of the music. But there is a lot more to it. Actually, you can consider dance, just like painting, sculpture, photography, as an art form that belongs in a museum. Therefore, I designed a scenography that is based on a short choreography, in which dance is expressed in a unique and innovative way. The goal is to make invisible elements of dance visible to the visitor. Of course, these elements are not really invisible, but rather without being noticed because when you look at a dance performance you see this as a whole, not as a combination of different elements. The dance elements that are shown are: kinesphere, dynamics, sound, sense of touch and rhythm. This is done by means of art, projections, installations and experiences. Eventually the visitor will arrive in a room where a short film is projected. In less than a minute, this film makes the exhibition clear to everyone. 22

25 MASTER OF SCENOGRAPHY MANDY VAN DER PALEN WATER FOR ELEPHANTS I made a theater scenography about the film Water for elephants. It is not a regular theater performance that is played in a normal theater hallhall; it is played in a circustent. The film is about a traveling circus troupe in 1930 who have to deal with drama and romance during their trip. The base of the design is a wheel, because the circus is not able to travel and move without a wheel. The wheel makes sure that the circus is able to continue with their shows and work. For my design it is the same, it is not able to work without the wheel. My design is a circular platform that revolves around. The platform displays different scenes and it has two floors. The platform turns around such that the public is only able to see one scene at the time. 23

26 TEAM - KATELIJN QUARTIER & PHILIPPE SWARTENBROUX MASTERSTUDIO RETAIL DESIGN 1. & 4. Sofie Vandeweyer 2. Maité Dejean 3. Fatimah Chaudhry

27 TEAM - KATELIJN QUARTIER & PHILIPPE SWARTENBROUX MASTERSTUDIO RETAIL DESIGN 5 & 7. Charlotte Beckers 6. Fatimah Chaudhry For the studio Retail Design the students were free (after analyzing the environment) to choose a commercial reuse of the main mining building in Heusden-Zolder. Next to developing a masterplan for the cite and main building, the students designed the entire interior in great detail. 7 25

28 MASTER OF RETAIL DESIGN CHARLOTTE BECKERS RENOVATING A SHOPPING MALL: DE GALERIJ As long as we can remember, shopping malls have been part of our city centres and suburban areas. These malls are often large buildings and long-lasting important parts of a city s aesthetic look. As a consequence these malls sometimes cry for change to adapt to contemporary styles and trends, which often makes them the object of a largescale renovation. The subject of my research was the renovation of shopping mall Shopping 1 in the city centre of Genk. Thanks to the personal relationship I have with this mall, I was able to find the necessary connections to thoroughly observing this big renovation process. The conclusions I drew from this research were translated into an innovative design for another shopping mall in the city centre of Genk: Shopping 3, which I transformed into De Galerij. Apart from the external attraction and the interior, I also included a circulation plan and the original passage in the concept. Moreover, I decided to bring nature into the shopping mall by allowing more natural light to enter the building and by making contact with a small outside garden inside the shopping mall. The main goal of my design was to give Shopping 3 an upgrade through a strong concept in combination with some large chain stores on the squares surrounding the shopping mall. These remain important to complete the consumers shopping needs and to complement the offer of De Galerij. However, De Galerij mainly aims to embody the contrast with these chain stores by accommodating small retailers from all over the city of Genk in one place. These small retail stores and boutiques create a certain class and exclusivity which one cannot find in large chain stores. 26

29 MASTER OF RETAIL DESIGN LORE BEERTEN VACANCY IN COMMERCIAL CENTERS The Stalenstraat, a meeting point The focus in this study lies on finding correct solutions to the rising vacancy rate in commercial centers. More and more commercial properties are vacant as a result of the economic crisis, the deflection of stores to the periphery and the rise of online shopping. But not only the commercial properties in shopping areas are often empty, also the houses above the shops are in many cases uninhabited. Together they provide an unattractive streetscape. After a general research, it was necessary to examine and investigate one specific case. So afterwards, it would be possible to design a tailor-made solution. In this case the Stalenstraat (city of Genk) was chosen because of its high vacancy rates. After an investigation of the location, population and the characteristics of the street and its environment, several case studies were analyzed as inspiration for the final design. Vacancy may occur at different scales. Therefore I have chosen to investigate four case studies, each with a different size. These cases studied are a street, a neighbourhood, a business with different functions and an apartment building. All four of these projects have a positive impact on the area and have an interesting design. In the concept phase, a new identity for the Stalenstraat was developed. The street becomes a place where people can gather around, and just hang out. Here the great variety of people from the area come together. In the design phase, we ll start making choices based on the concept phase. From this new identity, a new master plan for the area around the Stalenstraat is set up. Finally, we ll take a closer look at one detail of the master plan, which is elaborated on a larger scale. This detail includes four commercial properties, six homes and a place to gather around for young and old. 27

30 MASTER OF RETAIL DESIGN FATIMAH CHAUDHRY CULTURAL FUSION IN RETAIL Culture and retail have a history that dates back to the beginning of human civilization. Various cultures can be found globally representing traditions, customs and beliefs of people. Despite their differences, cultures have more similarities than one might assume. A common factor found everywhere is undoubtedly the presence of retail. Retail can play an important role to create a sense of familiarity, understanding and trust between two cultures. A space has been created where various aspects of two different cultures are intertwined. Two groups have been taken into account. At the giving end I chose the Arab culture. The Western culture is on the receiving end represented by the building, Saint-Géry Hall, in the City of Brussels. Not only is Brussels of significant importance in Belgium and Europe, it is also suitable due to its demographics. The retail concept is based on two aspects: culture and commerce. Products and services will form a blend or representation of both cultures. The ground and first floor consist of goods such as clothing, accessories, fragrances, stationary etc. One can move from one space to another while introvert workings have been taken into account. The sections are meant to be flexible, modular containing individual touches. They surround a central open space maintaining and stimulating social interaction. In the meantime customers can consume delicacies. Culture is the main aspect in the basement, as the floor functions as a polyvalent space. Social activities take place such as workshops, lectures and art exhibitions. The past and present of both cultures has been taken into consideration. The result is a cultural fusion in retail. 28

31 MASTER OF RETAIL DESIGN MAÏTÉ DEJEAN FROM A FINANCIAL CONCEPT TO... AN INSURANCE STORE In comparison to some years ago, several items present a challenge to the financial market of tomorrow: attracting new clients, selling financial products and creating revenues occur in a completely different environment. The environment of the financial market has definitively changed. The financial crisis of influenced clients demands. Support from consumer organizations and changes in legislation frame the context of changes. The new financial order dictates that financial actors must adapt in order to survive. This research focusses particularly on the role of the independent Broker. Changes in legislation and developments in consumer behavior have a great impact on the financial sector. In addition, due to developments in digital media, the consumer does not need to rely solely on shops and their restrictive opening hours. However, even with these developments it is unrealistic to assume that consumers will completely abandon human relations. People are becoming easily seduced by the comfort and the choice of services provided by the broker. After all, he plays an important role in the financial market. The concept presented follows the same logic, whereby the broker plays a central role. The former role of the broker is consciously adapted in order to allow the client to experience the new technologies. This creates a space that is accessible to the client. Its goal is to establish the role of the broker in the financial market and to analyse how it is influenced by the development of modern technologies. 29

32 MASTER OF RETAIL DESIGN KATHLEEN LANGIE STREET OF THE 4 VIRTUES SHOP VACANCY IN MAASEIK Because of the big vacancy problems in the Bosstraat of Maaseik, it was important to find a solution to this problem. The purpose of this study is therefore to find a solution. After analysing Maaseik en the Bosstraat it was clear that competing cities, the quality of the street, poor communication, the growing popularity of online shopping and a limited shopping offer where the causes of the vacancy. A solution was sought through a literature study and case studies. The theoretical solutions are: working with temporary insertions, a pawn bank, the selection of product types, grants, street manager, a trader association, an attractor in the street adjusting rent, improving communication and quality of the street, stimulating living above the stores, looking at the street as one store and not working with vacancy. These solutions are then put into practice, creating a concept for the shopping street. To support this concept of street of the 4 virtues, a corporate identity and online and offline communication are developed. I designed street furniture and communication at street level to improve the quality of the street. For this reason some facades are adjusted too. Finally, a new shop is designed which combines all the results of this research and serves as an example for the other store owners in the Bosstraat. 30

33 MASTER OF RETAIL DESIGN FREYA PEETERMANS Freya Peetermans JAFRA, ARE YOU READY TO GO RETAIL? Jafra is a cosmetics company that doesn t work via the classic distribution channels with the accompanying retail environment, but via direct selling. This system has a lot of advantages, but also a few big disadvantages. For example, this way of doing business is very cheap and efficient. Companies can quickly branch out and divide to an extended network in different countries all over the world. Even so, a large target audience will never be reached and this way of selling is quite an exception. And because people are creatures of habit, a lot of them hold a negative attitude towards this system. This is not so much a downer for the company, but mostly for the salesmen and women, the consultants who try to fight these habits. It is their duty to promote companies such as Jafra and defend them in every way, but this proves to be a tough goal to reach. Being a Jafra consultant for a couple of years has made me decide to write my master s thesis about this brand. To put Jafra into perspective and understand this brand in the best possible way, we will first I first discuss the different sales channels. Up until today an important sales channel seems to be missing: the actual store. In my viewpoint, when a Jafra store is designed, the brand will become widely known and it will be positive for their perceived professionalism. The master design project corresponds fully with the conclusions of my research: a mobile pop-up store has all the advantages of an actual store, but avoids disadvantages such as competition for the local consultants due to its temporary character. It is my belief that customers, who couldn t be reached by direct selling before, will get to know the brand this way. 31

34 MASTER OF RETAIL DESIGN NATASHA SCHEPER CREATIVE INNOVATION THROUGH CRAFTS IN THE URBAN CONTEXT OF HASSELT In this study, the focus is on creating a retail concept involving craftsmanship and authenticity, in relationship with experiences. The needs and goals of today s consumers have changed. The consumer is looking for unique products that provide him added value, and for products that fit the self-image of the client. Today, stores need to offer more than just products. The consumer wants to see how objects are produced and especially by whom. The often perceived distance between consumers and producers needs to be reduced, and consumers like the existence of an opportunity to collaborate with a specialist in order to create objects that trigger personal and/or social value. Workmanships and craftsmanship lend themselves very well for the realisation of these issues. Both are part of or belong to the upcoming creative economy. Cities today can also gain added value by combining new creative concepts with city marketing and city branding. By bringing these issues to the heart of the city, the city can revitalize and attract young designers and artists, and also continue to attract them. From the foregoing considerations, I chose to work with the concept of craft economy. This is an essential part of the creative economy. For my master s thesis, I chose five crafts on the basis of the history and the needs of the city (Hasselt). With these crafts, my concept for the master s thesis was built. The study is completed with some relevant cases, and finally at the end there s a reflection on the finished thesis and the master design project. 32

35 MASTER OF RETAIL DESIGN SOFIE VANDEWEYER THE IMPASSIONED STORE Is the store an impassioned store? By other means: Does the shopping-perception match with the one the store wants to emanate? Each store distinguishes itself by what it really impersonates. Hereby its reason for existence becomes visible and tangible. It is not enough that a brand is well-known; it must also radiate certain values and standards. You can only know where to go, once you know where you came from. The continuous proclaiming of where the store and the brand stand for is, over and over again, a delicate assignment. Sometimes the name and the brand barely raise any associations. Retail-Design plays distinctively a stimulating role in shaping the brand-vision and brand-personality. The store-image fulfils an important bridging in translating the message of its brand(s). This thesis aims to subject strong brands to measuring-scales in order to discover the semantics in the shop. Subtle or pronounced semiotics is after all a conscious choice of the company. The secret of successful retail chains, as well as detached or independent stores, lies in the knowledge about how to tune in shopping-experience. This is optimally done by the sensations the brand wishes to emanate over and over again. The challenge of my design lies in creation of the concept in which the branch Ikea occupies the centre and the totality results in an urban perception. Ikea City is a combined play of dynamics and standstill. The dynamics of the surrounding urban life which translates in the main stair, the floor level, the model furniture, the snack bar, opposing to the stagnancy at the presented inspirations, the workshops and the personal interactions. 33

36 TEAM - VICTOR SIMONI & BIE PLEVOETS MASTERSTUDIO ADAPTIVE REUSE 1. Dorien Servaes 2 & 3. Sofie Van Den Bosch

37 TEAM - VICTOR SIMONI & BIE PLEVOETS MASTERSTUDIO ADAPTIVE REUSE 4. Dorien Servaes 5. Jolein Versmissen 6. Location The assignment for students of the design studio Adaptive reuse (revitalization) was to study the public space De Strandjutter at Nieuwpoort. Important was to examine in a critical way on-site situations resulting in a script reflecting a specific method of approach. Students had to take into account that the new design should be an added value for the city according beach tourism as well as organised events. Although first-aid, public toilets, sport facilities and bar-restaurant had to be integrated, students were free for own interpretation concerning renovation, choice of material, furniture etc. A presentation before the municipality of Nieuwpoort will be their first step towards a professional client-designer relation. 35

38 MASTER OF ADAPTIVE REUSE AHMED ABBAS (Kurdistan/Irak) CONVERSION AS BRIDGE TO THE FUTURE OF ERBIL Iraq has a very old and rich cultural history. Due to the wars in the region, much of this history has been lost. This is also true for a large part of the project area, particularly the citadel in the city of Erbil. Without the necessary care, The 6000-year-old area is threatened with destruction. By redesigning the hammam, an important building in the upper city, I will try to stimulate the revitalization of the citadel, and protect an important and valuable cultural world heritage. The basic idea of the design is to reshape the building and to make it operational as hammam again. This has to be done with respect for culture and existing valuable elements. A new building will be built, as a link between hammam and environment. A reception room will be added, as well as a hammam shop offering specific products and bathing clothes. Existing building volumes and spaces will be left intact entirely, including their specific lighting. The outer side of the hammam will keep its current and traditional appearance, and will be restored. The inner side, on the other hand, will be almost entirely recoated, using typical Iraqi and Kurdish materials and techniques, implemented in modern ways. For the new building, in contrast with the closed character of the existing building, transparency has been selected. Glass and steal lamellae are interspersed with natural rock, engraved with Arabic texts. 36

39 MASTER OF ADAPTIVE REUSE CAROLINE CLAESEN REALLOCATION OF THE HERKENRODE ABBEY. Empty buildings, either young or old, often ask for new functionalities. The reallocation of these buildings is a process that is very relevant in today s society. Numerous factors lead us to those which have certain historical values. In most cases, these buildings go side by side with beautiful architecture, a meaningful environment and a fascinating past. These are just a small handful of factors which make the difference in contributing towards the reallocation of a specific building or structure. I have based this master s thesis on the current situation within the Herkenrode abbey. Redevelopment projects in the abbey are already underway, however some buildings remain untouched. Thorough research explores the different possibilities to recreate a whole new purpose for these lost treasures, without loosing the feeling for the context of the location. In addition to the search for a new function for these buildings, it is essential to target the groups that already exist on site. The reallocation should thus not only be accessible for the target groups, but also for third party audiences. The new conversion will not only be an accessible location for tourism and self-reflection, but also for organizations and businesses. The infirmary and monastery are summarized as social centers where meeting-interaction and networking is to be centralized. Other functionalities include overnight accommodations, seminar-, workshop- and conference facilities. Besides all of the above, there is also room to install a restaurant with multi-usage for both chartering and festivity purposes. 37

40 MASTER OF ADAPTIVE REUSE LISA ERNENS RECONVERSION OF EDELHOF CASTLE INTO A MUSIC AND DANCE ACADEMY My project comprises the reconversion of a castle into a music and dance academy for children between six and twelve years old. I located the music academy in the original building, whereas the dance academy was placed in a new expansion. Edelhof castle is situated in a green environment, which I found very important. This is why I always tried to incorporate that environment in my design of the new expansion by making use of a green roof. There is also a beautiful view from the expansion thanks to the large windows. In the expansion there are two new ballet rooms, one slightly bigger than the other. The big room is located partly beneath the ground which is clearly visible from the outside. The other ballet room, which includes the changing rooms and a staff area, is located higher and seems to be floating above the river. To reach these two different levels, there is an inclined plane. The music academy in the original building is provided with all the necessary equipment. There are classrooms, rehearsal studios, rooms for administrative duties and a place for students to meet each other and spend their free hours. My main objective was to visually connect these two buildings by creating a glass roof which is secured to the two buildings. 38

41 MASTER OF ADAPTIVE REUSE GERINCKX DRIES URBAN FARMING AT T EILANDJE, RECONVERSION OF AN INDUSTRIAL BUILDING INTO URBAN FARMING My design is based on the idea of integrating farming into the city, and the notion of creating a place that brings people together and enables people to buy fresh quality products straight from farmers and market vendors. It also gives people the opportunity to rent and develop their own piece of land on the rooftop garden. For this project, I chose a building named De oude Renault garage (The old Renault garage). The building is located on the Italielei which is close to Het Eilandje. I chose this building for the many design en redevelop opportunities it gave me, and it s excellent location. Some years ago, a new era started for Het Eilandje and surrounding neighbourhoods. The old harbour neighbourhood, once famous for the Red Star Line connection, became a hotspot for developers and started to attract more inhabitants. My project could be a pioneer in implementing Urban Farming and shopping on this location, this because it would be the first of its kind, and secondly because it creates a lot of biodiversity into the city environment. 39

42 MASTER OF ADAPTIVE REUSE BIEKE HILLEN THE STAGES OF LIFE FROM BEGINNING TO END... Reallocation of the old retirement home at Hoogstraten to a care centre with focus on the palliative care. Life and death often seem to be very far away from each other, but sometimes also very close. The beginning of life, birth, is a pleasant topic to talk about. But if the subject is death, we all take a step back. We don t like to talk about it very often. This work aims to formulate answers to the question whether we can combine three totally different stages of life and literally bring them under one roof at the former retirement home at Hoogstraten, namely: birth, college years and the end of life. In my thesis I research how these different stages of life take shape, but ultimately, my focal point is the final stage of life, where I focus in particular on designing an as beautiful as possible palliative care. 40

43 MASTER OF ADAPTIVE REUSE LARA KINET AN ADAPTIVE REUSE WITH RESPECT FOR THE BUILDINGS AND THE PRIVACY OF THE OWNERS The Castle Domain of Printhagen in Kortessem is protected heritage and was renovated recently. Next to the Castle there are farmhouses on this site which are grouped around a courtyard. Nowadays these farmhouses are empty and there is no specific proposition yet for an adaptive reuse. During my research I searched for an appropriate implementation in which respect for the current state and the privacy of the inhabitants were important criteria. The research resulted in a concept with four pillars which are founded on living, working, culture and events. The existing residence gets a new spatial implementation and the biggest part of the farmhouses will be turned into recording studios. There are four studios for the recording of audiobooks and two studios for the recording of music. Furthermore one shed will be used for cultural activities and events including for example the open monument day. To connect the farmhouses mutually with each other an architectural procedure was realized which is compatible with the current architecture. 41

44 MASTER OF ADAPTIVE REUSE INGE MEYEN CREATIVE INDUSTRY IN COMMUNITIES Like cities, suburbs are also suffering from dilapidated areas. As a designer we can play a role in this by creating possibilities and places that are pleasurable to stay in. I will draw my attention to the former police station in Westerlo, which can make a difference for the whole neighbourhood. In this design, i will focus on a creative industry, which is especially in cities, good for the atmosphere and for the economical crisis. The program will consist of office and shopping spaces which can be hired by creative entrepreneurs. They can use these spaces, for example for coworking, to make them stronger economically. Also there is one loft available, which aims at artist-in-residence. The social and civil aspect is represented by an an installitions of the fab-lab on this site. These fab-labs in the suburbs can be combined with Repair cafes, that offer a social and ecomonic value which aspire a more sustainable society where people can employ and explore themselves creatively. This social event will be intensified with a wine bar which is linked to banquet facilities. This can be hired for concerts, expositions, presentations and private parties. This site will be the new hot-spot in Westerlo. In the middle of this site, there will be a green courtyard that will bring a little piece of nature in the build-up area. This is a project which has economical, social and civil focus on creativity. The different aspects of this concept can also operate independently, this results in a flexible project with many possibilities. 42