Within the framework of this paper, spatial practices between the built and the un-built in the context of urban regeneration of neighbourhoods at city fringes are explored. The proposed spatial practice, called spatial nuancing refers to the reconsideration and redefinition of public space. Spatial nuancing is applied in the context of existing spatial and social dynamics as a means for initiating regeneration through new approaches. It can be applied at various scales and contexts. In this work, the focus lies in the context of post-war modernist developments, that are widely characterized by large-scale and under-managed public spaces. This work challenges the perception and considerations of those kinds of under-managed public spaces and follows along the main research question: What if under-management is considered as a quality in public space?
By proposing a strategy that includes the punctual implementation of places of common the public space can be reactivated, not by increasing management but by connecting the main actors of the public space: the people. It argues that spatial nuancing with the example of the creation of places of common binds together and reinforces social and spatial qualities. This has a catalysing effect on the development and quality of life in a neighbourhood.

Casa de Campo, Madrid’s Field of Play, has yet to fully integrate into the city's everyday life and ecology. This forest, rich in archaeological and natural heritage, is nearly forgotten, with its playgrounds sitting empty and unused. This project takes an infrastructural approach, creating directed fields where both human and non-human activities can unfold. The design lays the groundwork for future events and building activities, operating flexibly in the division, allocation, and construction of surfaces, while also engaging architecture's ability to communicate through its imagery.
The research identified multiple sites within Casa de Campo to become a series of interconnected yet diffuse elements. These elements are intended to induce movement, create new atmospheres, and establish visual connections and ecologies between the park and the city. Site selection was based on factors such as accessibility, proximity to roads and trails, viewpoints, and archaeological significance. The networked imagery of these architectural elements fosters new associations and movement patterns between city dwellers and their playground, Casa de Campo.
Key research methods included mapping, drawing, navigation, and walking, all of which helped to immerse the project within the context of Casa de Campo and Madrid. These tools revealed the site's suppressed and intangible qualities. Some maps were playful and internal, while others were systematic, helping to address the complex implications of the proposed intervention. Operational mapping, used as a design tool, allowed for the exploration of functions and possible outcomes over an extended time frame. This approach balanced structured, fixed elements with more flexible, negotiable ones. As a result, the urban strategy aims to create a flexible system rooted in ecological and infrastructural thinking. Time and process are integral to the landscape's growth and microbial activity, connecting air, surfaces, substrates, and rhizomes. The architectural design materializes these anticipated event scenarios, and the construction process is made visible to the public, embracing the messy realities of urban building rather than concealing them.

This thesis explores the interplay between urban underground spaces and the concept of time, aiming to transform our perception and use of these hidden areas. Beginning with an extensive mapping of Madrid's underground, the research reveals the often-inaccessible nature of these spaces. Through typological studies and philosophical exploration, the thesis reinterprets these spaces as temporal phenomena, emphasizing their dynamic potential.
The theoretical foundation is grounded in concepts such as Bergson's duration and Bakhtin's chronotope, which highlight the entanglement of time and space. The design project proposes a shift from place-based to operation-based design, focusing on the temporal dimensions of space. It envisions a flexible art hub in Madrid, adaptable to various activities and extending beyond its physical boundaries, reflecting the concept of Urban Uchronia—a utopia of time that challenges existing temporal norms.
The manifesto envisions a network of interconnected underground spaces across the city, forming a system of Urban Uchronia. This vision integrates subterranean environments into the urban fabric, transforming how we engage with these spaces. The thesis concludes by reflecting on the transferability of these concepts, offering innovative strategies for urban regeneration and architectural design in diverse contexts worldwide. By reimagining underground spaces through the perspective of time, this thesis proposes a new paradigm for urban development.

At the heart of diverse, thriving inner-city areas are the community gardens, impromptu skate parks and self-managed community centres where residents can build intercultural connections, and achieve a sense of belonging. This thesis defines these as ‘Open Third Places’: public areas whose disorder generates spontaneous encounters and unexpected vibrancy.
Open Third Place can be found in the El Laboratorio squatted social centres of inner-city Madrid. The gentrifying, inner-city neighbourhood of Lavapies has historically hosted a diverse variety of outsiders, ranging from international immigrants to Spanish activist groups. Where their needs were not met by costly governmental regeneration efforts, El Laboratorio group used the act of occupation to explore the creation of low-budget, user-led social centres, free from bureaucratic constraints. These spaces became valuable hubs for coexistence in an otherwise fragmented community, despite financial and legal constraints.
Therefore, this paper examines how El Laboratorio diverged from mainstream building conventions, to demonstrate where such disorder is crucial in the formation of Open Third Places. This analysis is structured by three divisions, or ‘thresholds’, which exist in the formally planned city, but were blurred within El Laboratorio centres: ‘spatial thresholds’, ‘designer-user thresholds’ and ‘temporal thresholds’. Using archival visual and written material from the social centres, the paper suggests a connection between the conviviality of El Laboratorio and their bridging of these thresholds.
In this way, the thesis reveals possibilities for architects to similarly work with these thresholds, when designing for the community of Lavapies. Despite this, it concludes by foreseeing difficulties of translating ideas from the ‘disorder’ of a squat, to the ‘order’ of a more formal design scheme, outlining potential conflicts in the application of these ideas.

The proposal, titled “Forum for the Built Environment,” surged in response to the observed deficiency of physical spaces conducive to reflection, gatherings, and citizen participation in the city. It was prompted by Estonia’s post- independence trajectory characterised by a shift towards digitalisation. Its primary aim is to function as a platform for democratic dialogue among Tallinn’s citizens on matters of public interest within the domain of the built environment.

Consisting of four distinct buildings, each distinguished by unique architectural features, the project encapsulates the multifaceted essence of Tallinn. These architectural variances symbolise the diversity of perspectives and identities inherent within societal structures, embodying the principles of democracy. The primary objective of Forum for the Built Environment is to establish a neutral ground for open discourse while facilitating collaboration between the city planning office and citizens, ensuring continuous engagement and dialogue. Furthermore, the project is not only experienced within the buildings but also in its outside environment. The project functions as a pathway, crossing through a city block. People can wander off and walk past different architectures. In addition, the ruinous garden is positioned on the eastern side of the project, which offers a space of tranquillity for reflection.

Functionally, the four buildings serve specific programmatic purposes: a Forum space for exhibitions and discussions, an Office for the City Architect for input and opinion gathering, an Archive housing physical and digital materials for city history research, and a children’s day-care facility to support parental engagement in civic activities.

This is an extension project for the radio building complex (Raadiomaja) in Tallinn as a multimedia studio providing both supplementary facilities for the staff and communal spaces for nearby residents. Through sensitive treatment of material, integrated design of sound, light, and nature, and principles of order and proportion, the project tried to provide an apolitical perspective for people to understand the monumental value in Raadiomaja and thereby Tallinn city. At the same time, it creates a warm and peaceful place where people can enjoy art, music, and social activities.

One of the most important concerns of the design is the T-shaped threshold space in between sheltered by an adapted cassette ceiling structure. It carries multiple climate strategies including acoustic, lighting, and ventilation and guides the circulation of different groups of users, realizing both functional and aesthetic values.

Reshaping the shopping mall into a public space - Over the last century, shopping has been transformed into an urban institution through the shopping mall. Originally designed as a meeting place for the population, it was meant to serve as a multipurpose town center that would enhance the human network of activity in the suburbs, safe from the seasons. However, since its conception, retail spaces have taken precedence over the consumer itself and their use as a ‘public space’. However, with the rise of e-commerce, the typical mall design favoring retail is struggling to compete, resulting in closures and abandonment. It is at this crossroads, that this project reconsiders the structure of the mall as a public space that sets the individual above retail and seeks to answer, ‘How the architecture of consumerism can be reshaped to create public space?’.

This project takes the Nautica Keskus mall by the ferry terminal in Tallinn, Estonia, and deconstructs
the consumerist design factors to reach its underlying presence as a public space. The existing
building is given a new rooting in its surroundings by fragmenting the mass and softening its edges.
Taking precedence from the closure of malls and their abandonment, nature is allowed to take over
and revitalize its interior. The building is transformed into an urban park creating natural wildness in an otherwise organized typology. Rather than destroying the building, a heritage approach is taken, seeing malls as a remnant of their time. Three new functions are specified in the building: public functions (library, workshop, and theater), greenhouses and open nature reflecting the Estonian landscape. The building is reused to show the varying states of possible decay, either through complete reuse of the existing, structural reuse only, or natural decay of the structure.

An analytical collection of theoretical, psychological, and methodological research applied
to spatial appropriation. Understanding our innate need to modify existing conditions to
satisfy personal needs begins with understanding user perception and action to uncover
the user’s needs and motives. This research is explored on the balcony and applies its
history and multi-programmatic character to understand the residents of the Lavapies
Neighborhood in Madrid. Site visit research and interviews reveal how locals reflect,
project, and respond to the current situations of their personal and communal needs
through balcony and gallery appropriations. Utilizing the Catalogue of Balcony
Appropriations, the main visual supportive source of my field research and site
understanding, revealed seven reasons for spatial appropriation. The analysis of these
seven derived four general conclusions that can be applied to learn from the amateurs of
other locations.

The plan to construct the Federal Ministry of digital Affairs was conceived in response to the increased focus on the digitalisation of Germany and its government. Historically, a new German cabinet has often formed a new ministry in response to current issues. The new Federal Ministry of Digital Affairs aims to represent the aforementioned ambition to spark and represent digital innovation.
The key ingredients to design this new building were primarily determined through site visits and online archival research. This was, the appropriate program, location and stakeholders were found. The program is based on existing ministries, with adjustment for digital processes occurring inside and overall a more transparent arrangement. The location is Schiffbauerdamm due to its contextual links and the stakeholders included government parties, the city and those in the immediate vicinity. The final design proved to be an extroverted building that angers with its surroundings and complements the existing context.

The 'Fluid space' project has demonstrated that the study of Finding Forms and the abandonment of assigned functions for buildings has led to a refinement of architectural design specific to the site. At the same time, the project raises questions about contemporary problems in architecture, such as sustainability and the dominant practice of function-based construction.
The results of Finding Forms experiments - influence, grid and scale studies - resulted mainly in testing intuitions, which were then translated into design aftejavascript:void(0);r a reflection. Material and technical requirements influenced intuitive forms at a later stage. This posed the project’s greatest challenge: maintaining sight of the experiments despite the guidelines of material and technical requirements and keeping choices constantly reflecting with intuition.

Both urban voids and Bressoux are facing the same issue - exist in the city but do not belong to it. The voids are the by-product of urban planning, and the relationship between positive space (massing buildings) and negative spaces (voids) is barely included in design consideration. Generally, these spaces are perceived as a phenomenon of emptiness, neither productive in the urban fabric nor possessing a recognizable role in the neighborhood. Therefore, they never truly integrate into the neighborhood and indeed exist as urban segregation.

However, the nature of emptiness is also regarded as a kind of spatial quality and possesses a certain degree of potential. The project aimed to reposition the role of voids by seeing them as volume and a new interior to the neighborhood. By exploring the movement between interior and exterior, inverting the solid void, it is aimed to transform voids as a mending tool to reconnect the dispersed neighborhood as well as create an alternative public space that truly belongs to the locals.

The goal of this research is to create a new understanding of the individuality of the city of Liége, by constructing a “logic of architecture”, a logic rooted in place, through a personal (dynamic) understanding of the site and its people & positioned within architectural theory, presenting a new interpretation. Hence, the design acts as a testsite for the research: testing, validating and showcasing the newfound “logic of architecture”, which is a product of the research process. The research strives to define three key elements (window, entrance, structure) within their autonomous reading as well as the part they play in the social ecology of Bressoux, thereby creating ground for the elements to propose design solutions based on the way they invite human life into their consciousness. Researching construction of the city over time through ordinary elements that give meaning to the city.

Through a deep understanding of the social-historical and architectural background of the site, this thesis presents a project proposal for the neighbourhood of Droixhe in Liege, Belgium with the purpose of structuring the multiple layers of complexity the area has. The project focuses on the urban plan of the neighborhood and how through architecture one building can attempt to solve the multiple contrasting characters of the public spaces around it based on the life the space is meant to house.

The departure from coal in Poland results in the process of decommissioning the underground coal mines. These, based in the region of Upper Silesia, recently undergo a paradigm shift ‘from mining coal to mining water’, as the discharge of the groundwaters is crucial for underground security.

Rather than an obstacle, the discharged groundwaters, along with the post-mining infrastructure, can be treated as an asset for the systemic remediation of the post-mining territory. Thus, the preliminary research is structured around multiscalar remediation that considers the degraded environment, local society, and mindset. The subsequent design project entails a systemic intervention at the intersection of land- and built forms aimed at the multilayered remediation where water constitutes both the axis and the core of the unfinished terraforming laboratory.

Urban foodscapes project addresses issues concerning the food supply chain in London. It aims to combat problems created by current agri-business practice such as long, complex logistical chains, food waste, carbon emissions, wasted water, energy, labour and land scarcity. Foodscape, being both global and local, lies on the intersection of multiple material and immaterial flows, therefore the problems it creates cannot be solved by one discipline alone. The research unfolds the most pressing issues concerning the food supply chain and proposed urban strategy attempts to find ways to improve the system by integrating social and technological aspects to close food-related material and immaterial loops by looking into urban synergies to limit the waste of resources and create new social opportunities that will constitute a framework for the future projects of this kind.

Waste is a natural process, a pervasive material, an invaluable resource; a crucial element in the way human society views, orders, and designs its spaces. The issue of waste is a modern urban invention and a controversial topic for both global culture and urban ecology, and stems from the consumptive habits of modern society and the throwaway culture that promotes the disposability of products. The assumption that the product is more important than the materials that make it up is particularly prevalent in complex everyday items such as electrical and electronic equipment. The waste electrical and electronic equipment (WEEE) stream is the fastest growing waste stream in the world. These complex products, made mostly of glass, plastic and metal, but also of valuable resources such as rare earth metals are destined to be landfilled and if lucky, to enter the recycling loop. Ironically, recycling, a waste practise touted as "the" solution to the waste problem regardlessly encourages consumptive habits and ultimately supports the interests of the same system that creates the waste problem. On the other hand, the issue of urban waste arises from the processes of contemporary urbanisation, economic change and rapid population growth, and spans technical, environmental, social, economic, and political layers. Agglomeration of problems across the layers of waste ecologies results in delays in their spatial synchronisation and waste ecology produces waste landscapes, which are the infrastructures of waste streams and their consequential landscapes.

The municipal waste stream is not the largest; however, it generates the most waste landscapes in the city and therefore an important issue for urban life. London has long joined the global attempts at transforming "take-make-waste" habits and the linear, fixed, closed systems into flexible, complex, circular ones. However, the delay in transforming the monofunctional structures of industrial waste processes into circular multifunctional infrastructures of resource recovery still results in vast, polluted sites of accumulated urban waste. Waste collection, treatment and disposal processes continue to be harmful to the environment. Waste landscapes remain industrial in structure and image, seen as disruption to urban life, and therefore, appear as a strange non-city fabric. The metropolis continues to rely on waste landscapes, producing even more of them and pretending to contribute to the socio-environmental condition of the city.

The research aims to find ways to catalyse an interception in urban waste ecology and generate alternative pathways for material flows in the city. The results of the graduation project prove that waste materials can be reclaimed within the city by linking waste flows with other urban flows and generating opportunities for waste landscapes with new programmes and values. As a proof concept, this coupling is realised for WEEE stream and collaborative work spaces of arts, crafts, and technology, which illustrates a creativity-based alternative to materials recovery in the city.

Material culture plays a significant role in our daily lives, however the value placed on processes involved in the creation of physical objects, manual skills and knowledge sharing has diminished due to the increasing reliance on large-scale infrastructure, standardization, and mass production. Additionally, the disposal of worn and abundant objects contributes to waste production. The thesis project aims to address these issues by exploring ways to regenerate disrupted areas in the diverse urban fabric of London through urban manufacturing and craftsmanship. The project investigates the potential for transitioning from a linear textile production process to a circular and localized production and reuse chain through adaptive reuse at the Truman's Brewery. The goal is to create a more sustainable and circular economy by localizing production networks, fostering synergies within industry and community, and efficiently using available resources. ‘Weaving the city’ means connecting loose ends, adding new threads, and repairing disruptions in the urban fabric.