This thesis explores how visitor circulation in Dutch museums has been reshaped through architectural strategies during renovations over the past twenty years. Prompted by policy changes in the 1990s, many museums were required to become more self-sustaining, leading to significant transformations in both function and spatial design. While visitor experience has become increasingly central, there is limited research on how spatial circulation is addressed in renovation projects.

The main research question asks: In which manner have renovations, in the last twenty years, of museums in the Netherlands influenced the design of visitor circulation through architectural strategies?

Using plan analysis, archival sources, and theoretical literature, four case studies are examined: the Stedelijk Museum, Van Abbemuseum, Kunstmuseum, and Museum De Lakenhal. The findings reveal two main strategies: either preserving and integrating existing circulation patterns or introducing new strategies to enhance visitor autonomy. Across all cases, circulation is redesigned to promote autonomy and to stage a more dynamic, layered museum experience.

This thesis investigates the evolving perception and appreciation of Het Schip, an icon of the Amsterdam School designed by Michel de Klerk, from its completion in 1921 to the present day. As a social housing complex and national monument, Het Schip has a unique relationship between architectural expression, social ideals, and historical reinterpretation. The research explores how various stakeholders—including architects, critics, residents, policymakers, and the public—have shaped and reshaped the building’s significance over time. Four core themes structure the analysis: the historical context and theoretical foundations of the Amsterdam School; the early reception and critique of Het Schip countering modernism; the impact of renovation and restoration efforts; and the evolving symbolic image of the building as a monument to social cohesion, craftsmanship, and beauty. Methodologically, the thesis combines historical analysis with qualitative insights drawn from archival research and interviews with museum staff. The study concludes that the lasting image of Het Schip stems not only from its architectural richness but also from its social legacy. As a testament to the values of dignity, collectivity, and artistic ambition in public housing, Het Schip can be seen as an example for contemporary social housing projects on the future of socially responsible design.

Anne Tyng is an architect who has been strongly influenced by her interest in geometry within the field of architecture. The use of Platonic solids is evident in Tyng's designs. However, for a long time Tyng was undervalued for the influence she had on the designs that Tyng created with Louis Kahn. This thesis explores what Anne Tyng's architectural goals were and what influence Tyng had on the designs Tyng and Kahn made together. For this a literature research is done and nine designs, three by Tyng, three by Kahn and three joint projects, are analysed and compared. In Anne Tyng's designs, Platonic solids, combined geometrical hierarchy and human scale emerge as Tyng's objectives, mainly in the structure of the designs. Louis Kahn, on the other hand, uses more two-dimensional structures, regular polygons, within his floor plans, in addition to focusing on light and central places within the buildings. Comparing the three joint projects, it is clear that the structures are mostly made out of Platonic solids, indicating the influence of Anne Tyng. The designs also focus on light and central spaces, which are influences of Louis Khan. This points to the influence of both architects, with Anne Tyng as the 'geometrical conceiver'.

This thesis explores the localization of Art Nouveau architecture through a comparative analysis of the works of Mikhail Eisenstein in Riga and Joseph Bascourt in Antwerp. This study investigates how Art Nouveau principles differentiate between themselves by examining specific case studies—Eisenstein's buildings on Alberta Street and Bascourt's houses in the Zurenborg district. The research employs a multi-method approach combining visual analysis, archival research, and comparison to define differences and commonalities in facade composition, ornamentation, and symbolic language. The findings reveal that Eisenstein favored expressive, heavily ornamented facades rich with mythological and allegorical imagery. However, Bascourt adopted a more restrained geometric style that embedded symbolism within the rhythm and material contrast of the facade. Despite their different aesthetic strategies, both architect's facades serve as visual narratives, embodying the Art Nouveau character of uniting art and architecture. The study contributes to a deeper understanding of how global architectural movements acquire localized identities through the lens of individual artistic expression.

This research explores the evolution of prefabricated mass housing in Kaluga, Russia, between 1955 and 1991, a period marked by urgent post-World War II housing needs and significant ideological shifts within Soviet architecture. The study systematically investigates the distinct urban development strategies and architectural modifications implemented in Kaluga’s prefabricated housing series, categorising them into three generations. This paper proves the findings, that indicate progressive improvements in living standards, such as increased apartment sizes, larger kitchens, improved structural elements, and enhanced façade complexity. Notably, local architects creatively utilised decorative motifs inspired by regional embroidery, introducing distinctive visual diversity despite strict standardisation constraints. However, economic and planning challenges limited comprehensive urban realisation, resulting in fragment- ed city development. Today, these aging prefabricated buildings, exceeding their intended lifespan, pose urban planning and heritage preservation dilemmas. This study underscores the necessity to document and preserve certain structures due architectural significance, highlighting the impact of Soviet-era urban planning on contem- porary urban landscapes.

This thesis explores the role of ecclesiastical architecture in the reconstruction of post-Soviet identity within Visaginas, a Lithuanian nuclear monotown originally designed without religious infrastructure. It is focused on the three case studies—St. Paul Catholic Church, the Orthodox Church of the Nativity of John the Baptist, and St. Martyr Panteleimono Orthodox Church, portraying them as tools of cultural and spiritual revival as a contradiction to Soviet-imposed atheism. The investigation in this paper attempts to answer the question: “How do the ecclesiastical Churches in Visaginas uncover the post-Soviet religious revival and identity reconstruction?”. It aims to shed light on the various approaches of the case studies to reclaim spiritual and cultural identity. Beyond the physicality of the buildings - from the adaptive reuse of Soviet infrastructure to symbolic architectural expression, the writing offers the conceptual lens of comparison based on the power dynamics included in the development processes. The study investigates the influence of the power dynamics in the formation of these case studies, following either a top-down, institutionalized model or exemplifying bottom-up community-driven adaptation.
Ultimately, both movements use different language and approach to illustrate the same action - the gradual reclamation of space and identity in the new post-Soviet context through survival and transformation, navigating the tension between visibility and acceptance.

Authenticity in architecture is a topic of much discussion. The term itself has been given many definitions and limitations, and can be used to describe the realness of material, structure, symbolism, or more. When looking at three case studies in Delft (Markt 2, Markt 27, and the Vermeer Centrum), it becomes apparent that authenticity has a large important in the maintenance of heritage in the city. Not just by being old or historic, but by the story it tells to the city and its culture and inhabitance.

This research aims to reveal and explore the commonalities and differences in the definition of interventions on built heritage between theory and practice, using new aspects—cultural values and attributes of cultural significance—to support the definition process. A comparative approach is employed to discuss how different interventions are defined in international doctrines and applied in a local project, including stakeholders’ perspectives.

International organizations have adopted doctrinal documents that promote best practices in heritage management. However, these doctrines are difficult to compare and apply due to the lack of alignment in definitions between them and the limited research on how cultural values and attributes of cultural significance influence the definition of interventions.

In filling these gaps, the main research question was asked: What are the trends of interventions and their definitions under the influence of cultural significance, as scoped by international doctrines between theory and practice? The research utilized theoretical frameworks on cultural values and attributes and analyzed documents and interview transcripts from the National Gallery Singapore.

The main findings indicate the diversity in defining interventions at the international level. Values play a dynamic role in shaping intervention definitions, whereas attributes influence them in a hierarchical pattern. At the local level, stakeholders' perspectives on definitions are shaped by the local context and a mindset of "practicality." This research concludes that Singapore follows international trends while locally customizing and evolving its definitions. This research proposes a possible novel approach to defining interventions in built heritage that bridges theory and practice.
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The former site of Kloos Kinderdijk in Alblasserdam is transformed into a mixed-use area, combining housing, recreation, retail and public outdoor space. The aim is to create a liveable environment for the residents, the neighbours and visitors. The transformation combines the translation of the heritage values, the social needs of Alblasserdam and spatial improvements.

Centrality denotes areas within a city that serve as pivotal hubs of social, economic, and political activity, transcending geography to symbolize authority, influence, and resource concentration. This concept is both cognitive, involving a comprehensive perception of reality, and social, encompassing the amalgamation of assets and activities. Centrality thus represents a fusion of diverse elements.
The new Baggerarea in Sliedrecht has been remodelled with small interventions to enhance its social and cultural significance. A key change is opening the inner dyke to pedestrians, reclaiming it as public property akin to the old dyke. New functions include an inner-making street in the Rotterdam Steelworks BV shipyard, featuring a Box in Box system accessible from both ends of the dyke. Additionally, the old Dredging Museum and its extension have been transformed into a hotel. The Wow-Keet will be cladded with wood and repurposed as a pavilion for relaxation and coffee.
Mirroring architectural heritage can generate meaningful urban interventions, enriching collective memory. This approach is embodied in the New NBM (Nationaal Bagger Museum), incorporating distinctive elements from Sliedrecht, such as glass-stained windows above entrances and steel columns in the Van Eijck hall. Inspired by monumental buildings like the old and reformed churches, the town hall, and old dredging contractor houses, as well as the shape of old dredging ships, these elements coalesce into the New NBM’s design, preserving and enhancing the area’s historical essence and to also enhance its social and cultural significance.

On the periphery of a dike, a maritime industrial area between Alblasserdam and Kinderdijk in the Netherlands, a former windmill and ship manufacturer operated during the 19th and 20th centuries. This narrow 250-meter-long hall, known as Kloos Kinderdijk, is defined by its spectacular length and characterised by its spacious and light atmosphere. It is situated between two contrasting Dutch landscapes: on one side, the typical sophisticated, delicate, horizontal polder landscape with UNESCO World Heritage windmills at Kinderdijk; and on the other side, the robust river landscape, once pivotal for the maritime industry and still significant today. Kloos is one of the few remaining shipyards. However, not for long as Kloos is now waiting to be demolished. With the demolition of this building, the last visible maritime-industrial remnant will be lost.

Maritime-industrial heritage is in danger of being lost. It is crucial to transform these sites with a reinterpretation towards the future. This research is a new way of thinking about heritage and moves away from conservative preservation methods. It illustrates how undervalued buildings can be saved, reinterpreted for future significance, and thereby gain visibility by adding value through a more radical architectural adaptive-reuse approach.

In the case of Kloos Kinderdijk, the area has struggled with water issues for years, and these problems are expected to worsen due to rising sea levels. Therefore, Kloos' design involved building a floating volume above the existing. This floating volume is flood-resistant, maintains the spatial openness of the polder landscape, and offers panoramic views of both the polder and river landscape. The construction of the floating volume radically breaks through the existing structure, to enhance the building's visibility from the river landscape.

This thesis explores the intersection between Soviet ideals and their manifestation in the urban planning of utopian projects, with a focus on Magnitogorsk—a city emblematic of the Soviet Union's quest to materialize its revolutionary dreams into concrete reality. Soviet ambitions in urban planning were often characterized as overreaching, with numerous visionary projects remaining unrealized due to their impracticality. Yet, these unrealized plans have left a significant mark on global urbanism, offering insights into the aspirations and ideological dogmas of the seized-to-exist state. This study examines the defining characteristics and principles of socialism as applied to urban design, delving into the common belief that sought to reshape cities in accordance with collectivist and egalitarian doctrines.
Moreover, the thesis investigates the influence of major Western urban models—namely the Garden City, the Linear City, and the Radial City—on the planning of Magnitogorsk, revealing a complex synthesis of foreign concepts with Soviet visions. This research uncovers how these Western models were adapted, adopted, or transformed to align with the Soviet ideology, thereby contributing to the creation of the Soviet dream city - at least on paper. The overarching question it addresses is: How Western models facilitate the embodiment of Soviet ideals in the urban plans of Magnitogorsk, and what does this synthesis reveal about the pursuit of the Soviet utopian city?

This study explores the potential application of architectural considerations from three Dominican priories—St. Dominic Church, Sainte-Marie de La Tourette, and the Dominican Motherhouse— emphasising their reflection of divine transcendence as a design narrative for the adaptive reuse of St. Dominic Church to multifunctional Art Complex Het Steiger. St. Dominic Churchʼs introverted design offers opportunities for reinterpretation, emphasising hierarchy and contemplative qualities. Sainte-Marie de La Touretteʼs mystical themes suggest diverse lighting interventions and preserving a mystical atmosphere in Het Steiger. The Dominican Motherhouse poses challenges regarding user groups, spatial hierarchies, and integrating circulation and exhibition spaces in Het Steigerʼs redesign. These priories contribute nuanced design strategies, offering valuable considerations for Het Steigerʼs transformation into a harmonious coexistence of existing and new architectural layers.

This paper is aimed at investigating the design of care homes for independent elderly people within a former church building. With the growing vacancy rate of churches, the aim of this research is to see if they can complement the housing need present among the elderly. In the Netherlands, a quarter of all religious buildings have already been transformed into a new function at this moment in time, which will only increase over the years3. In the case of elderly housing, this percentage doesn’t go above four per cent of the total transformations4. This article reveals the reasons why care isn’t at this moment of time appealing to host in a former church, as well as the design strategies that can be followed in order to make care functions more attractive to facilitate within a church. In addition, I also believe that the social character of the church can contribute to facilitating care facilities. This is due to the church already having a social role in society which can be complemented by taking care into consideration. Therefore, I would like to explore what we as architects can do with these buildings to provide the elderly with sufficient living space where they can live the rest of their lives and where their mental well-being is stimulated.

National Monument Christus Triumfator church in Bezuidenhout, the Hague was designed by the team D.S.B.V. under Geert Drexhage in 1959-1962, however, among three churches under Drexhage's, only Christus Triumfator church survives in the secularization and shrinking religious community in the Netherlands. The design of Christus Triumfator church reflects a time of Dutch postwar modern architectural profession shifting into a capitalized environment, confrontation between new theories and old tradition, group standardized design for mass clients, and cooperations of professional consultants. The research aims to point out the linkages between Christus Triumfator church and its postwar modern architectural theories and traditions background for a redesign proposal.

For a contemporary redesign and intervention to respond to that from the 1960s, one of the subjects is to treat carefully in the sequence, space order, and materiality in the Christus Triumfator church by understanding the facts and meanings behind, and another one is to react to the mass production pattern matured in the era. A new zero-waste design challenge might be to set away from the producing loop, reduce and revital the form to that just meet the need, and reclaim from the past production in a tengible or intangible way that triggers reflections of the past and the future.

The design of embassies is a highly sensitive and important challenge. Two case studies of Dutch embassies in Africa designed by Dutch architects are chosen to investigate the way local conditions influence the design of Dutch
purpose-built embassies on other continents. A literature study was performed to compare the two case studies on three aspects: how the designs deal with local culture, climate and architecture. Data was analysed in the form of texts, drawings and photos. The results showed that both case studies dealt with the local conditions in a very similar way in all three aspects. The results could serve as a toolbox for designers without experience in the design of a building in another continent.

SuperDutch is a movement defined in the 1980’s in the Netherlands as the means through which the country was placed back into internatioal discourses, being marked by architectural innovations and the rediscovery of Dutch national identity. At first sight, the buildings of this period appear to be formed upon the foundation of globalization and Neomodernism and not on the organic evolution of Dutch traditional architecture, in contrast to the suggestion that the name Super”Dutch” gives. Hence, this paper investigates the physical and ideological relationship between the Dutch historical architecture and the new development of the SuperDutch to find their common essence. The goal is to find which of the elements of the architecture of the past are still identifiable in the buildings and concepts of the SuperDutch by presenting an overview of the evolution of Dutch traditional architecture from the 16th until the 20th century and its relation to the movement through literature research and a critical analysis on visual media from the period mentioned.

Le Corbusier had a big influence on architecture with his modernistic approach and style. A big inspiration for him was the car and how they were mass produced and standardized, initiated by Henry Ford with the Model T. Inspiration of car design can be seen in his architectural approach and designs. This fascination led to him entering an automotive design competition with his cousin, creating his own ideal car design; the Voiture Minimum (Lorenzo, 2011).
There has been a lot of research into the career of Le Corbusier. The main reason being his big architectural influence through his revolutionary style and modernistic principles. However, the Voiture Minimum has not seen any of the same success and amount of publications. In Contrary to the opinion of Le Corbusier, is it mostly seen as only a small footnote to his career. With this thesis, my goal is to connect his architecture and car design and try to understand how his revolutionary architectural vision influenced his automotive design.
To do this, firstly there is an introduction an explanation on why Le Corbusier was interested in cars, to create a base understanding of his fascination with them. After that his architectural vision will be summarized and compiled using his book “Vers une Architecture”. Then the Voiture Minimum is being introduced, after which the design approach he took for the Voiture Minimum is analysed and compared to his architectural design approach of the time.
After this comparison of Le Corbusier’s architectural vision and his automotive design, many direct similarities have be found. These similarities that have been highlighted by this analysis lead to the conclusion that Le Corbusier’s architectural vision and knowledge directly influenced and guided his automotive design.

Churches are one of the most important features of the Dutch townscape. They were the cultural hub of the town for a long time. The 20th century marked the start of a societal change: ontkerkelijking. More and more churches are becoming vacant in the Netherlands and Belgium. These buildings can be reused, and the past can help us. The research question is as follows: “How have churches been reused in the past 30 years in the Netherlands and Belgium?”.
This question will be answered by analysing five case studies in the Netherlands and Belgium. First, the history and the new design of the churches will be introduced. Then, a short history of restoration and conservation will be given. The five adaptive reuse approaches, as composed by Plevoets & Van Cleempoel (2019), will be discussed. These approaches will be linked to the case studies. Lastly, a spatial analysis of the case studies will be done. These analyses show that churches with a new social function tend to be designed with a circular approach and have kept more of the spatial qualities of the original church building. However, all case studies have been designed with the history of the building in mind.

This study analyses the visual identity of Riga as a port city through the examination of postcards from the early 20th century to current times. The study draws on a collection of over 130 postcards and examples of modern port photography, which were analyzed using a combination of visual analysis and contextual research. The results reveal a number of recurring visual motifs in the postcards, including images of ships, wharves, and industrial infrastructure, as well as more romanticized depictions of Riga’s waterfront and skyline. Overall, the study suggests that Riga’s visual identity as a port city was shaped by a complex interplay of industrialization, modernization, and cultural heritage. The findings have implications for our understanding of Riga’s history and identity, as well as for the broader study of port cities and their visual representations.