2. work
2012-2014
My work grows out of making, experimenting and rethinking the
obvious. I use architecture as a medium to question
stationary, established values in an ever changing society.
Starting from conscious, impulsive and spatial research. This
with making and imagining as the core of my work. In this way
I try to claim my fascinations and make them my own, following
manipulation until the unexpected happens.
MARIUS VANEECKHOUTTE PORTFOLIO
1991 born in Kortrijk, Belgium
2009 School of Architecture (LUCA School of Arts Ghent)
2014 Dipl. Arch. Master of Science in Architecture Cum laude
(LUCA KULEUVEN, Ghent)
Work Experience
Summer Internship at K.A.A.I. architects (BE)
Kortrijk, Belgium
July 2013
Participation “all problems can never be solved”
jozef wouters (BE)
Cité Modèle, Brussels, BE
Exhibitions
2013 “Drift” Lindelei, Ghent, Belgium
2013 “De provocatie van het schijnbaar onmogelijke”, Ghent,
Belgium
2014 “Proto-Architecture” Wellingstraat, Ghent, Belgium
2014 “La Vie Moderne” Master Thesis Exhibition, Ghent, Bel-gium
now:
Projecties 3 - De provocatie van het schijnbaar onmogelijke
wed 15 october 2014 until sun 4 january 2015
De Singel, Antwerpen
http://vai.be/nl/activiteit/projecties-3-expo-en-openingsdebat-de-provo-catie-
van-het-schijnbaar-onmogelijke
Contact
Please contact by marius_vaneeckhoutte@hotmail.com
Phone +32 486 87 78 52
3. SKILLS
programs:
autocad
photoshop
3dsmax
illustrator
indesign
sketchup
premiere pro
offi ce
passionated in modelmaking, photography en graphic design
Languages:
Dutch, Native
English, Fluent
French, Limited working profi ciency
German, Elementary profi ciency
marius vaneeckhoutte
portfolio 2014
SKILLS
programs:
autocad
photoshop
3dsmax
illustrator
indesign
sketchup
premiere pro
offi ce
passionated in modelmaking, photography en graphic design
Languages:
Dutch, Native
English, Fluent
French, Limited working profi ciency
German, Elementary profi ciency
marius vaneeckhoutte
portfolio 2014
4. DRIFT
Drift is a project about reinventing the obvious. The
starting point is the traditional Flemish house,
“the fermette”, which is endlessly being copied and made
Flanders into an allocated landscape.
It initiates with a playful research about the spatial
possibilities and materials of our most stereotypical house,
with model-making as the prevailing medium. Every output is
seen as a new starting point to question and capsize the
idea, which evolves into an endless designing “drift”.
We believe in the unfound values of these standard houses
and traditional construction and our research results into a
manifestation about an alternative way of living.
The delamination and juxtaposition of this accepted stereo-type
leads us into unfound typologies which are new ideas
for our saturated landscape and the use of our territories.
School-project with Lennart Vandewaetere and Louis Seynaeve
5.
6. PROTOTYPE
The prototype is an intervention in the typical Flemish
city-house and more specific a research about the skin of the
house, which is threatened under ecological and
economical reasons. If we assume a sacrifice of space by the
individual, which needs to be done in the future, there are
new spaces becoming available with loads of potential. Spac-es
for encounters, surprises, danger, spaces to hide and
sneak around. Does every space have to be warm, dry, cov-ered,
transparent, locked, massive, hidden? If we
DELAMINATE the skin of our houses, there appears an
unexpected clash between materials, which normally are bun-dled
into one. This clash creates inter-spaces which all
have a different atmosphere and potential. This intervention
should take place on the most determined intersection of our
houses, between the common wall and street-line.
It could create a gradient in our cityscape. It’s not about
inside and outside, but in-between-space. Our streets break
out of their patterns, sidewalks slip between facades. A
city full of individual shortcuts instead of axial
boulevards.
7.
8.
9. DOK
Our site is located at Dok Noord Ghent. The site has a low
density because of the demolishment of the surrounding
factories. Therefore our building has no nearby neighbors to
annoy and it is easily accessible for import and export of
goods. In the old industrial area, we chose to reallocate an
abandoned shed used as a parking lot.
In the city of Ghent, we experience a lack of
multi-functional working spaces, where people can meet for
almost everything. Therefore we chose to design a small-scale
fabrication lab with extra polyvalent spaces
available. There are multiple wood factories located in the
nearby area which leads to minimal C02 waste by
transportation of material. The site is easily reachable by
bike, car and public transportation. Furthermore it fits in
the concept of Dok Noord which is seen nowadays as “the new
Ghent”.
Nevertheless we are aware of the new master plan, we think
there is a higher need for sustainable community activities.
Therefore we chose another approach, rather to tackle the
already existing buildings than demolishing them and start
over from scratch.
We build our fabrication lab inside an existing iron
structure. The shed is too old to be trusted as a
structure, so it is used as a facade to retain the first
downpour of rain and wind. This allows us to minimalize
the facade of our inside volume to just a water resisting
coating. This separation of facade and roofing creates an
interesting in-between space where you can stock wood and
supplies. The windows on the roof of the inside-volume are
orientated to the north so it provides natural diffused
lightning to work in. The south-facade of the old shed is
provided with adjustable brises-soleil and solar-panels to
supply energy for the working machines.
School-project with Lennart Vandewaetere and Dimitri Vroonen
10.
11. HOUSE STUDIES
following my great interest for small-scale Belgian
houses, I made multiple proposals during my summer-internship
at k.a.a.i. architects, Kortrijk. Starting from
certain standards, looking for ways to break through them.
These proposals and spatial studies are abstract and lack
the practical part of realization, which I am eager to learn
more about.
A proposal for a row house in Gullegem, West-Flanders, where
the challenge lies in the lack of daylight in the living
part of the house. Due the orientation, I felt the need to
break through the traditional concept of floor plates, to
bring light into the back region of the house. In order to
create an open feeling inside the house. Therefore the
night-part of the house is surrounded by light-shafts which
result into a house-in-house concept in section.
12.
13. a proposal for a semi-attached house in Drongen, near Ghent.
Here the same problem of orientation accured, so first of all
it was needed to bring light into the living part of the
house. This by creating the illusion of detachment from the
common wall of the neighbors, which was needed to build on
to. A slice of 1 meter of the entire house is left empty,
from roof till ground floor.
with Felix Schietecatte
14.
15. DE GROUNDED ANATOMY OF THE GEOLOGY OF THE LANDSCAPE OF THE
LAMB OF GOD.
This is a resistance against ungrounded architecture.
Building a tower in the landscape of Van Eycks Lamb of God,
“a provocative proposition of the apparently impossible”.
Making architecture that questions the constructable, doable
and the permissible through design research. The
result is a work that represents the position of the
designer and is fed by own interests regarding the disci-pline
of architecture. With the objective of analyzing the
uncommon site, the Landscape of the Lamb of God and the
construction of a tower and model as precise, specific, yet
impossible, wherefore we can cause a source of speculation,
inspiration, research and discussion. The approach of the
landscape, designing as research, an encounter with archi-tecture
and its limits, with this project as our medium.
School-project with Lennart Vandewaetere and Ruben Castro
16. None of the towers in the painting are visually touching the
ground, which became the starting point of our
process. A resistance against ungrounded architecture. We
designed an architectural chronological system, where
materials are extracted from the building site itself,
directly being processed and imagines the idea of making a
building out of its surroundings. This by creating the
concept of brick-oven as a carved out fundament for a tower,
made out of surrounding material. This idea plays with the
limits of architecture. The tension between sustainable
architecture and exploitation and loss of landscape.
H I L L
HILL BECOMES FUNDAMENT
FUNDAMENT CONSUMES HILL
FUNDAMENT BECOMES FABRIC
FABRIC NEEDS CHIMNEY
CHIMNEY BECOMES CIRCULATION
TOWER CONSUMES CHIMNEY
T O W E R
22. Projecties 3 - De provocatie van het schijnbaar onmogelijke
wed 15 october 2014 until sun 4 january 2015
De Singel, Antwerpen
Teachers: Mira Sanders, Jo Van Den Berghe
Foto van Griet Dekoninck
23. DIPLOMA
My diploma project initiates from a great fascination for
the disappearing Victorian pleasure piers along the
East-coast of England.
When the pier decays, which they all do eventually by na-ture
forces, this fake and controlled little dreamworld
fades away and the authenticity of the structure appears.
This is the most obvious to experience in Brighton, where a
demolished and maintained pier lie next to each other. The
pier-concept can be simplified as a structure dressed with
a commercial scenery. This contrast between structure and
decor, real and fake, has driven me to research and eventu-ally
design.
La Vie Moderne
teachers Hugo Vanneste and Bert Joostens
Mentor: Carl Bourgeois
24. UNDERWORLD-OVERWORLD
FRONT-BACK
DECOR-STRUCTURE
The piers are stacked with attractions following the
world-expo-principal, leading the visitor from one
attraction to the other, the sea underneath it all is being
ignored. The attraction-park-concept can be simplified as
fake commercial world, a pseudo-event. A dishonest, artifi-cial,
not-every-day experience. There are so many distrac-tions
on the pier that one might forget being on a pier in
the sea.
I continue with an abstraction of the pier, a structure with
a commercial coating, and the tension between the two.
Is it about promenading on the boardwalk or wandering
towards a place to be alone. Both, because otherwise it
becomes constipated experience. There is no back without a
front.
ESCAPE
My interest in these “pleasure piers” transcends the
rollercoaster, which always needs to go faster and higher to
satisfy the experience-addicted people. It’s more about the
ability it offers to ESCAPE, than it is about an amusement-park.
I want SLOWNESS instead of speed, WANDERING instead
of promenading. CHAOS instead of order. I want to create a
place where you can escape the rut, speed and shallowness of
our modern life, filled with rules, apps and safetycamera’s.
But this can not be designed without a function that covers
this escape.
25. STRUCTURE
Structure forms an essential parameter and obstruction in
the design of a pier. The slender structure can only
exist if every plane is solid. Therefore the bracing
needed to be put with a specific stragedy, not to obstruct
the visitors and always offer the ability of escape when the
water rises. This confirmation has a great influence on the
experience. It does not allow you to walk in a straight line
but allows you to outrun someone in a few steps. A person 10
meter ahead of you is perfectly visible, but unreachable.
This creates the feeling of remoteness and freedom.
IN-BETWEEN
The in-between-space, the backstage, the short-cut, the
corridor,
It is a transition between two experiences, where two con-trasts
pass on each other. Hidden after all the attention of
consumption. To get of the beaten path.
26. CONTEXT
I bring the tested segmentation back to it’s context, the
dyke. It initiates from the first shopping street after the
promenade, and sucks the visitor into the pier as a tunnel.
This creates the feeling, not going on a pier at all. This
“trap” branches out from the main axis to endless short-cuts
which wrap around the one-way-tunnel. The pier has been cut
off from the promenade, which allows the visitor to sneak in
the building, unseen.
