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Workshop Explore Lab Poster

Design with Natural & Biodegradable materials

  Design with Natural & Biodegradable materials 1st of June 2016 | BK City, Room U | 10:00 – 15:00 For BSc & MSc Students Lecture 1 10:00 – 10:45 […]

Poster Workshop Movie Making

Workshop Movie Making: Creating Atmospheres

  Creating spaces is not only limited to the workingfield of an architect or urban planner, but it is present in every aspect of our daily life. One of the […]


“Practising Ethics”

    Explorelab21 presents the first workshop activity; Join our Reading/Discussion Group on “Practising Ethics” ; in 5 sessions (one every two weeks) starting Thursday Nov. 5 we will raise questions through enganged problematizations […]

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Architecture Graphic Graphic Architecture

Architecture Graphic Graphic Architecture

Michael Tjia

If it is the shift from the construction site to the designer’s studio which sets building apart from architecture, then an investigation of the architect’s studio is imperative. Here, the drawing board, in all its iterations, is a vital tool to produce sketches, diagrams and drawings, to study, inform and seduce, and possibly, to build.

In its built form, architecture continuously broadcasts content, much like its graphic counterpart before it. It is because of this that buildings fall under continuous scrutiny of the public, generating meaning and relevance or entering mainstream conversation in the form of unapologetic nicknames.

Borrowing from communication methods already used at the drawing board, architecture itself could be deployed as a communication medium. I will study these forms of communication in the highly graphic and representative landscape of the Bollenstreek. Both utilising and shaking off any possible form of interpretation, ducks and (un)decorated sheds will be developed for an alternative showcase of Dutch flowers and horticulture.

I Am My Home

I Am My Home

Marjolein Overtoom

Designing homes with meanings:
Construction of a tool based on human values

Houses were among the first structures that were built, and remain the most common type of building today. The design of housing has been the subject of architecture, while from a
psychological point of view the meaning of home has been a major subject of research. These two different viewpoints are combined in this research to provide a tool for designers to design based on values. First a quantitative study was carried out to match activities and spaces in the home to human values (Schwartz, 2000).

The features of spaces around us and how we orient ourselves in space is related to the human body (Tuan, 1977). For example space in front or upwards is seen as future and
illuminating, while the experience of spaciousness is related to freedom. Consequently, space that is behind is seen as the past, or dark; something more important or superior is elevated and faced towards you. Depending on the culture either left or right is seen as more pure, while the other side is seen as dirty. The meanings attributed to attics and basements (Korosec-Serfaty, 1984) also distinguishes the two by describing them as opposites; the attic and cellar as hidden opposed to the living space as visible and ‘high’-status; and the cellar is dark and enclosed, and once appropriated, not dirty any more. Also when the attic and cellar are full of things, they give security or affluence, knowing there is enough food or seeing all the things someone owns. Another way in which people distinguish features of space is by spatial styles (Beck, 1970). There are five spatial styles that people use to differentiate between elements in the environment (without attaching any meanings to them). These are diffuse space vs. dense space, delineated vs. open space, verticality vs. horizontality, right and left in the horizontal plane, and up and down in de vertical plane. As such, orientations in space do seem to have meanings in the same way as values; as two opposites on the same line. However, which values relate to which activities, which spaces, and which spatial oppositions is not known. This research is a first attempt towards building a design-tool based on human values.

This resulted in a design-tool that consists of the ten values (hedonism, self-direction, universalism, benevolence, conformity, tradition, power, and achievement) associated activities and spaces, and hierarchical graphs based on space syntax. Lastly opposing spatial features were laid over the two dimensions (openness to change vs. conservation and self-transcendence vs. self-enhancement). Subsequently this tool was used to design seven houses which were used to find out whether the values designed in the houses were also recognised as such. Houses with values preferred by the interviewees, were chosen more often than values on the other end of the circle, indicating that the tool is of some help when certain meanings need to be communicated by design.


Soscha Monteiro de Jesus

(METRO) POLIS refers to the reciprocal relation between the urban environment and the metro system in Tokyo, Japan. In November 2016, its largest fish market relocates, leaving behind a vast territory in one of the central wards. As a strategy to connect this post-industrial territory to the everyday of the Tokyoites, a metro station is proposed in a former market hall of the Tsukiji Shijō.

The design aims to release the potential of the transport hub as an urban centre, by redefining the metro station as a generous, inclusive place that allows a multitude of practices and timespaces to unfold: a place for the Tokyoites.

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