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DAVID CARR-SMITH 2005 : all images & text are copyrighted - please accredit
text quotes - image reproduction must be negotiated via dave@artinst.entadsl.com
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BOOK:
DAVID CARR-SMITH - IMPROVISED
ARCHITECTURE IN AMSTERDAM INDUSTRIAL SQUATS & COLLECTIVES
"GRAIN-SILO"
SQUAT 1989 to 1998
ATTICS
- p3(of 4) :
the SOUTH ATTIC
<
SILO - INTRO <
< ATTICS - p1: MUSEUM & PYRAMID <
< ATTICS - p2: NORTH & SOUTH ATTICS INTRO / SOUTH ATTIC
INTRO & APTS <
ATTICS - p3: SOUTH ATTIC APTS - cont
> ATTICS - p4: NORTH ATTIC
INTRO & APTS >
.
the
SOUTH ATTIC APTS - cont ...
[ NB: Apts are designated by the names of their present occupiers (who are not
necessarily their makers)]
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SOUTH ATTIC & APTS - PLAN
(drawing
2006 / info as at 1995 / top is EEN)
The
attic is 46 meters long / 11.4 meters wide. Divided (as defined by its
roof-trusses and its underlying silos) into 12 transverse bays. The
access gallery along the E-side is approx 2m wide.
[NB: for more info (dimensions, etc.) click on image.]
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LOT VERMEER APT
(KOIK: Sept 1992 - / LOT: Sept 1993 -)
Lot’s
apt at 63m2 is the Attic’s smallest (losing over a meter width to a
fire-escape passage). Apart from a thin semi-enclosed kitchen lining the inside of
its glazed gallery facade (which screens the rest from view), its narrow space
breaks the Attic’s orientation-norm. Unlike Andrea's,
Hans', Maik's, whose living-spaces spread across the width of their sites, Lot's
single-bay living-room is orientated on the axis of its big window like a
cinema on its screen - as one enters the long wooden space with its
golden-orange ceiling and shining wooden floor, hammock-hung and rich in small
regions to relax, one faces as its culmination a magnificent framed view. Only
at its window end does it widen and include, as office and wash-place, a small
windowed portion of its second bay - a narrow screen-walled workshop.
The
first aspirants to this space smashed what little they had built when (after repeated
warnings) they were evicted by the Collective for neither working on nor living
in it. Its first serious resident was Koik, who in four months from Sept ‘92
built the present apt. When he moved to the huge S-end space in Sept ‘93 Lot
took it over. His work remains almost unchanged - Lot improved and finished,
replaced a flimsy inner wall, shortened the narrow work-shop for an office, and
with furniture and use gave it the special ambience of her style of life.
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LOT
(BAY 7): LIVING-AREA E-END KITCHEN & STAIR TO BED PLATFORM
(pic 6-94 / to E)
One
enters the apt through a corner door into a little foyer with doors to the
small bay-6 workshop and to the bay-7 living-area.
Backing the apt's gallery-facade wall is the kitchen - partly enclosed and
screened with scrap windows from the rest of the long room. Overhead is the
triangular bed-platform accessed up a stair behind the screen.
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LOT
(BAY 7): LIVING-AREA E-END DINING TABLE SE-CORNER
(pic 6-94 / to SE)
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LOT
(BAY 7): LIVING-AREA E-END KITCHEN & DINING-TABLE - AT NIGHT
(pic 9-94 / to EEN)
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LOT
(BAY 7): THE LIVING-AREA BED PLATFORM
(pic 6-94 / to SE)
Under
the roof’s ridge Koik built a low-slung triangular bed platform of street-wood
- its entry-edge supported on the kitchen summer-beam
and the centre of its long diagonal side hooked to a
purlin with a triad
of Silo chains. It frames the living-room as one enters - its hyperactive
underside low overhead.
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LOT (BAY 7): BED PLATFORM CHAIN-SUPPORT
(pic 9-94 / to SE)
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LOT
(BAY 7): THE UNDERNEATH OF THE BED PLATFORM
(pic 6-94 / to
SE)
The
bed-platform's underside displays two excitingly contrasted wood-working
actions: the machine-sawn planks in an intimate relation to the drilled-through
ventilation holes. One watches the acts of drilling march unsteadily along each
plank, the driller’s ‘more-or-less’ decisions confined by parallels: an
orchestration of a dance of chance with mechanistic strictness.
For
once one sees the whole of each primary act (even past the point of the drill
bursting through!). In so far as an appropriate action (“that does the job”)
is disguised by secondary actions (eg: if this dramatic conflict of wood and
steel-bit was polished) contact with making and being made, act and substance,
is increasingly distanced and confused. Are primary actions so frequently
disguised (“well-finished-off”) only in order to signify ‘luxury’ by
unnecessary work, or is it also because the violence to the supine board is
frightening?
Koik
remarked: “I drilled the holes and was pretty tired - it looked like a B-class
gangster movie or super-termites”. Lot has hung delicate scrumbled festoons of
point-white lights which enhance the violent roughness of the holes and emphasise
their positional constraint.
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LOT
(BAY 6/7): LIVING-AREA DETAILS OF S-WALL FROM SE-CORNER TABLE - AT NIGHT
(pic 6-94 / to WWS)
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LOT
(BAY 6/7): LIVING-AREA FROM CENTRE HAMMOCK-SPACE - AT NIGHT
(pic 9-94 / to WWS)
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LOT
(BAY 7): LIVING-AREA W-END 'VIEWING STAGE'
(pic 6-94 / to SSW)
The ‘viewing’ window is Koik’s first welding piece: an elegantly
economical (non-opening) amalgam of street-found glass and thin steel frames
stiffened with diagonal strips - it imposes a subtle partitioning of the view.
The ‘half-timbered’ wall divides this apt from
Maik’s.
Koik could not decide its construction until he saw vernacular walls in the
Dijon-area villages: his version is a frame of beams in-filled with skipped
rubble, then thin plaster thrown over all and the wood cleaned.
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LOT
(BAY 7): LIVING-AREA W-END 'VIEWING STAGE'
(pic 6-94 / to SSW)
Near
the window the floor becomes a stage, a 0·34m raised sitting-place with two
chairs, each presenting ‘at ones elbow’ a different view: across the
western city towards glass-topped Tetterode; or the vast moving panorama of
the Houthavens, a ballet of barges and ferries stretching to far docks where
big industrial ships tangle with a skyline of factories.
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LOT
(BAY 7): LIVING-AREA W-END 'VIEWING STAGE' - WITH NEW SETTEE
(pic 9-94 / to SW)
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LOT
(BAY 7): LIVING-AREA W-END 'VIEWING STAGE' - NEW SETTEE
(pic 9-94 / to SSW)
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LOT
(BAY 7): THE SW-WINDOW VIEW OF THE HOUTHAVENS WAREHOUSES
(pic 9-94 / to WWS)
Koik's window - view from Lot's 'viewing stage'.
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LOT
(BAY 7): THE SW-WINDOW VIEW OF THE HOUTHAVENS
(pic 6-94 / to NW)
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LOT
(BAY 7): THE SW-WINDOW VIEW OF THE HOUTHAVENS - SUNSET
(pic 9-94 / to WWN)
The vast sunset diorama of the Houthavens is this apt's most magnificent
possession/utility.
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LOT
(BAY 7): THE SW-WINDOW VIEW OF THE HOUTHAVENS - SUNSET
(pic 9-94 / to NW)
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LOT
(BAY 6/7): LIVING-AREA FROM THE NW OFFICE ENTRY
(pic 6-94 / to SE)
We
view the living-area from the small west end office that shortens the north-side
workshop and claims its window.
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LOT
(BAY 6/7): LIVING-AREA FROM THE NW OFFICE
(pic 6-94 / to S)
W
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LOT
(BAY 6/7): LIVING-AREA FROM THE NW OFFICE
(pic 6-94 / to SSW)
The
door into the small workshop is pic-left.
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LOT
(BAY 6/7): NW-CORNER OFFICE
(pic 6-94 / to NW)
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LOT
(BAY 6): THE NW WINDOW IN LOT'S OFFICE - EVENING VIEW OF THE HOUTHAVENS
(pic 9-94 / to WWN)
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MAIK
TER VEER APT (1992 -)
Maik
ter Veer (a trained cabinet-maker) constructed the fourth apt and began to live
in it in May 1992. Its two-bay section is simply divided across its width (like
Hans’ apt) into a large not-yet-quite-functionally-defined entry space and a
smaller living-room with a sleeping platform, and (in this case) a shallow
kitchen recess in its inner wall. The gallery facade and inner wall use up 29
recycled domestic windows of every size from fan-lights to french-doors, plus 2
glazed institutional doors, and 2 self-made windows. There are also 2 made-up
external windows.
One
of these external windows is a locus of wonderful effects. Hinged upwards as a
flap (hooked to its chain), its glass presents inside the room a perfect
mirrored image of the glittering Houthavens. Even stranger is the relationship
it mediates between wall-surface and the scene outside which is as if presented on
the opening or glass: by day like a bright projection screen; at night, closed
and lamp-lit, the window is like a framed painting.
These
striking effects seem due to its proportions, flatness to the wall, and position
among shelves and books - the way it fits into the patchwork of things, quite as
much as the picturesque views it can reveal. The unusual status of its glass
probably contributes to the ‘framed painting effect’. Usually a window’s
glass is not valued unless coloured, cut, or old; unnoticed unless it obscures
the view - in this case the window grew from its glass: ‘answering’
the need a heavy uncuttable sheet (a table-top) was discovered in the street -
recognition of its suitability focused its status ... it asserted identity. It
precisely matched the opening’s proportions but not quite its size: the slab
was extended with wide grooved wood. The objectivity of this glass in the
awareness of its maker ensured its framing like a picture - subtly stated in the
forming of its frame, its presence is assertive.
Such
is the experiential power of small differences in the forming of an unnoticeable
common thing! Thus the ‘invisible’ part of windows, holes for light, can be
perceptual nexus for inside and out, wall and view. The ordinary can become
wonderfully active and visible, not by added adornment and skill, but through
parsimonious practicality and its concomitant un-habitual attention [1].
Foot-Note:
-
Compare: Le Corbusier,
“Villa Savoye”, Poissy-sur-Seine, 1929-31 - note the ‘view’ in a framed-hole
in/on the NW screen-wall of the upper terrace (like a photo in a
Synthetic-Cubist collage): both a way out into voluminous distance and a
flat picture which conserves the comfort of enclosure [Re
NOTE-1: Corb, Villa Savoye: L2 terrace].
.
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MAIK
(BAY 8/9): GANG ENTRY & WINDOW WALL - FROM INSIDE THE E-SIDE SPACE
(pic 9-94 / to
EES)
Looking
through the apt’s front-door into the access gallery - the timbers of its
skipped-window facade use the overhead truss and roof purlin for support.
Outside is a circular-saw, inside is Rachel’s work-table; a pierced-steel
silo-cover leans against it and next to it a long handled club (an ‘invention-doodle’
of a visitor) waits by the door - its nail-spiked head on a square steel pipe
ground-through in a spiral to make a spring.
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MAIK
(BAY 8/9): GANG WINDOW WALL & ENTRY DOOR - FROM INSIDE THE E-SIDE SPACE
- NIGHT
(pic 9-94 / to
NE)
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MAIK
(BAY 9): GANG WINDOW WALL - RACHEL'S TABLE - NIGHT
(pic 9-94 / to
EEN)
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MAIK
(BAY 8): E-SIDE UTILITY SPACE - N-END - NIGHT
(pic 11-97 / to
N)
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MAIK
(BAY 8): E-SIDE UTILITY-SPACE TO NW CORNER - NIGHT
(pic 9-94 / to
NW)
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MAIK
(BAY 9): E-SIDE UTILITY-SPACE WITH ENTRY TO W-SIDE LIVING-ROOM
(pic 9-94 / to
SW)
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MAIK
(BAY 9/8): E-SIDE UTILITY-SPACE (TO NE CORNER) WITH ENTRY TO W-SIDE LIVING-ROOM
(pic 6-94 / to
N)
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MAIK
(BAY 9/8): JUNCTION OF E & W SIDES - ENTRY TO W-SIDE LIVING-ROOM FROM
UTILITY-SPACE
(pic 11-97 / to
NW)
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MAIK
(BAY 9/8): JUNCTION OF E & W SIDES - DETAIL PLUS W-SIDE KITCHEN WINDOW
(pic 11-97 / to
W)
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MAIK
(BAY 8): W-SIDE LIVING-ROOM - N HALF
(pic 11-97 / to
N)
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MAIK
(BAY 8): W-SIDE LIVING-ROOM - KITCHEN WALL WITH ENTRY TO E-SIDE
UTILITY-SPACE & APT EXIT
(pic 9-94 / to
NE)
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MAIK
(BAY 8/9): W- SIDE LIVING-ROOM - KITCHEN WALL
(pic 6-94 / to
EES)
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MAIK
(BAY 8): W- SIDE LIVING-ROOM - NE CORNER
(pic 6-94 / to
NNE)
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MAIK
(BAY 8/9): W- SIDE LIVING-ROOM - THE TWO W-SIDE WINDOWS
(pic 6-94 / to
WWS)
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MAIK
(BAY 8): W- SIDE LIVING-ROOM - NW CORNER FROM BED PLATFORM
(pic 9-94 / to
W)
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MAIK
(BAY 8): W- SIDE LIVING-ROOM - NW CORNER
(pic 11-97 / to
NW)
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MAIK
(BAY 8): W- SIDE LIVING-ROOM - N-END WINDOW
(pic 11-97 / to
NW)
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MAIK
(BAY 8): W- SIDE LIVING-ROOM - N-END WINDOW - NIGHT
(pic 11-97 / to
W)
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MAIK
(BAY 9/8): W-SIDE LIVING-ROOM - WALL BETWEEN THE WINDOWS
(pic 6-94 / to
W)
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MAIK
(BAY 9): W-SIDE LIVING-ROOM - WALL BETWEEN THE WINDOWS WITH MIRROR
(pic 6-94 / to
W )
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MAIK
(BAY 9): W-SIDE LIVING-ROOM - WALL BETWEEN THE WINDOWS - NIGHT
(pic 9-94 / to
W )
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MAIK
(BAY 8/9): W-SIDE LIVING-ROOM - S- END
WITH WINDOW OPEN
(pic 6-94 / to SSW)
Looking
south from half way down the living-room. The marvellous window is so positioned
relative to room, wall, bookcase that it presents the view as if ‘on the wall’,
by day resembling a projection-screen. The ‘Rococo’ chair and orange-box are
both free from the street; in the foreground the steel ladder (to the
bed-platform) is one of many that hung inside the silos.
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MAIK
(BAY 9): W-SIDE LIVING-ROOM - S- END
WINDOW CLOSED - AT NIGHT
(pic 9-94 / to
SW)
At
night, when the window’s flat surrounding frame is lamp-lit and the city’s
orange lights balance the wooden room’s golden gloom, the dark and sparkling
city seems to hang among the objects on the wall like a framed painting - a
magic depth but in the room.
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MAIK
(BAY 9): W-SIDE LIVING-ROOM - S- END
WINDOW OPEN & REFLECTING
(pic 6-94 / to WWS)
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MAIK
(BAY 9): W-SIDE LIVING-ROOM - S- END
WINDOW OPEN & REFLECTING
(pic 6-94 / to WWS)
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MAIK
(BAY 9): W-SIDE LIVING-ROOM - RACHEL WORKING WITH S-END WINDOW OPEN
(pic 6-94 / to WWS)
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MAIK
(BAY 9/8): W-SIDE LIVING-ROOM - S- END WINDOW OPEN & REFLECTING
(pic 6-94 / to NNW)
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MAIK
(BAY 9): W-SIDE LIVING-ROOM - S-END WINDOW VIEW OF HOUTHAVENS WITH SUN GLARE
(pic 6-94 / to NNW)
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MAIK
(BAY 9/8): W-SIDE LIVING-ROOM - S- END WINDOW OPEN & REFLECTING THE
ROOM
(pic 6-94 / to NNE)
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MAIK
(BAY 8/9): W-SIDE LIVING-ROOM - 3-PART IMPROVISED TABLE
(pic 9-94 / to
SE)
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KOIK APT (ZOHAR MERCHAV: c. Dec 1992- / KOlK: Sept
1993- )
[ NB: Quotes (") are KOIK'S - unless indicated in text ]
The 5th
and last apt is huge (180m2) filling the end of the Attic like Henriette's
apt in the N.
Unlike her's however Koik's mansard space beyond the arches is dark, retains its pillars
and beams, and has its lower floor partly open like a pit. The whole apt
resembles a 3-D 'transparent' projection of a house - divided by glazed or
skeletal demarcations or the moulds of use.
The major part is a cave-like single
space with 'pools' of use: a kitchen, then a sitting space, then workshop that
continues into the opened lower floor (whose still-covered portion provides a
sleeping place for guests). Along the west side Zohar's 'winter-room' still
serves as a more private space: Koik's bedroom and a social eating place with
telephone and music.
Before Koik this space had four
successive occupants. The
first two mended windows and removed the patch of floor. The third lived in
squalor: in a flimsy enclosure "surrounded by horrible rubbish"
(including hundreds of little cans of toxic paint "given by a cynic" -
he moved them into piles of different shapes and painted the outside of the
Silo obsessively in pink) - "his life was in a mess" and "he
left a big mess".
In
december '92 Zohar Meichav took it over. She is credited as
the first dedicated owner and designer of the apt - almost all its internal
structures are hers. For the first month she cleaned it, then "sat in the
empty space" learning what to do; "she discovered the beauty of the
place" and wanted to celebrate and enhance it - with no building experience
"she made up her own style".
In Summer time the apt "was very
free" - she slept on the under-floor and used the whole space. The winter
cold forced her to build a "glass-house": a window-walled enclosure
against the NW side, small enough to keep warm and large enough to use as
home. She experimented with complex floor arrangements - "funny levels like
walks through the snow" - so personal as to impede others (Koik has
simplified & removed then).
Zohar was a
'Pure-Art' student at the Rietveld
Academie - it is said she tried to submit her apt as her degree-assessment piece
and was refused ... lost heart, abandoned the 'project' and returned to
Jerusalem. In Sept '93 Koik moved in and the physical precision of Zohar's
environment began to be blurred by a different usage.
Koik's main innovation is
the big 1.37m high wood-burning stove. He wanted a multi-tier system for
"max heat exchange" - he "knew the technique but not the
form". Koik and Bart looked everywhere in the Silo with flashlights for
good pipes ... "we got to know where all the weird shaped pipes were"
but resisted the temptation of the bizarre and chose for speed and efficiency. The fire was based on what was found rather than planned - it worked
well immediately. With its chimney-damper almost closed the fire is economical
and a very efficient radiator/convector. This type of tiered
3-tube stove is
now considered the most efficient of the various experimental forms - Brian has
made one in the N-Tower and his huge version now heats the Kroeg (public
cafe).
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KOIK: GALLERY (BAY 9) - KOIK APT 'FRONT-DOOR'
(pic 9-93 / to SSE)
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KOIK
(BAY 10/9): ENTRY-SPACE WITH GALLERY 'FRONT-DOOR' & A WINDOW EXIT TO THE
E-ROOF
(pic 6-94 / to
NNE)
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KOIK
(BAY 10): ENTRY-SPACE WINDOW-VIEW - A CRUISE SHIP PASSES
(pic 9-94 / to
EEN)
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KOIK
(BAY 10): ENTRY-SPACE - E-ROOF VIEW OF HET IJ IN MIST
(pic 6-94
or 9-94 / to SSE)
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KOIK
(BAY 10): ENTRY-SPACE WINDOW VIEW - E-ROOF AS SOCIAL SPACE
(pic 1994 / to SE)
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KOIK
(BAY 10): ENTRY-SPACE
(pic 6-94 / to
SW)
From
near the apt's entry one glimpses through the left arch (partly
screened with shelves) a sitting place with its big stove. To the right, in
the centre of this first bay, is the partly scrap-window screened kitchen
area, surmounted by a small guest-bed platform. Through the glazed wall
beyond, on the bay's W-side, is a table-&-chairs eating/meeting
space with access through the W-arch into Zohar's "Winter Room":
Koik's bedroom [ref next pic]. At each end of this first bay windows provide
access to the side-roofs.
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KOIK
(BAY 10): KITCHEN AREA WITH 'GUEST' BED PLATFORM (NIGHT)
(pic 6-94 / to N)
From
the entry-space [pic rt] one passes through this semi-screened kitchen area
to the W-side eating
space and Koik's bedroom.
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KOIK
(BAY 10/11): EATING/MEETING ROOM & ARCH TO MANSARD BEDROOM
(pic 9-94 / to S)
The
west third of the first bay is an enclosed room with table and chairs - a
discussion and eating place with window access to the west side-roof and arch access to Koik's bed space (in Zohar's "Winter-Room": a scrap-window
enclosure she built against the pre-stove Attic cold).
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KOIK
(BAY 10/11/12): THE MANSARD (BAYS 11/12) FROM THE EAST SIDE-ROOF
(pic 6 or 9-94 / to SSW)
Koik
cut a visor-like window in the blind mansard roof - a lookout from a writing
desk. The
small strip of 4 lower windows light the mansard's small east sub-floor.
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KOIK
(BAY 11/10): IN THE MANSARD - CENTRAL SIT-PLACE TO ENTRY-SPACE & GALLERY
(pic 9-94 / to NNW)
In
the mansard central sitting-place, looking through the E-arch to the apt's
entry door and down the length of the access gallery to the bathroom door
near its N-end. The
sitting place is richly furnished with street-found mass-market
'bourgeois-antique' junked furniture and the little complex residues of
social and leisure uses. A focus of this relaxing-space is the big
wood-stove [pic lft and nxt pic].
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KOIK (BAY 11): IN THE MANSARD - CENTRAL SIT-PLACE - ODD OBJECT
(pic 9-94 / to W)
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KOIK
(BAY 11/12): IN THE MANSARD - CENTRAL SIT-PLACE WITH STOVE
(pic 9-94 / to SE)
We
are just
inside the mansard looking into the building's SE corner. In the foreground a relaxing area, beyond is the workshop -
divided by an incrustation of benches etc around the truss-pillar.
Koik's
three-tier stove totals 1.37m high (with tubes of: 1.20x0.56 / 1.00x0.27 /
0.80x0.18); its 5˝m chimney-pipe discharges through the old conveyor exit in
the Silo's end wall. The biggest tube is fire-brick lined & after
heat-soaking for an hour or so is the stove's 'storage-radiator'. Sucked zig-zag
up the tubes by differential heating, the air's flow is damper-controlled before
it exits to the chimney. This giant radiator is very efficient: in this
previously very cold loft, a tee-shirt (at the range of this photo) is
sufficient. (Except at the Attics' N/S-ends the Collective bans wood-stoves due
to the risk of sparks igniting the roof.)
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KOIK
(BAY 11): IN THE MANSARD - CENTRAL SIT-PLACE STOVE
(pic 6-94 / to SE)
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KOIK
(BAY 11): IN THE MANSARD - CENTRAL SIT-PLACE STOVE - CHARGING-DOOR
(pic 9-94 / to EEN)
[NB:
The doors are 'posed' for explication clarity]
The
stove is fuelled through an electric fuze-box
door bolted to the end of its big lower tube, with a small glazed fire-door opening in its centre:
its
viewing- port and draught inlet.
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KOIK
(BAY 11/12): IN THE MANSARD - FROM CENTRAL SIT-PLACE TO THE S-END WORKSHOP (NIGHT)
(pic 6-94 / to S)
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KOIK
(BAY 11/12/10): IN THE MANSARD - FROM THE S-END WORKSHOP PAST THE SIT-PLACE TO THE KITCHEN (NIGHT)
(pic 6-94 / to N)
From
the workshop's S end - past the hanging bell, big stove and sit place,
through the centre arch of the Silo's 3-arched S-gable wall beside the
string-case of a piano - one can see the kitchen area under the little
guest-bed platform.
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KOIK
(BAY 12/11/10): IN THE MANSARD - S-END WORKSHOP - ENCLOSED
'WINTER ROOM' & VIEW TO KITCHEN (NIGHT)
(pic 6-94 / to NW)
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KOIK
(BAY 12): IN THE MANSARD - S-END WORKSHOP -
(pic 6-94 / to WWS)
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KOIK
(BAY 12/11): IN THE MANSARD - S-END WORKSHOP - BESIDE THE OPEN SUB-FLOOR & ENCLOSED
'WINTER ROOM' (NIGHT)
(pic 6-94 / to W)
The shallow (1.93m) under-floor in the last bay of the
mansard loft, is partly exposed enabling its use as 'standing-space'. One comes
upon it at the far end of the long apt - like a great scoop between the
building's brick end and the delicate scrap-window wall of Zohar's
"Winter Room" (now Koik's bedroom).
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KOIK
(BAY 12): IN THE MANSARD - THE SUB-FLOOR WORKSHOP
(pic 6-94 / to WWS )
Seen from the SW corner of the workshop, standing on the sub-level's stage-like edge, the plunging mansard-roof leads the eye down
through the low row of windows holding a horizon-less slot of dock and water, bushes and a coloured boat
- 24m below
yet seemingly included in the complex accoutrements of the
sunken workshop.
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KOIK
(BAY 12): IN THE MANSARD - THE SUB-FLOOR WORKSHOP WITH ITS WINDOW-VIEW
(pic 6-94 / to WWS )
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KOIK
(BAY 12): IN THE MANSARD - THE SUB-FLOOR WORKSHOP
(pic 6-94 / to SSW)
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