< TETTERODE - p1:  INTRODUCTION <
< TETTERODE - p2:  PUBLIC-USE & WORK-SPACES <

< TETTERODE - p3:  DACOSTAKADE BUILDINGS: MERKELBACH & HARTCAMP <

< TETTERODE - p4:  DACOSTAKADE: MERKELBACH APTS <  

<  TETTERODE - p5:  DACOSTAKADE: MERKELBACH APTS <

   TETTERODE - p5-1:  DACOSTAKADE: MERKELBACH APTS

> TETTERODE - p6:  DACOSTAKADE: MERKELBACH APTS >

> TETTERODE - p7:  DACOSTAKADE: HARTCAMP APTS >  

> TETTERODE - p7-1:  DACOSTAKADE: HARTCAMP APTS >

> TETTERODE - p8:  DACOSTAKADE: HARTCAMP APTS > 

> TETTERODE - p9:  BILDERDIJKSTRAAT BUILDINGS >

> TETTERODE - p10:  BILDERDIJKSTRAAT APTS >

> TETTERODE - p11:  BILDERDIJKSTRAAT APTS >  

> TETTERODE - p12:  BILDERDIJKSTRAAT APTS > 

> TETTERODE - p13:  BILDERDIJKSTRAAT APTS >

.

MERKELBACH: HOMES & STUDIO-APTS - cont ...

.

MERKELBACH: mb-L4 ENCLAVE    ... in process

MERKELBACH: PLAN - LEVEL 4 ENCLAVE [mb-L4] (Architect-Drawing 1986 / top is EEN)	MERKELBACH 2008: PLAN - LEVEL 4 ENCLAVE [mb-L4] (Plan: Mikel v Gelderen 2006 / info 2008 / top is EEN)   ... in process

.

.

TINA SCHRAMEIJER APT & STUDIO (1986 --) [mb-L4 / N-end]

Tina Schrameijer has used spaces on mb-L4 for making ceramics since 1982, while living in another squat. After Tetterode's legalisation (and the application of fire regs, renovation money, and the arrival of new people wanting smaller cheaper spaces) the mb-L4 floor was re-planned and permanent divisions built. 

Facing imminent eviction from her outside living-place, Tina took a narrow space across the north end of mb-L4 (approx. 5·5m x 17m), analogous to Thom Pucky’s [mb-L2], but roughly rectangular, with angled west-corner windows and a strip-window spanning the top of the long north-wall. She divided it into halves with the apt in the west to catch the sun.

She began building in summer ‘86 and moved in to live in ‘87. The big 36m² all-wood mezzanine-platform was architect-checked for safety to qualify for grant money, its joists hang on the building’s concrete piers (not on the Collective’s cement-block walls) with a column at the junction of its big fronting beams. This column’s nine varnished drums are cylindrical cores cut from walls for heating-flues during renovation works (she collected the whole building's supply), 25cm steel pins bridge their cemented joints; the beam-junction is cased in cement with marble fragments and the tenth drum supports a ceramic chess-board (played from her favourite swing and stirrup position); the masks are African. The column stands on the factory’s concrete floor, its round foot in a triangular ceramic goldfish pool. The plank floor is nailed to thin joists over polystyrene insulation laid on the cold concrete. 

Tucked under the platform against the studio wall, the kitchen and bathroom furniture and plumbing are her make, with found-basin and matching second-hand bath. The bathroom is a venue for ceramic jokes: on its ceramic floor are 3-D feet which one must step between (in human dwellings convenience can be even painfully subservient to other needs!).  

The stair was made by a carpenter to her sketch - swopped for a ceramic chess-board. With the advent of a crawling child the mezzanine’s balustrade was necessary (64 ‘HEMA’ broom-sticks - the shop objected!). Though still furnished as a social sitting-space the railed space seems unresolved: become the child's-floor/cage; at its rear is a mosquito-curtained bed-alcove, looking over the adjoining studio through street-found glass. Nothing is new but the block walls, broom-sticks and the white kitchen tiles, the furniture is ‘family’ or off the street.

.

^ Top     Next Page >