This section presents the detailed data gathered through the semi-structured interviews and the literature findings. Subsequently, it describes the nine selected temporary projects, one by one, from two perspectives: ‘the material approach’ and ‘the design of the temporary project’.
3.1. The Material Approach
By analyzing and comparing the material approaches of the nine temporary projects, several commonalities and differences were observed.
Table 2 presents an overview, underscoring the presence of key approaches and aspects of the materialization of the temporary use projects.
This overview underscores the presence of material reuse across all examined cases, manifested through a dynamic interplay among onsite, network-based, and external material reuse strategies. A notable observation is that of the contrasting material approaches between projects initiated via project calls and those through design competitions. The former exhibit heightened collaboration in material reuse within their network, exemplified by initiatives such as material banks or resident engagements. In contrast, projects stemming from design competitions often navigate through a more rigid tendering process, resulting in reduced flexibility, limited spatial experimentation, and diminished resident participation in material integration throughout the temporary project’s lifecycle.
To ensure comprehension and preserve the subtleties inherent in the material approaches, detailed descriptions of the varied approaches are provided on a case-by-case basis, recognizing the uniqueness and contextual dependencies of each project.
3.1.1. Allée du Kaai
To materialize and define the design of the project, the non-profit organization Toestand relied on various actors. For the necessary basic facilities, such as lighting and sanitary facilities, Toestand could rely on the client. For the design and organization of the project, they could rely on their network, which they have built over the years by providing space for people. Members of their network, including various sociocultural organizations and other partners, spontaneously offered surplus or unused materials. Moreover, the choice to work with reclaimed materials was driven by their limited budget, as emphasized by a representative of Toestand. This budget was acquired through subsidies but preferably allocated to social work. However, if necessary, new materials and production tools could be acquired.
Since 2018, Toestand has included a physical material depot, ‘In Limbo’, onsite. In Limbo is a collective material depot that facilitates the reuse and donation of existing materials, building products, furniture, etc., within the sociocultural sector in Brussels. Toestand refers to their design and material approach as an ‘amateur style’ since they build all components themselves. By organizing building activities that are open to everyone, the users themselves become involved and responsible for their space [
39] (pp. 131–132).
Due to the temporary setting, Toestand’s emphasis is on minimal functionality, rather than perfection. Their aim is to build quickly, often resulting in easy assembly and thereby removal. According to them, temporality also means manufacturability, as they seize the freedom to experiment with less caution, since there is no risk of failure in the long term. As such, the site becomes a laboratory where failure is allowed and where the space can constantly evolve to satisfy newly emerging needs [
39] (pp. 42, 142).
3.1.2. WTC 1
The materialization of the temporary project in the WTC towers started from components that were already present. The temporary use project focused on small interventions showcasing the building’s qualities, often involving more removals, like partitioning walls, instead of additions. Further interior design involved users bringing their own materials and furniture to the site.
The project focused on the environmental impact by utilizing the available materials, but the architectural office did not actively pursue material reuse initially. Experience from the WTC towers fostered an increased awareness of material reuse in subsequent projects and inspired considerations for the future of the materials in the redevelopment of the WTC towards the future transformation project, ZIN.
The temporality of the project had an influence in terms of investments. Additions or removals needed to be cost-effective and commensurate with their project’s duration. Thus, the temporariness fostered modesty compared to permanent setups. Some floors remained as found, devoid of interior arrangement, offering temporary users a sense of freedom.
3.1.3. Molenwest Square
For the architectural office that won the design competition, the temporality of Molenwest Square meant that it had to be constructed quickly and easily dismantled and relocated again at the end. Therefore, the ability to move the entire project to another location was an important boundary condition in the design. The challenge was to find a way to move the project without complete disassembly, while maintaining its shape. In addition, the costs needed to remain low for both construction and dismantling. The site itself was affected as little as possible and was deployed as a play area. Moreover, nature was taken as an advantage.
Since Molenwest Square was a public contract, all components had to be designed in advance, and the materiality had to be defined in the tendering process. Several factors made it difficult to work with salvaged materials, such as tight deadlines and the need for neutral specification texts, common in public contracts. To ensure the correct expertise of the contractors, the architects divided the tender into three parts. The contractors were carefully selected to align with the architects’ vision, particularly regarding the use of recycled containers.
3.1.4. Circularium
The temporary project manager Makettt strived to utilize the existing infrastructure in the best way possible by matching residents to the correct spaces, and thereby reducing the need for interior adjustments and additional facilities. This approach kept the costs low and emphasized material efficiency. Additionally, the residents could then design their allocated spaces in the large warehouse to suit their needs. Since the reusable materials, such as fences and storage racks, remained onsite, they could be collected and distributed among the residents.
Moreover, by selecting residents that valued reuse and a circular economy, Makettt indirectly ensured the environmental impact of the materials in the temporary project. For example, BatiTerre, a resident, operates on the site, selling and reclaiming used building materials. This enables the residents to utilize BatiTerre’s reclaimed materials to design their personal workspaces or implement them in their activities. As such, Regglo, another resident of Circularium, crafts furniture using the materials reclaimed by BatiTerre. Additionally, The Free Shop offers various used materials for free. This thoughtful mix of residents creates a dynamic that promotes a local circular material flow.
3.1.5. Le Tripostal
Over the years, the non-profit organization Communa has built up a large network with other sociocultural organizations and various partners, on whom they can rely in terms of providing and exchanging materials and products. Moreover, the residents of the temporary project were free to design their own spaces. As such, they brought their own materials to the site. However, Communa supported them with their expertise, workforce, and network to provide the needed materials and knowledge. As such, they were responsible for ensuring the necessary adjustments and reparations of the vacant building (e.g., heating, water, electricity, etc.) to make the building functionable.
Reuse is not the main goal of Communa. Their primary mission is to occupy the building and offer the space to the people who need it. Usually, they are required to act in a very short and limited period. In this context, Communa found that it is often simpler to employ new materials rather than to reuse damaged materials that require adjustments and reparations. Furthermore, the time and effort involved in designing a component that is reuseable for future projects can be high.
However, due to budgetary constraints, there is partial reliance on the use of second-hand materials in their projects. Moreover, as Communa gains experience in creative solutions, they strive to incorporate more circular practices for their material usage. As such, they try to reuse as much material as possible from one project to another, and, if this is not feasible, they store standardized building projects and furniture that could easily be reused in the future.
3.1.6. Studio Citygate
Entrakt, a for-profit company, was responsible for defining the main material approach in the temporary project as the building owner, the regional development institute citydev.brussels, was not involved in the functioning of the project. Thus, at the start of the project, Entrakt decided to reclaim some materials, like false ceilings, while construction waste was discarded or downcycled. ‘New’ materials entered the site for the construction of workspaces and offices. For this, Entrakt proactively looked for parties offering materials for free or at a lower price, and they recovered materials from their other projects. In addition, a collaboration with Retrieval, a reclamation dealer, facilitated material recovery from a dismantled building in Louvain-La-Neuve.
However, a large amount of new materials was still purchased for the functioning of the project. As the building has to be left empty at the end of the temporary project, it must be remembered that all components that are brought in must be removed later.
Residents also take responsibility for the materials brought into the project, aiding in space arrangement or activities. Regular deliveries, like pallets, contribute to the materialization of the project. Unused items are stored for the residents, while the rest is collected for periodic disposal. Entrakt and the residents avoid large investments for short-lived outcomes. Thus, they prioritize functionality over aesthetics, often using recovered materials due to economic reasons. Additionally, Entrakt avoids constructing fixed structures to facilitate dismantling at the project’s end.
3.1.7. Circle Park
Entrakt manages both the Circle Park and Studio Citygate projects simultaneously on adjacent sites. Circle Park differs in its location, being built on vacant land, and thus requires various materials to be brought to the site for its functioning and activities.
Entrakt chooses to avoid building fixed structures as they would have to be demolished after the project. They opt to work with second-hand containers due to the ease of transport, the low cost, and the ability to use the containers for multiple purposes. The short project duration is another reason for which they do not wish to make large investments and try to keep the costs low with reclaimed materials.
However, a concrete plan for the future of the used materials, including the containers, a DJ booth, and a grandstand, does not yet exist. It relies on finding a new location for the containers. In Circle Park, more so than in Studio Citygate, the design of the temporary project is a dynamic process that evolves as they respond to the users’ needs and learn from the project’s successes and failures. They are progressively shaping the final project.
3.1.8. FLOW
While this project did not prioritize the use of recycled materials, the aim was to prevent wastage. FLOW was designed with the concept of ‘design for disassembly,’ allowing for its potential relocation in the future, as requested by Pool Is Cool due to the uncertainty of its duration on the site. With a limited budget, reclaimed materials were mainly used from a financial point of view. These materials were recycled from Decoratelier’s old projects or second-hand initiatives. However, many new materials were also integrated into the project.
The design was constructed from a modular grandstand system composed of pallet racks and a timber frame. This structure, known as Scenographies, was developed by Decoratelier. The modularity of the system allows the structures to easily respond to different conditions and be reused at other locations [
40]. Pool Is Cool also chose to collaborate with Decoratelier due to their extensive network in Brussels, including young builders, facilitating participatory work. Decoratelier’s approach involves preparing identical elements in their atelier before assembling them onsite. They invite local youth to participate in crafting wooden components, designed for easy reproduction by inexperienced individuals. This inclusive approach fosters community engagement, making FLOW a neighborhood project.
The modularity of Decoratelier’s Scenographies provides flexibility for the project’s future, yet some materials will inevitably become waste. Specific components were tailored to FLOW’s location, making it impractical to reuse them elsewhere. Budget constraints prioritized cost over durability, meaning that some materials may require early replacement.
3.1.9. Maakleerplek
To realize this project, the City of Leuven initiated a design competition. A team, composed of an architectural office, a contractor, and a technical advisor, was selected to create and design the temporary project, which was not only financed by the City of Leuven but also subsidized by Flanders and Europe.
However, with a limited construction budget and project duration, the designers of POLO decided to opt for targeted building strategies to make the site ready for use. In addition, a number of essential interventions and repairs were ensured, such as operational and technical installations and fire safety adaptations.
The designers decided that all adaptations to the site needed to be clearly emphasized. Moreover, together with the City of Leuven, they searched for partnerships to ensure responsible material use and reuse. As such, there was a desire to source materials from other construction sites within the city and reuse as much as possible from the current site. Additionally, since working with leasing contracts for materials is challenging in the context of a public project, the designers decided to work with a buyback guarantee for some materials, such as the scaffolding.
The designers also developed a circular handbook that included an inventory of the components’ dimensions and quantities, a detailed construction methodology, and instructions on how to assemble and disassemble the material components for reuse. For POLO, the temporality of the project did not only mean ‘design for disassembly’ but also robustness in the sense that the materials of the structure had to be strong enough to be reused. With this mindset, the majority of the interventions were designed to be reversible and were guided by the general principle of ‘keeping it simple’.
3.2. Designing the Temporary Project
By analyzing and comparing the material and design approaches, other recurring and differing considerations, strategies, and spatial interventions were observed.
Table 3 presents an overview, underscoring the presence of the key observations across the cases.
Throughout the nine case studies, the design observations could be broadly categorized into three main aspects. Firstly, considerations and challenges inherent in the development of the temporary use projects were thoroughly examined and discussed with the interviewees. Secondly, alongside reuse, two additional strategies emerged within the temporary use context, offering potential for future reuse but not consistently implemented. Lastly, a focus was placed on the types of spaces generated by these projects. During the semi-structured interviews, these design observations were extensively discussed, recognizing their significant impacts on project materialization.
To ensure comprehension and preserve the subtleties inherent in the design variations in temporary use, detailed descriptions of the varied approaches are provided on a case-by-case basis.
3.2.1. Allée du Kaai
The layout of the space was constantly changing. If a component was needed, Toestand and the residents briefly discussed it and built it. If it was unsuccessful, they changed it again. Some aspects were kept, and others were added or completely rebuilt. There was no concrete plan at the start of the project regarding how the space should be constructed.
However, there was a general idea to share the space. Rather than dividing it with walls, they shared it among the users, fostering collaboration and allowing for more partnerships as not all users had their own defined rooms. According to Toestand, residents and users themselves are best suited to fill empty spaces and are therefore free to shape the space. The final space layout is illustrated in
Figure 3.
The Yellow Atelier (
Figure 3, nr 1), an enclosed meeting space built from reclaimed materials, hosted various creative activities in one corner of the open space in one of the hangars. At one point during the project, this space also housed the bar. However, due to the lack of permanence, the bar (
Figure 3, nr 3) shifted to several locations before finally settling next to the communal kitchen. The bar was constructed of repurposed furniture, such as kitchen cabinets and cupboards.
The communal kitchen (
Figure 3, nr 2) in turn was also enlarged and constructed in a way that divided the large open space of the hangar into smaller compartments. As such, steel frames, wooden boards, and polycarbonate sheets were added to construct the dividing walls [
39] (pp. 43–45). Initially, the agreement was that the kitchen’s structure would be demountable and removable, but, eventually, due to the impending demolition of the hangar, some elements were allowed to remain—for example, the steel bars of the kitchen walls.
For the spatial layout, a range of loose and fixed elements were introduced in the hangars of Allée du Kaai. In the central hangar, volunteers built concrete skate ramps (
Figure 3, nr 4) using surplus materials donated from a nearby concrete plant. However, in the foundations of these skate ramps, various types of waste, such as old glass, a fallen tree, and a mound of earth, were reused. The loose elements, such as the yellow atelier, the bar, and the kitchen wall, could be recovered at the end of the temporary project; however, the fixed structures, such as the skate ramps, needed to be demolished.
Figure 3 visualizes the fixed and loose spatial interventions introduced in Allée du Kaai in red, and it briefly presents the utilized materials for each design intervention.
3.2.2. WTC 1
At the beginning of the temporary use project, some floors were divided into small office spaces, while others were left vacant and stripped to the shell. Major players like the architectural and design offices 51N4E, Architecture Workroom Brussels (AWB), and Vraiment Vraiment reinterpreted the space with minimal intervention and created shared areas. They removed walls and added elements like curtains (
Figure 4, nr 1), plants, tables (
Figure 4, nr 2), and new walls, transforming the space into a hybrid space where the residents organized their areas. Moreover, 51N4E provided support by creating a model of the floors, acting as a toolbox to test different layouts. The primary aim was to establish a sense of hybridity by positioning shared facilities and considering private and individual workspaces.
The 16th floor, housing 51N4E and AWB, featured architectural considerations like meeting spaces, a shared garden, and a library. Additionally, 51N4E created an experimental greenhouse (
Figure 4, nr 3) by replacing the infills in old partition walls with plastic films, allowing light entry. However, the floors where smaller actors were located rather exhibited the functional use of the space.
For the ‘You Are Here’ exhibition, minimal interior decoration was added, which could easily be removed later. In addition to the strategic placement of carpets and cabinets, large hanging curtains contributed to the perception of different spaces across the large open floors.
Additionally, there was an exhibition box (
Figure 4, nr 4), The Replica, an installation created by Recyclart FABRIK, replicating their former café storefront. This box-in-box structure hosted art exhibitions on the first floor of WTC 1’s former bank space. Constructed mainly from wooden and metal materials, likely new, they were reclaimed by Recyclart afterward [
40].
Figure 4 visualizes the described spatial interventions in WTC 1 in red, and it briefly presents the introduced materials for each design intervention.
3.2.3. Molenwest Square
The designers started from vacant terrain that could take many different shapes. To create interior spaces, they opted to quickly convert containers (
Figure 5, nr 1) due to the requirement for easy mobility. Two containers were joined side by side to create a wide space. In addition to the necessary facilities, these classrooms contained a workspace for craft workshops or a space to assist children with homework. Between these containers, they placed an arched roof (
Figure 5, nr 2) to create a covered outdoor play area for the neighborhood.
They used reclaimed containers because these were available in large stock, and it was appealing that they already had a history. They needed containers of two meters and ninety centimeters high, instead of the classical container of two meters and forty-five centimeters, to maintain the proper height after a finish layer was added. The containers were then joined two by two. This was achieved by cutting out a side wall and then anchoring both containers with bolts. A small column was placed to ensure the strength of the structure. Thus, when the project must be dismantled, it will simply require the loosening of the bolts and the removal of the rubber seal between the two containers. Consequently, the containers, including their finishes, can be moved again one by one on a truck.
The finishing of the containers was provided by sandwich panels. These were all new materials, but they were attached in such a way that they could be disassembled. This was achieved by connecting the sandwich panels to a rail below and above. The panels consisted of a metal finish and rock wool inside.
The structure of the arches that provide shelter in the open space was constructed from a prefabricated Meccano system. This is a standard system that is often used for temporary storage in outdoor spaces. This arch structure can be completely disassembled and rebuilt.
Figure 5 visualizes the described spatial interventions in Molenwest Square in red, and it briefly presents the introduced materials for each design intervention.
3.2.4. Circularium
To design this temporary project, Makettt assigned residents a surface area in the existing building and provided guidance on space design and technical aspects. The planning of the layout involved mainly logistics, such as coordinating deliveries to prevent resident interference and ensure easy access to supplies.
Recovered fences (
Figure 6, nr 1), initially situated on the roofs and around the plot’s perimeter, serve as materials to divide the warehouse. As such, these fences partition the large open area into smaller sections. Additionally, Makettt seeks residents who can use the space as it is. For example, the Microfactory, a multidisciplinary production place, occupies various sections of a former car dealership, which used to include a spray booth, metal workshop, and garage joinery. The newly designed space is structured into a small makers’ village, offering co-working spaces for craftspeople around organized storage racks. Here, individual makers can rent small workspaces positioned on, under, and around these racks. Larger ateliers, like textiles and ceramics studios, are defined by reused partition walls (
Figure 6, nr 2), salvaged from an old school, creating smaller offices within spacious areas.
To create comfortable office spaces within large workshops, smaller enclosed areas were built using the box-in-box principle (
Figure 6, nr 3). These offices were constructed atop or beneath the existing steel structures of the car storage racks. The start-up Konligo, developing innovating temporary scissor structures for events, sustainably built their office focusing on future adaptability and material reusability from the design stage onwards. It features reversible mechanical connections for easy modification and includes reclaimed materials salvaged by RotorDC and In Limbo, which are reclamation dealers in Brussels [
41].
The common kitchen area (
Figure 6, nr 4) is enclosed by a wall produced with repurposed high-speed cross-laminated timber (CLT). The integrated CLT was repurposed from a modular pavilion for the Habitat Festival in Leuven by the collective bøøt, which sewed the CLT beams into building blocks. This approach of reusing CLT beams as building blocks facilitates simple assembly and disassembly.
In the outdoor area, scaffolding (
Figure 6, nr 5) was reused to create an interesting structure that acts as meeting place for the residents.
Figure 6 visualizes the described spatial interventions in Circularium in red, and it briefly presents the introduced materials for each design intervention.
3.2.5. Le Tripostal
At the beginning of the temporary project, there was little planned for the layout of the large open space of Le Tripostal. Therefore, at the front of the building, eight boxes (
Figure 7, nr 1) were built to divide the open space. These boxes were allocated to various associations, where they could decide and build themselves the interior arrangements according to their needs. However, Communa learned that allowing the various organizations to conduct the building was not the most efficient means of working. Firstly, time is required for different organizations to start to work together. Moreover, all individuals must follow the rules regarding legislation and fire safety. Thus, to inform and support the various organizations in the project, and to work more efficiently in the limited period, a technical team oversaw the building and unbuilding of components (e.g., the addition of interior walls to create the boxes).
In addition to the boxes, a bar (
Figure 7, nr 2) was constructed in the polyvalent space, where events were organized. This bar was produced from recuperated materials only. As such, 200 wooden slats, recovered from old furniture, became the cladding of the new bar. In addition, a cloud-like form was created from 500 jerry cans that hung above the bar and acted as a chandelier.
In their hallway, which sometimes was transformed into an exhibition space, Communa decided to create some wooden constructions from reclaimed materials (
Figure 7, nr 3), which acted both as benches and space dividers. In addition to these temporary lightweight structures, fluid elements such as curtains were also introduced as space dividers.
To make the building accessible to everyone, a ramp was constructed in concrete at the entrance. Moreover, a lift with three steps was bought to ensure accessibility.
Figure 7 visualizes the described spatial interventions in Le Tripostal in red, and it briefly presents the introduced materials for each design intervention.
3.2.6. Studio Citygate
The layout of the spaces in this large building was not straightforward and consequently involved some planning. The intention was mainly to create a logical division, aligning the advantages of each space to the appropriate user. For example, the basement was divided into music studios to avoid noise pollution.
Upon entering the building, Entrakt encountered vast open floors that were later divided into smaller atelier spaces using metal-framed partition walls with OSB boards (
Figure 8, nr 1). The open space on the third floor was more difficult to divide into an office floor. Moreover, office spaces demand higher comfort than craft workshops. A solution was provided by the Be-Modules (
Figure 8, nr 2), designed by Dzerostudio Architectes, as modular office boxes of 20 m
2 each. They are dismountable, constructed without glue or nails, using mostly salvaged materials from a building in Louvain-La-Neuve. Retrieval collaborated in material recovery, including white melamine panels, windows, glass doors, etc. The former false ceiling of the space was dismantled, and the panels were used as insulation for the Be-Modules. Entrakt wishes to disassemble the modules and transfer them to another project. However, this building was yet to be found at the time of the interview.
The residents built their own communal kitchen with materials provided by Entrakt. The openings were constructed with windows taken from the building in Louvain-La-Neuve. Furthermore, they built a concrete bar in the event hall. This will have to be demolished at the end of the project.
Studio Citygate has an indoor and outdoor skate park. The creator of the skate parks used palettes as the base structure and repurposed leftover granite pieces from a tombstone maker for skateboarding surfaces. While parts of the indoor wooden park may find a new use, the outdoor concrete park will be demolished. The concrete contains various debris, like bricks, cellular concrete blocks, and porcelain toilet bowls from the building’s basements [
42,
43,
44].
Figure 8 visualizes the described spatial interventions in Studio Citygate in red, and it briefly presents the introduced materials for each design intervention.
3.2.7. Circle Park
Initiating a temporary project on vacant terrain differed from doing so within a vacant building. It required more creativity to visualize how they wished to design the place. They decided to divide the site into several zones: a container village, a sociocultural event zone, and a sports area.
Their initial need was shelter for visitors and temporary users from the rain. Opting for second-hand containers (
Figure 9, nr 1), they found an easily removable solution for the short-term project. However, in winter, these containers remain empty due to a lack of insulation. Positioned at both entrances, three containers stacked atop each other serve as eye-catching gateways. The container village provides offices and workshops for makers. Alongside the concert area, a line of open-sided containers offers space to relax and enjoy drinks, creating cozy corners. Some containers were also converted into a bar or food stand. The relocation of the containers after Circle Park has not yet been planned. These shipping containers are not demountable but can easily be moved as one box on a truck. The advantage of the containers is that they can be used for various purposes. Whether they will be sold or moved to another project remains to be determined. Of course, transportation carries financial costs, so it would be preferable to move them immediately for a period of more than one year.
Concerts and parties frequently take place at Circle Park. Consequently, a covered DJ booth (
Figure 9, nr 2) proved to be a valuable addition. This canopy is composed of a metal frame supporting wooden beams and corrugated polycarbonate sheets, likely newly purchased.
The beach volleyball courts (
Figure 9, nr 3) are encircled by salvaged train ties. The purchased sand will remain there and can be reused for the future construction site.
Figure 9 visualizes the described spatial interventions in Circle Park in red and briefly presents the introduced materials for each design intervention.
3.2.8. FLOW
The outdoor swimming pool of FLOW (
Figure 10) was constructed with the modular system Scenographies designed by Decoratelier [
45]. The interplay between seeing and being seen is typical of Decoratelier. This concept is also conveyed in the design of FLOW. Inspired by old swimming pools, such as that of Sint-Joost in Brussels, FLOW has a passerelle. From the passerelle, one can see from the upper to the lower level and vice versa. This relationship is very important also because the viewer is not seen equally well everywhere. Therefore, different locations in the project offer a different experience. There is a stage where one can be seen from the center of the space, but there are also more secure places where one can hide from the crowds.
Most of the wood used for the floors, podium, stairs, and walls is new material. The intention is to reuse this wood in the future when the project relocates. However, challenges arise due to the quality of the inexpensive pine, which is mostly untreated. The planks aligned with the pallet rack rhythm are more likely to be reused, while wood of specific sizes may be lost during relocation. The pine multiplex panels in the changing rooms are easily removable and placed between the rack structures.
The stairs were one of the main elements that were predominantly prepared in the atelier. For the atelier, there was a list detailing the specific elements required. Decoratelier then created diverse templates indicating precise locations for screwing or drilling. These templates enabled the production of many identical elements that could be assembled later. As a result, all of the stairs were crafted using approximately three distinct shapes. This approach facilitated the involvement of inexperienced young individuals from the neighborhood in the construction of the swimming pool. The same method was also applied to the balustrades. A specific template was produced in which the bars were placed to create the desired shape. These bars were sourced from the port of Antwerp and originally intended for transportation.
FLOW features a small kiosk doubling as a bar, designed by Italian artists using arches sourced from a nearby construction site, reinforced with new screed reinforcement nets from Pool Is Cool’s stock. The roof is a patchwork of surplus liner off-cuts. Containers were initially used for material storage during construction and later repurposed for valuable items and additional storage needs. These containers were either bought second-hand or rented.
Figure 10 visualizes the spatial intervention in FLOW in red and briefly presents the introduced materials in Scenographies, the modular tribune system.
3.2.9. Maakleerplek
Since Maakleerplek was created in the context of a design competition, its spatial organization and material implementation choices were made from a designer’s perspective. As such, four main strategies were put forward by POLO: the scaffolding, the circular façade, the containers, and the wall. Moreover, these strategies followed circular principles since this was one of the objectives of the City of Leuven.
The four building strategies restructure the space and provide a distinctive identity to the project. The ‘scaffolding’ (
Figure 11, nr 1), for instance, primarily serves as an improvement to the circulation. Here, an external tailor-fit elevator was introduced to make the project accessible for all. In addition to the circulation, the scaffolding acts as a visual landmark since it stands outside, is covered by printed banners, and is illuminated at night. In fact, the addition of scaffolding, a standardized and modular structure, is a well-known and normal practice in construction.
However, the designers also included other creative solutions to improve and design the interior spaces of the former mill. As such, the ‘circular façade’ (
Figure 11, nr 2) building strategy, employed by the designers, enclosed the large space beneath the silos. This demountable system consisted of translucent polycarbonate panels and steel profiles. Moreover, the reuse and modularity of the components was ensured since there was a desire to repurpose the components in the later phase of the temporary project, when the transformation of the silos would begin, to construct a greenhouse-like roof in a courtyard on the site.
Underneath the silos, there was a cathedral-like space that was transformed into a large workshop. The large space was divided into several zones, including a low-tech lab with a workshop for makers and repairers. This zone was demarcated by ‘the wall’ (
Figure 11, nr 3), a structure composed of vegetable crates filled with rock wool to dampen the noise. The crates used were acquired with a buyback guarantee, ensuring that they could be repurchased at 60% of their original value at the end of the temporary project. Moreover, a part of the crate wall was rebuilt at another location that needed the temporary compartmentalization of a large space.
In addition to the crate wall, new demountable and adjustable partition walls, designed by JUUNOO, a Belgian start-up, were installed around the sanitary area, kitchen, and cafeteria.
Another method employed to partition the large space was the implementation of a box-in-box system, which they called ‘the containers’ (
Figure 11, nr 4). For this, former shipping containers were repurposed and served as workshops, offering improved interior comfort. After being crafted by the Belgian company IdFabric in Tanzania, they were delivered as fully assembled units, complete with the necessary facilities and the ability to connect to water and electricity suppliers. In addition to the containers, second-hand greenhouses were introduced in the space to create smaller enclosed working areas.
Figure 11 visualizes the described spatial interventions in Maakleerplek in red and briefly presents the introduced materials for each design intervention.