EDUCATION
EMPLOYMENT
ACCOLADES
PUBLICATIONS
The University of Texas at Austin
The University of Texas at Austin
BMH Design Studio
Design Excellence Nomination
Studio:
Juan Miro (Advanced)
Kevin Alter (Vertical)
Elizabeth Danze (Vertical)
Sixth River Architects Endowed Fellowship
Blake Alexander Traveling Student Fellowship in Architecture
Issue 16
M.Arch I
B.S. Architectural Engineering
Teaching Assistant:
Design I/II
BIM and Representation
Introductory Studio
Renderer
Torre Collaboration
Gallery
Monastery
On Conflict
2021 (anticipated)
2018
2019 - current
2020
2020
2020
2020
2019
2019
2020
2020
2019/20
MAARTEN JANSSENS
MAARTEN JANSSENS
AT UTEXAS DOT EDU
MAKER SPACE
MONASTERY
GALLERY
BATH HOUSE
TOWER
METABALLISM
CDMX↑
CEMETERY
TORRE, with Lucas Strzelec
(in progress)
is an M ARCH I candidate at the University of Texas at Austin;
this is his portfolio of work and CV; it's presently undergoing some tidying up; email him to chat.
is a conceptual residential high rise developed after a trip to Mexico City, where upon returning home we were immediately put into self isolation. It is an exploration of the experiences and diverse conditions we admired in Mexico City, a collaborative project focused on the architectural plan. We created a neutral frame, built out from the geometries of an abandoned warehouse block, to fill with these established diverse conditions.
Starting with a list of architectural situations and 35mm photographs we took on our trip, we experimented and explored these theories through an architectural language. Sometimes one partner would start a plan and the other would finish; sometimes one partner would take up half of a floor and identify where the other could begin with their interpretation of a theory (or a symbiotic theory), implying a reaction to what had already been designed; and sometimes a mixed authorship would evolve from one partner responding to continuous on-screen annotation by the other. Occasionally the plans were playful, other times the plans were serious, speaking to our dynamic reactions to the situation. The result is an exploration of isolated collaboration, a building that is grounded by our experiences in Mexico City, and elevated by our desire to find again the energy of studio through a remote process. (05/20)
is a burial place for the intelligence of the dead. It is an architectural interpretation of the progress of three laws: Moore's Law, which anticipates the exponential growth of the number of transistors on a computer chip; Kryder's Law, which anticipates exponential memory storage growth in the near future; and Robert's Law, which anticipates the declining cost of data transmission. The defined rate of progression for each law is not equal, meaning an ability to store the human brain will come before an ability to interact with it. This then is a data center for the dead-- storage by any other name-- a burial place where we wait to interact with those deceased.
The cemetery is considered in three parts: the shell, composed of a steel structure holding ceramic tiles (or gravestones); the core, which tapers and programatically flanks central servers with maintenance space; and the surrounding field, in which ceremonies and contemplation may take place. Each of these parts takes from ideas implemented in the larger masterplan the cemetery is a part of: the shell geometrically links the neighboring traditional cemeteries; the core takes precedent from Mexico City's pervasive idea of layering; and the field serves as a means for collaboration, dotted with spiritual follies composed by other architects. (05/20)
is an international architecture competition. Developed after visiting Mexico City in early spring 2020, CDMX↑ responds to both the need to work remotely due to quarantine, and a desire to work comparably to emerging Mexican architecture firms. It is a simulation of a competition that could take place: the rules for program, site, etc. take from studio project requirements; the deadlines follow final review deadlines; and the jury collects potential final review critics. This framework allows for work to evolve in a fiction that is closer to reality than studio, but still somewhat ungrounded. The website can be accessed here. (03/20)
is an expansion of sorts for the Contemporary Austin, sited at Laguna Gloria just north of the historic Driscoll Villa. Three spaces-- an outdoor courtyard, and an upper and lower conditioned space-- progress as part of the larger Laguna Gloria master plan. A frame for the adjacent landscape becomes a curtained window wall at the upper level, and a clerestory at the lower level, working as a non-neutral background of light. This non-neutrality mirrors the curation of art on the peninsula while providing a level of protection from the elements for both the pieces and the viewer. Subsequently, the building establishes a handicapped accessible path to the greater peninsula, and essential underground storage is nestled under the southernmost indoor gallery. (12/19)
Copyright M Arch I | Maarten Janssens | United States
is a materials casting and curing studio on the Goldsmith Hall west patio. An unorthoganal, perforated brick screen wraps an orthogonal, north facing bronze box. This box punches through the facade at two opposing locations, evoking the louvered air intakes around the University of Texas at Austin campus; these are entries which will patina to a green reminiscent of Goldsmith's green entry door. Mechanized louvers restrict lighting to a consistent working condition ambiance. On the interior, a bronze wall opens to create individual work stations, and will polish with use. A central exposed drain prevents plumbing backup, and a downward pressurization prevents material inhalation. (10/19)
is a home for twenty four monks in the Hill Country of Central Texas. A church is established for the community of Wimberley, facing the town; a brewery is established to create financial stability, linking monastic tradition with a thriving Hill Country brewing scene; and twenty four monk cells wrap the saddle of Eagle Mountain to create a cloister. All are linked by a D'Hanis brick plaza. The topography eats its way through a wall between the cell wing and the church, leading to a large cross established on the hill. All elements are given a thinness, linking 'typology' to it's biblical roots, and requiring that the brotherhood provided for by Benedictinism also defines an accountability for the actions of the brothers. (05/19)
is an experiment in experience. Situated at the confluence of Shoal Creek and Town Lake, the building is motivated by a narrative: emphasized by a series of thresholds, the structure and adjacent program hides, reveals, and hides again. On one side: Town Lake Trail, a foyer with lockboxes, and a mirrored hallway. On the other: a mirrored hallway, a canopy billowing over bathing basins, and Town Lake. In between: structure, changing rooms, and the revelation of exposure to adjacencies through one way mirrors. (03/19)
is a home for two people with antonymous preferences. It is a thesis on the definition of 'shared space'. A central concrete core condenses the second and third floors while expanding the fourth and fifth. The core hovers halfway up from the first floor to the second, the compromise, favoring openness or closedness depending on the location and orientation of the tenant. Water draining on the southern face of the core couples with cross ventilation to cool the spaces, and solar radiation in the winter heats the core homogeneously. Additionally, the core acts as both a chimney for a fire pit and a well for light. While only the footprint of the core is occupiable, it works collectively in terms of organization and performance. (02/19)
