Camiel Berns
Since his studies at the Delft University of Technology, Camiel Berns has maintained a profound dedication to the restoration, renovation, and adaptive reuse of historic structures. In 2012, he founded BERNS architectuur to focus exclusively on the complex transformation of monuments, industrial heritage sites, ecclesiastical buildings, and residential heritage.Vision For BERNS architectuur, designing within a heritage context transcends the mere preservation of physical material; it is an engagement with the inherent narrative of the built environment. The practice posits that restoration is a fundamental act of design. Rather than 'freezing' a building in a static state—which rarely addresses contemporary requirements – Berns asserts that the continued utility of a structure is the primary guarantee of its preservation. By synthesizing a building’s unique historical qualities with modern functional aspirations, the firm balances cultural-historical values with sustainable, future-oriented design. This approach ensures that distinctive architecture remains a vibrant, integrated part of the urban fabric for generations to come. Methodology Every project is rooted in rigorous academic and site-specific research. This involves a comprehensive analysis of the building’s typology, its original architect, and its broader environmental context to identify core values and spatial limitations. For complex interventions, the firm employs transformation frameworks to bridge the gap between historical assessment and architectural execution. Based on a cultural-historical evaluation, these frameworks identify specific parameters where interventions can facilitate new uses while simultaneously reinforcing the heritage. This methodology provides a structured evaluation framework for stakeholders, ensuring that innovative solutions are both inspired by the past and precisely calibrated for the complexities of the present.

Jasmina Campochiaro
Jasmina Campochiaro graduated from the Faculty of Architecture in Rome. She is a registered architect in Italy and The Netherlands and has a proven experience in the construction sector in the Netherlands. She has a background as a senior architect in Ireland and an entrepreneur in the Netherlands. The Irish experience exposed her to complexity and the Dutch experience to resilience and communication. Double migration and mixed roots taught her adaptation, and acceptance of other people`s backgrounds which she fully explored in organising two exhibitions related to migration. She practices Feng Shui which she uses to reflect over main design dilemmas and allows her to naturally navigate into Circularity. In recent years she became Biomimicry practitioner. As a violinist, Jasmina has a keen interest in sound. Through her work in biomimicry, she has investigated the ways in which biological systems can address anthropogenic noise, aiming to improve sound barriers. The study has been showcased at the Insect inspired biotechnologies at WUR conference, at the MaterialenNLplatform conference and mentioned in the publication Building Biomimicry Bridges.Additionally, she shares her insights as a guest lecturer at the Faculty of architecture in Rome, by the Environmental Botanic studio. Since 10 years her main occupation is as a Project and Construction Manager for a General Contractor working on construction sites around the Netherlands. Her main challenges in this context is waste, coordination of M&E and fire safety contractors and Health&Safety. She is also a Building Technology tutor at the faculty of Architecture TU Delft, where she likes to blend building technology with holistic thinking and keep alive the relation between anthropological and biological systems within the built environment. Jasmina thrives in environments that nurture her curiosity and commitment to a sustainable life and a sustainable built environment.

Hans van Houwelingen
Hans van Houwelingen lives and works in Amsterdam and Berlin. He attended the Minerva Art Academy in Groningen and the Rijksakademie van Beeldende Kunsten in Amsterdam. His work manifests through exhibitions, interventions, projects in public space, films, lectures, and publications, in which he investigates and reflects on the relationship between art, culture, and politics. His films hey paarth, what about the atom bomb? and In Between Blue Waves and Green Corridors were recently presented at documenta fifteen. Van Houwelingen publishes regularly in newspapers and magazines. The monograph STIFF: Hans van Houwelingen vs. Public Art (Artimo, 2004) offers an overview of his projects and texts, alongside an extensive reflection on his work. The publication Update describes the permanent actualization of the Lorentzmonument in Arnhem (NL) during the exhibition Sonsbeek 2008. Undone (Jap Sam Books, 2011), compiled and edited by curator Mihnea Mircan, presents nine critical reflections on three of his recent works.

Alexander de Ridder
Alexander de Ridder graduated from the Faculty of Architecture in Delft in 1985. In 1995, he founded RSW architecten in Rotterdam together with Frank Schnater. Between 2000 and 2025, he was a lecturer in the Heritage & Architecture section at Delft University of Technology. In 2025, he founded RSW bouwhistorici and writes architectural history reports. After the US Embassy – a design by Marcel Breuer on Lange Voorhout – became vacant, the Heritage & Architecture section included a repurposing exercise for the former embassy in its curriculum on several occasions. This led to the collaboration between Alexander and Marie-José Sondeijker, director of West Den Haag. Together they developed the lecture series Cherish & Destroy. The theme of Cherish & Destroy is universal and relevant to all design processes. Life is full of dilemmas where choices must be made. Students must draw inspiration from the stories and ideas of others in order to achieve greater depth in their own designs and to develop a visual and verbal vocabulary with which they can interpret their own choices.


Ronald Schleurholts
Ronald Schleurholts has been with cepezed for over 25 years. Since 2025, he has also been serving as a Professor of Heritage & Design at Delft University of Technology within the Faculty of Architecture and the Built Environment. Throughout Ronald’s career, innovation, sustainability, integrated design, and the professionalization of construction have remained at the forefront. He regularly delivers guest lectures and presentations at international universities and symposia. Through his professional columns, his work on design juries, and his role as a board member of the Royal Institute of Dutch Architects (BNA), he continues to contribute to the global debate on the quality of the built environment and the construction industry’s role in climate change mitigation. 'Transformation and renovation should not only be the starting point for protected heritage,' Ronald says, 'but also for the majority of buildings from the 1990s and 2000s.' He views complex design assignments as rewarding challenges and is currently investigating—hands-on—how cepezed can integrate timber instead of steel into its 'kit-of-parts' architecture. This investigative approach has resulted in landmark projects such as a demountable temporary courthouse in Amsterdam, a low-emission care center for PI Haaglanden, and the fully circular 'The Green House' pavilion in Utrecht. 'We are more than just an architectural firm,' Ronald says of cepezed. 'We train, tackle technical challenges, and utilize the latest software. Our view of the profession is broadening because the context of partners, regulations, and environmental issues is becoming increasingly complex. More than ever, the professional culture is focused on collaboration and co-creation, which challenges me to continuously push boundaries.

Erik Pasveer
Erik Pasveer served as city planner and head of urban planning and regional planning for the City of The Hague from 2010 to 2019. He has worked as an urban planner, project manager, and manager in the consulting sector and at various municipalities in the Netherlands; in recent years, he served as head of the Strategy Department within the Spatial Planning and Sustainability Division at the City of Amsterdam. In addition, he has been and continues to be active internationally as a researcher, author, lecturer, and speaker in the field of urban development and spatial planning. He is a member of the executive board of the Deltametropool Association and of the International Federation of Housing and Planning.

Marjan Teeuwen
A Building as Sculpture - The artist’s work centers on large-scale architectural installations within buildings slated for demolition. In these spaces, the constructive power of building exists alongside the forces of destruction and decay. This polarity—order versus chaos, standing versus falling – is viewed as the essence of the human condition; a universal law reflected in history, biology, and ethics. For the artist, the tension between construction and destruction carries a religious, social, and philosophical weight that extends far beyond mere art history. Deeply engaged with the excesses of power and violence in human history, the artist uses these themes as the foundation of their practice. While the installations are artistically autonomous, the historical and political context of the site remains essential; the space and the art must reinforce one another. Within these monumental structures, the artist tilts floors and dismantles walls, using the building’s own debris to construct new images. These 'space-filling still lifes' transform demolition material into a psychological experience that touches on both pure order and the horrific. Once an installation is dismantled, the artist moves to the next building, mirroring the eternal movement of history where everything ends and begins anew. The practice is split between physical installations and autonomous photography. These photographs capture the reality of the space without alteration, documenting a coherent image of monumental chaos. Through a raw yet minimalist visual language, the artist uses the richness of texture to reference seventeenth-century Dutch painting, capturing the power and beauty found in both construction and destruction.

Niels Weerheim
Artist Statement - As everything in the universe is constantly in motion and vibrating at its own frequency, something may appear still, but it never truly is. Niels Weerheim is engaged in a never-ending attempt to capture this movement. The tension between his intention to create a visual and the knowledge that capturing absolute motion is impossible keeps him challenged to come as close as he can. His application of paint onto the canvas is highly intuitive. Much like the motion that moves the world, there is a confrontation with the unexpected that brings new surprises – sometimes pleasant, but always honest and confrontational. It is a moment where nothing comes between the inspiration of the inner and outer worlds and the paint taking its form. Like a mirror reflecting the self, he encourages the audience to see for themselves and have a unique, personal experience. The moment a painting is finished, it already belongs to the past; it becomes a memory. In his newer works, Weerheim adds an extra dimension by cutting the base layer into multiple parts with varying angles and levels. This serves as the embodiment of memory, which often differs from the actual event. As humans, we tend to perceive things as more beautiful or more ugly than they truly were or will be—a trait of the conscious mind. Meanwhile, the unconscious mind, which makes 95% of our decisions, possesses an endless storage of memory.