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The Image of the City in Early Netherlandish Painting (1400-1550) 早期荷兰绘画中的城市形象(1400-1550)
IF 0.1 0 ARCHITECTURE Pub Date : 2021-09-17 DOI: 10.48003/knob.120.2021.3.726
Boudewijn Bakker
Book review of a book written by Jelle De Rock
杰勒·德·洛克的书评
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引用次数: 0
De Stevenskerk 粘性左派
IF 0.1 0 ARCHITECTURE Pub Date : 2021-09-17 DOI: 10.48003/knob.120.2021.3.725
J. Westerman
Book review of a book written by Hettie Peterse, Elsbeth Rooker, Rob Camps en Karel Emmens (eds.)
赫蒂·彼得斯、埃尔斯贝斯·鲁克、罗伯·坎普斯和卡雷尔·埃门斯合著的一本书书评(编)
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引用次数: 0
The Netherlands’ first architectural couples: women architects in their own right? 荷兰第一对建筑夫妇:拥有自己权利的女性建筑师?
IF 0.1 0 ARCHITECTURE Pub Date : 2021-09-17 DOI: 10.48003/knob.120.2021.3.723
Erica Smeets-Klokgieters
In the period up to the end of the Second World War, 21 women in the Netherlands completed an academic architectural course. Five of these women married a fellow architect and conducted a joint architectural practice with their husband. These practices profited from the post-war reconstruction boom and, in the 1950s and ’60s, from the growing demand for housing and utilitarian buildings.  Jannie Kammer-Kret, Toki Lammers-Koeleman, Jeanne van Rood-van Rijswijk, Koos Pot-Keegstra and Lotte Stam-Beese contrived to flourish in their chosen profession, and all had successful careers. The collaborative model embraced by these couples, which allowed the female partners to develop their potential to the full, was surprisingly emancipated for the time. Although a home-based office, with its combination of business with household and children, held obvious appeal for the woman, the initiative for such arrangements sometimes came from the husband. There were several variations on the respectful and equitable collaborative model, ranging from one in which each partner worked independently on their own commissions to one in which the melding of individual contributions was such that it was no longer possible to attribute designs to one or the other partner. What these models demonstrate is that the women architects did not need to depend on the name and fame of their husband but were perfectly capable of shaping their own career. The work of these women architects was strongly influenced by Nieuwe Bouwen principles as reflected in the application of a functionalist and sober formal idiom, averse to superfluous decoration. Unsurprisingly, given the professional circles they both frequented, their partners held similar architectural views. This undoubtedly contributed to mutual inspiration and possibly also to two-way influence. The output of women architects is astonishingly varied. These women responded to the spirit of the times and to the sometimes difficult economic circumstances by employing new types of dwellings, building materials and techniques, designing buildings for new groups of residents or by familiarizing themselves with the latest requirements of industrial clients or government bodies. Their portfolios encompassed commissions for utilitarian buildings as well as for the more predictable houses. Their household experience and practicality proved particularly useful in the design of private homes, residential aged care and schools, finding expression in efficient floor plans, modern furnishings and new, easy to clean materials. This is also evident in the home-cum-practice they designed for themselves, where they were able to give free rein to those principles.
在第二次世界大战结束之前,荷兰有21名女性完成了学术建筑课程。其中五名女性嫁给了一位建筑师同行,并与丈夫共同进行了建筑实践。这些做法得益于战后重建热潮,以及20世纪50年代和60年代对住房和实用建筑日益增长的需求。Jannie Kammer-Kret, Toki lammer - koeleman, Jeanne van Rood-van Rijswijk, Koos Pot-Keegstra和Lotte stamm - beese都在自己选择的职业中取得了成功,并且都取得了成功。这些夫妇所采用的合作模式,使女性伴侣能够充分发挥她们的潜力,在当时是令人惊讶的解放。虽然把工作、家庭和孩子结合起来的以家庭为基础的办公室显然对妇女有吸引力,但这种安排有时是由丈夫主动提出的。尊重和公平的合作模式有几种变化,从每个合作伙伴独立完成自己的任务到个人贡献的融合,以至于不再可能将设计归因于一个或另一个合作伙伴。这些模型表明,女性建筑师不需要依赖于丈夫的名声,而是完全有能力塑造自己的职业生涯。这些女性建筑师的作品受到Nieuwe Bouwen原则的强烈影响,反映在功能主义和严肃的形式习语的应用上,反对多余的装饰。不出所料,考虑到他们都经常出入的专业圈子,他们的合伙人持有相似的建筑观点。这无疑有助于相互启发,也可能有助于双向影响。女性建筑师的作品惊人地多样化。这些妇女通过采用新型住宅、建筑材料和技术,为新的居民群体设计建筑物,或通过熟悉工业客户或政府机构的最新要求,对时代精神和有时困难的经济环境作出反应。他们的投资组合包括实用主义建筑的委托,以及更可预测的房屋。他们的家居经验和实用性在私人住宅、养老院和学校的设计中特别有用,在高效的平面图、现代家具和易于清洁的新材料中得到了体现。这在他们为自己设计的家庭和实践中也很明显,在那里他们能够自由地发挥这些原则。
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引用次数: 0
De universitaire campus 大学校园
IF 0.1 0 ARCHITECTURE Pub Date : 2021-07-15 DOI: 10.48003/KNOB.120.2021.2.721
Bernard Colenbrander
Boekbespreking van een boek van Ab Flipse en Abel Streefland (red.)
Ab Flipse和Abel Streefland的书评(编辑)
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引用次数: 0
Designing with ‘direct democracy’ 以“直接民主”进行设计
IF 0.1 0 ARCHITECTURE Pub Date : 2021-07-15 DOI: 10.48003/knob.120.2021.2.714
A. Albers
In the 1970s and ’80s residents and architects in Amsterdam worked together to shape the renewal of their neighbourhood. Working outside traditional planning constraints they initiated a process for designing ‘neighbourhood plans’ that gave priority to affordable housing and minimized disruption to the existing social and urban design structure. Although these neighbourhood plans stood in stark contrast to prevailing political and urban planning ideas, they formed the basis on which urban renewal was realized from the middle of the 1970s. While the focus in the historiography of urban renewal is usually on politics and policy, this article provides insight into the design process itself and the ideas behind urban renewal architecture based on numerous consultation documents generated by the collaboration between local residents and architects. The Dapperbuurt area serves as an exemplary case study. The example of the Dapperbuurt shows that locals and architects formed energetic and effective coalitions. After the residents of the Dapperbuurt had won far-reaching control over the design process, including a say in the choice of architect, they entered into a collaboration with the architects Hans Borkent, Rob Blom van Assendelft and Hein de Haan. During the extensive consultation process the architects acted as equal discussion partners rather than all-knowing experts, while local residents provided creativity and spontaneous initiatives and had the final say. Together they designed with ‘direct democracy’. In this article those collaborative arrangements are referred to as ‘creative housing coalitions’. This term expresses both their main aim and their greatest strength. It also shows who initiated the urban renewal housing projects and how grass-roots initiatives were ultimately translated into policy. In the course of the design process, local residents and their architects sought creative ways of reconciling the apparent antithesis between the historically evolved city and modern architecture and urban design. Instead of taking a blank slate as their starting point, they proceeded on the basis of the qualities of the existing environment and the interests and wishes of the residents. This resulted in the retention of the existing morphology and functional diversity. However, the housing projects were on a much larger scale than the individual buildings that had previously made up the neighbourhood, because while the local residents were unwilling to give up their familiar living environment, they did want modern home comforts. This study has revealed that the replacement construction was required to combine the best of both worlds. In order to suggest a smaller scale, the external walls were vertically articulated, and their height demarcated by means of balconies, bay windows, hoisting beams, eaves and staggered building lines. So both contrast to and compatibility with the context are relevant criteria for evaluating urban renewal archite
在20世纪70年代和80年代,阿姆斯特丹的居民和建筑师共同努力,塑造了他们社区的复兴。在传统规划限制之外,他们启动了一个“邻里计划”的设计过程,优先考虑经济适用房,并最大限度地减少对现有社会和城市设计结构的干扰。尽管这些邻里计划与主流的政治和城市规划理念形成了鲜明对比,但它们构成了从20世纪70年代中期开始实现城市更新的基础。虽然城市更新史学的重点通常是政治和政策,但本文基于当地居民和建筑师合作产生的大量咨询文件,深入了解了设计过程本身以及城市更新建筑背后的理念。Dapperbuurt地区是一个典型的案例研究。Dapperbuurt的例子表明,当地人和建筑师组成了充满活力和有效的联盟。在Dapperbuurt的居民赢得了对设计过程的深远控制,包括对建筑师选择的发言权后,他们与建筑师Hans Borkent、Rob Blom van Assendelft和Hein de Haan进行了合作。在广泛的咨询过程中,建筑师充当了平等的讨论伙伴,而不是无所不知的专家,而当地居民则提供了创造力和自发的倡议,并拥有最终发言权。他们一起设计了“直接民主”。在这篇文章中,这些合作安排被称为“创造性住房联盟”。这个词既表达了他们的主要目标,也表达了他们最大的力量。它还展示了谁发起了城市更新住房项目,以及基层举措最终是如何转化为政策的。在设计过程中,当地居民和他们的建筑师寻求创造性的方法来调和历史演变的城市与现代建筑和城市设计之间的明显对立。他们没有以一张白纸作为出发点,而是基于现有环境的质量以及居民的利益和愿望。这导致保留了现有的形态和功能多样性。然而,这些住房项目的规模比以前构成该社区的单个建筑要大得多,因为尽管当地居民不愿意放弃熟悉的生活环境,但他们确实想要现代的家庭舒适。这项研究表明,需要将两个世界的优点结合起来进行替换。为了显示较小的规模,外墙是垂直铰接的,其高度通过阳台、凸窗、吊梁、屋檐和交错的建筑线来划分。因此,与语境的对比和兼容性是评价城市更新建筑的相关标准。此外,事实证明,这项城市更新的一个关键优点是其功能,即在土地价值高的中心地带提供负担得起的舒适住房。建筑体现了这一功能。
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引用次数: 0
The architecture and perception of the hermitage (1770-1860) 隐士的建筑与感知(1770-1860)
IF 0.1 0 ARCHITECTURE Pub Date : 2021-07-15 DOI: 10.48003/KNOB.120.2021.2.718
H. Ronnes, Wouter van Elburg, M. Haverman
The hermitage is a little researched and understood garden ornament. The hermitage as a place of solitary retreat occurs from antiquity to the late nineteenth century because it appealed to people in different periods and could be easily adapted to the specific wishes of the noble, religious or intellectual owner and the taste of the age. This article presents new research into the hermitage on Dutch country estates, based on an analysis of for sale notices, primary source research (mainly travellers’ tales) and a review of the literature. The hermitage was a widespread phenomenon in the Netherlands. The current inventory has almost tripled the number of known country-estate hermitages from 36 to over a hundred. Thanks to this new, larger data set it was possible to make more accurate statements about the period in which the hermitage was popular, about its distribution in the Netherlands, its location in the garden, its appearance and its significance. A search through digitally accessible newspapers led to the discovery of many slightly later, smaller hermitages. And whereas Gelderland had previously been regarded as the foremost hermitage province, in light of current knowledge that perception has now swung in favour of Holland. This has also served to accentuate the bourgeois character of the hermitage: it was most prevalent on the country estates of urban regents, located close to the city. Hermitages were initially regarded as a rarity, later as a regular feature of landscape-style private parks, although they were never the most important ornament of such parks. Research has revealed that the location was nearly always isolated. The interior was austere, usually consisting of one or more chairs, a bench or bed, a skull or coffin, an hourglass, books and a (wooden) hermit doll. Evidence suggesting that the hermitage design was highly standardized can also be found in descriptions of hermit’s huts in travel reports. Contrary to what is often assumed, the popularity of the hermitage suggests that the Dutch were not immune to Romanticism. The fact that the sources provide so little evidence of cynicism vis-à-vis the phenomenon of the hermitage and the hermit supports this thesis. However, the hermit’s hut satisfied a more universal need than mere romanticism: throughout history rooms have been created to which people – usually members of the elite – could withdraw. In that sense the hermitage was a counterpart of the cabinet or study. What remained after the exalted emotions and ideas of Romanticism had subsided, was the walk to the hermitage and, upon arrival, the tranquillity and the view. The Dutch hermitage is in every respect a reflection of the Dutch country estate: both were primarily bourgeois, widespread, urban, and modest in size and furnishing.
隐逸是一个研究和了解较少的花园装饰。从古代到19世纪末,隐士作为一个孤独的隐居之地一直存在,因为它吸引了不同时期的人们,并且可以很容易地适应贵族、宗教或知识所有者的特定愿望和时代的品味。本文在分析待售通知、主要来源研究(主要是旅行者的故事)和文献综述的基础上,对荷兰乡村庄园的隐居进行了新的研究。隐居在荷兰是一种普遍现象。目前的库存几乎使已知的乡村庄园隐士数量增加了两倍,从36个增加到100多个。有了这个新的、更大的数据集,就有可能更准确地描述隐士流行的时期、它在荷兰的分布、它在花园中的位置、它的外观及其意义。通过数字访问报纸的搜索,发现了许多稍晚的、较小的隐居地。尽管盖尔德兰以前被认为是最重要的隐居省份,但根据目前的知识,这种看法现在转向了有利于荷兰。这也突出了隐士的资产阶级特征:它在城市摄政王的乡村庄园中最为普遍,位于城市附近。隐士最初被认为是罕见的,后来成为景观风格私人公园的常规特征,尽管它们从来都不是这些公园中最重要的装饰。研究表明,这个地方几乎总是与世隔绝。内部很朴素,通常由一把或多把椅子、一张长凳或床、一个头骨或棺材、一个沙漏、书籍和一个(木制)隐士玩偶组成。在旅行报告中对隐士小屋的描述中,也可以找到表明隐士小屋设计高度标准化的证据。与人们通常认为的相反,隐士的流行表明荷兰人也不能免受浪漫主义的影响。事实上,资料来源对隐士和隐士现象提供的犬儒主义证据很少,这支持了这一论点。然而,隐士的小屋满足了一种更普遍的需求,而不仅仅是浪漫主义:在整个历史上,人们——通常是精英——都可以退出房间。从这个意义上说,隐士是橱柜或书房的对应物。浪漫主义的崇高情感和思想消退后,剩下的就是去隐居的路,以及抵达后的宁静和景色。荷兰的隐居地在各个方面都反映了荷兰的乡村庄园:两者都主要是资产阶级的,分布广泛,都是城市的,面积和家具都不多。
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引用次数: 0
'Lies against history?' “违背历史的谎言?”
IF 0.1 0 ARCHITECTURE Pub Date : 2021-07-15 DOI: 10.48003/KNOB.120.2021.2.716
Thomas H. von der Dunk
During the twentieth century a great many monumental towers and tower terminations were so severely damaged by fire, tempest or war that the question arose as to whether, and if so how, they should be rebuilt. Should it be in the exact same form as before the destruction, or should some other solution be sought? In the latter case, was a return to an earlier (putative) original version preferable to something new? And if the latter, should one opt for contemporary architecture, or was a more historicizing formal idiom desirable? To what extent was the guideline embraced in 1917 by the government department responsible for cultural heritage (Rijksbureau voor de Monumentenzorg), which stipulated a contemporary architectural style for additions in the interests of historical honesty, actually followed in practice? In the localities themselves there was a preference for restoration of the old state, and that did eventually occur in a number of cases. On the basis of some twenty examples, this article looks for the first time at whether any clear trend can be discerned in the choices made. Of special importance in this context are the five design competitions (for the town hall tower in Leiden and for visually defining church towers in Arnhem, Zutphen, Hulst and Weert), because specific requirements could be laid down in the design brief, after which a jury was required to choose from among a series of entries and to publicly substantiate its preference. The need to rebuild was always a given, even if, as when the entire church had been destroyed by war, it did not enjoy the highest priority. Entirely medieval towers like that of the Martini Church in Doesburg, had the greatest chance of being rebuilt in the original form. If a Gothic tower had a termination in Renaissance, Baroque or Classicist style, the decision was often informed by an aesthetic judgement: the tower termination of St Stephen’s Church in Nijmegen was considered characteristic, that of St Eusebius’ Church in Arnhem was not. The Baroque termination of the Abbey Tower in Middelburg was largely reinstated but modified to accommodate the demand for a larger carillon. In practice the dividing line lay in the middle of the seventeenth century; later terminations tended to be considered too unremarkable. Neo-Gothic spires atop Gothic towers were always replaced. Sometimes by a reconstruction (free or otherwise) of an older termination in Renaissance or Baroque style, such as in St Christopher’s Cathedral in Roermond; in other cases with a modern, wholly new termination, as in St Willibrord’s Church in Hulst, or a slightly historicizing one, as for St Martinus’ Church in Weert. Even though undamaged by war, the cast iron spire of St James’s Church in The Hague was replaced by a spire that harked back to the original sixteenth-century spire. In the case of Gothic towers, one option that was never really tried was a reconstruction of the original (needle) spire, either because it had neve
在20世纪,许多具有纪念意义的塔和塔的末端被大火、暴风雨或战争严重损坏,以至于人们提出了是否应该重建以及如果应该如何重建的问题。它应该和毁灭前的形式完全一样,还是应该寻求其他的解决方案?在后一种情况下,回归早期(假定的)原始版本是否比新版本更可取?如果是后者,人们应该选择当代建筑,还是更具有历史感的正式风格?1917年,负责文化遗产的政府部门(Rijksbureau voor de Monumentenzorg)采纳了一项指导方针,该指导方针规定了当代建筑风格,以增加对历史诚实的兴趣,实际上在实践中得到了多大程度的遵循?在地方本身,人们倾向于恢复旧的国家,这最终在一些情况下确实发生了。本文以20多个例子为基础,首次探讨是否可以从这些选择中看出明显的趋势。在这方面特别重要的是五个设计竞赛(莱顿的市政厅塔楼和阿纳姆、祖特芬、赫尔斯特和韦尔特的视觉定义教堂塔楼),因为具体的要求可以在设计简报中规定,之后陪审团需要从一系列参赛作品中进行选择,并公开证明其偏好。重建的需要始终是既定的,即使当整个教堂被战争摧毁时,它并没有得到最高的优先考虑。杜斯堡的马蒂尼教堂(Martini Church)等完全是中世纪风格的塔楼,最有可能按原样重建。如果一座哥特式塔楼的尖顶是文艺复兴、巴洛克或古典主义风格的,那么这个决定通常是由美学判断决定的:奈梅亨的圣斯蒂芬教堂的尖顶被认为是有特色的,而阿纳姆的圣尤西比乌斯教堂的尖顶则不是。米德尔堡修道院塔的巴洛克末端在很大程度上得到了恢复,但为了适应更大的钟摆的需求,进行了修改。实际上,分界线是在17世纪中叶;后来的终止往往被认为太不寻常。哥特式塔楼上的新哥特式尖顶总是被替换。有时是文艺复兴或巴洛克风格的旧建筑的重建(免费或非免费),如在鲁尔蒙德的圣克里斯托弗大教堂;在其他情况下,有一个现代的,全新的终止,如赫尔斯特的圣威利伯德教堂,或一个稍微历史性的终止,如韦尔特的圣马提努斯教堂。海牙圣詹姆斯教堂(St James’s Church)的铸铁尖顶虽然没有受到战争的破坏,但已被一座16世纪的原始尖顶所取代。在哥特式塔楼的案例中,一个从未真正尝试过的选择是重建原来的(针)尖顶,要么是因为它从未实现,要么是因为缺乏可靠的信息。只有在祖特芬的圣沃尔堡教堂(St Walburgis’s Church)的情况下,人们才考虑过这个选择,但最终还是决定重建被大火烧毁的“胡椒罐”尖顶。
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引用次数: 0
Interieurs van herrijzend Nederland 复兴荷兰的室内设计
IF 0.1 0 ARCHITECTURE Pub Date : 2021-07-15 DOI: 10.48003/KNOB.120.2021.2.719
B. Laan
Boekbespreking van een boek van Marieke Kuipers (red.)
Marieke Kuipers的书评(编辑)
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引用次数: 0
Voorwoord 单词
IF 0.1 0 ARCHITECTURE Pub Date : 2020-12-11 DOI: 10.48003/knob.119.2020.4.706
De Redactie
bij het themanummer 'Authenticiteit'
主题为“真实性”
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引用次数: 0
Schiphol 史基浦
IF 0.1 0 ARCHITECTURE Pub Date : 1900-01-01 DOI: 10.48003/knob.120.2021.1.711
I. Burgers
Boekbespreking van een boek van Paul Meurs en Isabel van Lent
保罗·梅尔斯和伊莎贝尔·范·大斋节的书的书评
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引用次数: 1
期刊
Bulletin KNOB
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