Bulletin KNOB最新文献_第6页

Metamorfose van stad en devotie 城市的蜕变与奉献

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Bulletin KNOB Pub Date : 2022-06-17 DOI: 10.48003/knob.121.2022.2.752

Marcel IJsselstijn

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Johanna Eleanor Ferguson Johanna Eleanor Ferguson

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Bulletin KNOB Pub Date : 2022-06-17 DOI: 10.48003/knob.121.2022.2.746

M. Kuipers

{"title":"Johanna Eleanor Ferguson","authors":"M. Kuipers","doi":"10.48003/knob.121.2022.2.746","DOIUrl":"https://doi.org/10.48003/knob.121.2022.2.746","url":null,"abstract":"The multi-talented Johanna Eleanor Ferguson (1900-1982), born in Shanghai but trained at the Delft Institute of Technology, was one of the first female architects in the Netherlands. From her self-designed flat-roofed house near Breda she obtained her engineer’s degree in 1926 as an already married woman. \u0000Subsequently she designed the reed-covered house De Huif in Wageningen for her mother (1927) and two almost identical flat-roofed houses near Utrecht for her father (1928 and 1935). \u0000Meanwhile she had given birth to two children and divorced her first husband, and in late 1932 she relocated to the Gooi region to join a theosophist community. It was while here that she married her second husband. Looking for better perspectives, the young family emigrated to Johannesburg at the end of 1935. One year later, Eleanor Ferguson was formally registered as an architect in South Africa. In 1938, after another divorce, she started a joint practice together with a local architect, Stakesby-Lewis who became her third husband and shared her interest in theosophy. She worked under her maiden name as the principal designer and he as the builder. \u0000The firm was responsible not only for various ‘Wrightian’ cottages and houses in the suburbs (for example, for A.J. Du Plessis at Cottesloe), but also for typically modern commercial buildings in the business districts, such as August House with its conical mushroom columns. In 1948 Conrad Sayce became a partner in the practice, which was based in Washington House. The expansion of the firm was presumably prompted by Eleanor’s increasing social activities alongside the design work. Following in the footsteps of Clara Codd and Jan Kruisheer, she was appointed National President of the Theosophical Society in southern Africa (1946–53) in which capacity she lectured widely. She also made an elaborate pro bono design for a new Lodge in Johannesburg, but this was never executed. Instead, the Stakesby-Lewises converted an existing villa into a ‘theosophical temple’, inaugurated in 1951. \u0000Two years later, they migrated to Salisbury (now Harare) in former Rhodesia to start a new joint practice, mainly focused on building private bungalows, and to extend the theosophical network. \u0000In mid-1961, in response to the growing political and economic uncertainty, the couple finally settled in England where they lived amongst a theosophist community on the Tekels Park Estate in Camberley. The estate was accordingly expanded by two neighbouring houses designed by Ferguson, one for herself and her husband, the other for her eldest daughter’s family (Loveday). In 1972 the Stakesby-Lewises moved to another self-designed bungalow on the estate (further away from the motorway) where Eleanor passed away in 1982 after a long and eventful life. Until the very end she remained proud on her Delft engineer’s title.","PeriodicalId":52053,"journal":{"name":"Bulletin KNOB","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-06-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42546576","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Gerüste und Hilfskonstruktionen im historischen Baubetrieb 历史建筑中的脚手架和辅助结构

IF 0.1

Bulletin KNOB Pub Date : 2022-06-17 DOI: 10.48003/knob.121.2022.2.755

Gabri Van Tussenbroek

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Atlas van de trekvaarten in Zuid-Holland 南荷兰徒步旅行路线图册

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Bulletin KNOB Pub Date : 2022-06-17 DOI: 10.48003/knob.121.2022.2.754

H. Baas

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Eise Eisinga was here 艾斯·艾辛加来过

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Bulletin KNOB Pub Date : 2022-06-17 DOI: 10.48003/knob.121.2022.2.745

Sieger Vreeling

{"title":"Eise Eisinga was here","authors":"Sieger Vreeling","doi":"10.48003/knob.121.2022.2.745","DOIUrl":"https://doi.org/10.48003/knob.121.2022.2.745","url":null,"abstract":"Between 1774 and 1781, Eise Eisinga built an orrery in his house in Franeker. This instrument was and is commonly referred to as a planetarium, although it also gives information about the sun, the moon and the main constellations. I use the term ‘instrument’ for the machinery above the ‘planetarium room’ and the boxbed together with the dials on the ceiling and the wall containing the box-bed (bedsteewand). I use the term ‘Planetarium’ for the institution, that is the building with everything in it. The machinery, the ceiling, and the bedsteewand have been nominated for UNESCO world heritage status this year. \u0000The aim of this article is to discuss the authenticity of the Planetarium: which parts are authentic – that is, from the time of Eisinga – which have been altered, and how were any alterations supervised? The article concentrates on the period around 1900, when the conservation of monuments had just been institutionalized, but the general principle of preferring ‘preservation over alteration’ had not yet been widely accepted. The primary sources are the annual reports on the state of maintenance by government architect Jacobus van Lokhorst. \u0000Eisinga had sold the Planetarium to the national government in 1826. In order to save money, the government gave it to the municipality of Franeker in 1859. When it was suspected that the municipality was not meeting the first condition of the agreement – to maintain the instrument at all times – Van Lokhorst was tasked with the supervision of the Planetarium by the Minister of the Interior in 1882. \u0000We know that the instrument was repaired a couple of times, but the exact nature of the alterations is unknown, because Van Lokhorst barely mentions them in his reports. He had to leave the supervision of the instrument to the caretaker and a clockmaker, because he was out of his depth. The only parts of the ‘planetarium room’ that remained authentic around 1900 are the ceiling and the bedsteewand. After the instrument had come to a standstill several times, a stove had to be installed to decrease the humidity in the room. That is why in 1890 the windows were replaced to make room for a chimney. The rest of the room was turned into a period room on the advice of Van Lokhorst and with permission of the Minister of the Interior: the walls were whitewashed and, a year later, the floor was tiled. The tile wainscoting dates from 1895. \u0000The conclusion is that the authenticity of the Planetarium decreased around 1900. This should not affect the UNESCO nomination. Repairs to the machinery were only to be expected, and the ceiling and the bedsteewand appear to be authentic. However, a world heritage site attracts more visitors, all of whom have to be facilitated. How will this affect the authenticity of the Planetarium in the future?","PeriodicalId":52053,"journal":{"name":"Bulletin KNOB","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-06-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43091730","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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“Als het maar tot iets leidt…” “只要它能带来什么……”

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Bulletin KNOB Pub Date : 2022-03-19 DOI: 10.48003/knob.121.2022.1.737

W. Denslagen

引用次数: 0

M.J. Granpré Molière M.J. Granpré Molière

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Bulletin KNOB Pub Date : 2022-03-19 DOI: 10.48003/knob.121.2022.1.742

Herman Van Bergeijk

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A merchant widow’s salon 商人寡妇的沙龙

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Bulletin KNOB Pub Date : 2022-03-19 DOI: 10.48003/knob.121.2022.1.736

Jojanneke Clarijs

{"title":"A merchant widow’s salon","authors":"Jojanneke Clarijs","doi":"10.48003/knob.121.2022.1.736","DOIUrl":"https://doi.org/10.48003/knob.121.2022.1.736","url":null,"abstract":"In the middle of the eighteenth century, the so-called Koopmanshuis (Merchant’s House) at Rechter Rottekade 405-407 in Rotterdam underwent a substantial renovation that resulted in the present facade, staircase, and first-floor reception room with decorative paintings. The iconography of the paintings raises questions about their meaning, maker and client. In order to elucidate the artistic programme this article investigates the house, the painter, the client and the political-economic context. The research provides insight into the deeper meaning of the paintings while also increasing our knowledge of Rotterdam’s middle-class architectural and domestic culture in this period.\u0000Built largely in the period 1718-1735, the house has the typical layout of Rotterdam merchant houses, with business operations at street level and living spaces on the floors above. In 1756 the front elevation was rebuilt. The same period saw the installation of a rococo staircase and the creation of an elegant reception room, also in rococo style. It is here that the artworks – an overmantel painting and a ceiling painting – are to be found.\u0000The overmantel painting is an allegory on the virtues of Fidelity and Prudence. The ceiling painting consists of four corner tableaus depicting personifications of the four continents and a central tableau featuring personifications of Trade and Freedom and a composite personification of Victory, Plenty, Peace and Munificence. The iconography is derived in part from the emblem books of Cesare Ripa and Hubert Poot. They are neither signed nor dated.\u0000Stylistic and iconographic similarities with two paintings by Dirk Anthony Bisschop (1708-1785) suggest that this artist was also responsible for the paintings in the Koopmanshuis. Bisschop made decorative artworks, paintings, topographical drawings, armorials and family trees, and decorated carriages and jewellery. Several of his works display the same idiosyncratic kind of iconography as found in the Koopmanshuis. Bisschop was a highly regarded painter whose clients included many prominent families.\u0000The paintings and the rococo interior were done at the behest of the Remonstrant merchant Antonetta Verkanten (1702-1774). She traded in tea, coffee, wool and furs, products sourced in part from the Dutch colonies. The new interior was a reflection of her growing affluence and social ambitions. The subject matter of the paintings refers not just to Verkanten’s commercial activities, but was also influenced by contemporary international, political and economic threats to commerce, such as the Seven Years’ War and international competition in overseas trade.\u0000Based on this, the ceiling painting can be interpreted as an allegory of intercontinental free trade, and an appeal for peace in order that trade might flourish and generate prosperity. It also encourages the sharing of the resulting abundance. The virtues depicted in the overmantel work are crucial to successful commerce. The paintings an","PeriodicalId":52053,"journal":{"name":"Bulletin KNOB","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-03-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43050501","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Johan van Veen, meester van de zee 约翰·范·维恩，海洋大师

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Bulletin KNOB Pub Date : 2022-03-19 DOI: 10.48003/knob.121.2022.1.741

Han Meyer

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Het architectonisch werk van A.J. Kropholler (1881-1973) A.J.Kropholler（1881-1973）的建筑作品

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Bulletin KNOB Pub Date : 2022-03-19 DOI: 10.48003/knob.121.2022.1.740

Yvonne Van Mil

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