Bulletin KNOB最新文献_第8页

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

Bulletin KNOB Pub Date : 2021-09-17 DOI: 10.48003/knob.120.2021.3.726

Boudewijn Bakker

引用次数: 0

De Stevenskerk 粘性左派

IF 0.1

Bulletin KNOB Pub Date : 2021-09-17 DOI: 10.48003/knob.120.2021.3.725

J. Westerman

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

Bulletin KNOB Pub Date : 2021-09-17 DOI: 10.48003/knob.120.2021.3.723

Erica Smeets-Klokgieters

{"title":"The Netherlands’ first architectural couples: women architects in their own right?","authors":"Erica Smeets-Klokgieters","doi":"10.48003/knob.120.2021.3.723","DOIUrl":"https://doi.org/10.48003/knob.120.2021.3.723","url":null,"abstract":"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. \u0000 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. \u0000The 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. \u0000The 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.","PeriodicalId":52053,"journal":{"name":"Bulletin KNOB","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-09-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42107468","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}

引用次数: 0

De universitaire campus 大学校园

IF 0.1

Bulletin KNOB Pub Date : 2021-07-15 DOI: 10.48003/KNOB.120.2021.2.721

Bernard Colenbrander

引用次数: 0

Designing with ‘direct democracy’ 以“直接民主”进行设计

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Bulletin KNOB Pub Date : 2021-07-15 DOI: 10.48003/knob.120.2021.2.714

A. Albers

{"title":"Designing with ‘direct democracy’","authors":"A. Albers","doi":"10.48003/knob.120.2021.2.714","DOIUrl":"https://doi.org/10.48003/knob.120.2021.2.714","url":null,"abstract":"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. \u0000The 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. \u0000In 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 \u0000individual 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","PeriodicalId":52053,"journal":{"name":"Bulletin KNOB","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-07-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47361249","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}

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

Bulletin KNOB Pub Date : 2021-07-15 DOI: 10.48003/KNOB.120.2021.2.718

H. Ronnes, Wouter van Elburg, M. Haverman

{"title":"The architecture and perception of the hermitage (1770-1860)","authors":"H. Ronnes, Wouter van Elburg, M. Haverman","doi":"10.48003/KNOB.120.2021.2.718","DOIUrl":"https://doi.org/10.48003/KNOB.120.2021.2.718","url":null,"abstract":"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. \u0000A 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. \u0000Contrary 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.","PeriodicalId":52053,"journal":{"name":"Bulletin KNOB","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-07-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49325703","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}

引用次数: 0

'Lies against history?' “违背历史的谎言?”

IF 0.1

Bulletin KNOB Pub Date : 2021-07-15 DOI: 10.48003/KNOB.120.2021.2.716

Thomas H. von der Dunk

{"title":"'Lies against history?'","authors":"Thomas H. von der Dunk","doi":"10.48003/KNOB.120.2021.2.716","DOIUrl":"https://doi.org/10.48003/KNOB.120.2021.2.716","url":null,"abstract":"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? \u0000To 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. \u0000The 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. \u0000Neo-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. \u0000In 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","PeriodicalId":52053,"journal":{"name":"Bulletin KNOB","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-07-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44503589","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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Interieurs van herrijzend Nederland 复兴荷兰的室内设计

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Bulletin KNOB Pub Date : 2021-07-15 DOI: 10.48003/KNOB.120.2021.2.719

B. Laan

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Voorwoord 单词

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Bulletin KNOB Pub Date : 2020-12-11 DOI: 10.48003/knob.119.2020.4.706

De Redactie

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Schiphol 史基浦