Deze thesis is geschreven voor het vak AR2A011 Architectural History Thesis als onderdeel van het derde kwartaal van het eerste jaar van de Master Architecture, Urbanism and Building Sciences aan de TU Delft. De thesis is geschreven over de historische uitbreiding van de stad Venlo nadat haar vesting in 1874 is geslecht. Met dit onderzoek is antwoord gegeven op de vraag: Welke invloed had de sloop van de vestingwerken van Venlo in 1874 op de stadsuitbreiding en onderontwikkelde wijken tot 1918?
Voor dit onderzoek is gebruikgemaakt van literatuuronderzoek die is verkregen door archiefonderzoek in het gemeente Archief van Venlo, het lezen van boeken en het zoeken naar informatie uit wetenschappelijke publicaties op het internet en online archieven. De informatie die is vergaard, bestaat vooral uit teksten, maar ook uit kaarten, brieven en notulen die zijn gevonden tijdens archiefonderzoek.
Uit dit onderzoek is gebleken dat de stad Venlo sinds 1339 een stadsmuur had die door de eeuwen heen meerdere malen is verbeterd en uitgebreid tot een vestingstad (Hermans, Jean, 2012). Deze vesting had op haar hoogtepunt een oppervlakte die duidelijk groter was dan Venlo zelf en de vesting bepaalde het leven van de bewoners van Venlo. Toen de vesting op 29 Mei 1867 werd opgeheven, omdat deze niet meer voor belang van de landsverdediging was, werd er een plan gemaakt voor de Slechting en uitbreiding van Venlo (Finaly, Isja, 1996, p. 94). Dit plan dat is opgesteld door F.W. Van Gendt werd gehinderd door het feit dat veel van de vrijgekomen gronden werden gereserveerd door het Nederlandse leger en Nederlandse Spoorwegen (Isja Finaly, 1996, p. 95), met name in het zuiden en oosten van de stad, wat ervoor zorgde dat deze gereserveerde gronden samen met de Maas een soort hoefijzer van obstakels rond drie kanten van Venlo vormde. De uitbreiding die Van Gendt tekende was vooral aanwezig in het noorden van Venlo en zijn oostelijke en zuidelijke stadplannen waren door de gereserveerde gronden afgesloten van de oude binnenstad. Ook is naar voren gekomen dat Venlo in die tijd geen duidelijke gemeentelijke grondpolitiek voerde, waardoor de geslechte gronden aan particulieren werd verkocht en de gemeente minder grip had op de uitbreidingen (Finaly, Isja, 1996, p. 94). In 1918, ongeveer 50 jaar na de slechting werd er met het plan voor het Rosarium van W.F.C. Schaap een begin gemaakt aan plannen die samen met de gemeente waren en een duidelijk beeld hadden hoe de stad langzaam verbeterd moest worden.
De conclusie is daarom dat door de slechting van de vestingwerken gronden vrijkwamen die door de gunstige locatie van Venlo voor een groot deel gereserveerd werden door het Nederlandse Leger en de Nederlandse Spoorwegen, wat als gevolg had dat F.W. Van Gendt in zijn uitbreidingplan keuzes heeft moeten maken die niet per se ten goede kwamen voor de uitbreiding van Venlo en zo ervoor zorgden dat enkele wijken minder verbonden waren met de oude binnenstad van Venlo en zich zo minder goed konden ontwikkelen.

During the colonial era, the Dutch had built a strong connection with Indonesia that allowed a cultural exchange from both sides. Architecture, as part of cultural products, is no different. Although normally, the ruler was the one who left architectural marks on their colony’s land, there are some examples of buildings in The Netherlands that are influenced by Indonesian architecture. For pavilion buildings, this influence also entails a significant meaning as it represents a country on a world stage.
In that such events, The Dutch usually used Indonesian architectural forms to showcase their colonial possession and to gain respect from other Western countries. That can be seen from their entries in the colonial exhibition from the end of the 19th century to the early 20th century, where they brought an Indonesian village and built an imitation of a Hindu-javanese temple. But Indonesian influence in Dutch pavilion design not only appeared in the colonial-themed exhibition. Although less noticeable, Indonesian architecture was also often incorporated in an international exhibitions focusing on modern art and technology.
Therefore, This thesis investigates the influence of Indonesian Architecture in the Dutch pavilion at The International Exhibition of Modern Decorative and Industrial Arts, which was held in Paris in 1925. The aim is to give a broader perspective on how the Dutch architects perceived and incorporated Indonesian form in a different context. It responds to the question of why and how Indonesian architectural forms are incorporated in the Dutch pavilion design, starting by tracing back the early connection between the Dutch architects and the Indonesian culture, presenting the exhibition context and the organization around the Dutch entry, and finally analyzing the design aspect of the pavilion from the lens of Indonesian culture.

This thesis provides an historical overview of the development of anthroposophy in the Netherlands and its impact on school architecture, with a specific focus on the Vrije School in The Hague. Through primary and secondary source analysis, the paper explores the origin of anthroposophy and the Waldorf education system, the influence of anthroposophy on architecture and design, the spread of the anthroposophical movement in the Netherlands and the establishment of the first Waldorf School in the Hague. Further it investigates the key principles and features of anthroposophical design found in school architecture practice during the early spread of the movement. It explores anthroposophical school design as organic architecture, which communicates with people on an emotional, psychological, mental, moral, and spiritual level. The case study of the Vrije School allows for a better understanding of the application of anthroposophical principles in school architecture, including the school's L-shaped floor plan, the use of organic forms and colors, and the careful consideration given to supporting the Waldorf education system. Overall, this research highlights the course of events that led to the development of anthroposophy and the Waldorf education system in the Netherlands and formed important motives behind the design of the Vrije School.

his article examines the integration of migrants in the Netherlands in the 1960s and its connection with architecture. It examines how architecture, specifically Alvaro Siza’s Punt Komma project in The Hague’s Schilderswijk district contributed to the integration of migrants. The essay poses three research questions on the background of migration in the Netherlands in the 1960s, the obstacles the Punt Komma project faced, and how
the design and layout of the project contributed to the integration of migrants into Dutch society. Intended for
architects who want to learn from successful integration projects, the essay explores various theoretical frameworks related to social sustainability, inclusivity, and community development in
architecture

In ‘Discovering the Colonial Institute: the Tropenmuseum’ historical research is conducted on the colonial traces that can be found in the Colonial Institute, which is now known as the Tropenmuseum. Nowadays much attention is paid in Dutch society to how the colonial past is dealt with. But at a point in history, as a Dutch citizen, it was normal to live in a country that had colonies overseas. With the arrival of ethical politics, the view on colonialism started to slowly change. This change, together with the initiative of a hand full of people, eventually resulted in the establishment of the Colonial Institute, which served as a museum and research center. Although museums are often regarded as places dedicated to beautiful things, and therefore as neutral and apolitical spaces, they can also play a role in cultural and political debates. This leads to the main research question of this history thesis: What was the cultural and political importance of the Colonial Institute in Amsterdam and how did the architecture of the building contribute to this? This research is focused on the history and motive of establishing and building the Colonial Institute in Amsterdam. This also includes the architecture of the building designed by J.J and M.A. van Nieukerken and what cultural and political importance this had for the Dutch people.

A building created out of fear of being overwhelmed by the new era, but now to be embraced.

The subject of the study is the architect Aldo van Eyck and his design of the church Pastoor van Ars designed in 1964 (completed in 1969) years. In the 1960s, Catholicism within the Netherlands was undergoing some new changes as a result of the Second Vatican Council, and the effects of this event were pervasive among all church. Figures such as Bishop Wilhelmus Bekkers emerged who had new ideas. The philosophy and organization of some local churches have also been reorganized, with new demands for space for daily activities. The questions raised in the article are how groundbreaking this church was, what its influence was and whether its construction was linked to the changes in the religious world in the 1960s.

The design of the Noordoostpolder not only included the placement of the villages, trees farms and land lots, but the social structures were also drawn out into detail. A strict selection was applied for those who wanted to have a chance of getting a farm. But did these two different factors – selection and architectural design – relate to each other in any way? Architecture always has a social aspect to it, since designs are made for the people. Social interactions were already studied in the 1930s as the Noordoostpolder is being developed, but did they influence the architecture in any way? Things were adjusted to make the designs of each design aspect more suitable for the new inhabitants. These things included more leisure space in greenery around villages, a design for Kraggenburg which was solely formed by social layers in the community and changes in the floorplans of the farmhouses to accommodate for the function of a farm. These changes were broad, however, and not adjusted to specific parameters that would follow from the selection. This was a very difficult task to achieve, due to the varying characters within the selection, the resistance by the Direction itself and the lack of knowledge about the candidates at the time of the design phase.

In February 1950, Liang Sicheng and Chen Zhanxiang jointly proposed the "Proposal on the Location of the Central People's Government's Administrative Center Area", which is known as the Liang Chen Plan. Although this scheme has not been implemented, it is often mentioned. The designers have objective understandings of Beijing's urban functions, development conditions, and spatial structure. This scheme once gave Beijing the opportunity to move towards a completely different direction from now.

Villa Henny (1916), designed by Robert van’t Hoff, baptized as the concrete villa, defines a turning point in modernism in the Netherlands. The Villa has been extensively researched in relation to the De Stijl art movement and influence by the American architect Frank Lloyd Wright, yet less attention has been given to the fact that it is one of the first dwellings in the Netherlands with a construction of reinforced concrete. The aim of the thesis is to shed light on the role of the project in terms of technical advances of the early 1900’s. After a contextual outline of reinforced concrete and the architect responsible for the project, the paper will elaborate on the design and influence of Villa Henny, determine the relations between architectural and structural properties, evaluate the transition of reinforced concrete from a civil structure to private dwelling building material, and analyse the effects it had on the design of dwellings in the Netherlands.

The deadly COVID-19 virus is wreaking havoc throughout the globe. In the past two years, architects had to rethink certain forms of spatial organization to contain the spread of the pandemic. This thesis explores how pandemics and deadly diseases were dealt with and shows the forgotten design principles of the past. To prevent infectious diseases from coming ashore and affecting cities, several institutions were established throughout the Netherlands. Quarantine stations are created as architectural representations of isolation with impenetrable areas at a country entrance. This leads to the main question adressed in this thesis: How were Dutch quarantine stations for humans organized from a geographical and architectural point of view?
This study first looks at the origin of quarantine stations. Furthermore, research is done into the legislation and policy in the Netherlands. This part explains the reason for building Quarantine Stations in the Netherlands. Finally, Quarantine Station Heijplaat and two additional Dutch stations are researched as a case study.

In de typologie van de weeshuizen voor de oorlog zijn voornamelijk veel traditionele indelingen te herkennen en zijn de vormentaal en de architectuur zelf niet karakteristiek voor de functie van weeshuizen. De weeshuizen gerealiseerd na de oorlog vertonen net als voor de oorlog ook overeenkomsten met elkaar zonder daadwerkelijk te zijn uitgevoerd in een traditionele typologie van weeshuizen. Het Burgerweeshuis, een ontwerp van Aldo van Eyck, laat zien hoe een vernieuwde interpretatie van de functie weeshuizen zich uit. Dit Burgerweeshuis is vergeleken met een ontwerp van bekend architect Jos Bedaux. Met de twee projecten van het herstellingsoord te Goirle laat Jos Bedaux twee totaal verschillende vertalingen van een en dezelfde functie zien. Deze verschillen en overeenkomsten zijn los van de kwaliteiten van de architecten ook deels te wijten aan de opdrachtgevers die in beide casussen markante figuren waren die beide handelde uit visie en het beste voort hadden met de mensen om hun heen.

Constant was as an artist, most known for his interdisciplinary work and magnum opus New Babylon. A future potential society without labour, unbound by place and time, inhabited by man at play; the ‘homo ludens’. He worked extensively on the project between 1956 and 1974. During this period he experimented with installations emphasizing on its user and spectator, which will form the centre point of this thesis. What was Constant’s aim with these experiments and what was he trying to convey? These installations are also covered as a subject to be put in a broader context that up until now has been overlooked or not been published: How do these installations relate to other art and architecture movements; a broader context?

I named my work Beyond the Correspondence. In the archival research I conducted on the Post Box for the Development of the Habitat (the B.P.H. mailbox), I analyzed the content of the publications which are stored in the archives of the Het Nieuwe Institute Rotterdam. I realized that there is so much beyond the correspondence and understanding of the dynamic of Team 10, the post box, and its value. The postbox has developed and become a worldwide amazing network.
During B.P.H.'s twelve years of operation, 398 letters arrived at Bakema`s mailbox. The letters, sent from private architects, as well as from international organizations and universities, contained information on new publications, projects, and collaboration invitations. Bakema used a very efficient categorizing system, arranging the content in four columns (which after a few years became four lines) – Author, Date, Subject, and Main points. Overall Bakema published eighteen issues at irregular intervals over the years.
Within the development of Team 10 as a group, I analyzed through Tuckman`s model of four stages for group development. I noticed that the B.P.H. publications held a similar evolution process. That led me to my research questions – Has the B.P.H. turned into a professional international network? Does the postbox live a dynamic of its own?
I analyzed the publications thoroughly, following the number of letters Bakema received, the sources, issues that arose, and Bakema's general summaries regarding the B.P.H. conduction.
I summed up in a table the main topics in each of the publications and I highlighted the stages of development, the main themes, and the growing power of the B.P.H. as a virtual group.
My study shows the astonishing power that the postbox had as a network virtual group prior to the internet era, indicating its importance in the history of professional networking in the architectural field, which resembles today`s professional network LinkedIn.
Particularly interesting is the phenomenon that from being almost a naïve means of communication between Team 10 members, it has become a stage in a virtual conference room, when one is lecturing, the others are listening, and are welcome to start a discussion and give and receive feedback.

Het montessorionderwijs is een onderwijssoort met een pedagogische grondslag. In dit onderzoek staat de volgende vraag centraal: in hoeverre is de ideologie van het montessorionderwijs vertegenwoordigd in de architectuur van basisscholen in Nederland? Met behulp van literatuur is uiteengezet wat de ideologie van het montessorionderwijs inhoudt en hoe dit zich uit in de scholenbouw. Kernwaarden voor deze onderwijssoort bleken het centraal stellen van het kind, het stimuleren van zelfontplooiing en het faciliteren in zelfstandig onderzoek doen en samenwerken. Vervolgens zijn drie case-studies met behulp van materiaal uit archieven geanalyseerd om de architectonische kenmerken van die drie voorbeelden te vergelijken met de literatuur. Hieruit is gebleken dat de invloed van de ideologie van het montessorionderwijs op de architectuur van de basisscholen zich veelal beperkt tot het interieur. Hiervoor kan echter geconcludeerd worden dat er een vijftal aspecten is die in elke montessoribasisschool in meer of mindere mate vertegenwoordigd zijn. Ten eerste zijn open leslokalen met veel licht belangrijk. Daarnaast heeft een montessoribasisschool nisjes en afgezonderde hoeken nodig waarin leerlingen zich terug kunnen trekken. Het interieur heeft tevens een flexibele opzet en maten in het ontwerp zijn afgestemd op de verhoudingen van het kind. Tenslotte is er een focus op bewegen en de natuur door de toevoeging van een schooltuin en een gymlokaal.

With the significant industrial and economic growth of the beginning of the twentieth century life was busy and of fast pace. Every now and then citizens wanted to escape from reality. Spending time in nature became popular and eventually the trend of outdoor-living emerged. After having been outside for a while people were able to return to their hectic city-life again. Outdoor recreation and camping laid the ground of what is now known as the weekend-, summer- or holiday house. The ones who could afford it let their own private summerhouse be designed in order to get regenerated by nature. Two main contrasting design approaches for summer houses were noticeable in the Netherlands between 1930-1940; romantic-picturesque and hygienic-sporting. The following question is researched: How did the two prominent ways of designing summer houses fulfil their originally intended function in the Netherlands between 1930-1940? Literary review on the emergence and development of the summer houses and their synonyms served as a background for the later discussed case studies. A series of case studies is included in a catalogue that is attached in the appendix. It was determined that the romantic-picturesque approach was most commonly used. It was characterised by proper integration in the environment and a focus on the exterior rather than the interior. The summerhouse was used after having spent time in nature all day. Therefore, protection against nature was provided by making little interruptions in the exterior and therefore giving it a closed character. The hygienic-sporting approach was characterized by the blurring of the building’s borders, letting interior overflow into exterior and therefore literally meeting the outdoor-living demands. Huge openable curtain walls made the garden an extension of the living room and lured people to do sports and play games outside. The focus was rather on the functionality than the aesthetic value. The research elaborates on the two main design approaches but does not deny the existing of in-between approaches as well.

This essay investigates the shops as well as commercial buildings designed by Gerrit Rietveld in the Netherlands from 1922 to 1962, focusing on the relation between the interior and the exterior in each project. Gaining insight into his contribution to the history of shop designs. This research has been conducted through a combination of literature study, and the archive of Gerrit Rietveld in the Het Nieuwe Instituut in Rotterdam, and provides elaboration on themes as the designs of the shop front, the interior, and the connection between them. These themes are addressed through observation of the images, and drawings in the archive and other resources. The essay also provides a critical view for the role of those shops in history, and their influences on subsequent shop designs after that.

This thesis reviews photographs of Dutch building sites between 1890 and 1920. A catalogue of photographs from building sites from the archive of Het Nieuwe Instituut is compiled, in order to see what role photography played for its commissioners. Commissions were made by architects and contractors to document their work. The photographs were used for documentation and publication, but also during the design process. The professional photographers who took them would not have a consistent working relationship with one commissioner. While the technology of photography would have led to new formal conventions, the photographs also have similarities to the traditional arts (i.e. painting, drawing). Some photographs, however, lack refinement in framing, composition and contrast. The most important reasons for this were photographers’ focus on documentation over aesthetics, their inexperience with the working conditions on the building site, and the developing technology of the camera. Iconographic research revealed how the photographs were used to represent change and innovation at the scale of the city, but also for materials and tools. Additionally, they display the hierarchical relationships between the labourers, architects and contractors.

The relationship between monument and modernity was always an uphill challenge, since the connection between those two elements has always been complicated. Therefore, this historical thesis will examine a very famous study-case '' The Fundatie museum''. In order to discover how the relationship between existing and new is tackled, and to investigate if this solution can succeed or not and to which extend can be valuable having this combination through a medieval city centre in Zwolle. To understand this relationship and examine the final result, the historical and political background will be studied. Because economic shifts had simultaneously affected the prosperity in the architectural and building sector but also the social and cultural value, which will lead to changes in the necessity for space, type, form and function.