Artikelen

• Cultuurhistorie en ruimtelijke kwaliteit van de historische binnenstad. Het geheugen van een straat als inspiratiebron

  Until recently cultural planning was a term used to refer to a relatively new field of policy that had come into vogue since the Belvedere Policy Document. Since the Spatial Planning Memorandum (2006) this term has been deleted from policy idiom and replaced by the term 'spatial quality’.

  The term cultural planning and now spatial quality is regarded as the universal remedy brought forward from the Belvedere point of view since 1999. But does a workable framework providing insight into an integral vision actually exist? It requires more than just a joint motto (conservation through development) and also more than joint projects.

  In the first place, it requires that the worlds of cultural history and of the planners and designers communicate with each other in an unambiguous manner. As pointed out before, the concept of cultural history is a rather vague and defenceless concept without any formulation of the problems.

  If we add up the gaps and lacks, there is too little attention on either side for the totality of objects and occurrences of acting man on the level of the historical town centre. Even though a house, a street or a building block has been torn down and even though the residents have moved or died, there is still a memory that may be the basis of a recollection related to such a place, such a building location. The odd thing is that archaeological traces - usually destroyed because of a new building plan - may demonstrate this quite concretely, while historical sources are also present, but all too often remain invisible.

  The added value of multidisciplinary research into a historical town centre chiefly lies in relating research into the spatial-physical aspect on the one hand to the social-cultural aspect on the other. By linking this to a long-term perspective as well, more insight will be gained into the stratification and the various speeds at which processes are taking place. In addition, the step between research and design should also get more attention.

  Consequently, the most important recommendations are relatively simple and refer to two things. In the first place, it concerns professionals, so both from the world of cultural history and from spatial planning, who wish to start the discussion on tradition and renovation in a historical town centre. In this respect it is crucial that both the spatial-physical aspect and the social-cultural aspect are taken into consideration and combined as much as possible, for they cannot exist independently. Obviously, this requires much effort from researchers, designers and more attention should be paid to it, notably in current training.

  In the second place, this discussion should also get a formal context. In my opinion this can best be done by including a cultural-historical paragraph in the zoning plan by means of which cultural-historical research - at any rate in protected village and urban conservation areas - can be enforced if building permits and demolition permits are at issue. By analogy with archaeology legislation this multidisciplinary research should also acquire a legal basis.

  Until recently cultural planning was a term used to refer to a relatively new field of policy that had come into vogue since the Belvedere Policy Document. Since the Spatial Planning Memorandum (2006) this term has been deleted from policy idiom and replaced by the term 'spatial quality’.

  The term cultural planning and now spatial quality is regarded as the universal remedy brought forward from the Belvedere point of view since 1999. But does a workable framework providing insight into an integral vision actually exist? It requires more than just a joint motto (conservation through development) and also more than joint projects.

  In the first place, it requires that the worlds of cultural history and of the planners and designers communicate with each other in an unambiguous manner. As pointed out before, the concept of cultural history is a rather vague and defenceless concept without any formulation of the...

  Until recently cultural planning was a term used to refer to a relatively new field of policy that had come into vogue since the Belvedere Policy Document. Since the Spatial Planning Memorandum (2006) this term has been deleted from policy idiom and replaced by the term...

  Wim Hupperetz

  43-51

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• Glazen overkapping van binnenplaatsen: te veel zorg breekt het glas?

  The phenomenon of (glass) roofs of courtyards of listed buildings during the past three decades became the subject of a research with respect to Dutch heritage. An inventory was made of 25 objects. In chronological order ten listed buildings are brought up which stirred up the most interesting discussion. The role of the RACM is central to the appraisal of plans and recommendations concerning the addition of a new modern layer to an existing and acknowledged listed building. In the course of nearly 30 years a trend is apparent in the advice given, moving from an ‘in principle no’ by way of a policy of ‘tolerance’ to a ‘proactive yes’.

  This evolution resulted in presentation of new policy by the of RACM department in 2007, stating that more than ever before citizens will be welcome in the domain of cultural heritage. The research also showed that the greater part of the glass roofs are applied for because of an improved ambience and provision of services to the public. Furthermore, it continues to be of importance that the new facility is transparent and designed in an architecturally modern way. The technical requirements of reversibility and good maintenance should also be retained. The eventual result may then signify an added value for the combination.

  The phenomenon of (glass) roofs of courtyards of listed buildings during the past three decades became the subject of a research with respect to Dutch heritage. An inventory was made of 25 objects. In chronological order ten listed buildings are brought up which stirred up the most interesting discussion. The role of the RACM is central to the appraisal of plans and recommendations concerning the addition of a new modern layer to an existing and acknowledged listed building. In the course of nearly 30 years a trend is apparent in the advice given, moving from an ‘in principle no’ by way of a policy of ‘tolerance’ to a ‘proactive yes’.

  This evolution resulted in presentation of new policy by the of RACM department in 2007, stating that more than ever before citizens will be welcome in the domain of cultural heritage. The research also showed that the greater part of the glass roofs are applied for because of an improved ambience and provision of...

  The phenomenon of (glass) roofs of courtyards of listed buildings during the past three decades became the subject of a research with respect to Dutch heritage. An inventory was made of 25 objects. In chronological order ten listed buildings are brought up which stirred up the...

  Hans van den Heuvel

  52-66

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• Transparant maar niet open: overkapping van de binnenplaats van het Provinciehuis te Groningen

  Buildings of historical and artistic value to a great extent derive their cultural-historical value from changes realized through human involvement. A building is subject to wishes and requirements and those may vary for each generation or, in some cases, even disappear altogether. The assignment of conservation consists largely of guidance of such transformation processes. Conservation tries to give new developments in a listed building a place of their own, with minimal damage to the historical character and without putting up too many obstacles.

  The Provinciehuis in Groningen consists of an assembly of historical buildings crammed between Martinikerkhof, Kleine Snor, Singelstraat and Sint Jansstraat. Since the early seventeenth century the complex has uninterruptedly been in use as an administrative building for the province of Groningen and has a rich history.

  The late medieval Sint Maartens-school is the oldest building. Later additions are a record office from 1880-1881 (architect J. van Lokhorst), a wing dating from 1915-1917 (architect J.A.W. Vrijman) and a caretaker's house also dating from 1915-1917. but executed with a facade from 1559 originating from another part of the city. The complex has two courtyards: one bearing the prosaic name Grote Snor. originally an alley between Singelstraat and Martinikerkhof, and one courtyard in the form of an isosceles triangle. This second courtyard was provided with a transparent roof in 2006. As the buildings on the second courtyard are all on the national monuments and historic buildings register, the Rijksdienst voor Archeologie. Cultuurlandschap en Monumenten (RACM) played an advisory role in the planning preceding the execution.

  The RACM could agree to the principle of roofing. The courtyard had not been designed as such but had come into being because buildings had been erected in various periods and at a certain moment an interjacent plot was left. This residual space looked abandoned and was not part of the activity of the Provinciehuis, whereas in the year 2004 there was a need for extra floor area and a representative space. When the courtyard would be covered, these wishes could be fulfilled.

  The RACM served the municipality of Groningen, being the licence-issuing authority, with the following range of thought: a roof should not cause any material or constructive damage to the listed buildings; a transparent roof is to be preferred and ought to be subordinate to the historical architecture; as a result of the roof the courtyard will acquire a new and vital role in the official duties of the Provinciehuis; the users would be able to see. appreciate and enjoy the adjoining listed buildings better from the courtyard; roofing undoubtedly contributes to more intensive, improved use. and as a result, to the future value of the listed buildings.

  In addition, the RACM formulated several concerns and a few remarks expressing some reserve. Roofing also implies immaterial effects, for the direct contact with the elements is shut out and a totally different perception results, that is to say an indoor climate. This is inevitable, but the original outdoor experience may be called to mind by maintaining characteristic facilities, for instance, in the form of paving, external wall finishing, rainwater pipes, patina and rainwater heads.

  One aspect of the plan caused the RACM more serious concerns. The construction and the weight of the roof would to a great extent be borne by the historical buildings. Load-bearing elements of the roofing would perforate the historical roofs and be diverted on the historical, monumental load-bearing structures. Other concerns were adequate rainwater discharge and good facilities in case of snowfall. Since the completion of the roof in 2006 the space is referred to as the atrium and no longer as the second courtyard. The newly formed space accommodates receptions and exhibitions, meetings and expositions. The perception of the space is completely different from what it used to be, but is highly appreciated in daily use. The number of workable square metres has increased.

  In spite of the advice of the RACM the roof is not completely self-supporting in character and burdens the historical constructions of the adjacent listed buildings. For this purpose the old roofs have been perforated in several places. Although a stay in the new interior space is regarded as surprising and in some sense cosy, from the public road the glass roof looks like a megalomaniac iceberg rising from the heart of the Provinciehuis and providing the historical silhouettes of slate roofs and brick stair towers with an unprecedented contemporary lineation and massiveness.

  Buildings of historical and artistic value to a great extent derive their cultural-historical value from changes realized through human involvement. A building is subject to wishes and requirements and those may vary for each generation or, in some cases, even disappear altogether. The assignment of conservation consists largely of guidance of such transformation processes. Conservation tries to give new developments in a listed building a place of their own, with minimal damage to the historical character and without putting up too many obstacles.

  The Provinciehuis in Groningen consists of an assembly of historical buildings crammed between Martinikerkhof, Kleine Snor, Singelstraat and Sint Jansstraat. Since the early seventeenth century the complex has uninterruptedly been in use as an administrative building for the province of Groningen and has a rich history.

  The late medieval Sint Maartens-school is the oldest...

  Buildings of historical and artistic value to a great extent derive their cultural-historical value from changes realized through human involvement. A building is subject to wishes and requirements and those may vary for each generation or, in some cases, even disappear...

  Michiel S. Verweij

  67-74

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