Artikelen

• Change heritage in Indonesian cities

  [No abstract available]

  [No abstract available]

  [No abstract available]

  Frits W. van Voorden

  1-3

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• Een monumentale toekomst

  [No abstract available]

  [No abstract available]

  [No abstract available]

  Auke van der Woud

  4-9

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• Het ware karakter van Dordrecht

  [No abstract available]

  [No abstract available]

  [No abstract available]

  Frits W. van Voorden

  10-13

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• De Grote of Onze Lieve Vrouwekerk te Dordrecht

  The Church of Our Lady at Dordrecht, one of the largest Dutch churches with a length of 106 m, is a three-aisled cross-basilica with side and radiating chapels, a tower on the west side and a large Maria chapel on the northern side of the choir. As can be read in the irregularities of the plan and in the differences of elevation and construction its building was determined by several phases. Records and the discovery of al large format bricks in the substructure of the Maria-choir were reason to date this church as built in the 12th and I3th centuries. The charter with mention of a ‘capella noviter constructa' was essential to ascertain the construction of the Church of Our Lady round 1120.

  Conclusions about the tower, the completion and consecration of the choir Mariachoir and cemetery could be drawn from the 'Stadsrekeningen' 1284-1297. As stated in f.e. the 'Statuten van het Kapittel' the extension with a new choir and choir chapels nearly coincides with the raised status of the Church of Our Lady to Kapittelkerk (1366- 67).

  Increasing building activities round 1400 could be concluded from proofs of donations and the recruitment of many craftsmen at that time. Activities on the tower are only mentioned from 1439 on, when the well-known city-architect Evert Spoorwater from Antwerpen was appointed 'Master of the Masonry'. Spoorwater played an important role at the restoration of the church after the city fire (29 june 1457), whereby only the tower, side chapels of the nave, transept and Maria-choir could be saved. At the new built parts his influence is clearly visible in the 'Brabantse' style of construction and articulation of the wall with columns and shafts, consisting of octagonal basement and cabbage leaf capitals.

  According to regulations concerning graves and altars in the Maria-choir at least this part of the church was in 1463-64 ready for liturgical use again. During the most recent restoration of the church (1983-87) research has however brought to light new facts with regard to her building history. The tuff walls, which were found in some of the grave cellars below the choir belong to the vaulted choir-apse of a Romanesque church (the 'capella noviter constructa'), extended later on with a tower, transept and choir. Because of changed demands the old parish church was demolished in 1366.

  According to the records both choir and Maria-choir of the new church must have been completed before the end of the 14th century. The drastic changes at the rebuilding of the choir as to plan, elevation and style date from after the fire (1457) and are also readable in the discovered building traces in the transept. The same new style of the columns and horizontal articulation of the wall with triforium had been applied in the middle nave.

  The older construction (without bunt-lines) of the roof in the eastern part of the church corresponds with the building news about the Maria-choir (1463-64). As to their details and construction the vaults in nave and transept must have been completed ca. 1500. In this way research has defined the Church of Our Lady as built on the remainders of a 12th century Romanesque church. Large building campaigns started in the second half of the 14th century. Radical changes have been carried out after the fire of 1457.

  The Church of Our Lady at Dordrecht, one of the largest Dutch churches with a length of 106 m, is a three-aisled cross-basilica with side and radiating chapels, a tower on the west side and a large Maria chapel on the northern side of the choir. As can be read in the irregularities of the plan and in the differences of elevation and construction its building was determined by several phases. Records and the discovery of al large format bricks in the substructure of the Maria-choir were reason to date this church as built in the 12th and I3th centuries. The charter with mention of a ‘capella noviter constructa' was essential to ascertain the construction of the Church of Our Lady round 1120.

  Conclusions about the tower, the completion and consecration of the choir Mariachoir and cemetery could be drawn from the 'Stadsrekeningen' 1284-1297. As stated in f.e. the 'Statuten van het Kapittel' the extension with a new choir and choir chapels nearly coincides with the raised...

  The Church of Our Lady at Dordrecht, one of the largest Dutch churches with a length of 106 m, is a three-aisled cross-basilica with side and radiating chapels, a tower on the west side and a large Maria chapel on the northern side of the choir. As can be read in the irregularities of the plan...

  M.E. Stades-Vischer

  14-25

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• Het Stadhuis van Dordrecht

  Although the exterior of the Townhall at Dordrecht looks like a neoclassicist building of the 19th century, behind the facade one can find the masonry of a large medieval trade center. This old Clothhall has been built between 1383 and 1387/88 for the Flemish tradesmen, who moved to the City of Dordrecht. The situation of this building, erected on the water, represents a remarkable and even unique aspect for Holland. One can suppose, that already at the end of the 14th century the space in the interior of the town was not sufficient anymore for the need of large and representative buildings.

  In 1544 the Clothhall obtained her new destination and became Townhall; a little bell tower was built on the roof and at the same time important changes took place in the interior. Still, the Townhall got her present appearance in the 19th century. The building was in such a bad state during the first decades of the century, that a renovation of all the facades was necessary. The old Townhall was modernised from 1835-45, however, the wooden, the hall and the roof remained as a fine example of medieval craftsmanship and can be admired again since the recent restoration.

  Although the exterior of the Townhall at Dordrecht looks like a neoclassicist building of the 19th century, behind the facade one can find the masonry of a large medieval trade center. This old Clothhall has been built between 1383 and 1387/88 for the Flemish tradesmen, who moved to the City of Dordrecht. The situation of this building, erected on the water, represents a remarkable and even unique aspect for Holland. One can suppose, that already at the end of the 14th century the space in the interior of the town was not sufficient anymore for the need of large and representative buildings.

  In 1544 the Clothhall obtained her new destination and became Townhall; a little bell tower was built on the roof and at the same time important changes took place in the interior. Still, the Townhall got her present appearance in the 19th century. The building was in such a bad state during the first decades of the century, that a renovation of all the facades was necessary. The old...

  Although the exterior of the Townhall at Dordrecht looks like a neoclassicist building of the 19th century, behind the facade one can find the masonry of a large medieval trade center. This old Clothhall has been built between 1383 and 1387/88 for the Flemish tradesmen, who moved to the City...

  M.E. Stades-Vischer

  26-31

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• Theo van Doesburg, pleitbezorger voor een beeldende architectuur

  The scientific interest in the Dutch artist Theo van Doesburg (1883-1931), member of De Stijl, starts in 1974. Till now in general Van Doesburg's importance as a critical writer about new developments in the plastic arts was stressed, while his architectural oeuvre has been neglected. The exposition of his architectural drawings in Museum Boymans van Beuningen and the gathering of Van Doesburg's articles about foreign contemporary architecture by Cees Boekraad both form a first and thorough acquaintance with this work.

  Van Doesburg's first contributions to architecture (1916-17), consisting of colourful stained windows or ornamental borders are of minor importance and were later on by himself negatively subscribed as 'Biedermeier'. The first example of what he called the 'Nieuwe Beelding', perfect result of the collaboration between artist and architect, is the holiday-house 'De Vonk' by J.J.P. Oud (1917).

  Van Doesburg tried by means of colour solutions, here mainly mosaics and a tile-floor with a rotating motif in yellow, black and white, to break through the static walls of architectural space. The three colour gradations of the in- and exteriors of Hotel 'De Dubbele Sleutel’ by Jan Wils (Woerden 1918) and the housing Spangen l en V by J.J.P. Oud (Rotterdam 1918) are early examples of 'Drieklanken' (mostly blue, green and orange), named this way analogue to the musical term triad. Also the colour compositions for smaller spaces as the 'Piano Room' for his wife Nelly (Clamart 1924) and the 'Flower Room' in the villa of the Count de Noailles (llyères 1924- 25) are meant 'destructive' to break through the rigidity of the walls.

  More adapted to the articulation of the wall is his regular colour design for an arcade with café-restaurant at the Hague (1924). Was Van Doesburg's contribution at the discussed projects still rather submitted to architecture, a 'colour-application', his cooperation with Cornelis van Eesteren at Weimar marks the beginning of his full acting as architect. Their common designs for the Maison Particuliere (1923) and the Maison d'Artiste resulted in the fifth Manifesto of De Stijl 'Vers une Construction Collective' and the exposition 'The Architects of De Stijl' (Paris 1923).

  At the Maison Particuliere Van Doesburg gave colour constructive values as compared to elementary architectural qualities like plane, line, space and volume, so that colour is no longer meant to 'break' the walls but every wall is colour. Together with the extreme openness of the plan this principle brings about a complete equivalence of all sides, inside as well as outside. Except this novelty Van Doesburg developed his contra-construction at the same Maison Particuliere. Without corners or other constructive elements the walls float in space like a colourful composition, which gives this architectural drawing a pure painting-like character (afb. 3).

  The Aubette at Straatsburg (1926-'28), which was designed with the artists Hans Arp and Sophie Teauber-Arp forms a superb example of the synthesis between painting and architecture. Clear outlines mark the embossed colourful planes, which, alternating with greys and whites in different hues are an excellent expression of Van Doesburg's ideas about space and colour: 'Man doesn't live in a construction, but in a atmosphere which is defined by limitations', or like we know now, colourful walls.

  The scientific interest in the Dutch artist Theo van Doesburg (1883-1931), member of De Stijl, starts in 1974. Till now in general Van Doesburg's importance as a critical writer about new developments in the plastic arts was stressed, while his architectural oeuvre has been neglected. The exposition of his architectural drawings in Museum Boymans van Beuningen and the gathering of Van Doesburg's articles about foreign contemporary architecture by Cees Boekraad both form a first and thorough acquaintance with this work.

  Van Doesburg's first contributions to architecture (1916-17), consisting of colourful stained windows or ornamental borders are of minor importance and were later on by himself negatively subscribed as 'Biedermeier'. The first example of what he called the 'Nieuwe Beelding', perfect result of the collaboration between artist and architect, is the holiday-house 'De Vonk' by J.J.P. Oud (1917).

  Van Doesburg tried by means of colour solutions, here...

  The scientific interest in the Dutch artist Theo van Doesburg (1883-1931), member of De Stijl, starts in 1974. Till now in general Van Doesburg's importance as a critical writer about new developments in the plastic arts was stressed, while his architectural oeuvre has been neglected. The...

  J. Bruintjes

  30-32

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• Musea anno 1990, veilig en zelfstandig? Musea en de Wet van Murphy

  [No abstract available]

  [No abstract available]

  [No abstract available]

  Theo M. Elsing

  34-37

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