Artikelen

• De restauratie van de Domtoren, verschillende restauratieopvattingen verenigd

  In 1899 the municipality of Utrecht decided upon a thorough restoration of the cathedral tower so as to restore it to its original state. However, the restoration committee led by the Roermond architect P.J.H. Cuypers (1872- 1922) could not complete the work in its original composition. The work took such a long time that in 1922 the committee came under the chairmanship of railway architect G.W. van Heukelom (1870-1952). Meanwhile the prevailing views on restoration were changing. Van Heukelom put an end to the rational Gothic style of Cuypers and continued the work in his own individual way. Whereas the original committee wanted to restore the tower to an almost ideal state, using historicizing forms and styles, Van Heukelom was looking for a way to restore the original character of the monument without reverting to the past. He made use of contemporary views on style and beauty. Van Heukelom was strongly influenced by H.P. Berlage and his vision that true beauty arose from society. Consequently, Van Heukelom gave his workmen a free rein. His restoration is characterized by the use of contemporary techniques and the use of brick. According to Van Heukelom the new elements had to be recognizable as such, but would have to be in harmony with the old parts as well. Consequently, the work of Van Heukelom is characterized by a large degree of austerity. The newly built reception building, for instance, is as much detached from the tower as possible, while at the same time the modern design is inspired by the tower. Various ‘generations’ of architects were involved in the restoration. Their different views on restoration are still visible in the monument.

  In 1899 the municipality of Utrecht decided upon a thorough restoration of the cathedral tower so as to restore it to its original state. However, the restoration committee led by the Roermond architect P.J.H. Cuypers (1872- 1922) could not complete the work in its original composition. The work took such a long time that in 1922 the committee came under the chairmanship of railway architect G.W. van Heukelom (1870-1952). Meanwhile the prevailing views on restoration were changing. Van Heukelom put an end to the rational Gothic style of Cuypers and continued the work in his own individual way. Whereas the original committee wanted to restore the tower to an almost ideal state, using historicizing forms and styles, Van Heukelom was looking for a way to restore the original character of the monument without reverting to the past. He made use of contemporary views on style and beauty. Van Heukelom was strongly influenced by H.P. Berlage and his vision that true beauty arose from...

  In 1899 the municipality of Utrecht decided upon a thorough restoration of the cathedral tower so as to restore it to its original state. However, the restoration committee led by the Roermond architect P.J.H. Cuypers (1872- 1922) could not complete the work in its original composition. The...

  Menno Wiegman

  222-233

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• Een schouwburgprijsvraag uit 1837. Het bekroonde ontwerp van Robertus van Zoelen in de bouwkundige klasse van de Koninklijke Academie van Beeldende Kunsten te Amsterdam

  In the first half of the 19th century no theoretical education for architects existed in the Netherlands, but since 1817 there was a Royal Academy of Fine Arts in Amsterdam where, among other subjects, architecture was taught. In 1837 the academy held a special competition for a city theatre, which was won by the Amsterdam carpenter’s son Robertus van Zoelen (1812-1869). On the basis of a prescribed programme the competitors had to make a sketch first, and subsequently they were given one month’s time to design more accurate construction drawings. In this article earlier and later competitions are dealt with, the architectonic design and the layout of these theatres, which could accommodate approximately 1500 visitors.

  Van Zoelen’s creation was uncommonly monumental for Dutch standards and was hardly comparable to the wooden theatre of city architect Jacob Eduard de Witte situated on Leidseplein in Amsterdam at that time. The author discusses other theatres in the Netherlands and Europe. Since around 1750 good acoustics and visibility for all the visitors were aimed at, the form of the stage in connection with this, as well as the external recognizability of the theatre by means of an entrance under a column portico. There were advanced designs in several European cities and Van Zoelen had heard of them, but no more than that. It is likely that he never crossed the national borders and derived his knowledge from books and colleagues, such as the managing director of the Amsterdam academy Martinus Gerardus Tétar van Elven. Just as at the French academy of architecture, which served as an example for the Dutch academy in many respects, the competitions were highly academic and theoretical in character.

  In the first half of the 19th century no theoretical education for architects existed in the Netherlands, but since 1817 there was a Royal Academy of Fine Arts in Amsterdam where, among other subjects, architecture was taught. In 1837 the academy held a special competition for a city theatre, which was won by the Amsterdam carpenter’s son Robertus van Zoelen (1812-1869). On the basis of a prescribed programme the competitors had to make a sketch first, and subsequently they were given one month’s time to design more accurate construction drawings. In this article earlier and later competitions are dealt with, the architectonic design and the layout of these theatres, which could accommodate approximately 1500 visitors.

  Van Zoelen’s creation was uncommonly monumental for Dutch standards and was hardly comparable to the wooden theatre of city architect Jacob Eduard de Witte situated on Leidseplein in Amsterdam at that time. The author discusses other theatres in the...

  In the first half of the 19th century no theoretical education for architects existed in the Netherlands, but since 1817 there was a Royal Academy of Fine Arts in Amsterdam where, among other subjects, architecture was taught. In 1837 the academy held a special competition for a city theatre,...

  Thomas H. von der Dunk

  205-221

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