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germanpostwarmodern · 12 hours
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Staircase detail of the Fritz Ziegler House (1936) in Berlin-Steglitz, Germany, designed by Hugo Häring. Photo by Reinhard Friedrich.
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germanpostwarmodern · 17 hours
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Lovell House (1927-29) in Los Angeles, CA, USA, by Richard Neutra. Photo by Julius Shulman.
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Nienke van Hichtumschool (1929-30) in Hilversum, the Netherlands, by Willem Marinus Dudok
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Norsk Sjøfartsmuseum (1958-64) in Oslo, Norway, by Trond Eliassen & Birger Lambertz-Nilssen
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Church “Heilig Geist” (1974-75) in Hamburg, Germany, by Karlheinz Bargholz
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As a reaction to the overly rigid and schematic conception of architecture in the postwar years the Dutch Structuralists focused on the human being, the inhabitant, as an individual with changing needs and lifestyles. The key protagonists of the movement were, among others, Aldo van Eyck, Jaap Bakema, Herman Hertzberger and Geert Boon, the so-called „Forum Group“ which made up the editorial board of the Forum magazine. In their orbit also moved the young Jan Verhoeven, then student at the Academie van Bouwkunst in Amsterdam and a student of Aldo van Eyck whose seminars and teaching deeply impressed him: the human scale of his projects as well as his spatial configurations of added small units can also be found in Verhoeven’s house designs. Another recurring theme in his work is the zoning of individual and collective parts, a principle that came to bear especially in his housing projects.
The latter also constitutes the major part of his architectural oeuvre as the present book demonstrates: Mette Zahle’s monograph „Jan Verhoeven 1926-1994 - Exponent van het Structuralisme“, published by @stichtingbonas in 2012, which provides both a comprehensive work analysis and catalogue with special emphasis on Verhoeven’s housing projects. The author recounts Verhoeven’s deep involvement with the different housing programs and architect groups that especially during the 1960s and 1970s greatly influenced state funded housing construction, e.g. Werkgroep Stichting Nieuw Woonvormen, which he co-founded, and with it emphasizes the architect‘s deep concern for resident-focused housing. The basis for these designs always rests on Verhoeven’s unique variation of linked and mirrored uniform components that result in fascinating floor plan structures and equally fascinating drawings.
What Zahle’s book on the other hand lacks is a deeper insight into Verhoeven’s personality: although she delves into his upbringing and training and also doesn’t spare out the importance of the architect’s wife Eva as corrective authority Verhoeven nonetheless remains somewhat opaque as a person. But in view of the extensive work catalogue this is a negligible flaw and the book remains a great read.
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Orphanage, Amstelveenseweg, Amsterdam, Netherlands, 1955-60
(Aldo Van Eyck)
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Secondary School “Theodor Fliedner” (1965-67) in Düsseldorf, Germany, by Christoph Parade
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Max Bill, Pavillon-Skulptur, 1983, Zurich, Bahnhofstrasse.
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House Carree (1960-62) in Leusden, the Netherlands, by Jan Verhoeven
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Town Hall (1973-75) in Aalen, Germany, by Helmut Schaber
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Hochschule für Gestaltung (1952-55) in Ulm, Germany, by Max Bill
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One of the most interesting artist groups of the Weimar Republic were the „Kölner Progressive“, the Cologne Progressives, circling around painters Heinrich Hoerle (1895-1936) and Franz Wilhelm Seiwert (1894-1933). The latter two not only were friends but also shared the conviction that art could be used to agitate and inform workers about social and societal shortcomings (both were staunch communists). I recently stumbled across a series of biographical writings issued by the city of Cologne dedicated to key personalities of the city’s history and, surprisingly, one volume from 1975 is a double biography of Hoerle and Seiwert. In it Walter Vitt on a mere 44 pages draws a lively picture of the social and artistic environment in which Hoerle, Seiwert and the Cologne Progressives flourished, highlights key works of both artists and in an impressive catalogue of notes manages to provide even more information and cross-references. So, despite its age and research on the group and the artists involved having advanced substantially the present little booklet nonetheless is an unexpectedly complete read warmly recommended to anyone new to either the artists or the artists’ group.
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Apartment and Commercial Building (1957-58) in Amsterdam, the Netherlands, by Alexander Bodon
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Martinus-Kirche (1961-63) in Berlin, Germany, by Eduard Ludwig
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Former Bouwcentrum (1946-49) in Rotterdam, the Netherlands, by J.W.C. Boks
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Police Station (1961) in Tromsø, Norway, by Jan Inge Hovig
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