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Herman Hertzberger Lessons For Students of Architecture
Herman Hertzberger Lessons For Students of Architecture
010
Publishers
HERMAN
HERTZBERGER
LESSONS
FOR STUDENTS
IN ARCHITECTURE
o.
e 199 1
Hermon Hertzbe<ger I 01 0 Publishero, Wot!flore~weg 180,
au tor
FO
0
o
work
hov to 0$ ycwrs.ff
w;U enable em to do
;~ th& somt.
Pr,e ace to
e ovr
e Won
of
y
least naive. Yet frey are still relevant, ;; only O$ re in rs
arch;tec $ mus eep eeking ways o combo ing
e oloo ness ol o pvblic domain i in xorobJ decline.
'we
Hetmon Hertz~rgar,
ovember 200 l
CONTENTS
A Public Domain
2 Ierritorinl Claims lA
3 Territorial D;Hecenhation 20
4 Territorial Zoning 22
5 From User to Dweller 28
6 The 'lfl:betwecn' 32
48
C lnvltlns Form
2 form a nd Interpretation 94
3 View 1 202
4 Gridiron 122
4 View II 2 !6
6 Equivaleoce 246
Mater~al
PUB IC
10
USSO S FO l SUr
OMAIN
S I I.H I I E' U t
Territorial Claims I 4
Temtoria I Differentiation 20
Territorial Zoning 22
Froct~
User to Dweller 28
The 'lnbetween' 32
The Street 48
Vichy, France
Les Holies, Paris IV. Bohord
CommYnity Centres I f . von Klingeren
The Eillel Tower, Paris I G. Eilfel
Ex.hibition Pavilions
Deportment Stores, Paris
Roilwoy Stations
Underground Railway Stations
12 Public Acceuibillty of Prlvate Space 14
II
au tor
autor"~
2 TERRITORIAL CLAIMS
An open area, room or space may be conceived either
as a more or le u private place or as a public area,
depending on the degree of accessibility, the form of
supervision, who uses it, who takes care of it, and
th eir respective responsibilltles.
Your own room is private vis a vis the living room and
e.g. the kitchen of the house you live ln. You have a
key to your own roam, which you look after yourself.
Care and maintenance of the living room and kitchen is
basica lly a responsibility shared by those living in the
house, a ll of whom have o key to the front door.
In o school each classroom ls private vis a vis the
communal hall. This hall is in turn like the school as a
whole, private vis a vls the street outside.
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H110~'". Hol/od
Bu LDINGS
Sa<olled public buildings such os the hoiI of the
centro! post office or roilwoy station moy (ol least
during the hours thol they ore open) be regarded os
streetspoce in tne territorial sense. Other examples of
differentiated degrees of occess to the general public
are glven below, but the list con of course be extended
to include other personol experiences:
college quadrangles in England, os in Oxford and
Cambridge; the woy they ore accessible lor everyone
through the porches, forming a sort of sub-system of
pedestrian routes troven ing the entire city centre.
public buildings, e.g. the holt of a post office.
railway stoflon, etc.
the courtyards of housing blocks in Paris, where o
concierge usually reigns supreme.
'closed' streets, to be found in great variety oil over
the world, sometimes patrolled by pri~rote security
guqrds.
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3 TERRITORIAL
DIFFERENTIATION
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How much influence users con, in extreme cases, exert on
their living or working environment is clearly demonstrated by the adjustments to the existing architecture that
were mode by students of architecture otthe M.I.T. The
student objected to having to work ol drawing-boards
arra nged in long, stiff rows, all facing the some woy.
Using discorded construction materials that were rega rd ed
as left-overs, they constructed the kind of spaces they
wonted in which they could work, eol, sleep, ond receive
their tutors on their own ground.
One would expect each new group ol students to wont to
make their own adjustments, but the situation turned oul
otherwise. The outcome of the fierce dispute with the local
lire prevention authorities that ensued was that a lithe
structures would hove to be dismantled unless o full sprinkler system was installed throughout the oreo. Once this
hod been done, the situation ln foci become permanent,
W ORKSHOP
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Dnn u~n
The classrooms of this school ore conceived os
a utonomous units, lillie homes os it were, oil situated
along the school hall, as a communal street. The teacher,
' mother', of each house decides, together with the
children, what the place will look like, ond therefore what
kind of atmosphere it will hove.
Each classroom also has its own small cloakroom, instead
of the usual communal .space for the whole school, which
usually means thot all the wollspoce is Ioken up by rows
MONTESSORI SCHOOl,
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De OVEilOOP, HOME FOR THE EtOERlY (11,11)
A sheltered area at the front door, the beginning of the
'threshold', i~ the place where you ~oy hello or goodbye
to your visitors, where you stomp the snow off your
boots or put up your umbrella.
The sheltered entrances to the op011ments that belong to
the nursing home De Overloop in Almere ore fitted with
benches next to the front doors. The front doors ore
located two by two to form o combined porch which,
however, is still divided into seporote entrances by o
vertical partition projecting from the fo~ode. The halldoors enable whoever is sitting out~ide to keep contact
with the interior of the apartment, so that you con at
least hear the phone ring. This entrance zone is
evidently regarded as on extension of the home, os is
shown by the mots that hove been laid outside. Thanks
to the overhang you do not hove to wait in the rain for
17
19
II
34
pnvacy.
Condition for privacy and conclltionl for maintaining
social contacts with others are equally neceuary.
Entrance, porches, and many atfter forms of in
betw.e.n spaces provide on opportunity for
'accommodation' between od'tolning worlds. This ldnd
of provision give rise to a certoin articulation of the
building concerned, which requires both space ond
money, without its function being easily
demonstrable let alone quantifiable and which Is
therefore often very diHicult to o<eomplilh, and
requires constont effort ond persuasion during the
planning phose.
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7 PRIVATE CLAI MS ON
PUBLIC SPACE
The inbetwHn concept is the key to ellminating the
sharp divi~lon betwHn a"1!S with diHerent territorial
claims. The point is therefore to create intermediary
spa<es which, t~lthough on the administrative level
belonging to either the private or the public domain,
are equally accessible to both sides, that is to say that
it ia wholly acceptable to both that the 'other' makes
use of them.
DE DRI HOVEN, HOM FOR THE EtDERLY !IS111
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9 THE STREET
Amllerdom, wotlets
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lhe t 9111 cenrury:
quite different from
lodoy, bul remember
Gioggio, holy.
TrallJc.free living lfnH!I.
looH'Vl for a place
in the M>ode.
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LiYJngstreet,
Hombug bei,.Hit
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ACCfSSIBrtllY Of FlATS
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KASBAH, HeNGELO
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Thot must hove been the kind of situation thot Piel Blom
envisaged when he conceived his design.
Having departed from the h'aditlonal blodt siting
principle, archJt.cts have endeavoured, lnspll"td
especially by Team X and forum, to invent a stream of
new dwelling forms. This ott.n gave rise to spectacular
rHults, but whether they fvnction properly is only
partiolly dependent on the quality of the dwellings
themselves. What is at least as impartont is whether
the archJt.ct can find a - y, using the dwellings as his
construction material, to form o str..t that functions
adequately. The quality of each Is dependent on that of
the other: house and str..b ore complementoryl
That the conJtrvcted result Is so often disappointing Is
because architects all too often hove a mistoken idea
of the way In which the actual street space will be
experienced and u1ed in their scheme. Apart from the
fact that they tend to rely too heavily on the
effectiveness of 1pedfk pravislana (which all too often
tum out to be far leu viable than envisaged) the mast
common error li11 in the miacalculatian of the ratio
between the size of the public space and the number of
people that may be expected to use lt.
If the street area is too large, too little happens in too
few places, and in spite of all the good Intentions to
the conh'ary, the consequence is vast 1paces which
osaume the nature of a 'desert' simply because they
are too empty. Too many proies however well
designed would function satisfactorily if only a
market were to be held on a sunny Saturday: the klnd
of market you con easily conjure up in your
imagiiiOiion, but of which in reality there is onlyper 100,000 cfwellings.
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11 PUBLIC SPACE AS
CONSTRUCTED
ENVIRONMENT
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The community centres designed by Von Klingeren (he
coiled them agoras) such as those in Dronten and
Eindhoven were ol1empts to assemble under one roof all
the activities that toke place in o city centre. It is this kind
of setting that generates new social roles and new
exchanges which cannot evolve in the new urban areas
and neighbourhoods because no one has though t of
making the necessary provisions.
Due to planning in terms of separately situated bo.xes with
separate entrances, rather than in terms of on integrated
urban fabric, the ' boxes' tend to hove on adverse effect
on the viability of lhe environment as o whole and,
porodoxicolly, the beller they fvnclion, the more they
detract from the quality of life in the streel. Thus they ore,
really, no more than 'artificial' urban centres which owe
their existence to the inadequacy of urban provisions and
the lock of on oil-encompassing view of the necenory
correlation between newly-built residential
neighbourhoods and the existing urban core.
However interesting these community centres may hove
been os o social experiment in the 1960's, it is not
surprising tha t, under the present social conditions with so
16)
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70
EX.HiatnON PAVIUONS
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PMiemps, Porls
1876/l.C. Bo~oau
18811889/
f . Sed.ll.
PAJttS
The expansion of the scale of consumption ond market
which found expression in the steelondgloss exhibition
halls of the lost century also monilested itself, on o local
level, In the Iorge deportment stores.
110 11!
DEPAtiMENI SIOUS,
111
72
RAilWAY STAllONS
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73
12 PUBLIC ACCESSIBILITY
OF PRIVATE SPACE
Altttouth the larte buildings which ore intended to be
ocfesslble to os mony people os possible o,. not
permanently o,.n and although the o,.ning hourt
or. In fod imposed from above, such buildings do
imply o fundamental and considenlble expansion of
tM public world.
The most characteristic examples of this shift of
emphasis a,. undoubtedly the arcades1 glossroofed
1hoppinv street such 01 those that we,. constrvcted
In 1M nineteenth century, and of which 11141ny
imp,.ulve exomple1 1till 1urvive oil over the world.
The orcade1 served In 1M first place to exploit the
o,.n interior 1poceJ, and th.y were therefo,.
commercial undertoking1 e.ntirely in keeping with the
trend towards opening up sales oreos for o new
buying public. In this way pedestrian circuits emerged
in the nucleus of shopping oreos. The absence of
troffi< permits the route to be narrow enough OJ to
aHord the potential buye.r a goad view of the hopwindows on either side.
Ill
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Possoge dtJ
Ponoromos, Paris
Golerle Vivienne,
Polis
l1f Ill
110 If!
ruauc ooam 7S
Sttood Arcodo,
Syd~~t~y
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76
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IN AICHIII!IUII
left: Goferlt
SJ. Hul.ert, 8runels
Goflerio c!ell'lnd.rslrio
Subolplno, Turin
111
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184, I 88:
Gollerio v.~Otio
fmmonue/e, Ml1on
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The pouoge traversing the building gives the impression
of being port of the street, even though it is in fact o
strictly private and space and port of the house. This
impression is strengthened by the streellike materials
that hove been applied in this space, especially the
paving stones and the raised stone border.
A characteristic Horta detail is the fluent transition
between fo~ode end pavement, so that the borderline
between building end street ond likewise between
private property ond public space lodes, indeed does
not seem lo exist at oil anymore since the materiels of
fo~ode ond pavement ore the same. It is almost
impossible to imagine how this could hove been
arranged with the local outho11ties, because they always
adhere to o strict separation of private end public
space.
l4
1840-43 (21HI41
Ahhough lhe construction ma terials and lhe forms lhol
ore applied in mosl arcades ore of the lype lhot'belong'
oulside, sometimes the opposite is the case, as in lhe
Pouoge Pommeroye in Nantes. This connection culling
across a block between two slreels on dilferenl levels is
one of lhe most beautiful arcades still in existence,
especially because of ils different levels whfch ore bolh
visible from the central space and connected by o Iorge
wooden staircase.
The use oF wood, which you would not expecl to lind in
such o situolion, emphasizes the feeling of being indoors
not only visually, bul also audibly. Inside and outside
ore lhus doubly relolivized here, which makes this
arcade the example par excellence of how lhe
opposition between interior and exterior con be
eliminated.
PASSAGE POMMERAYE, NAr-tll:S, fRANCE,
m tt<oum
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as
114
'THE Lrna'
16
au tor
92
Canals, Amsterdam
Mexcaltiton, Mexico
Estagel, france
Oude Groch!, Utrecht
Viaduct Rue Rambau illet, Paris
Palace of Oiocletian, Split, Croatia
The Amphitheotres of Aries and lu"a
Rockefeller Plaza, New York
Temples, Bali
Columbia Universily, New York
9 tncentiveJ 164
Column$
Piers
Housing, Berlin I B. Tout
Perforated Building Blocb
10 Form as on Instrument 170
/52
au tor
1 STRUCTURE AND
INTERPRETATION
Port A of this study daolt with the reclprocity of public
and private 1pheres of influence, and what the
archltad con do to contribute to that balctnce at '-ott
if he is oware in each situation of which spe<ific
responsibtTtties apply and how they con be lnterpret.d.
Port two will deal with the reciprocity of form and
usage, in the sense that form not only detennines bath
usage and experience, but that It is Itself equally
determined by them in sa for a1 it Is interpretable and
can therefon~ be lnffuenced. In 10 for as something Is
designed for everyone, that iJ aa a collective startingpoint, we must concern ournfves with aU conteiOble
lndividuallnterprelarions thereof and not only at o
1peclfk moment in time, but also as they change In
time.
The relation betwHn a collective given and Individual
Interpretation as It exists between fonn and u1age a1
well as the experieflce thereof moy be compcrred to the
relation between language and speech.
l.allguage it o coledive lnstrvment, the common
property of a group of people capable of using that
lnstrvment to shape their thouvhts and to convey them
to each other, 10 long as they absefve the conventions
of grammar and syntax, and .a long as they use
recognlxable words i.e. words that mean somethin9
to the llstentf. The remartcable thing Is that each
individual can be understood by another, even when
he or she expn~sses very personal feeling~ and
concerns In a highly persa~ way.
Moreover, speech Is not only consistently on
interpretation of language, but lafttuoge is In tum olso
influenced by what is often spoken, and ln due course
the language changes under that staody Influence. So
you might say that language not only detennines
speech, but that longoaee Itself is at the same time
determined by speech. lAinguage and 1peech relate to
one another dialectlcolly.
92
Mat
COI'T'
93
autor
2 FORM AND
INTERPRETATION
lroodly speakint, 'stnlcture' stands for the collective,
generol, (more) objectrte, and permib interpretation in
terms of what Is expected and demanded of it in a
specific situation. One aM~ld also speak of stnlcture in
connection with a building or an urban plan: a Iorge
form which, changlnt little or not ot all, Is suitable and
adequate for accommodating cllfferent situations
because it often fresh opportunities time and again for
new uses.
CANAlS, AMSTERDAM (116-?701
The pollern of the canol beltl in Amsterdam gives the citycentre its distinctive layout and makes it easy to lind one's
way. Not only do the successive concentric semi-circles
enable one to find one's bearings throughout the centre,
they also indicate the passage of time - much like the yearrings of o tree. It is obvious that their original function as
7t6
111
94
Hetongracht,
Anuterdom 1672/
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spot there wo~ a sloping tunnel th rough which horsedrown carts could get from the street to the quay ond vice
verso, for transportation to locations elsewhere in the
town.
When the old practice of tronsportotions over water was
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IISS0~5
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3 STRUCTURE AS A
GENERATIVE SPINE:
WARP AND WEFT
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and order do seem to need one a nother.
n.. drawing ai.JO shows .JOme run-of-the-mill
dwellings, popular housing (I) of the type thcrt crlwcrys
appecrrs in a 5yst.m in which the people themselves
have no soy in the design and construction of the
houses they live ln. In Le Corbusler's drawing these
dwellings do not occupy a prominent position vis a vis
the exuberance around them, and they seem to be no
more than a curious reminder of da ys gone by. But this
type of mau housing Is the reality that we encounter
time and again, and Indeed It is one of the most basic
problems tha t confront us. People todcry do not seem
to have a ny idea how to give expression to their own
wa y of living.
But there Is no reason to a uume that the capadty to
express oneself In a per.JOna l way in form is essential
ly any diHerent fro m the ca pacity to expreu oneself
personally In language. And if we do not seem to be
ca pable of this any more, then we mcry reasonably
assume thot the Impotence of architecture today is
ccrused by a very serious disruption of social relations.
Man housing, which is superficially In actordance with
our industrial circumstances, derives its dominant
position from the mechanism af mono-cultural
behaviour which governs our society. The lea st an
architect can do In a situatio n like this is to provide the
outlines of images that will show ways of rousing the
people from this condition of numbness.
As close a s Le Corbusier's proposal ( 1932) brings us to
o n apparently obvious solution, so far o re we removed
from it today. Even the smallest steps in that direction
soon prove to conflict fundamentally with the
consequences of our institutiona liud centralized
society, and we do not get much neorer to the
realiza tion of o ur pla ns. But those few times that we
do succeed ot least give us an opportunity of
demonstrating the principle, albeit in a more
theoretical than practical wcry.
110
I~
U!HIIHIUI!
'SuPPORTS:
N.J.
AN ALTERNATIVE
ro
MAss HousiNG',
1961 I
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This project, In the original version, proposed o formula
for the woy o modern university could be spatially
organized as o network of interrelationships ond
opportunities lor communicolion. Instead of starting out
from the usual division into faculties, each os o stronghold
in its own building, with its own library etc., the point of
departure in this building was o single continuous
structure functioning like o roofed academic
agglomeration, in which oil the component ports could be
positioned in the most logical relation vis ci vis each other.
And because ideas change over lime also the
interrelationships will change, and with them the different
components; it wos therefore proposed to creole spaces
thol con be erected or dismantled within o fixed ond
permanent network of interior streets.
CANDIUS, JOSIC
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No one of the stems has been given greater importance
than the others, either in dimension or through the
intensiry of activities along it. It is inherent in this plan that
it should begin by being non<entric through use. The
arbitrary decision of on architect as lo the nature and
location of 'centres'wos replaced by the reo/ choice of the
people who use the system'.
JShodroch Woods, World Architecture, london 1965, pp. 113.1141
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S. Woods
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1965 I
S. WEWUKA UfHfll
'The street con be regarded os more or leH the oldest
element of urban planning. The street hod always been
the 'living room' of the people. The ideo of pulling the
familiar urban space to use again resulted in this design.
The public space mus/ once more become the selling, with
on Improved spatial organization, foro// the activities il
has been used for since time Immemorial.
Unlike the soc:olled building plan, the proposed zoning
scheme indicates only destinations and accessibilities, but
,.,
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each with his own signature, which would outomoticolly
ensure that no two places within this lucid, coherent
system would be identical.
The most ingenious aspect of this pion is that the corners
ore always well-defined, and that these 'cornerstone'
buildings consistently loce the intersecting streets with o
diogonollo~ode. The lour diagonals widen each
intersection to form o small square, which thus provide o
welcome relief from the monotony ol the long streets.
Even in the form in which this pion was ultimately
realized, with closed block siting ond much toller
buildings than originally intended, the eRect of this corner
arrangement on the layout os o whole h still noticeoble,
suggestive as it wos for architects - and not least lor
Goudi to deport from the rigidity of the most obvious
solutions.
Coso Milo,
MUtW
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MANHArTAN,
New Yo RK tltJ.JHt
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S BUILDING ORDER
In simple temu, you could say that building orcler is
the unity that arises in a building when the parts token
together clet.nnlne the whole, and conversely, when
the separat. parts derive from that whole in an
equally logical way. The unity resulting from design
that consistently employs this reciprocity parts
cletermining the whole and determined by it may in a
sense be retarded as a structure. The material (the
informationl is cleliberately chosen, adapted to auit the
requirements of the task in question, and, in principle,
the solutions of the various design situation (i.e. how
the building is interrelated from place to placeI are
permutations of or at least directly derived from one
another. As o result thll\"e will be a distinct, one could
say family, relationship between the various parts.
Following this troin of thau9ht, one '"s that there is
an obvious comparison with that outstanding ellample
of structure: language.
Each sentence derive.s its meaning from the words of
which it is composed, while at the some time each
word derives its meaning from the sentence as a
whole.
Of course, every well-designed building has a
consistent idea with a distinct themcrtic unity behind it,
a unity of vocabulary, material, and building method.
lut here the essential thing is design based on o
consistent stra.fe9Y, Starting out from the components
you have to go through the whole building again and
again to check whether all the utremities can be
brought together under the denominator of o common
theme (hence putting the hypothesis to the te.st). That
exploration in tum leads to adjustment of the
hypothesis or theme.
This working method implies, in fact, filling In one.'s
own design structure, as it were and, by feeding back
311 116
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the nature ond investment potential of the company
permilled only o limited number of building units to be
realized simultaneously;
3.
the quality of the existing premises wos good enough to
warrant preservation ond, olthough somewhat gloomy and
Inefficiently laid out, the building would still be
serviceable oher incidental alterations.
In order to channel the expected growth in the future ond
to guard against the eventual emergence of a haphazard
patchwork of extensions, it was decided to design
building units based on o number of interrelated motifs. In
this way it would be possible to use different combinations
to creole o variety of larger spaces. The fundamental
principles for the design were as follows:
o.
to occommodote the constant changes within the business,
eoch building unit hod to meet o wide ra nge of industrial
requirements i.e. it should not be too strictly oHuned to o
specific programme, but flexible enough to accommodate
varying functions without adjustment to the unit itself being
neces~ory ;
b.
the premises should be complete ond whole after each
extension, regardless of the subsequent stoge in
construction; each new addition should therefore
constitute o finished whole.
The building unit should therefore hove on identity of its
own strong enough to be copoble of asserting itself
regardless of the specific milieu ond moreover to
contribute to the identity of the lorge1 whole of which it is
o constituent. The rather demonstrative use of
prefabricated components is in this cose not o
consequence of the need for repetition but ocluolly ond
this seems paradoxical the consequence of the desire to
individualize each component. The components must be
autonomous in order to serve multiple functions, while the
form must be chosen in such o way that the different
121
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Both of these schools resulted from the some spatial programme of requirements set by the Ministry of Education
and, having been developed from the some building order,
os o common design, there ore ma ny similarities between
142
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However, the some architectural means hove been used to
solve the specific problems posed by eoch building, which
hos resulted in o strong coherence between the elemants
making up the two units. Not only do we find o common
orchileclurol vocabulary here, but olso o common orchf.
lecturol grammar in the sense that eoch individual solution
represents o different declension of o common root.
The underlying structural principle con be summed up in
some 20 points which con be cloHified according to how
they ore interpreted, e.g. insid&-Ou tside; skeleton or the.
consistent application of bricks, sills, steel components;
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6 FUNCTIONAliTY,
FlEXIBiliTY AND
POLYVAlENCE
purpo
146
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~IUDIJI-I S II
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8 MAKING SPACE,
LEAVING SPACE
We should go about designing in such a way that th
result does not refer too ou_tspokenly to an unequivocal
goal, but that it still permits interpretation, sa that it
will toke on its identity through usage. What we moke
must constitute an offer, it must have the capocity to
elicit, time and again, specific reactions befitting
specific 1ituationa; so it mulf not be merely neutral and
flexible and hence nonspeciflc but it must possess
that wict.r efficaciousness that we caJI polyvalence.
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together and toke them aport ogoin themselves, without
help from the teacher. During the lunch breaks the
children ploy games on it and around it, or they huddle
together there to look at their picture books, while there is
in foci plenty of space oil around them. To them It is on
island in o sea of shiny lloorspoce.
The floor in the hall of the kindergarten section has o
square depression in the middle which is filled with loose
wood blocks. They con be token out and placed around
the square to form o self-contained sealing arrangement.
The blocks ore constructed os low stools, which con easily
be moved by the children oil around the hall, or they con
be piled up to formo tower. The children also use them to
make trains. In many respects the square is the opposite
of the brick platform in the other hoi I. Just os the block
evokes images ond associations with climbing o hill to get
o better view, so the square hollow gives o feeling of
seclusion, o retreat, ond evokes ouociotions with
descending into o volley or hollow. If the platform-block is
on island in the sea, the hollow square is o lake, which
the children hove turned into o swimming pool by adding
o diving board.
The spoce behind the Khool building is articulated ond
divided inlo a number of separate oblong spaces by low
wolli. The siTips between the parallel walls ore intended
primarily lor gardens and sondpits, but they could also
be used lor other purposes. like each separate
comportment, this walled oreo os o whole may be seen as
a framework, that con be filled in, In different situations.
m nom
MUll'
111
II)
111 m m
JSS
Trees go well with market places, and they make the oreo
less bore ond desolate on the days when no market is
being held. Since there was already o cor-pork under the
square ra ised boxes of bricks were constructed to hold the
minimum amount of soil needed lor the trees to grow in.
The size of these boxes ond the distances between them
were determined on the basis of the market-stalls, so that
the trees would serve as fixed points for the positioning of
the rows of stalls with suffident space in front and behind
eoch row.
The market vendors who were allocated, or who chose,
spaces next to the tree-boxes, use them for extra, informal
display-space. As a result, the boxes often lake on quite
on exotic appearance, which even, in a way, recoils the
temples of Bali.
The construction of the tree-boxes served as a good
opportunity to install the necessary electricollocilities lor
the market as well as for street lighting in the some
operation. The tree-boxes hove been designed in such o
woy lhot they provide seating in the shade on days when
there is no market the principle of multipurpose design
that, os for os we ore concerned, should underlie
everything we do to the urban environment.
411
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'One could draw the condusion from all this that all we
have to do is deviM bare cartridtes, as unemphatic
and neutral 01 possible, so as to allow the inhabitant.
optimal freedom to realize their spec:lflc Hsires.
However paradoxical this may Mem, it is highly
questionable whether such a degree of freedom would
nat result in a sort of paralysis, because while so very
many alternatives present themselves, it is still
extremely difficult to make the choice that will prove to
be the best one for you. It is rather like those huge
menu that offer such on infinite variety of dishes that
one's appetite is d.ulled ratite, thon whetted. When
there ore too many pouibilities to choose from It con
become virtually impossible to reach a decision, let
alone the best one too much con be just as bad 01 too
little.
Not only is it a prerequisite for every choice that the
range of pouibilities con be grasped, (and is therefore
limited), but also the ch-Mr must be able to vlsuolize
the alternatives one by one in terms of his own way of
thinking, he must be able to conceive of them in terms
of his own expen.nce, in other words, they must elicit
auociotion, sa thot he con compare them mentally
with propositions of which he w01 already conscious or
which can be raised from his tubconscious elllperience.
ly comparison of the lmot evoked by the new
stimulus with the images already collected in previou1
162
UC~ITICIUtl
HS
163
9 INCENTIVES
Design IJIICired 10 maximum 'incentive' quaflfy calls for
o n- ond diHerent apprvoch on the port of the
ard\INct. What Is required Is a shift In the lows of
attention: the architect must switch his habitual
concentration from the building pi"CCf'GGIl'M, wltkh
uwally reflecta only a collective interpretation, 10 the
multiple situation, lndlvlduol or colledlve, os It arises In
tfte everyday reality of nerythlng that we build.
To bring this variegated assortment of dato to the
surface the architect hos only one means at his
disposal: his imagination. He must use his imogination
10 the fuiiiO be able to identify himself with the uaers
and thus to undermmd how his design will come
ocroas 10 them and what they will expect from it. Tkh
s,.cifk Imaginative copoclty, which moy be IMn as an
Indispensable port of the architect's normal competence
and which should a s such be acquired Bke any other
sklll, Is the o~
means of getting thl"'Ugh to what-an
j
in fact basic facts: the programme behind the (buildlt\gl
programme.
How one should go about presslng a ll these facts,
which must ultimately result in a design that will
lnd1ed be capoble of Inducing auoclatlons among the
uaers, is a d'tfferent story, but some of the more
cona.te aapects of ttUs process, which pertain to the
'anatomy' of a builcllng, con help 10 explain directly or
lncllredly the 'inducement' or 'Incentive' quaUty of the
architectural feotures dealt with In the exGmpl.s gien
in the previoua chapter.
Certainly In thate cas.. where -
cletiberotely leave
something unfinished because we expect the users to
be capable of doing a better loll at flniahlng It than would, the botic farm that ia employed mutt, on the
technical and proctlcallevel, lend Itself 10 such
purpas...
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166
H<JftiMO!tldluog
Betlin-Sntz, 1925-27/
8 To<JI
cs& m m
0. Drle Ho..,.,
Home for the Ehkrly
M011lo=rl School,
Oelh
16&
10 FORM AS AN
INSTRUMENT
""e mor. inftvenc. you con , - l t y exert on the
things MOund you, the mote you wiH feel emotionally
involved witt! them cmd the mor. attention you ww11
poy to them, cmd also, the more you will be lndined to
lavish care and lon on the things around yCMI.
You can only dwelop an affection fw thiftts thot you
can idemify with things on which you con pn>ject so
much of youl' - n identity and in wtlich you can invut
so much cor. and dedkotlon thot they become pol't of
you, absorbed imo your own penonol-rtd. All thot
cal'9 and dedkation makes It -m as If the object
needs you, not only con you cledde to o Iorge extent
whot ha,.,en to it but the obj.n lt..tf pb o soy in
your life as well; this kind of relationship too may
evidently be seen as o proce11 of mut\HII
appropriation. The more lnvo!ved o penon i1 with the
form and conhnt of his surroundinp, the mON tho..
surroundlnp become aPfi"'Prioted by him, cmd just as
he toke~ pas..sslon of his surroundlft9 so they will
toke pos....ion of him.
In the light of thi1 reciprocal appropriation of ,.ople
and thinp it Is fail' to state thot the lncet~tivu thot oN
oHered by us os orchitecb represent on invltvtlon fw
comp1etion and 'colouring' by the people who
then, whiM on the other hond the people too extend
an lnvltotlon to the thinp to complete, colow ond fltlln
theil' own exittence.
Thus u..r and form r.inforce eoch other oncllnteroct
and such o r.lotlonshlp Is onolopus to that between
Individual and community. u..,. project themselws
oftto the fofm, just as indivictualt thaw th.ir true colour
in their various r.lotionshlps with others, while playing
and being played upon, and thereby became who they
or..
form directed to-rds o glvef'l pvrpose functiorlt as on
apporotus, and whel'9 form and programme 01'9
mutually wocotive the apparotul ltteH becomes on
iMtrum....t. A property functioning opporotu1 doN the
wotit for which it Is programmed, thot which is
expected of it no leu, but also no mON. ly pressing
the right buttons the expected results ore obtained, the
some fw everyone, always the same.
reve
170
l!HO ~S
lO t StU m tS II U ( KIIHIU tl
them-
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autor
111
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--
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C INVITING FORM
174
au tor
Right Dimensions
Hoorfemmer HouHuinen Housing, Amsterdam
'The Potato Eoters1 I Vincent von Gogh
De Drie Hoven, Home for the Elderly, Amsterdam
Montessori School. Delft
Centrool Beh&er Office Building, Apeldoorn
Home Conversion, Amsterdam
St. Peter's, Rome
Vredenburg Music Centre, Utrecht
3 Vl-1 202
Montessori School, Delft
Weesperstroot Student Accommodation, Amsterdam
Pavilion Suisse, Paris I Le Corbusier
Balconies
Pavilion de I'Esprit Nouveau, Paris lle Corbusier
Documento Urbano Housing, Kassel
LiMo Housing, Berlin
Thou School, Barcelona I Martorell, Bohigos &Mackay
Vredenburg Music Centre, Utrecht
De Overloop, Home for the Elderly, AI mere
Pore Guiill, Barcelona I A. Goudi, J.M. Jujol
Sociology of Seating
Apollo Schools, Amsterdam
4Vlewll 216
rmm' rOtr!
175
au tor
--~------
176
-If
tiVITIU 101M
177
ss
410411
111
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L
'Colums today seldom hove o either o separately defined
bo)e or the troditio~ol capitol of the columns of the
closslccl orders. They simply dissopeor into the Aoor. But
there ore situations where o widened section of the
column just above the floor offers Interesting el(tro
m
m
184
----
---
.---
I KYIJ 1~ 6
FORM
II$
186
I~VIIII~
Ma rw
!Crt
187
soo
m
SOl
Ill
ooll\e btoch',
flomJo fl94 II
'fCOIC
,
SOl
m
SC6 501
CiiO Joel""'~"
190J.Cl4/7 Go,...,
UVIII M~
IOU,
119
I
2 PlACE AND
ARTICULATION
SC3
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............
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.
190
msos 10t
510111
m
Ill
1885 (5t7J
o. o,~o H ..,,.
llo<!te lor the ElM<Jy
Place Clem-enceou,
VeMe, FrartC
& RoeJ.or.IJtr l'lo:o.
Now Y01k
Bibliolll~"'
Nollonolo, Pori
& Amp/IJJ!Joolro, Arlos,
Fr011aJ
Sl ~
SIS
116 S17
..
..
. -i-I r-]_..J.t,
511
119
..
Articulation
Space thauld always be articulated in tuch a way that
places are c.reated, spatial units whose appropriate
dimensions and correct measure of enclosedness
enable them ta accommodate the pattern of relations
of those who will uJe it,
How a space Is articulated Is a .decisive factor: It will
determine to a high degrH whether the 1pace will be
suitable for a single large group of people, say, or for
a number of small, separate groups.
The more articulation there is the smaller the spatial
unit will be, and the more centres of attention there are
the mare individualizing the overall effect become
that is, that Jeveral activities can be pur~ued by
separate group at the Jame time.
193
A. 8, Cand0
Slt
mob
S14
in~nsity.
_L
194
IJ
3
.
1~l, 4
IUIIII6 fotl
r I
195
Foyer Vrlenburg
MWc Ce~~Jre
,joct
Dwelling, AmsMidom
A: originol
8: aher coneniCHI
Pti.a'* bouse V. Horlo
00
196
autor" s
Plant/or St Pot.r't,
Gvollano Jo Sangolo
PMJui (at right)
Mkb.longm
&am<Jnt./at right)
mm
S33 534
.J'.I.
..
St. P<TU'S, ROME,
SINO
1452
(~31334)
r I
show.
Sourus: l Seevclo,
Storie dtllo Cillo/
SOIIICOS
Na<berg Schulz.
MeanJng tn Western
Alchlreclvre/P~tsner,
An
Oufl,,.. of EuropfOn
197
I
198
liSSO I~
101
~IU DIII S
IN U (UI((IU II
S40
S~ I
200
......
l!SSOWS 101
mom~
IN AICK II H TUJI
rrt
- ,.-;s
b.mg 11otJ>por1o</IO
N-Yo<i
Slffi >rtlure, G.fiffol,
~eulpJor, 8ortlto/cll
SCJ
I ~YHII'
lOll
201
I
3 VIEW l
We must always loalt few the right balcmce betwMn
view and seduslon, in othef wonls for a spotial
orgcaniaation thot will enable everyot~e in evlfY
situotion to take In the position of his choke vis a vlt
the otMrs. In the Hdion devoted to articulation the
conwpt of partition lnevitobly received ""'" attention
than that of comiNMtian, separation mare than unifi
cation. Yet the openMIS of the cliH.rent places is just
at funclamental at their seponltelwu, indeed the two
are complementary, to that enclo.s eclnus and open
ness con each exist only by the grace of tho other;
they relate to each other cllalecticolly, 01 it -re.
The degree in which places are separate or open vi a
vis each other, and the woy in which that is done, lie
in the hands of the clesigner, and consequently you
can regulate the duirocl contact in a particular
situation in 1uch a way that privacy is ensured where
202
'---'---""'---~-'"""'~'"'-.>..
' ...Jn.........o......1 ~ <.....P
sso
SS I
BALCONIES
SSl SSl
519
mm
m 11e
space on the balcony, there isn't very much you con do with
this long ond narrow space. If the space were of a different
shape more like o square, for instance it could easily
hold a table ond several people sitting around it having a
meal together in the open oir. Square balcony space also
offeu more seclusion simply because of its depth, ond con
also easily be partially screened off. Besides, part of the
living room thus comes to lie directly adjoining the exterior
fo~od e, which results in o space with plenty of light but
also one fromwhich you con see directly onto the street
instead ol having to go out onto the balcony first.
PAYll.lON DE
t'Emrr NouvEAu,
PARIS
I 925 I
lE CORBUStER C561J.!~lt
...
I
160 5,4
561
5i7
163m
Pa/1011 de I E>prir
Nouv~u
fi!COIIJ'nl'red
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Bolog110. la y
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518 SIO
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mm
113
mm
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201
1972.7 5 I MARTOREll,
BOHIGAS
&
MACKAY II~S$lJ
lSI
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2ft9
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210
t- U<ftlll!lll!
sn sto
IU11U6IIOU\
Stl
m sn
21 J I
utnr,-.
'
w-per>Jrool
Student
Acccmmodotlon
Cetltrool 8eheer
Office Bulk/log
{far right)
212
Schools ore still being built today along the old lines of o
row of classrooms along o corridor with coolpegs and the
occosionol'work-corners'. There ore often external
reasons for such o pion, and the classrooms themselves
may be well-designed ond may function accordi ngly. But
you must realize that, with this type of arrangement, each
classroom becomes o self.contoined, separate unit with ot
best o reasonable relationship with its immediate
neighbours. Children in different classes see each other in
the corridor when the lessons start and finish - and ol
those limes it is usually very lull - and, if they ore lucky,
there is also o communal hall where they con meet.
In o situation where the classrooms ore grouped around
the communal space, so that the children leaving the
clomooms outomoticolly converge in the centre, there
would be much more opportunity for casual and
spontaneous contact between children of different ages. It
would stimulate ideas for doing things together, if only
because both teachers and children of different classes
would gel lo see more of each other. The school halls in
the two Apollo primary schools hove o splitlevel
amphitheatre-like orgonisallon, which greatly increases
the range of visual contact. Situations of players and
audience arise easily ond spontaneously: children sitting
on the treads of the stairs connecting the two levels soon
start behoving like on audience, thereby challenging the
players on the lower level to give what you might coli o
performance.
The split-level design of the central space not only gave
rise to the adoption of the amphitheatre Idea, it also
provided o point of otlochmenl for the six classrooms,
disposed in two groups of three with maximum mutual
visibility. This visual link drows alltne classrooms together
in o way that would not be pouible with o strict division
into superimposed storeys.
The hoiI space functions rather like o big communal
classroom, where the teachers also hove their own place
(with o corner screened off for the school head) on the top
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214
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600 .01
602
ut"''"
4 VIEW II
Bringing the outside world inside.
'It Is the principle of shelter thot receives special
emphasis In the history of the origins of architecture,
os it gradually acquired an Increasingly articulated
form, from hut to house, in the course of human history
and of the rise of the city. For us the history of the
view is just as important as thot of shelter. And whot
we mean is, aport from having a view of one another,
having a view of the outside world. Just as spatial
relations influenc.e person.ol relations, so they
determine the way we relate to the environment. lut
Instead of maintaining the opposition of Interiorexterior as a fvndomental contrast, we know, In the
twentieth century, thot interior and exterior ore
relative concepts, and therefore depend on where you
stand, and in which direction you look.
603
216
I~
UCfillf[IURE
VAN
NEill
fACTORY, ROmlDAM
1927-29/ M. BRINKMAN,
'The chocolate-box on
top ol tbe factory wot
designed and drawn by
me, much against my
own wosbu. Nor did I
hove much !ytnpotloy for
the concovt walt of the
office edion but Van
der Vlugl wo ln
cl>arge.' (from o leltet to
8okemo, l 0 June 196A,
O$ cited in: ).8. Bokemo,
l.C. von der Vlugr,
An11terdom 19681
606 607
218
'.-
G. RIETVELD
1610.614)
410 611
mm
61 ~
611
220
A residential building lor the elderly constituting a selfconta ined organizational unit (where ma ny of the
inhabitants tend to stay on the premises due to impaired
mobiliiyl almost inevitably assumes the nature of a
bastion_ In this case the location, not in the heart of lhe
res idential neighbourhood but on o residual site on the
edge of town at the loot of the dyke along the Veluwe
lake, further emphasizes this undesirable effecl of
recluslveness.
While the spatial organization of the interior con be
...,...................
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,.,
22)
...
'
'
22'2
liSSO N ~
./
if
the case - by virtue of the shift in focus of attention,
drawing the eye upwards or downwards or to the street
outside. The quolily of the light entering through the
windows changes, too: where it enters, unreflected, from
above, it brings with it the quolily of the outside, which is
------
6JO
631
S VIEW Ill
Ul
ill U4
1867 I F LE PLAY Ul
More often then not buildings ore portrayed rn full
sunlight, but here the opposite is the case. And with the
reversal of day end night it seems as if inter1or e nd
exterior, too, hove switched roles. like o greollomp the
rounded slructure illuminates the space 1n which it stands,
slrelching oul its glon overhanging roofs with lighls
suspended at regular inlervals in o we lcoming gesture so
that you ora virtually in the building even before you hove
possad the actual threshold. The overall transparency of
the structure in itself is on invitation to enter this modern
palace containing o huge range of goods for the new
consumer market, like o radiant planet affording o view of
the new world.
W O<lO ElH BtnON PAYIUON, PAilS
216
227
"' ,.
221
or
us
641
rlJ '- .
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I
t ~YIU.G
fOil
231
1981/
G. OtSCOM&ES C64HID
In Loney, near Geneva, Georges Descombes designed o
pedestrian underpass connecting the two sections of o
pork cut across by o motorwoy. The corrugated iron
conslituting the octuol tun nel is exposed to view ot either
end. But there is also o slender steel footbridge in the
tunnel, under which o stream runs from one section of the
pork to the other. This bridge, much longer than the actual
tunnel, extends into the pork ot each end ol some distance
from the motorwoyromp.
232
!61>6111
613 lS4
6SI
234
23S
I I
110
Ill
236
ll(~llfrJII E
Ma'ter
I
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1-1'
r-
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667 LU
664
1 -f-t
vme,
PARts 1928-32
14S U6
MAtSON DE
"'
ua "'
238
I~
UCMIJI(JUIE
P. CHA.REAU, 8. auvon,
Ma'ter
910v~ciRoor
~nlllool
ocomllloot
a lll a R-.I.
stoircos~.
6/0.k
JIYtm6 fO Ul
611
239
614
"' 6)/
240
619
680
611 U2
U3
242
IBM
rraW!Us Pov.ll.,.,
Potu, 198NS4/
Alali11< l'i<Jno
689 91
rou
243
8tettorn~oue
Sre GENEVIEVE,
PARI~
1843-50/ H. I.Aswusre
CltH99l
I
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---
..
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--~ ;~
,"'(_a
~o
~o.~~
~o
~~
~~
~~
~~
~~~<'?
~
-"
244
t ~L--------'/
Mater
691
6 EQUIVALENCE
When something that was a Htondary feature in one
situation cGn become the main feature in another, in
other words that both fHtures can adapt to specific
conditions, then we have a system of values in which
there is no hierarchy of importance among component
parts. And when, for instance, something in any
architectonic ordering, on element or on orgoni:ration
of elements, con perform different functions depending
on its placement in diHerent situations, then its value is
no longer constant.
loch element can then, depending on the way it is
introduced, perform o pivotal function, that is, it con
become o centre of o system in its own right; In that
case equivalence can be sGid to exist. Conversely, on
architectonic ordering in which primary and secondary
elements are recognizable as such cannot but refer to a
hierarchy of constant and unalterable values: a system
of values which is unequivocal and which consequently
precludes interpretation an more than one level. In o
strictly 1ymmetrical composition you can for instance
visually express no more than that the content of the
right hand side is the same as that of the left-hand
side.
100 101
I
I
~~ {/)
I
C LIO - -
246
liHO MS 101
SIUO!~IS
1K li (KIJ!( IUI !
"
I ST RAAT
v
I
/I
702 703
104
705
10&
101 708
'
~ ~13
-r
[]
~~:
241
""'
:v
'
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n
cl
tr
U CmiCIUII
1---r-1
DE OVEilOOP, HOME FOR TME ElDERLY (IOSI II)
Thi~
709
710 711
lUlliNG fOil
249
117
mm
250
:Y~
~rL
11511&
111118
'''
no
mm
INYllla6 fO liA
2.51
Kierarchy
Persons or things can be dlffwent and yet eqwl.
Whether you value the one me thon the other
depends on the sltvotlon yo41 ore In and on the value
it represerm for you ot thot 1n0ment. Just os the
impomnw depends on the situotion you ore in, so
the situation depends on o variety of ext.rnol foctors
(think of the difference in the importonce of water In
the detett and in a country nice Hollcmd, for inatance~
When people or things ore unequal, they tend to be
treated unequally, too. And when that inequality Is
embodied In a tystem of valuation in which
clusification in degrees of importance takes place, you
have hletorchy. ly equivalence I mean diffet.nt people
Of things whkh you value equally and which you can
d anify CKcording to a value system without thot
resulting In lneqvatlty.
The following example fTom J.Hordy mokes this clear:
If you want to classify a number of books according lo
value orwl you stort by making o ptle with the most
valu-able book on top and the least valuable one ot the
bottom, then this pile will, essentiality, represent o
hierarchy. Now If you place the books vertically In the
some order then their position will be sMn 1o be
equivalent ev.n though the dauification is the some.
lhe differenus ore dill there, but the order Ia one of
dlff-e and not of priority. Of course the books co&Jid
hove been ordef'ecl occording lo other criteria, such aa
accor--ding to cwthor, aiu , Of dote of publication, but Cll
os the books havelleen stocked to lotm o pile
there will Inevitably be o top - ond o bottom one.
Once hierarchical OJTOng-ntt hove been introduced,
they tend 1o be aeffperpetvotlng. At first sight one
might wond4w whether hl-rchy In archlted\n'e as for
os objects oncl the clemonds Inherent In them ore
au tor
CoiOHllblo Un1voully,
N.., Yoli
124/V
nsm
mm
l JI
'
I
l'fo<t StooioiOJ Ofld Ploe. de lcr Ccrrriitt, No~~ey llSl.JS/ HE H.ro
254
I~
amiiHIUr!
tobles and make only round ones from now on, but still
these kinds of small detolls are often only the
beginning. In office buildlngs, for instance, the she of
the roam indicate how 'high up' the occupant i in the
hiefarchy, thereby Ignoring functional criteria the
monogen a:re the only ones who are allowed to place
their clesk cflatonally. lftn If archlt.cture ln itHif cannot
be blamed for abuse of power, and eertoinly cannot
prevent it, it is 1urely better to guard ogainst creating
1potiol c.onditlons in which 'bossineu thrives.
~~:-,:
l.
Polo~ Royol,
--<..~
..
=. .
=
.l._
130
731
731
f MYIII~6
fOIII
I
2SS
786-1009 C134110l
This mosque, founded in the eighth century, consists of
several architectural components together forming o Iorge
hell of abo ut 135 x 135m. Unlike Christian churches, o
mosque is bosicolly o piece of holy land, rectangular in
shape enclosed by walls and filled with columns: o sort of
forest of petrified trees with vaults ond cupolas overhead.
Although the orientation to Mecca is ol~importont in the
Mohammedan religion, it does not ploy o port in this bull"
ding. Here there is no oxis expressing o specific
orientation aport from the obvious procticol constructional
Be/ore li.tt.tnth
century & ofter
sixleenth cenlc11y
d ictate~.
- -- - .............
-----.....................
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~ - .. 0
4
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------
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..... .
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............. .....' ... ..............
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. --- ------.
. . .
.
.
~
o I o o o o o o
o o o
' '
'
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+ '
mm
136 131
156
o o o
~- I
~'h CJ -~,..,.
f--i. .. . . . x::~
..
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t--; . . . . . . . . . . . . . . . . . . ........ .
_.,....,
_w
rtf'
'
HUH Jill
1\\
~b
'ffl
1t uu ~ I
mm
258
lfSSUS
rot
mO!NIS IW ll(KIIICI UU
Ma'ter
Ill
...........
- .....
111
111
Sl PJM's Squoto,
,,,,.....~~.. 1935
149
ISO
260
- ----
I'
I
I<
:4~ j
de
C'"' f;
Q~~o/.,C!D:l'~~ ~l"j l
~,; i.J
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tWill~
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3 Modcmo
5
PI OC.fllrtti OIIJ
Spaor.Uo
Ill
-t.
262
DUTCH P-'INTEaS
Dutch pointing is especially remarkable for the fact that
the subjects ore mostly quite ordinary, ru!H)f-the-mill
situolions with quite ordinary people. Even when the
subject has o significance that lronscends the ordinaryand what better medium than pointing to make it do so
there is o tendency to interpret the lofty subject in terms of
on everyday situation. Dut<;h pointers did not pay much
attention to the problem of the gods, nor for the ways in
which they manipulate men; and their patrons, too, hod
liHie power to dictate the way they wonted themselves a nd
their possessions portrayed.
All the more numerous, then, ore the domestic scenes,
such os Von Gogh's ' Potato Eaters' and of course Jon
Steen's interiors, which offer us o glimpse of life behind
the scenes. Such paintings show people in informal
situations. Even though there were masters ond servants,
751
158
IJ.
-...:..
...
'
__
. ~---~~-'
264
Ma'ter
'\
1962/
HI
I IV filM& fO il
265
266
IISSO H fOi
SIU~UIS
IWUCHIIHlUII
Mater
163
BIOGRAPHY
1932
1958
195963
196$-69
197().99
Since 1975
Since 1983
1986-93
199().95
1991
Sonce 1991
Sii\Ce 1993
Since 1995
Since 1996
1997
1999
1999~
Since 2000
ceuvre.
1993
1998
2000
PROJECTS
be<uted Projech
195966
1960.66
1962641
Ouest Profe.uonhips
19661967,
1970, 1977,
1980
Mit, Cambridge iUSAj
1968
Columbia Univeniry, New York (USAJ
19691971,
1974
Toronto University JConoda)
Tulona Untveuily, New Orleans (USAI
1978
1979
Harvard University, Mauochuse"s (USA)
198 1
University of Pennsylvonio (USAI
19811986 Unlversite de Genee (Switzet1ond)
1987, 1993,
Various uni.,.rsilles in rile United Stoles and Canada
1996
1967
1967-70
1968.70
196S.72
1972-74
197J.78
197781
1978.80
197882
197982
1979-90
1968
1974
1980
1985
1988
1989
1991
261
1980.82
198().83
1980.84
198286
1984.86
198689
198693
198898
Stud~<~t> Hou~<t,
178. 203
Montessori primary school, l>elft !Nerherlondsl; 25, 28, 33, 62,
!53, 193, 203
h1ensi011 to llnmij, Amsterdam (Netherlood1) (o:lernoli~ed in 1995);
128
Ot Orie Hoven nulling home, Amsterdom.Slotervoort (Neth&rlands);
35 , 40, 46, 61 , 130. \92
House convttsion, lllrtn (Nethedandsl
8 e.11perimenlal hou~siDiogoon type}, Delft INelherloodsj; 41 , 157
Extension to Montessori School, l>elh 1Netherlond$J
Centrool8eheer ollice bijilding (with lucas & Niemeijer).
Apeldoom (Netherlands); 17, 23, 25, 80, 11 d, 133, 194
De Sc:holm c001muniry centre, De-.enterSorgele (Netherlon<h); I J2
Vredenburg Music Ctolre. Lhrechl (Netherlands); 26, 81. 136, 180.
198. 210.227
Second elension lo Montessori School, Delh (Netherlands); 33
Residential neig!lbouchood 140 hous-es), Westbroe\ INetheclonds);
115
Hoorlemmer Houttuinen urban regeneration programme, Amsietdom
(Netbefionds); 50, 190
KouelDOnche houing project, Kos~l{Gecmony); 35, 206
Minimy of Social Welfare and Employmllf\t, ll>e Hogue (Netller
lands!: 138
Pavilions, busllops and morkellocilitfts lor square (Vredenborg.
plein(, UtceochljNotl>erloods); 156
Apollo primary $Chool1, A111sterdom {Netherland!(; Amslerdom
MontessoriSchoolondWillemsporkschool; 31, 142, 183, 186,
213,242
De o.-erloop nursing homo, Allllert-HCJ'Ien (Neriterlondsj; 34, 210,
220, 249
liMo hovsing, Berlin {Germany}; 41 1, 207
Oe Evenoor primary 1Chool, Amsterdam !Netherlands); 182, 186,
224
Hti Gtin housing project 1406 or>efomily hooses end S2 oparl
lllentsl. A111ersloort fNelherlaods); 58
Theone cenire on Spui, The Hogue (Ntthetlond1), complex consisl
ing of opor1Jnent1 and retoil prerni~e1; theatre ond film focilities
(Theater oon het Spui, CloeiYlOtheel: Hoogs filmhuis, Stich!ingl<ijk
huis}; World Wide Vid.o Centre; ond Siroom/HCBK The Hogue
Centrt l01 tht Atb
8-da~srocm tension to pt'imary I ( hool(~hool..reniging Aerden
Mat
co
198896
1989.90
198999
199().92
199().93
1990-95
199193
199198
199295
199394
1993-95
199396
1993.97
1993.99
1995.97
1995.99
1996-98
1996-99
1996-00
1998.00
1999.00
1974
1975
1984
1986
1986-91
1988
1989
19899 I
1990.94
199().00
1992
1993
1995
1996
!997
!998
1999
2000
2001
1967
Monogoon housing
Urban pion lot cily etension end sltucture pion, 0IS'Itnter jNether
lonci!J
Me111orandum of objectives end crltorlc ltK r~newcl olthe old city
centre of Grooingen (Netherlands) , in cooperotioo with De llcw,
lcmbooij, Goucfnppel and otho"
City centre pion, Ei~dhoven (Netherlo~d1J (with Von don Sroek and
1982
8o~ema)
1985
1986
1970
1980
1983
(Neth~rlonds)
1976
1977
1978
1979
1980
1988
1989
1990
199().91
~~~
W!U.c!S
269
au tor
1991
1992
1992-93
1993
1993-94
1994
1995
199596
1996
1997
1998
1998-99
1999
2000
2001
1985
1986
1987
1988
1989
1991
1992
1992.93
1995
1996
1998
REFERENCES
1967
1968
1971
1976
1980
270
USSO J~
Mat I COrT' d
271
IS
autor
l~uons f01
,_..,I.
a.-
Ovllt.
Le_.,.,
272
l!IS01S lOt
Illustrations
All photographs by Hermon Hertzbtrger e~otpl:
R. Bolte-Redc!ot; 653
Hein de ilovter, 347
a.~ggrooff; 6.41
Rrchord Btyond; 525
Martin Ch01les; 587, 602, 616
George> De.combes, 469, 646, 649, 650, 65 I. 652
Willem Dlof"OCm, 30, 31, 75, 76, 95. 138, 139, 1.40, 423 , 432 , 434, 437,
445, 448, 453, 462, 478, <179, 527,538,539, 584,596
Aldovan Eyd; 316,319, 321
L. feininger; 313,541
Ooll Floc11; 580
Reinhard friednlch; 297, 298
P.H. Goede; 315, 320
WerntH Hoo1; 51
Jon Ho'"'"'" 145, 146
A\.elti Htrt.r.btrger; 85, 86
Ver0011 Hemberger; 719, 720, 721 , 722
JohonvonderKeukon; 15, 16, 17, 18, 19,21, 22, 39, 44,141 , 207, 39i,
395,396, 397, 401 , 40A, A05, 406, 409, 4 14, 417, A49, 461, 465, 491 ,
535, 546, 594,600,623, 624
Klou>Kinold; 388, 483, 493 , 499, 526
Michel Kort; 737
Bruno Krupp; 37
J. Kurtz; 203
Rudoll Menke; .429
Roberto Pont; 713
louis von Pori don; II 0
Morion Po11 WokoH, 505
Uwa Rau; 84, 576
Renondeou, 389
Rorold Rooze11; 599
lrok Solomons; 3A1
H. Srege111on; 430, 431
H. Tulkor; 642
Jon Vennal; 323, 324, 325, 326, 329
Get von dtr Vlugt, 61, 62, 66, 88, 89, I00, I02, I03, 371, 387, 4196, 578,
579.6 19, 626,627,705,706.707
Gordon Winter; 132
Cory Wolrnsky. 467
work and the ideas underlying it are put into words by the arc.hitect
himself. It presents a broad spectrum of subjects and designs, with
practical experience and evaluation of the use of these buildings
serving as a leitmotif. This immensely successful book has gone
through many reprint& and has also been publiahed in Japanese,
German, Italian, Portu.gueae, Taiwanese, Dutch, Polish and Chinese.
The book divides into three parts: Public Domain, Making Space
Leaving Space, and Inviting Form. By arranging texts and deaigru
into a number of themes Bertzberger has managed to direct his broad
practical experienc.e into a fascinating theory. ln his view everyone
- the more he seea, experiences, and absorbs - is automatically in
posaeuion of an ever-expanding arsenal of potential instructions
with which to choose a path towarda a result.
More than 750 illustrations give a broad insight into Bertzberger's
'library' and a stimulating impression of one of the moat important
Dutch architects alive today. Rather than supplying the reader with
design recipes, Butzberger has provided an euential source of inspiration to everyone involved in aome way with the design process.