This architectural history thesis examines the „Studentenhuis Weesperstraat“ (1966) in Amsterdam, designed by Herman Hertzberger (*1932) as a representation of his philosophy towards creating architecture. This being one if the earliest examples of Hertzbergers work, it serves as an accurate display of his meticulous approach to architecture during the development of structuralism in the Netherlands. The research consists of the retrospective analysis of his philosophy including its development, based on interviews as well as his own published recollections and a historical case study on the building in its original state. By way of immediately projecting his theoretical framework on this practical manifestation the study adds to the current body of knowledge concerning Hertzbergers work and design philosophy.

This thesis explores the development of scale in the architecture of the Amsterdam post offices by C. Outshoorn (1854) and C.H. Peters (1898), and of the urban context around the building. The urban development takes place incited by technical development and rapid expansion of the city. The scale of the architecture of the post office itself develops more eratically, due to the eclectic nature of the architects.

This thesis explores the interactions between the architect Christopher Alexander and the visionary grouping of architects known as Team 10, with a focus on Alexander's participation in one of Team 10's famous meetingsa t the Abbaye de Royaumont in 1962. Both Alexander and Team 10 went on to make important contributions to architectural history and theory. Both were motivated by a critical appraisal of the high modernism of CIAM (Congrès Internationaux d’Architecture Moderne) to search for new solutions. This paper uncovers some striking parallels in their thinking and approaches, both explicit and implicit. Yet after 1962 their thinking took them in different and increasingly opposing directions. Questions explored include why these differences came about, to what extent they were fundamental, and what a continued collaboration might have achieved.

Adaptive reuse can be defined in a multitude of ways, but in this case it refers to the renovation and revitalisation of a building or site into a new purpose brought forth by societal and urban needs. This concerns many different projects, yet this paper aims to explore the nature of post-industrial designs and how they may be developed into something new. A rather broad concept narrowed down through the use of previously established research and a focus on a specific case study; The Westergas factory in Amsterdam.
Being the first large-scale municipal-owned gas factory in the Netherlands, it bears a heavy identity among the rest of the city. It also happens to be a prime example of effective post-industrial redevelopment in a way this thesis aims to explore. Thus, the primary question proposed is as follows:

“How does the adaptive reuse of the post-industrial redevelopment project ‘Westergasfabriek’ in Amsterdam realise the preservation of industrial heritage while meeting contemporary urban needs?”

A brief theoretical study was performed to establish a framework to answer such a question. This delves into previously researched adaptive reuse, defining optimal renovation requirements for heritage and multiple case-study in papers to narrow down the scope of this thesis. Secondly, the main case study is explored while using this framework, going through the development of the chosen project and identifying key aspects of its success into its revitalization. This is done using primary sources in the form of archival research and municipal documents, aided by secondary sources such as papers, books, photographs and official websites.

This history thesis will examine the extent in which Lauweriks’ architectural and design principles, taking his work for the Deutscher Werkbund Exhibition in Cologne in 1914 as a case study, align with those of the Deutscher Werkbund when looking at the broader thematic and stylistic trends represented in the exhibition. By analysing Lauweriks’ design of the exhibition and researching his perception on art, design and architecture in a new industrial culture, the aim of this thesis is to discover the relation between Lauweriks and the Werkbund.

This study investigates the evolving role of the health and wellness centre Sanatorium Baarn, designed by H.P. Berlage and T. Sanders, through the lens of changing public perception over time. The inquiry is grounded in the central question:
'To what extent has the public reception of the health and wellness centre Sanatorium Baarn, designed by H.P Berlage and Theo Sanders, evolved over time and which factors within and outside the design process have influenced this interpretation and evaluation?'

The Sanatorium, envisioned by H.P. Berlage and T. Sanders, aimed to rival European health centres ('Kur') and establish itself within Baarn's community. Surprisingly, it exceeded expectations, becoming a haven for both the rich and ill. Initially embraced, the Sanatorium's architectural intricacies were cherished by the community. Its significance persisted, endorsed by figures like Sergio Polano. However, a gradual transformation unfolded. Neglect, complexities in ownership, wartime disruptions, and post-war decline marred its splendour. Despite rehabilitation, guest numbers dwindled due to factors like car-free days, necessitating closure. Evolving fire safety standards posed further challenges.

Amid these changes, public perception endured, keeping it a cherished symbol. Post-war shifts made it political, transitioning into a facility for war victims (BAVO) and Indonesian repatriates. An arson attempt damaged the structure's integrity, but hope remained for revival. After an auction, the building teetered on a second chance, poised for restoration. The city council, eager to preserve it, oversaw demolition and transformation. Yet, challenges arose with the new design by Van den Broek and Bakema. Municipal decisions and communal functions significantly influenced its trajectory. Ultimately, interventions altered its status, reflecting architectural resilience amidst historical shifts.

In deze paper wordt de invloed van de Watersnoodramp (1953), de grootste natuurramp van Nederland in de 20ste eeuw, op het regionaal plan van Schouwen-Duiveland in kaart gebracht. De overstroming veroorzaakte grote schade aan gebouwen en zorgde ervoor dat meer dan 1300 km² land onder water kwam te staan. Bestaande onderzoeken richten zich voornamelijk op de impact van de Watersnoodramp op Nederland als geheel. In dit onderzoek ligt de focus op een specifieke regio, namelijk de regionale planning van de zwaarst getroffen regio, Schouwen-Duiveland. Minder dan 30% van de woningen was nog bewoonbaar en ongeveer 70% van de bewoners moest geëvacueerd worden (De redactie van Cobouw, z.p., 1993). Het doel van deze paper is om te onderzoeken of de overstroming tot veranderingen in de regionale- en structurele planning heeft geleid, die misschien niet waren aangebracht als de watersnoodramp niet had plaatsgevonden. De centrale onderzoeksvraag is als volgt: Wat is de invloed van de Watersnoodramp (1953) op het regionaal plan van Schouwen-Duiveland tussen de periode vóór de natuurramp en de wederopbouw (1954)? 
Met behulp van archiefkaarten en -rapporten uit de bibliotheek van het Zeeuws Archief, wordt onderzoek gedaan naar het regionaal plan van Schouwen-Duiveland voor de overstroming. Daarna wordt verder ingezoomd op het structurele plan van Zierikzee, de grootste stad van SchouwenDuiveland, en tot aan de 19de eeuw, de op één na belangrijkste stad in heel Zeeland. Hieruit blijkt dat Schouwen-Duiveland als geheel een overwegend agrarisch karakter had, met een ongunstige verkaveling van de landbouwgronden en slechte infrastructuur. De uitbreidingsplannen van Zierikzee tonen vervolgens aan dat Zierikzee geen overwegend agrarische stad was en dat er een visie was voor het verbeteren van de infrastructuur. Door oorlogsomstandigheden kwamen deze plannen echter niet van de grond en de watersnoodramp zorgde er uiteindelijk voor dat een volledig herstel van het landschap met grondige sanering noodzakelijk was. Hiervoor werden de Reconstructie-Commissie Schouwen-Duiveland en Herverkavelingscommissie Zeeland ingesteld. Deze commissies brachten uiteindelijk plannen voort voor het herstel van het eiland met speciale aandacht naar de herverdeling van de landbouwgronden en het verbeteren van de infrastructuur. 
Thesis statement: De overstroming veroorzaakte veranderingen in de regionale planning die zonder de natuurramp niet zouden zijn doorgevoerd.

This research offers an interpretive analysis of Frances Macdonald's artistic portrayal of women during the Art Nouveau movement, with a focus on the evolving societal roles and positions of women. Through a visual analysis of Macdonald's artwork and a review of relevant literature, this thesis argues that her works can be interpreted as an attempt to accurately represent the limitations and struggles faced by women, including herself, during the Art Nouveau era.

Macdonald's portrayal of women in her artwork was often ambiguous, challenging the prevalent archetypes of the Femme Nouvelle and Femme Fatale, which were commonly depicted by male artists during that time. Her artwork depicted women in roles such as lovers, mothers, or sexual beings, often portrayed as unattractive or sexually unavailable. This deviation from the conventional portrayal of women in Art Nouveau art was a deliberate attempt by Macdonald to present a more authentic representation of women's experiences during that era.

This thesis sheds light on the often overlooked position of female artists, like Macdonald, within the artistic world of Art Nouveau. By comparing Macdonald's iconography with the prevalent iconography of Art Nouveau, this research challenges the dominant narrative of Art Nouveau as a reflection of women's emancipation and liberation. The provocative nature of Macdonald’s art, influenced by her affinity with women's rights, highlights her effort to voice a more nuanced understanding of the complexities of women's roles and positions in society.

In nieuwe plannen van de gemeente Rotterdam moet het sociale woongebouw Pompenburg van de omstreden architect Carel Weeber ruimte maken voor de vergroening van het Hofplein. Het woongebouw uit 1981 is een boegbeeld voor de sociale woningbouw in het centrum van Rotterdam. Het is gebouwd in een tijd waarin door veranderingen in de Rotterdamse politiek een nieuw beleid voor volkshuisvesting ontstond. Onrust bij bewoners zorgde voor een focus op het renoveren van woningen en niet op het slopen. Rotterdam bouwde voor de buurt en voor de inwoners. In context met de toekomstige sloop is het van belang om te onderzoeken wat het volkshuisvestings- en architectuurklimaat van de jaren zeventig was. Er wordt onderzocht hoe het woongebouw Pompenburg past bij het volkshuisvesting- en architectuurklimaat van de jaren zeventig in Rotterdam. Dit wordt onderzocht aan de hand van literatuur onderzoek en archieven. Het woongebouw blijkt exemplarisch te zijn voor de visie van Weeber. Anders dan zijn tijdsgenoten ziet Weeber de disciplines architectuur en stedenbouw als gescheiden disciplines. Weeber poogt met zijn ontwerpen tot het ordenen van de stedenbouwkundige ruimte. Dit is in contrast met het beleid wat de gemeente Rotterdam hanteert. Echter sluit het sociale woongebouw Pompenburg wel aan bij het tijdsbeeld. Door in het centrum van Rotterdam een woongebouw met 226 sociale huurwoningen te bouwen bouwt ook Weeber voor de bewoners.

Deze thesis is geschreven voor het vak AR2A011 Architectural History Thesis als onderdeel van het derde kwartaal van het eerste jaar van de Master Architecture, Urbanism and Building Sciences aan de TU Delft. De thesis is geschreven over de historische uitbreiding van de stad Venlo nadat haar vesting in 1874 is geslecht. Met dit onderzoek is antwoord gegeven op de vraag: Welke invloed had de sloop van de vestingwerken van Venlo in 1874 op de stadsuitbreiding en onderontwikkelde wijken tot 1918?
Voor dit onderzoek is gebruikgemaakt van literatuuronderzoek die is verkregen door archiefonderzoek in het gemeente Archief van Venlo, het lezen van boeken en het zoeken naar informatie uit wetenschappelijke publicaties op het internet en online archieven. De informatie die is vergaard, bestaat vooral uit teksten, maar ook uit kaarten, brieven en notulen die zijn gevonden tijdens archiefonderzoek.
Uit dit onderzoek is gebleken dat de stad Venlo sinds 1339 een stadsmuur had die door de eeuwen heen meerdere malen is verbeterd en uitgebreid tot een vestingstad (Hermans, Jean, 2012). Deze vesting had op haar hoogtepunt een oppervlakte die duidelijk groter was dan Venlo zelf en de vesting bepaalde het leven van de bewoners van Venlo. Toen de vesting op 29 Mei 1867 werd opgeheven, omdat deze niet meer voor belang van de landsverdediging was, werd er een plan gemaakt voor de Slechting en uitbreiding van Venlo (Finaly, Isja, 1996, p. 94). Dit plan dat is opgesteld door F.W. Van Gendt werd gehinderd door het feit dat veel van de vrijgekomen gronden werden gereserveerd door het Nederlandse leger en Nederlandse Spoorwegen (Isja Finaly, 1996, p. 95), met name in het zuiden en oosten van de stad, wat ervoor zorgde dat deze gereserveerde gronden samen met de Maas een soort hoefijzer van obstakels rond drie kanten van Venlo vormde. De uitbreiding die Van Gendt tekende was vooral aanwezig in het noorden van Venlo en zijn oostelijke en zuidelijke stadplannen waren door de gereserveerde gronden afgesloten van de oude binnenstad. Ook is naar voren gekomen dat Venlo in die tijd geen duidelijke gemeentelijke grondpolitiek voerde, waardoor de geslechte gronden aan particulieren werd verkocht en de gemeente minder grip had op de uitbreidingen (Finaly, Isja, 1996, p. 94). In 1918, ongeveer 50 jaar na de slechting werd er met het plan voor het Rosarium van W.F.C. Schaap een begin gemaakt aan plannen die samen met de gemeente waren en een duidelijk beeld hadden hoe de stad langzaam verbeterd moest worden.
De conclusie is daarom dat door de slechting van de vestingwerken gronden vrijkwamen die door de gunstige locatie van Venlo voor een groot deel gereserveerd werden door het Nederlandse Leger en de Nederlandse Spoorwegen, wat als gevolg had dat F.W. Van Gendt in zijn uitbreidingplan keuzes heeft moeten maken die niet per se ten goede kwamen voor de uitbreiding van Venlo en zo ervoor zorgden dat enkele wijken minder verbonden waren met de oude binnenstad van Venlo en zich zo minder goed konden ontwikkelen.

The factory office building at Rotterdonseweg 196 is part of the porcelain company Koninklijke Porceleyne (Royal Delft). It is registered as national monument 525284 and is part of the three-part monument complex 525283. It is located between Rotterdamseweg and Delfteski in Delft. In the past, the factory occupied a larger area of land than it does today, but after the Second World War all its land was reduced by more than half. The building plot consists mainly of the factory buildings, office buildings and an atrium garden. The ceramics gallery in the atrium garden helped Royal Delft to win the first prize at the Paris World Exhibition in 1900. The main office building and factory building were built around 1930 and in 2016 Iprocom and entenwacht Zuid-Holland carried out a complete architectural restoration of the office building.

This thesis provides an historical overview of the development of anthroposophy in the Netherlands and its impact on school architecture, with a specific focus on the Vrije School in The Hague. Through primary and secondary source analysis, the paper explores the origin of anthroposophy and the Waldorf education system, the influence of anthroposophy on architecture and design, the spread of the anthroposophical movement in the Netherlands and the establishment of the first Waldorf School in the Hague. Further it investigates the key principles and features of anthroposophical design found in school architecture practice during the early spread of the movement. It explores anthroposophical school design as organic architecture, which communicates with people on an emotional, psychological, mental, moral, and spiritual level. The case study of the Vrije School allows for a better understanding of the application of anthroposophical principles in school architecture, including the school's L-shaped floor plan, the use of organic forms and colors, and the careful consideration given to supporting the Waldorf education system. Overall, this research highlights the course of events that led to the development of anthroposophy and the Waldorf education system in the Netherlands and formed important motives behind the design of the Vrije School.

The Novohrad cemeteries are a unique peculiarity in the context of cemeteries in Slovakia. Among other tombstones, they stand out for their unusual, very rich ornamentation and colourfulness, set in spaces reminiscent of groves or meadows. Above all, however, they stand out for their use of visual and spatial elements that were no longer common in late 19th-century Christian Slovakia and often belonged to archaisms, seemingly stemming from pre-Christian times. Beyond this physical form, these cemeteries also have an intangible dimension, which stems from their testimonial value about the society of the time and its life within the north-western Novohrad region. It was the circumstances of its historical development and everyday realities that had a significant influence on the creation of these tombstones, as well as on their unusual ornamental decoration.

During the colonial era, the Dutch had built a strong connection with Indonesia that allowed a cultural exchange from both sides. Architecture, as part of cultural products, is no different. Although normally, the ruler was the one who left architectural marks on their colony’s land, there are some examples of buildings in The Netherlands that are influenced by Indonesian architecture. For pavilion buildings, this influence also entails a significant meaning as it represents a country on a world stage.
In that such events, The Dutch usually used Indonesian architectural forms to showcase their colonial possession and to gain respect from other Western countries. That can be seen from their entries in the colonial exhibition from the end of the 19th century to the early 20th century, where they brought an Indonesian village and built an imitation of a Hindu-javanese temple. But Indonesian influence in Dutch pavilion design not only appeared in the colonial-themed exhibition. Although less noticeable, Indonesian architecture was also often incorporated in an international exhibitions focusing on modern art and technology.
Therefore, This thesis investigates the influence of Indonesian Architecture in the Dutch pavilion at The International Exhibition of Modern Decorative and Industrial Arts, which was held in Paris in 1925. The aim is to give a broader perspective on how the Dutch architects perceived and incorporated Indonesian form in a different context. It responds to the question of why and how Indonesian architectural forms are incorporated in the Dutch pavilion design, starting by tracing back the early connection between the Dutch architects and the Indonesian culture, presenting the exhibition context and the organization around the Dutch entry, and finally analyzing the design aspect of the pavilion from the lens of Indonesian culture.

This thesis investigates the intersections of architecture, control, and the leisure economy in the German Democratic Republic (GDR), focusing on how leisure spaces like the SEZ (Sports- und Erholungszentrum) were designed to manage and script everyday life of East Berlin in the latter decade of the communist regime in Germany. Using a conceptual framework of themed design and experience architecture, it explores how public spaces were spatialised to control the population, with narrative design and visual techniques for enticing large scale participation in state-sanctioned relaxation and leisure in a surveilled environment. The study examines how GDR architects adapted international trends in leisure design to fit socialist political goals, institutionalising leisure as a tool of control over free time. It also considers the evolving role of leisure spaces since reunification, where control has shifted from totalitarian domination to more complex negotiations between the state and citizens.
Archival research traces the cultural, political, and architectural motivations behind these designs, highlighting the multivalent nature of leisure architecture, even in totalitarian regimes. The thesis also discusses the impacts that economic restructuring in Germany after 1990 had on GDR owned buildings such as SEZ, urban voids and Zwischennutzung. Sources include materials from the Bundesarchiv in Berlin and the Friedrichshian-Kreuzberg Archiv.

his article examines the integration of migrants in the Netherlands in the 1960s and its connection with architecture. It examines how architecture, specifically Alvaro Siza’s Punt Komma project in The Hague’s Schilderswijk district contributed to the integration of migrants. The essay poses three research questions on the background of migration in the Netherlands in the 1960s, the obstacles the Punt Komma project faced, and how
the design and layout of the project contributed to the integration of migrants into Dutch society. Intended for
architects who want to learn from successful integration projects, the essay explores various theoretical frameworks related to social sustainability, inclusivity, and community development in
architecture

In deze vergelijkingsstudie van de kloostertuin van de Onze Lieve Vrouwe Abdij Oosterhout met drie andere kloostertuinen de productie van ruimte in de kloostertuin onderzocht. Door middel van het bestuderen van de invloeden die voor veranderingen hebben gezorgd, wordt geconcludeerd dat sinds het Tweede Vaticaans Concilie en door de opkomst van de secularisatie de Nederlandse benedictijnse contemplatieve kloostertuin is veranderd van een naar binnen gekeerde tuin, naar een die berust op de komst van gasten en de hulp van vrijwilligers.

From the early Christian Church to contemporary cinema, the cardinal sins have been a popular theme in art and literature. While some films use the sins merely for entertainment value, others use them to convey powerful messages about human nature and society. The latter type includes The Cook, the Thief, His Wife and Her Lover (1989), using the sins to strengthen its political criticism.

Set design is a crucial component of the film that adds depth and purpose to the story. Director Peter Greenaway and set designers Ben van Os and Jan Roelfs create a baroque ambiance that appeals to the subconscious and enhances the overall tone of the movie. They have done so by drawing inspiration from art history and painting principles. Props, composition, color, and texture all contribute to create a consistent visual style that conveys the film’s message.

The deliberate emphasis on immorality and sin in the film serves as a passionate commentary on the political state of the United Kingdom in the 1980s, and the set design plays a crucial role in conveying this message visually.