Toon Bulletin KNOB 119 (2020) 2

Linsy Raaffels, Stephanie Van de Voorde, Inge Bertels en Barbara Van der Wee Visitekaartjes in steen, hout en beton. De eigen woning van de architect als commercieel instrument Marjoleine van Schaik en Maartje Taverne Vakmanschap en comfort. Een beschilderde vakzoldering van Pieter Post in Haarlem Jasper Van Parys Salvatore Olandese. Pierre Cuypers’ Archeologische Commissie en de kunsttheoretische betekenis van de catacombenkopieën in Valkenburg

Hans Oldewarris, Liefde voor de Hollandse bouwkunst. Architectuur en toegepaste kunst bij Uitgeversmaatschappij Kosmos 1923-1960 (recensie Roel Griffioen) Michiel Purmer, Het landschap bewaard. Natuur en erfgoed bij Natuurmonumenten (recensie Henk Baas)

Het nummer is ook als gedrukte uitgave online te bestellen.

Gepubliceerd: 2020-08-23


  • The house the architect builds for himself and his family can be considered as a unique,  autobiographical record. Because of the twofold role of being both designer and client, the architect can seize the opportunity to conceive his house as a manifesto, a technological experiment or as a turning point in his career. Moreover, he can also deploy his house as a commercial tool to attract future clients; as a life-size business card which demonstrates his professional expertise and ambitions.

    Research into this specific building type has revealed over 330 architects’ houses...

  • In a double-width building in the historical centre of Haarlem a classicist painted ceiling from the second quarter of the seventeenth century was recently discovered. It is a beam and joist construction in which the beam bays have been smoothly finished, resulting in a panelled ceiling. The areas between the beams boast a painted architectural division into coffers and panels, enriched with bundles of twigs and floral bouquets, festoons, gilded rosettes and two family coats of arms. The ceiling, which has been dated to between 1635 and 1639, was commissioned by Josephus...

  • Between 1910 and 1912, copies of some sixty burial chambers of the catacombs of Rome were reconstructed on the Valkenburg estate of the client, Jan Diepen. To ensure the integrity of the project, an ‘Archeological Advisory Committee’ was assembled under the chairmanship of the architect P.J.H. (Pierre) Cuypers. In response to a historiographical critique by the liturgical scholar Paul Post, this article demonstrates that among the members of the client’s entourage the Valkenburg catacomb reproductions were associated not only with devotional or liturgical matters but also with...