Bulletin KNOB
type: channel
description: Het Bulletin KNOB is een wetenschappelijk tijdschrift op het terrein van het ruimtelijk erfgoed dat vier keer per jaar verschijnt en in binnen- en buitenland als belangrijke kennisbron wordt erkend.
publisher: Koninklijke Nederlandse Oudheidkundige Bond (KNOB)
language: nl
publication name: Bulletin KNOB
issn: 0166-0470
items: Verenigingspagina
items: Afstudeerwerk
items: Vol van Vuur
items: Een nieuwe omgang met comfort
items: De luchthaven als attractie
items: De restauratie van de Noodkist van Sint Servaas (1958-1962)
items: Berlage in Surabaya
items: Schuitenbouwers, Middenstanders en Sjacheraars
items: Material Gardens
items: Tijdelijk Beschikbaar
items: De Betoncentrale als Terraformingsmachine
items: Housing for Workers, by Workers
items: (Temporarily?) Out of Stock
items: De Gevelstenen van Amsterdam & Waar Haarlem in de Gevel Staat
items: Berlages Indische Reis/ Berlage Di Nusantara/ Berlage's Journey to the Indies
items: Het Verlangen naar Zee
items: Theodor Sanders 1847-1927
items: Zwolle townscapes by Jacobus Vrel
items: De wetgevende macht van de Belgische bouwvakker
items: Pacheco en Passage 44
items: Het Paleis aan de Maas
items: Rietveld Schröderhuis
items: Het Binnenhof Den Haag
items: Tweegesprek Bussels-Keblusek
items: Handel en hergebruik
items: Wet en rede
items: De toekomst van het verleden
items: Rombout Verhulst 1624-1698
items: Bouwmaterialen 1940-1990
items: Included | Architecture Repurposed

Verenigingspagina
type: item
description: Bericht vanuit Bestuur KNOB en Archiefopruiming van oude Bulletins en Over Hollands.
subject: Redactioneel
  topic: section
creator: Bestuur KNOB
rights: Auteursrecht (c) 2026 Bestuur KNOB https://creativecommons.org/licenses/by/4.0
date: 2026-04-21
publication date: 2026-04-21
doi: 10.48003/knob.125.2026.1.885

Afstudeerwerk
type: item
description: Dit is de derde editie van de rubriek Afstudeerwerk, dat alle inzendingen voor de KNOB-scriptieprijs 2025 bevat. Inzenders van de afstudeerwerken zijn: Alisha van Heek - Arthur Friederichs - Britt Wouters - Emma Van der Donckt - Femke Van Dycke - Imane Huyghebaert - Isa Walvoort - Liam Borger - Stan Liebrand - Stijn van de Ven - Zomer Zeijlemaker
subject: Afstudeerwerk
  topic: section
creator: Alisha van Heek
creator: Arthur Friederichs
creator: Britt Wouters
creator: Emma Van der Donckt
creator: Femke Van Dycke
creator: Imane Huyghebaert
creator: Isa Walvoort
creator: Liam Borger
creator: Stan Liebrand
creator: Stijn van de Ven
creator: Zomer Zeijlemaker
rights: Auteursrecht (c) 2026 Alisha van Heek, Arthur Friederichs, Britt Wouters, Emma Van der Donckt, Femke Van Dycke, Imane Huyghebaert, Isa Walvoort, Liam Borger, Stan Liebrand, Stijn van de Ven, Zomer Zeijlemaker https://creativecommons.org/licenses/by/4.0
date: 2026-04-21
publication date: 2026-04-21
doi: 10.48003/knob.125.2026.1.884

Vol van Vuur
type: item
description: Boek geschreven door Willem Schermerhorn.
subject: Boekbesprekingen
  topic: section
creator: Jan van 't Hof
rights: Auteursrecht (c) 2026 Jan van 't Hof https://creativecommons.org/licenses/by/4.0
date: 2026-04-21
publication date: 2026-04-21
doi: 10.48003/knob.125.2026.1.883

Een nieuwe omgang met comfort
type: item
description: Recensie van een boek geschreven door Natasja Hogen.
subject: Boekbesprekingen
  topic: section
creator: Dolf Broekhuizen
rights: Auteursrecht (c) 2026 Dolf Broekhuizen https://creativecommons.org/licenses/by/4.0
date: 2026-04-21
publication date: 2026-04-21
doi: 10.48003/knob.125.2026.1.882

De luchthaven als attractie
type: item
description: This article examines the formative role of the ‘place function’ of airports in the architectural and spatial development of early airport terminals. The place function is characterized by facilities and spaces not directly related to air transport but intended for visitors. Whereas existing scholarship often interprets airport typology primarily in terms of technological advances in aviation and the changing operational needs of air transport, this study argues that the emergence of civil aviation in the Netherlands between 1920 and 1949 was also deeply shaped by the ambition to cultivate public airmindedness (luchtvaartgezindheid). Because flying remained inaccessible and too costly for most citizens, airports were deliberately promoted as public attractions, functioning as sites of leisure, spectacle and civic education. Using Amsterdam Airport Schiphol as a case study, the article traces how the concept of airmindedness informed the design, use and continual adaptation of Schiphol’s first two permanent terminal buildings (1928–1944 and 1949). Drawing on the Schiphol company archives, the archives of Public Works Amsterdam, municipal council records and diverse visual sources, this study shows how the airport’s architecture responded as much to the demands of visitors as to those of passengers and aircraft operations. The analysis demonstrates that the spatial integration of visitor facilities, such as the inclusion and expansion of terraces, viewing platforms, restaurants for visitors, promenade decks and generous airside glazing, became a defining component of the terminal typology. By the late 1940s, Schiphol’s semi-permanent postwar terminal incorporated this place function from the outset, offering more seating for visitors than for passengers and providing extensive vantage points for viewing airside activities. The article concludes that in the early decades of aviation, airports acquired considerable socio-cultural significance as public venues, and that …
subject: Artikelen
  topic: section
creator: Iris Burgers
rights: Auteursrecht (c) 2026 Iris Burgers https://creativecommons.org/licenses/by/4.0
date: 2026-04-21
publication date: 2026-04-21
doi: 10.48003/knob.125.2026.1.881

De restauratie van de Noodkist van Sint Servaas (1958-1962)
type: item
description: The legal distinction in the Netherlands between the protection of immovable and movable cultural heritage on the one hand and that of tangible and intangible cultural heritage on the other is confusing and has direct consequences for policy and research in the field of national heritage. It also prevents proper alignment with international regulations such as those of UNESCO's tangible and intangible cultural heritage. With the introduction of the Erfgoedwet (Heritage Act) in 2016, more order was created in the multitude of regulations, methods of protection and subsidies. Nevertheless, the distinction remained, with direct consequences for the optimal preservation of objects in a cultural context. This study of the practices and ethical aspects of the restoration of the Chest of Distress of St. Servatius in Maastricht between 1958 and 1962 explains why it is necessary to examine and protect tangible and intangible cultural heritage conjointly. The Chest of Distress owes its remarkable name to the practice of carrying this reliquary through the streets of Maastricht to pray publicly for protection in times of war, epidemics or other threats to the city. In addition, the Chest of Distress is paraded along with other relics approximately every seven years during the so-called Heiligdomsvaart (Holy Procession). During these public events, the Chest of Distress is surrounded by all kinds of intangible expressions, such as prayers, singing, music, theatrical performances and the wafting of scents such as incense, which all contribute to the total experience. The Erfgoedwet brought greater uniformity to regulations but did not lead to more extensive protection. The policy is primarily aimed at reducing the number of objects that need to be protected and at ‘increasing knowledge and awareness, changing attitudes and improving management standards’. Dutch policy does not go as far as that of the Council of Europe, which ‘recommends that governments, as part of their genera…
subject: Artikelen
  topic: section
creator: Charles van den Heuvel
rights: Auteursrecht (c) 2026 Charles van den Heuvel https://creativecommons.org/licenses/by/4.0
date: 2026-04-21
publication date: 2026-04-21
doi: 10.48003/knob.125.2026.1.880

Berlage in Surabaya
type: item
description: The first building designed by H.P. Berlage (1856-1934) in Indonesia is located in Surabaya. He designed it for the Algemeene Maatschappij van Levensverzekering en Lijfrente (‘de Algemeene’) between 1898 and 1900. It is a striking building, partly due to the tile tableau by Jan Toorop (1858-1928) on the facade and the two entrance sculptures by Joseph Mendes da Costa (1863-1939), from which it derives its current Indonesian nickname: Gedung Singa, the lion building. Architectural historians often consider the building to be of minor importance within Berlages oeuvre. It is mentioned in the literature, albeit with varying qualifications. This article is based on new archival research into the origin and significance of this building, which refutes the previously prevailing view that the design was primarily the work of Marius J. Hulswit (1862-1921). In addition, detailed xamination of historical images has provided new insight into the striking original decoration of the facade. Around 1900, the Algemeene was the largest life insurer in the Netherlands. The Dutch East Indies was their most important market outside the Netherlands, with the cosmopolitan city of Surabaya as their headquarters. Their prominent position was reflected in high-quality ‘promonotianal buildings’ that stood out in the streetscape. The fact that a well-known architect such as Berlage had been commissioned for this purpose only added to this effect. After initially renting an office in the old city’s Chinese quarter, the company sought to erect a building of its own in Surabaya. Contact had already been made with Berlage in 1895, but shortly afterwards the company approached Marius J. Hulswit, a Dutch architect and contractor based in Surabaya. Hulswit submitted his design in 1898. Berlage, adviser to the Algemeene, rejected the design. In addition to practical objections, he had serious objections to the style of the facade design: too European and petty bourgeois. The client followed Berlages…
subject: Artikelen
  topic: section
creator: Petra Timmer
rights: Auteursrecht (c) 2026 Petra Timmer https://creativecommons.org/licenses/by/4.0
date: 2026-04-21
publication date: 2026-04-21
doi: 10.48003/knob.125.2026.1.879

Schuitenbouwers, Middenstanders en Sjacheraars
type: item
description: In the early 20th century, Valkenburgerstraat was the centre of one of the poorest and most densely-populated neighbourhoods of Amsterdam’s Jewish quarter, where large families lived in cramped ‘alley dwellings’. In contrast, in the early 17th century the first occupants of this street on the man-made island of Marken had been wealthy shipbuilders who owned large wharf plots. This article draws on archaeological data from two sites on Valkenburgerstraat in combination with historical records, creating multiple lines of evidence illuminating life on Marken from the late 16th to the 19th century. Marken was one of the shipbuilding islands created by the city extension of 1592. The modern lots on the northern side of Valkenburgerstraat can be traced back to the original 16th-century shipyards. After 1660, maritime activities shifted to a new maritime quarter and the island became a multi-ethnic, predominantly Jewish, residential area. The former wharf parcels were subdivided, and houses were built in the alleys connecting the main street with the water. At the same time, properties encroached on Uilenburgergracht as private land reclamation projects appropriated space from the canal. Archival records provide the names of the occupants in Marken’s alleys, as well as information about their families, religion, occupation and socio-economic position. Connecting these data to the archaeological record offers a unique opportunity to shed light on how different circumstances were reflected in the material culture of these households. Poverty was usually hidden, while material displays often claimed – or attested to – higher status. Despite this, and what is basically a universal urban material culture for each era, the archaeological record can yield criteria for defining poverty by evaluating nuances and significant cultural markers. The finds from two artefact assemblages on Marken reveal a variety of everyday household material culture common in the 18th and early 19th ce…
subject: Artikelen
  topic: section
creator: Maarten Hell
creator: Ranjith Jayasena
rights: Auteursrecht (c) 2026 Maarten Hell, Ranjith Jayasena https://creativecommons.org/licenses/by/4.0
date: 2026-04-21
publication date: 2026-04-21
doi: 10.48003/knob.125.2026.1.878

Material Gardens
type: item
description: Recently, the notion of material harvesting, collection, and reworking has gained significant attention as a crucial step in understanding essential aspects of building culture, particularly in relation to reuse, ma-terial scarcity, or, conversely, material availability. The ‘Recycling Beauty’ exhibition (Fondazione Prada, Milan 2022), which displayed Greek and Roman spolia, marble fragments, and pieces of sculptures placed alongside one other, alluded to practices of appropriation and possession, to the relationship between craftsmen and found resources, and to the need to store and preserve material in times of scarcity or political uncertainty. Similar questions have emerged in Dutch and Belgian contexts, for example, from research into the work of designer Marcel Raymaekers and his way of organizing salvaged materials (Marcel Raymaekers, pioneer in circular architecture, Vai, Antwerp 2023). Besides highlighting the relevance of practices linked to material reuse, exhibitions and installations also make clear by their very organization, how material collections take space and, at the same time, sculpt ever-changing landscapes. Building on these premises, and shifting the focus towards contemporary and less curated cases, this article critically examines the purpose, spatial qualities and configurations of three material storage typologies in the Dutch context – bricks and tiles, soil, and trees – highlighting their pivotal role in relation to material accessibility and availability. These sites, termed ‘material gardens’, are understood as experimental laboratories or ‘banks’, where the notion of availability is translated into the allocation and management of (material) reserves. Though often overlooked and considered marginal, such open spaces are in fact key sites where design and other creative processes are crucially tied to resource allocation and disposal, and impact collective imagination and practices. They are increasingly being positioned at the core o…
subject: Artikelen
  topic: section
creator: Chiara Pradel
rights: Auteursrecht (c) 2025 Chiara Pradel https://creativecommons.org/licenses/by/4.0
date: 2025-12-16
publication date: 2025-12-16
starting page: 58
ending page: 71
doi: 10.48003/knob.124.2025.4.877

Tijdelijk Beschikbaar
type: item
description: In order to gain insight into the specifics of circular architecture as a necessary alternative to contemporary extractive building practices, this article examines the work of Marcel Raymaekers. Between 1962 and 2014, the Belgian architect and trader developed a practice in the reuse of building materials. In the post-war context, in which the construction sector began to rely increasingly on cheap, standardised, industrially produced materials, Raymaekers made a radical choice for alternative elements. His aversion to mass-produced elements stemmed from aesthetic preferences. A preference for sensory experiences as a guideline for living, and a great affinity with Assemblage Art, in which a design process starts from existing materials. His way of working was thus characterised by a totally different notion of 'availability' than is common today. Raymaekers started out as a hunter-gatherer, criss- crossing the country in search of material graveyards and demolition sites. For the first ten years, he worked extensively with materials from industrial waste streams, such as mesh stones (a residual product of sand and gravel extraction) and ship steel (recovered from obsolete ships for the steel processing industry). The immense demolition frenzy of 'Les Trente Glorieuses' also ensured the availability of materials such as bricks and roof tiles, which were recovered and processed in bulk. In addition, many high-quality, unique building components were released, which were finely crafted and ornamented and for which there was no longer any new equivalent on the materials market. In 1972, he founded Queen of the South (QotS), his materials stock and headquarters in Genk. From then on, Raymaekers became a permanent trader-designer. His established network of demolition contractors and wholesalers was crucial in this regard. During his career, he developed close partnerships with players such as reuse wholesaler Spinois and demolition contractors Scheerlinck, Leunen and V…
subject: Artikelen
  topic: section
creator: Arne Vande Capelle
creator: Lionel Devlieger
rights: Auteursrecht (c) 2025 Arne Vande Capelle, Lionel Devlieger https://creativecommons.org/licenses/by/4.0
date: 2025-12-16
publication date: 2025-12-16
starting page: 41
ending page: 57
doi: 10.48003/knob.124.2025.4.876

De Betoncentrale als Terraformingsmachine
type: item
description: This article reconstructs how the development of a dense network of concrete plants was crucial in making concrete the basic material of an urbanizing construction culture. Belgium is treated as a paradigmatic case to argue that one – perhaps the main – reason why concrete became the most dominant building material in the world was due to the intensive way in which it was distributed and made available as a self-evident consumer product. The article describes how the relentless output of horizontal rotary kilns compelled the cement industry to adopt a bold 'politics of realization' – ensuring that massive cement volumes being produced actually found their way to the market. The solution lie in the development of a dense logistics network of concrete plants that efficiently produced and delivered ready-mix concrete directly to construction sites – actively shaping urbanization regimes capable of absorbing large volumes of concrete. Spurred on by cement giants CBR (Cimenteries et Briqueteries Réunies), CO (Ciments d’Obourg) and CCB (Compagnie des Ciments Belges), together with the establishment of the BVSB (Belgian Professional Association for Ready-Mix Concrete, 1962) and the IB joint venture (Inter-Beton, 1967), this strategy was increasingly formalized. In the fragmented Belgian urban landscape, concrete plants spread rapidly across the entire country. During the 1960s and ’70s, this new concrete regime put a veritable form of ‘terraforming’ into practice. Important material flows of sand, water and gravel were rationalized and distributed in bulk to the concrete plants in the network. From there, concrete spread across the country, driving a surge in construction —from major infrastructure to everyday urban practices—that transformed the Belgian landscape. As Belgium’s construction recession in the late 1970s deepened into a full-blown crisis in the early 1980s, the ready-mix concrete sector was sustained through major public contracts and a strategic pivot toward…
subject: Artikelen
  topic: section
creator: Tom Broes
rights: Auteursrecht (c) 2025 Tom Broes https://creativecommons.org/licenses/by/4.0
date: 2025-12-16
publication date: 2025-12-16
doi: 10.48003/knob.124.2025.4.875

Housing for Workers, by Workers
type: item
description: Housing programmes in the early twentieth century were meant to overcome shortages of dwellings for workers in many European industrial centres. Yet what was often overlooked was the fact that housing needed to be built by construction labour, and that labour also needed housing in order to be able to continue working. This article considers how housing scarcity intersected with the overlooked issue of labour scarcity: how the needs of construction workers were or were not addressed. It focuses on garden cities and related suburban settlements in England and Belgium – forms of development which, given their scale, required the mobilization of workers to remote sites, where workers often became the first occupants of what they were building. The first section considers the earliest garden cities in the UK, designed by Raymond Unwin and his associates: Letchworth, founded in 1903 by Ebenezer Howard’s Garden City Association; and Gretna, developed by the Ministry of Munitions during the First World War to support weapons production. The second section focuses on the post-armistice British housebuilding programme, when local municipalities were granted special subsidies to provide dwellings for workers on large suburban estates. The third section looks at reconstruction efforts in the devastated Westhoek region of Belgium, led by Raphaël Verwilghen and the Dienst der Verwoeste Gewesten (Department of Devastated Regions). In the British context, the contradictions in housing programmes were clearly articulated: cheap construction labour was needed for cheap dwellings, and this led to a paradox when the producers (workers) were also the consumers (residents). The underlying problem was that cheapness obscured actual costs. In Belgium, the connections were not so obvious: housing was promoted as a do-it-yourself activity, and even social housing was facilitated through a variety of special-interest groups. Nevertheless, in both cases, the unprecedented need for housing in …
subject: Artikelen
  topic: section
creator: Jesse Foster Honsa
rights: Auteursrecht (c) 2025 Jesse Foster Honsa https://creativecommons.org/licenses/by/4.0
date: 2025-12-16
publication date: 2025-12-16
starting page: 6
ending page: 19
doi: 10.48003/knob.124.2025.4.874

(Temporarily?) Out of Stock
type: item
description: Voorwoord bij het themanummer.
subject: Redactioneel
  topic: section
creator: Tom Broes
creator: Michiel Dehaene
rights: Auteursrecht (c) 2025 Tom Broes, Michiel Dehaene https://creativecommons.org/licenses/by/4.0
date: 2025-12-16
publication date: 2025-12-16
doi: 10.48003/knob.124.2025.4.872

De Gevelstenen van Amsterdam & Waar Haarlem in de Gevel Staat
type: item
description: Review of two books: the first one is written by Onno W. Boers (De Gevelstenen van Amsterda), the second book is written by Peter van Graafeiland (Waar Haarlem in de Gevel Staat).
subject: Boekbesprekingen
  topic: section
creator: Dirk J. de Vries
rights: Auteursrecht (c) 2025 Dirk J. de Vries https://creativecommons.org/licenses/by/4.0
date: 2025-09-23
publication date: 2025-09-23
doi: 10.48003/knob.124.2025.3.871

Berlages Indische Reis/ Berlage Di Nusantara/ Berlage's Journey to the Indies
type: item
description: Review of a book written by Angeline Basuki, Loes van Iperen, Ester van Steekelenburg, Petra Timmer (red.).
subject: Boekbesprekingen
  topic: section
creator: Pauline K.M. van Roosmalen
rights: Auteursrecht (c) 2025 Pauline K.M. van Roosmalen https://creativecommons.org/licenses/by/4.0
date: 2025-09-23
publication date: 2025-09-23
doi: 10.48003/knob.124.2025.3.868

Het Verlangen naar Zee
type: item
description: Review van een boek geschreven door Jeroen Cornilly.
subject: Boekbesprekingen
  topic: section
creator: Sophie van Ginneken
rights: Auteursrecht (c) 2025 Sophie van Ginneken https://creativecommons.org/licenses/by/4.0
date: 2025-09-23
publication date: 2025-09-23
doi: 10.48003/knob.124.2025.3.867

Theodor Sanders 1847-1927
type: item
description: Review of a book written by Arjan den Boer.
subject: Boekbesprekingen
  topic: section
creator: Coert Peter Krabbe
rights: Auteursrecht (c) 2025 Coert Peter Krabbe https://creativecommons.org/licenses/by/4.0
date: 2025-09-23
publication date: 2025-09-23
doi: 10.48003/knob.124.2025.3.866

Zwolle townscapes by Jacobus Vrel
type: item
description: Jacobus Vrel is known as the painter of over twenty townscapes from the period 1640-1660, which is to say shortly before the active period of such specialists of the genre as Jan van der Heijden, Gerrit Berckheyde and Jan Abrahamsz Beerstraten. However, nothing is known about Vrel himself, and until recently it had proved impossible to pinpoint the location of his townscapes. Now a step-by-step analysis of a limited number of pictures using building history indicators, maps and other historical tools, has made it possible to decipher many of the topographical and architectural elements of the townscape depicted by Vrel. They point to the northern part of the centre of Zwolle. Although Vrel had scant mastery of mathematical perspective, his townscapes were convincing spatial compositions and while not intended as a topographical records, they clearly referred to a specific neighbourhood. The completely non-academic and nonidealized nature of his depictions also makes them interesting as authentic visual documents of street life in the medieval part of an East Netherlands town in the mid-seventeenth century. Four townscapes can be placed near the town wall along Waterstraat, and two others on the corner of the Broeren- and Nieuwstraat. An interesting detail in this respect is that Vrel painted the same bakery eight times, and that four of those paintings show the same man, wearing a red cap and white shirt, looking out of the first-floor window. Three bakeries have an awning with a sign reading ‘this house is for rent’. Historical research has revealed that the bakery belonged to a certain Reijner Gerrijts, who also owned a rental property located next door on the street corner beneath a continuous tiled roof. According to hearth tax records, that property stood vacant in 1641. This unique piece of information led to the precise location of the bakery and to the names of the baker and the tenant.
subject: Artikelen
  topic: section
creator: Dirk J. de Vries
creator: Boudewijn Bakker
rights: Auteursrecht (c) 2025 Dirk J. de Vries, Boudewijn Bakker https://creativecommons.org/licenses/by/4.0
date: 2025-09-23
publication date: 2025-09-23
doi: 10.48003/knob.124.2025.3.865

De wetgevende macht van de Belgische bouwvakker
type: item
description: Hoewel geen enkel architectuurproject zonder bouwvakkers wordt opgetrokken, blijven arbeiders pijnlijk onderbelicht in architectuur- en bouwgeschiedenis. Door het ontstaan en de ontwikkeling te traceren van de Algemene Centrale van de Bouw, de socialistische bouwvakbond in België, tracht dit artikel dit te remediëren. Het probeert daarbij voorbij te gaan aan de conventionele nadruk op de relatie tussen arbeiders en bouwpraktijk, en probeert juist aan te tonen hoe ook voorbij de werf bouwvakkers een belangrijke impact hadden op het wetgevend kader van de Belgische bouwsector. Hierbij wordt gefocust op de twee belangrijkste speerpunten van de bouwvakbond: de strijd voor een eerlijk loon, en betere veiligheid op de bouwplaats. Eerst via staking en later via meer geïnstitutionaliseerd overleg slaagde de organisatie erin het loon van bouwvakkers stevig te verankeren en te beschermen, terwijl het aan de hand van onderhandeling en perscampagnes het ontstaan van veiligheidsregulering op de werf vormgaf. Bovendien wist de vakbond deskundig te navigeren in het complex legaal landschap van de Belgische bouwsector: via collectieve arbeidsovereenkomsten en publieke lastenboeken zette het strategisch in op alternatieve vormen van regelgeving. Hierdoor moesten aanpassingen niet langs de vaak logge procedures van officiële wetgeving, en kon de vakbond een direct voelbare invloed uitoefenen op de bouwpraktijk. Deze legale instrumenten lieten de Centrale daarenboven toe om een antwoord te bieden op de ingrijpende technologische veranderingen en bouwmaterialen die op dat moment hun intrede deden in de bouwsector, door de nieuwe arbeidsrisico’s en technische skills die deze technologieën met zich meebrachten te valoriseren in verbeterde looncondities. Zo wisten bouwvakkers, een vergeten stem binnen architectuur-, bouw-, en sociale geschiedenis, hun wetgevende macht te laten gelden, en legden ze op beide strijdfronten de cruciale basis voor de verdere naoorlogse welvaartsontwikkelingen …
subject: Artikelen
  topic: section
creator: Simon De Nys-Ketels
rights: Auteursrecht (c) 2025 Simon De Nys-Ketels https://creativecommons.org/licenses/by/4.0
date: 2025-09-23
publication date: 2025-09-23
starting page: 1
ending page: 20
doi: 10.48003/knob.124.2025.3.864

Pacheco en Passage 44
type: item
description: In het centrum van Brussel staat aan de Pachecolaan 44 een opmerkelijk gebouwcomplex van zestien bouwlagen (dertien bovengronds en drie ondergronds). Strategisch gelegen aan de Kleine Ring, fungeert het als herkenningspunt voor de buurt. Het gebouw is een blikvanger door het vlechtwerk van betonnen elementen in de gevel. Architect Marcel Lambrichs en zijn team ontwierpen het gebouw in 1964 voor het toenmalige Gemeentekrediet van België (Crédit Communal de Belgique). Pacheco, zoals het complex kortweg werd genoemd, bood meer dan zesduizend vierkante meter kantoorruimte en was tot 2015 de hoofdzetel van de bank. In de plint ter hoogte van de Kruidtuinlaan bevond zich een commerciële galerij met bioscoop, restaurants, winkels en auditorium. Deze ‘Passage 44’ stond in de jaren 1970 bekend als een bruisend cultureel centrum. Vandaag huisvest de toren de Dienst Vreemdelingenzaken, terwijl de plint wordt omgebouwd tot campus van de KU Leuven. Pacheco en Passage 44 zijn een onmiskenbaar onderdeel van het Brusselse collectieve geheugen en bij uitbreiding van dat van België. Aanleiding hiervoor zijn onder andere de drukbezochte tentoonstellingen en lezingen die het Gemeentekrediet in ‘zijn’ galerij organiseerde. De bank profileerde zich als maatschappelijk geëngageerd bedrijf en beschouwde het bevorderen van kunst en kennis als een van haar kerntaken. Daarnaast is de geschiedenis van het gebouw nauw verbonden met de naoorlogse ontwikkelingen op het gebied van stedenbouw en architectuur in Brussel. Omwille van, onder andere, zijn historische en stedenbouwkundige waarden is de voormalige hoofdzetel van het Gemeentekrediet sinds 2024 ingeschreven in de wettelijke erfgoedinventaris van het Brussels Hoofdstedelijk Gewest. Ondanks de interesse uit de erfgoedhoek komt de casus Pacheco in de bestaande literatuur weinig aan bod. Dit artikel kadert Pacheco en Passage 44 opnieuw in hun architectuurhistorische context en levert zo een bijdrage aan de kennis over het Brusselse naoorlogse …
subject: Artikelen
  topic: section
creator: Emma Bekaert
creator: Ryan Niezgocki
creator: María Inés Tobar Palacios
creator: Angad Ankala Rajasekar
rights: Auteursrecht (c) 2025 Emma Bekaert, Ryan Niezgocki, María Inés Tobar Palacios, Angad Ankala Rajasekar https://creativecommons.org/licenses/by/4.0
date: 2025-07-17
publication date: 2025-07-17
doi: 10.48003/knob.124.2025.2.857

Het Paleis aan de Maas
type: item
description: Het nieuwe zeemagazijn van de Admiraliteit op de Maze, gebouwd tussen 1785 en 1788 op het Reuzeneiland aan de oostkant van Rotterdam, was een van de grootste bouwwerken uit de Republiek der Nederlanden, desalniettemin is het nadat het in 1891 afbrandde bijna geheel in de vergetelheid geraakt. Vijftien bewaarde ontwerptekeningen van de architect, de Italiaan Giovanni Giudici (1746-1819), geven inzicht in de ontwerpfases, technische detaillering en veranderende vormgeving van façade en interieur. Het zeemagazijn had primair de functie van opslag van wapentuig en scheepsmateriaal. Toch verried de architectuur deze utilitaire bestemming niet. De symmetrische, monumentale gevel met geblokte lisenen, bel-etage, balkons en beeldhouwwerk op het bekronende attiekblok gaf het gebouw een paleisachtig voorkomen. Vandaar dat het zeemagazijn in Rotterdam ook wel bekend stond als het ‘Paleis’. Giudici’s ontwerp week af van Stalpaerts zeventiende-eeuwse pakhuizen van de VOC en Amsterdamse Admiraliteit, die weliswaar ook een monumentale vormgeving hadden, maar waarvan de functie als pakhuis zichtbaar tot uitdrukking kwam in het exterieur. De paleisachtige vormgeving van het Rotterdamse magazijn hield verband met het hybride karakter van het gebouw: deels pakhuis, deels kantoor en deels ‘evenementenhal’. Naast opslagruimtes, werkplaatsen en kantoren was een aanzienlijk deel van het gebouw bestemd voor representatieve vertrekken. Het westelijke paviljoen bevatte onder andere een monumentale vestibule, een bibliotheekkamer, een wapenkamer en een salon met uitzicht op de rivier. Opvallend voor een magazijn is ook de aanwezigheid van een forse keuken die was toegerust voor grote eetfestijnen. In het middenpaviljoen werd een enorme multifunctionele ruimte gecreëerd met een vrije overspanning van elf meter, mogelijk gemaakt door een zware hulpconstructie, waaraan de vloerbalken van de tweede verdieping werden opgehangen. Deze ruimte kon worden gebruikt voor opslag, maar ook voor grootschal…
subject: Artikelen
  topic: section
creator: Merlijn Hurx
creator: Agnes Kooijman
rights: Auteursrecht (c) 2025 Merlijn Hurx, Agnes Kooijman https://creativecommons.org/licenses/by/4.0
date: 2025-07-17
publication date: 2025-07-17
starting page: 20
ending page: 46
doi: 10.48003/knob.124.2025.2.856

Rietveld Schröderhuis
type: item
description: Review of a book written by Natalie Dubois and Jessica van Geel
subject: Boekbesprekingen
  topic: section
creator: Dolf Broekhuizen
rights: Auteursrecht (c) 2025 Dolf Broekhuizen https://creativecommons.org/licenses/by/4.0
date: 2025-07-17
publication date: 2025-07-17
starting page: 54
ending page: 56
doi: 10.48003/knob.124.2025.3.861

Het Binnenhof Den Haag
type: item
description: Review of a book redacted by J. van Kesteren-Lok.
subject: Boekbesprekingen
  topic: section
creator: Gabri Van Tussenbroek
rights: Auteursrecht (c) 2025 Gabri Van Tussenbroek https://creativecommons.org/licenses/by/4.0
date: 2025-07-17
publication date: 2025-07-17
starting page: 52
ending page: 54
doi: 10.48003/knob.124.2025.3.860

Tweegesprek Bussels-Keblusek
type: item
description: ‘Tweegesprek’ is een nieuwe, jaarlijkse rubriek in ons Bulletin waarin we een actueel en prikkelend vraagstuk binnen de interessegebieden van de KNOB (architectuur- en bouwgeschiedenis, stedenbouw, cultuurlandschap en monumentenzorg) centraal stellen. Op een Stelling volgt een Tegenstelling, waarin een vakgenoot reageert. Zo ontstaat een open dialoog tussen collega’s in het veld.
subject: Artikelen
  topic: section
creator: Stijn Bussels
creator: Marika Keblusek
rights: Auteursrecht (c) 2025 Stijn Bussels, Marika Keblusek https://creativecommons.org/licenses/by/4.0
date: 2025-07-17
publication date: 2025-07-17
starting page: 47
ending page: 51
doi: 10.48003/knob.124.2025.2.859

Handel en hergebruik
type: item
description: This article discusses the use of tuff stone in the period around 1000-1250 in what is now the Netherlands. During the Middle Ages tuff was used from the Rhineland to Denmark. The historiography of this subject comprises a great many books and articles on tuff and the earliest tuff stone buildings in the Netherlands, but a lack of written sources makes it difficult to get a detailed picture of the trade in tuff and its use in construction. The dating of buildings from this period is also very challenging. This article draws on contextual information in an attempt to provide more insight into the extraction, transport and trade in tuff before the year 1250, while also discussing the principal actors and material characteristics. To understand the context of tuff in the Netherlands one must first look at its distribution in Roman times. Tuff is known to have been used in over a hundred places in the Roman context and that material was sometimes reused in the Middle Ages. Although this reuse has never been systematically investigated, it can have consequences for the dating of medieval buildings, since that dating was sometimes based in part on certain characteristics of the material (block sizes). The article then looks at medieval tuff stone quarrying near Andernach. Quarrying of the stone had resumed in the tenth century, although it is impossible to give a precise date. Buyers played a crucial role, in particular the Cologne archbishops. The article names a number of these bishops as possible initiators of the interregional tuff-stone trade from the eleventh century onwards. In the Netherlands it can be assumed that the church building campaign of the Utrecht bishop Bernold had a major impact on the import of tuff from the Eifel region, judging by the massive size and regularity of the tuff-stone blocks used in the churches he commissioned. Unfortunately, building-historical aspects like masonry composition and stone sizes offer few reliable indicators for accurate…
subject: Artikelen
  topic: section
creator: Gabri van Tussenbroek
rights: Auteursrecht (c) 2025 Gabri van Tussenbroek https://creativecommons.org/licenses/by/4.0
date: 2025-03-18
publication date: 2025-03-18
starting page: 1
ending page: 24
doi: 10.48003/knob.124.2025.1.845

Wet en rede
type: item
description: Since its introduction in 1912, the Auteurswet (Authors’ Act .copyright act) has protected works that have an ‘individual, original character’ and ‘bear the personal stamp of the maker’. The act grants that maker exclusive rights, including the right to exploitation. This means that the maker can decide for themselves how, where and when the work is made public or copied. In addition, the act confers personality rights, which protect the maker against changes or other impairments of the work that might damage their honour and reputation. Although the Auteurswet did not have its origins in the building industry, the act has certainly demonstrated its relevance to that sector, given that architects’ designs also fall under the protection of the act. Since 1912 several authors’ rights lawsuits have been filed in the context of the construction industry. These have focused in particular on the question of whether alterations to buildings encroach on the rights of the architect. Nowadays the debate often revolves around the tension between the creative vision of the architect on the one hand and functional or social interests on the other, such as a change of purpose. This leads to a weighing of interests in which the key consideration is how these interests relate to the personality rights of the architect. This article focuses on conflicts arising from changes to existing buildings during their architects’ lifetime. Four case histories are considered: the De Maerle villa (1917‑1918) in Huizen, the Metropool multi‑tenancy building (1991‑1992) in Amsterdam, the Ministry of Agriculture, Trade and Industry (2015) in The Hague, and the Naturalis Natural History Museum (2017) in Leiden. The key question is whether the arguments used in the evaluation and outcome of these cases have changed over time. The analysis of the four cases reveals that legislation, including the Auteurswet, is constantly subject to interpretation. In summary, the cases demonstrate that the act contin…
subject: Artikelen
  topic: section
creator: David Keuning
creator: Bente Peters
rights: Auteursrecht (c) 2025 David Keuning, Bente Peters https://creativecommons.org/licenses/by/4.0
date: 2025-03-18
publication date: 2025-03-18
starting page: 25
ending page: 44
doi: 10.48003/knob.124.2025.1.846

De toekomst van het verleden
type: item
description: Bespreking van een boek van Thijs Weststeijn
subject: Boekbesprekingen
  topic: section
creator: Caroline Baetens
rights: Auteursrecht (c) 2025 Caroline Baetens https://creativecommons.org/licenses/by/4.0
date: 2025-03-18
publication date: 2025-03-18
starting page: 53
ending page: 55
doi: 10.48003/knob.124.2025.1.850

Rombout Verhulst 1624-1698
type: item
description: Bespreking van een boek van Stefan Glasbergen
subject: Boekbesprekingen
  topic: section
creator: Arjan de Koomen
rights: Auteursrecht (c) 2025 Arjan de Koomen https://creativecommons.org/licenses/by/4.0
date: 2025-03-18
publication date: 2025-03-18
starting page: 50
ending page: 52
doi: 10.48003/knob.124.2025.1.849

Bouwmaterialen 1940-1990
type: item
description: Bespreking van een boek van Kees Somer en Ronald Stenvert (red.)
subject: Boekbesprekingen
  topic: section
creator: Inge Bertels
rights: Auteursrecht (c) 2025 Inge Bertels https://creativecommons.org/licenses/by/4.0
date: 2025-03-18
publication date: 2025-03-18
starting page: 48
ending page: 50
doi: 10.48003/knob.124.2025.1.848

Included | Architecture Repurposed
type: item
description: Bespreking van twee boeken van Sanne van den Breemer & Robert Winkel en Uri Gilad, Annuska Pronkhorst & Jan Peter Wingender (red.)
subject: Boekbesprekingen
  topic: section
creator: Marie-Thérèse van Thoor
rights: Auteursrecht (c) 2025 Marie-Thérèse van Thoor https://creativecommons.org/licenses/by/4.0
date: 2025-03-18
publication date: 2025-03-18
starting page: 45
ending page: 47
doi: 10.48003/knob.124.2025.1.847