This thesis investigates the influence of client Addie van Roijen-Wortmann on the final design of the Hubertus House in Amsterdam, designed by Dutch architect Aldo van Eyck. While Van Eyck has been widely discussed and acknowledged within architectural discourse, the specific role of Van Roijen-Wortmann as client in shaping the final design of the Hubertus House has received little attention. This study addresses this research gap by asking the question: How did the input provided by client Addie van Roijen-Wortmann influence the final design of the Hubertus House?
The research is based on the analysis of primary historical documents, publications by and about Van Eyck and Van Roijen-Wortmann, as well as secondary literature in which scholars reflect on the Hubertus House. By tracing the client’s expectations and investigating how Aldo van Eyck translated these into architectural form during the design process, the study reveals the extent to which Van Roijen-Wortmann’s input shaped the architecture of the Hubertus House.

The findings of this thesis show that Van Roijen-Wortmann had a clear vision for the building that would simultaneously express protection and openness, reflect democratic values and a non-hierarchical structure, provide a warm and affectionate atmosphere, ease the fear of thresholds (‘drempelvrees’), and balance freedom with security. The research demonstrates that these principles were actively integrated by Van Eyck into the final design. His architectural language and decisions closely aligned with her vision, indicating a good collaborative process.

The conclusion of this thesis is that the Hubertus House was not solely the product of Aldo van Eyck’s architectural vision, but also rather the result of a meaningful collaboration between architect and client. Van Roijen-Wortmann’s input had a clear and lasting impact on both the form and function of the building, challenging conventional notions of architectural authorship.

Although this thesis examines a single case study, it points to the broader need for further research into the role of clients in architectural history. Future studies might compare similar collaborations between architects and clients from the 1970s to better understand how such client-architect relationships typically functioned during that era.