This thesis focuses on a specific element of Herman Hertzberger’s Montessori school in Delft (1960–1968), the window. The three studied windows: a skylight, an indoor window, and an outdoor window, are used as a tool to investigate the design practices of Herman Hertzberger from the perspectives of the production system networks and cultural practices of the Montessori educational philosophy.
Using archival drawings and technical analysis, the research reveals that Hertzberger rejected standardised, industrial components in favour of bespoke wooden windows crafted from humble painted softwood. The intricate details related to their use and varying wood and glass types exhibit a careful negotiation between function, cost and durability. The choice for highly articulated wooden windows testifies to, on one hand, Hertzberger’s preference for tactile and articulated design and on the other, the Montessori ideals of independence and self-directed learning.
From a regulatory standpoint, Hertzberger’s windows sometimes creatively interpret the school regulations to better fit both Hertzberger’s and the Montessori ideals, whilst carefully following or exceeding key provisions, such as natural light and ventilation.
The windows serve as a spatial tool in Hertzbeger’s articulation of the Montessori learning environment. The differentiation of views, varying degrees of natural light, and enclosure shape a dynamic learning environment suitable for a variety of activities.
Hertzberger’s window design transcends the regulatory requirements to embody an architectural language tailored to the Montessori education. It is a skilful mediation between craft using humble materials and progressive educational ideals.