According to Jan Verhoeven, the individual and the collective are the most important characteristics of his designs for primary school buildings. However, no literature focuses on this theme. Therefore this dissertation does concentrate on how Verhoeven portrays the individual and the collective in his school buildings. First, the theme is placed in context using literature. Three case studies of Verhoeven’s primary school buildings follow. These schools have different educational methods to determine if it influences the portrayal of the theme. The designs of each of these schools stress the collective. They define the collective as non-hierarchic and approach it on different scales. The individual is easily identifiable within the collective and functions as a building stone for the collective. Therefore the individual is portrayed as strong and independent with their own identity. For the individual to develop in such a way, the schools are designed as a warm and safe place where children feel at home. Verhoeven accomplishes this by using the human scale, nature, simplicity, and fantasy. Lastly, the collective contributes to creating a warm and safe place such that the individual can develop well. Therefore in his school buildings, the collective helps the individual, and the individual is fundamental to the collective. The two opposites interrelate.

Although playing sports and meeting go hand in hand, architectural literature does not thoroughly delve into that connection. This thesis, however, is an attempt to grasp the theme through the study of the clubhouse of the rowing association De Hoop on the Amstel River in Amsterdam. First, historical context is provided. The clubhouse dates from 1952, at a time when several other rowing associations were rebuilding their homes that were destructed during the Second World War. Subsequently, a short note is made on the typology of clubhouses that specifically include a space to gather and spectate the sport. The core of the thesis regards an analysis of the three designs that architect Auke Komter made using mainly archival material. All the designs consist of a boathouse on the ground floor, whilst the clubroom is elevated on either the first or second floor. In order to optimize the space meetings, it can be concluded that several sitting areas as well as the flexibility of the space in general. In addition, a transparent facade attracts the members to the space to chat and spectate.

This thesis aims to analyse the coexistence of traffic-served spaces and meeting spaces in a railway terminal complex, with a particular focus on The Hague Central Station, designed by K. van der Gaast in 1970. The study is going to evaluate the significance of incorporating meeting spaces in the railway terminal complex and analyse the design strategies and typology approaches employed by Van der Gaast. The research will provide insights into the architect's perspective on the coexistence of these spaces and their influences on the travellers’ experience.

This paper aims to analyse the participatory processes involved in the creation and running of community centre ‘t Karregat in Eindhoven using tools and theoretical models on participatory design from the time of the centre’s creation as well as off today. The goal is to understand the limits and shortcomings of the user involvement processes implemented to evaluate and discuss the reasons for why the experiment in participation, community and multifunctionality carried out by architect Frank van Klingeren together with Eindhoven Municipality and Amro/Westland-Utrecht received extensive criticism and was ultimately viewed as a failure. This paper finds that the participation efforts were extensive and that a lot of effort was taken to ensure the successful implementation of ideas, needs and wills of the neighbourhood inhabitants to make the multifunctional centre theirs. Shortcomings can be understood as a combination of the nature of the experiment, the key stakeholders and their role, the extent of participation and the expectations contra the implementation. It is evident that there was a certain degree of dissonance between expectations on the participation processes and the results where key stakeholders asserted inertia in the further development of the centre. The participation was also demanding on all interest groups, causing long discussions as hundreds of participants were expressing their views on how the centre should be redeveloped. These factors ultimately dragged out the process, leaving the centre in a prolonged state of disarray where certain aspects stayed in an undesirable state. The paper aims at closing the gap in the evaluation of participatory processes and investigations into real life case studies to better understand the limits and basis of user involvement in design processes. This is done through looking at archival material and first hand accounts of the intentions and actions of key stakeholders given at the time of the experiment together with second hand sources giving a theoretical background through which an evaluation can be made.

The school garden is an indispensable part of modern education, which lets children physically learn natural science in school. Besides, in the last ten years, many kinds of research also show that school gardens are beneficial for children both physically and mentally. This paper focuses on analyzing the history of the school garden and compares the literature about the School Garden Movement in different countries, and further extracts the characteristics of school gardens in different countries from 1890 till 1920. In this way, we can also understand the advantages and disadvantages of school gardens in various countries from 1890 to 1920. Reflect on the development of the current school garden through the way of understanding history, and consider whether there is room for improvement of the current school garden.

Life is an ever-evolving process, over time new ideas are born and offer new possibilities and approaches to handle familiar problems or processes differently. This is also the case for educational buildings and the architectural ideas that they represent, especially in the social and interactive realm. The school’s beating heart focuses on the central hearts of three elementary school buildings, built around the year 1980, designed by Jan Verhoeven, Herman Hertzberger, and the Architects firm Van den Broek & Bakema. This thesis in particular addresses the way these central hearts evoke social interaction through their architecture and unravels the ideas of the architects on social interaction in the bigger context of educational and architectural thinking during the time the projects were designed. This resulted in the research question that takes a central place in this thesis: What are the ideas of the architects of ‘t Ronde, Apolloschools, and De Schalm on meeting in the schools and how do the school buildings evoke social interaction? This thesis is structured by exploring the greater context of Dutch education and Western thoughts on the structuralist architectural movement and formulating their main points of focus and concepts. These points are used to analyze the three elementary school buildings in an individual way, which allows the buildings to be compared in an equal way. The thesis concluded by stating that all schools have similar concepts and ideas behind their designs, but that the outcome of the school buildings is largely affected by the organizations that initiated the design and their philosophy on education.

This history thesis contains the research question; What are the design principles of the architects H.A. Maaskant, H. Dam and B.F.A. Dirkse, and Van Klingeren for secondary education buildings on the aspect of meeting in the Netherlands during the 1970s? This question is answered via a literature review together with analyses of archival material. After the restructuring of the educational system in 1968, the existing inventory of educational architecture in the Netherlands experienced pressure for change and sparked a wave of new educational architecture in the 1970s. The first case study is from H.A. Maaskant, the Technikon complex in Rotterdam completed in 1970. The second case study is ‘t Karregat from Van Klingeren in Eindhoven, 1973. The final case study contains the Hendrik van der Vlist ‘school cluster’ by architect ir. Henk Dam and ir. B.F.A. Dirkse in Utrecht, built in 1973. The collective answer to the research questions is; ‘The design principles of the architects H.A. Maaskant, H. Dam and B.F.A. Dirkse, and Van Klingeren for secondary education buildings on the aspect of meeting during the 1970s can be described as; connecting a multitude of separate entities together to enhance the collective, removing physical barriers to enhance interaction within a community, and creating a central space connecting different levels of education’

The building regulations that shape today’s standards of modern architecture have a remarkable historic background that may often be overlooked. What some young architects may perceive as guidelines that are constraining to the design process, are in fact the result of decades of activism for a more inclusive built environment. While architecture may not be often associated with the political realm, its crucial role in the fight for disability rights is undeniable. Following the chronology of the Disability Rights Movement, this thesis explores the key political, architectural, and academic events that played a part in the journey towards the 1990 Americans with Disabilities Act. In exploring and reiterating their direct correlation, this analysis will focus on understanding the architectural response to the Disability Rights Movement and its resulting impact in the American school system.

This thesis researches the influence of user participation on design. It focusses specifically on user participation in the design of community centres in Rotterdam, 1960-1990. First, a literature investigation has been conducted to establish context and theory on user participation in architecture. Secondly, research on three study cases has been executed; Two similar community centres: De Klimmende Bever and De Larenkamp; and separately Pier 80. The researched focused on three aspects possibly influenced by user participation: functions, floorplan design and aesthetics. This was done by a combination of archival research, research in historical newspapers and analysis. It was found that during the 60s and 70s, the role of the architect was questioned with the increasing critiques on Modernism. De Carlo was one of the first architects to argue the importance of user participation in design and define different types of participation. Meanwhile, in the Netherlands a similar movement begun. The municipalities in the Netherlands were shifting their focus from growth and scaling to urban renewal. The community centre was a key element in the new and renewed neighbourhoods. From the case studies, it became clear that user participation and the relation between architect and user can influence the design significantly. The biggest influence was found on the functions of the building. Moreover, aesthetics and floorplan design can also be influenced. Although it must be considered that this is also heavily dependent on the approach of the designer. Municipal architect Bister, who designed De Klimmende Bever and De Larenkamp, took a Modernist approach designing a shell with open floorplan, which could be placed in multiple neighbourhoods or anywhere else. Consequently, the buildings are not unique and adjusted to the surroundings, except for the functions. Pier 80 however, showed how a design can be influenced by a lot of user participation and be adjusted to its surroundings. The relation between user and architect is always changing and will always change. We, as designers, have to question our role in design to achieve the best results.

Today we are experiencing the crisis of the territory. Everything goes fast and consequently it is increasingly difficult for planners to govern the new phenomena of the city. Architects have the important role of trying to solve urban issues through the architectural project, whether it is a building, a square, or even just a seat. It is important to focus our attention on small things as well. One of the aims of this research is precise to demonstrate how the simple design of a boundary is able to strongly influence people's perception of space. In this sense, history can teach a lot to contemporaneity. In particular, between 1960 and 1990, some Dutch architects addressed the issue of the boundary between public and private, between exterior and interior, and so on, in such a revolutionary way that it is still the object of research today. Aldo van Eyck's Burgerweeshuis, Piet Blom's Bastille, and the Delftse Montessorischool designed by Herman Hertzberger are three magnificent examples. In these buildings, every edge, corner, and surface was designed to be used by its inhabitants. However, if we focus our attention on the new areas of the contemporary city we can still recognize some characteristics that were already criticized during the last century. In this sense, brushing up on some virtuous experiences of the past is a useful exercise. Indeed, the history of architecture has a great deal to teach the contemporary practice. History provides prototypes, a catalog of tried and tested responses to problems. It is for this reason that past themes and ideas return cyclically in the practice of contemporary architecture. The aim of this thesis is therefore to provide a catalogue of references based on Dutch structuralism that can be a source of inspiration for architects of today and those of tomorrow. Especially for the kind of architects who care not only about issues relating to 'design' but also to issues relating to its 'humanization'.

The widely known General Extension Plan of Amsterdam (Algemeen Uitbreidingsplan van Amsterdam (AUP)) from 1935, with Cornelis van Eesteren as its head architect, is one of the most famous schemes of this kind even today. It is known for its unique and sophisticated system of the urban greenery which can be reached within a 10 minutes radius from any point in the city. How was it achieved in such a large and dense urban area? Why was such an intricate greenery system introduced in the first place? What was it inspired by? How was it devised? These are merely a few questions that come up when one sees the original plan for the first time. The answer to these questions are as fascinating as the history of the expansion plan itself which is directly related to them, as the AUP is a sophisticated, clearly layered, harmonised and hierarchal system of urban elements. What elements contributed to such a success of this plan? What adjustments the pre-war plan had to undergo in order to answer the needs of the society in the post-war world? In order to answer all these questions, a wide research has been done in an attempt to uncover the long and complicated history of AUP, and all the events, societal factors, brilliant individuals that have shaped the city of Amsterdam into what it is today. The first section of this paper takes on the historical background relevant to the AUP. It explains the ideas of the pioneers of urban planning and greenery planning, which inspired the planners of the Amsterdam extension plan. In the second part, we will look closely at the AUP itself and at its history. It will be shown what factors contributed to its creation, and what was the system on the big scale. The third part will focus on the smaller scale, looking closely at the details and particular strategies applied, and at how the new neighbourhoods were planned out. This will be shown with the example of the Slotermeer district, as out of all the neighbourhoods planned in AUP, that one was the most successful as the designers were more free in their processes. Finally, in the last section, the greenery system of AUP will be analysed in detail. It will be shown how the ideas behind it were developed and how they have influenced the city.

Since 2012 the reading level of students in the Netherlands is dropping. The blame is mostly put on the increasing digitalisation of the world. This research tries to help battle this decrease, by analysing how libraries in lyceums in the Netherlands looked before the digitalisation. This will be done by looking at 5 different case studies in Amsterdam, with their building build between 1900 and 2015. The research will try to formulate a typical library inside a lyceum based on the functionality and other characteristics. The author found out that the libraries started off as mainly a place to store books and having a closed off character. This evolved to larger libraries that would be more open to the other parts of the school. Architecturally, the libraries were not very different from the rest of the school. Therefore, they always look like a function like any other inside a school, while they have different requirements.  

This thesis examines and describes the position of the Hunstanton School in the architectural debate. The position of the school of Hunstanton has been examined through outlining the historical context, the philosophy of the architects, an analysis of its design and construction, and finally by highlighting the different opinions of critics. This research uses archival material of old interviews with, and writings from the architects and critics. The position of the School of Hunstanton in the architectural debate of the post-war period is mainly determined by its contrast with the Hertfordshire Schools. This was due to the fact both buildings stood for something that was part of a broader public debate over the role of architecture under the Welfare State: Hertfordshire for only taking flexible building system and well-being of children into account and Hunstanton for not subjecting architecture to political concerns. This contradiction in the architectural debate affected the way in which Hunstanton was viewed, namely either as a functional school building or as an architectural statement.

Als onderdeel van de tuberculosebestrijding bij kinderen ontstonden aan het begin van de 20e eeuw de openluchtscholen. Deze instituten, gericht op het behandelen én onderwijzen van tuberculeuze kinderen, wonnen ook in Nederland aan populariteit. Naast de op behandeling van tuberculosepatiënten gerichte scholen ontstonden er ook openluchtscholen voor zwakke, ‘pré-tuberculeuze’ kinderen, en werden zelfs speciale openluchtscholen voor gezonde kinderen opgericht. Deze scholen deelden een gezamenlijke basis van hun werkwijze: de ‘openluchtkuur’. Deze kuur, bestaand uit de elementen gezonde voeding, hygiëne, buitenlucht, zonlicht en een regelmatige afwisseling van rust en beweging, werd ingezet om tuberculosepatiënten te behandelen, om zwakke kinderen aan te laten sterken en om gezonde kinderen gezond te houden. De rol van de openluchtscholen veranderde echter toen na de Tweede Wereldoorlog antibiotica op de markt kwam, waarmee tuberculose gericht behandeld kon worden. In deze thesis wordt onderzoek verricht naar de openluchtschoolbeweging tijdens de wederopbouw, toen de focus van tuberculose naar andere aandoeningen verschoof. Aan de hand van medisch-architectonisch literatuuronderzoek en een uitgebreide toetsing van de casusprojecten Buitenschool Appèlbergen in Glimmen en Openluchtschool San Domenico Savio in Goirle, wordt gepoogd een antwoord te geven op de onderzoeksvraag “Hoe relateren de Nederlandse openluchtscholen uit de wederopbouwperiode zich aan de principes van de openluchtkuur?”. Ondanks het losweken van de tuberculosebeweging blijken de basisprincipes van de openluchtkuur ook in de wederopbouwperiode expliciet aanwezig te zijn. Waar de principes enerzijds invloed hebben op de dagindeling van de scholen, onder andere met warme maaltijden of verplichte bedrust, beïnvloedden ze anderzijds ook de architectuur van de scholen: de focus op gezonde lucht en een overvloed aan zonlicht stond aan de basis van een scholenbouwtypologie waar geëxperimenteerd werd met innovaties als airconditioning en verplaatsbaar schoolmeubilair. Er wordt beargumenteerd dat de scholen een faciliterende en didactische rol in de opvoeding en behandeling van kinderen vervulden, gebaseerd op de oorspronkelijke openluchtkuur.

This paper investigates Corrosia's significance in Dutch architectural history and Almere-Haven's formative years. Utilizing a qualitative approach and primary sources, it delves into Corrosia's historical context, architectural design, and community impact. Designed by Rob Blom van Assendelft and Jan Koning, Corrosia reflects Dutch Structuralism principles through visible construction elements and user interaction opportunities. Despite mixed community perceptions, Corrosia emerged as a prominent urban artifact, gaining cult status in Almere. It signifies architectural innovation and communal development, enriching Dutch architectural history. Access to additional design materials could further illuminate the project's development process.

The post-war reconstruction of the Sint Laurens Church in Rotterdam after World War II marked a pivotal moment in the city’s history. This abstract provides an overview of the comprehensive examination of the reconstruction process, exploring the architectural resilience, renovation discussions, and the culmination of renovation efforts. Through diverse architectural perspectives, strategic elements of resilience, and enduring impacts on the surrounding environment, the renovated church emerged as a symbol of resilience and renewal. Its evolution from a place of worship to a cultural hub underscores the importance of historical preservation in shaping urban identity and community resilience. The reconstruction of the Sint Laurens Church in Rotterdam embodies resilience, community unity, and architectural innovation. This thesis explores the discussions surrounding its restoration, emphasizing cultural heritage, urban planning, socio economic impact, environmental sustainability, and the enduring legacy of this iconic landmark. In this thesis the question: “How did the Sint Laurens Church in Rotterdam exhibit resilience and survive the devastating bombing on May 14, 1940. What transformations, both in terms of function and appearance, did it undergo during the post-war reconstruction?”, will be answered.

The motive for this thesis lies with public buildings that were designed for a specific purpose and seemed to meet the wishes of their time and place, but the popularity of which declined, leading to demolishing or large renovations. The building that is being studied is the Babylon building in the Hague, a multi-functional building built in 1978. After initial popularity, the building quickly lost its visitors and underwent a large renovation in 2007, only 30 years after its opening. The research question is therefore ‘What were the ideas behind Babylon and the way it was designed and how did this influence the functionality and popularity of the building?’. To answer this question, the building and its design process are studied at different scales through literary and archival research. Through this research, it becomes apparent that, while Babylon is viewed both positively and negatively, the negative critiques have the upper hand in every scale. Location and both exterior and interior design choices have lead to the fall of Babylon.

This thesis aims to delve into the historical connections between the establishment of Flevoland, the unique imperative for a multifunctional centre, and the architectural marvel that is “De Meerpaal” in Dronten. The exploration seeks to understand the motivations behind Flevoland’s desire for such a centre, how it led to architect Frank van Klingeren’s involvement, and the rationale for siting this unique structure in Dronten. This investigation is not only a journey into regional development but also a probe into the broader realm of architectural history, architectural choices, and urban planning ideologies of Flevoland that converged to construct this iconic building.

Public participation in building projects in The Netherlands is something which really evolved after the Second World War. Architects had a utopian vision for the city of the future, but the general population didn’t find modernist designs attractive and became sceptic of modernist design. On top of that, the nation’s post-war values of anti-traditionalism, openness, tolerance, and democracy suggested public participation should increase. The origins of Amsterdam’s combined city hall and music theater go back to the early 20th century, when Amsterdam’s City council declared a need for a new city hall, since the old city hall at Oudezijds Voorburgwal, as well as the Royal Palace on Dam square were considered too small. A design contest for a city hall on Frederiksplein was held in the 1930s, with the winning design coming from architects Berghoef & Vegter. It was never constructed due to World War II. A reworked design to be constructed on Waterlooplein by the same architects ended up being rejected due to significant criticism from the public and other architects, and a new design contest was held, the winner being picked in 1967. This time around, the winner was Viennese architect Holzbauer, proposing an L-shaped office volume, with accessible rooftop terraces and a prominent cantilever volume. Meanwhile, architects Bijvoet and Holt had been working on a music theater / opera in the neighbourhood of De Pijp since the late 1950s. Both projects were controversial and suffered from delays, primarily because Amsterdam lacked the funds to construct either project. It wasn’t until 1979 that a breakthrough came. The city hall design was rejected by the federal government, since it would consume too much energy. Holzbauer then got the idea to combine the city hall and the opera into one building, arguing that it would save both money and energy, as well as create a building that would be used during and outside office hours. There were many protests against the design, both from architects and the public who demanded a different setup for the building. Holzbauer and the city council preferred however to keep the design mostly original and only make minor adjustments. Since the planning of the city hall and opera had taken so long already, they didn’t want to create an entirely new design, but instead wanted to quickly start construction. The first post was driven into the ground in the summer of 1982, but not before protestors rioted on the building site first. The opening of the Stopera was in 1986, and the event was overshadowed by protestors. Protests and criticism had been unable though to alter Holzbauer’s vision for Amsterdam’s city hall, and remarkably little was changed about the design to please critics. Today, the Stopera stands as a symbol to highlight that every project should be integrated into not only an urban environment, but also a culture in which everyone has different opinions. Finding a good middle ground to please everyone is a difficult task.