Tjeerd Kuipers (1857-1942) was a renowned architect, constructing over 50 churches. His churches were mainly for the Dutch denomination Gereformeerde Kerken. Abraham Kuyper, a theologian from these churches, published his ideas on church interiors from 1897. The main idea was to construct the church in an amphitheatre-shape, with a large platform or stage in front. On that platform, the liturgical furniture had to be placed. Tjeerd Kuipers incorporated most of these ideas in the Wilhelminakerk in Dordrecht (1899). In earlier work, these principles were not yet visible, and Kuipers’ churches had a very traditional setup. The churches after the Wilhelminakerk feature some aspects of the ideas of Kuyper, such as a platform, a lectern-type pulpit, or the removal of the baptismal fence. However, the full vision of Kuyper did not return anymore in the work of Tjeerd Kuipers. Kuipers himself gives the reason for this: lots of aspects from Kuyper’s ideas did not work properly in practice. Therefore, it can be concluded that the ideas inspired Kuipers, but they had only minor influence on most of the churches he designed.

This thesis explores the relationship between evolving music culture and concert hall design in Amsterdam by comparing two iconic venues: Het Concertgebouw built in 1888 and Het Muziekgebouw aan ’t IJ built in 2005. While both buildings serve as spaces for musical performance, their contrasting designs reflect the cultural, social, and technological values of their respective time periods. By focusing on four specific aspects of design, including historical context and location, typology, acoustics, and programming, this study aims to understand the connection between music culture and architectural expression.

Het Concertgebouw was built as a private initiative to elevate Amsterdam’s classical music scene to the standards of European cultural capitals. Its symmetrical layout, formal hierarchy, and focus on acoustic excellence reflect nineteenth-century ideals of prestige and refinement. Despite limited scientific knowledge of acoustics at the time, the hall’s design achieved world-class sound quality through imitation of other successful venues. Originally focused on symphonic classical music, the Concertgebouw gradually expanded its programming to include a broader range of genres, showing an ongoing adaptation to cultural change.

In contrast, the Muziekgebouw aan ’t IJ was conceived as an inclusive and multifunctional space that reflects diversity of contemporary music culture. Located on the IJ waterfront, its transparent design encourages public interaction and urban integration. Designed by the Danish architecture firm 3XN, the building features innovative acoustic technologies that allow the main hall to be adapted for different musical styles and settings. The Muziekgebouw supports a wide variety of performances and educational initiatives, embracing global influences and technological experimentation.

The study reveals that while both buildings place music at their core, their designs mirror the different values of their time. The Concertgebouw represents formality, tradition, and hierarchy, while the Muziekgebouw embodies flexibility, informality, and inclusivity. Both venues made use of the best available acoustic knowledge of their respective periods and have played key roles in shaping Amsterdam’s musical identity.

The thesis concludes that concert halls are more than acoustic shells: they are cultural statements that reflect society’s relationship with music. As music culture continues to change, driven by globalisation, digital technology, and shifting audience behaviours, architects must anticipate future needs by designing spaces that are flexible, inclusive, and sustainable.

This thesis explores the influence of the Women’s Housing Sub-Committee (WHSC) on domestic architecture in the UK after the First World War. Formed in 1918 as part of the Ministry of Reconstruction, the WHSC aimed to adapt housing to better reflect the changing roles of women, especially working-class women, after the war. The committee focused on practical improvements in housing design, such as functional layouts, modern amenities, and better hygiene, to reduce the physical burden of household work.

By analysing reports, policy documents, and design recommendations, this thesis shows how the WHSC helped shift housing policy to include women’s perspectives. It argues that the committee played a key role in redefining the home as a space not only for domestic work, but also for citizenship and public life. Their work laid the foundation for more inclusive housing policy in the decades that followed.

The Tilburg railway station is often regarded as a very influential architectural masterpiece. However, its place within railway architecture history, the clear relation between the design and the underlying vision and its influence on station design have not yet been analysed. This thesis aims to fill this gap and deepen the understanding of this unique station.
Through a combination of quantitative and qualitative research, the evolution of station architecture is explored, with particular attention given to the architect Schelling, the direct predecessor of Van der Gaast, the architect of the Tilburg railway station.
Using both primary and secondary sources the vision of Van der Gaast has been distilled into nine points and used to analyse the Tilburg railway station. These conclusions and the interview with Miguel Loos allowed for an investigation into the influence of the station on later station designs.
The station has recently been renovated and changed extensively. The station from before and after the renovation have been compared using the same nine point system. The conclusions regarding the influence of the Tilburg railway station on station design allowed several conclusions to be drawn. These show how its own influence and changes in general station design came back into the station with respect to the original vision.
The results show how station architecture changed from being centred around waiting to transforming into transport hubs designed around efficiency and flows of people. The Tilburg railway station forms an important key in the further evolution of station design and was designed in an era where the car became a feared competitor. The station is a further development of the transport hub and has become a doorgangshuis, a place only for going through. The small plot of land helped to create a unique station design in which the roof became its most prominent aspect. It has changed station architecture in several ways and parts of it, and other changes in railway architecture came back in this station. Resulting in the Tilburg railway station as it stands today.

This research on the professionalisation of interior architecture as an independent discipline in The Netherlands, can prove to be helpful in understanding the more recent and current developments of the interior architecture discipline. This thesis discusses the professionalization of interior architecture as an independent discipline in The Netherlands through three different themes; the professional associations, the education and the protected title.

This thesis examines the transformation of Emirati housing in Dubai from the pre-oil era to the present, analyzing how housing typologies evolved in response to social, economic, and cultural shifts following the discovery of oil. Through a comparative spatial analysis of Arish, Barajeel, Sha‘bi houses, and modern villas, the study investigates the extent to which these transformations align with traditional Emirati cultural values. By highlighting the tensions between modernization and cultural preservation, this research contributes to the understanding of how architecture both shapes and reflects identity in a rapidly developing society.

This thesis explores the relationship between Lucia Moholy’s photographic practice during the Bauhaus period (1919–1933) and her later theoretical contributions in A Hundred Years of Photography 1839–1939. This study reveals that Lucia Moholy’s significant contributions played a key role in shaping the visual legacy of the Bauhaus and the work of László Moholy-Nagy, yet they remain largely overlooked. The thesis identifies three types of connections: direct references to her own work, overarching thematic continuities such as subjectivity and gender, and personal narratives embedded in both her images and writing. By tracing Moholy’s trajectory from practitioner to theorist, this study examines how her precise, documentary photographic style evolved into a broader cultural analysis of photography’s role in modern life.

As banking evolved, so did its architecture, using symbolism and style to shape institutional identity and public perception. Between 1916 and 1930, Dutch banks frequently employed in-house architects to maintain brand continuity, with the Rotterdamsche Bank Association appointing Hermann Friedrich Mertens as its in-house architect. His work reflected both historical influences and changing banking trends.

Midway through the 20th century, banking institutions shifted from exclusivity and prestige toward accessibility and transparency. Through a comparative analysis of Kneuterdijk 8 (1920) and Coolsingel 119 (1949), this thesis examines how Mertens’ designs adapted to these changes. While Kneuterdijk emphasized wealth and security through traditional ornamentation, Coolsingel adopted an open and modern approach, reflecting the post-war reconstruction and a broader societal shift in banking identity. This study offers a deeper understanding of architecture’s role in shaping financial institutions’ public perception.

This thesis historicises the Dutch response to sea-level rise, tracing the progression from scientific discovery to public awareness and eventual political action. Through a literature-based analysis and timeline reconstruction, it explores how early warnings, beginning with 19th-century measurements and Jakob Bennema’s 1954 dissertation, failed to prompt immediate policy change. Instead, a familiar pattern emerged: delayed governmental response despite increasing societal and scientific concern. The research highlights key moments in Dutch awareness, including early media coverage and political debates, and questions whether the Netherlands is once again waiting for disaster before implementing proactive climate adaptation strategies.

Over the 20th century, Dutch Montessori school architecture evolved from teacher-centred to child-centred spaces that are in harmony with Maria Montessori’s pedagogical vision. This paper conducts research using a literature review and a case study of the 1e Montessorischool the Wielewaal (1927, Dienst der Publieke Werken), the Arnhemse Montessorischool (1953, Piet Leupen), and the Amsterdamse Montessorischool (1983, Herman Hertzberger) to find an answer on the following research question: “How did the architecture of Dutch Montessori school buildings, in particular spatial design, evolve in response to Montessori pedagogical principles throughout the 20th century?” Key findings in this study are principles such as the prepared environment, freedom of movement, hands-on learning, mixed-age grouping, and uninterrupted work periods influence educational design. Spatial designs evolved from simple open spaces to more detailed and thoughtful ones. In 1927, the focus was on bright, shared and practical areas. By 1953, spaces became more flexible and kid-friendly, feeling warmer and more personal. By 1983, designs were complex, with different areas and features that encouraged social interaction, fully matching Montessori’s ideas.

This thesis explores the architectural influence of Le Corbusier on Richard Meier by examining how Meier’s design for the Museum of Contemporary Art in Barcelona (MACBA) reflects Le Corbusier’s Five Points of Architecture. By conducting this analysis, the study introduces a new perspective on the connection between Le Corbusier’s theory and Meier’s architectural language. Acknowledging Meier’s own recognition of Le Corbusier as a formative influence, the study analyses MACBA as a mature expression of Meier’s design approach, showing that Meier not only uses and implements Corbusier's principles but also interprets and modifies them. In addition to the Five Points, the thesis also considers the role of geometrical order in Meier’s design for MACBA, offering a deeper understanding of the theoretical and formal aspects of Meier's architectural language.

This thesis explores Avenida de Almeida Ribeiro, locally known as San Ma Lou, as a key urban space reflecting Macau’s colonial past and cultural hybridity. Focusing on the period from the 1920s to the 1970s, the study examines the architectural and commercial evolution of the shophouse, a Southeast Asian colonial housing typology that lines this central avenue. The transformation of shophouse façades, from Neo-Classical to Art Deco to Modernist styles, not only traces aesthetic shifts but also reveals the social, economic, and cultural transitions shaped by Portuguese colonial rule and local Chinese identity.

The Stopera is an integration of a music theatre and a city hall, situated at Waterlooplein in Amsterdam.  Before the combination, it was supposed to be a separate music theatre by Bijvoet & Holt at Ferdinand  Bolstraat and a city hall by Holzbauer at the Waterlooplein. The architects made multiple iterations for  both separate designs. This thesis examines the elements retained from these separate plans that merge  the city hall and music theatre.   The research questions follow: “How did the design elements of Bijvoet & Holt’s music theatre (1978),  Holzbauer’s city hall (1978), Holzbauer’s Stopera (1979), the collaboration between the stakeholders,  and the financial constraints influence the final design of Holzbauer & Dam’s Stopera (1981)?”.  The research includes an analysis of the most recent version of the drawings of each project and the  written statements provided by the architects. The book “Rumoer aan de Amstel”, written by De Liagre  Böhl, is used as a red thread of historical context, while newspaper articles offer insight into the  collaboration among the involved parties and the final expenses. Additionally, the program of  requirements published by the municipality provides an overview of the program of the Stopera.   Research shows that various elements of both projects are recognisable in the design of the Stopera. For  instance, the windows from the music theatre and Holzbauer’s proposal look similar to the windows of  the Stopera. Furthermore, the functional layout of the city hall and Holzbauer’s proposal of integration  are recognisable in the design of the Stopera. It is important to note that the collaboration among the  different stakeholders was far from seamless, which may have contributed to unexpectedly high final  expenses.

This research investigates the evolution of Louis Marie Cordonnier’s award-winning design for the Peace Palace and how it ultimately transformed into the building that was constructed. To answer this question, both secondary literature and archival sources, including drawings, letters, and meeting records, have been consulted.

Originally envisioned as two richly decorated structures adorned with multiple towers, the Peace Palace underwent significant simplification, emerging as a more restrained composition with fewer towers and minimal ornamentation. Contrary to common belief, it was not the later associate, Van der Steur, but the original architect, Louis M. Cordonnier, who initiated the most substantial revisions. Cordonnier remained closely involved in the project even after Van der Steur’s official appointment.

In addition to the architects' influence, the role of the client in the design phase, particularly the Carnegie Foundation, was pivotal. While budget constraints were the official justification for modifying the original design, many, including the Foundation’s chairman, welcomed the more modest aesthetic. This transformation aligned well with the preference of that time for a distinctly Dutch character, which was often portrayed by simplicity and a ‘silent grandeur’.

The final design of the Peace Palace, with its eclectic expression, places it within the architectural avant-garde of its time. While it incorporates modern elements, these are less visually dominant compared to contemporary buildings like the Beurs van Berlage, where modernism is expressed openly on the façade. This contrast suggests that visual expression plays a critical role in defining whether a building is perceived as modern.

This thesis examines the complex relationship between reality and representation in maps, and how this relation has influenced the perception of the map and its ability to convey information throughout history. The study analyses historical maps of Venice and Amsterdam, highlighting their evolution from detailed depictions to simplified representations. Through philosophical theories and cartographic investigations, it reveals the paradoxical nature of map truthfulness, where distortion often becomes a means of communication. From the mythical portrayals of the historical city to the modern diagrammatic transit maps, this thesis traces the progress of cartography, examining how maps balance accuracy with purpose, ultimately prioritising coherence over correspondence with reality.

The purpose of this study is to analyze the historical development of Seoul Station's space and contemplate the current state.
The history of Seoul Station began in 1900 and has since interacted continuously with the city. Through the Japanese colonial period, the Korean War, and periods of rapid growth, it has undergone dynamic changes. As a result, it has grown into one of Korea's most important stations and developed into a hub for high-speed rail. In this process of change, Seoul Station has influenced its surrounding environment and undergone changes in its functions. This study aims to analyze the history of these changes and reflect on the issues that have arisen during this development.

This thesis explores the influence of spirituality from the Dutch East Indies on Dutch architecture from 1890 to 1920. It investigates the interplay between Eastern spirituality, particularly through theosophy, and architectural theory, focusing on key figures like K.P.C. De Bazel and J.L.M. Lauweriks. Through an analysis of influences from the Theosophical Society in both the Dutch East Indies and the Netherlands and architectural works, it reveals how Hindu concepts and Indo culture were translated into architectural forms. While some projects demonstrate a clear integration of spiritual concepts, others reflect a superficial borrowing of aesthetic elements. The study provides an examination of the relationship between Eastern spirituality and Dutch architecture, shedding light on a lesser-explored aspect of architectural history and offering insights into the cultural exchanges between the Dutch East Indies and the Netherlands during this transformative period.

This architectural history thesis looks at the interrelationship between transport, land-use and architecture. A systematic comparison of the these three systems at key time periods contributed to the collective puzzle of answering the main research question; ‘How has the evolution of the transport system, with main focus on the railway system, impacted the development of the city Lille throughout time?’.

The transport systems of major European cities have played a vital role in their economic and urban development, forming networks that facilitate the flow of energy, people, and goods. Lille, located near the French-Belgian border, has two stations from different railway eras: Lille-Flandres (since 1846) and Lille-Europe (since 1990). The transformation of these stations has been driven by capacity demands and the need to adapt to rapid growth and limited space. Lille-Europe, in particular, has acted as a catalyst for the city’s economic transformation from a secondary to a tertiary sector.

The architecture of the station areas reflects the interplay between local and global contexts, with Lille-Flandres embodying a fusion of Flemish, French, and Parisian styles, while Lille-Europe represents a modern and cross-border vision. This architectural evolution sparks a debate between preserving local identity and embracing universal design principles. The station areas serve as a visual expression of Lille’s dynamic evolution and the changing nature of transportation systems.

Brutalism has once again become hot and booming. What has reignited the flame of this controversial building style for it to suddenly appear abundantly in pop-culture? Social media, films, perfume, or even Brutalist web design are just a few of the examples that Brutalism is not confined to architectural publications, the Dutch climate being no exception.

The research investigates the history of Brutalism and looks at explanations of academics on this Brutalist comeback. These theories are taken into account when investigating and analysing three Dutch concrete icons: the TU Delft auditorium by Van den Broek & Bakema (1966), the provinciehuis Noord-Brabant by Hugh Maaskant (1971), and the town hall of Terneuzen, also by Van den Broek & Bakema (1972). The reception history of the trio is compared by first looking at newspapers and architectural journals published shortly after their completion, before taking a look at current opinions on the Brutalist designs. Furthermore, this research analyses the phenomenological qualities of the exposed concrete, investigating whether or not this plays an important role in the architectural assessment and possible revaluation.

The research found that the public opinion on the architecture did not alter drastically. The TU Delft auditorium has consistently been regarded as ‘good architecture’. The provinciehuis is a special case, since most biting commentaries of the seventies can be explained by the political and social tensions, which now seem a thing of the past. Here the public opinion seems to have shifted, but the complicated context makes it hard to objectively assess if the building would have met the same resilience, had it not been built many years after its planned construction. A questionnaire on the Terneuzen town hall indicates the phenomenological qualities of concrete can work repellent, yet when confronted with the architecture for a longer period, people recognise its architectural value. This is something of the past and the present. Nowadays, people do regard the building worthy of monument status, but ‘ugly’ is still the common denominator.

Although there is a revaluation going on, one must keep in mind that revaluation just means there is a regained interest and people start to assess the value of something again, be it positive or negative. There are multiple motives for this revaluation. In architecture and literature, it is common for outdated styles from fifty years ago to regain interest. Controversial styles also become subject of academic studies, hoping to shed new light on why they were valued that way. Brutalist architecture now also reaches a point that for many a decision needs to be made whether or not the expensive maintenance costs are worthwhile. With demolition as the alternative, a discussion on heritage listing is inevitable. Social media sees the debate reach the public, stimulating also the non-experts to join the conversation and give their opinion on the architectural values of the built environment.