Jacobus Oud

Jacobus Johannes Pieter (Ko) Old ( Purmerend , February 9th 1890 - Wassenaar , April 5 1963 ) was a Dutch architect . He became known as a member of art movement De Stijl and champion of modern architecture. Its significance as a pioneer of the Modern Movement is equal to that of Le Corbusier and Gropius, but he was one of the first to the middle 30s of this movement turned away because he thought she still had little to do with architecture. As a result he lost the respect he had abroad, while in the Netherlands still received many important commissions, such as the National Monument and the monument to the Military War Cemetery Grebbeberg. His brother Pieter Oud was Mayor of Rotterdam .

Content

 * 1 Biography
 * 2 Work
 * 2.1 Key Publications
 * 2.1.1 Theory
 * 2.1.2 Notes to his work
 * 2.2 Key design
 * 2.2.1 Design Competition
 * 2.2.2 Not done
 * 2.2.3 Executed
 * 2.2.4 Furniture
 * 2.2.5 Typographical design
 * 3 See also
 * 4 External link

[Biography edit ]
Old was the second son of the wine merchant and later alderman of Purmerend , Hendrik Cornelis Old and his wife Neeltje Theodora Janszen. He initially wanted painterbe, but then at the insistence of his father from 1903 to 1906, the training of engineering at the Quellinusschool and from 1908 to 1910 trained at the Rijksnormaalschoolfor Drawing Teachers in Amsterdam, where he came into contact with Berlage , De Bazel , Kromhout and Lauweriks . From 1907 to 1908 he served as superintendent / illustrator intern in the Office of Joseph Cuypers and Jan Stuyt, also in Amsterdam. [1] In 1909 he was appointed teacher line draw for the first classes at the City Cross School in Purmerend. [2] Final 1910 he went as a student at Delft, but could not find his niche there and then left as a draftsman trainee to Munich to study a few months there, led by the innovative architect and urban Theodor Fischer (1862-1938). Fischer knew Old convince the sense of proportions and the "design at the system," what became the foundation of Old architecture view would be, but like Berlage Fischer could not help him to formulate a consistent theory of the new direction. Old considered it necessary, as it would provide a great advantage over the builders of a few decades back, because we already from the beginning of our studies can arrange accordingly. "

WC Brouwer .Detail, Cinema Schinkel, Purmerend.1912.

In 1913 he established himself as an architect in Purmerend, where he designed a large number of houses, mainly for family members. This enabled him to develop his own architectural idiom that often went beyond what his most important examples of when, Berlage and Kromhout. In 1912 he made ​​during a slide Berlage evening at home with the knowledge of American architecture of Louis Sullivan and Frank Lloyd Wright . In 1913, swapped Old rural Purmerend for more artistically fruitful Leiden, where he established himself as an independent architect. Here he became a member of Artists' Art for Art, where he befriended Harm Kamerlingh Onnes, who gave him access to the wealthy, artistic circles of Leiden, Katwijk and Noordwijk . In cooperation with Dudok, who he had met in Purmerend, he designed in 1914-1915 a little 'workers' district' in Leiderdorp , inspired by the garden city ofRaymond Unwin (1863-1940) and Hermann Muthesius (1861-1927). Also during this period he became captivated by the sculptor and ceramist Willem Coenraad Brouwer (1877-1933) and the Arts and Crafts movement based ideas about a return to a traditional society.

It was the artist Theo van Doesburg, who helped him spring 1916 with the article "The new movement in painting" from the dream. Old found herein consistent theory that he was looking for. Van Doesburg's observations of modern art to put Old to think about "the future architecture and her architectural possibilities. This came to a break with Brouwer, and he took some distance from Berlage and Muthesius. On May 30, 1916, two days after the publication of Van Doesburg's article, Old wrote him a letter, which was later published as "About cubism, futurism, modern art, etc." (SeePublications ). Van Doesburg became Old convinced of the need for a modern architecture, but about how that should look like, the opinions diverged.Old stuck to the Gesamtkunstwerk, which applied art and even painting were subordinate to the architecture, while Van Doesburg was a proponent of community art, in which the different art forms were identical to each other. Old was called to be architects of modern art to follow closely and asked Van Doesburg, one day before the opening to include architects in Leyden Arts Club The Sphinx . By Van Doesburg, he came into contact with Piet Mondrian, with whom he exchanged thoughts about the relationship between painting and architecture. Old wanted 'nothing build that [...] no art would be' while Mondrian found that architecture only art could be like this in the New Plastic met. Old opposed this and would have said at one time to Mondrian:. "Your life is painting, mine building ' [3]

In 1916 he gave Van Doesburg commissioned to design a stained-glass panel for his mayoral residence in Broek in Waterland . In 1917 he designed, as an exercise in the cubist method, the complex houses Seafront (see Non executed designs ). In 1917 Old and Van Doesburg designed jointly Holiday Spark in Noordwijkerhout . Autumn 1917 he became editor of the journal founded by Van Doesburg De Stijl . Even before the first issue of De Stijl came out, it was already under fire because the money from Germany would have received to promote the German influence in the neutral Netherlands. Old responded by writing that there was no support abroad sought or received and that pieces of foreign workers would be placed to enhance international cooperation and not to promote nationalist ideas. Still missing Oud's name in the first manifesto, Manifesto I, De Stijl in November 1918. [4]

Although Old Style in favor of modern architecture, and then in particular the direction that Frank Lloyd Wright previously struck, his Oud works from the period until 1924 strongly influenced by the example of baksteentraditionalisme Granpré Molière and he had a strong tendency to symmetry. [5] Also, Old, unlike for example Rietveld very sparing in his use of glass. This he considered in his early articles as a luxury. [6]

When Henry Van de Velde from 1917 to 1926 in Wassenaar lived, Old visited him regularly there. He shared his opinion that innovative architecture could only be revolutionary. Van de Velde was Old Berlage what was for most of his contemporaries, no theorist, but an activist. [7]

In January 1918, Old, when he was 28, through Berlage, employed by the Municipal Housing Corporation Rotterdam . This service was in 1916 founded the housing shortage, particularly among the recently to the port to solve flocking workers. Old tried his new position his ideals regarding the relationship between the individual and society, which he shared with other members of De Stijl, to put into practice in social housing in include Spangenberg, the Kiefhoek and White Village . His official position, however, was his relationship with De Stijl quite often difficult. [8]

Theo van Doesburg. Stained glass panel housing block V and IX, Spangenberg, Rotterdam. 1918-1919.

In 1918 he asked Van Doesburg are still some solid and monotonous brick housing blocks I and V enliven Spangen through stained glass panels and color designs of interior and exterior. Autumn 1920 he asked Van Doesburg, now at Weimar had moved, even to color design for housing block VIII and IX. These designs were even more radical and 'destructive' than the first, and although old was excited, he could not get them to carry too far from his employer. When she asked him Old adapt Van Doesburg wrote on November 3, 1921 back angry 'Entweder so - oder nichts. A year after this letter he expressed not with Van Doesburg, or any artist whatsoever, to want to work together, because he felt that the color in architecture should not be too overwhelming.Moreover, he could not find in Van Doesburg's unscrupulous opposition to life. If modern architecture would break through would happen according to Old naturally from life, and so he stopped 'cubist experiment. Old did not believe in a revolutionary architecture with a program. Like Mondrian believed Old in a kind of spiritual evolution of man. The subsequent bitterness between them led to no more Old Style contributed. [9]

However old was fascinated by the accidental nature of the design of industrial engineering, such as factories and ocean liners, and saw here a harbinger of how the architecture itself would develop. Like the compositions of Mondrian, the architecture should show no trace of intentionality and especially not convulsively and coquettish as the Amsterdam School . Also limited the role of the architect, according to Old 'submission to the task up to the border of renunciation. " [10]

Beginning in 1921 held for Old architecture association Structure, where he was some time later chairman of a reading, as about future architecture and her architectural possibilities "appeared in Architectural Weekly (see Publications ). This article was a year later by Bauhaus -lecturer Adolf Meyer translated into German and published in the journal Frühlicht. Also gave Old August 1923 a lecture as part of the 'Bauhaus week ", which was later included in Oud book Holland Architektur from the seriesBauhausbücker. [11] After 1921 however, he saw that theorizing about architecture makes no sense, but discuss it it, what he did in the subsequent period therefore often.[12]

Even Old early 20s maintained close contacts with the German architecture critic Adolf Behne, whom he in October 1921 the commission a villa in Grunewald owed ​​design. Moholy-Nagy acted as intermediary. When Behne gave a lecture in 1923 in Rotterdam, he introduced him to kindred spirit Otto Bartning (1883-1959). [13]

The White Village is since 1989 a replica of the site office which from 1922 had been in the district until the famine was demolished in the hunt for firewood. The site office is a small but beautiful example of the architecture of the Old and the influence that he experienced of Style .

Spring 1923 he met the Russian artist El Lissitzky, who was in the Netherlands for a lecture tour. End of that year he took at least one design (factory built offices, seeDesign ) participated in the architecture exhibit strongly Style in Paris. About that time was also the first contact with Bauhaus -director Walter Gropius place him on October 15, 1923 with a request that they notify of modern architecture in the Netherlands. [14]

Around 1924 he designed in Hook of Holland terraced concrete 'laborers'. These are highly standardized and could be repeated indefinitely. Concrete however, proved much more expensive than brick. [15] In the houses are many characteristics found De Stijl movement back. The homes in Hook of Holland, now a national monument.

Oud's Café The Union was in 1925 built on a vacant lot in the center of Rotterdam, on the condition that it was demolished after 10 years. [16] It was eventually 15 years stand until May 1940 was destroyed in the bombing of Rotterdam .

In 1925, Adolf Behne called for a boycott of the magazine Wasmuths Monatshefte of Werner Hegeman, for his scathing criticism of Berlage and Van de Velde. Old saw this as a waste of time and refused to participate, leaving his contact Behne cooled. [17]

In 1926, Old Rotterdam presented to Siegfried Giedion . Old had strong criticism of his book Bauen in Frankreich and reproached him formalism, romantic claptrap and a total lack of attention to public housing. Giedion old and remained friends, but architecture was not spoken. Also in 1926, Old by Arthur Lehning asked as an editor for the magazine to focus on i10. Old had his reserves. "It would take me [...] very unpleasant to be put into a political alliance [...], where I feel nothing for [...] I feel finally nothing for any political party," he wrote on October 7, 1927 by Lehning. He was, after all, still a municipal official of Rotterdam. After a reassuring answer from Lehning, appeared in 1927, the article 'Direction' in i10. In 1929 the magazine was, however, already under. [18]

Old competition design for a new exhibition at the Coolsingel in Rotterdam was rejected by the jury Berlage. This was a big disappointment for Old, especially since Berlage indeed always the Amsterdam School had supported, and Old considered that not they, but mainly he continued Berlage's work. "It's always me deep into a harrowing disappointment to see you move, if you felt at home there, between a category of architects, I have nothing against than the worst, namely that they our profession, which I above all by You got to see the beautiful, knockdown to a level at which the name architecture in no way deserves more, "he wrote on October 11, 1927 at Berlage. By 1933 he regarded as Berlage overcome history. His international fame grew, however. In May 1927 he was asked Wilhelm Kreis follow at the Staatliche Kunstakademie in Dusseldorf . In consultation with the municipality of Rotterdam, he hit the offerings, however. [19]

In 1927 he designed the Weissenhof in Stuttgart a row model homes . Just like the homes in Hook of Holland could be repeated indefinitely. For these homes he designed a set of tubular furniture, which formed the basis for furniture he designed for Villa Allegonda designed. In the 30s, he designed furniture for Metz & Co with upholstery designed by Bart van der Leck . [20]

Weissenhofsiedlung marked the beginning of the International Style . Old, the International Style, or the Modern Movement, such as the Dutch variant is called, never quite believed, but he was a pioneer of this direction have very respected. Are solutions to the housing problem were abroad, particularly in Germany and the United States, but also in England and France , published and discussed. [21] By the end of the 20s he was, along with Ludwig Mies van der Rohe , Walter Gropius and Le Corbusier, known internationally as one of the Four Great Ones of the architecture .

Weissenhofsiedlung also led to the creation of the CIAM . Old was initially enthusiastic about this initiative. When it appeared that organizer Giedion also Wils and Dudokhad been invited to the first congress in La Sarraz in June 1928, handles Years Of Eesteren in and were Wils and Dudok the guest deleted. Eventually, both ancient tribeas Van Eesteren prevented, which Berlage was the only one who represented the Netherlands in La Sarraz. Giedion attempted through Old Karl Moser (1860-1936) to move yet to come, but then learned that Old Giedion Congress almost militaristic organized way and it imposed his own views, which some modernist movements were excluded, he still saw participation off. Old had it all very differently proposed. "You know what admiration I have greeted the congress of Sarraz: once merry with my colleagues together, talk a little bit (not too much and not too heavy), a little walk in the beautiful surroundings, a little dancing, some conclusions of general scope and then: end, "he wrote on August 18, 1928 to Giedion. Even the members of CIAM was Old unimpressed. "What I have actually a follower ungifted as Hoste make? What with Haring ? What actually the Quantitätspesser May ? What with the hothouse plant Corbusier ? ". [22]

Le Corbusier . Double House 14/15, Weissenhof, Stuttgart. 1927

Old had strong criticism of Le Corbusier's contribution to Weissenhofsiedlung. He described it in 1927 as a letter to Giedion 'Theater, occasionally, sure, but for the development [of modern architecture] futile and dangerous. Serious [form of] romance. Old building took on 'pilotis' nonsensical, because of the resulting space under the building has no obvious benefit, but above all he found that Le Corbusier 'floating' architecture no longer rooted in modern life. After all, his designs were only affordable to the rich.This took less than a year old after the construction of the Weissenhofsiedlung distance of Le Corbusier. [23]

In 1928 he was asked Karl Moser to follow as a professor at the Eidgenössische Hochschule in Zurich . Once again hit off Old, because his passion for building it seemed incompatible with a position in education. He also asked that year as an independent architect, as a Dreifamilienhaus in Brno and a second rebuilding of Villa Allegonda in Katwijk . [19]

Around 1929, he renewed his contact with Van Doesburg. After his death he helped Van Doesburg's widow Nelly van Doesburgwith the editors of the dernier numéro of De Stijl, which was published in 1932 in memory of Van Doesburg. [24]

In 1930 received Old visit by architect Philip Johnson and architectural historian Henry-Russell Hitchcock . Both were particularly impressed of Old Houses in Hook of Holland. Hitchcock wrote the first monograph of Old, JJP Oud (Paris, 1931 ), and Johnson gave him a place of honor in the exhibitionThe International Style: Architecture since 1922 in the MoMA in 1932, that his name in the United States established as one of the pioneers of the new architecture. [25]

In 1931 he made ​​a great design for houses in the district Zoo, consisting of several elongated four-storey apartment buildings in strips with cantilevered balconies and Old unusually large windows rows. It is entirely consistent with the principles of the Modern Movement, although the most militant architects of that flow possible objected to the private gardens on the ground floor. Perhaps therefore the assignment went to Jo van den Broek . In 1933 Old meanwhile left the reorganized Municipal Housing Company Rotterdam [26] and established himself as an independent architect. All late 20s, he had more than enough of public housing. "I would like to [...] a drive or something else in common, making great: You do something for me?" He wrote in 1928 to Giedion. Years later acknowledged the existence of an architectural hierarchy, which he likened to the family. "As little as the child in the family equal rights as the father (and this will soon again as a good thing to prove it!), So little house in the architecture the same rights as the town hall (which also will soon prove again ), "he wrote Alfred Roth on August 5, 1946. Old felt that he representative building in the same way as could renew the house. Examples are the design of a community college (1924-1927) and a scholarship (1926).

Old saw a fundamental distinction between the terms "construction" and "architecture". He also was not happy with the name 'new build' . On March 11, 1934, he wroteRietveld that he's just a "a cowardly and rotten word for 'new architecture' 'found. Old also had major problems with the identification of Structure with socialism . This led him on May 25, 1933 the Board of Assembly wrote the following: "The principles on aesthetics, which the Board desires to come, of too broad in scope than that in certain political constellations - whatever - could be accommodated. The coupling of this nature, which carry the Board of late tries through, leading to a reduction of the intended spiritual beliefs, which I not recognize my fellow membership as juischt desire ', which he canceled his membership. [27]

Old continued not only for modern architecture. In 1935 he followed Berlage as a member of the National Commission for Conservation . [1]

In June 1936 he was visited by MoMA director, AH Barr, who offered him a job at the Graduate School of Design at the prestigious Harvard University and asked him to design an extension of the MoMA. But this time hit off Old, because he would rather stay in the Netherlands, "where his position as a prophet in his own country, is developing rapidly," said Barr. Old asked Mies van der Rohe for the educational reformer at the Graduate of Design, which morphed into a Harvard Bauhaus. Old qualified as, more and more outside the modern movement and now was indeed a lonely prophet in his own country. His view that architecture originated from modern life, was at odds with materialistic functionalist ideas of the International Style and "this has me somewhat peculiar and isolated position yielded among modern architects and it is for that reason that I can decide never the "Cirpac" [Committee of CIAM ] to participate, because I consider this set to purely materialistic "(letter to Fred Forbat, December 7, 1935). He also found that the International Style, the artistic principles of the avant-garde had squandered. "Let them all the theory, all the advertising, all that arithmetic and accounting; in short, allowed all those brakes once let go and just do it. Let them do it once 'nice'. Build a house, simply, as one would find it enjoyable to live in. Not think of the correct behavior theorist and if necessary cross against it in principle, but just really, from the inside out, "he wrote on May 28, 1941 at Assembly. [28]

Mid 30 Old saw the new architecture as completed and found that the "harping on principles already found sometimes had to make way for the results achieved by working on," as he wrote on December 3, 1935. In this he was not alone. Other architects struggled with the lack of an artistic dimension of functionalism. Sybold of Ravesteyn herein furthest went through the architecture to "enrich" baroque elements. Old was not enthusiastic about and found that Van Ravesteyns interiors "the spirit of my old aunt 'luster, instead of a' joy-filled shaping the lives of our time." Oud's first 'worked through' design was a competition design for a new city hall in Amsterdam: a symmetrical design and crowned with a tall column topped by a allegorical female figure. Giedion, who visited him in Rotterdam in July 1938 and was disappointed wrote on July 29, 1938 at Moholy-Nagy that Old himself 'on a dangerous path of reaction 'was, and on August 31 at Cor Eesteren : "It was a tough night . [...] We need us to make it! " Old but took no notice of this criticism. His design for the headquarters of Shell in The Hague in 1938 was even more exuberant. It is almost a manifesto against the orthodoxy of functionalism, but "better than wrongly tried really rigid," he wrote to Alfred Roth on June 16, 1946. [29]

During and after the war functionalism of Gropius and Giedion broke in particular the United States definitively. There was a kind of universal modernism. Because of this he showed himself, against his principles, tempted to write a manifesto . In this manifesto, dated May 11, 1946, reads: "Until now, the problem of modern architecture: 1. clearly and without condition to capture the requirements that a building must meet in terms of practical use and construction. 2. These requirements establish without the intervention of the past, in a form which is a direct expression of problem to solve it. As engineers do; such as the construction does! In this way, we now have, in the best offices and residential buildings, are achieved at the level of a good locomotive, a good car or a good dental drill. Sound technical forms, which were in their honesty of cultural value! [...] It's a start: not, as some architects seem to think, already ended. It forms the basis for a new architecture: a significant portion of its basic concepts, but where still very little literature exists on! It is well built, but not yet build emotional. No architecture! '. [30]

Wallace Harrison et al., UN Headquarters, New York . 1947-1953.

The success of the post-war 'universal modernism "was mainly due to the propaganda of the MoMA. MoMA also organized exhibition, whose Old felt left out. "It irritates me [...] very much modern architecture, in which the emotional element as much has been lost and that, I think the Americans are the typical representatives, who are also good because they apparently - by their freshness - having equal to their side. [...] The architecture [is] fresh, but empty, "he wrote on April 14, 1956 to JJ Friend. He turned against the inner functionalism common teamwork, as was the case at the headquarters of the United Nations in New York .Here he found support from another pioneer of modernism, which was later smashed his own way, Frank Lloyd Wright, with whom he had an exhibition at the 1952 Ahoy devoted. "I made ​​myself all objected to the way the building on bureaucratic been conceived manner and to my satisfaction I learned that you have expressed in an article also your dissatisfaction, "he wrote Wright on June 1, 1948.

Also at the UNESCO 's building in Paris, he sought support from Wright. "I'd love one another and advocate in the press (or UN) for idealism in the new building - for more architecture. Can you and I (and Mumford ) did not send a few words to the press as a kind to sound? Why Giedion gang must again take the lead? "He wrote to him on May 25, 1952. [31]

National Monument, Dam Square, Amsterdam. 1956 (disclosure).

Meanwhile, respect for old in the United States dropped to a low point. On the big Style exhibition at the MoMA, which took place in 1952, was Old barely represented - only his site office, factory, Kiefhoek Church and Cafe Union were shown - and in 1955published by MoMA of Modern Masters Art lacked his name altogether. This was Old unnoticed. He asked Johnson on August 28, 1955 by letter for clarification. He wrote: "I introduced cubism in architecture in 1917 and 1919 and you are aware of the influence exerted by the [exhibition] 'International Style' architecture of 1932 in the Museum of Modern Art. You also know that Cubist Architecture and later De Stijl were of great benefit for Le Corbusier, Mies van der Rohe and Gropius. As Gropius had no style or has because he is more a teacher than a creator. [...] If America does not like my future, at least show respect for my past could that also helped architects.

The art historian Bruno Zevi and Hans Jaffé, who both were investigating Style and Oud role downplayed it, got a strong letter. To help all these misunderstandings once and for all from the Old World wrote in Mein Weg 'De Stijl', in which he also tried to show that he is from the founding of De Stijl until then, contrary to what was assumed in had developed straight line. [32]

Monument at the Military War Cemetery Grebbeberg .

Although his role after the war was almost played out abroad, was old in the Netherlands is still a celebrity. He received honorable missions, such as the National Monument and the monument to the Military War Cemetery Grebbeberg . The reconstruction of the genesis of this post-war projects, such as the Savings Bank and the Utrecht office in Rotterdam, the Bio-convalescent home in Arnhem, shows how old was looking for new collaborations with artists and engineers during the design process. Was the position of the architect Old confident: the architect had in spite of the increasing bureaucracy and professionalisation of advisors, as some have the overview and stood unchallenged in the lead. [33]

It must have been particularly painful for Old see how modernism died during the 50's a slow death. CIAM ceased to exist and Giedion even called for a "new monumentality '; In word and meaning the same thing that all Old mid 30s advocated. Outraged, he wrote in 1962 to K. Wiekart: "Have you ever seen anything banalers than the 'Ambassy' in Athens, which remain in the Greek tradition, modern attempts according to Mr. Gropius'; and the design for the City Hall of Boston: "And nice that Gropiussen think. [...] If I remember how I mentioned in 1938 in the Shell 'klassiceerde' and a lot more conscientious, whereas when I was blue fur and reviled (if you can say so), I understand there may not lots of! '

His last project was the Dutch Congress in The Hague in 1956 . Old died at the age of 73. He had since December 27 1918 married Annie Dinaux and had with her ​​one son, the architect Hans Old .

Theory [ edit ]

 * 'Architecture with the pen, " Architectural Weekly, Volume 35, Number 6 (6 February 1915): p. 44-45.  See [6] .
 * 'Over cubism, futurism, modern architecture, etc., " Architectural Weekly, Volume 37, Number 20 (September 16, 1916): p. 156-157.  See [7] .
 * "Thoughts about architecture," Commemorative book published to commemorate the 10th anniversary of the Association of Students of the Austro-normal school for Tick Education . Amsterdam, [1917] p. 36-38.
 * "The monumental cityscape, Style, Volume 1, Number 1 (October 1917): p. 10-11.  See Digital Dada Archive .
 * 'Art and machine', Style, Volume 1, Number 3 (January 1918): p. 25-27.  See Digital Dada Archive .
 * "Architecture and standardization in the mass construction," De Stijl, 1st year, number 7 (May 1918): p. 77-79.  See Digital Dada Library .
 * 'Architectural consideration (see drawings). A. Mass Building and street architecture (see drawing p. 81). B. Reinforced concrete and Architecture (drawing p. 83), "Style, 2nd year, number 7 (May 1919): p. 79-84.  See Digital Dada Library .
 * 'Orientation', Style, 3rd year, issue 3 (December 1919): p. 13-15.  See Digital Dada Library .
 * "The construction of dwellings (reinforced) -beton" Architectural Weekly, Volume 41, Number 15 (April 10, 1920): p. 89-94.  See [8] , [9] , [10] and [11] .
 * "Building in (armed) -beton. II ', Architectural Weekly, 41st year, number 23 (June 5, 1920): p. 131-136.  See [12] , [13] , [14] and [15] .
 * "About the future architecture and her architectural possibilities," Architectural Weekly, Volume 42 (June 11, 1921): p. 147-160.  See [16] , [17] , [18] , [19] , [20] ,[21] , [22] and [23] .
 * "Architecture and Cubism," The Bouwwwereld, Volume 21, Number 32 (August 9, 1922): p. 245. Response to Theo van Doesburg. "The architect JJP Oud" Pastor "of" cubists "in architecture?" Building World , Volume 21, Number 30 (July 26, 1922): p. 229.
 * 'Digression at some pictures, " Architectural Weekly, Volume 43, Number 43 (October 28, 1922): pp. 418-424.  See [24] , [25] , [26] and [27] .
 * [Untitled], Style, 5th year, number 12 (1922): pp. 207-208.
 * 'Semi aphorisms on art and architecture, " The Book, No. 15 (1923): p. 41.
 * 'Art, Crafts and Maschine " Thüringer Allgemeine Zeitung (13 July 1924).
 * 'Die Entwicklung der moderns Baukunst in Holland: Vergangenheit, Gegenwart, Zukunft " Schweizerische Bauzeitung, 83rd year, number 12 (1924): pp. 134-137.
 * "Erziehung zur Architektur" Social Bauwirtschaft, 5th year, number 4 (1925): pp. 25-28.
 * "Yes und nein: Confession eines Architekten ', Architectural Weekly, Volume 46, Number 35 (August 29, 1925): pp. 431-432.  See [28] and [29] .
 * [Untitled], Style, Series VII, No. 79/84 (1927): pp. 39-40.
 * 'Direction', i10, 1st year, number 2 (Feb 1927?): p. 2.
 * "Housewives and Architects' i10, 1st year, number 2 (Feb 1927?): pp. 44-46.
 * 'International architecture', i10, 1st year, number 6 (1927): pp. 204-206.
 * "Adapted to the environment ', i10, 1st year, number 10 (1927): pp. 349-350.
 * "Wohin führt das neue Bauen: Kunst und Standard, i10, 1st year, number 11 (1927): pp. 385-386.
 * Das Flache in Holland, " Das Neue Frankfurt, 1st year, number 7 (1926/1927): pp. 189-192.
 * Ein TÄGLICHES Problem des Städtebaus " Berliner Borsen-Courier (4 November 1928).
 * 'Das Leben flies income. Natürliche Der Weg des Architekten " Cashing-dekoration, 39th year (May 1928): p. 209.
 * "Observations of JJP Oud, Shinkenchiku, 4th year, No. 1 (1928): p. 52.
 * 'Modern Architecture', NRC, 86th year, No. 198 (Friday, July 19, 1929). p. 2.
 * "That städtische Siedlung" The Kiefhoek 'Rotterdam', Die Form, 5th year (1930), no. 14, pp. 357-369.
 * "The £ 213 House. A solution to the re-pose problem for rock-bottom incomes in Rotterdam, " The Studio, 101st year, No. 456 (March 1931): pp.. 175-179.
 * "Form and Freedom, Building, 1st year (1946), No. 3, p. 5.
 * "Dare, dare in the architecture," Building, 1st year (1946), No. 29, pp. 613-614, 620.

Notes to his work [ edit ]

 * "Cinema Theatre in Purmerend," Architectural Weekly, Volume 34, Number 6 (7 February 1914): p. 64-66.  See [30] and [31] .
 * Dudok, Old, 'Workers' Leiderdorp, " Architectural Weekly , Volume 36, Number 11 (July 10, 1915): p. 85-87.  See [32] and [33] .
 * "Country cottage in Blaricum, Architectural Weekly, Volume 37, No. 2 (May 13, 1916): p. 23-24.  See [34] and [35] .
 * "Rebuilding Huize" Allegonda "Katwijk aan Zee," Architectural Weekly, Volume 39, Number 5 (2 February 1918): p. 29-30.  See [36] and [37] .
 * "Municipal folk houses, polder" Spangenberg "Rotterdam", Architectural Weekly, Volume 41, Number 37 (September 11, 1920):.. p 219-222  , see [38] , [39] and [40] .
 * 'Design for a house in Berlin', Architectural Weekly, Volume 43, Number 35 (September 2, 1922): pp. 341-344.  See [41] , [42] and [43] .
 * "Communal housing" Spangenberg "Rotterdam" Architectural Weekly, Volume 44, No. 2 (13 January 1923): pp. 15-20.  See [44] , [45] , [46] , [47] , [48] and [49] .
 * 'Semi-permanent housing "Old Mathenesse' Rotterdam ', Architectural Weekly, Volume 45, Number 43 (October 25, 1924): pp. 418-421.  See [50] and [51] .
 * "A cafe ', Architectural Weekly, Volume 46, Number 31 (August 1, 1925): p. 397-400.  See [52] , [53] and [54] .
 * 'Housing to Hook of Holland, in: IM Dugteren & H. Coverage (editorial) The Green-White-Green book. Published on the occasion of the 10th anniversary of the People's University in Rotterdam . Rotterdam, 1927, pp. 38-42.
 * 'Notes to a housing type of Werkbund exhibition "that Wohnung", Stuttgart 1927,' i10, 1st year, number 11 (1927): pp. 383-384.  See dbnl .
 * "Notes on the design motto: X for a fair in Rotterdam," Architectural Weekly Architectura, 50th year, number 6 (February 9, 1929): pp. 41-43.  See [55] and [56] .
 * 'Headquarters Bataafsche Importmaatschappij to The Hague, " Architectura Architectural Weekly, Volume 63, No. 2 (December 1945): pp. 14-21.  See [57] , [58] , [59] and [60] .

Competition Design [ Edit ]

 * Exhibition, Coolsingel, Rotterdam . 1926. Motto 'X'. [34]

Not done [ edit ]

 * Design for a housing complex, Beach Boulevard, Scheveningen . 1917. Shown as Annex II of De Stijl, 1st volume, number 1 (October 1917).  See Digital Dada Library .
 * Design for a factory with built offices [in Purmerend]. Circa 1919. Shown as Annex VI of Style, 3rd year, No. 5 (March 1920).  See Digital Dada Library .
 * Kallenbach home, Berlin . 1922. Shown in Architectural Weekly, Volume 43, Number 35 (September 2, 1922): p. 344.  See [61] .
 * Housing, Zoo, Rotterdam . 1931.
 * National Life Insurance, Velperplein. Arnhem . 1951.
 * Service building Dutch Reformed Church, Eastern Dune, The Hague . 1951.
 * Province House South Holland, The Hague . 1952.
 * Municipality Library, Kiefhoek, Rotterdam . 1957.
 * Superintendent House Hoge Veluwe, Otterlo . 1958.
 * Extension Hall, Groningen . 1961.

Performed [ edit ]
Work Chair. 1950.
 * Old house Hartog, Venediën 7 Purmerend. 1906-1907.
 * House Beets, Herengracht 23, Purmerend. 1910.
 * House Beerens, Julianastraat 54 Purmerend. 1912.
 * House F. Meershoek, Achterdijk, Purmerend. 1913-1914.
 * Rebuilding Villa Allegonda, Katwijk aan Zee [ism Menso Kamerlingh Onnes ]. 1916.
 * Holiday Spark, Noordwijkerhout [ism Theo van Doesburg and Harm Kamerlingh Onnes ]. 1917.
 * Block I, Spangenberg , Rotterdam . 1919.
 * Blocks, Tussendijken, Rotterdam. 1921 (largely destroyed in 1943).
 * Management Shack Old Mathenesse . 1923 (demolished 1940 to 1945, reconstructed 1993).  See Architectuur.ORG .
 * Houses, Hook of Holland . 1924.
 * Café De Unie in Rotterdam. 1925 [destroyed in 1940; reconstructed in 1985].
 * Laborers and Church Kiefhoek, Rotterdam. 1925-1930.
 * Furniture villa Allegonda. Circa 1928.
 * National Monument, Grebbeberg, Rhenen . 1948.
 * National Monument, Dam Square, Amsterdam. 1949.
 * Office Esveha, Delftsestraat 25, Rotterdam. 1947-1950.
 * Office factory Eagle, Apeldoorn. 1951-1952.
 * 360 homes, Presikhaaf, Arnhem. 1951-1953.
 * Savings Bank of Rotterdam, Botersloot 25, Rotterdam. 1942-1955.
 * Second Liberal Christian Lyceum, Goudsbloemlaan, The Hague. 1949-1956.
 * Shell Extension office, Wassenaarseweg 80, The Hague [ism Hans Old; not executed]. 1959.
 * Bio Convalescent, Wekeromseweg 8 Arnhem . 1952-1960.
 * The office Utrecht, Coolsingel 75-77, Rotterdam. 1954-1961.
 * Dutch Congress, Churchillplein 10, The Hague [ism Hans Old]. 1956-1969.
 * Hall, Almelo [ism Hans Old]. 1962-1973.

Furniture [ Edit ]

 * Buffet [ism Jac Jongert ]. 1911. Purmerend, Purmerends museum .
 * Bookcase [Annie Dinaux]. 1915. Rotterdam, Museum Boijmans Van Beuningen .

Typographic design [ edit ]

 * Cover magazine The survey, no. 21. 1924. [35]
 * Boekomslag Rotterdam. Outlines of Extensions and Housing. 1924. 1925. [36]
 * The magazine cover Neubau, 7th edition, no. 9 (1925). 1925.
 * Letterhead, envelope and cover for the Surface. Democratic magazine for the Netherlands and India. 1935-1936. [37]