(abridged version Bonas Essay) J.B. van Loghem (1881-1940) J.B. van Loghem is one of the pioneers of the New Building movement. He began his career with traditional villas and country houses, in which the influence of Berlage's rationalism was unmistakable. Around 1919 he fell under the spell of socialism, partly because of this his architectural views also changed. From brick houses with gabled roofs, Van Loghem switched to white stucco with flat roofs. But because he did not want to build dogmatically in a particular style, the Nieuwe Bouwen, he also used elements from Delft traditionalism. This development can best be followed on the basis of his residential houses. Traditional beginnings Johannes Bernardus (Han) van Loghem encountered two professors who strongly influenced him during his studies at the TH in Delft: J.F. Klinkhamer and H. Evers. Both professors were opposites of each other. Evers was a traditional nineteenth-centuryist focused on Beaux-Arts and eclecticism. Klinkhamer, on the other hand, was a forerunner in the young profession of nonresidential construction. But H.P. Berlage was also an important teacher. Immediately after his studies, Van Loghem settled in Haarlem as an independent architect, and the first thing he realized was the Triple House on the Oosterhoutlaan in Haarlem. The housing block is symmetrical throughout, indicating the classical influence of Evers. However, the influence of Berlage can also be found. This is evidenced by the complete absence of ornamentation and the clear use of materials. The first country house he built was De Zwanenhof (1911) on Vijverlaan in Haarlem. It has a stocky T-shape of which the wing at right angles to the building line has one story and the other two stories. Also in Landhuis De Zwanenhof, the hall is centrally located but is now two stories high. The placement of the hall in the center and the method of light entry are elements that recur in many of his houses. In De Steenhaag, Van Loghem sought to design the volume and its placement so that interior and exterior spaces were optimally coordinated. On the garden side, the side facing the Spaarne, he placed the living room, the living hall, his study and the terrace because of the view and sunlight. Although the main layout remains similar to earlier work, details show that he tried something different. The house is less austere, giving it a cottage-like character. Like The Steenhaag, The Houtrust was equipped with steep hoods, but the Houtrust consists of two stories. The interior is much better lit because large bay windows extend over two floors. In terms of situating a house and developing a floor plan, Van Loghem reached a provisional high point with Huize Gendt. Huize Gendt is a large house with an L-shaped floor plan. On the garden side is a terrace facing southwest between two wings. In the inner corner is a concrete extension with a loggia on the second floor that opens onto the landing. The hall is lit by a fanlight. A generous overhanging cornice runs around the entire house. Of a very different caliber is the Summer House De Schelf that he built for himself in Zandvoort. The Schelf from 1918 is an outlier in Van Loghem's work, but important in understanding his development. The roof of the summer house stands out the most. It is a parabola-shaped, deep-to-the-ground roof. The overhang on the sea side forms a roof over the terrace, in addition, a loggia is made in the top gable From 1919 we see the emergence of a series of different type of residential houses compared to the early country houses. The starting point in many cases became the square two-story main form with a flat roof or a faintly sloping tent roof. Although the influence of Frank Lloyd Wright is unmistakable, he departed greatly from the cruciform floor plans with a central fireplace. Van Loghem assumed a square floor plan in which the chimney was located on an exterior wall. Transformer houses After the completion of the power plant in IJmuiden, Van Loghem was offered a contract to design 80 transformer houses. These were to be located throughout the province of North Holland between 1914 and 1919. Van Loghem designed several types that also varied among themselves. Roughly the following types can be distinguished: the tower houses that are square and about eight meters high; low buildings of six by four meters; houses consisting of a high and a low part; small houses of about three by three meters. For Van Loghem, utilitarian little buildings represented an unfamiliar design task, but one with which he could experiment to his heart's content. He could also focus on no single example because the electrification of the Netherlands was a new phenomenon. This was also a special design task in another respect: architecturally, the cottages had no interior because they were not intended for human use. In a sense, they did not even need to have windows, at best ventilation grills and glass building blocks through which some daylight could still enter. On the other hand, it gave Van Loghem the opportunity to experiment with siting, choice of materials and decoration. Revolution Through H.P. Berlage, Van Loghem recognized that building has social significance. The place of the architect and his work in society was increasingly determined by Van Loghem's political views. Because of these leftist views, he increasingly abandoned the pursuit of the Delft ideal of beauty. Instead of the classical ideal of beauty, he argued that the artist should anticipate and prepare for the eras of social change. The artist should then be intuitively ahead of his time. The architect, who in Van Loghem's eyes is also an artist, should take an active social stance. For Van Loghem, that became socialism. Accordingly, in 1919 he signed the founding manifesto of the Association for Revolutionary Socialist Intellectuals. It did not stop there. In the unleashed class struggle, he also decided to collectivize his own office by turning it into a cooperative. He explained his initiative as follows: The architect, the engineer, the draughtsman, the supervisor, the foreman and the skilled laborer will have to come to the realization that by working together, each according to his nature, they will bring about the building work. The architectural pattern is ridiculous, an expression of bourgeois souls who cling to the past and await the future with their heads in the sand. Despite the equalizing organizational form of the firm, it continued to bear his name and he remained in artistic charge. When Van Loghem became part of the Haarlem branch of the Committee on Aid to Russia in 1922, it opened the way for a stay in Russia. Van Loghem was in Siberia from April 1926 to January 1927 and from May 1927 to September 1927. Not much is known about what he built there. The best known is his School with Water Tower. He depicted this in his book Building. With its overhanging roofs and small windows, it has become a rather rural type of architecture, in contrast to the Coöp with its skeletal construction and wide roof frame Decision Van Loghem's development is best traced in his residential buildings. Nevertheless, incidental commissions such as the Sportfondsenbad in Haarlem, the Pakhuis with office in Amsterdam and his extension of the School for women's labor in Rotterdam are of equal importance. The list of works describes those works. Van Loghem died in the winter of 1940 at the age of 58 after a harmless operation. Additional functions: MBVA (Maatschappij tot Bevordering der Bouwkunst, Vakvereeniging van Architecten/secretary/1912-1913;Prixvraag Hildebrandmonument/secretary/1914;Architectura et Amicitia/outside member/1915;Bouwkundig Weekblad/editor/1915-1918;Vereniging Voorbereidend en Hoger Bouwkunst Onderricht/bestuurslid/1915-1925;Examen bouwkundig draughtsman, bouwkundig overseer/committeeman/1916;Competition MBVA Cover and headline Bouwkundig Weekblad, Letterhead Bouwkundig Weekblad/juror/1916;Competition Genootschap A et A Arch lamp with illuminated advertisement, façade workers' houses, water tower/juror/1916-1917;V and HBO/teacher of engineering theory/1916-1925;Competition elderly homes 'Karenhuizen' Alkmaar/juror/1917;Architectura et Amicitia/member/1915-1919;MBVA/board member/1917-1919;Committee of admission exhibition of aesthetically executed utensils, Museum of Arts and Crafts in Haarlem/member/1919;Royal Institution of Engineers/board member Construction and Hydraulic Engineering Department/1919-1922;Wendingen/editor/1919-1921;Wendingen/editor/1922-1926;Society A et A/member verification committee/1924;Society A et A/member verification committee/1925;Genootschap A et A/member verification committee/1925;Genootschap A et A/member committee of three/1925;HBO Amsterdam/teacher fourth-year/1930-1931;HBO Amsterdam/teacher third-year/1933-1937;HBO Amsterdam/teacher fourth-year 'thoughts on architecture'/1933-1937;Contest of Architecture and Friendship/juror/1935;HBO Amsterdam/teacher fourth-year/1937-1938BNA/member main board/1917-1919