A. Salm GBzn. (1857-1915) Like his father, G.B. Salm, Abraham Salm GBzn specialized in utility buildings. The old Salm designed many sugar refineries; the young Salm also had a specialty, the cigar factory. Commissions from such industrialists and from bankers such as Bosse (De Nederlandsche Bank) and Mees allowed him to call himself a successful architect. Like his affluent clients, he could afford a villa in the Gooi region. For them and for himself he designed villas. The Villa Beau Regard in Hilversum, intended for himself, was, as with so many of his villas, a mixture of the English cottage style and the Swiss chalet style. A. Salm GBzn can therefore be characterized as an adept eclectic. After HBS, Abraham Salm was assistant to his father for some time. This he did until he stayed in Zwolle from June 1877 to April 1878. There he received private tuition from J.G.J. van Roosmalen. Probably he quickly became bored in Zwolle and informed his father that he wanted to go to Paris. Through the son of the director of the Amsterdamsche Omnibus Maatschappij (AOM), the architect J.H. Schmitz, the young Salm ended up with Émile Vaudremer (1829-1914). After working there for six months, Salm decided, on Schmitz's advice, to attend the École des Beaux-Arts. Vaudremer also advised him to take sculpture lessons with Henri-Charles Maniglier (1826-1901). When G.B. Salm visited his son in Paris, they visited the 1878 World's Fair together. From Paris, A. Salm advised his father on his design of J. Cahen's women's fashion warehouse and with the Free Church. In a letter to his father, Salm proclaimed his architectural principles: ''The true beauty in an architectural design is: 1 that the sylhouette is good; 2 that the proportions are right; 3 the distribution of windows and doors harmonious.'' 1 On December 30, 1880, Salm returned permanently to the Netherlands. He had not finished his training in Paris, partly because he outgrew it, partly because he thought he had learned enough to continue Architectenbureau Salm with his father. What the division of labor looked like in practice is difficult to determine. Compared to his father, Abraham used classicist motifs more often, but he was also freer and more exuberant in combining different styles. Although his father worked in different styles, he fell back on classicism, gothic or Dutch renaissance for each commission. A. Salm GBzn did the same, but combined the styles within one design. He practiced this eclectic conception convincingly. As for utility buildings, like his father (sugar refineries) he had a specialty: cigar factories. These designs showed how Salm developed into a self-conscious eclecticist. The factory for Roelofs on the Nieuwezijds Voorburgwal still resembled his father's austere factory designs. For Goulmij, he realized a more playful design for the cigar factory on the Rokin in Amsterdam. Here he allowed round arches to extend over several floors. As an independent architect, he established his name permanently with the townhouses on the Weesperzijde (1886-1887). This was the precursor to his widely acclaimed design: the Residence with coach house on Herengracht for the stone-rich tobacco planter J. Nienhuys. For Nienhuys, Salm also built a villa in Baarn. Nienhuys and many other wealthy people fled the city, which was becoming less livable due in part to industry. Salm built them, and himself, comfortable villas in various styles. He based the Villa De Stollenberg near Nijmegen on the Swiss chalet. Villa Corvin in Hilversum was inspired by Italian villas. His most lavish villas were Ma Retraite in Zeist and Casparus in Weesp. Ma Retraite showed much kinship with Casino Borghese in Rome. Casparus is the most eclectic villa. It was designed in the Dutch Renaissance style in which brick and natural stone alternated. In addition, the villa possessed detailing in English neobaroque style with a floor plan based on the French châteaux. After 1900 there was a change in Salm's work. He began to design in a more austere manner and applied fewer styles in a single design. This can first be observed in the power station in Hilversum (1899-1900). Here the same simplicity can be seen as in the Office and Factory building on De Ruijterkade in Amsterdam for Technisch Bureau Geveke. For confectionery manufacturer De Bont and Leyten (1909-1912), he was even more concerned with the functional layout than with the facade designs. Indeed, the austere facades remained unchanged in all interior proposals. This stylistic simplification was also evident in his villa designs. For the Nederlandsche Bank, Salm built so-called subsidiary banks in several cities. Starting in 1910, there were plans to expand and remodel the bank on the Oude Turfmarkt in Amsterdam. In connection with the bank's centennial, there was also talk of new construction on Frederiksplein. During this period, problems arose between the bank and Salm. What exactly prompted this is unclear; the fact is that Salm was allowed to build fewer subsidiary banks. Only an additional bank in Nijmegen was entrusted to him. It became his last work. On his sickbed he heard that the Nederlandsche Bank was negotiating with other architects. Shortly thereafter, on June 13, 1905, Abraham Salm died of a tumor in his esophagus.2 1 GAA 1315.31, letter of April 23, 1879 2 Introduction is based on the book G.B. Salm & A. Salm GBzn Bouwmeesters van Amsterdam by J. Kuyt, N. Middelkoop and A. van der Woud Education: Section d'Architecture of the École des Beaux-Arts/1878-1880 Outside activities: Architectura et Amicitia/member/1880-1915;Society for the Advancement of Architecture/chairman/1897-1905,1906-1915;De Bouwmeester/member editorial committee/1885-1895;De Architect/member editorial committee/1885-1895;Beauty Committee/member/;Competition Sanatorium for pulmonary patients in the Netherlands/jury member/1899 Honors: Mention École des Beaux-Arts/1879;Order of St. Anne third class/1895;Officer in the Order of Orange Nassau/1907