The architects J. Hendriks (1925), H.A.D. Campman (1926-1993) and H.J. Tennekes (1937) of the firm Hendriks Campman Tennekes Architekten Introduction Writing a biography about architects who worked for a major architectural firm is not always easy. This essay is not about the firm, but about the three architects who worked there, Jan Hendriks, Herman Campman and Jan Tennekes. The division between agency and the architects as individuals is blurred. Especially with this bureau, where the performance of the bureau was more important than individual performance. The emphasis is on the architects, therefore little attention has been paid to the functioning of the bureau as a whole and how the relationships between them were. Because the Hendriks Campman Tennekes Architekten firm had many large commissions, including in health care and education, the separation of who designed what is also difficult to indicate. It is not the intention of this essay to create an overview of the three architects. A picture is given of the life and work of Jan Hendriks, Herman Campman and Jan Tennekes, with a small selection from their work. With the hospitals it is difficult to indicate which architect designed it, the entire firm collaborated on such large commissions. I have tried to make clear in the project descriptions who was responsible for what. In doing so, I went no further than indicating which of these three architects was responsible for which work. Not mentioned are the employees in the office such as cooperating architects, interior architects, structural engineers, project managers, draftsmen, etc. Clearly, these people also contributed to the design and its execution. Even if no collaborating architects are mentioned, this does not mean that there were none; in that case it was not clear to me whether others were collaborating and what their contribution was. In carrying out this research, I was able to make use of written and oral information about Jan Hendriks, Herman Campman and Jan Tennekes thanks to the help of the following people: Caecilia Brand and Henk de Jong of De Jong Gortemaker Architects and Engineers in Gouda, Hans de Goeij, Jan Hendriks and Jan Tennekes. Office history The Hendriks Campman Tennekes Architekten firm is an architectural firm whose name changed, and still changes, when new directors join. Consequently, the firm started under a different name and now has the name De Jong Gortemaker Architects and Engineers. The first partnership was established in 1939. The architect J.P.L. Hendriks (1895-1975) then started an architectural firm (Hendriks Van den Bosch Van der Sluijs) with Lex van den Bosch and Willem van der Sluijs in the partnership. The latter, although mentioned in the name, was only cooperating architect, not a member of the board (1). The firm was based in Rotterdam. After World War II, more and more commissions come in. It starts with emergency stores in Rotterdam and gradually it becomes more and more assignments for health care (hospitals, nursing homes and psychiatric institutions), residential houses and schools. Expansion of the office is inevitable, but J.P.L. Hendriks does not want to go along with it. In 1953, the firm began working with Jac. P. Dessing (1880-1966) of Gouda. The association Dessing J.P.L. Hendriks Van den Bosch has its office in Gouda. In 1955, J.P.L. Hendriks left this association, although he remains in the partnership with Van den Bosch in Rotterdam. Lex van den Bosch in 1956, without J.P.L. Hendriks, also enters into a partnership with Jan Hendriks (1925) with a branch in Nijmegen. J.P.L. Hendriks and Jac. P. Dessing leave the various partnerships in 1960. So before they left, the firm has three names: in Rotterdam J.P.L. Hendriks Van den Bosch J. Hendriks, in Nijmegen J.P.L. Hendriks Van den Bosch J. Hendriks and in Gouda Dessing Van den Bosch J. Hendriks. This created much confusion to the outside world, and in 1962 it was decided to give the firm a single name: Bureau for Architecture and Urbanism Van den Bosch Hendriks Campman. Herman Campman came to work for the bureau in 1961 and joined the management in 1962. The peak for the bureau is in the 1970s when the bureau has three offices with 119 employees (2). Since 1962 the firm has had the following names due to the change of directors: Hendriks Campman Tennekes, Campman Tennekes, Campman Tennekes de Jong and now (1997) the firm is called De Jong Gortemaker Architects and Engineers. The locations until the late 1970s were Rotterdam, Gouda and Nijmegen. The offices in Nijmegen and Rotterdam were closed in the early 1980s as a result of downsizing and a desire to centralize activities. In Gouda, a new office was moved to the Harderwijkweg where the office is still located. The branches in Rotterdam, Gouda and Nijmegen work mainly independently during the first years after the war. In the 1960s the assignments from Gouda, houses and schools, are mostly designed in Nijmegen and drawn in Rotterdam. Due to the growth of the office, the road a design had to travel becomes longer and longer, more and more employees are involved. Especially in the 1970s it is top pressure with the construction or rebuilding of twelve hospitals, seven psychiatric institutions and more than thirty schools, among others. The knowledge and experience in these sectors ensure more assignments. Clients also return because the firm maintains a tight schedule with few overruns and stays within budget. Except for the design for the Sint Franciscus Gasthuis in Rotterdam, a collaboration with the Kraaijvanger firm, there is no collaboration with other firms. Building for health care Within the health care sector there has been a development since the 1980s that will also have repercussions for building for this sector. There is a shift from intramural health care ((long-term) within an institution, e.g. hospitalization) to extramural health care (at home or with individual health care providers for short-term visits, e.g. physiotherapist), from hospitalization to day care. As a result, more regional facilities are needed, close to the people. Hospitals When building a hospital, the function it will perform plays a particularly important role. This can be a general function, but also a specialized one such as a children's hospital or orthopedic hospital. In addition, hospitals also have a mantle function, they contain service agencies that do not work solely for the hospital such as laboratories. When making the design, further consideration must be given to the specializations of the hospital and what space requirements are associated with those specializations. Due to the complexity of the building and functions, the organization of construction is also a complex matter with many tenders (3). The hospital has evolved since World War II. In the 1950s, the so-called "T-model" emerged. This consisted of a bedhouse with the treatment and examination departments at right angles to it. In the 1960s, the treatment possibilities increased and these wards therefore had to be enlarged. The 'H-model' came into being, one leg being the bedhouse, the other the treatment and research departments and the connection was formed by part of the services. The developments of medical techniques in the 1970s led to the technocratic hospital with much attention to technology, economy and organization and little attention to the patient. To keep walking and transportation distances limited, more compact high-rise buildings came into being. Out of this came the Breitfuss type (wide-foot type). A stacked bed house on a wide substructure with the examination and treatment departments and other services. Disadvantages of this were the many vertical moves and little flexibility with regard to internal and external reorganizations (resp. spatial function changes and expansion of departments with additional rooms). In the mid-1970s, the trend is toward more patient-oriented construction. Hospitals became more accessible and smaller in scale. This was a spatial change, not an organizational one; the role of specialists remained large. The latter would only change later (4). In 1975, the National Hospital Institute held an ideas competition to come up with a new form. From this competition emerged the comb type. Within it, two types can be recognized. In one type, the nursing units are no longer placed on top of but next to the treatment units, the treatment units on one side of the 'comb' and the nursing units on the other. In the other type, the treatment wards are built on both sides with the corresponding nursing units on top (5). The nursing units are divided into small clusters, group nursing, which together form a ward. Due to this development, the number of square meters per bed has increased in recent decades from 50 square meters around 1960 to about 75 square meters in the 1980s. This, together with a decrease in the number of beds per room (a maximum of eight in the early 1970s to a maximum of four in the 1980s, with an increasing demand for single bed rooms) (6) and technical advances has led to an increase in the construction cost per bed from F5,000.00 before World War II to F60,000.00 in the early 1960s (7) and these costs are still rising. Psychiatry At the end of the last century, the view was that psychiatric patients especially needed a lot of rest. Facilities were built in rural wooded settings with detached pavilions in a park. They were self-sufficient communities where the emphasis was on detention rather than treatment, on isolation rather than integration. After World War II, this slowly changed. In addition to occupational therapy, patients receive creative, cultural and movement therapy. More work is done to return to society. However, the environment in which this takes place remains the same, the isolated institutions with their pavilions. New construction adapted to changing treatment views meant not only a spatial but also an organizational change for the institutions. To promote reintegration into society, integration with it is necessary. New institutions are therefore increasingly placed within or close to "normal" society, and even within the institution itself there must be a "stepped openness," from bunker function with isolation sections to day treatment (8). To make a good design for a psychiatric facility, knowledge of the psychiatric patient and the influence the environment has on a psychiatric patient is necessary. The patient's environment must be involved in treatment, both the environment from which the patient comes and where the patient is in treatment. The Bureau for Architecture and Urban Planning Hendriks Campman Tennekes has studied the problems of building hospitals and institutions as a firm and has gradually specialized in this sector. Jan Hendriks (1925) Johan (Jan) Hendriks was born in Nijmegen on September 10, 1925. During World War II, his mother is a major driving force behind his choice to become an architect. Hendriks receives his training as an architect at the Higher Architecture College (now the Academy of Architecture) in Tilburg where he graduates in 1954. Here he receives lessons from B. Linsen, among others. From him, Hendriks learned about the integration of architecture and nature and large-scale thinking. Linsen was an architect with a utopian focus, it was just after World War II and people wanted something new (9). The secondary school is taught in the tradition of the Bossche School. Form and harmony are important principles and the theory of proportion developed by Dom Hans van der Laan is used (10). Already during his education, Jan Hendriks works at an architectural firm. He starts in 1948 at Deur Pouderooyen in Nijmegen, architects working in the style of the Bossche School. In 1953, Hendriks starts working as a collaborating architect for J.P.L. Hendriks Van den Bosch Van der Sluijs in Rotterdam. In 1956, he entered into a partnership with Van den Bosch and then headed the office in Nijmegen under the name of Van den Bosch Hendriks. The firm's founder, J.P.L. Hendriks is not in that partnership. Jan Hendriks' first assignment is the psychiatric institution St.-Franciscushof in Raalte, a new institution initially for women only, this assignment is won by Van den Bosch in 1954. It is the first psychiatric institution in the Netherlands after World War II, and psychiatric care is undergoing major changes. Treatment is becoming more patient-centered, more individual, and aimed at returning to society. This also affects the architecture. The institutions are becoming smaller and smaller, with fewer people per ward. When Hendriks begins this assignment, there is still little knowledge about building for psychiatry. Much has to be "invented" by the architects themselves, and as they go along, the firm becomes increasingly specialized in this area. The office in Nijmegen, under the direction of Jan Hendriks, deals with the commissions received from Van den Bosch, those from Gouda (schools and dwellings) and those acquired by Jan Hendriks himself. Work is done on buildings in health care (including Streekziekenhuis De Liemers in Zevenaar and the psychiatric institution St.-Franciscushof in Raalte), houses, stores and a number of schools. In the first years after Hendriks joins the management, the branches in Rotterdam, Gouda and Nijmegen work almost entirely independently. Only on larger assignments is there collaboration. In large projects such as St. Francis Court, not only the architecture is taken care of, but also the infrastructure on the site. In the early 1960s, the Nijmegen branch is the first to have an interior design department headed by Hans de Goeij. Before that time, work was done with interior architects from outside the office. All disciplines are now present in the office: design, interior design, construction, project and financial planning. The office in Nijmegen has no construction department; this is done in Gouda. The 1960s were golden years for the construction industry, there was enough money and almost anything was possible. The office grows into a large office with three branches and more than a hundred employees. The setback comes with the health care construction freeze in 1973. The consequences for the agency really become clear in the late 1970s and early 1980s. Until then, there are plenty of assignments that continue. Downsizing is unavoidable and, combined with the already existing desire for centralization, the branches in Rotterdam and Nijmegen are closed and the employees of those branches who can stay on have to work in Gouda. With the closure of the Nijmegen branch, Hendriks left the office in 1981 (11). Views on building Hendriks believes that quality should come first in architecture; this is therefore an important principle in designing. At a certain point he abandoned the ideas of the Bossche School in which he was trained, but his penchant for traditionalism remained (12). When building the residential, village and town halls, Hendriks made extensive use of brick, partly as an adaptation to the rural surroundings in which the villages were situated. Especially the village houses were initially built quite traditionally, later becoming more functionalist. Jan Hendriks has a clear opinion about the design of psychiatric institutions and nursing homes. A nursing home or facility should be a replacement for the home environment. Of great importance here is the integration with "normal" society. This is a positive stimulus in the healing process. Not only the placement of the buildings has an important role in this, but also the possibility of direct contact between patients and their surroundings in the form of maintaining their own gardens to running errands or going to the hairdresser. Builders in this sector must be able to empathize with the spatial needs of people who are forced to stay in an institution. Small scale is one of the solutions for a livable environment. In order to gain inspiration and learn, Hendriks often goes on study tours; he has been almost all over the world: in Europe to Scandinavia, France, Italy and Greece, furthermore the former Soviet Union, North and South America, China, Japan, Indonesia, Morocco, Tunisia, Egypt and Turkey. In keeping with the agency view, Hendriks also has a keen interest in fine art. He often selects the artist himself or hires an agency to do so. Even now (in 1997) he still closely follows developments in the field of art. Publishing For Hendriks, publishing has been an important aspect of his profession as an architect. At that time, he published in magazines such as Bouw and Baksteen about completed works and his ideas (and those of the firm) about architecture. One of the purposes of publishing these articles is to gain more name recognition. An example of his opinion on building in health care can be found in Brick: "As building became smaller in scale, one observed, in reverse, an increasing need for the use of natural materials. The sterile appearance of the old hospital form has disappeared, also exaggerated material applications, such as marble and the like are fortunately no longer common. We opt for the combination of the application of optimal technique and layout in harmony with the normal human scale and a good choice of materials where this can be done unhindered."(13) Contests Jan Hendriks has participated in two contests. One is a study competition for a 6-class elementary school. This competition is issued in 1958 by the Foundation Information Center for School Building in Rotterdam in cooperation with the Ministry of Education Arts and Science and the Ministry of Housing and Construction and is held on the occasion of the fiftieth anniversary of the Union of Dutch Architects. The aim is to collect new ideas on the layout and use of school buildings for ordinary primary education and what requirements the innovative school should meet in terms of educational and teaching facilities. There are 162 entries. Hendriks receives the third prize with his design, which competes under motto Aa. The jury report is particularly praising the clear division between the initial and upper classes and that the design manages to "capture the mood of the child" (14). The other is a competition for a library building in Leeuwarden, also in 1959. This competition, with 146 participants in the first round, is given a second round to come up with a better design. The architects of the four best designs will get another chance in this round. Hendriks, who comes joint third in the first round, comes third again in the second round. Hendriks is making this design with Han van der Velde, cooperating architect at the Nijmegen office. Participation in the two competitions is primarily aimed at making the company's name known; it provides access to a larger group of potential clients. Additional activities In addition to his work as an architect, Jan Hendriks taught at the Academy of Architecture in Arnhem from 1961 to 1969. After this teaching he was a member of several Welstandcommissie (Hengelo 1970-1972, Oost-Brabant 1985-1987 and Nijmegen 1989-1997). Hendriks has been a member of the Bond van Nederlandse Architekten (BNA.) since 1956 and was chairman of the Nijmegen branch of the BNA from 1983 to 1990. Today he is active as chairman for the Foundation Nijmegen Remains in Focus. This foundation collects film material about Nijmegen. Works by Jan Hendriks Dwelling house Klopper, Mook 1960 Hendriks designed a house for J. Klopper in 1960. The house is situated on a plot with a fairly steep slope at the edge of the forest. The house was partially built into the slope in order to place it as high as possible. This in connection with the view, while also taking into account the surrounding buildings. The site was otherwise left intact as much as possible. It is a two-story house with a flat roof. The first floor plan consists of a rectangle built partially into the slope. The floor consists of two rectangles that, at right angles, are partially inserted into each other. Concrete, stucco and clinkers were used for the floors and facades, wood for the facades and natural stone for the floors of the patio and terrace. A clear horizontal dichotomy can be seen, this is reinforced by the use of materials, which also emphasizes the alternating open and closed character. On the first floor are the basement, garage and central heating room with in the middle the stairs to the patio with the entrance. This is a closed building body where the floor sits with an overhang above. Purple red brick is used for the first floor, making it a plinth that seems to lift the living area even further. The upper floor is for living. Around the patio in the middle, thus forming an unusual entrance in the middle of the house, are the dining and living rooms and the kitchen. This floor stands on columns at the front. Within the living area, the sleeping area forms a separate element. It is a rectangle set at right angles to the rectangle of the living area and about sixty centimeters higher. The living area is plastered white and the sleeping area in the same purple-red stone as the first floor. Around the dining and living area are a loggia and a terrace. On the terrace you can use a fireplace that shares the chimney with the fireplace in the living room (15). Patioschool, Nijmegen 1960-1962 In the expansion district of Hatert in Nijmegen, Hendriks built a boys' and girls' school from 1960 to 1962. The school stands together with the other public buildings in a wide green strip. It is a ground-floor school with fourteen classrooms, seven for each. The Bureau for Architecture and Urban Planning Van den Bosch Hendriks Campman was commissioned for the last school to be built in this way. After that, schools would be built in a building system without the intervention of an architect. The design is an adaptation of the design that J. Hendriks makes with H.A.M. van der Velde under motto Aa for the 6-class elementary school competition of Information Center for School Building in 1958, the design receives the third prize. The plan consists of a long rectangle divided in the middle by an open space. The layout is mirrored creating a similar school on both sides. The school has gently sloping pent roofs and is built in clean masonry. The facades are wooden with lots of glass. The ceilings all have acoustical material. The floor plans for the two schools are nearly identical except for the mirroring. On the northwest side are the classrooms for the first and second grades (currently grades 3 and 4). These classrooms face a patio that can be partially used for outdoor classes and further playground for the first and second grades. The patios are decorated with plantings, murals and mosaics. On the other side of the patio are the classrooms for the upper grades. On the short sides of the rectangle are the playgrounds for the upper classes, enclosed by pergolas and bicycle racks. Between the two schools is another open space that was intended for a shared gymnasium, but this was not realized (16). St. Joseph's Church, Beverwijk 1964 Even before the new residential district Oosterwijk in Beverwijk was completed, a church with more than 750 seats, the St. Joseph's Church, was built in 1964. The church stands at the edge of the new district. The site of the church forms a rectangle. The church building and the outbuildings (sacristy and rectory) form two sides of a rectangle, the rest of the rectangle is the square, an introductory space to the church. In this square, the bell tower stands at some distance from the church; the tower is the beacon for the new parishioners. Perpendicular to the church are the sacristy and the lodgings of the pastor and chaplains. Hendriks intended the church as a clear building mass, a church with a sober interior and as little detailing as possible. It has become a space where people gather for the celebration of Mass, not a "monument to the glory of the deity and to the glory of the architect" as A.H.Th. Vercruysse in the journal TA/BK (17). The ideas of the building pastor, the church council and the architect coincide to a large extent, so the construction went on without problems or discussions. The church building is a rectangular box, with only one right angle, and with the altar in the southwest. Next to the entrance porch on the long side of the church on the square is the baptistery that protrudes beyond the mass. Unlike the church, which on the outside is of clean masonry, the baptistery is of reinforced concrete with a relief on the inside and outside by the artist P. Schoenmakers of Herten. The placement of the baptistery is according to the old rules, for example, the child is baptized first before being allowed to enter further into the church. The ceiling of the entrance portal continues into the church and forms the floor of the choir. This choir is reached by stairs in the double back wall (18). Three sides of the church are closed. The third, the long wall with the entrance porch and the baptistery, has stained glass as the upper half, also a work by P. Schoenmakers (who is also responsible for the St. Joseph statue, the candle stands and the bronze gable cross). Inside, the altar stands on a small elevation and is thus a clear sign in the otherwise almost empty space (19). The interior finish and furnishings are austere. The walls are partly of clean masonry and partly plastered (the long closed wall and behind the altar). The floor is lined with irregularly shaped slabs of quartzite and the ceiling is trimmed with dark stained pine slats. Herman Campman (1926-1993) Hermanus Antonius Dominicus (Herman) Campman was born in Tiel on August 4, 1926. He was the youngest in a Catholic family of three children. Although his father does not see much point in it, Herman Campman knows at an early age that he wants to become an architect (20). After grammar school, Herman Campman attends the Episcopal Industrial School in 1943, which he graduates with the three-year diploma in 1945. After this he goes to the Secondary Technical School in 's-Hertogenbosch. In 1950 he was drafted into the army, which he completed in 1953. After service he attended secondary school in Tilburg where he graduated in 1958 with a high school diploma. While studying in Tilburg, one of his first projects was the renovation of his brother Jan's house. At that time he is in secondary school and signs the drawings with 'H.A.D. Campman - architect', which appears to be enough to get the drawings approved quickly. He obtains the h.b.o. diploma for the Academy of Architecture in Tilburg in 1961. In 1956 he married Riet van Ewijk and after a few years in Rotterdam they moved to Schiedam in 1959, where they continued to live (21). Campman's first experience with construction came when he helped build a water tower in Tiel in 1945 and 1946. During his studies in Tilburg, Campman works at various architectural firms to gain practical experience. He starts at Van der Meijden and Klaver in Arnhem. A firm that deals mainly with residential and country house construction. From Arnhem he goes to Helmond, to J. Magis. There Campman is head of the office. Churches, town halls, schools and houses are built. In 1956 he goes to Rotterdam, where he works for Cornelis Elffers in the design department on large projects. The firm J.P.L. Hendriks Van den Bosch J. Hendriks offers good prospects when Campman starts working there in 1961. This becomes apparent when he joins the management with Van den Bosch and Jan Hendriks in 1962. Herman Campman's first major work for this firm is the new office for Ahrend in Rotterdam (22). An important character trait of Campman that is also important in his work is humanity. He wants to build "well" for the people who had to use it. He considers his work as an architect a social task. It is not about whether you earn yourself a nice penny from your work but you have to do what you are good at. This is evident from the remark he once made to Jan Tennekes, a member of the firm's board of directors at a later stage; to his argument that he could earn as much with three villas as he did then with a year's work, Campman replied that he was not put on earth for that, he can do better and so he must (23). The increasing role that economics will play in building, according to Campman, will lead to soulless buildings and unattractive creations and short-term appreciation. This development inspires him to do his job to the best of his ability. Membership in many boards and commissions (including hospital board St.-Franciscus Gasthuis, Welstandscommissie Zoetermeer and Staatscommissie tot onderzoek van architectonische kwaliteiten in de scholenbouw) teaches Campman how to deal with people and creates a large network of potential clients. This makes him a driving force behind many commissions. Another proof of Campman's social involvement is his membership in the Schiedam city council. From 1964 to 1970 he served on the Schiedam city council for the Catholic People's Party. There he was concerned, among other things, with the plans for the renovation of the Brandersbuurt in Schiedam in 1967. Works by Herman Campman Company building Firma Ahrend, Rotterdam 1961-1963 From 1961 to 1963, on the border of Rotterdam's office district and private business center, on the corner of Westblaak - Karel Doormanstraat, the Rotterdam branch of Ahrend, a company for office equipment in the broadest sense of the word, was built. The design is by Herman Campman of the Bureau for Architecture and Urbanism Van den Bosch Hendriks Campman. The building is intended for multiple functions: sales of office supplies and furniture, offices, a light printing plant, warehouses and a staff canteen (24). The building heights on the two streets were determined by the Department of Urban Development and Reconstruction, on Karel Doormanstraat five layers and on Westblaak seven. The transition from high to low and the sharp angle of the building line make spatial design not an easy task, but a challenge (25). Within this high-low problem and that of the sharp angle, a solution of two rectangular boxes was chosen where the high "box" protrudes into the low one. The first floor and second floor follow the sharp angle of the building line, above that the two facades of the low box (along Karel Doormanstraat and part of Westblaak) have a right angle and thus protrude outside the building line. The rest of the facade on Westblaak follows the building line. The entrance to the sales department is made on the corner, so the customer enters in the middle of the department. The sales department has office products on the first floor and furniture on the second floor. For presentation and sales, a new technique is introduced, the emphasis is placed on the customer's own choice through an open presentation. To make the mutual relationship clear, the first floor and the second floor are connected by a void, to strengthen this relationship the artist Willem Thijs created a mural in this void with the construction industry as a theme (26). All floors are arranged as flexibly as possible with all wiring through the ceiling, movable partitions and as few corridors as possible. In order to still achieve optimal connections between the offices, a zone of over seventy centimeters was kept free along the façade, creating short walking routes from one space to another. An external interior designer, M.M. Grothausen, was hired for the interior design. The interior design was created in consultation with the architect, representatives of Ahrend employees and visual artists (27). When the commission for visual art in the building came about, there was early contact between the client, architect, interior architect and visual artists. The architecture and visual art should form one whole. Arnaud Volkert, the author of the article "Murals in the Ahrend House," writes: "This implies, that in order for there to be a mutually defining relationship between space and painting for the sake of spatiality, this relationship must be prepared in the labor transition from architect to visual artist." (28) Two large murals were chosen for the Rotterdam branch of Ahrend whose subject matter has a clear relationship to the company's operations. The two artists, Willem Thijs and Antoine Mes, chose the construction industry and the port business, respectively. Thijs' mural is in the atrium, while Mes' covers a wall of the stairwell. These paintings reflect the colors used for the building, including blue, gray and aluminum. These are also colors that matched Ahrend's corporate atmosphere (29). St. Clara Hospital, Rotterdam 1965-1968 St. Clara Hospital in Rotterdam, founded in 1949, suffered from a lack of space in the late 1950s. After the Minister of Social Affairs and Public Health gives permission in 1959, preparations are started for the construction of a new hospital. Construction begins in 1965. The new St. Clara Hospital is located on Olympiaweg where, slightly to the north, the old pavilion complex is also located (30). The architect Lex van den Bosch of the Bureau for Architecture and Urban Planning Van den Bosch Hendriks and Campman started this assignment, but transfers the project to Jan Hendriks after financial problems. After the hospital board still approves the plans, Campman takes over the project from Hendriks. For Campman, this is his first hospital. Because the lack of space in the old St. Clara hospital becomes increasingly acute, Campman strives for the most efficient planning, construction method and use of materials to keep the construction time as short as possible. A concrete structure is being developed with maximum openness and possibilities. 110 cm. is chosen as the grid dimension, multiples of which have determined the room dimensions on which the column distances are in turn based. The bay dimension for the high-rise will be three times 110 cm. and for the low-rise four times 110 cm (31). The block type was chosen as the design, one of the two types common at that time for hospital construction, the other being the Broadfoot type. The choice was motivated in part by the possibilities this type offers for applying different access routes. There are separate entrances for admissions and visitors, and the outpatient clinics also have a separate entrance with their own waiting hall for each specialty (32). The high-rise building consists mainly of nursing units. In addition, there are two floors with special functions. On the eleventh floor are the operating rooms with a viewing gallery for doctors and nurses in training; St. Clara Hospital is the first hospital in the Netherlands with such a gallery. Also new in the Dutch hospital world is the hemodialysis department (kidney dialysis) on the third floor. Also located in the high-rise building are the boardroom, executive offices, a demonstration room, administration, the admissions department and a hair salon. The U-shaped low building contains the outpatient clinics of the various specialties, the radiotherapy department, physical therapy, laboratories, the pharmacy, the central sterilization and service rooms. Next to the high-rise building is the kitchen building with restaurant and terrace. To accommodate all the technical facilities for the operating rooms, the eleventh floor needs more floor space than the floors below. The eleventh floor therefore cantilevers over the other floors. Adjacent to the eleventh floor, the tenth floor houses the intensive care unit of the surgery department. The other floors are standard nursing units (VEs), 31 beds per unit, two units per floor. The VEs are arranged following the single corridor system, one corridor with the bed rooms on one side and a service strip with service rooms on the other. One of the arguments for choosing the single corridor system is the occupancy of the patient rooms. Each VE has its own day room, and in the hall in the middle (the central access with elevators and stairwell) a seating area has been set up for use by the entire floor (33). For the design, spatial organization played an important role, according to Herman Campman, "The architecture, the external appearance of a building, [...] a translation of the play with spaces inside." (34) The choice of material for the exterior involves two factors: the material must require little maintenance and provide as little attachment as possible for Rotterdam's urban debris. The choice therefore falls on a decorative concrete of light cement with smooth white pebbles of different sizes. The windows are framed in anodized aluminum (35). For the high-rise buildings, the use of balconies was also chosen. Arguments for this are the possibility for their use as an escape route, the superfluity of a window-washing system and their functioning as sun and noise protection (36). The interior was also designed by Campman's firm. In hospital construction, there is hardly any separation between exterior and interior. The routing, room layout and design are related to the construction and thus must be developed simultaneously. In the 1960s more attention also comes to the patient. In St. Clara Hospital, through the use of colors and materials, an attempt was made to avoid the "hospital atmosphere" as much as possible. It should be cozy and human, as befits the tradition of the old St. Clara Hospital (37). The artists were also selected with this idea in mind. Their works not only give atmosphere to the space, but also support the architectural design (38). 900 workable days were planned for the construction of this 540-plus-bed hospital. It turns into 743, the final completion at the end of 1968 being more than a year ahead of schedule. Efficiency in the entire construction process underlies this. The construction of the new St. Clara Hospital is thus a good example of what was considered "modern hospital construction" at the time (39). St. Antonius Hospital, Nieuwegein 1979-1983 To meet the needs of the hospital-poor area south of Utrecht, the St. Antonius Hospital Foundation in Utrecht commissions the construction of a hospital with five hundred and sixty-four beds and twelve cribs in Nieuwegein. Nieuwegein is located in the proposed area and is easily accessible from Utrecht and the surrounding catchment area. Its placement near the city center promotes social integration. The start of construction is in December 1979, the planned completion forty-two months later becomes forty-five due to the expansion of the cardiac surgery department. Completion of the St. Antonius Hospital in Nieuwegein is in September 1983. The client has a number of requirements that form the basis for the structural plan made by Jan Tennekes. The most important of these is maximum flexibility with a number of preconditions. The various disciplines and departments must be expandable independently, and this flexibility must already be present in the planning phase. The usefulness of this is already apparent during construction when the cardiac surgery department is allowed to become larger than initially permitted. That expansion took place without the need for major changes to the design. This in turn fits in with the requirement that modifications should not affect the basic structure. Conditions were also set for the placement of the wards. The medical wards must all be on the same floor, preferably on the first floor, and for the nursing units, four nursing units must form an organizational unit; one standard nursing unit has thirty-six beds. Finally, there is the requirement that the hospital should not be a high-rise building, but also not a real low-rise building, so an intermediate form must be found (51). As a result of the program of requirements, a design was made in which the wide-foot type (a medical care layer with the bed house on top) was combined with the open end type (the end of a building block is easy to expand, this is especially important with the medical wards). This design is largely by Herman Campman. The design opted for medium-height buildings, four to five storeys, the hospital thus remains compact and on a human scale. The floor plan consists of a central corridor with lobes on either side, with a view to sunlight and accessibility, the corridor lies in a north-south direction. On the first floor the medical departments are located, on one side of the corridor the consultation departments with on the other side the corresponding examination and treatment departments, above that is a patient-free layer with services, including the laboratory, pharmacy and staff restaurant. The second and third floors are reserved for the bedhouses. The middle area here is used as a traffic zone and day care center. Placement of the bedhouses on the top floor is possible because expansion of the medical wards can be expected more quickly than of the nursing units. For maximum flexibility and efficiency, a limited number of construction principles were chosen; the lobes on either side of the central corridor were all made using the same system. For the roof of the first floor, a construction was chosen in which, if the second floor is extended, the roof can also serve as a floor. For the most part, the exterior facade is clad in brick, the building director of the commissioning foundation having been a brick manufacturer and having a preference for brick from that past. The aluminum facade designed was therefore largely rejected and used only as the exterior facade of the central corridor. Inside, dry finishing with drywall is used, this prevents drying times and moisture in the building. With the use of color and the choice of certain colors, an attempt was made to "negate the harsh reality of the hospital" (52). The lobes lying in line with each other have the same color, thus emphasizing the cohesion between the two departments and facilitating the orientation of patients and visitors. The colors for the wards are particularly important for recognition and finding one's way around. On the wards themselves, the colors are less prominent; however, the colors are reflected in the atmosphere. The middle area is kept neutral in the colors black and white. The use of color is integral on every floor. H. Jan Tennekes (1937) The architect Hendrik Jan Tennekes was born in Kampen on December 13, 1937 (40). His father is a carpenter and from an early age he is interested in building and architecture. From the age of fifteen, Tennekes works at various architectural firms and is sure he wants to become an architect. In his teens, he rebels against his upbringing and the faith of his parents, Article 31 (Gereformeerd Vrijgemaakt). In the 1960s he goes, as Jan Tennekes himself calls it, "with the flow of optimism, world improvement and equality for all, it was the time of John F. Kennedy, Khrushchev and Pope John XVIII" (41) . Participation in the 1968 "Church 2000" competition is in keeping with this line of thought. The church envisioned democratization and was looking for a multipurpose church building to shape that democratization. The building is to be used as a church on Sundays and used for social and more commercial functions during the rest of the week, such as a theater or a market (42). After the three-year HBS and the evening HBS, Tennekes attended the architectural draftsman and construction courses at the PBNA and went to the Academy of Architecture Twente (diploma 1968) and the Academy of Architecture in Amsterdam (diploma 1971). There are two teachers important to Tennekes during this time. Joop Hardy, cultural philosopher and editorial board member of Forum from 1959 to 1963, teaches him cultural awareness, Herman Haan is a teacher in Twente and supervises his graduation project in Amsterdam. Before Jan Tennekes joined Van den Bosch Hendriks Campman, he worked at various agencies. Among others at Jan Jans in Almelo who works in a traditional style and does many restorations. He also worked for Jaap de Bel in Nijverdal, Klein-Dommel in Enschede, Michon in Haaksbergen and Gerrit de Jong in Vroomshoop (43). In 1966 Tennekes came to work for Van den Bosch Hendriks Campman in Nijmegen. Before he gets the chance to live in his self-designed house near Nijmegen, he leaves for the Gouda office in 1968 and joins the management of the firm in 1972, which from then on is called Hendriks Campman Tennekes Architekten. Since 1995, Jan Tennekes has worked as an independent architect, but also in collaborations, including with his "old" firm now called De Jong Gortemaker Architects and Engineers. A number of building types are prominent in Tennekes' work. Like Jan Hendriks and Herman Campman, he designed many healthcare buildings, particularly hospitals, psychiatric institutions and nursing homes. In addition, schools and residential houses, including two for himself. Contests Tennekes has participated in a number of competitions and contests. In the design competition for a residential psychiatric center, organized by the National Hospital Institute in 1980, he receives an honorable mention in which he is especially praised for the integration of the institution with its surroundings (44). Earlier (in 1970) he participates in the competition for the HEMA in Gouda, which is won ex aequo by all and subsequently designed by the house architect of the HEMA. Tennekes has more success with the design for the Johan de Witt College in The Hague; this school receives the first Scholenbouwprijs in 1992. The jury was particularly impressed by how this design exudes a pride and self-assurance that students from this deprived area of The Hague (it has been called a "black school") can take with them in finding their own place in our society. In addition, the jury praised the careful finishing of spaces and details: "The building on a stage exudes a pride and self-confidence that can help students manifest themselves strongly in society. [...] This combination of realism and respect for the special background of the students is also felt in the building: organizationally, functionally and in the clarity of space, construction and use of materials. Toilet groups, conference rooms and special rooms are as carefully designed as the whole and reinforce the spatial concept." (45) In general, Tennekes does not like competitions where the winner is presented with the execution, perhaps that is why he has mainly participated in ideas and design competitions. Tennekes feels that contests nowadays are often used to get many designs on the cheap. Also, winning a competition is no guarantee that the design will be executed. For example, if the design that received the second prize fits the client's financial ideas better, there is a chance that that design will be executed. In such a case, the winner is left empty-handed even though a lot has been invested in the design. Architecture and design He does not comment on typifying his oeuvre. He designs as he thinks it should be, and the fact that at a certain point it can be categorized has less to do with his way of designing than with the urge to pigeonhole his work. Name tags in the form of movements are an artificiality. In designing, Tennekes starts from two principles. These are his serving task as an architect and the creation of a building from within. As an architect, he must provide the best possible housing for the user; the function of the building is the starting point. The human being is central to this. This is inseparable from designing from "inside out. The use and layout of the spaces must determine the spatial organization. The facade will follow naturally. What use is a building that looks beautiful, but in which it is bad to work because it cannot be arranged optimally or pleasantly? Tennekes: "It is not primarily about the building, but about the people who use it. I can put up a bloody beautiful building, but if people experience it as threatening, if they don't feel at home there, have I fulfilled my task?"(46) Jan Tennekes has worked extensively on large buildings such as hospitals and schools. Using a size system in design then makes the building manageable. This creates an order and regularity that makes the building orderly and helps the user with orientation. This is especially important in large buildings to prevent the user from losing their way, feeling lost or losing their identity. Whether that is a large or important organization, or not, should not matter in design. To allow the individuality of the user to have its value and to break through the massiveness of a building, Tennekes, in a large number of projects, divided the large buildings into smaller units with a human scale, "a multiplicity of places. The structuralist influence of Aldo van Eyck and Herman Hertzberger is clearly present here. This multiplicity of places that form one whole can be seen, for example, at two schools, the Johannes College in Den Helder and the teacher training college Zuid-west Nederland in Delft. There, an attempt was made not to turn a school for over a thousand students into a learning factory, but an optimal learning environment where lessons can also be taught using different methods (classroom, individual and workgroup). If one of the reasons why the agency never became known through the media, unlike their notoriety in, for example, the health care circle, is that it was not the agency's institution to seek and acquire that notoriety. As a firm, your responsibility was to do your best for the client, not for the editor of a (trade) magazine. For Jan Tennekes, architects who are more valued for their written oeuvre than their designs are not architects. If you want to be known for your written word you should become a writer, not an architect. As an example he gives Rem Koolhaas, who is highly appreciated for Delirious New York and S M L XL, but who, according to Tennekes, as an architect does not achieve the quality that belongs to an architect. Tennekes further believes that if you want to be written about in magazines these days, you are expected to write the story yourself, provide the photos and put money on it if they are to show interest. Tennekes has a similar opinion about designers who call themselves architects about the designers of large housing estates, who put down x-thousand of the same houses in social housing according to some standard forms that have been around for years and then call themselves architects (47). When asked what he himself considers his best works, Jan Tennekes gives a twofold answer. He talks about architecturally and emotionally important works. For the latter he thinks mainly of the psychiatric institutions he designed, including Nieuw Spraeland in Oostrum, St.-Servatius in Venray, Vrederust in Halsteren and the St.-Joris Gasthuis in Delft. The design of these establishments may not have been entirely to his own taste and views, but it gave him great satisfaction that the residents received a better living environment and felt better as a result. As a result, this is actually a good example of his ideas about the subordination of form to layout and furnishing possibilities and putting the occupants and users at the center. As architectural highlights Tennekes mentions the Johannes College series in Den Helder, Lerarenopleiding Zuid-west Nederland in Delft and its own office in Gouda, and the Streekziekenhuis Waterland hospital in Purmerend, which is a culmination of a development in designs for hospitals with successively the St.-Antonius Hospital in Nieuwegein (a design in collaboration with Herman Campman), the Streekziekenhuis Koningin Beatrix in Winterswijk (designed in collaboration with Jan Hendriks and Herman Campman) and the Streekziekenhuis Waterland in Purmerend, as 'aftermath' the Flevoziekenhuis in Almere and the IJsselland Hospital in Capelle aan den IJssel can be seen. Form follows function ... Until the rise of Post Modernism, the form of a building, its outward appearance, was of less importance to Tennekes. The design plan and the resulting floor plan had the emphasis. Post Modernism, which places great emphasis on form, made him realize that he had neglected form. Since that time, he not only pays more attention to it, but more importantly, more time. His view now is that a person sees the environment through associations, you have to include that in your design. This is a point on which he criticizes himself. Of a number of designs (for example, South-West Netherlands and his own office in Gouda), Tennekes feels that the entrance is not successful. It is not clear where it sits, the elements normally associated with an entrance are missing, the entrance therefore falls away against the rest of the building. Even though form has begun to play a larger role in Jan Tennekes' work, the social aspect, designing for people, and designing from the interior are still the most important. An example is the changing society, there are more cars, work is organized differently, teleworking, dynamic offices, and there are more and more household appliances such as dishwashers and microwaves and yet the floor plan of the kitchen, for example, remains standard as it has been for decades. A countertop, some cabinets and a place for the stove; how the rest goes in is up to the occupant. The spatial organization of buildings can also be improved. The 'walking around effect' is an important point for Tennekes; spaces with more than one entrance, with lots of light and space, thus breaking through the fixed pattern of a hallway with cubicles around it and creating new, unpredictable traffic flows. Ancillary activities Jan Tennekes is also active in areas of architecture other than design. He has been a guest lecturer and mentor at the Academy of Architecture in Rotterdam, a board member of the Association of Dutch Architects (BNA) (1978-1991), and within the BNA he was on the 1988 Standard Legal Relationship Working Group. Tennekes is one of the founders and board members of the Stichting Architekten Research Onderwijsgebouwen (Staro), which shows his interest in designing good educational buildings. In 1989, he participated in the creation of the Architecture Note Room for Architecture. Other activities include his positions as a juror at the Prix de Rhenan in Strasbourg and board member of the Economic Institute for the Construction Industry in Amsterdam. Works by H. Jan Tennekes Johannes College, Den Helder 1971-1973 When the school board of the Johannes College in Den Helder in 1971 commissioned the Hendriks Campman Tennekes Architekten firm to design a school for 1100 to 1200 students, the board had in mind a school that was suitable for the new ways of teaching that were emerging at that time. From a partnership of the school board, the teachers, the Information Center for School Building and the architect, Jan Tennekes, a school was created where the new teaching methods, in addition to classroom instruction, individual and group instruction, were well established and where the students did not have to feel lost. The school was completed in 1973. The school is composed of four and a half of these blocks, three and a half blocks are situated around a fourth, the courtyard: the agora. On the half block are the gymnasiums that could not be fitted within this system. The school has two floors that are raised above ground level to maintain openness and prevent interference from the schoolyard. Underneath the wings are the bicycle racks and entrance. To enable this differentiation in teaching methods and because the school must be able to adapt to future educational developments, spatial flexibility is an important consideration. To achieve this flexibility, a separation has been made between structure (construction and piping) and infill (facades and interior walls). In this set-up, it is possible to make all the piping on the inside of the façade panels, allowing the placement of the inner wall to be done according to one's own wishes and insights. Due to fixed dimensions and a uniform design, there is interchangeability of built-in components. This far-reaching standardization was also used to keep costs as low as possible. The school was built using the fixed sum method in which the costs including installations were not to exceed F 140 per cubic meter. In the program of requirements, the parties involved set a number of conditions for the spatial organization. Integration of different compartments should be possible, the compartments where this is most likely should be put together. To arrive at a good distribution, seven groups were made into which all subjects are divided. These are: modern languages, Dutch and old languages, social subjects, mathematics and economics, expression subjects, science subjects and sports. For these groups, we looked at which division is best and how to give the subject group its own face to increase recognition within the school. For a few of these groups, a classical class division is unavoidable, such as language arts and gymnastics. Especially in math and social subjects, a different approach to the younger and older students was also sought; this was also taken into account in the design. Based on the groups, the amount of space required by the subjects was considered. Except for the gymnasiums, each group needs an area that can fit eight traditional classrooms. Based on this fact, an attempt was made to design this space as efficiently as possible. The final design for the wings was arrived at in five steps. 1) The simplest solution is to place the eight classrooms along a long corridor, this is not very flexible in terms of classroom layout and possibly contracting or dividing the classrooms as needed. 2) The classrooms on both sides of the corridor gives a deeper wing with more layout options. 3) If the gained corridor area is then added back, a wide center strip can be created that still provides an opportunity for individual or group study. 4) If the total area is used, two classrooms can be created in the middle with smaller rooms for group work or a number of smaller classrooms with more group rooms organized into classrooms. The disadvantage here is that the shape does not invite the formation of smaller groups. 5) In this last phase, a form was sought that does. The form chosen for this is a square in which the corners and in the middle of the sides a part is left out. This shape does accommodate a flexible layout. This way also minimizes the loss of space to corridors and halls (48). Teacher training program South-West Netherlands, Delft 1976-1977 The teacher training program South-West Netherlands (ZWN) in Delft is the first teacher training program for second- and third-grade teachers in the Netherlands. Because it is an experiment, the ministry only has money left over for an emergency school. The first plan is to make a school with chain in a kind of strip building for over two thousand pupils on an area of about one hectare. After consultation with Jan Tennekes, it is decided that another, better solution must be possible for this school. As a basis for ZWN's design, the design for the Johannes College in Den Helder was used. The cost savings from the efficiency and standardization of that design come in handy in Delft. At the time of the school's construction (1976-1977), people were busy adapting the education system in the Netherlands to changing ideas about teaching. The establishment of this teacher training program is an example of this. As a result, prospective teachers must also be prepared for the new developments in teaching methods and teaching materials. In order to become familiar with these, it should already be possible to work with them in the teacher training program. Within the teacher education building there must therefore be rooms of different sizes and suitable for different uses (lecture rooms, practical rooms and work group rooms). These spaces should be adaptable per college year according to need. As in Den Helder, each subject has its own wing that can be arranged as desired. The dimensions of the square here are 27 x 27 m. with recessed corners of 5.40 m x 5.40 m. These design units have a standard shape with as little traffic space as possible and as much use as possible is made of a repetition of building elements. The building is partially raised above ground level to make room for bicycle parking and reduce the closed appearance. These parts are four stories high, the rest three. The facade is alternately closed, at stairwells and elevators, and open, at the facades of the wings. To increase the identity and recognizability of the various wings, visual artist Gerard 't Hart from Bodegraven collaborated on this project under the 1% rule. He is responsible for the use of color on the facade, the painting of the doors and stairwells and he designed the paving in the agora (49). Hendriks Campman Tennekes Architekten office, Gouda 1979-1980 In the late 1970s, Campman and Tennekes decide to merge the two offices from Rotterdam and Gouda in a new building on Harderwijkweg in Gouda. Following this centralization, the office in Nijmegen will also have to move to this building in the near future. At the same time, Hendriks Campman Tennekes Architekten also faces the collapse of the construction market. The office has to downsize and all employees will be working in Gouda from then on. Jan Tennekes himself designed the new building. In order not to be confronted with the problem of the double role of client and architect, Herman Campman took on the function of client and Jan Tennekes that of architect. Jan Hendriks left the office with the closure of the Nijmegen office. The office is a square three-story building. A core of red brick with the stairs, archives and toilets with a number of shells around it: workspaces, inner columns, glass facade, outer columns and the blinds. In the middle of the sides are separated consulting rooms. At the corners, this creates spaces made into workspaces by the furnishings. Each layer has the same layout but is given its own character by the partial functional deviation (for example, reception and canteen). The diagonals play an important role, at the workplaces you therefore find yourself between the hard stone core and the outside world. The design of this office reveals the firm's attitude toward architectural history and its own works. There are visible relationships with the 'New Building' and with the firm's own work such as, for example, the Johannes College in Den Helder and the Teacher Training College Zuid-west Nederland in Delft. These relationships are visible in dealing with the content: clarity and recognizability, the matter: austere inexpensive materials well used and without dominating, and the form of the buildings: independence of the parts, less is more (50). Streekziekenhuis Koningin Beatrix, Winterswijk 1981-1983 The Streekziekenhuis Koningin Beatrix in Winterswijk was built from 1981 to 1983 after a merger of four hospitals in the Eastern Achterhoek (St.-Vincentius in Groenlo, St.-Bonifacius in Lichtenvoorde and the General and St.-Elisabeth Hospital in Winterswijk). It has become a medium-sized hospital with three hundred and fifty beds. Jan Hendriks gets the assignment for this hospital and on the design Jan Hendriks, Herman Campman and Jan Tennekes all three worked. It is a linear design (street model) with two corridors at right angles, at this one the main entrance is situated. On the street side, the examination and treatment wards are on the central corridor and the services on the other. On the garden side are the nursing wards. The hospital is up to three stories high. With the placement of the medical wards, nursing units and services, there is also a separation into private area (nursing) semi-private (medical wards) and public (services). The medical wards are divided into four groups: psychiatry, internal surgery, surgery and pediatrics. Outpatient clinics and emergency rooms each have their own entrance, ambulance traffic has been kept separate from other traffic. The design included the possibility of expanding medical and paramedical services by 25%, and one nursing unit can be built on (53). The concrete skeleton is clad on the outside with brick. The interior walls are finished with drywall. Because of the use of brick and the low-rise building, the hospital fits into the urban planning context of the area. The examination and treatment wards have the corresponding nursing unit across the corridor. Like the hospital itself, the nursing units are made up of two corridors that connect to the central corridor at right angles. In this corner is placed the nursing station, which in this way is in the middle of the ward with therefore better control over the patients and shorter walking distances. There is also less traffic past the bed rooms this way which benefits the tranquility of the ward. The Department of Internal Surgery has the most nursing wards, two on the first and two on the second floor. The other departments have their nursing wards on the ground and second floors (54). Streekziekenhuis Waterland, Purmerend 1986-1988 The Streekziekenhuis is an important moment in the development of hospital design, especially for the office of Jan Tennekes. Here he found the optimal form for the spatial organization of a hospital. All disciplines needed in construction were present within the office, this allows a short planning period followed by a short construction period due to the application of a simple concrete skeleton with an infill of assembly elements. With the elements there is as much repetition of form as possible. For the interior walls, a dry finish was chosen. The concrete skeleton and façade elements also guarantee optimal flexibility. The floor plan of the Streekziekenhuis Waterland consists of a glass-covered passageway with two T-shaped building sections on either side, the horizontal part of which faces the passageway. The hospital has four floors with a technical layer between the first and second floors. On the first floor are all outpatient clinics, on the second floor the services and on the second and third floors the nursing departments. This spatial organizational structure is akin to the wide-foot type. In the passage there are two points of ascent, these not only connect the departments vertically, but by means of a walkway they also connect the two departments that face each other. The entrance of each building section is centrally located, there the three corridors of the section meet. Cross passages were made between the horizontals of the T's so that every third leg also receives daylight. The aim was to get as much daylight into the hospital as possible. The windows are large, from floor to ceiling, and the passage also allows the interior walls to receive daylight without a large area of exterior walls. When first planned, the passage was intended to be a traffic route into the city, not just for the hospital. This did not go through, but the design was kept to function as a street. The canopy would have exceeded the square and cubic meter standard, in consultation with the Board of Hospital Facilities, the design was modified to give the passage functional sense, with greenery and public functions such as reception, stores and terraces. The roof of the passage is double-glazed. The outer sheet is of tempered glass, and the inner one is covered with foil that prevents splinters from falling if broken. In total, the canopy allows about 25% of sunlight through, enough to illuminate the rooms and not too much to be a nuisance in terms of temperature or brightness. If the temperature does get too high, the windows in the canopy automatically partially open. From the passageway, the layout of the building is clearly visible to anyone entering and all departments are accessible a short distance away (55). The technical layer between the first and second floors replaced suspended ceilings in all departments. In this way, the technical installations could be made during construction simultaneously with the completion of the rest. In addition, repair and inspection work could be carried out easily. The floors above, the nursing wards, are laid out very uniformly and vertical piping shafts were used there. In the facade, the technical layer is recognizable by its color, gray, and because its facade is set back. This layer was not needed everywhere and in those places, the staff restaurant, the kitchen and the laboratory, this allowed the ceiling to have a greater height. For the exterior façade, façade elements were developed with powder-coated aluminum on the outside and steel on the inside. Mineral wool was inserted between the two layers as insulation. The panels are almost floor high and are hung in mounting posts. The facade has an alternating open and closed character due to these panels in alternation with the windows, in different rhythms. The different functions can also be seen from the detailing and color of the facades; the outpatient clinic on the first floor is blue, the technology layer is gray and the other layers are white. The use of color has been kept limited, especially since there is so much daylight coming in. The basic interior colors are blue for the first floor, gray for the floors, doors and frames and white for the walls. Details in other colors or materials are the yellow signage and handrails, the red elevators, benches and light lines (fluorescent tubes) and the blue elevator doors and beech wood handrails (56). Three developments influenced the design of the Streekziekenhuis Waterland. First, the social developments in health care in the 1970s, the empowerment of patients is increasing, there is a need for more privacy and smaller-scale hospitals, group nursing is developing and there is an increasing distaste for hospitals as medical technical strongholds. There are also developments in the medical, building and plant engineering fields that offer new opportunities. The third development is increased government control and the standards it sets regarding area and foundation costs. All three play different roles in the design process. The result of the social developments manifests itself in the effort to decompose the institution of "hospital" into smaller units, understandable for patients and visitors, Tennekes thus provides a counterweight to the management, which tends to put its own organization ahead of its own. The developments in building technology can help with this, but come second, the role of technology is primarily subservient. The increasing role of the government is a negative factor; tight standards make it more difficult to develop deviating concepts, such as that of the Purmerend hospital (57). By paying great attention to the furnishing plan and spatial organization, the spaces are arranged in a clear manner and are understandable, usable and pleasant for users to stay in. The use of materials and the application of color also play an important role in this, for many people these are the characteristics of a building that they consciously notice, a good spatial organization is usually subconsciously so experienced, but is not directly apparent. Because attention has been paid to all these elements, the hospital functions well. IJsselland Hospital, Capelle aan den IJssel 1989-1991 In the Eudokia-Bergweg Hospital Rotterdam Foundation responsible for the assignment for the IJsselland Hospital is the same building director who made the decision about the brick facades at St. Antonius Hospital in Nieuwegein. He was commissioned for the IJsselland Hospital to provide a design on short notice because the procedure had been going on for several years. He then chose the design of Streekziekenhuis Waterland in Purmerend. With some adjustments, the IJsselland Hospital becoming larger, the concept and building methodology was repeated. Due to the already developed, flexible building methodology, it was possible to complete the design and all preparations in a year and a half, the hospital was then built in three years (from 1989 to 1991). Since the experimental phase of Waterland and the triumph of succeeding have already been, the IJsselland Hospital is a repeat exercise for the firm. Completely against logic and expectation, the copy, IJsselland Hospital, has become more famous than the original, Streekziekenhuis Waterland (58). The relationship between St. Antonius Hospital in Nieuwegein, Streekziekenhuis Koningin Beatrix in Winterswijk and Streekziekenhuis Waterland in Purmerend The development in this series that Jan Tennekes considers the most important is that of the nursing unit. At St. Antonius Hospital, each lobe consists of one nursing ward with thirty-six beds with one nursing station in the middle of the corridor. This situation is not optimal for patients, for staff and for visitors. Because of the arrangement of the lobes, the patients hardly have a view of the outside world, but they do have a view of the nursing ward on the other side, hardly an ideal situation if you are sick yourself, moreover, there is a lot of traffic in the corridor which is at the expense of peace and quiet. Visitors also have to walk up and down more, report to the nursing station and then possibly walk back because one has to be in the first room. For the staff it is more difficult to have a good overview on the ward and at the same time keep an eye on who is coming to the ward and what is happening on the central corridor. At the hospital in Winterswijk, a solution has been found for the latter. There, the nursing ward is placed at an angle against the corridor and at that spot is the nursing post. Control of the ward is easier this way and there is less walking. The ward is still thirty-six beds in size. The patients do now have a view of the outside world; some wards even face directly onto the garden. The optimal form is found in the design for Waterland. There, using the same principles as in Winterswijk, a central nursing station where several corridors converge, a nursing ward is designed with fifty-four instead of thirty-six beds. Here there will be three corridors with eighteen beds coming together. Through the placement of the building bodies, all the bed rooms receive daylight and have a view of the outside world or passageway, "an outside world inside" (59). Conclusion The architects Jan Hendriks, Herman Campman and Jan Tennekes never became widely known. Nor did they aspire to this; they wanted to do good work for their client and make sure the users of their buildings felt at home and enjoyed working there. They themselves have hardly sought the attention of the media because for them, that fame does not mean that you are good or become better as a result. A lot of attention does not automatically mean that an architect makes good designs. Only Jan Hendriks has sought name recognition through publications and participation in competitions. None of this means that the work of this firm has never been published (by others). It is just that the architects have rarely been the initiators behind this form of publicity. Especially in the field of health care and school building they have done a lot of good work, it will not be for nothing that their firm has built very many, and perhaps most hospitals in the Netherlands, and thus is also known abroad. Especially in the seventies Hendriks Campman Tennekes Architekten is a large firm with many assignments, they have specialized in such a way that for a project little outside help is needed, departments for project and financial management, construction and interior are present within the firm. Projects are organized efficiently and without financial risk. The firm also has a reputation for building within the specified construction time and staying within budget. This reputation works in their favor when getting commissions because this is not true for all architects. As with any firm where many people work, there are differences in thinking about the profession and operations within this firm. There have been many discussions about this, but this has never gotten in the way of functioning. The goal of creating the best possible design for the client is always paramount. That so little is known about this firm stands in contrast to what its employees have accomplished over all these years. Because even before Hendriks, Campman or Tennekes were members of the board, the firm did a lot of work. After World War II, the firm was among the top ten of a group of fifteen architects (firms) responsible for 60% of the designs for the reconstruction of Rotterdam (60). Notes 1) The architect J.P.L. Hendriks is a different Hendriks than the architect in the partnership Hendriks Campman Tennekes, they are also not related. 2) Lammertink, 36-54. 3) National Hospital Institute, 1983 passim. This introduction on building for health care gives an overview of the various buildings (e.g., nursing homes, general and specialty hospitals) in health care and the typological development of these buildings. This section on hospital construction is a summary of a section from this publication. 4) Ibid 5) Van der Pluijm, 53-57. 6) Stolwijk, 94. 7) Wiarda Beckman Foundation, 11. The cost per bed is calculated by dividing the construction costs by the number of beds the hospital will have, i.e. this is without the operating costs. 8) Lambert, 15. 9) Written communication from J. Hendriks, November 1997. 10) The Bossche School originated around Dom Hans van der Laan as a reaction to the Delft School. Dom van der Laan taught an alternative theory of proportion to a group of architects in 's-Hertogenbosch from 1946 to 1973. In his theory of proportion, the "Plastic Number" determined the form of architecture. This Plastic Number was a series of measures and proportions based on the Syrian theory of proportion (1st to 4th century BC). Bossche School designs were very austere with harmony between building components as the most important element. 11) Lammertink, 47-54. 12) Written communication from J. Hendriks, November 1997. 13) Brick, 1980, 16. 14) School Building Information Center, c. 15) Construction, 1967, 741-743. 16) Bouwkundig Weekblad, 1966 258-260. 17) Vercruysse, 422. 18) Hendriks, 13-15. 19) Ibid. 20) Campman, passim. Published on the occasion of Herman Campman's sixty-fifth birthday, this volume contains contributions from family, friends and (former) colleagues. 21) Ibid. 22) Ibid. 23) Oral communication H.J. Tennekes d.d. 06.06.1997. 24) Seveke, 7-11. 25) Volkert, 193-201. 26) Ibid. 27) Op. cit. note 16. 28) Volkert, 196. 29) Ibid. 30) Technical Guide, 1969, 261-273. 31) Industrial Heritage, 1969, 428-434. 32) Construction, 1972, 834-841. 33) Op. cit. note 23. 34) Construction, 1972, 835. 35) Op. cit. note 23. 36) Op. cit. note 24. 37) Ibid. 38) Eindhovens Dagblad, 1969, 2. 39) Op. cit. note 23 40) His call sign became Jan. In correspondences and publications he used H. Jan Tennekes. 41) Oral communication H.J. Tennekes d.d. 06.06.1997. 42) Lammertink, 63. 43) Written communication H.J. Tennekes, May 1997. 44) National Hospital Institute 1980, 19. 45) Verstegen, 24. 46) Warnau, introduction. 47) Oral communication H.J. Tennekes dated 06.06.1997. 48) Bremer, 1214-1217. 49) Van den Bosch, 41-50. 50) Information from a leaflet produced by the firm for promotional purposes. Such a leaflet was produced for many designs. 51) Urban Planning, 35(1983)396, 39-42. 52) Ibid, 40. 53) Vietsch, passim. 54) Urbanism, 35(1983)388, 16-17. 55) Korbee, 118-125. 56) Ibid. 57) Ibid. 58) Oral communication H.J. Tennekes d.d. 06.06.1997. 59) Oral communication H.J. Tennekes d.d. 06.06.1997. 60) Dorman. Bibliography Anonymous, "Building in health care," Brick, 22(1980)1-2, 10-16. Anonymous, 'Residential house at Mook', Bouw, 22(1967)29, 741-743. Anonymous, 'St. Clara hospital at Rotterdam', Bouw, 28(1972)24, 834-841. Anonymous, 'Patio school at Nijmegen', Bouwkundig Weekblad, 84(1966)16, 258-260. Anonymous, 'Artworks for modern hospital', Eindhovens Dagblad, 19.02.1969, 2. Anonymous, 'Rational hospital construction for St. Clara Foundation at Rotterdam', Industrial Heritage, 6(1969)6, 428-434. Anonymous, 'In Winterswijk rises the new regional hospital for the Eastern Achterhoek', Urban Planning, 35(1983)388, 16-17. Anonymous, 'St. Antonius Hospital in Nieuwegein' Stedenbouw, 35(1983)396, 39-42. Anonymous, 'New St. Clara Hospital in Rotterdam places coronary care department in addition to intensive care', Technische Gids, 24.03.1969, 261-273. Bosch, C. van den, Education and school building, Rotterdam 1980 Bremer, J.T., Tennekes, H.J., Rip, W., 'An open learning house', Bouw, 27(1972)39, 1214-1217. Campman - van Ewijk, M.G. (ed.), Herman Campman 65 years, Schiedam 1991. Dorman, E., Wederopbouw Rotterdam 1940-1965, Rotterdam 1996, CD-Rom. Gortemaker, R. (ed.), Mens orde vrijheid Enkele essays bij het vijfentwintigig jubileum van H. Jan Tennekes, Gouda z.j. Hendriks, J., 'New R.K. St. Jozefkerk in Beverwijk', Baksteen, 17(1965)3, 13-17. Information Center for School Building, Jury Report Public study competition for the design of a six-class elementary school, s.p. 1959. Korbee, H., 'Waterland Streekziekenhuis Purmerend', De Architect, 19(1988) October, 118-125. Lambert, A., Pistor, R., 'Place of (mental) health care in society', Plan, 8(1977)7, 6-15. Lammertink, K., Internship report Campman Tennekes de Jong architects, Rijks Universiteit Utrecht 1995, unpublished typescript. National Hospital Institute, Introduction to building for health care, publication no. 84,371, Utrecht 1983. National Hospital Institute, Design Competition 1980 Residential Psychiatric Center - documentation and jury report, s.p. 1980. Pluijm, Y. van der, 'The hospital from convent to comb structure', Architecture/Building 2(1986)11, 51-57. Seveke, J.J.M., 'Ahrend's new house in Rotterdam', De Pijler, (1963)1, 7-11. Stolwijk, W.Q., Flexibility in hospital construction, s.p. 1987. Vercruysse, A.H.Th., 'De St. Jozefkerk te Beverwijk', TA/BK, 32(1965)18, 417-423. Verstegen, T., Scholenbouwprijs 1992 Eleven examples, Gouda 1992, 19-27. Vietsch, C.A., Anamnesis, diagnosis, therapy, s.p. 1087. Volkert, A., "Murals in the Ahrend House," TA/BK, 39(1963)9, 193-201. Wiarda Beckman Foundation, Hospital construction in the Netherlands, Amsterdam 1961. Drs. M. de Goeij Groningen, February 9, 1998 Education: Higher Architecture Education (now Academy of Architecture) Tilburg/-1954 Additional positions: Bond van Nederlandse Architecten/member/1956-;Academy of Architecture Arnhem/teacher/1961-1969;Welstandcommissie Hengelo/member/1970-1972;Bond van Nederlandse Architekten Afdeling Nijmegen/chairman/1983-1990;Welstandcommissie Oost-Brabant/member/1985-1987;Welstandcommissie Nijmegen/member/1989-1997;Stichting Nijmegen Blijft in Beeld/chairman/ Archives: Archives De Jong Gortemaker-Architects Gouda/.