T.J. Loggers (1900-1984) Introduction Architect Tijmen-Jan Loggers was born in Zwolle on November 16, 1900. He was the grandson of the well-known carpenter-contractor Tijmen Disselhoff from the Nieuwstraat, whose various buildings are municipal monuments. After three years of technical school, Loggers studied at the Eerste Technische School voor Bouwkunde in Zwolle until 1920. He then worked from September 1, 1920 to February 1, 1931 at the Zwolle Department of Public Works as an architectural draftsman.At the same time, from October 1, 1926 to April 1, 1931, he was director-teacher at the Avond Ambachtsschool in Elburg.On February 1, 1931, he was honorably discharged by acting director, also city architect Lourens Krook. Loggers established himself as an independent architect in Zwolle at the address Ter Pelkwijkpark 8a, and from May 1, 1932 also in Holten. His first office in Holten was located in Hotel Vosman from June 1, 1932.In 1933 Loggers built his own home cum office on the Holterberg, huize 'Panochtus' (Holterbergweg 2).There he worked uninterruptedly, as an independent architect until the war, mid-July 1941.(1) Employees of the architectural firm were Messrs. A.J. Aanstoot, G. Bearda, J. Bendijk and B. van den Bovenkamp. Loggers worked primarily with contractor Fa. H. Koopman en Zn. On September 3, 1935 Loggers became a member of the NIVA (Nederland Instituut van Architecten)and subsequently of the BNA (Bond van Nederlandsche Architecten).His letterhead mentions a branch in Amsterdam, but nothing is known about this. In 1936 Loggers was commissioned to convert a country house on the Holterberg into a hotel. This country house had been designed in 1922 by the architects A.J. Jansen from Gorssel and prof. ir. J.G. Wattjes (1874-1944).(2) On June 25, 1937, this conversion was completed and from that date Loggers and Wattjes worked together in the Architecten en Ingenieursbureau T.J. Loggers and prof. ir. J.G. Wattjes. In July 1941, Loggers and Wattjes resigned from membership in the BNA after its board passed into NSB hands. They refused to work for the occupying forces.(3) Because Loggers had been commissioned and employed by the Ministry of Defense just before the war to design encampments for the fortress of Holland, he retained a small income as an employee of this ministry, with which he could get through the war. In the spring of 1944, Wattjes died. Loggers, who was in the resistance, was wanted by the Germans and his house Panochtus, like several buildings in Holten, was confiscated by the Germans.(4) It was set up as a field hospital. In September 1944 architect Loggers fled with his family to Okkenbroek, leaving behind his archives. Some important documents were buried by his wife. In Okkenbroek Mr. and Mrs. Loggers continued with their resistance work and food shipments to the west of the country.Thanks to the architectural firm's stencil machine, they were able to print the editions behind the IJssel of resistance magazines such as Herrijzend Nederland. After the liberation, it took a relatively long time before Loggers could move back into his house cum office. The building had been severely damaged by the bombing by the Allies of the hotel De Holterberg, which was on the other side of the street.(5).Loggers' former collaborator Van den Bovenkamp had meanwhile established himself in Holten as an independent architect. This and the fact that Wattjes had died made it difficult for Loggers to reopen his office immediately. He received a request to appraise war damage.In the years 1941-1942 he had appraised in Gorkum the damage caused by the shelling by Ford Vuren to various farms in the land of Altena; so he had some experience. The first work concerned the valuation of damage in the province of Zeeland caused by the inundation of Walcheren by the Allies. Working from Breda and later from Kruiningen, architect Loggers was commissioned by the Ministry of Reconstruction as an architectural consultant to assess the war damage in the province. Thereafter he was attached to the Central Directorate of Reconstruction and Housing for Gelderland in Nijmegen. This work also fell under the Ministry of Reconstruction, established on July 23, 1945, located in the Gevert Deynootstraat in Scheveningen, from where Loggers finally assessed war damage throughout the country. In the early 1950s, architect Loggers was working in the rank of legal secretary at the Department of Inspection of State Finance, as architectural advisor to the Minister of Finance. At that time Loggers also gave architectural advice to the Algemeen Burgerlijk Pensioenfonds (formerly Pensioenraad).On June 1, 1960, he joined the ABP permanently as an architect BNA in the rank of administrator. The task of the architect consisted of the architectural assessment of all building plans.In addition, the architectural control of real estate under construction,respectively still to be built came under his supervision. Loggers remained employed by the ABP until December 1, 1965. In addition to ABP, he gave building and design advice as an independent architect to the Rijkspostspaarbank and the Spoorwegenpensioenfonds, with regard to certain buildings as investment objects. By 1956, he had established himself as a BNA architect in Wassenaar at 111 Deijlerweg. In 1965 he moved his office to Rijssen, Markeloseweg 95. Until 1975 Loggers gave about a hundred advices in which he came in contact with famous Dutch architects and contributed to the post-war (re)construction of our country. Practicing architect Loggers' architecture has undergone several influences. The development was roughly as follows. As an architectural draftsman for the municipality of Zwolle, Loggers worked under municipal architect Lourens Krook. This striking personality, who encouraged him to work as an independent architect, undoubtedly influenced Loggers' stylistic development. During the eleven years he worked for Krook, Loggers received a solid practical training. As a draftsman, Loggers was involved in the designs Krook produced. Later, when he visited England, Loggers came under the influence of the various aspects of the Cottage style. In the early 1920s, he had first visited England as a hophand of the Huysman troop of the Zwolle Scouts. There he became acquainted with the Batt family from Henley on Thames. Regular trips to England followed, where he stayed at their country house The Roadside in Wargrave.(6) Formal references to Cottage style determined his entire oeuvre. To what extent Loggers' work was influenced by Prof. Wattjes is difficult to prove. However, it did appear to be a very close collaboration.(7) Architect Loggers had a strong opinion about what he found acceptable or unacceptable in architecture, but did not take a stand in the debate, which in the Interbellum was held between adherents of different directions.(8) His disapproval mainly concerned the Traditional Building of the Delft School, designs that were harmonically unbalanced, unbalanced window divisions, buildings that were technically poorly constructed, or flat roofs that Loggers found impractical for a country where it rains a lot. Loggers designed a total of 50 houses,over a period of 12 years.Considering the number of his designs selected by the MIP, architect Loggers brought with his designs a trend seen today as a hallmark of Interwar architecture. MIP assessments speak of expression of typological development, special importance for the history of architecture and high quality aesthetic qualities. At the end of 1994, 3 houses in Twente are listed as municipal monuments, 6 houses in Holten have been nominated as municipal monuments, and a total of 11 properties in that locality are on a MSP list.In Apeldoorn, a country house is registered as a provisional municipal monument, and in Almen and Nederhemert, two more properties appear on a MIP list.(9) Loggers' designs are clearly influenced by the cottage style, as it appeared in England in the 1920s. In this picturesque style, the floor plan is often symmetrical and the rooms are grouped around the central hall. The symmetry is reflected in the facades. The country house de Vrijhof in Almen has an L-shaped floor plan, as is known from the work of the English architect Richard Norman Shaw.(10) Huize Sonnevanck the double country house on Enkweg 1-3 in Holten and huize Crito on Holterbergweg have butterfly floor plans. A number of stylistic features can be found in all his designs: high gables, thatched cantilevered roofs sometimes with a lintel, round-arched doors, vertical windows with rod divisions, penciled facade parts, verandas and loggias,shutters, use of Frisian brick and old Dutch roof tiles. In two properties he applied houtem timber framing: the 1932 bakery-shop-living house on Dorpsstraat in Holten and in the 1935 double mansion on Soerenseweg in Apeldoorn. The interior has one or more fireplaces and a fireplace or "inglenook," window sills with colored tiles,kitchens in special colors such as black and yellow or the primary colors of Mondrian. The way these details were applied determines the personal image of architect Loggers' designs. Today, some ambiguity about the style in which Loggers designed appears, partly due to publications in which Panochtus is mentioned as an example or printed as an accompanying photograph.However, this design is not representative of Loggers' entire oeuvre Although Loggers had a keen interest in East Dutch architecture and made a study of farmhouse construction in Schleswig Holstein, the timber framing in his designs is derived from the English cottage style.(11) An exception was the rebuilding of hotel Het Lösse Hoes, whose design was directly influenced by East Dutch or Saxon architecture. In 1930 Loggers designed the Huis Buis at Valkenberglaan 31 in Apeldoorn, a country house that in 1993 was placed on a provisional municipal monument list as a :'Very strikingly designed residence from the second quarter of the 20th century, provided with beautiful and intact detailing'. The property is described as one of "the more striking and richly detailed examples of business residential architecture from this period in the municipality of Apeldoorn. This indicates how Loggers designed in a rationalist style, with formal references to the cottage style. This refers in particular to the cottage style as elaborated by the English architect C.F.A.Voysey (1857-1941). The House Buis, named after the client B.Buis, has a symmetrical floor plan and symmetrical window arrangement. The entrance is on the side and forms the beginning of a central axis with equal spaces on either side. This axis runs parallel to the front facade, as it were, which in turn has a symmetrical window division. The mansion has a steep, thatched gable roof, which crosses over. As a result, the rafters and eaves are visible as framing the front facade and help provide said detailed finish. Other examples of the detailed finish include the vertical iron windows with small 3x4 pane divisions, stained glass, a panel with the name of the house in stylized letters and the stylized entrance gates (no longer present in 1994). Architect Loggers drew up a zoning plan for Holterberg in 1935.(12) At that time, villa districts appeared all over our country, encroaching on nature, but Holten was spared this. Nothing can be found of this plan but there are clues as to what Loggers intended approximately. Loggers designed practically all country houses on the Holterberg in the thirties. With the arrival of Mayor Baron A.P.R.C. van der Borch van Verwolde in 1908, the municipality made a conscious effort to open up the municipality for tourism.(13) A property deed of hotel Hoog Holten shows that there was a limited liability company "Maatschappij tot Exploitatie van Landhuizen in den Holterberg".(14).The deed mentions the names of well-known Twente manufacturers. These manufacturers exploited land on Holterberg, including as hunting grounds. They undoubtedly had an important voice in the chapter in the plans to preserve Holterberg as a nature reserve. The country houses that Loggers commissioned formed a whole with the surrounding nature and were often built on the edge of the Holterberg. At that time, the mountain still provided an unobstructed view of the adjacent valley. Several houses were built as second homes. In Rijssen, some factories commissioned the construction of the Rijssens Schwartzwald nature reserve. Loggers designed three mansions there, two of which are on a provisional municipal monument list, the third mansion 'Gerlovinc'burned down in 1942.(15) Panochtus In May 1990 the booklet Grandparents Architecture was published, a publication of Het Oversticht with examples of monuments of Younger Architecture in Overijssel. The following was written about the house Panochtus on Holterbergweg 2: 'The expressionist architectural style of this villa is reminiscent of the typical, organic Amsterdam School villas around 1920. The wooded surroundings probably inspired the architect to this design. The organic effect is reinforced by the name 'Panochtus' which, loosely translated, means 'a very large danger'."(16) Panochtus was designed in 1933 as a house-architect's office by architect Loggers. The design features a circular front facade with cantilevered thatched arch roof. The front facade façade is divided into 6 segments, with windows in a concrete structure and potted boards at the first floor. In the first design, the roof ran down at the rear facade and was also round. Several versions of the first floor plan are known; the final version was largely symmetrical. In about 1937 a piece was added. It became two building volumes under a continuous attic with hood. This roof showed a kink in the middle and was rounded again at the rear facade. Downstairs, the two volumes were connected by a wall with a round arch door separating two loggias. Despite the elongated shape, symmetry was maintained in the floor plan. In an inexpert remodeling after 1956, it was lost. The living room was located in the front circular section. A fireplace in glazed hand-formed stone and slate floor was flanked by two heavy stable doors. Mirroring each other in the side walls were two stained glass windows by English artist Barbara Waller-Batt. One window depicting "King Harry's Shippe," the other probably the "Flying Dutchman. The teak rift floor came from an Indiaman. The agreement with the Amsterdam School lies more in the idea behind this personal design: Holterberg is a remnant of a moraine from the ice age. The spot where Panochtus was planned was low vegetation and there was a view from the Holterberg to the valley where the village is located. The design was inspired by an otherworldly animal crawling over the mountain and fixing its gaze on the valley. The name is derived from this although strictly speaking Panochtus means Many Hills (translation from Greek). The round shape was previously seen in two designs with a butterfly floor plan, at a double mansion on Enkweg 1-3 and at Holterbergweg 13. Prof. J.G. Wattjes In 1936 Loggers was commissioned to convert a country house on Holterberg into a hotel. This country house had been designed in 1920 by the architects A.J. Jansen and Prof. ir. J.G. Wattjes for the poet Martien Beversluis, who wrote ten canzonas entitled "Het huis op den Berg. Wattjes was advisor to the architectural firm Jansen and Jacobs from Zutphen in those 1920s.(17) All that remains of the building is an ownership deed, which shows that G. Grondsma, a merchant from Leeuwarden, became the owner of the property. In the magazine Het Bouwbedrijf, ir. Th. van Rosse characterized the conversion by Loggers as a building with an exterior architecture that was well adapted to the surrounding landscape, "a good example of simple, well-kept, not wanting modern contemporary Dutch rural architecture."(18) The design was by Loggers such that no transition between the existing building and the new section could be seen. Moreover, it is an example of his nod to expressive architecture. Apparently this design appealed to Wattjes to such an extent that a close collaboration began from then on. Wattjes worked from his home office in Rijswijk and came to Holten several days a week. Clients were also received by Loggers and Wattjes in Rijswijk and Holten. Loggers made the designs and Wattjes the technical calculations. The drawings were always signed by both architects. Together they also gave advice to architects in their problems with the Beauty Commission. In 1938 Loggers and Wattjes were commissioned to design two double and one single middle-class houses in Hengelo . Loggers and Wattjes designed those homes in accordance with advanced standards for the time. All bedrooms were equipped with a fixed sink with connections to cold and hot water pipes and with cabinets above for toiletries. The floor contained a toilet and a bathroom with a built-in bathtub. There was opportunity, if a gas boiler was used, to place it outside the bathroom. A separate galvanized iron gas stove tube was provided for this purpose. The vestibule contained a grocery closet accessible from the outside. The kitchen had a double sink and a fly box, which was bricked into the exterior wall. The homes were equipped with central heating; the heating basement was under the kitchen. This heating in particular was exceptional at a time when at most a chimney for a stove was available in middle-class homes.(19) These high technical requirements in terms of comfort in the homes were characteristic of the influence Wattjes had on Loggers. Wattjes, as Professor of Construction of Buildings, was very involved in the technical completion of the joint designs. This influence played an important role in Loggers' work as a consulting architect after the war. For example, in 1961 the Algemeen Burgerlijk Pensioenfonds invested in four-story dwellings in Enschede's Akerstraat, with no elevator. Loggers objected to this because he believed that there should be at most three floors without elevator.(20) Publications Architect Loggers also wrote about architecture. Because of the war, few were published but the preparations, including those with Wattjes, give a picture of what kept Loggers busy. On September 1, 1935, the first edition of the first volume of the magazine Kering appeared. So far, any trace of other editions of this magazine is missing. It was headed by Chr. van der Veer and published in Oosterbeek. Judging from the first, and only known issue, it seems to be a kind of manifesto. The editors and staff were formed by Delft engineers, architects of various directions, contractors, experts in the field of construction.(21) Loggers wrote an article about his design the estate "De Vrijhof" in Almen. Kering's edition was found framed in the Vrijhof. This estate was designed in a style that differed in many ways from Loggers' style. It was designed in consultation with the client who had definite ideas and proved particularly difficult. The contractor went bankrupt, with the subcontractors corresponded about the amount of the price. The commission dated from 1932, but correspondence about all sorts of problems assumed by the owner extended to 1936. In a letter dated October 2, 1942, ir. Th. van Rosse, editor of Het Bouwbedrijf, wrote about an article by Loggers on farmhouse construction. Mention was made of Loggers' study on farm building and he was asked to write a review of S.J. van der Molen's booklet entitled 'Het Drentsche Boerenhuis en zijn Ontwikkeling'. This booklet is mentioned as a new edition but the requested review is missing.(22) In 1943 Wattjes asked for photographs of council houses in Enschede by Friedhoff, in Usquert by Berlage and in Katwijk by Hooykaas and Bokhorst as illustrations for an article by Loggers. However, nothing was published [23]. Loggers made some study trips to Schleswig Holstein just before the war to study farm building. Wattjes and Loggers decided to jointly publish a book on farm building. The discussions about this are reflected in a letter from Wattjes to Loggers. It was to be a standard work on farm building. 'I believe that we are doing a good job with this in general and, moreover, that it is also a very effective and neat way, to draw attention to our after the war to be founded(!) office. Also a good means of getting certain commissions," Wattjes said. The illustrations consisted of pen drawings and photographs. In the Loggers archive there are still pen drawings of details of farms taken from Wolfgang Triebel's booklet Das Alte Land.(24) Kosmos would be the publisher.(25) War World War II made it impossible for Loggers to continue his practice. In 1941, the BNA had a collaborationist board, after which more than half of its members cancelled membership. Loggers and Wattjes did the same. Chairman of the circle Salland ir. Knuttel from Deventer thanked Loggers personally for canceling membership. After the war, the touchstone of whether an architect had been "right" or "wrong" was membership in the BNA after the Nazification.(26) In general, there was a ban on building during the war. The Reichskommissar could grant exemption from this. for this it was necessary to be able to indicate that the building work was in accordance with the German views represented by the Bevollmachtigde für die Bauwirtschaft.(27) For an architect like Loggers, who was in the resistance and refused to be a member of the BNA, any continuation of his practice during the war was impossible. Consulting architect After the war, a new period in architect Loggers' career began. His work was mainly determined by giving design-build advice. Because of his work for the Ministry of Reconstruction, architect Loggers was automatically employed by the Ministry of Finance. After completing his duties as claims commissioner, Loggers worked at the State Finance Inspectorate and was in charge of advising the Minister of Finance, regarding construction projects to be financed by the State. From this period his involvement in the first central student housing such as the so-called starflat in Leiden is known. In addition, Loggers gave advice to the ABP. Architect Loggers became the founder of real estate ownership for the ABP. Loggers worked in permanent employment for the ABP but also, and later exclusively, gave advice as an independent architect to the Rijkspostspaarbank and Spoorwegen Pensioenfonds. In addition to advice from Loggers, advice was sought from ir. H. Starke. Such an investment project came about as follows. Unlike before the war, after the war investors did not take their own initiatives but waited. Brokers were the first to become suppliers of investment objects. Architect Loggers studied the objects on offer and gave advice, then defended his advice in the Central Investment Board. However, he did not do this alone. A second, also independent consultant was asked for an objective opinion from the Central Investment Board. For the first purchases by ABP, B.W. Schippers, director of real estate investment company 'Laan van Meerdervoort' in The Hague, was asked for advice. Ir. H. Starke became an employee of the aforementioned company and then worked independently as Bouwtechnisch Advies en Ingenieursbureau Starke B.V. He became known for the so-called Starke door. This referred to the door between the kitchen and the adjacent dining and living room. This door was often missing from the original design for financial or layout reasons. In practice, this connecting door proved to be very important.(28) After a period of "letting the cat out of the tree," a mutual trust arose between Loggers and Starke that grew into a close friendship. The reports of the two advisors were always sent to the Investment Advisory Board under their own responsibility and uncensored. Although there was mutual consultation, the views could differ, for example on components. The opinions were considered secret. No background information about this period has been preserved in the Loggers archive. Ir. Starke was kind enough to write a report on the background of the work of Loggers and himself(29): Our country came out of the war totally destitute. There was a lack of everything but above all of good government and a clear program. Monetary rehabilitation (Lieftink's Ten) and good administration were very important in this. A healthy balance of trade had been created by advancing industry and restoring infrastructure. However, this was at the expense of housing and public housing. Housing construction was not profitable. Premiums kept rents at an acceptable level. In a relatively short time, industry with modern production provided plenty of jobs. Before the war, the need for cheap housing was mainly covered by the municipalities themselves and private companies. After the war, the central government had to finance housing construction and had to obtain the necessary funds. Borrowing even more on the capital market was unfavorable for interest rates. The solution was found in getting money from large semi-government funds such as ABP and Rijkspostspaarbank. These institutions were reluctant to be forced to lend even more money at the lowest possible interest rate, without being able to benefit from value increases. They wanted to benefit from the increase in prosperity, so they also wanted to be able to invest in "risk capital," such as freely tradable shares and real estate. This required a change in the law. Eventually, permission came to invest up to a certain percentage (5%) of assets in risk-bearing capital within the Netherlands, according to Starke.(30) The Investment Act of 1928 established the position and task of the Central Investment Council. This council was charged with regulating cash investments of the various semi-governmental institutions such as Algemeen Burgerlijk Pensioenfonds and Rijkspostspaaarbank. Through a change in the law, this council was also charged with regulating real estate investments. According to the 1902 Housing Act, government support was given to institutions working exclusively in the interest of improving public housing. In 1962, another category was added, namely institutions that were also working in the interest of public housing. This change required an order in council. This was drawn up by a committee set up by the Ministry of Spatial Planning and Housing. Architect Loggers served on this committee, chaired by Mr. H.J. Wytema, mayor of Haarlem.(31) In 1965, Loggers' employment with the ABP ended. This work also had its unpleasant side, as Starke later wrote: "I do not think, therefore, that he bade farewell to the ABP with melancholy."(32) The position of the architect changed with the postwar developments in housing construction. Local brokers managed to get an option on a part of an expansion plan suitable for investment. A plan was then designed with a technical description and guide price. The architect drew and the contractor charged, both on a 'no cure, no pay' basis. The result was that the investor had to redo all the work to get a clear picture of the product and the final price. An unpleasant situation for Loggers and Starke.After a difficult start, contractors understood how to proceed. They included the broker's and architect's fees in their price. This came to an end as the contractor increasingly became a developer and sidelined the broker. The architects did not participate in this development. They strictly adhered to their code of honor and thus became the victims of the new power relationship and they were no longer the representative of the client.(33) Architect Loggers and ir. Starke knew the position of the architect too well from their own practice. The projects as shown in the oeuvre list came about in consultation with well-known architects, such as, for example, Van den Broek and Bakema, H.A. Maaskant, E.F. Groosman, ir. J. Vlaming, ir. H. Klarenbeek, H.J. Zwarts and many others. Among them were a number of architects who belonged to the "angry young men" who, after the war, worked for a broadening of and an interaction between the different views in architecture, stimulated by Jaap Bakema. D. Apon formed the editorial board of Forum with Aldo van Eijck and Herman Hertzberger in 1957. This was a turning point in the development of Dutch architecture. Work by these postwar architects was featured in the 1960 exhibition at the Beurs van Berlage, under the title "Young Architects in Reconstruction 1940-1960. The names of Ernst Groosman, Hein Klarenbeek and Wim oomen can be found in Loggers' recommendations. One of Loggers' projects for ABP in 1965 was the construction of two office flats with stores and so-called intermediate floors, to a design by ir. J. Vlaming, on Boulevard 1945 in Enschede. In 1962, the recommendation was approved by the Central Investment Board and construction was completed in 1965. Vlaming's project involved some 20 million guilders. It was a plan of 2 times 12 floors connected by a low intermediate building, to the far right an exhibition and retail space. The towers were intended as offices showrooms and sales areas. The building had a strategic location on the connecting road to Germany. In an interview with Loggers in Grondslag, staff magazine of the ABP, about an investment property in Enschede, Loggers indicated that a good architect must also be a bit of a planner and have an interest in sociography. Loggers saw these aspects as "the proper conception of the architect's task."(34) Relative to Loggers' vision regarding the 1935 Holterberg zoning plan, his insight does not appear to have changed over the years. In the interview Loggers stressed the importance of central heating, although he understood that this was not possible everywhere. Another design was the office flat "Nieuw Overvecht" in the expansion plan Overvecht-zuid in Utrecht, commissioned by the Rijkspostspaarbank in 1976. This building was designed by architects K. Landers and Kempers of Rotterdam and later expanded with a covered parking facility and a gasoline and lubrication station. Since no building archives remain of the Spoorwegen Pensioenfonds, the recommendations to that institution cannot be clearly visualized. Real estate investments in Maarn, Bergen, Vleuten, Amersfoort, Middelburg, Amsterdam and Wormer were made partly on Loggers' advice. Study trips Architect Loggers made several study trips to study how buildings were built in other European countries. In November 1960, an excursion was made to Berlin to study Van den Broek and Bakema's tower block in the Hansaviertel. This was done with the intention of building a similar building as an investment property in The Hague. Loggers and Starke wrote a report on tower block in the Hansaviertel. The authors found a similarity between the way Van den Broek and Bakema realized the various housing forms in the Hansaviertel reconstruction plan and the insights of these architects in "Plan Kennemerland. There, a study of the application of new residential concentrations was commissioned by 11 municipalities in 1957.(35) In addition to the Hansaviertel, a visit was made to the Otto Suler Siedlung. Loggers also made trips to Oslo, London and Stockholm, where the new suburbs were studied. Aschenhütteclub In 1964, architect Loggers was co-founder,member and honorary member of the Aschenhütte club. The club was born in the autumn of 1964 in the Schwartzwald, at the hotel Aschenhütte, during an excursion of mainly Twente people to a factory for accoustic ceilings. The company consisted of "construction workers" from various fields. Ir. Starke wrote: "It is indicative of the atmosphere in which we worked, and here in the West an incomprehensible phenomenon. We came to the realization that although in our daily work purely in terms of business we were sometimes fiercely opposed to each other, this did not harm our personal esteem.'(36) The club still existed in 1995 and its purpose was to exchange experiences and ideas on a regular basis and to take a study trip at least twice a year. In addition, he was Loggers of the Hague Art Circle. In the career of architect Loggers two periods can be distinguished. Before World War II, he worked as a practicing architect, specializing in designing country houses. After the war, he worked mainly as an advisory architect for a number of government agencies. In 1974 the management of the Rijkspostspaarbank changed and investment in real estate ceased. For architect Loggers, this marked the end of his career, although in the following years he still occasionally gave individual advice. Loggers died in Rijssen on September 21, 1984. Tineke Loggers Acknowledgements. The author is indebted to the following persons and institutions: A.J. Aanstoot, drs. Tj.W. v.d. Berg, Henneke de Boer, H. and T. Koopman, Ministry of Finance, ir. H. Starke. Notes 1) In 't Veld, p. 45. 2) Van Rosse, p. 79. 3) In 't Veld, p. 47. 4) Hols and Steunenberg, p. 136. 5) Hols and Steunenberg, p. 136. On April 7, 1995 at 6 p.m. the teahouse'De Holterberg' was bombed by 4 Hawker Typhoons of No. 609 Squadron RAF. 6) Waller, p. 72. 7) Letter from Wattjes to architect Loggers dated March 22, 1943. Present in archives of architect T.J. Loggers. 8) Prak, p. 118-119. 9) Monument Inventory Project in accordance with the Monuments Act concerning Younger Architecture (1850-1940) of 1984. 10) Richard Norman Shaw along with Phillip Speakman Webb (1831-1915) were leaders in the English country house style of his time. 11) Communication A. Aanstoot, former employee of architect bueau Loggers. 12) Application by architect Loggers for membership in the NIVA on September 3, 1935. 13) Brands. 14) Title deed for G. Grondsma of a country house with land municipality of Holten section B 1968. Drawn up by notary H.W. Teeselink in Markelo on November 11, 1936. 15) Gerlovinc was a country house designed by order of jhr. H.P.F. Coenen van den Oosterhoff. The name was derived from the estate from the 14th century, belonging to the havezathe Den Oosterhoff in Rijssen. 16) Oversticht, p. 22. 17) Letter of April 5, 1921 to Board of Governors of the Technical High School in Delft in which Wattjes received permission for 3 years to work with the architects A.J. Jansen and G.J. Jacobs in Zutphen. Algemeen Rijksarchief, The Hague. 18) Van Rosse, p. 79. 19) Notes to the Application for Building Permit on November 15, 1935 by architects T.J. loggers and J.G. Wattjes. 20) Minutes Central Investment Board 1968. General State Archives in The Hague. 21) Kering. 22) Het Bouwbedrijf, May 21, 1943. 23) Letter dated 23 January 1943 from Wattjes to architect T.J. Loggers. Archive architect T.J. Loggers. 24) Letter from Wattjes to architect Loggers dated March 22, 1943. Present in archives of architect T.J. Loggers. Het Bouwbedrijf, May 21, 1943, p. 83. 25) Triebel. 26) In 't Veld, p. 45. 27) Het Bouwbedrijf, February 11, 1944. 28) Note from the National Post Office Savings Bank, May 27, 1983. 29) Letter from H. Starke, August 5, 1994. Archive of architect T.J. Loggers. 30) Letter from H. Starke dated August 5, 1994. Archives architect T.J. Loggers. 31) Report Commission on Bodies Working in the Interest of Public Housing. Publication Institute of Spatial Planning and Public Housing, 46 volume 1965 no. 9, September 1965. 32) Letter from H.Starke dated August 5, 1994. Archive of architect T.J. Loggers. 33) Letter from H. Starke dated August 5, 1994. Archives architect T.J.Loggers. 34) Grounds, Personnel Organ Pension Board, 1st Annual No. 6 March 1962. 35) Loggers and Starke, Tower Apartment Report (Loggers archive). 36) Letter from H. Starke dated August 5, 1994. Archives of architect T.J. Loggers. Literature Het Bouwbedrijf, 24-05-1943 and 11-02-1944. M. Brands, Holten van Huis uit, Zwolle 1987. M.J.G. Hols and H.J. Steunenberg, Holten in Oorlogstijd (wartime), Nijverdal 1984. Het Oversticht, Grandparents Architecture, Zwolle 1990. N.L. Prak, Het Nederlandse Woonhuis van 1800-1940, Delft 1991. I.Th van Rosse, "Hotel Hoog Holten, architect T.J. Loggers (NIVA)," Het Bouwbedrijf, 29-04-1938. W. Triebel, Das Alte Land, Berlin 1926. B. Waller, Window Panes, Singapore 1991. Periodicals: Het Bouwbedrijf (Moormans Periodical Press, The Hague). Kering (Chr. v.d. Veer, Oosterbeek). Additional jobs: Evening Craft School Elburg/ acting director/1931 (about)