J.M. Luthmann (1890-1973 Julius Maria Luthmann was born in Maastricht on Jan. 28, 1890.(1) After training as an architectural draftsman in Rotterdam, he worked in The Hague from 1912 to 1915, after which he moved to Amsterdam for further training.(2) He also lived there while employed by Landgebouwen from 1919 until 1923. In 1923 he settled in The Hague, where he remained until his death in April 1973.(3) On May 18, 1932 he married W. Buitenveld in The Hague.(4) In 1929, when characterizing the architects invited to the closed competition for The Hague's new city hall, a letter wrote that Luthmann was a "calm person" who would need help with the "technical part."(5) This characterization does not seem entirely unjustified, since he worked with engineers more often. This was the case with his first major commission, the radio-telegraphic station in Kootwijk, but also, for example, with his church on Rietzangerlaan in The Hague. It is notable, however, that Luthmann often included unusual structures in his designs of his own accord, such as the large glass canopy in the unfinished design for Enschede's town hall. He apparently saw his own limitations and, if necessary, enlisted help.(6) The training period Luthmann trained as an architectural draftsman around 1910 at the Academy of Visual Arts and Technical Sciences in Rotterdam, where Van der Kloot Meyburg, Van Goor, Nieuwenhuizen and Otten, among others, taught. Luthmann also spent some time working in Otten's office. Of great importance to Luthmann was the arrival of W. Kromhout as a head teacher of architecture.(7) Kromhout's plastic architectural conception and monumental stubby towers (as in his 1913 City Hall design for Rotterdam) did not miss their effect on Luthmann, as the reinforced concrete radio station near Kootwijk shows.(8) In 1912, Luthmann, who was still in training, joined Gemeentewerken in The Hague for a few years.(9) He did not keep good memories of this. In his 1960 'Retrospective', nothing was explicitly said about it for that reason: 'After this study [Rotterdam] I was employed by a municipality which I will not mention here. I designed some buildings there which I now, if I happen to visit again, walk around with a wide bow.' Later in that article, Luthmann criticized The Hague's urban planning policies, but perhaps the failure of his town hall project also negatively affected his opinion of The Hague. In 1915, he left for Amsterdam. Through his work in the office of the very broadly oriented Eduard Cuypers, he came into contact with architectural developments abroad, such as in Great Britain, Austria, Scandinavia and Germany. Apart from Otten and Cuypers, Luthmann also worked for the office of H.A.J. and J. Baanders, where he started in 1917, and where he collaborated on projects such as the garden village `Heyplaat' in Rotterdam, an unfinished project for a garden village for the Oranje Nassaumijn in Heerlen and 'many banks'. This firm employed many young architects, who enjoyed great freedom. Luthmann says: 'The late Herman Baanders allowed his employees a lot of initiative, which made the office attractive to aspiring architects. He himself acted mainly criticizing and admonishing.' The tighter, often monumental variant of the Amsterdam School as we see it at the Baanders firm undoubtedly impressed Luthmann, as his radio broadcasting station in Kootwijk (first design 1919) shows. Such architecture is also seen, for example, by W.A. Maas, who became known for his Da Costaschool in Utrecht (1923) and who also worked at the Baanders bureau.(10) From 1915, Luthmann attended the Voortgezette en Hogere Bouwkunst course in Amsterdam, which had been set up on the initiative of W. Kromhout. He did not pass the exam, administered by Van der Mey, but he must have made up for that loss later, since in 1929-1930 he himself became a V.H.B.O. teacher. Luthmann wrote in his 1960 "Retrospective" that as a result of the poor economic conditions caused by World War I, many architects tried to enter public service. He himself worked from 1915 to 1917 at the Department of Buildings of Public Works of Amsterdam, whose commissions at the time included architects such as De Klerk, P.L. Kramer, Rutgers and Boeken. Since there is no mention of these architects in the "gentlemen's books," they had no permanent appointment.(11) Luthmann is known to have made study trips to Scandinavia, Italy, France, Belgium and Germany. A travel sketch of a trip to France has survived.(12) Further career At first, the V.H.B.O. course was not completed because Luthmann got a job immediately after failing his exams: 'Then came that phone call from Blaauw. Whether I wanted to come and work at the office of the Chief Government Architect, in the 2nd district [should be Landsgebouwen, 1st district], ir. Theeuwisse [= ir. H. Th. Teeuwisse].'(13) The assignment he received there would become his most famous work: the radio station in Kootwijk, on which he worked from 1919 to 1923. Luthmann was hired as a temporary superintendent at Landsgebouwen, first district, on May 16, 1919, but on July 3, 1920, by R.D., he was given a permanent appointment as an architect retroactively from January 1, 1920. On September 27, 1923, as a result of the reorganization that led to the formation of the State Building Department, he was honorably discharged.(14) For `Kootwijk' he worked together with ir. J. Emmen, who would later become known for his concrete construction. Some years after Luthmann's resignation in the 1923 reorganization, on Feb. 7, 1927, he received a certificate from the Government Building Department at his own request; however, it is not known what he needed it for.(15) In 1923 Luthmann settled as a private architect in The Hague, where he did not have his own office, but collaborated with others, especially Gemeentewerken. In 1929-1930 he acted as a lecturer at the Voortgezet en Hooger Bouwkunst-Onderwijs in Amsterdam. After winning the Hague City Hall Competition in 1933, Luthmann was in temporary employment with Gemeentewerken of The Hague from 1934 to 1943. In addition, he was a temporary assistant in Delft from March 12, 1934 to January 1, 1936. Luthmann resigned from Gemeentewerken in 1943 because he refused to serve as supervisor of debris clearance in the parts of the city being demolished for German defense works. After that time, he continued to work as a private architect, including the later City Hall construction.(16) Beginning in 1952, Luthmann worked with the architect W. Prent, with whom he associated on June 1, 1963. After Luthmann ended his work on July 1, 1967, Prent associated with the architect W. Landman, creating the firm Prent & Landman. Luthmann continued to work as a consultant. Joint works by Luthmann and Prent include the Red Cross Hospital in The Hague and the agency of the Nederlandsche Bank in Eindhoven, both completed in 1960.(17) Luthmann's role in architectural discussions Luthmann always took a very active role in the architectural discussions he faced. The first important reason for reaching for the pen was the reorganization of the national building offices. Already during Luthmann's work in Kootwijk, a reorganization of those offices, which fell under different ministries, began. From August 1, 1922, there was an administrative Department of State Buildings, although the old district system remained for the time being. On Sept. 27, 1923, shortly after the completion of Kootwijk, the building offices were more radically reorganized, with Land Buildings gradually laying off more than half the staff until 1924, including Luthmann, who was honorably discharged on Nov. 1. As of January 1, 1924, the district system of Landsgebouwen had been abolished and, by merging with three other building offices (out of the total of thirteen), the State Building Department had been formed. In response to the impending reorganization, Luthmann wrote in 1922 about the importance of good government buildings, pointed out that the members of parliament had not been informed enough about the improvements in this field, and criticized the artists' and architects' associations, which hardly interfered in the discussion of the architect-government relationship.(18) Another matter with which Luthmann was much concerned was the Hague town hall issue. In the discussion about the future location of the new town hall, he came up with the idea of building on the Hofvijver. For this he made a design in 1925 that was published in the magazine Architectura and the newspaper Het Vaderland. This plan was not carried out, but in 1934 he still received the commission for the town hall after winning the competition held for this purpose. The other entrants were: J.F. Staal, A.J. Kropholler, W.M. Dudok, D. Roosenburg and P.L. Kramer. Luthmann's contenders were certainly not the least of these. The jury verdict on his design was only moderately positive. Luthmann's construction would not fare well: after elaborating and modifying the original design, the Second World War broke out, so no construction took place. After the completion of the office section, construction stranded for financial reasons. Luthmann continued to think about completion, but the plans did not come to fruition. Despite everything, he was made a Knight of the Order of Orange Nassau at the opening of the office section in 1953.(19) Activities for associations, organizations In 1925, when he published his first council house plan, Luthmann was an active member of the Society Architectura et Amicitia, where he was registered from 1916-1932 and 1956-1960. He was an editorial board member of the magazine Architectura between 1921 and 1926. He was a member of the Amsterdam Exhibition Board for this society in 1922-1923 and of the Hague Welstandsraad in the 1950s-60s. Luthmann was also a member of the B.N.A. There he repeatedly campaigned for a greater role for the architectural associations, for example in decisions to be taken by the government. He sometimes reproached the associations for being too passive.(20) In the 1930s, Luthmann belonged with Berlage, Dudok, Gratama, Hulshoff, Van der Kloot Meijburg and J.F. Staal to the editorial board of the twenty-volume work Modern Architecture in the Netherlands, which consisted of photobooks and an introductory volume. One of the two introductory chapters was by him and showed a preference for the more traditional direction in modern architecture. In it, speaking of the symbolism of medieval architecture, he cited Karl Scheffler's Der Geist der Gotik. Furthermore, in this chapter he expressed his admiration for Dudok, whose influence on him was readily apparent since the transformer station for Radio Kootwijk (1921).(21) Among his other activities were his position as advisor to the Carnegie Foundation and, in 1941-42, jury membership in the competition for a crematorium of the The Hague branch of the Vereeniging voor Facultatieve Lijkverbranding. He was also a member of the jury in 1965 for the A.J. van Eckstichting, which awarded a prize once every five years for a building in which the construction was integrated as cleanly as possible.(22) Influences in Luthmann's oeuvre. Luthmann, as mentioned above, already became acquainted with many different influences through the office of Ed. Cuypers office, Luthmann had already become acquainted with many views on architecture. In his early work, the influence of his aforementioned teacher Kromhout stood out, as well as the important Scandinavian influence as it was common among Amsterdam School architects. With Luthmann, as with J. Crouwel Jr. working for the same Bureau of Land Buildings, the influence of Eliel Saarinen, an architect who enjoyed great fame between 1910 and 1920, seemed especially important. In particular, the first version of the design for the radio station in Kootwijk shows this. The later vertically emphasized window tracery is still horizontal here, and the shape of the hall, with walls divided into bays, a stepped roof and a facade with a monumental arched window also support this impression. The large closed area of the rear facade with the arched window flanked by two polygonal extensions and the interior of the hall recall Helsinki's then very famous railway station, which had earned Saarinen an honorary doctorate in 1918. Luthmann's attention probably turned to Saarinen earlier, since the aforementioned exam (for which he failed just before going to Landsgebouwen) consisted of a commission for a group of government buildings. Luthmann wrote in 1960, that he made endless studies for parliament buildings based on a book on the subject. As a result, he probably also came across Saarinen's well-known and often pictured design for the Helsinki Parliament Building (1908). The main form of this building seems to be repeated by two sphinxes flanking the entrance. Luthmann himself, as he later said, deliberately chose Egyptian forms for his building to express the mystery of the concept of `radio.' The first design from 1919 seemed to have the form of a highly abstracted sphinx. In the executed version, the `Egyptian' is less prominent due to greater ve rticality. As a result, it appears more like a cathedral.(23) Luthmann's interest in Scandinavian architecture was enduring, as an interview in Het Vaderland in 1955 revealed.(24) The influence of baroque and classicism, so characteristic of the North, manifested itself in Luthmann's the often `baroque' details in the otherwise austere designs. These details were present early on, as, for example, the `baroque' tower window for `Kootwijk,' which was not carried out. Another important, lasting influence was that of W.M. Dudok. The appreciation for this architect went well with the influence of the Baanders firm, where a sober, yet monumental variant of the Amsterdam School was preferred. For the construction of garden villages near Baanders and the `Radiodorp' near Kootwijk, Luthmann could also relate well to Dudok, who had already gained great appreciation with his Hilversum workers' houses. In the Kootwijk transformer station we see strong similarities to Dudok's early work, and in 1924 Luthmann wrote an article on the latest town hall design for Hilversum. In it, Dudok abandoned the monumental symmetry of his early work. Luthmann's 1925 design for a new town hall for The Hague still seemed influenced by Dudok's early work. In the competition design for the Enschede town hall (1927), Luthmann did follow Dudok's new design style. Yet even there remnants of the traditional form of monumentality can still be seen, such as at the entrance that is placed under a tower. That Luthmann continued to use such powerful touches is probably related to his preference for symbolic, expressive architecture. Consequently, Dudok's visible influence quickly waned. For example, the design for the League of Nations building in Geneva from the same year, which he made together with H. Wouda, and which received the third prize, is designed differently: the various parts of the complex and their function can be recognized from the outside. The executed 1933 City Hall design for The Hague showed a similar layout.(25) Influence of Luthmann A major influence of Luthmann on other architects cannot be determined. Most famous was his radio station in Kootwijk (1919-1923). The remarkable thing about this building is not so much the design -similar designs were made more often- but the fact that it was also executed. The layout of `Kootwijk' was determined by the Telefunken engineers, who had made a similar floor plan for the Nauen broadcasting station near Berlin (1917-1919). Hermann Muthesius, who designed this building already complained that most of it was already fixed, when he was involved in the work. The layout of `Kootwijk' was based in the main on Telefunken's design and was only slightly modified by Luthmann. The special feature of the building was the use of reinforced concrete, which was not popular among Amsterdam School architects. In Kootwijk, many of the technical possibilities of the time were utilized, and yet Luthmann's design in concrete did not have a major influence. Constructively, however, the building was of great importance and J. Emmen, who worked out the structural part, continued to consider it his main work.(26) The clear layout of the transmitter building was adopted in the 1955 transmitter building by C.F. Booth and B.N. MacLarty in Rugby, England, where the Dutch `Koomans antennae' were also applied.(27) Clear examples of Luthmann's influence are the Turmac factory in Zevenaar, designed by ir. W.S. van de Erve and M. Zwaagstra, and the Police Headquarters at Alexanderplein in The Hague, also designed by W.S. van de Erve, under Luthmann's supervision. The decorative patterns in the brick cladding of the Zevenaar factory, as well as the interior finishes, are strongly reminiscent of Luthmann's Hague town hall and his transformer station on The Hague's G.W. van Diepenburchstraat. Luthmann wrote an extensive, laudatory article about the Zevenaar factory.(28) Characterization of Luthmann's oeuvre. Luthmann's architecture shows a fluid, unbroken development from his Amsterdam School phase to the late works of the 1950s and 1960s. Already in his Amsterdam School period he was sparing with ornament and worked a lot with monumental building masses. This could already be seen in a competition design for workers' housing in Amsterdam from 1917.(29) The sparse decoration was expanded with Baroque elements starting in the 1920s, which was expressed in window shapes and interiors. When in the second half of the 1920s Luthmann's work was for some time very much influenced by Dudok, ornamentation was greatly reduced. In the 1930s, ornament and symbolic sculpture returned, the main example being the 1933 competition design for the Hague Town Hall. A 1941 urban design, which was probably a competition design for the reconstruction of Rotterdam, showed the Baroque influence very clearly, not only in the forms of dormers, but especially through the use of an onion-shaped tower.(30) Through his appointments in municipal and state government service, Luthmann was mainly concerned with public and government buildings, in which, however, he did not do any groundbreaking work. An exception is the radio station in Kootwijk, where, however, the cooperation with ir. J. Emmen and the engineers of Telefunken was of great importance. There Luthmann's search for a harmony between the "mechanical functions and the ideal tenor" led to a remarkable result: a building which, on the one hand, is technically fully adapted to the requirements of the long-wave technology of the time, and on the other hand, also expressed the idea of `radio' in its form.(31) The often assumed exaggerated dimensions were in reality necessary in connection with induction currents, and the resulting heating of the concrete. The heavy tower resulted from the need for minimum reinforcement around the antenna cables, again because of induction. Although Luthmann wanted to make his Hague town hall his main work, Radio Kootwijk, with its matter-of-fact application of concrete and mysterious Egyptianizing form, remained the most fascinating. PS Read M. J. Luthmann's letter to C. A. Abspoel, written on the occasion of Abspoel's seventieth birthday, see at C. A. Abspoel. Notes 1) H. Brugmans, Personalities in the Kingdom of the Netherlands in words and pictures. Dutchmen and their work, Amsterdam 1938, p. 959-960. The name is given here as J.M. Luthmann. Since the earliest entries always speak of J.M. or J. Luthmann, the later name M.J. Luthmann will be a modification by Luthmann himself. Also, the original name Julius is later written as Jules. 2) M.J. [J.M.] Luthmann, "A retrospect on a period in which the world changed more than ever before," Bouwkundig Weekblad 78, 22-01-1960 no. 2, pp. 29-30; C.H. Slechte (ed.), J. van der Leeuw-Roord, G. Rijven, F. Smit, Building on The Hague Grounds. Sixty years of ups and downs surrounding the Hague Construction Company and municipal urban planning policy, The Hague 1981, p. 199. 3) Database of former Chief Government Architects, Office of the Chief Government Architect, The Hague. 4) H. Brugmans, Personalities in the Kingdom of the Netherlands in words and pictures. Dutchmen and their work, Amsterdam 1938, p. 959-960. 5) N. Joker, G.J. de Rook (ed.), The Hague City Hall central. 5 designs for the Spui. 1 housing plan for the Burg. De Monchyplein, The Hague 1986, p. 53. 6) J.[M.] Luthmann, 'Vrij Katholieke Kerk aan de Rietzangerslaan te 's-Gravenhage', Bouwkundig Weekblad Architectura jg. 54, 24-06-1933, no. 25, p. 205-206; S. de Clercq, A.R. Hulshoff, C.F. Klaar, H.G. Moss, 'Rapport van de commissie van beoordeeling der ingomen sketchplannen voor een raadhuis te Enschede', Bouwkundig Weekblad Architectura, jg. 50, 23-03 and 06-04-1929, nos. 12 and 14, p. 89-96; 105-110. 7) M.J. [J.M.] Luthmann, 'A retrospective on an epoch in which the world changed more than ever before', Architectural Weekly 78, 22-01-1960 no. 2, p. 29. 8) P. Groenendijk and P. Vollaard, Gids voor moderne architectuur in Nederland=Guide to modern architecture in the Netherlands, Rotterdam 1987, p. 18; I. Jager, Willem Kromhout Czn., Rotterdam 1992, p. 54. 9) M.J. [J.M.] Luthmann, 'A retrospective on a period in which the world changed more than ever before', Bouwkundig Weekblad 78, 22-01-1960 no. 2, p. 29-30; C.H. Slechte (ed.), J. van der Leeuw-Roord, G. Rijven, F. Smit, Bouwen op Haagse grond. Sixty years of ups and downs surrounding the Hague Construction Company and municipal urban planning policy, The Hague 1981, p. 199. 10) G. Fanelli, Modern architecture in the Netherlands 1900-1940, The Hague 1978/1981, p. 291; M.J. [J.M.] Luthmann, 'A retrospective on a period in which the world changed more than ever before', Bouwkundig Weekblad 78, 22-01-1960 no. 2, p. 29-34. A. Boeken, 'The "Da Costa-school" at Utrecht, Architects Maas and Zonneveld', Bouwkundig Weekblad 44, 31-03-1923 no. 13, p. 140-145. For the radio station at Kootwijk, see also my thesis (Kath. Univ. Nijmegen, Kunstgesch.) The transmitting station for wireless telegraphy at Kootwijk. Symbolism and functionality, this is expected to be completed September 1994. Includes an oeuvre catalog, based on BONA research findings. 11) "Men's Books: Directory and address book of members of the administration of Amsterdam and of municipal officials, members of the civil administration, teachers, houses of God, charitable institutions, etc., Amsterdam, years 1912-1917; G. Fanelli, Architettura edilizia urbanistica Olanda 1917/1940, Florence 1978, p. 409. 12) H. Brugmans, Personalities in the Kingdom of the Netherlands in words and pictures. Dutchmen and their work, Amsterdam 1938, p. 959-960. 13) M.J. [J.M.] Luthmann, "A retrospective on a period when the world changed more than ever before," Architecture Weekly 78, 22-01-1960 no. 2, p. 33 14) Database of former Chief Government Architects, Office of the Chief Government Architect, The Hague. 15) Database former Chief Government Architects, Office of the Chief Government Architect, The Hague; J. Emmen, "The reinforced concrete works for the station for wireless telegraphy on the Kootwijk sand," De Ingenieur, jg. 38, March 24, 1923, no. 12, p. 231-237. 16) Database of former Chief Government Architects, Office of the Chief Government Architect, The Hague; W. van der Pluym, 'Luthmann', in: U. Thieme and F. Becker, Allgemeines Lexikon der Bildenden Künstler von der Antike bis zur Gegenwart, vol. XXIII, H. Vollmer (ed.), Leipzig 1929, p. 480; Fanelli, p. 291; M.J. [J.M.] Luthmann, "A retrospect on an epoch in which the world changed more than ever before," Bouwkundig Weekblad 78, 22-01-1960 no. 2, p. 29-34; R. Vijfvinckel, K.P. Companje, W.J. de Geus, M.M. Hegener, 's Haags werken en werkers. 350 years of Municipal Works (1636-1986), The Hague 1986, p. 305-306. 17) Information provided by the architectural firm Prent & Landman, The Hague. 18) M.J. [J.M.] Luthmann, 'A retrospective on an epoch in which the world changed more than ever before', Bouwkundig Weekblad 78, 22-01-1960 no. 2, p. 29-34; data file former Rijksbouwmeesters, Bureau van de Rijksbouwmeester, The Hague; H.M.H. van der Schoor, 'Ir. G.C. Bremer and the Rijksgebouwendienst. A reaction', Bulletin KNOB 92, 1993 no. 6, p. 189-191; T. Tummers, The Ship of Blaauw, Wageningen 1990, p. 8. J.M. Luthmann, 'Government interference with art', Architecture Weekly 42, 19-02 and 05-03-1921 no. 8 and 10, p. 51-52 and 62-66. 19) J. [M.] Luthmann, 'The new Hague Town Hall on the Hofvijver', Architectura 29, 05-12-1925 no. 49, p. 425-432; 'Where should the new town hall come? - A plan by Architect Luthmann', Bouwrubriek van het Vaderland, 12-12-1925, p. 1; 'M.J. Luthmann Officer in the Order of Orange Nassau', Bouwkundig Weekblad 71, 21-10-1953 no. 43-44, p. 344. 20) J. Schilt and J. van der Werf, Genootschap Architectura et Amicitia 1855-1990, Rotterdam 1992, p. 215, 221, 233. 'Reorintering City Hall plan. Interview with 75-year-old architect', Het Vaderland (Weekly News), 30-01-1965, p. 5, 7. 21) J.[M.] Luthmann, J. Gratama, Modern architecture in the Netherlands. No. 1. Introduction, Rotterdam 1932, p. 9-35: J.[M.] Luthmann, 'Overview of the development of architecture in the Netherlands'. 22) G. Anzivino, 'We mortals. A crematorium between the New Building and a New Architecture', Jong Holland 10, 1994 no. 1, p. 38-47; C.A. Abspoel, H.A.J. Baanders, M.J. [J.M.] Luthmann, D. Roosenburg and A. Wegerif, Jury Report. Study competition for a design of a crematorium with columbarium, organized by the department 's-Gravenhage of the Vereeniging voor Facultatieve Lijkverbranding also catalog for the exhibition of the 48 plans which were submitted from April 18 to May 3, 1942.May 3, 1942 in the Gemeentemuseum van 's-Gravenhage, Stadhouderslaan, z.p. ['s-Gravenhage], z.j. [1942]; 'A.J. van Eckprijs 1965' (Luthmann jury member), Bouw 20 1965 I, 09-01-1965 nr. 2, p. 62-63. 23) Mieras points to Saarinen's influence in the period 1910-1920 upon his death (Bouwkundig Weekblad 68, 07-11-1950 no. 45, p. 698: J.P. Mieras, 'Gottlieb Eliel Saarinen +'). A. Berendsen, 'M.J. Luthmann 65 years. A man who left his mark on The Hague', Het Vaderland, 29-01-1955, p. 5. 24) R.P., 'Architect Luthmann 65 years', Haagsche Courant, 27-01-1955, p. 17. 25) J.[M.] Luthmann, 'The Hilversum Town Hall', Wendingen 6, August 1924 no. 8, p. 12-14; 'Prize for the League of Nations Building at Geneva. Two second prizes and a third prize awarded to Dutchmen', Het Bouwbedrijf 4 13-05-1927 no. 10, p. 227. 26) 'Heavy party of 800 men in Amsterdam. Reinforced concrete 100 years,' De Gelderlander 22-11-1967. 27) C.F. Booth and B.N. MacLarty, The new high-frequency transmitting station at Rugby, reprint, from: The Proceedings of the Institution, The Institution of Electrical Engineers, Vol. 103, Part B, No. 9, May 1956, p. 266. 28) M.J. [J.M.] Luthmann, "Modern Factory Construction. The new Turmac building at Zevenaar, arch. W.S. v.d. Erve b.i. and M. Zwaagstra, architect B.N.A.', Bouw 5, 07-01-1950 no. 1, p. 2-7; 'Hoofdbureau van Politie, The Hague. Architect: W.S. van de Erve' (Luthmann supervisor), Construction 14 1959 II, 31-10-1959 no. 44, p. 1242-1247. 29) J. de Meyer, H.Th. Wijdeveld, J.B. van Loghem, 'Jury Report Gable Competition for Workers' Housing', Architectura jg.25, 14-04-1917, no. 15, p. 11-116. 30) Archives Architectenbureau Prent and Landman, '-Gravenhage. 31) J.[M.] Luthmann, J. Gratama, Modern architecture in the Netherlands. No. 1. Introduction, Rotterdam 1932, p. 9-35: J.[M.] Luthmann, 'Overview of the development of architecture in the Netherlands'. In this introduction Luthmann discusses this theme in detail. Education: Academy of Visual Arts and Technical Sciences Rotterdam/1910-1915;course in Continuing and Higher Architecture/1915;V.H.B.O/teacher/1929-1930 Additional functions: Contest city hall Voorburg/juror member/1956;A.J. van Eck prize/jury member/1965;Study competition for a design of a crematorium with a columbarium/jury member/1941-1942;Architectura et Amicitia/member Exhibition Board/1922-1923;Architectura/editor member/1921-1922,1925 and 1926;Architectura et Amicitia/member/1916-1932,1956-1960;Hague Welstandsraad/1950-1960;B.N.A./member/;Carnegie Foundation/advisor/ Honors: Officer in the Order of Orange Nassau/1953 Archives: Archives Architectenbureau Prent & Landman 's-Gravenhage;A.R.A./Archives of the Main Board of Posts and Telegraphs, The Hague