G.W. van Heukelom (1870-1952) When in 1987 the platform roofing of the station of 's-Hertogenbosch was in danger of being demolished, interest in the work of Dr. G.W. Van Heukelom was revived for the first time in a long time. This first steel span in the Netherlands, with its length of almost 480 meters also the longest of its time, with its impressive construction has now rightly been declared a national monument. Van Heukelom made a career with the railroads as a civil engineer and as an architect. From 1917 until his retirement in 1935, he was in charge of all major railroad projects in the Netherlands, dealing with both the construction of the necessary structures and the design of the stations. He led a team of engineers and architects, including H.J. Schelling and S. van Ravesteyn. Van Heukelom was a man of very broad interests. He actually wanted to be a painter, but majored in civil engineering and later took classes in architecture. He had a great interest in philosophy and religion and was a member of a religious community, for which he built a church. As a builder, at a time of increasing specialization, he was one of the last to master all aspects of the trade: construction, design, as well as execution. When the execution of his main work, the Third Administration Building of the Dutch Railways in Utrecht, stagnated because contractors were charging high prices, he stepped into the nineteenth-century tradition of contractor-architect, set up his own construction company and, using inventive solutions in a time of scarcity of materials, managed to execute the largest brick building in the Netherlands and one of the largest in Europe. As a structural engineer, as well as a designer, Van Heukelom showed himself to be an important innovator. The former locomotive shed and wagon workshop in Roosendaal, which is still in use, is a unique building with its construction with steel trusses and its span of 35 meters. Van Heukelom was also the first to work with concrete shelters. The railroad Schaesberg-Kerkrade-Simpelveld, the so-called "million line" through the South Limburg hill country, for which Van Heukelom made a study trip to Switzerland, was also considered a technical highlight. It is easy to see in Van Heukelom's architecture that he greatly admired Berlage. In his brick architecture, he managed to achieve ever greater simplicity. The social fact of rising construction costs stimulated him to increasingly limit architectural expression to what he saw as pure essence. In addition, his Protestant faith also made him search for a "purity of form" that referred to higher values. His involvement in the restoration of medieval churches certainly strengthened him in this architectural view. His conception of purity of form did not lead him to economize on mass and space. The opposite is rather true: with simple means, such as large wall surfaces, wall openings, arches, simple solid furniture and much attention to the effect of color and light, an impressive monumentality was acquired. This also gave his profane buildings a spiritual dimension. Background and education George Willem van Heukelom was born in Tilburg on March 29, 1870, the second son of Jean Charles van Heukelom and Johanna Margaretha Vreede. 2 He grew up in a well-to-do, intellectual family. Johanna Margaretha was a daughter of the Utrecht law professor, Prof. G.W. Vreede. Her eldest brother, A.C. Vreede, was professor of Oriental languages in Leiden. On her father's side, however, there were already clear ties to the railroad industry. For example, Hendrik Pieter van Heukelom, George Willem's grandfather, was a director of the Maatschappij tot Exploitatie van Staatsspoorwegen, while his father, Jean Charles van Heukelom, was employed as a civil engineer by the Nederlandsche Centraal-Spoorweg maatschappij. Shortly after his marriage, the latter took over the directorship of the Cloth Factory in Tilburg in 1867 from a cousin, who was no longer able to fulfill this task due to illness. In 1876, the family moved to Amsterdam, where Jean Charles van Heukelom became procuratiehouder and then co-firmant of the firm Gebr. van der Vliet. The Van Heukeloms were traditionally of the Baptist faith, and within this community they fulfilled numerous duties. For example, Jean Charles van Heukelom became regent of the Mennonite Orphanage in Amsterdam. In 1882, George Willem was admitted to the Hogere Burgerschool in Amsterdam. He was a good student, excelling in mathematics. In addition, he showed an aptitude for drawing. Although his ambition was to become a painter, his parents did not see a future in this. Therefore, Van Heukelom went to Delft in 1887, initially with the idea of studying both civil engineering and architecture. For scheduling reasons, however, he dropped architecture. During his studies, he gained practical experience at the Department of Public Works. As a special superintendent, he was involved for some time in the construction of groynes in the Lek River below Schalkwijk, and later in the construction of the Merwede Canal. In 1891 he graduated as a Civil Engineer, as the best student of his class. On January 1, 1891, Van Heukelom joined the Maatschappij tot Exploitatie van Staatsspoorwegen as an assistant engineer. First activities Van Heukelom's first work consisted of simple constructions of smaller canopies, footbridges and yard modifications, for example on the Sauwerd-Roodeschool line. He did this under the supervision of A.P.M. Kapteyn, a typical man of practice. One of the first major independently executed assignments were the designs and execution of the iron platform covers of Vlissingen and Utrecht stations (1893-1895). Utrecht received three platform covers with two wide track covers in between. The connection between the platforms was formed by a footbridge in the high part of the canopy. In 1904 an underpass for passengers was constructed. The traverse was then adapted for the transport of goods. 4 Van Heukelom traveled several times during this period to Mechelen, where the canopy parts were produced. In 1894 Van Heukelom supplied the design for the platform canopy and ramp of the 's Hertogenbosch station by Eduard Cuypers. The canopy consists of two platform roofs and a covered walkway between the platforms, which used to be accessible from the first platform via a ramp. Never before had such a combination of ramp and walkway been used. The steel canopy was not attached to the main building, but formed a separate structure with its own foundation. Each canopy had a high section in the middle, with a lower section on either side. The length of the caps was over 477 meters. 5 Van Heukelom also worked out plans for freight sheds in Amsterdam during this period. Eduard Cuypers Van Heukelom became very good friends with Cuypers. The latter took Van Heukelom in 1897 to a lecture Berlage gave to the Maatschappij tot Bevordering der Bouwkunst, in which the latter explained his latest plans for the Beurs. Although Van Heukelom had no further personal contact with Berlage, he was fascinated by his architecture, in which he found the Christian values of truth, sincerity and simplicity, which were so important to him. 6 Several times Van Heukelom would assist his friend Eduard Cuypers with technical calculations, for example for the printing press room in the building of the Algemeen Handelsblad in 1902. In 1903, moreover, Cuypers and Van Heukelom took a remarkable initiative. Indeed, in that year they jointly founded Het Huis, a studio for decorative arts. This moved the department for decorative designs, which had existed in Cuypers' office since 1899, into its own building and made it independent. In the atelier, furniture and arts and crafts products, including much copper work, were produced to order, in a responsible design. The atelier's products and the philosophy behind them were featured in the magazine Het Huis, also founded in 1903. Monthly Picture Book devoted to home furnishings, building and decorative arts, furniture, after 1905 called The House Old and New. When Cuypers left for Java for several months in 1908, Van Heukelom took over the management of his firm, which employed the later Amsterdam School architects Michiel de Klerk and Pieter Kramer. He did this in addition to his regular work for the Railways. 7 First station buildings By 1897, Van Heukelom had risen to "engineer, first present civil servant. In the evenings, possibly prompted to do so by Eduard Cuypers, he took classes in architecture. In 1898 he made a study trip, including to Dresden, where he visited the Dresden-Neustadt station, and to Vienna, where he viewed Otto Wagner's Wiener Stadtbahn. In an article in De Ingenieur in 1899, he disapproved of what he considered the overly emphatic and unnecessary decoration of the buildings and iron structures. 8 After designing a switchman's house at his own request, Van Heukelom was charged from 1899-1902 with the design and construction of a new Hengelo station with a new and also much larger yard. 9 The front building contained on the first floor a spacious vestibule, place card office and baggage depot. On the first floor came the residences for the station master and deputy master. A tunnel connected this main building to a high island platform. This tunnel was split lengthwise into a section for passengers, and a section for luggage transport. Luggage could be transported to and from the platform by electric elevators. On the platform came a building with waiting rooms, service areas and toilets. Van Heukelom provided the platform with a high iron platform roof with a kinked roof shape, which provided very beautiful light. At the end, the roof was extended with two parallel, short canopy roofs. These were called "umbrella" canopies. In the Netherlands, these iron-clad umbrella roofs were first used in the stations of Dordrecht and Tilburg around 1899. In the vicinity of the station a goods shed with an elevated loading and unloading area, a locomotive shed, workshop, turntable and other facilities were built. The Hengelo station complex was almost completely destroyed in a World War II bombing raid, except for the island platform, part of the canopy and a building on Stationsplein. Baarle-Nassau (Border). From Hengelo, Van Heukelom was transferred to Breda, where he began the design and construction of the Dutch section of the Baarle-Nassau (Border) station in 1903. 10 This station on the Tilburg-Turnhout line was intended to relieve train traffic to Belgium via Roosendaal. In an agreement with the Belgian State, it was stipulated that there would be a common main building, with a common vestibule and ticket office on the border, and on both sides of it, for each of the two countries, a separate visitation hall, as well as waiting rooms and service areas. The main building consisted of a simple elongated building (250 meters) with stepped gables at the ends. Even inside, the building was kept sober.Vestibule, visitation halls and corridors were made entirely of brick, with the structural parts in natural stone. The remaining rooms had wooden paneling. Above them, the walls were finished with coarse, sanded lime mortar. Inscriptions and coats of arms were in tiling inside, and in bluestone outside. In addition to the main building, there were a customs shed, constructed of iron trusses of 24-meter span, with side walls in latticework of iron and brick, and a large polygonal locomotive shed, also constructed in iron and brick, which contained an eighteen-meter diameter turntable. In addition, there were many smaller service buildings and three signal boxes. Fourteen houses for the railroad personnel were realized along the Border Road as single or double dwelling houses.The houses vary in size and roof shape. They also always have different decorations on gutter and roof. Along the Turnhoutsebaan, nine houses for customs personnel were built in the same manner. The size and detailing of the house reflected the position of the owner in the official hierarchy. The highest in rank, the collector of taxes, could have three rooms, kitchen, cellar and pantry on the first floor and two rooms, maid's room and a spacious attic upstairs. The station master and superintendent-engineer were given the same dwelling, but without a pantry. The cargo master received the smallest dwelling: two rooms and kitchen on the first floor, in the attic one shot room and a large attic space. All dwellings had their own privy and were provided with a spacious garden with storage. "The various service houses are furnished as spacious and comfortable as possible to give the personnel at this remote frontier place some compensation for what is missed in other respects." This refers to the empty, extensive moorland in which the station, which has fallen out of use and of which only a few platform buildings and the service houses now remain, was built at the time. In 1903 Van Heukelom joined the Maatschappij tot Bevordering der Bouwkunst, of which he also became a board member around 1905. In 1906, he also became a chief board member of the Society of Delft Engineers, building and hydraulic engineering department. 11 Roosendaal From 1901 the construction of Roosendaal station was also prepared in phases, which was not completed until 1907. 12 For the facade of the main building, Chief Government Architect D.E.C. Knuttel had already made a design, which was detailed by Van Heukelom. The main building contained, in addition to the vestibule, a place card office and luggage depot, waiting rooms and restoration rooms in the middle building. To its left was a visitation hall; to its right were the premises for delivery goods. The station also contained two residences, which were intended for the deputy station master and the restaurateur. Against the main building came a four hundred meter long platform with roofing. From this first platform, two tunnels led to the second platform: one for passengers and one for the transport of goods. The ceiling of the yellow-brick tunnels consists of masonry vaults in yellow brick supported on metal girders, a principle that Van Heukelom had previously applied in Hengelo, and that would return in the stations of Eindhoven, Geldrop and Weert. On the second platform, also four hundred meters long, there were three separate buildings for waiting rooms, service rooms and toilets. Van Heukelom also designed the entire interior, including the furniture, for this station, which was to become a "calling card" for the Dutch railroads. The walls consisted of red brick, with bands of yellow stone and paneling of green tiles in the corridor and vestibule. The waiting room first class had wooden paneling in a dark color, while that of the third class used pine in a light shade. In the visitation room the walls were of a yellow decorative stone, on which a paneling of green tiles was applied. Ir. Jan Schouten of Delft (1853-1937) supplied the stained glass for the windows. Van Heukelom was a good friend of this Jan Schouten, who had originally trained as a civil engineer and was not only an artist but also an art collector. He not only supplied the stained glass windows for Van Heukelom's stations, but also for his residence and the Forest Chapel, which will be discussed below. In the restoration projects of churches and towers, which Van Heukelom was in charge of from the 1920s onward, he also entrusted the design of stained glass windows to Jan Schouten. East of Roosendaal station came, among other things, a 165-meter-long customs shed and three locomotive sheds. Of these three locomotive sheds, one, a rectangular one, was for the HIJSM; the other two: a polygonal and a rectangular shed with workshop, were for the State Railway. The station was badly damaged in World War II. The eastern part, where the entrance was located, had to be demolished to make way for new construction. However, the shelters were preserved. The locomotive shed of the HIJSM, built of brick walls with steel roof trusses, was completely destroyed, but the other two, designed by Van Heukelom in a latticework construction of steel, stone and glass, suffered only glass damage. The polygonal shed was demolished in 1957, when steam traction disappeared. The last shed with wagon workshop was officially closed in 1979, but it is still used for ancillary purposes. It is a unique building because its construction with steel trusses and a span of no less than thirty-five meters has not been used for locomotive sheds anywhere else in the Netherlands. Unfortunately, nothing remains of the interior of Roosendaal station. At the opening of the station by Queen Wilhelmina in 1907, Van Heukelom was appointed Officer in the Order of Orange-Nassau. 13 The Eindhoven-Weert line After Roosendaal, Van Heukelom was put in charge of the Eindhoven-Weert line (1909-1913). This assignment included not only the construction of a new station in Eindhoven and the station Weert , but also of the intermediate stations Geldrop, Heeze and Maarheeze and the halting places Tongelre and Sterksel, as well as the pointsmen's houses and signal boxes located along the track. 14 The Eindhoven station building, demolished in 1956, consisted of a high hall with vestibule and two lower side wings of unequal size. High rising roofs and dormers gave it a rural accent. A tunnel in the right side wing gave access to the platforms. The interior featured round arches. Besides clean masonry, glazed brick in different shades was used, in part to distinguish the different ticket offices from each other. Weert station has an L-shaped floor plan. The entrance, at the chamfered corner, is marked by a bell gable with a tall octagonal tower with spire to its right. Above the actual station area are two dwellings, which have large balconies with a brick balustrade. As for the intermediate stations, that of Geldrop was demolished in 1974, with one of the platform buildings being made suitable for ticket sales; Heeze was demolished in 1976. The station of Maarheeze, already closed in 1938, was demolished after World War II. The Tongelre and Sterksel stops were discontinued. A highlight was certainly also the four adjacent large bridges (80 meters span) over the Zuid-Willemsvaart. These bridges, which Van Heukelom himself counted among his best technical achievements, were destroyed during World War II. Maastricht Station During this period, Van Heukelom also designed Maastricht Station (1912-1915). It was the first station in the twentieth century to be conceived not only as a terminus, but also as a station for through train traffic. The north facade was perpendicular to the railroad line to and from Roermond and therefore functioned as a head-end station. Along the east facade, through train traffic to Liege took place. This station building was situated in the axis of the Wycker Percee, the nineteenth-century break through the old district of Wijck towards the station. 15 It is a brick building in an austere neo-Renaissance style, with a strong vertical accent achieved by gables and a stair tower. Ornamentation is applied with great restraint. Above the entrance, stone lions bearing the coat of arms of Maastricht, designed by Willem Brouwer, stand out. The interior, built in clean masonry, with accents in yellow-green glazed brick, granite and brick, betrays the influence of Berlage also by its spatial construction. The vestibule has a wooden ceiling paneling and yellow-green tiling in the arch friezes. Jan Schouten (1853-1937) supplied twenty-two stained glass windows on the theme of Limburg prosperity from his workshop 't Prinsenhof in Delft. These were unfortunately lost in World War II and replaced by windows by Charles Eyck in 1949. Maastricht station was the first in the Netherlands to use a platform roof in reinforced concrete. This one no longer exists. The original, characteristic, air bridge for pedestrians to the opposite side of the emplacement has unfortunately also been demolished. In the northern part of this yard, Van Heukelom designed a striking goods shed. It consists of two hipped-roofed storage rooms separated by a slightly projecting office section. The concrete loading floors on both sides of the building are sheltered by large overhangs and pent roofs supported by wooden brackets. Elongated window bands with six-pane windows reinforce the horizontal character of the building. The Third Administration Building in Utrecht In 1913, G.W. van Heukelom became Chief of the Road and Works Department of the State Railway. 18 For this position, he moved to Utrecht. He was now in charge of all major works, which were in progress at Staatsspoor, but was also entrusted with such matters as maintenance and guarding, and personnel matters. In 1915 he married for the second time the pianist and composer Henriette van den Brandeler (1885-1985). The couple went to live on the Van Asch van Wijckkade, where their first child, a boy, was born.When the cooperation contract between Hollands Spoor and Staatsspoor was established in 1917, the tasks of maintenance and guarding fell away again. Van Heukelom was now put in charge of all major railroad projects throughout the Netherlands. Because of his achievements in the field of civil engineering and in the field of railroad construction, Van Heukelom received the honorary doctorate in Technical Sciences from the Technical High School in Delft on January 8, 1917. In late 1918, he had the first discussions with the Board of Management about a new administration building, and soon followed the first sketch design for Van Heukelom's most famous work, the Third Administration Building, which, despite the problems of rationing and distribution of building materials, was completed after only three years, in 1921. The building was located on Catharijnesingel in the former park Nieuweroord, next to the two older administration buildings, designed respectively by N.J. Kamperdijk 1815-1887) and J.F. Klinkhamer (1854-1924). The First Administration Building, from 1869, was built in classicist, the second, from 1893, in neo-Renaissance style. Van Heukelom added a rowdy, austere office colossus, connected to Klinkhamer's building by an underpass. It was very difficult to obtain building materials and manpower at the end of the First World War. Contractors charged their prices with high risk margins. When the office building was tendered, even the lowest bidder turned out to far exceed the budget. In response, Van Heukelom is said to have spoken the historic words, "Then we'll do it ourselves. He charged the Railroad Construction Bureau with the task of contractor and had one of the bosses promoted to straw-man employer in order to eliminate the legal and regulatory provisions for railroad personnel. Because the contractor world boycotted the new company , which was called "Het Bouwbedrijf," the brick factory "De Molenheide" of the Boland brothers, founded in 1914, was taken over in Schijndel, Brabant. The 'blue' loam from the Schijndel area gave the bricks their typical purple-brown color. Sometimes half a million bricks could be processed in Utrecht per day. One floor was completed per month. Old locomotive embers were used as fuel for the brickworks. A forest was purchased in Limburg. The oak wood extracted here, about four thousand cubic meters, was dried and processed in a carpentry factory, which was established on the site of the brick factory in Schijndel, for the purpose of ceilings, paneling and furniture. A motor vessel, the George Peter, was purchased for transportation. But wood was also purchased from Sweden and transported to Utrecht by train. Van Heukelom also showed great inventiveness. For example, for the foundations of the building, which had to be very deep, rails were used for lack of steel. Twenty-one kilometers of rail disappeared into the ground. In order to assess whether the sand mass had sufficient load-bearing capacity, Van Heukelom had three Belgian workhorses stomp over the sand with a sledge until an iron bar did not sink any further. With the twenty-one million bricks eventually required for construction, the building was the largest brick-built building in the Netherlands and also one of the largest in Europe at the time. Because of its remarkable shape and the already mentioned purple-brown color of the brick, it was popularly nicknamed "De Inktpot. HGB III covers a square of 100 x 85 meters and has four wings, situated around a lockable courtyard. The entire layout is strictly symmetrical. The monumentality is increased by the fact that the building stands on a podium. The lower part of the building has four floors, the middle section five. On the city side, a smaller two-story block forms the transition between this middle section and a fifty-foot tower, under which is the monumental hall. Behind the hall is the stairwell. The stairs enclose a completely empty space, extending vertically from the first floor into the tower, which is also empty. The glazing of the tower section is blue colored glass. From the stairs and each floor, one can see over a masonry balustrade into this immense space. The vertical buttresses and window ledges give the facade a strong rhythm. What Van Heukelom himself thought about architecture in these years is perhaps best expressed in an article in De Ingenieur from 1922, in which he says: "Modernity - in the great new sense - becomes avoidance of unnecessary labor; it is not, as in the past, primarily the materials that determine the cost of buildings: it is the labor, and this must be limited. Mechanical processing, standardization must be pursued. And beauty, crushed to death by poverty and bleakness? Cleanliness and purity of form rank higher than ornamentation. That will be the task of the next times: care of form, pure feeling, rhythm, proportion of color. There is promise in this respect in the aspirations of many young engineers. 19 Already during construction, Van Heukelom had been appointed a knight in the Order of the Dutch Lion. However, the Third Administration Building also made Van Heukelom famous abroad. In 1925, he received the Diplôme de Medaille d'Or in Paris for the design. German architects in particular were impressed by the building, which was strongly reminiscent of Behrens' work. Following an excursion by a group of German architects, during which several Dutch cities were visited, the Kölnische Zeitung wrote: "...aber der gröszte und schönste Bau der modernen Stadt ist das Verwaltungsgebäude der Niederl. Eisenbahnen von Dr. H.c.Ing. van Heukelom. Bei aller Sachlichkeit, bei aller fast academischen Strenge im Grundrisz, ist dieses Werk - innen und auszen ein folgerichtig geführter Backsteinbau - von einer Raumwirkung, dasz nur ein Vergleich aus dem Reiche der Musik der erhabenen Eindrück dieses Baues wiedergeben kann. Bezauberte in Amsterdam der Melodienreichtum von de Klerk und Kramer, entzückte in Hilversum Dudok's architectonic Kammermusik, erregten in Rotterdam die straffen Rhytmen von Oud, so erschütterte in Utrecht Van Heukeloms groszes Orgelkonzert. Die Bekanntschaft mit dem groszartigen Werke und seinem feinsinnigen Schöpfer war ein Gipfelpunkt und würdiger Abschlusz der Reise, die allen Teilnehmern ein groszes Erlebnis gewesen ist". 20 The same year Van Heukelom was invited to lecture at a large congress of architects in Cologne, where he explained his ideas on architecture in a talk. In 1928, he was made an honorary member of the Bund Deutscher Architekten. When Van Heukelom retired from the Railways in 1935, a plaque with his effigy was unveiled in the stairwell after a design by ir. H.G.J. Schelling. Although Van Heukelom did not attempt a skyscraper with the Third Administration Building itself, it is notable that Eliel Saarinen's design for the Chicago Tribune skyscraper of 1922 shows an almost identical approach to the facade. In a building realized in Los Angeles, John and Donald Parkinson's 1929 department store The Bullocks Wiltshire, we see the same structural construction recurring. 22 The HGB III has long been a national monument. This has not prevented a major modernization of the interior. However, some parts, such as the auditorium for the commissioners, the paneling in the staff room and the stained-glass windows by Jan Schouten on the platform between the first and second floors, are partly protected. Bilthoven During the period Van Heukelom was working on the Third Administration Building, he designed a home for his family on Schubert Avenue in Bilthoven, called "Woudzang. 23 The house with a stone barn was completed in 1920. The large property is accessed via a long driveway. The entrance to the house is set in a risen gable end and is framed in a profiled brick frame, above which are four tall and narrow stained glass windows. The rear façade has two similar rising gables. A wild garden was laid out near the house by Otto Schulz. This is where the Van Heukelom-Van den Brandeler couple's second child was born, a baby daughter. In Bilthoven in the early 1920s, the Van Heukeloms were part of a liberal Protestant circle, initiated by the piano teacher Laurina Stokmans. Preachers, poets, philosophers, artists and other "inspirational people" were invited to discuss matters of religion and life, supported by music and song. Initially, the large living room of 'Woudzang' was set up for these meetings. Soon some members found this arrangement too unusual and fell back on services presided over by ministers. Van Heukelom designed the Woudkapel, which was consecrated in December 1924. It is a simple symmetrically designed cross chapel, with a low rectangular bell tower above the entrance. Much care was given to the interior. On the floor of the transept are galleries with segmental openings. The paneling of multicolored glazed brick, the brick floor with accents of green tiles, and the multicolored stained glass windows by the then 71-year-old Jan Schouten created an intimate and mystical atmosphere. In terms of formal language, both Van Heukelom's residence and the Woudkapel match the Third Administration Building. Restoration projects In 1922, Van Heukelom was appointed by the mayor of Utrecht, Dr. J.P. Fockema Andreae, as chairman of the commission charged with the restoration of the Dom Tower. This commission, which had already been created in 1901, consisted at that time of ir L.N. Holsboer and A.J. van der Steur. Van Heukelom had already been chairman of the Utrecht Monument Commission for several years, since 1918, when he accepted this position. In addition, he had been a member of the Board of Regents of the Vereenigde Gods- en gasthuizen since 1917. Before Van Heukelom began the restoration, he studied both the construction and restoration history of the tower. To this end, he researched the archives of the Municipality of Utrecht and those of the Dom Church. He would publish his findings a few years later, in 1929, in a booklet entitled De Geschiedenis en Herstellingswerken van den Domtoren. In it, Van Heukelom expressed his dissatisfaction with the nineteenth-century restorations and the amount of money that had been involved. He wanted to undo these earlier restorations as much as possible. In Van Heukelom's view, the building had to inspire the architect to make the right choices in restoration, even where additional new construction was involved. Based on this philosophy, Van Heukelom designed the underpass and entrance building to the left of the tower, and the interior of the two chapels. Van Heukelom gave the stonemasons a free hand so that they would naturally arrive at appropriate details. The entrance building corresponds in its main form to a dwelling house that previously stood on the same site. A few steps lead up to a small hall with a porter's lodge on the right. This lodge still contains the cabinet wall with built-in clock designed by Van Heukelom. From the hall one enters a large waiting room, dominated by three symmetrically placed arched openings. Through the middle one can continue upstairs. A landing includes a conference room. Six meters above street level begins the so-called bishop's staircase, which forms the transition to the Michael Chapel. For this chapel and the upper Egmond Chapel, Van Heukelom designed the furniture and wrought iron candle holders. For the furniture of St. Michael's Chapel, the architect used the wood from the old belfry of the trapdoor bells of the Dom Tower, which had been partially destroyed in a fire. The heavy, austere furniture was made by apprentices of the Utrecht furniture workshop. In gratitude for his work, for which he received no fee, he was also allowed to have a cabinet made from the old wood to his own design. Jan Schouten designed the stained glass windows for both the reception building and the chapels. The construction is such that the visitor ascends from the rather dark spaces in the reception building into the light. The windows have geometric patterns. The overhead light in the square turret is particularly noteworthy. This incorporates a De Stijl-like composition in whites and grays. 27 In 1931, the work on the Cathedral Tower was completed. That same year he was appointed a member of the Holland Society of Sciences. He also took a seat, under the chairmanship of F.M. Wibaut, on the Amsterdam Palace and Council House Committee, which from 1931-1936 dealt with the redevelopment of the area around the Palace on Dam Square. From 1928, Van Heukelom led restorations and renovations of several other historic buildings in the inner city of Utrecht, such as the former plague house De Leeuwenbergh [Little Leeuwenbergh?] and the regents' hall of the Bartholomeus Gasthuis, on behalf of the Nederlandse Protestantenbond and the Municipality of Utrecht. The Janskerk received a new choir. In 1940, a committee was formed to restore the towers of the Nicolaaskerk, the Buurkerk and the Jacobikerk. This committee had the same composition as the one for the Dom tower. 28It is also important to note that at the end of the 1920s, out of dissatisfaction with the monument policy in the city of Utrecht, Van Heukelom took initiatives that led a few years later to the establishment of the Utrecht Monument Fund Foundation. From 1935 to 1946 he was chairman of the Utrecht Beauty Commission. In addition, from 1936-37 he was chairman of the Provincial Utrecht Society of Arts and Sciences, of which he had been a member since 1917. He ushered in the presidency with a speech entitled Bouwen, in which he discussed the concept of beauty. 29 In 1936, when Van Heukelom had been retired for a year, he was put in charge of the restoration of the Martinitoren in Groningen, which would last until 1948. The architect also owed this commission to Fockema Andreae, who had become Queen's Commissioner in Groningen in 1933. 30 In 1947, Van Heukelom was involved in the consolidation of the tower of the church in Sambeek near Boxtel. 31 The two-story church itself had been completely destroyed during World War II. Explosive charges applied by the Germans had split the late fifteenth-century tower from bottom to top, in the middle of the gables and at the corners. The portal vault, all the attics and the spire were also nearly gone. To consolidate the tower, Van Heukelom had wooden bands placed around it, which were not removed until after the restoration. Inside, Van Heukelom installed a series of concrete floors, which rested on joists and piers also made of concrete. After installing this structure, the cracked exterior masonry was repaired. When this operation was completed, there appeared to be no more money to finish the work. It was not until 1989, on the tower's five-hundredth anniversary, that attention was again paid to the tower. In the process, the spire was not rebuilt. The last restoration led by Van Heukelom was that of the tower of the Grote of Onze Lieve Vrouwekerk in Breda (1948-1952). Van Heukelom was able to be present on the job only a little at that time. He then conducted consultations with his co-workers at home, at the end even in the hospital.32 Citizen of Utrecht We already saw several times that Van Heukelom played an active role in social life both in Utrecht and Bilthoven. From 1917 he was chairman of the Supervisory Board of the Utrecht Volksuniversiteit; the following year he joined the board of the Utrecht Urban Orchestra (USO), of which he became chairman in 1919. He led this orchestra through a difficult period in which it faced housing problems and a financial crisis. He devised campaigns to raise money. In 1942-1943 he was chairman of the Provincial Society of Arts and Sciences for the second time. This time his speech was about reconstruction. At the reorganization of the orchestra system in Utrecht after 1945, he was elected chairman of the Curatorium. For his services to the city of Utrecht, he received the silver medal of honor of the city of Utrecht in 1947 from the hands of Mayor Ter Pelkwijk.33 Notes 1. H. van Heukelom-Van den Brandeler, Dr. Ir. G.W. van Heukelom. De Ingenieur - de bouwmeester - de mens, Utrecht, Utrecht 1953. 2. Biographical data taken from Van Heukelom-Van den Brandeler, 1-12. 3. Retrieved August 1, 1981, Van Heukelom-Van den Brandeler, 12.4. G.W. van Heukelom, 'Perron canopy at Utrecht station of Maatschappij tot Exploitatie van Staatsspoorwegen', Bouwkundig Weekblad 15 (1895) 17, 104-106 and 15 (1895) 18, 113-115. 5. K. Bujdosó, That goes to Den Bosch. The four stations of 's-Hertogenbosch, 1870-1998, Zwolle 1998. 6. Van Heukelom-Van den Brandeler, 99. 7. Idem, 33. 8. G.W. van Heukelom, "Volatile travel impressions," De Ingenieur 14 (1899), 189-191. 9. Van Heukelom-Van den Brandeler, 17. 10. G.W. van Heukelom, 'The extension plans of Hengelo station'(O.), De Ingenieur 16 (1901) 23, 374-379. 11. G.. van Heukelom, 'The new station Baarle-Nassau (Border), Bouwkundig Weekblad 26 (1906) 36, 496-498, and idem, 'The works of the new station Baarle-Nassau (Border)', De Ingenieur 21 (1906) 35, 636-641. 12. Van Heukelom-Van den Brandeler, 40. 13. G.W. van Heukelom, 'The rebuilding of the Roosendaal (N.B.) station', Bouwkundig Weekblad 26 (1906) 35, 482-485. 14. M. Vermooten, Spoortocht langs oude N.S.-stations. Brabant-Limburg-Zeeland, Den Helder 1987. 15. G.W. van Heukelom, 'The new station at Maastricht', De Ingenieur 31 (1916) 48, 928-935;P. Saal, F. Sppangenberg, Kijk op stations, Amsterdam 72-74. 16. For these stations, see Vermooten (o.c. note 14). 17. Ch.H. Driessen, "The construction of the railroad line Heerlen-Valkenburg," De Ingenieur 30 (1915) 38, 761-776. 18. Van Heukelom-Van den Brandeler, 45-51; E. Delgorge, '75 years of Strukton 1921-1926'(text produced on behalf of the exhibition of the same name. With thanks to the author. See also the jubilee publication 'Retrospective on the tenth anniversary of N.V. Het Spoorwegbouwbedrijf 1921-1931', several copies of which are in the possession of Strukton N.V. 19. G.W. van Heukelom, De Ingenieur 37 (1922) 33, 692-693. 20. Quoted in Van Heukelom-Van den Brandeler, 49. 21. Newspaper clipping in possession of Mrs. R.E. Verheijen-Van Heukelom. 22. D. Kooijman, Machine and theater. Design concepts of retail buildings, Rotterdam 1999, 56, fig. 3.1. 23. Van Heukelom-Van den Brandeler, 51-52. 24. Idem, 68-72. 25. Idem, 80. 26. Idem, 97. 27. Idem, 52-59. 28. Idem, 77-79, 81-82. 29. Text printed in full in Van Heukelom-Van Brandeler, 84-96. 30. Idem, 110-119. 31. Idem, 125-127. 32. Idem, 127-131. 33. Idem, 40. Education: Hogere Burgerschool Amsterdam/1882-1887;Polytechnische School Delft department of civil engineering/1887-1891 Additional positions: Maatschappij tot Exploitatie van Staatsspoorwegen/Chef dienst Weg en Werken/1912-1935;Commissie Restauratie Domtoren/chairman/1922-1931;Maatschappij tot Bevordering der Bouwkunst/member/1903 (from);Maatschappij tot Bevordering der Bouwkunst/board member/1905 (about);Vereniging van Delftse Ingenieurs/principal board member/1906 (from);Raad van Arbritage voor de Bouwbedrijven in Nederland/member/1911 (from);Royal Institute of Engineers department of building and hydraulic engineering/board member/1903-1913;Royal Institute of Engineers department of building and hydraulic engineering/member Council of Bestarchitecture/1919 (until);Royal Institute of Engineers/member committee of supervision of De Ingenieur/;Bund Deutscher Architektenen/erelid/1928 (from);Hollandsche Maatschappij der Wetenschappen/member/1931 (from);Amsterdamse Paleis Raadhuiscommissie/member/1931-1936;Utrechtse Volksuniversiteit/chairman Raad van Toezicht/1917 (from);Reclameplaat-prijsvraag Eerste Nederlandse Jaarbeurs/chairman jury/1917;Monumentencommissie Utrecht/chairman/1918 (about);Utrechts Stedelijk Orkest/chairman board/1919-1945;Overkoepelend bestuursorgaan orkestwezen/chairman Curatorium/1945;Spoorwegmuseum/chairman Raad van Beheer/1935-1952;Utrecht Beauty Commission/chairman/1935-1946;Provincial Utrecht Society for Arts & Sciences/member/1917 (as of);Provincial Utrecht Society for Arts & Sciences/member Board/1935 Provincial Utrecht Society for Arts & Sciences/chairman/1936-1937 and 1942-1943;Board of Regents of the United Hospices of God/member/1917 (as of) Honors: Officer in the Order of Orange-Nassau/1907;Diplome de Medaille d'Or (Paris)/1925;honorary doctorate in Technical Sciences/1917;Knight in the Order of the Dutch Lion/1920;plaque with effigy in the stairwell of the Third Administration Building NS in Utrecht/1935;medal municipality of Utrecht/1947