(abridged version Bonas essay) Albert Boeken (1891-1951) Albert Boeken is described in the literature as a highly versatile human being, who was driven by two traits: his spirit of inquiry, which was nourished by a drive for scientific objectivity, and his spirit of artistry, which was nourished by a creative imagination. In architecture and related activities, Boeken was able to express all his talents, energy and interests. From his active association life, his many publications and his diary entries, it can be seen that Boeken was very concerned with the development and future of society in general and architecture (and urban planning) in particular. His diagnosis of society can be seen as the common thread in his views. His ideas about the architecture that would fit the changing society underwent quite a few changes during his lifetime. For example, during the 1920s his attention shifted entirely to the question of the responsibilities of the architect. He saw society as a fixed datum, which provided the principles and material for determining and carrying out the architect's task: improving the quality of man's living environment. Boeken tried to realize these ideas and ideals by actively participating in committees and associations, such as Architectura et Amicitia, "The 8," "Group 32," the beauty committee "Old Town" and the Foundation "Building from Home to Town. After World War II, Boeken adopted a pragmatic attitude, typified by the final lines of his last diary: 'It has become 1950. Group '32 has become legend and we are all much too busy to bother with legends. Far too busy with real work, which the thirty-two-year-olds craved in vain for so long, with real associations, with real supervisory and beauty committee power positions.' Training and apprenticeship Albert Boeken studied architecture at Delft Technical College from 1909 to 1916. After passing his candidate exam, in 1913, he continued his studies as a draftsman at the architectural firm Baanders. In 1916, he graduated with J.A.G. van der Steur and J.F. Klinkhamer. Klinkhamer had a rationalist orientation and believed that the ideal master builder combined the gifts of the structural engineer and the artist. Public Works (1919-1926) After completing his education, Boeken joined Publieke Werken Amsterdam in 1919. Here he worked under director A.R. Hulshoff until 1926. In 1923 he was transferred to the subdepartment of Stadsontwikkeling, where he worked on the expansion of Amsterdam. From April 1924 to March 1925, he said he was "exiled" to Switzerland due to illness. Boeken considered the period at Public Works the least interesting period of his architectural career. The civil service life was perceived by him as restrictive. Independent architect (1926-1951) In 1926 Boeken established himself as an independent architect in Amsterdam. In the years 1927 and 1928 he was engaged in designing houses for several Amsterdam neighborhoods. Of particular interest is his modified building plan for a district in Amsterdam-West. The preceding studies of the already existing, but also by Boeken himself designed new housing types and blocks, led in 1931 to a schematic building plan for the approximately 17 hectares to be built on. Architect Auke Komter worked for Boeken between 1924 and 1932 (Komter also worked for Duiker and Le Corbusier). Boeken's first experiences as a private architect were certainly disappointing. But he soon found kindred spirits in Dessau, where - in the position of journalist - he visited the opening of the Bauhaus in December 1926. During this opening he got his first international contacts with M. Breuer, W. Gropius, E. May, K. Schwitters and L. Moholy Nagy. Boeken did not succeed in building up a large independent oeuvre. There are several reasons for this. First, an economic crisis broke out in the 1930s. Also, the threat and outbreak of World War II did not contribute to a favorable climate for architects. Second, Boeken joined the Dutch Nieuwe Bouwen movement. Although this group of architects was inspired by the new era, in practice the Nieuwe Bouwen was not popular until the 1940s and 1950s. Most commissions went to more traditional architects. The only, truly major commission that Boeken completed, and with which he also gained international fame, was the tennis and exhibition hall Apollohal Amsterdam, which he designed on Apollolaan in Amsterdam in 1933-1935. Boeken experienced World War II as mentally limiting. There was little to no work available. Moreover, there was hardly any activity in the cultural field, so that his second occupation - studying cultural history and stimulating public discussion about it - also largely disappeared. All that remained was to prepare, with P. Zanstra, A.W.N. Giesen and K.L. Sijmons, among others, for the reconstruction that would follow the devastating war. After the war, these preparations bore fruit. The architects of the Dutch Nieuwe Bouwen were now recognized, and Boeken and his "consultation partners" became supervisors of Amsterdam's major expansion areas. Boeken became supervisor of the Bos and Lommer expansion area. Even this position was seen by Boeken as limiting, as he had a difficult position between the client, the municipality of Amsterdam and the architects. Nevertheless, Boeken is seen as an important driving force behind the reconstruction. In this last period before his death, Boeken also carried out many restorations, mainly of Dutch Reformed churches, and received some commissions for residential and commercial buildings. Oeuvre Boeken was working at a time, which can be called both socially and architecturally enervating. In addition to his hunger for insight, perfection and a bit of spirituality, this had a great influence on Boeken's work. His body of work, while not very large, is very varied. He mastered several design disciplines, using a variety of architectural styles. This is partly the case because Boeken's education, his job at Public Works Amsterdam and the poor economic conditions resulting from World War I and World War II forced him to build aesthetically and traditionally, or efficiently and cheaply. Another reason for his versatility is that Boeken always experimented with the architectural language he used. It seems as if he was always looking for the right language of form that was well suited to the wishes and requirements of his time for architecture in general and individual building assignments in particular. Thus it could happen that in the 1920s and 1930s Boeken was an advocate of the functional New Building, while in the 1940s he immersed himself in the "virgin territory of form. Slot Unlike other architects who were of great significance for the development of architecture, architect Albert Boeken hardly enjoys any fame today. Only the Apollo Hall has given him national and international fame. The fact is that Boeken made a major contribution to the architectural debate of the first half of the twentieth century through his active association life and his membership on several editorial boards of leading architectural journals. His position here was not unambiguous, but changed several times during this period. His attitude was always open. He was always willing to innovate and filled with a sense of responsibility. Education: TH Delft/1909-1916 Additional positions: Architectura et Amicitia/member/1921-1934; De 8/1928-1934/; Architectura et Amiicitia/board member/1932; De 8/member/1928-1931; Group 32/member/1932-1934; De 8 and Opbouw/member/1934-1938; Beauty Committee Old Town//1934; Beauty Committee New Town/member/1934; Foundation Building from Housing to City//; Association of Delft Engineers Department of Architectural Engineers/member/1946-1951; Architectural Weekly/Member/1923-1924; Forum/editorial board member/1947-1951; Academie voor Bouwkunst Amsterdam/docent/; Studiegroep MTS Amsterdam/; HBO Leiden/lecturer/1947-1951; Design study 2 of A et A (youth hostel for 50 guests)/jury member/1932; Commission for testing the fundamentals of restoration/member/1948; Architects Committee North Holland/member/1947-1950; Industrieschool Amsterdam/member/1938; CIAM Solar Commission/member/; Study Group Residential Architecture/member/1940-1945