The archives were found in January 1983 at the N.D.B. in an ordered state.
Mrs. M. Tholens, assisted by the then administrator of the N.D.B., Dr. A.L.L.M. Asselbergs, had worked on the arrangement of the archives from August to December 1973.
To what extent Granpré Molière himself had already made a certain arrangement can no longer be ascertained. At the time of acquisition, the archive was in a disorderly state: the archive, which was already in garbage bags ready to be thrown away, was saved from destruction in the nick of time. (See letter Asselbergs d.d. 14.5.'73) However, a selection of important documents made by Granpré Molière seems to have disappeared.
The fact that the archive was in disarray is regrettable because an arrangement made by Granpré Molière could in itself have provided valuable information.

The Granpré Molière archive contains written material, drawings and a small amount of photographs.
The written material consists of a large amount, published and unpublished, articles and lectures; a fairly large amount of correspondence concerning social and private actions; documents concerning education given: lecture notes but also other documents related to the T.H., and documents concerning the Course in Ecclesiastical Architecture, the so-called "Bossche School"; an incomplete and not very coherent part of associations; some documents concerning Granpré Molière's painting activities conceived at a late age.
The archive contains relatively few drawings. This is partly due to the fire that destroyed the archives of the Granpré Molière, Verhagen and Kok firm in 1940. Another part of the drawings may be in architectural offices with which Granpré Molière collaborated on occasion.
Drawings pertaining to expansion plans, urban reconstructions and plans for the Wieringermeer and the Northeast Polder are possibly in government archives (municipality, R.IJ.P., Wieringermeerpolder Department).
A separate place in the archives occupies the correspondence with Dom P. R. Allard: the originals are no longer part of the archives, copies have taken their place.
The entry on the Granpré Molière archives in the Tholens arrangement consisted of a card system and an inventory list. All records were listed on card: a standard A4 form, with details of the piece(s) in question. In addition to this difficult to handle entry (a total of 16 folders), an inventory list had been made. However, this was not complete.
The arrangement consisted of 4 main categories: architectural oeuvre, professorship, writings on art and architecture, and catholica. Many of the pieces fell outside these categories into residual categories that were not clearly defined. The drawn material was arranged topographically, while the written material was arranged by subject. Within the correspondence was a distinction between private and catholic, both ordered chronologically, and correspondence concerning social action, which was ordered afabetically. Another part of the correspondence was arranged by subject and was scattered throughout the archive.

The current heading numbers consist of 3 digit series where the first two are connected by an "x" e.g.: 3x0.18; this strangeness is a result of the fact that the original heading numbering (3.0.18) led to large errors when entered into the computer; one can therefore read a dot before the x (M.K. March '92)All the documents were first charted, after which a chronological arrangement was made on the basis of the mid-1983 arrangement developed by the N.D.B. This had the following consequences with respect to the existing arrangement:
*the previously separate category catholica, which contained documents in which church and faith were central, was integrated with the rest of the archive.
*the correspondence was placed in one category, with the exception of correspondence arising from Granpré Molière's consultancy: this correspondence is mostly the consultancy itself and is in category 3x2
*a distinction has been made between design activity (category 2) and consultancy (category 3x2)
*lectures by Granpré Molière, which in the Tholens arrangement were assigned to associations for which the lecture in question was held, are included in category 3x0
*of the books from the archive, included in the library of the N.D.B., not all titles were listed in the Tholens inventory. Based on an acquisition list, these are now included in the inventory.
*A concordance has been made, which can be found at the back, after the inventory. Excluded from the concordance is category 1x1.

Each category is arranged chronologically. Documents that could not be dated are arranged alphabetically after the dated documents.

category 1
- The letters in category 1 have been counted up to 30.
- A number of cases involve correspondence between third parties. This is indicated as follows: A. Siebers J. van Dongen

category 2
- The drawings in category 2x0 are arranged chronologically per project.
- The order of the categories 1x0, 2x1 and 2x4 is derived from 2x0 That is, not the date of correspondence e.g. determines the order of 1x0, but the date of the drawings. In this way consistency is established. e.g. 1x0-2 1934, Chapel of Saint Oda, St. Oedenrode 28.10.'66; 2.11.'66

category 3
If these are lectures, one may find at the end of the title description the name of the society etc. where this lecture was given. This information may be useful when looking for consistency with other categories. e.g. 3x0-167 27.6.'58, The Age of Technology, (T,3blz.) lecture Working Group Philosophy of Technology 3x2-53 1958, Working Group Philosophy of Technology, etc. Letters on architecture are conceived as a form of continuation of the lectures, and are classified in category 3x1
- category 3x2 is subdivided into subcategories, namely 'advice and jury memberships' and 'commissions, associations, foundations'
- opinions involve both written and drawn material

category 5
- category 5 is divided into 5 subcategories, namely 'publications', 'architecture', 'philosophy', 'catholica' and 'miscellaneous
- numbers 80 and 209 were added to the inventory on the basis of notes in the books
- number 62 had been attributed to Granpré Molière in the Tholens arrangement