It is not the book itself, condition is fair+, but the realisation that all artists included in the book have become highly collectable artist, who’s works you can only acquire at steep prices nowadays. It shows the importance of collecting at an early stage by the museums. It is not difficult to pay millions for a work of art, but when you can see the quality at an early stage you can build a great collection…well done Centraal Museum.
Without knowing . The VOORMOLEN company made an artist book which contains contributions by the very best artists from the Netherlands from the Sixties. Katshoek was an architectural project in the rebuilding of Rotterdam after WWII. New architectural design , enhanced with art from the very best of dutch artists.
Together with the project the Voormolen company made an artist book. with contributions by Boezem, Bonies, Dekkers, Dibbets, Eikelenboom, van Elk, Gribling, Koetsdier, Manders, n, Rous, Schuitema, Graatsma, Slothouber, Staakman, Struycken, Volten
the above publication is also in the collection of several dutch museums and now available at www.ftn-books.com
Katshoek office building
Heer Bokelweg became the connection between Schiekade and the Rotte Tracé, a wide road from the centre to the motorway to Utrecht. The Katshoek building was the first structure built on this new and wide city boulevard.
What a contrast between the large modern building faced in white Kirchheimer limestone and the Oude Noorden district behind it! The huge structure has been built on Heer Bokelweg in the Zomerhof District.
It was originally designed as a multi-tenant building for small industries that had previously been housed in temporary structures in the area. However, this plan was dropped on account of the drastic increase in construction costs since the plan was launched in 1959. The idea now is to house ten large offices in the building, among them probably, subject to approval by the city council, a number of municipal departments. In addition, the Voormolen contracting firm that built the structure hopes to move from its current address on Westersingel into the new building on Heer Bokelweg in early 1968.
Het Vrĳe Volk, 28 September 1967
The post-war Basis Plan for the centre of Rotterdam earmarked Heer Bokelweg as a main access route into the new city from the north-east; an entrance between ‘gateways’ like the Shell building and the Schieblok to the renewed Hofplein and Coolsingel. Heer Bokelweg later became the connection between Schiekade and the Rotte Tracé, a wide road from the centre to the motorway to Utrecht. The Katshoek building was the first structure built on this new and wide city boulevard. After completion of the building the widening was extended on the north side, including an unsophisticated gap punched in the Hofbogen viaduct. But the changing insights of the early 1990s are visible on the southern side in the narrowing of the street with the construction of the Scala apartment complex beside the RAC garage, which today houses the city archives.
The sturdy seven-floor concrete-frame building is designed as a multi-tenant building, but it differs considerably in both layout and architecture from Maaskant’s other multi-tenant buildings such as the Industriegebouw, Groothandelsgebouw and Verzamelgebouw Zuidplein. According to Maaskant expert Michelle Provoost, this is an atypical work for Maaskant. “Especially the facade, which is very flat. You don’t see that very often in Maaskant’s buildings. The facades of his buildings are usually very expressive.”
The exterior is indeed fairly flat, with sleek bands of fenestration in aluminium profiles and stone cladding. The interior and the columns along the lower volume on Almondestraat are finished in bush-hammered concrete, a technique used to leave the concrete surface rough. The use of luxury materials gives the building a strongly representative feel. The floors of the two halls of the main staircases and of the shopping gallery are finished in Jura stone. The walls of the halls and the ground-floor columns feature exposed concrete adorned with a relief, while the entrances to the staff lifts are finished in white anodized aluminium.
The angle on the front facade is elegantly highlighted by the stone bands that continue as a vertical series of balconies.
Clearing the way for cars
The widening of Heer Bokelweg cleared the way for cars, but the building facilitates cars in other ways too. A car park for 250 vehicles was built behind the building and was directly connected to the office volume. In addition, an Aral petrol station was built on the triangular site between Heer Bokelweg and Almondestraat. And so the number of petrol stations within a 100-metre radius came to three!
Art plays an important role in the building. The facade features an entrance relief by André Volten (1925-2002), one of the best-known abstract sculptors of the post-war period, whom Maaskant frequently worked with. The piece (Untitled, 1968) is a facade element with circular segments. The lines of the architecture are repeated in the work and distorted to form a new image. It was originally made of stainless steel and stone, but during renovation it was painted black along with the columns, ruining the effect. An art event was held in the entrance hall to mark the opening of the building in 1968.
Until 21 December, the ground floor of the new Katshoek office building in Rotterdam is the venue for an exhibition that is as unusual as it is striking. At the invitation of Voormolen, the contractors responsible for building Katshoek, sixteen artists were given an opportunity to express themselves creatively with all sorts of construction materials.
Het Parool, 14 December 1968
It was, according to organizer Bob Bonies, a remarkable project:
“After all those exhibitions, which always consisted of the finest possible arrangement of existing works, I wanted to try another approach. I proposed inviting a number of Dutch artists to create their contribution inside that wonderful space by using construction materials supplied by Voormolen. Including engines, blowers and the like. And with the help of skilled workmen from Voormolen. It was an expensive project, but I immediately received full cooperation.
I chose sixteen artists: the cool guys Dekkers, Manders, Koetsier, Struycken and myself, Boezem, Dibbets and Van Elk with their micro-emotive art, the kinetic artist Staakman, Eikelenboom with his utopian situations, Rous, who makes a sort of minimal art, André Volten, Paul Schuitema with his colour scheme and his alphabet and the Slothouber-Graatsma team from the Cubic Construction Centre. And Gribling with his space structures.”
Het Parool, 21 December 1968
The building housed the offices of Robeco, Procter & Gamble Benelux and a number of municipal departments. Owing to its out-of-the-way location, the building later fell out of favour. The current tenants are OMA and Havensteder.
Over the years I have seen many Wim Crouwel designed catalogues. But one is definitely in my personal top 10 of Crowel designed catalogues.
It is the 1966 ANDRÉ VOLTEN catalogue he made for the Voltens Stedelijk Museum exhibition. Just some features of this great catalogue. The size. It has never been better than the size of the catalogues he designed in the early Sixties. The back has that typical Crouwel designed element. The lettering. Just look at the E of Andre. is has a hardly noticable accent aigu making it the perfect É. And than there is this graphical element taken from a Volten sculpture . It is there , but it also underlines is a very subtle way the name of Volten.
Than there is the inside cover. A shiny silver . Just that one page but a very very powerful elemnt in the catalogue. All pages have a tranquility with lots of space, making the catalogue breath. Photography is top with a brilliant Volten portrait in his studio at work…… a lovely and highly collectable catalogue and still for sale at www.ftn-books.com
Andre Volten is arguably the greatest sculptor form the second half of last century in the Netherlands. Educated in Amsterdam he soon became friends with contemporary artists like Ongenae. AAfter his arrival in Amsterdam he founded the LIGA NIEUWE BEELDEN and developed his art into a very personal form of abstract expressionism. Because he was at one time employed as a welder, steel and other metals were like wax in his hands and he could bend and transform them into the sculptures he wanted to make from the available materials. The result …. some magnificent large sculptures in public places. Sometimes they are hidden , but in many cases they are in the open. Just look at these 2 examples and find many more in classic publications on this artist at www.ftn-books.com. Among them iconic Wim Crouwel designed in brown and black cover . One of my personal favorites.
For more information on Volten please look at the www.andrevolten.nl site for information on the Volten foundation
The year is 2000 and Queen Beatrix is invited as a guest curator for the exhibition DE VOORSTELLING to be held in the Stedelijk Paleis op de Dam . The place where each year the Koninklijke Subsidie voor de Vrije Schilderkunst is presented . Her “right hand” is no less than Rudi Fuchs the director at the Stedelijk Museum who helps the Queen with her choices and presentation.
I am not a great fan of our Royals, but i always have had great respect for Queen Beatrix and her love for the arts and i am convinced that she is very knowledgable about art, art techniques and with that background could make some great choices for her collection. ( a.o. Eja Siepman van den Berg and Andre Volten ). This time it was for real and one could see her personal dutch favorites within the exhibition. To accompany the exhibition a more than nice catalogue was published which is available at www.ftn-books.com.
Artist/ Author: Oliver Boberg
Title : Memorial
Publisher: Oliver Boberg
Measurements: Frame measures 51 x 42 cm. original C print is 35 x 25 cm.
signed by Oliver Boberg in pen and numbered 14/20 from an edition of 20