{"id":132,"date":"2021-10-08T08:25:28","date_gmt":"2021-10-08T08:25:28","guid":{"rendered":"https:\/\/frankdenoudsten.nl\/?page_id=132"},"modified":"2024-01-01T12:18:34","modified_gmt":"2024-01-01T12:18:34","slug":"1977-1980","status":"publish","type":"page","link":"https:\/\/frankdenoudsten.nl\/index.php\/1977-1980\/","title":{"rendered":"1977-1980"},"content":{"rendered":"\t\t
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1977-1980<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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stichting architectuurmuseum<\/h6>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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I found the missing link at the NDB. NDB stands for\u00a0<\/span>N<\/span><\/em><\/strong>etherlands\u00a0<\/span>D<\/span><\/em><\/strong>ocumentation Center for Architecture (=<\/span>B<\/span><\/em><\/strong>ouwkunst), an institution to host a significant collection of architectural drawings discovered in the attic of the Rijksmuseum in Amsterdam in the early seventies, a time of increased interest in the built environment throughout Western Europe. At this NDB start-up, I served eighteen months of civil duty from mid-1975. My task was to assist its two employees: Fons Asselbergs, an art historian and the custodian, and Dick van Woerkom, an architect and the collector of the institution. That task turned out to be a steep learning curve in the fields of modern architecture and the making of an architectural exhibition. In retrospect, the interdisciplinarity of the entire adventure profoundly shaped my profile as a designer.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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sybold van ravesteyn<\/h6>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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detail of the Van Ravesteyn score, June 1977<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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The NDB was also the headquarters of the Stichting Architectuurmuseum (SAM), a foundation that aspired to establish a museum of architecture. Its path was the realization of and participation in a series of architectural exhibitions, all based on the extensive collections of the NDB. As a result of these activities, all sorts of researchers spent time in the archive. That\u2019s how I met Wim de Wit, Nancy J. Troy, Maristella Casciato, and many others. At the end of my term, an exhibition about the architect Sybold van Ravesteyn was planned. The curators felt that the show needed some form of implicit commentary. They knew I had experimented with soundtrack-controlled slide projections and asked me to design an atmospheric audiovisual commentary on their subject. That\u2019s how I got my first assignment when I had no clue yet how to make a living.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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le temps des gares\n<\/h6>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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In Paris, in January 1977, the Centre Georges Pompidou was inaugurated. That same year, one of its departments, the Centre de Cr\u00e9ation Industrielle, initiated an exhibition on the subject of the railway station. Jean Dethier, the curator of the exhibition, wanted to research the extent to which the railway station, as a new phenomenon of the late 19th century, influenced the layout of major cities like Paris, Brussels, London, Milano, Amsterdam, etcetera. The exhibition\u00a0<\/span>Le Temps des Gares<\/span><\/em>, as it was called, was to be a collaborative project with international partners from Belgium, the UK, Italy, and the Netherlands. The Dutch partner institutions were the NDB and the Stichting Architectuurmuseum. Fons Asselbergs and I were responsible for the Dutch contribution. Working in such an ambitious environment was a quintessential experience that implied a steep learning curve in the art of making exhibitions.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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johan niegeman\n<\/h6>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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The Van Ravesteyn audiovisual was a simple 2×2 multi-screen slide projection with a straightforward narration soundtrack and moody music. However, it was pretty new in the context of an exhibition, and I enjoyed making it. More importantly, the press liked it as well. I told myself, if I like it and they like it, why not make it a profession? And so it happened. A year later, the Stichting Architectuurmuseum invited me to make another audiovisual for their exhibition on the architect Johan Niegeman, who had co-created the city of Magnitogorsk in Russia in the thirties. This project was a chance to introduce new elements in my composition: an interview with a fellow Russian traveler, ambient sound and elaborate graphics, historical documents, and staged photography in his house in Blaricum. In terms of audiovisual design, this one was far more advanced than the Van Ravesteyn program. Nevertheless, it was a fully flat phenomenon projected on a wall in just another exhibition room. Naturally, space itself would get involved in the next one.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Johan Niegeman and colleagues in Magnitogorsk, 1930s<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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B\u00e9 and Johan Niegeman at their residence in Blaricum, 1970s.<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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