The Beurs is a different beast altogether. Built in 1903 as a stock exchange, the Beurs was shockingly new at the time, casting off historical styles and making a strong architectural statement. Berlage felt that ornament should mirror function, so any embellishments should accentuate keystones, lintels and consoles, rather than adorning purely ornamental facades.
As well as being an architectural statement, the Beurs is also a political statement. This monumental block is completely constructed from small red bricks, symbolising 'eenheid in veelheid' - 'power through cooperation', or 'strength in numbers'. This democratic philosophy completely fits with Amsterdam, a city known since the 17th century for pragmatism, tolerance and social commitment.
The Beurs was built to replace an existing stock exchange, which although less than 50 years old was already far too small and generally disliked. (It was known by Amsterdammers as 'the mausoleum'!) An international design competition was held in 1883, and after much wrangling, H.P. Berlage won the commission. The build started in 1898 and was completed in 1903. Amsterdammers were bemused: could this sober, plain building really be finished? Where were the gilded curlicues, minarets and fancy mouldings? Some said this red monolith looked more like a slaughterhouse!
H.P. Berlage is regarded as the father of modern Dutch architecture, aspiring to create communal, practical, refined buildings unifying art with everyday life. Berlage's constructive rationalism was influenced by the French designer Eugene Violett-la-Duc and later by Frank Lloyd Wright, but went on to inspire the Amsterdam School of architecture and the group known as de Stijl.
So, from the outside, what are the key features? Simple, elegant boxy shapes, brick, brick and more brick, an Italianate bell tower set to one side of the main entrance and a few understated natural stone embellishments.
The literal 'cornerstones' of the Beurs are statues of three of Amsterdam's great heroes: Gijsbrecht van Amstel (13th Century defender of Amsterdam), J.P. Coen (leading light in the Dutch East India Company in the 17th Century) and Hugo de Groot (17th century philosopher and founder of international law).
The proportions of the Beurs are based on the 'Egyptian triangle', for centuries associated with aesthetic beauty, and there is a distinct reference to Ancient Egypt in some of the stone carvings over the side entrance.
Inside, the brickwork again takes prominence - millions of tiny bricks, both glazed and unglazed, fashioned into decorative motifs and accented by wrought iron, terracotta reliefs, ceramic friezes and stained glass. The multicoloured glazed bricks are so attractive, they are sometimes referred to as wall carpets!
The Beurs contains three main trading halls - the largest is the Grote Zaal - a massive space spanned by arched steel girders. A statue of Mercury, the god of trade and abundance, presides over the activities below. This hall is now used for congresses, exhibitions and major events such as Amsterdam Fashion Week. It most famously hosted the civil wedding ceremony of Crown Prince Willem-Alexander and Princess Maxima on 2 February 2002.
Two smaller halls contain the Effectenbeurs (commodities) and the Graanbeurs (grain). Ceramic friezes reflect the functions of each hall. The larger hall is used by the Dutch Philharmonic Orchestra for concerts and rehearsals. The Graanbeurs was previously used specifically for chamber music concerts and used to contain a suspended glass auditorium which optimized acoustics, without obscuring the view of the original architecture.
The main entrance to the Beurs (opposite the Bijenkorf) is now a Grand Cafe. This is decorated by three ceramic friezes by Jan Toorop, depicting Yesterday, Today and Tomorrow. The friezes show progress towards emancipation of both women and the working man.
On a sunny day, a trip up the bell tower is well worth the climb. There are excellent views of busy Damrak, plus ever-bustling Dam Square, The Bijenkorf, Central Station, the Ouderkerk and beyond. There is also a mighty great bell!
A full guided tour of the Beurs is available once a month on Saturday/Sunday mornings (10.30-12.00). This is well worth booking as you not only get the full history from a very knowledgeable guide, but also you get to see some of the rooms which are normally off limits: the Keurzaal (with a great view over Damrak),and the Berlagezaal on the second floor with its impressive stained glass windows, chandeliers and carpet featuring the Amsterdam coat of arms.
 |
| Stained glass window by Antoon Derkinderen, Grote Zaal |
 |
| Frieze by Jan Toorop, Corn Exchange |
 |
| Relief by Lambertus Zijl over Main Entrance, Beursplein Verses by Albert Verwey, carved by Lambertus Zijl. |
 |
| Keystone by Lambertus Zijl Berlage Foyer |
Further details available at:
http://www.beursvanberlage.nl/Discover/Guided-tour/#.VTN5YJPIDzs
Places are limited, so it isimportant to book in advance.
In general the Beurs van Berlage commands respect - here is a ground-breaking piece of architecture, designed for the purpose of trade and commerce, yet aspiring towards a fair and egalitarian society. All ornamentation is discreet, refined and in context.
Hooray for Berlage! Although at the time, Berlage was criticised and there was a backlash against his work (the commission for the neighbouring Bijenkorf and new commodities exchange went to other 'less modern' architects), the Beurs has stood the test of time.
In 2006, Amsterdam newspaper 'Het Parool' declared the Beurs van Berlage to be 'De Nachtwacht van de Architectuur' (in comparison with Rembrandt's 'The Nightwatch'). Praise indeed!
No comments:
Post a Comment