Environment Quality Committee

There is no such thing as ‘the’ city or ‘the’ village. There are always differences in, for example, location, size, composition and history.  These differences are important because they define the identity of the place and of the municipality as a whole. One’s own neighbourhood, the town centre, certain public spaces or buildings, but also the proximity to green spaces, nature or recreational opportunities give Apeldoorn different qualities and possibilities compared to other municipalities.

It is important for the specific urban context that the urban planning, cultural-historical, landscape and architectural characteristics of a site remain recognisable, and that a new building makes a positive contribution to them. Moreover, a place of value does not exist in isolation from time, but connects the past with the present and with the future.

A building and its surroundings can enhance each other’s value. In particular, a building’s form and scale, as well as the layout of its façade, play a major role in determining how the (public) space is experienced. It is important that spaces are pleasant to spend time in, robust enough to stand the test of time, and flexible enough to allow everyone to flourish to the full.

Preserving existing qualities does not necessarily mean that everything has to be identical to the existing surroundings. For a sustainable future of the built environment, there must also be scope for creative architectural ideas. This could, for example, involve a building whose design differs from that of its surroundings, but which nevertheless makes a distinctive contribution to them. Architectural craftsmanship becomes more important the more a building stands out from its surroundings.

People enjoy their surroundings most when there is a sense of vibrancy. Lively streets and neighbourhoods with activities and homes that face out onto the street. Modern cities are often rather anonymous. There are rear façades facing the street or office blocks, where all sorts of things are going on behind the façade, but which are cut off from life on the street.

Buildings that offer a glimpse of what is happening inside are more attractive and create a greater sense of safety on the street. The (ground-floor) façade facing the street contributes to the experience of the public space. Pleasant buildings have open and attractive façades, and care has been taken to ensure a smooth transition from the public space to the building by designing the building entrances in an inviting manner.

Taller buildings often originally served a specific public function, such as a church or town hall. They are also frequently adorned with decorative features and are situated in a location with space around them. Their visibility serves a functional purpose. They seem to say, ‘this is where you need to be’, thereby providing a sense of direction and identity within the city.

Modern high-rise buildings often serve a more private purpose. These are frequently buildings that have been designed and constructed as a single large block. They are simply so tall because they needed to accommodate a large number of flats or office spaces.

In some cities, taller buildings blend in well with the highly urbanised surroundings. In Apeldoorn, which has both urban and rural characteristics, anything taller than, say, the height of a tree can quickly make one feel lost.
In Apeldoorn, the human scale is central to the way we build. Literally, by avoiding the construction of buildings in which people do not feel at ease, because they are too large, too anonymous or too impersonal. But also figuratively, by always placing the experience of a building – as perceived by its occupants and passers-by – at the heart of the design.

It is too simplistic to suggest that, for that reason, you should never build above that ‘tree line’ or the height of the church tower in Apeldoorn. As we saw in point 3, even today it is precisely the contrasts between low and high, large and small that give the city its character and ensure that you do not get lost in an endless sea of little houses.

It does mean, however, that a taller building must more than justify its visibility. It must therefore ‘earn’ its extra height through some particularly special quality. Furthermore, the way in which such a building fits into its surroundings is also important; careful attention must be paid to the transition from the building to the space around it.

One of Apeldoorn’s most important features is its greenery. The greenery of the forests in the Veluwe, the greenery of the long avenues that stretch deep into the city, the greenery of the many parks and the greenery of the gardens.

But why is green space so important? It turns out that a green environment leads to lower crime rates, less stress, greater well-being and better health. It appears that people who live in a green neighbourhood are more likely to be satisfied with their neighbourhood and feel a stronger sense of connection to it. In the future, this trend will only become more pronounced, as green spaces can also be the key to a climate-resilient city: preventing heat stress and mitigating flooding.

Green spaces also help to bring order to the city. In some places, Apeldoorn resembles a collection of fragments, but the unifying element is always a strong green structure. A solid green framework produces a better result than simply placing different types of buildings side by side in a cold, impersonal manner.

A pleasant, richly contrasting urban landscape is therefore not achieved by focusing solely on the built environment, but also on the green infrastructure, such as woods, hedgerows, springs, avenues, parks, public gardens, green play areas and by ensuring that private outdoor spaces are not paved over, but are designed to be as green as possible.

The word ‘sustainability’ is bandied about indiscriminately. When it comes to sustainable building, the focus is usually on energy: double glazing, high-efficiency boilers or insulation. Of course, these things are important too. But sustainability in a broader sense is about the fact that a design, concept or idea cannot exist without taking the factor of ‘time’ into account.

Buildings must not only meet today’s needs, but also have the potential to anticipate the future. This relates to what is built and where, so that the building is viable and, for example, accessible by public transport. It also relates to the building’s adaptability, ensuring it can be used for multiple purposes in the future. For example, the ceiling height can be designed in such a way that a building can be adapted in the future for both residential and office use. The materials used are also important. Sustainable materials, selected in such a way that ageing and weather conditions do not adversely affect their appearance, extend the lifespan of a structure. And, of course, sustainability is also about energy-saving measures. To ensure these are implemented to a high standard, they are best incorporated into the design of the structure from the outset.

Buildings are timeless. So too are the dilemmas architects face in their design: what is the building’s place, what does the client want, what will it contain, which structural solution is best suited, and so on. A building is appealing because of its clear structure; it has a recognisable form, and is consistent and well-proportioned in terms of both its construction and layout.

One of the first people to write on this subject was Vitruvius; in the first century BC, he wrote ten books on architecture: a building code avant la lettre! Among other things, this ancient Roman discusses the relationship between firmitas (sturdiness/the structure), utilitas (the building’s purpose) and venustas (beauty). He also discusses, for example, ordinatio (organisation), symmetria (symmetry), eyrytmia (harmony), distributio (the right materials) and decor (appropriateness).

The architectural principles set out below have been around for centuries and have proven their worth:

The relationship between form, function and construction

A building’s appearance (its form) is largely determined by its use and the way it is built (its construction). Yet form is more than just the combination of use and construction: form adds something extra. We therefore believe it is important that use, construction and form complement one another and are logically interrelated.

A good example to illustrate this is Apeldoorn’s town centre. The use of the historic shop premises on Hoofdstraat has changed over the course of the century. The shops have become larger or more garish. The upper floors are no longer always used as living accommodation. You can see that the character of the building has sometimes been obscured by continuous renovation work. The ground floor, with its shop front and advertising, has become visually disconnected from the upper floors. This calls for restoration, so that the upper and lower parts are brought back into balance and the building is once again a unified whole: with its feet firmly on the ground.

Scale and proportions

The proportions of a building form a coherent system. Vitruvius referred to this as ‘the golden ratio’ – a model for determining when something is well-proportioned. Good proportion, however, is broader than just that model. It is something you recognise when you see it, something you have to experiment with, and not something that can be defined by a single rule. It is one of the most elusive aspects of designing a building.

Spaces, volumes and the division of surfaces are interrelated and form a clear hierarchy. A building has a single main form, within which the most important functions are accommodated. Added elements such as outbuildings, bay windows, dormer windows or balconies can be disruptive if they are too dominant.  Such secondary structural elements must therefore fit within the structure, dimensions and scale of the building.
The building’s appropriate relationship to the scale of its surroundings, the adjacent buildings, and also the outdoor space (a square or a narrow alley) are key factors in determining how the building fits into the urban context.

Material, texture, colour and light

Material, texture, colour and light make a building visible and tangible. Materials, texture, colour and light support the design of the structure and reflect the character of the building. They also contribute to the building’s harmony with its surroundings. If colours and materials are not in keeping with the design, this detracts from the structure’s expressiveness.