Halve Maan

English translation

The text above is the record as published by the Rijksdienst voor het Cultureel Erfgoed, in Dutch. The English below is a machine translation made by TreeAlive, not by the Rijksdienst voor het Cultureel Erfgoed; it has not been checked by a person. Where the two differ, the original is the record. Report a translation error: privacy@treealive.com

Description

Introduction

This detached VILLA is situated between the Coniferenlaan and the Dennenlaan. The villa was built in 1917 to a design by Apeldoorn architect CHRIS WEGERIF. Wegerif's work bears the stamp of the Nieuwe Kunst. There are among others influences from the English Arts & Crafts movement, the Vienna Secession and Art Nouveau to be discerned. Wegerif was an advocate of the integration of the applied arts into architecture. Together with Johan Thorn Prikker and John. Th. Uiterwijk, he therefore founded the nationally well-known art dealership 'Arts & Crafts' in The Hague in 1893. In general, his work tends towards simplicity, functionality and towards sober but carefully considered ornamentation. Wegerif came from an important architectural family. Besides himself, his cousin, Ahasverus Hendricus Wegerif (1888-1963), was also a well-known architect. Both designed among others buildings in Apeldoorn, independently of each other various properties. The houses of Chris Wegerif are total concepts. Thus he also often designed woodwork, chimney pieces, furniture and sometimes also the garden. His wife Agathe designed among others curtains and upholstery fabrics. Wegerif's houses are almost always characterised by square or rectangular floor plans with independent end gables. The mostly white-rendered facades have a closed character, which is partially compensated for by openwork transition areas such as bay windows, terraces, loggias and balconies. In the interior, the area around the chimney piece is important. This area was regarded as the most important part of the house. The architecture of Chris Wegerif is characterised in this period by roughly rendered facades, simple main forms and around windows and door sections concentrated detailing. Other important villas by him are villa Edera (1918), Zeeuwshe Knoop (1909) and his own residence Kamp Links (1915).

The house was built as part of a larger project, the NV De Apeldoornsche Bouwgrond Maatschappij for the development of the villa park 'Het Loo', which was co-founded by Wegerif. Within this project, Wegerif also designed the villas Serena (1e Beukenlaan 9, 1916), the aforementioned villa Edera (Eikenlaan 10) and the demolished villa Freya (1e Beukenlaan, 1917). The villa is situated in a spacious garden with mainly low vegetation.

Description

This brick VILLA erected on a composite floor plan is entirely rendered and painted white except for the plinth. The villa consists of a two-storey component under a gabled roof, with against the north facade of this a one-storey component under a gabled roof whose ridge direction is at right angles to the two-storey part. The roofs are covered with reddish-brown glazed improved Dutch tiles and provided all around with a drip moulding. The roof drains via roof gutters built into the wall and has on the left roof slope of the two-storey component a square chimney. The facades are finished along the roof edge with a decorative frieze consisting of regularly spaced rectangular blind niches. All facade openings are surrounded by a regular recess in the facade. The building has at the front a half-round veranda, against the east facade a half-round bay window projection and in the west facade above the entrance there is a half-round canopy. The applied leaded glass is clear with purple details.

The asymmetrical FRONT FACADE (west facade) is finished on the right by a spout gable with shoulders provided with a drip moulding. The spout gable is crowned by a horizontal half-moon on which a weather vane is affixed consisting of a small flag in which a cut-out half-moon. At the top is a blue facade stone with a gold-coloured half-moon and the text "MCMXVII - halve maan" in gold-coloured letters.

On the ground floor is against the facade a half-round veranda closed off by four columns with a square capital. The veranda is accessible via a single-pane stoep door with wooden shutters and a fairly large half-round fanlight containing leaded glass. Above the veranda is a balcony surrounded by a parapet wall in which regularly spaced vertical rectangular blind niches. The balcony is accessible via a single-pane door with a half-round fanlight containing leaded glass. On either side of the door a single-pane casement window. The front facade has on the left two narrow, tall two-pane windows with a sill and figured glass.

The RIGHT SIDE FACADE has on the ground floor on the left in the facade a window with a half-round fanlight containing leaded glass, wooden shutters and a sill. On the right in the facade a half-round bay window projection in which five fairly narrow leaded glass windows. Above this bay window a balcony closed off by a parapet wall. The balcony is accessible via a two-pane stoep door with a half-round fanlight containing leaded glass. To the left of the balcony is a single casement window with a half-round fanlight containing leaded glass. The asymmetrical REAR FACADE has a projecting right section with in the middle a wooden panel door with single-pane upper panel and a square side window with a sill. The facade has on the left on the ground floor a two-pane stoep door with half-round fanlight containing leaded glass and wooden shutters and on the upper floor two tall windows with half-round fanlight containing leaded glass. The LEFT SIDE FACADE is finished by a spout gable crowned by a half-moon. At the top is a fairly high half-round enclosed window with on either side two small tall windows. All three windows have leaded glass. On the ground floor on the right in the facade is an entrance consisting of a sandstone stoep of two steps and a wooden panel door with a single-pane upper panel. Above the entrance is a half-round, flat canopy supported by two columns with a square capital. To the left of the entrance a square basement window with safety bars and to the left in the facade a divided window with single-pane lower and upper frame, shutters for the lower windows and a sill. The INTERIOR contains among others red and white tiles in checkerboard pattern in the hall, a wooden staircase with balusters and a handrail which develops into a finely formed newel post, in the living room two plaster ceilings with a central ornament in the form of a stylised sun and a fireplace with wooden mantle in which a tile tableau, depicting an evening landscape with half-moon, designed by Wegerif's wife, the artist Agathe Wegerif-Gravestein (1867-1944), and signed AWG 1917.

Valuation

VILLA from 1917 to a design by Apeldoorn architect Chris Wegerif.

- Of architectural-historical value as a good and virtually intact example of an inventive villa design by the well-known architect Chris Wegerif. The building stands out for its high aesthetic qualities such as simple main forms and sober detailing. A substantial part of the interior has been preserved. Characteristic are the spout gables and the constantly recurring rounded forms in the design (bay window, balcony, fanlights). There is an ensemble value within the villa district Berg en Bos. The various buildings in this district together with the older and later types and styles very well illustrate the development of villa construction in this area.

- Of urban-planning value through its location between the 1e Beukenlaan, the Dennenlaan and the Coniferenlaan. The objects together with the many private and public green elements form an attractive and valuable street scene.

- Of cultural-historical value as a recognisable element from a social development. The building was constructed as housing for the new and wealthy urban elite, who preferred to settle in substantial villas in spaciously laid out and in this case systematically developed, romantically arranged villa districts. The district Berg en Bos is a good example of such a villa district. In the design for this house various forms of applied art are integrated into the architecture. This total design is characteristic of the time in which the building was constructed. There is furthermore a cultural-historical value in the fact that Wegerif's work bears a clearly recognisable signature and due to the limited geographical spread can be seen as characteristic of the municipality of Apeldoorn.