Jeruzalemkerk

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

A CHURCH built in 1928-1929, named Jeruzalemkerk, with the front facade facing the square on Jan Mayenstraat and with adjoining buildings at the NE corner and NW corner, respectively on James Cookstraat and Torresstraat, containing together seven separate RESIDENTIAL STOREYS as well as an integrated VESTRY with space for deacons, minister, collectors and a consultation room. Church and dwellings are inseparable components of one design. The church is surrounded on three sides by a FENCE on a masonry base. In this fence three entrances on the front and one on each side. Built on commission of the Dutch Reformed congregation of Sloterdijk according to a design by architect F.B. Jantzen F.G.zn - who also provided the design for the stained-glass windows - in the style of the restrained Amsterdam School with influences from Frank Lloyd Wright. The ORGAN has an organ front designed by the organ builder. In the design of the building use was made of (numerical) symbolism. The main forms of the building volume, the terraced formation and the liturgical disposition refer to temple construction. The stone types have different symbolic meanings in material and colour; also the lamps, woodwork and railings carry symbolic references in colour scheme, form and material choice. The dimensions and proportions of the Jeruzalemkerk are composed according to symbolic numerical schemes.

Description

A church built on a composite rectangular ground plan with adjoining buildings containing five storeys above street level. The whole consists of cubic recessed building volumes under a collection of flat roofs. Masonry facades in orange-red and dark-brown brick in Norwegian bond with decorative use of Bavarian granite. The facades rest on a purple clinker brick plinth terminated by a granite facade moulding. The church is oriented north-south and has a southern front facade with a stoop with three steps and three equal entrances in the plinth. Above the plinth the church is set back slightly as a closed block. Above the central entrance a text in metal letters 'JERUZALEMKERK' surmounted by three tall and narrow triple windows with masonry angled lower sill, masonry intermediate mullions and a short and squat bell tower with offsets in the brickwork and with sound holes. Straight gable termination with simple moulding. Both side facades have an entrance under a flat canopy in a projection with small square and tall and narrow multiply glazed windows. The second projection is higher and deeper and has a window group with seven windows with glazing and with intervening pronounced masonry central mullions that extend above the gable termination and with seven square lower lights with granite intermediate mullions. Further masonry facade mouldings. The adjoining five-storey building at the NE and NW corner has at the side of Jan Mayenstraat an entrance under a canopy on the ground floor and a second entrance under a canopy and with tall stoop with staircase to the mezzanine in the stairwell. These side facades further have a risalit with windows placed on the corner with glazing, a window with obscured glass on the ground floor and two triple windows on the fourth storey. The front facades respectively on James Cookstraat and Torresstraat have per storey two windows. On the ground floor tall and multiply glazed windows; on the first, second and third storeys window with vertical glazing bars; on the fourth storey a triple glazed and a window/hoist opening under hoist beam. Applied brickwork next to and above the windows of the third storey. At the junction with the remainder of the building facade a chimney rising from a console on the ground floor. Also on the corner with the junction with the church building a chimney with flue openings and capping.

Interior: The arrangement of the church space is cruciform, with the central nave dominating. The arrangement of the pews is entirely oriented towards the pulpit. The font is located at the middle of the rear wall. The communion table is raised in the central axis of the church. The dark mahogany (occumé) woodwork, the pulpit, the pews and the chairs are executed in the manner of the restrained Amsterdam School. Three-manual organ with free pedal and 43 stops with electric action, built in 1930 by the firm Furtwängler & Hammer from Hannover. The instrument may be seen as a characteristic and well-preserved representative of the 'Organ Reform' movement whereby the 16th-century sound ideals formulated by M. Praetorius in his Syntagma Musicum served as the starting point. The architecture of the instrument is inseparably linked with the architecture of the space and forms thereby a great unity. The windows are completely filled with stained glass. The wall and hanging lamps of bronze and glass are original. Above the main entrance the large rising window group symbolises the Lost Paradise with the angel with the flaming sword and with the Holy Spirit in the form of a dove (respectively the Curse of Paradise and the Promise of Paradise). The seven windows under the galleries have the Creation narrative as motif, while the large windows above represent the City of God from the Revelation of John: the city with the twelve gates. In the staircases the offering in the forecourt of the temple is depicted. To the side of the pulpit Melchizedek and Malachi are still depicted. The communion silver dates from 1932 and was designed by Alex Meijer from Schoonhoven.

Valuation

Jeruzalemkerk with adjoining residential storeys and vestry and fence from 1928-1929 of general interest by virtue of its architectural and cultural-historical and typological value as an internally and externally well-preserved example of a Dutch Reformed church executed in expressionist manner with relatively rare application of predominantly cubic forms and associated church furnishings from the construction period. The organ by Furtwängler & Hammer from 1930 is a well-preserved representative of the 'Organ Reform' movement. Also of interest as a character-defining element on a symmetrically laid out square and by virtue of its ensemble value in relation to stylistically related surrounding buildings.