Opstandingskerk (Kolenkit)

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

The NH OPSTANDINGSKERK MET TRAP, nicknamed the 'Kolenkit' is a multi-storey church from 1956 and stands in the Amsterdam district of Bos en Lommer. It is the second of six post-war Dutch Reformed churches by the renowned architect and later professor of building science ir. Marius Duintjer. In his designs, Duintjer sought a middle way between modernism and traditionalism (shake-hands). Duintjer's church designs reflect the changed views on the role of the (Dutch Reformed) church in society. Whereas the church was initially intended only for worship, after the Second World War it increasingly had to fulfil a social and community function. Due to the changed functions, the design also changed. The traditional typology of tower(s) and a nave is increasingly abandoned. Duintjer's first two churches, the Kruiskerk in Amstelveen and the Opstandingskerk (Kolenkit) in Amsterdam Bos en Lommer, still have this traditional layout and are known as the 'cathedral churches'. The other four, including the Thomaskerk in Zeist, are known as 'bungalow churches'. The Opstandingskerk was built in 1956. It was the first building in this part of the Bos en Lommer district. Due to its free-standing location, the height differences in and around the building and especially the distinctive tower, the church was prominently visible and became the icon of the district. The nickname 'Kolenkit', because the tower closely resembled one, gained national recognition. Functionally, the church reflects the changed view of the church's role in society. The church wanted to fulfil not only a religious but also a community role, as a meeting place for the many young families in the neighbourhood. Duintjer still adhered to the typology of a traditional church with tower, but built a basement underneath the church hall, in which a community centre was established. The adjacent PARSONAGE, which was part of the design and the protected complex, was tellingly connected to both basement levels. In the interior of the church, which is part of the overall design, Duintjer built on his Kruiskerk in Amstelveen. In the oval church hall, by means of narrow windows over the full height of the harmonica-shaped side walls (coulisses), an exceptionally soft, almost mystical light has been created. Through the conscious combination of the Communion table and benches, baptismal font and pulpit on a platform (choir), Duintjer attempted to achieve a new balance between Word and liturgy, reflecting the discussion in the church of that time. The freestanding wooden cross placed centrally in the choir was made at the special request of the church congregation. Duintjer developed into an important architect of, among other things, churches, business buildings and hospitals. The Opstandingskerk / Kolenkit received considerable domestic and international attention. The reviews were generally very favourable. The church is the icon of Bos en Lommer, even though the very prominent and distinctive location recognizable from afar has largely been negated by high-rise development as part of a major restructuring of the district. The various stairs and platforms that bridge the height differences on the west and north sides of the church and parsonage have been preserved. On the east side is a simple garden that follows the oval floor plan of the church as well as community centre and is furnished with the original fence.

Description

The NH OPSTANDINGSKERK MET TRAP, nicknamed the 'Kolenkit' from 1956 to the design of ir. M. Duintjer is a multi-storey church and consists of a church hall with a community centre underneath. The PARSONAGE, which is part of the complex, is built directly adjacent to the church and is connected to the church via the interior on two levels. The church is constructed from concrete and steel, with external walls of red brick in Flemish bond. The roof is covered with bituminous material. On the south-west corner stands the characteristic coal-scuttle-shaped bell tower. The tower is physically connected to the church but functions as an independent entity. Exceptional is the far-extending roof gutter of the tower, which functions as a water spout. The NH OPSTANDINGSKERK is typologically remarkable as an example of a multi-storey church: the community centre is located in the basement underneath the church. Church and community centre have an oval floor plan with rectangular west side. The church hall is furnished with harmonica-shaped, pointed external facades with vertical strips of glazing. The church has a gently sloping gabled roof that is not visible from the street side. The community centre projects out underneath the church hall on the east and north sides and is furnished with a continuous glazed facade and a lean-to roof. The entrance to the community centre is slightly sunken in the north facade and is accessible via a double flight of steps behind a retaining wall.

The main form, facade layout and detailing of the church are very well preserved. In addition to the distinctively designed bell tower and the harmonica-shaped facades, the west facade stands out for its relative solidity. The steep and tall STAIRCASE with platform lends a certain monumentality to the main entrance. Three doors form the entrance. The steel frames are still original, but the leaded glass has been removed. Above the doors, under the top gable, a number of small panes have been installed. The INTERIOR of the church is part of the overall design. The main entrance on the west side gives access to a vestibule. Next to the middle door are two amphora-shaped offertory boxes. The interior staircase on the north side of the vestibule leads both to the parsonage and to the community centre in the basement. Three doors, in line with external doors, give access to the oval church hall. On the west side of the church hall is a gallery, on which the organ was previously located. Characteristic of the church hall are the white-plastered coulisses (visible on the outside as the harmonica-shaped facade) with elongated windows. From the western direction these windows are not visible. This creates a very special spatial effect and light entry. The original windows have been replaced with wired glass windows. The ceiling has brown wooden beams and is still painted in the original light blue colour. The original lamps are also still present. A centre aisle leads between the church benches to a platform with stairs (choir) on the east side. The platform is slightly extended for the baptismal font, a hollowed-out erratic. The pulpit and the wooden cross are still in their original location; the Communion table with benches are stored elsewhere in the building. The red tile floor in the vestibule and church hall dates from the time of construction. The interior of the community centre under the church hall consists of a corridor on the north side, which leads to a room on the west side (behind the monumental staircase to the church) and an internal staircase which gives access to the parsonage and church hall. Parallel to the corridor is a large hall with the original doors, square wall panels and a sawtooth-shaped ceiling.

Valuation

The NH OPSTANDINGSKERK MET TRAP, nicknamed 'Kolenkit' in Amsterdam, is a multi-storey church to the design of ir. M. F. Duintjer from 1956 and is of general interest as an essential exemplar of early Post-war Reconstruction, from the perspective of architectural history, urban planning and cultural history:

- as the second and most famous of the six church designs for Dutch Reformed churches by which architect ir. Marius Duintjer gained recognition in the Netherlands and abroad due to the exceptional design;

- due to the distinctive typology as a multi-storey church, consisting of a church with a community centre in the basement;

- due to the well-preserved main form, facade layout, colour scheme and detailing, in particular the bell tower which gave the church national recognition and the nickname 'Kolenkit', the integrated function of community centre with the exceptionally designed church hall above it which, by means of the harmonica shape with elongated windows (coulisses), provides the interior with very special light entry;

- as an example of a church interior in which the new liturgical views within the Dutch Reformed Church took shape, with still present the original furniture designed specially for this church such as the Communion table with benches, baptismal font, pulpit, cross and seating benches;

- due to the well-preserved community centre under the church which with its oval form continues the church hall as it were at a lower storey level;

- due to the relationship with the well-preserved parsonage, which is part of the overall design, which is responsive to the height differences in and around the church and is accessible from each level from both inside and outside;

- as a reflection of the changing role of the church in society through the combination of functions for both worship and community centre in one building, whereby the parsonage is tellingly physically connected to both functions;

- as an icon and orientation point of the Bos en Lommer district with an originally very distinctive, elevated position in the district, the effect of which has, however, been partly negated by new construction.