Born 1938. In the sixties I completed my architectural education at the then HTS in 's Hertogenbosch, then architecture in Amsterdam at the Academy of Architecture, combined with an employment at the office of architect Zanstra, first as an architectural draftsman, eventually as cooperating architect. In 1975 we moved to Apeldoorn where I started my own one-man architects in 1976. Another activity was Kawecon, a consultancy where I developed computer software for construction. From 1981 to 2003 I was part-time employed at the STABU Foundationin Ede, where I developed the STABU specification system, the software I developed for this as Kawecon. At STABU I also developed a more comprehensive information system for construction under the name LexiCon. After my departure at STABU, I further developed that system in Kawecon as Semantic Concepts , which was transferred to the Dutch Concept Library (CB-NL) in 2014, now under the management of the National BIM Platform . The system has not yet been elaborated, which is why I formalized it myself into an ontology under the name Construction concepts .

I am a member of the NABK . I am also a member of the artists' collective H10a and of the Stichting Ateliers Apeldoorn .

After a duration of more than 30 years as an architect and ICT specialist, I am currently occupied with sculpting. I have a small studio at home. For larger images I traveled to Pietrasanta in Italy in recent years, the mecca of the sculptors, where I can work in the studio of the Fondazione ARKAD, a former sawmill of marble, a few kilometers from Pietrasanta. I work in stone and wood, stone only in recent years. Marble is great to work in, but I like to try all types of stone. I have sculptures of marble, alabaster, serpentine, springstone, soapstone, basalt, hard stone, granite, onix, obsidian, selenite and olivine. It is also nice to work in wood. My oldest statue is made of a piece of an old, ruined pine beam from a canal house in Amsterdam. I have sculptures of oak, birch, linden, acacia, maple, cherry, pine and balsa. I work abstract and figurative. I am concerned with the form. This form must be exciting and belong to the material from which it originates. Sometimes I work from a form that I thought up or tried out in clay, sometimes I look for the shape in the material itself. This is usually the case with wood or with non-sawn stone. I like to be inspired by the human body, both male and female. The shapes of a body can have beautiful, exciting surfaces and curves that evoke emotions - sometimes erotic - that I then try to capture in the image, and which I then hope to transfer to the viewer through the image.

Many of my sculptures are polished or flat finished, so that the interplay between form and material comes into its own. If it is possible I work, in this way I feel most comfortable and most connected to the workpiece. exciting surfaces and curves have those that - sometimes erotic - evoke emotions that I then try to capture in the image, and which I then hope to transfer to the viewer through the image. Many of my sculptures are polished or flat finished, so that the interplay between form and material comes into its own. If it is possible I work, in this way I feel most comfortable and most connected to the workpiece. exciting surfaces and curves have those that - sometimes erotic - evoke emotions that I then try to capture in the image, and which I then hope to transfer to the viewer through the image. Many of my sculptures are polished or flat finished, so that the interplay between form and material comes into its own. If it is possible I work, in this way I feel most comfortable and most connected to the workpiece.

If I try to tell something about my sculpture, it could be about the process of becoming, that is the process that takes place between me and the brick or block of wood. For the first time on the buck we stand opposite each other. The initiative lies with me, otherwise nothing happens. Sometimes there are starting points, an irregularity, a tear or other defect, an eye-catching form, usually these leads are still insufficient and I start chopping.

And then the dialogue begins, which, if the process goes well, ends in a form that is ready. In finding that form, I constantly have to wonder if I am guided by my feeling or bias, something unexpected happens, the stone goes in half, or the wood appears to have an unsuspected rotten spot, cracks or tears, the dialogue just do not want to come about, and sometimes you did not stop in time.

Ultimately, there is a result, if it is good I find the feeling, the emotion in it, if it is less good, it is weakened or disappeared.

I do not have a message, or it must be the message of beauty and emotion. I do not make pamphlets, my work is not a protest against abuses and no call for the rescue of our planet that we destroy, no protest against war or crime. Of course these things touch me, as they touch every right-minded person, but what drives me is something that can be just beautiful.

Painting and Drawing I've been painting and drawing since my youth, but in recent years I have not got around, other things require more time. The works shown here are therefore not recent. Like my sculpture, the paintings have already been created working, without a preconceived idea, they are also untitled and leave the interpretation entirely to the viewer, hopefully my feelings communicate. The drawings are fast model sketches with charcoal, pastel and ink or watercolor. Architecture Architecture is for me the creation of space in which certain activities of users can take place, more than the radiating of status or power, so functionality versus monumentality. A space where you can function is not only a volume of certain dimensions, but also an environment with atmosphere and the right climate of light, air, temperature and acoustics. The atmosphere is determined by composition, scale, material, color and attention to details. I have tried to realize these aspects within my available projects within the available budgets. The projects shown cover the period from 1955 to 1995, they are partly buildings realized in my architectural practice, but also studies, competitions, and projects on which I have worked as an assistant architect. After this period I stopped using architecture to continue with other activities.

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