Dutch Water Towers

From 1856 onwards about 260 water towers were built throughout The Netherlands. Of the 175 still remaining few (with the exception of towers in Amsterdam and Utrecht ), are still in use for the regulation of the mains drinking water. The introduction of hydraulic engineering in the 1950’s being the main cause.

Each tower is unique in its design; influenced by a different architectural period. This diversity is not often seen anywhere else in the world. Contrasting with the Dutch landscape they are the visiting card of each city.

The first water tower in The Netherlands was commissioned by Willem III in 1680 in order to create sufficient water pressure for the fountain in the grounds of the palace Soestdijk (The former palace of Queen Juliana and Prince Bernhard). Other early water towers were built to supply the steam locomotives of the railway. Less imposing than their drinking water cousins, none of these still exist today.

The height of the water towers varies from 35-60 metres. The water reservoir held enough water to keep a constant pressure on the waters mains and acted as a buffer supply on demand.  

As the numbers of water towers in use declines, these characteristic landmarks become protected monuments often with other functions. The oldest water tower in The Netherlands can be found in Rotterdam. The tower is a mix of Neo Romanesque, Neo Renaissance and Moors construction styles. In its day it had a water reservoir capacity of one million litres. Out of commission since 1977 and a protected monument, it now houses seven apartments, office space, and a café/restaurant! 

An equally impressive water tower and monument can be found in the Schildersbuurt (painters’ neighbourhood), Groningen in the Netherlands. Situated on the corner of Dr. C. Hofstede de Grootkade and the Herman Colleniusstraat.

Sources:
Watertorens, Top010

© Alison Day

Alison Day Design 

First published in the Connections magazine #16 Summer 2007 

The Padang Bar

The Padang Bar is a café/bar and has the best Northern African food I have ever tasted, with mainly Marokkan dishes on offer due to the fact that the chefs are mainly from Marokko.

Tajine dishes are their specialty and are oven dishes, which require extra time to prepare, but are well worth the wait. Their Merguez (spicy little sausages) and their lamb cutlets are a particular favourite of mine. All dishes come accompanied by couscous and salad. The staff are friendly and the atmosphere is relaxed. Due to its popularity it is definitely worth booking a table, unless you don't mind sitting at the bar with a drink until a table is available.

The Padang Bar is open every day and their website can be found here (Dutch)

© Alison Day

Alison Day Design 

First published in the Connections magazine #16 Summer 2007 

Connections Magazine - Spring #15 2007

© Alison Day

Alison Day Design 

First published in the Connections magazine #15 Spring 2007 

Easter & the Moon Rabbit

This year, as you casually bite off the ears (or other extremity) of a chocolate bunny, have you ever asked yourself as to why a rabbit (or hare) is part of the Easter celebrations?

If you want to go down the most obvious path the Easter bunny has its origin in pre-Christian fertility lore. The Hare and the Rabbit were the most fertile animals known and served as symbols of the new life during the Spring season.

The German settlers, who arrived in the Pennsylvania Dutch country during the 1700s, were the ones who introduced the Easter bunny to American folklore. The arrival of the ‘Oschter Haws’ was considered ‘childhood's greatest pleasure’, (after Santa Claus of course). The children believed that if they were good the ‘Oschter Haws’, would lay a nest of coloured eggs and built their ‘nest’, using a cap/bonnet, which has led to the later tradition of the more elaborate Easter basket. In those days Easter bunnies were made of pastry and sugar and not of chocolate.

But according to some, Easter is not really a solar festival but rather one of the moon, the measurer of our days. Many eastern artists have depicted the moon with rabbits racing across its face. In one such story Buddha places Rabbit in the moon as payment for a favour in which Rabbit voluntarily gave himself as food for one of Buddha's hungry friends. An honorary position, for the full moon is seen as the destroyer of darkness or ‘sign of new life and messenger of immortality’ (Hillard).

A more important connection can be found exclusively within the hare, which unlike the rabbit is born with his eyes open. The Egyptians called the hare Un, which meant ‘open, to open, the opener’. Un also meant period. Thus the rabbit became a symbol for periodicity in both the lunar and human sense of the word. The hare as ‘opener’ symbolized the New Year at Easter, fertility and the beginning of new life within the young.

Happy Easter!

© Alison Day

Alison Day Design 

First published in the Connections magazine #15 Spring 2007 

Groningen Street Art

Magnificent buildings aside Groningen also boasts 400 sculptures and other artistic creations within its city limits. To be found all over in parks, public places, on bridges and street corners, they are permanently on show and open to the elements. Often we see them with such regularity in our daily lives that we don’t really see them anymore.

One such sculpture along the Boteringesingel in the Noorderplantsoen is of a large bull, ‘de Wisent’ (European bison). Created by the Groninger artist Wladimir de Vries (1917–2001), it measures two by three metres long and weighs ten tons and is one of ten statures that can be accredited to him in the city. The bull is a solid primitive form with limbs and head fused into a solid imposing grey mass. Taking a year and a half to sculpt during which eight tons of stone were chipped away before the creature finally emerged.

A sculptor of the old school, Wladimir de Vries would first work out his idea in clay, then once satisfied go to work on the designated piece of stone with chisels and sledgehammers: a time consuming and arduous task. His work is predominantly figurative which exudes a sense of pride and joy. Woman is often a reoccurring theme; the sensual nature of which often caused much debate with not only his clientele but also the public.

Probably his most renowned work is that of ‘Landbouw en Veeteelt’ (Agriculture and Cattle breeding), to be found on the Herebrug (Here bridge) and depicts an urban virgin. She is naked except for a few ears of corn wrapped around her middle and has her foot placed on a calf lying at her feet. In 1953, when it was placed on the bridge it was received with mixed emotions. Some found her too naked, whilst others found the rather strange proportions of her body disturbing. Children on the other hand, were bothered by the plight of the poor calf under her large foot. However, over the years she has obviously grown on the Groningers who have dubbed her ‘Blote Bet’ (Bare Bet).

© Alison Day

Alison Day Design 

First published in the Connections magazine #15 Winter 2007 

Connections Magazine - Winter #14 2006

After earlier photo montages on covers of previous issues, this was the first issue that highlighted the work of featured artist, Jim Gamblin.

© Alison Day

Alison Day Design 

First published in the Connections magazine #14 Winter 2006 

Jim Gamblin - 'Elements from our World'

All it took was the glimpse of a photograph of a racing car in a magazine at the age of 12 to start Jim Gamblin along the road into the photographic world. Later, to further his pursuit of the art of photography and techniques of the trade he attended Brooks Institute of Photography in Santa Barbara, California.

Jim started as a commercial photographer’s assistant and ventured out into the world. He learnt the tricks of the trade whilst working on a diversity of assignments. One in particular, he remembers, meant he had to light a mud wrestling competition. But his preference lay with the big studio shoots with their party atmosphere, cast of thousands and cutthroat hustle and bustle, reminiscent of the 1960’s film ‘Blow Up’, by Michelangelo Antonioni.

After a time Jim began to combine working in lighting for two independent photographers as well as becoming a location scout assistant. Contact with one of the photographers led him into the world of commercials. This appealed to the film buff in him, as an advertisement can also be compared to a scene out of a film, very often requiring as much preparation and a budget to match.

Work as a location scout took off and this meant he was often given carte blanche to find and photograph potential locations for a film. In this way he was able to produce his own photographic work, whilst at the same time looking for an appropriate film location. Becoming an invaluable part of a film’s production, his involvement also meant that on set he was able to learn from some of the best names in cinematography of the time.

In his work, Jim tries to capture all the elements of an image in one shot, hoping at the same time to evoke emotion and inspire others, ‘or just to stop and see the beauty of the elements from our world’. As an artist, Jim believes firmly that one should always be open to change and be ready and willing to learn new things in order to progress. A vocation is a constant challenge and does not have a finish line. Just like the priest he saw who signed his completed paintings at the bottom with ‘Priest in training’.

Years later in 2003, having traded the west coast of The States for The Netherlands, to be with his Dutch partner, Kea (who is now his wife), Jim found himself in the near vicinity of Zandvoort. Kea, upon hearing that Zandvoort was the place where the inspirational photo had been taken of Jim Clark (by photographer Henry Manney), that he had seen all those years ago in the photographic book, immediately turned the car around and headed off in the direction of Zandvoort, thereby bringing Jim full circle after all these years back to his beginnings.

For the future Jim is interested in branching out into portraiture as well as creating photographic film-like stills for graphic work such as brochures. Should you be interested in contacting him or seeing more examples of his photography his website can be found at: Jim Gamblin 

© Alison Day

Alison Day Design 

First published in the Connections magazine #14 Winter 2006