Plattegrond c. 1864

Curator: So, we have here a drawing titled "Plattegrond" from around 1864, by Willem Springer Jr. It appears to be ink on paper, possibly from a personal sketchbook, and the paper has aged beautifully. What's your first take? Editor: My immediate response is the material—look at that homemade paper, slightly toned and marked with ink. You can almost feel the artist at work, planning something out laboriously. It's functional but has acquired such visual texture over time. Curator: I love that feeling, the intimate touch. It’s like glimpsing into his thoughts, isn't it? It's simple geometric lines, academic almost, but those tiny imperfections...they hint at a hidden, more human intention. The layout isn't just about accuracy; there is something emotional being explored here. Editor: Agreed! And consider the use of ink: it’s cheap, easily accessible, democratic even! This medium says so much about making architectural design practices visible. Curator: Indeed. We think about drawings like this being studies, but I feel the final quality is a deliberate intimacy. Architectural plans tend to remove the person from it, but Willem's imperfections humanize space. The work is small scale, meant for himself. This allows space for feelings beyond the mechanical. Editor: I agree wholeheartedly. I keep coming back to the surface. These are readily available, mass-produced materials to serve a basic need of capturing images and space. Curator: It truly offers a window into another time, when every drawn line was intensely personal. Thanks so much for discussing it with me! Editor: My pleasure! I really hadn’t considered how those inexpensive materials influenced and inspired someone’s creativity.