Partial collections

In addition to individual acquisitions, theme projects result in sub-collections.

Series ‘Narrative cities’ (1990)
(0001 – 0004 + 0010)

These first four manuscripts formed the springboard for the Vedute Foundation’s project. The series originally comprised four parts, to which a fifth part was added in 1991. The content is about urban elements or aspects of them. The city is conceived as an image of memory, inspired by, among other things, the book ‘Invisible Cities’ by Italo Calvino.

Series ‘The written versus the constructed’ (1996/97)
(guest curator Luce van Rooy)
(0081 – 0088)

For the sub-collection with the starting point: ‘the contradiction between the written word and structure’, a number of architects were invited to visualize the contrasts between text/idea and creation/construction in a spatial manuscript.

Series ‘Colour & Space’ (1998)
(guest curator Jetteke Bolten Rempt)
(0091 – 0112)

Quotation ‘It must be about three years ago that I cut out a contribution by Gerrit Komrij in the series In Liefde Bloeyende (blossoming in love) in the newspaper NRC Handelsblad. Using a number of Dutch poems, the article discusses colour. Although short, it represents a complete idea about colour in poetry. How colour words can alter a perception or can suggest a physical sensation. Speaking of colour and space, the colour poem is the ultimate spatial abstraction. This piece by Komrij affected me all the more directly because I had just started on the project Colour and Space for Vedute’. (Jetteke Bolten-Rempt, cahier Het blauw is nooit alleen (blue is never alone), p. i-ii)

Series ‘Acoustic architecture- Architectural acoustics’ (1999)
(guest curator Frans Bevers)
(0019 – 0129 + 0142 – 0144)

Quotation ‘The list of examples in which architecture and music, space and sound enter into an alliance is endless. Demonstrations of this interaction can be found at all levels “high, low and in between” (with thanks to Townes Van Zandt) of art and life. Sometimes as an unintentional side effect, often as a deliberate manipulation or as artistic research. Architects and composers, artists and musicians have a great deal in common. They even use the same words to describe their work. And in the course of history there has always been an intensive relationship between these disciplines. I was particularly fascinated by the idea that I could invite people whose work I admire and who work in thewide field of music, architecture, design and visual art for this Vedute sub-collection.’ (Frans Bevers, cd-rom cahier Acoustic Architecture – Architectural Acoustics)