Low Profile

In the centre of the pond in front of the Duisenberg building and the Zernike complex are the contour lines of an immense human figure. The sculpture is six metres high and made from stainless steel. A powerful fountain spouts water up within the contours of the sculpture, as a result of which parts of the figure are hidden from view. The spurt of water reaches above the shoulder before it turns into a hazy spray. The title of the work refers to ‘something that changes and yet stays the same’. The changing same symbolises the research in the Spatial Sciences faculty. According to artists Maree Blok and Bas Lughhart the water from the fountain is the backbone of the human figure and a metaphor for the ability of humans to change themselves and their environment time and time again without losing themselves.

In 1990 the city of Groningen celebrated its 950 th anniversary and a contemporary city gate was placed at each main entrance road of the city to mark this. Architect Daniel Libeskind developed these city gates. At the Sprikkenburg by the Starkenborghkanaal channel is a city marking created by artist Gunnar Daan; a steel construction with two transparent stainless steel book leaves. These book leaves display the city of Groningen in two perspectives: the interior of the city and its exterior. The interior is displayed in the shape of a Stoa – an arcade – and the exterior in towers that fade into the space.

In front of the Selwerderhof cemetery great hall is a large sculpture in the round pond. It was created by Hans Ittmann from Amsterdam and is 4.5 metres high. The sculpture consists of five vertical stakes that protrude two dish shapes. The spherical sides of the hollow are turned towards each other and the water spouts up through the stakes. The sculpture has organic shapes that are reminiscent of plants or fungi. The Selwerd cemetery was laid out between 1939-1949 after a design by garden architects L.W. Copijn and J. Vroom Jr. The two great halls from 1949-1951 and 1963-1964 respectively were designed by then public works architect J.H.M. Wilhelm. Today the entire complex is a municipal historic monument.

In 1972 Groeisymbool  (symbol of growth) received a place in the pond at the then newly delivered main office of the Rabobank at the Pleiadenlaan. One year later the Rabobank presented the work of art to the municipality of Groningen. The sculpture consists of three high pylons that rise straight from the water and are surrounded by fourteen floe-shaped elements that stick up from the water. A fountain spouts the water up along the pylons after which it splashes on the floes. In the evening underwater lighting illuminates the fountain sculpture in white light. Artist Jacob van der Meij described the work of art as a symbol of the earth bursting with the three polyps rising from the water and the brilliant white lighting at night expressing the primal forces and energy of the earth.

The Werkman is a monument for Groningen printer and artist Hendrik Nicolaas Werkman, who was killed on 10 April 1945 by accomplices of the SD (German Security Service) shortly before the liberation. The work of art has the shape of a suspension bridge and consists of sixteen stainless steel plates from which figures have been punched. The shapes refer to the templates Werkman often worked with. The row of punched plates that form a bridge was inspired by the rows of newspapers that come from the printing presses. The sculpture is a homage to the artist and printer Werkman. Hans Rikken created ‘De Werkmanbrug’ for the Gallery Art Show in 1995, the year that was proclaimed the ‘Hendrik Nicolaas Werkman year’ by the municipality of Groningen.

Most fountains look somewhat gloomy if they don’t spout water, but there is always something to see with this fountain even is the water is shut off. And this was exactly what artist Bas Lugthart intended when he was commissioned to make this design. In his design Lugthart uses the blue tube, as well as water and even wind and gravity as his material. Without water spectators see the profile of a face and the figure completes as soon as the fountain starts spouting: the arch formed by the water results in a different hair style with each gust of wind.

In the 1970s the narrowing of the gap between art and the public was among artist René de Boer’s main themes. This encouraged him to make appliances of his sculptures instead of merely objects to look at, and these sitting lumps are an example of this. Below the sculpture are swivel casters and nylon slide plates that allow the work to be moved, and because the sculpture hinges in the centre its shape can change. The work of art is therefore also an object to look at, lie on and play with. In 1975 Zitknobbels (Sitting Lumps) was at the Grote Markt for a month after which the municipality of purchased it and placed it in the Paddepoel shopping centre. In the late 1990s the sculpture was moved to the Selwerd shopping centre, and since 2011, the bronze bench is located on the Beren shopping square.

In 1876, this distinctive building was the entry for the world fair in Philadelphia. In those days the building, which was designed as a former Groningen state former Dutch High School, was considered the ultimate example for school building in secondary education. A special element in this design by architect H. Raamakers is the freehand drawing classroom above the hallway. This classroom had a glass ceiling with an extended glass dome above it. The former school was designed around 1869 and is characterised by its monumental Neo-classical architectural style. Striking elements include the three semicircular arches above the entrance and the polygonal observation post lined with wood from which the stars can be observed.

In 1990 the city of Groningen celebrated its 950 th anniversary and a contemporary city gate was placed at each main entrance road of the city to mark this. Architect Daniel Libeskind developed these city gates. At the Friesestraatweg is a city marking that is considered a monument of Groningen’s industrial past. Artist Thom Puckey created a distinctive Groningen factory chimney, which in the nineteenth century were often found at brickyards, strawboard and potato flour factories throughout the province. In the late 20 th century many of these factories were closed down, as represented by the bronze branches growing out of the windows.

Dutch East India Company Managing Director Jan Albert Sichterman intended to have the most beautiful house built in Groningen, but thought this had failed when it was delivered in 1746. The building was – and is – nonetheless impressive. The Sichterman house’s exterior is richly adorned and its interior was more than impressive, with many paintings by Dutch and Italian masters, expensive services and various art treasures. After he died in 1770, the building was divided into two parts. The balcony above the front door (and from which Sichterman apparently threw coins to the people) is in the Groninger Museum. 

Car parks generally do not stand out because of their atmosphere, but – also thanks to P. Struycken’s illuminations – this does not apply to the car park below the Ossenmarkt square. Using twenty light frames on the floor of the car park, the concrete construction in the centre is spotlit in changing colours. The principle of the colour changes is based on the blend of the colours red, green and blue. As the lights shine more or less intensively, the colours change as they blend. P. Struycken is also known from the stamp on which he portrayed then Queen Beatrix in coloured dots and his design of the colour scheme for the rooms in the Groninger Museum.

Aletta Jacobs (1854-1929) became known as the first woman ever to be admitted to university, and who for the rest of her life championed for women’s suffrage and world peace. In 1871 Jacobs, who was born in Sappemeer, started studying medicine at the University of Groningen. She took her doctoral degree in 1879 and started a practice in Amsterdam, where she carried out important work in the area of women’s health care and birth control. The statue was created by sculptress Theresia van der Pant and in 1988 was placed on the forecourt of the Arts Faculty.

On 27 June 1909 the Academy Building was newly inaugurated after the building was entirely destroyed by fire in 1906. It was built according to the early seventeenth century North Netherlands Renaissance style the patrons used to refer to the period in which the university was established. Sculptor Petrus Ackermans designed five allegorical sculptures. Minerva  is standing in full suit of armour on top of the Academy Building with a helmet on and carrying a spear and coat of arms.  Scientia  and  Historia  represent science and history respectively. Prudentia stands for wise policy and Mathematica  for mathematics.