The kindness of others

Morag Muego, (nee Reid)

In light of current geopolitical events around the world, with cruelties on every side, this may be a good time to remember the courage of ordinary people in a time of extreme danger. I probably would not be here to write this, if not for them.

I touched briefly on my dad’s wartime experiences in Italy, but there is much more to it.

He was captured in North Africa on 3rd December 1942 and shipped over to Italy, held in several POW camps as he was moved north. PG 66 Capua was a particularly bad camp, then John was in PG 59, Servigliano from 20.03.43 to 30.06.43.

John arrived in Mortara ( Pavia) on 30.06.43. This was the main camp PG 146 but it was just a transit camp. On the same day he was moved to PG 146/23 in Landriano

There were many work camps like Landriano with 70-100 POWs. It’s a small town of rice fields near Milan.

The prisoners were housed in the “the Castello”, actually an ancient tower formerly used as a farm, and their jailers were Italian soldiers of Benito Mussolini’s fascist regime. The POWs were put out to labour, helping in the rice fields during the day and locked up at night. As a result, they became friendly with the local farmers and were well treated by them.

My father’s drawing of the prison camp, from memory.

At the point of the Italian Armistice, on 8th September 1943, the jailers in the Camp left their posts and the prisoners walked free. The Germans, however, with the Italian fascist guards of the Repubblica Sociale Italiana, began hunting them down, recapturing them, and sending them to camps elsewhere. From the 100 escapees from the camp, 21 men were recaptured by the Germans in the first days. Many others hid in the fields and in bothies. My dad revisited this one, although it was safer to lie concealed in a field ditch as he did. The downside of that was waking up to find a rat chewing on his ear….

The escapees had nothing, but several local farming families took men in, hid them, fed and clothed them and when safe, the men could help with the work. My father owed his life to Mauro Rozza, who searched for him and took him in.

The Rozza family and others in Landriano, circa 1943

It was during this time that my father made drawings of the family’s young girls and neighbours. He was frustrated at having to stay hidden, so they brought him some drawing materials. It was dangerous for the escapees, who if caught, would be sent to Stalags in Germany. But for the Italians who sheltered them, the punishments were severe – homes burned down, families evicted and sometimes, executions.

Despite this, there was a very active underground Resistance, which got Allied servicemen out to safety, across the Alps to neutral Switzerland. The town plan of Landriano, below, marks all the homes that hid the escaped prisoners

From Landriano, John was taken in a van to Milan and hidden in the home of Lina Crippa Leoni, in via Boccaccio, for a short time. She had been a professor of music until she gave up her work to become a Resistance agent. The La Scala Opera House had been bombed by the RAF in August 1943, but the basement cellars were intact and also much of the scenery and props stored there. It was used partly as an air raid shelter after the bombing. Perhaps because of her professional links, my father was taken there in a work party and put to work in the basement, stitching backdrop curtains and drapes. Her niece, Giuseppina Comelli, also escorted men to the safe house at Caldé.

When it was time to leave Milan, he had to follow one of the women and was told not to speak. He could barely keep up with her long strides. They took a bus and then a train to Caldé, where he and others were met by Signor Giuseppe Bacciagaluppi and his English wife, Audrey Partridge  Smith. They had created the Allied Assistance Office of the Comitato di Liberazione Nazionale and worked together with Leoni, travelling to Landriano to pick up fugitive POWs. The men were hidden in their home until it was safe to start on the passage to Switzerland.

Courtesy of: Archivio privato Carlo Locatelli, dal volume di Gabriele Fontana, Scampoli La Resistenza brembana tra spontaneita’ e organizzazione, Istituto bergamasco per la storia della Resistenza e dell’eta’ contemporanea, Bergamo 2015

Together they were guided onto the mountain “path” over the Alps to freedom. Sections of this pass were fitted with chain bolted into the rock for safety.

This is the testimony of a French POW, rescued and evacuated one day before my father, by the same method.

On 10.09.43, the guards having left the camp, I got out and stayed in the fields, getting food from farms, until 13.10.43. I met a woman who spoke English and she arranged for train tickets from Milan to Varese. We reached Milan by lorry from Landriano and remained in Milan for two days. We left Milan about 18.00 hours and got to Varese at 20.00 hours. Here we took a train for about one hour towards Luino. Our guide took us to a house where we received some food and left on foot at about 21.30 hours. We walked for three and a half hours to reach the frontier.

My father’s boots wore out and he ended up walking in bare feet, but is recorded as arriving in Switzerland on 16th October, 1943. He was housed with a farming family, possibly in the Ticino region, and was well looked after. Although there are several photographs of family groups, I have been unable to find the exact location. We know that he was interrogated by an official in Wald, Switzerland on 19th July, 1944, prior to repatriation. The escaped men were supported by the International Red Cross and the embassies of their countries. My dad’s official War Records are incomplete, with no reference to where he was staying, but he kept a few photos like this of the family. And of a fellow escapee Alfred Pennyfather, who passed through just two days earlier.

These photographs may be from the village of Turbenthal or the camp itself, in the Bernese Oberland, about 40 kms from Thun. It was a very open camp, with just a curfew at night – it’s possible that the family group pictured lived nearby. I’d love to know!

He recovered his strength and brought back a few items from his time there – prescription spectacles from a nearby town, where his German passed muster, enough to avoid suspicion. He also came back with a tiny German bible in Gothic script and a bakelite dynamo torch that had to be squeezed repeatedly to give a glow.

Possibly a Swiss family photo, and one of Alfred Pennyfather, in the same location

************************************************************************************************

Until Dougie and I took a school party on a working art trip to Venice in 1990, little had been said about my dad’s wartime experiences. Our visit stirred a desire in him to return to Italy to try to find the places he remembered. We made a family trip to Lake Lugano the following year but he was about 20-30 miles out in his memories and didn’t find anything.

In 1993, I had a month long art teacher exchange to Milan and before I went I got him to tell me everything he could remember. I also took a photo of him as a young man in army uniform. I had spent 3 years learning Italian, because of the school visits we did, and I was able to explain my story fairly clearly.

At Easter, I took a bus to nearby Landriano, the town he remembered. I set out to find the “Castello” and asked an old lady, working in her garden – she was angry and shooed me away and went indoors, maybe thinking I was begging. I turned back and found the Comune (council building) and told the receptionist my story. She couldn’t help but knew someone who might – a local teacher and historian. Five minutes later, Massimo Piacentini and I met for the first time. On hearing the story, he told me he had portrait drawings in his house. We went there and I met his wife Rita. They brought out two framed drawings of their aunts. I recognised my father’s hand instantly, but we opened up the back of one, and there was the signature “Giovanni 1943” in my father’s handwriting. All of us were in shock, but Massimo got the drawings scanned and we faxed them to my father – he confirmed they were his.

Enrica Cipolla (portrait made in Italy while a POW and sheltered by her Italian family)

The following weeks were a blur of family visits and stories. My father wrote to Massimo in Italian and spoke about his time there. He wrote down the melody of the song he remembered.

The Italians recognised it immediately as Chiesetta Alpina, a popular tune. Here is a small extract

courtesy of DUCK RECORDS S.r.L, Italy

The following year, my mother and father travelled to Landriano, where they were given a huge welcome. My dad was taken to the places he had hidden in and met some of the families who had helped him. He also met the subjects of those drawings!

Massimo, John and his wife Mary, my mum, at a dinner held for them in Landriano in 1994

Since then, Massimo has done a huge amount of research on the Resistance and the families who risked everything. He has identified the family who sheltered my dad, he found the house in Milan where he was taken and the house at the end of the train journey to Caldé, where another brave man waited to lead the way over the Alps. And best of all, he thinks the woman in Milan who escorted him to safety, was perhaps one of the most courageous Resistance figures of them all in his area, Lina Crippa Leoni,.

Leoni is a heroine of the Resistance, who is now completely forgotten. From October ’43 to 17 April ’44, the date of her arrest, she evacuated 50 POWs fom Landriano and other villages to Switzerland and she rescued more than one hundred Jewish fugitives.

Massimo is now completing his work on the period and my father’s story will feature on the first page. I have him to thank for all the information here. I will post a link to his work when I get it.

We were privileged to host eight members of Massimo’s family on a group visit to Scotland and tried our best to show them our gratitude. Really, we are family.

There is a separate very full and comprehensive account of the Resistance in this period here:

https://www.robertspublications.com/blog/april-25-liberation-day-anzac-day-on-the-milan-escape-route

A second source is here:

And this is the record:  Pages 142 and 143 record the story of Lina Crippa Leoni, courtesy of this publication.

Lina was arrested by the Gestapo in 1944 and transferred first to an Italian prison, San Vittore, where she was tortured, then to Ravensbruck

concentration_camp and finally to Mauthausen concentration camp. She survived but at a terrible cost to her health. She refused to give any information.

One hundred and forty-nine Italians were recommended and approved for medals, including a George Medal. A decision by the British Government, made in late 1947/early 1948 denied those brave people their well-deserved medals, when it was decided that no British medals should be awarded to any Italian national. That was shameful.

Lina received 100.000 lire from the Allied Screening Commission and refused the money. She created a studio bursary instead for poor pupils and those of merit for her music school.

My friend Massimo and his community continue to keep their story alive and teach the school students about their history. Today finally, in Landriano, a new street was named after Professor Lina Crippa Leoni, who saved many people during the years of World War II.

Landriano students

John Cunningham RGI, D.Litt, 1926-1998

(Morag Muego, nee Reid, 2026)

Today is the centenary of John Cunningham, RGI, D.Litt, born on 2nd March 1926. A successful Scottish artist, who continued to paint throughout his life.

I was lucky to be in his first tutor group at Glasgow School of Art in 1967, along with around 15 others. He had just been appointed as a full time teacher in the Drawing and Painting department.
He was an open, generous man in both his life and his teaching. Thanks to him, we all developed our skills and ideas as individuals and his studio was a second home for the first two years of General course.

He was also a friend and contemporary of my father, John Reid. Both men obtained their Diplomas in Drawing and Painting from GSA in 1950, and met up again after I, too, went to art school.

I recommend this site, created by his nephew, Professor Alan Riach,
(Professor of Scottish Literature, University of Glasgow).

I would like to thank Professor Riach for his help in marking the anniversary of a Scottish artist who celebrated colour and light in his painting with a confidence and enjoyment in the vibrant tradition that has defined our own Scottish artists.

Click on the image below to read more:

The Bauhaus, can we stick a kilt on it?

Dougie Muego (first published in 2017 and revised January 2026)

The Bauhaus- Walter Gropius 1926

Gropius was also the founder of the Bauhaus at Weimar in1920

Mies van der Rohe was its last director from 1930 to 1933.

Dessau-Rosslau, south of Berlin

the bauhaus entrance

The name

The first Bauhaus school was established in Weimar in 1920. It occupied a building designed by Henry van der Velde where, from 1907 until the outbreak of the first World War, Van der Velde sought to reform design and handicraft and architecture teaching. When the school transferred to Dessau, Walter Gropius designed a purpose built school in1926. It was variously a Design, Architecture and Craft School with an evolving curriculum partly caused by political pressure. There was a focus on Design for Industry. The location of the Bauhaus in Dessau was because Dessau saw itself as an aspiring industrial city, thought to have good prospects for new designers. Dessau was also located in an area of similar towns forming the central German Industrial Zone,  also an area of new industries, south of Berlin.

The Building itself has stylistic connections with Gropius’s other work (Site examples The Fagus shoe factory, the Haus am Horn, Gropius house) and with the International Modernist movement in architecture.

Both Mies and Walter Gropius were members of the Deutscher Werkbund, a movement in Art and Design in Germany which had seen explosive growth prior to WW1. It had also evolved from its late 19th Cent origins as a craft guild with a strong Gothic influence-similar to the Arts and Crafts movement in the UK, with its emphasis on individual hand crafted production. By the early 1920s, all be it with strong disagreement from some members, it had become a strong advocate of designing for industry- Industrial Design as we know it today. This change in approach also took place in the Bauhaus at about the same time. Almost co-incident to the building of the Bauhaus, the 1927 Werkbund exhibition at the Weissenhof Siedlung in Stuttgart explored an important theme – “Die Wohnung (How Should We Live? The Dwelling)” It looked at how people lived, what sort of housing was most suitable for them, how these ideas were evolving. It was one of a number of Werkbund exhibitions during the 1920s and is an example of how active, powerful and well organised the Werkbund was at the time of the building of the Bauhaus. Because of this, and its good professional reputation, it was able to draw on the services of some the best and most influential designers, architects and artists when it came to appointing teaching staff at the Bauhaus.

The building

The complex layout of the Bauhaus sits on fairly flat ground in a generous grassy area. It has a flat roof and is of steel, glass and concrete construction.

For the most part the building is set out in distinct blocks with three floors over a more rustic ground floor/basement. One wing has five floors over a ground basement floor. These blocks are linked by access corridors.

corridor

Corridor

An unexpected bonus is the vistas which open out as you walk up the stairs and rise up through the building.

These inside/ outside views give you a powerful sense of integration, of being part of the building as you go through it. The famous name is spelled out vertically in white on a grey facade.

upper landing view
foyer and staircase
studio space

The interior surfaces are white, grey and occasionally black. The studio spaces can be spartan and much less glamorous than the facades. There are occasional red accents both inside and out. The crisply detailed reception area has a buff floor. You can catch an occasional glimpse of a studio space as you go round.

There’s that famous theatre to see and the building has a very good cafeteria- its well worth a visit!

theatre doorway

exterior view

The Bauhaus shows what a superb architect Gropius could be. Visiting the building is a wow! To move through the building is to be delighted by each aspect you see. Its so good, so well done. For the building is a tour de force, it has a great presence, and a strong sense of mass and order.

Its a big statement visually and the overall effect is of carefully integrated materials forming harmonious facades to all elevations.

An obvious difference with more recent buildings is the size and number of panes of glass which make up an individual glazing area and the noticeable black glazing bars which give a rich articulation to the large glass facades. Drama comes from contrasting these facades with white concrete.

glass facade

the teaching

The influence of the Bauhaus on design education has been very important. A unified art, craft, and technology syllabus was taught at the Bauhaus. There were  artists, designers and architects teaching there. They understood that “It’s all one big sea we swim in” when it comes to Art and Design. Each discipline needs the other.

For all students, both then and today, coming to terms with that is part of Art or Design’s great beauty and its difficulty when learning.

course diagram

The Bauhaus as a Design School only operated until 1932.

The Nazi Party was rising in power in Germany and when they took control of Dessau city council, they forced the then Director, Mies Van Der Rohe, to close the school. He then moved to a factory in Berlin, but was unable to continue there. The Bauhaus closed for good in Germany in1933, and Mies dispersed the students and teaching staff.

This act helped to spread the ideas and influence of the Bauhaus throughout Europe and the wider world. A few came to the UK, built a little, and stayed until the outbreak of war. They then moved to America and post-war, in the USA, the New Bauhaus or Second Chicago school was founded.

In Tel Aviv, there is the “The White city of Tel Aviv”, a very large collection of modernist buildings built by German Jewish architects who emigrated to Palestine after the rise of the Nazis.

Even as far away as Australia, a school was established for a time teaching Bauhaus methods.

The building itself survived the Second World War, but fell into a dilapidated condition. The Communist GDR then operated it as a reorganised Design and Architecture School but not linked to Gropius’s thinking and two restorations took place. Since 1974 the Bauhaus has been the home of “Bauhaus Dessau Foundation”, and teaching continues. Post-graduate programmes have been run there since 1979, and you can visit the building. Associated with the building are a number of “Masters Houses” in a small building development nearby. They have been restored or partly reconstructed and it is also possible to visit them.

Its success in giving its students an understanding of how to to design for production using modern materials is well known. Some of the best known examples of work associated with the Bauhaus are in the field of modern design.

A much employed material was tubular steel. These chairs are examples of its furniture design.

Marcel Breuer chair
cesca chair-Marcel Breuer

It is also well known for teaching typography, and for being a centre of excellence in Graphic Design. Herbert Bayer designed the image below.

The course was also surprisingly modern in other ways, as well as wide ranging, extending to discrete elements on such unusual and modern topics as Film and Photography, dance, theatre design- including costume. It was this broad and thorough approach which equipped it’s students to succeed in modern life.

Conclusion and relevance

I wrote this piece in 2017 and since then the world has become a much more uncertain, difficult and dangerous place. But the Bauhaus was created and existed during a more turbulent and chaotic Germany. Those in charge then chose to seek opportunity rather than surrender to doubt. Their work speaks for them, beautiful, engaging, looking to the future, not the past,

This raises a question for us in Scotland. I’m talking about the aspect of social need in the production of objects for consumption. Too often production is described as good if it merely makes profits or creates jobs. That is not nearly enough. How we live, design and make is just as important today as it was 100 years ago. Today in Scotland we can choose to aspire, to dream of a better tomorrow, we will want our rights respected, and our needs met as far as it is possible to do so. The goals of our educational institutions similarly need to be addressed for they are the engine of desire which will power this transformation in social achievement. The model of the Bauhaus, often misunderstood, is that it successfully harnessed the energy and the opportunities of its times. We see the fruits of this labour, but not the nourishment which preceded it.

Those responsible for the Art, Design and Architecture in Scotland should consider this model of nourishment, care and development. How have creative people been invited to provide a vision for a better future? With Glasgow School of Art still a burnt out shell after a failed attempt at repair after a previous fire, it’s a legitimate question to ask. Given the energy generated during the 2014 referendum campaign and the continuing expression by many for a better Scotland since then, how can that desire for a better life be supported and encouraged through design and architecture?

Shall we be more ambitious? For then as now, the question is “How shall we live?”

The admission of social concerns into design teaching, and their expression as either architecture or designed objects, raises a question for or us in Scotland. I’m talking about the aspect of social need in the production of objects for consumption. Too often production is described as good if it merely makes profits or creates jobs. That is not nearly enough. How we live, design and make is just as important today as it was more than 100 years ago. Today in Scotland we choose to aspire, to dream of a better tomorrow, where all the citizens of our country have their rights respected, and their needs met as far as it is possible to do so. The goals of our educational institutions similarly need to be addressed for they are the engine of desire which will power this transformation in social achievement. The model of the Bauhaus, often misunderstood, is that it successfully harnessed the energy and the opportunities of it’s times. We see the fruits of this labour, but not always the nourishment and creative community effort which preceded it and was linked to it.

 

 

Transports of delight

Dougie Muego (first published in 2017 and revised January 2026)

Leipzig Hauptbahnhof and “Bach im Leipziger Bahnhof” (the annual Bach Festival)
Leipzig
Leipzig itself, is an attractive place. It has been ranked as the most liveable and the most attractive city in Germany. It has a very high quality of living. It is also noted as a centre for shopping and food. The city is a thousand years old. It has a 15th Century university that is the students’ favourite, and since the 1490s, the city has been famous for its trade fairs. The older city centre dating from the 16th century attracts many visitors and is charming to walk through.
City reconstruction began after wartime damage as part of East Germany. After reunification it continued. The collapse of many of the city’s traditional businesses and activities led to economic decline. The population shrank, but has now stabilised at about half a million. Since then, the city’s fortunes have revived and now Leipzig is seen as something of a magnet city, attracting jobs and investment.
Today Leipzig is a growing, thriving and ambitious city of just over half a million people, noted for its lively arts scene. It is also a major transport hub, integrating air, train, tram and bus. This is interesting for a Scot, who is frequently exhorted to use public transport more and the car less. Leipzig station has 120,000 users per day, about the same as both of Glasgow’s stations combined, but twice that of Edinburgh, although the cities of Glasgow and Edinburgh are roughly the same size as Leipzig. The huge city tram network is 92 miles long. This is where Leipzig stands out.
It also has a very well developed cycle network which adds to its popularity. If we are serious about growing a greener economy and increasing prosperity in Scotland, we need the attitude and commitment shown in places like Leipzig.
Among its former famous inhabitants are the philosophers Karl Wittgenstein and Gottfried Leibnitz, together with the painter Max Beckmann, the poet and philosopher Goethe and Mendelssohn, the composer. Then of course there’s Bach. JS Bach worked in Leipzig between 1723 and 1750.
Leipzig has an annual “Bachfest Leipzig” music festival. This celebrates the work of one of the world’s greatest composers and perhaps the city’s best known inhabitant. I’m sure its also very good for tourism.
The station
Leipzig Hauptbahnhof is one of the world’s largest railway stations. It has 19 platforms and a spectacular facade which is 298 metres long.
It is also a much changed place with a complicated history. It was begun in 1909 and finished in1915, but during WW2 bombing, the concourse roof collapsed and the western entrance hall was destroyed. Full restoration took until in 1965. Following German reunification, the station was modernised and a shopping mall and two basement levels were added.

multi-level-concourse

Today, the older building with it’s roof supported by those big stone arches, now covers a new, modern multi-level concourse.

concourse-platform-elevator

The modified station building was inaugurated in 1997, then two underground railway platforms were added in 2013 and a billion Euros has recently been spent on the Leipzig city tunnel.
This will integrate into the larger new rapid transit network, Berlin–Leipzig–Nuremberg–Munich, a very ambitious infrastructure project.  Here is a description of the project
Today however, on the outside, the facade is once again grand, stately and rather beautiful and the interior is just an amazing space to explore.

platform

A diversion-The cake

As you can see, we did and we eventually found the cake shop- all it takes is a little persistence!

cake

 

Our verdict?  Well yeah- OK, it’s not Mendls “Courtesan au chocolat” but it was very, very seriously good none the less.

To me this whole redevelopment is a successful hi-tec intervention which matches and in some cases surpasses the scale of this grand old building.

concourse-access

Throughout our visit we had the feeling that this was a renovation which has “been properly done”. The ambition of the design and quality of the work speaks for itself. It was also sensitive to the feel and history of the building and the wishes of Leipzigers.
The Music- Bach im Bahnhof

west-hall-and-multi-level-access

On the left of the picture below, you can see the performance area, with the concourse above. Anyone passing by can see the players and hear the music.

a-glimpse-of-the-preformance-space-beneath-the-main-concourse
Right in the heart of all these new works, down in the multi level concourse, in June 2016, was the “Bach im Leipziger Bahnhof” music programme. The station’s own programme of free events as its contribution to the city’s annual Bach festival.
Perhaps you might think it strange that a railway station would be home to a concert programme, but “Bach im Bahnhof” perfectly complemented the railway station. A well organised and free daily music programme of took place quite matter-of-factly in the very heart of one of the busiest railway stations in Germany. 120,000 users pass through each day, roughly the same as Glasgow’s two railway stations combined, (yes! imagine if you had this railway station in Glasgow). It offered travellers a brush with culture during the hustle of a journey, and so culture had a chance to engage with daily life. The programme was also good enough to attract visitors to the station.
On the day I visited, beginners classes in violin and cello were showing everyone what they could do. For the kids it was a great showcase in a huge venue.

Here is a performance clip I made.
Learning violin isn’t easy, and these kids were great! I would guess that they were only about seven or eight years old, yet they held it together really well.
Why does that matter? Because acquiring that level of skill at such an early age is empowering. Having the opportunity to successfully perform in public, in a place like that will, I’m sure, will be remembered long after the event.
Also, learning good things about what we can do as we grow up, helps us to become confident adults. Its just such a social good.
Something you notice when you’re abroad is that Europeans have a seriousness about music, about its importance and value. Casual event performances (for example the bands at a summertime Bavarian open air fête day with fireworks in the evening) often have a much higher technical skill than you can casually find here, and the range of instruments is usually broader as well.

Infrastructure
We toured in and around Leipzig. It was a revelation to see how much infrastructure investment is flowing into German transportation links. With its airport, three motorways surrounding the city-borders and several high-speed railway links to all major cities in Germany, Leipzig is an easy-access city. The billion Euro rail tunnel is only a fragment of a much wider scheme to upgrade the Central German Regional Railway Network, and improve connectivity in Central Europe. (ERDF) is underpinning the EU Central Europe programme. Scottish infrastructure spending, so long choked off by the UK government, is just beginning to transform Scotland and some of this is contingent on ERDF funding. The Scottish Government currently has 6 billion Pounds worth of infrastructure being constructed in Scotland today. That includes our new local hospital in Dumfries (£200million), the Queensferry Crossing (£1.4billion) the Shieldhall tunnel- a new sewer for Glasgow (£250million), the M9 upgrade(£450million).
The Scottish Government also has future infrastructure plans which would depend in part on getting ERDF funding.
This is the sort of investment which Brexit will put at risk.
In Leipzig as in Scotland, If your government really cares about your country’s future, it shows. Actions speak louder than words.

Postscript

Since Brexit and since I wrote this piece in 2017 the Scottish Railway network has had some funding and the infrastructure has been improved. I’m not a railway buff, I don’t keep up with all the changes, but I do use the Lockerbie to Edinburgh service occasionally. Something which I missed out in my Leipzig piece was the connectivity of the S-Bahn, the underground service. Consider Glasgow’s much liked ” Clockwork Orange” underground service. One loop and fifteen stations. This loop does not directly connect with the two overground stations. There is an extensive central belt rail service running. Glasgow has a complex bus network. I also thought I should offer a very brief comparison with how Glasgow’s Railway Stations appear today. I have omitted the exteriors, but here are a couple of views of the interiors of Central and Queen Street Stations. Perhaps that helps to make the point.

On the left is Queen Street waiting area, and on the right is Central Station waiting area

Although I have made more reference to Leipzig’s extensive S-Bahn (underground rail network), I had not illustrated it. An extensive network diagram can be found (here) and a simplified version is shown below.

 

 

My thanks to Michael Kümmling for permission to reproduce this diagram.

By Michael Kümmling – Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=2035546

the Sonneveld house

written in 2017 and updated January 2026

      An article about something exquisitely beautiful, but with a sting in the tail.

“If you decide to visit it, remember to bring your suitcases, as you’ll want to move in straight away!”

Sonneveld house

The Sonneveld house

 

The Sonneveld house – by Brinkman and Van der Vlugt, Rotterdam, 1933
The building has stylistic links with Le Corbusier, De Stijl and German modernism. It is also has an industrial link. Sonneveld was a director of the Van Nelle factory which was used to produce metal components for the building.

A compact, private detached town house for the family of a wealthy industrialist which includes living space for servants.

Perhaps not so well known here, but a real gem of European modernism.
The fabric of the building and the contents have recently been restored and appear as they did in 1933. Throughout the building there is evidence of great thought as to the suitability and provision of each convenience. Extraordinary care has also been taken during the sensitive and painstaking restoration

The Sonneveld house is essentially a rectangular box shape with additions. It is over three floors and it also has a small basement and roof terrace. It has a flat off-white exterior surface with silver coloured metal detailing, black exposed steelwork and extensive tiling to ground floor. Those facades facing the streets nearby are mainly blank and offer privacy while those facing the garden have generous windows. sonneveld-front-corner-2There are separate service and owner entries. There is a lovely exterior spiral staircase which leads down into the garden.
staircase-to-garden
Metal detailing is prominent in the rear elevation. rear-view-of-sonneveldWindow and door modules are carefully fitted almost flush with their facades. Each window module has an external blind cassette incorporated for shade. Most noteworthy is how the parapet rail to the first floor terrace becomes the spiral stair handrail.

The simple exterior hides a fairly rich and complex interior subdivision. There are an entry, office, service areas and a garage on the ground floor. Living and bedroom spaces are on the floors above. These spaces are beautifully detailed.

 

corner of office and window to garden
corner of office and window to garden
office desk
office desk

More on-line images of the Sonneveld house can be seen here.

Here are a few more of our own photographs.
Colour is a an important feature of this house. Rooms are colour themed. This is the the yellow dining room. It has red accents.

the dining room viewed from the first floor terrace
The dining room viewed from the first floor terrace.

There are individual architect-designed room colour schemes throughout. Most of the furnishings are also original.
So most unusually, one can see the entire original colour scheme, and one can see how extensively the architect used colour as part of a modernist design scheme.

red dining room trolly
red dining room trolly

The glassware included in the dining room display cabinet was also locally produced. Examples of similar wares by these manufacturers appear occasionally on the present day Netherlands second hand market for modest prices.

dining room glasswear
dining room glassware

Here is a maid’s bedroom

servant's bedroom
maid’s bedroom

Notice how the same bed, table and chair type is used by all the house inhabitants.

Work areas are red Here is a kitchen detail.

the dining area used by the servants
the dining area used by the household staff
master bedroom furniture
master bedroom furniture

Gispen manufactured much of the furniture in the building including these beds in the background .  A similar version of this chair is still in production. Today the Gispen factory in Delft still produces furniture. Many examples of their furniture can be found on-line.

The garden is as was established in the early 30’s. It is simple with quite a lot of lawn and bushes used for perimeter screening to the rear, and as a lower boundary definition to the front.

rear garden view
rear garden view
office window to rear garden
office window to rear garden

 

Because the construction methods and materials date to the 1930’s, a great deal of renovation has been done. In the book produced by the Netherlands Architecture Institute a telling detail is the nationality of enormous number of firms involved in restoring and refurbishing Sonneveld house, These include Project management, Supervision, Providing public information, Advising on Restoring, Advising on Refurbishing, Restoration work Main Contractors, Restoration work Sub Contractors and Suppliers, Refurbishment work and Suppliers and finally Lenders and Donors. All of these, with one exception, are Netherlands firms or organisations with Netherlands addresses.

To the thoughtful person, this building is an example of many things. Foremost, is an example of true modernism at work, linking ownership, manufacturing, design and utility.

This building also reveals the Netherlands in microcosm.
The entire project from its origin in the 1930s through to its renovation is an example of Dutch confidence and competence. In it’s own way this building shows how the people of the Netherlands think about themselves and their place in the world. It’s clear that they are quite capable doing these things themselves, that they have the resources, skills and training to manage and complete such a project with little, if any assistance from other nationals.

It also shows how successful people in European cities may be able think differently to their British or Scottish counterparts.

This may seem like the country house in the town, but couldn’t be more different from the British Imperial Model of a country house. There are no Classical porticos, no fake grandeur. It’s beautiful, practical, modern and usable. It was the first house in Rotterdam with a fully equipped, built in garage. So this is no-fuss high quality private domestic architecture in the city, right there on the street, with easy public access. The building’s position included the owner in society rather than excluding him from it and hiding him away in a private estate in the countryside. A statement of belief in the city, the individual, aspiration, success; an example of the successful citizen in society- engaged in and part of the modern world. Of course this quality of private architecture in the heart of a great city enhances the standing and the status of both.

It is also an example to we Scots as to how how we could do better. How we could contribute to revival of run down Scottish towns centres and the attractiveness of Scotland’s cities. Where are the projects in the pipeline or recently constructed which do just that?
Then there’s the house’s furniture and manufactures.
Are our education systems, designers and architects and the Scottish business world able to produce to this quality without reaching beyond Scotland’s borders to do so?
When can we expect reasonably priced home-designed and mass-produced examples made in Scotland, which we can accept and be proud of, made by present day Scots and which will astonish and delight the world? Where and how will these people receive the craft and organisational training to enable them? And if you said to me that in various forms, these things exist in Scotland, how do we pull them together to make it all happen?
This building can cause me to think about many things. What can our response be to a proposition like this? 

Can a different response be made? One which looks towards a better Scottish future?

D

Postscript. 

I wrote this in 2017.

Since then, decline in our towns has become more obvious. Are we Scots more aware now of the need to nourish our best architecture, to preserve and to surpass it with exceptional new buildings? Reviewing this article and asking how Scotland promoted good design today, I felt that little had changed. How can we do better?

Dougie Muego 2026