The clinic had place for 76 woman and 54 men. Thus, the left wing, intended for female patients, is longer. 18 The reason in this indifference, according to the pre-war sources lies in not in medicine but social relations. A woman could be sent for treatment and leave her family more quickly than men tied to his obligations in work and family. 19 Without a doubt, this reasoning is a result of particular gender roles and relations from that period Whatever this was true or not, as clinic admitted mainly paying patients, we can relate this reasoning to the simple reality of the market, where fewer men decided to go on therapy. In terms of sex division, apart from different wings and gardens for each gender, it was not possible to see from women corridor into men’s one and vice versa, due to intentional misalignment in the plan. 20
The middle section stands out with its height, similarly to Noorder Sanatorium, and by a stained glass window, created by Arnhem artist J.H.E Schilling, how also worked on a stained glass window in another orthodox protestant sanatorium.. The window consists of two parts divided by the main staircase landing. At the bottom, we can see figures expressing the human misery, but at the top, we see a female figure raising her hands towards the light, as an expression of liberation. 21 In the context of the psychiatric institution of Christian origin, this artwork contains a moralistic message – liberation from madness is only possible through the influence of God. On the other hand, we can interpret this as more comforting meaning – the scene on the window functions as a promise of healing.
While design a building architect E.J. Rotshuzien tried to save as many trees as possible to preserve the natural setting of the clinic. The rest became a part of garden design by Otto Schultz, who also implemented a big pond in front of the building. Saving the trees, allowed having a beautiful garden, already at the beginning. 22