Excursiegids kennismaking 2013

1st year excursion 25.10.2013 / 26.10.2013

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1 jaars excursie

Dam as a witness of the past

Dam Square is the historic heart of Amsterdam. It is 18,000 square meters , paved with 2.5 million pebbles. There are many events and memories coming together . It is a force field of architecture , culture, entertainment , political and economic power.

Between 1984 and 1992 published the French historian Pierre Nora Les lieux de mĂŠmoire . Dam Square in Amsterdam is one of the Dutch locations assigned ' lieu de mĂŠmoire ' or place of remembrance most deserves. The Dam plays such an important role in our collective . Events like royal weddings and inaugurations , the shooting and the liberation celebrations in 1945 .

The square gets his present form at 1912 after the demolition of the Commandant's House and a block of houses for the current Grand Hotel Krasnapolsky . Here arose decades later the National Monument. All other buildings on the Dam since 1856, are at least once demolished or rebuilt.

Situation

Dam

Building blocks

Importand Sights Hotel Krasnapolsky

Nationaal monument

Bijenkorf

Paleis op de Dam

Nieuwe Kerk

Elevation map

Function map

The palace The palace was built as a city hall during the Dutch Golden Age in the 17th century. The building became the royal palace of King Louis Napoleon and later of the Dutch Royal House.

It is situated on the west side of Dam Square in the centre of Amsterdam, opposite the War Memorial and next to the Nieuwe Kerk.

The palace was built as the Town Hall of the City of Amsterdam and was opened on 29 July 1655 by Cornelis de Graeff, the political and social leader of Amsterdam.

It is now called the royal palace. It was built by Jacob van Campen, who took control of the construction project in 1648. It was built on 13,659 wooden piles and cost 8.5 million gulden. A yellowish sandstone from Bentheim in Germany was used for the entire building. The stone has darkened considerably in the course of time. Marble was the chosen material for the interior.

Jacob van Campen was inspired by Roman administrative palaces. He drew inspiration from the public buildings of Rome. He wanted to build a new capitol for the Amsterdam burgomasters who thought of themselves as the consuls of the new Rome of the North. The technical implementation was looked after by the town construction master DaniĂŤl Stalpaert.

On top of the palace is a large domed cupola, topped by a weather vane in the form of a cog ship. This ship is a symbol of Amsterdam. Just underneath the dome there are a few windows. From here one could see the ships arrive and leave the harbour.

Raadhuisstraat Street in the centre of Amsterdam, named to the (formal) council house witch was used to be located in this street. The street is constructed in 1895 by filling up the Warmoesgracht (witch was used to connect the Singel with the Herengracht). The Raadhuisstraat made a connection between Damsquare (Raadhuisstraat is in line with the Damsquare, right behind the Palace) and the Westermarkt. (ca 300-400m) It is also the main thoroughfare into the old centre of Amsterdam, so therefore it has a lot of traffic.

A tram station is situated near Damsquare (Station Dam/Raadhuisstraat) and near the Westermarkt (Station Westermarkt). Through the Raadhuisstraat there pas tree canals (from east to west, Singel, Herengracht and Keizersgracht).

The street is nowadays characterized by a diverse architecture of: the Winkelgalerij (Van Gendt, 1899), the Woningbouwcomplex (Berlage & Bonda, 1897) but also modern architecture.

The program in the buildings is very diverse like: service companies, shops, catering and hotels.

The pavement is made of hand-baked bricks and natural straps. In the street there are no trees which makes is divergent from the surrounding trees.

Old plan for the Raadhuisstraat

Winkelgalerij – Raadhuisstraat 21-55 Architect: Period:

A.L. van Gendt & zn.

1988

Raadhuisstraat 21-55 is a typical late nineteenth-century shopping arcade with apartments above, it was designed by the well known architect A.L. van Gendt en his sons. The facade follows the curves in the road and it gives a very prominent look.

The buildings in the Raadhuisstraat had to meet strict criteria to ensure that the new road would be a worthy the entrance to the centre of Amsterdam. Partly because of this the street became an attractive location for expensive stores.

The building block has four floors, the shops and the mezzanine lie behind the gallery.

Above there are two residential floors. The roof contour shows a variety of gables and loggias which are connected by balustrades with each other. The regular cadence is interrupted halfway through a striking central section, an architectural masterpiece that distinguishes itself with larger forms and a richer use of natural stone and ornamentation.

On both sides of the central portion are eight with wrought iron ornamental arches supported by stone pillars. The gallery is covered by a glazed pent roof.

The first floor is characterized by the Jugendstil-like wide horseshoe arches with purple, bulbous windows. The windows on the second floor are filled with decorative brickwork.

The architecture of the facades is continued in a similar but slightly more sober style in the direction along the Herengracht and the Keizersgracht. The tower on the corner of the Keizersgracht is a delicate counterbalance on the visible tower of the Westerkerk.

Old entrance to the street

Recent picture

Woon- en winkelhuizen – Raadhuisstraat 30-32 / Herengracht 184 Architect: Period:

H.P. Berlage & H. Bonda 1897

Dit vijf verdiepingen hoge gebouw met een zolder bestaat uit vier aaneengesloten woonen winkelhuizen.

De nadelen van het onregelmatige terrein is opgelost door op de buigpunten van de rooilijn de ingangen te plaatsen, met daarboven erkers. De aansluiting met de historische omgeving werd verzacht door aan de rechterzijde op de hoek ingang met daarboven loggia's en twee asymmetrische puntgevels te maken en aan de linkerzijde een hoektoren.

De steile puntgevel met hoekige schouders daalt naar de hoek toe af. Het gebouw sluit zich af met een hoge vierkante toren aan de zijkant van het gebouw.

Gevels

Plattegrond

De olifant symboliseert loyaliteit, kracht en matigheid.

Westerdok, Bickerseiland and Rechtbank

This area was part of the Third Amsterdam Increasing. The original plans date back to 1610, and finally it was built around 1620 to the same model as islands on the east side.

When in 1610 the New Waal in the IJ was deepened with rows and piles was defined as an extension of the port of Amsterdam , quickly became the emergency created by the almost floating or loose peat in the corner of the IJ a virtue. Between 1611 and 1615 this three large artificial islands were build, protected by a large wall that went to the IJ. Until the end of the 19th century this was an area with many shipyards, small industries and warehouses. Then the ships were too large for this port, and by the development of the Eastern Docklands this area was not useful anymore. During the first half of the 20th century the area fell into the disuse. Nevertheless, there is still much preserved of the old buildings.

Amsterdam after the first and second Increasing.

Amsterdam after the Third Increasing (1649

This area is composed by two areas. The Westerdok and the Western isles, the last one composed by three islands: Prinseneiland, Realeneiland and Bickerseiland.

Bickerseiland Architect P. de Ley, J. Bout, F. Oorthuys Year 1974 - 1982

Place Amsterdam

The project is from the late 80s but the fight for Bickerseiland began around 1970 when the council wanted to demolish many buildings to make room for offices. The locals put up a fight and formed action groups to keep their homes. They campaigned for new homes at normal prices so nobody would have to leave.

The architects Paul de Ley and Van den Bout sided with the locals. Free of charge, they designed affordable homes for the groups to preserve the character of the island. It was an example of cooperation between residents and architects.

Even with the low budget of a council housing, the architects achieved a lot of variation and affordable homes with balcony. The public space was also designed, with playgrounds in the centre.

WesterIJDock & Palace of Justice Amsterdam The urban plan for the Westerdokseiland is one of the re-allocation project of the large dock area at the IJ. The urban plan was developed by Dick van Gameren and Bjarne Masten Broek.

An important starting point for the master plan of the WesterIJDock was to give the Westerdokseiland a typical function of a city island. The typical characteristics of the inner city can be found in the WesterIJDock. Such as a high density and a wide variety of functions. Another important aspect of the concept are the sight lines and the street profiles from the city.

These sight lines connect the buildings behind the WesterIJDock with the IJ. This results in five buildings with spectacular shapes. Each of these buildings were designed by different architects. These architects are Zeinstra van Gelderen, Claus & Kaan, Jan Bakers & Ben Loerakker and Dick van Gameren. The functions of the WesterIJDock are a hotel, offices, apartments and the court. In the horizontal lines of the different heights are five materials been used. All with a different texture, but all with a white or light grey color. The large glass openings offer a great view of the city and the IJ. At three locations the outer walls are opened up to make room for the outside areas. The largest outside area is the ‘Kloostertuin’, which is accessible from the restaurant and meeting rooms. The ‘Kloostertuin’ offers through a large window a great view at the yacht harbors. All outside areas are surrounded by green walls. On these green walls grow plants in a vertical plane. The chosen materials give the Palace of Justice a sustainable appearance. In addition, the Palace of Justice has been certified with the sustainability certificate BREEAM.

Westerdok eiland If we talk about the westerdock, we obvisiouly mean the water. There is the westerEiland, the bickers eiland and the Justice eiland. It was created as a expention of the Amsterdam harbour in 1832. New harbor was needed because the old inner city had the problem of filling with sand.

Today the dock is used as a harbour for small pleasure ships. After it became obsolete as a harbor is was used as a railway placement. In the year 2000 work started to turn the island in to a residential area.

The try to replicate the atmosphere of the inner citty by high density and diffirent uses. The plan is made by OD 205. In the plan they introduced a new form of the “closed housing block”. In total there are four blocks cut by streets. It became an integrate system of blocks, patio houses, towers.

As a result you get different inner courts called “Cours” The adaption of the blocks leed to spectacualiar scenery of powerful blocks, seetroughs and floating houses, wich bend over to see the het Ij. The complex close to the old city is La Grande Cour, with buildings by Meyer & Van Schooten, Architekten Cie en Heren 5

On the other side, There is the “de punt� (the point) Afbeeldingen en tekst van www.archined.nl Facts 940 houses 900 indoor parkingspots, 7000 square meter officespace, 1800 m2 art workspaces 850 m2 kindergarten and all that on three accros.

Silodam, Van Stigt gebouw, MVRDV, 1. History The breakwater on which there are two grain elevators and the apartment building of MVRDV “the Silodam” is situated next to the naval heroes quarter with a lot of 19th- and 20th-century houses.

Due to the Industrial Revolution there was a need of stocking grain more efficient. Therefore, in 1896 the first, brick grain elevator, named “Korthals Altes”was build. It was designed by Jacob F. Klinkhamer and A.L. van Gendt. The grain elevator was also part of the “Stelling van Amsterdam”.

After World War 2 the brick grain elevator was too small and a second elevator out of concrete was build in 1952. In the end of the eighties the buildings weren’t used for storage anymore, they were squatted and re-used for living and working. That saved them from being pulled down. In the nineties the buildings were added to a list of National Monuments and “van Stigt architects”made a plan for building in apartments.

In 2002 “MVRDV-architects designed the third building; an apartment building, representing the 21st century.

2. Building Van Stigt After the municipality of Amsterdam in 1996 stated the ‘Stenen Silo’ as a Rijksmonument demolition plans were cancelled and both the ‘Stenen Silo’ and the ‘Betonen Silo’ were renovated in 2001. Architectenbureau J. van Stigt was contracted as architect by clients Rabo Vastgoed and Y.Gain.

3. About Van Stigt Architectenburo J. van Stigt bv was founded by Joop van Stigt. In 1999 his son Andre van Stigt took over the managing tasks from his father. Andre van Stigt was working since 1981 at his father’s company. Architectenburo J. van Stigt is specialized in renovation en revitalization projects and has other projects like the Olympic Stadium and the Entrepotdok in their portfolio.

4. Concept

The grain silos basement is ideal for special functions and the working atmosphere, in the tubes of the silos houses fit very well. This results in the grain silos mixed functions. The social control mixing entails, also increases safety on the street. Thus, a fun and lively area arise with varied street life throughout the day.

5. Building MVRDV The Silodam building is a former silo conversed into housing. The design was done by MVRDV and the Silodam was completed in 2003. The Silodam building is situated at the IJ and contains a serie of different housing types.

6. About MVRDV In the nineties a brand-new generation of architects emerged: the SuperDutch. This group of young architects got the opportunity to create iconic buildings. OMA, UNstudio, Mecanoo, Meyer en van Schooten, but also MVRDV were in this group. The name is derived of the founders’ surnames: Winy Maas, Jacob van Rijs and Nathalie de Vries.

7. Concept

There are two concepts used in the design of the Silodam , a programmatic and spatial concept .The programmatic concept responds to the changing demand. In response, MVRDV designed a building where they could design a lot of different housing typologies. The spatial concept responds to the particular location 'in' the IJ and the variety of housing types that could be placed in the building. These two elements were the inspiration to use container ship as a reference. Silodam shows the different dwelling types (containers) again to work with various colors facades, as by the internal variety, this is also visible from the outside .

8. Route

Sketch 1: Underneath the building there is place to park boats.

Sketc h 2: There are several entrances over the whole length.

Sketch 3: The connections run over the whole length, meeting horizontal and vertical connections.

Sketch 4: There are a various number of apartment types.

SPAARNDAMMERBUURT The Spaarndammerbuurt was built at the end of the 19th century for the workers that worked in the new harbors nearby. The most famous buildings in the Spaarndammerbuurt are designed by Michel de Klerk in the style of the Amsterdam School located at the Spaarndammerplantsoen. Other known architecture came in the 1920s of the hand of Karel de Bazel at the Zaandammerplein and of Herman Walenkamp at the Zaanhof.

The Housing Act of 1901 is part of a series of laws that around 1900 had to improve the lives of ordinary men and women. With a total package of measures and laws came an end to the construction of poor, unhealthy housing.

From 1913 onwards the construction was entrusted to the young contractor Klaas Hille, who was more ambitious than most of his colleagues. His architect, De Klerk, presented a special design transforming the standard rows of small, bleak dwellings into broad, palatial brick residences in striking colours. When the building crisis brought on by the First World War prevented Hille from continuing his work after the first block, the municipality assigned the coming project to the housing association Eigen Haard.

The Amsterdam School originated as an group of friends that came frome the Amsterdam society of architects, Architectura et Amicitia in 1916. Revolutionaries such as De Klerk, Kramer, Van der Mey, Staal, Gratama and Wijdeveld had ambitious political ideals. They explored new forms that reflected their vision of society. The time had come to leave behind the old shapes and seek for solutions that differed from for example Berlage's approach. While Berlage put a stop on the traditional designs inspired by the past, his basic straightforward style was a dry alternative.

Instead, the new Amsterdam School brought dynamics and structure to the architecture with expressive colors, materials and rich decorations. Much of that wealth is in service of the spatial part of the architecture. Amsterdam School buildings define and play their surroundings, both outside and inside. At the same time they are often close to the characteristics of their context, such as elegant squares, a private residential street or idyllic outdoor areas.

MICHEL DE KLERK Michel de Klerk was born into a large, poor Jewish family on the Zwanenburgwal in 1884. His career began at the age 14, when he was discovered at school by the architect Eduard Cuypers, nephew of architect Pierre Cuypers.

Cuypers recognized his artistic talent for drawing from his skilful copies of the drawings by his teacher. As an apprentice draftsman for Cuypers, De Klerk developed friendships with Piet Kramer and Jo van der Mey. The three laid the foundation for the Amsterdam School. After starting off on his own in 1911, De Klerk established his reputation by designing a series of apartment buildings in Amsterdam, commissioned in part by the housing associations Eigen Haard and De Dageraad. Many were stunned and considered De Klerk's disregard for traditions and longstanding principles insane. Partly because he never wrote, he was viewed by his fans him as an genius, who directed the design of the modern, dynamic and massive city.

Between 1913 and 1921, Michel De Klerk designed three housing blocks for this district. Two were situated around the central public garden, the third was located on the corner The first building is located in the middle of the district, on the north side of the ‘plantsoen’. It was a rectangular plot, about 100 meters long, for which he designed one single slab with a C-shaped ground plan, four stories and an attic.

The second complex was built between 1917 and 1918, a few years after it had been designed, probably because the contractor was hit by the crisis. The housing association, Eigen Haard took the project over. As with the first building, De Klerk had to continue the theme of a block with an inner court off the ‘plantsoen’.

The third building block, designed in 1917 for the same housing association Eigen Haard, includes 102 dwellings, a post office, a meeting hall for the residents, and an school. It is the best example of what was termed a ‘worker's palace’ in Amsterdam.

KAREL PETRUS CORNELIS DE BAZEL Karel de Bazel came from a simple family and only visited the primary school. He began his career as an apprentice of a carpenter. After his evening course architecture at the Royal Academy of Art in The Hague, he was appointed in 1888 as a

draftsman in an architectural office located in The Hague. In 1889 he went to work as an draftsman in the office of P.J.H. Cuypers in Amsterdam. Pierre Cuypers, who was very impressed by this work promoted him to foreman and later office manager.

In 1895 he formed together with John Lauweriks there own architectural firm. Between 1897 and 1902 they gave together with H.J.M. Walenkamp drawing, art history and aesthetics courses in Amsterdam. Here they laid a mathematical relationship between architectural order, the nature and the cosmos.

IN Masterdam he made sevaral housing blocks in the Spaarndammerbuurt between 1913 and 1916. He died at the age of 54 in the train on his way from Bussum to Amsterdam visiting the funeral of his fellow architect Michel de Klerk.

HERMANUS JOHANNES MARIA WALENKAMP Herman Walenkamp finished his education at Quellinus, the School of Applied Arts in Amsterdam. This school was founded by Pierre Cuypers. after finishing his studies Walenkamp went to work as a draftsman in the office of Cuypers , where he met Karel de Bazel and Jan Lauweriks. Walenkamp was later employed in the offices of Abraham Salm and Hendrik Petrus Berlage.

Walenkamp often participated in competitions and because of this he received reputation as a maker of fine, presentation drawings often in color. He also drew a lot of graphic designs for both competitions and commissions.

As an innovator in the Dutch architecture Walenkamp especially had meaning through its influence on Berlage. In his first drawn project in 1895 for the General Library he combined the 19th century ´style arches ' with Babylonian and Egyptian elements. The tight geometrical brick surfaces were strikingly modern for that time. The design was by this stylistic innovation undoubtedly a major influence on the architecture of the Koopmans Beurs van Berlage in Amsterdam .

After this important and influential early remained the architectural development of Walenkamp got stuck, none of his monumental designs eventually became realised.

His most famous work is the Zaanhof in Spaarndammerbuurt in Amsterdam in 1916. The housing blocks are enclosing a courtyard with gardens and lawns. The spacious layout with a green courtyard was modern compared to the traditional housing with long blocks and deep house. In 1919 he designed a plan for the Maatschappij tot Huizenbouw benoorden het IJ NV located at the Meeuwenlaan in Amsterdam-Noord, that shows resemblance to the Zaanhof.

MARLIES ROHMER – NOORDKOP SPAARNDAMMERDIJK The building is located at the pivot between the old Spaarndammer neighbourhood and the new scheme for residential islands in the former docklands area Houtahavens. It was designed by Architects Marlies Rohmer, in 2002 an completed in 2007. AMR (Archtectenbureau Marlies Rohmer) exists since 1986, and the office has a large amount of works in the Netherlands; one example is the Waterwoningen Ijburg in Amsterdam.

Part of the existing block is built in the style of the Amsterdam School and the new building is homage to it by the using a sculptural masonry facade with prefabricated brick elements in traditional bond, where the masonry has already been deposited in a concrete element. The prefabricated facade elements were supplied ready assembled and in the work site.

This apartment block forms the decor for what is going to be a lively public space. Three quarters of the dwellings in the project are intended for the social sector. At ground floor level, a supermarket and a coffee bar flank the entrance to the apartments.

It was a challenge to devise a simple access method, and the outcome was the mini-gallery or ‘gallerette’. On the ground floor concrete shells are inviting entries for a supermarket, a coffee shop, access to housing and to the garage and workshops.

All the apartments, the parking garage and the courtyard garden are served by a single lift and two staircases. The wide, partly open gallerette is situated on the northeast side, which is exposed to traffic noise. The apartments have kitchen/dining rooms on this side. The living rooms, which have generous balconies, are on the rear facing into the collective sunny courtyard garden. The four-room apartments and communal garden creates a compact urban environment Indeed, which are designed to make it suitable for families with children.

VOORAANZICHT

Spaarndammerdijk metselwerkdetail

1:20

DE

30

m

56m

Spaarndammerdijk situatie - binnentuin

1:2000

SI

Westerpark The historical Westergasfabriek is an old gas factory used to produce gas from coal. The initiative was taken by Julius Pazzani and designed by Isaac Gosschalk. Using a dutch version of the Neorenaissance he designed the several buildings needed for the building process.

In 1898 the municipality took over the exploitation of the area. Even though the gas production was increased the production was stopped in 1967. Leaving the ground heavily polluted. Even though the area was used as a storage space the community of Amsterdam started using the buildings for creative and cultural activities.

From then on initiatives to redesign the area were started. The ground got cleaned, the buildings renovated and the the open spaces were given a purpose.

The 14 hectormeter park designed by Kathryn Gustafson is made as a adventurous and modern place. The focus is not only on a natural environment but also a place for digital art and culture. The whole park is part of the Brettenzone, one of the green fingers in Amsterdam. In total the park has a 15km walk and cyclepaths. The route is fragmented in open areas with grass and recreational space, while others are smaller, more focused on intimacy and nature.

Zuiveringsinstallatie One of the buildings giving character to the park is the purification building. The building dating from 1885 was used to degrees the ammoniumpercentages. The gas was put in special purification boxes to remove the last unwanted elements in the gas. After that it was send to the gasholder ready for transport.

The buildings itself was constructed as one big open space. However the construction wasn’t simply that of a normal buidling. The steel roofconstruction was named a ‘plofdak’. When there would be a explosion the steel roof construction would be able to support the walls. This way damage would be kept to a minimum.

The current use of the building is for meetings, diners or company presentations.

Below there is some general information about the west building: • Max capacity: 1500 people • Area: 1200m2 • Sizes: 67m x 18m • Height: 9m to 17,6m

On the east side of the purification building there is the Pazzanistraat. This street is an important part of the Westerpark as it contains alot of the facillities. A restaurant, gallery and even a television studio are part of this street. The main focus is very clearly pointed on art and culture.

The center part of the building is called “public lighting�. This area is focused on debate, presentations and congress. Back in the days this place was still the gasplant the energie company stored used streetlamps here.

TRANSFORMATOR HUIS/ TRANSFORMER HOUSE Introduction Former Watergasbriek later the transformer house, part of the complex Westergasfabriek. In 1904, a water or cokesgas plant to the existing complex, consisting of the factory itself, a boiler room annex laboratory ( the current ladder house) and a small gas tank since disappeared. Here, according to an ingenious system blue water-gas is produced which consisted of a mixture of equal parts of carbon monoxide and hydrogen.

When in 1956 the new, fully automated water gas plant production took over, the old gasworks water withdrawn from use after the building went act as transformer workshop of the Cable network of the Municipal Energy Company department.

From the thirties, the building is substantially amended several times.

In 1931 it was converted into pure boiler house. This had profound implications for the appearance of this building: the volume was increased by a floor and extended by a bay, and was in this respect a new front façade. On this occasion, were added to the west and in the eastern armpit of the building roofs. The extension was done in style, to increase contrast, was a steel truss structure with interpretations of brick masonry used. The currently existing concrete floor or floor was then applied at a later stage. Also the main volume has undergone the necessary changes, partly because technical adjustments were needed soon after commissioning. The roof was completely renewed, with the ventilation disappeared and the gable ends were adjusted accordingly.

In the sixties for the transformer workplace changes occurred: in some places appeared in the facade concrete portals internal arrived in the southeast corner masonry installation and a concrete structure for the crane arranged along the walls .

The original water gas plant consists of two parts. The east-west direction situated main volume is a large hall of 46 to 18 meters below gable roof covered with tiles with originally a vast ventilation cover the entire length that is now gone. The wing cross with a size of 32 by 22 meters is about one third divided by a transverse wall into two separate areas and a gable roof. The original ventilation cover is now gone here. In several places there are smaller build, while in the western armpit is a high chimney. The former factory has an internal roof construction of riveted double Polonceauspanten in the 22 meter wide transverse wing span the largest of its kind in the Netherlands formed before the First World War. Architecturally, the building is characterized by a symmetrical design and a careful design, in which the main causes for a basilica -like appearance. The large facades are articulated on a regular basis through pilasters, savings fields, dental lists, coupled arched windows and circular windows, while the whole is enlivened with stone sills, gutters and attachments .

GASHOUDER The Gashouder - located in the west side of the park - was built in 1902, designed by enginner KlĂśnne. By the time, The Gashouder was used to store gas. Westergasfabriek had 5 gasholders, but all were demolished, except for this one, which is a telescopic gasholder. The building was composed of two elements: the stockroom and the gas holder itself. The stockroom was the foundation of the gasholder, which is positioned on top of it. This kind of gasholder uses water to enclose the gas. The movement of the telescope provides the necessary air pressure, which changes with different numbers of volume.

In the present, just the stockroom of the gasholder is there, which is the old brick and steel foundation. The round is built on a brick base with 24 arched, where windows are arranged between pillars. The upper part is composed by riveted iron plates. The roof is hold by a iron truss structure. The building has a hight of 14,50 meters and a diameter of 53,80 meters. The inner space is enormous (2327m²) and completely free.

In 2006, the building was transformed to function as an event space, by Braaksma & Roos. They changed the entrance of the building, by adding two extensions. They also created a transition zone where the supporting functions are situated.

Nowadays, the gashouder holds big events like fairs, expositions, presentations, with a total capacity of 3500 people.

Erasmuspark The Erasmuspark is a 12 hectare park in Amsterdam bos and lommer. It became part of Amsterdam after the annexation of the municipality of Sloten in 1928. The rectangular park is enclosed by the Erasmusgracht and the Admiralengracht and two streets, Jan van Galenstraat and Mercatorstraat.

After serving as a swamp for a few decades, the first real design for the park was made by Egbert Mos. The layout is quite notable because it seems to be based on a mondriaan painting, with green planes of grass and straight orthogonal paths and rows of trees that cut trough these planes. Trenches all around the park frame this structure. Egbert Mos wanted the park to be an oasis in the city with sports fields, flower gardens and sculptures, but the city of Amsterdam decided to direct the funds towards the construction of the IJ tunnel. The park was realised in a very sober way.

By the nineties the park had become a very adventurous place. Lots of small crime and drug abuse, bicyclers and walkers fought each other on the lanes, and runners slipped over dog poo. The rotting soil in the trenches withdrew so much oxygen from the water that it caused a grand massacre of fish when the water froze and the fish ran out of air.

In 1992 landscape architect Urban van Aar made a renovation proposal that was executed in 1996. Part of the plan was the boulevard around the park, the trees overgrowing the entrances, the coffee kiosk which became Terrasmus three years ago, the rosarium was replaced by a colourful flowergarden and the children playground was enlarged. The ecological problems where solved by deepening the trenches and creating an ecological zone.

PLAN

ROSARIUM

ORSO the ICEBEAR

ENTRANCE MERCATORSTRAAT

TERRASMUS OPEN AIR STAGE by rhdhv architecture

Bos en Lommerweg The Bos en Lommerweg is a street in Amsterdam West. Its part of the AUP extension plan Bos en Lommer from 1935 by Cornelis van Eesteren. This was the first time that the city didn’t design closed building blocks, like the Grachtengordel and Plan Zuid, but instead used rows of apartment buildings (strokenbouw) on a big scale. Light, space and air where the basic concepts of this typology, while the architecture stayed related to Berlage.

At the centre of the Bos en Lommer area, the Bos en Lommerplein is situated. This square was first designed symmetrically. Around the late 60s of the 20th century the highway A10 was build all through the centre, leaving no space for a square.

It was a very chaotic and unorganised area until the traffic lines where changed in the year 2000. A roundabout made space for a T-junction. There was an overpass developed with buildings on both sides, connecting the two parts of Bos en Lommer spatially and making it more urban. Near the junction a shopping mall and a marketplace where also planned to shape the centre of the neighbourhood. This is the current situation.

On one side of the Bos en Lommerweg is the typical ‘strokenbouw’. This was part of the big plan and experiment. On the other side they build parallel with the road. In the plinth there are some functions like stores and cafes.

The area is well known by the ‘strokenbouw’ but has some other interesting buildings along the Bos en Lommerweg. The former Pniëlchurch, now podium mozaiëk, designed by B.T. Boeyinga. And the Opstandingskerk designed by Marius Duintjer.

The design of this road and area had big influents on the basic plan of the garden cities in the western part of Amsterdam and most functional housing plans in the Netherlands.

BRONNEN: http://ftp1.prod.dro.amsterdam.asp4all.nl/SDWEST/32E67F57-5D4D-4E9B-B0D26D719AFF7C79/tb_NL.IMRO.0363.E1205BPSTD-OW01_3.pdf http://www.arcam.nl/default.lhtml?session=arcam:C0A801371444234743nrs2E40D61&ref=publicaties&sub=specials&specialid=108 http://www.architectuurgids.nl/project/list_projects_of_typeofbuilding/typ_id/31/prj_id/2473 http://nl.wikipedia.org/wiki/Bos_en_Lommerplein http://nl.wikipedia.org/wiki/Bos_en_Lommerweg

Landlust Landlust was one of the first areas where they experiment with strokenbouw. In 1932 Merkelbach and Karsten's firm had been commissioned by Het Westen housing association to build 208 dwellings and two shops in the Landlust district in West Amsterdam. The site was between the built area along the Admiraal de Ruyterweg and the canal. It was part of the General development plan, so the area had to be filled with housing for workers and trades people. This area was first designed by the town planning department in the way it was used to in that time, closed blocks with three or four storeys high. This was done because of the urgency of the project, so on the first hand there was no time for experimentation. However, an experiment employing the principles of strokenbouw was not ruled out. Merkelbach and Karsten took advantage of this, and convinced Het Westen of the importance of this kind of experiment. Merkelbach and Karsten designed a plan with strokenbouw and sent it to the Town Planning department. The department approved it but made a major change in the plan, they lengthen the blocks and decided to change the central access road to the Willem de Zwijgerlaan. They start to built it in 1936, and it was completed in 1937. This project was an important change between the typology of the closed block because the closed block became a thing of the past. If we look carefully this plan it is actually an early example of how we see strokenbouw later, because it looks like they just removed the short sides of the blocks. This means the livings rooms where not all orientated by the west, they were east and west orientated. In later projects we see they also designed with this, as well with newer materials. But it was a really important project for that time period.

The urban plan

First design the closed block, and the new design, strokenbouw

Modern facades for that time

80s!

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2000

De Vlugtlaan The station, located between Sloterdyke and Lelylaan, opened on the 1st of June 1986 with the opening of the whole western section of the Amsterdam Ring Railway, creating a connection between Schiphol and the Central Station.

The Station was named after Willem De Vulgate who was a Mayor of Amsterdam from 1921 until 1941. The Street where the station is located was named after him Vlugtlaan.

Ever since its design phase, the station was always intended to be temporary, therefore the dutch railways built it with limited facilities and ephemeral materials, waiting for the completion of the metro city line in 1997.

The structure resulted of the combination of fast constructive materials such as curved colored stell profiles , glass and concrete.

This remarkably 80’s modernist structure was finally demolished in the year 2000.

Sloterplas

In the western suburbs of Amsterdam is located Sloterplas part of the Sloterpark . Sloterplas between 1948 and 1956 dug to a depth of approximately 30 meters and has a maximum length of up to 2 km . Sloterplas was for sand extraction for the surrounding area . This is to build such Slotermeer , Geuzenveld , Osdorp and Slotervaart . New garden cities The Sloterplas is part of the Sloterpark . What acts as a local recreation areas .

The major part of this pass is on the south east side lot used for water sports . Think of canoeing, sailing, diving and triathlons are held and also forr fishing They also have a swimming pool located in the park and enough catering facilities spread over the entire park .

Some time ago, the meanest of Amsterdam showed that they were not satisfied with the park .

Here they also have many people invited to think of fun new things for the park so the park would be a recreation area for 200,000 Amsterdammers . For example, they may become an urban beach introduced for Sloterplas .

Since 3 years Sloterplas no longer belongs to the fl boroughs of Geuzenveld Slotermeer . Osdorp and Slotervaart but now it belongs to a district namely Amsterdam New West where it is still in one of the day

Plein 40 45 This Slotermeer area in Amsterdam was planned back in the late 30’s according to the AUP - General Extension Plan of 1935, and it’s name comes from the former and drained slotermeer in 1644.

The digging up of the area and the first pile was only beaten to the ground in 1951 as the Nazi occupation and World War II delayed the progress for more than 10 years.

Just 1 year after the construction started the first homes were ready to be occupied in 1952.

In the very center of this area is the Plein 40 45. It was named after the years of German occupation from 1940 until 1945.

The Freedom Carillon carries and reminds the end the terror period.

The square houses a daily market, just like many other squares in Amsterdam. Yet in the 90s the shopping center mania absorbed most of the stores to the adjacent buildings. On this square there are other remarkable buildings such as the Tuinstadhuis, built between 1962 and 1964 by Jan Lucas and Henk Niemijer. The building has been used by the district Geuzenveld-Slotermeer, currently part of the Nieuw-West.

It’s naturally a very accessible place since it gathers a combination of public transportation services such as Tram and Bus lines.

The Van Eesteren Museum The Van Eesteren Museum is part of the Slotermeer Garden City extension plan, confirmed by the municipal council in 1939. Slotermeer Garden City was the first residential district outside the Ringbaan designed by the Urban Planning Department. Because the Municipal Property Company had been able to purchase the land outside the Ringbaan for agricultural prices, it was possible to introduce new ideals for public housing in the Slotermeer Garden City.

Today the museum displays local architecture and the work of Cornelis van Eesteren in particular. It has become a platform for debates, lectures, excursions, conferences, seminars and exhibitions that relate to urban planning, architecture and general life in the western suburbs of Amsterdam.

The buildings in the Van Eesteren Museum are representative of this postwar experimental development stage, from the viewpoint both of urban development and of architecture. The design had already been drawn up before the war, and at the beginning of the 1950s was constructed in a modified form as part of the first development of the Western Garden Cities.

The Van Eesteren Museum has opened its doors in October 2010 in a former local cooking of the Nova Esprit College. But the gechiedenis goes back further. The building was in 1966, the 3rd municipal household and industrial school , built by the municipal Public Works .

Bricks a tableau of children playing The work, called "school figures" was created by artist and professor Harry de Laak and placed in 1967.

Wijk van R. Krier

It was the aim of this project in Amsterdam’s district Slotermeer to densify and revaluate a residential complex from the 1970s with row houses. The existing church and the square in front of it form the new centre of Noorderhof. The winded streets allowed to follow existing plot boundaries, to integrate existing buildings and to protect valuable tree stands. Six architects in total were commissioned with the realization of 220 row houses and 50 apartments.

Rob Krier is known for his traditionalist style. With intimate, distinctive, recognizable and historical architecture and urban planning, which are references looking at existing structures and patterns, he wants to create neighborhoods with a clear identity in order to formulate the experienced by many as cold and impersonal reply functionalist housing developments of last decades of the 20th century.

Along the busy Slotermeerlaan and Mayor Street Röell are apartment blocks of four to six layers built. These include ports and semicircular build referring to the classic city gates and wall towers from the Middle Ages . There is the Granpré Molière Square created a 'village square', around intimate streets with small courtyards. The structure consists of several houses with all kinds of historical references. Most of them are single-family homes. Only the Granpré Molière Square is a facade type used for the benefit of a clear picture. At the level of the individual home is varied in detail by using different types of facade, windows, doors, frames, ornaments, gutter heights and cornices. In order to create unit is used as the main material, the red brick throughout the district. The paving and street lighting are adapted to the character of the district.

The urban design and architectural details of Noorderhof are thus at odds with the detached manner and the spatial character of the western suburbs, built according to the principles of the Modern Movement and translated in the General Extension of Cornelis van Eesteren from 1935 .

Jan Evertsenstraat

The “Jan Evertsenstraat” is a street that leeds from the city center, via the Admiraal de Ruijterweg through de Baarsjes, to the Sloterpark. The street has its name since 1910 and thanks its name to a brave naval hero, Johan Evertsen (1600 – 1666), from Holland.

The architecture in/near this street is obvious Amsterdamse school. The Amsterdamse School is characterized by brick construction with complicated rounded or organic appearance, relatively traditional massing, and the integration of an elaborate scheme of building elements. You can often see very nice details in the facades. These details are seen in: decorative masonry, art glass, wrought ironwork, spires or "ladder" windows (with horizontal bars), and integrated architectural sculpture.

You can conclude that in this period, between 1910 and 1930, there was a lot of money to spend on buildings and housing blocks.

The architect who designed the street was socialist Jan Frederik Staal (1879 – 1940). He founded his own architecture company in 1902 together with Alexander Kropholler. Staal is known for using different styles of architecture.

Jan Evertsenstraat

Amsterdamse school

The Jan Evertsenstraat

The Jan Evertsenstraat is a street in Amsterdam . The street runs from the Admiral Ruijterweg in Amsterdam -­‐ West west to the east bank of the Sloterplas in Amsterdam New West .

The Jan Evertsenstraat is the main shopping street of the Admiral Neighborhood and crosses the main road at the Mercatorplein . The street passes under the A10 West and the railway and metro track direction Station Amsterdam Sloterdijk .

The architecture is characterized by the Amsterdam School. The architect of the buildings on the street between Mercator and Admiralengracht was Jan Frederik Steel ( 1879-­‐1940 ) . It was the first covered shopping street in the Netherlands . One of the two towers that are at the Mercator , is in a part of the street is a landmark on the horizon . The towers and buildings around the Mercatorplein are written by HP Berlage .

The Jan Evertsenstraat got its name in 1910 when the road would be in the church Locks . Yet built The street retained its name by counsel in the city of Amsterdam in 1925 . Eponym is the Zeeland naval hero Jan Evertsen ( 1600-­‐1666 ) . In 1956 the street was extended from the Orteliuskade to the Sloterplas .

The street and the neighborhood (especially the piece Admiral Ruijterweg -­‐ Mercator ) is a negative number of times in the news due to the high level of crime . A number of properties in the Jan Evertsenstraat stands empty because the retailers for that reason left . in the 80s the houses were renovated. Early 21st century, the crime again . The municipality is working on a plan to make the street. Safer The plan has received extra attention after the murder in October 2010 by the owner of jewelry store Hund , a matter that was raised a little later.

Jan Evertsenstraat from Witte de Withstraat, 1983

Architect J.M. van der Meij

Architect J. F. Staal

View from Marco Polostraat

Architect J. F. Staal

Sidewalk to Mercatorplein, 1930

1 st. Year Bicycle Excursion 26-10-2013

Summary project: “Het Sieraad” (The Jewel)

Adress: Postjesweg 1 (district: ‘de Baarsjes’ ) Amsterdam West

Architect: A. J. Westerman A. J. Hulshoff

Function: De Vierde Ambachtsschool (1921-1924) Fourth craftsmanship school (1921-1924)

Status: Rijksmonument State monument

Urban plan & Architecture: The plot of ‘Het Sieraad’ is pentagonal in shape and is being flanked by the Kostverlorenvaart from 2 sides. The building interacts with the corner buildings of Baarsjesweg - Postjesweg and Witte de Withstraat – Postjesweg. Within the corners of these 3 buildings a hierarchical height difference is being perceived, which results in a distinctive urban situation.

Despite the differences an ensemble of buildings is created through this urban interaction.

The entrance is situated in the point of the triangle, which is being ‘topped off’ to create a small square in front of the building. The complete facade is being decorated with granite sculptures of Hildo Krop. The 2 main materials of the building is characteristic for the ‘Amsterdamse School’ : masonry/brickwork and cast iron.

History: 1.

Build between 1921-1924 commissioned by A.J. Hulshoff, head of the city-architect office, part of the municipal department of public works. th 2.

Between 1926 and 1980 it housed the 4 craftsmanship school.

3.

From 1980 until 2002 it housed the vocational school for goldsmiths, by lack of students it was forced to close in 2002.

4.

In 2003 it got the status of (protected) ‘state monument’ 5.

From 2004-2007 a large renovation and rebuilding was done

by IAA Architects to bring it back into original state.

6.

In consultation with the municipal office for monuments the inner courtyard was enclosed by a transparent roof.

7.

Nowadays the building has 4 characteristic spaces which can be rent for a range of diverse events and activities.

Koen van Hoof - Tristen Vreugdenhil - Sylvia Schelling - Laurens Schuitmaker

1 st. Year Bicycle Excursion 26-10-2013

Summary project: “Het Meervoud” (The Multiple) Adress: August Allebéplein (district: ‘Overtoomse Veld’ ) Amsterdam West

Architect: Architectenbureau Marlies Rohmer Architecture office Marlies Rohmer

Function: Community centre with strong accent onto education / child centre

Status: Recently completed (Sept. ’13)

Urban plan & Site August Allebéplein is a plaza in the suburb Slotervaart.

The project is part of the new transformation plan of the ´Westelijke Tuinsteden´ where the August Allebéplein has to become the thriving centre of the Overtoomse Veld. Next to a school, also shops and dwelling are being realized. The square will also undergo a facelift.

The building is a school, a childcare, neighborhood center and gym in one.

2 With a total area of 5000 m the building is quite large for its function.

Floorplan & Interior The form of the building follows the orthogonal plot pattern of the August Allebéplein. The height of the building is generated by the gym which is situated on the second level. The school functions are located on street level with in the center the “heart” of the building.

This heart is the brightly colored lining of the otherwise rigid and strict lines of the building. The large foyer guides you to this “heart” and the other functions in the building. On the first floor one can find the community meeting space, parent rooms and a communal coffee corner. Vides in the floors make interaction between the various floors possible and let the building serve as one.

Façade The façade of the building is mostly build from brickwork and glass.

The composition of vertical and horizontal lines are complementing the environment as well as the pattern of the façade. The pattern within the brickwork is referring to the Arabic culture. The height and transparent accents near the entrees gives the building a more accessible feeling, as it is for the neighbourhood. This effect is being enlarged by the implementation of the huge clock. Which gives it a more public building look.

Koen van Hoof - Tristen Vreugdenhil - Sylvia Schelling - Laurens Schuitmaker

1 st. Year Bicycle Excursion 26-10-2013

Summary project: “Bellamyplein” (Bellamy square)

Adress: Bellamyplein (district: ‘Kinkerbuurt‘) Amsterdam Oud-West

Architect: Unknown (Dienst Publieke werken?)

Introduction The Bellamy square is located at Amsterdam-West and lies in the city district th ‘Kinkerbuurt’ (Oud-West). The square got its name on the 21 of septembre1904: it was called after Jacobus Bellamy (1757 - 1786) who was a poet and former bakery assistant.

History The area surrounding the ‘Bellamyplein’ was a rural residential area with sawmills and polder cottages. From 1880 the area was slowly enclosed by buildings. The houses on the square itself were build around 1904.

Some of the porches of the houses on the west side of the square, have images of mills, that refer to the past.

Status: South sided complex ‘De Hallen’ is now a State Monument

Function: Community square with toddler pool

‘The Halls‘ On the south side of the square is the complex 'De Hallen' it was the head of the central work area and depot of the tram. The first part of the Hall Complex was build between 1901 and 1903 in an industrial style, with ornaments in stone parts and iron trusses in the roof. From 1932 to 1996 the building was used as a working area.

Now the building is not used, and there are plans to achieve a multifunctional centre for music, fashion , design, art and a cinema.

The square In the middle of the square is the P.W. Janssen park with a statue of Janssen.

In the middle of the park is a paddling pool. Young children can swim there in hot summers. The little pool is not known very well by residents.

Koen van Hoof - Tristen Vreugdenhil - Sylvia Schelling - Laurens Schuitmaker

VONDELPARK HISTORY In 1864 a group of prominent Amsterdam citizens led by Christiaan Pieter van Eeghen formed a committee to found a public park. They raised money to buy 8 hectares of land and the landscape architect Jan David Zocher was commissioned to design the park in then fashionable and natural English landscape style.

The park was open to public in 1865 as a horseback riding and strolling park named Nieuwe Park.

The name Vondelpark was adopted in 1867 when a statue of Dutch poet Joost van den Vondel was situated into the park. The last part of the park was designed by Louis Paul Zocher, Jan David Zocher’s son, and was realized from 1875 to 1877. The committee soon raised money to enlarge the park and by 1877, it reached its current space of 47 hectares. At that time, its location was on the edge of Amsterdam, since then it has become central in the city.

In the 1880s and 1890s the cycling in the park caused hindrance. First the park management tried to resolve this with restrictive measurements against cyclists, but General Dutch Cyclists Union helped fund the park, that a park guard was installed and cyclists were again permitted to cycle normally.

In the following years the overall maintenance of the park became too expensive for the Association for the creation of a park for riding and strolling, so they gave it in 1953 to the city of Amsterdam.

The landscape architect Egbert Mos renovated the Vondelpark for the city in the 1950s. He renovated rose garden, grouped the green spaces and removed unnecessary paths and water.

In 1996 the park has been awarded the status of governmental monument (rijksmonument).

The Vondelpark is loved by Amsterdammers as well as by tourists, and is full of people. Free concerts are given at the open-air theatre or in the summer at the park’s bandstand. Other attractions are the statue of the poet Vondel, the cast iron music dome, the Groot Melkhuis with playground for children, and the historical Pavilion with its restaurant Vertigo, opening in summer a popular terrace.

2 5

3

5

5

5 1 6

5

4

Plan

1. Iron bandstand, the place of the popular music concerts (1873)

2.The Vondelpark Pavilion by W.H. Hamer Jr. Since 1975

till 2012 The Film Museum (1878)

5. Children’s playground

6. Open air theater

(1960s)

(1980s)

3. The rose garden

(1936)

4. The Blue Tearoom. Round and modernist, designed by

the architectural office Baanders (1937)

NUMBERS The Vondelpark is situated in the centre of Amsterdam. Consists of 470.000 m2 and is divided into 16.000 m2 grass and sideways, 2.000 m2 rose bushes, 8.000 m2 water, 11.000m2 trees and bushes and 10.000 m2 tarmac and playgrounds. The total distance of the park if you use the so-called large round is 3.3 km long. With over 10 million visitors each year, the Vondelpark is the most famous park in the Netherlands.

TITTLE- TATTLE During the flower power era in the 1960s/1970s the Vondelpark became a symbol of a place where “everything is possible and (almost) everything is allowed”.

In 1996 the park has been awarded the status of governmental monument (rijksmonument).

Starting in September 2008, adults were planned to be legally allowed to have sex during evenings and night hours in the park.However, Amsterdam Police announced that they would not in fact tolerate this as the law required them to prevent it.

In 2009 the world’s record biggest picnic recognized by The Guinness Book of Records with 433 persons participating, took place in the park.

WILLEMSPARC

The Willemsparc is a district in South Amsterdam.

Size 70hectare J.G. Van Niftrik The Willemsparc is surrounded by, Amstelveense weg, Through the Vondelparc (van Kattenlaan towards Emmastraat). Koninginneweg, Emmastraat, Noorder Amstelkanaal, Hendrik Jacobszstraat and the Cornelis Krusemanstraat.

The willemsparc was planned as a villaparc around ponds that are part of the Vondelparc around 1881.

From 1902 the Villa district between Vondelparc en Koninginneweg was built and named after King Willem III. De central Sightline at the Emmaplein is a famous aspect of the parc. This sightline runs from the Vondelparc to Olympiasquare.

At the end of the 19th century the area around the van Eeghenstraat at the Vondelparc was owned by a constructionfirm named Willemsparc.

A group of 8 Amsterdammers had the goal to prevent rich Amsterdammes to go to Haarlem or het Gooi. A couple Streetnames are named after instigators of the construction firm Willemsparc.

The firm was founded for a period of 25 years. With the target to exploit real estate (by building, selling, trading, rent, etc.)

Because overpopulation, enclosed building blocks and stinking channels the innercity wasn't that popular anymore. Because of a good connection by train and tram living in the outercity became very attractive at the end of the 19th century. This new area was meant to be a prominent living area with aristocratic housing, a private parc and wide streets. It was meant to become 25 ha.

In 1892 a concession was made to build houses on the van Eeghenstraat, In 1893 a horseline was laid out to the P.C. Hooftstraat over the Willemsparc. In 1903 this horseline became tramline 2.

The original design for the Willemsparcbuurt was a streight streetpatern which was changed in de van Eeghenstraat. The street got a light curve. Halfway the street came

an impressive entrance to the Vondelparc meant as private access for members and surrounding residents.

Because the street was owned privatly you could not get a ticket for driving without cyclinglights.

In 1915 the nearby station was named station Willemsparc as the end point of the haarlemmermeerrailwaylines. In 1933 the name was changed to “Haarlemmermeerstation�.

A funny fact is that during the 2nd world war the Germans occupiers wanted nothing to do with royal dutch family. So all streetnames which were named after members of the royal family were changed.

There goes a story that clerks of holland avoided the renaming of the willemsparcweg by telling the street was named after a composer named Willem Sparc. This Composer was made up.

Actually it wasn't nessecary to change the name of the street.

Because the rule of the germans applied only to the still living members of the royal dutch family. Willem was dead for over 100 years already.

On the Emmaplein stands a monument in memoriam of queen Emma.

The statue was made by Lambert Zijl (1866-1947). Zijl made the design for a contest to be realized in Den Haag. The statue Was revealed by Queen Wilhelmina in 1938.

On june 29th 1940 (anjerdag) many people traveled there for a flowerhonoring.

The limestone statue consists of a pedestool with the weapons of Oranje-nassau and Waldeck-Pyrmont. Six female characters onderneath the weapons symbolize carrying the queen in their hands.

On both sides the mercy and justicy of the queen is symbolised. At the backside the birth and death year of queen Emma are written down.

In 1987 the statue was beheaded by vandals. After the royal head was found in nearby bushes it was reattached.

VONDELPARC

70.000 m2 16.000 m2 grass 2.000 m2 rose bushes 8.000 m2 water 11.000m2 trees and bushes 10.000 m2 tarmac and playgrounds Total distance 3.3 km long.

10 million visitors each year In 1864 a group of prominent Amsterdam citizens led by Christiaan Pieter van Eeghen formed a committee to found a public parc. They raised money to buy 8 hectares of land and the landscape architect Jan David Zocher was commissioned to design the parc in then fashionable and natural English landscape style.

The parc was open to public in 1865 as a horseback riding and strolling parc named Nieuwe Parc.

The name Vondelparc was adopted in 1867 when a statue of Dutch poet Joost van den Vondel was situated into the parc. The last part of the parc was designed by Louis Paul Zocher, Jan David Zocher’s son, and was realized from 1875 to 1877. The committee soon raised money to enlarge the parc and by 1877, it reached its current space of 47 hectares. At that time, its location was on the edge of Amsterdam, since then it has become central in the city.

In the 1880s and 1890s the cycling in the parc caused hindrance. First the parc management tried to resolve this with restrictive measurements against cyclists, but General Dutch Cyclists Union helped fund the parc, that a parc guard was installed and cyclists were again permitted to cycle normally.

In the following years the overall maintenance of the parc became too expensive for the Association for the creation of a parc for riding and strolling, so they gave it in 1953 to the city of Amsterdam.

The landscape architect Egbert Mos renovated the Vondelparc for the city in the 1950s.

He renovated rose garden, grouped the green spaces and removed unnecessary paths and water.

In 1996 the parc has been awarded the status of governmental monument (rijksmonument).

The Vondelparc is loved by Amsterdammers as well as by tourists, and is full of people.

Free concerts are given at the open-air theatre or in the summer at the parc’s bandstand.

Other attractions are the statue of the poet Vondel, the cast iron music dome, the Groot Melkhuis with playground for children, and the historical Pavilion with its restaurant Vertigo, opening in summer a popular terrace.

VALERIUSSQUARE

Is een plein in Amsterdamse school style gelegen in Amsterdam Oud Zuid net onder het Vondelparc. Het plein word van boven door de Koninginneweg begrenst en van onder door de Cornelis Krusemanstraat die bij het plein overgaat in de Liaressestraat.

Het plein is vernoemd naar Adriaen Valerius (1570-1625) hij was een Nederlandse dichter en componist Het Plein wat op de rand ligt van Plan Zuid van H.P. Berlage en eigenlijk pas sinds Plan Zuid in 1915 een officeel plein werd. Dit omdat het aan alle zeide omsloten werd door.

Enkele belangrijke bebouwing aan het plein zijn de Valeriuskliniek en aan de onderkant het Amsterdams Lyceum.

Aan de Noordzijde van het plein bevinden zich verdiepte Amsterdamse School style toiletten deze waren vroeger openbaar.

Echter zijn ze tegenwoordig afgesloten.

In 1960 werd door beeldhouwer Henk Zweerus midden in het plantsoen een beeld ontworpen dit beeld gemaakt van kalksteen is een verticale compositie van volumes dat dan ook Verticale Composities heet. Het beeld is ge誰nspireerd op de Belgische De-Stijl kunstenaar Georges Vantogerloo.

Verticale Compositie Valeriusplein vanaf het Amsterdams Lyceum. foto uit 1932

From swampy wasteland to ecological corridor Schinkeleilanden, Amsterdam

Once a neglected area, the Schinkel Islands have been turned into an aesthetically pleasing and vibrant park.

Designed as a series of islands, it makes the most of its location next to the river. The addition of piers, platforms and bridges creates an intimate relationship with the water.

Sport facilities and ecological functions are housed on the various islands. An old railway line forms the link between the islands and has been turned into a recreational and ecological connection between the Vondelpark and the Amsterdam Forest. The park forms a connection between the city centre and the recreational areas outside the city.

The various functions determine the character of the islands: a tennis island, a football island, a park island and a nature island. The park island forms the heart of the archipelago. The island has a quintessential boll shaped form. The banks are laid out in basalt stone. Large natural stone boulders are scattered over the island and are used as sitting elements. Large piers extend into the water and are used as seating area for fishing, sunning and swimming. Hundreds of wooden stakes are set in the water around the island and are used as a resting place for water fowl. The uppermost part of the island is planted with natural vegetation and is an ecological playing area. On the nature islands the amoeba shape of the park island is repeated to define a series of eco-themed areas. Wooden stakes are used as design elements; there is a forest with birch trees, a pole-forest for storks, and a series of dead wood piles for micro-organisms. The introduction of dead wood in a new park, attracts a great variety of natural life: birds, beetles, bugs, mushrooms, and fungi. The combination of nature and water creates an ideal resting place for water related flora and fauna. By increasing the surface of water and the use of piers, ramps, bridges and reeds, the water-rich archipelago character strengthens. The design won the Green City Award in 2011.

Urban field Olympic Stadium, Amsterdam

In the new design, the site of the Olympic Stadium becomes an urban field. An extensive space that can be used for large scale events and everyday uses. The "urban field" is defined by its edges: the buildings along the existing Stadium square on the east side, the Olympic quarter on the north side and smaller buildings on the other edges. The Olympic stadium and the Citroën Buildings are objects that are placed in the urban field.

Around the square a frame of trees and benches create a pleasant climate. The square becomes the ‘red carpet’ that forms entrance to the Olympic Stadium. The character of the design reflects the monumentality of the Olympic Stadium and makes it into an icon for city.

The entrance square of the Olympic Stadium is a multifunctional space that can be used for markets, fairs and other events. The durable pavement has an intriguing pattern of white stripes and makes the reference to a large pedestrian crossing likely. Glass is added to the asphalt mixture, giving the square a rich appearance. The square is laid at an angle and slightly pushed into the surface creating an edge that can be used for sitting. A central staircase creates a formal approach to the Olympic stadium and puts it as it were on a pedestal.

Plane trees encircled with benches are scattered around the stadium, forming a green frame around the square. The ring shaped benches are a reference to the Olympic rings. The benches add a human scale to the large space and make it more user friendly . The benches like the square itself are very durable. A steel edge is added to make it suitable for skaters. Slender light poles are located along the edges of the square. The 15m high lighting columns produce a powerful light that give the square a ‘stage effect’ at night. Cat’s-eyes are inserted in the wide concrete kerbs that forms the edge of the square. These enhance the effect of the light poles.

Olympic stadium Where is now the Stadium neighbourhood used to be the Buitenveldse polder. The neighborhood was named after the old National Stadium that was east of the Amstelveenseweg. This stadium and the newly build stadium designed by Jan Wils hosted sports events in the Olympic Games of 1928 in Amsterdam. Before this, a plan was made to build many houses in the area because of a big housing shortage. A coherent frameplan with the use of houseblocks was designed by Jan Gratama in 1919, one of the first of this kind in the Netherlands. Thirteen different architects designed the blocks for the housing associations. Everything was finished in the 1930s. The stadium since then lost importance, the area became more quiet. Recently, 900 new apartments were built on the northside with a design inspired by Berlage (urban AND architectually speaking). But today, centerpoints of attention are the Olympic Stadium and the two CitroĂŤn buildings designed by the same architect, Jan Wils.

Now the area around the stadium is designated as an urban field, designed by Buro Sant en Co. Inside it the historical buildings, the Olympic Stadium and the CitroĂŤn Buildings, are left quite untouched.

The new durable pavement in front of the stadium has a pattern of white stripes and glass,which refers to a large pedestrian crossing. A central staircase creates a formal approach to the Olympic stadium and puts it as it were on a stage. The ring shaped benches all around the stadium are a reference to the Olympic rings. In the future, 8000 additional seats will be created to support the European Athletics Championships in 2016. The same Landscape architectural office designed Park Schinkeleilanden as well. The park will be more easily reachable from the Stadium. There are also plans for towers in the corners near the park.

De zuidas ontwikkelt zich tot een internationale toplocatie voor wonen en werken in Amsterdam. De goede bereikbaarheid, de kwalitatief hoogwaardige omgeving en de aantrekkingskracht van Amsterdam vormen de grondslagen voor haar ontwikkeling. Het doel van de Zuidas is om als Amsterdam en Nederland de internationale concurrentie aan te kunnen. Maar is dit prestigieuze project (De Nederlandse variant van een ‘La Défense tussen Amstel en Schinkel’) wel zo'n succes?

Er bestaan kritiek en zorgen over de huidige en toekomstige uitstraling en leefbaarheid van de Zuidas als wijk. Daarnaast wijzen critici op de ondermaatse inrichting van de openbare ruimte, het achterblijven van woningbouw, het daarmee samenhangende gebrek aan levendigheid en de lege plinten. Het project lijkt verworden tot symbool voor de oorzaken én gevolgen van de economische crisis.

De zuidas was voor de oorlog nog een begrenzing van de stad in de vorm van een wandel- en recreatieweg. Tegenwoordig is het een financieel zakendistrict, woonwijk en een infrastructureel knooppunt langs beide zijden van de A10, dat zich kenmerkt door zijn (relatief) hoge bebouwing. Het eerste bouwwerk (het hoofdkantoor van ABN Amro) is begin jaren 90 gerealiseerd. In 1998 werd het masterplan gemaakt voor het gebied. Het plangebied ligt midden op de Minerva as (uit het plan Zuid van Berlage). Aan de noordzijde is het verbonden door het Zuidplein en ten zuiden door het Gustav Mahlerplein.

Sinds het begin van de bouw van het district in 2002, zijn er een aantal opvallende gebouwen gerealiseerd. Het project Zuidas beslaat 225 ha Amsterdamse grond. Het definitieve eindbeeld zoals beschreven in het masterplan wordt verwacht rond 2035.

Een interessante vraag die momenteel speelt, is op welke manieren de markt, de politiek, het maatschappelijk veld en bewoners verantwoordelijkheid kunnen nemen voor de kwaliteit van de stadsontwikkeling en het publieke domein.

Apollohal

The Appollohal is built on a corner of the Apollolaan and the Stadionweg in Amsterdam. It was built in 1934 by architect Albert Boeken in cooperation with W. Zweedijk. It Was built in the style ‘’Nieuwe Bouwen’’ The Apollohal was mainly built as tennis recreation centre, when years were past is was used as an exhibition hall and a ice skate track. After a renovation in 2004-2005 by architect Andre van Stigt it is used as sport accommodation. Mainly basketball. Since 2004 it is a government monument, which means it protected by allot of rules.

It was built in the style new building ‘’Het nieuwe bouwen’’ and a early example of the steal skeleton was used, also a typical recognition of the architect ‘’van Boeken’’ It has a construction of welded steal plates which were used to control the free span. This means the walls are no baring walls. This makes it possible to generate a free Floor plan.

There is not only a sport complex but also a director’s office, hotel and a cafe/restaurant that belongs to the complex. Since 2005 the office is transformed to a cafe/bar with a board room.

Since the renovation of 2005 the Apollohal changed, several spaces are now available as sport spaces for education purposes. The entree also has changed because of the renovation in 2005.

At the Amstel, on the exact place where the tennis gravel courses used to be, the Apollo Hotel was built (1961). This was also a part of the accommodation. Mainly the Apollo Paviljoen. Designed by Alexander Bodon. Its function was a cafe/restaurant.

Free Span

‘’Context’’ Apollo directors house, Apollo Hall, Apollo Hotel near the water.

Project Gerrit van der Veenbuurt

The heart of the Gerrit van der Veenbuurt is the Beethovenstraat. This street reveals everything about this small neighborhood located in the south of Amsterdam. It’s urban plan was designed by architect H.P. Berlage and was mend to be for only the wealthiest people. This expressive itself nowadays in a spacious and luxurious area where expensive shops, trendy coffee bars and big houses are located. The architecture of these buildings is typical for the Amsterdam School from the 1920′s and 1930′s.

The Amsterdam School style of architecture that is characterized by brick construction with complicated masonry, mostly with a rounded or organic appearance. Further characters are the relatively traditional massing, and the integration of an elaborate scheme of building elements inside and out: decorative masonry, art glass, wrought ironwork, spires or "ladder" windows (with horizontal bars), and integrated architectural sculpture. The aim was to create a total architectural experience, expresses itself in both interior and exterior.

The Amsterdam Hilton is located in the middle of the Gerrit van der Veenbuurt. This storied place is known for the “Bed In Peace” protest by John Lennon and Yoko Ono. Locally, this luxurious hotel is also known to be the place where crime boss Klaas Bruinsma was killed and Dutch Rock and Roll legend Herman Brood jumped off the roof in a successful suicide attempt. The Amsterdam Hilton hotel is a landmark in its own right.

Project Sociale Verzekeringsgebouw Amsterdam (Apollo House)

The Apollo House is situated on the axis point of two main roads. The Apollolaan and the Stadionweg. It is situated with his main entrance towards the Amstel. The building has two different heights and shapes. There is the lower ring-shaped lower part of the building (10m high ). Which once held the archives of the Rijksverzekeringsbank. The main building is the higher more prominent building (40m high). This was the main office of the RVB. Today it is owned by Allen and Overy Advocates.

The architectural design is from Dirk Rosenburg and the building was constructed from 1937 to 1939 and the building costs were 1 million guldens. It has an steel skeleton which was covered with white ceramic tiles. These were replaced after they started to come lose and replaced with white nature stone tiles. The main entrance at the front is put on columns to point out the entrance and provides a more sheltered area.

The inside of the building originally had a lot of open spaces and an interesting steel skeleton which was showed on particular area’s inside the building. During the construction in the 90’s this was almost all removed or hidden. In 2011 the interior was new designed by Fokkema and Partners Architects in a more durable way. The architects brought back the older values of the building as the small steel columns and some of the steel skeleton.

School Duiker

This is one of the first open-air schools of the Netherlands, the schools were normally made for weak/sick children, but this was an open-air school for the healthy child. The open-air schools wanted to give them as much as possible outside class.

Architect Jan Duiker built the school in 1930. The buildings around it were completed in 1932. The building is a symbol of modernist architecture and can be compared with buildings of Le Corbusier and Mies van der Rohe. Elements of Le Corbusier are also seen in the form of the free design of the ground plan and facade and the roof garden.

The school consists of a square classroom block in four levels placed diagonally on the site. This basic square is subdivided into four quadrants around a central staircase. The east and west quadrants each contain one classroom per storey and share an open-air classroom on the south side.

The building is made of a concrete structure, the column structure is diagonally placed on the square.

So that all corners are open, this gave the faรงade a free design. The basic colours Duiker often used in his designs were white, black and blue. In this design he used those colours in the faรงade and window frames. The frames are made of steel and very slim. Because these are painted blue they still rely on and provide a clear framework for the windows.

Orientation to the south

The column structure is diagonally placed on the square

Apollolaan

The Appollohal is built on a corner of the Apollolaan and the Stadionweg in Amsterdam. It was built in 1934 by architect Albert Boeken in cooperation with W. Zweedijk. It Was built in the style ‘’Nieuwe Bouwen’’ The Apollohal was mainly built as tennis recreation centre, when years were past is was used as an exhibition hall and a ice skate track. After a renovation in 2004-2005 by architect Andre van Stigt it is used as sport accommodation. Mainly basketball. Since 2004 it is a government monument, which means it protected by allot of rules.

It was built in the style new building ‘’Het nieuwe bouwen’’ and a early example of the steal skeleton was used, also a typical recognition of the architect ‘’van Boeken’’ It has a construction of welded steal plates which were used to control the free span. This means the walls are no baring walls. This makes it possible to generate a free Floor plan.

There is not only a sport complex but also a director’s office, hotel and a cafe/restaurant that belongs to the complex. Since 2005 the office is transformed to a cafe/bar with a board room.

Since the renovation of 2005 the Apollohal changed, several spaces are now available as sport spaces for education purposes. The entree also has changed because of the renovation in 2005.

At the Amstel, on the exact place where the tennis gravel courses used to be, the Apollo Hotel was built (1961). This was also a part of the accommodation. Mainly the Apollo Paviljoen. Designed by Alexander Bodon. Its function was a cafe/restaurant.

The Plan South – Berlage, 1917 Vrijheidslaan, Wolkenkrabber, Minervaplein, Churchillaan, Merdeweplein

Berlage’s monumental plan consisted in straight narrow streets and long blocks, intersected by several broad axes, in the area between the rivers Schinkel and Amstel. It was built in the style of the Amsterdam School.

The Vrijheidslaan is a main avenue in the south of Amsterdam and, together with the Berlage Bridge, forms the eastern entrance to Rivierenbuurt. It splits at the Victoria Square, in two similar main axes: the Churchill Avenue and Roosevelt Avenue. The street was called from 1922 to 1945 Amstel Avenue and the other axes respectively the North and South Amstellaan.

‘De Wolkenkrabber’ is the second oldest apartment building in the Netherlands. It was designed by architect Jan Frederik Staal and was finished in 1931. It was designed as a landmark within the plan to accentuate the intersection of the three main avenues around it.

Another important street in Plan Zuid is the Stadionweg. The Minervaplein is a break from the Stadionweg , where the houses lie a little deeper than the ones on the Stadionweg, and therefore giving the 'square' feeling. The square has a purely residential function , there are 8 blocks all in the Amsterdam School style.

The Merdeweplein is a square located in the symmetrical axis behind the Skyscraper and in line with the Vrijheidslaan. All parcels on the square, the Delta Street and the Skyscraper are thoroughly restored a few years ago so the yellow brick facades are visible again. In 1933 the Frank’s family moved from Frankfurt into a large house at Merwedeplein 37/2. The family has lived there until their hiding period, which began on July 6, 1942. Nowadays the house hosts a foundation – Amsterdam Vluchtstad - that supports foreign writers who cannot write freely in their own home countries.

Berlage lyceum (1923) Arend Jan Westerman

Panorama of the Berlage lyceum

Hystory of schools In 1923 the seconde public tradeschool opened its doors in the building that now houses the Berlage lyceum. The building housed the second trading school witch was later renamed 2nd H.B.S in 1937. Twenty year later it joined together with the Spinoza lyceum and became the Comenius lyceum. Ten years after that in 1967 is was again renamed the Berlage lyceum witch it is still called today.

The architect The building was designed by the architect Arend Jan Westerman who is also known for the dewatering building at Amsterdijk (1919), the bathhouse at the Andreas Bonnstraat (1921) and the fourth school of crafts at the postjesweg (1922). Arend Jan Westerman was part of the expressionistic amsterdamse school stream witch was considerd very modern at the time.

façade ornaments The building is decorated with a range of façade ornaments. The entrances are market with “het haventafareel” witch means the harbor scene. It shows three men carrying bags on there necks, a ship and two women watching with some tree’s in the background. Another ornament show’s “Handje klap” witch means handclap. It shows two men and a cow at a market. Handje klap is a traditional Dutch way of haggling. You name your price and smack the other guy’s hand. He will do the same thing and name his price. This is repeated until the price is right. Other ornaments show different religious images like the roman god of trade Mercurius and the nine headed monster Hydra witch was defeated by the Greek hero Hercules.

The roman god Mercurius Handje klap

Diamantbuurt The Diamond District is a district in the south of Amsterdam.

The actual Diamond District consists of streets with gemstone names: Diamond Street, Ruby Street, Street Sapphire, Emerald Street, Topaasstraat, and Garnet Street. In near reclassification of 2005 Diamantbuurt extended to the west, since the Diamond District bounded by the second of the Helststraat, Karel du Jardin Street, Henrick the Keijserplein, Tolstraat, Amstel and Amstel Canal.

At one end of the Diamond Street stands the monumental building of Diamantslijperij Asscher , where once the largest diamond in the world ( Cullinan ) was cut. Many diamond cutters used to live in the Diamond District. Thats’s why it is called de Diamond District.

Jop van Epen (Johannes Christiaan van Epen) (1880 - 1960) Dutch architect Style: Amsterdamse school Training: MULO (more elaborade lower education), didn’t do a studie for architect Famous design: Bagijnhof, Nieuw-Middelburg Jo van Epen designed a lot of labour housing complexes in Amsterdam. He worked for AWV Algemene woningbouw vereniging (General housing association Amsterdam), Rochdale and ‘De Samenwerking’ (The Collaboration). Hans Münsterman wrote a book about Jop van Epen; De Bekoring.

Diamantbuurt The Diamond District is rich in special buildings and monuments. The neighborhood was built in the 30s in Amsterdam School style.

Recognizable for the Diamond District are the vertical lines and the yellow-green window frames at the buildings. Most of the buildings at Diamond District have, very recognizable, slant facades.

Placement of the Diamond District in Amsterdam

Diamond district - Amsterdam

View of the

recognizable buildings (top and bottom)

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P.L. Takbuurt (Pieter Lodewijk Takbuurt) Named to Pieter Lodewijk Tak (1848-1907), He was an social democratic alderman and journalist in Amsterdam. P.L. Tak was founder of the housing association ‘De Dageraad’. This corporation called in 1920 a housing complex to Pieter Lodewijk Tak; the P.L. Takstraat.

Michel de Klerk (1884 - 1923) Dutch architect and a designer of furniture.

25th (!!) child of his father.

Style: Amsterdamse school Training: architectural draftsman Famous design: Scheepsvaarthuis, Prins Hendrikkade, Amsterdam First labour housing complex he designed were situated at the Johannes Vermeerplein in Amsterdam. After that he mostly designed labour housing complexes.

Piet Kramer (1881 - 1962) Dutch architect Style: Amsterdamse school Famous design: Scheepsvaarthuis, Prins Hendrikkade, Amsterdam Piet Kramer designed various labourhousing blocks in the 1920‘s in Amsterdam-south and Amsterdam-West.

P.L. Takbuurt - P.L. Takstraat The P.L Takbuurt is designed in the style Amsterdamse school. The P.L. Takbuurt lies in East Amsterdam, in ‘De Pijp’.

The buildings in the P.L. Takbuurt are especially labour houses. The homes are placed in big housing blocks. These houses look like big villa’s but each house contains mostly 6 apartments.

The housing blocks have a very clear start and end. This is created by a big building with towers, spectacular curves and artworks out of bricks. These artworks are made by John Rädecker (1885 - 1956). All the buildings in the street look the same. But the facade is sometimes hangs over. Thereby it’s visible were a new house begins. Also in the roof it’s visible that a new house starts by the curve in the tiles.

The buildings around the little, half round, square at the gathering of the P.L. Takstraat and the Burgemeester Tellegenstraat is designed in another way. Piet Kramer thought that the shape of the houses is experienced when people are moving. The houses around a square are designed that way that there are interesting when people are sitting there.

Whit that rational he made some interesting details, like the corner of the buildings and the use of tiles.

Sources: • Woonblok de Dageraad, gemeente Amsterdam, Geraadpleegd 17-10-2013, http://www.amsterdam.nl/kunst-cultuursport/monumenten/monumenten-0/gebouwen-gebieden/beschrijvingen/p_l_takbuurt/.

• Wikipedia: Takbuurt, Pieter Lodewijk Tak, Michel de Klerk and Piet Kramer.

• Google maps / Google Earth / Google Streetview

Placement of the Takbuurt in Amsterdam

Pieter Lodewijk Takstraat

View of the Pieter Lodewijk Takstraat (Detail: The tiles at the second flour are vertical)

Pieter Lodewijk Takstraat nowadays

Buildings around the half round square (P.L. Takstraat - Burgemeester Tellegenstraat)

Some of the striking details at the P.L. Takstraat

PL Takbuurt

Residential block The Dawn (1920-1923) Takstraat PL / Burg. Tellegenstraat / Th. Schwarz Square / H.Ronnerplein M. de Klerk & P. Kramer Monument

The Pieter Lodewijk Takbuurt is a famous example of public housing. The residential complex was created after World War commissioned by housing association Dawn to a design of two leading architects of the Amsterdam School, Michel de Klerk (1884-1923) and Piet Kramer (1881-1962). The laborers have an allure that was reserved for prestigious buildings up to that point. From the outset it was therefore considered as a monument to the emancipation of the workers' movement as confirmed by inscriptions made on the spot, memorials and sculptures. In 1974, the entire PL Takbuurt under the exceptional architectural quality declared a national monument.

The housing associations and the Amsterdam School In 1901, the Housing Act came into effect on housing established certain minimum requirements. The Housing Act also stipulated that construction clients could qualify. Nonprofit, government subsidy for This brought an end to the speculation building that the nineteenth-

century urban expansion as the Pipe, had mastered. The house was now largely in the hands of housing associations and cooperatives who are committed to the improvement of public housing.

In 1918 the municipality of six housing associations access to a site north of the Amstel Canal, had an area now enclosed by the second of the Helststraat, Lutmastraat and Van Woustraat. The middle part was assigned to the housing association Dawn. Dawn was originally a cooperative, supported by the Social Democratic Party and the trade union movement, some grocery stores and bakeries, a dairy, a tailor and a general sales house operated. In 1916 also established a housing association, in consultation with the municipality, took it upon himself to turn. 294 people houses down on the allocated land The housing block of Dawn was the calling card of the social democratic housing. Therefore, in 1918 attracted two leading architects of the Amsterdam School, Michel de Klerk and Piet Kramer, to realize the whole. Piet Kramer was at that time aesthetic consultant Bridges Department of the Public Works department. Michel de Klerk had become famous for his designs for laborers on the Spaarndammerplantsoen and gold as the brilliant architect who's growing self-consciousness of the workers' movement could shape.

Takstraat PL / Tellegen Monument The urban ensemble of the dawn has the shape of a Y whose Takstraat PL forms the central axis. On either side of this are two school and two squares, Henriette Ronner Square and Therese Schwartz Square. The PL Takstraat is closed by the Mayor Tellegen Monument behind the Cooperatiehof is located, half enclosed by the Mayor Tellegenstraat.

Two identical school buildings on either side of the PL Takstraat form from Joseph IsraĂŤlskade the imposing entrance to the residential complex of The Dawn. They were built in 1923-1924 by AJ Westerman, an architect employed by Public Works. The rich sculpture by Hildo Krop (18841970) is an integral part of the architecture. Seen from the Waalstraat, in line with the PL Takstraat, serve the school as backdrop for the homes of The Dawn and Tellegen Monument. On the side of the PL Takstraat construction volumes leapfrog in height down to the level of the houses designed by Michel de Klerk.

The PL Takstraat is to then concepts unusually spacious and is flanked by gable walls full of dynamism and variety. At the head of the residential blocks grabbing the tiles over the entire second floor back. Then rise on top of a building and a tower covered with tiles laid vertically. From here the eye is further led along continuous undulating building masses. Although the street wall is given in full form the blocks remain individually identifiable by jumps in the building line and the roofline, which curls up per each residential block.

Unlike the facades are the plans of the houses rather conventional. They consist of a living room and a bedroom, a kitchen and a second bedroom behind. Only the placement of the rear stairwell was somewhat unusual.

The great tower-like corner lots with spectacular curves on the side of the Mayor Tellegenstraat designed by Piet Kramer. Here were the only shops nearby. The inscriptions made in relief dedicated to the social-democratic councilor Pieter Louis Tak and the housing association Dawn

respectively. On the flat roof above the inscription of PL Branch is a bird of prey in brick, above the inscription of Dawn a male figure. Both images are the work of John R채decker (1885-1956).

The PL Takstraat originally resulted from a large square, the Plaza Cooperative, however made in 1927 instead of Cooperatiehof. Opposite the large corner buildings Takstraat PL / Mayor Tellegenstraat was a semicircular recessed square, the Plaza Mayor Tellegen with the same monument, designed by Piet Kramer. The monument is backwards against the former library to Cooperatiehof whose turret as recognition stabbing took over the traditional role of a church tower. At the closing wall sculptor Chris van der Hoef brought a medallion portrait of JCW to Tellegen, the first director of Building and Housing in Amsterdam who was appointed in 1915.

Mayor The other reliefs, with symbolic representations of Courage, Consultation, Wedding and Policy of the hand of Driekus Jansen van Galen. Above on both sides there are two bricks with a representation of a woman with child.

Henriette Ronner Square, Therese Schwartz Square The blocks to the Mayor Tellegenstraat, designed by Piet Kramer, his mirror image to that of the PL Takstraat. The resulting rolling roofs and dark bases lead the eye towards Talmastraat and Willem Passtoorsstraat, and thence to the Henriette Ronner Square and Therese Schwartz Square respectively. Halfway is the Mayor Tellegenstraat a kink, which in turn gave rise to bring an architectural accent in this case a sharp coming forward tower with bay windows whose frames have been. The shape of a bow of an Indian canoe

The twins squares on either side of the PL Takstraat, the Henriette Ronner Square and Therese Schwartz Square, again designed by Michel de Klerk. The dynamic flowing lines in the PL Takstraat and Mayor Tellegenstraat is here replaced by a more static image. De Klerk assumed that a street wall observed from a moving perspective but a wall is not square, because a square is primarily a place to linger. The square wall consists of four blocks, each with their hood. The connecting elements between the blocks are restricted to the semicircular balconies at the height of the first floor and the masonry in vertical link of the dark brick plinths that rise in the corners of the square wall up to the eaves.

The outer walls of the blocks have the shape of a trapezium. Above the two floors is a closed attic and a slightly sloping roof that runs deep at the sides.From a recessed wall area between the houses rise high chimneys. On either side of the four blocks are located in the corners 'halfway houses' with a balcony on the first floor and an original design development.

The blocks are actually looks barely distinguishable from luxurious villas.Behind the facade of such a 'villa' will be published six residential apartments hiding. On the outside is not visible because each block has only one door and the windows are not in equal rows directly above each other, as in plots with almost identical apartments would have been expected. Each apartment consisted of a living room and a bedroom and a kitchen and two bedrooms behind. In the courtyard behind the house there is a communal garden, because only private gardens for the residents on the ground floor, did not fit into the policies of a social democratic housing association

Pieter Lodewijk (Piet) Kramer (Amsterdam, 1 July 1881 – Santpoort, 4 February 1961) was a Dutch architect, one of the most important architects of the Amsterdam School (Expressionist architecture).

From 1903 to 1911 Piet Kramer worked in the architectural practice of Eduard Cuypers, where he came into contact with the architects Johan van der Mey and Michel de Klerk. In 1911 van der Mey received the commission to design the Scheepvaarthuis (Shipping House), a cooperative building for six Dutch shipping companies. Van der Mey sought the assistance of his former colleague-architects Piet Kramer and Michel de Klerk to realize this building. The Scheepvaarthuis (1913–1916) is considered the starting point of the Amsterdam School movement. Later Piet Kramer collaborated with Michel de Klerk on the well-known De Dageraad housing project in Amsterdam South (1919–1923). Outside Amsterdam he built one of his masterpieces, the De Bijenkorf Store in The Hague (1924–26). After the death of Michel de Klerk in 1923, Piet Kramer was the leading architect of the Amsterdam School until the end of this movement in the beginning of the 1930s.

In the years of economic crisis of the 1930s the expensive architecture of the Amsterdam School was passé. A new architecture and town planning was in process of development in Amsterdam, represented by CIAM-Rationalists like Cornelis van Eesteren and Ben Merkelbach.

In the new architecture the principle of spatial corridors between functionalistic blocks was relevant. On the contrary, the Amsterdam School town planning was based on a town structure with streets and places.

De Bijenkorf Store, The Hague (1924-26)

In the second half of his professional life, the main job of Piet Kramer was architect for canal bridges in the municipal public works department in Amsterdam (Gemeentelijke Dienst Publieke Werken). He made the drawings for more than 500 bridges. The total number of realized Piet Kramer bridges is 220, 64 of them in the Amsterdamse Bos park. Besides the bridges he often designed the additional bridge houses, ironwork and landscaping. The sculptural work was generally done by Hildo Krop.

After the death of Piet Kramer in 1961, on the high point of the Rationalist movement, no architectural institution or museum was interested in his Expressionist work. For that reason all his drawings and models were burnt.

De Pijp Jeremy Bouwmeester Roeland Meek Erik Brusse Koen Vermeulen 18/10/2013 Excursie Amsterdam 25/10/2013

DE PIJP GESCHIEDENIS In de tweede helft van de 19e eeuw was stadsuitbreiding nodig vanwege de bevolkingsexplosie. De jonge stadsingenieur Van Niftrik maakte een plan voor een complete uitbreidingsgordel in het poldergebied langs de rand van Amsterdam. De Pijp zou een prachtig nieuw centrum worden, qua grandeur gelijk met Parijs of Wenen. In het plan was onder andere het Centraal Station, grote woonblokken met brede staten en een luxeuze groene villawijk voorzien. Het werd echter door de gemeente afgewezen.

Een nieuw plan werd opgesteld door Kalff, de directeur van Publieke Werken. Hij zag af van herverkaveling, zodat het stratenpatroon een kopie werd van het oude polderslotenpatroon. Het invullen van de bebouwing liet Kalff over aan de vrije markt, die vooral bestond uit kleine ‘eigenbouwers’ die met geleend geld werkten en die snel winst wilden maken. Ze bouwden de beschikbare ruimte zo snel mogelijk vol, met behulp van de goedkoopste bouwmaterialen. De Pijp werd een wijk van lange straten met een karakteristiek straatwandbeeld: meestal vier bouwlagen met kap, hoogte van de woonlagen verspringend tussen de bouwpercelen, elk pand bekroond door een witte daklijst met een kap en hijsbalk, en elke woning drie vensters breed. Soms is het patroon eentonig. Oospronkelijk park en pleinloos is er toch een park aangelegd, het Sarphatipark. In dit park werd de grond niet opgehoogd, zodat men er nu nog het oude polderpeil kan zien. De Pijp werd geen dure wijk, het was revolutie/speculatiebouw maar de woonomstandigheden waren wel beter dan in oude buurten als de Jordaan.

Waar de naam vandaan komt is niet helemaal zeker. Of van de mensen massa’s die ‘s ochtends vanuit de wijk vertrokken naar het centrum of van het woord pijp in de betekenis van lange rechte poldersloot.

Gentrification of the Pijp Gentrificatie – Gentrificatie is een term die gebruikt wordt om de opwaardering van een buurt of stadsdeel op sociaal, cultureel en economisch gebied aan te duiden.

Gentrification – Gentrification is a shift in an urban community toward wealthier residents and/or businesses and increasing property values, sometimes at the expense of the poorer residents of the community.

In eerste instantie was de Pijp bedoeld als een ruimere buitenwijk van het overvolle stadscentrum waar de gebouwen in hoge dichtheden met een slechte hygiëne dicht op elkaar stonden. Vanwege de groeiende afkeer tegenover de smerige stadscentra en de behoefte aan licht, lucht en ruimte zorgde ervoor dat er in de Pijp in de jaren '60 veel allochtonen te wonen kwamen. De allochtonen waren minder kapitaalkrachtig en waren zodoende gedwongen om in deze 'mindere' en goedkopere woningen te huisvesten. De woningprijzen waren in deze tijd erg laag wat ervoor zorgde dat er veel studenten en kunstenaars in de wijk kwamen te wonen. De stedenbouwkundige kwaliteit was naar hun mening ondergeschikt, zij vonden de ligging van de wijk nabij voorzieningen en dichtbij het centrum erg belangrijk. Door een sterke verbondenheid in deze groep kreeg de gemeente geen kans om grote sloop/nieuwbouw plannen door te voeren. De Pijp werd grootschalig gerenoveerd en er vond nauwelijks sloop/nieuwbouw plaats. In de jaren ' 70 nam speculatie in panden uit de Pijp toe. Veel woningen werden gesplitst en afzonderlijk verhuurd en verkocht. Halverwege de jaren '80 raakte de Pijp in verval omdat vele migranten met lage inkomens wegtrokken naar de ruime Westelijke Tuinsteden.

Initially the Pijp was meant as an expansion of the overcrowded city centre where the buildings were build in high densities and the hygiëne was poor. Because of the growing aversion against the filthy city centres and the growing need for light, air and space resulted in the housing of immigrants in the sixties. These immigrants had less to afford and were compelled to live in the Pijp. The house prices were a lot lower back then, because of this a lot of students and artists started establishing in the area. The spacial quality was less importent for them. More important were the distance to the city centre and the facilities in and around the area. Because of the strong coherence in this group the municipality couldn’t renovate the area by demolishing a big part. The Pijp was renovated on a large scale but there was almost nothing demolished. In the seventies the speculation increased. A lot of houses were split up and sold individually. Halfway the eighties the Pijp deteriorated because the migrants with the low income moved to the more spacious Westelijke Tuinsteden.

Halverwege de jaren ’90 kwam gentrification pas echt op gang. Dit kwam door de economische bloei in Nederland en de daarmee samenhangende wens om een leuk en karakteristiek appartement dichtbij het centrum in Amsterdam te kopen. Dit waren met name ex-studenten en westerse buitenlanders. In de Pijp heeft het stadsdeel onbewust het gentrificationproces gestimuleerd door forse ingrepen in de openbare ruimte toe te passen zoals het autovrij straten en het opknappen van de openbare ruimte. Hierdoor werd de wijk aantrekkelijker voor de rijke bewoners. De wijk die een goedkoop alternatief was voor creatievelingen, is uiteindelijk een van de populairste wijken van Amsterdam geworden zonder creatievelingen.

Halfway the nineties the gentrification started to play it’s part. This was because of the economical growth.

The need for a charataristic appartement near the city centre was growing. In the beginning mainly the ex-

students and the western immigrants moved in the Pijp. In the Pijp the municipality unconsciously stimulated the gentrificationproces by investing in de public space like for instance making car free streets. Because of these investments the Pijp became more attractive for the more wealthy people. The neighbourhood that was a cheap alternative for the creatives of the city changed into one of the most popular living areas nowadays except with no room for the creatives.

Sarphatipark In de tweede helft van de 19de eeuw begint Amsterdam uit zijn voegen te barsten. Er is een groot tekort aan woningen voor arbeiders. Om ruimte te creĂŤren worden de gebieden ten zuiden van de Buitensingel, grote woonwijken ontworpen waaronder De Pijp. Samuel Sarphati had hiertoe al een aanzet gegeven en stadsingenieur Van Niftrik krijgt de eerste echte opdracht tot het maken van een ontwerp.

Afbeelding 1: Ondertitel: Het patroon van de negentiende-eeuwse stad volgt grotendeels de veenverkaveling. Tussen de bebouwingsblokken zijn veenkavels soms niet bebouwd voor de aanleg van parken zoals het Vondelpark, het Sarphatiepark en het Oosterpark.

Bron: Reh, W., Steenbergen, C.M.: Zee van land. De droogmakerij als architectonisch experiment. Delft 1999 (blz. 95) Het plan van Van Niftrik is ambitieus, met grote, ruime woonblokken en een Centraal Station op de plek waar nu het park ligt. Te ambitieus vindt het gemeentebestuur en Van Niftrik mag slechts een klein deel van zijn plan uitvoeren waaronder het park.

Afbeelding 2: Ondertitel: Ontwerptekening voor het Sarphatipark, in de Binnendijksche Buitenveldersche Polder door de stadsingenieur J.G. van Niftrik. Datering 
 30 juli 1881.

Bron: Stadsarchief Amsterdam: bouwtekeningen, Afbeeldingsbestand B00000023443 Van Niftrik ontwierp het park in de Engelse landschapsstijl: afwisselend, verrassend, geheimzinnig en schilderachtig. Het veel grotere Vondelpark is in Nederland het eerste park in deze stijl. Hoewel het Sarphatipark veel kleiner is, slaagt hij er toch in, door gebruik te maken van verschillende technieken, de illusie van een groot park bij de bezoekers op te wekken. Compleet met bruggetjes, fonteinen en een waterval. Om grip te krijgen op de ontwerpprincipes achter dit 19de eeuwse stadspark zijn hieronder een aantal stijlkenmerken en ruimtelijke principes weergegeven.

In 1885 is de bodem van het park klaar en wordt de eerste boom geplant. Het monument voor Sarphati wordt een jaar

later onthuld en in 1888 krijgt het park officieel de naam: Sarphatipark, vernoemd naar Samuel Sarphati, de sociaal bewogen arts en aanzetter tot de aanleg van het park. Tegenwoordig is het park zodanig ingericht, dat het voor elk wat wils biedt. In de noordwestzijde is een speelplaats voor de allerkleinsten. In de zuidoostzijde zijn voorzieningen voor oudere kinderen. Verder is het zuidelijke gedeelte toegankelijk voor honden en het noordelijke gedeelte niet. Op zonnige dagen stromen de gazons van het park vol met zonaanbidders die zich vermaken met een hapje en een drankje.

Ostadetheater either Ostade 233 In 1900 kwam hier een stoomdrukkerij, geheten Elsevier. Later veranderd de naam in Van Ostade, en nog later in Holdert & Co. Deze naam blijft tot de kraak van dit pand in 1980 op de gevel pronken. Aan het pand verandert wel het een en ander. Eind jaren vijftig wordt de karakteristieke schoorsteen verwijderd. In 1964 is de oorspronkelijke gevel van het pand vervangen door de huidige.

Around 1900 a steam printing company called Elsevier established on this site. Later on they changed the name to Van Ostade and and eventually it changed into Holdert & Co. This name stayed onto the facade untill the building was squatted in 1980. The building still changes through the years. At the end of the fifties the characteristic chimney was removed. In 1964 the original facade was replaced with the current one.

Eind jaren ‘70 verhuist de drukkerij, de leegstaande loods blijft achter.

De gemeente wil die platgooien en woningen bouwen op het terrein, maar er kwam veel bezwaar.

In the late seventies de printing company moves and the empty warehouse remains. The municipality wanted to demolish the building and build houses on the site, but there was much objection from within the society.

In 1980 betrekt een groep jonge idealisten het gebouw door het te gaan kraken. Ze treffen een enorme ruimte aan achter de voorgevel, waarmee de naam ‘De Fabriek’ geboren is. Deze locatie maakt plaats voor het bestaan van alternatieve kleinschalige bedrijvigheid, wonen en cultuur.

In 1980 a group of young idealists moves into the building by squatting it. They find a huge space behind the facade, the name ‘The Factory’ was born. This location makes way for the existence of alternative smallscale business, housing and culture.

Als eerste betrekt drukkerij Raddraaier Ostade 233, waarmee met name de kraakbeweging van posters, brochures, pamfletten en bladen tegen kostprijs wordt voorzien.

The first business that moves into the building was Raddraaier Ostade 233. They provided the idealists with posters, brochures, pamphlets and magazines at purchase cost. .

Twee jaar later komt een groep creatieve geesten, die een theater voor de buurt willen opzetten. Maart 1982 is het Ostadetheater een feit. Het theater draait aanvankelijk geheel op vrijwilligers, zoals alle bedrijfjes indertijd in het gebouw.

Two years later, a group of creative minds wants to set up a theater. March 1982 is the Ostadetheater a fact.

The theater initially runs entirely on volunteers, like all businesses in the building at the time .

Aan de achterzijde van het gebouw wordt begin jaren ‘80 een ontmoetingsruimte gecreëerd. In de ruimte worden feesten georganiseerd en vanaf 1982 fungeert de zaal tevens als foyer van het Ostadetheater. Verder

bevinden zich in het pand werkplaatsen, onder anderen de reeds bestaand fietswerkplaats ‘Smerig’.

At the rear of the building a place is created where people can meet. They organized celebrations here and from 1982 it also served as the foyer of the Ostadetheater. Additional facilities in the building are the workplaces. One of these workplaces is the still existing bicycle workplace ‘Smerig’.

In de kantoren op de verdieping bevinden zich vanaf het begin van de kraak woningen. Momenteel worden de vijf woningen door vrouwen bewoond, die zich inzetten voor de goede zaak.

Aan de achterzijde is in der tijd een woonerf gekomen met 5 woningen met een collectieve en alternatieve sfeer.

In the offices on the first floor there are cracked houses that are there from the beginning. These houses are currently inhabited by five women who are commited to charities. To the rear there came a ‘woonerf’ with houses around it. This ‘woonerf’ has a collective and alternative atmosphere.