beyond your map

This building, situated across from the Jerusalem Church, originally housed four schools. It is an elongated, symmetrical three-story structure with taller side wings. The upper section of the central wing is constructed using red-gray bricks, while the side wings feature yellow bricks, which extend to the ground-floor level leading to the main entrance. The side wings culminate in tower-like elements with half-cylindrical ends. In the central part of the side wings, the upper walls gently curve forward towards the adjacent volumes. The ends of the central wing also project on the first-floor level, partially covering the walls of the side wings. The central wing's horizontal emphasis is achieved through long rows of windows on all three floors. Above the main entrance, there is a window shaped like an open book – likely one of the most photographed features in Amsterdam West.

Borneo and Sporenburg, originally 19th-century harbor docks located to the north of Amsterdam's city center, underwent a remarkable transformation led by West 8 between 1993 and 2000. This ambitious project amalgamated the two docks into a single residential district featuring approximately 2500 predominantly low-rise dwellings, with a high population density of 100 units per hectare. The district's landscape is dominated by extensive three-story terraced homes that are interconnected, interrupted only by three striking apartment blocks, often described as "meteorites in a sea of houses." Despite the relatively narrow streets, the innovative and diverse floor plans were designed to maximize natural light, ventilation, and scenic views. Achieving this involved incorporating ground floors with a height of 3.5 meters and "voids" that occupied up to half the volume of each house, creating various configurations of patios and rooftop gardens. This approach has shaped a distinctive and vibrant residential environment in the heart of Amsterdam.

The former orphanage on IJsbaanpad in South Amsterdam, designed by Aldo van Eyck and built from 1959 to 1960, stands as a pioneering example of architectural structuralism. This remarkable building comprises 328 small units, four single-story large units, four multi-story large units, and an entrance volume, all arranged around multiple courtyards and patios. The small modules, measuring 3.36 x 3.36 meters, feature distinctive rounded columns at the corners and curved roofs, with architraves bridging the gaps between columns. The façade options include either glass walls or solid brown brick walls, while the domed roof elements are constructed from precast concrete. This iconic structure is a testament to Aldo van Eyck's innovative approach and his lasting influence on architectural design.

The striking grandstand known as "The Couch," designed by the renowned architectural firm MVRDV, stands as a prominent feature of the Tennisclub IJburg. Ingeniously integrated into the clubhouse's roof, it serves as a gathering place for both athletes and spectators. Its vibrant red color is attention-grabbing, intentionally emphasizing the significance of sports and physical activity. At the top of the grandstand, visitors enjoy a dual vista, with one side overlooking the tennis court and the other offering sweeping views of the scenic IJ River.

The New House, as its name suggests, originally served a multifunctional purpose, housing apartments, shops, a post office, a public reading room, and a communal kitchen-restaurant. These apartments were intended for affluent single individuals and featured luxurious amenities such as central heating, bathrooms with hot running water, and the option to hire chambermaids. Notably, the apartments did not include their own kitchens, making it a unique example of a single-kitchen apartment building (Einküchenhaus) in the Netherlands. The communal kitchen remained operational until 1975. The corner façade is characterized by numerous rounded and curved forms, while the sides emphasize horizontal elements. Inside, the standout feature is the staircase hall leading to the apartments, adorned with exquisite stained-glass windows, elegant ironwork, and marble finishes, adding to the building's overall charm and historical significance.

Comprising multiple volumes, this building served as housing primarily for unmarried young women. Distinctive elements include the staircase, a turret, and notable stained-glass windows, with one particularly vibrant in color. The building also originally included its own chapel, adding to its historical significance and architectural character.

The first luxury apartment building in Amsterdam, this structure encompasses expansive apartments, offices, a studio, a garage, and even a tennis court. Notable features include bay windows flanking the façade, while the entrance, positioned centrally, is slightly set back and showcases a splendid Amsterdam School-style door with the building's name rendered in cast-iron letters above it. Inside, the central hall captivates with a stunning floor adorned in black-and-white patterns of concave-convex tiles, complemented by wooden panel-covered walls and a marble staircase. Original details are also found within the apartments, such as parquet floors featuring square patterns, enhancing the overall charm of the building.

Originally designated for an academic hospital in Hendrik Berlage's initial plan for Amsterdam South, this area became the site for a housing complex constructed for the Dageraad workers' cooperative, now considered a prime example of Amsterdam School architecture. The complex consists of two large symmetrical blocks on either side of Pieter Lodewijk Takstraat, featuring seven wings with horizontal facades and vertical accents at the junctions. Architects Michel de Klerk and Piet Kramer are credited with designing this renowned complex, with De Klerk responsible for the street walls and squares, while Kramer is known for the distinctive towers at the street corners.

This housing complex, designed by Michel de Klerk, is often regarded as his masterpiece and is widely recognized as a pivotal representation of the Amsterdam School architectural style. It takes the form of a large apartment block often informally referred to as "The Ship" due to its ship-like appearance. The building boasts four intricately adorned facades, each showcasing a diverse array of materials, shapes, textures, and colors, with each facade having its distinct character. For example, the extended Oostzaanstraat facade features varying unit heights, a combination of red, brown, and grey bricks, and an abundance of protrusions and sharp angles.

Currently known as the Zonnehuis, this edifice originally functioned as the communal hub for residents of the Oostzaan Garden City. It is widely attributed to Johannes Mulder, a prominent architect responsible for many structures in Amsterdam North during the 1920s and 1930s. However, some sources also credit Jakoba Helena Mulder as its architect. The building comprises a central wing with a high gabled roof, flanked by lower wings. The primary wing stands out with a vertical emphasis, achieved through distinctive brick patterns, pilasters positioned between the central windows, and the inclusion of "ladder windows." The interplay of brown brick and yellow window frames adds to the building's visual charm, creating an attractive contrast.

The Jerusalem Church, originally affiliated with the Dutch Reformed Church and now part of the Protestant Church in the Netherlands, served as the central place of worship for Amsterdam West. This commanding red-brick structure, characterized by its vertical emphasis within rectangular volumes, stands out with its unique north-south orientation. Inside, the church features a cruciform layout adorned by the architect, highlighting remarkable stained-glass windows depicting themes like the seven days of Creation and the gates of Jerusalem. The interior is further enriched by ornate Amsterdam School-style chandeliers, and the church boasts a valuable Furtwängler & Hammer organ. Completing the architectural ensemble, a row of residential buildings is directly attached to the church at its rear.