beyond your map

The Amsterdam Olympic Stadium, constructed for the 1928 Summer Olympics, is primarily composed of concrete and adorned with brick cladding, along with occasional natural stone accents. Its architectural style combines elements of the Amsterdam School and Frank Lloyd Wright's horizontal design principles. Amsterdam School features are evident in the masonry strips, entrance lamps, and flagpole holders. Meanwhile, the influence of Frank Lloyd Wright is apparent in the stadium's overall emphasis on horizontal lines and the planes that seem to extend outward from the masonry at the main entrance. Additionally, at the main entrance, two natural stone reliefs designed by Jan Altdorf can be found, adding to the stadium's artistic appeal.

The Scheepvaarthuis, known as the Shipping House, is regarded as a prime example of the architectural style known as the "Amsterdamse School." Constructed from 1912 to 1916 under the direction of architect Van der Mey, it was intended to serve as the central office for Amsterdam's leading shipping companies. The interior is exceptionally stunning, adorned with artworks by notable artists like Krop, Kramer, and De Klerk, among others. In 1926-1928, the office spaces within the building underwent an extension, displaying a more subdued aesthetic compared to the original style. Although there were plans for additional expansions during the 1930s, these were never carried out. Today, the building is home to the Grand Hotel Amrâth.

Open-air schools, aiding physically weak children with sunlight and fresh air, have been built since the early 20th century. In 1927, architects Duiker and Bijvoet designed an open-air school in Amsterdam-South. The structure, situated within a perimeter block, features a square, four-level classroom block divided into four quadrants around a central staircase. Noteworthy are the strategically placed concrete columns, the fully glazed facades with steel-framed windows, and the innovative heating system with ceiling-installed pipes. Duiker's attention to detail is evident in the coat pegs attached to the central heating pipes in the hall.

In the late 60s, the Dutch Government funded experimental housing projects that birthed iconic structures like the Cube House, Kasbah Complex, and the Bolwoningen in Den Bosch. The Bolwoningen, resembling giant golf balls, stand out among traditional brick houses. While initially embraced for their uniqueness, they now starkly contrast the town's architectural landscape. Initially an experimental endeavor, the Bolwoningen community didn't widely spread but retained content residents. Its unconventional design posed challenges in construction, interior design, and maintenance. However, despite these hurdles, architect Dries Kreijkamp persisted in developing the spherical design due to his deep admiration for it.

Les Escales Park, designed by Josep M. Sert and Jackson & Associates in 1967, was built partly in 1973 on Güell land known as 'Can Duran de les Escales.' The name 'Les Escales' refers to the terraced construction due to the sloping terrain for dryland farming. It exemplifies the high-level architecture in Pedralbes neighborhood, featuring single-family dwellings and apartment blocks under different partial plans by owners' associations formed in the late 1960s.

The Kingo and Fredensborg houses, built in 1959 and 1963, showcase organic growth through repeated residential design. They combine private courtyards with communal spaces, connecting residents to nature within an urban context. The houses, designed with courtyards and adaptable geometric structures, create a sense of community and privacy. Fredensborg, intended for retired civil workers, integrates into the landscape, utilizing a zigzag layout that blurs urban and rural boundaries. The design prioritizes privacy, views, and sunlight, allowing for an open yet enclosed feeling. The distinct chimneys and drainage-tiled walls contribute to a unified appearance.

The studio-house of the painter Tàpies is a narrow dwelling situated between two other buildings in the San Gervasio neighborhood. The design follows the typical L-shaped section for such structures, with the ground floor housing the entrance, garage, and caretaker's residence, and the back featuring a double-height painting studio. The upper floors serve as the main living area, with an intermediate floor separating them from the upper level housing the library and office. The white-painted metal structure and exposed brick walls add to the building's unique appearance. The street-facing facade includes white wooden shutters and fiber cement panels, while the library is set back to preserve the neighborhood's scale and character.

This building in Barceloneta's fisherman's neighborhood has an innovative layout with two apartments per landing. The design creatively incorporates twisted load-bearing walls to optimize space and express an artistic vision. The facade combines glazed brick load-bearing walls and wooden adjustable louvered screens, drawing inspiration from local elements. Coderch collaborated with Llambí furniture company for these unique screens. The design showcases a departure from traditional rationalism, embracing a new and distinctive modern architectural language.

Coderch's concept of urban housing is exemplified in the design of an open-plan residential complex. The complex consists of three-storey blocks arranged symmetrically in two axes. The ground floors cleverly accommodate the elevation difference between Raset and Freixa Streets. The semi-public area between the blocks seamlessly blends into the overall architectural landscape. The houses feature a stepped floor plan, with a structure of straight metal supports and reticular slabs.

The building's design prioritizes clarity and efficiency, taking into account the project's timeline and construction constraints. It distinguishes between its educational and administrative functions by dividing the space into two distinct sections. The classroom section, comprising two floors, is positioned alongside Diagonal Avenue and features three courtyards at its center. In contrast, the administrative and study section consists of five floors and runs perpendicular to the classroom section. Both sections are connected by a shared circulation space on the ground floor, where only classrooms are located at the back. The entire building's structure is constructed using laminated steel, following a regular module of 6.20 x 3.84 meters. For larger rooms, this module is doubled to accommodate the required space. These construction choices demonstrate an economical approach that builds upon the principles established by the first generation of modern architects in Catalonia.