Jan Wils (Alkmaar, 22 February 1891 - Voorburg, February 11, 1972) was a Dutch architect, known for his short-lived membership of the style and as a designer of theOlympic Stadium in Amsterdam. For this design, he won at the art competitions gold medal at the Olympic Games in Amsterdam. He was a great admirer of the American architect Frank Lloyd Wright and the modern American life, which resulted in a number of apartment complexes, including housing complex Daal and Mountain, which nowadays be referred to with the term new Hague School. He was also very active in civil society and he wrote for several newspapers and architecture magazines.
- 2 Overview of the most important publications and designs of will
- 3 Exhibitions
He was the eldest son of contractor Evert Waller and his wife Jannetje Bai. From 1903 to 1907 he attended the industry course at the burgeravondschool in Alkmaar. One of his first architectural studies is an Art Nouveau façade of the pharmacy of l. Porter in Alkmaar from 1908.  In 1910 he obtained his diploma in HBS-Alkmaar. After this he made several study tours, mainly to Germany; between 1910 and 1913, he was responsible for small jobs in the company of his father. In 1912 he enlisted as a volunteer at gemeentewerken Alkmaar and studied civil engineering in Delft. Kennemergarage, Alkmaar.1912.
In June 1912 , he was runner-up in a competition for a "rural property", which made out the Dutch Association of Baksteenfabriekanten on the occasion of the exhibition of ' brick ' (see Competition designs).  also In 1912 came his first major work, the Kennemergarage in Alkmaar. In addition he designed in this period also workers homes and summer cottages in Alkmaar and Bergen. In 1913 , he moved to the Hague, where he worked as a draftsman for the architectural firm of Johan Mutters. In his spare time, he took part in the competition for a water Office of Architects Association Architectura et Amicitia. It earned him only a second prize on, but his work came under eyes of the jurors kromhout Berlage, and Van der Pek.
In 1914 married Wallace with pharmacists Assistant Gepke van der Veen from Winschoten and settled to the Valencia Street in the Hague. He hit work for Berlage and under the spell of his faith in a better (Socialist) society. Walker, however, went further than Berlage and explained themselves later supporter of (mentally) communism. He also came in contact with through Berlage the work of Frank Lloyd Wright. Walker became a convinced supporter and propagandist of this American architect, not only because of the ' spatial quality ' of its work, but also because of its aversion to individuality and the fact that he raised the man and not the architect. 
From 1915 to 1917 it served Waller various competition designs in, most of them in the style of the Amsterdam School. Apply the latest draft in this series, a pavilion in the city park in Groningen from 1917, is entirely in the style of Frank Lloyd Wright.  of all 81 entries this design was undoubtedly the most progressive. However, the verdict of the jury was: ' as well as from an aesthetic point of view from a constructive there is something bedenkelijks in the seemingly floating gallery. The plan is in concept though Interestingly, but would add, for a mountain landscape better than for the flat Groninger park '.  In 1916, Walker Secretary of Architectura et Amicitia, where he on 24 January of that year a successful reading held over simplified and geometric architecture. These ideas he accomplished in a farmhouse in Winschoten (1916-1917) and in the N.H. Church in kinderdijk (1916-1920), an award-winning answer to a contest. 
Hotel The Duplicate Key, Woerden.1918-1919.
Double finca, Alkmaar. 1918-1919.
Walker spent also attention early in his career to designing Interior and furniture. In 1916, he was given a ' honourable mention ' in a competition for workers ' furniture ' and since 1917 he designed for the Alkmaar furniture factory Oak and lime. As an interior designer tried to rid the House of the knick-knacks Something from the 19th century. 
In 1916 he met artist Theo van Doesburg either in the Haagsche kunstkring, either in the Leidsche Art club The Sphinx and their ideas about individuality and modern architecture came such match, that Will him the same year still involved at by him in 1916 designed the decoration of the House the long in Alkmaar. Would Walker and Van Doesburg still more frequently work together. So Van Doesburg in 1917 designed stained glass Windows and color solutions for a school and education Home in Sint anthoniepolder and for the april 1917 designed villa in The Karperton Berger more. Something won In 1919 Van Doesburg a second prize for their design of a monument at the station square in Leeuwarden in response to an architecture competition. Walker designed the Interior of the square and Van Doesburg the monument. 
Van Doesburg moved into him at the end of 1917 also at the newly established The Stylemagazine. Walker wrote two articles for this journal (see Publications) and he endorsed at the end of 1918, in addition to Theo van Doesburg, Robert van 't Hoff, Vilmos Huszár, Antony Kok, Piet Mondrian and Georges Vantongerloo, the first manifesto,Manifesto I, of the eponymous group.
In 1918 he designed the duplicate key Hotel in the Centre of Woerden, that was considered a key work from the early days of the style. When fellow-the style-members j.j.p. Oud and Robert van 't Hoff then applied on many points in the symmetry, tried to avoid duplicate key this Will emphatically. He went in it including the intricate Rod distribution of Windows by Van Doesburg in different colours let dissolve. However, the Hotel had some faint fremdkörper, such as a sloping roof. This solved in the in november of that year for w. Klaas designed double mansion in Alkmaar. He could become quite fun and animated the facade by building volumes and in jump, allowing a high degree of plasticity was created. Color traces are found In the House, which probably by Huszár are designed.
Long did not, however, membership of the Wil's Style, because he got in the event of a disagreement between the 1919 Van Doesburg on the financial rating for his ' color ' of the duplicate key solutions and the fact that Wallace had written for the magazine Twists and was editor of the Co Brandes founded in 1918 by living artmagazine, which Van Doesburg saw as counterparts of his own magazine.  Nevertheless helped Walker in July 1920 at the art circle in the Hague held exhibition ' La Section d'Or ', under which Van Doesburg a lecture held and he supported the Style was in 1925 when the latter refused to take part in the Exposition des Arts Décoratifs in Paris. Walker, however, won a gold medal at the exhibition.
As mental communist had the fight against the Netherlands housing shortage, which in the years after the first world war, plagued his attention. In december 1918 designed Waller a complex of 18 ' workers ' homes and one store House for the Jerome Association for public housing. Earlier that year he designed for the Secretary of this Association, F.A. Madhuri, a small office to his house on the Oostdam in Woerden. Walker was interested in the improvement of the volkswoningbouw and were searching for a new architecture for new living forms.
In the spring of 1919 he received, on the advice of the Inspector of public health, of housing association extension-West in Gorinchem – 149 workers command properties for designs. Wallace wanted the House groups step up to a higher plan by grass and flowers. This plan failed roundly. To great disappointment of Waller downtrodden neighborhood in May 1921 the inhabitants of the completed the grass, pulled flowers from flower boxes and destroyed trees.
A very successful example of volkswoningbouw are the 28 homes that he in February 1920, when he was living in stompwijk , designed for the departmental house building inOudewater. However, the contract was only signed on 1 July 1921 . The neighbourhood, which has completed in 1922, because of its red brick village the nickname the ' red '.
But it did not remain in the design of workers homes. In 1921 he founded Housing Corporation building plan For burg on, aiming to the Laan van Nieuw Oost-Indië to build a housing complex comprising 56 homes. 
After the first world war was Waller active member of the Haagsche art circle; also as Secretary from 1919 to 1923. He kept there the lectures ' the free-standing monument in the modern cityscape ' (1918) and stroomingen in the ' contemporary architecture ' (1919). Also he invited his German colleagues Erich Mendelsohn and Fritz Schumacher to give lectures at the HKK. Furthermore, he contributed to an exhibition on architecture and housing. This led in 1920 to the edition of the book volkswoningbouw with an introduction by Berlage, drawings by Walker and a cover designed by Huszár. 
In november 1919 he was present at the ' Congress of the cities-rebuild ' in Brussels, where a large number of Dutch Architects participated, including Kramer Berlage, and Kale.  On 5 February 1920 he gave the lecture "architecture" for the members of the Rotterdam Academy. On 22 and 23 november of that year he held two readings in the famous secession Hall in Vienna: the first titled ' Modern architecture in Netherlands ' and the second ' any thoughts on the architecture of our time '. In 1923 he contributed to the on the occasion of the 25 year jubilee of Queen Wilhelmina organized exhibition ' Haagsche architecture since 1898 ', which opened 23 August of that year. Also was Wil's student ' of the motherland, Advisor to the by the fatherland issued ' Extra-weekly in order to combat property crisis ' from July 1924 and editor of the construction company. He was also Vice-President of the Vincent van Gogh-Fellowship and a member of the Dutch artist's Covenant. On June 14, 1924 , he was re-elected as member of the Board of the Royal Institute of Dutch Architects. At the end of 1924 he strained for the ' Dutch Central Union Instellectuele ', those to the ' mental upheaval, a result of the world war to an end [wanted] making '. 
Housing complex Daal and mountain, Papaverhof, the Hague.1919-1922.
Apartment block Daal and Mountain, Ivy Street 2-24, the Hague.1919-1922.
In 1919 had Walker in Voorburg artist know Piet Zwart . Black then worked two years as a draughtsman at Walker and contributed to various, important construction projects.He also designed the stationery of taste. Vilmos Huszár, members of the Style also left off, worked for some time for everyone. Between 1920 and 1921 and Wils Huszár designed so the Photo Studio of Henri Berssenbrugge in the Hague, where Will the Interior and furniture designed and provided for this color Huszár. Of all designs of will close this most closely to the principles of the style. 
Autumn 1918 made Wallace a design for a contest, which in August of that year by the neighborhood association Bezuidenhout was written out to improve the connection between the Bezuidenhoutkwartier and District VII in the Hague.  Wil's solution week in that sense of the other entries that he designed, not just another Garden City but monumental blocks placed around huge, semi-public courtyard gardens. It is unknown if Walker has also submitted this design, but not much later he applied the same idea inDaal and Mountain housing complexthat was part of the expansion plan in the Hague Laan van Meerdervoort II.  On 5 July 1919 was Taste by the cooperative housing association Daal and asked to design this complex Mountain. It came in 1921 ready and meant the breakthrough of Waller as an architect. Yet it was not all positive. H.W. Valkwrote following the end 1920 in the Royal School for Engineering and craft held in 's-Hertogenbosch ' exhibition of middle-class homes ', to know that he thought of will work more clever. 
In August 1920 designed Waller in command of the N.V. Hollandsche Doors factory c. Bruynzeel and sons the new doors factory of this company in Zaandamand the Storm corner bungalow for Director Cornelis Bruynzeel Jr., likewise in Zaandam. Bruynzeel would Taste afterwards until 1956 for extensions of these consult factory. 
Walker, along with Co Brandes counted among the new Hague School, a term in 1920 for the first time by C.J. Blaauw was used.  the influence of Wright on the new Hague School is evident, in particular as regards the maps. Decoration was not or hardly present. Beauty was obtained by grouping the harmonious construction volumes in combination with horizontal and vertical accents in the form of sills, lintels and canopies. 
Many of Wil's ideas are also reflected in the publication the House, that of 1922-1923 was issued in two parts (see Publications). These booklets were designed for people with low incomes who wanted to build their own home or remodeling. He wrote that the modern architecture a ' simplification of the public and a deepening of the spiritual life ' was all about. The House had to trigger according to Wil's a beauty sensation, but also a feeling of well-being, by facility to possess ' habitation, of practical usability. Furthermore, he advocated the flat roof, the use of reinforced concrete and maximum light. Also he called the color as an independent element ' a promising phenomenon '. 
Waller was also an admirer of the work of the Scottish furniture designer Eileen Gray. In his own words, he came into contact with her work when he visited an exhibition in Paris. In 1922 they exhibited a black-lacquered folding screen at an exhibition in Amsterdam. Gray, however, was so dissatisfied with the decor that they Will asked to change it.Later, in 1924, wrote Walker the introduction for a number of twists and turns entirely dedicated to her work.  he also wrote twice, in 1923 and 1932, positive about the work of Willem Penaat. 
In 1923 mixed Taste in the discussion around the new town hall on the Spui. Because he was afraid that such a place on a few hectares all one has ' built to monumental buildings would be, as before, at the Rotterdam Coolsingel had happened, he signed on 5 February of that year, together with among others Berlage Rahi and the Director of the Netherlands Institute for conservation, Calf, an address to the municipality requesting the new town hall building on the Alexander field . The municipality was however not agree and so Something designed in 1924-1925 on indication of Calf an alternative design for the Spui, which however was not accepted. 
Walker developed a taste for the living urban villa, a hotel or luxury apartment block, American example, ' ready furnished and destroys everything in walls where you [...] beds, tables, chairs, cabinets, ironing boards '. These ideas he accomplished in 1925 in a designed in collaboration with French Laredo apartment block to the Jozef Israëlsplein in the Hague. These were carried out for that time very luxurious homes, complete with CENTRAL HEATING, a direct dial telephone and central kitchen.  another example is the Dennehoven designed in 1937 to the Badhuisweg, likewise in the Hague. 
From 1925 to 1926 Cor van Eesteren short time worked on the desk of taste. Van Eesteren made the presentation drawings of the (unbuilt) sanitary ware-technisch bureau J.G. Crusts at the place Royale, that with its excellent balconies and glass façade was very progressive. Olympic Stadium, Amsterdam.1926-1928.Tribute by Jan Wils. 30 July 1928.Stand in the municipal sports park, Alkmaar. 1929-1930.
The command received In december 1924 Walker the buildings for the Olympic Games of 1928 in Amsterdam design. This command he had due to his good contacts with the Vice-President of the NOC, Pieter Scharroo, with whom he about this time a guide to buildings and areas for gymnastics, games and sports wrote. Also had Wallace in October 1924 for the design of a sports complex to distinguish the wassenaarseweg in the Hague and he was from 1925 at the sports involved as a teacher at the Academy of physical education in Amsterdam.  the end result, the Olympic Stadium and several other buildings, including a screen room and a building for strength sports, was generally rated very good by the architecture world. The photos were exhibited in the Stedelijk Museum Amsterdam, where he on July 30, in the presence of the NOC and various art and architecture associations got handed a certificate.  for his contribution to the Olympic Games, he was on 2 August appointed officer of the order of Orange-Nassau and later that day he won first prize in the category architecture of the Olympic kunsttournooi. 
Yet there was also criticism of the stadium. The absence of both Architectura et Amicitia as Building during Wil's ceremony were telling.  the last group was most evident in her criticism and found that Wall itself, by the concrete structure covered with bricks, to sensationalism. But not everyone thought so from the new business corner; so Ben Merkelbach found that did not have ' nothing to be ashamed of this aptitude test Nederlandsche architecture to foreigners to Tal '. 
Hereinafter referred to as contracts flowed in. So he was still during the play by the municipality of Warsaw invited to act as an advisor for the construction of the new stadium in this city and he designed in Park Leeuwenbergh a sports complex, where he is also co-owner of was.  On 6 March 1929 asked the college of B & W from his home town ofAlkmaar to design him a new municipal sports park. The college wrote, almost apologetically: ' we are aware, that the modest size of the plan legitimizes this profession is not, but we have some hope, that you would like to prove your hometown's den service will ask those of you little labor and for us will be of great significance '. The stand in this sports park, with a capacity of 1100 visitors, was a lot more modern than the Olympic Stadium and was the first column-free sport stand in Europe. Architecture critic g. westerhout described it as ' a frisch, smooth, daring thing that is perfectly himself '. 
In addition, he was asked in 1929 or 1930 a new home of the Academy of physical education in Amsterdam to design and in 1930 he designed a building for the Hygiëa club, which other than the Amsterdam turn previous building, also had to contain a swimming pool and a rowing Hall. None of these designs, however, was carried out.
In 1931 he was asked to calculate the exploitation possibilities and the street map Feijenoordstadion to design of the later in Rotterdam, but the command for the stadium itself eventually went in 1935 to Brinkman and Van der Vlugt. With Van der Vlugt had Walker otherwise good contact. With the Feijenoordstadion had a fierce competitor at the Olympic Stadium, which was started in August 1936 to expand the capacity of the Olympic Stadium through a large concrete shell, also designed by Walker, of which the construction this time though was clearly visible. The following year he designed together with the Portuguese architect Carlos Ramos a stadium with pool in Lisbon, which however was not carried out. Also a great sports and exhibition complex on the Scheldt square in Amsterdam (1937) and the "Coliseu do Oporto ' (1938-1939), a theatre hotel in Porto, were not carried out. 
Taste was missing in the style and the socialism he found perhaps in the Freemasonry: personal development on the basis of equality. On april 29, 1929 , he was apprentice,journeyman in 1931 and on 4 March 1932 in loge L'Union Frédéric master in the Hague. Until his death he remained a member of this Lodge, with the exception of the period 1955-1961, when he was a member of the Flaming Star. in addition, he founded on 21 June 1931 together with the architects A.H. Waghela h.a.j. Baanders and the Masonic Temple Association building, which had to give direction to building or renovating for masonic lodges.
Shortly before that, in 1930, the Interior of the Loge Silentium changed Taste in Delft, which was not a success; There was great Division in the lodge. After the war (in which this interior was destroyed) was rebuilt the lodge space no longer in his style. . About 1935 wrote the Order of Freemasons from among its members a contest for Emma-a ' bank ', in memory of the Queen Motherdied in 1934, which was won by Walker.This bank went lost in the Second World War , but was reconstructed in 1959 in modified form. 
In 1929 he designed in command of N.V. automobiles Citroën in Amsterdam a new garage. Walker would have had no interest, initially because he considered it for a car manufacturer below his dignity to work. Freedom, and bid him would eventually do have fees agreed. OLVEH-Office, Piet HeinpleinKortenaerkade, the Hague.1930-1932 (demolished 1969).
Signed on 20 August 1931 the contractor agreement for the construction of the Wall by him in collaboration with engineers Van der Wall and Jonkheit designed office building of the OLVEH in the Hague, that on 23 July 1932 was opened.  In the opening speech, which as well as Willem kromhoutsaid Walker was a member of Masonic lodge L'Union Frédéric, ' that there is a correlation between the stature of an architect and the general lines of the building ', hereby referring Wil's angular figure. 
In 1932 was Walker again member of the Haagsche art circle, where he was asked to chair the Department of architecture and crafts. he continued to exercise this function until december 1935, when he was succeeded by Hein van Zeggeren.  In 1933, he designed a number of furniture for the Royal family: a bank in the park of Huis ten Bosch and a writing table for Princess Juliana. Office building for the Central Association for Mutual Health Insurance Company, Van Alkemade laan 700, the Hague. 1933-1935.
In the OLVEH-Office is clearly the influence of Dudok noticeable. This influence is even more evident in the Office building of the Central Association for Mutual health insurance Business in the Hague, that he designed in 1934 and that strongly reminiscent of Calvin Dudoks school in Hilversum. Five years later, in 1939 designed Waller his last major Office, the Columbus House, on the Coolsingel in Rotterdam, that because of the outbreak of the war, however, not carried out could be. 
In 1934 wrote Walker for the book of the Hague a contribution on the State of the modern architecture in the Hague. This essay was followed by a large-scale plan for the redevelopment of the area around the Hague Central Station and a wide Highway between that area and Scheveningen. The design was set up in collaboration with Professor at the TU Delft, Herman Rosse, and had to on the one hand for a better unlocking of the centre concerned and, on the other hand, ensure the Green character of the city.Possible reason for the project were the plans that developed at that time Dudok for among other things the neighborhoods Ockenburg, mariahoeve and Herons mountains.Walker took over the area under hands that Dudok had skipped. Designed by Walker Road also had to provide better connection between his hometown, Voorburg, and Scheveningen, where he was a regular visitor of The White Society. Wils and Rosse presented their master plan in January 1935 in Pulchri Studio, but beyond a good review in the Haagsche Courant it did not come. 
In 1939 got a operating company Will instruct the grounds of the old Rotterdam Blijdorp Zoo in Rotterdam to redesigning. Made for Walker and his associate Rein Faisal use of the design that W.G. Walsh in 1931 made urban development commissioned by the Service. Walker, however, until then had little sense of urbanism. In november 1932 he said on this in a reading: ' urban design, or rather urban art, is in extreme consequence no different than architecture-tout court '. Gradually, however, he came back here the Diergaarde plan. In a lecture in March 1940 he advocated more government interference and a scientific approach to city to manage extensions. Jan Duiker. Cineac, Reguliersbreestraat, Amsterdam.1933-1934.
The command for the City Theater in Amsterdam, a few steps away from the Leidseplein, he received in november 1934 by the HagueCitygroup. He probably made use of the design that this Jan Diver made to till for the previous owners of the site, taking the longitudinal axis of the Hall, just like those of the Cineac, placed diagonally on the building line . In addition, grip Will run back on a non-design for an entertainment complex on the Amstelstraat, that he in 1931 for Jean de Villiers made, throughout the ground floor available for the required waiting area. The City Theatre is an important step in the development of the typological cinema as an independent building.The Interior was largely designed by the German architect Oscar Rosendahl. From 1935 to 1936 he designed, again in collaboration with Rosendahl, the Van Swinden Theatre in East of Amsterdam, which also contains a diagonally placed Hall. 
In 1936 was Walker invited to sit on the international jury of the architectural competition of the Olympic Games in Berlin and in July 1937, he was elected President of the Association ' art to all '. 
In the 1930s was Walker no stranger to the Hague beau monde.  Maybe he received from these circles in 1937 and 1939 the command two luxury shop houses on the High Street design. First, store House Embassy, is inspired by modern passenger ships, while the second, even more luxurious shophouse Splitter frères, influenced by Sybold van Ravesteyn, who found that within the master of the New Building, also Baroque details and round shapes had to be possible. 
In 1937 designed Waller a neighborhood of 100 homes and four shops in Emperor Charles Park in Amstelveen. Earlier, in 1926, he would have built a bridge in the same park. In this district, which was completed in 1939, reverses Walker back to the traditional Garden City: simple terraced houses with tent roofs. This district is a lot more boring than, for example, the Papaverhof. 
Like many architects of his generation wore Walker to the reconstruction of the bombed on 14 may 1940 Centre of Rotterdam. The housing shortage after this bombardment was great, so was to stop the construction of large-scale housing 1942 mainly realized. Walker contribution consisted of a block of flats at the Schiedamse Vest, to which he already worked from december 1938, and to a much larger American housing complex ' on way ' at the goudsesingel.
From 1943 , he was involved in the renovation of the Hotel Carlton on the Vijzelstraat in Amsterdam, after a burning plane had crashed on the building. He was also a member of the Commission for preparation of Reconstruction and restoration of the Hague ', composed for a development plan that the heavily battered in the war the Hague and Scheveningen. This plan was worked out by Herman Rosse Wil's neighbor and looks a lot like the plan that they presented together in January 1935. But also of this design came to nothing. Walker in the late 1950s, however, designed in collaboration with his then partner French Ottenhof a fairly ambitious development plan for Kijkduin. However, this plan was rejected by the Minister, who felt that was to remain a local seaside resort Kijkduin.
The design of a pier in Zandvoort that Taste of 1954-1955 along with Jon Walker designed is also ambitious to say the least. This pier is horseshoe shaped and includes an entertainment complex and towering hotels. The command came from a Committee of entrepreneurs, but the plans were apparently not feasible. Earlier, in 1951-1953, designed Wall for Zandvoort Hotel Ball, while elsewhere on the seafront promenade in 1965 the 70 metre high Ball Palace was completed. The last building is still image determines Zandvoort. Zandvoort with far right Palace Ball.
Earlier, in January 1949 , he traveled through New York to the Netherlands Antilles, where he in collaboration with Jacob Fresco a casino designed. But Walker was the first ten years after the war the most involved in the housing industry. He had now become an avid follower of the relatively cheap system construction. To do this, he collaborated with French Ottenhof, who from 1941 to 1951 on the desk of Waller worked and who had the necessary experience in standardization in the housing industry.Obot accompanied goudsesingel project and had an important share in house building in Vlaardingen, inter alia, the Hague, Katwijkand Vlissingen . On 19 april 1952 had Walker a discussion for the construction of an apartment building with 5,000 homes in the South African city of Johannesburg. An important client in this period was the contractor Rein Zwolsman, who like Walker was a member of The White Society. In 1956 returned Obot as companion back on the desk of taste. Second company building Citroën, stadium square, Amsterdam. 1959.
In addition to a large loss of homes, was in the war also about a quarter of the available hotel space lost. As a continuation of the living hotel, designed Waller in the 1950s a number of hotels, including the in 1953 with Marshall aid -funded Hotel De Wageningse Berg. Also figured out that functioned as a hotel, the district Will kind of external guest room, so that the flat dweller no longer have an extra guest room had to have more.  Something built from 1958 to 1960 in collaboration with his then employee M.J.B. Macmillan at the Stadium square on the site of the screen Pavilion, which was demolished after the games, a second company building for Citroën. It was built as a counterpart of the earlier Garage Citroën, with which Walker the symmetry on the west side of the stadium square in a sense restored. In 1960 left the Office and in 1963 was Ottenhof M.J.B. companion, Wil's new Macmillan to set out again, however, in 1967 . At the last major command, the nursing home Prinsenhof in Leidschendam, Everyone worked together with g. Orange.
- The Main House [2 parts], Amsterdam, Elsevier, 1922-1923.
- Buildings and land for gymnastics, games and sports [together with P.W. S], Amsterdam: Ahrend, [ca. 1925].
- ' Garden cities  ', The Opmerker, 52nd year, number 18 (May 5, 1917): pp. 137 – 139. See  and .
- ' Garden cities  ', The Opmerker, 52nd year, number 20 (19 May 1917): pp. 154-155. See .
- ' Garden cities  ', The Opmerker, 52nd year, number 21 (May 26, 1917): pp. 161 – 164. See ,  and .
- ' Garden cities  ', The Opmerker, 52nd year, number 22 (June 2, 1917): pp. 169 – 170. See  and .
- ' Garden cities  ', The Opmerker, 52nd year, number 25 (23 June 1917): pp. 193-197. See ,  and .
- ' The new architecture ', the style, first year, number 3 (January 1918): pp. 31-33. See Digital Dada Library.
- ' Care for the cityscape ', Centraalblad der construction companies for Netherlands and colonies, number 14 (1918): pp. 106-109.
- ' The machine in art ', Centraalblad der construction companies for Netherlands and colonies, number 34 (1918): pp. 265-268.
- ' Symmetry and culture ', the style, first year, number 12 (October 1918): pp. 137-140. See Digital Dada Library.
- ' The new age ', Twists, 2nd year, number 6 (June 1919): pp. 14-17. See  and .
- "The new house", in: Herman van Bergeijk (2007) Jan Wils. The style and further, Rotterdam: Uitgeverij 010, pp. 225-232.
- ' The architecture of this time ', The Miner, VII, number 2 (1933-1934): pp. 17-22.
- ' Of Housing company to Housing industry ', Polytechnic magazine, issue 20/21 (1946): pp. 19b-21b.
- ' Auto-garage in Alkmaar ', architectural weekly, 34th year, number 11 (March 14, 1914): pp. 125-127. See  and .
- ' Property Group "Daal and mountain" ' Hague ', architectural weekly, 43rd year, number 47 (november 25 1922): pp. 458-463. See ,  and .
- ' The Olympic Stadium in Amsterdam ' [together with P.W. S], the construction company, number 13 (1927): pp. 291-301.
- ' City-Theatre in Amsterdam ', architectural weekly Architectura, [57th year], number 15 (11 april 1936): pp. 165 – 173. See , , ,  and .
- ' "Embassy" Den Haag ', architectural weekly Architectura, [58th year], number 48 (27 november 1937): pp. 448-450. See  and .
- ' Apartment building in the Hague, architect Jan Wils BNA ', architectural weekly Architectura, [60th year], number 42 (October 2, 1939): pp. 400-401. See .
- ' N.V. Peltrijenhandel Splitter Frères, The Hague. Architect Jan Wils BNA ', architectural weekly Architectura, [60th year], number 42 (October 2, 1939): pp. 402-403. See .
- ' A residential building with shops on the Schiedamsche Girth ', The maastunnel, number 5 (1939): pp. 125-126.
- ' Business premises ' Citroën N.V. in Amsterdam [together with M.J.B. Macdonald], Construction, number 24 (1964): pp. 830-836.
- Rural property. 1912.2nd place. See scan TU Delft.
- Water Office. 1913.2nd place. See scan TU Delft.
- Pavilion in the city park, Groningen. 1917. no price.
- Monument, Leeuwarden (in collaboration with Theo van Doesburg). 1917-1918.2nd place.
- House The Long, Alkmaar. 1916-1917.
- Hotel café-restaurent the duplicate key, voorstraat, Woerden [gone]. 1918-1919.
- Eight workers dwellings for the Jerome Association for housing, Woerden. December 1918-1920.
- Daal and Mountain Houses complex, the Hague. 1919-1922.
- Office building and factory for N.V. Hollandsche Doors factory c. Bruynzeel and sons, Zaandam. August 1920.
- Photographic atelier Badu, the Hague (in collaboration with Vilmos Huszár). 1920-1921.
- Home for working women, the Hague (in collaboration with Vilmos Huszár and Piet Zwart). 1920-1921.
Four designs of will, from left to right:Olympic Stadium (in part), Marathon Tower,Northern Citroën building and Southern Citroën building (in part).*Dance Institute Gaillard-Jain, The Hague. 1921.
- Apartment Block, Joseph Israëlsplein, The Hague (in collaboration with French Laredo). 1925-1926.
- Town Hall, Spui, Den Haag (in collaboration with Jan calf). 1926.
- Building Crusts, Place Royale/Reguliersdwarsstraat, Amsterdam. 1926.
- Olympic Stadium, Stadium Square, Amsterdam. 1926-1928.
- Garage Citroën, Stadium Square, Amsterdam. 1929-1931.
- OLVEH-building, Piet Hein square/Kortenaerkade, the Hague. 1930-1932 (demolished 1969).
- City Theatre, Amsterdam. 1935-1936.
- Shophouse Hoogstraat, Embassy, The Hague. 1937.
- House Building, Charles park, Amstelveen. 1937-1938 and 1949.
- Apartment complex, Schiedamsevest, Rotterdam. 1938-1941.
- Apartment complex, Rotterdam World Port, Goudsesingel. 1943.
- Commercial Building Citroën, Stadium Square, Amsterdam. 1958-1960.
- Palace Hotel, Mayor Of Fenemaplein Zandvoort,. 1963-1969.