Photographer Hans Eijkelboom (1949) is fascinated with the clash between the high-flown visions of modernism and the sometimes dismaying realities of the Bijlmer district.

Good Intentions and Modern Housing: Photo Notes on an Amsterdam Suburb reports on Eijkelboom’s journey of discovery through the Bijlmer with his camera as his ally. Eijkelboom sees the Bijlmer as ‘the most international place in Amsterdam’. In an introductory essay, the art critic Hans den Hartog Jager says, The struggle between good intentions and stubborn realities is characteristic of the Netherlands, and perhaps of the entire Western world. This is not the Bijlmer; this is all of us.'

Photographer Hans Eijkelboom (1949) is fascinated with the clash between the high-flown visions of modernism and the sometimes dismaying realities of the Bijlmer district.

Good Intentions and Modern Housing: Photo Notes on an Amsterdam Suburb reports on Eijkelboom’s journey of discovery through the Bijlmer with his camera as his ally. Eijkelboom sees the Bijlmer as ‘the most international place in Amsterdam’. In an introductory essay, the art critic Hans den Hartog Jager says, The struggle between good intentions and stubborn realities is characteristic of the Netherlands, and perhaps of the entire Western world. This is not the Bijlmer; this is all of us.'