In 2oo9, Rotterdam was the first European youth Capital. One of the main focuses was talent development. By request of jongRRKC, the young Rotterdam Board of Art and Culture, the spatial inventory of the existing possibilities for youngsters in Rotterdam to develop their cultural talent was made.
The different stages of the chain of talent development were drawn. First the daily urban systems of youngsters were mapped. At these places the youngster can come in contact with cultural programs. Once the youngster found his cultural interest, the spreading of amateur training and podia and the professional education and podia are inventoried and mapped.Within this research there was a case study that focussed on dance.
2oo9, Rotterdam, The Netherlands
The international film festival Rotterdam is one of the international known festivals of Rotterdam. During the ten day festival, the central city changes of atmosphere.
The urban developments of the south bank of the Meuse, with the replacement of a movie theatre from the central city to this area can give a new dynamic between the co-relation between the festival and the city.
In a movie, the watcher stands still and the scenery changes, inbetween the story evolves. In a city, the scenery stands still, the watcher moves and inbetween the story where he/she is part of evolves.
In this project the urban qualities of the different festival areas are empowered partly by the temporary interventions in the public space. Along the routes between these areas also more long-term interventions are proposed to support the filmic character of Rotterdam.
This urban design project is part of the case studies that substantiate Festivalcity_Rotterdam, a strategy for the symbiotic collaboration of festivals and urban development, creating a strong identity for both.
2oo8, Rotterdam, The Netherlands
The paper starts from 2 observations:
- Technology is developing at a speed limit and some of these implications of technology in products have mayor influence on the urban tissue. What is new today is old tomorrow, so how to create a long-term perspective of the design?
- Due to the end of the welfare state the government is redrawing. This creates a shift in the commissioning of the building projects from the public to the private sector. However, the private sector has different interests than the public sector. Next to the shift in commissioning there is a shift from supplier market to a demand market, giving more power to the future resident of the house. Where there used to be one strong commissioner, the public sector, there is now an abundance of parties, each with different interests. How will this influence the role of the urban designer in the design process?
At the moment the major part of the redevelopment projects in the Netherlands use the tubula rasa approach. First there are no more investments (public space and buildings) in the area. Because of this, people move out and the area gets a bad reputation, which finally results in the demolishing of the buildings.
To attract new buyers, a lot of money is invested in promotion, activities, ... with the goal to sell the houses and to start the rebuilding.
Within this tubula rasa approach there is no possibility to adjust to the external influences during the process, like technology or economy. Neither is the area inviting during the process, in order to more naturally attract future residents.
In the paper an alternative approach is given. By a strategic demolishing and rebuilding of the area in different parts and by the use of specific temporary functions, fitting for the new identity of the area, a more sustainable process is the result. By demolishing and rebuilding in parts, the adjustments, due to external influences, can be easier implemented. By use of specific temporary functions, the area stays more lively and therefor more inviting.
The urban plan should no longer focus on the final destination but on the steps needed to get there. The urban designer, as continuity in the process from drawing to rebuilding, takes care of the process and adjusts when necessary. By this the urban designer gets a central role in the process and the coalition of the different parties.
He/she does not focus as much on the final destination but on the steps how to get to that destination.
'For me the work starts with an image, not an idea.’ Jorge Macchi
‘Music Stands Still’ is a major exhibition at S.M.A.K. showing work by the Argentine artist Jorge Macchi.
‘He achieves maximum perception using a minimum of form: the viewer should not try to interpret the work, but simply to experience looking at it.’
In his work Tired City, Jorge Macchi moderates the multilayered citymap of Mexico and with that enhances the experience of the city. In difference to the common known analytic mono layered urban design drawings, Jorge Macchi cuts the unwanted layers out of the map. The result is a paper structure that, suffering by the absent parts, becomes a three dimensional object.
How still, slow and silent is the city? In the talkshow Multitasken, David Dooghe was interviewed on his experiences as curator of Soundpiece.
“Still, slow and silence is in contradiction with the ‘city’. Cities have always been dynamic places full of movement and encounters resulting in sound. The sound of the city, however, has changed over the decades. Sounds used to be recognisable and traceable. Now new technology and machines create a constant surrounding noise, which can’t really be determined or localised. These sounds alienated us from our environment. Maybe the frequent use of mp3 players and Ipods by persons through the city could partly be explained in a way that, by masking the unknown sound of the city by recognisable sounds, we feel more at ease in the city. Because of this soundcocoon, however, we do not fully experience the city.
The effect Soundpiece has on people is therefore interesting. The size of the installation makes that, walking above Soundpiece, people are at one point totally surrounded by the sound of Soundpiece and the sound of the city fades away in the background. When they recognise the sound, people stop and look around hoping to find the source of the sound. It is a lucky coincidence that the sound of the installation can’t be localized immediately. Therefore because of Soundpiece people experience the Schouwburgplein more fully."
Multitasken is a talkshow with the focus on pop music, organised by Makers Collective Sandersgeluk and hosted by Vincent Cardinaal. Other participants on the talkshow: Lucky Fonz III (singersongwriter), Cilia Erens (soundartist), Ester Naomi Perquin (City Poet Rotterdam), Ronald Ligtenberg (Sencity), Falk Hübner (composer, researcher)
The stencil graffiti is perfectly positioned in its surrounding:
- Venus is in the middle of the canvas and the stencel graffiti is place perfectly in the middle of the concrete column, at eyesight when you walk by.
- Notice that the stencil graffiti is mirrored for a specific reason. Moustly, there is wind blowing down the stairs (mainly diagonal lines) and the tunnel (mainly vertical lines) is ready to embrace her.
Train station, Aalter, Belgium 2o11, artist: unkown