In 2oo9, a divers and motivated group of 15o Rotterdam youngsters, Rotterdamse Nieuwe, created a vision for the future development of Rotterdam. Together with different stakeholders (governmental and non-governmental), Rotterdamse Nieuwe now work on different projects to implement this vision into the development of Rotterdam.
The vision is subdivided in different themes; Vibrant City is one of these themes. The goals of Vibrant City is to create more and/or better: _cultural research and development facilities for youngsters _diverse temporary use of empty spaces _cultural activities of, for and with youngsters _inviting public space for youngsters _affordable housing in the inner city for students and young people who want to buy their first house.
As a member of the Young Economic Development Board Rotterdam David Dooghe was requested to direct Vibrant City.
The municipality of Rotterdam wants her city to be an attractive city for the inhabitants, workers, entrepreneurs, students and visitors. The Economic Development Board Rotterdam supports this ambition and started the project Economics of Beauty to support the municipality with the realisation of this ambition. David Dooghe is a member of the team Economics of Beauty.
The project Economics of Beauty starts of the hypotheses that the quality and the beauty of the inner city have an economic surplus value. The team Economics of Beauty will work an empiric and numerous support of this hypotheses and translate this to plan of action. What manifest actions and measures need to be taken en who (public & private sector, institutions,...) is leading in the different parts of this process?
Related project: P25_ the Vibrant City
2o11, Rotterdam, The Netherlands
With the bombing of its central city, Rotterdam lost the main part of its cultural facilities. After the war Rotterdam utilized temporarily cultural manifestations to celebrate the development of the city and the identity of Rotterdam.
The past decade Rotterdam acquired the title: Festivalcity of The Netherlands. This success caused a sprawl of festivals. The strong connection to the urban development and the identity of the city seems to be lost.
The strategy Festivalcity_Rotterdam sees the collaboration between the festivals and the city as the interaction between a tulip and its flower bulb.
The tulip is a metaphor for the festival that blossoms once a year and shows its beauty to all who want to see. The flower bulb is a metaphor for the supporting community that organizes the festival. The tulip cannot flourish without the bulb grounded in a fertile ground, the city.
The strategy is substantiated by case studies, which put principles on how festivals and the city can symbiotically collaborate in practice.
2oo8, Rotterdam, The Netherlands
The last decade Rotterdam has been the breeding ground for many festivals. These festivals are the celebrations of a community. The celebrations of most of these festivals take place in the city centre of Rotterdam. In the time-space capsule that festivals are, the city shows its different identities to others, citizens or foreigners.
The concept of this project perceives the city centre as a theatre. The Coolsingel and the Schiedamse dijk, with their different identities as economical, political, commercial and maritime centre become the central trillzone of Rotterdam with the public space as the main stage and the buildings as the scenery. Between this trillzone and the parking garages, public transport stops is the foyer of the theatre, the chillzone of the festivals. In this zone, shops, restaurant and cafes are supporting the experience of the whole festival.
The public space creates multi-functional (in space and time) urban locations. In daily use as well as when used for a festival, this space invites you to linger.
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 Summer Carnival is the largest festival in Rotterdam. This procession, that takes months of preparation, is taking over the central city the last weekend of July, to disappear again for a year.
This urban design project uses the preparing programme, long term and temporary, of the Summer Carnival as a catalyst for the development of a district. Looking at social, cultural and demographical data, the district of Afrikaanderwijk could be the perfect breeding ground in Rotterdam to create a cultural incubator for the community connected by the Summer Carnival.
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
Rotterdam loves to build. In the former century Rotterdam could expand and built its housing demands on the unexploited areas or former industrial areas. Since the last decade these areas are harder to find. Now Rotterdam faces the transformation of existing housing areas, the time of designing starting from a tabula rasa is over and designing becomes working on a going engine.
‘We love to build’ is a strategy on how temporary functions and manifestations can keep an urban area part of the city in the in-between-time and how the temporary and long term functions and manifestations can support the identity of the new area.
This strategy is based on a toolbox with possible temporary and long term functions, differently depending on the scale of the area, the position of the area in the urban tissue and the functions the area will accommodate.
Next to the toolbox, the whole transformation process, starting from the intention of transformation until the final new use, has been catalogued and possible manifestations have been added. The strategy is the result of a design research of different transformation areas.
This urban strategy 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
TimeLine R’dam is an overview of the economical, political, social, cultural and spatial development of Rotterdam between 19oo and 2oo6. The parallel scheme illustrates the connection between the different disciplines and clarifies the complex spatial developments of Rotterdam.
TimeLine can be read in 2 ways. There is a clear horizontal action/reaction wave. The economical, political, social and cultural evolution influences the urban thinking and the resulting spatial development of the city.
Reading the TimeLine vertical, shows the different economical, political, social and cultural time layers there have been in a specific area and how these have influenced the urban development of the specific area.
The insights originated in TimeLine have been of big influence on the further urban research, design projects and strategic thinking of David Dooghe.
2oo6, 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