Imagine a Metropolis: Rotterdam's Creative Class, 1970-2000
The cultural climate of Rotterdam changed radically between 1970 and 2000. Opinions differ as to what the most important changes were and when they occurred. If the Rotterdam of 1970 was still a city with an identity crisis, that wanted to be small rather than large and cosy rather than commercial, by 2000 Rotterdam was perceived as the most metropolitan of all Dutch cities. Artists and other cultural practitioners were the first to advance this metropolitan vision, thereby paving the way for the New Rotterdam that would begin to take concrete shape at the end of the 1980s. Imagine a Metropolis looks at this transformation, and goes on to show that this New Rotterdam is returning to its nineteenth-century identity and the developments of the inter-war years and the period of postwar reconstruction.
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010 Publishers activities Adriaan Alan Turnbull alderman Algemeen Dagblad architect architecture institute aspects Author’s interview Beerend Lenstra Bob Visser Bottom building café chapter Chiel cit.(note city council city.The city’s Coolsingel creative class cultural entrepreneurs Daan described director Dutch cities Erasmus Bridge Erasmus Universiteit festival film Filmmuseum Hard Werken high-rise hippie Hotel New York image of Rotterdam jaar Jan Riezenkamp January Joop Linthorst Jules Deelder Koolhaas Kop van Zuid kunst Langenbach Lindner Lodewijk Asscher Maas magazine metropolis modern Nederlands neon Netherlands NewWave Nieuw NRC Handelsblad Oldewarris op.cit organized Paul Martens photographs Ponton port punk and NewWave punk rock Rem Koolhaas representation Riek Bakker Rotterdam Arts Council Rotterdam City Rotterdam.The Rotterdam’s creative class Rotterdam’s image Rotterdam’s metropolitan schoonheid shot Staay stad Stadsgezicht Stelt Top left traffic Ulzen urban culture Utopia visual VPRO Werlemann Wilhelminapier world city Zijderveld
Page 25 - States, is room or men and women of every faith and every race. The advertisements which glitter in the windows or are plastered upon the hoardings suggest that all nationalities meet with an equal and a flattering acceptance. The German regrets his fatherland the less when he...
Page 130 - Rock and roll was perhaps the first form of popular culture to celebrate without reservation characteristics of city life that had been among the most criticized. In rock and roll, the strident, repetitive sounds of city life were, in effect, reproduced as melody and rhythm.
Page 129 - Nederland: fondscatalogus 1983-2003 / 20 years 010: 1983-2003: between elite and mass: 010 and the rise of the architecture industry in the Netherlands...
Page 42 - Berg, L. van den, J. van der Borg and J. van der Meer (1995), Urban Tourism; Performance and strategies in eight European cities, Ashgate, Aldershot.
Page 35 - If, as Robert Park suggested, the city is 'a state of mind,' then city people must respond psychologically to their urban environment; they must to some extent, attempt to grasp the meaning of its complexity imaginatively and symbolically as well as literally".
Page 173 - Dutch architecture embarked on a new lease of life with the city of Rotterdam in a vanguard position. With this renaissance came the persistent idea that Rotterdam was the cradle of architectural modernism, both before the war and during the post-war reconstruction. Hadn't Rotterdam always been a bastion of modernity?
Page 109 - AIR's message did meet with a response, particularly in the world of planning and design where the call to address cities as a whole, the Randstad, the entire Netherlands, ushered in not only another practice of design and planning but many new types of publication.
Page 43 - Press, p. 16:'The current revival of interest in Panofsky is surely a symptom of the pictorial turn. Panofsky's magisterial range, his ability to move with authority from ancient to modern art, to borrow provocative and telling insights from philosophy, optics, theology, psychology and philology, make him an inevitable model and starting point for any genera I account of what is now called "visual culture".
Page 173 - Publishers is one of the channels along which this definition (or redefinition) of Rotterdam as locus of modernity was elevated to a universal project.
Page 199 - ... that turns into seeing, that perseveres — always and always — in a vision that does not end: a dead gaze, a gaze that has become the ghost of an eternal vision. It can be said that a person who is fascinated does not perceive any real object, any real form, because what he sees does not belong to the world of reality, but to the indeterminate realm of fascination. A realm that is so to speak absolute. Distance is not excluded from it, but it is excessive, being the unlimited depth that lies...