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The Metapolis dictionary of advanced architecture : city, technology and society in the information age
- 2003. - 1
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Samlingsverk (redaktörskap) (refereegranskat)abstract
- In the format of a selective dictionary of cross-referenced terms, Metapolis identifies a new architectural will within the contemporary social and cultural panorama. It contributes to a global vision of the emerging new architectural action that participates in "advanced culture" and visual art disciplines and technology. The book speaks of an architecture inscribed in the information society and influenced by the new technologies, the new economy, environmental concerns and individual interests. The diversity of authors and works is invaluable for the generational intersections in theory discourse. Featuring Manuel Gausa, Vicente Guallart, Roemer van Toorn, Willy Müller, Federico Soriano, José Morales, Fernando Porras, Iñaki Ábalos y Juan Herreros, José Alfonso Ballesteros, Xavier Costa, Enric Ruiz-Geli, Alejandro Zaera Polo.
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| 2. |
- van Toorn, Roemer, 1960-, et al.
(creator_code:cre_t, förord)
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109 provisional attempts to address six simple and hard questions about what architects do today and where their profession might go tomorrow
- 2003
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Samlingsverk (redaktörskap) (refereegranskat)abstract
- On the occasion of the farewell to Wiel Arets and the welcoming of Alejandro Zaera-Polo as dean, the Berlage Institute organized an international symposium and this special edition of hunch 6/7 on the question: "What will the architect enact tomorrow?" More than 100 international architects, theoreticians and critics were challenged to address this question.This special edition of Hunch includes, besides an interview by Roemer van Toorn with Wiel Arets and Akandro Zaero Polo on education ("Equipping the Architect for Today's society"), the voices of: Stan Allen, Tadao Ando, Wiel Arets, Geert Bekeart, Aaron Betsky, Stefano Boeri, Mario Botta, Ole Bouman, Jean-Louis Cohen, Jo Coenen, Lieven De Cauter, Rients Dijkstra, Peter Eisenman, Kristin Feireiss, Kenneth Frampton, Diane Ghirardo, Zaha Hadid, Michael Hays, Herman Hertzberger, Jacques Herzog, Hilde Heynen, Toyo Ito, Charles Jencks, Rob Krier, Sylvia Lavin, Lars Lerup, Winy Maas, Detlef Mertins, Hans Ulrich-Obrist, Saskia Sassen, Kazuyo Sejima, Dietmar Steiner, Harm Tilman, Hans van Dijk, Thomas van Leeuwen, Anthony Vidler, Sarah Whiting, Alejandro Zaero-Polo, and Elia Zenghelis.
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| 3. |
- Van Toorn, Roemer, 1960-
(författare)
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Against the hijacking of the multitude
- 2002
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Ingår i: Transurbanism. - Rotterdam : V2_Publishing; NAi Publishers. - 9056622366 ; , s. 122-136
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Bokkapitel (refereegranskat)abstract
- TransUrbanism is a collection of essays and interviews about urbanism in a time of transformation. Transurbanism is a theory of the transition of cities from the way they are now towards a design process in which the highly informed character of every built environment is used as a design resource by that environment itself. TransUrbanism proposes a design strategy that would allow cities to organize themselves as complex systems in which small local structures incorporate global flows.The four urban functions of working, living, leisure and transport which Le Corbusier once so elegantly deployed in his model of the city can no longer be separated from each other either spatially or socially. Living and transport have become practically the same. Insofar as a house still has any function beyond providing a place to sleep, this derives from the theme-park character of the surrounding neighborhood. The city has ceased to be a clearly localizable spatial unit and has transformed into what might be termed an "urban field," a collection of activities instead of a material structure. Cities today are in a state of continuous decomposition, but are also continually reorganizing and rearranging themselves, expanding and shrinking.
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| 4. |
- Van Toorn, Roemer, 1960-
(författare)
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Architecture as Propaganda
- 2002
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Ingår i: Architecture in the Netherlands 2001/02. - Rotterdam : NAi Publishers. - 9789056622534 - 9056622536
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Bokkapitel (refereegranskat)abstract
- Voordat ik – namens de redactieleden Anne Hoogewoning, Piet Vollaard, en Arthur Wortmann – uiteenzet wat ons als redactie met name is opgevallen tijdens onze tocht langs de recente bouwproductie in Nederland - wil ik allereerst namens de redactie de volgende mensen zeer hartelijk bedanken om zo’n complex boek als het jaarboek ook dit jaar weer met veel enthousiasme en engagement te realiseren: Simon Franke en Barbera van Kooij van Nai uitgevers, Christel Leenen die de nieuws sectie schreef, Robyn de Jong voor de engelse vertalingen, Els Brinkman om van de teksten goed Nederlands te maken, Ingrid Oosterheerd voor het verzamelen van de tekeningen en de beelden van de architecten, Jeroen Musch voor de visuele vertaling als fotograaf van het thema Propaganda, Schie architecten voor de diagrammen over vijftien jaar jaarboekcultuur, Peter Kingma van Joseph Plateau vormgevers voor de mooie vormgeving van dit uiterst complexe boek, en natuurlijk alle architecten en fotografen die hun materiaal hebben ingestuurd en die in dit jaarboek zijn opgenomen. En de Balie voor de discussie met onze gasten: Janny Rodermond, Kees Christiaanse, Erick van Egeraat en Christian Rapp.De architectuur die in het Architectuur Jaarboek van Nederland wordt opgenomen – nu al meer dan 15 jaar - gaat niet zozeer over het bouwen; hoe je een gebouw in elkaar zet, maar vooral over wat voor culturele agenda’s verschillende gebouwen in het gebruik en met hun materiële en symbolische (esthetische) waarde realiseren. Of anders gezegd hoe komen verschillende culturele waarden van een bepaalde tijd tot leven in de ruimte door de inzet van de architectuur.Wat ons als redactie de afgelopen jaren is opgevallen aan architectuurland Nederland is dat architectuur een onmisbaar onderdeel geworden is van de cultuurindustrie. Voor het eerst in de geschiedenis zien we dat architectuur mediaster is geworden. Eerst werd architectuur gebruikt om een hernieuwde interesse te creëren voor publieke instellingen zoals de Getty in Bilbao, de Tate in London, en nu bijvoorbeeld het Van Abbe in Eindhoven. In dit proces heeft de architectuur sterallure gekregen, de resultaten daarvan zullen we vanavond bespreken. En als mediaster is de architectuur nu zelfs gevraagd de problemen van de aanval van 11de september op het WTC op te lossen (vooral met zijn esthetiek). Architectuur, na een lange periode, betreedt opnieuw het publieke bewustzijn- architectuur als advertentie voor een merk of gemeente, architectuur als lobbyist, architectuur als getuige, als monument, als gids voor de toekomst en sponsor van de publieke zaak; in al deze rollen wordt de architectuur meer en meer gezien als de “oplossing” voor bijna alle problemen.In het verleden ontsnapte de architectuur aan de gespecialiseerde blik van de professionele architect. De architect was niet in de eerste plaats geïnteresseerd in de nuances van de esthetiek of van de technologie, maar in vragen zoals “Wat is het correcte symbool voor dit moment?” ofwel “Wat is het meest bruikbaar voor ons in onze tijd?”. Hoe Modern moest het neoclassicisme als symbool van de franse revolutie in 1789; hoe gotisch moet een gebouw worden om spiritueel te zijn, het postmodernisme keerde terug naar humanistische (populistische) waarden in 1970 en 1980 na het functionalisme en nihilisme van de Modernen beweging.
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| 5. |
- Van Toorn, Roemer, 1960-
(författare)
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Autonomous Architecture Against Splintering Urbanism : NFI from Claus and Kaan & Parkrand De Nijl Architecten
- 2004
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Ingår i: Architecture in the Netherlands 2003/04. - Rotterdam : NAi Publishers. - 9789056623708 - 9056622919
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Bokkapitel (refereegranskat)abstract
- A lot of Dutch architecture, such as that of OMA, MVRDV, NOX and UN Studio, is heavily influenced by carefully charted data flows. The architects are not so much interested in form as in organization of content. Not standstill – such as making a point – but permanent movement that can develop along a line, is what it is all about. In opposition to this we find architects who believe in the autonomous power of form which can persist independently of the time-dependent programme. According to the proponents of autonomous architecture, the enigmatic form that arises from the organization of content is incapable of resisting the homogenizing ravages of privatization, lifestyle architecture, the proliferation of brain parks, the overdose of iconography, in short the ‘Ikea revolution’ currently taking place in the Dutch landscape. Strong form, such as developed by De Nijl and Claus en Kaan, demonstrates how powerful forms are resisting splintering urbanism.1Instead of inventing yet another new fashion in the battle for consumer’s attention, De Nijl investigates how architecture can embody and represent the collective memory of the city. It is not the changing life of individual use or of the programme, but how the permanent elements of architectural language can render the city legible that is of overriding importance for De Nijl. How does De Nijl arrive at a durable urban framework in the face of a constantly changing programme? In the Parkrand housing development in Osdorp, the freely divisible floor plans made possible by loadbearing facades ensure plenty of scope for programmatic mutations. But the design approach that really counts for De Nijl is that of the scale, type and the rhythm of volumes and spaces. ‘Typological analysis,’ says Henk Engel of De Nijl, ‘uses the fact that the recognisability and communicative powers of forms are based on the (historical) experiences shared within a culture, creating a common background.’2 The existing city furnishes the designer with material from which a certain typological composition can be developed. De Nijl honours the ideal of the open city embodied in the Van Eesteren’s General Extension Plan for Amsterdam (AUP, 1935) by adjusting the dimensions, scale and detailing of its six tower blocks to fit in with the Zuidwest Kwadrant redevelopment area in Osdorp. Unlike the windows in a residential area of freestanding houses, the prefabricated window panels in De Nijl’s housing scheme have no autonomous meaning. Because of the use of a single prefab element for the whole project, the windows do not stand out from the surface of the urban volume but are a seamless part of it. This application of the prefabricated panel emphasizes the fact that architecture at the level of the detail can be part of the whole, that it is in the service of the collective expression that determines the city in Osdorp. This treatment of the volume not only ensures that the project conforms to the ideal image of post-war housing, but also reveals in all honesty the true face of economical industrialized housing construction. To satisfy the demand for a distinction between private and public spaces, De Nijl introduces a typology that does not appear in the modern city à la Van Eesteren. Rather than planting the towers in an anonymous sea of green, they are arranged in pairs on a U-shaped base that opens towards the park and closes towards the street behind. This courtyard-like typology introduces a new idea of community into the AUP. The diffuse character of the open rows of housing in this urban area is enhanced by combining an open layout with the ground-level occupation of the closed city. Instead of caving in to the forces that fragment the city, De Nijl raises the idea of the modern city in the AUP to a higher plane.
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| 6. |
- van Toorn, Roemer, 1960-
(författare)
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Beyond wonderland
- 2003
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Ingår i: 109 provisional attempts to address six simple and hard questions about what architects do today and where their profession might go tomorrow. - Amsterdam : Episode Publishers. - 9080536261 ; , s. 10-11
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Bokkapitel (refereegranskat)abstract
- On the occasion of the farewell to Wiel Arets and the welcoming of Alejandro Zaera-Polo as dean, the Berlage Institute organized an international symposium and this special edition of hunch 6/7 on the question: "What will the architect enact tomorrow?" More than 100 international architects, theoreticians and critics were challenged to address this question.In the introductory article "Beyond Wonderland" Roemer van Toorn analyzes the positions contemporary architecture is taking, the issues it deals with or denies, and the positions it could take in the future.
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| 8. |
- Van Toorn, Roemer, 1960-
(författare)
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Dirty Details
- 2001
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Annan publikation (refereegranskat)abstract
- The civil practice of social democracy, especially the Dutch ‘polder model’, idolizes blissful, prosperous mediocrity. People preach a humanism that is neither able nor allowed to go beyond nurturing and domesticating. ‘The humanist gets hold of the person and subjects him to his taming, training, educating regime – convinced as he is of the necessary connection between reading, sitting and calming,’ Peter Sloterdijk notes in his article ‘Rules for the Human Zoo’ (1999). Mankind has instituted a system that turns people into domesticated animals. Mankind creates a park around itself, a park that testifies to absolute beauty, consensus and order. Every hazard, every form of signal noise, every trace of roughness, ugliness or incompleteness, every hint of alienation and schizophrenia, is barred. This is contrary to the idea of a radical democracy which instead sees potential in the antagonism of the beautiful and the ugly, of the wild and the domesticated, in convention and liberation, in the one and the other, in design and non-design, in good and evil, and in place and non–place.
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| 9. |
- van Toorn, Roemer, 1960-
(författare)
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Dirty details
- 2003
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Ingår i: Latents utopias. - Wien : Springer. - 3211838651 ; , s. 77-92
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Bokkapitel (refereegranskat)
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| 10. |
- Van Toorn, Roemer, 1960-
(författare)
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Do it Yourself
- 2001
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Ingår i: Architecture in The Netherlands 2000/01. - Rotterdam : NAi Publishers. - 9789056622022 - 9056622021
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Bokkapitel (refereegranskat)abstract
- There was no mistaking what the girl in a train somewhere in the Netherlands was saying to her boyfriend on the other end of the mobile phone line. ‘I don’t have time to think about my country or about politics. I think about myself. I think about taking risks. I think about enjoying myself. Most older people are so attached to old values. They belong to the “what if” generation and we belong to the “why not” generation.’ This one-sided conversation is an example of the trend towards ‘individualization’, of a growing aversion to organized collectivity in whatever form, be it churches, political parties, or even architecture. Contemporary Dutch society is all about what the sociologist Ulrich Beck calls the ‘do-it-yourself (DIY) biography’. It is about how you, as an individual, can shape your own life, including all the risks this entails, now that Nanny State has hauled in most of its safety nets.Government in the Netherlands no longer believes in its public task. It is busy selling off its collective interest to the private sector. Seventy per cent of housing construction is now in the hands of one corporation which in turn is financed by a single bank. Private initiative is celebrated as a triumph over the monotony of bureaucratic intervention. Individual prosperity is the be-all and the end-all. Long live market forces! The retreating government gives each individual their freedom back. The result is a boundless landscape of DIY initiatives. Everyone tinkers with their own DIY biography. Every individual has become his or her own brand.What today’s householders worry about is the price of their stock market shares, the value of their home, or whether it looks good, what kind of car they drive, what they are able to do in their spare time, whether they can walk the streets in safety and how they can shape their career. Weeding one’s own garden is much more important nowadays than worrying about other people. In the new suburb and the new city, public space appears to play a negligible role. You park your car behind a fence on your own territory. Householders are afraid of everything unknown that might jeopardize their possessions, their private freedom. Public space is transformed into a private domain where all the neighbours are ‘your type of people’ and from which ‘others’ are excluded. The countryside is turning into a golf course dotted with eclectic castles and modern villas while urban public space is increasingly dominated by the particular interests of privately owned shops, businesses and the tourist industry.
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