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he way that the Dutch view their landscape very different from the rest of the world. Has this led those involved in urban design to think of more visionary and audacious schemes? To gain an understanding of what may have influenced Point/South City and in particular its process of design, it is useful to look at visionary urban developments that were proposed in the Netherlands.

Constant Nieuwenhuys was a Dutch artist who between 1956 and 1974 developed concepts, models and drawings for a visionary architectural project called New Babylon. The provocative study envisaged a series of linked transformable structures, some of which were the size of a small city, perched above ground. Its inhabitants would lead a nomadic life of creative play while the bourgeois would be left in the metropolis below. This contentious model is still relevant today: “In the encounter of aesthetics and politics, it figures as a model for the exploration of the current cultural landscape, which is marked by a decline in the capacity to imagine the world differently.”[4] Its liberating influence was inspirational to architects including Koolhaas.

Urbanism in the Netherlands during the post-war years offered something unique, Nooteboom states: “The opportunity of building completely new cities arises in few countries, but here, that which every architect of the twentieth century dreamed of, existed as a real possibility, in the new polders.”[5]

J.H van den Broek and J.B. Bakema were offered such an opportunity in 1965 with Pampus City, a new development on reclaimed land in the Ijmeer to the East of Amsterdam. Their scheme proposed a radical alternative to urban and regional planning, breaking though the traditional separation of city and landscape. In contrast to the traditional ring-like expansion of Amsterdam, Pampus City would be a linear extension of high density high rise blocks that would emphasise the contrast between polder landscape and the city by interweaving solid and void. Although it was a considerable shift away from the traditional, it was well received, however ultimately unrealised in their generation. Nearly 45 years later this vision became reality. The master plan by Palmboom van den Bout presented in 1995 was largely based on the original scheme and is currently in the first stage of construction. Would the new plan have been accepted if the visionary Pampus City proposal had not existed?

Nooteboom describes a backlash to this type of project in the 1970s:

“A reaction to this wasteland-building came from people like Herzberger, Piet Blom, Theo Bosch, Aldo van Eyck; they put the emphasis on the small scale; the human dimension, and – literally – on individuality. Their publications reveal a profound belief in the creativity of man....The philosophy is turned inward and no longer encompasses the whole world or even the whole city – no more dream towns are designed, the architects’ thinking always remains close to the people, lingers on their door-steps, wanders through their houses, ponders over the relationship between indoors and outdoors, turns away from the big manipulated ugliness.”[6]

Koolhaas, on the other hand, felt that this was a time when the large scale w本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。