Architectural Avant-garde, or Tall Achievements of the Netherlands
The Dutch high-rise traditions are deeply rooted. European architectural stylistics are impressively reflected in local buildings of past epochs. Profound Gothic motifs initiated here still in 13th century were prevalent for more than three centuries. The Renaissance erection and especially decoration techniques were acquired by Dutch architecture in 16th century; however, this trend barely affected tall practices. In essence, this artistic methodology is absorbed in the architecture of town halls and residential housing of adjacent plazas. Temples and belfries of that period were remaining Gothic in many respects. During the first half of 17th century the influence of the most ascetic and rationalized version of classicism was becoming evident. Obvious French ascendancy, especially typical for Amsterdam, was the sign of the next century, while the beginning of 19th Century is marked by advance of romanticism and neo-Gothic style.
The most significant personality of more recent Dutch architecture, who greatly influenced its development during 20th century, was H. P. Berlage. De Stijl artistic movement (J. J. P. Oud and Theo van Doesburg) had an essential effect on the utilitarian and functional art ideology of 1920-s and the 20th century’s architecture, not only national, but also on a global scale.
Searches of these Gurus of Dutch fine arts in the sphere of color application in architecture are still noticeable in the high-rise structures of 1990-2000-s characterized by striking color contrasts, which has already become a commonplace, a trend marking buildings of the period. One of the freshest examples of such an approach is the Red Apple building in Rotterdam.
The art philosophy, close to generally rational perception of the reality in line with protestant tradition, was in tune with the ideas of the Russian avantgardists. J. J. P. Oud assumed that the building, which is “good in terms of technology and practice is better than the beautiful one”, whereas Vladimir Tatlin called upon for architectural advance “toward useful, rather than towards new or old” concepts. Tall industry in the Netherlands is traditionally demanded business.
The first sufficiently high structures were built here still in the late 19th Century, and even earlier those numerous spires and towers of civil and cult buildings were an integral part of the cityscape. Number and variety of new high-rises in Holland has been steadily growing during the recent two decades. Therefore it seems so interesting to observe not only the completed buildings, but also the drafts intended for further development of skylines of Dutch cities.
Speaking about European high-rise practices one should better highlight the Netherlands as one of the industrial leaders. Due to a set of culturalhistorical and economic reasons, the attention of Dutch authorities and society to up-to-date architectural is great. Therefore many bold and even radical concepts are likely to be well realizable in this country. In particular, the architects designing skyscrapers have more degrees of freedom.
All aforesaid doesn’t mean that Holland is an exclusive advance post of European architectural avant-garde. Many completed buildings appear to be just specimens of purely utilitarian and rationalistic approach. However, this is the country, which really welcomes realization of non-conventional schemes, including tall initiatives. In the novel architectural concepts are being tested in the Netherlands more frequently than in other European countries.
In the case with the majority of high-rise buildings their absolute dimensions can hardly pretend to be really immense; however, intense development of diverse techniques and conceptual options in suggests genuine interest and deep respect to contemporary Dutch architecture. That’s not by chance the Dutch school brought up such world famous contemporary masters as Rem Koolhaas or Erick van Egeraat, let alone those swells of the past as J. J. P. Oud or Theo van Doesburg, some of the founders of world avant-garde, which is significant not just for 20th century’s art, but remains actual in the present age.
Amsterdam, the Dutch capital, is the largest city of the country. Some of interesting high-rise buildings are located here, including the second highest national skyscraper - Rembrandt Tower of 150 m built in 1995. This spectacular 36-storeyed high-rise office building with a spire, which is the tallest all over Amsterdam, also reflects rationalistic architectural trend. Some more highrise structures taller than 100 meters have been built in the city during the last decade.
The next in local “tall line” is the Mondriaantoren skyscraper (32 floors, 2001) with height of 123 m followed in the descending order by: 105- meter building WTC H Toren (28 floors, 2004) and the world headquarters ABN AMRO of the same height (25 floors, 1999), and also 100-meter Ito-Toren (26 floors, 2005). However, Rotterdam is considered as the real focus of national tall developments.
After WW II that simply had ruinated the city, it literally rose from the ashes inspired by the idea of creation of the modern advanced progress-oriented city, which development is driven by peaceful science. The best native specialists sought to model a new pure European urban scheme by means of architecture and town planning. Steady postwar development eventually transformed Rotterdam into Dutch skyscraper capital featuring not only stand alone high-rise buildings, but the city, which is taller on average throughout the country.
Contemporary Rotterdam skyline acquired its unique and unforgettable appearance, which obviously contrasts with silhouettes and images of other European cities with none the less rich history. Being the second largest city of the country, Rotterdam is also developing as major global seaport. That’s why extensive office facilities frequently erected right at the waterfront, which requires special architectural and engineering solution of each building, are greatly demanded. Tall buildings are particularly concerned.
On one hand, additional view options from water with visibility from great distances offer larger variety of volumetric solutions for the skyscrapers of this kind. On the other hand, the abundance of different perception patterns requires elaboration of general proportions, as well as careful detailing of such tall structures. All this makes design and construction process much more sophisticated, but overall performance of these buildings becomes better.
Therefore, sometimes even simple at first glance architectural solutions appear to be more spectacular and refined thanks to high quality and accuracy of the concept.
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Text by Marianna MAEVSKAYA ,
photos by Aleksey LYUBIMKIN,
de Architekten Cie, OMA