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Essays by Madeleine Maaskant, Klaske Havik and Christoph Grafe.

This monograph gives a comprehensive overview of the designs and built work of Arne van Herk and Sabien de Kleijn, from 1973 until the present day. Besides architecture, urban design, interiors and furniture, the book dwells at length on the informal and conceptual projects--films, clothing, everyday objects--developed by van Herk & de Kleijn throughout their career. Their joint oeuvre is explored in a continuous narrative that makes no distinction between the ingenious rooflights of their own houseboat and a major housing project like Haarlemmerhouttuinen in Amsterdam, and focuses just as easily on their ultra-light half-meter-high platform shoes as on one of their interiors. If the significance of their work lies in their liberal concern for everyday things, this volume emphasizes their approach as one that eschews image in favor of imagination, of giving shape to the things with which we surround ourselves. The visual narrative, with explanatory texts by Arne van Herk and Sabien de Kleijn, is complemented by an in-depth essay by Hans Ibelings and a foreword by the landscape architect Adriaan Geuze.

When Onix, the remarkable young Dutch architecture firm, finished a large-scale residential complex in Zwolle, Holland, recently, they kept an apartment there for six months and invited dozens of visitors--from architecture critics to laypersons--to sleep over for one night each. In return, Onix asked their guests to jot down their experiences with the neighbors, businesses, public transportation, and the space itself. This sort of local ecosystem has been the firm's focus for its first short but eventful decade, and Onix believes it to be the essence of architecture. This monograph, Awaiting Signification, chronicles those ten years, offering an overview of important projects including a much-discussed ecological farm for the disabled in Haren. It also includes MaNUfest, a text presenting the bureau's mission, which follows from its iconoclastic view that contemporary architecture is dominated too much by concepts and images, at the expense of actual architectonic experience.

Dutch international cultural policy is unusually generous, an international exemplar. And it has recently become the subject of heated debate at home. Though there are no plans to cut back, there are questions: the government's primary role has been providing favorable conditions for a highly varied collection of individual artists and arts institutions. Should a firmer hand be taken? Should the policy be more results-oriented? Should political, economic or societal considerations be involved or is culture an independent sphere of public duty? In All That Dutch, art professionals, academics and policy-makers--including Aaron Betsky--share their insights and views on this subject along four themes: culture and politics, culture and the economy, international reflection and cultural profiling. PLUS: the design of this reader is very cool: each essay comes with a 4 x 6 inch four-page artists' illustration booklet bound in--and it actually works.

This first monograph from Dutch architect and urban planner Kees Christiaanse and his firm, Kees Christiaanse Architects & Planners, or KCAP, follows the conception and realization of their most important designs. KCAP works at the interface between urban planning and architecture, combining the fields. Their broad range of projects includes large-scale urban and landscape planning, complex inner city regeneration and restructuring, and the same sorts of new building commissions that keep conventional architects in business. As Europe's attention has shifted to the revival of urban areas, KCAP has done pioneering work at former dockland and industrial locations and on the waterfronts of major rivers, in projects where the firm often acts as supervisor, urban planner and architect at once. In the space of 15 years, KCAP has grown into an international office with an impressive built oeuvre that challenges the way architecture and urban planning are conceived. This survey and analysis of their work brings their ideas and experience to readers curious about urban revival both abroad and at home.

This popular series once again presents a selection of the past year's most remarkable architecture projects realized on Dutch soil. Alongside more than 30 projects by internationally renowned firms and designers such as Santiago Calatrava, Herman Hertzberger, MVRDV, OMA and UN Studio, the editors explore through four detailed essays a broad representation of various currents, design strategies, building types and topical themes that have recently defined Dutch and international architectural practices. Also included is an overview of 2004's most important prizes, competitions, exhibitions and publications.

Fritz Lang's 1927 film Metropolis marked the dawn of a cinematic tradition in which the relationship between architecture and science fiction is central. Since then, architectural elements have played an important role in the representation of scientific and technological developments, in such a manner that it creates a convincing vision for the projected future, as architects devised visionary plans for the city and society. Oase No. 66 examines the intersection of architecture and science fiction in light of today's information technology, the network society, the perception and experience of the environment and virtual space, and 'cyberpunk'--a genre in which virtual environments are created using computer technology.

This latest edition of Oase, one of the leading professional journals on architectural theory, asks a critical question: has the party ended? In the early 1990s, favorable economic and political conditions in the Netherlands created an advantageous climate for unorthodox design approaches and experiments. In the years that ensued, architects built on a unique aesthetic, producing works that remain pragmatic, self-assured, uncompromisingly modern and unmistakably Dutch. Since the turn of the century, however, economic design and market-driven politics have seemingly brought an end to the post-ideological party of the 1990s. Within recent years, there have been contradictions between interest groups, ideas and mentalities, which have resulted in inevitable confrontation. Today, however, it seems as though the sky has cleared, and, as evidenced in Oase 67, there is new space to think about architecture, public concerns and the culture and design future of the Netherlands and Europe.

More felt than seen, space is a key quality of architecture that has eluded definition for centuries. People speak of how they feel in certain spaces, or how they move through them, yet those spaces are only truly defined by their functions, or the architecture that encapsulates them. In Revisions of Space, architect Dick van Gameren shows how the spatial quality of architecture is connected with densification and programmatic diversity: in buildings, around buildings, and in the larger urban context. Through a selection of unusual historic examples and his own work, van Gameren creates this manual for architectural design, which places particular emphasis on how designers can address the evasive issue of space. With its highly original roster of historic examples, this book also reads as an unconventional and fascinating cross-section of the history of architecture.

With a diverse collection that includes Old Masters, applied art and design, a large number of prints and drawings and a wide selection of modern art, Rotterdam's Museum Boijmans Van Beuningen offers an extensive overview of the visual arts from the 1400s to the present. This guide presents more than 200 of the museum's key works, including such masterpieces as Bruegel's "Tower of Babel," Bosch's "The Prodigal Son" and Rembrandt's "Titus."

This monograph on the architecture bureau De Zwarte Hond (The Black Dog) presents a comprehensive overview of realized and unbuilt projects by the office, formerly called Karelse Van der Meer Architecten. De Zwarte Hond is a large and wide-ranging bureau with branches in Groningen and Rotterdam, and has one of the most extensive and eclectic portfolios of built projects in the Netherlands. The bureau is unique in its down-to-earth design mentality that is inspired by the conviction that the best design is the result of a thorough study of task, program and context. The book concentrates on the design process and the resulting solutions for a series of projects within recent years. This focus on "process" and "result" is approached in two ways: on one hand, by means of a substantial reflection on their methodology in which craftsmanship and research are at least as important as the end result; on the other hand, by means of a complete overview of all 500 projects in their extensive archive. Between reflection and the archive lies a concise chronology that traces the history and evolution of the bureau over the years.

Neutrality, exclusivity, family, seriality, position, interiority, time. These are the seven organizational principles essential to the design philosophy and methodology of Dutch architecture firm, Van Sambeek & Van Veen. Naturally, these are the themes by which this comprehensive volume of their projects--the only monograph of their work to date--is organized. For each of their designs, architects Erna van Sambeek and Rene van Veen ask how the essence of the task can be reduced to a combination of two or more of these themes. Each project therefore appears at least twice in the book, but with images and text specifically tailored to address the dominant theme of the particular chapter. Again and again when looking through the firm's more than 18 years of projects; some unbuilt, we are reminded of their design philosophy: to seek the richness that architecture can gain from a consistent concentration on the essentials, and a clear separation of primary and secondary aspects.

There is no period in the history of the Netherlands which excites such emotion, resistance, or aversion as the decade of the 1970s. Following in the wake of the democratization wave of 1968, some regard the 1970s as a period when pluralism was possible and desirable at all levels. For others, the crowning moment of 1968 degenerated into a quagmire of public consultation and a culture of always inconclusive committee meetings. The architecture of the time, which headed off in pursuit of new definitions and forms, is similarly divisive. Though a number of architectural trajectories were driven by a devoted social engagement and a profound belief in architecture as a means of molding society, the sheer plethora of movements failed to generate a single and unanimous alternative, resulting instead in polarization and pluralism. "The Critical Years focuses on architecture, urban planning, and spatial planning from 1968 to 1982. Specific projects from the period are discussed and extensively documented on the basis of six themes, and an introductory essay considers the context in which building and planning changed so radically.

The development of the countryside has generally been conceived of from an urban perspective: the country as producer of food for the urban population, as development area, or as recreational area. Even the development and protection of nature in the countryside are undertaken in service of city dwellers, so that they can experience scenic beauty as a compensation for the pernicious urban life. Oase No. 63 questions existing approaches which view the countryside as the empty or "negative" part of the contemporary urban condition, and consequently reduce the countryside to what remains after the positive urban shape has been thought or carved out. Here the perspective is reversed: neither the city nor urbanization but rather the countryside and the agrarian industry constitute the starting point of this study. Thus Oase No. 63 asks: Is it be possible to consider an alternative future for the countryside based on its intrinsic qualities? To what degree is the countryside capable of absorbing contemporary practices and processes? Does the countryside count at all as a bearer of political economy?

Since the 1980s, letters, words and short sentences have provided artist Marc Ruygrok with the building blocks of his work. Where is Here presents a virtual retrospective, including his monumental spatial work made of three-dimensional letters. The accompanying essays treat his work from a multi-disciplinary perspective: psychoanalysis, ethnology, linguistics and architecture.

A Hundred Years of Dutch Architecture reconstructs the frames of reference within which Dutch architects operated in the century that has just ended--to great international acclaim, for certain. At the beginning of the twenty-first century, it is arguably Dutch designers more than any others who are leading the way in innovative, ground-breaking, problem-solving design. One need only think of MVRDV, Rem Koolhaas's OMA or UN Studio to see the impact that Dutch architecture has on international thinking about structures. What better way to understand how we got here than to look back at the last century? Hence A Hundred Years of Dutch Architecture, wherein exhaustive documentation of 20 buildings and complexes built between 1901 and 2000 provides the opportunity to examine significant tendencies in building design. Each of these projects embodies a take on a particular architectural issue and serves as a crystallization point for five different approaches--traditionalist, expressionist, functionalist, rationalist and postmodernist--that can be distilled from the welter of design strategies. The significance both social and design-wise of these architectural strands is explored in five individual essays; documentation of the buildings is provided partially through the architects' original drawings. Also included is a removable timeline that traces the lines of development of Dutch architecture in a clear and easy-to-follow form: 1,000 characteristic architectural works, one for each year, are placed against a backdrop of related technical and social developments. Among the projects documented at length in this book are designs by Berlage, De Klerk, Rietveld, Dudok, Oud, Friedhoff, Van Eyck, Hertzberger, Koolhaas and Coenen.

In today's city, mobility is not just a logistical or technocratic task but one of the key conditioning factors of urban development. With city users moving ever faster from place to place, the cityscape becomes defined by infrastructure and traffic flows. Rotterdam, the world's largest port, has been informed by movement and displacement throughout its history--and thus serves as a prime model for In Transit's textual and visual charting of the links between mobility and urban development.

It was their almost obsessive interest in mathematics, fascination with technique and pleasure in designing that caused Moshe Zwarts and Rein Jansma to join architectural forces in 1990. Taking "technical" architecture to a very high and creative level, they have worked in tandem on stadiums, sport complexes and major infrastructure works such as bridges, viaducts, tunnels and motorways. Demonstrated in this book is the genius way in which their respective work syncs up and the processes that brought this pairing together. Included are a conversation between the architects and their colleague, engineer/architect Phillipe Samyn; an investigation of their unusual sources of inspiration and motivation; a complete overview of the work of Zwarts & Jansma Architects; a thematic selection of some 30 works, fully documented in site and floor plans, sections and details; plus a series of original photographs by Robert Hart.

Video has commanded a place within the domain of the visual arts since 1965 and has now grown into one of the most widely used forms of art. After the successful introduction of the medium in the United States, Europe followed suit with the Netherlands playing a pioneering role. The video-art circuit in the Netherlands evolved thanks to a unique cross-fertilization of local and international tendencies, and to the provision of workshop facilities by institutions like Het Lijnbaanscentrum, Jan van Eijck Akademie, Monte Video and De Appel. From the early 1970s to the mid-80s, the new medium rapidly achieved maturity, with artists discovering its creative possibilities and documentary expressiveness--but continuously needing to defend its validity. The gradual integration of simpler and cheaper montage techniques in the production process marked a turning point for video art, clearing the way for its assimilation into the art world in the 90s. Recognizing that there are multiple ways to explain and record the development of video art, The Magnetic Era offers a variety of perspectives and themes, as communicated via a range of writers, rather than a strict chronology.

Cars are smelly, ugly, fatal purveyors of gridlock and pollution--but they are also practical, beautiful status symbols that offer freedom of movement. With so many of them around, it is best that we treat them as allies, as Dutch photographer and writer Hans Aarsman does here via a collage of his and found pictures, traffic analyses and market research.

Our image of the world, our conduct and our thinking is to an increasing degree influenced and determined by visual media. Each day presents an ever larger amount of images and media messages to process--to cope, we develop mental filters that exclude unwanted visual impressions. Breaking these mental filters necessitates constantly new and unexpected media strategies, most recently the use of techniques geared to the immersion of the viewer. For example, the simultaneous stimulation of multiple senses received in a multimedia installation by artists like Chantal Ackerman, Alfredo Jaar or mondophrenetic. The great appreciation shown by the art world for the contemplative, classic photo work of such artists as Rineke Dijkstra and the Becher School would seem to be a contradiction; placed in the right environment, these works counterbalance the agitation of visual culture, offering rest for the eye and the potential for voluntary immersion and meditation. The Photo Bienniale Rotterdam has chosen to confront these positions with one another.

Once again this structurally sound annual publication presents a selection of the most memorable Dutch architecture of the past year. In-depth descriptions and a wealth of illustrations document more than 30 projects realized in 2002, including work by Abel Cahen, Claus en Kaan, Diederen Dirrix van Wylick, Erick van Egeraat associated architects, Karelse Van der Meer, KCAP, Metz & de Pagter, Meyer en Van Schooten, MVRDV, Paul de Ruiter, Sluijmer & Van Leeuwen, Wiel Arets and SeARCH. The book closes with a roundup of the year's major awards, competitions, exhibitions and publications.

Architect and urban planner Jo Coenen was recently appointed Chief Government Architect for the Netherlands. Roughs examines his working style with a selection of sketches, notes and other writings made while working on a design, planning and renovation project in Maastricht.

The term "tropism" refers to the growth characteristics exercised by organisms under the influence of external forces. Contextualizing his argument in biology, aesthetics and literature, Ton Verstegen applies this figure to those architectures in which movement and dynamics play a central role. Verstegen argues that spatial animation always entails metaphoric or conceptual animation, providing examples from a variety of architects and demonstrating how computer technologies in design have affected the possibilities of movement in architecture.

The architecture firm of Cees Dam and his son Diederik produces all manner of projects on every possible scale, from front doors to houses to large office and apartment towers to complete urban projects. Embracing and extrapolating the rich heritage of Dutch architecture, the firm continually produces buildings that attain that fine balance between speaking to their environment and standing out from it. A particularly commendable feature of Dam's work is an emphasis on sustainability, and the firm deploys fascinating solutions to questions of ventilation, lighting and sustainable materials. This volume surveys works in progress up to 2001.

The work of Dutch architect Charles Vandenhove has always evinced a tension between his Modernist training and a desire to revise or even reject that heritage, but the past five years have seen him returning to his Modernist education, evolving towards a more austere formal vocabulary. Charles Vandenhove: Recent Work 1995-2000 clearly charts this development, in such striking examples as the Staar complex in Maastricht, the renovation of the Koninklijke Schouwburg and the Huygensgracht housing development in The Hague. This monograph also addresses Vandenhove's standing as an insider-outsider who is both highly esteemed internationally and regarded as something of a maverick.