The confusion of the big number
Twentieth century Dutch architecture was dominated by the challenge of the era: large scale housing. Berlage, Granpre Molière, Oud and van Eesteren. Every decade its own urbanism and architecture. WWII did not change this pattern. Pendrecht, Bijlmer, Tanthof, Prinsenland. Looking back at these hundred years one might think the experiment is the basis of both architecture and urbanism. It is not. Architecture never changes. Vitruvius' Utilitas, Firmitas, Venustas can be easily translated into Typology, Design and Style. Every building can be valued by these terms. It requires Intelligence, Skill and Taste respectively. Architecture can be brilliant, smart and beautiful or stupid, clumsy and ugly or any mix. Ethos does not apply on architecture.

This proposal looks back to existing projects and typologies, while proposing to literally use the Rotterdam shopping street Lijnbaan, which was designed by architect J.H. van den Broek in 1952. This street, measuring 500x50x5 metres, is projected onto the Mekelweg. The Mekelpark's programmatic void thus becomes filled with activities. This radical move results in an intriguing project, which is finely tuned into a building that can engage in different relationships with the street. While referring to Van den Broek, the images also strongly recall the projects of Superstudio. The accompanying text clearly states that the project is not ‘new’. This is a controversial and daring position, questioning the position of the architect and of architecture today.
While clearly evoking the ‘memory’ of Dutch architecture, A WORLD WITHOUT OBJECTS has strong architectural qualities in and of itself. The first panel, which at first sight attracts the most attention, presents an image of silence that the jury finds beautiful. The jury does wonder if this silence is really something to strive for, since for a street to work something must happen on that line. Somehow, the silent image bears a promise that something will happen, as much as it offers a sense of freedom. On the second panel, the sections and fragments of the plan prove the possible spatial richness of the proposal. The structure offers freedom to develop, by providing a diversity of educational spaces along the street, such as lecture halls, studios, rooms for study and reading, but also for more social functions, such as a bar, restaurant and sports facilities. Despite the suggested freedom, the proposed spaces are far from neutral. The sketches show a spatial richness that is achieved by minor means, such as the use of roof lights and the different height levels of the various spaces. The library is designed as the only exception in the scheme: a 24-storey high triangular tower. In some places, bridges, connecting the two sides of the campus, traverse the street. The jury is intrigued by this remarkable project and challenged by its provocative architectural statement. While thus providing fuel for architectural debate, the proposal is considered highly convincing in terms of the spatial qualities and richness in use that this project suggests. The jury awards A WORLD WITHOUT OBJECTS the highest possible marks.