| Abstrakt: |
Important texts about the work of OMA (and by Rem Koolhaas himself) have been written in English. In this article, the reception in the Dutch-speaking world is examined, from 1978 until 1990. As the writings of critics such as Geert Bekaert, Hans van Dijk, and Bart Lootsma show, the work of OMA—and, in particular, the designs for the Dutch Parliament (1978), the Netherlands Architecture Institute (1988), and the Sea Trade Center (1989)—was trumpeted because it expressed a polemical viewpoint towards commonplace convictions on historical cities, architecture culture, and the future of European society. In his home country, Koolhaas' return—bringing everything he learned from Manhattan—was heralded as a liberation and as a new hopeful chance for architecture. [ABSTRACT FROM PUBLISHER] |
