With modern Dutch urban planning’s almost religious dedication to function, every site, every millimeter, is given a specific, dedicated meaning. Planners, terrified of spatial non definition and other forms of perceived anarchy, organize the city with rigid efficiency. Easy-to-define, one-dimensional spaces and “experiences” are arrayed on the shelves of the urban super-supermarket waiting to be “bought,” consumed and shat out again by the modern city dweller. The result is a perpetual and numbing sameness. Xerox cities, urban cloning, planning laws, and regulations have jammed the city dweller’s global positioning system. His sense of address/identity has been eroded and with it the awareness of, and ability to decode, his environment. Within this contemporary landscape -a world of commerce, functionality, efficiency, and eye-candy- the rules for urban this-and-thatness have already been written in stone and are not about to be erased to satisfy the whims of designer A, B, or C. The point, then, is for landscape planners and urban designers to lose their fear of the cloned metropolis and offset the weight of repetitive similarities embracing oddity and strangeness as part of the design toolkit. The introduction of off-beat and introverted spaces, unique objects, and indefinable elements, in addition to the freedom to play with indigenous natural elements and forgotten local flavors, offers the city dweller a refresher course in the identification and definition of specific places. The tree in the middle of a concrete desert; a rock balancing precariously above a stainless steel bridge; the simplicity of a water pool as to a million marble slabs- perhaps the result of daring site manipulation become “addresses” of interest which the individual incorporates into his perpetual dream about a place of his own (different from the futile and nostalgic effort to recreate a place where he has been) a platform for exhibitionism, a world (or even just a zone) brimming with apocalyptic sensations, somewhere to relish the beauty of silence.
Adriaan Geuze, Colonizing the Void (2005)