Adriaan Geuze’s rearrangement of the central Schouwburgplein (theatre Square) in Rotterdam created the basis for a new stage-set for various groups of young people who have claimed spots on and around the edges of the square, where they exhibit themselves with their particular lifestyles: breakdancers on the square, the parade of Antillian youngsters driving round the edge of the square in front of De Dolen concert hall and congress centre in their cars on Friday and Saturday evening, groups of young women who cluster toghether on the long benches opposite the multiplex cinema. This is how, dynamic cultural geography evolves, one in which meanings are not fixed but in an ongoing state of flux development.
This shift towards a cultural geographic approach involves a departure from the notion of absolutism in ascertaining the value of meaning of spaces. The essence of a cultural geography is precisely that analysis of the ambiguity or, in more political terms, the struggle between various meanings. Designing public domain can then become a question of stimulation of informal manifestations of diversity and the avoidance of interventions that are intended to make such manifestations impossible.