What is essential about the work of Neutelings Riedijk is its plain weirdness. The two aspects of this definition are essential. The use of form and materials that are familiar, simple, and sometimes even primitive grounds the strangeness, the baroque involutions, and the haunting quality that gives the work its power. These architects know how to mine the vernacular to find within it the material that both grounds us and connects us to something bigger, stranger, and older than we are. Their buildings use this basis to teeter between abstraction and reference, creating a blur that allows us to intuit forms, images and spaces that the designers only imply. Finally, Neutelings Riedijk’s buildings become stages on which we can act out the roles to which we would like to become accustomed, sometimes as masques in which both the structures and we are actors, and sometimes directly, when the buildings’ interiors become, more often than not, stages.
Emerging from a proliferation of local ‘liveable’ parties that argued for less development (but more roads) and direct control, Fortuyn’s party wanted to keep the Netherlands Dutch in the same sort of vague way that Bush wants to keep the United States American and the New Urbanists want to resurrect a 1920s American small town […]
We live in a world that is completely defined by fear. We are afraid of others, of what we don’t know, of our bodies, of the state, of nature. We erect defensive mechanisms against what we fear. Architecture is an appropriate tool to keep fear at bay. We erect the walls, floors and roofs that […]
Jews are everywhere, at least in architecture. Now that they no longer control world finances as part of their evil plot to subjugate all God-fearing Christians, they have resorted to taking over the little world of architecture – or so it would seem to some. The two most famous architects of the moment are Frank […]