Culture on the weekend – Mail from Rotterdam (2)

Building design

Photo: Ossip

After bureaucratic hurdles, Lisa Bruch has time to get to know Rotterdam. Away from the office routine at MVRDV.

After gaining experience as part of the French-speaking team at competitions in Switzerland and France, I changed teams within MVRDV at the end of May. Together with German, Austrian and Polish colleagues, I now work on projects primarily in German-speaking countries. The spectrum ranges from the development of master plans to research and faculty buildings. What’s remarkable about MVRDV is that the workplace always changes with the team – if a new team is formed, a new table group is also formed. This not only gives you the chance to explore the entire office, but also to really get to know all the employees. The teams work with different programs and so you automatically gain an insight into other working methods and techniques.

After an eight-week delay and a second visit to the town hall, I finally have my citizen service number in my hands and have time to really get to know Rotterdam. Various architecture firms have set up shop in the city, also known as Manhattan on the Meuse because of its skyline, and many architects and architecture students have followed this call. The city has a vibrant art and architecture scene and the corresponding platforms to present an impressive program. On Thursday, I saw “Your Vice is a Locked Room and Only I Have the Key”, the last film in the “Typical Movies #2” series at the Post Office before the summer break. In a dubious former post office and after an introductory lecture, Omero Architects show weekly films that are related to architecture in the broadest sense. Sergio Martino’s film was shot in 1972 in the Villa Cavalli Lugli near Padua, Italy.

Lectures and discussions are held weekly, usually on Thursdays, at Het Nieuwe Instituut. So for once, on a Friday, I can attend the lecture “Control Room Rio” by Mark Wasiuta (Columbia University) on the coronavirus surveillance program in Rio de Janeiro. In the subsequent discussion with Pedro Rivera (Studio X, Rio de Janeiro), both will try to find out who actually has the power over cities and their citizens – one from an outside perspective, the other as an involved citizen of Rio.

Saturday can be spent either at the Witte de With Center for Contemporary Art in the Witte de Withstraat or visiting Garage Rotterdam. The former Volkswagen garage, which was redesigned by architect Remy Meijers in 2011, now houses a café and space for temporary exhibitions.

De Dépendance, which sees itself as a platform for urban culture, regularly organizes exhibitions, readings and performances. On Sunday, I attended the lecture “Number one City – Urban competitiveness and policies of fairness” by Ewald Engelen on the roof terrace of the Las Palmas building in the Kop van Zuid district. In his lecture, the third and last in the “Space Invaders” series, the professor of financial geography at the University of Amsterdam posed the question of how cities can be built, expanded and rebuilt more fairly.

The last item on the weekend’s agenda was another visit to “de Trap” right next to Centraal Station. MVRDV’s 29-metre high and 57-metre long staircase leads to the roof of the Groot Handelsgebouw, from where there is also access to the Kriterion, a cinema that was popular in the 1960s. The newly built city is thus connected to a historical monument. As a temporary installation, “The Stairs” are part of the celebrations to mark the 75th anniversary of the reconstruction of Rotterdam. If you climb the steps, you have a fantastic view of the reconstructed city.

The Baumeister Academy is supported by GRAPHISOFT and BAU 2017

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Elisabeth – a figure on the threshold of two wills

Building design
The depiction in which Mary meets Elizabeth has been depicted particularly frequently in art. Photo: Domenico Ghirlandaio, Public domain, via: Wikimedia Commons

The depiction in which Mary meets Elizabeth has been depicted particularly frequently in art.
Photo: Domenico Ghirlandaio, Public domain, via: Wikimedia Commons

Elizabeth is one of the few female figures in the New Testament whose theological significance extends far beyond her brief presence in the text. As the mother of John the Baptist, she stands at the intersection of Old Testament expectation and New Testament revelation – a position that has fascinated both the Bible and the visual arts. Hardly any other biblical figure combines prophetic witness, maternal authority and spiritual insight so impressively in a single figure.

Within the story of Jesus’ birth in the Gospel of Luke, Elizabeth plays a structurally indispensable role. Her story opens the first curtain of the drama of salvation: long childless and living in a priestly environment, she becomes the mother of John the Baptist through divine intervention. Luke’s Gospel thus deliberately draws on Old Testament narrative patterns – think of Sarah, Hannah or Ruth – in which barrenness is understood as a trial and overcoming it as a sign of election. In this literary tradition, she is not a marginal figure, but a theologically calculated intervention: the miraculous pregnancy of the old woman prepares the even more miraculous pregnancy of the young Mary.

The first chapter of Luke’s Gospel portrays Elizabeth as righteous before God, which is particularly important in the ancient context, as childlessness was considered a social and religious stigma. When the angel Gabriel announces the impending birth to her husband Zacharias, this marks a turning point that characterizes the entire narrative structure of the Gospel. The change from barrenness to fertility is no mere miracle – it is a signal of salvation history. The figure reaches its theological climax at the moment of the so-called Visitation, when Mary visits her relatives. At the sound of the greeting, the child leaps in Elizabeth’s womb – a prenatal recognition of Jesus, which is interpreted in the exegetical tradition as the first prophetic act of John the Baptist. Elizabeth’s words spoken in response – “Blessed are you among women, and blessed is the fruit of your womb” – were incorporated into the later Ave Maria, making it one of the most quoted phrases in the Christian liturgy. Here she does not act as a passive observer, but as a prophetic witness who names the identity of Jesus’ salvation even before his birth and thus linguistically crosses the boundary between the two testaments.

No pictorial motif in which Elizabeth appears has had such a lasting impact on art history as the Visitatio – the Visitation. Since the early Middle Ages, it has been part of the established canon of Marian picture cycles, and the motif unfolds its full iconographic complexity in the High Renaissance at the latest. Giotto di Bondone depicts the encounter between the two women in the Cappella degli Scrovegni in Padua (around 1305) with physical immediacy: the intimate embrace becomes a visible form of divine grace that takes place in human contact. Giotto’s composition thus sets a standard for all subsequent depictions.
Domenico Ghirlandaio adopts the motif in his fresco of the “Visitazione” (1491) in Santa Maria Novella in Florence and anchors it in the spirit of Renaissance humanism: the two women meet in a balanced, almost symmetrical composition against a moderate architectural backdrop. The age difference – Maria is youthful, Elisabeth more mature and experienced – becomes a formal device that emphasizes the miraculous nature of both pregnancies. In northern Europe, Albrecht Dürer takes up the theme in his woodcut series The Life of Mary (around 1502-1510): The scene is more narratively condensed, embedded in a richly detailed everyday setting that transfers the sacred into the familiar.

In addition to the Visitation, Elizabeth can also be found in the depiction of the birth of John the Baptist. In late medieval panel paintings, she often lies in childbed surrounded by servants while the newborn is being bathed – an iconographic parallel to the birth of Mary, which embeds her role as mother in family and social contexts. A particularly impressive example is Rogier van der Weyden’s altarpiece with the “Birth of the Baptist” (c. 1455, Gemäldegalerie Berlin), in which the reclining Elizabeth forms the center of a carefully arranged group of women with quiet dignity.
In the Baroque period, the emotional energy of the visitation scene intensifies considerably. In his “Visitation” (c. 1612), Peter Paul Rubens lends it a dynamic physicality: Elizabeth confronts Mary with sweeping gestures, while light and color heighten the spiritual excitement of the moment to a pathetic level. Here she is not a silent companion figure, but a woman whose devout joy is directly expressed in her movement and posture.
Characteristic of her portrayal across all epochs is the pictorial emphasis on age. Greyish hair, finely drawn facial features and a measured posture allude to her advanced years and emphasize the wonderfulness of her motherhood. At the same time, these features lend the figure a special dignity: she stands for constancy and fidelity in faith, for a depth of experience that complements the youthful Mary.
The enduring presence of the figure in painting, sculpture and stained glass – even in contemporary interpretations – demonstrates how productive the few verses of Luke’s Gospel have remained as an artistic template. In Elizabeth, female experience of faith, prophetic clarity and maternal authority are condensed into a figure that asserts its own unmistakable voice between restraint and theological effectiveness.

Drought as an extreme weather event

Building design
Drought: Desolate landscapes and parched soils illustrate the increasing challenges posed by climate change and water scarcity. Photo: Brent Olson via Pixabay

Drought: Desolate landscapes and parched soils illustrate the increasing challenges posed by climate change and water scarcity. Photo: Brent Olson via Pixabay

Drought is no longer a rare phenomenon in Germany, but an increasingly significant environmental problem that has far-reaching consequences for nature, society and the economy. The persistent dry periods pose considerable challenges for water supply, agriculture and ecosystems. In view of global climate change, the issue of drought is becoming increasingly urgent and requires a comprehensive understanding of the causes, effects and adaptation strategies.

Drought is caused by the interaction of various natural and anthropogenic factors:

  • Lack of precipitation: a prolonged period of significantly below-average precipitation leads to a deficit of soil moisture and water in rivers and lakes.

  • High temperatures: Rising temperatures increase the evaporation rate of water from soils, plants and water bodies, which exacerbates drought.

  • Changes in land use: Intensive agriculture, drainage of wetlands and deforestation reduce the ability of the landscape to store and balance water.

  • Climate change: Man-made climate change influences all of the above factors, changing precipitation patterns and increasing the frequency and intensity of droughts.

These factors often interact and reinforce each other, making drought in Germany an increasingly complex and multi-layered problem.

The consequences of drought are manifold and affect almost all areas of life:

  • Agriculture: lack of water leads to crop failures, reduced plant growth and increased stress for crops. This jeopardizes food security and the economic existence of many farms.

  • Water resources: Falling groundwater levels and dried-up rivers affect the supply of drinking water, industry and energy production. Water scarcity can lead to conflicts of use between different sectors.

  • Ecosystems: Wetlands, peatlands and forests suffer from a lack of water, leading to a loss of biodiversity and habitat degradation.

  • Society: Water scarcity can exacerbate social tensions, reduce quality of life and also lead to economic damage in the long term.

The economic costs of drought and associated extreme weather events are considerable and highlight the need for sustainable management of water resources.

In order to effectively meet the challenges of drought, a variety of measures are required at different levels:

  • Sustainable agriculture: by adapting cultivation methods – such as mulch sowing, crop rotation and the use of drought-resistant varieties – soil moisture can be better conserved and the resilience of crops increased.

  • Efficient water management: The promotion of rainwater harvesting, the renaturation of wetlands and the unsealing of land help to strengthen natural water cycles and replenish groundwater reserves.

  • Forest conversion: Conversion to climate-resistant mixed forests improves the water storage capacity of the landscape and reduces the risk of forest fires.

  • Political measures: The introduction of water user charges, the promotion of adaptation projects and continuous monitoring of water resources are important instruments to promote the economical use of water.

  • Innovative approaches: Concepts such as agri-photovoltaics, which combine agricultural use with solar energy production, offer forward-looking opportunities to combine agriculture and climate protection.

Drought is a complex phenomenon with far-reaching effects on the environment, the economy and society. The increasing frequency and intensity of dry periods calls for a rethink in agriculture, water management and spatial planning. Targeted prevention and adaptation strategies can improve resilience to drought and limit the negative consequences. At the same time, addressing the issue opens up opportunities for innovation and sustainable economic activity.

Responsible use of water and soil is essential to ensure a livable environment for future generations.

If you are looking for further information on regional adaptation measures or support programs, there are numerous advisory services available from environmental authorities and specialist institutions.

Find out more about Beat the Heat here.