Torens zonder spraakverwarring
To explain the Tower of Babel project, we asked various people to look at it from their expertise and background. As a Fleming, Tim Vermeulen, director of the NDSM-werf Foundation, knows better than anyone how quickly a Babylonian confusion can occur. Also in the debate about free space in the city. In this piece, he delves deeper into the nuance between “public space” and “public space”. Text: Tim Vermeulen
Anyone who has ever lived in a multilingual country will recognize it: the small differences between placeholders in the different national languages — almost the same, but just not entirely. In Brussels, for example, you can just go to the Uphill street living in one language, and, in the Rue de l'Ascension in the other; fun fact and interesting for the local culture. But there is certainly also an effect on how you move through this street. Because a better literal translation of this street from French is ascent street; an almost heroic fact — with the victory of the heights in sight. While uphill it still feels like gravity will keep pulling at you and the top will be out of the picture for a long time. Almost the same but not quite; technically, they are part of the same family. In terms of content, they have a completely different approach — and therefore a completely different perspective when you start your way up at the beginning of this street. An innocent Babylonian confusion from the reality of the city.
At NDSM, polyphony is the core of the so-called Cultural Wharf — the name for this period of temporality and transformation. But you could also just call it a Tower of Babel.
It is less noticeable in this country, but here too, we have a psychologizing effect of placeholders with a deeper effect of how we use them. And perhaps that is most noticeable in our designations for the places where we can move freely: sometimes it is called public space, the other time it is called public space. Offentliche Raum, public space, public space... maybe we have the only language that has two terms for the same thing. Or not entirely. Because technically, public space is wider than public: the term is used for all places where — given the character of the space — the public should be able to move freely; from public roads and squares, to the entrances to public buildings — such as libraries, post offices and banks, and even virtual spaces. While public space is reserved for public roads, squares, streets, etc.
But with this specification of public space and demarcation to public space, a lot of meaning also seems to be lost. We mainly know public space as a space that is protected by rules, commandments and prohibitions. Bustling in public spaces is quickly seen as a nuisance, making your voice heard is mainly done when you are upset about something and is often accompanied by other noises, drowning out and having to ask for permission in advance. Public space, on the other hand, is about the right to move and express yourself freely. So space for public values and polyphony; and we should cherish them because it is increasingly oppressed between the public (regulated) and the private.
The NDSM shipyard is perhaps one of the last places in Amsterdam where public space really is public space. And that has everything to do with her temporality. As a public space, it is unfurnished in accordance with the rules and undeveloped — a piece of city that is unfinished. And that's why many rules don't apply. It went from an abandoned industrial relic to a sanctuary without much interference. And now, for almost 15 years, it has had a temporary status as a transformation area — but also as a cultural site. Waiting for its final status as part of an expanding city, a strange mix has emerged between the informal and the formal. With as many elements of public space — which can be filled in by individual voices — as of public space with evolving rules and commandments — to make as many simultaneous uses as possible. That chafes, but in a pleasant way. It results in conversations, sometimes discussions, but almost always great new meetings and collaborations between parties that would be less likely to meet in other places. And especially new polyphonic meanings that are being added to the many histories that this place already has. At NDSM, this is the core of the so-called Cultural Wharf — the name for this period of temporality and transformation. But you could also just call it a Tower of Babel — especially in the sense of Guido van der Werve's art project that is now on display and can be experienced at NDSM.
The NDSM wharf is perhaps one of the last places in Amsterdam where public space really is public space.
Now that the transformation is starting to get more hands and feet, however, there is also a run on the last free space. On the one hand, temporary initiatives are fighting to preserve space and new parties are emerging to use the seemingly indefinite space for all the things that the city of today and tomorrow needs. And that's how the first real Babylonian speech confusions arise. The consequences can be significant. Just like in the Biblical story, they could just lead to the decline of this beautiful fusion of public and public space that can give meaning to the city of today and tomorrow.
Let this Tower of Babel be the first of many to be built on this site now and in the future as polyphonic living expressions of our public values.
