De Rotterdam is much bigger than envisaged. The buildings surrounding it − a bad Piano tower, a cheap Foster, a weird and over-ambitious Mecanoo and a Siza caricature of an American Art-Deco skyscraper − are reduced to desperate figurants.
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Of: “(..) De Rotterdam recalls less compelling American exemplars − not New York, but downtown Houston or Atlanta where the skyscrapers have no relationship with the street (…) Without the context of a culture of urban congestion (in the way of New York), a theory celebrating radical pragmatism by its outcomes risks putting the cart before the horse. The blank canvas becomes just a blank.”