In the Netherlands, shopping centres are abun¬dant. Whether they are large-scale malls or small neighbourhood centres, they are woven into the fabric of Dutch society. But recently and in the future many malls will be facing the prospect of vacancy. A response therefore is needed. This design was created for the Leyweg in the Hague, and exemplary neighbourhood mall of the Netherlands. The design is focused on the social sustainability of a mall, a future proof design that could be applied to the many small scale shopping malls in the Netherlands. It is designed as a centre in the neighbourhood for people to come together, to meet each other, not solely as an incentive to seduce people to buy as much as possible. By bringing multiple functions in the mix, such as dance, study, work and community spaces, the mall becomes an centre point for the vicinity and attracts a large, diverse audience. It is made for people to just simply be there, to explore, to bring an incentive to wander.

The Italian Renaissance (c. 14th to 17th century) and the Dutch 17th century were both periods of prosperity. Not only in terms of wealth but also in culture, science and the arts. These eras form the base for a comparison between painters of both periods. Sofonisba Anguissola (c. 1532-1625) and Judith Leyster (1609-1660) were two well-known and praised painters and are the selected representatives of this comparison. The comparison consists of paintings in five categories: self-portrait, en profil portrait, portrait of children and animals, paintings of multiple figures and games and portrait of a woman. The categories are chosen to represent the broad spectrum of the work of both women, which was remarkable for women in their field. Though both painters came from different backgrounds, they managed to garner admiration for their work and reached the top in their field. They operated in different circumstances; where Leyster’s clientele consisted of amongst others, the newly risen bourgeoisie, Anguissola operated at Spanish court and often painted for the nobility and was, therefore, more confined to specific subjects, such as reserved portraits. Despite these different clients and their expectations, Anguissola and Leyster were both forerunners in their art, which is for instance shown in the use of relatively unused compositions and their paintings of everyday scenes with a liveliness and familiarity that was not often seen. They painted with confidence and displayed their pride in their profession. The comparison shows us how one could have influenced the other and gives insight into the extent of their work.