How did Paul van Ostaijen experiment with form in Bezette stad?

In his collection Bezette stad (1921; "Occupied City"), Paul van Ostaijen experimented with form by utilizing what he termed "rhythmic typography".1

Following a spiritual crisis during his exile in Berlin, van Ostaijen moved away from his earlier humanitarian Expressionism toward a nihilistic, Dadaist approach. Through his use of rhythmic typography, he manipulated the visual layout of the text on the page to create a visually expressive form that mirrored the restlessness and fragmentation of his themes. This innovative technique allowed the physical arrangement of words and letters to contribute directly to the poem's rhythm and impact, marking a significant departure from traditional poetic structures.21