“Theorem:
Fueled initially by the thoughtless energy of the purely quantitative, Bigness has been, for nearly a century, a condition almost without thinkers, a revolution without program.
Delirious New York implied a latent “Theory of Bigness” based on five theorems.
1. Beyond a certain critical mass, a building becomes a Big Building. Such a mas can no longer be controlled by a single architectural gesture, or even by any combination of architectural gestures. This impossibility triggers the autonomy of its parts, but that is not the same as fragmentation: the parts remain committed to the whole.
2. The elevator-with its potential to establish mechanical rather than architectural connections-and its family of related inventions render null and void the classical repertoire of architecture. Issues of composition, scale, proportion, detail are now moot.
The “art” of architecture is useless in Bigness.
3. In Bigness, the distance between core and envelope increases to the point where the facade can no longer reveal what happens inside. The Humanist expectation of “honesty” is doomed: interior and exterior architectures become separate projects, one dealing with the instability of programmatic and iconographic needs, the other-agent of disinformation-offering the city the apparent stability of an object.
Where architecture reveals, Bigness perplexes; Bigness transforms the city from a summation of certainties into an accumulation of mysteries. What you see is no longer what you get.
4. Through size alone, such buildings enter an amoral domain, beyond good or bad.
Their impact is independent of their quality.
5. Together, all these breaks- with scale, with architectural composition, with tradition, with transparency, with ethics-imply the final, most radical break: Bigness is no longer part of any urban tissue.
It exists; at most, it coexists.
Its subtext is fuck context.”
Koolhaas, Rem, Bruce Mau, Jennifer Sigler, and Hans Werlemann. Small, Medium, Large, Extra-large: Office for Metropolitan Architecture, Rem Koolhaas, and Bruce Mau. New York, NY: Monacelli, 1998. Print.
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