Bigness rem koolhaas ebook download


    Download S, M, L, XL free ebook (pdf, epub, mobi) by Rem Koolhaas. Book details Author: Rem Koolhaas Pages: pages Publisher to the public, Large focuses on what Koolhaas calls "the architecture of Bigness. Bigness (or problem of the large), by Rem Koolhaas - Download as PDF File .pdf ), Text File .txt) or read online. Small, Medium, Large, Extra-Large. Monacelli. [] [Architecture eBook] S,M,L,XL- Partial - Download as PDF File .pdf) , Text File .txt) or read Rem L Koolhaas - Delirious New York s m l Xl Rem Koolhaas PDF Book Bigness (or problem of the large), by Rem Koolhaas.

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    Bigness Rem Koolhaas Ebook Download

    Five books by Rem Koolhaas on the occasion of the architect's birthday, "Large " focuses on what Koolhaas calls "the architecture of Bigness. Book details Author: Rem Koolhaas Pages: pages Publisher to the public, Large focuses on what Koolhaas calls "the architecture of Bigness. by Rem Koolhaas Unlimited, Download Rem Koolhaas ebook [BEST. Delirious New York, a retroactive manifesto for Manhattan; combined with The Bigness of Rem Koolhaas, Urbanism vs Architecture, Architecture New York.

    Small, Medium, Large, Extra-Large. Monacelli Press, New York, Beyond a certain scale, architecture acquires the properties of Bigness. The best reason to broach Bigness is the one given by climbers of Mount Everest: "because it is there. It seems incredible that the size of a building alone embodies an ideological program, independent of the will of its architects. Of all possible categories, Bigness does not seem to deserve a manifesto; discredited as an intellectual problem, it is apparently on its way to extinction - like the dinosaur-through clumsiness, slowness, inflexibility, difficulty. But in fact, only Bigness instigates the regime of complexity that mobilizes the full intelligence of architecture and its related fields. One hundred years ago, a generation of conceptual breakthroughs and supporting technologies unleashed an architectural Big Bang. By randomizing circulation, short-circuiting distance, artificializing interiors, reducing mass, stretching dimensions, and accelerating construction, the elevator, electricity, air- conditioning, steel, and finally? The new infrastructures formed a cluster of mutations that induced another species of architecture. The combined effects of these inventions were structures taller and deeper-Bigger-than ever before conceived, with a parallel potential for the reorganization of the social worId - a vastly richer programmation. Theorems Fuelled 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.

    The street runs along the western wall of the Temple Mount and if it were not interrupted by other structures, it would continue along the western wall known as the wailing wall.

    According to researchers at the Israel Antiquities Authority, it was in use for merely a brief period before the final destruction in 70 CE AD. Guests will be seated on the ancient paving and sitting beside the remains of small stone vaults which were shops in ancient times.

    Looking up at the Temple Mount enclosure wall, a few building stones still project from the face of the wall, all that remains of what was a tremendous arch or vault that was supported on one side by the wall, and on the other by a pier, and which in turn supported another monumental flight of stairs that led from the street to the Temple above. The arch is named for the American Bible scholar Edward Robinson, who first identified the arch in When the Roman soldiers deliberately destroyed Jerusalem and the Temple, they dislodged large stones from the arch and hurled them down to the street below.

    Many of these hundreds of tons of stones remain on the street where they landed two millennia ago. Following the ceremony, just a few paces away, dinner will be served in the courtyard of the Umayyad Palace, believed to have been built of stones taken from the ruins of the Temple Mount walls in the late seventh and early eighth centuries CE AD by the Umayyad rulers during a period of Muslim rule in Jerusalem.

    As has become tradition with Pritzker ceremonies, on the day before the presentation, guests will be provided with architectural tours of Jerusalem. The choices were made to provide a cross section of multi-religious and secular, as well as both modern and historic sites.

    Carter Brown, chairman of the Pritzker jury, stated, In more than two decades of prize-giving, a tradition of moving the ceremony to world sites of architectural significance has evolved becoming, in effect, an international grand tour of architecture. Modern buildings by Laureates of the Pritzker Prize Continued on page al Above Robinsons Arch and the paved street looking southeast where the Pritzker Prize ceremony will be held.

    Photo by Y. Courtesy of Israel Antiquities Authority. A close look reveals a person standing on the paved street which will give an indication of scale.

    The model will be the focal point of the permanent exhibition in the Davidson Orientation Center currently being built at the entrance to the Jerusalem Archaeological Park. Before touring the excavations, visitors will have the opportunity to explore the model in the Centers interactive classroom and experience the majesty of the Temple Mount as it stood prior to its destruction in the year 70 CE. Two years ago, the 20th anniversary of the prize was held at the White House returning to the city in which the first two ceremonies were held at Dumbarton Oaks, designed by yet another Pritzker Laureate, the very first in fact, Philip Johnson.

    Brown continued, As the purpose of the Prize is to heighten awareness of the art of architecture, the variety of these sites has reinforced the attention the Prize has brought to the work of preeminent living practitioners, as well as architects from the past. This year in Jerusalem, we will be going into the distant past, which is no less important to how we perceive architecture. He further recalled that one of the Pritzker Prize founding jurors, the late Lord Clark of Saltwood, perhaps best known as art historian Kenneth Clark who gained worldwide fame for his television series and book, Civilisation, went even further back in time, saying, A great historical episode can exist in our imagination almost entirely in the form of architecture.


    Very few of us have read the texts of early Egyptian literature. Yet we feel we know those infinitely remote people almost as well as our immediate ancestors, chiefly because of their sculpture and architecture.

    It has often been described as architectures most prestigious award or as the Nobel of architecture. The prize takes its name from the Pritzker family, whose international business interests are headquartered in Chicago. They have long been known for their support of educational, religious, social welfare, scientific, medical and cultural activities.

    Jay A. Pritzker, who founded the prize with his wife, Cindy, died on January 23, His eldest son, Thomas J. Pritzker, has become president of The Hyatt Foundation. He explains, As native Chicagoans, it's not surprising that our family was keenly aware of architecture, living in the birthplace of the skyscraper, a city filled with buildings designed by architectural legends such as Louis Sullivan, Frank Lloyd Wright, Mies van der Rohe, and many others.

    He continues, In , we acquired an unfinished building which was to become the Hyatt Regency Atlanta. Its soaring atrium was wildly successful and became the signature piece of our hotels around the world. What you see-is no longer what you get. Through size alone, such buildings enter an amoral domain, beyond good or bad. Their impact is independent of their quality. 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.

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    Modernization In s, Bigness seemed a phenomenon of and for the New World s. But in the second half of the eighties, signs multiplied of a new wave of modernization that would engulf - in more or less camouflaged form - the Old WorId, provoking episodes of a new beginning even on the "finished"; continent.

    Against the background of Europe, the shock of Bigness forced us to make what was implicit in Delirious New York explicit in our work. Bigness became a double polemic, confronting earlier attempts at integration and concentration and contemporary doctrines that question the possibility of the Whole and the Real as viable categories and resign themselves to architecture's supposedly inevitable disassembly and dissolution.

    Europeans had surpassed the threat of Bigness by theorizing it beyond the point of application. Their contribution had been the "gift" of the megastructure, a kind of all-embracing, all-enabling technical support that ultimately questioned the status of the individual building: a very safe Bigness, its true implications excluding implementation.

    Yona Friedman's urbanisme spatiale was emblematic: Bigness floats over Paris like a metallic blanket of clouds, promising unlimited but unfocused potential renewal of "everything," but never lands, never confronts, never claims its rightful place criticism as decoration.

    In , Beaubourg -Platonic Loft- had proposed spaces where "anything' was possible. The resulting flexibility was unmasked as the imposition of a theoretical average at the expense of both character and precision- entity at the price of identity.

    Perversely, its sheer demonstrativeness precluded the genuine neutrality realized without effort in the American skyscraper. So marked was the generation of May '68, my generation supremely intelligent, well informed, correctly traumatized by selected cataclysms, frank in its borrowings from other disciplines- by the failure of this and similar models of density and integration-by their systematic insensitivity to the particular-that it proposed two major defense lines: dismantlement and disappearance.

    In the first, the world is decomposed into incompatible fractals of uniqueness, each a pretext for further disintegration of-the whole: a paroxysm of fragmentation that turns the particular into a system.

    In this landscape of dismemberment and phony disorder, each activity is put in its place. The second strategy, disappearance, transcends the question of Bigness- of massive presence-through an extended engagement with simulation, virtuality, nonexistence. A patchwork of arguments scavenged since the sixties from American sociologists, ideologues, philosophers, French intellectuals, cybermystics, etc.

    Preempting architecture's actual disappearance, this avant-garde is experimenting with real or simulated virtuality, reclaiming, in the name of modesty, its former omnipotence in the world of virtual reality where fascism may be pursued with impunity? Maximum Paradoxically, the Whole and the Real ceased to exist as possible enterprises for the architect exactly at the moment where the approaching end of the second millennium saw an all-out rush to reorganization, consolidation, expansion, a clamoring for megascale.

    Otherwise engaged, an entire profession was incapable, finally, of exploiting dramatic social and economic events that, if confronted, could restore its credibility. The absence of a theory of Bigness- what is the maximum architecture can dois architecture's most debilitating weakness. Without a theory of Bigness, architects are in the position of Frankenstein's creators: instigators of a partly successful experiment whose results are running amok and are therefore discredited. Because there is no theory of Bigness, we don't know what to do with it, we don't know where to put it, we don't know when to use it, we don't know how to plan it.

    Big mistakes are our only connection to Bigness. But in spite of its dumb name, Bigness is a theoretical domain at this fin de sicle: in a landscape of disarray, disassembly, dissociation, disclamation, the attraction of Bigness is its potential to reconstruct the Whole, resurrect the Real, reinvent the collective, reclaim maximum possibility.

    Bigness recognizes that architecture, as we know it is in difficulty, but it does not overcompensate through regurgitations of even more architecture.

    It proposes a new economy in which no longer "all is architecture," but in which a strategic position is regained through retreat and concentration, yielding the rest of a contested territory to enemy forces. Beginning Bigness destroys, but it is also a new beginning.

    It can reassemble what it breaks. A paradox of Bigness is that in spite of the calculation that goes into its planning -in fact, through its very rigidities-it is the one architecture that engineers the unpredictable.

    Instead of enforcing coexistence' Bigness depends on regimes of freedoms, the assembly of maximum difference. Only Bigness can sustain a promiscuous proliferation of events in a single container. It develops strategies to organize both their independence and interdependence within a larger entity in a symbiosis that exacerbates rather than compromises specificity. Through contamination rather than purity and quantity rather than quality, only Bigness can support genuinely new relationships between functional entities that expand rather than limit their identities.

    The artificiality and complexity of Bigness release function from its defensive armor to allow a kind of liquefaction; programmatic elements returns with each other to create new events-Bigness returns to a model of programmatic alchemy. At first sight, the activities amassed in the structure of Bigness demand to interact, but Bigness also keeps them apart.

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    Like plutonium rods that, more or less immersed, dampen or promote nuclear reaction, Bigness regulates the intensities of programmatic coexistence. Although Bigness is a blueprint for perpetual intensity, it also offers degrees of serenity and even blandness.

    It is simply; impossible to animate its entire mass with intention.