‘Bigness’ in context: some regressive tendencies in Rem. Koolhaas’ urban theory. Jorge Otero-Pailos. Rem Koolhaas’ views on urbanism have been taken up. Bigness. “By now it is customary to engage the work of Rem Koolhaas in terms of its active alignment with processes of cultural transformation, its planned. PDF | The paper tries to take a critical look at the concept of Bigness as defined by Koolhaas, its relation to architectural scale and the impact it produces in the.

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The biyness is a metaphor for Bigness. He has overcome the shift from image to imagination. The semantic space between two opposing notions is to antithetic phrasing as the measuring scale is to the definition of Bigness: There are no threads for this page. An imaginary semantic plane comprised by one horizontal Cartesian axis representing the semantic koolhaaa between thesis and antithesis—the Whole—, as well as the range of metaphorical phrasing—the Real—assigned to the vertical direction, allows for each implicit statement to be contextualised by uniquely being located on the coordinate system of imagination.

These have existed as such a typology throughout the history of architecture- from the watch towers of Chinese dynasties to the Garden Pavilions of the French to the newer and relatively urban Serpentine Pavilions of London Fig 2 — Left to Right.

Koohaas continue to surprise, innovate, overwhelm and break the monotony in any and every public contextual setting. What is implicit in the qualitative becomes explicit in the quantitative.

Referring to an explicitly implicit concept, his essay Bigness or the Problem of Large contains an entire cloud of implicit characterisations: The impossibility triggers the autonomy of its parts, which is different from fragmentation: And then, there is creation. A guiding hope to expanse of the idea of Pavilions worldwide.

The Terrifying Beauty of the Twentieth Century, in: Please try a current version of IE or Firefox. Only through BIGNESS can architecture dissociate itself from the exhausted ideological and artistic movements of modernism and formalism to regain its instrumentality as a vehicle koolahas modernization.


Bigness to Size-Zero: Measuring Architecture, rightly

Pavilions go beyond contextuality. They are still often compared in use and importance to buildings that in their long life are able to generate revenue to support the economy.

Beyond a certain critical mass, a building becomes a BIG Building. It promises koolhas a kind of post-heroic status-a realignment with neutrality.

Rem Koolhaas – Bigness (or the Metaphor of the Urban) | Thomas Helmlinger –

Zones will be left out, free from architecture. Ubiquity Press, Londonp. Point by point, it would contribute to rendering the explicit. Theorems Fuelled initially by the thoughtless energy of the purely bignes, BIGNESS has been, for nearly a century, a condition almost without thinkers, a revolution without program. New Perspectives Quarterly, Spring Vol.

This website uses cookies to improve kolhaas experience. What may be explic- itly expressed by the visual is rendered implicit in written language.

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.

Metaphorical ex- pression links a wide range of concepts to a single common reference. Mauro, Tullio de Ed. Tullio de Mauro Ed. If a story could be knit around the spatial character of architecture bingess the aesthetics of a sculpture, the pavilion would be the hero of such a story. By randomizing circulation, short-circuiting distance, artificializing interiors, reducing mass, stretching di- mensions, and accelerating construction, the elevator, electric- ity, air-conditioning, steel, and finally, the new infrastructures formed kooolhaas cluster of mutations that induced another species of architecture.

Exploring Materiality in Form. Such a paradigm shift was also to rescue architecture from the implications of the retrofit of structure and services into a building. But in fact, only BIGNESS instigates the regime of koophaas that mobilizes the full intelligence of architecture and its related fields.

The accumulation of implicit text equals Bigness. Bigness is a metaphor of the urban.

Encompassing two Cartesian axes of unidimensional implicit meaning, the lin- ear spectra of both metaphorical and antithetic phrasing are merged in one and the same area of explicit tension: Both symbols of exchange bkgness ideas and pure artistic expression.


Princeton Architectural Press, New York A Retroactive Manifesto for Manhattan. Plotting bgness semantic field between thesis and antithesis—the Whole—on a horizontal axis, while assigning the scope of metaphorical paraphrasing—the Real—to the vertical direction, the information contained in each implicit state- ment may be uniquely located on the resulting coordinate system of imagination.

The combined effects of these inventions were structures taller and deeper—Bigger—than ever before con- ceived, with a parallel potential for the reorganization of the so- cial worId—a vastly richer programmation.

Tests as such have led to astonishing results as outer skin thickness reduction to up to a few millimetres, amongst other breakthroughs. Not only is BIGNESS incapable of establishing relationships with the classical city-alt biyness, it coexists- but in the quantity and complexity of the facilities it offers, it is itself urban.

It develops strategies to organize both their independence and interdependence within the larger entity in a symbiosis that exacerbates rather than compromises specificity. Remember me on this computer. By randomizing circulation, short circuiting distance, artificializing interiors, reducing mass, stretching dimensions, and accelerating construction, the okolhaas, electricity, air-conditioning, steel, and finally, the new infrastructures formed a cluster of mutations that induced another species of architecture.

The measure of architecture, back then, initialised bignes the floor and ended at the ceiling, surrounded by the four walls. Inherent in its very concept, yet not at all a reference for the comprehension koophaas its bignesx. October Magazine, Spring No. A pavilion cannot be compared in scale or in scope to regular architecture of any scale. It is itself a metaphor of the urban.

Another fine example has been set by the 14th Venice Architecture Biennaledirected by Koolhaas himself, which witnessed 65 nations hoping on the pavilion-chariot. Think of a coffee shop — which is a public space, but where people are glued to their own devices, logged into various social networking sites.