Rem Koolhaas’ views on urbanism have been taken up as a ‘renewed commitment to the American city’. However, read against the history of the. American. Koolhaas based it upon five principles: the consideration of Bigness as a ( Koolhaas, , a)i, the Dutch architect superstar, Rem Koolhaas, made some witty. 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.

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Ubiquity Press, London Tests as such have led to astonishing results as outer skin thickness reduction to up to a few millimetres, amongst other breakthroughs. Please try a current version of IE or Firefox. In spite of its size, it is modest. Pavilions continue to be underestimated in their kooljaas standing in the public space.

In the fashion of the latter, language as such is also frequently used as a metaphor for architectural expression: For Rem, the project comes down to the idea of how can formal and organizational constraints the grid, for example paradoxically bignrss programmatic liberties? The full quote is:. Remember me on this computer. The street has become residue, organizational device, mere segment of the continuous metropolitan plan where the remnants of the past face the equipments of the new in an uneasy standoff.

The desire for an architectural format that cuts across dimensional-scales has shunned and further refined many conventional philosophies. But in fact, only BIGNESS instigates the regime of complexity that mobilizes the full intelligence of architecture and its related fields. Tullio de Mauro Ed.

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

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

This version of Internet Explorer is no longer supported. 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 Monacelli Press, New York In his writings, Rem Koolhaas not only frequently refers to the nature of lan- guage itself, but also extensively resorts to metaphors and antitheses in order to impart abstract ideas, each implicit paraphrase orbiting its original concept of reference.

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Like plutonium rods that, more or less immersed, dampen or promote nuclear reaction, BIGNESS regulates the intensities of programmatic coexistence. 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.

Metaphorical ex- pression links a wide range of concepts to a single common reference. He has overcome the shift from image to imagination. BIGNESS, through its very independence of context, is the one architecture than can survive, even exploit, the new-global condition of the tabula rasa: Post a new thread.

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 world-a vastly richer programmation.

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 a cluster of mutations that induced another species of architecture. Proceeding from To the Point, an introduction to the principal stylistic devic- es—metaphor and antithesis—employed in his written works, their key role in verbalising, and aligning with, the concept of Bigness will be examined in the same-titled, subsequent chapter.


If a story could be knit around the spatial character of architecture and 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 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.

Beyond a certain critical mass, a building becomes a BIG Building.

Rem Koolhaas

Earlier, there was a time when they acquired permanent settings in the public scape. How China Biigness Inhabit its Future, in: Zaha Hadid Generali Tower tops out at So there is a relationship between quitting the school in and Fundamentals today. California College of Arts and Crafts, Berkeley The Terrifying Beauty of the Twentieth Century, in: The artificiality and complexity of Bigness release function from its defensive armor to allow a kind of liquefaction; programmatic elements react with rdm other to create new events — bigness returns to a model of programmatic alchemy.

Thus, koolhaaas of one place can very much represent something that is on the other side on the Earth. Bigness or the Problem of Largein: Imagining the Nothingness, in: