Rem Koolhaas: an Architecture of Innovation Daniel Fox

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2008 Rem Koolhaas: An Architecture of Innovation Daniel Fox

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by Daniel Fox

22 he three Master Builders (as author Peter Blake refers to them) – Le Corbusier, Mies van der Rohe, and Frank Lloyd Wright – each Drown Hall (1908) had a considerable impact on the architec- In 1918, a severe outbreak ture of the twentieth century. These men of Spanish Influenza caused T Drown Hall to be taken over demonstrated innovation, adherence distinct effect on the human condi- by the army (they had been to principle, and a great respect for tion. It is Koolhaas’ focus on layering using Lehigh’s labs for architecture in their own distinc- programmatic elements that leads research during WWI) and tive ways. Although many other an environment of interaction (with turned into a hospital for Le- architects did indeed make a splash other individuals, the architecture, high students after St. Luke’s during the past one hundred years, and the exterior environment) which became overcrowded. Four the Master Builders not only had a transcends the eclectic creations students died while battling great impact on the architecture of of a man who seems to have been the century but also on the archi- influenced by each of the Master the flu in Drown. tects of the century and beyond Builders in some way. In its history Drown Hall has as well. Their personal styles and Koolhaas’ early career was slow- also housed bowling allies building preferences, therefore, do going; he first studied scriptwriting in its basement. indeed transcend their body of work at the Dutch Film Academy before and can be seen in architectural moving to study architecture at the styles of today. One such architect Architectural Association School is the Dutch-born Rem Koolhaas, of Architecture in London. He also who is world-renowned not just studied at Cornell University in New for his architecture, but also for his York before founding the Office for 1887 Riots complex yet provoking theories on Metropolitan Architecture (OMA) in the urban environment. Koolhaas’ the Netherlands in 1975. Koolhaas process in approaching an archi- and OMA did not have a significant Lehigh’s students were tectural problem can be described impact on the actual built environ- dismayed with the lack of as enigmatic at best; the depth and ment until the 1990s. Much of the support the administration breadth of his work, while it can firm’s early work consists of a series had towards the football pro- be examined and dissected based of competition entries (mostly un- gram. As a way to celebrate on his theories, does not exude a built), unrealized structures (some the team’s first win of the singular architectural style. Is he a actually unrealizable), and the shap- season, the freshmen burnt Modernist? Is he a Postmodernist? ing of architectural theory under the down the rickety stands that Is he Deconstructivist? Since fitting direction of Koolhaas. His first book, they saw a disgrace. The him neatly into any one of these Delirious New York (published 1978), stylistic niches is almost impossible, set the tone for Koolhaas’ future tradition of excess at Lehigh it is imperative to jettison all no- theories and buildings by using the football events has followed tions of style when tracing Koolhaas’ concept of a “retroactive manifesto” since. professional development. It seems to establish his theoretical stand- as if a study of his work is best point on the development of the begun by establishing the fact that urban condition in America. he is deeply concerned with how Delirious uses New York City as a simple “space” can be transformed “study model” of sorts, and traces into an “environment” which has a the architectural history of Manhat-

23 tan through the construction of some of its most well- in effect, he is concluding that the city in itself is a contra- known landmarks (such as Central Park, Coney Island, diction and will forever be a contradiction, in that the “the and the Empire State Building). Before delving into a Program” must be present in some form but at the same historical survey, however, Koolhaas puts forth his theory time have a minimal effect on the built environment. This of Manhattanism, which basically purports that Manhat- allows the chance-like nature of human life to penetrate tan has been formed around a “culture of congestion” the physical fabric of the city, which is a concept that un- with the city block being the only source of organization derlies much of his later built work (which in most cases amidst the chaos of rapid construction and change . Ac- is smaller in scale but nonetheless echoes the sentiment cording to Koolhaas, “Manhattan’s architecture is a para- of the urban theory proposed here). digm for the exploitation of congestion,” with the desire Delirious New York no doubt lays the foundation for of man to live in a world surrounded by artificiality (“to Koolhaas’ future theoretical texts, which are larger in exist in a world totally fabricated by man”) as the prima- physical weight and size but not as deep in content as this ry drive behind such congestion . In fact, throughout the first seminal work. S, M, L, XL (published 1995) is a tome course of the book, Koolhaas establishes that it is precise- which categorizes all of the built and unbuilt architectural ly human desires, fantasies, and obsessions that have not works of Koolhaas and OMA in order of increasing size just shaped congestion itself but also the nature of that and importance (with a radical design by graphic artist congestion. The penchant for ignoring the historic nature Bruce Mau). Interjected within this so-called catalog are of a building’s exterior while planning for the interior theories relating to the various works of Koolhaas and According to Koolhaas, “Manhattan’s architecture is a paradigm for the exploitation of congestion,” with the desire of man to live in a world surrounded by artificiality (“to exist in a world totally fabricated by man”) as the primary drive behind such congestion.

creates a “schism” or “lobotomy” in the architecture of OMA, with probably the most important being Koolhaas’ Manhattan, but it is precisely that schism which allows the theory about “Bigness” in architecture. “Bigness,” as rapid changes of the city to not affect its overall architec- he describes it, is “ultimate architecture,” architecture tural character (defined by the block and the high-rise). that has gone beyond a certain scale to the point which In the end, however, the “human obsession” to reach a “the size of the building alone embodies an ideological finite destination in terms of architectural development program” . Koolhaas wrote that the basic principles of has led to the need for a “rebirth” in Manhattan’s future to architecture (composition, scale, proportion) are “moot” be defined by the concept of mobility and the recogni- when a building “acquires” Bigness, and that the “’art’ of tion that “there is no destination” in the development of architecture is useless in Bigness” . Throughout his ex- a city . His proposal for such future development, which planation of the idea that Bigness does not simply refer to he termed La Villette (and also bears a resemblance to a large or massive building, but rather more to collections Le Corbusier’s Radiant City concept), involves a series of of buildings or structures (the city); in this way, he is once “programmatic bands” being laid end upon end to form again commenting on the human experience created by the structure of the city; the insertion of random elements architecture, much like in Delirious New York. Bigness was into such order would in turn increase the possibility for indeed a part of Delirious New York (although it was not “unplanned encounters” and an increase in “social en- explicitly mentioned), as the idea of looking at the overall ergy” . This futuristic, almost utopian, city-scheme repre- picture of the city rather than focusing too much on the sents the culmination of the gamut of complex and almost minute details of a “Program” was heavily stressed as the incomprehensible ideas presented in Delirious New York; key to success for the theory of Manhattanism.

24 The span of Koolhaas’ work in theory does not end where the ideas for his architectural projects spring forth. there, however; there are a few more ideas of his which The project most exemplary of his theories is prob- are not as terribly pivotal as the ones shown in Delirious ably his urban planning scheme for the city of Euralille, New York and S, M, L, XL but that nonetheless constitute France, which was physically realized in 1994. The city’s important links to understanding the thinking behind his “relevance,” so to speak, had just been transformed architectural work. The Harvard Design School Guide to by the extension of France’s TGV network to include Shopping (published 2002) is a book which espouses the London, England (thanks to a tunnel connecting Britain idea that shopping is the “last remaining form of public to the mainland). The layout and character of the new activity” and that shopping greatly influences the fab- Lille is a direct product of Koolhaas’ Bigness theory; the ric of the urban architectural environment through the architecture itself is not so much important as the myriad development of such entities as “mega-stores” and the functions and activities which the architecture brings to observed movement of shopping malls from the city to a city-turned-transportation hub. The project is centered the suburbs and back to the city again . In effect, Kool- near the heart of the city, and the program (carried out haas and his students at Harvard (who aided in gathering by OMA as well as other firms) focuses on that area so material for and composing Shopping) are proposing that as to not disturb the rest of the existing urban fabric. It capitalism and materialism have ultimate control over appears that the result of Koolhaas implementing his the architecture and structure of a city; since individuals’ Bigness theory in this context is twofold: one, due to the movements and experiences are essentially tied to the scale and sheer modernity of the structures erected, the location and layout of such “necessary” centers to obtain city automatically assumes a new aura of importance, and merchandise, he purports that architecture seems to cater two, the interactions of people within the confines of Lille more to retail and the successful incorporation of such is forever changed due to the juxtaposition of seemingly outlets into every part of the built environment than ever incompatible activities with one another. The Congr- before. Speaking of mega-structures which encourage expo (or Lille Grand Palais, the only building actually the movement of large amounts of goods at wholesale designed by Koolhaas in Lille) is a perfect example of prices, Koolhaas, while he acknowledges the prevalence this second result, as it is a structure which contains three of such shopping centers in today’s society, nonetheless distinct zones with three distinct functions: an exhibition condemns them under the category of promoting what he hall, a congressional conference center, and a concert calls “Junkspace.” To Koolhaas, “Junkspace” is “what re- hall (known as the “Zenith”). These three auditoria are mains after modernism has run its course,” space whose placed back-to-back in plan, and the spaces capital- over-accommodation in the end makes it quite unaccom- ize upon Koolhaas’ penchant for interaction through the modating . Over-sterile, infinitely-expandable, and “con- incorporation of glazed walls on the interior (although tinuous” are all qualities of Junkspace; it is space which the Zenith is completely clad in black concrete) and cor- is difficult to process and whose over-simplicity leads to rugated translucent polyester as the exterior shell, which undisciplined navigation and circulation. It seems as if affords the transitional foyer space a bit of interaction Koolhaas sees Junkspace and the “architecture of shop- with the outside world through incoming daylight. All of ping” in the same light; both are designed to appease this is packaged in a pretty banal, oval can-like shape, the consumer, and yet both lead to a waste of space and a almost reminiscent of a sports stadium; but once again so-called cheap experience for the individual partaking one must remember that Bigness is not about spectacle in the architecture or the environment in question. in the details but rather spectacle in the massiveness. After establishing that Koolhaas’ theories are intently More than just the unexpected interaction of the differ- focused on defining the urban environment as a space ent individuals who utilize these somewhat dissimilar in-and-of itself that inevitably incorporates Bigness and functions (which now find themselves under one roof) should attempt to avoid Junkspace, one can see from and the interaction of the spaces through materials,

Astronomicum Caesareum - title page “The Emperor’s Astronomy” by Peter Apian (1495-1552) was dedicated to The Holy Roman Emperor, Charles V and describes the mechanics of a geocentric (earth-centered) universe. Within three years, The Emperor’s Astronomy was surpassed by Copernicus’ De Revolutionibus, Courtesy of Special Collections, Lehigh University Libraries

25 Hours of the Virgin The presentation in the temple: Mary presents the Christ-child to Simeon (Luke 2:22-39), Book of Hours of Paris use, in Latin, 15th century manuscript, Courtesy of Special Collections, Lehigh An image from Plutar- University Libraries ch’s Parallel Lives, circa 1470-1471. Courtesy of Koolhaas introduced an “unpredict- Special Collections, Lehigh University Libraries. able” element into the program (a la Delirious New York) which allows construction of the Kunsthal in Rot- elements, Koolhaas envisioned for interaction: the walls between terdam. This project required a interactivity as stemming from the different zones are moveable, which program of exhibition spaces, an circulatory system of the building. allow for a myriad of combinations auditorium, and a restaurant to be The backbone of this system is a se- between the three sections and in combined under one roof; addition- ries of ramps which create a prom- turn a variety of functions which can ally, the site in question presented enade architecturale (somewhat like be accommodated. a challenge in that it is bisected by that created at Villa Savoye) which Going back a bit to 1992 takes a highway. Instead of focusing on crisscrosses the interior of the Kun- one to another important step in the interaction of space through sthal and creates a very disciplined Koolhaas’ architectural career, the materials and mobile architectural user experience. Although this may

26 sound formal and “un-Koolhaas,” it and stability systems” . Koolhaas alongside. The user experience is really is not; the path through the also arranged the spaces within the definitely key here and is defined building is by no means predictable Casa da Music according to primary by a circulation system which leads and the dramatic layering of spaces and secondary importance, whereas individuals vertically through the which occurs as a result of the path in the Congrexpo the spaces were platforms; juxtaposed next to these is distinctly a Koolhaas trademark. simply arranged in a linear fashion zones and the circulatory ramps are Even though the materials used (he compensates for the fact that the seating areas with generous views in construction (concrete, traver- functions of the spaces are similar of various parts of Seattle. Koolhaas tine, glass planks, and corrugated in this instance by outfitting them in in this instance (much like the Casa plastic) do not create the same varying materials, such as “homey” da Musica and unlike the Kunsthal interior and exterior translucency wood for the main hall and harsh and Congrexpo) allows primary of the Congrexpo, they, along with geometric tiling for another room). and secondary spaces to inform the irregular lighting scheme, are Also, the circulatory system is not a the seemingly-arbitrary exterior consistent with Koolhaas’ theory strictly-defined promenade archi- structure (a glass shell crisscrossed of architecture experience in that tecturale experience, but nonethe- by steel tubing); for instance, the they eschew continuity and, in turn, less is designed in such a way as to resting areas cause the “pulled” Junkspace. make the user excited and sur- effect witnessed on the shell’s form Junkspace appears plentiful, prised. The user experience (which to create lateral instances on the however, at the Casa da Musica is so important to Koolhaas’ design exterior that maximize sunlight and concert hall in Portugal (designed solutions) is even further enhanced heighten the user’s feeling of spatial by Koolhaas in 2001 and completed by the glazing which separates the tension. Aside from increasing user by 2005), even though in reality it transitional space from the main interactivity with the library through is not. This structure, whose design concert hall, an unusual move. the intersection of the “book and the was originally conceived by Kool- Koolhaas was definitely subscribing byte” and the creation of a visually haas (in a smaller scale), as a design to his love for a “culture of conges- stimulating “path” to follow through- for a home, incorporates an main tion” and Bigness with this commis- out, Koolhaas uses the concept of concert hall, a smaller auditorium, sion, and, without knowing of these Bigness to make the library plain educational spaces, and even a VIP two theories of his, it would seem fun. Oversized graphics (thanks to lounge in a bold and highly sculp- daunting to try and understand the the aid of graphic designer Bruce tural shell. Much like the Kunsthal thinking behind this organized, yet Mau) make the user more comfort- (which was essentially a box), the internally chaotic structure. able with navigating the structure, Casa da Musica’s simple concrete The Seattle Central Library, and the irregularity of its layout exterior is deceiving, as the interior completed in 2003 by Koolhaas and forces exploration and discovery. program is actually quite complex. OMA, uses basically the same prin- With Koolhaas’ design, the library is Koolhaas in this instance worked ciple of layering space as the Casa no longer a place to simply gather from the inside out by deciding on da Musica. His mission here was to and disseminate information, but the shapes and forms of the various unite the realms of printed and digi- rather a place to interrelate and spaces and then fitting them togeth- tal information under one roof, since exchange as well. er (along with transitional spaces) Koolhaas recognized that a truly Thus far, a few of Koolhaas’ most into a compelling and unique shape. modern library would not be com- pivotal built projects have been dis- This juxtaposition and spatial layer- plete without a seamless integration cussed, and it can be seen that they ing is reminiscent of the Congrexpo, of both. Unlike a traditional library, are for the most part very public except in this instance the layering the actual book stacks form only spaces. It is equally important, how- is a bit more dynamic; for instance, one out of several vertically spaced ever, to examine his work in other the main hall is like an autonomous “platforms,” with such elements as a areas of society as well, namely in object hanging within the build- café, a librarian headquarters, and the educational and residential sec- ing’s core, and it even has its own a digital research center known as tors. His well-known Educatorium, “structural envelope” and “gravity the “Mixing Chamber” included designed for the Uithof University

27 campus in Utrectht, the Netherlands (and completed in could almost be termed “three houses in one” . Koolhaas 1997), once again breaks stereotypes. The Educatorium even allowed the man to feel as if he is in the outdoors (which is a name purely fabricated by Koolhaas to sug- without having to actually leave the house by completely gest a “machine of learning”) is a mixed-use facility that encasing the second floor, or the living floor, in glass (the houses both examination rooms and common recreation- other two floors are constructed in concrete). Even in al space for students. In order to appropriately define a large-scale housing project such as the Nexus World these two different functions of the interior space (which, Housing commission in Fukuoka, Japan (completed in in traditional Koolhaas fashion, are presented in layers), 1991), Koolhaas manages to create a successful living Koolhaas takes somewhat of a different approach than in space while preserving his love for spatial layering and his other works. Instead of separating the learning zone dynamics (the rooms within each house arranged verti- from the recreation zone by hovering spatial platforms or cally). For this scheme he designed tightly-clustered thin and translucent interior walls, he continues the thick housing blocks while still maintaining a sense of individ- concrete line of the roof and folds it upon itself to create uality within each unit through various Japanese screens the necessary division. He also transforms what could be incorporated into the units and the undulating roof-forms a banal user experience by such “unexpected” program “floating” above the blocks as a whole . He manages to elements as laminated holographic film to the make the make Bigness work with residential architecture in a way glazed exam rooms more private (while still retaining which is neither terribly imposing nor bland, and his ob- their sense of Bigness) and the melding of circulation session with the organizational properties of “the block” space with rest or “pause” space . Speaking of “unex- (seen in Delirious New York), shows through clearly. pected” program elements, take another Koolhaas stu- As it can be seen in the previous architectural ex- dent center, the McCormick Tribune Campus Center, this amples and in his theories, Koolhaas does not fit neatly time designed for the Illinois Institute of Technology (IIT) into a particular style category; while each of his projects in Chicago (completed 2004): adhering to his theory from show clear signs of his influence through certain key Delirious New York that unplanned encounters increase characteristics, a uniform style which can be summed up social energy, he positioned the new center directly un- in few words is not created. However, it is important to derneath the Chicago El tracks. The result of such posi- note that the qualities which transcend his architectural tioning was the need for a cylindrical tube to encase the works seem to stem from his connection to the Master tracks, a tube which in fact intersects with the roof of the Builders, as each of them has definitely had an influ- center. This dramatic interaction of old and new, of the ence on the course of Koolhaas’ work in some way. Le historic and the modern, is somewhat uncharacteristic for Corbusier, who Peter Blake calls the Master of Form, and Koolhaas but nonetheless creates spatial excitement and Frank Lloyd Wright, dubbed the Master of Space, are the an energy which makes the student center a lively hub- two individuals with whom Koolhaas probably shares bub of activity. the strongest connection. Aside from their heavy use of Spatial dynamics are not lost on Koolhaas’ residential concrete, he and Corbusier share a liking for the prome- commissions, either. The Maison à Bordeaux in France nade architectural and in general establishing controlled (completed in 1998), for example, is a multi-storey house circulation routes, a concept featured most prominently designed for a family with a disabled member confined in Corbusier’s Villa Savoye and in Koolhaas’ Kunsthal and to a wheelchair. In order to make circulating the house Seattle Central Library. Corbusier was also not afraid to easier for the man and also to be able to take full ad- experiment with new and different forms in his projects vantage of the hilly site, Koolhaas took his penchant for (best seen in his somewhat oddly-shaped buildings for human-architecture interaction to a new level; just as the capital at Chandigarh, India and the Church of Saint- has been seen in his other projects, Koolhaas used three Pierre in Firminy) like Koolhaas, but it does seem for the floors to create distinct spatial layers. He then introduced most part that the forms he employed were a bit more ra- a large lift (dubbed the disabled individual’s “office”) tional than those Koolhaas tends to (both men do seem to which can ascend and descend via hydraulics to each of value purity of form, though, which for Koolhaas applies the three floors, allowing for ultimate mobility in such a mostly to the exterior form of his works). Koolhaas’ urban large space. As the lift is parked at each of the three lev- theory on Bigness also appears to be similar to Corbusi- els, the character of each space changes, creating what er’s notions about the ideal urban environment; urban ar-

28 chitecture must not be so concerned with the details but Apian Sky rather with the overall effect and experience created by A map of the sky showing 48 individual constellations the collectivity of structures and buildings within the city as individual figures from Peter Apian’s book “The (Corbusier’s overpowering Villa Contemporaine concept Emperor’s Astronomy” written in 1540. Courtesy of for the city of Paris exemplifies this greatly). Special Collections, Lehigh University Libraries. Wright and Koolhaas seem to connect on a more theoretical level – both highly concern themselves with the crafting of dynamic space and establishing a user-friendly relation- ship of individual spaces to the entire program (which shows up in various forms throughout Koolhaas’ work and becomes almost a “trademark” for him). Wright, however, usually used the organization of his spaces about a central core (in most of his projects, which were residential, this central space was the living room), whereas Kool- haas tends to organize spaces usually without a distinct center “pivot,” although one could argue that the main music hall at the Casa da Musica goes against this claim. Nonethe- less, both men’s scope of work is full of projects which rely upon a dramatic and dynamic flow of interior space to keep the user interested and to create not simply a place to “inhabit” but rather a place to “experience”. Mies van der Rohe, who was not so much

29 experience. Exposition also forms a key programmatic element in architectural work for both of these men, as both Mies and Koolhaas consistently introduce transparency and translucency into their designs through glass and other similar materials. In the end, the creation of an “architectural experience” is precisely the undercurrent which runs through the gamut of Koolhaas’ works and unites his architecture without establishing “style”. Through care- ful attention paid to space through layering, the use of an exterior shell which does not explicitly belie the interior program, and a proclivity for “Bigness,” Koolhaas creates an architecture that even goes beyond style. Employing a “style” or de- signing for the sake of a style can result in buildings with little character or depth, but Koolhaas chooses instead to “change it up” as frequently as possible and to not rest on his laurels. In this way he does not simply copy from the Master Build- ers which preceded him but rather expands upon their thinking and ideas through his projects and theories. Innovation is the term which could best be used to describe his work, and it is precisely his innovation (which comes from reasoning and not simply for the sake of innovation) which will carry him and his architecture through a time when changing styles and tastes make it impossible for a successful architect not to be an innovator.