Kiruna

Kiruna is a city destined to keep being rebuilt.

Due to the threat of collapse to the existing settlement, much of the Swedish city of Kiruna, located deep inside the arctice circle, is to be demolished, and rebuilt two miles away.

New Kiruna

Subsidence caused by the mining activity, by state owned mining company LKAB, which provides the raison d'etre for Kiruna itself, has grown to the extent that the city is no longer safe.

"In a highly unusual case of urbanism, the whole town centre and its surrounding neighbourhoods are to be demolished – and rebuilt at LKAB’s expense two miles away, leaving behind some unaffected areas which will now become the western edge of the new city. The 3,050 homes that would be affected by the impact of the mining – in addition to shops, offices, schools, the city hall and the hospital – will all be bought by LKAB, knocked down and relocated. The process of moving the city will happen in phases, with the majority estimated to be completed by 2040."

I'm intrigued about how the process of moving from one city to another will unfold. Will some refuseniks remain in the old town, awaiting the inevitable slide into the precipice?

New Kiruna

Tantalisingly, rebuilding Kiruna gives the city the chance to start again. Which city, given a chance, wouldn't like to begin over, to fix the mistakes of the past - those annoying bits of leftover infrastructure where things didn't quite connect properly: the quirky changes in material and style between buildings; the misaligned changes in level of the streetscape; that bridge at slightly the wrong angle. New Kiruna, Kiruna 2.0, is a chance to make it right.

New Kiruna

Initial images of the first phase of New Kiruna, or Kiruna 4-Ever, as competition winning practice White Architects called their proposal, show a tightness of urban planning, a playful interlocking of contemporary buildings united by a crisp layer of snow. It’s a look that the old unruly town could never have achieved, while the mine looms over the old town as a portent of doom.

"The first phase of the masterplan is a new civic square, which will be home to Kiruna’s historic clock tower as well as a new travel centre (2018), facilitating connections between old and new, and a new city hall, The Crystal, designed by Henning Larsen Architects (2016). Phase 1 will also comprise a new library (2019) and swimming pool (2016) and by 2021 the Kiruna Church will be carefully demounted and reconstructed on the new

Cities and memory

Kiruna's phased development "will allow the city to ‘crawl’ along a new urban belt to its new home". But what memories will remain of the old Kiruna?

New Kiruna

In Sicily, after the town of Gibellina was destroyed by an earthquake in 1968, the new town of Gibellina Nuova was built 11 kilometers away. The site of the original city was turned into an immense artwork by the artist Alberto Burri, who encased the entire ruined city in concrete, a modern Pompeii. The buildings reduced to rubble, what is preserved are the traces of the old street plan, the craquelure of a painting scaled to the size of a town.

"And yet the Grande Cretto – which has finally been completed earlier this month, twenty years after Burri’s death – stands against the tendency of abandoned cities to be forgotten. What was broken by the quake is fixed in time. Burri’s final cretto is a momento mori because it preserves the energy of destruction."

In Gibellina the memory of the old town is preserved, the streets and buildings trapped in a Brutalist amber. The inhabitants of New Kiruna will only be able to watch as the town of old Kiruna is erased piece by piece, building by building, either by demolition or collapse into the mine workings.

The chance to start again

As a culture, we are drawn to creation myths. The superhero genre is particular creation myth is obsessed with the origin story, a tale that keeps being retold, a chance to retell the same story in a new way. In films, the reboot is a way to retell an old story in a new way. What if we could do the same with our cities? Will Kiruna 2.0 be cleaner, healthier, happier?

New Kiruna

New Kiruna

In Calvino's Invisible Cities, there is the story of Eutropia (Trading Cities 3):

"On the day when Eutropia's inhabitants feel the grip of weariness and no one can bear any longer his job, his relatives, his house and his life, debts, the people he must greet him, then the whole citizenry decides to move to the next city, which is there waiting for them, empty and good as new; there each will take up a new job, a different wife, will see another landscape on opening his window, and will spend his time with different pastimes, friends, gossip."

One can imagine that each new Eutropia is more refined than the last. The city approaches perfection. The video game SimCity allows us to construct a perfect city, and erase the bad parts or begin again if things don't turn out.

Kiruna seems destined to keep being rebuilt:

'It’s not the first time that Kiruna has had to demolish buildings for the mining to increase. “But never on this scale and never the city centre,” Peter Niemi, Kiruna’s municipal chief executive, tells me at the event. If the mining is set to continue, I wonder, is a move of only two miles enough to keep the town safe? “As far as we know,” Eva Ekelund, head of the department of land and development, replies, “but iron is under the new town centre, too.” So could the city move again in another 100 years? “It will be too expensive for LKAB to move the city again,” Peter says simply.'

Kiruna 4-Ever, forever?

Karasik

Related to the previous post on Lazar Khidekel, the artist Mikhail Karasik has created a limited edition artist's book titled Homage to Khidekel.

Karasik is one of the most important artists working in Russia today whose work is informed by the radical experiment in art and architecture at the start of the Soviet Union.

Khidekel1

The book consists of 12 lithographic prints, inspired by Khidekel's work and designs. The use of lithographs is inspired by the extensive use of lithography at the UNOVIS school where Khidekel studied and taught.

Khidekel2

Karasik has also included prints of woodworking tools such as a plane and a mortice gauge. To Karasik, these carpentry tools and the projects of Khidekel are related, the pragmatic and the visionary aspects of making architecture.

Khidekel3

Other works by Karasik include an animated version of El Lissitsky's famous childrens' book 'About 2 Squares', as well as art books exploring Constructivism in Leningrad.

Khidekel1


Previously:

Khidekel

Khidekel composition

Earlier this year, Floating Worlds and Future Cities, an exhibition and symposium in New York, brought into focus the largely forgotten figure of Lazar Khidekel, and sought to place him properly as one of the pioneers of Suprematism. Khidekel could even be considered the first Suprematist architect, and was instrumental in helping Suprematism move beyond painting towards built form, urbanism and cosmic civilisation.

Khidekel was just 14 years old when admitted to the Vitebsk school of art, under Marc Chagall. In 1919, Kasmir Malevich founded a group called UNOVIS - Champions of the New Art - which also included El Lissitsky, Nina Kogan, Nikolai Suetin and Ilya Chashnik as well as Khidekel.

In 1921, (at the age of 17!) together with Ilya Chashnik, Khidekel headed the architecture and technical department at Vitebsk School of Art, and set about implementing a radical curriculum.

"The training of architects who at the same time will be the organisers and designers of the architectural units of the blocks that will constitute the streets and cities; the training of architects who will also be able to design and plan the economic centers."
The official website at www.lazarkhidekel.com offers a tantalising glimpse of Khidekel's talents. The Suprematist works are drawings or paintings on paper, and lack the polish of finished works by Malevich or Ilya Chashnik, but are formally just as stunning.

Khidekel architecton

Suprematist composition

But it is in the architectonic works that we see Khidekel's unique talent, in translating the essence of Suprematist composition to architectural forms. His Architectons matched Malevich's own sculptural explorations, but Khidekel also went further in designing projects meant to be built, such as the Aeroclub project of 1922. As well as practical architectural projects, Khidekel continued to dream of floating cities and futurist visions of space and form. Malevich had called for his students "to show the entire development of volumetric Suprematism in accordance with the sensation of the aerial (aero) type and dynamic", and Khidekel responded with his designs for Aerograd, a city on stilts, hovering above water.

Arguably, only Gustav Klutsis with his designs for a Dynamic City was operating in the same raridied atmossphere, of a cosmic reach for architecture breaking free from the Earth.

Khidekel City on Poles

Cosmic habitat 1924

Floating structure 1923

Later, at the architectural college in Petrograd, Khidekel continued to develop his architectural ideas to more practical applications, as well as working with Malevich, Suetin and Chashnik to create Architectons and Planits.

In 1926 Khidekel created the first realised Suprematist built form, a Workers Club. It was originally credited to Malevich and published in Berlin. A restrained piece of modernism, it is reminiscent of similar avant grade designs of the Bauhaus or De Stijl architects such as Rietveld or JJP Oud.

Workers club

Workers club

In later years Khidekel continued to work on architectural projects, while continuing to create visionary drawings of structures and cities hovering just above the landscape, or orbiting the earth in space.

Khidekel floating city

Khidekel floating city

As Charlotte Douglas noted (quoted in Regina Khidekel's essay "The Trajectory of Suprematism":

"Khidekel’s distinction was that this initial vision of Suprematist structures floating in space remained a central part of his art and architecture for the next forty years, and richly informed his later development as a professional architect."
It is not surprising that architects and designers are beginning to rediscover Khidekel's and recognise his visionary works as prefiguring many later projects. In the article "Discovering Khidekel" by WAI Architectural Think Tank, Khidekel is dubbed "The Last Suprematist", still prone to dizzying spatial visions long after his peers and Suprematist mentor Malevich had retreated to a less utopian position.

Khidekel floating city, 1961

"With each brushstroke of watercolor the Bolshevik utopia of utilitarian icons was painted obsolete. With the elongated appearance of each monochromatic volume a new form of revolution was achieved. Khidekel architectural visions transcended the rhetorical games of the revolution by developing complete cities out of sublime architecture. Long before Friedman’s Architecture Mobile, Constant’s New Babylon, and Isozaki’s Clusters in the Air, Khidekel imagined a world of horizontal skyscrapers that through their Suprematist weightless dynamism seemed to float ad infinitum across the surface of earth."

Khidekel Architecton compared against Gazprom proposal,OMA

While the city hovering above the ground still remains a powerful trope in both science fiction and architectural fantasy, Khidekel's visions still manage to look futuristic, arguably more so than most of the Metabolists or Situationist projects that today feel retro-futurist, inextricably tied to the past.

Khidekel's work remains endlessly floating towards the future.

Generative De Stijl

Mondrian scrutinizing Victory Boogie Woogie

A recent competition, Elegant Algorithms, organised by Setup in the Netherlands, challenged entrants to create a digital version of Piet Mondrian's painting Victory Boogie Woogie.The results range from faithful reproduction to radical reworkings, but all are fascinating in their own way. Each one includes a link to the code, so you can also look 'under the hood' and tinker.

The original Victory Boogie Woogie was unfinished, as Mondrian died of pneumonia in New York in 1944. But even so, the progression from Broadway Boogie Woogie of 1943 is profound, the simple grid of small coloured squares becoming more fractured, and with larger colour planes floating above and behind the grid; the lozenge format adds further visual tension. It arguably shows a transition to a more three-dimensional mode of representation than the resolutely flat pictures of Mondrian's earlier abstract works.

I'd never realised that Mondrian was such catnip for generative design wonks. But it turns out there is a long history of generative design projects that take the work of Mondrian as a starting point, especially the later, pure abstract works Mondrian called neo-plasticism.

Mondify

There's a great explanation video of one of the Elegant Algorithms entries, Mondify, by Kiri Nichol:

One of Mondrian early works, painted when he was on the cusp of pure abstraction, was also the subject of one of the most famous scientific experiments into aesthetics by Michael Noll, who wanted to see if people could tell a Mondrian painting, Composition in Line (1916) from a computer generated one. His study revealed that only 28% of subjects could identify the original Mondrian.

Real or fake Mondrian?

Mondrian generators are fairly commonplace online. Darwindrian (composition of 'Darwin' and 'Mondrian') is an AI program creating painting with neo-plasticism style using a variation of genetic algorithm. It generates 20 images, and then you can select which ones you like to be used in the next generation.

Darwindrian

myData=myMondrian by CJ Yeh (2004) will create a Mondrian-esque composition based on your own personal data.

Cyber-genetic Neo-plasticism is an AI program creating Mondrian-like paintings by using interactive bacterial evolution algorithm.

While it's relatively easy to create a Mondrian-generator which can spit out Mondrian-esque compositions capable of fooling the average layperson, a recent study by a group of Korean students at Chungbuk National University has tackled the much more difficult reverse problem - trying to spot a genuine Mondrian from a raft of imitations. Their research used machine learning to understand the deeper subconscious rules that Mondrian used in this paintings that he would probably been unaware of. This has great implications in the future for the authentication and verification of works of art.

The paper, [Supervised Learning-Based Feature Selection for Mondrian Paintings Style Authentication])http://www.fujipress.jp/finder/xslt.php?mode=present&inputfile=JACII001600070016.xml), is long on maths and short on art theory, but is fascinating in its method:

"First, the Mondrian oeuvre of neoplasticism is compiled in a digital form and encoded as script. Second, based on this statistical information, a statistical generative model is built to produce pseudo-Mondrian style works. Third, the two supervised learning methods are applied to classify the collection of both Mondrian’s works and computer-generated works."

Once the machine method has learnt to distinguish the real from the computer generated, it can then be applied to other images to attempt a distinction. Their conclusion was that 'region portioning' and 'dual graph' were the most meaningful ways of distinguishing a real Mondrian from the fake.

But this knowledge also makes it possible to refine better Mondrian fakes, an arms race in the detection between the real and the simulation. A purely compositional approach to detecting Mondrian fakes is thus perhaps doomed to failed. Instead the time honoured forensic techniques of detecting forgeries based on the physical properties of the paintings seems more reliable, such as canvas analysis and paint analysis using spectroscopy.

Darwindrian

Could a generative approach to 2D images of a highly formal movement such as De Stijl also be applied to 3D design? The furniture of Gerrit Rietveld seems eminently suitable for a generative, dare I say parametric approach, as does the most complete manifestation of De Stijl in architecture, the Rietveld-Schroder House. This seems to be an area ripe for future exploration.

Glass Houses

"I’m a plagiarist man — you see, you must take everything from everybody"

Philip Johnson, interview with Susan Sontag.

With all the press jouissance over the possibility of a clone of a Zaha Hadid project in China being completed before the original, there is a historical precedent of the copy preceding the original, in perhaps the greatest act of architectural plagiarism to date. The story concerns two of the most famous buildings of the Modern Movement, The Farnsworth House by Mies van der Rohe, and Philip Johnson's Glass House.

The original in this scenario in Mies' Farnsworth House, planned in 1945 For Mrs Farnsworth in Plano, Illinois, but completed in 1951. A model was exhibited at the MOMA in 1947, at a show about modern architecture part curated by, you guessed it, Philip Johnson. Johnson was able to design and build The Glass House for himself quicker than Mies, with his project completed in 1949 and subsequently widely published in the architectural press.

Farnsworth House

Mies was understandably said to be furious, partly because he thought people would conclude that his was the derivative work. And it's not difficult to see the direct influence of one upon the other, both being essentially glass boxes, with full height glazing, and a flat roof supported by edge mounted columns giving an entirely free plan, with a central service core. There are differences of course, primarily the raised platform upon which the Farnsworth House sits, and the white paintwork. In contrast, the Glass House sits into the ground more, and with its darker colouring, sits more within the landscape than against it. In Johnson's Glass House, the corner columns together with the floor and roof slabs creates a box-like frame, whereas Mies, in moving the columns inwards, dissolves the edges and make the horizontal elements float more.

Glass House

David Holowka, in a wonderful article on his Architakes blog, calls Johnson's iterations "history's worst case of the anxiety of influence", and later recalls Franz Schulze, "biographer of both men, states in Philip Johnson, Life and Work, that Mies belabored Johnson 'not for having copied him but for trying to and failing.'"

Johnson went through many variations in his design for the Glass House, somewhere between 27 (the official view) and 79 (according to his assistant Landis Gores). As the Architakes article describes: "After 25 tries, Johnson’s tortured resignation that the Farnsworth House was not to be improved upon is on full view in penultimate scheme 26′s nearly actionable plagiarism of its plan.",

Mies and Johnson continued to have an uneasy professional relationship, working together on the Seagram building in New York. Mies visited Johnson at the Glass House in 1955, but famously refused to stay there. "After a night of drinking, Mies picked at the Glass House's details until Johnson indirectly retaliated by challenging the greatness of one of Mies's favorite buildings, Berlage's Amsterdam Stock Exchange. In a 1985 interview by Robert A.M. Stern published in The Philip Johnson Tapes, Johnson describes Mies’s quietly angry response: "I’m not staying here tonight. Find me another place to stay."

Here is a short Sarah Morris' 2010 film 'Points on a Line':

Sarah Morris "Points on a Line" from Sarah Morris on Vimeo.

Who owns an architectural idiom? After all, Mies didn't invent modernist architecture or the idea of building a house from steel and glass, even if we can admit that the Farnsworth House represents a high-water mark for Modernism. We can sense that Johnson's Glass house has crossed a boundary between inspiration and plagiarism, without being able to explain fully why. It is a fuzzy boundary, and any artistic endeavour will alway find it hard to separate inspiration from duplication. As far as I know, the rules of copyright do not apply to architecture in the same way that they do not apply to fashion. Buildings and clothes are both regarded as utility, and therefore unable to be registered.

It is only Western architecture of the 20th century that began to prize uniqueness in architectural designs so highly, and denigrate similarity and duplication in favour of a radical individuality. Johnson's building, while certainly derivative, ultimately arrives at a different destination from the Mies house. While the Farnsworth House sits against the landscape, the Glass House rests within it, and both solutions are equally valid. Unlike the Chinese clone of a Hadid design, it is not simply a context-free rip-off.

Kaufmann

Fallingwater

I'm currently reading Fallingwater Rising by Franklin Toker, the 'biography' of the infamous house, and it set me to wonder whether there was there ever a more important private client in the history of modern architecture than Edgar Kaufmann and his wife Liliane?

A successful businessman, owner of a famous Pittsburgh Department Store, EJ Kaufman commissioned some of the best known works of modern architecture, including most famously, Fallingwater, in Bear Run, Pennslyvania, by Frank Lloyd Wright.

The Toker book is excellent and detailed in describing how the Kaufmann's and FLW created Fallingwater, but for those short of time, this superb article in the NY Times by Kevin Gray summarises it brilliantly. The history of the Kaufmanns and the drama played out around Fallingwater would make a brilliant film or TV series, as Gray calls it, a Modern Gothic.

The story of how FLW designed Fallingwater is one that never fails to grow in the telling. In one version we see Wright as a blur of activity as assistants rush around feeding him pencils and paper so as not to break the creative fever that gripped him. Our collective love of creation myths (which explains why Hollywood keeps 'rebooting' superhero films), gives the creation of Fallingwater its elevated status. Perhaps it is the idea of creativity ex nihilo, of the form plucked from the ether, or the strive to understand that moment of inspiration, the divine madness of creativity, that draws us to these stories.

The legend grew that Fallingwater was drawn in 2 hours, and that Wright had not committed any ideas to paper before the most famous act of architectural prestidigitation, on September 22, 1935.

Fallingwater

Fallingwater

The design of Fallingwater had to cope with unusual living arrangements, as Liliane and Edgar had separate bedrooms and led largely separate lives. As first cousins, their marriage was essentially one of convenience rather than love, with EJ's numerous indiscretions paid a heavy toll on Liliane. While at first Fallingwater was a party house where the Kaufmanns made a great show of entertaining the good and the great, Liliane came to find it oppressive, and frequently retreated to the guest house " where she could lounge in solitude and swim in the hillside pool."

After selling the department store in 1946, EJ had little need to stay in PA with its cold dark winters, and instead became spending more time on the west coast. FLW bristled with anger and frustration when EJ Kaufmann commissioned former Wright pupil Richard Neutra to build them a house in Palm Springs, but later, when Liliane, estranged from Edgar, contacted FLW about building a retreat for herself, he never replied. ''He knew who buttered his bread." says Toker.

Things didn't end well at Fallingwater when Liliane Kaufmann died there in 1952 on a rare weekend when both her and EJ stayed there. Was it an accident, and overdose on the sleeping pills she took, or something more sinister? Her ghost is said to still haunt the master bedroom.

Fallingwater

The relationship between EJ Kaufmann and Frank Lloyd Wright is a compelling one - they argued furiously over the details of Fallingwater, but each had too much invested in the other to back away. FLW designed over 20 other buildings for Kaufmann, none of which were realised in Kaufmann's lifetime. Frank Lloyd Wright's unbuilt legacy looms large - there are over 500 unrealised designs, almost as much as the built oeuvre. The Frank Lloyd Wright Foundation seeks to preserver the legacy and oversees any attempts to build any unrealised designs, with 16 projects so far completed with an official "designed by Frank Lloyd Wright" seal of approval.

The Massaro House

One of the many buildings that FLW designed was for a little island on a lake in upstate New York, for a man called Ahmed Chahroudi, in 1950. Chahroudi had boasted to Kaufmann that "When I finish the house on the island, it will surpass your Fallingwater." But he could never afford it, nor a second design FLW produced, an eventually sold the island. A local man, Joe Massaro bought the island in the late 1997 and set about building the house FLW had designed.

Massaro house

Massaro house

This move was not without opposition. The Frank Lloyd Wright Foundation, official custodians of Wright's legacy, refused to give any assistance to help Massaro realise the plans, and argued that they owned the copyright on the plans. But a court ruled that there was no copyright, Massaro owned the island, and with it came the drawings. Eventually the argument was settled that Massaro could only describe the house as "inspired by Frank Lloyd Wright".

Eventually Wright found an architect, Thomas Heinz, willing to help him realise the project, and make it as faithful as possible to the original design. Construction began in 2000, and was near completion in 2006, when the architectural press became aware of it.

Massaro house

Massaro house

It has come in for much criticism as an ersatz Wrightian confection, with Heinz having to interpret Wright's design which consisted of just 5 drawings, a plan, a perspective and 3 elevations. Several modern features were added, such as domed skylights, superseding Wright's details that were considered outdated. Perhaps the most obvious deviation from Wright's style are the rubblestone walls, often referred to as 'desert masonry' which in Wright's designs the stones are closely pack and relatively flush. At the Massaro house the stones are widely spaced and jut out of the concrete, giving the walls a nougat-like appearance. Massaro defends this because of the need to add insulation into the walls, and thinks that Wright would have done the same to meet current building codes. But this is what happens when you build a building out of its time.

Massaro house

Massaro house

While inevitably it lacks the purity of vision that genuine Wright houses possess, it does have the essence of a late period Wright house, with huge cantilevered balconies, the strong horizontal elements countered by the massive vertical walls, the synthesis of the house with its location.

Massaro has put the island up for sale. Even in 2010, only 4 years after completion, Massaro seemed to have turned away from the house. In an echo of Kaufmann's move away to the west coast, Massaro stated "I put my heart and soul into this, but I’m spending more time in Florida now. I’m thinking of building a Frank Lloyd Wright house that he designed for the ocean."

In 2012, the house was advertised widely on the types of website that those looking for private islands would be likely to visit, with one even offering an online shopping cart where you can buy it with a single click for a cool £17 million.

Blueprints

In another interesting development, some blueprints from the original Fallingwater were made available by auction. Bidding ended in September 2012, with a top bid of £22,824. From the auction website, the description is that "the blueprints, which were discovered in Long Island, are accompanied by a letter from architect Arthur Hennighausen which reads: "The shop drawings of the 'Falling Water' steel sash were given to me as a professional courtesy at my architectural office in Waukegan Illinois by J. D. Graff who at that time was sales representative for Hope Windows, Inc. This was in the spring of 1938. No record was kept to further identify the time or place."

While an interesting piece of memorabilia, blueprints of a window detail are not in themselves useful for anyone looking to build their own version of Fallingwater. But this, and the Massaro house, raises a question about ownership and authenticity in architecture. Can a building be copyrighted? And if you own the blueprints to a house, do you own the rights to build that house?

Inevitably in this era of context-free image porn on sites like Dezeen, unscrupulous developers can plunder the archives for more than just inspiration. Zaha Hadid has recently discovered in China that imitation is the highest form of flattery, with her project for Wanging SOHO in Beijing pirated for a development in Chongqing, a 'megacity near the eastern edge of the Tibetan plateau'. Thus Hadid finds herself in the position of racing to complete the original project before the copy is finished. It's the sort of thing that would have had Baudrillard in stitches.

The simulation has overtaken the real.

Manhattan-ization

Manhattan grid

"How do I get to Broadway? ...I want to get to the center of things"
"Walk east a block and turn down Broadway and you'll find the center of things if you walk far enough."

Jon Dos Passos, Manhattan Transfer

The continuity of the gridiron gave rise to an open urban frontier that, by definition, extended infinitely. Before 1950, the urban gridiron flowed seamlessly into the continental grid, creating a continuum for which there was no interior and exterior.

Albert Pope, Zone Research, (via http://blog.nickaxel.net/)

In Delirious New York, Rem Koolhaas describes the origins of the strict gridiron street pattern of Manhattan, as commissioned in 1807 by Simeon de Witt, Gouverner Morris and John Rutherford. Even though the island was barely inhabited, the grid inscribed upon the island created thousands of city blocks, the future of the city defined and delimited.

"The Grid is, above all, a conceptual speculation. In spite of its apparent neutrality, it implies an intellectual program for the island: in its indifference to topography, to what exists, it claims the superiority of mental construction over reality.

The plotting of its streets and blocks announces that the subjugation, if not obliteration, of nature is its true ambition.

All blocks are the same; their equivalence invalidates, all at once, all the systems of articulation and differentiation that have guided the design of traditional cities. The Grid makes the history of architecture and all lessons of urbanism irrelevant. It forces Manhattan's builders to develop a new system of formal values, to invent strategies for the distinction of one block from another.

The Grid's two-dimensional discipline also creates undreamt of freedom for three-dimensional anarchy. The grid defines a balance between control and de-control in which the city can be at the same time ordered and fluid, a metropolis of rigid chaos."

Koolhaas describes Manhattanization as a process, an irresistible force of artifice conquering nature.

Manhattan Transfer Manhattan Extended

Manhattan Extended

In 1922, long after the grid had been filled, the famed engineer T Kennard Thomson proposed extending Manhattan island to the south, with a land reclamation project that would add 'Six square miles of New Land' and '12 Lineal Miles for New Wharves. Kennard's proposal was a cut down version of his earlier 1916 plan for a Really Greater New York which planned over 50 square miles of additional land. The plan included filling in the existing East River and building a New East River channel to cut through Long Island.

Extend NY

The conceptual project ExtendNY by Harold Cooper goes even further, extending the Manhattan street grid around the world.

Extend NY

Mapping a rectilinear grid onto a sphere is not a straightforward exercise, but the result is a Google Maps overlay that allows you to see on what NY 'street' you live. (I live on the corner of 63, 696 Street and East 10794 Avenue)

Like Bud Korpenning's futile search for the heartbeat of a city in Manhattan Transfer, the city becomes ever more unknowable, less well defined, fuzzier, it extends everywhere. Everywhere is simultaneously center and periphery.

We are all New Yorkers now.

Long Thin Yellow Legs of Architecture

Coop Himmelblau - Long Thin Yellow Legs of Architecture

Continuing on the theme of Constructivist sculpture in Rotterdam, there is this remarkable piece by Coop Himmelblau, first built in 1988 and still present today. Called the Long Thin Yellow Legs of Architecture, it was made as part of the Sculpture in the City project of 1987.

Coop Himmelblau - Long Thin Yellow Legs of Architecture

As the Sculpture International Rotterdam site describes it:

"A series of sculptures was planned to link the Central Station with the Veerhaven, as part of the event entitled The City as a Stage. Various internationally renowned artists and architects were invited to contribute with a temporary or permanent work. Coop Himmelb(l)au’s sculpture is one of the few works in the Sculpture in the City project that was to acquire a permanent location in Rotterdam. It was originally intended to be located at Oud’s café De Unie (The Union, with its façade in De Stijl architecture) at the Westersingel. However, the sculpture was so big that a different spot had to be found – that was to be on the corner of Vasteland and Scheepstimmermanlaan."

Coop Himmelblau - Long Thin Yellow Legs of Architecture

Coop Himmelblau - Long Thin Yellow Legs of Architecture

A sculpture was also designed by Zaha Hadid, sadly no longer in situ, and while I remember seeing it, there is absolutely no information available on it online. It is almost as if it has been erased from her oeuvre. Does anyone have any images of it?


Previously:

Boompjes 2

Boompjes observation tower, OMA, 1980

Following on from the previous post about OMA's Boompjes project from 1980, here is the amazing image of the observation tower that formed part of the scheme. The tower is a pure Constructivist monument, a homage to Leonidov and El Lissitzky. Compare it to Lenin Tribune design of El Lissitzky from 1924.

Lenin Tribune, El Lissitzky

As this article on the fantastic Russian Utopia site puts it:

The tribune designed by El Lissitzky became an icon of the Modernist movement. Leninism became a dogma. When both were subjected to revision, it became clear that invigoration socialism was more difficult than updating Modernism.

If you don't find this worms-eye axonometric view of a Constructivist tower in Rotterdam totally awesome, then you're probably reading the wrong blog.


Previously:

Boompjes

My favourite architectural image is on display at the moment. Seeing something 'in the flesh' that you've looked for so long in a book was one of those knee-wobble experiences, a pure hyperkulturemia moment.

It's this:

Boompjes housing OMA

It's on display as part of the OMA/Progress exhibition currently on at the Barbican. Overall I found the exhibition to be rather disappointing. I am a huge fan of the work of OMA/ Rem Koolhaas but this exhibition seemed to try too hard to downplay the heroic imagery and signature form-making and instead be wilfully as scrappy as possible. In an attempt to counteract the 'starchitect' syndrome and demonstrate the amount of research and the full design process it becomes rather impenetrable. There's much to explore but not much eye candy. Which is why the image of the Boompjes housing project really stands out. It's beautiful.

This has been just about my favourite architectural representation ever since I first saw it in the catalogue of the Deconstructivism exhibition at the MoMA in 1988, curated by Mark Wrigley and Philip Johnson.

It's a triptych created by OMA as a design research project for a housing on the Boompjes in Rotterdam in 1980.

Here's what OMA say about this project on their own website:

At the end of 1980 OMA was asked by the city of Rotterdam to conduct a study of high rise building in the city, and to illustrate the investigations with a planning proposal for a site in the centre. In consultation with the Town Planning Department, a site was selected on the Maasboulevard along near the Maasbridges. We see the angle between the river and the lower side of the grid as a 'hinge' between the city and the river. Here the river is closest to the centre. The shifting of the centre through the injection of gigantic buildings in the second reconstruction makes this point most suitable to take over the role of the 'window' in the disclosing of the riverfront. The site is peculiar. On one hand it is embedded in a network of traffic lanes, like the new suspension bridge across the Maas whose approach makes its way into the city through two inexplicable twists. On the other hand there lies a unique opportunity to connect the river with the city. The city is visible, but hardly accessible; any structure will be noted in passing, at bewilderingly different speeds and angles.

The building and the bridge are designed as an undetachable whole. Built as a composition of towers inserted in a slab, the project carries on the experiments in slaboid mutations and new building types that were done after the war in the bombed areas. It forms a transparent screen along the riverfront. On the riverside the screen acts as a row of stone towers against a glass horizon, introducing a skyline in the Rotterdam skyline, and on the city side it acts as a stone slab with glass towers and slits, that portray pieces of the river. Due to their different angles, the glass surfaces on the city side reflect the light in different directions and mostly they only reflect air and water, not buildings. The building is designed toward the kinetic experience, caused by the passing of the site with different speeds across the bridges and the boulevard: The towers all have a different angle to the slab: some fall backwards, others are contained, others twist away and the steel tower has altogether escaped.

The average height of the building in 72 meters. For a tower this is not so high, for a slab it is (according to Dutch standards). The composition of these elements in this project claims a fair height to be effective in the skyline of the Rotterdam harbour, where the juxtaposition of extremely high constructions with lower city districts is a frequently appearing image.

Now that the city nears completion, the riverfront – more precisely, the so-called Maasboulevard, a curved dike that protects the rest of the city – remains under-exploited and is one of the last frontiers for further development. The two structures for Rotterdam are located exactly at this point; they form a ‘cornerstone’ of the old ‘modern’ centre, and face, across the fault, the multitude of anti-modernist revisions.

This project had a triple purpose: to activate the riverfront; to propose a ‘solution’ for the bridgehead of the old bridge that will become redundant after the inauguration of the new one; and to suggest an apartment building for a site against the old bridge. The site is peculiar: one side is quayside, the other is formed by a riverside highway, one the side of a bridge. It is visible, but hardly accessible; any structure on it will be noted in passing, at bewilderingly different speeds and angles.

There's so much to enjoy in this image - more than you can make out in this small version above, and like all great art rewards patient engagement. It is not a painting, nor is it a traditional architectural drawing, even if it can be read alternately as either. The image mixes and collapses several modes of representation onto one composition, which might be a fairly common concept today but wasn't back in 1980, and owes more to Suprematism than traditional architectural renderings. It is not an image that can be 'read' easily, it does not illustrate the Boompjes proposal but is an exploration, part of the design process. It collapse a huge number of influences and themes onto the space of the drawing. In my opinion it does not represent the project - it is the project.

The central part of the composition in the middle panel is an isometric representation of the site and OMA's proposal, which consists of a slab block articulated by with a number of projecting and slanting towers ("experiments in slaboid mutations"), a Constructivist viewing platform/ tower, and a number of other urban interventions. Extending beyond this is the urban context, with certain landmark elements, such as the Maas river and the two bridges the Willemsbrug and the Spoorbrug. There is also the White House, a Rotterdam landmark as a prototype skyscraper and one of the few buildings left standing after the Nazi bombardment in the Second World War, delineated but not filled in, as our several other nearby tall buildings, shown to provide context. There is also a small drawing of the building plan.

Boompjes housing OMA

The isometric view of the main building with its five glass tower elements are reflected below, each given its own colour. Viewing this in 1988 I read these as the structure's virtual reflection, its presence in a Gibsonian cyberspace. Thus the drawing shows the proposed building but also its own mediation. The tower element is a pure Constructivist composition inspired directly by El Lissitzky's platform for Lenin. In the right hand panel is a tiny city map, a larger scale plan, and some other unknown elements. Similarly, the left hand panel contains a series of shapes, which I think relate to the programmatic use of each of the four tower, plus some attempts I think to explore the 'kinetic' view of the project from different viewpoints and speeds, again a homage to Suprematism and a similar concept to that of the early work of Zaha Hadid.

![Boompjes housing OMA] (http://www.kosmograd.com/newsfeed/images/boompjes/boompjes_03.jpg)

In the book Rem Koolhaas /OMA by Robert Gargiani, he examines this project as an example of Koolhaas' Contextualist period:

'The concept of Contextualism was critically examined in the project for the complex of the Boompjes in Rotterdam, prepared by Koolhaas in 1980-82 and commissioned by the City Government. The lot is outside the historical centre, on the banks of the Meuse along Maasboulevard, near the Spoorbrug and the Willemsbrug. This area was emblematically chosen by OMA, without any indication from the city, for its character as a residual zone in a content that was even more chaotic and varied than that of the Binnenhof, at the converging point of different sectors of the city that had been razed by bombing during World War II. The area belongs to the category of the Terrains Vagues of Constant, and therefore particularly relevant for the expression of Contextualism without any precise character. The fact that the government was interested in testing "the impact of the high-rise building on the city-scape", also following the success of Delirious New York, allowed Koolhaas to invent a volumetric situation based on that of the skyscrapers of New York, like the Waldorf-Astoria Hotel and Rockefeller Center, specifying a functional program on the models of the New York hotel and the Soviet workers' club. The complex. 72 meters in height and composed of the assemblage of multiple volumes, is configured according to the criteria of Malevich and Ferriss as an abstract edified bulk, "designed from the outside in", as Koolhaas put it.

Boompjes housing OMA

The other drawings OMA created for this project do not really interest me (apart from a fantastic worms-eye axon of the Constructivist tower, of which more later). They are about building form, concrete proposal. Whereas the isometric triptych, called the Rotterdam Summation in the MoMA catalogue, is about urban appearances, the self-image of the city.

It's clear to see the development of themes in this project with subsequent OMA projects, but the influence of this image upon the realm of architectural representation should also not be underestimated. I shall be going back to see it again at least once before the exhibition ends on 19th Feb 2012.