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Delirious New York: A Retroactive Manifesto for Manhattan Paperback – December 1, 1997
| Rem Koolhaas (Author) Find all the books, read about the author, and more. See search results for this author |
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- Print length320 pages
- LanguageEnglish
- PublisherThe Monacelli Press
- Publication dateDecember 1, 1997
- Dimensions7.3 x 1 x 9.4 inches
- ISBN-101885254008
- ISBN-13978-1885254009
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About the Author
Rem Koolhaas is the internationally known architect, a founder of the Office for Metropolitan Architecture (O.M.A.) in Rotterdam, and author of the critically acclaimed S,M,L,XL.
Product details
- Publisher : The Monacelli Press (December 1, 1997)
- Language : English
- Paperback : 320 pages
- ISBN-10 : 1885254008
- ISBN-13 : 978-1885254009
- Item Weight : 2.06 pounds
- Dimensions : 7.3 x 1 x 9.4 inches
- Best Sellers Rank: #311,508 in Books (See Top 100 in Books)
- #113 in Architectural Criticism
- #133 in Urban & Land Use Planning (Books)
- #326 in Architectural History
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The book itself then and its' structure; it starts off with a chapter on Coney Island, as being the laboratory for Manhattan; if one can make it through this first chapter, one is well positioned for the next chapters dealing with Manhattan's development, until the last one, where the author shifts gears suddenly, to get into the heads of two European celebrities of the Art & Architecture community, and basically finishes off the 'Manhattanism' process/period described in the previous chapters, thru the tales and eyes of these two. In terms of reading, a somewhat discontinuous experience, and asking the reader (once more), to find his/her bearing on a new 'platform' of thought(s) / thinking, this time centered around a newly introduced idea of a so-called 'Paranoia-Critical-Method', and the aspects of Paranoia itself. It is not quite clear why this shift is needed in view of the preceding chapters and history, and does not contribute to its core story, imho.
The book is an intellectual and theoretical approach to Planning and Architectural history, where an objectivity has been maintained most of the time, albeit one cannot miss the at times sarcastic/sceptical/comical tones, when describing rather bizarre moments and ideas in the history of Manhattan. Almost every paragraph, headed by a short keyword of its content/subject, is concluded with a transcendental thought, a 'one-liner' providing a philosophical condensation of the evolving step in the process, which in themselves are the little pearls the writer adds on a string (of the story-line).
One of the main values of the approach is that it puts Architecture, Planning and Design in an historical context that's including cultural, socio- and economic forces, as much, and most of the time, more than the Architecture, Planning and Design itself. What it tries to convey is a sense of processes beyond any one's control, where the Architect, Engineer and Designer are merely the ones providing the means to the forces that are occurring and shaping the processes. Their 'ideas' appear as makeshift, when seen against a 'bigger picture' background, their particular 'Architectural' approach or style more or less irrelevant.
The book does include at the end, design proposals for Manhattan by the author / Architect around the time of writing / conception of the book (mid-seventies), that are presented as visual illustrations of the principles discovered and described in the book. However, partly due to the scale of the graphics included (small singular conceptual 3D images) and in part due to a listing of programmatic characteristics that one has been inundated with already a lot in the book, it doesn't really add to the story-line, imho. It seems that what one would expect, based on knowing what we know now in regards to the author and his career, that is a summarizing and a valuation of the principles in terms of how they would be made to guide one in projects for the future, is a missing stepping stone.
As such, the shown projects in a way act more as a 'smoke-screen' than an unveiling of a future 'manifesto' (or set of rules), since it is not clear what is 'different' than what one has come to see before, nor what value, rejection or acceptance, is placed upon it. The Architect did not come out and valuate what the author has distilled. Perhaps that had not happened to the point of conclusion yet, but instead what is presented seems to represent a phase of mesmerizing and fascination with the subject. As such, the Architect and the subsequent work of the office remains a subject of study for me. One has to start somewhere, and this is most likely an obligatory starting point.
While I look at the remaining early skyscrapers as wondrous achievements of the day, deploying new technologies, engineering feats and splendid facades, Koolhaas sees them as charades...fakeries...follies. However ruthless or greedy the developers may have been as scions of capitalism, they no doubt enjoyed the challenges and opportunities to develop a whole new building type. Their enthusiasm and bravado is apparent in the shapes and detailing of buildings, from early Wall Street to the old towers overlooking Central Park.
Early New Yorkers were surely caught up in the heady atmosphere of 19th and early 20th century western civilization, so why would we sneer at the projects they undertook? By comparison to the decades since, their accomplishments were positively dazzling. Yes, the supergrid planning was unimaginative and highly speculative, if not catastrophic to quality of life (the only huge city in the world where the sidewalk is a garbage collection device), but as an ever ongoing work-in-progress, the city never fails to amaze, perhaps just as easily as it annoys. I appreciated Koolhaas' revelation of historical events, but it revealed little else besides the writer's hauty opinions.
What is the function of the skyscraper? During the economic boom of Reagan cycle, it is the symbol of the financial subcess, next the last crisis every skyscraper must give us a proper value. That is true, but it can mean a return to the original sense of the City, and to an architectural function of the open spaces.
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This is a cracking read. I am marking down slightly to four, as there is a lot of arty farty theoretical stuff that some people will love, but is bound to turn off some potential readers.
The Kindle version is well put together, though the effect of the illustrations is a little lost, so you might be tempted to buy a hard copy to supplement the Kindle version. One to read and read again.








