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I somehow stumbled upon this transcript from Columbia University’s Graduate School of Architecture, Planning and Preservation (GSAPP), covering a talk that architect Rem Koolhaas did at the school back in, I think, 2014.
The title: “Preservation is overtaking us.” It’s all about how his firm OMA thinks about and approaches preservation.
The overarching theme is that preservation, for them, has become a kind of refuge from the market forces – which they call the “The ¥€$ Regime” – that currently drive architecture and demand constant novelty. It is refuge from “starchitecture.”
Here is an excerpt:
At some point, I don’t know who was responsible, the word, “starchitect” was invented. And we all know what it is: a term of derision. And at some point, it becomes very hard to avoid. I would say that preservation is, for us, a type of refuge from this term. What we are hoping to do is propose a number of strategies in which we are working to undo, or escape, from this label.
And here is a summary of “OMA’s Preservation Manifesto” taken from the GSAPP transcript:
Starchitecture is dead
New forms are no longer relevant
Preservation is architecture’s saving retreat
Preservation creates relevance without new forms
Preservation is architecture’s formless substitution
It’s a substantial read, but a fascinating one. In case you don’t get to it (understandable), I would like to leave you with this final excerpt:
What we started to do was look at preservation in general and look a little bit at the history of preservation. Now, the first law of preservation ever defined was in 1790, just a few years after the French Revolution. That is already an interesting idea, that at the moment in France when the past was basically being prepared for the rubbish dump, the issue of preserving monuments was raised for the first time. Another equally important moment was in 1877, when, in Victorian England, in the most intense moment of civilization, there was the second preservation proposition. If you look at inventions that were taking place between these two moments—cement, the spinning frame, the stethoscope, anesthesia, photography, blueprints, etc.—you suddenly realize that preservation is not the enemy of modernity but actually one of its inventions. That makes perfect sense because clearly the whole idea of modernization raises, whether latently or overtly, the issue of what to keep.
I like the notion that preservation is one of the inventions of modernity, rather than an enemy of it.
My friends in New York tell me that if you want to sell a luxury residential building, you need a name brand architect. People care about architecture and it’s part of the buying process: “Oh, it’s a Herzog building.”
To that end, Toll Brothers City Living just released the following video for their 121 E 22nd project in New York. If you can’t see it below, click here. What’s notable, is that it is OMA’s first full building in New York. So the story is: star architect + first building in the city.
[youtube https://www.youtube.com/watch?v=dSQq8W8od9g?rel=0&w=560&h=315]
But there’s more. It’s almost unbelievable that, until now, OMA hadn’t designed and constructed a full building in New York. I reread this Dezeen article 5 times just to make sure I wasn’t missing something.
So much of Rem Koolhaas’ career (founding partner of OMA) is centered around New York City. In 1978, he published Delirious New York, where he both dissected and celebrated the city’s “culture of congestion.” Oysters at the downtown athletic club, anyone?
This book was so influential that I bet you’d be hard pressed to find an architect that doesn’t have it in their collection. I have his approximation of New York hanging on my wall. So this was clearly overdue. Kudos Toll Brothers City Living.
Note: OMA’s New York office is led by Shohei Shigematsu.
Back in 2014, Witold Rybczynski (who taught at Penn while I was there) wrote an article in The New York Times Style Magazine called The Franchising of Architecture. In it, he argued against the trend of “starchitecture.”
Here’s an excerpt:
“Architecture, however, is a social art, rather than a personal one, a reflection of a society and its values rather than a medium of individual expression. So it’s a problem when the prevailing trend is one of franchises, particularly those of the globe-trotters: Renzo, Rem, Zaha and Frank. It’s exciting to bring high-powered architects in from outside. It flatters a city’s sense of self-importance, and fosters the perception of a place as a creative hotbed. But in the long run it’s wiser to nurture local talent; instead of starchitects, locatects.”
Following this, James Russell (a longtime architecture critic) wrote a searing rebuttal called The Stupid Starchitect Debate. He called Witold’s story a piece of utter laziness and urged us to stop whining about celebrity architecture.
Here’s an excerpt:
“Celebrity architecture is not a franchise (McDonalds is a franchise), but branding. Branding is repellently ubiquitous, and it is pure romanticism to think architecture can escape a trend that so powerfully guides spending. A friend became a museum director in part because building a new building was part of the job. I thought he would bring up an energetic young local talent, but he ended up with an international big name because, he said, only the stars would bring in the donors. That’s sad, but emblematic of an era when private wealth builds the cultural facilities the public won’t pay for. That’s why celebrity architects are brands—a title none of them sought, though all are adept at exploiting. Even wealthy, sophisticated trustees like to bask in the glow of a name that’s got cachet, rather than look hard for someone with obvious talent but who is not well known.”
This is a fascinating debate. And I would be curious to hear your thoughts in the comment section below.
My own view is that, yes, it is wonderfully romantic to think that we can go back to a period of time when London architecture was designed only by English architects, Paris architecture designed only by French architects, and so on. But the world has changed. The genie is out of the bottle on that one.
I also don’t think that brand needs to be a dirty word in the context of architecture. There’s value in brand equity. And everything can be construed as a brand. This blog is part of my personal brand. That’s our world.
The problem I have with this line of thinking is when architecture gets reduced to style, to form, to a veneer. Architecture is an opportunity to solve problems and respond to real (including local) constraints. That also creates value – arguably much more value. And I don’t believe that only “locatects” have the ability to respond to that challenge.
There’s so much more that can be said about this topic.
I somehow stumbled upon this transcript from Columbia University’s Graduate School of Architecture, Planning and Preservation (GSAPP), covering a talk that architect Rem Koolhaas did at the school back in, I think, 2014.
The title: “Preservation is overtaking us.” It’s all about how his firm OMA thinks about and approaches preservation.
The overarching theme is that preservation, for them, has become a kind of refuge from the market forces – which they call the “The ¥€$ Regime” – that currently drive architecture and demand constant novelty. It is refuge from “starchitecture.”
Here is an excerpt:
At some point, I don’t know who was responsible, the word, “starchitect” was invented. And we all know what it is: a term of derision. And at some point, it becomes very hard to avoid. I would say that preservation is, for us, a type of refuge from this term. What we are hoping to do is propose a number of strategies in which we are working to undo, or escape, from this label.
And here is a summary of “OMA’s Preservation Manifesto” taken from the GSAPP transcript:
Starchitecture is dead
New forms are no longer relevant
Preservation is architecture’s saving retreat
Preservation creates relevance without new forms
Preservation is architecture’s formless substitution
It’s a substantial read, but a fascinating one. In case you don’t get to it (understandable), I would like to leave you with this final excerpt:
What we started to do was look at preservation in general and look a little bit at the history of preservation. Now, the first law of preservation ever defined was in 1790, just a few years after the French Revolution. That is already an interesting idea, that at the moment in France when the past was basically being prepared for the rubbish dump, the issue of preserving monuments was raised for the first time. Another equally important moment was in 1877, when, in Victorian England, in the most intense moment of civilization, there was the second preservation proposition. If you look at inventions that were taking place between these two moments—cement, the spinning frame, the stethoscope, anesthesia, photography, blueprints, etc.—you suddenly realize that preservation is not the enemy of modernity but actually one of its inventions. That makes perfect sense because clearly the whole idea of modernization raises, whether latently or overtly, the issue of what to keep.
I like the notion that preservation is one of the inventions of modernity, rather than an enemy of it.
My friends in New York tell me that if you want to sell a luxury residential building, you need a name brand architect. People care about architecture and it’s part of the buying process: “Oh, it’s a Herzog building.”
To that end, Toll Brothers City Living just released the following video for their 121 E 22nd project in New York. If you can’t see it below, click here. What’s notable, is that it is OMA’s first full building in New York. So the story is: star architect + first building in the city.
[youtube https://www.youtube.com/watch?v=dSQq8W8od9g?rel=0&w=560&h=315]
But there’s more. It’s almost unbelievable that, until now, OMA hadn’t designed and constructed a full building in New York. I reread this Dezeen article 5 times just to make sure I wasn’t missing something.
So much of Rem Koolhaas’ career (founding partner of OMA) is centered around New York City. In 1978, he published Delirious New York, where he both dissected and celebrated the city’s “culture of congestion.” Oysters at the downtown athletic club, anyone?
This book was so influential that I bet you’d be hard pressed to find an architect that doesn’t have it in their collection. I have his approximation of New York hanging on my wall. So this was clearly overdue. Kudos Toll Brothers City Living.
Note: OMA’s New York office is led by Shohei Shigematsu.
Back in 2014, Witold Rybczynski (who taught at Penn while I was there) wrote an article in The New York Times Style Magazine called The Franchising of Architecture. In it, he argued against the trend of “starchitecture.”
Here’s an excerpt:
“Architecture, however, is a social art, rather than a personal one, a reflection of a society and its values rather than a medium of individual expression. So it’s a problem when the prevailing trend is one of franchises, particularly those of the globe-trotters: Renzo, Rem, Zaha and Frank. It’s exciting to bring high-powered architects in from outside. It flatters a city’s sense of self-importance, and fosters the perception of a place as a creative hotbed. But in the long run it’s wiser to nurture local talent; instead of starchitects, locatects.”
Following this, James Russell (a longtime architecture critic) wrote a searing rebuttal called The Stupid Starchitect Debate. He called Witold’s story a piece of utter laziness and urged us to stop whining about celebrity architecture.
Here’s an excerpt:
“Celebrity architecture is not a franchise (McDonalds is a franchise), but branding. Branding is repellently ubiquitous, and it is pure romanticism to think architecture can escape a trend that so powerfully guides spending. A friend became a museum director in part because building a new building was part of the job. I thought he would bring up an energetic young local talent, but he ended up with an international big name because, he said, only the stars would bring in the donors. That’s sad, but emblematic of an era when private wealth builds the cultural facilities the public won’t pay for. That’s why celebrity architects are brands—a title none of them sought, though all are adept at exploiting. Even wealthy, sophisticated trustees like to bask in the glow of a name that’s got cachet, rather than look hard for someone with obvious talent but who is not well known.”
This is a fascinating debate. And I would be curious to hear your thoughts in the comment section below.
My own view is that, yes, it is wonderfully romantic to think that we can go back to a period of time when London architecture was designed only by English architects, Paris architecture designed only by French architects, and so on. But the world has changed. The genie is out of the bottle on that one.
I also don’t think that brand needs to be a dirty word in the context of architecture. There’s value in brand equity. And everything can be construed as a brand. This blog is part of my personal brand. That’s our world.
The problem I have with this line of thinking is when architecture gets reduced to style, to form, to a veneer. Architecture is an opportunity to solve problems and respond to real (including local) constraints. That also creates value – arguably much more value. And I don’t believe that only “locatects” have the ability to respond to that challenge.
There’s so much more that can be said about this topic.
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