life in the metropolis 大都市的生活(3)

Club.RemKoolhaas,AMachineforMetropolitanBachelors...,paintingbyMadelonVriesendorp,fromDeliriousNewYork,1978.

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KOOLHAAS1977327

Allthelatentpotentialoftheskyscraperasatypeisexploitedin

amasterpieceoftheCultureofCongestion,aConstructivistSocialCondensermateri-alizedinManhattan.

Itisoneoftherare20thcenturybuildingsthatistrulyrevolu-

tionary:ito?ersafullinventoryofthefundamentalmodi?cations—technicalandpsychological—thatarecausedbylifeintheMetropolis,andthatseparatethiscen-turyfromallpreviousones.Itsexistenceallowsaspectrumofexperiencesonasingleplacethatwaspreviouslyunthinkable.

TheClub—externallyindistinguishablefromtheothersky-

scrapersintheWallStreetarea—islocatedontheHudsonnearBatteryParkonalot23meterswideand54metersdeep.

TheClubisthe1909theoremmadeconcrete:asequenceof

superimposedplatformsthateachrepeattheoriginalrectangleofthesite,connectedbyabatteryof13elevatorsconcentratedalongthenorthwallofthestructure.

“Theplanisofprimaryimportance,becauseonthe?oorare

performedalltheactivitiesofthehumanoccupants”;thatishowRaymondHood(themosttheoreticalofManhattan’sarchitects)de?nedManhattan’sinterpretationoffunctionalism:eachplanasacollageoffunctionsthatdescribesonthesyntheticplatformsanepisodeofMetropolitanritual.EachoftherectanglesoftheDowntownAthleticClubissuchascenariowithahighlysuggestive—ifabstract—plot.

Each?oorisaseparateinstallmentofacomplexintrigue—their

sequenceasrandomasonlytheelevatormancanmakethem—thisformofarchitec-tureisaformofModernisticwriting:theplanningofchoreographyofmankindthroughexperimentaltechno-psychicapparatusdesignedbythemselvestocelebratetheirownredesign.

Thelower15?oorsofthebuildingareaccessibleonlytomen.

Theirsequencefromthegroundtothetopcorrespondstoanincreasingre?ne-mentandarti?ce.Fromthe17thtothe18–1/2th?oor,themen,perfectedinthelower?oors,areallowedtocommunicatewiththeoppositesexinthediningroom,theroofterraceandthedance?oor.The?nal20?oorsaredevotedtoHotelaccommodation.

Floors7,9,11and12deservespecialanalysisfortheirextreme

daring:Emergingfromtheelevatoronthe9th?oor,thevisitor—probablyaWallStreetstockbroker—?ndshimselfinavestibulethatleadsdirectlytoalocker-roomatthecenterofthe?oor(wherethereisnodaylight).Thereheundresses,putsonglovesandentersanadjoiningspacethatisequippedforboxingandwrestling.Butonthesouthernside,thelocker-roomisalsoservedbyasmalloysterbar.

Eatingoysterswithboxinggloves,naked,onthe9th?oor—suchistheplot

ofthis?oor—the20thcenturyinaction.

The10th?oorisdevotedtopreventivemedicine.Ononeside

ofalargedressingroomandloungeanarrayofbodymanipulations—sectionsformassageandrubbing,an8-bedstationforarti?cialsunbathing(opentotheriver),a10-bedrestarea—isarrangedaroundaTurkishbath.Thesouth-eastcornerofthe?oorisamedicalfacilitycapableoftreating?vepatientsatonce.Adoctorischargedwiththeprocessof“colonicirrigation,”theliteralinvasionofthehumanbodywithcultivatedbacteriathatmodifyandacceleratethenaturalmetabolismofthehumanbody.

This?nalstepcompletesthesequenceofradicalintervention

andvoluntaryself-experimentationinitiatedbysuchapparentlyinnocentattractionsasConeyIsland’s“BarrelsofLove.”

Onthe12th?oor,aswimmingpooloccupiesalmostthefull

rectangle.Atnight,itisilluminatedbyanunderwaterlightingsystem,sothattheentireslabofwaterwithitsfreneticswimmersappearsto?oatinspace,betweentheelectricscintillationoftheWallStreetskyline.Copyright ? 1998. MIT Press All rights reserved. May not be reproduced in any form without permission from the publisher, exceptfair uses permitted under U.S. or applicable copyright law.

EBSCO Publishing - NetLibrary; printed on 10/11/2010 4:57:57 AM via University of Hong Kong LibrarieseISBN:9780262082617; Hays, K. Michael. : Architecture Theory Since 1968Account: -243728315

Ofallthe?oors,theInteriorGolfcourseisperhapsthemost

signi?cantenterprise:aninteriorEnglishgardenlandscapeofsmallhillsandvalleys,alittleriverthatcurlsacrosstherectangle,greengrass(real),abridge....Amuralextendsthelandscapetowardanebuloushorizon,buttheregularpunctuationofthelighting?xturesontheceilingreminds,irrevocably,offabrication.

ThepresenceoftheGolfcoursearguesthatnature,obliterated

byalltheMetropolitanstructures,willnowberesurrectedasmerelyoneofthelayersoftheMetropolis.Afteritstotaleclipse,naturereturnsasoneoftheservicesoftheCultureofCongestion.

Conclusion:2

ThroughthemediumoftheSkyscraper,eachsiteintheMetropolisaccommodates—intheoryatleast—anunstableandunforeseeablecombinationofsuperimposedandsimultaneousactivitieswhosecon?gurationisfundamentallybeyondthecontrolofarchitectorplanner.

AsavehicleofUrbanism,theindeterminacyoftheSkyscraper

suggeststhat—intheMetropolis—nosinglespeci?cfunctioncanbematchedwithasingleplace.

Throughthisdestabilizationitispossibletoabsorbthe“change

thatislife”bycontinuouslyrearrangingfunctionsontheindividualplatformsinanincessantprocessofadaptationthatdoesnota?ecttheframeworkofthebuildingitself.

Exteriorsandinteriorsofsuchstructuresbelongtotwodi?erent

kindsofarchitectures.The?rst—external—isonlyconcernedwiththeappearanceofthebuildingasamoreorlessserenesculpturalobject,whiletheinteriorisinaconstantstateof?ux—ofthemes,programs,iconographies—inwhichthevolatilemetropolitancitizens,withtheiroverstimulatednervoussystems,combattheperpet-ualthreatofennui.

RadioCityMusicHall

TheapplicationoftechnologyattheserviceofmetaphoroccursatastillmoreexplicitlevelandonalargerscalethantheAthleticClubinRadioCityMusicHall,atheaterfor

6200.

RemKoolhaaswithZoe

Zenghelis,TheCityof

theCaptiveGlobe,

paintingbyMadelon

Vriesendorp,from

DeliriousNewYork,

1978

Copyright ? 1998. MIT Press All rights reserved. May not be reproduced in any form without permission from the publisher, except

fair uses permitted under U.S. or applicable copyright law.

EBSCO Publishing - NetLibrary; printed on 10/11/2010 4:57:57 AM via University of Hong Kong LibrarieseISBN:9780262082617; Hays, K. Michael. : Architecture Theory Since 1968Account: -243728315

KOOLHAAS1977329

Copyright ? 1998. MIT Press All rights reserved. May not be reproduced in any form without permission from the publisher, except

fair uses permitted under U.S. or applicable copyright law.ItisaprototypeofastrictlyinteriorarchitectureinsertedintheneutralenvelopeofRockefellerCenter.Itscosmogonywasnotinventedbyitso?cialarchitects,butbytheirclient,theimpresarioSamuelRothafel,knownasRoxy.Intheearly1930sagroupofarchitects—amongthemWallaceHarrison—tookRoxyonaEuropeantour—allthewaytoMoscow—inanattempttoconverthimtoModernArchitecture.ButRoxyremainedindi?erenttotheantisepticaccommoda-tionswhichmodernarchitectshaddesignedforthefundamentallyirrationalcultureofthetheater.OnhisreturntoNewYork,hehadarevelationwhenhewatchedamid-Atlanticsunset.“Ididn’tconceiveoftheidea.Idreamedit.Ibelieveincreativedreams.ThepictureofRadioCityMusicHallwascompleteandpracticallyperfectinmymindbeforearchitectsandartistsputpenondrawingpaper.”Histheateristobeasimulationofthespectaclehebeheldfromtherailingoftheship:asunset.Roxy’sarchitectdutifullyexecutedthemetaphoricaltheme.Avastovoidspaceiscoveredwithplaster“rays”thatextendacrosstheceilingoftheentiretheatre,embracingtheaudiencelikea?rmament.Thecurtainismadeofanespeciallydevelopedsynthetic?ber—soglitteringthatitoutshinestherealsun.Whenthelightsareslowlydimmed,theimpressionofasunsetisinescapable.Butthelightshavetogoonagain.Ando?again.Therearethreeorfoursuchcyclesforeachcompleteperformance.Ifthemetaphoristakenseriously,theaudiencelivesthroughthreeorfouraccelerateddays.ThenRoxydiscoveredthattheair-conditioningsystemcouldbeusedformorecreativepurposesthansimplecoolingandheating—i.e.,toincreasethedensityofmetaphorintheauditorium.Firstheconsideredaddinglaughinggastoitsatmosphere,sothathis6200clientswouldbetransportedto“anotherworld”wheretheywouldbemorereceptivetotheimpactofthemovies.However,hede-sistedafterurgentpleadingbyhislawyers,butonlyaftersubstitutinghealth-givingOzonefortheN2O.Nowhistheatercombines“Supertime”with“Superhealth,”aunionthatiscaughtperfectlyinhisadvertisement:“AvisittoRadioCityMusicHallisasgoodasamonthinthecountry.”Conclusion:3AsintheexampleofRadioCityMusicHall,planninginManhattanconsistsoftheimpositionontheexplosivesubstanceoftheMetropolisofmetaphoricmodels—atonceprimitiveande?cient—thatreplaceliteralorganization—impossibleinanycase—withaformofconceptualcontrol.Suchhermetic,self-containedenclaveso?eremotionalsheltertothedisinheritedMetropolitanmasses,idealworldsremovedintimeandspace,protectedagainstthecorrosionofeverydayrealityintheirinteriorlocations.Thesesub-Utopianfragmentsareallthemoreconvincingforhavingnoterritorialambi-tionsbeyondoccupyingtheirinteriorallotmentsthroughaprivatehyperdensityofsymbolismandlocalizedparoxysmsoftheparticular.Together,suchmomentsformamatrixoffrivolity,asystemofpoeticformulasthatreplacestraditionalquanti?ableplanninginfavorofmetaphoricplanning.MovementintheMetropolisbecomesideologicalnavigationbe-tweenthecon?ictingclaimsandpromisesof“islands”ofametaphoricarchipelago.Postscript

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