XXL, metropolis the object of architecture

Altürk, Emre
Beginning with its historical setting, architectural discourse conceived city as its ultimate object, as the ultimate extension of the composition: the largest building. It relentlessly aimed to link its أpureؤ objectاbuildingاto the city either by locating the two within the general processes of material production or through analogies. Yet, despite such continuity, architecture̕s relationship with the city was conceived as the projection of an internal economy onto the city and remained unilateral. Architecture operated from the small scale to the large scale, radiating its ءspecificity̕ through the city via building. It became obvious in the late 20th century that it was not the ءarchitectural specificity̕ to penetrate into modern metropolis but vice versa. Being a complex agglomeration of cultural systemsاincluding design itselfاmetropolitan multiplicity resists the determination of significance of built environment through the specific codes of any institutionalized practice. Acknowledging such a complex system of relationships, namely أmetropolitan non-design,ؤ this study offers a reassessment of ءarchitectural design̕ within the contemporary ءmetropolitan condition.̕ Departing from the disjunction(s) between the significance attributed through design and its appropriation through metropolitan non-design, work at hand aims to elaborate a new mode of ءarchitectural intervention̕ compatible with the metropolitan instability. Through a cross-examination of Rem Koolhaas̕s ءDelirious New York̕ and OMA̕s ءParc de la Villette,̕ concepts such as ءprogram,̕ أvoid,ؤ أBignessؤ and ءarchitectural scale̕ will be reassessed. Moreover, the goal is to replace the conception of architecture-metropolis relationship that is formulated through a duality with one that is conceived in terms of interacting, contiguous signifying structures.
Citation Formats
E. Altürk, “XXL, metropolis the object of architecture,” M.Arch. - Master of Architecture, Middle East Technical University, 2004.