| Title |
Exploring Structural Transfigurations in the Early Works of Rem Koolhaas |
| DOI |
https://doi.org/10.5659/JAIK.2025.41.1.167 |
| Keywords |
structure; transfiguration; representation; anteriority; repetition; difference; criticality; non-linguistic statement |
| Abstract |
To interpret the transformation of structure in Rem Koolhaas's works in Netherlands Dance Theater, Villa Dall’Ava, Kunsthal, and Maison ?
Bordeaux, this study draws on concepts from epistemology and Peter Eisenman’s terminology: the representation of anteriority and perceptual
representation. The representation of anteriority refers to the accumulated knowledge of architectural history, while perceptual representation
relates to elements, such as a column, that deviate from traditional expectations. Eisenman explains that architecture gains criticality through
repetition with difference. Repetition acknowledges the past, while difference enables a departure from it, allowing architecture to critique
history by articulating divergence from tradition. In his transformation of structural elements, particularly columns, Koolhaas maintains a
relatively small gap between these two representations. This approach balances visual expression with critical, non-linguistic statements. For
instance, the polychrome columns in the Netherlands Dance Theater and the irregular slender columns of Villa Dall’Ava resist the rigid order
of Modernity through their unexpected forms. The differentiation of the fifth column at the entrance ramp of Kunsthal stands out as the
clearest example of a non-linguistic architectural statement. Through these subtle yet impactful deviations, Koolhaas integrates visual resistance
with critical engagement. |