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3、. D I , 1 It:, Delinous New York DeJI/IOUS New York, 1978. Delirious New York A Retroactive Manifesto for Man hattan Rem Kool haas THE MONACELLI PRESS New KillIon publIShed WI the Umled Stales 01 Amenca In 1994 by The MonacellI Press. Inc., 10 East 92net Sireel. New York. New YorIcn pde Ii. R nller

4、_C 12 ICe to ,p Prehistory PROGRAM What race first peopled the Island of Manhatta? Theywere, but are not. Sixteen centuries of the Christian era rolled away, and no trace of civilization was left on the spot where now stands a city renowned for commerce, intelligence and wealth. Thewild children of

5、nature, unmolested by the white man, roamed through its forests. and impelled their light canoes along its tranquil waters. But the time was near at hand when these domains of the savage were to be invaded by strangers who would lay the humble foundations of a mighty state, and scatter everywhere in

6、 their path exterminating principles which, with constantly augmenting force, would never cease to act until the whole aboriginal race should be extirpated and their memory . be almost blotted out from under heaven. Civilization, origi nating in the east, had reached the western confines of the old

7、world. It was now to cross the barrier that had arrested its progress, and pene trate the forest of a continent that had just appeared to the astonished gaze of the millions of Christendom. North American barbarism was to give place to European refinement. In the middle of the 19th century - more th

8、an 200 years Into the expenment which is Manhattan - a sudden selfconsciousness about its uniqueness erupts. The need to mythologize its past and -rewrite a history that can serve its future becomes urgent. The quotation above - from 1848 - describes Manhattans program with disregard for the facts,

9、but precisely identifies its intentions. Manhattan is a theater of progress. Its protagonists are the exterminating principles which, with constantly 13 LLA(.lLRDA!i F.v L IIIL1 ; Jollain, tllrdseye view ot New Amsterdam. 1672. 14 augmenting force, would never cease to act. Its plot IS: barbarism gi

10、ving way to refinement. From these givens, its future can be extrapolated forever: since the exterminating principles never cease to act, it follows that what is refine ment one moment will be barbarism the next. Therefore, the performance can never end or even progress in the con ventional sense of

11、 dramatic plottmg; it can only be the cyclic restatement of a single theme: creation and destruction irrevocably interlocked, endlessly reenacted. The only suspense in the spectacle comes from the constantly escalating intensity of the performance. PROJECT To many people in Europe. of course, facts

12、about New Amsterdam were of no importance. A completely fictitious vIew would do, if it matched theIr idea of what a city was. .l In 1672 a French engraver, JollalO, sends into the world a birds-eye view of New Amsterdam_ It ;s completely false; none of the mformatlon It communicates is based on rea

13、lity_ Yet It is a depiction - perhaps accidental - of the project Manhattan: an urban science fiction. At the center of the image appears a distinctly European walled City, whose reason for being, like that of the original Amsterdam, seems to be a linear port along the length of the city that allows

14、 direct access. A church, a stock market, a city hall, a palace of justice, a prison and, outside the wall, a hospital complete the apparatus of the mother civiliza tion. Only the large number of facilities for the treatment and storage of animal skins In the Ctty testifies to its location in the Ne

15、w World. Outside the walls on the left is an extension that seems to promise after barely 50 years of existence - a new beginning, in the form of a structured system of more or less identical blocks that can extend, if the need arises, allover the island, their rhythm interrupted by a Broadway-like

16、diagonal. The islands landscape ranges from the flat to the mountaino.us, from the wild to the placid; the climate seems to alternate between Mediterranean summers (outside the walls is a sugarcane field) and severe (pelt-producing) winters. All the components of the map are European; but, kidnapped

17、 from their context and transplanted to a mythical island, they are reassembled into an unrecognizable - yet ultimately accurate - new whole: a utopian 15 Phantom sale of Manhattan, 1626, 16 Blrdseye vIew 01 New Amsterdam as bl,lIlt - North American barbarism gives way to European refinement. , Amst

18、erdam !rlCan barbartsm n refnement. Europe, the product of compression and density. Already, adds the engraver, the city is famous for its enormous number of inhabitants. . The city is a catalogue of models and precedents: all the desirable elements that exist scattered through the Old World finally

19、 assembled in a single place. COLONY Apart from the Indians, who have always been there - Weckquaesgecks in the south, Reckgawawacks in the north, both part of the Mohican tribe- Manhattan is discovered in 1609 by Henry Hudson in his search for a new route to the Indies by way of the north on behalf

20、 of the Dutch East India Company. Four years later, Manhattan accommodates four houses (i.e., recognizable as such to Western eyes) among the Indian huts. In 1623 30 families sad from Holland to Manhattan to plant a colony. With them is Cryn Fredericksz, an engineer, who carries written Instructions

21、 on how the town should be laid out. Since their whole country IS manmade, there are no accidents for the Dutch. They plan the settlement of Manhattan as if it is part of their fabricated motherland. The core of the new city is to be a pentagonal fort. Fredericksz is to survey a ditch 24 feet wide a

22、nd 4 feet deep enclosing a rectangle extending back 1,600 feet from the water and 2,000 feet wide. The outside of the surrounding ditch having been staked out as above, 200 feet shall be staked out at the inside along all three sides A, B, C, for the purpose of locating therein the dwellings of the

23、farmers and their gardens, and what is left shall remain vacant for the erection of more houses in the future. .) Outside the fort, on the other side of the ditch, there are to be 12 farms laid out In a system of rectangular plots separated by ditches. But thiS neat symmetrical pattern, conceived in

24、 the security and comfort of the companys offices in Amsterdam, proved unsuitable to the site on the tip of Manhattan. A smaller fort is built; the rest of the town laid out in a relatively disorderly manner. Only once more does the Dutch instinct for order assert itself: when the settlers carve, ou

25、t of the bedrock, a canal that runs to the center of the city. On either side is a collection of traditional Dutch houses with gabled roofs that maintains the illusion that the transplantation of Amsterdam into the New World has been a success. 17 ,. In 1626 Peter Minult buys the island Manhattan fo

26、r 24 dollars from the Indians. But the transaction is a falsehood; the sellers do not own the property. They do not even live there. They are just visiting. -;Il . , CommIssIoners proposaJ lor Manhattan Gild. 1811 the land II divides. unoccupIed: the population II descrIbes, conjectural: the bUlldmg

27、s it locates. phantoms: the actIVItIes II frames. nonexistent: (-:D j ., -I ,-1. , - ,., IS. ihl:;r:,l-;)dl .-. - .-./ .,.,., r .- - - f.,._1f.Lo,.- , PREDICTION In 1807 Simeon deWitt, Gouverneur Morris and John Rutherford are commissioned to design the model that will regulate the final and con. c1

28、usive occupancy of Manhattan. Four years later they propose above the demarcation that separates the known from the unknowable part of the city-12 avenues running northsouth and 155 streets running east-west. With that simple action they describe a city of 13 x 156 = 2,028 blocks (excluding topograp

29、hical accidents): a matrix that captures, at the same time, all remaining territory and all future activity on the island. The Manhattan Grid. Advocated by its authors as facilitating the buying, selling and improving of real estate, this Apotheosis of the gridiron - with its simple appeal to unsoph

30、isticated minds4- ls , 150 years after its super. imposition on the Island, still a negative symbol of the shortsightedness of commercial Interests. In fact, It is the most courageous act of prediction in Western ciVilization: - REPORT The argumentation of the Commissioners report introduces what wi

31、ll become the key strategy of Manhattans performance: the drastic disconnechon between actual and stated intentions, the formula that creates the critical nomansland where Manhattanism can exercise its ambitions. One of the first objects that claimed their attention was the form and manner in which

32、business should be conducted; that is to say, whether they should confine themselves to rectilinear streets or whether they should adopt some of these supposed improvements, by circles, ovals and stars, which certainly embellish a plan, whatever may be thw effects as to convenience and utility. In c

33、onsidering that subject. they could not but bear in mind that a city is composed principally of the habitations of men, and that strait sided, and right angled houses are the most cheap to build, and the most convenient to live in. The effect of these plain and simple reflections was decisive. Manha

34、ttan is a utilitarian polemic. Itmay, to many, be a matter of surprise, that so few vacant spaces have the land it divides, unoccupied; the population it describes, conjectural; the buildings it locates, phantoms; the activities It frames, nonexistent. - , . ,I z, 1lSslOIlers proposal anhatlan Grid.

35、 18ll _ arld It divides. :upled; the population crlbes. conjectural; Jddlngs It locales, oms; the acllVlltes II s. nonexIstent been left, and those so small, for the benefit of fresh air, and conse. quent observation of health. Certainly, if the city of New York were destined to stand on the side of

36、 a small stream such as the Seine or Thames, a great number of ample spaces might be needful; but those large arms of the sea which embrace Manhattan island, render Its situation, in regard to health and pleasure, as well as to convenience and commerce, peculiarly felicitous; when, therefore, from t

37、he same causes the price of land IS so uncommonly great, it seemed proper to admit the principles of economy of greater influence than might, under circumstances of a different kind, have consisted with the dictates of prudence and the sense of duty. Manhattan is a counterParis, an antiLondon. Tosom

38、e it may be a matter of surprise, that the whole Island has not been laid out as a city; to others, it may be a subject of merriment that the Commissioners have provIded space for a greater population than IS collected at any spot this side of China. They have been governed in this respect by the sh

39、ape of the ground. To have come short of the extent laid out might have defeated just expectation and to have gone further might have furnished materials to the pernicious spirit of speculation.5 The Grid is, above all, a conceptual speculation. In spite of Its apparent neutrality, it implies an int

40、ellectual program for the island: in its indifference to topography, to what exists, it claims the superiority of mental construction over reaJily. The plotting of its streets and blocks announces that the subjugation, if not obliteration, of nature is ItS true ambition. All blocks are the same; the

41、ir equivalence invalidates, at once, all the systems of articulation and differentiation that have guided the design of traditional cities. lhe Grid makes the history of architecture and all previous lessons of urbanism irrelevant. It forces Manhattans builders to .- . e.evelop a new system of forma

42、l values, to invent strategies for th,e distinction of one block from another. , The Grids twodimensional disci undreamtof freedom . Imenslonal anarchy. The Gnd defines a new balance between control and decontrol in which the city can be at the same time ordered and fluid, a metropolis of rigid chao

43、s. jQ.imposition,Manhattan is forever immunized agaiAst-BnY.(.further), totalitarian intervention. In the single block-the largest possible area that can fall under architectural control it deve 0 3Xlml;:lA IInit of urbanislic Ego. Snce there is no hope that larger parts of the island can ever be do

44、mi. 20 nated by a single client or architect, each intention - each architectural ideology has to be realized full itb-n 1m ns 0R: Since Manhattan is rnlte and the number of its blocks forever fixed, the city cannot grow in any conventional manner. Its planning therefore can never describe a specifi

45、c built configuration that is to remarn static through the ages: it can only predict that what ever happens, it will have to happen somewhere within the 2,028 blocks of the Grid. It follows that one form of human occupancy can only be established at the expense of another. The city becomes a mosaic

46、of episodes, each - with its own particular life span, that contest each other through the medium of the Grid. IDOL In 1845 a model of the city IS exhibited, flrst in the city itself, then as a traveling object to substantiate Manhattans growing self-idolatry. The counterpart to the greatMetropolisi

47、s a perfect lacsimile of New York, representing every street, land, building, shed, park, fence, tree, and every other object in the city. Over the model is a canopy of carved ornamental woodwork in Gothic architecture representing 10 the frnest oil-painting the leading business establishments of th

48、e city. :6 The icons of religion are replaced by those of building. Architecture is Manhattans new religion. CARPET By 1850, the pOSSibility that New Yorks exploding population could engulf the remaining space in the Grid like a freak wave seems real. Urgent plans are made to reserve sites that are still available for parks, but whil