Introduction
The general approach to conservation offers the papers and panels that are presented in a symposium as one of the means of conserving early paintings. These ancient drawings are very precious and were very expensive at their time of creation and thus the need for extremely high security is needed. The Dutch was also architect and a theory too. Koolhaas invested in his first work with Elia Zhenghelis which was an exodus. This man also trained in Architectural Association in London as an architect where he was gradually influenced by vision ally projects of Arch gam that came up and motivated his career. Khoolhaas then involved himself in different artistic conferences that highly brought out his real architectural capability through ability to indulge and help solving some problems that had proved to be impossible to tackle.
In his model, Koolhaas states different quotes that he strongly uses in the means of carrying out his daily chores. He administers that it is not and cannot be possible to live in this age if you do not have a sense of most of the contradictory forces that always pull or push the effort of their applications will and enormous will and acceptance through the means and also the fact that peoples can inhabit anything that seems to protrude in into their wide covers ways. On the hand, individuals can be quit miserable in terms of anything as they can be miserable in anything and ecstatic. This gives birth to another question as to whether it was only liberating or only alarming.
Koolhaas describes the office of the metropolitan Architecture‘s current Parc De Villette competition input. Rem goes into the exact details to explain some he construction of the present characteristics from the inception point of view to the concept and the analysis to project. These findings are usually used to estimate future outcomes thus enabling the entity to plan the future to be experienced or in other words a new. As koohlaas progresses of the reasons, he later reveals the current office very soon on departmentation. After and efficient
Under Rems quotations, we get to understand that it is a weird city that we hardly notice in our daily chores making it more beautiful.
Rem Koolhaas learnt about scriptwriting and is leaving OMA and AMO, an office he always co-founded at around 1975 hapomridh.it is easy to recognise him from his book especially the Delicious New York. The price winner and the famous starchiest-in –denial, Rem Koolhaas has created a method that is extremely applicable and uniquely capable of working with and ever more complex world (Koolhaas, 2004 p.2). From the interest of what this could do from digital designers, I got the idea of searching into their designers, researching their design progression. It is absolutely clear that when Rem was asked what goal was he aiming at , he would answer, that it was thinking over time to keep thinking one good stable economical
It is rather quit unfortunate that this is not the familiar perspective of architect and Harvard professor by the name Rem Koolhaas by whom installations were entitled Cronocaos as per the New York Times. Hereby, a paint of an army of well-meaning but clueless preservationists who in their efforts to protect the world’s architectural living legacies that left them debasing by creating tasteful scenery for the docile consumers (Jokilehto, 1986 p.3).
This perspective of Rem is considered as one of the most inaccurate documentations. It is absolutely not professional for someone with such a high rank in the level of authority in the society to make such types of dangerous generalizations in regards to the high tables preservations. It is during the Maryland graduates historic preservation and theory seminar where the professor led an analysed exploration on who, why and when to preserve, this helped everyone understand that each and everyone’s goals differ in a way that the is always affected by their airbrushing of the most difficult chapters of history.
It is true that our opinions are solidified by the first section of the course which is the opinion of the vast majority that entailing the two schools of thoughts. Of which the Ruskin’s hands-off approach was more that appropriate in relation to the give and take slight modification (Koolhaas, 2004 p.3).
Eugene Emmanuel Viollet-le-Duc was a French theorist and architect. He is a recognized proponent of the idea about the restoration of historic buildings to a finished state. The idea usually involves the restoration of a building to a specific period in time. However, Viollet-le-Duc made notifications that the whole idea about restoration involved restoring a building to a state that never existed before (Kong, 1995 p.830).
In contrast to this, John Ruskin held an antagonistic view towards this. He presents that the power of a building is dependent on its age rather than its grandeur. Ruskin never accepted the view that buildings need to be restored to any of their past period or state that never existed. He held that the alternative about restoration of a building is the preservation or conservation of such buildings in their current states. The historical perspective of Ruskin is that historically important buildings should neither be allowed to be destroyed nor artificially brought to glory (Kong, 1995 p.837).
In conclusion, Koolhaas remains a controversial and influential architecture of his time since his studentship at London. He has stood to be a provocateur in every architectural work that is presented and yet he is unease with his work. The basis of his provocative argument is that preservation is a highly artificial term and it should be subjected to criticism. He believes that history occurs and leaves behind traces and for him he prefers history without preservation. Unlike many architectures of his stature, Koolhaas has made up to various architectural competitions that have allowed him to exercise creative freedom. He confirms to be a dedicated architecture and not in the field for the sake of business but out of passion and strength.
The various works of Koolhaas
The serpentine structure is among the works of Koolhaas
Serpentine Gallery during daytime
Serpentine Gallery at Night
This is the first of the buoyant structure by Koolhaas. It is nearer to flying the idea of flying building, feather light footprint and ultra-minimal structure
Works cited
Jokilehto, J.. A history of architectural conservation (Doctoral dissertation, University of York), 1986.
Jokilehto, J. I. A history of architectural conservation. The contribution of English, French German and Italian thought towards an international approach to the conservation of cultural property, 1986.
Koolhaas, R.. Preservation is overtaking us. Future Anterior, 1(2), 1-3, 2004.
King, T. F., Hickman, P. P., & Berg, G. Anthropology in historic preservation. Caring for culture's clutter. Academic Press, 1997.
Koolhaas, R., & Obrist, H. -U.Rem Koolhaas. Köln: W. König, 2006.
Koolhaas, R. The Generic City” and “Whatever Happened to Urbanism?. The Urban Design Reader, 358, 2013.
Kong, T. Y. On topology preservation in 2-D and 3-D thinning. International journal of pattern recognition and artificial intelligence, 9(05), 813-844, 1995. 0719763505
