Architecture is a hazardous mixture of omnipotence and impotence. It is by definition a c h a o t i c a d v e n t u r e... In other words, the utopian enterprise.
Rem KoolhaasRead
Japan lives with drastic segregation between the sublime, the ugly, and the utterly without qualities. Dominance of the last 2 categories makes mere presence of the first stunning: when beauty 'happens', it is absolutely surprising.
Interpretation
Japan's contrasting aesthetics heighten the impact of beauty amidst minimalism and imperfections.
In this quote, Rem Koolhaas reflects on the unique cultural aesthetics of Japan, where there is a stark contrast between different qualities—beauty, ugliness, and the mundane. He suggests that the scarcity of beauty, particularly in an environment filled with the ordinary and unattractive, makes instances of beauty far more remarkable and surprising, thus creating a distinct appreciation for the sublime in the Japanese context.
In practice
In an art history lecture discussing Japanese aesthetics.
Architecture is a hazardous mixture of omnipotence and impotence. It is by definition a c h a o t i c a d v e n t u r e... In other words, the utopian enterprise.
What is now called 'green architecture' is an opportunistic caricature of a much deeper consideration of the issues related to sustainability that architecture has been engaged with for many years. It was one of the first professions that was deeply concerned with these issues and that had an intellectual response to them.
The acceptance of certain realities doesn't preclude idealism. It can lead to certain breakthroughs.
Architecture is a dangerous mix of power and importance.
We live in an almost perfect stillness and work with incredible urgency.
The City is an addictive machine from which there is no escape
At the very least, noir offers an alternate reality - moments of real passion, a bleak code of honor, and a need for freedom amid corruption. At its best, noir offers a map of subversion.
My goal as a writer is more to comfort than to disturb.
For such is the fate of parody: it must never fear exaggerating. If it strikes home, it will only prefigure something that others will then do without a smile--and without a blush--in steadfast virile seriousness.
I cannot absorb living in a world where I have an Oscar for best actress and Denzel doesn't have one for best actor.
The page is long, blank, and full of truth. When I am through with it, it shall probably be long, full, and empty with words.
Capitalism and power politics have made our generation creatively sluggish, and our vital art is mired in a broad bourgeois philistinism.
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