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TRANSCRIPT
THE
KUN
STH
DAL
RO
TTER
DAM
REM
KO
OLH
AAS
FORMTh
e Ku
nsth
al R
otte
rdam
bui
lt in
199
2 w
as d
esig
ned
by a
rchi
tect
Rem
Koo
lhaa
s an
d th
e Of
fice
for M
etro
polit
an A
rchi
tect
ure
(OM
A). T
he b
uild
ing
host
s 300
0 sq
uare
me-
ters
of e
xhib
ition
spac
e, a
n au
dito
rium
, a b
ook
shop
, and
a re
stau
rant
. The
exh
ibiti
on a
reas
in
clud
e tw
o la
rge,
and
two
smal
ler g
alle
ries
th
at c
an b
e us
ed to
geth
er o
r sep
arat
ely.
Its
loca
tion
situ
ates
it a
s the
gat
eway
to R
otte
r-da
m’s
cultu
ral a
men
ities
(OM
A W
ebsi
te).
The
Kuns
thal
was
bui
lt as
an
inve
st-
men
t in
Rott
erda
m’s
cultu
ral c
apita
l to
stim
u-la
te to
uris
m. T
he c
ity is
now
is n
ow o
ne o
f th
e cu
ltura
l hub
s of T
he N
ethe
rlan
ds. S
ince
de
stru
ctio
n du
ring
Wor
ld W
ar II
the
city
has
un
derg
one
infr
astr
uctu
re, e
cono
mic
and
cu
ltura
l reg
ener
atio
n. In
the
1990
’s th
e ci
ty
deve
lope
d “c
lust
ers”
in te
leco
mm
unic
atio
n,
and
audi
o-vi
sual
serv
ices
, and
des
ign
and
me-
dia,
stri
ving
to d
evel
op a
n im
age
as a
cul
tura
l ci
ty. R
otte
rdam
has
a ri
ch h
isto
ry o
f cul
ture
, an
d w
ante
d to
pro
mot
e it
as c
ultu
ral t
ouri
sm.
Wha
t Rot
terd
am w
as m
issi
ng to
succ
eed
this
go
al w
as a
n ad
equa
te su
pply
of c
ultu
ral f
acili
-tie
s. Th
e Ku
nsth
al w
as b
uilt
with
the
desi
re
for a
rchi
tect
ure
that
cou
ld d
raw
glo
bal a
tten
-tio
n, a
nd c
ould
put
Rot
terd
am o
n th
e Eu
ro-
pean
Cul
tura
l sta
ge.
2
Th
e m
odes
t ext
erio
r for
m o
f the
bui
ldin
g sa
ys li
ttle
to re
veal
the
com
plex
ities
of t
he b
uild
ing’
s int
erio
r. D
urin
g an
inte
rvie
w w
ith N
ew Y
ork
Tim
es K
oolh
aas s
aid,
‘’I l
ike
to d
o th
ings
that
on
first
sigh
t hav
e a
degr
ee
of si
mpl
icity
but
show
thei
r com
plex
ity in
the
way
they
are
use
d or
at s
econ
d gl
ance
,’’ th
is is
cer
tain
ly th
e ca
se
for t
his R
otte
rdam
pro
ject
.Ku
nsth
al’s
prog
ram
is c
onta
ined
in a
rect
angu
lar p
rism
. In
plan
, the
bui
ldin
g is
a sq
uare
cro
sses
by
two
rout
es, c
reat
ing
four
aut
onom
ous p
roje
cts.
The
Site
is sl
oppe
d, w
ith th
e ap
proa
ch fr
om th
e M
aasb
oule
var
bein
g si
x m
eter
s hig
her t
han
the
park
to th
e no
rth.
A ra
mp
runs
nor
th so
uth
thou
gh th
e co
re o
f the
bui
ldin
g,
conn
ectin
g th
e bu
sy M
aasb
oule
vard
, to
the
park
. Thi
s ram
p al
so se
para
tes t
he g
alle
ries
on
the
east
, fro
m th
e re
st o
f the
pro
gram
on
the
wes
t. Th
e dr
ivin
g co
ncep
t of t
he d
esig
n is
that
of a
con
tinuo
us c
ircu
it. A
spir
al c
ircu
-la
tion
rout
e, e
nabl
ed b
y th
e us
e of
larg
e ra
mps
, con
nect
s the
pub
lic a
reas
of t
he K
unst
hal.
The
ram
ps g
ive
the
build
ing
a se
nse
that
floo
rs h
ave
drop
ped
dow
n an
d m
oved
up
to m
eet e
ach
othe
r
1. S
quar
e Pl
an2.
Ext
erio
r/Pu
blic
Circ
ulat
ion.
4. F
our A
uton
omou
s Pr
ojec
ts.
3. P
rogr
am S
epar
atio
n.5.
Con
tinuo
us C
ircul
atio
n
3Ci
rcul
atio
n in
Sec
tion
Form
in
Sect
ion
FORM
FORM
Som
e ha
ve re
ferr
ed to
Kun
stha
l as a
po
st-m
oder
nist
pro
ject
due
to th
e us
e of
the
juxt
apos
ition
of a
rang
e of
mat
eria
ls, i
nclu
d-in
g bl
ack
glas
s, co
rrug
ated
gal
vani
zed
met
al
grill
s, st
eel,
conc
rete
, sto
ne c
ladd
ing,
and
gl
azin
g. T
he m
ater
ial c
ompo
sitio
n of
Kun
stha
l is
cha
ract
eriz
ed b
y a
sequ
ence
of s
urpr
ises
; Ko
olha
as ta
kes a
dvan
tage
of t
he u
nexp
ecte
d w
ith m
ater
ial,
as w
ell a
s str
uctu
re a
nd p
ro-
gram
to c
reat
e ex
peri
ence
s tha
t are
bot
h sa
cred
and
pro
fane
. Ko
olha
as W
orke
d w
ith S
truc
tura
l En-
gine
er C
ecil
Balm
ond
to g
ener
ate
a fo
rm th
at
was
trul
y a
colla
bora
tion
of A
rchi
tect
ure
and
Engi
neer
ing.
Bal
mon
d do
es n
ot se
e a
sepa
-ra
tion
betw
een
arch
itect
ure
and
Stru
ctur
e;
rath
er, t
hey
are
aspe
cts o
f a u
nifie
d w
hole
th
at g
ener
ate
form
(Bau
mei
ster
and
Lee
). Ba
lmon
d so
ught
to b
rake
out
of t
he d
omin
ant
orde
r, he
said
, “Tr
appe
d by
the
Cart
esia
n Ca
ge
I wan
ted
to b
reak
out
… th
at o
ppor
tuni
ty
cam
e w
ith R
em K
oolh
aas a
nd th
e Ku
nsth
al
Rott
erda
m.”
Wor
king
toge
ther
that
two
wer
e ab
le to
gen
erat
e th
e un
usua
l str
uctu
ral b
uild
-in
g co
mpo
nent
s suc
h as
the
ram
ps su
ppor
ted
it by
seem
ingl
y un
stab
le a
ngle
d co
lum
ns.
4
5
Pete
r Eis
enm
an b
ring
s to
our a
tten
tion
two
oppo
sing
con
cern
s with
form
; the
firs
t is a
con
cern
for
inte
rnal
com
posi
tion,
the
prog
ram
and
how
it is
org
aniz
ed, a
nd th
e se
cond
is a
‘con
cern
for t
he a
rtic
ula-
tion
of id
eal t
hem
es in
form
” (Ei
senm
an 1
968)
. Eis
enm
an e
xpla
ins t
hat t
hese
con
cern
s are
two
side
s of
the
sam
e co
in, t
he c
halle
nge
bein
g to
wor
k w
ith th
em to
geth
er. A
fter t
he in
dust
rial
revo
lutio
n pr
ogra
ms
beca
me
incr
easi
ngly
com
plex
, as a
resu
lt th
e ty
pe-fo
rm re
latio
nshi
p sh
ifted
. Arc
hite
cts s
ince
turn
ing
to
the
sim
plifi
ed d
octr
ine
of ‘f
orm
follo
ws f
unct
ion.
’Eis
enm
an O
n th
e ot
her h
and
Balm
ond
argu
es th
at a
form
do
es n
ot st
and
alon
e, e
xpla
inin
g, a
form
is ‘a
lmos
t a p
rodu
ct o
f it’s
con
tent
’ (Ba
umei
ster
and
Lee
).
It w
ould
be
inac
cura
te to
say
Kool
haas
form
ally
took
a fo
rm fo
llow
s fun
ctio
n ap
proa
ch. H
e st
arte
d th
e de
-si
gn w
ith a
pie
ce o
f pur
e ge
omet
ry, a
squa
re, f
or th
e pl
an. H
e th
en a
dded
a p
rim
ary
circ
ulat
ion
rout
e, th
at’s
open
to th
e pu
blic
and
the
outd
oors
, act
ing
to d
ivid
e th
e sp
ace
into
four
regi
ons.
If Ko
olha
as h
ad ta
ken
the
conc
ept o
f gen
erat
ing
a sp
ace
with
con
tinuo
us c
ircu
latio
n, w
ithou
t the
initi
al
plan
of a
squa
re h
e m
ay h
ave
resu
lted
in a
n en
tirel
y di
ffere
nt b
uild
ing.
A v
arie
ty o
f for
ms c
ould
hav
e de
vel-
oped
, to
illus
trat
e th
is I
will
pre
sent
an
alte
rnat
ive.
He
coul
d ha
ve ta
ken
the
deig
n ap
proa
ch th
at h
e us
ed
but u
sed
a di
ffere
nt p
iece
of g
eom
etry
, let
’s sa
y an
elli
pse.
He
coul
d ha
ve in
clud
ed th
e sa
me
and
circ
ula-
tion
but h
e w
ould
hav
e ac
hiev
ed a
ver
y di
ffere
nt fo
rm, a
lthou
gh in
tere
stin
gly
a si
mila
r pro
file
wou
ld h
ave
resu
lted.
Circ
ulat
ion
in P
lan
FORM
THE
KUN
STH
DAL
RO
TTER
DAM
REM
KO
OLH
AAS
BODY 7
HA
PPY/
SAD
GO
OD
/BA
D
DU
ALI
SM
SIN
GU
LAR
MALE FORM
MA
LE F
ORM
?
In th
e te
xt “
the
build
ing
in p
ain
Ant
hony
V
idle
r w
rite
s ab
out t
he h
isto
ry o
f th
e bo
dy
and
arch
itect
ure,
est
ablis
hing
thre
e hi
stor
i-ca
l per
iods
; the
bui
ldin
g as
bod
y, b
uild
ing
as
epito
miz
ing
bodi
ly s
tate
s an
d th
e en
viro
n-m
ent e
ndow
ed w
ith b
ody.
One
can
dis
cuss
th
e K
unst
hal R
otte
rdam
in li
ght o
f th
e fi r
st
two
of th
ese
hist
oric
al p
erio
ds. F
irst
, as
Vid
ler
expl
ains
, “In
vitr
uvia
n an
d re
nais
sanc
e th
eory
, th
e bo
dy is
dir
ectly
pro
ject
ed o
n to
the
build
-in
g.”
(Vid
ler
1990
). A
s th
ough
res
pond
ing
dire
ctly
to V
idle
r’s
hist
oric
al d
escr
iptio
n, R
em
Koo
lhaa
s ha
s lit
eral
ly p
roje
cted
the
mal
e bo
dy
onto
the
Kun
stha
l Rot
terd
am. A
n ic
on o
f th
e m
ale fi g
ure
is u
sed
twic
e on
the
build
ing
The
fi r
st is
see
n as
one
app
roac
hes
the
build
ing
from
afa
r. T
he s
econ
d co
py o
f th
e sa
me
im-
age
is lo
cate
d at
the
entr
ance
, bot
h in
stan
ces
the
imag
es is
situ
ated
bes
ide
a se
t of
arro
ws
beco
min
g m
an to
com
e fo
rwar
d.
The
add
ition
gra
phic
rep
rese
ntat
ions
of
the
body
in th
e m
useu
m a
re a
pai
r of
sm
iley
face
s on
two
pane
s of
gla
ss th
at a
ppea
r to
ove
r la
p,
mer
ging
to g
ener
ate
an e
xpre
ssio
n th
at b
egin
s to
look
mor
e lik
e a
pig
that
a h
uman
.
BODY 8
The
exp
erie
nce
of th
e bu
ildin
g st
arts
with
the
entr
ance
. The
gra
phic
on
the
fron
t doo
r is
icon
ical
y m
ale;
the
imag
e sp
eaki
ng to
Fila
ret’s
di
stin
ctio
n th
at n
ot o
nly
is a
rchi
tect
ure
linke
d to
the
hum
an b
ody,
it is
link
ed to
the
mal
e bo
dy, “
the
build
ing
is c
onst
ruct
ed a
s a
sim
ile
for
the
hum
an fi
gure
. You
see
that
I h
ave
show
n yo
u by
mea
ns o
f a
sim
ile th
at a
bui
ldin
g is
der
ived
fro
m m
an…
” (A
gres
t Thi
s m
ale
grap
hic
is m
ost o
ften
see
n pa
ired
with
it c
ount
er p
art t
he ‘
fem
ale’
gra
phic
. The
fem
ale
is e
xclu
ded
in it
s ab
senc
e. A
ccor
ding
to A
gres
t’s
logi
c, w
hen
som
ethi
ng is
exc
lude
d so
met
hing
is n
eces
sari
ly in
clud
ed. T
his
has
been
the
case
with
the
hist
ory
of a
rchi
tect
ure
in w
hich
th
e m
ale
body
has
pla
yed
a fo
unda
tiona
l rol
e, w
hile
the
fem
ale
body
has
had
no
pres
ence
. It c
ould
be
argu
ed th
at th
e si
ngul
ar p
rese
nce
of m
an o
n th
e bu
ildin
g su
ppor
ts A
gres
t’s a
rgum
ent t
hat L
ogoc
entr
ism
and
mal
e an
thro
pom
orph
ism
has
bee
n th
e fo
unda
tiona
l sys
tem
in
arch
itect
ure
sinc
e V
itruv
ius.
Sin
ce th
e re
nais
sanc
e an
y vo
ice
that
dec
lare
d th
at b
uild
ings
sho
uld
embr
ace
or e
mbo
dy th
e fe
mal
e fo
rm
was
not
hea
rd. I
f L
eona
rd D
a V
inci
eve
r dr
ew a
Vitr
uvia
n w
oman
, tho
se d
raw
ings
wer
e lo
st, n
ever
to m
ake
thei
r pl
ace
in h
isto
ry. U
pon
map
ping
cir
cula
tion
arou
nd a
nd th
ough
the
build
ing,
a f
orm
al s
imila
rity
to F
ranc
esco
di G
iorg
io M
artin
i’s p
ropo
rtio
ning
of
a te
mpl
e de
sign
, can
be
seen
.
CIR
CU
LATI
ON
MA
P
BODY 9
The
Kun
stha
l als
o sp
eaks
to V
idle
r’s
seco
nd h
isto
rica
l per
iod
– th
at o
f th
e bu
ildin
g ep
itom
izin
g bo
dily
sta
tes.
Koo
l-ha
as tr
uly
succ
eede
d in
cre
atin
g a
subl
ime
arch
itect
ure,
that
evo
kes
terr
or, f
ear,
and
delig
ht. T
he jo
urne
y th
roug
h th
e bu
ildin
g br
ings
on
thes
e em
otio
ns in
pat
tern
. The
Kun
stha
l Rot
terd
am K
oolh
aas
gene
rate
s a
com
posi
tion
of e
mot
ion-
al s
tate
s, ta
king
the
mus
eum
s gu
est t
hrou
gh a
phy
siol
ogic
al jo
urne
y th
ough
the
build
ing.
Thi
s ex
peri
ence
sta
rts
with
th
e de
light
of
ente
ring
the
build
ing.
The
re is
sur
pris
e w
hen
one
disc
over
s th
at th
ey e
nter
the
mus
eum
, at t
he f
ront
of
AN
XIET
Y
SUPR
ISE
DEL
IGH
T
THR
EE
EM
OTI
ON
AL
STA
TES
9
BODY
supr
ise
delig
htax
iety
contrasting smileys
stage frieght
the forest
angular pillars
Beautiful textures
image of scelaton
exhibition space
views
exhibition space
garden room
kuns
tal r
otte
rdam
_em
otio
nal e
xper
ienc
eku
nsta
l rot
terd
am_e
mot
iona
l exp
erie
nce
a th
eate
r, an
d th
en f
ear
at h
e re
aliz
atio
n th
at th
e su
ppor
ting
colu
mns
look
as
thou
gh th
ey a
re a
bout
to c
olla
pse.
The
exp
erie
ntia
l jou
rney
th
roug
hout
the
build
ing
is b
ased
on
perc
eptio
n an
d th
is jo
urne
y co
uld
cont
inue
to c
hang
e de
pend
ing
on th
e in
divi
dual
. The
Kun
stha
l R
otte
rdam
can
not b
e ex
peri
ence
d pu
rely
by
sigh
t but
mus
t be
expe
rien
ced.
It i
s no
t sum
med
up
pure
ly in
the
visu
al b
ut a
lso
in m
ater
ial
text
ures
, qua
lity
of li
ght,
and
emot
iona
l sta
tes.
10
TECHNIQUE
11
Tech
niqu
e
Rem
Koo
lhaa
s an
d C
ecil
Bal
mon
d w
orke
d to
geth
er e
ach
brin
ging
thei
r ow
n se
t of
tech
-ni
ques
, to
the
tabl
e to
pro
duce
the
Kun
stha
l R
otte
rdam
. The
Arc
hite
ct a
nd th
e en
gine
er,
each
with
thei
r ow
n se
t of
tech
niqu
es, b
oth
appr
oach
ed th
e pr
ojec
ts u
ncon
vent
iona
lly,
reim
agin
ing
norm
ativ
e sy
stem
s, to
pro
duce
th
e un
expe
cted
. By
payi
ng w
ith p
eopl
e ex
-pe
ctat
ions
, and
pro
duci
ng th
e un
expe
cted
em
otio
nal r
epos
es to
the
build
ing
and
it’s
com
pone
nts
coul
d be
pro
duce
d. R
em K
ool-
haas
mad
e so
me
form
al d
ecis
ions
, dec
idin
g to
cut
the
build
ing
with
bot
h ve
hicu
lar
and
pede
stri
an tr
affi c
, and
to b
ase
the fl o
or p
lans
an
d ci
rcul
atio
n on
a s
pira
l. K
oolh
aas
play
ed
with
the
unex
pect
ed in
his
use
of
his
prog
ram
ad
jace
ncie
s, g
raph
ics
and
mat
eria
ls. C
ecil
Bal
mon
d co
nfro
nted
the
Car
tesi
an g
rid
and,
an
d cr
eate
d a
stru
ctur
e th
at is
“fu
ll of
sta
ccat
o an
d of
f be
at r
hyth
m. U
sing
trad
ition
al te
ch-
niqu
es a
s a
star
ting
poin
t, B
alm
ond
was
not
bo
und
to p
aral
lel l
ines
or
pred
icta
ble
patte
rn
in th
is p
roje
ct.
TECHNIQUE
12
Koo
lhau
s -
Cir
cula
tion
It is
mos
t lik
ely
that
Rem
Koo
lhaa
s fi r
st s
tart
ed h
is p
roje
ct w
ith a
site
ana
lysi
s. T
he s
ite is
situ
ated
bet
wee
n th
e M
as-
bulo
vard
to th
e so
uth
and
the
Mus
eum
Par
k to
the
Nor
th. A
qui
ck s
ite a
naly
sis
wou
ld h
ave
reve
aled
that
ther
e ar
e tw
o ci
rcul
atio
n ro
utes
that
mov
e th
roug
h th
e si
te, a
ped
estr
ian
path
and
a v
ehic
ular
roa
d. R
athe
r th
an r
outin
g th
ese
path
-w
ays
arou
nd th
e m
useu
m, K
oolh
aas
deci
ded
that
the
path
s co
uld
be in
tegr
ated
into
the
build
ing
by g
oing
und
er a
nd
Maa
sbou
leva
rd/h
ighw
ay
MU
SEU
M P
ARK
KUN
STH
AL
SITE
IND
UST
RIA
LPe
dest
rican
Pat
hs
Vehi
cula
r pat
chs
Vehi
cula
r pat
chs
Circ
ulat
ion
thro
ugh
and
arou
nd b
uild
ing
TECHNIQUE
14Bif
Bifri
cicat
ing
ting
Fold
ing
oldi
ng
Spi
Spira
lal F
orm
thro
ugh
it. B
ring
ing
exte
rnal
cir
-cu
latio
n in
to th
e bu
ildin
g br
oke
the
proj
ect i
nto
four
dis
tinct
qu
adra
nts.
To
reun
ify
the
proj
ect,
Koo
haas
des
igne
d th
e ci
rcul
a-tio
n to
be
a sp
iral
. To
achi
eve
a sp
iral
ing
circ
ulat
ion
path
, the
fl o
or p
lats
we fi r
st b
ifur
cate
d an
d th
en f
olde
d ov
er e
ach
othe
r, to
al
low
for
the fl o
ors
to c
ontin
ue
upw
ards
with
out
div
isio
n.
Spira
l
TECHNIQUE
15
Cec
il B
alm
ond
used
a s
erie
s of
axi
oms
to d
efi n
e th
e lo
gic
behi
nd v
ario
us f
eatu
res
of th
e fo
rm a
nd
stru
ctur
e, th
e th
ree
axio
ms
that
he
used
wer
e br
ace,
sl
ip, a
nd f
ram
e.
Bal
mon
d lo
oks
to c
onve
ntio
nal s
truc
tura
l str
ate-
gies
as
a st
artin
g po
int a
nd th
en R
ethi
nks
thes
e st
rate
gies
to g
ener
ate
com
pelli
ng r
esul
ts. W
ithin
th
is p
roje
ct h
e do
es n
ot ta
ke a
ny p
roce
ss f
or
gran
ted
and
alw
ays
expl
ores
alte
rnat
ive
way
s of
ta
cklin
g st
ruct
ural
pro
blem
s. B
y br
akin
g aw
ay
from
sta
ndar
d co
nven
tions
Bal
mon
d is
has
fou
nd a
w
ay to
use
str
uctu
re to
trig
ger
emot
iona
l res
pons
es
such
as
delig
ht, s
urpr
ises
and
anx
iety
.
The
col
umns
in th
e m
ain
exhi
bitio
n sp
ace
slip
pa
ssed
eac
h ot
her.
Ori
gina
lly th
ere
wer
e fo
ur c
ol-
umns
pla
ced
on a
squ
are,
at t
he in
ters
ectio
n po
int
of th
e st
ruct
ural
gri
d. B
y al
low
ing
the
colu
mns
to
slip
pas
t eac
h ot
her
the
colu
mns
stil
l con
form
to
the
stru
ctur
al g
rid
whi
le a
llow
ing
for
a m
ore
dyna
mic
for
mal
ele
men
t with
in th
e sp
ace.
Bal
mon
d al
so r
etho
ught
the
trad
ition
al tr
uss
by
turn
ing
it on
its
side
, arg
uing
that
it is
mor
e vi
su-
ally
com
pelli
ng th
is w
ay a
nd a
lso
that
it is
arg
u-ab
ly s
tron
ger.
Brace
Slip
Frame
Cartesian column grid
Frame
CON
VEN
TIO
NA
L ST
ON
VEN
TIO
NA
L ST
RATE
GIE
STE
GIE
S
STSTRA
TEG
IES
REI
TEG
IES
REIM
AGIN
EDG
INED
Truss
Chan
Chan
ging
in
g fo
rce
Tran
sitio
nan
sitio
n
Rotate
stagger
shear
TECHNIQUE
6
Bal
mon
d en
able
d K
oolh
aas’
s sp
iral
by
mov
ing
beyo
nd th
e st
rict
ly h
ori-
zont
al a
nd v
ertic
al p
lane
s, a
nd b
ring
ing
in d
iago
nal s
urfa
ces.
To
brea
k th
e co
nven
tiona
l, co
lum
ns a
nd b
eam
cub
e he
sea
red
the
stru
ctur
e, a
nd
bifu
rcat
ed th
e fl o
or p
late
s, a
llow
ing
for
cont
inuo
us c
ircu
latio
n th
at s
pira
ls
upw
ards
. T
he s
uppo
rtin
g co
lum
ns a
re a
lso
angl
ed to
cou
nter
the
shif
ting
wei
ght o
f th
e fl o
or p
lats
. art
entr
ance
Ang
led
colu
mns
surf
acec
text
ure-
sAng
led
colu
mns
audi
ence
_sea
tings
tage
fre
ight
view
sSke
lato
ncon
tras
ting
smile
ys
Thr
ough
thei
r us
e of
mat
eria
l and
str
uctu
ral t
echn
ique
s B
alm
ond
and
Koo
lhau
s cr
eate
d a
seri
es o
f em
otio
nal r
espo
nses
¬ th
at o
ccup
ants
exp
e-ri
ence
as
they
mov
e th
roug
h th
e sp
ace.
Som
e of
the
stra
tegi
es th
at th
ey
use
thou
gh p
lace
men
t of
unex
pect
ed g
raph
ics,
suc
h as
the
smile
y fa
ces,
an
d th
e m
ale
sym
bol p
lace
d on
the
roof
and
at t
he e
ntra
nce,
thro
ugh
the
use
of u
nexp
ecte
d su
ch a
s th
e pe
rfor
ated
mat
eria
ls g
alva
nize
d st
eel fl
oor
-in
g. d
iago
nal fl
oor
pla
tes
and
irre
gula
r co
lum
ns.
cont
rast
ing
smile
ys
Skel
aton
view
s
stag
e fr
eigh
t
audi
ence
_sea
ting
Ang
led
colu
mns
surf
acec
text
ures
Ang
led
colu
mns
entr
ance
art
cont
rast
ing
smile
ys
Skel
aton
view
s
stag
e fr
eigh
t
audi
ence
_sea
ting
Ang
led
colu
mns
surf
acec
text
ures
Ang
led
colu
mns
entr
ance
art
SPACE
SPAAC
EEM
KOOOOOO
LLLHHHHAAAAAAAAAAAAAAAA
SSSSS
SPACE 18
Spac
e of
Net
wor
k C
ultu
re.
Whe
n C
onsi
deri
ng th
e Sp
acia
l Con
ditio
n in
and
aro
und
the
Kun
-st
hal R
otte
rdam
we
mus
t als
o co
nsid
er th
e ar
t wor
k th
at th
e m
u-de
um c
onta
ins,
and
the
cultu
ral c
onte
xt a
roun
d th
e m
useu
m. S
ince
in
it w
as b
uilt
in 1
992
the
Mus
eum
has
gon
e th
roug
h a
tran
sitio
n fr
om p
ost m
oder
nism
to N
etw
ork
cultu
re. J
ames
arg
ues
that
with
in
Post
mod
erni
sm e
very
thin
g w
as in
terc
hang
eabl
e, a
nd q
uant
ifi ab
le
for
mon
ey. W
ithin
the
Post
Mod
erni
sm, a
rt w
as u
nabl
e to
res
ist b
e-in
g co
loni
zed
by c
apita
l. B
oth
inve
stor
s be
gan
to c
apita
lize
on a
rt
and
artis
t beg
an to
wor
k w
ith s
imul
atio
n an
d re
prod
uctio
n. K
azys
V
arna
lis a
rgue
s th
at w
ithin
the
netw
ork
cultu
re, t
here
is “
imm
ate-
rial
pro
duct
ion
of in
form
atio
n, a
nd it
it’s
dis
trib
utio
n th
roug
h th
e ne
twor
k do
min
ate
the
glob
al e
cono
my.
“di
smis
ses
the
popu
list
proj
ectio
n of
the
audi
ence
s de
sire
s on
to a
re f
or th
e pr
oduc
tion
of
art b
y th
e au
dien
ce a
nd b
lurr
ing
the
boun
dari
es b
etw
een
med
ia
and
art a
nd p
ublic
” (V
arna
lis 2
007)
. Var
nalis
exp
lain
s th
at w
ithin
th
e ne
twor
k cu
lture
an
indi
vidu
als
rela
tions
hip
to o
ther
net
wor
ks
is m
ore
impo
rtan
t tha
n it
own
uniq
uene
ss. A
s a
resu
lt w
e ca
n in
fer
that
the
netw
ork
can
have
and
doe
s ha
ve a
sig
nifi c
ant i
mpa
cts
on
the
prod
uctio
n/sp
read
of
cultu
re. V
arna
lis D
iscu
sses
the
sign
ifi ca
nt
role
that
the
inte
rnet
has
on
our
daily
live
s, a
nd h
ow th
e ro
les
has
impa
cted
out
cul
ture
. Van
alis
arg
ues
that
net
wor
k so
ciet
y us
es
rem
ix a
s it’
s do
min
ant c
ultu
ral f
orm
. We
can
see
a hi
t of
the
rem
ix
with
in th
e K
unst
hal R
otte
rdam
, whi
ch w
as b
uild
bef
ore
the
onse
t of
the
netw
ork
age.
Koo
lhaa
s re
mix
es, b
y de
sign
ing
the
mus
eum
, w
ith a
twis
t. A
ddin
g an
aud
itori
um n
ear
the
entr
ance
and
alo
ng
circ
ulat
ion,
(V
arna
lis 2
007)
SPACE
19
With
in th
e C
urre
nt n
etw
ork
cultu
re th
e K
unst
hal R
otte
rdam
can
be
expe
rien
ced
with
out a
ctua
lly g
oing
to th
e N
ethe
rlan
ds.
One
can
exp
erie
nce
the
build
ing
on th
e in
tern
et, w
here
var
ious
goo
gle
sear
ch r
esul
ts, s
uch
as b
log
post
s, m
agaz
ines
can
pie
ce
by p
iece
gen
erat
e a
spac
e th
at I
will
und
erst
and
as to
be
the
Kun
stha
l Rot
terd
am. L
iste
ning
to th
e au
dio-
tour
of
the
Mus
eum
in
my
Liv
ing
room
, I w
alke
d th
roug
h th
e K
unst
hal R
otte
rdam
, ste
p by
ste
p th
roug
h a
spac
e on
the
othe
r si
de o
f th
e gl
obe.
U
ser
Any
whe
re
phot
o
blog
pos
t
mag
azin
e ar
ticle
phot
o
phot
o
phot
o
phot
o
arch
itect
ure
web
site
galle
ry w
eb s
ite
Kuns
thal
Rot
terd
am,
The
Net
herla
nds PL
ACE
PLAC
EIN
FORM
ATIO
NINFO
RMAT
ION
INFO
RMAT
ION
INFO
RMAT
ION
SPACE 20
Del
euzi
an S
pace
For
Del
euze
spa
ce is
sim
ulta
neou
sly
prod
uced
and
exh
aust
ed
in th
e cr
eatio
n of
an
even
t. T
he o
ccur
renc
e of
eve
nts
and
mov
e-m
ents
, im
plie
s th
e oc
curr
ence
of
time.
From
this
per
spec
tive
we
can
unde
rsta
nd A
rt g
alle
ries
as
spac
es
whe
re s
pace
and
tim
e ar
e co
mpr
esse
d. T
he a
ctio
ns, e
mot
ions
, and
de
cisi
ons
of a
rtis
ts a
re e
mbo
died
on
thei
r ar
t and
put
on
disp
lay
in
the
galle
ry to
then
be
expe
rien
ced
by o
ther
s. T
he p
iece
s of
art
ac-
tivel
y lin
ks th
e vi
ewer
to th
e tim
e an
d pl
ace
that
the
art w
as g
ener
-at
ed. T
he g
alle
ry h
osts
a c
olle
ctio
n of
inst
ance
s of
com
pres
sed
time
and
spac
e.
Del
euze
and
Gua
tari
defi
ned
spa
ce a
s a
dist
ingu
ishe
d be
twee
n tw
o ty
pe o
f sp
aces
the
smoo
th a
nd th
e st
riat
ed. T
he d
iffe
renc
e be
-tw
een
smoo
th a
nd s
tria
ted
spac
es is
bas
ed o
n th
e m
anne
r in
whi
ch
even
ts a
nd m
ovem
ents
take
pla
ce, t
hese
spa
ces
are
subj
ectiv
e.
The
y defi n
e sm
ooth
spa
ce a
s bo
unde
rile
ss a
nd o
pen
to v
ario
us
dire
ctio
nal m
ovem
ents
, whi
le s
tria
ted
is b
ound
and
org
aniz
ed,
with
an
inte
nded
rou
te f
rom
poi
nt A
to p
oint
B. T
he p
hilo
soph
ers
dist
ingu
ish
that
the
smoo
th b
ecom
es s
tria
ted
and
vise
ver
sa. T
he
Kun
stal
Rot
erda
m is
str
iate
d; th
e pa
th o
f m
ovem
ent t
hrou
gh th
e bu
ildin
g is
dir
ectio
nal f
ollo
win
g th
e sp
iral
. The
mai
n ga
llery
cou
ld
GA
LLER
Y CO
MPR
ESSE
S SP
ACE
& T
IME
ART
IST
ART
View
er
LIN
KED
BY
SPAC
E A
ND
TIM
E
Pastast
Pres
ees
ent
SPACE
21
be e
xper
ienc
ed a
s a
smoo
th s
pace
, whe
re o
n co
uld
mea
nder
thro
ught
out t
he s
pace
with
out a
spe
cifi c
dir
ectio
n in
min
d. T
he
spac
e w
ithin
the
build
ing
is c
onta
ined
by
bord
ers
of th
ose
sepa
ratin
g th
e sp
ace
of th
ose
who
hav
e pa
id to
ent
er a
nd th
ose
who
hav
e no
t.
Koo
lhaa
s re
-im
agin
es th
e ty
pica
l rel
atio
nshi
p of
indo
or a
nd o
utdo
or s
pace
. By
havi
ng a
pub
lic c
orri
dor
and
a ro
ad r
un
thro
ugh
and
unde
r th
e K
unst
hal R
otte
rdam
. He
man
ipul
ates
the
rela
tions
hip
betw
een
thes
e tw
o di
chot
omou
s sp
aces
, but
by
blur
ring
thei
r bo
unda
ries
, but
rat
her
by in
tert
win
ing
them
, out
side
spa
ce is
lite
rally
bro
ught
thro
ugh
the
build
ing
with
the
publ
ic w
alkw
ay li
nkin
g th
e pa
rk a
nd th
e hi
ghw
ay. O
nce
insi
de th
e ga
llery
, the
inte
rior
spa
ce is
vis
ually
link
ed to
the
fore
st
outs
ide,
thro
ugh
larg
e w
indo
ws.
Out
side
Insi
de
Stra
tified
Spa
ce -
plan
ned
circ
ulat
ion
Stra
tified
Spa
ce -
plan
ned
circ
ulat
ion
Gal
lery
one
_man
y po
ssib
le p
aths
(sm
ooth
)Bu
ildin
g Ci
rcul
atio
n
Boun
derie
s
Mus
eum
Bou
nder
ySt
aff o
nly
SPACEW
orks
Cite
d
Agr
est,
Dia
na (
1993
). “
Arc
hite
ctur
e fr
om w
ithou
t: B
ody
Log
ic a
nd S
ex”,
in A
rchi
tect
ure
With
out.
Mel
eauu
-Pon
ty, “
The
Syn
thes
is o
f O
ne’s
Ow
n B
ody”
in P
heno
men
olog
y of
Per
cept
ion
Vid
ler,
Ant
hony
. (19
93)“
The
Bui
ldin
g in
Pai
n: T
he b
ody
and
Arc
hite
ctur
e in
Pos
t-M
oder
n C
ultu
re,”
in A
A fi
les1
9, A
rchi
tec-
tura
l Ass
ocia
tion.
Bal
mon
d, C
ecil
(200
2) I
nfor
mal
. Pre
stel
, Lon
don.
Bau
mei
ster
, Rut
h an
d Sa
ng L
ee. T
he d
omes
tic a
nd th
e fo
reig
n in
arc
hite
ctur
e.
Eis
enm
an, P
eter
(19
68)
“Pos
t Fun
ctio
nalis
m”
in K
.M. H
ays,
ed.
Arc
hite
ctur
e T
heor
ysi
nce
1968
,
OM
A. “
Kun
stha
l, N
ethe
rlan
ds, R
otte
rdam
, 199
2” R
etre
ived
on
Oct
1st
201
0, f
rom
TECHNIQUEW
orks
Cite
d
Agr
est,
Dia
na (
1993
). “
Arc
hite
ctur
e fr
om w
ithou
t: B
ody
Log
ic a
nd S
ex”,
in A
rchi
tect
ure
With
out.
Mel
eauu
-Pon
ty, “
The
Syn
thes
is o
f O
ne’s
Ow
n B
ody”
in P
heno
men
olog
y of
Per
cept
ion
Vid
ler,
Ant
hony
. (19
93)“
The
Bui
ldin
g in
Pai
n: T
he b
ody
and
Arc
hite
ctur
e in
Pos
t-M
oder
n C
ultu
re,”
in A
A fi
les1
9, A
rchi
tec-
tura
l Ass
ocia
tion.
Bal
mon
d, C
ecil
(200
2) I
nfor
mal
. Pre
stel
, Lon
don.
Bau
mei
ster
, Rut
h an
d Sa
ng L
ee. T
he d
omes
tic a
nd th
e fo
reig
n in
arc
hite
ctur
e.
Eis
enm
an, P
eter
(19
68)
“Pos
t Fun
ctio
nalis
m”
in K
.M. H
ays,
ed.
Arc
hite
ctur
e T
heor
ysi
nce
1968
,
OM
A. “
Kun
stha
l, N
ethe
rlan
ds, R
otte
rdam
, 199
2” R
etre
ived
on
Oct
1st
201
0, f
rom