ARCHITECTURE REVIEW; Rem Koolhaas's New York State of Mind

By HERBERT MUSCHAMP
Published: November 4, 1994
On a certain level, these buildings are about coping. Mr. Riley writes in the exhibition brochure that Mr. Koolhaas and O.M.A "perceive the city as a survivor." Survivors are not victims. They have earned the right to set their own terms. Cities shouldn't be competing with the suburbs by trying to become more like them. They don't have to turn themselves into theme parks. They have better things to do than indulge the fear that their best days are behind them by encouraging architects to design new buildings that look old.

Mr. Koolhaas is undoubtedly right to question current urban shibboleths. But are the terms he proposes the right ones for the city today? Essentially, Mr. Koolhaas asks us to believe that spectacular public buildings, or spectacular groupings of them, contribute at least as much to the vitality of the city as do the systematic designs of urban planners. Those who crave urban life, he insists, want something more than safe, clean streets, trains that run and contextual design guidelines for new development. They're looking to be part of a legend in the making. Just as it is the business of music, film and physics to produce spectacular singers, directors and theorists, so it is the job of the city to produce wonderful, fabulous places: buildings we'd walk blocks out of our way to see.

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