Sometime in the future, let’s say in 2035, format factory would have been a project of the Future of the Image. In advance of retrospect, it will be The History of the Future of the Image. But let’s have a look at what one of the former pupils of the AA says about some of my titles:
The History1 of the Future2 of the Image3
AA (as initials) 6
This is what you get as a result of this belief in history: a building that mimics history, but through its scale and volume alone radically breaks through the scale of history and is neither really new, nor really historical.
We were seeing the future and we knew it for sure. I saw people walking around in it without knowing it, because they were still thinking in the past, in references of the past. But all you had to do was know you were in the future, and that’s what put you there. The mystery was gone, but the amazement was just starting.
Cyberspace will provide not only a one-way path into screenland but special effects at your table. The future is here, it just hasn’t been evenly distributed (yet).
But the future comes not by itself. Only if we do our work in the right way will it make a good foundation for the future. In all these years I have learned more and more that architecture is not a play with forms. I have come to understand the close relationship with architecture and civilization. I have learned that architecture must stem from the sustaining and driving forces of civilization and that it can be, at its best, an expression of the innermost structure of its time.
Imagine the person you love saying to you, “Ten minutes from now you are going to be poked with a sharp stick. The pain will be excruciating and there isn’t a single thing you can do to prevent it.” Well then – the next ten minutes would be next to unendurable, would they not? Maybe it’s good we can’t see the future.
A picture esp. in the mind.
Here I am in the presence of images, in the vaguest sense of the word, images are perceived when my senses are opened to them, unperceived when they are closed.
I do not believe in some “new identity” which would be adequate and authentic. But I do not seek some form of liberation from identity. That would only lead to another form of paralysis – the oceanic passivity of undifferentiation. Identity must be continually assumed and immediately called into question.
“Definitions” from the left columns on the right side of 3 of 1355 pages bound as hardcover book measuring 18.3 x 7 x 23.9 cm, published by Monacelli Press; 2nd edition edition (22 Oct 2002), titled S, M, L, XL and constructed by Rem Koolhaas, Bruce Mau, Hans Werlemann and Jennifer Sigler at O.M.A.