THEOREM In 1909 the "layering" of the world's surface through the action of the elevator was posited in the form of a visual theorem that appeared in the popular press. A slender steel structure supports 84 horizontal planes, all the size of the original plot. Each of these artificial levels is treated as a virgin site to establish a private domain around a single countryhouse and its attendant facilities such as stables, servants' cottages, gazebos, etc., all implanted in an airborne meadow. Emphatic permutations of the styles of the villas suggested that each of the elevator stops corresponded to a different lifestyle-an implied ideological variation-all of them supported with complete neutrality by the steelframe rack. Life inside this building is fractured to the extent that it could not conceivably be part of a single scenario: on the 8 2 nd floor a donkey shrinks back from the void, on the 8 1 st a cosmopolitan couple hail a plane. The privacy and isolation of each of the aerial plots seemingly conflicts with the fact that, together, they form a single building. In fact, the diagram implies that the structure is successful exactly to the extent that the individuality of each plot is respected. The structure "frames" their coexistence without interfering with their contents. The Building is an accumulation of privacies. 100-Story Building In 1911 a project for a "I 00-Story Building" was unveiled that incorporated many of the breakthroughs which, only two years earlier, seemed entirely theoretical. The Building was a straightforward extrusion of the block it occupies multiplied by 10 0. The lower third of the Building is devoted to industry, the middle part to business, the upper part to living. On every 20th story is a public plaza that occupies a whole floor and articulates the demarcation between the different functional sectors: a "general market" on the 20th, a cluster of theatres on the 40th, a "shopping district" on the 60th, a hotel on the 80th, and an "amusement park, roof garden and swimming pool" on the roof At first sight, the rooms inside this structure are conventional, equipped with fireplaces and wood panelling. But they are also equipped with 7 outlets for "temperature and atmosphere regulating tubes" which demonstrate once more the antipragmatic, in fact, poetic usage of the Metropolitan infrastructure: "A = salt air, B = fresh air, C = dry salt air, D = dry fresh air, E = medicated air (to suit disease), F = temperature switch, GHI = perfumes." The outlets of this techno-psychic battery are the keys to a scale of synthetic experiences that ranges from the hedonistic to the hyper-medical. Some rooms can be "set" on Florida, others on the Canadian Rocky Mountains The perfumes and the medicinal air suggest even more abstract destinations. In the 10 0 -story Building each cubicle is equipped to pursue its private existential journey. The building has become a laboratory for emotional and intellectual adventure; the fact that it is implanted in Manhattan has become-almostimmaterial. Rem Koolhas, Delirious New York, 1978
Pablo GonzĂĄlez Ruiz Proyectos V - Usos Mixtos Profesores Juan Carlos Alvear RubĂŠn Gutierrez Nesme
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