The New, New City Nicolai Ouroussoff
“Don’t tell anyone,” Rem Koolhaas said to me several
speeds, these generic or instant cities, as they
years ago as we headed down the F.D.R. Drive in New
have been called, have no recognizable
York, “but the 20th-century city is over. It has nothing new
center, no single identity. It is sometimes
to teach us anymore. Our job is simply to maintain it.”
hard to think of them as cities at all. Dubai,
Koolhaas’s viewpoint is widely shared by close observers
which lays claim to some of the world’s most expensive
of the evolution of cities. But not even Koolhaas, it seems,
private islands, the tallest building and soon the largest
was completely prepared for what would come next.
theme park, has been derided as an urban tomb where
the rich live walled off from the poor migrant workers
In both China and the Persian Gulf, cities
comparable in size to New York have sprouted up almost
who serve them. Shenzhen is often criticized as a
overnight. Only 30 years ago, Shenzhen was a small
product of unregulated development, better suited to
fishing village of a few thousand people, and Dubai had
the speculators that first spurred its growth than to
merely a quarter million people. Today Shenzhen has a
the workers housed in huge complexes of factory-run
population of eight million, and Dubai’s glittering towers,
barracks. Yet for architects these cities have also become
rising out of the desert in disorderly rows, have become
vast fields of urban experimentation, on a scale that not
playgrounds for wealthy expatriates from Riyadh and
even the early Modernists, who first envisioned the city
Moscow. Long-established cities like Beijing and
as a field of gleaming towers, could have dreamed of.
Guangzhou have more than doubled in size in a
few decades, their original outlines swallowed by
anymore,” Jesse Reiser, an American architect working
rings of new development. Built at phenomenal
in Dubai, told me recently. “What context are we talking
“The old contextual model is not very relevant
about in a city that’s a few decades old? The problem is that we are only beginning to figure out where to go from here.”
01
The New, New City
“The 20th century city is over.”
Copyright: <a href=’http://www.123rf.com/profile_vedmed85’>vedmed85 / 123RF Stock Photo</a>
The sheer number of projects under construction and the
to make everything look new. This is their moment in time.
corresponding investment in civic infrastructure — entire
They want to make the 21st century their century. For some
networks of new subway systems, freeways and canals;
reason, our society wants to make everything old. I think we
gargantuan new airports and public parks — can give the
somehow lost our nerve.”
impression that anything is possible in this new world. The
scale of these undertakings recalls the early part of the
project, “Linked Hybrid,” is one of the most innovative housing
last century in America, when the country was confidently
complexes anywhere in the world: eight asymmetrical
pointed toward the future. But it would be unimaginable
towers joined by a network of enclosed bridges that create
in an American city today, where, in the face of shrinking
a pedestrian zone in the sky. Yet this exhilaration also comes
state and city budgets, expanding a single subway line can
at a price: only the wealthiest of Beijing’s residents can afford
seem like a heroic act.
to live here. Climbing to the top of one of Holl’s towers, I
Holl has reason to be exhilarated. His Beijing
“In America, I could never do work like I do here,”
looked out through a haze of smog at the acres of luxury-
Steven Holl, a New York architect with several
housing towers that surround his own, the kind of alienating
large projects in China, recently told me,
subdivisions that are so often cited as a symptom of the city’s
referring to his latest complex in Beijing. “We’ve
become
too
backward-
looking. In China, they want
unbridled, dehumanizing development.
Protected by armed guards, these residential
high-rises stood on what was until quite recently a workingclass neighborhood, even though the poor quality of their construction makes them seem decades old. Nearby, a new freeway cut through the neighborhood, further disfiguring an area that, however modest, was once bursting with life.
03
The New, New City
“We’ve become too backward looking.”
“If you take Venturi’s ideas about the city,” Holl said,
such seismic shifts, even the most talented architects can
referring to Robert Venturi’s groundbreaking work,
seem to flounder for new models. No one wants to return to
“Learning From Las Vegas,” which called on architects to
the deadly homogeneity associated with Modernism’s tabula
reconsider the importance of the everyday (strip malls,
rasa planning strategies.
billboards, storefronts), “and put them in Beijing or Tokyo,
they don’t hold any water at all. When you get into this
Paris ready to wipe aside entire districts and replace them
scale, the rules have to be rewritten. The density is so
with glass towers remains an emblem of Modernism’s
incredible.” Because of this density, cities like Beijing
attack on the city’s historical fabric. Yet the notion of finding
have few of the features we associate with a traditional
“authenticity” in a sprawling metropolitan area that is barely
metropolis. They do not radiate from a historic center as
30 years old also seems absurd. How do you breathe life
Paris and New York do.
into a project at such a scale? How do you instill the fine-
Instead, their vast size means that they function
primarily as a series of decentralized neighborhoods, something
closer
in
spirit
to
Los
Angeles.
The
The image of Le Corbusier hovering godlike above
grained texture of a healthy community into one that rose overnight?
Cities like these, built on a colossal scale, seem to
breathtaking speed of their construction means that
absorb any urban model, no matter how unique, virtually
they usually lack the layers — the mix of architectural
unnoticed. A project that could have a significant impact
styles and intricately related social strata — that give
on the character of, say, New York — like the development
a city its complexity and from which architects have
plans for ground zero — can seem a mere blip in Beijing,
typically drawn inspiration.
which has embarked on dozens of similarly sized endeavors
in the last decade alone. “The irony is that we still don’t
In Dubai, for instance, what might once
have been the product of 100 years of urban growth
know if postmodernism was the end of Modernism or just
has been compressed into a decade or so. Given
an interruption,” Koolhaas told me recently. “Was it a brief hiatus, and now we are returning to something that has been going on for a long time, or is it something radically different? We are in a condition we don’t understand yet.”
05
The New, New City
“We are in a condition we don’t understand yet.”
For architects faced with building these large urban
of public space: a boardwalk along the island’s perimeter,
developments, the difficulty is to create something where
a narrow park cutting through its center, classical arcades
there was nothing. If much of contemporary architecture
lining the downtown streets. But the majority of Dubai’s
depends on sifting through the cultural and historical
inhabitants are foreign-born, and the arcaded streets could
layers that a site accumulates over time — whether neo-
easily suggest a theme-park version of a traditional Arab
Classical monuments or Socialist-era housing — what
city. Koolhaas is painfully aware of how hard it is to escape
can be done if there is nothing to sift through but sand?
the generic.
In a recent design for a six-and-a-half-square-
“A city like Dubai is literally built on a desert,”
mile development in Dubai called Waterfront City,
Koolhaas conceded when I asked him about the project.
Koolhaas proposed creating an urban island inspired
“There is a weird alternation between density and
by a section of Midtown Manhattan. The design linked a
emptiness. You rarely feel that you are designing for people
dense grid of conventional towers to the mainland by a
who are actually there but for communities that have yet to
system of bridges. A series of stunning “iconic” buildings
be assembled. The vernacular is too faint, too precarious to
— a gigantic, hollowed-out Piranesian sphere at the
become something on which you can base an architecture.”
island’s edge; a spiraling tower that winds around an airy
public atrium —were intended to give the city a distinct
complexity as the buildings’ functions are worked out; he
flavor. Koolhaas said he hoped, in this way, to infuse
says he was thrilled to learn that the government wanted
this entirely new development with something of the
both a courthouse and a mosque on the island. “Another
feeling of an older city.
option that I personally find very interesting,” Koolhaas told
me, “is the modernist vernacular of the 1970s — buildings
But while the outlines are intriguing, he is
Koolhaas says he hopes that the plan will gain in
still coming to terms with how to create an organic
that once you put them in Singapore or Dubai take on
whole. In the early stages of the design, Koolhaas
totally different meanings. Some of the modern typologies
experimented with somewhat conventional models
work in Asia even though they are totally dysfunctional in America. Typologies we’ve rejected turn out to be viable in other contexts.”
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The New, New City
â&#x20AC;&#x153;A city like Dubai is literally built on a desert,â&#x20AC;?
Several years ago, the London-based, Iraqi-born architect
As the towers rose in clusters scattered across the site, it
Zaha Hadid received a phone call from a Chinese
was difficult to read the formal intent. With more than 20
developer asking if she might be interested in designing
blocks now complete, parts of the city look surprisingly
a 500-acre urban development on the outskirts of
conventional.
Singapore. Hadid had never met the developer before.
She was soon working on the master plan for “One North,”
later, when she won a competition to create a 1,360-
a mixed-use development with a projected population of
acre business district in a former industrial zone on the
about 140,000. Located on what was once a military site,
outskirts of Istanbul. This time, the context was more
Hadid’s design conjured a high-tech mountainous terrain.
promising: a hilly landscape at the edge of the sea flanked
Dubbed the “urban carpet,” it was intended to blend office
by older working-class neighborhoods on either side. To
and residential towers and highways and public parks into
allow the development to grow in a more natural way than
a seamless whole.
at One North, it would be built in phases that would begin
at the waterfront and spread inland, eventually connecting
Against the rigid lines of the traditional street
Hadid
revived
the
concept
several
years
grid, the sinuous curves of the freeways suggested a
to the street grid of the older neighborhoods.
more fluid, mobile society. The rooftops, whose heights
were subject to stringent regulations, looked as if they
original concept, Hadid developed a series of building
were cut from a single piece of crumpled fabric, giving
prototypes, including a star-shaped tower and a housing
the composition a haunting unity. “We wanted to create
block organized around a central court, and staggered the
a complex order rather than either the monotony of
heights of the buildings to reflect the existing terrain. If
Modernism or the chaos you find in contemporary cities,”
Hadid’s plan is formally inventive, it is still unclear whether
Hadid said. Yet once construction began, the design of the
it has escaped the homogeneity that was a hallmark of
buildings was left to local architects hired by the developer.
Modernist urban-renewal projects. Its sheer size coupled
In an effort to preserve the texture of her
with the fact that the shapes of the buildings were conceived by a single architect means the result may well be more uniform, and ultimately more rigid, than Hadid intended.
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The New, New City
“We wanted to create a complex order,”
Indeed, contemporary architects’ urban
The walkable, mixed-use neighborhoods celebrated by
plans may be less tied to location
Jane Jacobs may seem impossibly remote, but encouraging
than they would like to admit. When
signs of a more textured urban reality can still be found.
a Chinese developer approached the
Take Holl’s Linked Hybrid in Beijing, for example, which
New York-based Jesse Reiser and
has a surprisingly open, communal spirit. A series of
Nanako Umemoto to design a 1,235-
massive portals lead from the street to an elaborate
acre development in Foshan, on the
internal courtyard garden, a restaurant, a theater and a
Pearl River Delta, they (with a Chinese partner) came up
kindergarten, integrating the complex into the surrounding
with a system of urban “mats”: a multilayered network of
neighborhood. Bridges connect the towers 12 to 19 stories
roads and low-rise commercial spaces, topped by a park
above ground and are conceived as a continuous string
surrounded by residential and commercial buildings.
of public zones, with bars and nightclubs overlooking a
The park followed the contours of the roadways below;
glittering view of the city and a suspended swimming pool.
sunken courtyards allowed light to spill down into the
“The developer’s openness to ideas was amazing,” Holl
underground spaces. Last year, the Chinese project fell
says. “When they first asked me to do the project, it was
through, and Reiser and Umemoto reworked the idea for a
just housing. I suggested adding the cinematheque, the
developer in Dubai. The layout was reconfigured to fit the
kindergarten. I added an 80-room hotel and the swimming
new waterfront site; souks were added as a nod to local
pool as well. Anywhere else, they’d build it in phases over
traditions. The result is a remarkably nuanced view of how
several years. It’s too big. After our meeting, they said
to knit together the various elements of urban life, but it
we’re building the whole thing all at once. I couldn’t believe
also seems as if it could exist anywhere.
it. We haven’t had to compromise anything.
“But what makes it possible is the density. The
Modernist idea of the street in the air that became a place of social interaction never worked in Europe. Beijing is so dense that I can keep all of the shops functioning on the street, and there’s still enough energy to activate the bridges as well.”
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The New, New City
â&#x20AC;&#x153;But what makes it possible is the density.â&#x20AC;?
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The New, New City
“The density in much of Shenzhen can make Beijing look spacious.”
Wenyi Wu, a young architect working for a Chinese firm called Urbanus, led me around the area. The firm has been studying how people carve a living space out of seemingly inhospitable environments, hoping to develop an urbanist model more deeply rooted in the spontaneity of everyday life. He took me to a small museum Urbanus designed on the outskirts of the city. A series of stepped galleries stand at the base of a hill between an urban village and some banal housing complexes above. A series of long ramps pierce the building, joining the two worlds. More ramps encircle the exterior, so that you have the impression of moving through a system of loosely connected alleyways. The idea was to transform the unregulated character of the urban village into something more formal and humane — to extract the essence of its character without romanticizing the squalor. The circuitous paths of the ramps echo the surrounding alleyways; the layout of the galleries suggests the footprint of the migrant workers’ housing but on a more intimate scale. Other architects, hoping to build in ways that reflect an emerging vernacular, are taking a similar approach, looking at more modest and more informally constructed urban neighborhoods for inspiration. Shumon Basar, a London-based critic and independent curator, recently described a number of small, unplanned settlements in and around Dubai. The dense and gritty
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The New, New City
neighborhood of Deira, for instance, has little in common with Sheikh Zayed Road and its fortified glass towers. Built mainly in the 1970s, Deira’s low concrete structures and labyrinthine alleyways are home to a lively population of Southeast Asian workers. Similarly, the thriving, traditionally Muslim middle-class neighborhoods of Sharjah, the third-largest city in the United Arab Emirates, were built without the flashiness of more recent developments. Basar wonders if, despite their modesty, these areas could form the basis for a fresh urban strategy based neither on imported Western models nor on clichés about local souks. As Holl told me recently in his New York office, working on a large scale doesn’t mean that the particulars of place no longer matter. “I don’t think of any of my buildings as a model for something, the way the Modernists did,” Holl said. “If it works, it works in its specific context. You can’t just move it somewhere else.” But is site specificity enough? “The amount of building becomes obscene with out a blueprint,” Koolhaas said. “Each time you ask yourself, Do you have the right to do this much work on this scale if you don’t have an opinion about what the world should be like? We really feel that. But is there time for a manifesto? I don’t know.”
“But is there time for a manifesto? I don’t know.”
Mariam AlZayani