‘Derive’ or drift behavior is an exploration of the build environment without preconceptions through a passive movement in space. It is an attempted analysis of our everyday life.
17 a reference for conceptual analysis: the Situationist Group _ “New Babylonianism,” Superstudio
18 Dutch Embassy conceptual model _ building circulation and transparency of spaces _ acrylic, paper and cardboard
â€œThe beauty of Berlin, its opacity, complexity, its heaviness, the richness of its ghosts. The abundance of good intentions that somehow went wrong. The pressure of shame imposed by more and more monuments. The obligation to remember, combined with the surprising amnesia (where did the wall go?). How far it is removed from everything. How German it remains. Its gray. Its stubbornness. Its lack of doubt. The meticulous mediocrity of its new substance. How old what was modern looks. How fresh what is ancient. How good what was Communist. How Chinese what is new.â€? -- Rem Koolhaas, Content
19 final interpretive analysis _ 100cm x 50cm acrylic painting on canvas
city skyline + Spree River
unfolded building plan + trajectory path
Trajectory Path on facade Fernsehturm Tower
20 content of final interpretive analysis painting _ 100cm x 50cm acrylic on canvas
The Dutch Embassy in Berlin can be interpreted on several levels. My initial research explains the pure functionality and performance of the building design, mechanically, structurally and programmatically. The functional uniqueness of the building lies in the complexity and simpleness of its program, a public trajectory path winding through the building volume from which semi-public to private spaces are connected. The multifunctionality of this element is the buildingâ€™s strength and pride. Though, there is a second level of intentional dynamicism the building quietly exudes. While the trajectory pathwinds through the building, highlighted views of Berlin are strategically designed to impact the user. The building strengthens what is already existing around it, it has a need for itâ€™s periphery. A framed view of the iconic Fernsehturm, aerial views of the river Spree, adjacent government buildings. The reflectivity of the materials within the building, glass and aluminum, further intensify the exterior perspectives and create a moving picture of the city that is consumed by the user. The design creates a multi plane of sequences of spatial reflection. My painting is a final interpretation of this very translucent aspect. The design of the Embassy is powerful, strong and complex on formal, functional and experiential levels enabling it to be deserving of the 2005 European Union Prize for Contemporary Architecture. 21 conclusion
Architectural Record, April 2003. Bru, Eduard. “The Greatness of Triviality.” Chaslin, Francois. “Psychogeography of a Cube. The Dutch Embassy in Berlin.” “El Croquis 131/32.” Rem Koolhaas 1996-2006. pp. 432-449 Koolhaas, Rem. “Content.” New York: Taschen America Llc, 2003. Mostafavi, Mohsen. “Netherlands Embassy in Berlin.” NAi Publishers, Rotterdam. “The Dutch Embassy in Berlin by OMA / Rem Koolhaas.” 2004. Rambert, Francis. “Citizen K.” Sadler, Simon. “The Situationist City.” MIT Press, 1998.
Other Project References: Archigram. Michael Webb. Mixtacity, London. Nigel Coates. Pompidou Centre. Richard Rogers.
Published on Jan 15, 2009
Further theoretical comparison of the Dutch Embassy's conceptual design to the Situationist Group. An interpretive physical model of the bu...