Spontaneous Design
The concept that buildings could be designed to a specific,
static function persisted in the Modernist theory. However, over time the
failure of many Modernist projects disproved this theory. One such is
Pruitt-Igoe, where it was thought to be the ideal configuration for public
housing, however failure to address context and culture led to its decay. In
the Retroactive Manifesto, there was a shift to accept the ordinary – the
spontaneity of the end-user and their impact on the building. Perhaps this is
one of the strengths of this theory, as described by Koolhaas in the 100-Story
Tower example - “Through the medium of the Skyscraper, each site in the
Metropolis accommodates – in theory at least – an unstable and unforeseeable
combination of superimposed and simultaneous activities whose configuration is
fundamentally beyond the control of the architect or planner.” As designers,
can we embrace this spontaneity to improve our work? Is it possible to design
for spontaneity?
Pruitt-Igoe, St. Louis
Minoru Yamasaki, 1956
http://youngarchitect.com/2013/12/30/co-op-city-towers-in-the-park-and-the-pruit-igoe-myth/
Riverside Plaza, Minneapolis
Ralph Rapson, 1973
Public housing project similar to Pruitt-Igoe that is currently attempting to revitalize the unsafe living conditions.
https://en.wikipedia.org/wiki/Riverside_Plaza
Downtown Athletic Club, New York City
Starret & van Vleck, 1930
http://www.skyscrapercity.com/showthread.php?t=216548
It is possible that the diverse offerings of a space enhance its spontaneity, as it can attract a wider range of users. The users can interact in a multitude of ways but common ground is necessary to ensure that overlap occurs. In the Downtown Athletic Club for example, there is such a wild diversity of activities but as they are largely separated by floor the only overlap occurs in the lobby or elevator, which are little more than pass-through spaces. It may be most important where/how opportunity for overlap occurs than the individual activities that a space contains.
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