In order to sharpen the approach to the topic of transforming existing fabrics , the first task within this studio was to engage with the work Cronocaos preservation tour by the Dutch architect Rem Koolhaas and his office OMA . The aim was to filter out the essence of his work .
The topics to work with existing buildings and upcycling has for Koolhaas two meanings . Firstly , using the existing structure by adding and thinking it further and secondly using the existing fabric by giving to it a new face and a new interpretation ( Koolhaas , 2021 ). Koolhaas already applied this two-sided approach during the exhibition of the Cronocaos project at the New Museum in New York . He left one part of the exhibition space as authentic as it already was and only renovated and refreshed the other part ( Kaltenbach , 2011 ). The focus there laid more on authenticity and thinking the existing situation further . There is also a cultural background in this work that has a noticeable influence on this work . He is criticising and questioning the politics of the western countries , for only saving the “ beautiful ” buildings and areas and devasting the “ ugly ” but social important elements . Koolhaas does not hold back with criticism of his architectural colleagues either . The Dutchman is criticising and questioning the attitude and influent of all ( super- ) architects . Only he and his offices OMA are really working in the right way and are interested in the history of the specific buildings and even humanity ( Koolhaas , 2021 ). to preserve and protect authentic and identity-forming neighbourhoods . When our built world is arbitrarily protected and destroyed at the same time , our linear evolution , which can be seen in the buildings , will be destroyed . According to Koolhaas , it is important to preserve the image of our evolution that our built landscape shows . The Dutchman recommends to carefully transform the existing and use it in a new way . Koolhaas also comments on the role of the existing and the role of the new . The existing are the memories and picture of the human development over time . In addition to that , the Dutch architect classifies the preserved area as a conserved substance and as a forbidden zone for architects . Therefore , he declares 12 % of our built world as preserved area . Furthermore , he sees a scheme between old and new . Koolhaas understands the existing as the counterpart of the new . The old and the new are laying under a general system of balance . The new and the old are on an equal footing . Therefore , he proposes his project in St . Petersburg as a prime example ( Koolhaas , 2021 ).
Through his exhibitions in 2010 at the Venice Biennale and at the New Museum in New York in 2011 , Koolhaas and his office attempted to reduce the public ‘ s awareness of the influence of historic preservation movements . This message and this theory were addressed to the whole western world , but especially to architects , politicians , and monument conservators ( Koolhaas , 2021 ).
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The main ideas and themes are clearly visible . The idea is to pretend a unilateral preservation . Our society should not only protect our old heritage but also buildings of the post-war architecture . Therefor the society should follow the OMA theory :” not what to keep , but what to give up , what to erase and abandon ” ( Koolhaas , 2021 ). The topics on the other hand are primarily concerned with our current and future handling of the stock . The goal is to find for the future a form for our memories and
Fig . 1 Ground plan of the project St . Petersburg Fig . 2 Collage of the project St . Petersburg
* The project in chapter 2.1 Rem Koolhaas : Cronocaos was a group work with Mara Heymann . The text was written within the group .