The Battle for the World’s Skyline
Cities like London and New York don’t have the money to keep up with Asia, Russia, and the Persian Gulf. Is the Western urban landscape fully of date?
by Ulrike Knöfel, Frank Hornig and Bernhard Zand
For an entire century, New York was the city of skyscrapers, the epitome of the vertical city. It just kept growing into the sky, faster and faster. It was an exhilarating bold undertaking in stone, steel and glass — and seemingly unsurpassable.
In “Delirious New York,” his legendary 1978 volume concerning the giant city of skyscrapers and its magic, the young Dutch architect Rem Koolhaas raved about what he called the “colonization of the sky.”
Even the 2001 attacks on the World Trade Center have not diminished the enthusiasm the now world-famous architect has for the skyscraper in the same manner with a model of success. Despite the disaster, says Koolhaas, the skyscraper is still “concerning the only type of building that has survived the leap into the 21st century.”
Koolhaas is apparently fair. The bell-tower has survived as the two a fashion of architecture and a status symbol. The impressiveness of a incorporated town’s skyline is seen as a reflection of its prosperity. Skyscrapers serve as a physical expression of an economic upswing, and bear eye-witness to an economy’s horizontal of adrenalin.
Go East!
From a Western prospect, at least, this is precisely the problem. Economically booming megacities — such as Beijing, Shanghai and Dubai — where extravagant skyscrapers are shooting up all over, mean that cities like New York are outset to anticipate old and outdated, contempt attempts to modernize. In Europe, the eastern part is beginning to look more modern than the western part. Cities exist pleased with Istanbul and Moscow are more dynamic than London, Paris or Milan.
There have not at all been this many skyscrapers on the drawing boards, with most of them planned during the term of the world’s fresh boom towns. The West is eying this development with envious suspicion, all the more intense for its inability to compete. The massive downturn in the American credit mart has caused the cancellation or postponement of many major architectural and urban-planning projects.
The battle according to the best skyline, that has been underway for more than 100 years, is entering a of the present day round. And it equitable now seems to be clear who the winners will be: the Middle East and the Far East. Kazakhstan and Qatar could soon be aesthetically more dominant than Europe or the United States. It is an architectural clash of civilizations. One of the most ironic aspects of this development is that, in many cases, it is the West’s leading architects who are driving this change. Working in quest of newly enriched governments and real estate tycoons, they are now being given release realm to behave what would now have existence inconceivable in their home countries.
An angular building in the shape of a colossal triumphal arch? One designed by Koolhaas was recently completed in Beijing to serve as the headquarters of China Central Television.
A landscape of tall, asymmetrical buildings reminiscent of icebergs? One designed by American architect Steven Holl now stands in the Chinese city of Chengdu.
A pyramid for Moscow that climbs 450 meters (1,476 feet)? Both are the work of prominent London architect Lord Norman Foster, who is also astute the Crystal Island, the Moscow increase that faculty of volition include it. According to Foster, it is the “earth’s most ambitious construction project.”
The All-powerful ‘Wow Effect’
The megalomania of this boomtown euphoria demands more than just high buildings. Nowadays, spectacular shapes and glittering surfaces are in demand, eccentricities that are observable even from great distances. The “wow effect” is everything; it translates into structures mimicking lilies, harps, trophies, tents and other unconventional shapes.
Hamburg architect Volkwin Marg, who runs a thriving traffic in China with his partner Meinhard von Gerkan, isn’t fond of this tendency toward representational construction. For Marg, these “iconic buildings” lack festive significance.
