Overview
Discussion and analysis of "S,M,L,XL" by Rem Koolhaas and OMA, focusing on its significance in architectural publishing, its unique structure, design, major projects featured, and underlying philosophies. The episode reviews the book’s impact, content organization, stylistic choices, and select case studies from the "S" section, reflecting on its place in 1990s media and architectural discourse.
Introduction and Context
- "S,M,L,XL" is an iconic, disruptive architectural monograph by Rem Koolhaas and OMA published in the 1990s.
- The book consciously resists traditional, coherent narrative structures in favor of presenting architecture as a "chaotic adventure."
- Physically, the book is very large, visually striking, and characterized by bold graphic and typographical design.
- It is seen as both an anti-monograph and a work that cements Koolhaas’s charismatic hero status.
Book Structure and Design Characteristics
- The content is loosely organized by scale (Small, Medium, Large, Extra-Large) but resists strict hierarchy or chronology.
- The layout mixes essays, projects, diagrams, photographs (mostly black and white), and provocative images/artwork.
- The book is intentionally difficult to parse and comprehend, with information fragmented and selectively revealed.
- Marginal quotations, minimal project labeling, and a visually intensive montage style challenge readability.
Major Themes and Philosophies
- Architecture is presented as inherently random, driven by unpredictable demands and external forces.
- Koolhaas critiques both modernist and contemporary architectural doctrines, advocating for engagement with reality rather than idealistic opposition.
- The book’s style and narrative serve as both homage and satire of the field, often invoking contradictions and provocations.
Project Case Studies (S Section)
- Early projects are presented atmospherically, often via close-up or partial imagery, with context or explanatory content withheld.
- The Fukuoka Housing Project in Japan is given more detail, mixing plans, a travel diary, cultural observations, and minimal labeling (often in Japanese).
- Not all projects are fully explained; some are represented by a single image or a sparse travelogue.
- The Villa Dall’Ava in Paris is examined more extensively, noted for its distinctive 1990s materiality, visual style, and postmodern play in design.
- Essays at the end of "S" reflect on the collapse of architectural heroism, contextualism, and the tension between congestion and void in urbanism.
Reflections on Reception and Influence
- The book’s dense, chaotic style is seen as both exhilarating and exclusionary, reinforcing elite or in-group status among readers.
- "S,M,L,XL" is recognized for its significant influence on graphic design, architectural narrative, and the self-image of architects as cultural celebrities.
- The authors discuss their changing personal relationships with the book over time, from fascination to more critical reflection.
Questions / Follow-Ups
- Further discussion planned for the "M" (Medium) and later sections in upcoming episodes.
- Reflection on how contemporary architecture students engage with the book today.
- Consideration of differences between print editions and the impact on reader experience.