[Editor’s Note: The Venice Architecture Biennale is still on through November 23 and it’s still proving to be controversial. Professor Peter Lang shares his thoughts on Rem Koolhaas’ event here.]
A Tale about the Magician Koolhaas who plays Prospero, lives on an island in the Venetian Laguna, and brings a Tempest to the Venice Biennale.
How many goodly creatures are there here!
How beauteous mankind is! O brave new world,
That has such people in’t.
—William Shakespeare, The Tempest, Act V, Scene I, ll. 203–206
(Aldous Huxley quoted this line from the Tempest for the title of his dystopian novel Brave New World published in 1931)
In choosing to take a different perspective on the 14th edition of the Architecture Biennale in Venice directed by Rem Koolhaas, I decided to skip the standard blow-by-blow critique, and instead confront what I believe is the greatest enigma behind this controversial event. Up till now, the majority of critics taking a look at this year’s exhibition find fault with Koolhaas’ method, not so much with his madness. But the key to the exhibition is not in its studied aloofness, but in its insubordination—Koolhaas is determined to shake up the Biennale institution by any means possible.