Abstract
The
present work aims
to recover
the part
of Le
Corbusier ́s theoretical production that
can
be defined
as
Manifesto
to analyze
it since
its comparison with the analogue written
by Rem Koolhaas. Due
to the brevity
of the
present
paper
it will
be focus
on
the
analogies between two main Manifestoes: Towards
an Architecture (Le Corbusier,
1923)
and
Delirious New York (Rem Koolhaas, 1978).
The
dialectic between these two Manifestoes
is summarized
in four
ma
in points:
the intention
of the text -rasion d ́être-,
its structure,
the
tone
they
used
for
the
correspondent Manifesto
and
the relationship
with the architectonic work
of the
authors.
As we
will see, theoretical
and
audiovisual strategies
are
duplicated f
rom
the
master
to the pupil who,
on
top
of that,
is able
to reinterpret
and
manipulate them
in a
way
that makes possible for his
Manifesto
to be considered
even
more efficient
than
Le Corbusier ́s,
at least,
in its intention
to involve
the largest
number
of
people. This
is possible thanks
to the knowledge
that
Koolhaas
has
over
media, cinema
and
latests technologies
that
allows
him
to express what could
be identified with
Le Corbusier ́s original ideas
but
in a contemporary way,
so they seem
to be
brand
new
and
much
more
understandable
for
today ́s
society.
In this
way,
Koolhaas
could
be understood also
as a kind
of
Le Corbusier living
in the world
Through
the
Looking-Glass organized
as Lewis Carroll
did
in his famous
book
Alice ́s
Adventures
in Wonderland.
Thr
ough
the
Looking
-Glass
and
What
Alice Found
There.