“Buildings have both an interior and an exterior.
In Western architecture there has been the humanistic assumption that it is desirable to establish a moral relationship between the two, whereby the exterior makes certain revelations about the interior that the interior corroborates. The “honest” facade speaks about the activities it conceals. But mathematically, the interior volume of three-dimensional objects increases in cubed leaps and the containing envelope only by squared increments: less and less surface has to represent more and more interior activity.
Beyond a certain critical mass the relationship is stressed beyond the breaking point; this “break” is the symptom of Automonumentality. In the deliberate discrepancy between container and contained New York’s makers discover an area of unprecedented freedom. They exploit and formalize it in the architectural equivalent of a lobotomy - the surgical severance of the connection between the frontal lobes and the rest of the brain to relieve some mental disorders by disconnecting thought processes from emotions.
The architectural equivalent separates exterior and interior architecture. In this way the Monolith spares the outside world the agonies of the continuous changes raging inside it.
It hides everyday life.”
- Rem Koolhaas, Delirious New York