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or experiential significance - a paradoxically modernist idea. 14 So while not a true labyrinth, the labyrinthine effect with the shifts of orientation contribute to raising experiential awareness of both the material envelopment and the auditory senses.
an analytic that releases a multiplicity of dimensions and simultaneous meanings from a given figure."12 This idea of montage is· evident ftroughout the Kunsthal especially when one considers fte deliberate distillation of modernist history and design.
Kenneth Frampton has compared it to Corbusier's unbuilt project Palais des Congres, Strasbourg, especially when it comes to idea of the promenade architecturale and the architectural device that encapsulates it as well as pointing to some other formal similarities.13 JeffKipnis has also compared it to Mies National Gallery in Berlin.14 Such references with Corbusier and Mies, the two stalwarts of the modernist movement, are not surprising and also present in other projects by Koolhaas.
It is the theory of montage as it is developed in the later writings ofWalter Benjamin, in close association with his theories on allegorical procedures in Modernist art, that is of significance if one wants to arrive at a more adequate reading of the importance of certain aspects of contemporary montage, its historical
So while much o� the discussion regarding montage has naturally focused on Eisenstein and rightfully so, Khlebnikov's work is qui�e significant even when it comes to K.oolhaas' Kunsthal and it would not be far-fetched to compare Koolhaas' way of alluding to and commenting on Modernist iconic architecture through deliberate use of elements as in the columns, or vestiges of other works in terms of-the play of archi�ectural palette, or even material conditions, to Khlebnikov's use of morphological and phc�mological structures of words and their roots alluding to their meaning and deliberate combinatory conditions to create new words and new meanings.
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