Rem Koolhaas examines the uncertainty principle of Heisenberg and the cinematic attributes advanced by Deleuze, emphasizing Manhattanism which embraces uncertainty to solve the problems of the fast-changing modem metropolis.
For the purpose of this thesis, it is wanted to examine the urban contextual features of the multi-movement system in the architecture of Koolhaas. Modern cities cannot be identified as intended by a single design methodology. The reason is that cities have a very large area beyond human physical limitations. Also, they are in a process of iterative changes which can make them disappear over a long period of time and then formed
again. Here, through the uncertainty of the “Band", the combination and the blending of certain categories is part of urban planning landscape, architecture. Furthermore, attempts to improve the quality of the city due to overcrowding are steadily appearing.
The uncertainty shown in Koolhaas urban planning is presented in the form of an analogous “Band" in the light spectrum of modern science and the cinematic form and features by Deleuze. The “Band" of Koolhaas is
directly in contact with urban contextual elements, which appear as surrounding buildings, roads, natural scenery, embankments, parks, historical sections, landmarks, etc.
The urban planning of Rem Koolhaas organizes a network of non-hierarchical cities by spreading the bands horizontally in the process of establishing interrelationships with the surrounding cities. On the other hand,
architecture is more horizontally limited than the size of the city, and to overcome it, it overlaps the desires of the masses and depicts the multiplicity that can occur in any action, as manifested in Manhattanism.
Void forms a ramp appears at intervals between programmatic clusters, with many users free to choose their own movement system. Moreover, the situation for viewing urban landmarks and the spots where large crowds gather have secured the daylighting and the open area. At this time, the band in architecture flows into the interior of the architecture and forms a three-dimensional movement system that is exchanged and converted with each other.
For this study only, urban contextual categories according to multi-movement systems analyzed through examples appear as the size of the parcel, the purpose of the program, the surrounding buildings, lighting, and landmarks. In conclusion, the multi-movement system of Rem Koolhaas can be interpreted as an attempt to explore the possibility of new architecture and potential coexistence of cities by generating continuous events and allowing architecture to look at one new public urban landscape.