Rem koolhaas essay

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Pretending histories left and right, its contents are dynamic yet stable, recycled or multiplied as in cloning: forms search for function like hermit crabs for a vacant shell. Junkspace sheds architectures like a reptile sheds skins, is reborn every monday morning. In previous building, materiality was based on a final state that could only be modified at the expense of partial destruction. At the exact moment that our culture has abandoned repetition and regularity as repressive, building materials have become more and more modular, unitary and standardized; substance now comes predigitized. As the module becomes smaller and smaller, its status become that of a crypto-pixel. With enormous difficulty - budget, argument, negotiation, deformation - irregularity and uniqueness are constructed from identical elements.

Like the deactivated virus in an innoculation, modern architecture remains essential, but only in its most sterile manifestation, high Tech (it seemed so dead only a decade ago!). It exposes what previous generations kept under wraps: structures emerge like springs from a mattress, exit stairs dangle in didactic and trapeze, probes thrust into space to deliver laboriously what is in fact omnipresent, free air, acres of glass hang from spidery cables, tautly stretched skins. Transparency only reveals everything in which you cannot partake. At the sound of midnight it all may revert to taiwanese gothic, in three years segue into nigerian Sixties, norwegian Chalet or default Christian. Earthlings now live in a kindergarten grotesque. Junkspace thrives on design, but design dies in junkspace. There is no form, but proliferation. Regurgitation is the new creativity; instead of creation, we honor, cherish and embrace manipulation. Superstrings of graphics, transplanted emblems of franchise and sparkling infrastructures of light, led's, and video describe an authorless world beyond anyone's claim, always unique, utterly unpredictable, yet intensely familiar. Junkspace is hot (or suddenly artic fluorescent walls, folded like melting stained glass, generate additional heat to raise the temperature of junkspace to levels where you could cultivate orchids.

rem koolhaas essay

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The shiniest surfaces in the plan history of mankind reflect humanity at its most casual. The more we inhabit the palatial, the more we seem to dress down. A stringent dress code - last spasm of etiquette? governs access to junkspace: short, sneaker, sandal, shell suit, fleece, jean, parka, backpack. As if the people suddenly accessed the private quarters of a dictator, junkspace is best enjoyed in a state of post-revolutionary gawking. Polarities have merged, there is nothing left between desolation and turmoil. Neon signifies both the old and the new, interiors refer to the stone- and the space age at the same time.

rem koolhaas essay

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Its geometries are unimaginable, only makable. Although strictly non-architectural, it tends to the vaulted, to the dome. Sections seem to be devoted to utter inertness, others in perpetual rhetorical turmoil: the deadest resides next to the most hysterical. Themes cast a pall of arrested development over interiors as big as the pantheon, spawning stillbirths in every corner. The aesthetic is byzantine, gorgeous and dark, splintered into thousands of shards, all visible at the same time: a quasi- panoptical universe in which all contents rearrange themselves in split-seconds around the dizzy eye of the beholder. Murals used to show idols; Junkspace's modules are dimensioned to carry brands; myths can be shared, brands husband aura at the mercy of focus groups. Brands in junkspace perform the same role as black essay holes in the universe: essences through which meaning disappears.

The arch, once the workhorse of structures, has become the depleted emblem of 'community welcoming an infinity of virtual populations to non-existent there's. Where it is absent, it is simply applied - mostly in stucco - as ornamental afterthought on hurriedly erected superblocks. 13 of all junkspace's iconography goes back to the romans, 8 bauhaus, 7 Disney - neck and neck - 3 Art nouveau, followed closely by mayan. Like a substance that could have condensed in any other form, junkspace is a domain of feigned, simulated order, a kingdom of morphing. Its specific configuration is as furtuitous as the geometry of a snow flake. Patterns imply repetition or ultimately decipherable rules; Junkspace is beyond measure, beyond code. Because it cannot be grasped, junkspace cannot be remembered. It is flamboyant yet unmemorable, like a screensaver ; its refusal to freeze insures instant amnesia. Junkspace does not pretend to create perfection, only interest.

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rem koolhaas essay

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Junkspace is a bermuda triangle of concepts, a petri dish abandoned: it cancels distinctions, head undermines resolve, confuses intention with realization. It substitutes hierarchy with accumulation, composition with addition. More and more, more is more. Junkspace is overripe and undernourishing at the same time, a colossal security blanket that covers the earth in a stranglehold of seduction. Junkspace is like being condemned to a perpetual Jacuzzi with millions of your best friends. A fuzzy empire of blur, it fuses high and low, public and private, straight and bent, bloated and starved to offer a seamless patchwork hero of the permanently disjointed.

Seemingly an apotheosis, spatially grandiose, the effect of its richness is a terminal hollowness, a vicious parody of ambition that systematically erodes the credibility of building, possibly forever. Space was created by piling matter on top of matter, cemented to form a solid new whole. Junkspace is additive, layered and lightweight, not articulated in different parts but subdivided, quartered the way a carcass is torn apart - individual chunks severed from a universal condition. There are no walls, only partitions, shimmering membranes frequently covered in mirror or gold. Structure groans invisibly underneath decoration, or worse, has become ornamental ; small shiny space frames support nominal loads, or huge beams deliver cyclopic burdens to innocent destinations.

If architecture separates buildings, air conditioning unites them. Air conditioning has dictated mutant regimes of organization and coexistence that leave architecture behind. A single shopping center now is the work of generations of space planners, repairmen and fixers, like in the middle ages; air conditioning sustains our cathedrals. (Unwittingly, all architects may be working on the same building, so far separate, but with hidden receptors that will eventually make it cohere.) Because it costs money, is no longer free, conditioned space inevitably becomes conditional space ; sooner or later all conditional space turns. When we think about space, we have only looked at its containers. As if space itself is invisible, all theory for the production of space is based on an obsessive preoccupation with its opposite: substance and objects,.


Architects could never explain space ; Junkspace is our punishment for their mystifications. Ok, let's talk about space then. The beauty of airports, especially after each upgrade. The luster of renovations. The subtlety of the shopping center. Let's explore public space, discover casinos, spend time in theme parks. Junkspace is the body-double of space, a territory of impaired vision, limited expectation, reduced earnestness.

Rem, koolhaas, the Pritzker Architecture Prize

Junkspace seems an aberration, but it is essence, the main thing. Product of the encounter between escalator and air conditioning, essay conceived in an incubator of sheetrock (all three missing from the history books). Continuity is the essence of junkspace; it exploits any invention that enables expansion, deploys the infrastructure of seamlessness: escalator, air conditioning, sprinkler, fire shutter, hot-air curtain. It is always interior, so extensive that you rarely perceive limits; it promotes disorientation by any means (mirror, polish, echo). Junkspace is sealed, held together not by structure, but by skin, like a bubble. Gravity has remained constant, resisted by the same arsenal since the beginning of time; but air conditioning - invisible medium, therefore unnoticed - has truly revolutionized architecture. Air conditioning has launched the endless building.

rem koolhaas essay

Junkspace is what remains after modernization has run its course or, more precisely, what coagulates while modernization is in progress, its fall-out. Modernization had a rational program: to share the mango blessings of science, universally. Junkspace is its apotheosis, or meltdown. Although its individual parts are the outcome of brilliant inventions, lucidly planned by human intelligence, boosted by infinite computation, their sum spells the end. Enlightenment, its resurrection as farce, a low-grade purgatory. Junkspace is the sum total of our current achievement; we have built more than all previous generations together, but somehow we do not register on the same scales. We do not leave pyramids. According to a new gospel of ugliness, there is already more junkspace under construction in the 21st century than survived from the 20th. It was a mistake to invent modern architecture for the 20th century; architecture disappeared in the 20th century ; we have been reading a footnote under a microscope hoping it would turn into a novel; our concern for the masses has blinded.

average contemporary lunch box is a microcosm of junkspace: a fervent semantics of health - slabs of eggplant, topped by thick layers of goat cheese - cancelled by a colossal cookie at the bottom. Polarities have become equatorial, nothing left in between. There is nothing between desolation and turmoil, between beauty and crassness. Lax: welcoming - possibly flesh-eating - orchids at the check-in counter. 'Identity' is the new junkfood for the disposessed, globalization's fodder for the disenfranchized. If space-junk is the human debris that litters the universe, junk-space is the residue mankind leaves on the planet. The built (more about that later) product of modernization is not modern architecture but junkspace.

Entertainment, politics, Art and design, air resume Date 03/20/1996, analysis of the dole campaign. On his film, girl. Architect and author of "s, m, l, xl on the euralille project and the virtues of "Bigness." 54:07. Terence riley, art and design, air Date, terence riley, curator of architecture and design at moma, discusses "O.M.A. which showcases the work of architect Rem koolhaas. Herbert Muschamp, art and design, air Date, in tribute to architecture critic Herbert Muschamp, we replay clips in which Muschamp talks about architecture, design, and Frank Lloyd Wright. New Urbanism, art and design, air Date, architects Andres duany and Elizabeth Plater-Zyberk explain their concept of, "New Urbanism which focuses on creating communities.

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Subscribe to our channel on vimeo. Video of Rem koolhaass lecture in Garage, moscow. In 2015, garage museum of Contemporary Arts new building will open to the public. Rem koolhaas, the lead architect of this project, will discuss his experiences working in Russia and the challenges of preserving architectural heritage in the modern world. Koolhaas will also present the development plan for Garages new space. Rem koolhaas is a leading Dutch architect, urbanist, Professor in Practice of Architecture and Urban Design at Harvard Universitys Graduate School of Design, dream and the curator of the xiv venice Architecture biennale (2014). A founding partner of Office for Metropolitan Architecture (oma his projects have won a great number of prizes, including the Pritzker Architecture Prize in 2000, the Imperial Prize of Japan in 2003, the riba gold medal (UK) in 2004, the european Union prize for contemporary. Cross, full Transcript, cross, wednesday 03/20/1996, architect Rem koolhaas talks about the euralille project, his new book "s, m, l, xl and the potential virtues of "Bigness.". This interview is sponsored by, dole candidacy; Spike lee; Rem koolhaas.


rem koolhaas essay
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Rem, koolhaas, junkspace (2001). Before its implosion, but at zhr huge 'timepieces' hover in front of interior waterfalls as an essay in regionaljunk.

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  1. Rem, koolhaas, the lead architect of this project, will discuss his experiences working in Russia and the challenges of preserving architectural. Rem, koolhaas smithsonian magazine. Tags: Rem, koolhaas (Architect) Architecture (Industry) Architect (Profession) light Lighting (Industry) Artist (Project Role) Writing (Interest).

  2. Sickest Dutch (Mixed by Charles le freak) m - 6:41. Rem, koolhaas has been causing trouble in the world of architecture since his student days in London in the early 1970s. Terence riley, curator of architecture and design at moma, discusses "O. which showcases the work of architect.

  3. Documental obout one day of work between. Rem, koolhaas herzag de meuron work office. Talking about the Astor Place hotel. Rem, koolhaas : a kind of Architect - 1:37:21.

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