Rem koolhaas essay junkspace

Rem Koolhaas Junkspace Because we abhor the utilitarian, we have condemned ourselves to a life-long immersion in arbitrariness The average contemporary lunch box is a microcosm of junkspace: Polarities have become equatorial, nothing left in between.

Rem koolhaas essay junkspace

His father was a novelistcriticand screenwriter. His maternal grandfather, Dirk Roosenburg —was a modernist architect who worked for Hendrik Petrus Berlagebefore opening his own practice. Rem Koolhaas has a brother, Thomas, and a sister, Annabel. His paternal cousin was the architect and urban planner Teun Koolhaas — The family lived consecutively in Rotterdam untilAmsterdam —Jakarta —and Amsterdam from When the war of independence was won, he was invited over to run a cultural programme for three years and the family moved to Jakarta in They were later joined by one of Koolhaas's students, Zaha Hadid — who would soon go on to achieve success in her own right.

Rem koolhaas essay junkspace

An early work which would mark their difference from the then dominant postmodern classicism of the late s, was their contribution to the Venice Biennale ofcurated by Italian Rem koolhaas essay junkspace Paolo Portoghesititled "Presence of the Past".

Other early critically received yet unbuilt projects included the Parc de la VilletteParis and the residence for the Prime Minister of Irelandas well as the Kunsthal in Rotterdam These schemes would attempt to put into practice many of the findings Koolhaas made in his book Delirious New York[11] which was written while he was a visiting scholar at the Institute for Architecture and Urban Studies in New York, directed by Peter Eisenman.

Koolhaas celebrates the "chance-like" nature of city life: As Koolhaas himself has acknowledged, this approach had already been evident in the Japanese Metabolist Movement in the s and early s.

The notion of the Program involves "an act to edit function and human activities" as the pretext of architectural design: The notion was first questioned in Delirious New York, in his analysis of high-rise architecture in Manhattan. An early design method derived from such Rem koolhaas essay junkspace was "cross-programming", introducing unexpected functions in room programmes, such as running tracks in skyscrapers.

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More recently, Koolhaas unsuccessfully proposed the inclusion of hospital units for the homeless into the Seattle Public Library project The layout of the huge book transformed architectural publishing, and such books—full-colour graphics and dense texts—have since become common.

Ostensibly, S,M,L,XL gives a record of the actual implementation of "Manhattanism" throughout the various mostly unrealized projects and texts OMA had generated up to that time. The part lexicon-type layout with a marginal "dictionary" composed by Jennifer Siglerwho also edited the book spawned a number of concepts that have become common in later architectural theory, in particular "Bigness": This was demonstrated in OMA's scheme for the development of " Euralille " —94a new centre for the city of Lille in France, a city returned to prominence by its position on the new rail route from Paris to London via the Channel Tunnel.

OMA sited a train station, two centres for commerce and trade, an urban park, and 'Congrexpo' Lille Grand Palaisa contemporary " Grand Palais " with a large concert hall, three auditoria and an exhibition space with Cecil Balmond.

In another essay in the book, titled "The Generic City", Koolhaas declares that progress, identity, architecture, the city and the street are things of the past: That is the story of the city. The city is no longer. We can leave the theatre now Koolhaas's next landmark publications were a product of his position as professor at Harvard Universityin the Design school 's "Project on the City"; firstly the page Mutations, [18] followed by The Harvard Design School Guide to Shopping [19] and The Great Leap Forward The authors also examine the influence of shopping habits and the recent rapid growth of cities in China.

Critics of the books have criticised Koolhaas for being cynical — as if Western capitalism and globalization demolish all cultural identity — highlighted in the notion expounded in the books that "In the end, there will be little else for us to do but shop".

However, such cynicism can alternatively be read as a "realism" about the transformation of cultural life, where airports and even museums due to finance problems rely just as much on operating gift shops. When it comes to transforming these observations into practice, Koolhaas mobilizes what he regards as the omnipotent forces of urbanism into unique design forms and connections organised along the lines of present-day society.

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Koolhaas continuously incorporates his observations of the contemporary city within his design activities: Again, shopping is examined for "intellectual comfort", whilst the unregulated taste and densification of Chinese cities is analysed according to "performance", a criterion involving variables with debatable credibility: For example, in his design for the new CCTV headquarters in BeijingKoolhaas did not opt for the stereotypical skyscraper, often used to symbolise and landmark such government enterprises, but instead designed a series of volumes which not only tie together the numerous departments onto the nebulous site, but also introduced routes again, the concept of cross-programming for the general public through the site, allowing them some degree of access to the production procedure.

Through his ruthlessly raw approach, Koolhaas hopes to extract the architect from the anxiety of a dead profession and resurrect a contemporary interpretation of the sublime, however fleeting it may be.

AMO[ edit ] In the late nineties, while working on the design for the new headquarters for Universal currently VivendiOMA was first exposed to the full pace of change that engulfed the world of media and with it the increasing importance of the virtual domain.

He is heading the think tank ever since with Reinier de Graaf. The magazine stands for a journalism which detects and anticipates, is proactive and even pre-emptive — a journalism which uncovers potentialities, rather than covering done deals.Jul 23,  · The definition of Junkspace is junkspace itself?

Look in your own house or apartment. I'm sure you'll find at least some junkspace. I've read the Koolhaas text several times and found it less useful/meaningful with each reading.

Rem Koolhaas - Junkspace Reading Design. November 29th Bigness London Review of Books.

Rem koolhaas essay junkspace

Rem Koolhaas. JUNKSPACE but at ZHR huge 'timepieces' hover in front of interior waterfalls as an essay in Regionaljunk. Duty-free is Junkspace, Junkspace is duty-free space. Where culture was thinnest, will it be the first to run out? Is emptiness local? Do wide open spaces demand wide open Junkspace?

Jul 23,  · The definition of Junkspace is junkspace itself? Look in your own house or apartment. I'm sure you'll find at least some junkspace. I've read the Koolhaas text several times and found it less useful/meaningful with each reading.

Rem Koolhaas (born 17 November ) is a Dutch architect and architectural theorist, professor in Practice of Architecture and Urban Design at the Graduate School of Design at Harvard University.

Koolhaas is the founding partner of OMA. The essay is a “jeremiad,” as Foster notes, one full of angst and apocalypses, and alongside Koolhaas’s adumbration of contemporary nightmares is a funerary mourning for modernism, for an era of planning and function structured by the welfare state.

Rem Koolhaas. Junkspace