Shelves: architecture This was a wonderful book. Full of great ideas, telling wonderful stories, giving great descriptions. But what was it about? After I read it a dozen more times, I might be able to tell you. Some clues: It is about Manhattanism.

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His father was a novelist , critic , and screenwriter. His maternal grandfather, Dirk Roosenburg — , was a modernist architect who worked for Hendrik Petrus Berlage , before 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 until , Amsterdam — , 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 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 of , curated by Italian architect Paolo Portoghesi , titled "Presence of the Past".

Other early critically received yet unbuilt projects included the Parc de la Villette , Paris and the residence for the Prime Minister of Ireland , as 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 , [13] 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 analyzes the "chance-like" nature of city life: "The City is an addictive machine from which there is no escape" "Rem Koolhaas As Koolhaas himself has acknowledged, this approach had already been evident in the Japanese Metabolist Movement in the s and early s. Seattle Central Library Seattle, USA, designed by OMA A key aspect of architecture that Koolhaas interrogates is the " Program ": with the rise of modernism in the 20th century the "Program" became the key theme of architectural design.

The notion of the Program involves "an act to edit function and human activities" as the pretext of architectural design: epitomised in the maxim form follows function , first popularised by architect Louis Sullivan at the beginning of the 20th century. 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 thinking was "cross-programming", introducing unexpected functions in room programmes, such as running tracks in skyscrapers.

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. That is the story of the city.

The city is no longer. We can leave the theatre now 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.

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: density, newness, shape, size, money etc.

For example, in his design for the new CCTV headquarters in Beijing , Koolhaas 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.

OMA[ edit ] In the late nineties, while working on the design for the new headquarters for Universal [25] currently Vivendi , OMA 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.

During these talks and as an impetus for further discussion, Koolhaas and his think-tank AMO — an independent part of OMA — suggested the development of a visual language.

This idea inspired a series of drawings and drafts, including the " Barcode ". The barcode seeks to unite the flags of the EU member countries into a single, colourful symbol.

In the current European flag , there is a fixed number of stars. In the barcode however, new Member States of the EU can be added without space constraints. Originally, the barcode displayed 15 EU countries. In , the symbol was adapted to include the ten new Member States. Since the time of the first drafts of the barcode it has very rarely been officially used by commercial or political institutions.

During the Austrian EU Presidency , it was officially used for the first time. The logo was used for the EU information campaign, but was very negatively criticized. In addition to the initial uproar caused by the Estonian flag stripes being displayed incorrectly, the proposed flag failed to achieve its main objective as a symbol. Critics pointed the lack of capability to relate the signified the mental concept, the European Union with the signifier the physical image, the stripes as the major problem, as well as the presented justification for the order in which the color stripes were displayed as every country in the EU should be regarded as equal in importance and priority.

The notion of selling a brand rather than marketing clothes was further emphasised in the Prada store on Broadway in Manhattan, New York, [5] which had previously been owned by the Guggenheim : the museum signs were not removed during the outfitting of the new store, as if emphasizing the premises as a cultural institution.

Koolhaas redesigned a bank and transformed it into a one-of-a-kind, seat, performance space for Second Stage Theatre in Manhattan. Please help by adding reliable sources. Contentious material about living people that is unsourced or poorly sourced must be removed immediately.


'Rem Koolhaas' tag archive

The architect is as tall and slim as a palm-tree trunk, almost too slender; his shoulder blades press sharp against a navy-blue sweater. He is 70, with a reputation for brusqueness, but when he smiles, he looks like a child. Eventually, the moguls may know him. Silicon Valley is not known for its architecture or architecture lovers. Elsewhere, of course, Koolhaas is known.


Delirious New York

Koolhaas had been studying at the Architectural Association School of Architecture in London since and wrote the manifesto as a reaction against lectures by Tony Dugdale of the architectural collective Archigram. During this period, Koolhaas further collaborated with Elia Zenghelis on several hypothetical projects in Manhattan, such as redeveloping Roosevelt Island [5] or the design for the Sphinx Hotel at Times Square [6]. In a interview with architecture critic Cynthia Davidson, Koolhaas stated that the aim of publishing Delirious New York was to lay the written foundation to work from as an architect, before actually starting out as one. The gridiron street pattern of Manhattan is shown through the window, with the rooftops of skyscrapers being faces looking at the ordeal. Furthermore, the nightlight near the Empire State Building is the torch of the Statue of Liberty and a tissue in the shape of a Goodyear Blimp can be seen lying on the bed, referencing the zeppelin docking station built on top of the tower.


Rem Koolhaas


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