The ‘Your Text Here’ participatory, site-specific light installation challenges the condition of the city constantly telling us what to do, what to think, and how to act. Using explicit visual language, a multiplicity of billboards, signs, images and symbols invade…
The proposal for the ‘Cinepalego’ Futuristic Cinema is an urban intervention, utilizing the vacant rooftop spaces in Kabukicho in order to create a network of mini-theaters that will spontaneously emerge and provide a variety of social spaces for people. Designed…
Taking place November 24-25, the Open House Thessaloniki 2012 event marks the first Open House event in Greece as a selection of architectural sites will be open to the public during that weekend. Celebrating the city’s architecture and design, the…
It’s been nearly twelve years since visitors first experienced the emotionally charged design of Daniel Libeskind’s Jewish Museum Berlin. Since then, the museum has become an world-renowned icon whose public and education programs have more than doubled in size. With an ever-expanding archive and library, it was decided the museum should be supplemented by an additional facility.
Today, alongside museum officials, Daniel Libeskind celebrates the opening of the Academy of the Jewish Museum Berlin. The facility was created from a former Berlin Flower Market (Blumengrossmarkt), whose shell undergirds the new structure. It’s 25,000 square foot, one story space now houses a library, archives and education center, along with additional office, storage and support space.
A sneak peak and the architects’ description after the break…
Located in one of the most distinguished locations in Copenhagen, the second prize winning proposal for the Sølund Retirement Community by Henning Larsen Architects is designed as one large, continuous building block. Their design engages in close dialogue with the surrounding buildings and creates simple, easily accessible spatialities – both on the inside and on the outside. Also including a new daycare center, the project incorporates the qualities of the residents’ previous homes in a new retirement community based on worthiness and well-being, safety and social relations. More images and architects’ description after the break.
In honor of Rem Koolhaas’ birthday today, we are bringing you all things Koolhaas: 12 Fun Koolhaas quotes; a fabulous article by former New York Times critic, Nicolai Ouroussoff; this ArchDaily original editorial; and, later today, a Round-Up of all of OMA’s latest works. Stay tuned!
Imagine London, but not the way you know it. Imagine it physically separated, much like Berlin once was, into two zones: one of pleasure and one of practicality. Consider how the city would eventually appear as inhabitants rushed to the pleasure zone; how the zone of practicality would eventually, inevitably become bereft.
This is the London of a young Rem Koolhaas’ imaginings, written for his Thesis at the Architectural Association School in London in the late 60s. Before Delirious New York, before OMA, and much before the CCTV Tower, Koolhaas was inspired by this idea of the divided city – and it’s a fitting image to start thinking about the ever provocative, often controversial Rem: a man who stands with one foot in the world of desire and the other, reluctantly, in that of practicality; a man who would perhaps prefer the title of urban thinker, despite clearly being one of architecture’s great masters.
It’s exactly this in-between-ness, this reluctance to fit into one supposed role, that has been Koolhaas’ greatest asset, that has allowed him to approach the profession from such unlikely angles. Using the city’s freedoms as his inspiration, and rejecting as given the expectations of what architecture is(even questioning its relevance at all), Koolhaas, the “reluctant architect,” is also the most radical of our time, and the most vital for our future.
Rem Koolhaas has been causing trouble in the world of architecture since his student days in London in the early 1970s. Architects want to build, and as they age most are willing to tone down their work if it will land them a juicy commission. But Koolhaas, 67, has remained a first-rate provocateur who, even in our conservative times, just can’t seem to behave. His China Central Television headquarters building, completed this past May, was described by some critics as a cynical work of propaganda and by others (including this one) as a masterpiece. Earlier projects have alternately awed and infuriated those who have followed his career, including a proposal to transform part of the Museum of Modern Art into a kind of ministry of self-promotion called MoMA Inc. (rejected) and an addition to the Whitney Museum of American Art that would loom over the existing landmark building like a cat pawing a ball of yarn (dropped).
Koolhaas’ habit of shaking up established conventions has made him one of the most influential architects of his generation. A disproportionate number of the profession’s rising stars, including Winy Maas of the Dutch firm MVRDV and Bjarke Ingels of the Copenhagen-based BIG, did stints in his office. Architects dig through his books looking for ideas; students all over the world emulate him. The attraction lies, in part, in his ability to keep us off balance. Unlike other architects of his stature, such as Frank Gehry or Zaha Hadid, who have continued to refine their singular aesthetic visions over long careers, Koolhaas works like a conceptual artist—able to draw on a seemingly endless reservoir of ideas.
Currently lacking an architectural identity capable of signaling the actual moment of the country, the second prize winning proposal for the reconstruction of the Conference Center provides a new image in Libreville, Gabon. The design by PPMS Arquitetos Associados… involves
Pritzker-Prize Laureate Remment Lucas Koolhaas (you probably know him as ”Rem”) turns 68 today. The co-founder of one of the world’s most renowned architecture firms, OMA, and an urban-planner/philosopher whose theories have provoked admiration (and ire) for over thirty years, Koolhaas is undeniably one of a kind.
In honor of the occasion, today we’ll be bringing you all things Koolhaas: a fabulous article by former New York Times critic, Nicolai Ouroussoff, a Round-Up of all of OMA’s latest works, an original ArchDaily editorial, and this list of quotes from the architect himself – some poignant, all provocative (this is Koolhaas, after all). Such as this gem: “People can inhabit anything. And they can be miserable in anything and ecstatic in anything. More and more I think that architecture has nothing to do with it. Of course, that’s both liberating and alarming…”
12 Classic Koolhaas Quotes, after the break…
In Criticism of Architecture:
“People can inhabit anything. And they can be miserable in anything and ecstatic in anything. More and more I think that architecture has nothing to do with it. Of course, that’s both liberating and alarming.
But the generic city, the general urban condition, is happening everywhere, and just the fact that it occurs in such enormous quantities must mean that it’s habitable. Architecture can’t do anything that the culture doesn’t. We all complain that we are confronted by urban environments that are completely similar. We say we want to create beauty, identity, quality, singularity. And yet, maybe in truth these cities that we have are desired. Maybe their very characterlessness provides the best context for living.” —interview in Wired, July 1996
“Where space was considered permanent, it now feels transitory – on its way to becoming. The words and ideas of architecture, once the official language of space, no longer seem capable of describing this proliferation of new conditions. But even as its utility is questioned in the real world, architectural language survives, its repertoire of concepts and metaphors resurrected to create clarity and definition in new, unfamiliar domains (think chatrooms, Web sites, and firewalls). Words that die in the real are reborn in the virtual.” - Note from Rem Koolhaas, guest-editor of Wired, June 2003
“Architecture has been defined in terms of one activity, and that activity is adding to the world. A few years ago I realized the profession was as if lobotomized – it was stuck conceiving of itself only in terms of adding things and not in terms of taking away or erasing things. The same intelligence for adding ought to also deal with its debris.”—interview in Wired, July 1996
“Junkspace is the sum total of our current architecture: we have built more than all previous history together, but we hardly register on the same scales. [...] It substitutes accumulation for hierarchy, addition for composition. More and more, more is more. Junkspace is overripe and undernourishing at the same time, a colossal security blanket that covers the earth. … Junkspace is like being condemned to a perpetual Jacuzzi with millions of your best friends.”- Article in Wired, June 2000
On Thinking and Writing:
When asked if he has a certain aspiration: “It’s very simple and it has nothing to do with identifiable goals. It is to keep thinking about what architecture can be, in whatever form. That is an answer, isn’t it?[...] continuity of thinking in whatever form, around whatever subject, is the real ambition.” —Interview with Jennifer Sigler in Index Magazine, 2000
“I like thinking big. I always have. To me its very simple: if youre going to be thinking anyway, you might as well think big.” -S, M, L, XL
“There is an enormous, deliberate, and – I think – healthy discrepancy between what I write and what I do.” —interview in Wired, July 1996
On his work:
“I’ve absolutely never thought about money or economic issues,but as an architect I think this is a strength. It allows me to be irresponsible and to invest in my work.” - Smithsonian Mag, Septebmer 2012
Commenting on the ambiguity of his visions as either utopian or dystopian: “That has been my entire life story. Running against the current and running with the current. Sometimes running with the current is underestimated. The acceptance of certain realities doesn’t preclude idealism. It can lead to certain breakthroughs.”- Smithsonian Mag, Septebmer 2012
“The unbuilt is the fantasy that underlies everything.” - Article in Wired, June 2000
Describing the Architectural Association School of Architecture in London in the late 60s: “flower power and terminal humanism. Goodness had become niceness. I felt incredibly uncomfortable.” - Article in Wired, June 2000
On New York City: ”‘Zero tolerance’ is a deadly mantra for a metropolis: What is a city if not a space of maximum license?” – An article in Wired, June 2003