Is mankind the sum of three to five billion individual upgrades?
A Retroactive Manifesto for Manhattanand that was plenty. Eventually he began building, but by then it was in a way too late. He was a delirious modernist at heart, dreaming of dizzying the skyscraper and the grid with the fever of surrealism, but the reactionary years of Thatcher and Reagan were upon him, and he had to act on their stage.
The logic was twofold. Architecture, he explained, is a slow vocation. To have any chance of keeping afloat you have to engage in agile and almost limitless research: The second strand of his literary turn was motivated by a stunted critical impulse.
To carry the work of high modernism into the neoliberal era meant facing up to a debilitating irony. Your architecture, conceived with the intention of a tempered, twenty-first century avant-gardism, would soon be realized as a fully commodified monument: Even if these practical problems were skirted, there would still be the issue of representation: Spectacle and lightness could be rebelled against, as Koolhaas frequently attempted, but any advancement of the sublime or oneiric in architectural history still seemed too easily absorbed by a triumphal capitalism, or smacked too much of a precious formalism.
It became apparent that the only way to build and critique would be to build and then critique; Koolhaas has continued to pursue critical writing as a bid to stake out a semblance of independence in a profession awash in money.
With the success of Delirious New York and a few buildings under their belt, AMO began releasing massive, thrillingly strange books: How to sum up its elaboration?
Junkspace eclipsed planning or deformed it into something unrecognizable. But the true horror of junkspace is its relentless ironic turns, the way it is dialectical without being transcendent.
One would think a riposte to the glimmer of Hollywood ornamentation might be minimalism, but Koolhaas argues minimalism, too, is guilty, merely the flipside of an unredeemable dialectic.
Koolhaas takes the whole arsenal of contemporary solutions to the curb, including his own, both architectural and critical. Modernism had been done away with by an unlikely coalition of radicals, liberals, and reactionaries: Robert Venturi and Denise Scott Brown, who winked towards a pastiche-heavy Las Vegas populism; Jane Jacobs, who railed against highways and housing projects in favor of dense neighborhoods and vibrant streets; Guy Debord, who saw urban planning as oppressive authoritarianism; and the environmental movement, pushing to scale back urban growth to something more sustainable.
You thought you could ignore Junkspace. But now your architecture is infected, has become equally smooth, all-inclusive, continuous, warped, busy, atrium-ridden. How would Charlie Chaplin or Jacques Tati, masters of mocking the architecture and machinery of modernism, react to junkspace?
If leftist art criticism were strung along a pole, on one side would be Foster, and on the other the provocateur and occasional Stalinist Boris Groys, with the convincingly provocative Claire Bishop somewhere in between, sliding towards Foster while citing Groys.
He displays many of these qualities here, in an afterword seeking to open up a way forward for architecture titled, with a characteristic mix of modesty and ambition, Running Room.
Running Room is at its best when it works with Koolhaas, extending and updating his argument. Sparks of insight flare out in short suggestive bursts.
But the usual strategies for turning the present into something oppositional, shared by Koolhaas and Foster alike, seem impossible in the face of junkspace. In Bad New Days, and again in Running Room, Foster endorses an art that flaunts its critical colors by inflating market excesses to maddening proportions, with examples extending from Zurich Dada and Kurt Schwitters to, in the present, Thomas Hirschorn and Isa Genzken.
And yet his hope seems both too marginal and too conservative.
Disciplinary autonomy could imply a distanced criticality, a layer of insularity for a field increasingly transformed by related and overlapping sectors: But could a program of architectural autonomy really flourish under present economic and political circumstances into anything other than niche academicism or defeated moralizing?
Everything is not junkspace, and yet the tide continues to rush its way, unfazed by any progressive counter winds. He gave a talk in October on his preliminary findings.
In one of the rural Nevadan compounds, work is being done on the largest structure ever built. They accumulate like cities in the desert and have little need for people, opening up, for the first time since the modernist era, to new industrial necessities, and returning to modernist concerns of need and function.
Architecture can reign in the country and leave the city as so much junkspace. If we wish for architectural autonomy, we might just get it. AM, and The Point. He lives in Minneapolis.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. Junkspace Rem Koolhaas October, Vol. , Obsolescence. (Spring, ), pp. Stable URL: r-bridal.com?sici=%%%3C%3AJ. A Review of Junkspace – By Rem Koolhaas OMA. In Rem Koolhaas published an essay called Junkspace.
Koolhaas clearly states “If space-junk is the human debris that litters the universe, junk-space is the residue mankind leaves on the planet.” (Koolhaas, ) this is a direct inversion.
Junkspace is the most important piece of writing on architecture of the 21st r-bridal.com stream of Koolhaas’s prose is akin to a visionary dream, a structureless sequence of crystalline insight and enfolding opiate fog/5(3).
by Rem Koolhaas ( - 0) Despite an early definition (‘If space-junk is the human debris that litters the universe, Junk-Space is the residue mankind leaves on the planet.’), this essay is as disorienting as the air-conditioned public spaces it describes.
An augmented HTML 5 version of Rem Koolhaas' Junkspace essay from Rem Koolhaas Junkspace () Because we abhor the utilitarian, we have condemned ourselves to but at ZHR huge 'timepieces' hover in front of interior waterfalls as an essay in regionaljunk.
Duty Free is junkspace.