An augmented HTML 5 version of Rem Koolhaas’ Junkspace essay from 3 Jun OMA founder Rem Koolhaas, the seer of Rotterdam, made just one contribution to the Harvard Guide: an essay called Junkspace. In about. Junkspace can be high-design, after all I think Rem was identifying an opportunity for architects to work with these spaces that conventional.
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The reason for this excess is just quick orientation, not a search for justification. Corridors no longer simply link A to Bbut have become ‘destinations’.
Neon signifies both the old and the new, interiors refer to the stone- and the space age at the same time. In this way a Manifesto is koolhaass expression, a stark rendering of some of the rules that can be built upon a particular theory. Junkspace is rewriting the apocalypse; we may die of oxygen poisoning.
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Please use the entrance from Garage Square. The average contemporary lunch box is a microcosm of junkspace: Yet, there is no “other” mathematics, so we should not commit a naturalist fallacy here. Without theory there is no building, even if nobody would explicate any theory. Continuity is the essence of junkspace ; it exploits any invention that enables expansion, deploys the infrastructure of seamlessness: Are you sure you want to block this user and hide all related comments throughout the site?
Judging the built presumed a static condition; now each architecture embodies opposite conditions simultaneously: Koolhxas is no datum rek you always inhabit a sandwich.
The new buildings emerging in cityscapes worldwide are characterless and standardized, with no clear function, and larger than they need to be. Junkspace represents a reverse typology of cumulative, approximative identity, less about kind than about quantity.
Speaking of stuff that isn’t meant to last the former journalist put one of his junkzpace on my college campus. I took Junkspace to be the product of the tendency of consumerism towards the aformal.
koolhaas’ Junkspace | Forum | Archinect
Superstrings of graphics, transplanted emblems of franchise and sparkling infrastructures of lightLED’sand video describe an authorless world beyond anyone’s claim, always unique, utterly unpredictable, yet intensely familiar. The global spread of junkspace represents a final Manifest Destiny: I think Rem was identifying an opportunity for architects to work with these spaces that conventional early 90’s european design practice did not address.
There is something strange about ballroomsfor instance: First, it escapes from its containers – linguistic orchids that needed hothouse protection emerging with surprising robustness – then the outdoors itself is converted: By being more artist than engineer as engineering looses has lost its pioneering relevance? He certainly was an extreme Nominalist, which is all that PoMo boils down to when you get right to it.
But model itself is a proliferating concept. Junkspace does not inspire loyalty in its cleaners If anything my disagreements are more reason than, for paying attention.
This article is printed without the permission of Rem or his publishers, as a means of showcasing a web-based visual linkage technique for text.
Now that you can work at home, the office aspires to the domestic; because you still need a life, it simulates the city.
Remm only comes in light yellow, flesh, a violent beige, a soapilke green, the colors of communist plastics in the fifties. Jul 13, 10 koilhaas Language is no longer used to explore, define, express, or to confront but to fudge, blur, obfuscate, apologize and comfort The joint is no longer a problem, an intellectual issue: Concentration gambling, concentration golf, concentration convention, concentration movie, concentration culture, concentration holiday.
OK, let’s talk about space then. Narrative reflexes that have enabled us from the beginning of time to connect dots, fill in blanks, are now turned against us: I do not defend PoMo in any way, as I regard it just as the negation of modernism, thus it still is caught in almost the same set of beliefs.
You used to face death in appropriate cellsnow your nearest are huddled together in atriums. Color in virtual space is luminous, therefore irresistible.
Rem Koolhaas. Junkspace
The definition of Junkspace is junkspace itself? Except celebrities – of which there is a dramatic shortage – we have added nothing, just reconfigured. Its demonstrative earnestness drives whole civilizations in the welcoming arms of camp and kitsch. History of architecture is surely not a theory of architecture, not even an element of it. It is a space of collision, a container of atoms, busy, not dense 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.
Since the introduction of Real Time? In the past new terminals were added, each more or less characteristic of its own age, leaving the old ones as a readable recordevidence of progress. People seriously engaging in parametrism as these NN guys in Istanbul etc simply can’t “think” at all in a way that could be called appropriate. Marc Auge’ has a concept of ‘places’ and ‘non-places’.
Babel has been misunderstood. Because it costs money, is no longer free, conditioned space inevitably becomes conditional space ; sooner or later all conditional space turns into junkspace.
Kind of declaration, no arguments.
Conditioning is applied; filtered daylight reveals vast, antiseptic expanses of monumental reticence and makes them come junkspacs, vibrant as a computer rendering Entire professions impose a descent into the linguistic equivalent of hell: Junkspace is there although no one specifically designed it, yet it might not be there so much if designers weren’t so intent on designing everything[?