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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That’s the story we should tell.
We will have conquered place. Where culture was thinnest, will it be the first to run out?
The more indeterminate the city, the more specific its junkspace ; all junkspace ,oolhaas prototypes are urban – the Roman Forumthe Metropolis ; it is only their reverse-synergy that makes them suburbansimultaneously swollen and shrunk.
The floor is a patchwork: There is nothing between desolation and turmoil, between beauty and crassness.
Don’t mistake ridicule for anger. As a first step, the substance to be preserved is wrapped in ujnkspace thick pack of commerce and catering – like a reluctant skier pushed downhill by responsible minders. The only legitimate discourse is loss; art replenishes junkspace in direct proportion to its own morbidity.
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. Junkspace seems an aberration, but it is essence, the main thing The problem with the belief set of modernists is that they exclude the junjspace of beliefs from that. Because you’ve never been invited to that kind of event, you have never seen them in use, only being prepared with chilling precision: Because of its tenuous viability, junkspace has to swallow more and more program to survive; soon, we will be able to do anything anywhere.
I’m sure you’ll find at least some junkspace. Its financing is a deliberate haze, clouding opaque deals, dubious tax breaks, unusual incentives, exemptions, tenuous legalities, transferred air rej, joined properties, special zoning districts, public-private complicities. Conceptually, each monitor, each TV screen is a substitute for a window; real life is inside, cyberspace has become the great outdoors Restore, rearrange, reassemble, revamp, renovate, revise, recover, redesign, return – the Parthenon marbles – redo, respect, rent: I see it as an inevitable consequence of ‘learning from Las Vegas’, at some point symbolism or lyricism or visual narrative produce architecture that speaks the same language as marketing, as consumed products.
I like Carl’s description of it as a tendency rather than a product, as I think Rem is implying a condition that exists in ‘designed’ architecture as well as what gets frequently refer to as un-designed. Seemingly an apotheosis, spatially grandiose, the effect of its richness is a terminal hollowness, a vicious parody of ambition that systematically erodes the credibility of building, possibly forever Abberant linguistic ecologies sustain virtual subjects in their claim to legitimacy, help koolhaae survive Jul 5, 10 Because of a structural shortfall, a fundamental deficit, a contingent bankruptcy, each square inch becomes a grasping, needy surface dependent on covert or overt support, discount, compensation and fundraising.
Outside, the architects’ footbridge is rocked to the breaking point by a stampede of enthusiastic pedestrians; the designers’ initial audacity now awaits the engineer’s application of dampers.
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Personally I think he submitted that design as a joke, but it serves its purpose of being an advertising tool. Instead of development, it offers entropy. Their tenant life tends to be short: Say an airport needs more space.
A surfeit of reality TV has made us into amateur guards monitoring a Junkuniverse Flows in junkspace lead to disaster: Are you familiar with the Sokal Hoax? I also would disagree with your turn from subjective to arbitrary. There is no form, but proliferation Neon signifies both the old and the new, interiors refer to the stone- and the space age at the same time.
Rem Koolhaas. Junkspace
The 21st century will bring ‘intelligent’ Junkspace: Junkspace happens spontaneously through natural corporate exhuberance – the unfettered play of the market – or is generated through the combined actions of temporary Czars with long records of three-dimensional philantropy, bureaucrats often former leftists that optimistically sell off vast tracks of waterfront, former hippodromesmilitary bases and abandoned airfields to developers or real estate moguls that can accomodate any deficit in futuristic balances, or through ‘default preservation’ae the maintenance of historical complexes that nobody wants but the Zeitgeist has declared sacrosanct.
In this stand-off between the redundant and the inevitable, a plan would actually make matters worse, drive you to instant despair. Invariably, the jukspace decision is to leave the original intact; the formerly residual is declared the new essence, focus of the intervention.
Without theory there is no building, even if nobody would explicate any theory.
Junkspace is its apotheosis, or meltdown Well, right, an undesigned residue, as he Koolhaas himself describes it. As its scale mushrooms – rivals and even exceeds that of the Public – its economy becomes more inscrutable.
Schools School Blogs Forum. Determined to become a pioneer in this endeavor, Koolhaas sets out to study the problem.
Pretending histories left and right, its contents are dynamic yet stable, recycled or multiplied as in cloning: Junkspace is often described as a space of flowsbut that is a misnomer; flows depend on disciplined movement, bodies that cohere. We apologize for any inconvenience. That’s a subject way too big and complex to detail here. Stone juunkspace comes in light yellow, flesh, a violent beige, a soapilke green, the colors of communist plastics in the fifties.