âIdentityâ is the new junk food for the disposessed, globalizationâs fodder for the disenfranchised.
Rem Koolhaas, Junkspace


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âIdentityâ is the new junk food for the disposessed, globalizationâs fodder for the disenfranchised.
Rem Koolhaas, Junkspace

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Rem Koolhaas
Ville Nouvelle Melun Senartm OMA
drawings by: Caruso @ ETH Zurich Unit
Madelon Vriesendorpâs Manhattan Project Together with her husband Rem Koolhaas, Vriesendorp began working on a number of sketches, drawings and paintings under the name âManhattanâ, inhabited by anthropomorphic architectures and infused by oniric imagination and surreal themes. âFlagrant Delitâ, arguably the most iconic of these ones, is a representation of post-coital Empire State and Chrysler Buildings caught in bed by the Rockefeller Building, representing âone of the most beguiling attempts to depict the unconscious double-life of modern architecture.â Her work was vastly used for book and magazine covers, (notably on the cover of Delirious New York in 1978 by Rem Koolhaas. M.V.âs body of work has been recently reevaluated and collected in a retrospective exhibition at the Architectural Association School of Architecture and, later, at the Swiss Architecture Museum in Basel. -Sock Studio #koolhaas #remkoolhaas #deliriousny #MadelonVriesendorp #manhattan #architecture #nyc #archilovera #urbanism #nycurbanism https://www.instagram.com/p/B2Z_2HSH2D3/?igshid=xg3a1wbqkuow

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Berlin: A Green Archipelago, Oswald Mathias Ungers & Rem Koolhaas.
Berlin, 1977.
Saint Paul Skyway as Junkspace
Junkspace seems an aberration, but it is the essence, the main thingâŚthe product of an encounter between escalator and air-conditioning, conceived in an incubator of SheetrockâŚ. Continuity is the essence of Junkspace; it exploits any invention that enables expansion, deploys the infrastructure of seamlessnessâŚ. It is always interior, so extensive that you rarely perceive limits; it promotes disorientation by any meansâŚ.
âRem Koolhaas, Junkspace
In reading Koolhaasâs polemic against the physical manifestation of consumer capitalism, I realized that the Saint Paul skyway system is its epitome. A hermetically sealed pastiche of halfhearted architectural and historical references, an interiority so expansive and byzantine that it sheds all reference to the world outside. A place where plants inhabit windowless rooms.
Rem Koolhaas, Très Grande Bibliothèque (Model + Samples, Competition 1989)
Photography Maciek Pozoga