Tagged: Rem Koolhaas


Youngster Koolhaas filmer dokumentar om Rem

Tomas Koolhaas er godt igang med at indspille en ny dokumentarfilm med farmand Rem Koolhaas som omdrejningspunkt. Men det er nu ikke i samme stil som  En film der skal give den glatte arkitekturverden lidt mere personlighed, og med det ogsĂ„ et billede at mennesket Rem Koolhaas; hvad arkitektur betyder for hans opfattelse af verden; Hvordan det er at indtage et land som Kina og gĂžre sit forsĂžg for at gĂžre en forskel. Her kommer det bla. til at omhandle fĂžlelser omkring CCTV’s sĂžsterbygning som udbrĂŠndte totalt kort efter indvielsen. Det er meningen at det skal vise et billede af en verdensarkitekt der har taget et valg omkring det at arbejde for autoritĂŠre regimer i steder som Kina, Qatar og mellemĂžsten, og hvordan man skaber forandring ved at gĂ„ i dialog med den verden man lever i – samt den del man ikke lever i.

[Rem Koolhaas interview]: What defines a modern city? “When I was 12, I saw a picture of Brasilia in Time and it triggered me to be an architect. It sugges­ted that through architecture you can control cities. But cities are reaching a new scale and a level of organisation where architecture has to recede in terms of its claims. Infrastructure is much more important than architecture.” Are we all doomed? “I don’t know, but even if we were, it wouldn’t be an alibi to not have fun and to not work.”

Jeg sÄ et enkelt filmklip allerede sidste Är, men Tomas har uploaded en hÄndfuld nye klip. SÄ indtil premieren engang i 2013 mÄ vi nÞjes med disse. FÞlg evt. med pÄ Facebook.

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OMA/Progress – On Generations [Shohei Shigematsu, OMA]

Diskussion med Bjarke Ingels
Da OMA partner, Shohei Shigematsu for noget tid siden, sammen resten af OMA’s partner kreds, deltog i en OMA, Show and Tell diskussionsaften, jokede han med at han havde tĂŠnkt pĂ„ at invitere Bjarke Ingels som med-forelĂŠser til en up-comming forelĂŠsningsaften i New York. “Ellers ville der sikkert ikke dukke nogen mennesker op, fordi ingen ved hvem jeg er, eller at jeg er partner i OMA”.  Kommentaren faldt i forbindelse med medie misforstĂ„elsen af at OMA er lig Rem Koolhaas [og ingen andre].

Men i denne seneste forelÊsning pÄ Barbican Gallery i London havde han sÄ ogsÄ hevet fat i Bjarke. Denne gang var begrundelsen at Bjarke er en tidligere OMA kollega, og 46 min inde i forelÊsningen har de en venskabelig diskussion (1 time) hvor de to arkitekter perspektiverer hinanden mÄde at arbejde pÄ, gennem deres respektive projekter.

Se de tidligere OMA forelÊsninger pÄ the Barbican Gallery:
1. David Gianotten – OMA, On Speed in Architecture
2. Victor-van-der-Chijs – OMA, on Prudence
3. Rem Koolhaas – OMA, On Progress
4. Alle OMA partnere – OMA, Show and Tell
5. Reinier de Graaf – OMA, On London
6. Ellen van Loon – The Bank

Baby Rems – Metropolis Magazine lavede sidste Ă„r en chart over den indflydelse som OMA har haft pĂ„ mange af de andre internationale og toneangivne tegnestuer.

ARKITEKTUR DK – Den Pragmatiske Vending i 00’ernes Danske Arkitektur – del 1
Nu vi er ved OMA bÞlgen og ringene i vandet, sÄ kan jeg kun anbefale dem der ikke allerede modtager Arkitektur DK, om de 4-5 artikler og interviews som gÊsteredaktÞr Cand. Mag. i filosofi, Kristoffer Lindhardt Weiss har sammensat i fÞrste del af 2. Projekterne i bladet kender vi allerede alt for godt, men interviews med Bjarke Ingels, Winy Mass, Kent Martinussen, Jens thomas Arnfred og Linda Tischler (Fast Company) + artikler af Rasmus Bech Hansen, Svante Lindeburg og Kristoffer Lindhardt Weiss, er rigtig spÊndende lÊsning.

LĂŠs evt. RedaktĂžr Kjeld Vindum’s leder til Den Pragmatiske Vending her nedenfor.

Den pragmatiske vending [Leder af Kjeld Vindum]

“I det nye Ă„rtusindes  fĂžrste  fĂžrste 10-Ă„r, 00’erne, blev dansk arkitektur udsat for nye energier, for nye mĂ„der at gĂ„ til arkitekturen pĂ„. Og det med sĂ„ voldsom en kraft, at det er rimeligt at tale om en ny vending. Eller mĂ„ske ligefrem en ny bĂžlge, der skyllede ind over dansk arkitektur som en revitalisering. Continue Reading

OMA/Progress – The Bank [Ellen van Loon, OMA partner]

‘OMA/Progress’ udstillingen pĂ„ the Barbican Gallery i London er netop sluttet. Og det har vĂŠret en af de helt store omtalte archi events i 2011. Jeg har desvĂŠrre ikke kunne se om den rejser videre, eller hvor det vil blive [DAC eller AND?]

Stort set alle OMA’s partnere har nĂ„et at afholde timelange forelĂŠsninger [se alle links nederst i indlĂŠgget]. Og som den sidste blev det sĂ„ OMA partner, Ellen van Loon som fortĂŠller om OMA’s fĂžrste – nyligt afsluttede projekt – i London, the Bank – Rothschild Bank Headquarters (21.000 m2). Ellen van Loon har tidligere stĂ„et for utallige OMA projekter. Bla. Bryghusprojektet i KĂžbenhavn, Casa de Musica i Porto, og den Hollandske Ambassade i Berlin.

Se de tidligere OMA forelÊsninger pÄ the Barbican Gallery:
1.David Gianotten – OMA, On Speed in Architecture
2. Victor-van-der-Chijs – OMA, on Prudence
3. Rem Koolhaas – OMA, On Progress
4. Alle OMA partnere – OMA, Show and Tell
5. Reinier de Graaf – OMA, On London

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OMA Show & Tell: XL Architecture Night

How do you see yourself? How do you want others to see you? And how do others see you? I et tĂŠt pakket Barbican Theatre interviewede Chris Dercon, direktĂžr pĂ„ Tate Modern, seks ud af OMA’s syv partnere, om OMA. Det blev prĂŠciseret gentagne gange fra scenen at OMA ikke er lig Rem Koolhass, i hvad der lignede et grundigt forsĂžg pĂ„ at forberede omverden pĂ„ et post-Koolhaas OMA.

Samlet OMA partnergruppe pĂ„ Barbican – 100 min.
HĂžr hvordan Koolhaas opbyggede sin organisation med inspiration fra Andy Warhol’s fabrik – the Factory [frivillig deltagelse, forskellige roller til alle og en hĂžj grad af selvstĂŠndighed]. Dog nĂŠvnes det ikke at det var et mĂždested og ikke et sted hvor man havde ansĂŠttelseskontrakter. HĂžr hvorfor han ser flere ligheder med Walter Gropius’s  tegnestueform og Bauhaus skolen, frem for stjernearkitekten Frank Lloyd Wrights arbejdsform. HĂžr hvorfor Shohei Shigematsu, ansv. partner for OMA i New York i 2006, joker med at han var ved at invitere Bjarke Ingels med som co-speaker til et kommende arrangement, for at undgĂ„ at salen ellers ville vĂŠre tom da ingen rigtig kender hans navn. HĂžr hvorfor krisen har rykket OMA’s projekter back-to-basic til en mere konkret arkitektur frem for research.

http://youtu.be/Ya3qmnzo8pc

URBANIZED vises pÄ CPH:DOX, d.13. nov.

Det er kun en mÄned siden jeg opfordrede til at holde Þje med evt. screenings af den sprit nye dokumentar URBANIZED. Den er nu en del af CPH:DOX programmet i november. Den vises kun d. 13/11 kl. 21:30, sÄ skynd dig at kÞbe billet hvis du vil med.

URBANIZED
“Efter ‘Helvetica‘ og ‘Objectified‘ runder instruktĂžren Gary Hustwit sin kontemporĂŠre design-trilogi af med ‘Urbanized‘, der kloggĂžr os pĂ„ byernes design. Over halvdelen af klodens befolkning lever nu i urbane omgivelser, og 75% vil kalde en by for deres hjem i 2050. Men hvem er det egentligt, der skaber vores daglige rammer i byen? Og hvordan gĂžr de det? Hustwit tager fat i nogle af verdens fremmeste arkitekter (blandt andre danske Jan Gehl), byplanlĂŠggere, politikere, ingeniĂžrer og tĂŠnkere, sĂ„vel som helt almindelige borgere, der i samspil med hinanden helt bogstaveligt talt ĂŠndrer mĂ„den verden ser ud pĂ„. Hustwit undersĂžger ogsĂ„ en bred vifte af urbane designprojekter verden over, og formĂ„r sĂ„ledes at skabe en topmoderne storbyssymfoni til folk, der elsker design … og byliv. ” – CPH:DOX

OMA/Progress udstilling i London

“After decades of extreme architectural shapes we try to do buildings that are slightly less exhibitionistic, and we are even thinking that if we – like medicines – abandon the patentet medicine and [instead] could go into generics and do neutral [copyright-free] buildings in a new way.”– Rem Koolhaas

Dezeen og Metalocus har vĂŠret sĂ„ flinke at lave video introduktioner til en netop Ă„bnet mega udstilling pĂ„ the Barbican Gallery  i London – ‘OMA/Progress’. Udstillingen er et indblik i ALT hvad der er kommet ud af mr. Koolhaas og Co., og vil kĂžre frem til d. 19. februar 2012. I interviewene nedenfor fĂ„r man en vished om, at der nok skal bruges et par DAGE pĂ„ at undersĂžge de enorme mĂŠngder af tilgĂŠngeligt data. For OMA handler mindst ligesĂ„ meget [hvis ikke mere?] om information i det tĂŠnkte/skrevne, som i det billedligt ĂŠstetiske.


QM2

Rem Koolhaas forlÊsning pÄ arkitektskolen Strelka, Moskva


“A, for me, very poisonous part of the current situation is, that the kind of identity of the architect as some one who could do serious projects and who could serve society, is no longer available to us. (…) Anyone of us is now lightyears from this role of doing something good for the people in generel. (…) What is happening to the world is a huge amount of building, but simply we are incapable of inhabiting all the conditions in a traditional classical way in which we think of urban life – It’s urban life light.” – Koolhaas

Der er guld at finde hvis man kigger med over skulderen pĂ„ Koolhaas’ super spĂŠndende konceptudvikling af uddannelsesprogrammet til det netop oprettede Strelka Institute of Media, Architecture and Design i Moskva. [se evt. tidligere indlĂŠg: De nye arkitekters 5 paradokser]. Fra Koolhaas’ side er ligger hans egen 2010 Biennalle udstilling,  CRONOCAOS , i direkte forlĂŠngelse af skolens program [se tidl. indlĂŠg] – En udstilling der pt. er udstillet pĂ„ MOMA i New York.

Som enhver anden moderne institution [!] har Strelka valgt at lĂŠgge deres forelĂŠsninger ud pĂ„ nettet. Seneste upload er 90 minutters introduktionsforelĂŠsning for skoleĂ„ret 2010/2011, afholdt i oktober 2010. Og det er spĂŠndende sager. De fĂžrste 37 min. introduktion stĂ„r Rem Koolhaas selv for, og herefter taler forfatteren Michael Schindhelm om PUBLIC SPACE, og afslutningsvis gennemgĂ„r Reinier de Graaf [partner, AMO] deres ret interessante Europa “energi projekt” – WWF The Energy Report [download pdf, 16 mb]- og gennemgĂ„r hvordan en lignende optik vil kunne lĂŠgges pĂ„ Ruslands “energy grid”.


QP2

“CRONOCAOS” – OMA/Rem Koolhaas (Biennalen 2010)

“Architects – we who change the world – have been oblivious or hostile to the manifestations of preservation. Since 1981, in Paolo Portoghesi’s ‘Presence of the Past’ [exhibition], there has been almost no attention paid to preservation in successive architecture biennales” –  Rem Koolhaas

KOOLHAAS rykker i Kulturarven
Endelig fik Designboom postet det sidste kapitel, ud af ialt 4 kapitler [1, 2, 3, 4], som ret sĂ„ gennemfĂžrt dokumenterer Rem Koolhaas/OMA’s udstilling pĂ„ 2010 bienallen: “CRONOCAOS”. For den typiske afdelingsleder af en Kulturarvsafdeling pĂ„ en arkitektskole, vil Koolhaas sikkert fremstĂ„ som “en pop-arkitekt, der ikke siger noget der ikke er sagt fĂžr”, som fx. i Jukka Jokilehto’s [ellers anbefalelsesvĂŠrdige] bog: History of Architectural Conservation, 2002 (pdf). Men her er jeg personligt uenig. Jukka’s bog stopper der hvor Cronocaos tager over, men det er sandt at udstillingen er tĂŠnk i store linier, men det skal ses i lyset af Koolhaas’ projekter i Kina – et land der fĂžrst nu er ved at fĂ„ et begreb om en kulturarv, der i den grad er ved at blive kĂžrt over af Kinas warp-speed udvikling. Modsat i Europa, hvor vi i de sidste 100 Ă„r har institutionaliseret kulturarven. Og hvis det hele kĂžrer pĂ„ skinner… hvor er vi sĂ„ egentligt pĂ„ vej hen!

Historien kom tilbage…
PĂ„ den fĂžrste Arkitektur Bienalle i 1980 stod den italianske arkitekt Paolo Portoghesi for udstillingen: “Presence of the Past” – et historisk oprĂ„b mod en modernisme der havde vendt ryggen til historien. Udstillingen i 1980 var mere vĂŠrkorienteret end Cronocaos, med projekter af den hĂ„rde kerne: Venturi, Charles Moore, Hans Hollein, Bofill og Aldo Rossi.

Udstillingen i 1980 er bedst set i lyset af de foregĂ„ende 20 Ă„rs kritik af en modernisme der dyrkede sig selv mere end den urbane kontekst. Allerede inden Charles Jencks (The Language of Postmodern Architecture, 1977) – i 1972 dĂžmte modernismen for dĂžd med nedrivningen af, et ellers prisvindende socialt boligbyggeri, Pruitt Igoe [se nedrivningen i dette klip fra kultfilmen Koyaanisqatsi – Life out of Balance], havde Jane Jacobs (The Death and Life of Great American Cities , 1960) i 60’erne angrebet modernismen for at bygge kedelige og tomme byer; Og Robert Venturi (Complexity and Contradiction in Architecture, 1966) talte imod det stereotype og de rene former, og hellere ville tale om ‘hybrid’ og ‘kompromi’; Aldo Rossi (The Architecture of the City, 1966) ansĂ„ “form follows function” for dybt naivt, og sĂ„ stor mening i at studere de historiske former, mere end den konstante innovation.

[youtube=http://www.youtube.com/watch?v=G5ACWyzBwUk&w=640&h=395]

If the point of Preservation is to identify and maintain elements that make a city unique, [a city] contains a vast arsenale of relatively new architecture and urban situations that deserve the same consideration as the old [historic] centre, rather than a seemingly inevitable focus on the oldest, the most beautiful, the most historic part.” – Rem Koolhaas

… men, hvornĂ„r har vi sĂ„ for meget historie?
Koolhaas’ udstilling stopper endnu engang op, og stiller igen spĂžrgsmĂ„l ved historiens aktualitet i relation til det omfang vi hudlĂžst vĂŠlger at bevare. Hvori ligger meningen? For det mĂ„ vĂŠre slut med blindt at bevare ud fra Ă„rstal, og istedet kigge bredere pĂ„ hvad der egentlig er i fremtidens interesse. Og det kommer jo fra en mand der har tegnet huse der blevet fredet i det Ăžjeblik de var fĂŠrdigbygget!

LĂŠs Designbooms gennemgang af udstillingen: 1.del, 2.del, 3.del og 4.del.

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QP2

"CRONOCAOS" – OMA/Rem Koolhaas (Biennalen 2010)

“Architects – we who change the world – have been oblivious or hostile to the manifestations of preservation. Since 1981, in Paolo Portoghesi’s ‘Presence of the Past’ [exhibition], there has been almost no attention paid to preservation in successive architecture biennales” –  Rem Koolhaas

KOOLHAAS rykker i Kulturarven
Endelig fik Designboom postet det sidste kapitel, ud af ialt 4 kapitler [1, 2, 3, 4], som ret sĂ„ gennemfĂžrt dokumenterer Rem Koolhaas/OMA’s udstilling pĂ„ 2010 bienallen: “CRONOCAOS”. For den typiske afdelingsleder af en Kulturarvsafdeling pĂ„ en arkitektskole, vil Koolhaas sikkert fremstĂ„ som “en pop-arkitekt, der ikke siger noget der ikke er sagt fĂžr”, som fx. i Jukka Jokilehto’s [ellers anbefalelsesvĂŠrdige] bog: History of Architectural Conservation, 2002 (pdf). Men her er jeg personligt uenig. Jukka’s bog stopper der hvor Cronocaos tager over, men det er sandt at udstillingen er tĂŠnk i store linier, men det skal ses i lyset af Koolhaas’ projekter i Kina – et land der fĂžrst nu er ved at fĂ„ et begreb om en kulturarv, der i den grad er ved at blive kĂžrt over af Kinas warp-speed udvikling. Modsat i Europa, hvor vi i de sidste 100 Ă„r har institutionaliseret kulturarven. Og hvis det hele kĂžrer pĂ„ skinner… hvor er vi sĂ„ egentligt pĂ„ vej hen!

Historien kom tilbage…
PĂ„ den fĂžrste Arkitektur Bienalle i 1980 stod den italianske arkitekt Paolo Portoghesi for udstillingen: “Presence of the Past” – et historisk oprĂ„b mod en modernisme der havde vendt ryggen til historien. Udstillingen i 1980 var mere vĂŠrkorienteret end Cronocaos, med projekter af den hĂ„rde kerne: Venturi, Charles Moore, Hans Hollein, Bofill og Aldo Rossi.

Udstillingen i 1980 er bedst set i lyset af de foregĂ„ende 20 Ă„rs kritik af en modernisme der dyrkede sig selv mere end den urbane kontekst. Allerede inden Charles Jencks (The Language of Postmodern Architecture, 1977) – i 1972 dĂžmte modernismen for dĂžd med nedrivningen af, et ellers prisvindende socialt boligbyggeri, Pruitt Igoe [se nedrivningen i dette klip fra kultfilmen Koyaanisqatsi – Life out of Balance], havde Jane Jacobs (The Death and Life of Great American Cities , 1960) i 60’erne angrebet modernismen for at bygge kedelige og tomme byer; Og Robert Venturi (Complexity and Contradiction in Architecture, 1966) talte imod det stereotype og de rene former, og hellere ville tale om ‘hybrid’ og ‘kompromi’; Aldo Rossi (The Architecture of the City, 1966) ansĂ„ “form follows function” for dybt naivt, og sĂ„ stor mening i at studere de historiske former, mere end den konstante innovation.

[youtube=http://www.youtube.com/watch?v=G5ACWyzBwUk&w=640&h=395]

If the point of Preservation is to identify and maintain elements that make a city unique, [a city] contains a vast arsenale of relatively new architecture and urban situations that deserve the same consideration as the old [historic] centre, rather than a seemingly inevitable focus on the oldest, the most beautiful, the most historic part.” – Rem Koolhaas

… men, hvornĂ„r har vi sĂ„ for meget historie?
Koolhaas’ udstilling stopper endnu engang op, og stiller igen spĂžrgsmĂ„l ved historiens aktualitet i relation til det omfang vi hudlĂžst vĂŠlger at bevare. Hvori ligger meningen? For det mĂ„ vĂŠre slut med blindt at bevare ud fra Ă„rstal, og istedet kigge bredere pĂ„ hvad der egentlig er i fremtidens interesse. Og det kommer jo fra en mand der har tegnet huse der blevet fredet i det Ăžjeblik de var fĂŠrdigbygget!

LĂŠs Designbooms gennemgang af udstillingen: 1.del, 2.del, 3.del og 4.del.

Continue Reading

OMA’s Caen bibliotek i Frankrig (ArteFactoryLab)

[vimeo 14861125 w=640&h=365]

“Instead of having four distinct areas linked by bridges, space is structured along two intersecting axes, creating a space of confluence for both knowledge and people.” – OMA

Jeg sĂ„ godt OMA’s vinderprojekt til det franske Caen bibliotek da de vandt fĂžrst i september, men den efterfĂžlgende film af ArteFactoryLab havde jeg sĂ„ lige misset.

OMA's Caen bibliotek i Frankrig (ArteFactoryLab)

[vimeo 14861125 w=640&h=365]

“Instead of having four distinct areas linked by bridges, space is structured along two intersecting axes, creating a space of confluence for both knowledge and people.” – OMA

Jeg sĂ„ godt OMA’s vinderprojekt til det franske Caen bibliotek da de vandt fĂžrst i september, men den efterfĂžlgende film af ArteFactoryLab havde jeg sĂ„ lige misset.

AScreenshoot028

Rem Koolhaas: De nye arkitekters 5 paradokser


Architecture has changed more in the last 30 years than in the previous 3.000. The reason is that the market economy – whether we look at Europe, America, Russia or China – has fundamentally changed the role of the architect.”

Hvis du skal til Venedig sidst i denne uge pĂ„ arkitekturbiennale, sĂ„ kan du hĂžre Rem Koolhaas OMA/AMO fremlĂŠgge sit uddannelsesprogram for den nye Kool-As-Hell arkitekskole i Moskva, der gĂ„r under navnet Strelka Institute for Media, Architecture and Design. Koolhaas vil pĂ„ Biennalen fortĂŠlle om programmets fem temaer: Design, Energy, Preservation, Public Space og Thinning, der er hans bud pĂ„ temaer som de [nye] arkitekter skal lĂŠre at forholde sig kritisk til…og det er pt. isĂŠr gĂŠldende for Rusland.

– Koolhaas’ Rethinking Education prĂŠsentation vil foregĂ„ i Teatro Piccolo Arsenale, Venedig –  26. aug. kl 14.30–15.45

PULIC SPACE

As virtual realms become more popular, physical public space has experienced a simultaneous divestment of attention and potential. It is not only the conflict between virtual and real space that defi nes the nature of public space today, but also the shift from the public to the private sector, morphing formerly free spaces into hybrid commercial zones. When attention is paid to public space, the increase in supervision and surveillance – together with a glut of good intentions in the form of more art, more design – transforms spaces of spontaneity into pre-programmed, overdetermined areas. Continue Reading

"Vi bygger huse helt nede i jorden"

[youtube=http://www.youtube.com/watch?v=tfbAKwgoEII&w=500&h=310]

Glatbarberet og i et plan, er hvad man kan kalde Interbygs typehuse. Det ser jo ud som det plejer – men er heeeelt uden problemer. ‘Problemfrit’ har Ă„benbart overtaget ’samtalekĂžkkenet’ som et nyt salgsparameter.

phdomslag.gif

Jeg fik lyst til lige at Ă„bne Anders HĂžyer ToftÂŽs Ph.D. afhandling fra Arkitektskolen i Aarhus i 2001. Inspireret af KoolhaasÂŽ “The Generic City”, S,M,L,XL (Byen uden Egenskaber efter oversĂŠttelse af Morten Daugaard AAA), og den kritiske Ă„bning af arkitekturen, som han stĂ„r for, bruges problematikken omkring det danske parcelhus som billeddannelse for endnu en Ă„bning af det arkitektoniske felt.

– Download Phd: Huset uden egenskaber, 184 sider (PDF)

Alternativt kan du lĂŠse en kortere artikel af Anders HĂžyer Toft, i Nordisk Arkitekturforskning 2004:
Generic [modern] Architecture -Field, Actor-Networks and Pragmatism

Kilde: Interbyg, Anders HĂžyer Toft og Jesper Reiter

slaves

'We need slaves to build monuments'

slaves

Det er ikke terrorister, men konstruktionsarbejdere i Dubai – under 5 kr i timen, 14 timer om dagen uden pauser, 6 dage om ugen i 50C° – ingen pas og massere af gĂŠld.

[youtube=http://www.youtube.com/watch?v=n6lzEhoXads]

labour112b624ac813a17d8b667aea5be4973f1-grandedubai-migrant-workerworkers_dormitory_abudhabi_uae

“Not for the first time, I am told that while the immigrant workers are living in appalling conditions, they would be even worse off back home – as if poverty in one place can justify exploitation in the other.”

We need slaves to build monuments

Randel og Dante fra kultfilmen Clerks (1994) var ikke helt ved siden af, da de diskuterede ansĂŠttelsesforholdene pĂ„ DĂždsstjernen, Star Wars, da den skulle genopbygges. I den forbindelse er det enormt komisk med bĂ„de Rem KoolhaasÂŽ og Heerim Architects DĂždsstjerne-look-alikes i mellemĂžsten, som desvĂŠrre ikke er samme grad af science-fiction, men istedet en del af de hĂ„rde realiteter. The Guardian har i artikelen We need slaves to build monuments interviewet en gruppe arbejdere. Har man lige brug for en hurtigt introduktion til Dubai er udsendelsen “DubaiÂŽs Dirty Little Secret” (ABC News), sammenlagt med den mere kultur komiske dokumentar “Do Buy!”, lige hvad man har brug for.

labour

OMA death star

Monolog fra CLERKS, 1994

Randal: So they build another Death Star, right? Dante: Yeah. Randal: Now the first one they built was completed and fully operational before the Rebels destroyed it. Dante: Luke blew it up. Give credit where it’s due. Randal:And the second one was still being built when they blew it up. Dante: Compliments of Lando Calrissian. Randal: Something just never sat right with me the second time they destroyed it. I could never put my finger on it-something just wasn’t right. Dante: And you figured it out? Randal: Well, the thing is, the first Death Star was manned by the Imperial army-storm troopers, dignitaries- the only people onboard were Imperials. Dante: Basically. Randal: So when they blew it up, no prob. Evil is punished. Dante: And the second time around…? Randal: The second time around, it wasn’t even finished yet. They were still under construction. Dante: So? Randal: A construction job of that magnitude would require a helluva lot more manpower than the Imperial army had to offer. I’ll bet there were independent contractors working on that thing: plumbers, aluminum siders, roofers. Dante: Not just Imperials, is what you’re getting at. Randal: Exactly. In order to get it built quickly and quietly they’d hire anybody who could do the job. Do you think the average storm trooper knows how to install a toilet main? All they know is killing and white daeth staruniforms. Dante: All right, so even if independent contractors are working on the Death Star, why are you uneasy with its destruction? Randal: All those innocent contractors hired to do a job were killed- casualties of a war they had nothing to do with. (notices Dante’s confusion) All right, look-you’re a roofer, and some juicy government contract comes your way; you got the wife and kids and the two-story in suburbia-this is a government contract, which means all sorts of benefits. All of a sudden these left-wing militants blast you with lasers and wipe out everyone within a three-mile radius. You didn’t ask for that. You have no personal politics. You’re just trying to scrape out a living. (The Blue-Collar Man  joins them). Blue-Collar Man: Excuse me. I don’t mean to interrupt, but what were you talking about? Randal: The ending of Return of the Jedi. Dante: My friend is trying to convince me that any contractors working on the uncompleted Death Star were innocent victims when the space station was destroyed by the rebels. Blue-Collar Man: Well, I’m a contractor myself. I’m a roofer… (digs into pocket and produces business card) Dunn and Reddy Home Improvements. And speaking as a roofer, I can say that a roofer’s personal politics come heavily into play when choosing jobs. Randal: Like when? Blue-Collar Man: Three months ago I was offered a job up in the hills. A beautiful house with tons of property. It was a simple reshingling job, but I was told that if it was finished within a day, my price would be doubled. Then I inside starrealized whose house it was. Dante: Whose house was it? Blue-Collar Man: Dominick Bambino’s. Randal: “Babyface” Bambino? The gangster? Blue-Collar Man: The same. The money was right, but the risk was too big. I knew who he was, and based on that, I passed the job on to a friend of mine. Dante: Based on personal politics. Blue-Collar Man: Right. And that week, the Foresci family put a hit on Babyface’s house. My friend was shot and killed. He wasn’t even finished shingling. Randal: No way! Blue-Collar Man: (paying for coffee) I’m alive because I knew there were risks involved taking on that particular client. My friend wasn’t so lucky. (pauses to reflect) You know, any contractor willing to work on that Death Star knew the risks. If they were killed, it was their own fault. A roofer listens to this… (taps his heart) not his wallet.

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Engineering Koolhaas (ARUP)

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Engineering Koolhaas

“Who says that structure should not be reinvented?. . . Who says that reinventing structure cannot be creative?”

(Rem Koolhaas, 2003)

ARUP Journal har siden 2005 udgivet 3 gode artikler om deres arbejde med OMA i forbindelse med CCTV. Og jeg synes det er super fedt at fĂ„ historien fra ingeniĂžrens tekniske vinkel. LĂŠs alle 3 artikler nedenfor…

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Structural engineering design and approvals – Issue 2/2005
“The winning design combines administration and offices, news and broadcasting, programme production and services – the entire process – in a single loop of interconnected activities. The specifics of the structure evolved in tandem with the specifics of the building as they in turn evolved, a notable example being the placement of doubleheight studios within the Towers and Base, which significantly influenced the structural form”. (Download PDF)

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Building the structure – issue 2/2008
“Erecting two massive leaning Towers, and connecting them with a 9-13 storey Overhang suspended 36 storeys in the air, presented the structural engineers and contractors with unprecedented design and construction challenges. This is the third Arup Journal article about the CCTV (China Central Television) building in Beijing; it covers the construction of this unique project”. (Download PDF)

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Services engineering design – Issue 3/2005
“The CCTV Headquarters’ three-dimensional layout is designed to break down the ‘ghettoes’ that tend to form in the process of making TV programmes. The building’s ‘loop’ form encourages staff to mix, creating a better end-product more economically and efficiently”. (Download PDF)

Kilde: www.arup.com/arup/Journal.cfm

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FORMULAE FOR THE 21ST CENTURY

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THE THIRD CULTURE / Rem Koolhass

FORMULAE FOR THE 21ST CENTURY

“The third culture consists of those scientists and other thinkers in the empirical world who, through their work and expository writing, are taking the place of the traditional intellectual in rendering visible the deeper meanings of our lives, redefining who and what we are”.

Kilde: www.edge.org

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Rem Koolhaas interview / SPIEGEL 2008

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‘An Obsessive Compulsion towards the Spectacular’

quote11Dutch architect Rem Koolhaas talks about new trends in architecture and urban development, the end of the European city, the rise of Dubai, Russia and China, the obsession with XXXL and the difference between the people who design buildings for a living and “star architects.”

Den fulde artikel kan lĂŠses her (Link).

uddrag . . .

SPIEGEL: You apparently don’t like the concept of sustainability.

Koolhaas: Because it’s become an empty formula, and because, for that reason, it’s getting harder and harder to think about ecology without becoming ironic. On the other hand, there is of course a benefit to the label of sustainability being so popular today. We have long been trying to build in such a way that we can manage without air-conditioning as much as possible, by avoiding unnecessary exposure to direct sunlight and by creating a mass that provides shade. There was hardly any interest in this in the past, whereas today customers pay.

SPIEGEL:
At a recent talk in Dubai, you showed two slides. The first image was of a series of iconic skyscrapers that you, Zaha Hadid and other star architects designed. The second was of a collection of high-rise buildings designed by unknown architects. The images were surprisingly similar.

Koolhaas: I have a very hard time with the expression “star architect.” It gives the impression of referring to people with no heart, egomaniacs who are constantly doing their thing, completely divorced from any context. I believe that this is a grotesque insult to members of a profession who — to the extent that I know my colleagues — go to great lengths to find the right thing, the appropriate thing, for each individual case. At the same time we are, of course, driven by the market — and by developers who try to pin us down to certain forms. I have spent a lot of time thinking about the best way for us to escape this being pinned down to the purely formal. That’s why I decided to simply demonstrate it: There is, in fact, no great difference between the buildings by “star architects” and those designed by others.

Work(out) at OMA ///

[youtube=http://www.youtube.com/watch?v=SAJxRFu2eIo]

Work(out) at OMA

En lille film om at arbejde pĂ„ OMA (bare rolig de taler ikke hollandsk alle sammen)…Hvorvidt det sĂ„ er sandheden om at arbejde pĂ„ OMA skal jeg ikke kunne sige … men det virker som om de har optaget udsendelsen en tidlig sĂžndag morgen – virker uuutroligt afslappet og meget ÂŽnon-competetiveÂŽ, haha!