S M L XL [Rem Koolhaas, Bruce Mau, Hans Werlemann] on Amazon.com. *FREE* shipping on qualifying offers. S M L XL
The property is built on a “microscopic” hillside plot
Visit a selection of bold buildings by the Pritzker Prize–winning architect Rem Koolhaas
Seattle Central Public Library, designed by Office for Metropolitan Architecture (OMA) [Rem Koolhaas/Joshua Prince-Ramus] Seattle, Washington. All rights reserved. No use & distribution without express written permission. Strictly enforced.
This collection is a look through the microscope at the real fundamentals of our buildings, revealing the essential design techniques used by any architect, anywhere, anytime. Conceived by Rem Koolhaas and made with the Harvard Graduate School of Design, it is a primordial toolkit to understanding how seemingly stable elements are actually in constant evolution. “A brilliant and stimulating exploration of the stories behind the most mundane and ubiquitous elements of architecture.” Financial Times “Rem Koolhaas explains it all in Elements of Architecture. With examples ranging from the Sydney Opera House to St. Peter’s Basilica, this beautiful book also works as a history of architecture.” The New York Times “…when it comes to learning about the differences in architectural evolution, this is the book.” forbes.com “A mammoth undertaking: smashing open the last 100 years of architecture and ripping out its innards for forensic analysis.” The Guardian “…exhaustive and exhausting, mad and maddening.” Metropolis Magazine “A fascinating compendium of cultural references, iconic design, and everyday history that work together to turn architectural theory on its head.” Architectural Digest Hardcover, 20 x 25.5 cm, 3.54 kg, 2528 pagesArchitecture under the microscope Rem Koolhaas’s essential toolkit to building anatomies Elements of Architecture focuses on the fragments of the rich and complex architectural collage. Window, façade, balcony, corridor, fireplace, stair, escalator, elevator and toilet: the book seeks to excavate the micro-narratives of building detail. The result is no single history, but rather the web of origins, contaminations, similarities, and differences in architectural evolution, including the influence of technological advances, climatic adaptation, political calculation, economic contexts, regulatory requirements, and new digital opportunities. It’s a guide that is long overdue—in Koolhaas’s own words, “Never was a book more relevant—at a moment where architecture as we know it is changing beyond recognition.” Derived, updated, and expanded from Koolhaas’s exhaustive and much-lauded exhibition at the 2014 Venice Architecture Biennale, this is an essential toolkit to understanding the fundamentals that comprise structure around the globe. Designed by Irma Boom and based on research from the Harvard Graduate School of Design, the 2,600-page monograph contains essays from Rem Koolhaas, Stephan Trueby, James Westcott and Stephan Petermann; interviews with Werner Sobek and Tony Fadell (of Nest); and an exclusive photo essay by Wolfgang Tillmans. In addition to comprehensively updated texts and new images, this edition is designed and produced to visually (and physically) embody the immense scope of its subject matter: Custom split-spine binding: our printer modified their industrial binding machine to allow for the flexible, eight-centimeter thick spine Contains a new introductory chapter with forewords, table of contents, and an index, located in the middle of the book (where it naturally opens due to its unique spine) Printed on 50g Opakal paper, allowing for the ideal level of opacity needed to realize Boom’s palimpsest-like design Translucent overlays and personal annotations by Koolhaas and Boom are woven in each chapter to create an alternative, faster route through the book Printed at the originally intended 100% size for full readability The author Rem Koolhaas is a co-founder of the Office for Metropolitan Architecture. Having worked as a journalist and scriptwriter before becoming an architect, in 1978 he published Delirious New York. His 1996 book S,M,L,XL summarized the work of OMA and established connections between contemporary society and architecture. Among many international awards, he has received the Pritzker Prize (2000) and the Praemium Imperiale (2003). The designer Irma Boom is a graphic designer specialized in making books. Since founding Irma Boom Office in 1990, she has worked with the likes of Chanel, the United Nations, OMA/Rem Koolhaas, Fondazione Prada, Pirelli, and Rijksmuseum Amsterdam. She received the Gutenberg Prize and the Johannes Vermeer Prize, the Dutch state prize for the arts, among others. Her work is in a permanent collection of the Design and Architecture Department of the Museum of Modern Art in New York. Since 1992, Boom is a Senior Critic at Yale University in the USA. The photographer Wolfgang Tillmans is regarded as one of the most influential artists of his generation. His diverse body of work–still lifes, portraits, abstract imagery–spans a range of subjects, namely political movements, photographic representation, and subcultures. Today, his work is shown in numerous international museums including the Museum of Modern Art, Centre Pompidou and the Tate and has earned many awards, including the Turner Prize in 2000. Koolhaas. Elements of Architecture Hardcover, 20 x 25.5 cm, 3.54 kg, 2528 pages ISBN 978-3-8365-5614-9 Edition: English Download product images here
"Describing the project of a house would not be too innovative. In this case talking about those who use it, gives it identity and converts it into a place that is, without a doubt, a step. However, describing it through the eyes of Guadalupe Acedo (a lady from extremadura living in Bordeaus), the person responsible for the maintenance of the house, makes it much more than the presentation of a project by a famous architect.
Set in a beautiful Renaissance palazzo and with eye-catching details, this brand new department store is Italy's answer to Harrods
Image 2 of 22 from gallery of House in Almen / Barend Koolhaas. Photograph by Jeroen Musch
In a departure from the megaprojects that have made his name, Rem Koolhaas crafts a minimalist lakeside house for an Austrian family PHOTOGRAPHY BY PERNILLE LOOF & THOMAS LOOF STYLED BY MARVIN UNGER IN THE LIVING SPACE ON HOUSE’S THIRD LEVEL, A MOTORIZED GLASS GARAGE-STYLE DOOR LIFTS TO PROVIDE ACCESS TO THE TERRACE. THE PLATFORMS IN THE FOREGROUND CAN BE RAISED TO TABLE HEIGHT OR LOWERED TO CREATE A CONVERSATION PIT. THE WEATHER CHANGES QUICKLY on the Austrian Zeller See. At daybreak, fog rises
In this excerpted interview from the Journal of International Affairs, leading urban theorist and Pritzker Prize winning-architect Rem Koolhaas discusses how the economic and cultural changes of the 21st century are transforming world cities as well as the practice of architecture.
Rem Koolhaas widmet sich mit seinem neuesten Forschungsprojekt den rasanten und oft verborgenen Veränderungen, die sich in den weitläufigen, nicht-urbanen Regionen der Erde ereignen. Diese ländlichen, abgelegenen oder verwilderten Gebiete sowie die 98% der Erdoberfläche, die nicht von Städten besiedelt sind, bilden die vorderste Front, an der sich die gewaltigen Kräfte der heutigen Zeit – Klimawandel, ökologische Zerstörung, Migration, Technologie, demografische Verwerfungen – am folgenreichsten auswirken. Zunehmend von einem ‚kartesischen’ Regime bestimmt – gerastert, automatisiert und auf maximale Produktion hin berechnet –, verändern sich diese Regionen gerade bis zur Unkenntlichkeit.Countryside, A Report versammelt Essays eindrucksvoller Reisen in Regionen, die globalen Kräften und Entwicklungen in besonderem Masse ausgesetzt sind, zugleich aber nur am Rande unseres Bewusstseins existieren: ein Testgelände in der Nähe von Fukushima für Roboter, die künftig für die ländliche Infrastruktur und Landwirtschaft Japans zuständig sein werden; eine nur aus Gewächshäusern bestehende Stadt in den Niederlanden – einem möglichen Ursprung für die Kosmologie der ländlichen Regionen von heute; der rapide abtauende Permafrost in Zentralsibirien, wo man über die baldige Umsiedlung der Bevölkerung nachdenkt; Flüchtlinge, die sterbende Dörfer in der deutschen Provinz bevölkern und dort auf Klimaaktivisten treffen; Berggorillas, die auf ihrem angestammten Territorium in Uganda plötzlich Menschen begegnen; der amerikanische Mittlere Westen, wo sich industrielle Landwirtschaftsbetriebe mit regenerativer Agrikultur auseinandersetzen; oder chinesische Dörfer, die sich in All-in-one-Produktionsstätten, E-Commerce-Läden oder Fulfillment-Center verwandelt haben. Dieser Band ist das offizielle Begleitbuch zu der mit Spannung erwarteten Ausstellung im New Yorker Guggenheim-Museum, Countryside, The Future. Für den Architekten und Urbanisten Rem Koolhaas, dessen Karriere einst mit zwei Projekten zur Stadtentwicklung begann (The Office for Metropolitan Architecture, 1975, und Delirious New York, 1978), markieren Ausstellung und Buch ein gänzlich neues Forschungsgebiet. Die Publikation im handlichen Pocket-Format wurde von Irma Boom gestaltet, die für ihr originelles Layout und die innovative Typografie in der Bibliothek des Vatikans recherchierte.Countryside, A Report erfasst die gemeinsame Forschungsarbeit von AMO, Koolhaas und Studenten der Harvard Graduate School of Design, der Bejing Central Academy of Fine Arts, der Wageningen University in den Niederlanden und der University of Nairobi. Zu den Autoren zählen Samir Bantal, Janna Bystrykh, Troy Conrad Therrien, Lenora Ditzler, Clemens Driessen, Alexandra Kharitonova, Keigo Kobayashi, Niklas Maak, Etta Madete, Federico Martelli, Ingo Niermann, Dr. Linda Nkatha Gichuyla, Stephan Petermann und Anne M. Schneider.
"Describing the project of a house would not be too innovative. In this case talking about those who use it, gives it identity and converts it into a place that is, without a doubt, a step. However, describing it through the eyes of Guadalupe Acedo (a lady from extremadura living in Bordeaus), the person responsible for the maintenance of the house, makes it much more than the presentation of a project by a famous architect.
Archinect image gallery.
Celebrated Dutch architect and Pritzker Prize laureate (2000) Rem Koolhaas is not known mainly as a designer of private residences. However, the ones he has designed have become iconic. His famous private residence projects include the most recent three, all of them completed more than 30 years ago: the Maison à Bordeaux (1998), Dutch House (1995) and Villa dall’Ava (1991).
Looking at the vast cities of the never built
Hanwha galleria en Gwanggyo, Rem Koolhaas OMA Teniendo en cuenta la actitud propositiva de Rem Koolhaas, resulta complejo establecer el predominio de cada concepto en determinados contextos. Aunque el eclecticismo…
"The lessons of Ungers and the dawn of post-modernity resound throughout the building. It is an arrangement of autonomous, basic geometries." - Fl ...
The property is built on a “microscopic” hillside plot
To take a peek inside the mind of Rem Koolhaas, would be to discover an inquisitive nature set against the common conventions with a different outlook towards life.
A précis by Emma Watson Delirious New York: A Retroactive Manifesto for Manhattan is an engaging review of modern architecture and urbanism, setting a celebratory account of the surreal ‘culture of congestion’ found in Manhattan. Written while Rem Koolhaas was a visiting professor at the Institute for Architecture and Urban Studies in New York, and first published in 1978 - written during a period of financial crisis, with the city government narrowly avoiding bankruptcy through a substantial federal loan. At a time when confidence in the city is at an all time low, Koolhaas promotes Manhattan as a prototype of the modern metropolis, a collaboration of visionaries that strive to make life in the city a ‘deeply irrational experience’. Declaring himself as the city’s ghost-writer, Koolhaas tells the story of Manhattan, a ‘mythical island’ and setting of an urban experiment in which the city becomes a factory for man made experiences, a laboratory to test the potential of modern life. He claims that ‘Manhattanism’ is the one urbanistic concept that revels in ‘hyper density’ and is fuelled by the splendours and miseries than come with the urban condition of man made living. ‘With Manhattan as an example, this book is a blueprint for a culture of congestion.’ The first chapter gives an overview of the history of the island, discovered in 1609, and depicted by a French artist as existing European components reassembled into a single location, ‘A Utopian Europe’. A utopia that is indifferent to topography, imposing the mental over the real. The grid system in Manhattan predicted the future condition of the city; its two dimensional restrictions gave way to three dimensional freedom, and the millions of people that it now houses was envisaged far before a tiny proportion were even present. Much like the grid, central park was created long before the programmes which fill it had been realised, quoted as ‘a colossal leap of faith, the contrast it describes – between the built and the unbuilt – hardly exists at the time of its creation.’ The book is a representation of the grid: ‘a collection of blocks whose proximity and juxtaposition reinforce their separate meanings.’ Each block correlates to a chapter; Coney Island, the Skyscraper, Rockefeller Centre and Europeans. When Manhattan transforms from a city into a metropolis, Coney Island offers a resort, the ‘safety value of the worlds most highly charged metropolis’. As demand for escape increases; ‘the island is forced to mutate; it must turn itself into the very opposite of nature’, and instead of providing a release from the urban pressure, Coney provides intensification. The island’s artificiality becomes an attraction, counteracting the theatricality of the new metropolis with its unique ‘super-natural’. Coney’s amusement parks Steeplechase, Luna and Dreamland emerge, each more ostentatious than its predecessor, providing an infrastructure that made the island the ‘most modern fragment of the world’. Within Coney these three parks act as the testing grounds for a ‘new technology of the fantastic’, from which stem the strategies and mechanisms that came to shape Manhattan. A ‘glorious whole’ – the skyscraper represents a coming together of a number of urbanistic breakthroughs. The tower was first tested on Coney with the ‘snow white pinnacles’ of Luna’s skyline. Now, in Manhattan, building became tower through the union of the elevator and steel frame, giving way to a construction which was ‘able to support newly discovered territories’, the further you ascend, the more you leave behind the undesirable circumstances below. Any site could now be multiplied ad infinitum to produce a proliferation of floor space. The skyscraper was a utopian formula which could be used an instrument for ‘a new form of unknowable urbanism’. Manhattan’s architecture under went a lobotomy, ‘less and less surface represented more and more internal activity’. By separating the internal and external, the monolith of the skyscraper spared the outside world of everyday life, a shell housing layers of reality. Entering a building in Manhattan, even changing floors, could become an act of moving between worlds. The deliberate disconnection of storeys – ‘the vertical schism’ – accepted the skyscrapers instability in a definitive composition, succumbing to cultural potential. Each new building spanning a block, like a collection of urban islands, each striving to be a ‘city within a city’, all potentially at war with each other. Media technologies were structurally integrated into the modern metropolis, as can be seen in the Waldorf-Astoria Hotel, Daily News Building, and most importantly the Rockefeller Center. Like the speculative Manhattan grid, the Rockefeller Centre was ‘an artificial domain planned for non existent clients’, it finds a perfect occupant in the Radio Corporation of America and its subsidiary NBC and their state of the art production facilities. The theatricality that was once experienced on Coney Island, and then of the interior activities of the skyscraper, could now be fabricated within the Centre and transmitted across the world, ‘the nerve center of an electronic community that would congregate at Rockefeller Center without actually being there. Rockefeller Center is the first architecture that can be broadcast’. Manhattanism is ‘congestion for congestion’s sake’, and the reason why any of Le Corbusier’s schemes failed to be realised in Manhattan. Radiant City, which Koolhaas describes as ‘a majestic flow of humanist non sequiturs’, is a proposal to erase all the utopian urbanistic ideals upon which Manhattan was built and replace them with a uniform set of towers – Cartesian skyscrapers - evenly planted in green spaces. His desire was to purify the city, and give its residents access to light and air. His urban form removed the congestion, offering only the efficiency of banality in exchange. This congestion, in a realm divorced from reality, forces the metropolis ever upward into the speculative. There was no place for Manhattan’s technology of the fantastic within the Cartesian skyscraper, for Corbusier; ‘use of technology as instrument and extension of the imagination equals abuse…for him technology itself is fantastic’. The Cartesian skyscraper had been stripped of the stone cladding that enclosed the Manhattan skyscraper and allowed the ‘ideological hysteria’ of the internal architecture to thrive. Koolhaas concludes that the glass walls of Corbusier’s skyscraper enclosed ‘a complete cultural void’. During these playful journeys through Manhattans history, Koolhaas advocates his duty to modernity, if not to architectural modernism as a movement. He focuses on Manhattan’s ability to invent the ‘modern’, creating a parallel to the sober and abstract ideals of Le Corbusier’s European Modernism. The city’s buildings are not advocated as architectural masterpieces, but the tools for reinventing city life.
Last night, as Christopher Hawthorne reported for the LA Times, the Hammer Museum played “Koolhaas Houselife”, a comical and witty documentary...
