On 12.09.13, Miguel Angel Baltierra, Assoc. AIA, LEED AP, interviewed Martin Filler about his latest book "Makers of Modern Architecture: Volume II: From Le Corbusier to Rem Koolhaas", published by New York Review Books (August 20, 2013)and reviewed in this issue of e-Oculus. Listen to the interview, which took place just before the Oculus Book Talk on 12.09.13.
Source by Oculus Quick Take
ArchDaily’s Editor-at-Large James Taylor-Foster speaks with Tomas Koolhaas prior to his screening of the film REM at Columbia GSAPP on September 7, 2017. Tomas Koolhaas, the LA-based son of Rem Koolhaas, speaks about the process of conceiving, producing, and directing the film over the course of four years.
Source by Columbia GSAPP
Architect Joshua Prince-Ramus takes the audience on dazzling, dizzying virtual tours of three recent projects: the Central Library in Seattle, the Museum Plaza in Louisville and the Charles Wyly Theater in Dallas.
TEDTalks is a daily video podcast of the best talks and performances from the TED Conference, where the world's leading thinkers and doers are invited to give the talk of their lives in 18 minutes -- including speakers such as Jill Bolte Taylor, Sir Ken Robinson, Hans Rosling, Al Gore and Arthur Benjamin. TED stands for Technology, Entertainment, and Design, and TEDTalks cover these topics as well as science, business, politics and the arts.
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Lecture Date: 2006-01-30
Peter Eisenman and Rem Koolhaas return to the AA for a discussion moderated by Brett Steele about architecture, ideology and the city. To initiate their critical conversation, each architect makes an opening statement outlining their views on the terms of architecture, including its theories and relationship to such topics as critical practice, autonomy and engagement, form and content, and subjectivity.
Lecture date: 2002-11-04
In the twentieth century architecture disappeared. The built product of modernization is not modern architecture, but junk space. Although its individual parts are the outcome of brilliant inventions, lucidly planned by human intelligence, boosted by infinite computation, their sum spells the end of enlightenment, its resurrection as farce, a low-grade purgatory.' Rem Koolhaas, The Harvard Guide to Shopping. Where do we go from here, if architecture has disappeared? As the declining urban substance of Europe intersects with China in ascension, Koolhaas explores the ironies and possibilities of a reconfigured globalized world. He discusses several recent OMA and AMO projects including the HOLLOCORE
Tomas Koolhaas is a filmmaker in Los Angeles, whose most recent project, a documentary about his father Rem, recently premiered at the Venice Film Festival. REM follows its titular architect around the world, visiting his projects and investigating their human impact. Conscious of his special perspective on the film's subject, Tomas didn't want REM to be a teary biopic or heady architectural salvo, but something more impressionistic and accessible, appealing to emotions over intellectualism. We speak about managing family relationships in creative work, his influences as a filmmaker, and film's role in architectural media at large.
Source by Archinect
Lecture date: 1995-11-29
Rem Koolhaas presents his innovative and influential publication S,M,L,XL. Designed in collaboration with Bruce Mau, written as a kamikaze critique of the work of the OMA office, Koolhaas describes the book as an architectural novel which aims at modesty at a megalomaniac scale. Rem Koolhaas is a former student and tutor at the AA and founder of OMA. He was awarded the Pritzker Prize in 2000.
REM KOOLHAAS: In a way, it is very cruel that after publishing a book of 1400 pages I am asked to give a presentation, because the book is in itself the presentation; everything I have to say now is completely redundant: is in the book. Every project is both defined in the terms of positive ambitions, but also in terms of issues to avoid. In our work, and also in this book, the catalogue of things to avoid has been at least as important as the things to include. We wanted to do a book about architecture which both undermined and reinforced architecture; a book which spoke openly about the meaning of many of our architecture, but at the same time, which did so at a modest scale, so maybe the main definition of the book is modesty in a megalomaniac scale. At this point, the most interesting presentation I can give is about the book and its intentions, although in some way I feel that I am also spoiling your fun, because it will make explicit some things that are deeply buried in depth of the book. I am exposing connections now that I would rather have prefered to remain hidden, for you to discover or to ignore.
The book is a series of fragments, it has the pretension of a novel, people have waited for it a long time, and I think have written it very quickly. I started in 1992, and, for those of you who know ‘Delirious New York,’ I named myself its ghostwriter (the ghostwriter that describes New York’s theory). The role of a ghostwriter is still the role I prefer the most, but there were two issues, first of all, my age, and second, the huge amount of work that we have undeniably produced, which imposed the issue of publishing this kind of work.
I would still have prefered to be the ghostwriter, and to me the book is still a ghost-written book, but I felt it was also inevitable to make your own personal disclosures. One of them is that my father was a writer, and therefore, I am probably biologically programmed to be interested in writing. He died one week before I started the book, and maybe there is a connection between his death and a certain mission of this words. We wanted a book that changed of character every ten pages or something like that, a book that did not have a single appearance, a book that changed nature, character, identity and aesthetics at every possible moment.
I felt that was very important to make a book that provoked other people to think about architecture, and about the conditions under which architecture is produced today. Therefore, the book contains a series of informations about the economy of our office: (showing a graph) to the left the beginning of the office in 1981, and the moment that we started the book is when the line started to decline acutely. In that sense, you could say that writing the book is also a critique of the office and also probably an act of aggression against the office, to some extent kamikaze. The conditions under which architecture has to be produced today are, strictly speaking, insane.
These graphs give the corresponding frequency of travels, of nights spent in hotels, of the accumulated effort, so therefore there is a very blatant paradox that the more an architect is popular, the the less that he has to spend on architecture. We are all living with the consequences of that paradox, and it is not a beautiful sight in most cases. The more the work of an architecture office is disseminated in different areas, (by the way, 70% or 80% of our work is not in the country where we have our office), the more it becomes a logistical nightmare. Here (shows graph) you can see the up and down fluctuations of income, so running an office now is to try to even out a series of completely irrational mountain ranges, and therefore it is an almost impossible task.
It is important to make those revelations, because the book is to some extent a critique of the office. It was written at a time of incredible financial difficulty, the difficulties are simply given here, I can say that our office almost died this summer, but at the same time there is an interesting twist of scenario. We started negotiations with a major engineering firm in The Netherlands, and we are now autonomous but completely enravelled in association with an enormous office of 700 people, who built roads, bridges and tunnels, and who expect from the association to cover the entire field from architecture to infrastructure.
This is our new office (photograph)
17th February 2014
In 1977 Oswald Matthias Ungers (OMU) and Rem Koolhaas (OMA) collaborated on the project/manifesto ‘The City in the City: Berlin, A Green Archipelago’, which is considered to be the hybrid and ultimate fruit of their interaction. Following the recent critical re-edition he has produced of that text (together with Florian Hertweck at Lars Müller Publishers, 2013), Sébastien Marot will sort through the ingredients the two architects and their collaborators (Hans Kollhoff, Arthur Ovaska and Peter Riemann) invested in this collective endeavour.
Sébastien Marot, a philosopher by training, has taught at many schools of architecture and landscape design in Europe and North America, and currently teaches environmental history at the École d'Architecture de la Ville et des Territoires in Marne La Vallée, Paris. Chief editor of Le Visiteur from 1995 to 2003, he has launched Marnes: documents d'architecture.
Lecture date: 2000-06-09
Rem Koolhaas discusses new work by OMA. Rem Koolhaas is a former student and tutor at the AA and founder of OMA. He was awarded the Pritzker Prize in 2000.
NB: 96 mins into lecture sound cuts out for 30 secs.
Lecture date: 2006-02-01
As a response to the conversation between Peter Eisenman and Rem Koolhaas at the AA two days earlier, Jeff Kipnis and Robert Somol present their own statements regarding the critical practices of Eisenman and Koolhaas.
Mark Cousins moderates a conversation between them on the issues raised by their presentations. Both Kipnis and Somol have written extensively on the work of Eisenman and Koolhaas.
Jeff Kipnis is a critic, theorist, curator, filmmaker, and a Professor at the Knowlton School of Architecture, Ohio State University, and was the founder and first Director of the AA Graduate Design Group, the forerunner of the AADRL.
Robert Somol is Baumer Visiting Professor at the Knowlton School of Architecture and an Assistant Professor in the Department of Architecture and Urban Design at the University of California. He has also taught design and theory in the architecture programs at the University of Illinois at Chicago, Columbia University, and the Harvard Graduate School of Design. Somol edited Autonomy and Ideology: Positioning an Avant-Garde in America (1997) which includes contributions by Eisenman and Koolhaas.