Search

Rem Koolhaas y Rafael Moneo son dos ejemplos de arquitectos que respaldan su práctica con teoría fundamentada en la investigación en torno al proyecto y la formatividad del objeto arquitectónico. Tomando como referencia el proyecto de la torre entre las calles 22 y 23 de OMA y los laboratorios de la Universidad de Columbia de Moneo, ambos para Manhattan, el objetivo es discernir los parámetros discursivos desde los que actúan ambos arquitectos y que plasman en sus escritos, mostrando métodos y campos de conocimiento desde los que desarrollan sus argumentos. La hipótesis que se demuestra es que el manhattanismo, la especulación teórica que desarrolla Koolhaas en Delirious New York (2004), proporciona referencias formales al proyecto, mientras que las claves teóricas que se desvelan en el proyecto de Moneo, se encuentran en sus textos Inquietud teórica y estrategia proyectual… (2004b) y Sobre la arbitrariedad en arquitectura (2005). Dichos escritos funcionan como subtextos de los proyectos. Del análisis en paralelo de los dos proyectos se concluye que el manhattanismo, teoría según la cual la arquitectura de los rascacielos de Manhattan se basa en parámetros pragmáticos y una envolvente de programas múltiples, se traduce en la torre de OMA en un programa icónico que, en su intento de ilustrar la teoría, entra incluso en contradicciones con esta. Por otro lado, el proyecto de Moneo resulta también una suerte de interpretación de parámetros pragmáticos de la situación encontrada y, sin embargo, se demuestra que la forma en absoluto carece de artisticidad y atributos que pertenecen al mundo subjetivo y fundamentos teóricos recurrentes del autor.

Façades in architecture have essentially been used in two ways: to present blankness concealing the programmes and functions behind them or to express vitality, institutional strength and semiotic cosmologies. With the advent of AI, diffusion models and their quick processing of huge data clouds, façade exercises can be used differently as forms of inspiration for architects. Associate Professor at the University of Nebraska‐Lincoln Brian M Kelly demonstrates how disembodied AI devoid of old architectural rules can make architects re‐examine their traditional ways of architectural composition. [ABSTRACT FROM AUTHOR]

Il paesaggio è un concetto che nasce e si sviluppa all’interno della rappresentazione, delle pratiche mimetiche degli artisti, le stesse pratiche che riguardano da vicino l’architettura stessa, non solo nel suo processo ideativo e costruttivo ma anche nella sua missione semantica. Così l’architettura partecipa alla costruzione del paesaggio in molti modi allo stesso tempo: partecipa attraverso edifici che lo ignorano oppure con edifici che invece imitano l’immagine, la forma o i processi che formano il paesaggio stesso. Ma progettare il paesaggio significa operare sia sul piano tangibile del territorio sia su quello intangibile delle idee che orientano la sua percezione. In questo senso, l’architettura partecipa anche attraverso edifici capaci di influenzare gli individui e di cambiare il loro modo osservare l’ambiente circostante. Una riflessione generale sulla rappresentazione introduce prima la nascita e poi l’evoluzione contemporanea del paesaggio allo scopo di inquadrare il contributo teorico implicito in alcuni progettisti moderni e contemporanei che hanno adottato il paesaggio come medium per rifondare l’architettura stessa – da Le Corbusier a Rem Koolhaas o Enric Miralles – oppure per fornirle almeno un’apparente compatibilità in termini di sostenibilità ambientale.

This article deals with the topic of void as a design instrument and theory in architectural design, with a focus on Rem Koolhaas and his specific void design approach. The primary goal is to examine Koolhaas’ perception and usage of void as a design element to continue his theory of the Strategy of the Void I and II by creating some novel design strategies similar to his. To achieve this, the topic of void was broadly analyzed, reaching from the analysis and interpretation of various writings and theoretical works to four pivotal void-projects from Koolhaas. As a result, a genealogy surrounding Koolhaas’ Strategy of the Void I and II has emerged alongside four distinct design strategies which are named after their used void design action of (a) juxtaposition, (b) superposition, (c) cutting, and (d) excavating. Each of these strategies can be used to create a specific design outcome such as (a) an overarching concept, (b) a connection between entities (circulation), (c) architectural spaces, and (d) a contrast. Moreover, it was found that the former two strategies can be categorized as preceding and the latter two as proceeding void design strategies in relation to Koolhaas’ original ones.

The article examines the formative interrelations between the phenomenology of impressions and the formation of a projective approach to architecture based on the fact of the journey of the Dutch architect R. Koolhaas to the Soviet Union (1965). The conducted research involves a textual analysis of the facts in the architect’s biography, which directionally reveals the specifics of the influence of the “phenomenology of impressions”. The article clarifies the significance of the architect’s visit to the USSR, and establishes the formation features of a design approach to architecture. For the Dutch architect, the avant-garde architecture of the Soviet Russia and, in particular, constructivism, represented the basis and the vector of influences that determined the formation of the professional value orientations reflected in the specific concept of the purified formal aesthetics of architecture. The author of the article determines the factors in the formation of R. Koolhaas’ approach related to the experience of conceptual projects of V. Tatlin, K. Malevich, M. Ginzburg, and I. Leonidov. The cited sources (interviews, statements, and lectures) document the pragmatics of the experience of the Soviet constructivist architecture in the context of modern conceptual reality of the deconstruction movement and global architecture. Conclusions are drawn about the relationship between the phenomenon of the Soviet avant-garde architecture (genetic continuity, reception of ideas) and the modern architecture of the deconstruction movement.

Exploring the interplay between fashion and architecture, this article introduces architectural fashion analysis method, an original methodology for analysing fashion shows through an architectural lens. Focusing on the works of Prada and OMA/AMO, the study delves into the narrative power of space in fashion presentations, informed by theories from Roland Barthes and Adrian Forty, as well as the theoretical model of fashion spaces by McQuillan and Hansen. This approach highlights the underexplored but crucial role of architectural thinking in fashion critique. The article posits that employing architectural principles not only enriches the understanding of fashion but also paves the way for an insightful exploration of fashion's digital dimension. [ABSTRACT FROM AUTHOR]

En el libro Koolhaas (auto)editado. Del delirio a los elementos Belén Butragueño aborda con meticulosidad y rigor la figura de Rem Koolhaas, no tanto desde la perspectiva de sus realizaciones arquitectónicas, o de su contribución teórica a la arquitectura, sino focalizando su capacidad comunicadora. Esta obra, derivada de su tesis doctoral, se presenta como un detallado estudio sobre cómo la comunicación se refleja en la producción arquitectónica, y viceversa.

“Cities on the Move” fue una exposición itinerante de arte comisariada por Hans-Ulrigh Obrist y Hou Hanru dedicada a las emergentes ciudades de Asia. La sexta edición tuvo lugar en 1999 en Bangkok, una ciudad que aún se estaba recuperando de una grave crisis financiera. Por aquel entonces, la capital tailandesa carecía de recintos expositivos aptos para muestras internacionales. Sin embargo, tal inconveniente se convirtió en una oportunidad para exponer las obras de arte en el mismo contexto urbano para el que habían sido concebidas. El acontecimiento tuvo lugar en un contexto no-occidental que se encontraba en el apogeo de su particular encarnación de la Postmodernidad, un período histórico en el que la globalización estaba en una fase incipiente y el ascenso de China era aún una mera promesa. El manifiesto de los comisarios, así como el montaje expositivo de la muestra, estuvieron marcadamente influidos por las visionarias ideas del arquitecto holandés Rem Koolhaas acerca del vertiginoso desarrollo en ciernes de Asia. Este evento no ha recibido hasta la fecha una atención equiparable a la de otras ediciones que contaron con mejores medios y atención por parte7 de la crítica. Casi veinticinco años después, examinamos a través de la lente de la arquitectura las condiciones que acompañaron a la Sexta Edición de “Cities on the Move” en Bangkok, evaluando su legado como un acontecimiento crucial en el arte contemporáneo y los estudios urbanos en Asia. Abstracts “Cities on the Move” was an itinerant art exhibition curated by Hans-Ulrigh Obrist and Hou Hanru that versed about modern urbanity in Asia. The sixth edition took place in 1999 in Bangkok, a city that was still recovering from a severe financial crisis. At that time, the Thai capital lacked exhibition venues fit for international shows. However, such inconvenience turned into an opportunity to display the artworks right at the urban realm for which they had been created. The event took place in a non-Western setting at the cusp of its particular stance of Postmodernity, at a time when globalization was in its nascent stages and the rise of China was a mere promise. The curatorial manifest, as well as the setup of the itinerant show, was markedly influenced by architect Rem Koolhaas and his vision about the upcoming development of Asia. To date, the Bangkok event has not received the same attention as other editions that enjoyed better support and attention by worldwide critics. Almost twenty-five years later, we examine through the lens of architecture the conditions that accompanied the Sixth Edition of “Cities on the Move”, assessing the significance of its legacy as a pivot moment in contemporary art and urban studies in Asia.

“Cities on the Move” was an itinerant art exhibition curated by Hans-Ulrigh Obrist and Hou Hanru that versed about modern urbanity in Asia. The sixth edition took place in 1999 in Bangkok, a city that was still recovering from a severe financial crisis. At that time, the Thai capital lacked exhibition venues fit for international shows. However, such inconvenience turned into an opportunity to display the artworks right at the urban realm for which they had been created. The event took place in a non-Western setting at the cusp of its particular stance of Postmodernity, at a time when globalization was in its nascent stages and the rise of China was a mere promise. The curatorial manifest, as well as the setup of the itinerant show, was markedly influenced by architect Rem Koolhaas and his vision about the upcoming development of Asia. To date, the Bangkok event has not received the same attention as other editions that enjoyed better support and attention by worldwide critics. Almost twenty-five years later, we examine through the lens of architecture the conditions that accompanied the Sixth Edition of “Cities on the Move”, assessing the significance of its legacy as a pivot moment in contemporary art and urban studies in Asia.

This article focuses on the potential of void as a design instrument on different levels. The goal is to present a conscious void design strategy with void as the driving design element. To achieve this, void as a term and design technique was broadly analyzed. Reaching from its definition, interpretation, perception, and typology to a case study analysis, the focuses is on four projects each from Ungers and Koolhaas. Three topics were synthesized from this analysis concerning the manifestation of the void, its characteristics, and finally its usage as a design strategy. First, it was identified that void can be perceived and interpreted differently, manifesting itself in various ways, such as a one-, two-, or three-dimensional object. Second, the characteristics of void can be termed as programmatic flexibility and incompleteness: the possibility of void to contain multiple programs and to establish relationships with its program to its surroundings. Third, two design strategies were derived: “collaging solid figures” and “collaging void figures.” The first generates void indirectly by collaging solids, whereby the void is generated in between, and the latter generates void directly by collaging the void itself.

The article presents the discussion on posthuman' was coined in 1977 by the Egyptian scholar Ihab Hassan, for some scholars. Topics include Posthumanisms are responses to human bodies developing in new ways, human minds and brains being altered in recent neurological, epistemological ways; and drivers depend on contested definitions of ‘life', ‘vital' and ‘animate', ‘sentient' and ‘conscious.'

Copyright of New Architecture is the property of New Architecture Editorial Office and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

As a founder member of the now international practice OMA (Office for Metropolitan Architecture), Zoe Zenghelis was responsible for some of the group's early iconic representations of its buildings. In recent times she has practised as a lone painter creating a plethora of work that is at once abstractly Constructivist yet gorgeously architectural as she mixes form and colour. Architect, teacher and writer Hamed Khosravi describes her artistic trajectory and influences. [ABSTRACT FROM AUTHOR]

This paper explores the networks of thoughts behind words by reading architectural texts in the context of linguistics. Using a corpus-based model, our main interest is what the collocational data contribute at an architectural level. The notion of “collocation identification in architecture” was drawn from an analysis of the use of the data for Rem Koolhaas. The data for this study were collected from Rem Koolhaas's articles from 1977 to 2014. An analysis of Koolhaas's ideas about architecture and urban planning was conducted using the AntConc 3.4.4.0 corpus analysis toolkit. The corpus-based model reduced selected articles to words and lexical bundles using the corpus analysis toolkit. This paper explores Koolhaas's thoughts on understanding architecture and the metaphors he uses by analyzing articles using the corpus-based analysis model. The discourse codes in the texts of Koolhaas are examined. A corpus-based model proposal tested on architectural texts has the potential to create new areas of knowledge for architectural discourse. Deciphering the texts and analyzing the codes contribute to the development of new models.

Between 1984 and 1998, OMA produced a series of small-scale domestic projects. Rem Koolhaas uses ces maison as a tool for reflection, allowing him to explore the ‘hedonistic dimension’ that characterises the architecture of the Modern Movement. Among the spaces that stand out in this lineage connecting the Dutch architect to the great masters, the bathroom is a particularly rich universe. In the work of Koolhaas, water is the central focus in the ongoing research intended to transcend strictly hygienic, functional considerations to define a genuine ritual choice of dimensions, perceptive relations, circulation paths and materials.

This paper explores the networks of thoughts behind words by reading architectural texts in the context of linguistics. Using a corpus-based model, our main interest is what the collocational data contribute at an architectural level. The notion of "collocation identification in architecture" was drawn from an analysis of the use of the data for Rem Koolhaas. The data for this study were collected from Rem Koolhaas's articles from 1977 to 2014. An analysis of Koolhaas's ideas about architecture and urban planning was conducted using the AntConc 3.4.4.0 corpus analysis toolkit. The corpus-based model reduced selected articles to words and lexical bundles using the corpus analysis toolkit. This paper explores Koolhaas's thoughts on understanding architecture and the metaphors he uses by analyzing articles using the corpus-based analysis model. The discourse codes in the texts of Koolhaas are examined. A corpus-based model proposal tested on architectural texts has the potential to create new areas of knowledge for architectural discourse. Deciphering the texts and analyzing the codes contribute to the development of new models. [ABSTRACT FROM AUTHOR]

There are three ways to be Californian, suggests UCLA lecturer Max Kuo. In determining that Alvin Huang, principal of Synthesis Design + Architecture, is a third‐way Californian, he charts his emergence as an architect via his postgraduate studies at the Architectural Association in London and working at the esteemed offices of Zaha Hadid and Amanda Levete, before moving to California to start his own practice and finding China particularly hospitable to his architecture. [ABSTRACT FROM AUTHOR]

Innovator, writer, educator and practising designer Kas Oosterhuis, who leads the multidisciplinary innovation studio ONL [Oosterhuis_ Lénárd], gives us a potted history of his urban inspirations – from architectural school with its preoccupation with linear urbanism and its speculative architecture precedents, to the great linear city being proposed in Saudi Arabia. The integration of computer technology has been crucial to ONL's substantial output and their quest for 'real‐time' architecture and city planning that interacts with its inhabitants and adapts its fabric and form accordingly. [ABSTRACT FROM AUTHOR]

The old conceptual dichotomy between the city and the countryside has often been a historical stumbling block for architects and urban planners. Whilst there have been many attempts to bring the city closer to the natural environment, some on grand scales, more modest experiments have often gleaned better results. Daniele Belleri is a partner at design and innovation office CRA‐Carlo Ratti Associati, where he is in charge of all editorial and curatorial projects. He and the practice's founder, architect and engineer Carlo Ratti – who is director of the Senseable City Lab at the Massachusetts Institute of Technology (MIT) – together explore our contemporary options. [ABSTRACT FROM AUTHOR]

An enormous variety of replies to this question have emerged throughout architecture and philosophy's long history together, especially during the late‑ twentieth century when their interactions reached the most prolific, intense, radical, innovative, and transformative moment yet. This article analyzes three famous case studies from this period of philosophers' thinking that influenced architects' work: Martin Heidegger's role in several of Kenneth Frampton's texts, Michel Foucault's discreet yet ineludible presence in a Rem Koolhaas design, and Jacques Derrida's collaboration with Peter Eisenman. With their distinct approaches, aims, and outputs, each instance offers unique insights into the immense potentials, as well as the chronic problems, of the relationship between architecture and philosophy, which remains deeply ingrained in both design practice and theoretical discourse to this day. [ABSTRACT FROM AUTHOR]

Copyright of Dearq is the property of Universidad de los Andes and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of New Architecture is the property of New Architecture Editorial Office and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Alsop's first business partner of two decades, John Lyall describes their formative years as students at the Architectural Association in London, the influence of various members of Archigram, and sharing a house in Southeast London's not‐so‐salubrious Ladywell district. He recounts a world of music gigs, designing events and parties, and the offices they worked for as young architects before forming their fledgling practice in the 1970s. [ABSTRACT FROM AUTHOR]

A metà degli anni Ottanta, Rem Koolhaas riceve l'incarico di costruire una villa sulle colline di Saint Cloud, a sud di Parigi. Coglie l'occasione per lasciare Elia e Zoe Zengelis, i cofondatori di OMA, impegnati in concorsi di progettazione che non potevano offrire reali opportunità di costruzione, e progetta una casa-manifesto capace di esprimere la sua ricerca urbanistica su New York e il suo interesse per i media in una veste apparentemente modernista. I sette anni necessari per lo sviluppo del progetto e la costruzione della villa, fortemente osteggiata dai vicini, hanno offerto il tempo per l'elaborazione di un sofisticato quadro mediatico composto da disegni, immagini e fotografie che funge da "metatesto" artistico della villa e spiega gran parte degli intenti e del modus operandi di Koolhaas. Madelon Vriesendorp, che ha prodotto la maggior parte delle illustrazioni originali di Delirious New York, ha creato una serie di rappresentazioni isometriche di qualità pittorica; Rem Koolhaas si è dedicato a schizzi, fotomontaggi e a un famoso servizio fotografico surrealista con tanto di giraffa in giardino e nuotatori allineati lungo la piscina sul tetto. In mezzo a questo materiale visivo, accolto inizialmente con perplessità e ironia dalle riviste, c'è un piccolo disegno frontale della villa che sovverte il concetto abituale di prospettiva. Si tratta di una prospettiva "inversa" o "rovesciata", per riprendere la definizione che, all'inizio del XX secolo, lo studioso russo Pavel Florenski aveva dato a un certo modo di dipingere le icone. Secondo questo procedimento, il cosiddetto punto di fuga viene spostato dal basso verso il primo piano e provoca una deformazione del soggetto raffigurato contraria a quella della prospettiva lineare tradizionale, finendo per rivelare i volti generalmente nascosti. Se Florenski dimostra sostanzialmente che tale eresia proiettiva è intrinseca alla necessità del pittore di elaborare un'immagine efficace (oltre che al tempo della narrazione), nel contesto di una rappresentazione progettuale, apparentemente volta ad anticipare la vera forma di un edificio da costruire, tale immagine conferisce un significato particolare all'intero progetto e al ruolo stesso della rappresentazione architettonica. Non è un caso che l'anello di congiunzione tra Koolhaas e Florenski, comunque riconducibile alla rivoluzione artistica russa, sia l'artista italiano Gino de Dominicis, che proprio intorno al 1987 inizia a lavorare a una serie di opere sul tema della prospettiva inversa.

The theoretical presupposition of the discourse developed here is Benjamin’s conception of a dialectical image applied to the experience of the modern and contemporary city. The starting point is that of the radical strangeness between the inner life of the individual and the time of the modern metropolis. In this regard, we compare some verses taken from the third book of the Stundenbuch by Rainer Maria Rilke and Georg Simmel’s essay, Die Großstädte und das geistiges Leben, at the center of which is the Nervenleben as an intensification of the perceptive life typical of the experience of the modern city. We then move on to focus on the theme of the labyrinth analyzed by Benjamin in some passages of the Passagenwerk. In this regard, it is emphasized how the modern city realizes the ancient dream of the labyrinth elevating it to the sphere of language. The experience of the city as a labyrinth is interpreted as a «monotonous wandering», which is not delayed in a senseless roaming. In conclusion, the image of the Generic City and of the Junkspace theorized by Rem Koolhaas is compared, as an image that describes our present in the interweaving of the virtual city of cyberspace with the real city, as an alternative image to that of monad. As a monad, the image of the city still reserves the possibility of experiencing the truth, in a paradoxical gaze that captures the original idea of the city from the inside. This confirms that in the connection between city and monad already underlined by Leibniz “the true has no windows”, according to one of the most esoteric passages of the Passagenwerk.

Copyright of ZARCH: Journal of Interdisciplinary Studies in Architecture & Urbanism is the property of Universidad de Zaragoza and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Art Inquiry is the property of Lodz Scientific Society / Lodzkie Towarzystwo Naukowe and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Theorists of Half‐Earth Socialism Troy Vettese, Drew Pendergrass and Filip Mesko explain their global societal vision and explore how eco‐socialist planning can create a just and sustainable society. They argue that the problem of land scarcity is an opportunity to erode the separation of city and country, while vast swathes of the world could be rewilded. [ABSTRACT FROM AUTHOR]

The article examines the increasing complexity of the relationship between contemporary architecture and media image by focusing on Office for Metropolitan Architecture (OMA)'s Chinese Central Television Headquarters (CCTV) in Beijing in China, completed in 2012. Here, the CCTV is positioned within a global capitalist system, designed by a brand-architect. It is also deemed an example of productive image-architecture relationships, productive of theoretical discourses, architecture and the construction of architect's brand identity and fame. Considering that architectural historian Aaron Betsky regarded Rem Koolhaas as architect able to produce "a convincing architecture of image" (Patteeuw 2003, 39), this article argues that the very nature of what a convincing architecture of image is is under threat, and contends that at the mercy of media, architecture can be devalued through objectification through media consumption. This article thereby aims to expand the understanding of the productive relationships between architecture and media images. [ABSTRACT FROM AUTHOR]

La Bienal de Arquitectura de Venecia es uno de los eventos más importantes al mundo para la arquitectura y el debate disciplinario. Dos de las pasadas bienales: la que tuvo como curador el holandés Rem Koolhaas en 2014 y la curada por el chileno Alejandro Aravena en 2016; con sus marcadas diferencias y oposiciones, son utilizadas como pretexto para una reflexión crítica sobre dos tendencias que pudieran definirse “hemisféricas”. La bienal de Koolhaas presentó una valiosa investigación histórico-enciclopédica, que emanaba una latente inquietud. La bienal de 2016, la primera Bienal curada por un arquitecto del “hemisferio sur” del mundo, intentaba de contra mostrar en su amplitud un panorama de trabajos socialmente más comprometidos, pero a su vez sesgaba hacia un exceso de pragmatismo. Posiblemente valorar en una reflexión comparativa estos dos enfoques pueda restituir más nitidez al pensamiento y a la acción, gracias a la síntesis entre posiciones antitéticas que, por si mismas parecen no abrazar el amplio espectro de las posibilidades y de las necesidades disciplinarias contemporáneas.

The theoretical presupposition of the discourse developed here is Benjamin's conception of a dialectical image applied to the experience of the modern and contemporary city. The starting point is that of the radical strangeness between the inner life of the individual and the time of the modern metropolis. In this regard, we compare some verses taken from the third book of the Stundenbuch by Rainer Maria Rilke and Georg Simmel's essay, Die Großstädte und das geistiges Leben, at the center of which is the Nervenleben as an intensification of the perceptive life typical of the experience of the modern city. We then move on to focus on the theme of the labyrinth analyzed by Benjamin in some passages of the Passagenwerk. In this regard, it is emphasized how the modern city realizes the ancient dream of the labyrinth elevating it to the sphere of language. The experience of the city as a labyrinth is interpreted as a «monotonous wandering», which is not delayed in a senseless roaming. In conclusion, the image of the Generic City and of the Junkspace theorized by Rem Koolhaas is compared, as an image that describes our present in the interweaving of the virtual city of cyberspace with the real city, as an alternative image to that of monad. As a monad, the image of the city still reserves the possibility of experiencing the truth, in a paradoxical gaze that captures the original idea of the city from the inside. This confirms that in the connection between city and monad already underlined by Leibniz "the true has no windows", according to one of the most esoteric passages of the Passagenwerk. [ABSTRACT FROM AUTHOR]

The paper reviews Rem Koolhaas’ architectural theory of manhattanism, gives a definition of personalized architectural theory and determines its classification features using Rem Koolhaas’ theory as an example.

Copyright of Housing Environment / Środowisko Mieszkaniowe is the property of Chair of Housing Environment, Faculty of Architecture, Cracow University of Technology and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Resumen Geert Bekaert nació en 1928 en Kortrijk, Bélgica, y escribió profusamente sobre arquitectura a lo largo de su vida, mayoritariamente en su idioma neerlandés, y sus ensayos se han recogido en nueve volúmenes publicados entre 1985 y 2011. El propio año 2011, cinco años antes de su muerte acontecida en 2016, ha aparecido un libro recopilatorio en inglés cuyo título es Rooted in the Real, editado por su discípulo Christophe Van Gerrewey. Este examina en la Introducción la trayectoria del crítico belga y proporciona ciertas claves sobre sus intereses y la repercusión de sus ideas, destacando el compromiso de Bekaert con su lengua original y el hecho de que, geográficamente, se sitúe entre un país sin apenas tradición arquitectónica como Bégica y otro con una concentración extraordinaria de producción y teoría de arquitectura moderna como es Holanda. El libro se divide en cuatro partes: la primera dedicada a temas generales de la arquitectura, la segunda al comentario sobre una serie de arquitectos belgas y las dos restantes la obra de distintos arquitectos relevantes en el ámbito internacional, desde Le Corbusier a Rem Koolhaas. El título elegido para la antología se basa, según el editor, en la concepción de la arquitectura por parte de Geert Bekaert como una forma esencial de crear realidad, es decir, en su creencia de que la arquitectura actúa fundamentalmente como mediador, haciendo la vida, si no mejor, más soportable y aceptable.

In the last 25 years, since the beginning of the 'first digital turn' in architecture, the imperative towards sustainability and the preoccupations of the virtual vanguard have seldom been bedfellows. Antoine Picon, Harvard Professor of the History of Architecture and Technology, sees some green shoots in the post‐digital world. [ABSTRACT FROM AUTHOR]

Abstract Geert Bekaert was born in 1928 in Kortrijk, Belgium, and wrote extensively about architecture throughout his life, mostly in his Dutch language; his essays have been collected in nine volumes published between 1985 and 2011. That same 2011, five years before his death in 2016, his disciple Christophe Van Gerrewey edited a book compilation in English; it was entitled Rooted in the Real and in its introduction, this editor examines the trajectory of the Belgian critic and provides certain clues about his interests and the repercussion of his ideas, highlighting Bekaert´s commitment to its original language and the fact that he is situated geographically between a country with hardly any architectural tradition as Belgium and another with an extraordinary concentration of production and theory on modern architecture such as the Netherlands. The book is divided into four parts: the first one is committed to general themes of architecture, the second to commentaries on a series of Belgian architects and the other two to the work of different relevant international architects, from Le Corbusier to Rem Koolhaas. According to the editor, the title of the anthology was chosen based on Geert Bekaert´s conception of architecture as an essential way to create reality, that is, in his belief that architecture acts fundamentally as a mediator, making life, if not better, at least more bearable and acceptable.

Copyright of Revista de Arquitectura (1657-0308) is the property of Universidad Catolica de Columbia, Facultad de Arquitectura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)