Search results for ""Author Rem""

Since its original publication in 1978, Delirious New York has attained mythic status. Back in print in a newly designed edition, this influential cultural, architectural, and social history of New York is even more popular, selling out its first printing on publication. Rem Koolhaas's celebration and analysis of New York depicts the city as a metaphor for the incredible variety of human behavior. At the end of the nineteenth century, population, information, and technology explosions made Manhattan a laboratory for the invention and testing of a metropolitan lifestyle -- "the culture of congestion" -- and its architecture."Manhattan," he writes, "is the 20th century's Rosetta Stone . . . occupied by architectural mutations (Central Park, the Skyscraper), utopian fragments (Rockefeller Center, the U.N. Building), and irrational phenomena (Radio City Music Hall)." Koolhaas interprets and reinterprets the dynamic relationship between architecture and culture in a number of telling episodes of New York's history, including the imposition of the Manhattan grid, the creation of Coney Island, and the development of the skyscraper. Delirious New York is also packed with intriguing and fun facts and illustrated with witty watercolors and quirky archival drawings, photographs, postcards, and maps. The spirit of this visionary investigation of Manhattan equals the energy of the city itself.

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In Junkspace (2001), architect Rem Koolhaas itemises in delirious detail how our cities are being overwhelmed. His celebrated jeremiad is here updated and twinned with Running Room, a fresh response from architectural critic Hal Foster. 'The manifesto is a modernist mode, one that looks to the future… Junkspace makes no such claim: “Architecture disappeared in the twentieth century,” states Koolhaas matter-of-factly. Junkspace does a harder thing: it “foretells” the present, which is to say that it calls on us to recognize what is already everywhere around us.’ Hal Foster

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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

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Devil’s Candy, the popular webcomic by Rem and Bikkuri, is a hilarious action-adventure that follows Kazu Decker and his science experiment, Pandora, as they navigate high school with a ghoulish supernatural twist.At Hemlock Heart Academy, science wiz Kazu Decker shows off his skills by creating a humanoid girl named Pandora. But in a world of monsters and mayhem, surviving high school is harder than getting good grades and lessons often turn violent at Hemlock. Fortunately for them, Pandora’s stoic nature and seemingly limitless strength, paired with Kazu’s luck, knowledge and friends, get them out of trouble almost as often as it gets them mixed up in it!Kazu is having a hard time getting used to Pandora’s growing independence, but then an elite rival academy, Sacred Crown, challenges the ill-matched students of Hemlock Heart to a violent game of Eggscram. Pandora’s unlimited strength soon gets recognized by a society of sinister daemons beyond the schoolyard, and now it’s not just Kazu who wants Pandora’s attention! Is Pandora prepared to take the step from schoolyard skirmishes into the wrath of the daemon world?

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Devil’s Candy, the popular webcomic by Rem and Bikkuri, is a hilarious action-adventure that follows Kazu Decker and his science experiment, Pandora, as they navigate high school with a ghoulish supernatural twist.At Hemlock Heart Academy, science wiz Kazu Decker shows off his skills by creating a humanoid girl named Pandora. But in a world of monsters and mayhem, surviving high school is harder than getting good grades and lessons often turn violent. Fortunately for them, Pandora’s stoic nature and seemingly limitless strength, paired with Kazu’s luck, knowledge, and friends, get them out of trouble almost as often as they get mixed up in it!Pandora’s run-in with Scarlet Crown agents Strazio and Pia exposes Kazu and their new friends to the dangerous daemon crime world that runs the town. Just as Kazu’s scientific prowess helps Milo escape the grip of criminal life, mob leader Tremolo rears his horned head toward Yahgie and challenges him to a rock-off! Pandora, Kazu, and the usual Hemlock Academy crew band together with Yahgie and his devil guitar, Mark Stevenson, for a heavy metal performance of epic proportions!

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Devil’s Candy, the popular webcomic by Rem and Bikkuri, is a hilarious action-adventure that follows Kazu Decker and his science experiment, Pandora, as they navigate high school with a ghoulish supernatural twist.At Hemlock Heart Academy, science wiz Kazu Decker shows off his skills by creating a humanoid girl named Pandora. But in a world of monsters and mayhem, surviving high school is harder than getting good grades, and lessons often turn violent. Fortunately for them, Pandora’s stoic nature and seemingly limitless strength, paired with Kazu’s luck, knowledge and friends, get them out of trouble almost as often as they get mixed up in it!Science projects at Hemlock require more than a fizzy volcano to impress the class, so naturally Kazu introduces them to Pandora, whose violent streak and impressive strength cause more destruction in his already chaotic school life. Braving runaway science experiments, howling apparitions and a deadly fashion show, Pandora learns that life at a devil high school is a day-to-day struggle for survival.

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Known for its evocative use of colour, proportion, and subversive fabrication, the New York based fashion house Sies Marjan, founded in 2016 by Dutch creative director Sander Lak, had a brief but influential life. Sies Marjan s pieces were marked by luxurious construction, the signature use of shining, jewel-toned hues, and effortlessly cool appeal the house s pastel coats, thrown over T-shirts, are still regularly seen in downtown New York and Brooklyn. Since its founding Sies Marjan has garnered a devoted fan base and praise from notable critics, celebrities, and fans alike in a city known for its endless affection for a darker palette. Rejecting the chronologies and seasonality of the typical fashion compendium, this exhaustive, richly illustrated volume is organized purely by colour. The trajectory through the colour spectrum traces the journey through the blazing life of the brand. Images featured within range from previously unpublished drawings, looks from iconic runway shows and ad campaigns, as well as found objects that reveal the inspiration behind the creation of these luxurious, chromatic garments. The flow of colour is punctuated by a number of interviews and reflections from Donna Tartt, Isabella Rossellini, Rem Koolhaas, Nia Dacosta, Hanya Yanagihara, and others.

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S,M,L,XL presents a selection of the remarkable visionary design work produced by the Dutch firm Office for Metropolitan Architecture (O.M.A.) and its acclaimed founder, Rem Koolhaas, in its first twenty years, along with a variety of insightful, often poetic writings. The inventive collaboration between Koolhaas and designer Bruce Mau is a graphic overture that weaves together architectural projects, photos and sketches, diary excerpts, personal travelogues, fairy tales, and fables, as well as critical essays on contemporary architecture and society.The book's title is also its framework: projects and essays are arranged according to scale. While Small and Medium address issues ranging from the domestic to the public, Large focuses on what Koolhaas calls "the architecture of Bigness." Extra-Large features projects at the urban scale, along with the important essay "What Ever Happened to Urbanism?" and other studies of the contemporary city. Running throughout the book is a "dictionary" of an adventurous new Koolhaasian language -- definitions, commentaries, and quotes from hundreds of literary, cultural, artistic, and architectural sources.

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Anthologies on abortion and general medical ethics texts often seem to recycle the same old, but good, arguments. Can anything new be said about this sensitive and contentious topic? Contributors to this volume were invited to say something original, as well as something old, but essential about the factual, valuational, religious and metaphysical issues relevant to abortion, all of which are woven together so intricately into our diverse and seemingly irreconcilable world-views. Essays in this volume consider the conceptual links between views on abortion and foetal development, abortion procedures, religion, laws and public funding (or no funding) policies. Authors also defend well-defined and differentiated positions on abortion that can broadly be described as the Roman Catholic, the Conservative, the Moderate and the Liberal positions. "New Essays on Abortion and Bioethics" will provide readers with useful models of critical and rational thinking for addressing the topic of abortion. The essays will help to illuminate a subject about which there is often too much heat and too little light.

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“Once there was a nation that went to war, but after they conquered a continent their own country was destroyed by atom bombs... then the victors imposed democracy on the vanquished. For a group of apprentice architects, artists, and designers, led by a visionary, the dire situation of their country was not an obstacle but an inspiration to plan and think... although they were very different characters, the architects worked closely together to realize their dreams, staunchly supported by a super-creative bureaucracy and an activist state... after 15 years of incubation, they surprised the world with a new architecture—Metabolism—that proposed a radical makeover of the entire land... Then newspapers, magazines, and TV turned the architects into heroes: thinkers and doers, thoroughly modern men… Through sheer hard work, discipline, and the integration of all forms of creativity, their country, Japan, became a shining example... when the oil crisis initiated the end of the West, the architects of Japan spread out over the world to define the contours of a post-Western aesthetic....” —Rem Koolhaas / Hans Ulrich Obrist Between 2005 and 2011, architect Rem Koolhaas and curator Hans Ulrich Obrist interviewed the surviving members of Metabolism—the first non-Western avant-garde, launched in Tokyo in 1960, in the midst of Japan’s postwar miracle. Project Japan features hundreds of never-before-seen images—master plans from Manchuria to Tokyo, intimate snapshots of the Metabolists at work and play, architectural models, magazine excerpts, and astonishing sci-fi urban visions—telling the 20th-century history of Japan through its architecture. From the tabula rasa of a colonized Manchuria in the 1930s, a devastated Japan after the war, and the establishment of Metabolism at the 1960 World Design Conference in Tokyo to the rise of Kisho Kurokawa as the first celebrity architect, the apotheosis of Metabolism at Expo ’70 in Osaka, and its expansion into the Middle East and Africa in the 1970s: The result is a vivid documentary of the last moment when architecture was a public rather than a private affair. Oral history by Rem Koolhaas and Hans Ulrich Obrist Extensive interviews with Arata Isozaki, Toshiko Kato, Kiyonori Kikutake, Noboru Kawazoe, Fumihiko Maki, Kisho Kurokawa, Kenji Ekuan, Atsushi Shimokobe, and Takako and Noritaka Tange Hundreds of never-before-seen images, architectural models, and magazine excerpts Layout by award-winning Dutch designer Irma Boom Further reading

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The rural, remote, and wild territories we call “countryside”, or the 98% of the earth’s surface not occupied by cities, make up the front line where today’s most powerful forces—climate and ecological devastation, migration, tech, demographic lurches—are playing out. Increasingly under a ‘Cartesian’ regime—gridded, mechanized, and optimized for maximal production—these sites are changing beyond recognition. In his latest publication, Rem Koolhaas explores the rapid and often hidden transformations underway across the Earth’s vast non-urban areas.Countryside, A Report gathers travelogue essays exploring territories marked by global forces and experimentation at the edge of our consciousness: a test site near Fukushima, where the robots that will maintain Japan’s infrastructure and agriculture are tested; a greenhouse city in the Netherlands that may be the origin for the cosmology of today’s countryside; the rapidly thawing permafrost of Central Siberia, a region wrestling with the possibility of relocation; refugees populating dying villages in the German countryside and intersecting with climate change activists; habituated mountain gorillas confronting humans on ‘their’ territory in Uganda; the American Midwest, where industrial-scale farming operations are coming to grips with regenerative agriculture; and Chinese villages transformed into all-in-one factory, e-commerce stores, and fulfillment centers. This book is the official companion to the Guggenheim Museum exhibition Countryside, The Future. The exhibition and book mark a new area of investigation for architect and urbanist Rem Koolhaas, who launched his career with two city-centric entities: The Office for Metropolitan Architecture (1975) and Delirious New York (1978). It’s designed by Irma Boom, who drew inspiration for the book’s pocket-sized concept, as well as its innovative typography and layout, from her research in the Vatican library. The book brings together collaborative research by AMO, Koolhaas, and students at the Harvard Graduate School of Design; the Central Academy of Fine Arts, Beijing; Wageningen University in the Netherlands; and the University of Nairobi. Contributors also include 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 Gichuyia, Kayoko Ota, Stephan Petermann, and Anne M. Schneider.

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The rural, remote, and wild territories we call “countryside”, or the 98% of the earth’s surface not occupied by cities, make up the front line where today’s most powerful forces—climate and ecological devastation, migration, tech, demographic lurches—are playing out. Increasingly under a ‘Cartesian’ regime—gridded, mechanized, and optimized for maximal production—these sites are changing beyond recognition. In his latest publication, Rem Koolhaas explores the rapid and often hidden transformations underway across the Earth’s vast non-urban areas.Countryside, A Report gathers travelogue essays exploring territories marked by global forces and experimentation at the edge of our consciousness: a test site near Fukushima, where the robots that will maintain Japan’s infrastructure and agriculture are tested; a greenhouse city in the Netherlands that may be the origin for the cosmology of today’s countryside; the rapidly thawing permafrost of Central Siberia, a region wrestling with the possibility of relocation; refugees populating dying villages in the German countryside and intersecting with climate change activists; habituated mountain gorillas confronting humans on ‘their’ territory in Uganda; the American Midwest, where industrial-scale farming operations are coming to grips with regenerative agriculture; and Chinese villages transformed into all-in-one factory, e-commerce stores, and fulfillment centers.This book is the official companion to the Guggenheim Museum exhibition Countryside, The Future. The exhibition and book mark a new area of investigation for architect and urbanist Rem Koolhaas, who launched his career with two city-centric entities: The Office for Metropolitan Architecture (1975) and Delirious New York (1978). It’s designed by Irma Boom, who drew inspiration for the book’s pocket-sized concept, as well as its innovative typography and layout, from her research in the Vatican library.The book brings together collaborative research by AMO, Koolhaas, and students at the Harvard Graduate School of Design; the Central Academy of Fine Arts, Beijing; Wageningen University in the Netherlands; and the University of Nairobi. Contributors also include 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 Gichuyia, Kayoko Ota, Stephan Petermann, and Anne M. Schneider.

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Since the 1970s, we have witnessed astonishing scientific and technical progress in the field of organ transplantation. Patients who suffer organ failure can now often have their lives greatly improved both in terms of quality and quantity of years. The success of transplantation techniques has created an enormous demand for donor organs. Unfortunately, donor organs are in short supply, relative to the number of patients who could greatly benefit from them. Therefore, donor organs are a scarce and valuable resource that must be thoughtfully and fairly allocated among waiting patients. Not surprisingly, this situation raises many pressing ethical questions, each requiring careful consideration. This volume presents a systematic and balanced treatment of some of the most pressing ethical questions including: what is our ethical obligation to become organ donors and who should be allowed to donate?; to what extent can markets facilitate the fair allocation of organs and how should we most fairly determine who should be recipients?; how do we determine death when the donor is not brain dead?; should non-human donor organs be used to save human lives and should we use organs from anencephalic infants and tissue from embryos? ; and what is the role of the news media in covering stories about organ transplantation? Many of the leading authorities in medical ethics come together in this volume to develop extensive analyses and arguments. The reader is provided with a sound understanding of the ethical, as well as many of the broader issues in organ donation and transplantation.

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Since the beginning of the century, the field of architecture has fervently turned its attention to documenting the contemporary urban condition. Every city been has been examined as a repository of architectural concepts, scrutinized as an urban manifesto, and recorded as a series of found objects. The Ordinary articulates a potential genealogy for this practice and for the genre of books derived from it. Organized around conversations with the authors of three seminal texts that document the city-Denise Scott Brown's Learning from Las Vegas (1972), Rem Koolhaas's Delirious New York (1978), and Yoshiharu Tsukamoto's Made in Tokyo (2001)-this volume traces the history of these "books on cities" by examining the material they recorded, the findings they established, the arguments they advanced, and the projects they promoted. These conversations also question the assumptions underlying this practice and whether in its ubiquity it still remains a space of opportunity.

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