These days we are seeing a "collection of urban poetry" for the post-Covid-19 time. Many of them are opportunistic reflections with little or no previous baggage. We can even see projects never thought of under sustainable criteria or attention to climate change, reinterpreted under bombastic speeches such as a saving balm for the post-pandemic.

I am concerned that this brainstorming, or as some now like to comment "brainstorming", generates too much thud that will saturate the ears, exhaust the observer, so that the situation does not finally change.

Carrying out a careful selection of those who were raising researchs or previous lines of study can help us strengthen lines of research that allow us to improve, instead of being exhausted by a bombardment of dispersion.
On May 14, TIME magazine, in an article titled "Architect Rem Koolhaas Says Redesigning Public Spaces Was Necessary Before the Pandemic", refocused on an exhibition that was initially skeptical for some.

As social distancing, automation, and anti-urban attitudes seem to grow, the ideas put forth by Dutch architect Rem Koolhaas are now presented to us as one of the most interesting predictions of how architecture as a discipline might change in post-Covid-19.
 
"Airports are just one among the many, many public spaces that may have to be rethought, reorganized and redesigned in the era of pandemics", comments Koolhaas, noting also, that: "cities, especially those that have no purpose but to attract people. “The problem is that in the last 20 or 30 years, cities have become gathering spaces for relatively affluent people and for tourists,” he says. “There has been a kind of really drastic transformation of the point of cities, that we didn’t really pay enough attention to.”

The countryside-city relationship was one of the themes of his recent exhibition "Countryside" in the Guggenheim, which examined the curious contempt and abandonment of the most rural parts of the planet. A theme as valid as that of "Spain emptied", which caused so much attention last fall in our country.

Due to the pandemic, the museum closed in March, less than a month after the opening of the exhibition, around the same time that people in cities began to want to live in a more empty place, and to suddenly wonder where their food came from.

So (even inadvertently) Koolhaas' comment to TIME interviewer Belinda Luscombe was obvious:
 
“It would be opportunistic if I said either, I told you so, or, basically, You can now tell that [cities] are actually really dangerous environments to live in,” adding, I think that it’s simply slightly reinforcing the argument that it’s incredibly important to begin to look not necessarily away from cities but at the neglect of the countryside.”
 
 
From the New York City investigation, to the Lagos researchs, to his investigations of Asian and American cities, Koolhaas has a long history of transformation and urban research. Therefore, it is logical to understand his vision of these contemporary urban structures when he adds that cities, which we have taken as a reference and models of urbanity, in recent years have undergone a profound transformation and disfigurement with respect to their role as, social and desirable models.
 
“The problem is that in the last 20 or 30 years, cities have become gathering spaces for relatively affluent people and for tourists,” he says. “There has been a kind of really drastic transformation of the point of cities, that we didn’t really pay enough attention to.”
 
At almost 76 years old, Koolhaas is old enough to remember a childhood in the years after World War II and to be familiar with the ravages contagious diseases are playing in today's health systems, which are not prepared.

His reflections to the TIME journalist, from the landline phone of the headquarters of his architecture studio in Rotterdam, remain equally lucid, as when he remembers that creativity is much more difficult in complete solitude:

“In terms of work and working without human interaction, it is very, very noticeable to me that for creativity, interaction is key,” he says, before offering up one of the syntactically complicated sayings for which he has become known. “For anything that will be necessary to create an exception, or a moment of genuine inspiration, human intercourse is necessary.”

With his inexhaustible capacity to be surprised Koolhaas ends the interview amazed by
 
 “It has surprised me enormously the incredible financial means that have been released,” he says, especially when compared to how difficult it is to find resources to solve climate change. And he is also surprised by “the incredible flexibility that people have shown in terms of changing their behavior in the most radical way.”

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Rem Koolhaas wwas born in Rotterdam on 17 November 1944. He began his career as a journalist working for the Haagse Post and also as a set designer in the Netherlands and Hollywood. He studied architecture at the Architectural Association School in London, and after winning the Harkness scholarship he moved to the USA. There he spent some time at the IAUS (Institute for Architecture and Urban Studies) in New York, a centre directed by Peter Eisenman. He later moved to Cornell University where he studied with Oswald Mathias Ungers.

In these early years of collaboration between Rem Koolhaas, Elia Zenghelis, Madelon Vriesendorp and Zoe Zenghelis, the name of the group while they were developing their first ideas and conceptual projects was more experimental: Office for Metropolitan Architecture – The Laboratory of Dr. Caligari. A time that served to consolidate initial ideas that would later lead to the formal founding of OMA in 1975 with his three colleagues.

In 1978 he wrote Delirious New York: A Retroactive Manifesto for Manhattan, which has become a classic of contemporary architectural theory.

The most important works by Koolhaas and OMA, from its foundation until the mid-1990s, include the Netherlands Dance Theatre at The Hague, the Nexus Housing at Fukuoka in Japan, the Kunsthal in Rotterdam, the Grand Palais of Euralille and Lille, the Villa dall’Ava, the Très Grande Bibliothèque, the Jussieu library in Paris, the ZKM in Karlsruhe and the Seattle Public Library.

Together with Koolhaas’s reflections on contemporary society, these buildings appear in his second book, S,M,L,XL (1995), a volume of 1376 pages written as though it were a “novel about architecture”. Published in collaboration with the Canadian graphic designer, Bruce Mau, the book contains essays, manifestos, cartoons and travel diaries.

In 2005, with Mark Wigley and Ole Bouman, he was the founder of the prestigious Volume magazine, the result of a collaboration with Archis (Amsterdam), AMO and C-lab (Columbia University NY).

His built work includes the Qatar National Library and the Qatar Foundation Headquarters (2018), Fondation Galeries Lafayette in Paris (2018), Fondazione Prada in Milan (2015/2018), Garage Museum of Contemporary Art in Moscow (2015), the headquarters for China Central Television (CCTV) in Beijing (2012), Casa da Musica in Porto (2005), Seattle Central Library (2004), and the Netherlands Embassy in Berlin (2003). Current projects include the Taipei Performing Arts Centre, a new building for Axel Springer in Berlin, and the Factory in Manchester.

Koolhaas directed the 2014 Venice Architecture Biennale and is a professor at Harvard University, where he directs The Project on the City, a research programme on changes in urban conditions around the world. This program has conducted research on the delta of the Pearl River in China (entitled Great Leap Forward) and on consumer society (The Harvard Design School Guide to Shopping). Taschen Verlag has published the results. Now is preparing a major exhibition for the Guggenheim Museum to open in 2019 entitled Countryside: Future of the World.

Among the awards he has won in recent years, we mention here the prestigious Pritzker Architecture Prize (2000), the Praemium Imperiale (2003), the Royal Gold Medal (2004) and the Mies Van Der Rohe Prize (2005). In 2008, Time mentioned him among the 100 most influential people on the planet.

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José Juan Barba (1964). Architect from the Madrid School of Architecture (ETSAM) in 1991. He received his PhD in Architecture from ETSAM in 2004, graduating summa Cum laude with the doctoral thesis "Inventions: New York vs. Rem Koolhaas, Bernard Tschumi, Piranesi." In 1991, he received a Special Mention in the Spanish National Graduation Awards. Until 1997, he worked as an advisor to several NGOs. In 1992, he founded his architectural practice in Madrid (www.josejuanbarba.com). 

He is an architectural critic and, since 1998, Editor-in-Chief of the internationally acclaimed bilingual architecture journal METALOCUS (Spanish/English), recipient of several national and international awards.

Barba is an Associate Professor at the University of Alcalá and a member of several research groups. He has been invited to participate in numerous international forums on architecture and urbanism, including the II Forum of Mexican World Heritage Cities, Urban Development, History and Modernity, organized by the Pan-American Committee for Urban Development and Historical Heritage; the World Urban Development Forum (FMDU), held in Culiacán, Sinaloa, Mexico; and the International Conference on Architecture and Urbanism from the Perspective of Women Architects. He has also been invited as lecturer and guest critic at numerous national and international institutions, including the National Building Museum, Roma Tre University, Politecnico di Milano, University of Genoa, Université Pierre Mendès France Grenoble, the Madrid and Barcelona Schools of Architecture, National Autonomous University of Mexico, the Faculty of Architecture in Montevideo, the Schools of Architecture of Medellín and Ecuador, Universidad Iberoamericana, IE University, as well as the Schools of Architecture of Zaragoza, Valladolid, Málaga, Granada, Seville, and A Coruña, among others.

He has extensive professional experience in architecture, urbanism, landscape intervention, and territorial regeneration. His work has received numerous awards, including First Prize in the “Gran Vía Posible” competition for Delirious Gran Vía, Madrid; recognition for the Rivers Interpretation Centre in Zamora, awarded and exhibited at the World Architecture Festival 2008; and recognition for the Santa Bárbara Park project in Toledo. He was also awarded the Erich Degner Prize for Architecture (1995), promoted by the BBVA Foundation. His project for a Day Centre for the Elderly was included in Volume 3 of the Madrid Architecture Guide published by the Official College of Architects of Madrid (COAM) in 2007. His work has been widely published in national and international books and journals.

He served as Maître de Conférences at the Institut d’Urbanisme de Grenoble, Université Pierre Mendès France Grenoble, during the 2013–14 academic year, following his appointment through a European open competition. His work has been published internationally. He regularly serves on academic and professional juries, including the editorial competition jury for the journal Quaderns (2011), the selection committee for the European Union Prize for Contemporary Architecture – Mies van der Rohe Awards (2007–present), and the jury panels for EUROPAN 13 (2015–16) and TRANSFER, Zurich (2019). He was also invited to participate in the Biennale di Venezia 2016 as part of the exhibition Spaces of Exception / Spazi d’Eccezione.

He has authored several books, including "The Dark Line. michele&miquel, dA Vision Design" (2024), "CONGRESO ANYWAY. La ciudad de las ciudades" (2020), "#Positions" (2016), and "Inventions: New York vs. Rem Koolhaas, Bernard Tschumi, Piranesi" (2015). He has also contributed to publications such as "Espacio público Gran Vía. La Ciudad del Turismo" (2020), "Spaces of Exception / Spazi d’Eccezione" (2016), "La manzana de la discordia" (2015), and "Contemporary Japanese Architecture: New Territories" (2015), as well as chapters in numerous books, including "Women Architects: A Professional Challenge" (2009), "21st Century Architectures" (2007), "Ruta de la Plata, New Conquerors of Space" (2019), and "The City of Tourism" (2020).

Selected awards include:

•    “SANTIAGO AMÓN” AWARD, award for the promotion of architecture, COAM Madrid, 2000.
•    “PANAYIOTI MIXELI AWARD,” SADAS-PEA, award for the promotion of architecture, Athens, 2005.
•    “PIERRE VAGO” ICAC. International Committee of Art Critics Award, London, 2005.
•    FAD Award 07, Ephemeral Interventions, First Prize, M.C. Escher Exhibition, Arquin-FAD, Barcelona, 2007.
•    World Architecture Festival, Center for Research and Interpretation of the Rivers, Tera, Esla, and Órbigo, Finalist, Barcelona, 2008.
•    Gran Vía Posible, First Prize, Delirious Gran Vía, Madrid, 2010.
•    Reform of the Río Segura Surroundings, Award, Murcia, 2010.

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Published on: May 18, 2020
Cite:
metalocus, JOSÉ JUAN BARBA
"Countryside Post-Pandemic by Rem Koolhaas" METALOCUS. Accessed
<http://www.metalocus.es/en/news/countryside-post-pandemic-rem-koolhaas> ISSN 1139-6415
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