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 was born in Rotterdam in 1944. He began his career as a journalist, working for the Haagse Post, and as a set-designer in the Netherlands and Hollywood. He beganHe frequented the Architectural Association School in London and studied with Oswald Mathias Ungers at Cornell University. In 1978, he wrote Delirious New York: a retroactive manifesto for Manhattan, which has become a classic of contemporary architectural theory. In 1975 – together with Elia and Zoe Zenghelis and Madelon Vriesendorp – he founded OMA (Office for Metropolitan Architecture).

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 to 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 programme 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 of the planet.

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José Juan Barba (1964) architect from ETSA Madrid in 1991. Special Mention in the National Finishing University Education Awards 1991. PhD in Architecture ETSAM, 2004. He founded his professional practice in Madrid in 1992 (www.josejuanbarba.com). He has been an architecture critic and editor-in-chief of METALOCUS magazine since 1999, and he advised different NGOs until 1997. He has been a lecturer (in Design, Theory and Criticism, and Urban planning) and guest lecturer at different national and international universities (Roma TRE, Polytechnic Milan, ETSA Madrid, ETSA Barcelona, UNAM Mexico, Univ. Iberoamericana Mexico, University of Thessaly Volos, FA de Montevideo, Washington, Medellin, IE School, U.Alicante, Univ. Europea Madrid, UCJC Madrid, ESARQ-U.I.C. Barcelona,...).

Maître de Conférences IUG-UPMF Grenoble 2013-14. Full assistant Professor, since 2003 up to now at the University of Alcalá School of Architecture, Madrid, Spain. And Jury in competitions as Quaderns editorial magazine (2011), Mies van der Rohe Awards, (2010-2024), Europan13 (2015). He has been invited to participate in the Biennale di Venezia 2016 as part "Spaces of Exception / Spazi d'Eccezione".

He has published several books, the last in 2016, "#positions" and in 2015 "Inventions: New York vs. Rem Koolhaas, Bernard Tschumi, Piranesi " and collaborations on "Spaces of Exception / Spazi d'Eccezione", "La Mansana de la discordia" (2015), "Arquitectura Contemporánea de Japón: Nuevos territorios" (2015)...

Awards.-

- Award. RENOVATION OF SEGURA RIVER ENVIRONMENT, Murcia, Sapin, 2010.
- First Prize, RENOVATION GRAN VÍA, “Delirious Gran Vía”, Madrid, Spain, 2010.
- First Prize, “PANAYIOTI MIXELI Award”. SADAS-PEA, for the Spreading of Knowledge of Architecture Athens, 2005.
- First Prize, “SANTIAGO AMÓN Award," for the Spreading of Knowledge of Architecture. 2000.
- Award, “PIERRE VAGO Award." ICAC -International Committee of Art Critics. London, 2005.
- First Prize, C.O.A.M. Madrid, 2000. Shortlisted, World Architecture Festival. Centro de Investigación e Interpretación de los Ríos. Tera, Esla y Orbigo, Barcelona, 2008.
- First Prize. FAD AWARD 07 Ephemeral Interventions. “M.C.ESCHER”. Arquin-Fad. Barcelona, Sapin 2007.

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