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19 de mar. de 2011 · Rem Koolhaas, Madelon Vreisendorp, Elia Zenghelis, and Zoe Zenghelis (1972) Once, a city was divided in two parts. One part became the Good Half, the other part the Bad Half. The inhabitants of the Bad Half began to flock to the good part of the divided city, rapidly swelling into an urban exodus.
Exodus, or the Voluntary Prisoners of Architecture, is a series of eighteen drawings, watercolors, and collages produced by Rem Koolhaas, Madelon Vreisendorp, Elia Zenghelis, and Zoe Zenghelis.
Rem Koolhaas. Exodus is a proposition, not a built project. To Koolhaas, our world is a phantom world that bears little resemblance to reality. A social commentary about the state of global London, Exodus is an ideological project in narrative, collage, and drawing form.
"Koolhaas e o O.M.A. desenvolveram suas teorias em 1972, com um estudo sobre o Muro de Berlim (novamente os muros) e com seu esquema para Londres chamado ‘Exodus, ou os Prisioneiros Voluntários da Arquitetura'.
An architectural zone or strip of squares that act as a desirable oasis within a less desirable greater London, Exodus simultaneously acts as critique of London, of human desirability, of necessity, and of the project itself.
Rem Koolhaas, Madelon Vreisendorp, Elia Zenghelis, and Zoe Zenghelis (1972) Once, a city was divided in two parts. One part became the Good Half, the other part the Bad Half. The inhabitants of the Bad Half began to flock to the good part of the divided city, rapidly swelling into an urban exodus.
Em 1972, na tentativa de expor uma visão critica a sociedade da época, o arquiteto holandês Rem Koolhas criou Exodus, uma experiência arquitetônica que conceitualmente despiria a sociedade de suas máscaras, aceitando voluntários ao aprisionamento.
