The pitch-perfect paean to the only city we knew could have been taken straight from Exodus, or the Voluntary Prisoners of Architecture: The Avowal (1972) by Rem Koolhaas and Elia Zenghelis with Madelon Vriesendorp and Zoe Zenghelis [...] No wonder, then, that of all the images from this project, a photocollage of musicians posing in the “strip of intense metropolitan desirability” resonates with my memories of Houston and its eclectic punk scene. — Enrique Ramirez, Harvard Design Magazine
Inspired by the confusing yet formative years of adolescence, Harvard Design Magazine's “Seventeen” issue explores “teens of all sorts—humans, buildings, objects, ideas—and their impact on the spatial imagination”.
In the poetic “Life Begins at the Apocalypse Monster Club” by architectural scholar and historian (and recording/touring bassist) Enrique Ramirez, he reflects on his punk-rock teenage years in the transforming “Space City” of Houston, and his personal connection to Rem Koolhaas' 1972 photocollage, “Exodus, or the Voluntary Prisoners of Architecture: The Avowal”.
“This is a vision of youthful urbanism. This was us. This was our band. And like the titular dwellers of Exodus, we transformed the city, building a version of it that mirrored our own desires,” Ramirez writes.
No Comments
Block this user
Are you sure you want to block this user and hide all related comments throughout the site?
Archinect
This is your first comment on Archinect. Your comment will be visible once approved.