“Post-war architecture is the accountants’ revenge on pre-war businessmen’s dreams,” wrote Dutch architect Rem Koolhaas in his magnificent study of Manhattan Delirious New York 30 years ago.
The image of corporate architecture from Jack Lemmon’s office drudge in Billy Wilder’s The Apartment to Dilbert’s cubicle or David Brent’s Slough office, is one of purgatorial repetition and anonymity.
