Koolhaas’ fascination with specific architectural elements is best demonstrated in his early discourse surrounding the elevator. It is arguable however, that Rem’s interest in this vertical line that links different discrete worlds is a manifestation of a greater personal project to challenge the sameness employed in modernism in order to create architectures that can unite difference within one building. This use of a linear void space that collects variegated events and programs along its length is Rem’s method of generating the dynamism of movement from the city street within a singular project. This methodology can be found throughout OMA’s work not only in the section but earlier in the plan as well.
Horizontal Linear Voids
As a student Rem wrote about the power of the Berlin Wall, "not as an object but an erasure,” a void space where “…along more than half its length, its regularity was compromised in a series of systematic adaptations that accommodated existing urban incidents.” Afterwhich, his degree project at the Architectural Association, Exodus, demonstrated the creation of a linear void between two outer walls, internally populated as a linear sequence of architectural events.
Later, the concept of the linear void was deployed as the boulevard that cuts through intentionally differentiated programmed linear strips. This can be seen in Rem's collaboration with OM Ungers for the Berlin IV ring masterplan where the vehicular boulevard is flanked by rows of different local housing typologies. In similar fashion, OMA's Parc de LaVillete competition entry features a linear void uniting the disparate strips of activities laid east-west across the Parisian post-industrial parkland.
Vertical Linear Voids
Rem’s interest in the elevator is well documented in Delirious New York, wherein Koolhaas identified the elevator as the device that bred a new twentieth century urban paradigm, Manhattanism, centered around a new architectural actor, the skyscraper. This typology, allowed for the assemblage of different independent worlds of floors each linked by the vertical void of the elevator.
This trope can be seen exploited throughout OMA’s work in projects such as the Maison Bordeaux, wherein the house is composed of three seemingly separate conditions that are linked by a central elevator void, creating one totality. Or in another case, the ZKM Centre in Karlsruhe was designed within the singular case of a box, wherein the vertically linked floors are radically differentiated by varying structural spans and configurations.
The Oblique Networked Voids
While several OMA projects have activated the oblique via the escalator, creating movement in plan and section simultaneously, such as Seattle Public Library or The Tedeschi Foundacion, these projects do not change the plane of the spatial threshold from an X-Z, Y-Z or XY suggesting they are neither horizontal nor vertical. One project of exception is the Jussieu Library; it not only employs the oblique plane as the movement axis but also destabilizes the discreteness of the internal boundaries of the programmed spaces. This results in an ambiguity between what is the void space of the boulevard and the actual programmatic matter resulting in conditions of gradient or an urban network. In so doing, this project establishes a condition of formal sameness while inscribing difference into its fluid landscape; stepping both away from a modernism and outside of the linear trope of the OMA canon.
 Koolhaas, Rem, Bruce Mau, Jennifer Sigler, and Hans Werlemann. "Field Trip: (A)A Memoir." Small, Medium, Large, Extra-large: Office for Metropolitan Architecture, Rem Koolhaas, and Bruce Mau. New York, NY: Monacelli, 1995. 212-34. Print.
 Aureli, Pier Vittorio. "The City within the City." The Possibility of an Absolute Architecture. Cambridge, MA: MIT, 2011. N. pag. Print.
 Koolhaas, Rem, Bruce Mau, Jennifer Sigler, and Hans Werlemann. "Congestion Without Matter." Small, Medium, Large, Extra-large: Office for Metropolitan Architecture, Rem Koolhaas, and Bruce Mau. New York, NY: Monacelli, 1998. 894-939. Print.
 Koolhaas, Rem. "The Double Life of Utopia." Delirious New York: A Retroactive Manifesto for Manhattan. New York: Monacelli, 1994. 81-109. Print.