This project reimagines modernism beyond its conventional geographic and formal boundaries—not as a fixed canon, but as a lived and negotiated response to rupture, displacement, and cultural hybridity. Focusing on Marcel Janco (1895–1984), co-founder of Dada and both painter and architect, REMIX traces how modernism was not only made in Zurich or Berlin, but also in Bucharest, Jaffa, and Ein Hod. My research begins by reconstructing Janco’s interwar Bucharest projects (housing plans, journal layouts, modernist manifestos) and situates them as blueprints for a broader civic modernism forged in times of antisemitic violence, exile, and reinvention, anticipating the ethical and spatial experiments he would later undertake in Mandatory Palestine and Israel. These early works reveal how Janco’s engagement with modernist form was inseparable from questions of minority identity, political instability, and the built environment. Working with newly accessed materials, I explore how abstraction becomes an ethical strategy: from compressed Holocaust drawings to hybrid architectural idioms that blend European modernist rigor with Middle Eastern vernaculars. This is not a story of stylistic evolution, it is a story of survival, of art made under pressure, bearing witness to the ruptures of modern Jewish history. REMIX challenges Eurocentric models and proposes Janco as a test case for rethinking modernism as a global, adaptive, and ethically generative practice. It offers a critical reflection on how the avant-garde, often seen as oppositional or destructive, could be redirected toward construction, continuity, and the cultural labour of reinvention.