Two assistants and two culture editors are having trouble keeping up as Rem Koolhaas walks and talks nonstop. At the moment, he has been commissioned to build the so-called Science Center in HafenCity, but that project has not been moving forward. In July, Nicolai Ouroussoff, an architecture critic for the New York Times, wrote that his spectacular building for the Chinese state television network CCTV in Beijing, completed two years ago, "may be the greatest work of architecture built in this century.
His father was a novelistcriticand screenwriter. His maternal grandfather, Dirk Roosenburg —was a modernist architect who worked for Hendrik Petrus Berlagebefore opening his own practice.
Rem Koolhaas has a brother, Thomas, and a sister, Annabel. His paternal cousin was the architect and urban planner Teun Koolhaas — The family lived consecutively in Rotterdam untilAmsterdam —Jakarta —and Amsterdam from When the war of independence was won, he was invited over to run a cultural programme for three years and the family moved to Jakarta in They were later joined by one of Koolhaas's students, Zaha Hadid — who would soon go on to achieve success in her own right.
An early work which would mark their difference from the then dominant postmodern classicism of the late s, was their contribution to Rem koolhaas essay generic city Venice Biennale ofcurated by Italian architect Paolo Portoghesititled "Presence of the Past". Other early critically received yet unbuilt projects included the Parc de la VilletteParis and the residence for the Prime Minister of Irelandas well as the Kunsthal in Rotterdam These schemes would attempt to put into practice many of the findings Koolhaas made in his book Delirious New York which was written while he was a visiting scholar at the Institute for Architecture and Urban Studies in New York, directed by Peter Eisenman.
Koolhaas celebrates the "chance-like" nature of city life: As Koolhaas himself has acknowledged, this approach had already been evident in the Japanese Metabolist Movement in the s and early s.
The notion of the Program involves "an act to edit function and human activities" as the pretext of architectural design: The notion was first questioned in Delirious New York, in his analysis of high-rise architecture in Manhattan.
An early design method derived from such thinking was "cross-programming", introducing unexpected functions in room programmes, such as running tracks in skyscrapers. More recently, Koolhaas unsuccessfully proposed the inclusion of hospital units for the homeless into the Seattle Public Library project The layout of the huge book transformed architectural publishing, and such books—full-colour graphics and dense texts—have since become common.
Ostensibly, S,M,L,XL gives a record of the actual implementation of "Manhattanism" throughout the various mostly unrealized projects and texts OMA had generated up to that time. The part lexicon-type layout with a marginal "dictionary" composed by Jennifer Siglerwho also edited the book spawned a number of concepts that have become common in later architectural theory, in particular "Bigness": This was demonstrated in OMA's scheme for the development of " Euralille " —94a new centre for the city of Lille in France, a city returned to prominence by its position on the new rail route from Paris to London via the Channel Tunnel.
OMA sited a train station, two centres for commerce and trade, an urban park, and 'Congrexpo' Lille Grand Palaisa contemporary " Grand Palais " with a large concert hall, three auditoria and an exhibition space with Cecil Balmond.
In another essay in the book, titled "The Generic City", Koolhaas declares that progress, identity, architecture, the city and the street are things of the past: That is the story of the city. The city is no longer. We can leave the theatre now Koolhaas's next landmark publications were a product of his position as professor at Harvard Universityin the Design school 's "Project on the City"; firstly the page Mutations,  followed by The Harvard Design School Guide to Shopping  and The Great Leap Forward The authors also examine the influence of shopping habits and the recent rapid growth of cities in China.
Critics of the books have criticised Koolhaas for being cynical — as if Western capitalism and globalization demolish all cultural identity — highlighted in the notion expounded in the books that "In the end, there will be little else for us to do but shop".
However, such cynicism can alternatively be read as a "realism" about the transformation of cultural life, where airports and even museums due to finance problems rely just as much on operating gift shops. When it comes to transforming these observations into practice, Koolhaas mobilizes what he regards as the omnipotent forces of urbanism into unique design forms and connections organised along the lines of present-day society.
Koolhaas continuously incorporates his observations of the contemporary city within his design activities: Again, shopping is examined for "intellectual comfort", whilst the unregulated taste and densification of Chinese cities is analysed according to "performance", a criterion involving variables with debatable credibility:Mar 04, · Rem Koolhaas has been hired to design a generic city in Dubai, a dreamless city within a dream city.
Thus far Dubai has commissioned showy displays of starchitect whimsy, so, at first glance, it's surprising to see the city embrace the deliberately bland rationalism of Koolhaas's generic city.
The Generic City was amazingly satirical and sarcastic. You'll never know if Koolhaas is criticizing it or praising it, but this is what will help you make up your mind about it, and that is awesome/5.
Nov 20, · Rem Koolhass and his team have two new projects: OMA’s first cultural project in the city, the Audrey Irmas Pavilion — an expansion of the Wilshire Boulevard Temple in Koreatown — and.
The essay Non Places and the Generic City is a product of different theories on the undefined urban space and its repetition in a larger scale. Within the influence of increasing human The Dutch Architect Rem Koolhaas also linked the generic phenomenon of the contemporary.
In this book, the projects, buildings and theories of Koolhaas, as well as the other members of the Office for Metropolitan Architecture, are examined in chronological and thematic sequence, beginning with the period of Koolhaas' education at the Architectural Association School of Architecture in London within the cultural context of the neo .
In another essay in the book, titled "The Generic City", Koolhaas declares that progress, identity, architecture, the city and the street are things of the past: “Relief it’s over.
That is the story of the city.