Rem Koolhaas

Rem Koolhaas
Remment Lucas "Rem" Koolhaasis a Dutch architect, architectural theorist, urbanist and Professor in Practice of Architecture and Urban Design at the Graduate School of Design at Harvard University. Koolhaas studied at the Architectural Association School of Architecture in London and at Cornell University in Ithaca, New York. Koolhaas is the founding partner of OMA, and of its research-oriented counterpart AMO based in Rotterdam, the Netherlands. In 2005, he co-founded Volume Magazine together with Mark Wigley and Ole Bouman...
NationalityDutch
ProfessionArchitect
Date of Birth17 November 1944
CityRotterdam, Netherlands
At that time [90th in Lagos], if you drove through the city, you drove through a foreground that always seemed to be incredibly dramatic and incredibly agonised - smoking, burning, incredible compression. In the first year we stayed on the ground and went everywhere. But then in order to discover whether this was the whole story, we rented a helicopter. And we began to understand that this is not chaos but a highly modern system that had been abandoned, then at some point went into reversal, then slowly came out of it.
You need to look at inequality as a typical condition of modern society.
Nigeria was a blank on the map - there weren't even any maps. The US State Department, everyone said don't go there. It was courageous of Harvard University: the notion was that we would match Harvard students with Nigerian students, so that every student would have a guide, creating a guarantee of intimacy with the city.
Nigeria [in 1990] was all rumour, an unbelievable amount of rumour - largely about crime and almost mythical manifestations of evil.
Lagos was not very inviting even to Lagosians. It was considered a no-go zone, almost in its entirety.
Lagos was the ultimate dysfunctional city - but actually, in terms of all the initiatives and ingenuity, it mobilised an incredibly beautiful, almost utopian landscape of independence and agency.
Lagos has also had a particular effect on my career. I was there early, and although it was a courageous step to go there and invest on this scale - I went there maybe 20 times - it's also been also super-controversial. There's an old school of thought that somebody like me has no place to go there.Because of colonialism and so on.
When we went in the late 1990s, Nigeria was still in a dictatorship. So we didn't go with a mission. It started really with a sort of blankness and open-endedness.
We discovered a person in Lagos who had a fish stall, and within a single square metre she carried two children all the way to Harvard. She supported an unbelievable escape of her children into education. In that sense it was a city completed pixillated, and every pixel contained amazing stories.
The real thing we tried to look at is what happens to a society when the state is absent. At that point, the state had really withdrawn from Lagos; the city was left to its own devices, both in terms of money and services. That, by definition, created an unbelievable proliferation of independent agency: each citizen needed to take, in any day, maybe 400 or 500 independent decisions on how to survive that extremely complex system.
I studied in London in 1968. Our school had a separate department of tropical architecture. Of course it was totally unfashionable, partly because nobody wanted to think about colonialism, but basically what you learned there was that, OK, the sun is here, so you should create natural ventilation here - an unbelievable amount of really sound principles that have been completely abandoned, so now everything is air conditioned with big machines.
When shopping was still connected to the street it was also an intensification and articulation of the street. Now it has become utterly independent - contained, controlled, surveyed.
Each building has to be beautiful, but cheap and fast, but it lasts forever. That is already an incredible battery of seemingly contradictory demands. So yes, I'm definitely perhaps contradictory person, but I operate in very contradictory times.
Japan lives with drastic segregation between the sublime, the ugly, and the utterly without qualities. Dominance of the last 2 categories makes mere presence of the first stunning: when beauty 'happens', it is absolutely surprising.