Rem koolhass (1944) was born in Rotterdam, the Netherlands. He worked as a playwright and journalist in his early years. 1968- 1972 changed to architecture, and studied in the Architectural Association of an avant-garde architectural school in London. From then on, he began to show unusual interest in architectural phenomena in contemporary cultural environment. From 65438 to 0972, harkness Research Scholarship enabled him to live and work in the United States for a long time. 1972- 1979, worked in the new york Urban Planning/Architecture Research Office of Ungers and Peter Aizerman, and also taught at Yale University and UCLA. 1975, Koolhaas and his collaborator * * * jointly founded OMA Office, trying to explore new ideas for the development of modern architecture in today's cultural environment through theory and practice.
As early as 1978, Koolhaas included the study of new york in the book Crazy new york-Manhaas Declaration. In this book, he designed a series of fictional stories, such as the story of the globe in the city of prisoners, the Sphinx Hotel, the Welfare Palace Hotel and the pool.
He wants to prove that even the least important architectural details are incompatible with the ever-changing instability of the metropolis. In this conflict, metropolis is undoubtedly the winner. In the reality of this fact, architecture is degraded to a plaything position, and it is only a decorative carrier, bearing the illusion of history and memory. In Manhattan, this conflict has been skillfully solved: a changing and developing building should have the dual relationship of commemorative atmosphere and unstable internal (performance) operation. Its interior is a dynamic combination of different plans and activities, constantly changing, but independent of the architectural appearance. The genius of Manhattan lies in the simple division of the external and internal performance of the building, which retains the integrity of the external image of the building. This is the real charm of Manhattan. The crowded culture of metropolis revealed by this view is no longer regrettable and unforgivable, but an exciting cultural phenomenon full of opportunities and all potential possibilities.
This book reveals Rem Koolhaas's optimistic modernist spirit and tolerant acceptance of all cultural phenomena today. It established the status of Rem Koolhaas as a dream architect without architectural works, and also changed the traditional ideas of our generation of young architects on cities and buildings. If "Towards New Architecture" written by le corbusier, a senior architect in the 1920s, is the architectural manifesto of industrial society at the beginning of this century, then "Crazy new york" is the architectural and urban manifesto of consumer society at the end of this century, which brings the same social shock as the former.
After Crazy new york, Koolhaas spent almost twenty years building non-stop, trying to realize or confirm the architectural ideals and declarations he put forward in his early works, especially the simple split theory of appearance and internal behavior.
In appearance, Koolhaas tries to give people a casual and relaxed feeling, without any hint of what is happening inside; In fact, he showed great enthusiasm for the emptiness inside. Space in buildings and cities is not vacuum. He wants to give you all the possibilities, stimulate your passion and fantasize about nothingness. He wants to create a space where you have unlimited desires, peep, and create a crowded culture in the space of architecture and metropolis. Just as le corbusier and marcel duchamp once set countless psychedelic traps for future generations, the talented architect Koolhaas also set fascinating traps for our generation:
1. Villa Dalavat (completed in Paris, 199 1)
There is no doubt that Rem Koolhaas is curious about the owner who wants to live in this glass box. And all the above fragments are just a story accumulation of this curiosity in the long process of building construction.
2. The Grand Palace in Lille (France, 1996, the first phase has been completed)
Unmodified wood plywood, galvanized iron sheet, untreated concrete and bare cathode fluorescent lamp have no artificial feeling. Koolhaas is more or less relaxed about details in his architectural works, and he is willing to use these very cheap materials, but only faintly shows his concern for architecture. Koolhaas thinks he is an architect without style, unlike richard meier or Frank Gehry, who has been popular for a long time today. He thinks that having no style is not a bad thing. He turned a blind eye to the form and was only interested in the crowding phenomenon in the form.
3. Lillet Park (Paris, 1982 Competition Scheme)
This is Rem Koolhaas's crowded argument that there is no material masterpiece. Here, he simply copied a nature, created a dense forest full of social tools to cross the terrain with minimalist and featureless architectural language (or equipment or specific forms) and uncertain plans. In 1996, Rem Koolhaas pushed this view of low-key treatment of architectural city style and personality to a peak. In this year, he put forward the view of ordinary cities. He believes that the insistence on individuality has greatly restricted the development of contemporary urban society, and has nothing to do with what is made in today's consumer society. This is also the ideological basis for the existence of a large number of ordinary cities. Only now, no past, no future. Existence is reasonable.
This almost decadent and absurd view can't hide the serious side of his character. From 1996 1 to 1997 1, his research topic at Harvard turned to the Pearl River Delta region, where the world economy is developing fastest, and he took Shenzhen, Dongguan, Guangzhou, Zhuhai, Macau and Hong Kong as research sites to interview local planners, architects, officials, professors, scholars and students.
Just like his predecessor, master architect and versatile le corbusier, it has influenced all the themes of today's architecture/urban development-social, economic, cultural and geographical changes. -and the resulting dynamic impact of globalization is what really excites him.
Unlike le corbusier, who advocated international style and square box in the first half century, who relentlessly infiltrated his own set of subjective thoughts into the world, Koolhaas believes that although every architect has the opportunity to build his own works around the world, he should infiltrate his interest into the culture of each country, so that his works can have lasting vitality. Koolhaas himself is such an architect. He lives in London, works in Rotterdam and teaches at Harvard, but his works are scattered all over the world.
Although the trend of globalization has become the most important feature of today's architecture, after all, the heroic age of a master like le corbusier has passed. In the era of advocating no mainstream and no individuality, Rem Koolhaas clearly realized that only the uncertainty of pluralism, contradiction and conflict is the eternal theme of architecture in each era and the fundamental reason why architecture cannot be eliminated by history. He himself was a romantic realist from the beginning, but also an artist with experimental spirit and the creator of the concept of the times.
["Architectural Need Controversy" —— Interview with Koolhaas]
Rem koolhass, a journalist, turned architecture as a social phenomenon into an aggressive event. He is the only architect of this type in the world. -toyo ito
"There are no mountains in Holland, only the wind." -rem koolhass, small, medium, large and extra large.
Koolhaas is so busy that the interview can only be done at breakfast.
Koolhaas's breakfast is simple, black coffee and bread. Unlike others, the butter wrapped in his hand is piled like a hill.
This is the first meeting with the owner after Koolhaas won the bid. Because of continuous work, Koolhaas's eyes were bloodshot when he talked enthusiastically with his assistant about work.
It is impossible for Koolhaas not to know that as early as the bidding for the new CCTV building began, the debate about this project began on the Internet. The scope of the debate has gone beyond the scope of architecture and extended to various fields of culture, society and economy.
In the western architectural world, Koolhaas is recognized as a thoughtful and critical master, and is also synonymous with controversy. Koolhaas came to China and once again brought the controversy to China.
After 65438+won the bid on February 20th, Koolhaas and his colleagues opened champagne to celebrate. At the same time, we also adjusted the company's business in the next few years.
No.32 East Third Ring Road in early spring is still silent, and the relocated factory is about to be demolished. The new headquarters building of CCTV, which has attracted much attention and controversy, will gradually become a reality after construction starts at 5438+00 in June this year.
CCTV needs an attractive image in 2008. Koolhaas, who emphasizes density and pays attention to urban density, needs a truly challenging project.
How will Koolhaas explain and answer his architectural ideas to Chinese people through the new CCTV building?
I worked as a reporter for five years when I was young. I once interviewed Koolhaas in Ferini, and obviously I have a lot of experience in dealing with journalists. His answers are short, and he often avoids direct answers in a roundabout way.
Southern Weekend: How did you think of bidding for CCTV?
Koolhaas: I taught at Harvard for five years, and my students did a project: The Evolution of China City. In my Great Leap Forward, we mentioned the development of Guangzhou, Zhuhai, Shenzhen, Hong Kong and Macao, as well as cities, and we saw how rapidly they developed. Our research and concern about China has a long history. At that time, our time was not mature, and now some people in China are beginning to realize what kind of buildings are needed, which is why I want to bid.
CCTV is a very good project with bright vitality and unique geographical conditions and environment. Big buildings and skyscrapers are now defined higher and higher. But when we interpret skyscrapers, we don't pursue how high they are, but look at how much connotation and vitality they have. When we design, we don't mean that everything has to be different. I'm not interested in form.
We do this project not to occupy space, but to create space. We created this space environment for this city, and we defined this area, which is what I want. We care not only about architecture, but also about its surroundings.
Southern Weekend: Do you know that many people are against your design?
Koolhaas: Of course I know. This is good, knowing different opinions will supplement and improve the plan. Only boring buildings have a sound. Architectural needs are controversial.
Southern Weekend: The criticism of CCTV scheme mainly focuses on the destruction of urban environment, unsightly appearance and high cost.
Koolhaas: The damage to the environment is sheer nonsense. Our engineers will do their best to make the building in normal working condition. In addition, we have researched and designed many induction devices in buildings, which can save energy to the greatest extent. Talking about beauty and ugliness is an interesting topic, and the key depends on your point of view. I can't argue that the cost is too high, because it is.
Southern Weekend: What's your reason for putting all the studios underground?
Koolhaas: The studio doesn't need lighting; Another reason is that it can isolate the ground traffic and make more walking space outdoors. Party A is interested in this scheme and thinks it is reasonable and put it in the right place.
Southern Weekend: Is CCTV your most important project?
Koolhaas: Yes, absolutely. This project has even changed some of our working methods. We stayed in China for a long time and studied it as a discipline, not just an engineering project.
Southern Weekend: After you won the bid, it caused great repercussions in the West. Will European and American architects pay more attention to the China market?
Koolhaas: American architects have built many buildings in China. Skyscrapers originated in America, so many projects were given to Americans. This is the first time that a European architect has done such a big project in China. It is very interesting for me to make the younger generation in China interested in European culture and way of thinking.
Southern Weekend: Are there many such big projects in the West?
Koolhaas: Not much. However, my company also does residential design and buildings of all sizes. You know I wrote a book, small, medium, large, extra large, and I am interested in all scales.
Southern Weekend: Before you became an architect, you worked as a journalist and playwright. How does this affect your architecture?
Koolhaas: I made movies, too. These experiences have a great influence on me. For many architects, their duty is to create beautiful forms. In my opinion, it is the dynamic integration of architecture and culture, which is the difference between me and other architects. I would like to observe the world with the eyes of a reporter, observe the environment around us, and then choose a better time to participate. So that's what I would like to do.
Southern Weekend: After the new CCTV building is completed, you may become the most famous Dutchman in China. Isn't that great?
Koolhaas: I don't think so. I think I am a European, and CCTV's scheme is the result of collective efforts. When you see those people sitting there, such as the Japanese, he plays an important role.
Southern Weekend: How do you evaluate yourself?
Koolhaas: You know I used to be a reporter. As a reporter, I don't care about myself. I care more about others. I don't care what I am, but what I care about is what I have the potential to do in this year. Create what?
Southern Weekend: What do you think of so many ugly buildings in China?
Koolhaas: I don't care about beauty and ugliness. I'm interested in how they were built. There are so many kinds of them that they record history, which is enough. Historicity is the most important. I don't care if they are good or bad.
Southern Weekend: The world is getting more and more similar. What role will your architecture play?
Koolhaas: That's a good question. Buildings look more and more similar on the facade, but I don't think so in all aspects, such as the scale, connotation and space shaping methods of buildings. If the World Trade Center is moved to China and built in a special location, they will still be very different under different cultural and political backgrounds.
Southern Weekend: In your eyes, what kind of century is 2 1 century?
Koolhaas: I don't look forward to the future. Some people pretend to have an expectation and understanding for the next 50 years. I am not interested in it. Reality is full of fantasy. There is no need to look to the future. Of course, it can also be said that Europe in the19th century and America in the 20th century have made great progress in economy and politics. This century may be here. (This interview was assisted by Mr. Ma Qingyun)
He Qing, an art historian, criticized Koolhaas and China's architectural evaluation process. On August 1 day, he saw the new building plan published by CCTV and a 100 word introduction about the size of dried tofu. He said: "Although the picture is the best angle rendering of the scheme, I still see that this is a crooked building. The text of the argument is as follows: "The expert judges think that this is a supercilious scheme with distinctive personality and no exclusivity. As a beautiful and powerful sculpture image, it can not only represent the new image of Beijing, but also express the importance and culture of TV media in architectural language. Its structural scheme is novel and easy to implement ... "It is difficult to justify a major and expensive building that needs to invest 5 billion yuan in just a few hundred words. And I think the above words are naive (especially for primary school students), with strange words and vague language, which is extremely intriguing. Obviously, this is a low-key, disguised and perfunctory explanation of the mass media. Further investigation revealed that the investment was huge. The winning designer is Koolhaas. What does it mean to say that a plan is "neither humble nor supercilious"? " Non-exclusive ",what does this" he "mean? It's puzzling. "
main work
"Crazy new york-Manhattan Retrospective Declaration" (1978), which is the beginning of Koolhaas' sociological study of architectural problems;
Small, medium, large and super-large (S, M, L, XL) (1995), which is a record of Koolhaas and his colleagues thinking about architectural concepts by using phenomenological knowledge;
"The Great Leap Forward" (2002) is the research result on the situation of architecture and cities after Koolhaas became a professor at Harvard School of Architecture and Urban Studies, taking "urban projects" as the unit, including the research on five cities in the Pearl River Delta of China;
Harvard Design School Shopping Guide (2002) studies the role of shopping and retail consumption in cities.
Architectural works include:
French Library (198 1 year), La Villette Park (1982), Bordeaux Mansion (1994), Dutch Embassy in Germany (1997) and new york Museum of Modern Art (/kloc-0