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There is no plateau of resting or stabilising. Once you are interested in how things evolve, you have a kind of never-ending perspective, because it means you are interested in articulating the evolution, and therefore the potential change, the potential redefinition.

Rem Koolhaas

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Rem Koolhaas
Age: 80
Born: 1944
Born: January 1
Architect
Urban Planner
Writer
R'dam
Remment Lucas Koolhaas
Remment Koolhaas
Never
Perspective
Redefinition
Therefore
Plateau
Interested
Articulating
Means
Resting
Change
Ending
Mean
Evolve
Kind
Potential
Things
Evolution

More quotes by Rem Koolhaas

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The luxury of our position now is that we can almost assemble any team to address any issue.
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Our society can no longer tolerate ugliness. You see that in cars, sofas and women. [But] ugliness also has a right to exist.
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Prada is extremely directed in terms of communicating what they like and what they don't like. That is actually extremely pleasant because it clarifies very easily what you can do and what you need to do.
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Sustainability has become an ornament.
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But now sustainability is such a political category that it's getting more and more difficult to think about it in a serious way. Sustainability has become an ornament.
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In Lagos there's a really strong case to resurrect strong parts. Embedded in all of it are some amazing pieces of planning, amazing pieces of engineering and interaction. For instance, the campus of Lagos University is stunningly beautiful, efficient and generous, and that needs to be recognised and preserved.
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Our office acts like a kind of educational establishment and we are very careful who we educate.
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Evil can also be beautiful. The Coliseum in Rome, for example, a wonderful structure with an awful past. Just think about the bloody gladiator fights there.
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You need to look at inequality as a typical condition of modern society.
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I like fashion, whether or not it's overpriced, because it creates a sense of the sublime with relatively few means.
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Designs are increasingly winning competitions because they are literally green, and because somewhere they feature a small windmill.
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Nigeria [in 1990] was all rumour, an unbelievable amount of rumour - largely about crime and almost mythical manifestations of evil.
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The great problem of the concert hall is that the shoebox is the ideal shape for acoustics but that no architect worth their names wants to build a shoebox.
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Infrastructure is much more important than architecture.
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The Metropolis strives to reach a mythical point where the world is completely fabricated by man, so that it absolutely coincides with his desires.
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Architecture is a rare collective profession: it's always exercised by groups. There is an essential modesty, which is a complete contradiction to the notion of a star.
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The beauty of my profession [architecture] lies in its randomness and surprise. And don't think I can choose my projects. I have to build what's offered to me.
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If you have this reputation you can sit back and endure it, or you can try to do things with it.
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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.
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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.
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