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In this branch of utopian real estate, architecture is no longer the art of designing buildings so much as the brutal skyward extrusion of whatever site the developer has managed to assemble.

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
Design
Branch
Building
Estates
Skyward
Longer
Buildings
Developer
Whatever
Managed
Assemble
Art
Site
Developers
Real
Brutal
Designing
Much
Branches
Utopian
Architecture
Estate

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You need to look at inequality as a typical condition of modern society.
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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.
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As more and more architecture is finally unmasked as the mere organization of flow - shopping centers, airports - it is evident that circulation is what makes or breaks public architecture.
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Miami Beach is a completely interesting hybrid because it is, on the one hand, a resort and, on the other hand, a real city. This condition of city and water on two sides I think is really amazing. And in the heart of that city, it has put an enormous convention center, an enormous physical presence.
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The word 'celebrity' and the word 'architect' are basically incompatible.
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Asia is still dominated by skyscrapers. I hope that, in European cities, it will become a declining trend. They were almost never necessary.
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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.
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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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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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I am incredibly bad at predicting the future I am only smart enough to observe the present and listen to my intuition about tendencies.
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Architecture is a dangerous mix of power and importance.
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There's nothing Dutch about my architecture.
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Manhattan has no choice but the skyward extrusion of the Grid itself only the Skyscraper offers business the wide-open spaces of a man-made Wild West, a frontier in the sky.
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We live in an almost perfect stillness and work with incredible urgency.
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One cannot completely avoid this landmark character with large buildings such as these. But the city itself is also gigantic.
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We say we want to create beauty, identity, quality, singularity. And yet, maybe in truth these cities that we have are desired. Maybe their very characterlessness provides the best context for living.
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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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The acceptance of certain realities doesn't preclude idealism. It can lead to certain breakthroughs.
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