In 1969, Koolhaas co-wrote The White Slave, a Dutch film noir, and later wrote an unproduced script for American soft-porn king Russ Meyer. "It was a very important age for me," Koolhaas recalls "and I really lived as an Asian." 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 1952. His father strongly supported the Indonesian cause for autonomy from the colonial Dutch in his writing. The family lived consecutively in Rotterdam (until 1946), Amsterdam (1946–1952), Jakarta (1952–1955), and Amsterdam (from 1955). His paternal cousin was the architect and urban planner Teun Koolhaas (1940–2007). Rem Koolhaas has a brother, Thomas, and a sister, Annabel. His maternal grandfather, Dirk Roosenburg (1887–1962), was a modernist architect who worked for Hendrik Petrus Berlage, before opening his own practice. Two documentary films by Bert Haanstra for which his father wrote the scenarios were nominated for an Academy Award for Documentary Feature, one won a Golden Bear for Short Film. His father was a novelist, critic, and screenwriter. Remment Koolhaas was born on 17 November 1944 in Rotterdam, Netherlands, to Anton Koolhaas (1912–1992) and Selinde Pietertje Roosenburg (born 1920). He was elected to the American Philosophical Society in 2014. ![]() In 2008, Time put him in their top 100 of The World's Most Influential People. In 2000, Rem Koolhaas won the Pritzker Prize. He is seen by some as one of the significant architectural thinkers and urbanists of his generation, by others as a self-important iconoclast. He is often cited as a representative of Deconstructivism and is the author of Delirious New York: A Retroactive Manifesto for Manhattan. Remment Lucas Koolhaas ( Dutch pronunciation: born 17 November 1944) is a Dutch architect, architectural theorist, urbanist and Professor in Practice of Architecture and Urban Design at the Graduate School of Design at Harvard University. As you can see in the images below the columns are not straight and there are very few of them too.Architectural Association School of Architecture, Cornell University For the first few ones, it was quite hard to create a perfect grid. When I started with my iterations, I wanted to master the grid system which is generally there to support the slabs. This void is generally considered by Koolhaas as a latent force contained between these layers that blocks direct visions some time, and reveals hidden elements some other time. The void between the levels and slabs is another very important idea that Koolhaas highlights in the Jussieu Library. This library’s construction takes account of what Le Corbusier initial concept of the stairs, and recreates it in a much larger perspective. These two libraries consist of slabs and columns that Koolhaas and his team used to initiate a building that is radically different from what a person would usually relate a library to. Since it is cold and empty around the area where the libraries are built, Koolhaas’s construction is a way to create a kind of “warm” vibe. ![]() In 1992, The two Jussieu Libraries in Paris were a basic and specific outcome of the mythical concept of Koolhaas. Pictures of the iterations and final model of Jussieu Library Betsky and Patteeuw (2003) believe that Koolhaas ‘liberated architecture from place, from materiality, without letting it disappear into nothing.’ OMA has finalized and done models for 59 museums, 42 towers, 9 libraries, and many more projects. His architecture is more than what the public expects and convinces the viewer instantly by its aesthetic. The architectural outcome of Koolhaas is neither purely rational, nor purely fictional, but it is rather perfectly mythical. The architect in OMA should progressively gather and find data and information that will help him/her understand architecture not in form, but in reasoning and prognosis. Koohlaas reigns his firm with one very important concept which is to avoid the limitation of the firm’s self-defined goal to the construction of buildings. Rem Koolhaas not only believed that an architect is the person who floats between reality and imagination, he also is the ‘conscious collector, manipulator and projector of images’(Betsky and Patteeuw 2003). The company was initiated in 1975 by Koolhaas and few other architects, however, they were constantly misunderstood and judged for their approach for architecture. Rem Koolhaas, the renowned Architect, is the founder of OMA (the Office for Metropolitan Architecture) which is based in Rotterdam.
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