Why is Rem Koolhaas the World's Most Controversial Architect?

[M II A II R II K]

Why is Rem Koolhaas the World's Most Controversial Architect?


September 2012

By Nicolai Ouroussoff

Page 1 of 5: http://www.smithsonianmag.com/arts-c...165593696.html

Rem Koolhaas has been causing trouble in the world of architecture since his student days in London in the early 1970s. Architects want to build, and as they age most are willing to tone down their work if it will land them a juicy commission. But Koolhaas, 67, has remained a first-rate provocateur who, even in our conservative times, just can’t seem to behave.

- His China Central Television headquarters building, completed this past May, was described by some critics as a cynical work of propaganda and by others (including this one) as a masterpiece. Earlier projects have alternately awed and infuriated those who have followed his career, including a proposal to transform part of the Museum of Modern Art into a kind of ministry of self-promotion called MoMA Inc. (rejected) and an addition to the Whitney Museum of American Art that would loom over the existing landmark building like a cat pawing a ball of yarn (dropped).

- Architects dig through his books looking for ideas; students all over the world emulate him. The attraction lies, in part, in his ability to keep us off balance. Unlike other architects of his stature, such as Frank Gehry or Zaha Hadid, who have continued to refine their singular aesthetic visions over long careers, Koolhaas works like a conceptual artist—able to draw on a seemingly endless reservoir of ideas. Yet Koolhaas’ most provocative—and in many ways least understood—contribution to the cultural landscape is as an urban thinker. Not since Le Corbusier mapped his vision of the Modernist city in the 1920s and ’30s has an architect covered so much territory.

- In an exhibition first shown at the 2010 Venice Biennale, he sought to demonstrate how preservation has contributed to a kind of collective amnesia by transforming historic districts into stage sets for tourists while airbrushing out buildings that represent more uncomfortable chapters in our past. He is now writing a book on the countryside, a subject that has been largely ignored by generations of planners who regarded the city as the crucible of modern life. If Koolhaas’ urban work has a unifying theme, it is his vision of the metropolis as a world of extremes—open to every kind of human experience. “Change tends to fill people with this incredible fear,” Koolhaas said as we sat in his Rotterdam office flipping through an early mock-up of his latest book. “We are surrounded by crisismongers who see the city in terms of decline. I kind of automatically embrace the change. Then I try to find ways in which change can be mobilized to strengthen the original identity. It’s a weird combination of having faith and having no faith.”

- Koolhaas’ first test of his urban theories came in the mid-1990s, when he won a commission to design a sprawling development on the outskirts of Lille, a rundown industrial city in northern France whose economy was once based on mining and textiles. Linked to a new high-speed rail line, the development, called Euralille, included a shopping mall, conference and exhibition center, and office towers surrounded by a tangle of freeways and train tracks. Seeking to give it the richness and complexity of an older city, Koolhaas envisioned a pileup of urban attractions. A concrete chasm, crisscrossed by bridges and escalators, would connect an underground parking garage to a new train station; a row of mismatched office towers would straddle the station’s tracks. For added variety, celebrated architects were brought in to design the various buildings; Koolhaas designed the convention hall.

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[jetsetter]

Because his buildings are all types of ugly?