雷姆·库哈斯

雷姆·库哈斯（荷兰语：Rem Koolhaas，1944年11月17日—），荷兰建筑师，于2000年获得第二十二届普利策克奖。

生平

1944年出生于荷兰鹿特丹。库哈斯早年曾做过记者和电影剧本撰稿人，1968至1972年间，库哈斯在伦敦的建筑协会学院（AA School of Architecture）学习建筑，之后又前往美国康奈尔大学学习。

1975年，库哈斯与埃利亚·曾赫利斯（Elia Zenghelis）、祖·曾赫利斯（Zoe Zenghelis）一起在伦敦创立了大都会建筑事务所（OMA），后来OMA的总部迁往鹿特丹。目前，库哈斯是OMA的首席设计师，也是哈佛大学设计研究所的建筑与城市规划学教授。

主要建筑作品

拉维莱特公园（1982年）

康索现代艺术中心（1988年）

荷兰舞蹈剧院（1988年）

波尔多住宅（1994年）

荷兰驻德国大使馆（1997年）

现代艺术博物馆扩建（1997年）

西雅图中央图书馆（1999年）

中央电视台新址大楼（2002年）

Prada专卖店室内设计（纽约2003年，洛杉矶2004年）

葡萄牙波多音乐厅（2005年）

台北表演艺术中心（2008年）

Remment Lucas Koolhaas (Dutch: [rɛm ˈkoːlɦaːs]; 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. He is often cited as a representative of deconstructivism and is the author of Delirious New York: A Retroactive Manifesto for Manhattan.

He is seen by some as one of the significant architectural thinkers and urbanists of his generation, by others as a self-important iconoclast. In 2000, Rem Koolhaas won the Pritzker Prize. In 2008, Time put him in their top 100 of The World's Most Influential People. He was elected to the American Philosophical Society in 2014.

Early life and career

Remment Koolhaas was born on 17 November 1944 in Rotterdam, Netherlands, to Anton Koolhaas (1912–1992) and Selinde Pietertje Roosenburg (born 1920). His father was a novelist, critic, and screenwriter. His maternal grandfather, Dirk Roosenburg (1887–1962), was a modernist architect who worked for Hendrik Petrus Berlage, before opening his own practice. Rem Koolhaas has a brother, Thomas, and a sister, Annabel. His paternal cousin was the architect and urban planner Teun Koolhaas (1940–2007). The family lived consecutively in Rotterdam (until 1946), Amsterdam (1946–1952), Jakarta (1952–1955), and Amsterdam (from 1955).

His father strongly supported the Indonesian cause for autonomy from the colonial Dutch in his writing. 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. "It was a very important age for me," Koolhaas recalls "and I really lived as an Asian."

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.

In 1963 at age 19, he was a journalist for the Haagse Post before starting studies in architecture in 1968 at the Architectural Association School of Architecture in London. In 1972, he received a Commonwealth Fund (Harkness) Fellowship to study with Oswald Mathias Ungers at Cornell University in Ithaca, New York, followed by studies at the Institute for Architecture and Urban Studies in New York City.

Koolhaas first came to public and critical attention with OMA (The Office for Metropolitan Architecture), the office he founded in 1975 together with architects Elia Zenghelis, Zoe Zenghelis and Madelon Vriesendorp in London. They were later joined by one of Koolhaas's students, Zaha Hadid – who would soon go on to achieve success in her own right. An early work which would mark their difference from the then dominant postmodern classicism of the late 1970s, was their contribution to the Venice Biennale of 1980, curated by Italian architect Paolo Portoghesi, titled "The Presence of the Past". Each architect had to design a stage-like "frontage" to a Potemkin-type internal street; the façades by Costantino Dardi, Frank Gehry and OMA were the only ones that did not employ Post-Modern architecture motifs or historical references.

Other early critically received (yet unbuilt) projects included the Parc de la Villette, Paris (1982) and the residence for the Prime Minister of Ireland (1979), as well as the Kunsthal in Rotterdam (1992). These schemes would attempt to put into practice many of the findings Koolhaas made in his book Delirious New York (1978), which was written while he was a visiting scholar at the Institute for Architecture and Urban Studies in New York, directed by Peter Eisenman.

Architectural theory

Delirious New York

Koolhaas's book Delirious New York set the pace for his career. Koolhaas analyzes the "chance-like" nature of city life: "The City is an addictive machine from which there is no escape" "Rem Koolhaas...defined the city as a collection of 'red hot spots'." (Anna Klingmann). As Koolhaas himself has acknowledged, this approach had already been evident in the Japanese Metabolist Movement in the 1960s and early 1970s.