Rem Koolhaas rejects architectural sentimentality to embrace the gritty, unpredictable energy of modern life.

Art · Published 3 October 2026 Swipe more like this →

In short: Before he became a world-renowned architect, Rem Koolhaas worked as a journalist and screenwriter. This background informs his unique approach: he avoids fixed aesthetic styles, instead designing buildings that respond directly to the specific needs of clients and the raw, complex character of contemporary urban environments.

Born in Rotterdam in 1944, Koolhaas transitioned from journalism to architecture in the late 1960s. He studied at the Architectural Association in London and Cornell University before co-founding the Office for Metropolitan Architecture (OMA) in 1975 with Elia Zenghelis, Zoe Zenghelis, and Madelon Vriesendorp. His early reputation was built on theory rather than construction; his 1978 book, Delirious New York, framed Manhattan as an organic, evolving process rather than a static plan. This perspective established his career-long interest in how cities function as metaphors for human experience.

Koolhaas is often labeled a deconstructivist due to his use of asymmetry, bold colors, and unconventional spatial arrangements, yet his work remains grounded in the realities of daily life. Unlike architects who pursue a signature look, he prioritizes the 'program'—the specific functions and activities a building must support. This focus on utility led to innovative designs like the Bordeaux house, which features a mechanical glass room serving as an elevator for a wheelchair-bound client, and the Kunsthal in Rotterdam, which incorporates industrial materials like orange steel and electronic billboards.

His influence expanded significantly at the turn of the 21st century with major international projects, including the Seattle Public Library, the Casa da Música in Porto, and the CCTV headquarters in Beijing. Beyond his practice, Koolhaas has shaped architectural discourse through his teaching at Harvard University and his prolific writing, including the 1995 volume S, M, L, XL. His contributions have been widely recognized with top honors, including the Pritzker Prize in 2000, the Praemium Imperiale in 2003, and the Royal Gold Medal in 2004, cementing his status as a central figure in modern design.

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