Rem Koolhaas Quotes

When people condemn me for designing iconic buildings in cities and not having an idea what a city is, they haven't done their homework. I started in urban design and city planning. It's just that when I got out of school there wasn't much of a market for that. There still isn't.

The modern city is ugly not because it is a city but because it is not enough of a city, because it is a jungle, because it is confused and anarchic, and surging with selfish and materialistic energies.

The streets of a modern city are depressing. They are so aimless and so weak in their lines and their masses, that the mind and senses jog on their way like passengers in a train with blinds down in an overcrowded carriage.

Tower'd cities please us then, And the busy hum of men.

In New York, the impact of these concentrated superskyscrapers on street scale and sunlight, on the city's aniquated support systems, circulation, and infrastructure, on its already tenuous livability, overrides any aesthetic. ... Art becomes worthless in a city brutalized by overdevelopment.

I don't like landscapes. I like cities. Lots of cities. I like buildings. I like streets.

The city is like a great house, and the house in its turn a small city.

A culture, we all know, is made by its cities.

New York is vertical - all skyscrapers.

Not only did America invent the skyscraper, it invented the skyline.

I really like Pietermaritzburg: it is really a course for me - really technical.

In Manchester, you don't have proper tall buildings. Or in Munich.

The modern city consists of...dark, narrow streets full of gasoline fumes, coal dust, and toxic gasses, torn by the noise.

Of course, I had a paradigm of a certain city in my head when I wrote these stories, a city that inspired my imagination, but it was only inspiration.

Walking through the city streets... Is it by mistake or design?

…Even the idea of a city never entered his mind. It was as if he had walked under the millimeter of haze just above the inked fibers of a map, that pure zone between land and chart, between distances and legends, between nature and storyteller. The place they had chosen to come to, to be their best selves, to be unconscious of ancestry. Here, apart from the sun compass and the odometer mileage, and the book, he was alone, his own invention. He knew during these times how the mirage worked, the fata morgana, for he was within it.

Cities are the abyss of the human species.

At that time [90th in Lagos], if you drove through the city, you drove through a foreground that always seemed to be incredibly dramatic and incredibly agonised - smoking, burning, incredible compression. In the first year we stayed on the ground and went everywhere. But then in order to discover whether this was the whole story, we rented a helicopter. And we began to understand that this is not chaos but a highly modern system that had been abandoned, then at some point went into reversal, then slowly came out of it.

Cities are natural, that's why they're everywhere. It's not like there's only one city, and everybody's like 'What the f**k is this?' No, cities are all over the place. They're natural. You know what's not natural? You, in the middle of the mountains, in the middle of the winter.

When I'm in a city that's just clean, concrete lines, I get really short of breath and confused. It's much more interesting to me when nature is creeping back and tearing the mortar apart between the bricks.

When we deal with cities we are dealing with life at its most complex and intense. Planners are guided by principles derived from the behaviour and appearance of suburbs, tuberculosis sanatoria, fairs and imaginary dream cities - from anything but cities themselves.

I know that New York is big, there are huge buildings, but in fact, it's quite small and contained.

To the newcomer who has not learned its language, a large city is a chaos of details, a vast Woolworths store of differently colored, simlarly priced objects.

I say we don't need art in nature, because it's so perfect without us. We need it in the cities. But the cities have absolutely lost their own center. They think having ten cars and a big bridge is the way to happiness. It's not.

Instead of looking at individual buildings, it makes more metaphorical sense to think of New York as one enormous chunk of masonry that has been cut up and carved away. It says, 'This is the ultimate polis, through which humans move like nematodes.'