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Rem Koolhaas
designing the design process
Who is Rem Koolhaas
- Born in the Netherlands in 1944
- Studied script writing in the Netherlands and
- Architecture at the AA in London
- Co-founded architecture firm OMA in 1975
- Co-founded think tank AMO in 1998
Seattle public library

http://www.flickr.com/photos/75905404@N00/371038175/
Casa da Música

http://www.flickr.com/photos/wojtekgurak/5827545090/
CCTV HQ
Rothschild HQ
             http://oma.eu/media/291397/
rothschildbank___oma_by_philippe_ruault_108_72.jpg
Delirious New York
Project Japan
For four decades Koolhaas has
managed to stay at the top of his
profession by producing creative,
ground-breaking ideas at a record
speed - how does he do it?
“To keep thinking about
what architecture could be.
What I could be.”

Rem Koolhaas

Index Magazine, 2000
1. Observation
1. Observation   2. Studio
1. Observation   2. Studio




                   3. Models
1. Observation   2. Studio

                               4. Archives



                   3. Models
1. Observation   2. Studio

                               4. Archives


                               5. Books
                   3. Models
1. Observation
“We look at the current moment and see
where and in what way we could make a
certain breakthrough.”


Rem Koolhaas

OMA in conversation, Barbican 2011
1. Observation   2. Studio
“What the OMA process focuses on is not
the creator but the critic. ”


Rem Koolhaas

INTELLIGENT DESIGN Can Rem Koolhaas kill the skyscraper? New Yorker, 2005
“Of course it’s easier to use materials
from the shelf, from the catalogue, but
we can’t be on the cutting edge if we do
that.”


Kunlé Adeyemi

Made by the Office for Metropolitan Architecture: an ethnography of design, 2009, page 86
“We really want every year at least 25%
of our people to be new. And we want
them to be young, bright people.”


Victor van der Chijs

Inside OMA, William Wiles, Icon magazine, 149, 2011
“You can walk out or you can stay the
whole night and you can work here. You
have a freedom to continue to work.”


Mark Veldman

Inside OMA, William Wiles, Icon magazine, 149, 2011
1. Observation   2. Studio




                   3. Models
http://www.flickr.com/photos/rmnl/207379365/in/set-72157594225306617/




"When you have creative minds you get a lot of ideas.
The luxury product is in the fact that we an actually
test all of them.”

  Stephanie Akkaoui
  Inside OMA, William Wiles, Icon magazine, 149, 2011
http://atelierone.wordpress.com/project-four/




  “Past reception [...] is a meeting room filled with
  smaller maquettes. At first glance there appear to be
  perspex and foam models for dozens of projects - but
  close up you see they’re all clearly the same site, [...],
  modelled over and over again.”

  William Wiles
  Inside OMA, William Wiles, Icon magazine, 149, 2011
http://atelierone.wordpress.com/project-four/
http://www.flickr.com/photos/rmnl/207379105/




  “The model [...] presents itself as a [...] complex entity
  composed of multitudes of ‘little persons’; it is much
  bigger, always richer in difference and complexity.”

  Albena Yaneva
  Made by the Office for Metropolitan Architecture: an ethnography of design, 2009, page 26
Open                              Explore   Close
Inspired by Dave Gray, Game Storming
Inspired by Dave Gray, Game Storming
Inspired by Dave Gray, Game Storming
1. Observation   2. Studio

                               4. Archives



                   3. Models
http://www.archined.nl/en/reviews/2010/engels/blue-foam/




  “Archiving the models allowed architects to keep the
  traces of creativity for a longer period of time; de-
  archiving them meant they could rediscover those
  traces of design invention that time had left intact.”
  Albena Yaneva
  Made by the Office for Metropolitan Architecture: an ethnography of design, 2009, page 65
http://www.flickr.com/photos/wojtekgurak/5827545090/




 “The abandoned and temporarily forgotten model of the
 private house came up to the office and re-entered the
 cycles of design. Lingering on the tables of models for
 months, it was finally taken with new assumptions,
 reshaped, refreshed and adjusted.”
 Albena Yaneva
 Made by the Office for Metropolitan Architecture: an ethnography of design, 2009, page 86
“Ten years ago the Netherlands
Architecture Institute (NAI) proposed to
acquire OMA's archive. They sent an art
historian for four months to the office's
basement storage to make an inventory
of all the items. When the work was
done, OMA decided not to sell. Instead
they hired the art historian as its
archivist.”
Rotor

OMA/Progress free guide
1. Observation   2. Studio

                               4. Archives


                               5. Books
                   3. Models
“We [...] spend a lot of time on making books, which is
also part of the presentation materials. There is [...] an
element of clarifying things for ourselves.”
Shohei Shigematsu
Made by the Office for Metropolitan Architecture: an ethnography of design, 2009, page 33
“Like the tables of models, the books are summaries of
the design steps that make the material trajectory of a
project traceable. They keep some traces of exploration,
and present the results of design experimentation.”
Albena Yaneva
Made by the Office for Metropolitan Architecture: an ethnography of design, 2009, page 72
OMA book machine
http://www.dezeen.com/2010/05/05/oma-book-
machine-at-the-architectural-association/
Conclusion
1. Observation   2. Studio

                                    4. Archives


                                    5. Books
                        3. Models




the OMA idea machine
“The biggest part of our work [...]
disappears automatically. [...] But you
can't look at these designs as waste.
They're ideas; they will survive in books.”


Rem Koolhaas

We're Building Assembly-Line Cities and Buildings, Der Spiegel 2011
OMA/Progress
Barbican Art Gallery (until 19 February)
Made by the Office of Metropolitan
Architecture – An Ethnography of Design
Albena Yaneva
Thank you!


Sjors Timmer
@Sjors
Information Architect at SapientNitro ,blog at notura.com

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