向雷姆•库哈斯学习的10样东西
10 Lessons To Learn From Rem Koolhaas

由专筑网缕夕，韩平编译

当你看到炯炯有神的眼睛，弯弯的眉毛和一个叛逆的高脸坚定的下巴，你就会知道这个男人是不平凡的。即使从照片中，你也能看到他自带别样的光环，当你看他的作品时，你知道你这样想是没有错的。

The man is not ordinary, you realize as soon as you glimpse the piercing eyes, the arched high-brows and the firm jaw on a rebelling countenance. Even from the pictures you can discern the aura that distinguishes, and when you look at his works, you know you were not wrong in thinking thus.


Photography: AD/Sanne Donders

“我讨厌成为一名建筑师。我真的很讨厌建筑师。“库哈斯说，他讨厌称自己的建筑师，更不愿意自己被称为是名人之一，虽然他已经成为社会公认的明星建筑师，有一支备受好评的精英部队，他已经成为了建筑界的偶像，甚至在公众中一定的知名度。向库哈斯的内心窥探一番，将会发现其好奇的本性和对生活的不同看法。库哈斯的简介介绍他是荷兰公司 OMA（大都会建筑事务所办公室）的首席建筑师，70岁，获得普利兹克奖，以及诸如西雅图公共图书馆，Euralille，Kunsthal等知名项目的建筑师。他的工作经常被非常规思想观念的争议所包围，受到了批评，也被称为杰作。雷姆•库哈斯也在2008年世界上前最有影响力的100人物榜上排名。

那么我们可以从像他一样的人那里学到什么东西呢？

“I hate being an architect. I actually hate architects.”  Koolhaas, who hates to call him self an architect is a one of the elite corps of starchitects whose celebrity and critical acclaim have transformed them into idols of the architecture world, and may even have given them some degree of fame amongst the general public. To take a peek inside the mind of Remment Koolhaas, would be to discover an inquisitive nature set against the common conventions with a different outlook towards life. A brief introduction of Koolhaas would include him being the Chief Architect of the Dutch firm OMA (Office of Metropolitan Architecture) at 70, winner of the Pritzker Prize, and the architect of renowned projects like the Seattle Public Library, Euralille, Kunsthal and many more. Often surrounded in controversies for his unconventional ideas and concepts, his work has been deeply criticized and has been called a masterpiece as well. Rem Koolhaas was also in the 2008 Time’s list of the top 100 of world’s most influential people.
So, what are the lessons that we can learn from a man like him?


中央电视台总部 - 由大都会建筑事务办公室（OMA）提供/China Central Television Headquarters- Courtesy of the Office for Metropolitan Architecture (OMA)- Photography: poeloq

1.永不妥协你的设计。

“商品房是幻想，是一切。”——美国的《连线》杂志，2000年6月。

对我们中的一些人来说，这似乎是一件显而易见的事，但事实上很少有建筑师能改变他们的工作和思维方式，以便获得一个好的佣金。虽然这可能更好地填满你的钱包，但它不会给你满足感以及让你亲近自己的设计。此外，如果你想在这个行业中有一个名字，你必须设置一个属于你的身份，而不是像你遇到的其他设计师一样。雷姆•库哈斯一直不妥协而现在拥有大量已经完工的项目。

1. Never Compromise with your Design.
“The unbuilt is the fantasy that underlies everything.” – Wired, June 2000
This might seem like an obvious thing to some of us, but there are actually very few Architects who do not modify their work and way of thought in order to land a good commission. While, this might be good for filling your pockets, it will not grant you the satisfaction and be akin to cheating with your own design. Further, if you ever want to have a name in this industry, you will have to set an identity that is yours and not like every other designer you come across. Rem Koolhas has been uncompromising and a vast number of his projects have gone unbuilt.


111第一街道（未建造的） - 由大都会建筑事务所（OMA）提供/111 First Street (Unbuilt) – Courtesy of Office for Metropolitan Architecture (OMA)

2.挑战权威

“我们被看到城市衰落危机的人们所包围。我自动接受这种改变。然后，我试图找到改变方式来加强原来的身份。这是一个有信心、没有信心的奇怪组合。“ —— 史密森杂志，2012年9月。

变化是显而易见的，人们需要接受它。这种变化也应反映在我们的设计中，与传统的思维方式不同。不要忘记他的身份，而是随着时间的推移学习发展。

2. Challenge Conventions
“We are surrounded by crisis-mongers 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.” – Smithsonian Mag, Septebmer 2012
Change is evident in everything, one needs to embrace it. This change should reflect in our designs as well, unlike the conventional way of thought. One should not forget his identity but learn to evolve with time.


葡萄牙波尔图音乐厅 - 由大都会建筑事务所（OMA）提供/Casa da Música Porto Building- Courtesy of the Office for Metropolitan Architecture (OMA)- Photography: Dziczka

3.参加比赛

“我绝对没有想过金钱或利益，但作为一名建筑师，我认为这是一种力量。它让我不用负责任，投入于我的工作。“——史密森杂志，2012年9月。

大家都知道库哈斯参加了很多比赛。他说，这是一个通过你自己的努力来发展的过程。有更多的好处能表达自由，不用理会客户是否满意。他不在乎这是否花了他钱，经济问题从来没有真正困扰过他。

3. Go For Competitions
“I’ve absolutely never thought about money or economic issues, but as an architect I think this is a strength. It allows me to be irresponsible and to invest in my work.” – Smithsonian Mag, Septebmer 2012
Koolhaas is known to enter a lot of competitions. It is a process of developing through your own endeavors, according to him. They have the added benefit of freedom to express with no client to satisfy. He does not care if this costs him money, economic issues have never really bothered him.


Axel Springer媒体中心，获奖竞赛 - 由大都会建筑事务所（OMA）提供/Axel Springer Media Center, Winning Competition Entry – Courtesy of Office for Metropolitan Architecture (OMA)

4.把你的想法呈现给世界

英国建筑师兼评论家查尔斯•詹克斯（Charles Jencks）表示：“库哈斯之前在'Remirious New York'的写作比他的建筑更加出名，而且比他的建筑更好。““后来他的建筑已经赶上了它。”——纽约时报杂志，2000年7月。

沟通是思想家，设计师必备的工具。如果您向他们说明您的想法，人们将更加了解您的工作，甚至学会欣赏您的创造力。可以选择任何通信媒介。据了解，库哈斯在世界各地旅行时都会撰写关于各种话题的书。顺便说一句，有什么是一个不值得传播的想法呢？

4. Present your thoughts to the World
“The writing of ‘Delirious New York’ was famous before Rem’s architecture, and it was better than his architecture,” says the British architect and critic Charles Jencks. “His architecture has caught up with it.” – The New York Times Magazine, July 2000
Communication is a necessary tool for a thinker, a designer. People will understand your work more and even learn to appreciate your creative instincts if you explain your thoughts to them. Any medium for communication can be chosen for the purpose. Koolhaas has been known to write half a dozen books on a variety of topics while traveling around the world. What is an idea if not worth spreading, anyway?


大都会建筑事务所（OMA）的文明办公室/Courtesy of Office for Metropolitan Architecture (OMA)

5.作为你作品的主人

你应该意识到你自己选择的领域，你自己的认知应该是清晰的。只有这样，你才能真正了解自己的技艺，以你想要的方式向世界展示你的想法。这是伴随经验而来的东西，但是，应该为它工作。

5. Be the master of your craft
You should be aware of your own chosen field, your own perceptions should be clear. Then and only then can you truly know your craft and manifest your ideas to the world the way you want. This is something that comes with experience, but, nevertheless should be worked for.


鹿特丹——由大都会建筑事务所（OMA）提供/De Rotterdam – Courtesy of the Office for Metropolitan Architecture (OMA)- Photography: R08-42

6.原创

尽管听起来很简单，但我们都清楚地知道，事实并非如此。人们浏览杂志、上网寻找创意，有时最终抄袭了它们。像库哈斯一样，一个人应该对生活有一个个人的看法，概念应该来自于那个。这给你的设计增添了个人的魅力，只有你自己才能创造。

6. Be original
As rudimentary as that sounds, we are all well aware that is not generally the case. People browse through magazines, internet in search of ideas and sometimes end up copying them. Like Koolhaas, one should have an individual outlook towards life and concepts should be derived from that. This adds a personal touch to your design that only you can create.


Kota Tua Design——由大都会建筑事务所（OMA）提供/Kota Tua Design- Courtesy of the Office for Metropolitan Architecture (OMA)

7.空间规划

库哈斯的作品在空间的微妙互动中流动。这些空间被很好地定义了，但它们却彼此流动，就像一个完美的序列，因为它们应该是正确的。这为他在当今许多建筑中缺失的作品提供了一种氛围。一个参观者在视觉上绘制和情感连接到他的设计。

7. Spatial Planning
Koolhaas’ work flows in a subtle interplay of spaces. The spaces are well defined and yet, flowing gently into each other, as if in a perfect sequence, as they should exactly be. This provides an ambience to his works missing in many of today’s architecture. A visitor is visually drawn and emotionally connected to his designs.


Faena Forum艺术中心——由大都会建筑事务所（OMA）提供/Faena Forum Arts Center- Courtesy of the Office for Metropolitan Architecture (OMA)

8.永远学习和发展

“他想继续学习和发展是永恒的。”59岁的Petra Blaisse（内部景观设计师）和雷姆（Rem）的同伴，“  Wmagazine
库哈斯从小就受到周围发生的一切的影响。在寻找自己是谁的路上，深受他父亲写的现实主义小说的影响。出生在盟军的轰炸大战中，在鹿特丹，在废墟炸毁建筑物和在战后重建时期成长起来的韵律，使他更接近于建筑和塑造了他的观点。在雅加达时，他与超现实主义作家的工作，增强了他的人格。他从经验中吸取教训，从他所看到的和他的作品中始终存在的思想向它们提供库哈斯的光环。

8. Learn and Developing eternally
“He wants to keep on learning and developing eternally.” Petra Blaisse, 59, an interior and landscape designer, and Rem’s companion, Wmagazine
Koolhaas was influenced by all that happened around him as a kid and as he grew up. Becoming who he is now, was a process influenced by his father, who wrote realist novels. Being born into the allied bombardment phase of World War II, in Rotterdam, playing among the rubbles of blown-up buildings and growing up in a post war reconstruction era, brought him closer to architecture and shaped his views. His time in Jakarta and later on his stint with Surrealist writers would add to his personality. He learned from experience, from what he saw and that thought is ever-present in his works lending them a Koolhaas-aura.


街道厕所——由大都会建筑办公室（OMA）提供/Street Toilet- Courtesy of the Office for Metropolitan Architecture (OMA)- Photography: Gerardus

9.有远见

“ 这是把纽约这个想法作为一个绝望的例子，更不可信的是，它似乎在捍卫它，更令人兴奋的是写下来。” - 史密森杂志关于“发狂”的描述， Septebmer 2012

视觉是设计师的出发点。如果你不能想象你想要什么，你就不是一个好设计师。做一个有远见的人不仅意味着能够看到别人不能看到的东西，也可能隐藏在时间的褶皱里，或者也许永远不会被利用。空间是建筑师的生食，他可以随意烹饪。库哈斯可以通过各种手段拥有典型的视觉，从他的书，“发狂”。这些书是关于1970年代时候的纽约，当时是一个螺旋式的螺旋，但不是库哈斯的。对他来说，这是一个完美的环境，一个城市的天堂。

9. Be a visionary
“It was geared against this idea of New York as a hopeless case, the more implausible it seemed to be defending it, the more exciting it was to write about.” – About ‘Delirious’ ,  Smithsonian Mag, Septebmer 2012
Vision is the starting point for a designer. If you cannot envision what you want, you are no good as a designer. To be a visionary means not only that, it means to be able to see what others cannot, a potential hidden away in the folds of time perhaps or never utilized. A space is the raw food for an architect, he can cook it anyway he wants. Koolhaas can by all means boast to have an exemplary vision, his book, ‘Delirious’, confirms that. The books is about the 1970s New York City, which was a decaying spiral back then, but not for Koolhaas. To him it was a perfect setting, an urban paradise.


西雅图中央图书馆——由大都会建筑事务所（OMA）提供/Seattle Central Library – Courtesy of the Office for Metropolitan Architecture (OMA)- Photography: DVD R W

10.接受

“接受某些现实并不排除唯心主义。它可以导致一定的突破。”——史密森杂志，2012年9月。

最后的结果是接受。所有的想法和概念都是好的，但最终你必须把它放在现实中。对于接受一定的场合是很重要的。理想主义需要与现实主义同步。库哈斯的项目恰如其分地证明了这一点。据说他们正处于两个世界的边缘。把它们平衡起来无疑是一件值得学习的艺术。

10.  Acceptance
“The acceptance of certain realities doesn’t preclude idealism. It can lead to certain breakthroughs.”  – Smithsonian Mag, Septebmer 2012
Last of all comes Acceptance. All the ideas and concepts are good, but eventually you have to set it all in reality. For that accepting certain eventualities is important. Idealism needs to be in sync with realism. Koolhaas’ projects demonstrate that aptly. They have been said to lie just at the brink of both worlds. To balance them together is most certainly an art and something worth learning from.


荷兰大使馆，柏林——由大都会建筑事务处（OMA）提供/Embassy of the Netherlands, Berlin- Courtesy of the Office for Metropolitan Architecture (OMA)- Photography: Achim Raschka


出处：本文译自www.arch2o.com/，转载请注明出处。