雷姆·库哈斯：一种建筑师

整体干货比较多，涉及库哈斯具体的职业经历与设计哲学。

无字幕纪录片配上库哈斯浓重的荷兰口音让观看变得愈加困难。尝试做一些文字稿的整理：

"Koolhaas started out as a journalist for a conservative-liberal paper. He was more or less a lifestyle journalist. Koolhaas was good at writing, and he was also interested in writing. His father was a prominent author in the Netherlands. Anton Koolhaas, the narrator."

"Like many others at the Haagse Post, Rem Koolhaas went on to do something else. He got involved in making films. He wrote screenplays and was part of a group of Dutch filmmakers among with Rene Daalder, and today well known Jan de Bont, Robby Muller, who was Wim Wenders' cameraman, and a couple of others."

"I think the two professions, screenwriter and architect, are very close, because for both you have to consider a plot, develop episodes, and you have to create montages that make it interesting..."

“His father a writer, his grandfather an architect. Koolhaas becomes both. An architect who writes, and a writer who builds.”

"The reason he decided to go for architecture could well be his encounter with Constant, whom Koolhaas interviewed for the Haagse Post in 1966. Constant, originally a painter, had become a member of the Situationists. For them, criticising urbanism was the key to criticising life in general. Their sphere of activity: 'The city's grid as the natural expression of a collective creativity.' Their goal :'to reintroduce adventure in urban centres. To maximize public spaces. To see architecture as a means to insight and action, as the simplest means to modulate reality, to make it dream.' To attain this goal, Constant developed the concept of the covered city. Instead of isolated housing units and minimal social space, Constant pleads for a total condensation. Instead of dividing streets and buildings, he wants a continuous spatial construction, which contains groups of spaces as well as public spaces, a city of diversity that consists of a diversity of labyrinthine passages, an architectonic utopia that bears the name 'New Babylon'. Koolhaas decided to imitate him. To test possibilities for existing cities, and make models and plans for future cities. To maximize public spaces and modulate reality."

"A beautiful thing about architecture is of course that it is always 'used'. There is no architecture inaccessible in a way, and in that sense architecture gets very unique. Movies can be inaccessible, music can be inaccessible, plays can be inaccessible, but architecture cannot be inaccessible. So in a certain way, ... medium that has been used (实在听不太清楚...) is one of the last connections to morality. That is perhaps the incentive for me to shift from screenwriting to architecture."

“To him, the Berlin Wall isn't a boundary or demarcation line. To him, it's architecture. He describes how a city is divided into a good and a bad part. The good part is walled with the result that everyone in the bad part wants to go to the good part. This therefore confirms the principle: Build a wall and everybody will think that there's a great party on the other side. A collective space that paradoxically enough is characterized by freedom. He applied this to a vision which he unfolded for London in his study Voluntary Prisoners. Build a big wall in the middle of the city, and make a clear division and hierarchy in the urban area. Create an exclusive zone in the middle for a collective that feels itself to be free within this zone. The consequence will be that the rest of the city's inhabitants want to enter that zone. In his vision of London, his utopia, or rather dystopia, the rest of London becomes desserted. It becomes an empty ruin, a wasteland. The people in the compact, the walled-up zone, are perfectly happy. This is of course a totalitarian fantasy, which neverthelss is an important pivotal point with Koolhaas: Cities grow rampant in all directions, into the slums. There's no clear image of the city anymore. It lacks clear outlines. He approves of this and wants to make something new emerge from the chaos. At the same time, he tries to mark out moments in that chaos, mark out zones and create plains for public spaces, as well as landmarks.”

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