Rem Koolhaas: ‘Every building I design is an escape’

Rem Koolhaas is always searching for a way out. The celebrated architect behind landmarks like Beijing's CCTV Headquarters and the De Rotterdam complex in the Netherlands, has a deep-seated fear of claustrophobia. He won’t let it take hold in any of his creations. This fear has shaped his distinctive designs, which break free of traditional boundaries, creating vast open spaces inside sleek, minimalist exteriors. ‘In all my buildings, you could say I’m trying to escape,’ he shared with Dinogo.

Libraries may not seem like an obvious match for Koolhaas' vision. The stereotypical library—dim, cramped, and maze-like—doesn't exactly align with his preference for openness and light (‘the typical lighting in libraries is unpleasant,’ he noted). However, his 2004 design for the Seattle Public Library remains one of his most iconic works, and his reimagining of the Qatar National Library shattered conventions once more. Spacious and bright, you wouldn’t guess that over a million books rest beneath its slanted roof, with most of them in full view.

The Doha-based library opened its doors in 2018, and it was here that Dinogo had the chance to sit down with the world-renowned architect and founding partner of OMA.

Qatar, a small yet bustling country on the Arabian Peninsula, is home to about three million people, mostly expatriates. Koolhaas has undertaken several projects in the region and describes his connection to Qatar as one of the longest and most enduring relationships of his career.

It could’ve happened sooner. In the late '90s, Japanese architect Arata Isozaki was working with a local figure of influence and reached out to Koolhaas. 'He asked me, do you want to design a bungalow for a horse?' the Dutch architect recalls. 'I was so rigid that I turned it down, saying, ‘A bungalow for a horse? Never.’ But now, after spending more time here, I realize that it could have been an incredible opportunity.'

Starchitect? 'I despise it.'

As expected from someone who once declared 'kill the skyscraper' in 2004, Koolhaas doesn't believe towering buildings are the ultimate solution to creating meaningful spaces. 'I still think skyscrapers aren’t necessarily the most compelling form of architecture,' he said. There are other ways to shape iconic destinations: airports, museums, and even libraries. His firm, OMA, led by eight partners, has played a role in the development of countries transitioning to global prominence, including China, Colombia, and Saudi Arabia. But Koolhaas is content to step away from projects once they’re completed.

'Once a building exists beyond me, I no longer claim ownership. I can almost forget that I was ever deeply involved in its creation,' he explained.

Dressed in his signature black turtleneck and trousers (he’s long had a connection with Prada), Koolhaas bristles when the term 'starchitect' comes up, a label that has followed him for decades. 'I hate it. I hate it because it’s a total caricature, implying that you’re a terrible person who steamrolls others, shows no care for clients, and is a nightmare to work with,' he lamented.

'It’s a laziness in the critical lens,' Koolhaas remarked. 'There’s so much more to discuss. The label ‘star architect’ is a shallow oversimplification of the vast effort that goes into building something… 'Oh, he just parachutes in, does a trick, and disappears.' Every building requires immense labor. I’m not complaining, but it’s exhausting work.'

In recent years, Koolhaas has deeply considered the use of space and resources. His 2020 Guggenheim Museum exhibition, 'Countryside: The Future,' argued that the rural landscape had undergone profound changes to accommodate urbanization. The countryside had effectively become a dumping ground for the infrastructure needed to support cities — like data storage and distribution centers. As an architect often tasked with designing masterplans, it served as a period of introspection for him.

Koolhaas believes cities themselves need rethinking. 'If we truly want to take sustainability and climate change seriously, I think we may enter an era where urban skylines become less varied,' he said. This could mean fewer soaring skyscrapers next to sprawling horizontal structures. 'I also foresee a more balanced interaction between city and countryside. I predict—though it’s a risky prediction—that there will be new, more sustainable ways to inhabit rural areas.'

Koolhaas has long been a towering figure in architecture, embodying both the role of a visionary and a critical, contrarian voice. A former journalist, he continues to write extensively, living what he describes as a 'double life,' where he can 'do and write whatever I want,' free from the constraints of his architectural practice.

'It’s equally thrilling to remain a writer,' he explained. 'It allows me to explore issues that have little to do with me directly, but are more about commenting on the world, perceptions, cultural shifts, or insights into human relationships.'

However, the industry offers little space for pure idealism, demanding a focus on pragmatism and occasional compromise with market dynamics.

Koolhaas reflects that, historically, architects were largely public servants, working for governmental entities. However, the rise of the private sector coincided with his entry into the profession, during the political rise of Ronald Reagan and Margaret Thatcher in the late 1970s and 80s.

'The neoliberal era they ushered in had a profound effect on architecture,' he remarked. 'In subtle ways, it undermined the credibility of architects, as we could no longer claim we were doing things 'for the public' or 'for the benefit of society.' We started working for individuals with personal ambitions.'

Despite Qatar’s centralized governance, led by an emir who backed its National Vision 2030 initiative, Koolhaas points to the country as an interesting contrast. He argues there is still a civic component to the work being done. 'Yes, these are private projects, but the Qatari state is powerful, with clear ambitions that architects can align with and work for,' he said. 'This is the one place where ambition has continually outpaced my skepticism.'

The partnership continues, with OMA currently designing the Qatar Auto Museum. Spanning 30,000 square meters and built on the site of the 2011 Qatar Motor Show, the museum has no official completion date, but it represents a fitting symbol for a petrostate shifting toward a knowledge-based economy. Expect the trademark OMA style: sleek lines, playful irreverence, and local design influences.

Koolhaas may always be searching for an escape, but it seems he’s not looking to leave Qatar.