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“... In Delirious New York (1978), his ‘retroactive manifesto’ for Manhattan, Rem Koolhaas published an old tinted postcard of the city skyline in the early 1930s. It presents the Empire State, Chrysler, and other landmark buildings of the time with a visionary twist – a dirigible is set to dock at the spire of the Empire State ...”

“... and finally the ‘iconic’ works of the starchitects – Frank Gehry, Zaha Hadid, Rem Koolhaas, Daniel Libeskind et al – who, Hatherley sneers, ‘manage to combine formal spectacle and moralistic sobriety’. Such is the bagginess of pseudomodernism that there’s room not only for former ‘deconstructivists’, but also for such ...”

“... the other obliquely – to this problematic of modernisation today. In the middle of the Arsenale, Rem Koolhaas displays 38 documentary banners on the subject of the ‘Expansion of Art World’ and the role of celebrity architecture in it, collating research drawn from recent projects of his Office of Metropolitan Architecture, which is complicit with ...”

“... view (until 31 May). Vriesendorp became friends with Jencks in the late 1960s: her then husband, Rem Koolhaas, was one of his students at the Architectural Association and in 1975 Koolhaas and Vriesendorp co-founded the architectural firm OMA. Vriesendorp’s watercolour Flagrant Délit was reproduced on the cover of ...”

“... It’s the second and third waves that succeed – they include Will Alsop, Future Systems, Rem Koolhaas and Coop Himmelb(l)au. And while architecture may be 10 per cent bedsit lucubration, it is 110 per cent a cut-throat business that demands graft, oily diplomacy, baksheesh, clubbable chumminess, anilingual shamelessness. In their day jobs ...”

“... who won the prize in 1989) have, over the years, chosen a significant number of winners (Gehry, Rem Koolhaas and now Hadid) whose reputations, at the time of the award, depended to a great extent on small buildings or on their contributions to a parallel universe of competition entries and imaginary projects. Hadid, in particular, has been famous for ...”

“... architects design museums; bad architects design malls.’ That was the prevailing attitude, and Rem Koolhaas once referred to Jon Jerde, the Glendale architect, as Frank Gehry’s ‘evil twin’. This was just snobbery, of course: people who go to museums are thought to engage with the building they are in, while shoppers are thought not to notice ...”

“... of mainstream British architecture. He developed a contempt for his profession that was shared by Rem Koolhaas, another architect with a Le Corbusier fixation who happened to be teaching at the AA at the time. While Krier came to believe that no respectable architect could build anything with a clear conscience, ...”

“... to extend its exhibition space for decades, but proposals of various merit by Michael Graves, Rem Koolhaas and Piano were all shot down, largely because of the effect they would have had on adjacent brownstones which, though nondescript, had landmark status. With the new deal the Whitney could leave uptown, and appear generous in doing so, while the ...”

“... revolutionaries aiming to introduce Taylorist ‘scientific management’ to their factories; Rem Koolhaas, whose Delirious New York (1978) linked the collective dream projects of the Soviet avant-garde to the built realities of Coney Island and the Rockefeller Centre; and, after one of the two empires had disappeared, Susan Buck-Morss, who in ...”

“... dedicated to inanimate art. During the first boom in museums in post-1989 ‘new Europe’, Rem Koolhaas remarked that since there’s not enough past to go around, its tokens can only rise in value. Today, it seems, there’s not enough present to go around: for reasons that are obvious enough in a hyper-mediated age, it is in great demand too, as ...”

“... intellectual medium. Life Style follows on from the mammoth monograph of architectural projects by Rem Koolhaas, S, M, L, XL (1996), which Mau helped to design (these are not coffee-table books, they are coffee tables). With his usual wit Koolhaas picked this title to signal not only the various scales of his work from ...”

“... philanthropy, fed by oil revenues, set against backdrops provided by Frank Gehry, Zaha Hadid, Rem Koolhaas or Jean Nouvel. Though Rykwert mentions none of these architects by name, their work plainly lies behind his guiding assumption that the ‘privatisation’ of political and financial power in modern times has led to a wave of arbitrary ...”

“... as if Foster wanted to outdo the tomes produced for more notorious peers such as Frank Gehry and Rem Koolhaas, whose offices seem like cottage industries in comparison with his. For Foster is also ‘Foster and Partners’, a practice of more than six hundred people with projects in fifty countries. There are six large design groups, each headed by two ...”

“... extensive collaboration but also ‘infinite conversation’. In 2006, with another ‘mentor’, Rem Koolhaas, he launched the Serpentine Marathon, a ‘24-hour polyphonic knowledge festival where all kinds of disciplines meet’, and he has adapted this strategy of accumulation to other forms too, with compilations of ‘manifestos for the 21st ...”