"Influence is a very unpleasant subject and I deal with it in a maybe irresponsible way, which is to really ignore it. It would be a nightmare if we started to really think about it; it would tie our hands, it would tie everyone else's hands"
About this Quote
Koolhaas is doing something sly here: he admits influence is real while treating it like a taboo best kept out of the room. Calling it "unpleasant" isn’t modesty; it’s a warning about a particular kind of self-consciousness that can sterilize making. In architecture, where every line can be read as citation, ideology, or brand positioning, "influence" quickly turns into a moral ledger: who copied whom, who legitimizes whom, who deserves credit. Koolhaas refuses that courtroom.
The phrase "maybe irresponsible" is the tell. He knows the easy critique: ignoring influence sounds like refusing accountability. Yet he frames attention to influence as a trap, not a duty. "Nightmare" and the repeated "tie our hands" turns influence into a bureaucratic restraint, a paralysis of permission-seeking. It’s not just about protecting his own freedom; it’s about preserving a field’s capacity to move. Once everyone starts policing lineage, architecture becomes a cautious industry of footnotes.
The context matters: Koolhaas rose to prominence by sampling and remixing modernism, pop culture, urban chaos, and the global economy, then packaging that mix as theory and form. His work thrives on contamination. Taking influence too seriously would demand purity tests that his entire project rejects. The subtext is pragmatic and a bit combative: creativity requires selective amnesia, a willingness to borrow without asking for a hall pass, and the nerve to act before the critics can map your genealogy.
The phrase "maybe irresponsible" is the tell. He knows the easy critique: ignoring influence sounds like refusing accountability. Yet he frames attention to influence as a trap, not a duty. "Nightmare" and the repeated "tie our hands" turns influence into a bureaucratic restraint, a paralysis of permission-seeking. It’s not just about protecting his own freedom; it’s about preserving a field’s capacity to move. Once everyone starts policing lineage, architecture becomes a cautious industry of footnotes.
The context matters: Koolhaas rose to prominence by sampling and remixing modernism, pop culture, urban chaos, and the global economy, then packaging that mix as theory and form. His work thrives on contamination. Taking influence too seriously would demand purity tests that his entire project rejects. The subtext is pragmatic and a bit combative: creativity requires selective amnesia, a willingness to borrow without asking for a hall pass, and the nerve to act before the critics can map your genealogy.
Quote Details
| Topic | Ethics & Morality |
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