Publicly known as ‘rem’ Koolhaas, his given name Lucas ‘rem’ Koolhaas drew his first breath in Rotterdam, 1944. Brought into a world still recovering from WWII. Through growing up during this time period Koolhaas had gained a profound understanding that architecture, in order to be advanced, has to be adapted to the modernistic needs of the era. The cultural significance of the modern movement was a phenomenon that Koolhaas had desired to become aware of through the application of this in recent architecture.That is to say, in which architecture tended to unfold, stagnant structures were a thing of the past, it was Koolhaas’ obligation to uncover innovative channels and conceivably film was the most in tune with our times and society. Not to mention the architects’ curiosity in cinema, he took film plus the instruments it used and applied it directly in architectural practice. It was this scholarly and filmic training, that kick-started his enthusiasm for the city and architecture. Arguably, Rem Koolhaas is the uppermost influential architect of the previous 30 years, he collaborated with architect Maarten van Severen to produce a design so extravagant, that it shocked most of the world. The designated name for the delineation is The Elevator Platform in Maison Bordeaux. The theory for this particular project was to gain mastery over a problematic situation that caused a lot of struggle to the citizens of Holland, due to the country having such a watery landscape, they constantly have to drain the land to prevent it from descending back into the North Sea. Today, the elevator platform transports entire rooms to move up and down with the superlative comfort and security. In the aspects of measure, the architects; Rem and Maarten had made certain that the quantity of levels in the household is rational because most architects hate irrational numbers, specifically when it comes to how many levels to include in a building. Humans think this way due to the brain being associated with even digits as society has brought us up to think that way so much as though it’s a knock-on effect. Koolhaas proposed a relatively unpretentious volume that was spatially complex and advanced. The design was completed in 1998, making that 20 years ago this year so initially the edifice isn’t that ancient quite yet, as opposed to the sacred Vatican City or the Colosseum in Rome. Nonetheless, gradually the measure of time will become more of value.
The underlying concept of why the architects’ created the countless circular window designs dotted around the property was to allow a sizable amount of natural light into the interior spaces creating artifice. The purpose of this specific build is designed for a couple and their family, but before Koolhaas and OMA were contracted for the assignment in 1994 the family found themselves in an unexpected position as a fatal car accident left the husband paralyzed from the waistline down resulting in him losing the ability to walk leaving him disabled and wheelchair bound. Two years after the incident, the family had reached out to Koolhaas and had managed to contract him on designing a new and innovative home that met their new-found requirements within the Boudreaux suburbs. Despite having been declared disabled, the gentleman did not desire a traditional family house instead he craved a multifarious design.