Pier Luigi Nervi's Palazzo del Lavoro (Palace of Labour) in Turin has been devastated by fire. The unoccupied exhibition hall, originally built for Italia'61, had been undergoing renovations. As La Stampa Turin reports, the fire started on the second floor and is most likely the result of arson. A similar incident happened a few months ago, but was quickly extinguished.
The glass encased Palace of Labour is internally divided by 16 structurally independent steel roofed compartments, each supported by radial branches stemming from 65-foot-tall concrete columns.
The City of Milan has announced the winners of a competition to redesign the Piazza della Scala, with a bold idea to reconfigure the Piazza similarly to its arrangement in the 19th Century taking third place. Designed by Chilean architect Cristian Undurraga in collaboration with Laura Signorelli, Stefano Rolla, Sebastián Mallea, Soledad Fernandez, Michele Zambetti, Max Daiber and Leonardo Valdés, the proposal begins with the demolition of the medieval block separating the Teatro alla Scala and the Palacio Marino, developing visual continuity to catalyze construction and improve existing spaces. Read more about the proposal after the break.
ARKxSITE has announced the winners of its call for ideas for a hypothetical contemporary Art Centre to be built in the Fortress of Cresmina in Cascais, Portugal. Open to architecture students and architects under 40 years of age, entrants were challenged to preserve the significant cultural, historical and landscape elements of the Fortress of Cresmina, celebrating the existing ruins to create a unique experience for visitors. The jury comprised Alberto Mottola, (demogo studio di architettura, Italy), Felipe Grallert (Felipe Grallert Arquitectos, Chile) and Rasmus Jessing (COBE, Denmark). See the third, second and first place winners after the break.
In an article for DesignCurial, Shumi Bose visits OMA's new galleries in Milan and Moscow: the Fondazione Prada and the Garage Museum of Contemporary Art. Noting that "the mythologies [between OMA and Miuccia Prada] have become inextricably intertwined" over recent years, "the purpose of [the Fondazione Prada] was to produce a range of spaces for the creation, display of and engagement with art; what results is the built realisation of a particular ethos, affording the protean OMA a return to form. And it was always going to be stylish." Bose's flowing description of the building and its spaces, which she ultimately praises as "a place which will bear return," leads into an equally compelling description of Garage for which she recognises its clear "contribution [...] in supporting, indeed composing, the very narrative of Russian contemporary art."
http://www.archdaily.com/771373/examining-omas-two-latest-venues-for-contemporary-artAD Editorial Team
Open-idea competition platform matterbetter has announced the winners of its Concordia Lighthouse Competition, which sought to pay tribute to the Costa Concordia Disaster of 2012 when a cruise ship capsized off the coast of Tuscany, causing 33 deaths. Open to architectural students and young architectural professionals, participants were asked to “redefine contemporary lighthouse typology and take into consideration advances in technology, development of sustainable systems and its metaphorical value which has made it one of the most inspiring structures in the world.”
Out of 282 entries, first place was awarded to Gwizdala Andrzej and Adrien Mans for their Concordia Lightscape design, which disperses the idea of a lighthouse into thin lines that increase in density as they move closer to the sea.
With the opening of the Fondazione Prada art galleries in May, OMA showed a different side to their practice, one focusing on preservation and assemblage rather than the iconography and diagrammatic layout that many associate with the firm. In this interview, originally published by Metropolis Magazine as "Koolhaas Talks Prada," Rem Koolhaas explains the reasoning behind this new approach, and how they attempted to avoid falling into the clichés of post-industrial art spaces.
When the Fondazione Prada opened its doors to a new permanent home in Milan dedicated to contemporary culture, it not only placed the Italian city firmly at the forefront of today’s global art world, but also introduced an ambitious new way of thinking about the relationship between architecture and art. The location—an original 1910 distillery in a distinctly gritty part of the city—comprised seven spaces including warehouses and three enormous brewing cisterns with a raw industrial quality that the architects, Dutch firm OMA, retained while adding three new buildings made of glass, white concrete, and aluminum foam. One, the centrally located Podium, is intended for temporary shows, while another—still under construction—is a nine-story tower that will house the foundation’s archives, art installations, and a restaurant. The third, a theater with a mirrored facade, features folding walls that allow the building to open onto a courtyard. In total, the collection of buildings provides nearly 120,000 square feet of exhibition space, more than twice that of the new Whitney Museum of American Art. Metropolis correspondent Catherine Shaw visited the site with Pritzker Prize–winning architect Rem Koolhaas to find out more about the challenges of creating a new cultural paradigm.