"The building offers a wide range of interior conditions for the exhibition of art beyond the ubiquitous “white cube,” described OMA in the project's description. Scroll down for more images of the museum by Ghinitoiu.
The annual Moscow Urban Forum is right around the corner. To be held from October 16-17, the theme of this year’s forum is “Moscow as a Dynamic Megacity: Flexible Management Practices.” The forum will feature two days of conferences, exhibitions and lectures with a focus on issues surrounding the development of Moscow. While in past years the conference focused on issues related to megacities in general, this year for the first time the forum will just focus on the capital city.
“The international political situation influenced the key aspects of the country’s life, bringing internal goals and tasks to the foreground. That is why we have decided to concentrate only on the Moscow agenda this year, and to dedicate the Forum to the presentation and discussion of projects related to the capital, a search for new Moscow development centres, outlining the problems and challenges faced by the megacity during the crisis, a search for the most optimal and effective solutions for further successful development of the city,” said Marat Khusnullin, the Moscow Deputy Mayor for Urban Development and Construction and the head of the Moscow Urban Forum executive committee.
Russian-Chinese consortium Turenscape and MAP architects was announced as winners of a major competition to redevelop the Kaban lake system embankments in Kazan, Russia. Their winning concept, “Elastic band: The Immortal Treasure of Kazan” aims to establish a "continuous system of landscapes along the bank line, which will preserve the cultural and historical memory and become a basement for future stage-by-stage development."
"The water is turning into a real living treasure and heritage of Kazan," said the competition's organizer.
Today in Moscow, Asymptote Architecture unveiled plans for the new Hermitage Modern Contemporary, alongside a 150-meter tower planned for ZiL - the city's oldest industrial area and former Soviet automotive factory. The State Hermitage Museum's newest outpost, the 15-story satellite facility was said to be inspired by El Lissitzky's "Proun" painting, which informed the building's "terraced interior."
“With so much museum work over the years, we’ve dress-rehearsed for the Hermitage,” Hani Rashid of Asymptote told the New York Times back in July. “We’ve done a lot of thinking about how art might be seen in the future, about how the museum building itself can provoke artistic responses.”
Russian artist Nikolay Polissky has completed yet another of his impressive, handcrafted installations. Located in Zvizzhi Village, in the Ugra National Park in Russia, Polissky’s newest creation—called SELPO, which stands for The Rural Consumer Association, in Russian—wraps around an abandoned soviet building, which used to house the village shop.
The project utilizes off-cut materials from Polissky’s previous work, which has ranged “from temporary pieces of landscape proportions, collectively created […] to public art works in city parks or sculpture parks […] in Europe and in Russia, as well as museum installations.”
The design integrates buildings and landscape together through a ring of individual structures connected by a large, ridged rooftop. With this roof, spaces between the buildings can be used as multifunctional, semi-covered learning spaces, activity zones, and flow areas, all of which diffuse into the central and outer landscaped areas.
Standing tall in the expansive landscape of Western Russia, the monolithic Museum for Rural Labor is an architectural beacon for the Kaluga Oblast region. Built of local straw and clay, the eight meter tower is comprised of one round sunlit room adorned with the instruments of manual labor. Jarring, unexpected and mysterious, the museum was conceived by Russian architects Sergei Tchoban and Agniya Sterligova to pay homage to the region's deep agricultural history. Defined by a stark and unorthodox form, the tower disrupts the Russian landscape while simultaneously serving as a wayfinding device for residents from the nearby village of Zvizzhi.
Enter the rudimentary world of the Museum for Rural Labour 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