With the opening of their Fondazione Prada building in Milan at the start of this month, OMA got the chance to show off a skill that they don’t get the chance to use very often: preservation. In this interview with Kultur Spiegel, Rem Koolhaas talks at length on the topic, explaining that he believes “we have to preserve history,” not just architecture, and arguing that the rise in popularity of reusing old buildings comes from a shift toward comfort, security and sustainability over the ideals of liberty, equality and fraternity. “The dimensions and repertoire of what is worthy of preserving have expanded dramatically,” he says, meaning that “we shouldn’t tear down buildings that are still usable.” Still, he says, that doesn’t mean we shouldn’t tear down and start again in some cases – an entire Parisian district beyond La Défense, for example. Read the full interview here.
“Twenty-five years after the Berlin Wall’s demise, it is as though a large part of the twentieth century never happened,” writes OMA principle Reinier de Graaf in his article for Metropolis Magazine “The Other Truth”. “An entire period has been erased from public consciousness, almost like a blank frame in a film.” Through the course of the article, de Graaf outlines how the West has rewritten the history of the cold war, erasing the “other truth” that existed for nearly half a century in East Berlin, the USSR, and other soviet-aligned states – a truth that we forget to our peril. It may not be immediately architectural, but the essay provides an interesting look into the political thoughts of de Graaf who, as the principle of one of architecture’s most prominent research organizations in AMO, has an important influence on the profession’s understanding of the wider world. Read the article in full here.
Last month, Prada introduced their latest Fall/Winter line not on a catwalk, but in an “Infinite Palace” of disorienting spaces designed by AMO. Continuing the partnership with OMA/AMO that has seen the creation of catwalks, 2009′s Prada Transformer and even the soon-to-be-completed Foundazione Prada in Milan, the structure “simulates endless repetitions and symmetries,” creating a unique fashion experience that ”multiplies and fragments the show into a series of intimate moments.”
In this video created and first published by Wallpaper* Magazine, the construction of this mysterious space is revealed, from the construction of the MDF framework and hidden lighting rigs, to the installation of the faux-marble furniture – all condensed to just over half a minute.
When first commissioned by Miuccia Prada and Patrizio Bertelli to design Fondazione Prada’s new space in Largo Asarco, OMA set out to “expand the repertoire of spatial typologies in which art can be exhibited and shared with the public.” The result, an “unusually diverse environment” staged within a historic 20th-century distillery south of Milan’s city center that goes beyond the traditional white museum box.
On Sunday, Prada ditched the classic runway to kickoff their 2015 Fall/Winter menswear line in a “disorienting landscape” designed by OMA’s research counterpart AMO. The partitioned catwalk transformed an exiting room inside the Fondazione Prada at Via Fogazzaro 36 in Milan into an intimate series of interconnected spaces affectionately referred to as “The Infinite Palace.”
“The existing room is disguised into a classic enfilade of rooms, gradually changing proportions as in an abstract mannerist perspective. As opposed to a single stage, the new sequence of spaces multiplies and fragments the show into a series of intimate moments,” described AMO.
Fundamentals, the title of the 2014 Venice Biennale, will close its doors in a matter of days (on the 23rd November). From the moment Rem Koolhaas revealed the title for this year’s Biennale in January 2013, asking national curators to respond directly to the theme of ‘Absorbing Modernity 1914-2014’, there was an inkling that this Biennale would be in some way special. Having rejected offers to direct the Biennale in the past, the fact that Koolhaas chose to act not only as curator but also thematic co-ordinator of the complete international effort, was significant. This announcement led Peter Eisenman (one of Koolhaas’ earliest tutors and advocates) to state in one interview that “[Rem is] stating his end: the end of [his] career, the end of [his] hegemony, the end of [his] mythology, the end of everything, the end of architecture.”
On November 20-21, AMO is hosting a discussion event at the Venice Biennale focusing on the past, present and future of Dutch architecture in which 30 young architects will be invited to present their agenda for architecture in the Netherlands for the next 10 years. Over the course of the two days, each participant will present will deliver a 7-minute presentation looking at architecture in 2024 to answer the question “where will you be and will you be doing?” Find out more about the event, and how you can be a part of it, after the break.
This weekend, the first planning session of the Global Parliament of Mayors took place in Amsterdam: a platform for mayors from across the world, triggered by Benjamin Barber’s book: If Mayors Ruled the World: Dysfunctional Nations, Rising Cities.
In this book the current political system and its leaders is dismissed as dysfunctional. Defined by borders and with an inevitable focus on national interests, they are not an effective vehicle to govern a world defined by interdependence. Mayors, presiding over cities with their more open, networked structure and cosmopolitan demographics, so the book argues, could do it better.
It is of no surprise that this book has been welcomed by the same political class as the one it praises: mayors. As was apparent during the first planning session of the GPM: a conference about mayors, for mayors, attended by mayors, moderated by mayors and hosted by a mayor, all triggered by a book about mayors.
I recognize many of the book’s observations. Many mayors are impressive figures and time appears to be on their side. Nation states (particularly the large ones) have an increasingly hard time and, in the context of a process of globalization, cities, and particularly small city-states, increasingly emerge victorious. Cities have first-hand experience with many of the things that occur in globalization’s wake, such as immigration and cultural and religious diversity, and are generally less dogmatic and more practical in dealing with them.
So far so good.
OMA has announced the addition of four new equity partners, all promoted from Associate level, to take its total number of partners to ten. The move is a reflection of OMA’s increasing workload in both architectural projects, and also the increasing involvement of AMO, the company’s research offshoot. With two of the new partners based in their overseas offices, it also represents a move to strengthen their work in markets outside of their European base. Read on after the break for details of all four new partners.
Though the professional practice of architecture can be broadly defined, we often just focus on the design work in relation to the completed building, leaving behind other areas in which architects find more opportunities. In this infographic created by OMA in preparation for the Monditalia exhibition at the Venice Biennale, we see how the professional activities are distributed among these sub-areas such as planning, landscape design, interior design and feasibility studies–a relationship which can also allow us to extrapolate the outcomes and products that emerge from these countries.
Click the infographic to get a closer look and browse the projects we’ve published from the represented countries:
The component parts of Monditalia, the 41 projects that line the vast corridor of the Arsenale, provide contextualization for architecture operating within larger systems, be it politics, media, border control, religion, etc. When we spoke to Ippolito Pestellini Laparelli of AMO, Monditalia’s head curator, he stressed that “the exhibition is a method, more than anything. This idea of the scanning through the country, selecting case studies, selecting another way to represent the case studies…it’s a method that can be applied also elsewhere.”
Monditalia mobilizes the other sectors of the Venice Biennale — Cinema, Dance and Music — in order to capture a “polyphonic” portrait of a European country with what Laparelli describes as “extreme conditions.” Infographics produced in preparation for the exhibition demonstrate the statistical disparities between Italy and other nations. The scan of Italy begins from the south and continues to the north, allowing “different topics to collaps[e] or collid[e] onto each other, such as you would find when you travel through a real territory.”
Monditalia’s events have been programmed to take place between June and November in conjunction with a series of 21 Weekend Specials that allow further exploration of the issues/topics/case studies brought forth in the exhibition at large.
Watch Ippolito Pestellini Laparelli explain Monditalia in the video above, read on after the break for the curatorial statement, and see the rest of ArchDaily’s Biennale coverage here.
Curated by Rem Koolhaas, this year’s Biennale set high expectations in the architecture world, a fact reflected in the massive attendance during the preview. As Koolhaas stated at the awards ceremony, he took on the hard task of reinventing the Biennale, recognizing its influence in how architecture is exhibited around the world.
Under the title “Fundamentals,” Rem rallied this year’s curators to assemble a vast amount of knowledge, bringing to light research that had been hidden, forgotten, scattered, and/or previously unexamined, and making it available to the larger architectural community. This was achieved not only in the form and content of the Biennale, but also in the numerous publications produced by the curators (a practice which closely follows OMA/AMO traditions).
Yet this is actually a double-edged sword; in many pavilions, the density and depth of the content made it hard to understand at first glance. Architecture festivals and exhibitions tend to lean on experiential one-liners, but since “Fundamentals” was so focused on conveying ideas about architecture’s relationship to modernity over the past 100 years, it was a significant challenge to the curators. Many pavilions produced impressive publications, so that all the rich knowledge they unearthed may continue to influence architectural thought long after the Biennale ends in November.
Paint company AkzoNobel has announced plans to fund a global research project by OMA which will investigate the link between color and economic development. The project is part of AkzoNobel’s wider ‘Human Cities’ initiative, which they say “highlights our commitment to improving, energizing and regenerating urban communities across the world.”
The announcement was made at the Venice Architecture Biennale last week. Read on for more on the research initiative.
ArchDaily has teamed up with Portugal’s Canal 180 to bring you their series I LIKE. Check out episode 5, I LIKE Blue, which features OMA/AMO‘s 2012 Prada Catwalk, DOSE‘s Bluetube Bar, Rad Louda & WRKSHP’s full-scale blue foam model of an interior, and more.
I LIKE is an original series on architecture and spatial intervention, developed in a collaboration between Canal 180 and LIKEarchitects atelier. Diogo Aguiar and Teresa Otto have created a chromatic experiment and spatial exercise—organized by color—that reveals some of the most amazing architectural interventions in the world.
Next week ArchDaily will premier the sixth installment of I LIKE. Stay tuned!
For the last decade, OMA / AMO have collaborated with Prada to design their conceptually daring catwalks. We have images of the latest, designed for Milan’s Fashion Week, just after the break. For more on this collaboration, you should check out OMA’s website as well as Wallpaper‘s awesome article on how these catwalk collaborations have evolved throughout the years.
OMA*AMO (New York), Ricardo Bofill Taller de Arquitectura (Barcelona), and Stoss Landscape Urbanism (Boston) with SHoP (New York) have been selected as the top three teams to re-envision Dallas’s urban center and its connection to the Trinity River Corridor. The teams kickstarted the final leg of the competition this past weekend with a summer workshop, symposium and site visit alongside local developers and city officials. All three final proposals will be unveiled to the public this mid-October with a lecture series host by each team (dates and information here). A winner is expected to be selected shortly after.
While the final products of OMA’s oeuvre are well-documented and widely published, a large portion of the Dutch firm’s work goes unrecognized and relatively unnoticed: the contextual, solution-oriented research undertaken by AMO. OMA’s lesser-known twin, AMO is vital to OMA’s approach, allowing the firm to delve into a world of context and explore possibilities beyond the built form.
It was with this in mind that we sat down with Reinier de Graaf, a partner at the firm. In addition to the building and masterplan projects he also manages on the OMA side of things, de Graaf has been the director of AMO since 2002, overseeing a diverse portfolio of projects. Over the past few years, AMO’s energies have fueled the creation of the curriculum at Strelka; a “roadmap” for a de-carbonized power grid for the EU; and an exhibition that celebrated the architect as civil servant.
From our very first question (what is OMA’s mission?), de Graaf answered with his characteristic aversion to “general terms,” explaining that “[OMA's] mission is to explore unexpected subjects [...] without a preconceived mission.”