Completed images of OMA‘s design for the 2015 Venice Art Biennale’s Chinese Pavilion have been released. Juxtaposing artworks “in a field of projections and stages,” the exhibition is designed to be an “immersive environment” that brings together work by Tan Dun, Liu Jiakun, Lu Yang, Wu Wenguang / Caochangdi Work Station and Wen Hui / Living Dance Studio under the theme “Other Future.”
As part of their series of “Panorama” exhibits being presented this year, Friends Of The High Line have announced that they will host Olafur Eliasson‘s installation, “The Collectivity Project” from May 29th until September 30th this year on the High Line at West 30th Street. The installation, which has previously traveled to Tirana, Oslo, and Copenhagen, features an interactive imaginary cityscape made of over two tons of white LEGO bricks, with visitors invited to design, build and rebuild new structures as they see fit.
In a twist to the installation’s usual presentation, High Line Art has invited high-profile architects who are working in the vicinity of the High Line to contribute one “visionary” LEGO design for the installation’s opening, with BIG, David M. Schwarz Architects, Diller Scofidio + Renfro, James Corner Field Operations, OMA New York, Renzo Piano Building Workshop, Robert A.M. Stern Architects, Selldorf Architects, SHoP, and Steven Holl Architects all contributing one building which the public will then be able to adapt, extend or work around.
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.
Location: Largo Isarco, 2, 20139 Milano, Italy
Partners In Charge: Rem Koolhaas, Chris van Duijn
Project Leader: Federico Pompignoli
Preliminary Design Team: Sam Aitkenhead, Doug Allard, Andrea Bertassi, Aleksandr Bierig, Eva Dietrich, Paul-Emmanuel Lambert, Jonah Gamblin, Takuya Hosokai, Stephen Hodgson, Jan Kroman, Jedidiah Lau, Francesco Marullo, Vincent McIlduff, Alexander Menke, Aoibheann Ni Mhearain, Sophie van Noten, Jan Pawlik, Rocio Paz Chavez, Christopher Parlato, Ippolito Pestellini Laparelli, Dirk Peters, Andrea Sollazzo, Michaela Tonus, Jussi Vuori, Luca Vigliero, Mei-Lun Xue
Final Project Team: Anna Dzierzon, Jonah Gamblin, Ross Harrison, Hans Hammink, Matthew Jull, Taiga Koponen, Vincent Konate, Andres Mendoza, Susanan Mondejar, Vincent McIlduff, Sasha Smolin, Michaela Tonus
Area: 18900.0 sqm
Photographs: Bas Princen – Fondazione Prada, Charlie Koolhaas – OMA
OMA has revealed plans for what will be the Netherlands‘ largest hotel. Part of the Nhow chain, 91 meter-tall “Nhow Hotel Rai” (or Nhow RAI) will bring 650 rooms within three stacked cubes to the Amsterdam skyline. As the NLTimes reports, OMA was chosen ahead of eleven practices to design the project, which will include a television studio, art gallery and sculpture garden, spa center, a “3D holographic meeting space,” a multimedia presentation space, and 25th-floor lounge and bar area, in addition to the four-star hotel rooms.
Building up to the May 9 opening of OMA’s Fondazione Prada, Italian filmmakers Ila Bêka and Louise Lemoine have released 15-video series that captures the rhythmic and somewhat “transient” nature of the project’s last month of construction. Part of a long ongoing relationship between Prada and OMA, the highly anticipated venue will be an “unusually diverse environment” sculpted from a historic 20th-century distillery south of Milan‘s city center that will be used to exhibit art.
Follow this link to watch the short-film series and get a sense of the building’s current atmosphere. Stay tuned for images of the complete project.
The Beijing Contemporary Art Foundation has commissioned OMA to design the Chinese Pavilion at the 56th Venice Art Biennale, just a year after Rem Koolhaas served as director of the 14th Venice Architecture Biennale. The exhibition, “Other Future” will feature the work of composer Tan Dun, architect Liu Jiakun, artist Lu Yang, filmmaker Wu Wenguang / Caochangdi Work Station and choreographer Wen Hui / Living Dance Studio in an “immersive environment where artworks are juxtaposed in a field of projections and stages connecting the interior and exterior works.”
Fernando Schapochnik’s 1 minute series – a set of four videos of iconic buildings in Europe – aims to create a sensory interaction with the spaces. Filmed using only a cellphone, the videos rely on textures, sounds, rhythms and varying speeds to narrate the viewer’s relationship with the spaces, letting the senses guide the experience. Journey through Le Corbusier’s Ronchamp, Antoni Gaudí’s Park Guell, SANAA’s Rolex Learning Center and OMA’s Kunsthal after the break.
Since the building’s construction concluded in 2012, images of OMA’s CCTV Headquarters have permeated the media. But inside views of this mutant skyscraper — characterized by a soaring 72 meter cantilever — have remained rare. Until now, that is. Images originally published by International Design and shared on WeChat by 广电独家 reveal the interior of OMA’s CCTV Headquarters, including Emmy-winning set designer Jim Fenhagen’s news studios.
Take a peek inside the meeting rooms, hallways and control centers of CTBUH’s 2013 Best Tall Building Worldwide.
The Victoria and Albert Museum (V&A), named after the Queen and Her Consort, has its foundations in the Great Exhibition of 1851 amidst the wealth, innovation and squalor of the Industrial Revolution. Britain was flooded by prosperity which allowed for the development of major new institutions to collect and exhibit objects of cultural significance or artistic value. The institute’s first director, Henry Cole, declared that it should be “a schoolroom for everyone,” and a democratic approach to its relationship with public life has remained the cornerstone of the V&A. Not only has it always been free of charge but it was also the first to open late hours (made possible by gas lighting), allowing a more comprehensive demographic of visitor.
Their latest exhibition, which opens today, seeks to realign the museum’s vast collection and palatial exhibition spaces in South Kensington with these founding concepts. The interventions of All of This Belongs to You attempt to push the V&A’s position as an extension of London’s civic and cultural built environment to the fore, testing the museum’s ability to act as a 21st century public institution. To do this in London, a city where the notion of public and private is increasingly blurred, has resulted in a sequence of compelling installations which are tied together through their relevance either in subject matter, technique, or topicality.
OMA has unveiled plans for a mixed-use project that will consolidate facilities for the growing, selling and distribution of food for local farmers in Louisville. A collaboration with the non-profit Seed Capital Kentucky, the 24-acre “Food Port” will transform a former tobacco plant into an “active economic and community hub” that shapes a “new model between consumer and producer.”
“The diversity of program reflects the full food chain, as well as a new foodscape of public spaces and plazas where producers and consumers meet,” said OMA’s Partner-in-Charge Shohei Shigematsu, who is also leading the Alimentary Design research studio at Harvard University. “The Food Port acts as a catalyst to activate the surrounding neighborhoods, exemplifying one of the complex urban relationships between architecture and food that our studio is investigating.”
The expandable campus, which is expected to break ground this summer, will include an urban farm, edible garden, market and food truck plaza, retail space, classrooms, a recycling facility, and more. Continue after the break to learn more.
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.
New York developer Related Companies has reportedly commissioned OMA to design their newest High Line project on West 18th Street. The Rotterdam-based practice is the latest to join a list of internationally acclaimed architects who will be leaving their mark on the elevated Manhattan parkway, including Zaha Hadid who also was tapped by Related Companies to design an 11-story, luxury apartment project on 520 W. 28th Street. Few details have been released; the commission will be OMA’s first major project in New York City. They will be working on the project alongside practice’s comprehensive “Rebuild by Design” strategy for Hoboken.
The Office for Metropolitan Architecture (OMA) has opened a Dubai office to design and oversee projects in the Middle East-Africa region. Together with headquarters in Rotterdam and offices in New York, Hong Kong, Beijing and Doha, OMA Dubai aims to “strengthen the practice’s presence in the Middle East, and also provide a connection point for future work in Africa and India.” The office is located in Al Warsan Tower in TECOM.
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.
Rem Koolhaas and art philanthropist Dasha Zhukova will be gracing the WSJ. Magazine’s February cover as “art partners” embarking on a transformation that will turn a ruined Brezhnev-era Communist landmark – the Vremena Goda in Moscow’s Gorky Park – into the Garage Museum of Contemporary Art’s new home. “The building is basically a found object,” said Koolhaas, regarding his “raw” design and intent to preserve the structure’s decay. “We are embracing it as it is.”
The museum’s new home will “challenge the white-cube tradition of Western museums,” says Zhukova. A double layer of polycarbonate plastic will encase the intact structure so it appears as a translucent box hovering six feet above ground. Commissioned artworks will be presented on a backdrop of “raw brick and broken tiles.” Learn more about the Garage’s design, here, and read the WSJ. Magazine’s full report, here.