OMA is set to realize their first commercial residential project in the US: Park Grove. Planned to rise alongside the Biscayne Bay in Miami’s Coconut Grove, in close proximity to BIG’s “Grove” residences at Grand Bay, the three-tower luxury residential project will be the last building allotted for the “walkable” Floridan neighborhood.
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.”
1. When he was young he collaborated with the director Jan de Bont, whose credits would later include Speed and Twister.
2. Koolhaas dates his desire to become an architect to a speech he delivered to a group of architects at the University of Delft when he was 24.
The celebrated architect Remment (Rem) Koolhaas, the 2000 Pritzker Prize laureate and curator of the 2014 Venice Biennale, began his architectural education at the Architectural Association in London in 1968, eventually founding OMA (Office of Metropolitan Architecture) with one of his former professors, Elia Zenghelis (along with Zoe Zenghelis and Madelon Vriesendorp).
Despite OMA’s current ubiquity, the firm’s beginnings in 1975 were fairly modest. The commission of the high-profile Euralille project in 1989 was a turning point; the firm then began to move away from small scale projects (such as the Villa dall’Ava) to the large scale works that they’re known for today. Koolhaas’ firm is now known almost exclusively for large-scale works, such as the CCTV Headquarters (named the “Best Tall Building in the World” in 2013) and the Seattle Library (which is widely regarded as one of the most important buildings of the 21st century).
Rem Koolhaas, one of today’s most celebrated architects, has lived a significant year. With the closing of his much-talked about Venice Biennale just days away, the Dutchman also turns 70 years old this coming Monday.
Koolhaas’ approach to architecture and architectural thinking holds tremendous importance and weight – so much so that Bjarke Ingels, one of his many protegés, has called him “the Le Corbusier of our time.”
In recognition of his contribution to the world of architecture (and on the occasion of his birthday) we’re asking you, our readers, to post video and/or visual tributes to Rem to your social media accounts using the hasthtag #Rem70. Has Koolhaas influenced the work of your studio or office? Show your support or appreciation in a short video clip! Would you like to share a portrait or illustration of Rem or his projects? Do you have an anecdote or story? Be creative! We’ll be publishing our favorites on his birthday, so start tagging (#Rem70) and stay tuned.
Location: Meent 119, 3011 JH Rotterdam, The Netherlands
Partners In Charge: Rem Koolhaas, Reinier de Graaf
Associate: Alex de Jong
Project Team: Philippe Braun, Clarisa Garcia Fresco, Maaike Hawinkels, Andrew Linn, Takeshi Murakuni, Peter Rieff, Tom Tang, Sakine Dicle Uzanyayla, Mark Veldman
Interior Team: Saskia Simon, Andrea Giannotti, Ross O’Connell, Mafalda Rangel, Lucia Zamponi, Grisha Zotov
Area: 43370.0 sqm
Photographs: Ossip van Duivenbode, Courtesy of OMA
The President of the People’s Republic of China, Xi Jinping, has reportedly called for an end to the “weird buildings” being built in China, and particularly in the nation’s capital, Beijing. In a two hour speech at a literary symposium in Beijing last week, Mr Xi expressed his views that art should serve the people and be morally inspiring, identifying architectural projects such as OMA’s CCTV Headquarters as the kind of building that should no longer be constructed in Beijing.
With China’s construction boom being one of the most talked about features of today’s architecture scene – and many a Western practice relying on their extravagant projects to prop up their studios – the Chinese leader’s comments have the potential to affect the landscape of architectural practice worldwide. But what is behind these sentiments? Read on after the break to find out.
In December of last year, we brought you news of Tomas Koolhaas‘ kickstarter campaign to fund a documentary about his father, Rem Koolhaas. Well, not only was Koolhaas’ REM documentary fully funded, three generous backers offered up $500 each in return for one question to be answered directly by Rem Koolhaas himself. The video above is the result of those questions, in which Koolhaas responds to questions on urbanism in the developed country of the Netherlands compared to still-developing India, as well as a question about how his early work in film-making and scriptwriting influenced his architectural career.
Watch the video above and read on after the break for a synopsis of Koolhaas’ answers
The competition jury for Washington D.C.‘s 11th Street Bridge Park has unanimously selected OMA + OLIN‘s design to turn the ageing freeway structure over the Anacostia River into an elevated park and new civic space for the city. With their dynamic intersecting structure, OMA + OLIN saw off competition from three other teams composed of: Wallace Roberts & Todd (WRT), NEXT Architects and Magnusson Klemencic Associates; Stoss Landscape Urbanism and Höweler + Yoon Architecture; and Balmori Associates and Cooper, Robertson & Partners.
Read on after the break for more on the design and a complete set of images.
OMA, Höweler + Yoon, NEXT Architects, and Cooper, Robertson & Partners are amongst four interdisciplinary teams competing to design Washington D.C.’s first elevated public park. As part of a six month nationwide competition, the shortlisted teams have just released their preliminary design proposals for what will be known as the 11th Street Bridge Park.
Suspended over the Anacostia River, the multi-use park aims to re-connect two disparate city districts and re-engage residents with the riverfront by offering a 21st century civic “playscape.” Education and performance spaces, as well as a cafe and water sport areas will all be included in the masterplan.
A preview of the four shortlisted schemes, after the break…
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.
OMA‘s Taipei Performing Arts Center (TPAC) has topped out in a ceremony including Taipei’s mayor Hau Lung-pin, and OMA’s Partners in charge of the project, Rem Koolhaas and David Gianotten. Even in its current skeletal state, the rigidly geometric form is clearly expressed with it’s central cube supporting three protruding auditoriums, two cubic and one spherical. The design of the TPAC is in many ways experimental, incorporating a looped public path which shows off the building’s backstage areas, and flexible auditoriums which can even be combined, offering extraordinary stage spaces that allow performances which would be impossible in any other theater.
Ahead of the topping out ceremony we spoke to partner in charge David Gianotten, who explained the building’s design concepts and the challenges (or rather, surprising lack of challenges) in the construction, and told us “you will only understand it when you have seen it. It’s super exciting, we encourage everybody that loves architecture to come and see it because it’s spectacular.”
Read on after the break for the full interview
In this 2001 lecture titled “Architecture is Propaganda,” seminal architect, educator, and co-founder of OMA Elia Zenghelis discusses the development of ideologies that shape architectural discourse vis-a-vis architectural education. Arguing that architectural education is motivated by religious, socio-political, and economic principles, Zenghelis makes the case that the war-torn 20th century has been an era of upheaval and conflict, resulting in the loss of historical context and a confused state for artists and architects. Proposing the idea that architecture is a servant of power, and is thus intrinsically intertwined with political and societal trends, Zenghelis urges a return to a contextualized understanding of architectural history in order for contemporary architects to develop a sensitive and nuanced approach to their practice.
Discussing his relationships and collaborations with former students and colleagues Zaha Hadid, Rem Koolhaas, and Peter Eisenman, as well as the political and architectural legacy of such giants as Le Corbusier and Mies van der Rohe, Elia Zenghelis provides a compelling conversation about the inherent role of architecture in political discourse.
Don’t miss the other lectures in The Berlage Archive series:
“I feel a misfit in my own time,” says Rem Koolhaas, setting the tone. Seated in soon-to-be renovated Galeries Lafayette in Paris, Koolhaas bares all intellectually through the course of his lecture. As founder of Rotterdam-based OMA with a worldwide practice, candid conversations with Koolhaas are rare. The discussion provides a glimpse into the creative process of one of the world’s leading architects and current Curator of the Venice Biennale of Architecture. Koolhaas confides in the audience from the outset, admitting his discomfort with current architecture. “From the inside of my current condition, I feel profoundly out of step with the contemporary situation,” says Koolhaas, adding ”I’m very annoyed by the contemporary belief in comfort as the ultimate virtue.”
Read on after the break for more summary of the fascinating lecture
Koolhaas stands at the intersection of art and architecture, deliberating on the evolution of museum design. Using the Turbine Hall at Tate Modern by Herzog & de Meuron as an example, Koolhaas states: “In order to fill spaces like this, artists are forced into an apocalyptic mode as only very strong emotions register – this is not a space you can fill with delicacy.” Koolhaas’ solution to the apocalyptic problem can be found in his recent design for the renovation of Galeries Lafayette, a heritage protected building in Paris with zero tolerance for structural modification. The design calls for movable floors installed in a steel-framed courtyard – the only intervention available in the listed building. “The beauty of preservation is that it begins with acknowledging that another architecture is worth keeping,” concludes Koolhaas.
Following the controversial decision to scrap plans by OMA earlier this year, Miami Beach officials have selected Arquitectonica for the redesign of the Miami Beach Convention Center. In a significant scaling-down of OMA’s $1 billion masterplan, the new scheme calls for the existing center to be kept and renovated to ‘Class A’ standards, along with the addition of a new ballroom, meeting space and rooftop parking. The center’s existing parking lot will be converted into a 6.5 acre public park, designed by landscape firm West 8.
More on the Convention Center Controversy after the break
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.