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!
Location: Joan Muyskenweg 39, 1099 Amsterdam, The Netherlands
Architect In Charge: Rem Koolhaas, Reinier de Graaf, Ellen van Loon
Current Team (Construction + Interiors): Katrien van Dijk (project leader), Tjeerd van de Sandt, Saskia Simon, Marina Cogliani, Jung-Won Yoon
Area: 19000.0 sqm
Photographs: Courtesy of OMA – G-Star
After deliberating over the stellar proposals of three renowned firms, BIG, Büro Ole Scheeren, and OMA, Berlin-based media company AXEL SPRINGER SE has just announced that Rem Koolhaas’ design is the winning proposal for their new office building.
The task of the competition was to create additional space for the media company, particularly its digital offers, and thus design a workplace fit for the future of online media. Koolhaas’ design, which features a large 30-meter high atrium or “open valley” with interconnected terraces and public workspaces for both individual, collaborative, and mobile work, won favor with the jury for its forward-thinking concept. As Dr. Mathias Döpfner, Chief Executive Officer of Axel Springer SE, commented: “[Koolhaas] presented the conceptually and esthetically most radical model. The fundamental innovation of working environments will support the cultural transformation towards a digital publishing house.”
For his part, Koolhaas had this to say: “It is a wonderful occasion to build in Berlin again, on this historical site of all places, for a client who has mobilized architecture to help perform a radical change…a workplace in all its dimensions.”
See more of OMA’s winning proposal, after the break…
As part of an initiative to raise money for the Transbay Transit Center, the City of San Francisco has sold a $72 million, city-owned parcel to developer Related of California that will pave the way for a 550-foot, OMA New York-designed residential tower. Located on Folsom Street, between First and Fremont streets, the new tower will be a mix of condominiums and rental apartments, of which 27 percent must be affordable to residents making 60 percent of the area’s median income ($58,250 for a family of four, according to SFGate). We will keep you posted as more details become available.
As Rem Koolhaas completes the introductory press circuit for the 2014 Venice Biennale, we’re learning more about one of the most anticipated Biennales in recent memory. Here’s what we’ve gleaned from Oliver Wainwright’s revealing story in today’s Guardian:
1. Koolhaas has been asked to direct the Venice Biennale before, but hasn’t accepted until now. “I have been asked to direct it a number of times before, but I held out for two conditions: that I have a year and a half to plan it, and that I can sever all connections with contemporary architecture – which is not in particularly good health.”
UPDATE: In a press conference on Monday, Venice Biennale director Paolo Baratta and curator Rem Koolhaas expressed their commitment to using the event to highlight “things that architects can’t ignore.” These “Fundamentals” get back to the basic inventions of modernity, thus individual exhibitions will look to the “elementary particles of architecture.” Paying special attention to the developments of the past century, Baratta and Koolhaas hope that the event will serve as “a reference point and source of inspiration for architecture.”
The Biennale website has posted new images and an expanded description of the Biennale and its events:
“Fundamentals consists of three interlocking exhibitions – Absorbing Modernity 1914-2014, Elements of Architectureand Monditalia – that together illuminate the past, present and future of our discipline. After several architecture Biennales dedicated to the celebration of the contemporary, Fundamentals will look at histories, attempt to reconstruct how architecture finds itself in its current situation, and speculate on its future.”
Read on to learn more about architecture’s most celebrated exhibition.
A few hours ago in Venice, Rem Koolhaas presented his curatorial vision for “Fundamentals” in a live-streamed opening press conference. As we reported last year, “Fundamentals” will focus on architecture rather than architects and history rather than contemporaneity. Koolhaas will not just curate an exhibition of his own, but will be coordinating the “collective effort of all national pavilions.”
This year’s exhibition features the participation of 65 countries–including 11 first-time participants (Azerbaijan, Côte d’Ivoire, Costa Rica, Dominican Republic, United Arab Emirates, Indonesia, Kenya, Morocco, Mozambique, New Zealand and Turkey). See the complete list of national participants–which includes collaborations with Jacques Tati, Hans Ulrich Obrist, FAT, Iñaki Ábalos and others–after the break.
Click here to see all of ArchDaily’s previous coverage of the 2014 Venice Biennale. And stay tuned… we’ll be bringing you on-the-ground reports from Venice when the Biennale launches in the first week of June!
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’s De Rotterdam, a project 15 years in the making, is designed to maximize the number of functions possible in 44 floors. In addition to shops, hotels and office space, this “vertical city” also contains apartments that use transformable furniture to pack a variety of uses into small spaces. Chairs double as wall art and sofas flip into beds, showing that a 60 square meter apartment is more versatile than we think.
Developer Wim De Lathauwer explains, ”Why would we only think in quantity of bedrooms and square meters, while many of these spaces are used only sporadically?…In The Netherlands we are simply not used to this way of thinking. De Rotterdam is the ideal project when it comes to maximizing the joy of every square meter. We deal with an audience who understands this and yearns for this extra quality. Even in the large apartments the office, wardrobe- and guest room are combined in one space. Actually, it is very logical.” You can see the dynamic furniture, designed by Clei Italia, in the video below.
Read more about The Netherlands’ largest building here.
Norwegian energy corporation Statoil has revealed proposals for a new corporate headquarters from the five architecture firms that were shortlisted last October: OMA, Foster + Partners with Space Group, Snøhetta, Wingårdhs, and Helen & Hard with SAAHA. The competition–announced in September of 2013–called for a project that would ”take into consideration a number of new measures in the region regarding public transport, parking, roads and other types of infrastructure.” The winner will be announced in April/May.
Statoil hasn’t disclosed which project belongs to which firm, but the ArchDaily editors have had some fun trying to put a name to each model. What do you think? Let us know your guesses in the comments!
ArchDaily has teamed up with the The Berlage to provide exclusive access to their newly digitized archive of lectures. The Berlage is a postgraduate international institute where some of the world’s most renowned architects, thinkers, designers, photographers and other professionals come to share, exchange and critically reflect upon their ideas. Over the last 23 years, The Berlage has built up an extensive lecture archive of seminal lectures. Thanks to this partnership now we can now share them with you. ArchDaily is committed to providing inspiration and knowledge to architects all over the world, so please look forward to monthly publications of these lectures during the coming year, which include talks by Rem Koolhaas, Jacques Herzog, Toyo Ito, and more.
This 1998 lecture reflects Rem Koolhaas’ desire to initiate a direct meeting of the critic and the architect, so it’s no surprise that the he called upon Kenneth Frampton to join him in conversation. (Koolhaas–with his tendency toward polemic, hyperbolic statements–even refers to Frampton as “maybe the only critic left.”) The two spend a significant time debating the role of the critic, often disagreeing and playfully challenging the other’s theories.
Recorded at a time when the Office for Metropolitan Architecture was working on the Educatorium, the Maison à Bordeaux and the recently completed De Rotterdam, the conversation also delves into discussions of China’s emergent urbanization (which was, in 1998, still relatively young) as well as “the star system.”
What do you think the North American, Asian and Western European tall building communities most need to learn from each other? This is precisely what the Center on Tall Buildings and Urban Habitat (CTBUH) sat down to ask five leading architects, whose responses formed an eclectic and meaningful overview on the state of tall building worldwide. As Rem Koolhaas noted, each region has their own journey that is worth understanding, such as the Arab world’s transition from “extravagance to rationality” or Asia’s hyper-focus on project realization. However, as James Goettsch points out, “not every building has to be something remarkable.” It’s alright for some buildings to be nothing more than “good citizens.”
Watch all five responses in the short video above.
During the Shenzhen Bi-City Biennale of Urbanism/Architecture, we had the opportunity to speak with David Gianotten, partner-in-charge of OMA’s Hong Kong office. Gianotten launched the Dutch firm’s Asian headquarters in 2009, where he supervises major projects such as the Shenzhen Stock Exchange and the Taipei Performing Arts Centre.
Standing outside of the recently completed Stock Exchange headquarters, he answered our questions about urbanization, innovation and the intricacies of running an office in an environment with such rapid urban growth. Shenzhen has proven an experiment of economic openness and is a vivid example of China’s recent growth. The city’s skyline is practically a physical graph of an upward-trending economy, with buildings designed by nearly every internationally renowned architecture firm. But OMA’s Shenzhen Stock Exchange building stands apart from the rest not only because of its impeccable construction (a rarity in the fast-paced building booms of Chinese cities), but also because it houses the institution that lists China’s biggest companies.
The 254 meter tower is an elegant structure that combines pure volumes with an exoskeleton grid clad in translucent glass. It represents a characteristic OMA-approach to innovative architectural solutions, made possible by extensive programmatic and technical research.
Read the full interview (which includes Gianotten’s insights on the study of architecture, the role of architects, and the importance of simplicity when communicating complex innovation) after the break.
It is difficult to even imagine an architectural practice more influential than OMA. Not only has Koolhaas‘ practice completed high-profile buildings worldwide, but it has also been the incubator for some of the world’s most famous architects, with many striking out alone after a period working under Rem. This article in the Wall Street Journal profiles some of the latest crop of “graduates”, including Bjarke Ingels and Ole Scheeren, who have founded their own practices in the last decade and are now acting as some of OMA’s biggest competitors. You can read the full article here.
Miami Beach city commissioners have unanimously agreed to abandon the $1 billion redevelopment of its 52-acre convention center district, which aimed to radically reinvent the area. This decision comes just six months after the city awarded developer South Beach ACE and OMA the bid after an international, highly-publicized competition that pitted OMA against BIG.
“For the purposes of getting this project done fast, on time, on budget, it’s unfortunate that we’ll have to make a very tough, challenging decision,” said Miami Beach Mayer Philip Levine, “To some people, it’s a little disheartening. To other people, it’s a very fresh start.”
As reported by the Miami Herald, the city plans to reinstate a bid for the renovation of the city-owned convention center as well as another for the development of a nearby hotel. Under the new bid, the city will no longer be required to attain 60 percent of voter approval to build. By doing this, Levine believes the renovation will be expedited.
To celebrate the launch of ArchDaily Materials, our new product catalog, we’ve rounded up 10 awesome projects from around the world that were inspired by one material: metal. Check out the projects after the break…
Alan Faena — prominent argentine developer — is partnering with an all-star cast of celebrated artists, architects and Hollywood darlings to revive the decadence of the roaring twenties, envisioning a booming cultural “epicenter” for the city of Miami. The development, Faena Miami Beach, would include the restoration of the historic Saxony Hotel (the original symbol of opulent resorts along Florida beaches), the construction of new luxury apartments by Foster + Partners and the Rem Koolhaas/OMA-designed Faena Arts Center and Artist Residency. Review them all after the break.