The scaffolding obscuring the facade of OMA’sTaipei Performing Arts Center has begun to come down, exposing the aluminum exteriors of the spherical Proscenium Playhouse and the Multiform Theatre for the first time. Upon completion, the experimental building will feature a looped public pathway, flexible auditoriums and unique stage environments. Construction on the building is now moving full speed ahead, with an expected opening date in June 2017.
Continue on for more images of the in-progress building.
Next Month, architecture will be hitting the mainstream media, as Bjarke Ingels has been selected to grace the cover of the September 2016 edition of WIRED UK. Titled “THINK BIGGER,” the issue will also feature profiles and stories from architects and designers Tom Dixon, Neri Oxman, David Adjaye and Rem Koolhaas. A Condé Nast Publication, the magazine focuses on the effects of science and technology on topics including design, architecture, culture, the economy, politics and philosophy.
For Paul Lewis, Marc Tsurumaki and David J. Lewis, the section “is often understood as a reductive drawing type, produced at the end of the design process to depict structural and material conditions in service of the construction contract.” A definition that will be familiar to most of those who have studied or worked in architecture at some point. We often think primarily of the plan, for it allows us to embrace the programmatic expectations of a project and provide a summary of the various functions required. In the modern age, digital modelling software programs offer ever more possibilities when it comes to creating complex three dimensional objects, making the section even more of an afterthought.
With their Manual of Section, the three founding partners of LTL architects engage with section as an essential tool of architectural design, and let’s admit it, this reading might change your mind on the topic. For the co-authors, “thinking and designing through section requires the building of a discourse about section, recognizing it as a site of intervention.” Perhaps, indeed, we need to understand the capabilities of section drawings both to use them more efficiently and to enjoy doing so.
With the contract to design and build the museum in Perth officially awarded to contractor Brookfield Multiplex, HASSELL + OMA have revealed the design for the New Museum for Western Australia. The WA Government commissioned HASSEL + OMA to design the cultural institution in April of this year.
HASSELL Principal and Board Director Mark Loughnan, and OMA Managing Partner-Architect David Gianotten stated: “Our vision for the design was to create spaces that promote engagement and collaboration, responding to the needs of the Museum and the community. We want it to create a civic place for everyone, an interesting mix of heritage and contemporary architecture, that helps revitalize the Perth Cultural Centre while celebrating the culture of Western Australia on the world stage. The design is based on the intersection of a horizontal and vertical loop creating large possibilities of curatorial strategies for both temporary and fixed exhibitions.”
http://www.archdaily.com/792368/hassell-plus-oma-reveal-design-for-new-museum-for-western-australiaAD Editorial Team
When it comes to urbanism these days, people’s attention is increasingly turning to Moscow. The city clearly intends to become one of the world’s leading megacities in the near future and is employing all necessary means to achieve its goal, with the city government showing itself to be very willing to invest in important urban developments (though not without some criticism).
A key player in this plan has been the Moscow Urban Forum. Although the forum’s stated goal is to find adequate designs for future megacities, a major positive side-effect is that it enables the city to organize the best competitions, select the best designers, and build the best urban spaces to promote the city of Moscow. The Forum also publishes research and academic documents to inform Moscow’s future endeavors; for example, Archaeology of the Periphery, a publication inspired by the 2013 forum and released in 2014, notably influenced the urban development on the outskirts of Moscow, but also highlighted the importance of combining urban development with the existing landscape.
At the recently concluded Moscow Urban Forum, Renier de Graaf shared his opinion on a range of topics, from UK’s Brexit and the EU identity to OMA’s work in Russia, particularly in shaping the recent growth of Moscow. De Graaf is a partner at OMA and as director of the firm’s Think Tank, AMO, he produced The Image of Europe, an exhibition hoping to portray a “bold, explicit and popular” European Union. Thus, it comes as no surprise that De Graaf, along with Rem Koolhaas, is particularly outspoken about the recent events within the European Union.
Following the news last week that the Lucas Museum of Narrative Art will abandon plans for their Chicago location, OMA has released images of their proposal for the museum, which had been beaten out in the original competition by MAD Architects' Volcano-like entry. OMA’s design attempts to preserve as much of the lakefront park space as possible, lifting the majority of gallery and educational spaces into the air and capping them with a sky garden enclosed within an ETFE envelope. The plan would have offered up to 8 times more public space than the footprint it occupies.
The following interview with Reinier De Graaf was first published by Volume Magazine in their 48th issue, The Research Turn. You can read the Editorial of this issue, Research Horizons, here.
Architectural practice requires a degree of intimacy and insight into complex sets of forces. While building is architecture’s bread and butter, it’s not always the best format to make a statement. It’s sometimes not even the most appropriate language to respond to a brief. Volume spoke with Reinier de Graaf of OMA/AMO about how research and media can become a vessel for political agendas.
http://www.archdaily.com/789832/ulterior-motives-oma-amos-reinier-de-graaf-on-research-europe-and-the-2014-venice-biennaleReinier de Graaf
In the latest scenographic set for Prada's fashion collections, AMO have created a set "conceived as a stratification of architectures" – Total Space. Remnants from previous shows sit around the periphery of the room creating a foundation and aesthetic background for the house's 2017 Spring/Summer collection. A linear structure, which sits centrally and divides the room, is designed to "amplify its perceived proportions."
In a recent interview with the BBC, Rem Koolhaas (OMA) has spoken out against the campaign seeking to remove the United Kingdom from the European Union, upon which the British people will vote in a referendum next week. Reflecting on his time spent at London's Architectural Association (AA) in the 1960s and '70s, Koolhaas fears that advocates for withdrawal may be looking at the past through rose-colored glasses.
If you look at the arguments to leave you can see this is a movement of people who want to fundamentally change England back into the way it supposedly was before.
The City of Los Angeles has selected landscape architects Mia Lehrer + Associates (MLA) with partners OMA and IDEO to design a new public park at First and Broadway in downtown LA. Located across from Los Angeles City Hall, the new development, to be known as “FAB Park,” will connect into the existing Grand Park, turning the area into one of the city’s most important civic spaces.
OMA’s long-awaited conversion of the 16th century Fondaco dei Tedeschi as a department store is finally complete in Venice. The project was commissioned by Edizione S.r.l., the Benetton family's holding company, in 2009, and will bring comprehensive changes to one of the city’s largest and most recognizable buildings. The Fondaco was first begun in 1228 and is located at the foot of the Rialto Bridge, across from the fish market. With many past lives, it was first used as a trading post for German merchants, later as a customs house under Napoleon, and in the twentieth century, as a post office under Mussolini. Despite numerous and radical structural changes, the building was listed as a 'Monument' in 1987, restricting further alterations.
Buffalo’s Albright-Knox Art Gallery has selected OMA to expand and refurbish the historic museum and its campus. The project team is being lead by OMA New York’s Principal, Shohei Shigematsu, who will spend the next year in partnership with the museum and in consultation with the community on how to renew and revitalize the august institution. Known as AK360, the building will be OMA’s first art museum project in the United States, and the Albright-Knox’s first expansion in more than a half-century. According to the museum, the project’s name is a reflection on this being the institution’s third expansion in its 154-year history, in addition, it establishes an embrace of public feedback and the acknowledges the condition of being encircled by parkland.
This week, OMA has unveiled their latest project in London, Holland Green. Working alongside Allies & Morrison, the firm has created three new luxury residential buildings on a site of significant cultural importance: the former home of the Commonwealth Institute, designed by Sir Robert Matthew, one of the founding partners of RMJM. As a result, OMA and Allies & Morrison’s Holland Green project involved much more than just adding fuel to the fire of London’s booming luxury residential market—it also involved an extensive conversion to the original 1962 Commonwealth Institute exhibition hall, funded through the scheme’s profitable residential offering, to prepare the heritage building for its new tenants the Design Museum.
ArchDaily spoke with Reinier de Graaf, the partner in charge of the project at OMA, to discuss the development’s social aspirations, the challenges of the London context, and the story behind the project.
With the conclusion of this year’s Met Gala, on Thursday the public will have their first look at the Costume Institute of the Metropolitan Museum of Art’s new spring show, "Manus x Machina". According to the museum, “[the exhibition] will explore [an] ongoing dichotomy, in which hand and machine are presented as discordant tools in the creative process, and question the relationship and distinction between haute couture and ready-to-wear.” Occurring in the museum’s Robert Lehman Wing, a 1975 expansion by Kevin Roche and John Dinkeloo, the exhibition design has been developed by Shohei Shigematsu of OMA New York. Organized by Andrew Bolton, the Curator of The Costume Institute, the exhibition will feature over 100 samples of “haute couture and avant-garde ready-to-wear, dating from an 1880s Worth gown to a 2015 Chanel suit.” Read on for a small preview of the exhibition, fashion, and spectacle of Manus x Machina, on view from May 5 - August 14.
The After Belonging Agency, the curatorial team behind the 2016 Oslo Architecture Triennale (OAT), have revealed sixteen speakers who will present at the event's central conference at the Oslo Opera House this coming September. Atelier Bow-Wow, Snøhetta alongside a number of other academics, practitioners and decision-makers will come together to "address architecture’s relation to current pressing questions such as refugeeism, migration and homelessness, new mediated forms of domesticity and foreignness, environmental displacements, tourism, and the technologies and economies of sharing."
Designed shortly before Zaha Hadid left the Office of Metropolitan Architecture (OMA)—led by Rem Koolhaas—to found her practice, Zaha Hadid Architects, the proposed extension for the Dutch Parliament firmly rejects the notion that imitation is the sincerest form of flattery. Rather than mimic the style of the existing historic buildings, OMA elected to pay tribute to the complex’s accretive construction by inserting a collection of visibly postmodern, geometric elements. These new buildings, unapologetic products of the late 1970s, would have served as unmistakable indicators of the passage of time, creating a graphic reminder of the Parliament’s long history.