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.
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.
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.
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.
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.
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.
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 current state of architectural design incorporates many contemporary ideas of what defines unique geometry. With the advent of strong computer software at the early 21st century, an expected level of experimentation has overtaken our profession and our academic realms to explore purposeful architecture through various techniques, delivering meaningful buildings that each exhibit a message of cultural relevancy.
These new movements are not distinct stylistic trends, but modes of approaching concept design. They often combine with each other, or with stylistic movements, to create complete designs. Outlined within this essay are five movements, each with varying degrees of success creating purposeful buildings: Diagramism, Neo-Brutalism, Revitism, Scriptism, and Subdivisionism.
Alongside the launch of Faena Circle, an experimental collaboration between Faena Art in Miami Beach and its sister institution in Buenos Aires, comes new images of the OMA-designed Faena Forum. The new center for arts and culture planned for Miami Beach is designed to “catalyze experimentation within and across artistic disciplines and foster cross-cultural collaborations among artists throughout the Western Hemisphere.” A series of flexible spaces formed by interlocking cylindrical and cuboidal volumes will provide for a range of projects, commissions, performances and events.
UPDATE:OMA has released new images of the Norra Tornen project (previously named “Tors Torn”), as the close-to 300 apartments planned for the residential towers have been put on the market. The ground-breaking of the Stockholm towers is currently set for May 2015.
OMA has won the design competition for Tors Torn in Stockholm, beating out four competing practices for the opportunity to build the third tallest twin skyscrapers in Sweden.
Existing urban guidelines call for a gateway to the new Hagastaden area of Stockholm, and OMA’s proposal accommodates a mixed-use program with a set of “rough-skinned” towers. The protrusions and inversions at different heights produce an alternating pattern of indoor living spaces and protruding outdoor spaces. OMA explains that their design “challenges the expected uniformity and homogenous façade treatment that is often assigned to tower structures. Instead, it extends the skin to expose the individuality of the separate living units in the two blocks - a true vertical, urban agglomeration."
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 Koolhaasrevealed 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.”