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
German architecture firm, GRAFT, has been selected as the winner of the “Apassionata” competition. Tasked with designing a temporary structure for the exhibition of horses, GRAFT proposed a complete wooden building that could be assembled, dismounted and reassembled at the convenience of the company.
Learn more after the break…
An extraordinary debut for the two architects in the sign of the classic scenes have created which will move the heroes of the 45th Cycle Classic Performances, scheduled at the Greek Theater in Siracusa from May 9 to June 21.
“Reality – comments Massimiliano Fuksas – is what we see in the mirror or what is reflected? We did not want or thought ever to resolve the dilemma. There is always time to acquire the magic necessary to understand the origins and the core emotions. Beyond the image, the true point of departure. ”
For the architect the element of reflection and inspiration for the design of the set was the horizon. “A horizon very simple – he adds – who speaks of the cathartic and what was the landscape, place, and action, for the conscience of the spectators, not today but yesterday.” As the landscape and the scenery have changed over time, the intention contained in the set design is the reconstruction of a lost horizon, staged by a “concave blade” that reflects what is going around, which involves the public, which reflects and invites reflection.
“Medea” by Euripide is directed by Krzystoff Zanussi , translated by Maria Grazia Ciani, costumes by Beatrice Bordone Bulgari, music by Daniel D’Angelo, Elisabetta Pozzi in the role of protagonist.
“Edipo a Colono” by Sofocle, directed by Daniele Salvo, translated by Giovanni Cerri, costumes by Nicola Luccarini, music by Marco Podda, with Giorgio Albertazzi role in place of tragedy.
Photograph by Moreno Maggi.
The Wyly Theatre in Dallas is almost finished. This project is very interesting, and REX/OMA show once again how designing a building goes way beyond that working on the volumes and the skin, but to rethink the program itself.
Anyone familiar with a theatre knows the program order hasn´t changed much, as it´s pretty much the same you find on Neufert. But REX/OMA take this a step further, by re-studying the program relations and adjacencies, resulting on a unique building. Perfect for the client, as the Dallas Theater Center (DTC) is recognized as one of the country’s few innovative theater companies located outside the triumvirate of New York, Chicago, and Seattle. On the top of that, an interesting aluminium skin adds to make this building unique.
The facade is being installed this days, opening expected during 2009.
Now, the architects description:
After a two-phase international competition (with offices such as Morphosis, Abalos+Sentkiewicz, MVRDV and Zaha Hadid), OMA has been awarded the first prize in the design competition to build the new Taipei Performing Arts Centre.
The project, led by Rem Koolhaas and Ole Scheeren, is based on 3 theaters (1 x 1,500 seats – the round one, 2 x 800 seats – cubes) which are plugged into a central cube cladded with corrugated glass. This scheme puts all the stage accommodations of the 3 theaters into the central cube, allowing for more flexibility as theaters can be used independently or combined, expanding the possibilities for experimental performances – an art which is very strong on the country. This new arrangement of stage and seatings includes a public circulation that exposes parts of the backstage to the public.
And now, my comments on the form.
Architect: Massimiliano Fuksas
Location: Strasbourg, France
Programme: Zenith Music Hall (10.000 seats)
Construction year: 2008
Site: Municipality of Eckbolsheim, Strasbourg
Client: Città di Strasburgo (CUS) Delegate
Consultants: Concrete Betom / Acoustics Altia / Scenography Architecture and Technique
Area: 14.000 sqm
Photographs: Moreno Maggi & Philippe Ruault