In February 2020, the Solomon R. Guggenheim Museum will present an exhibition titled “Countryside, The Future.” The brainchild of a team led by Rem Koolhaas and AMO, the exhibition will mark the latest chapter in one of Koolhaas’ fields of study from recent years; the impact of an increasingly urbanized world on the non-urban areas “left behind.” This investigation is for good reason.
The Museum of Contemporary Art Chicago is presenting an exhibition devoted to the work of the ultra-modern, genre-bending artist and designer Virgil Abloh. Titled “Virgil Abloh: Figures of Speech” the immersive space has been curated by the Museum's Chief Curator Michael Darling, and Samir Bantal, a director at OMA’s research wing, focusing on the creative process and collaborative work of Abloh who is redefining fashion, art, and design.
Among the most renowned and well-established offices in the world, OMA - Office for Metropolitan Architecture, founded in the 1970s by Rem Koolhaas, Elia Zenghelis, Madelon Vriesendorp, and Zoe Zenghelis, is definitely part of the pantheon of the most famous. Curiously, although it receives large commissions and has already built several emblematic works in different countries, the office is often associated with an approach that is less focused on architectural design, going beyond the strict limits of the disciplinary field and encompassing other areas of practice.
Architecture is defined by stories. It’s through visualization and communication of ideas that we construct new environments. Trained as an architect, Keely Colcleugh is a designer with a range of experience across the fields of architecture, graphic design, film, and visualization. In 2009, she founded Kilograph with a desire to combine leading edge visualization techniques with animation, interactive design, graphics, and branding. Now Keely is the CEO of a growing creative agency with offices in Los Angeles and Spain.
In an exclusive interview with ArchDaily, Keely talks about her transition to communication design, her love for Los Angeles, and how the art of visualization continues to evolve.
OMA's research and design practice AMO has opened True Me, the studio's first exhibition design in China. Built in the 798 Art Factory in Beijing, True Me explores modern selfie-culture and modes of self-representation through art and media. Organized by App developer Meitu and the Beijing Contemporary Arts Foundation, the exhibition features artworks by Hou Ying, Lu Yang, Maleonn, Xie Haiwei, Ye Funa, Chen Tianzhuo, teamLab, and Theodore Bradley. Celebrating the launch of Meitu’s new logo, the exhibition extends AMO’s interest in studying visual culture.
AMO, the research and think tank wing of OMA, has completed a flexible new exhibition space for the permanent collection of the Stedelijk Museum in Amsterdam. Named Stedelijk BASE, the bespoke display system is constructed from “very thin yet solid” free-standing steel partitions that interlock like puzzle-pieces to create an open-ended flow for viewing art from the late 19th and 20th centuries.
The creative mediators of Manifesta 12 have revealed the concept for next year’s Manifesta 12 biennial in Palermo.
Entitled The Planetary Garden. Cultivating Coexistence, the concept will explore “coexistence in a world moved by invisible networks, transnational private interests, algorithmic intelligence and ever-increasing inequalities through the unique lens of Palermo – a crossroads of three continents in the heart of the Mediterranean.”
The concept was derived from an earlier analysis conducted by OMA named the Palermo Atlas, which investigated the “social, cultural and geographical textures of the city.” The event will allow visitors to visualize contemporary global transformations through the lens of Palermo.
The Solomon R. Guggenheim Museum has announced a new research project exploring the “radical changes in the countryside, the vast nonurban areas of Earth” that will culminate in an exhibition at the museum’s Frank Lloyd Wright-designed New York home in Fall 2019.
Collaborating with Rem Koolhaas and his firm AMO, the think tank wing of OMA, the project will continue research already conducted by the Dutch architect and students from the Harvard Graduate School of Design.
In this excerpt from Reinier de Graaf's new book Four Walls and a Roof: The Complex Nature of a Simple Profession (Harvard University Press), the all-pervasive work and pedagogical practice of Ernst Neufert is put under the spotlight. Was he an architect, a teacher, or something larger than both? In examining Neufert's ardent pursuit of the "norm", De Graaf sheds light on the impact and enduring legacy of the author of Architect’s Data.
His built output—a few industrial complexes, some housing projects, and the Quelle Mail Order headquarters in Nuremberg—is not much to speak of, but his name is known to every practicing architect: Ernst Neufert, author of Architect’s Data, more commonly referred to as Neufert. [1] If the importance of an architect equals the extent to which his work lives on in others, Neufert is the most important of the twentieth century. There is probably no architect who has not used Neufert, whether as a didactic tool or as a volume of references. It contains all the necessary information to design and execute works of architecture. Neufert is enduringly popular. As of 2016, it is in its forty-first German edition, has been translated into seventeen languages, and has sold over 500,000 copies. [2]
Manifesta 12 creative mediator OMA has revealed the Palermo Atlas, an interdisciplinary urban study of Palermo that will inform the organization of 12th edition of Manifesta, the European Biennial of Contemporary Art, that will be held next year in the Italian city. Led by OMA partner Ippolito Pestellini Laparelli, the project outlines a blueprint for Palermo “to plan its future and as a research framework to ensure that Manifesta 12 achieves a long-term impact for the city and its citizens.”
A new exhibition by OMA/AMO, lR100-Rinascente: Stories of Innovation, has officially opened in Milan’s Palazzo Reale. Marking the 100th anniversary of the classic Italian department store, la Rinascente, the exhibition commemorates the company’s long creative history and experimental spirit that has served as an influential part of Italian design, culture and commerce.
For their latest fashion show scheme for Prada, AMO has gone “back to basics.” Envisioned for the fashion house’s 2017 Fall/Winter Collection, “Continuous Interior” borrows from domestic design, taking the form of a series of curving wooden partitions paired with ordinary materials and emblematic furniture pieces to create a stage that speaks to the importance of authenticity in the political climate of today.
OMA, led by partner Ippolito Pestellini Laparelli, have been chosen as the "Creative Mediators" for the 12th edition of Manifesta, which will be held in Palermo in 2018. The practice will assemble an interdisciplinary team to investigate the role of governance in the Italian city, and address how contemporary urban centers are affected by tourism, gentrification, migration and climate change. They will also work "with specialists from the fields of contemporary art, sociology, music, cinema and architecture" to develop a series of "interactive, interdisciplinary, performative and artistic interventions."
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.
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.
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.
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.
