Posts tagged with "OMA":

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OMA to design New Museum expansion

The New Museum has selected OMA to design a new building right next to its current home on the Bowery. Rem Koolhaas and Shohei Shigematsu are designing the expansion at 231 Bowery, a museum–owned property that currently houses an incubator program and private artist lofts. The building, funded through an $85 million capital campaign, will be integrated into the museum's current home, a structure by SANAA that opened in 2007. Despite authoring Delirious New York, Koolhaas will just now be designing his first public building in the city. Set to break ground in 2019, the addition will boost the museum's floor space by 50,000 square feet. The extra room will accommodate more galleries, improve circulation, and add "flexible space" for signature programming like IdeasCityNEW INC, and Rhizome, as well as other events. “Having collaborated with Kazuyo Sejima and Ryue Nishizawa on a number of projects in Europe, it is a real honor to stand alongside their great work of architecture, one of my favorites in the city," said OMA Founding Principal Rem Koolhaas, in a prepared statement. “I am honored to be awarded this project in the city perhaps most central to OMA's philosophy, and am thrilled to work with an institution that deeply values the practices of creative forward-thinkers," added Shohei Shigematsu, partner and leader of OMA's New York office. "As a Japanese architect, I am very happy to engage in a unique dialogue with SANAA and build alongside one of their seminal works.” Founded in 1977, the museum is the only institution in the city that exclusively displays contemporary art. It announced plans to grow its footprint back in May 2016, and since then, the museum has raised more than half the funds it needs to pay for the expansion. At that time, it said 231 Bowery would not be demolished. The Architect's Newspaper (AN) reached out to the New Museum to get a date for the design unveiling, and find out whether the museum plans to keep the current building, which houses NEW INC as well as artist live/work spaces. A spokesperson said design development will take eight months and details will be shared at the end of the process.
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David Adjaye in Finland, contemporary wigwams, and other updates from the architects of Instagram

At The Architect’s Newspaper, we’re plain addicted to Instagram. Sure, we love seeing Brutalist concrete through “Inkwell” or “Ludwig” filters, but there’s also no better place to see where architects are getting their inspiration, how they’re documenting the built environment, and where they’ve traveled of late. Below, we bring you some of the best Instagrams of this past week! (Also, don’t forget to check out our Instagram account here.) It was a busy weekend in New York. In Sara D. Roosevelt Park on Saturday morning, the New Museum's latest iteration of IdeasCity kicked off with a host of temporary wooden structures hosting keynotes by speakers like Trevor Paglen, who lectured on visual recognition technologies. https://www.instagram.com/p/BZG5fWFhG4W/?taken-by=ideascity Later, on Saturday night, Storefront for Art and Architecture opened their new exhibit Souvenirs: New York IconsMore than 59 artists, architects, and designers were asked to create souvenirs for each of the city's community districts. It was so crowded we had to escape through the Holl in the wall. https://www.instagram.com/p/BZTw_02nC1c/?taken-by=oma.eu Across the pond, OMA posted renderings of their designs for Amsterdam's Schiphol Airport, clutch the pearls. https://www.instagram.com/p/BZQy_0sHBIt/?taken-by=3xn_gxn Danish firm 3XN demonstrated how their new children's hospital design was inspired by the movement of two hands opening. https://www.instagram.com/p/BZTYEh-AjFr/?taken-by=ekeneijeoma Artist Ekene Ijeoma announced he had created a new sculpture focusing on New York's immigrant community while reposting another sculpture we wrote about a while back that mapped out where low-wage workers can afford the rent, essentially forming islands of affordability. Still very relevant. https://www.instagram.com/p/BZNkVlflw7v/?taken-by=adjaye_visual_sketchbook We don't have favorites, but our perennial fave Sir David Adjaye has the best feed of all. He recently posted from the Aalto University in Finland—a beautiful little chapel by Hiekki and Kaija Siren from 1957. Take that, Louisiana Museum (1958). https://www.instagram.com/p/BZOy-16HlJf/?taken-by=exhibitcolumbus Jetting seamlessly back to rural Indiana, Exhibit Columbus highlighted a contemporary wigwam made of copper scales by Chris Cornelius of studio:indigenous. That's it for today, hashtag archilovers and quote-on-quote gallerinas. See you next week for more drama.
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Scaffolding exhibit coming up at the Center for Architecture

In Italo Calvino's Invisible Cities, one of the most interesting places described is Thekla, a city consisting entirely of endless construction—nothing but cranes, pulleys, and scaffolding. If you ask Thekla's residents why its construction is taking so long, they "continue hoisting sacks, lowering leaded strings, moving long brushes up and down, as they answer, 'So that its destruction cannot begin.' And if asked whether they fear that, once the scaffolding is removed, the city may begin to crumble and fall to pieces, they add hastily, in a whisper, 'Not only the city.'" In Calvino's work, scaffolding is a metaphor for progress without substance—interminable development as a way to create meaning as a species. Without it, jobs disappear, the landscape disappears, even meaning itself disappears. In New York City, scaffolding is as ubiquitous a part of the landscape as the buildings it sheathes, moving across neighborhoods like an urban kudzu. An estimated 280 miles of it stretch across the city at any given moment. In an upcoming exhibit at the Center for Architecture, scaffolding as a typology—with all its vernacular potential and industrial usage—is given a thorough examination. Is it a building? Not entirely, although it emulates buildings and can serve as a shelter. Is it an exoskeleton or an endoskeleton? It can be both, thrown up to restore interiors or panel up facades. As the exhibit explores, scaffolding is a flexible architecture, a nuisance to some , an aesthetic choice to others (for instance, Doug and Mike Starn), temporary or permanent, modular ... the list goes on. In this spirit, the Center for Architecture's upcoming exhibit Scaffolding will include case studies of the support structure's functions around the globe. The show's curator, Greg Barton, created a visual history of its development as a technology, from the wooden beams and bamboo of an earlier era to the steel and aluminum of today. Actual scaffolding designed by Shohei Shigematsu of OMA will be installed throughout the gallery space and main atrium. OMA also created a system of periscopes and mirrors scattered throughout the installation, allowing viewers to peer into separate parts of the gallery.
“‘Scaffolding' functions as a noun and verb, object and process,” Barton said in a statement about the show. “It is commonly invoked as a powerful metaphor by many disciplines due to its supportive role and adaptive qualities.”
The show's opening will kick off a series of public programs through December, examining scaffolding as a framework for social engagement as well as its use in theater and emergency relief. Scaffolding is on view at the Center for Architecture from October 2, 2017–January 18, 2018. There will be an opening reception Monday, October 2, from 6:00–8:00 p.m. More information can be found here. 
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Facebook and OMA team up for Menlo Park master plan

Today social media giant Facebook announced it had tapped international firm OMA to master plan its Willow Campus, a mixed-use neighborhood that will be located next to the company's headquarters in Menlo Park, California. Shohei Shigematsu, the partner who helms OMA's New York office, will lead the design. “It’s exciting to collaborate with Facebook, whose innovation in networking and social media extends to urban ambitions for connectivity in the Bay Area," said Shigematsu in a release. "The Willow Campus masterplan creates a sense of place with diverse programming that responds to the needs of the Menlo Park community. The site has the potential to impact the future of regional transportation, housing, and environment." Facebook first moved to Menlo Park in 2011, with Frank Gehry designing a major 434,000-square-foot expansion a few years later. In terms of this latest round, said John Tenanes, Facebook's VP of global faculties and real estate, "our goal for the Willow Campus is to create an integrated, mixed-use village that will provide much needed services, housing, and transit solutions as well as office space. Part of our vision is to create a neighborhood center that provides long-needed community services. We plan to build 125,000 square feet of new retail space, including a grocery store, pharmacy, and additional community-facing retail." Housing and regional transportation will both figure prominently into this master plan. Tenanes said that this development will see 1,500 units of housing built, with 15 percent listed at below market rates. Having housing on site will hopefully reduce traffic, he continued, while also adding that "Willow Campus will be an opportunity to catalyze regional transit investment by providing planned density sufficient to support new east-west connections and a future transit center. We’re investing tens of millions of dollars to improve US101." (As Tenanes noted in the press release, this isn't Facebook's first foray into affordable housing.) Tenanes stated that Facebook and OMA will file a plan with the City of Menlo Park this month. From there, they will "begin more formal conversations with local government officials and community organizations over the course of the review process, which we expect to last approximately two years." He estimates construction will occur in several phases, with "the first to include the grocery, retail, housing and office completed in early 2021, and subsequent phases will take two years each to complete."
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Rendering LOL: How architects are absurdly using Calder sculptures

Why do so many architects use Alexander Calder sculptures in their renderings, even when the works have nothing to do with the institution or project depicted? The Calder Foundation has been tracking this phenomenon, and the results are featured in the slideshow above.  A new exhibition at the Whitney Museum in New York explores mobiles—kinetic sculptures in which carefully balanced components reveal their own unique systems of movement—created by American sculptor Alexander Calder from 1930 until 1968, eight years before his death. Running through October 23, the exhibition features almost 40 sculptures, including three that served as models for possible architectural commissions. In addition, Alexander S. C. Rower, who is the sculptor’s grandson and head of the Calder Foundation, will bring one of three motorized maquettes Calder created as proposals for the 1939 New York World’s Fair to the Whitney later this summer for a temporary viewing and activation.
Other Calder works on display that were designed for architectural projects include Octopus and The Helices, both made in 1944 as part of a series of bronze works Calder envisioned as 40-foot monuments and created for an International Style architectural project proposed by Wallace K. Harrison. Interestingly, more recently, many well-established architects have used Calder’s works to illustrate renderings of their own designs, often without the Calder Foundation’s permission. OMA in particular apparently finds Calder’s sculptures perfect for its projects: It used his 1973 Crinkly with a Red Disc, actually in the collection of the Kunstmuseum Stuttgart, in Germany, in its rendering of the Garage Center for Contemporary Culture in Moscow. The rendering for the firm’s Park Grove condos in Miami pilfered Calder’s 1973 Flamingo, which actually sits in Federal Plaza in Chicago, while the rendering for 11th Street Bridge Park in Washington, D.C., by OMA and OLIN, features the same sculpture. Other architectural firms that favor Calder’s works in their renderings include Ateliers Jean Nouvel, whose 53 W. 53rd Street project in Manhattan features Calder’s 1961 Sumac, actually in a private collection. Shigeru Ban Architects used Calder’s 1971 The Eagle, now at the Seattle Art Museum, and his 1972 Trepied rouge et noir in renderings for, respectively, the Tainan Museum of Fine Arts in Taiwan and Mt. Fuji Shizuoka Airport in Japan. Renzo Piano Building Workshop (which designed The Whitney’s current home in Manhattan’s meatpacking district), Diller Scofidio + Renfro, SOM, and Studio Libeskind also find the display of Calder’s works an attractive way to promote their concepts. Calder’s works reside today in some major venues: In addition to the sculptures in Federal Plaza in Chicago and at the Seattle Art Museum, the home of his Five Swords is Storm King Art Center in New Windsor, N.Y. Asked about contemporary architects’ practice of borrowing—to put it politely—images of Calder’s works to illustrate their designs, Rower said that during the artist’s lifetime, Calder was friendly with Mies van der Rohe, Josep Lluís Sert, Le Corbusier, Marcel Breuer and Wallace K. Harrison, and “frenemies” with Frank Lloyd Wright. As the first artist commissioned to make a public sculpture by the General Services Administration, he said Calder was “the obvious go-to for architects designing new buildings or plazas. Given this history, it comes as no surprise to me that, even today, he is the most prolific artist depicted in architectural renderings. His iconic vocabulary is instantly recognizable; thus, contemporary architects use his imagery to suggest the superior qualities of their projects.” “The genius of Calder’s work,” Rower added, “is that it transforms space—and our experience of it—in real time. While his great invention, the mobile, does this in an overt way—performing in front of us and literally embodying movement—Calder’s stabiles (stationary sculptures) imply movement and affect how we encounter surrounding plazas, facades or even natural landscapes. Architects intuitively understand that effect, and are excited by the prospect of how a Calder sculpture can deepen the experience of whatever space they are designing.” “As long as it’s done in a respectful way,” Rower admitted that rendering actual Calder works that have not been manipulated “is gratifying. I’m interested in Calder’s works in architectural mock-ups—allowing me to imagine his sculptures in many different settings and contexts. And it’s rewarding that Calder remains a favorite amongst architects.”
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New RFK memorial project launched for D.C.’s RFK Stadium complex

The start of a new memorial project for assassinated U.S. Senator Robert F. Kennedy at Washington D.C.’s RFK Stadium was announced by the District of Columbia's Mayor Muriel E. Bowser, the senator’s family members, and Events DC, on May 17. The memorial project is part of an overall plan for the RFK Stadium complex, a $500 million project spearheaded by New York City–based OMA. The proposal involves demolishing the current stadium and its parking lots, transforming the site into a 350,000-square-foot recreation and sports complex complete with three ball fields and a 47,000-square-foot market selling groceries. The memorial will honor the late senator, serving “as a place of remembrance and a place of teaching and practicing the civil rights and equality ideals Robert F. Kennedy championed,” Events DC said in a statement to The Washington Post. The 190-acre site sits on federal government land and will be tied to neighboring Kingman Island and the River Terrace neighborhood by three new pedestrian bridges. Events DC, the city’s official convention and sports authority, will be funding half of the project while city, hotel tax revenue, and team leases will cover the rest. “On behalf of my family, we are delighted… to begin this journey… in tribute to my late grandfather,” Maeve Kennedy McKean, the senator’s granddaughter said in the Events DC statement. “My grandfather lived his life every day in the service of others.” Officials hope that the redevelopment of the new stadium site and the memorial will begin and finish over the next five to seven years, according to Events DC. The D.C. United soccer club currently occupies the stadium and will continue to do so for another year, until the new BIG-designed stadium is completed.
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OMA unveils sliced design for Boston Seaport

OMA's New York office has unveiled renderings for a 490,000-square-foot mixed-use retail and office project in Boston—OMA's first in the city. The project will be located in the Boston Seaport and is being backed by Massachusetts-based WS Development. The developer has coalesced around a number of esteemed firms, notably Sasaki, NADAAA, and James Corner Field Operations as the firm looks to invest in the area, plotting a wider 1.3 million-square-foot scheme. Officially known by its address at 88 Seaport, the project is set to offer a series of cascading terraces that form part of a dramatic, angled slice through the structure about a third of the way up. This cut-through transcends down from a mid-level balcony through the building towards the street corner, with its angularity encouraging views up and into the cantilevered structure. 88 Seaport is also orientated toward Boston's Fan Pier Green and the water’s edge, and while its windows are recessed, the render depicts floor-to-ceiling fenestration which will maximize views out. The building will rise to 18 floors and provide almost 425,000 square feet of office space. Meanwhile, 60,000 square feet will be designated for retail on the first two levels. Finally, 5,000 square feet will be allocated for civic and cultural use. Shohei Shigematsu, a partner at OMA who spearheads the firm's New York office, said in a press release that "[it’s] exciting to engage with the innovation migration to the Seaport District, and work with WS Development on a building positioned to be the nexus between historic Fort Point and the emerging waterfront developments. Our design for 88 Seaport slices the building into two volumes, creating distinct responses for each urban scale of old and new, while also accommodating diverse office typologies for diverse industries with demands for traditional and alternative floorplates. The slice also generates an opportunity to draw in the district’s public domains, linking the waterfront and Fan Pier Green with a continuous landscape." The project is expected to break ground next year with completion planned for 2020.
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New renderings unveiled for Mia Lehrer + Associates and OMA’s FaB Park in L.A.

Designs for the forthcoming First and Broadway (FaB) Park by Mia Lehrer + Associates (MLA) and Office of Metropolitan Architecture (OMA) have been reconfigured to address community desires of Downtown Los Angeles residents. The new designs, portrayed in a collection of new renderings, depict a more leafy proposal for the two acre park than was originally proposed. The original design featured a central plaza flanked by groves of native plantings, sunken terraces, and a 100,000-square-foot food pavilion. The proposal was also dotted with large-scale shade structures and contained a small creek at its southwest corner. The new iteration of the project features a greater number of trees and shade structures, according to the renderings. The scheme also features a new 10,000-square-foot meadow that grows out of the creek bed, which had been retained in a reconfigured shape. The designers have also improved the food pavilion by adding a rooftop terrace and shade pavilion beside the structure. The two-story structure will host a restaurant, though a vendor has not been selected and there are community concerns regarding the future restaurant’s affordability. The project is expected to break ground in 2018 and be completed by 2020.
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OMA’s initial plans for a Miami condo complex were hilariously below par

This post is part of our years-long running Eavesdrop series (think page 6 for the architectural field). It’s your best source for gossip, insider stories, and more. Have an eavesdrop of your own? Send it to: eavesdrop[at]archpaper.com.

In related Related Group news, The Architect's Newspaper is hearing that when OMA submitted its plans for the three-tower Park Grove condo complex in Miami’s Coconut Grove, the initial submission was hilariously below par. Because OMA had not done very much housing, the original RFQ contained some of Rem Koolhaas’s earliest conceptual housing schemes. When the designs for Park Grove were delivered to Related, they had no closets and the kitchens were too small. It took a collaboration with a local, condo-experienced architect to get them up to speed. It worked out, however, Park Grove is now over halfway done: Two Park Grove and the Club Residences recently topped off, and One Park Grove is expected to break ground in 2018.

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Controversial OMA development in Santa Monica scaled down

Plans for a long-delayed and controversial mixed-use project by OMA in Santa Monica, California have changed once again. OMA’s Plaza at Santa Monica development—a project that, if built, would be the firm’s largest work in Los Angeles to date—is to be located on city-owned land and will contain a flurry of programming, including a hotel, affordable housing, creative office, and retail spaces. The mixed-use project, originally pitched in 2014, has been dogged by outcry from anti-growth community activists who take issue with the project’s size and density and would rather see the 2.57-acre site used to house a neighborhood park. According to information presented on the project website, the development—as newly proposed—will contain 280 hotel rooms, 48 units of affordable housing, 106,000-square-feet of creative offices, and 12,000-square-feet of cultural space. Santa Monica Lookout reports that the project is also designed to contain a grand plaza facing the ocean, two street-level pocket parks along its perimeter, and an elevated terrace park. One of those pocket parks is being designed to contain an ice skating rink. In total, the newly re-proposed project will bring roughly 2.86-acres of open space to the area, including the elevated terrace. The new changes represent a modest downsizing for the project: While previous iterations had risen up to 148-feet in height, the new proposals bring the tallest point of the project to 129 feet. The project also includes 200,000 fewer square feet of retail space and more hotel rooms than it did prior to the changes, up from 225 rooms initially. Renderings for the project depict a staggered stack of rectilinear building blocks that rise in height from a single story alongside the grand plaza to roughly 12-stories high toward the back of the site. The shifting building masses create roof terraces and covered outdoor loggia as they rise and are wrapped in glass curtain walls on all sides. Community members have until March 2 to review new renderings of the project. See the City of Santa Monica’s website for more information on the project.
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OMA reveals design for sports complex around RFK Stadium

Even if the Redskins keep their name and leave D.C., the city is taking steps to ensure the area around RFK Stadium offers ample space for residents to play, too.

Events D.C., the city's semi-independent convention and sports authority, has unveiled plans to replace the ocean of surface parking that fronts the soon-to-be-demolished stadium with recreation space and a food market. The whole scheme, pictured in the gallery above, is designed by New York–based OMA.

The estimated $500 million proposal includes three ballfields (two for baseball, one for youth soccer), a 350,000-square-foot recreation and sports complex, and a 47,000-square-foot market selling groceries and concessions. According to the Washington Post, the sports center will host bowling, go-kart, and video-game facilities; a memorial to Robert F. Kennedy will be installed nearby, as well. To tie the programming together, three pedestrian bridges will connect the site to Kingman and Heritage islands.

“The RFK Stadium Armory-Campus—currently under-utilized—is poised to be transformed into a vibrant place that connects D.C. to the Anacostia River," OMA partner Jason Long told the Washington Business Journal. "Working together with Events D.C., we have formulated a plan that strategically locates new facilities that will draw people to and through the site, while refining the vision for larger redevelopments in the years ahead.”

As the 190-acre site is owned by the federal government, federal and local agencies must approve the plan before any shovels hit the soil. Half of the project will be funded by Events D.C. while the city, hotel tax revenue, and team leases will pay for the rest.

Although the Redskins moved to the suburbs years ago, the team is scoping sites for a move—maybe to D.C., or maybe not, if the team refuses to change its racist name. Regardless, the D.C. Zoning Commission gave its initial blessings to the BIG-designed stadium last month, and the commission is expected to give its final okay for the project at its February meeting. Right now, Major League Soccer's (MLS) D.C. United plays at the stadium, and it will continue to play tournaments on-site until the new stadium is complete in 1–2 years.

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OMA-designed Faena Forum opens in Miami

OMA designed three buildings nestled between Miami Beach’s famous Collins Avenue and Indian Creek Drive in Mid-Beach. The project is a significant contribution to the Faena District, a $1.2 billion project covering six blocks and integrating dynamic cultural, residential, hotel, retail, culinary, and public environments.

OMA’s structures are all governed by independent programs: the Faena Forum with flexible theater uses, the Bazaar that retrofits a historic hotel with curated retail and event programming, and a state-of-the-art car park. Shohei Shigematsu, partner at OMA and the director of its New York office, led design efforts on the project.

A central focus of the new district is the Forum, which opened on November 27. The building is composed of two volumes—a cylinder and a cube—that are similar in size and can be combined or subdivided to support any type of production, from projects and commissions to performances, exhibitions, and events. A circular stair that descends from an impressive 46-foot cantilever denotes the main entrance. This leads up into the lobby of the building, which the architects elevated in response to concerns over rising sea levels. The design move freed up ground-floor space for loading functions and helped to provide a canopy along Collins Avenue. The architects explained that this extended the public domain into and under the building. Shigematsu said the formal strategy of the Forum’s radiused, cantilevered facade was inspired by the firm’s research into urban planning principles. “The Forum’s circular plan enables the public domain to expand, activating pedestrian movement within the district,” he said. “A 45-foot cantilever allows the landscaped plaza to slip under the Forum along Collins, providing a dramatic sense of arrival.”

Faena Forum 3300-3398 Collins Avenue Miami Beach, FL Tel: 305-534-8800 Architect: OMA