Following another recent Twitter spree and a series of problematic, rambling public interviews, multidisciplinary artist and designer Kanye West has announced the creation of a new architecture arm called “Yeezy Home” that will seek to expand West’s creative output to include architectural and urban design. In a late-night tweet, the Hidden Hills, California-based rapper solicited the talent of aspiring designers, calling for “architects and industrial designers who want to make the world better.” https://twitter.com/kanyewest/status/993221454740185088?s=21 West’s cryptic tweet comes just over a week after the controversial creative visited the Southern California Institute of Architecture’s (SCI-Arc) Spring Show, a showcase of the school’s spring semester work. The visit prompted a tweet from Kanye highlighting the work of M.Arch I student Ashley Morgan Hastings and her desalination-focused project. Following the visit, West tweeted out praise for the student: https://twitter.com/kanyewest/status/990734224670867456?s=21 West has a long history of associating himself and collaborating with architects and designers, including a 2012 collaboration with Dutch architects OMA for the design of the 7 Screen Pavilion project, a pyramid-shaped projection room used to screen West’s Cruel Summer film at the Cannes Film Festival. Amid an earlier tweetstorm two weeks ago, West unveiled Axel Vervoordt-designed the interiors for the mausoleum-like Hidden Hills home shared with wife Kim Kardashian. The top-secret designs follow previous collaborations with New York City-based Family and London, England-based architect John Pawson. After proclaiming his “obligation to show people new ideas” following West’s renewed support for Donald Trump in a recent song, Kanye’s latest foray into design seems to be more involved, however. CityLab reports that the rapper recently purchased a 300-acre property in Los Angeles that West intends on developing himself. In a wide-ranging interview with Charlemagne Tha God, West hints at his future plans, saying, “Yeah, we’re going to develop cities.”
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With the opening of OMA’s Torre for Fondazione Prada, tours of midcentury Villa Borsani, and (a few days late to the Design Week party and thus not included here) the completion of Zaha Hadid Architects’ Generali Tower, Milan Design Week 2018 was exceptionally steeped in architecture. There was the usual abundance of collaborations with architects, such as Alejandro Aravena for Artemide, John Pawson for Swarovski, and David Rockwell’s The Diner with Cosentino and Design Within Reach, but it was the host of architectural installations and interventions that took it over the top. Here are ten memorable architectural moments of Milan Design Week 2018. Garage Traversi The rationalist 1938 Garage Traversi in Milan’s Montenapoleone District received a facade makeover by Studio Job for Milan Design Week. The Pop Art mural comes in advance of the building’s renovation into a “luxury hub” by British private equity fund Hayrish. The reinforced concrete building, originally designed by architect Giacomo de Min, sits on an odd lot, leading to it being built like a fan and resulting in its popularity. The iconic building has been unused for 15 years, but has retained its reputation as a cultural and architectural landmark. U-JOINT PlusDesign Gallery hosted an immensely satisfying architectural exhibition on joints. The group show offered joints of all sizes, materials, and shapes to demonstrate its importance in objects and buildings alike. Over 50 designers, studios, and research institutes, including Alvar Aalto, Aldo Bakker, Edward Barber & Jay Osgerby, Konstantin Grcic, Jonathan Nesci, Cecilie Manz, Self-Assembly Lab MIT, and Jonathan Olivares, displayed prototypes and products. My Dream Home by Piero Lissoni “My Dream Home,” an installation by Piero Lissoni, stacks twelve shipping containers vertically to host an exhibition by photographers Elisabetta Illy and Stefano Guindani of photos taken in Haiti alongside drawings by Haitian children of their dream homes. Lissoni chose to build with containers as an inexpensive, sustainable option that could potentially be used for multi- and single-family homes in Haiti. Altered States Snarkitecture is no stranger to Milan Design Week installations. For its most recent, the firm partnered with Caesarstone to create “Altered States” inside the 19th-century Palazzo dell'Ufficio Elettorale di Porta Romana. The installation examined water in its three forms (ice, liquid, steam/vapor) and the way it appears in nature (glacier, river, geyser) through a collection of kitchen islands made from Caesarstone’s quartz surface material. Villa Borsani In advance of an exhibition curated by Norman Foster and Osvaldo Borsani’s grandson, the Villa Borsani opened to visitors after being newly decorated by curator Ambra Medda, who collaborated with various artists to bring in floral arrangements, scents, and a playlist that enliven the midcentury villa. James Wines X Foscarini James Wines/SITE collaborated with Foscarini to make the “Reverse Room,” a slanting black box that houses a limited edition set of lights called "The Lightbulb Series." Wines relied on his research on subconscious spatial expectations to keep visitors constantly surprised. “This series comes from the idea of disrupting the classic design of incandescent light bulbs,” Wines said in a statement. “An idea that suggests a critical reflection on the absolutely non-iconic forms of modern LED lamps. The concept, implemented by Foscarini, stems from research on the spontaneous way people identify with forms and functions of everyday objects. In this case, the light bulbs merge crack, shatter, and burn out, overturning any expectations.” Fondazione Prada On April 18, the Fondazione Prada completed the latest, and last, building in its 200,000-square-foot Milan complex. Torre, designed by Rem Koolhaas, Chris van Duijn, and Federico Pompignoli of OMA, is wrapped in white concrete and nearly 197 feet tall. This form offers a two-fold experience: From the exterior, the spare, modern block contrasts with the more ornate buildings of the campus (the Italianate-style entry building, gold-painted tower, and the mirror-clad theater, among others) and from the interior, sweeping views of the surrounding industrial neighborhood. At the back of the building, an exterior elevator core is intersected by a diagonal form that connects the Torre to the adjacent Deposito gallery. The elevator's interior is painted an electrifying hot pink, framing the panorama of the campus in madcap fashion. The gallery's floors, currently occupied by the exhibition Atlas, are similarly eclectic. Floor plans alternate between trapezoidal and rectangular and the ceiling heights increase from about 9 feet on the first floor to 26 feet on the top floor, with glowing pink staircases in between. Even so, the space complements rather than competes with massive, immersive installations from heavy-hitting artists such as Damien Hirst and Jeff Koons. (Although the maze-like entrance to Carsten Höller's Upside Down Mushroom is so dark, this writer ran into a wall.) 3D Housing 05 Massimiliano Locatelli | CLS Architetti collaborated with Arup, Italcementi, and Cybe to 3-D print a 1,076-square-foot house on-site. The house, located in front of the Piazza Cesare Beccaria, demonstrated that 3-D printing could be used as a sustainable and feasible construction method. The house was 3-D printed from a recycled concrete that, in the event the house is destroyed, could be reused to make a new structure. Lexus Design Award This year marked two firsts for the 2018 Lexus Design Award (LDA) Grand Prix Winner: It was the first time an American design team took home the prize, and the first time a workshop, rather than a product, won. New York design research studio, Extrapolation Factory, “studies the future” and helps communities create and experience their cities’ futures through workshops and activities. “We all have a vested interest in the future. But how many people have taken a class in futures?” asked Extrapolation Factory cofounder Elliott P. Montgomery. “We’ve had classes in history, math, science, but we are never taught how to think about the future. And this seems like a glaring omission in our country’s education.” Montgomery and his cofounder Christopher Woebken conducted a workshop at the Queens Museum and presented a video alongside a few props as their LDA presentation. The unusual urban planning project garnered praise for its focus on community and its exploration of society, technology, and environment. “It’s completely different than the other participants because it isn’t product-based. It is about education and using design as a way to engage with people, and given the context of the theme, CO-, we felt that was incredibly important,” said Simone Farresin of Formafantasma, who mentored the Extrapolation Factory for the LDA. MINI Living House London-based architecture firm Studiomama created four modular co-living spaces for MINI. Each module had its own color and built-in furniture “totems” that distinguish the space’s personality. The four units share communal spaces, including a kitchen (shown above), a dining area, a gym, and home theater space.
A new profile rises almost 200 feet above the tangled web of railroad tracks cutting across southern Milan, dominating the otherwise flat skyline. Following the white concrete nine-story beacon to its source will land you in the OMA-designed Prada Foundation, officially inaugurated in 2015 (the tower was originally scheduled to open at this time). As the final notch in the Prada family’s campus–which boasts a pastel-soaked Wes Anderson-designed cafe-bar, a mirrored cinema, and a gold-leaf-encrusted “Haunted House” amid the century-old refurbished warehouses–Torre, the long-delayed tower is an appropriately startling final act for a foundation that intends to “activate and challenge the senses,” according to its Press Officer Nicolo Scialanga. “It’s not a passive building,” OMA’s Federico Pompignoli says simply of the tower. Working with Rem Koolhaas and Chris van Duijn, Pompignoli has overseen every conceivable aspect of the Foundation’s design since the start of the firm’s collaboration with the Prada family, even moving to the Italian city in 2013 to be closer to the construction. “Instead, every single space becomes a special occasion, an opportunity to curate oneself.” We are sitting on the cantilevering terrace outside the sixth-floor restaurant on perfect Milanese afternoon. The furniture flanks the glassy wall, which retreats to the original alignments of the building while exposing the bar inside. As the triangular terrace narrows, it meets the glass wall at what Pompignoli refers to as the “total convergence point” of the building. It’s among his favorite details in the zig-zagging tower. “We are not fans of the white cube,” admits Pompignoli. “So when Miuccia Prada gave us a brief to develop a building responding to this display condition, we responded with a series of vertical variations that test the architecture as well as the art.” But to merely call the building idiosyncratic would be to ignore the calculated irregularity of the building, which plays out through three main conditions. The floor shape, height, and orientation are used “as axonometrics” to develop nine floors that are “completely different” from each other, suggests Pompignoli. The result is sort of like an architectural Rubik’s Cube, where each floor’s unique style can play out independently and in unexpected ways while remaining rooted to the others through the building’s concrete core. “It’s an attempt at the white cube defying its own boringness,” says Pompignoli. The result is a space that not only stretches vertically, but somehow also through all directions at once. The windows start at under nine feet tall on the first floor and expand to nearly three times this height by the top level. This plasticity creates a sense of mounting anticipation (perhaps a more fitting name here than their recent Parisian project) through not just expanding space but also ever-increasing light. Ascending the tower, the grassy abandon of the railway tracks is replaced by Milan’s receding skyscrapers to the north, which ultimately yield to the brilliant blue sky by the time you hit the restaurant on the sixth floor. Cool light washes over the kitsch interiors of the restaurant, featuring ceramic pieces by Lucio Fontana; it’s more bourgeois Italian Grandma than bleak white cube minimalism. “Like the Prada Foundation at large, the tower is a vertical sequence of surprises and challenges,” suggests Pompignioli. This sensation is magnified by the dynamic floorplan and orientation of the six floors of gallery space, which alternates the glass side from north to east on each floor while maintaining the same silhouette. As you linger in the galleries to take in the art–a sampling of Miuccia Prada’s contemporary collection, ranging from impaled cadillacs by Walter De Maria to Carsten Höller’s magic twirling mushrooms–each level of the tower feels like a new space, without requiring (or justifying) an explanation. Thankfully, OMA seems less than interested in revealing the logic behind their magic tricks of space and light, preferring, like the tower, to leave much up in the air. This motif plays out in another of the architect’s favorite spots: the “ghost” scissored staircase backlit with two-tone millennial pink fluorescence, and where a sheet of glass separates two sets of public and emergency stairs–one white, the other gray– that never meet. In addition to the vertical expansion, OMA’s surprises also lie in the details: like the bathrooms on the second and eighth floors. I start to protest about the cladding detail in the first-floor bathrooms, where individual mirrored stalls open into a trippy black and lime green gridded washroom that conceals the door leading to the toilets. His response is just about as close as you can get to a riddle without telling one: “It could be true that we should make the handles a bit more clear, but it is also true that if you find yourself in a toilet, somewhere there should be a door.” Ultimately, the tower is a space where the curious and the wanderers will be rewarded. In this sense, it is a decisive contrast to the standard operating logic of the white cube. There’s also plenty of moments for second glances–like the view from the staircase between the sixth and seventh floors, which gives a spectacular view down to the tower’s burly support beam that anchors into the rooftop of a century-old distillery warehouse–and for serendipitous encounter, like an apparent dead-end that leads into the second floor’s gallery space (where Jeff Koons’ bouquet of candy-colored steel tulips is presented like a reward). Above all, there’s a feeling of triumph that hits when you stumble out onto the restaurant terrace–out of breath and disoriented from the climb up the staircase–and you are rewarded with a panoramic view of Milan’s skyline. “The rooftop terrace is the last surprise of this tower,” explains Pompignioli. “For us, it’s another opportunity for public programming, a place to go that’s not necessarily linked to the art.” A closer look at the surface of terrace reveals the exact same type of brick used on to pave Prada Foundation’s outdoor campus some 60 meters below: a public space that can be accessed without buying a ticket to the exhibitions. With its own entrance directly from the street, the restaurant connects the Foundation to the rest of the city in unprecedented ways. “Here, we are inviting the city to see itself from an entirely new perspective.”
OMA’s first cultural building for California has been revealed, as the firm provided a first look at the forthcoming Audrey Irmas Pavilion in Los Angeles, a cultural center for the neighboring Wilshire Boulevard Temple. OMA New York was commissioned for the project after winning a design contest in 2015, and the completed cultural center will sit next to, and dialogue with, L.A.'s oldest synagogue. The historic Wilshire Boulevard Temple was built in 1929 in the Byzantine-Revival style, and deference to the institution informed the Audrey Irmas Pavilion’s design. The serious slope on the building’s west façade will push it away from the existing temple, while it also leans south and away from a historic school. Located on an intersection, the dramatic forces that influenced the building’s orientation have also resulted in the pavilion “reaching out” to Wilshire Boulevard. “We wanted to focus on communicating the energy of gathering and exchange,” said lead designer Shohei Shigematsu in a statement. “The pavilion is an active gesture, shaped by respectful moves away from the surrounding historic buildings, reaching out onto Wilshire Boulevard to create a new presence. Within the building, a series of interconnected meeting spaces at multiple scales provide ultimate flexibility for assembly while maintaining visual connections that establish outdoor indoor porosity and moments of surprise encounters.” The pavilion will hold three distinct gathering spaces throughout, including a main event space, smaller multi-purpose room, and a sunken garden. Each of the interior spaces will be stacked vertically and arranged to give visitors specifically framed views, while remaining interlinked. The scattered openings across the pavilion’s hexagonal façade are meant to filter light to each gathering space while also reorienting guests to the rest of the campus. “Audrey Irmas Pavilion, designed by OMA—the firm’s first cultural building in California—will offer an irresistible invitation to gather, celebrate, learn and reach out to others,” said Rabbi Steve Leder in a statement. “In a city so large and diverse, we need community, and we need inspiring, welcoming places. Los Angeles deserves a modern masterpiece devoted to bringing people together, located in the heart of the city’s most diverse neighborhood. We are very proud that Wilshire Boulevard Temple will be a vital part of a cultural, religious and socially conscious conversation that is defining 21st Century Los Angeles.” The Audrey Irmas Pavilion is named after philanthropist Audrey Irmas, who spearheaded the capital campaign for the project in 2015 with a $30 million donation. The L.A.-based Studio-MLA will be serving as the project's landscape architect, while Gruen Associates are cited as the executive architect. OMA expects to break ground on the center this year, with plans to open in 2020.
With 800 million active users and 95 million photos and videos shared each day, Instagram is affecting our visual perception like no other platform. Users distribute literally millions of photos, spreading trends, popularizing places, and ultimately, influencing built and designed environments. Although it is still early for major buildings to outwardly reflect Instagram’s impact, architecture is rapidly becoming saturated from the inside out. Philippe Maidenberg, known for his interior work in hotels across Paris and the UK, including the Holiday House London, is very aware of how social media has altered clients’ expectations. “Clients have shifted from thinking about design to envisioning new ways of life,” he explained. “Hotel owners want public spaces that are more alive and more comfortable than ever before; office owners want spaces that look like hotels. The standards are getting higher and higher for the greater good.” In New York, firms like Paperwhite Studio and Home Studios have made veritable reputations from crafting “Instagrammable interiors” for restaurants such as Jack’s Wife Freda, Cha Cha Matcha (Paperwhite), and Elsa, Ramona, Sisters, and The Spaniard (Home Studios). Rich, memorable colors, personal touches—down to the custom sugar packets—and dramatic moments such as sweeping brass lamps and neon signs all apparently contribute to the restaurants’ Instagram popularity. Maidenberg believes the portmanteau “Instagrammable” merely means photogenic: “In reality, every space inside a project has to be ‘Instagrammable.’ There is a similar way of thinking among architects, directors, and photographers. On the top of their minds, they’re always considering, ‘What will visitors see when they see the building? When they go inside the building? How can we surprise them?’” Obviously, the basic notion of creating photogenic architecture is not new. It can almost be simplified to a 21st-century version of Robert Venturi and Denise Scott Brown’s “ducks” versus “decorated sheds” in Learning From Las Vegas. But although there are definite parallels to postmodernism replacing modernism and maximalism writ large in pastel whimsy replacing high-minded minimalism, new equivalent definitions of ducks and decorated sheds remain murky. Somewhere in this vague category is the plethora of “museums” that opened in 2017. More pop-up galleries than actual museums, these repositories of vibrant mise-en-scènes provide opportunities for snap-happy visitors to create totally next-level selfies to share with their friends. The most notable are the Museum of Ice Cream (New York, Los Angeles, San Francisco, and Miami), the Color Factory (San Francisco), and 29 Rooms (Los Angeles and Brooklyn). And by notable, we mean that going up against museums such as the Louvre, the Tate Modern, and the Museum of Modern Art, the Museum of Ice Cream landed the tenth spot on Instagram’s “Most Instagrammed Museums” list in 2017, and its Los Angeles location alone claimed the sixth top spot in “Most Instagrammed Museums in the U.S.” Legitimate museums have taken note, crafting photo-worthy installations and creating hashtags to promote sharing across social media. “It’s a level of feedback that we have never really had before,” said Andrea Lipps, assistant curator of contemporary design at Cooper Hewitt Smithsonian Design Museum. “People do use the hashtags, and then we notice the trends of where people are taking these photos and how they are accessing the information and what they are interested in. It’s become a really valuable tool.” But those whose work is on display may see it differently. Brooklyn-based artist and designer Sebastian Errazuriz believes that the best name for these spaces and our new era of obsessive image sharing is “prop art.” “It is very disappointing to see work being misused as a prop for a self-portrait because when that happens, it stops being seen,” Errazuriz said. “And when more content is created just to be shared and to function as a prop, more people will see that as successful content to create and will emulate it.” At the same time, Errazuriz learned to harness the power of Instagram early when he created the entrance installation for the Collective Design Fair in 2013: a series of box fans that had “Blow Me” written across them in neon. “The ‘Blow Me’ fan, if you see it just by itself, is a funny association that is provocative and sexual in nature. But, when I get commissioned to design something like an entry piece in an art fair, I am essentially being told, ‘Go, Sebastian, do that thing you do, do the monkey dance, show me something impressive.’ So, in this case, I made a fan that literally blows them away. It takes a lot of balls for the artist to say ‘blow me,’ and it takes a lot of balls for the client to tell everyone to ‘blow me.’ Then, it has the neon pink which is the cliché of every art fair and was designed as a square precisely to be as Instagrammable as possible. It generated more press than the whole fair combined; and I did the monkey dance and it undermined the effects of the fair.… It was all about distilling enormous amount of stuff in one thing.” Errazuriz was also concerned about the implications of the Snapchat x Jeff Koons Balloon Dog in Central Park. “There is a very real risk of corporations like Snapchat taking over the digital art space and dictating new representations of what art is, like Jeff Koons’s Balloon Dog,” Errazuriz said. “So when I saw that, everyone in my studio stopped what we were doing and in 24 hours managed to recreate an exact replica of the dog, tagged it with graffiti, uploaded it, geotagged it to the same destination, submitted it to Snapchat, and sent out the press release. I think it generated a lot of interesting articles about public space and the notion of virtual vandalizing.” This is the inherent irony in Instagram: Even as designers and architects decry its influence, they are aware that they rely on it. Consider OMA: When it updated its website in 2014, the firm opted to change its landing page to an Instagram feed with software that picked up the geotagged images in a certain perimeter around OMA’s buildings and projects. “We’ve discovered that amateur pictures tell a different story,” said OMA partner Ippolito Pestellini Laparelli. “There are a lot of unexpected surprises and beautiful moments that are not as present in staged photography.” Shifting the power of perspective to boundless viewers creates possibilities, but also engenders limitations. The art, design, and fashion worlds have already begun to chafe against the effects of shortened trend cycles, altered client demands, and distorted design priorities. Will architecture follow suit? #maybe.
Prada has thrown its 2018 fall menswear collection back to the 90’s, with a fashion show in Milan that put utilitarian black nylon front and center. Rem Koolhaas, Herzog & de Meuron, French designers Ronan & Erwan Bouroullec, and German industrial designer Konstantin Grcic were all invited to interpret the material through an industrial lens to create a unique item for the collection. Fashion designer Miuccia Prada’s rise to fame was built on black nylon in 1984; in weaving nylon, typically used for packaging at the time and not clothing, into the landmark luxury “Vela” bag, Prada transformed the luxury brand into a contemporary clothing company. The same waterproof “Pocone” nylon used in the original Vela bag was on full display yesterday at Prada’s preview of its Autumn Winter 2018 menswear collection in Milan. Instead of flash or color, the focus was on form and usage, and the menswear fashion week show was appropriately staged in an industrial warehouse with a Prada twist. The storage facility in Viale Ortles, Milan, was plastered with throwbacks to Prada’s past and lit with blues, reds and purples by AMO, the research and branding studio of OMA. This isn’t the first time AMO has worked with Prada, as they also designed Prada’s 2017 Spring/Summer venue. OMA founding principal Rem Koolhaas contributed a backwards backpack to the show, designing a black nylon pack meant to be worn on the front of the body. The boxy container is meant to be first and foremost accessible, as Koolhaas notes that the convenience of a backpack is negated by having to take it off to access. “The shape of the backpack has the convenience of flexibility, the location–the back–the huge inconvenience that it is fundamentally inaccessible to the wearer,” Koolhaas told Prada. In the same way the Vela bag advanced the backpack through material, Koolhaas’s pack was meant to be the next step forward in the bag’s shape. Jacques Herzog and Pierre de Meuron chose to focus on the clothing side, designing a shirt patterned with what looks like statements in English, but reveals itself to be gibberish upon closer examination. Calling language useless, Herzog & de Meuron reduced words to nothing more than ornamentation as a commentary on the way untrue information has saturated our daily lives. “It has lost its seductive power. There is nothing new, nothing critical, nothing true in language that cannot be turned into its opposite and claimed to be equally true. Language has become an empty vehicle of information,” reads Herzog & de Meuron’s statement to Prada. OMA and Koolhaas have had a longstanding partnership with Prada, collaborating on everything from a 120,000-square-foot arts complex in Milan, to the Prada “Epicenter” in New York. All of Prada’s 2018 Autumn/Winter menswear collection can be found here.
Office for Metropolitan Architecture's (OMA) founding principal Rem Koolhaas and the Solomon R. Guggenheim Museum are teaming up to explore the earth's changing non-urban areas in an upcoming exhibition. Koolhaas, along with AMO, the OMA think tank, jettisons the city to speculate on the future of the countryside, an arguably less sexy topic for architects who love their Tokyos and Rios. By interrogating changing rural areas today, the exhibition, provisionally titled Countryside: Future of the World, will explore the effect of migration, automation and AI, radical politics, and ecological change on less-populated regions worldwide. “The fact that more than 50 percent of the world’s population now lives in cities has become an excuse to ignore the countryside,” said Koolhaas in a press release. “I have long been fascinated by the transformation of the city, but since looking at the countryside more closely in recent years, I have been surprised by the intensity of change taking place there. The story of this transformation is largely untold, and it is particularly meaningful to present it in one of the world’s great museums in one of the world’s densest cities.” The 50 percent figure Koolhaas cites is one of those urban myths that won't die, a tired United Nations statistic drawn from definitions of "city" that vary wildly from country to country. Nevertheless, Countryside builds on work current work at AMO, as well as student work at the Harvard Graduate School of Design. The Guggenheim will announce further details on the exhibition, which is slated to open in fall 2019, as they become available.
Responding to recent articles by the New York Post and Artnet, performance artist Marina Abramovic spoke out over accusations that the her institute had misused funds for the now-cancelled Marina Abramovic Institute (MAI) building in Hudson, New York. Abramovic had announced the cancellation of the OMA-designed performance art space, citing that the cost had grown to $31 million. In a press release sent this morning, Abramovic broke down where the money from her Kickstarter had gone. She stated that the $661,452 she raised on Kickstarter, minus the crowdfunding platform's administrative fee, left her with $596,667. She also specified that “the Kickstarter was created to fund schematic designs by OMA New York for the building in Hudson, NY." The press release provided a list of costs and detailed how nearly a million dollars had gone to OMA for design fees and related services, with the firm writing off $142,167 as a donation. Abramovic revealed that OMA had billed her $655,167.10 for designing the new MAI building, with an added $354,502.67 in consultant fees, and $102,392.83 for the owner’s representative. Abramovic also clarified that any other money that had gone towards the project was paid for out of pocket, including over a million dollars for purchasing and renovating the existing building. In a recent interview with Vulture about the fate of the MAI, Abramovic explained that the cost of the renovation had grown to astronomical levels, including $700,000 for asbestos abatement alone. As for those Kickstarter backers who never received their awards? “[…] The only people that did not receive their rewards are the ones that did not respond to our requests for information. We welcome those backers that did not receive what they deserved to contact the institute directly via Kickstarter or on our website,” said Abramovic. True to Abramovic's performance-oriented aesthetic, the rewards were largely ephemeral; they ranged from a hug at the one dollar level to a soup-cooking session with the artist for $10,000 backers.
Update: Marina Abramovic responded to the allegations reported in this article. That response is available here. After failing to meet its $31 million funding goal, performance artist Marina Abramovic recently announced the cancellation of her Hudson, New York-based Marina Abramović Institute for the Preservation of Performance Art (MAI). Designed by OMA partners Shohei Shigematsu and Rem Koolhaas, the 33,000-square-foot space would have led visitors through guided tours of the experimental performances that Abramovic is famous for. Originally estimated at $8 million, the project’s costs ballooned over the years to $31 million, according to the New York Post. Speaking at London’s Serpentine Sackler Gallery in October, Abramovic conceded that the project had grown too expensive to proceed with. “I, as a performance artist, could never raise $31 million unless some amazing guy from the Emirates [came forward] or some Russian who just wrote a cheque because he believed in me. But in real life, that doesn’t happen,” she said. With the cancellation of the MAI, questions have arisen over the $2.2 million already raised for the project. After a successful 2013 Kickstarter campaign raised $660,000, the artist pulled in another $1.5 million through private donations. According to the Post, a spokesperson for Abramovic has stated that any money raised has been paid to OMA. “The funds were raised not for the renovation itself but specifically for the schematics and the feasibility study,” the spokesperson said. Although the Kickstarter description confirms the spokesperson’s statement, several backers questioned whether they had thrown their money away, while others complained that they had never received their rewards for donating. “Fraud. I was supposed to receive a signed copy of the Abromovic Methods Exclusives DVD for $200 pledge back in 2013, and am still waiting for it. mised rewards,” said Andre Manukyan on the project’s comments page. Abramovic had hoped that the arts space, unveiled in 2012, would capture the ephemeral, transitive nature of performance art while still allowing visitors to engage with the building around them. Floor plans released by OMA show several distinct programmatic elements, including a fitness center, library, a learning center, offices and classrooms all situated around a 650-seat central performance space. Ambitious and wide-ranging in scope, the arts center would have mandated a minimum of six-hour “hard-core performance art” tours, where visitors would have surrendered their cellphones and worn white frocks while inside the building. OMA had also been set to design custom fixtures and furniture for the facility, including padded wheelchairs so that staff could ferry tired guests from one room to another. Built in 1929, the vacant theater in Hudson is owned by Abramovic and would have retained the original brick facade and column-flanked entryway under OMA’s proposal.Unused and abandoned, the former community theater now sits unmaintained. Abramovic has told the Post that the building would be put up for sale, with a portion of the proceeds going towards paying off the unpaid school taxes the artist owes for the property.
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 IdeasCity, NEW 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.
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 Icons. More 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.
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.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.
“‘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.”