Posts tagged with "AMO":

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AMO/OMA and UNStudio on designing in the age of social media

What does it mean for architecture publishing when everyone publishes? PLANE—SITE invited AMO/OMA and UNStudio to talk about how they see the role of social media in architecture and the relationships between image, object, and experience in their new short video “Building Images,” created for the World Architectural Festival 2018. The two firms and their representatives propose an array of different fears, hopes, uses, and possibilities of social media. AMO/OMA partner Ippolito Pestellini Laparelli is curious about what we capture and how we look—our desire to get at an “authenticity” of real life that instead might just suspend us in a state of “permanent voyeurism.” Of photographing and witnessing so many plural photographs of buildings, he says that there is “an obsession to unveil what are the mechanics behind the project…not just the final output.” UNStudio’s founder Ben van Berkel takes particular interest in the resonances and oscillations between the instantaneousness and ephemerality promoted by social platforms like Instagram and how these timescales relate to architecture, which he points out, is generally meant to last; it’s slow to come up and slow to come down. In this case, AMO/OMA architect Giacomo Ardesio suggests, it is even more important to have a gluttonous stream of images. It makes a building last beyond an individual moment of embodied experience—which is especially important for many of the more temporary works AMO designs—and also documents people’s own intimate experiences, as well as their social ones, with the space. Instagram photos can show how the buildings might be “engaging visitors beyond the program it is meant to solve.” Instagram gives architects and everyone “a more complete view,” says AMO’s Giulio Margheri. He means this both in comparison to a pre-social media era but also against the more “refined” photos of architecture magazines and shelter publications that used to be the only insight into a building short of being in it. But, van Berkel says, all this focus on social media might make some run the risk of being “one-off architects.” It also, like much of the internet, can flatten things: people flock to the same places to take the same photos, overrunning streets and turning them into photo ops. And so often Instagram photos aren’t really of buildings (though some certainly are); a building is just background, or so it seems. But what if we consider a building a background with its own agency? This is a theoretically interesting question, but one that also has a practical side that UNSudio explores by using Instagram and other social media as part of their post-occupancy analysis, in addition to measurements, sensor data, and interviews. It lets them ask, urban designer Dana Behrman says, “how do [people] actually appropriate the spaces?” This question often leads to surprising answers, and she cites the ways that the Arnhem Central Station UNStudio designed has been used as a site for performances.  And even the desire to get behind things that Laparelli seemed cautious of could be a good thing according to some. “Everyone produces images, the whole landscape has democratized,” says Machteld Kors, communications director of UNStudio. “People want to see where things come from, and how things are made. The storytelling in projects is becoming more and more important.” What "Building Images" shows is that perhaps it is architects who are trying to get behind the operations of things, asking why people show themselves in a certain building in certain ways. 
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AMO's first exhibition in China distorts selfie culture

AMO’s tradition of experimentation with imagery, jokey self-referential installations, and the power of perception has arrived in China. From now through August 14, True Me will be on display at the 798 Art Factory in Beijing, presenting guests with distorted selfies, monochrome rooms, and anime-inspired installations. True Me was organized in conjunction with AMO, the Chinese selfie app (and data vacuum) Meitu, and the Beijing Contemporary Arts Foundation to celebrate Meitu’s new logo. The show simultaneously skewers and celebrates “selfie culture”: wavy mirror walls wrap the exhibitions and line the show’s circulation, warping the reflections of guests as they move through the Art Factory. According to AMO, this is to show patrons their heavily post-produced “outer self” that social media users project on image sharing apps. The “inner self” is represented too, with six installations meant to evoke visitors’ raw, softer internal life. These spaces are covered in felt, flannel, and grass, and contain photogenic backdrops that were highly influenced by pop culture. Ironically enough, each installation is highly Instagrammable and will likely feature in just as many “outer self” photographs. The spaces range from neon-pink cosmetic mockups, to a faux arcade wallpapered with anime characters in dynamic poses, to a giant backlit eye, to a long purple hall containing alternative versions of the Meitu logo. True Me was led by OMA Partner and Asia Director Chris van Duijn and is AMO’s first exhibition in China. It’s far from AMO’s parent firm OMA’s first project in the country, however. Most recently the firm won a competition to master plan and design an enormous “Unicorn Island” in Chengdu.
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OMA selected to design a new Jersey City Museum

OMA has been selected by the Jersey City Redevelopment Agency (JCRA) to design the new Jersey City Museum, which will become the largest arts and culture center in Jersey City, New Jersey, once complete. OMA and AEA Consulting will provide architectural and programmatic guidance for the city-owned art museum respectively, while AMO will conduct in-house research and design. The museum is slated to open inside of the 57,000-square-foot Pathside Building near Journal Square and will be Jersey City's largest art center, according to OMA. Despite bearing the Jersey City Museum name, the new museum will reportedly have no connection to the former Jersey City Museum nor use its existing collection. The original Jersey City Museum was founded in 1901, but attendance and fundraising steadily dwindled until the museum shuttered in 2010 and its collection was moved into storage. “Historically, Journal Square was not only a transportation hub but also a cultural center,” said OMA partner-in-charge and project lead Jason Long in a press release. “At a time where museums are increasingly serving as dynamic spaces that engage both local communities and global audiences, we are looking forward to working with the Mayor to transform the Pathside Building into a catalyst for Jersey City’s cultural and civic renaissance.” The five-story Pathside Building is located, fittingly enough, adjacent to the Journal Square PATH station, a heavily trafficked stop on the PATH train line for commuters on their way to and from Manhattan. Mayor Steven Fulop’s administration hopes that the proximity to mass transportation will help draw crowds to the new institution. “This Museum and community space is an incredibly important investment not only for the future of Journal Square, but for our City and region as well,” said Mayor Fulop. “I am excited to continue moving this project forward with the help of OMA/AMO and AEA, who have proven their expertise in museum development, and I am confident that they will help us define our vision for a space that will become a destination for artists and visitors alike.” The Jersey City Museum will focus mainly on visual artists, and a section of the building will be reserved exclusively for local artists. No design details or estimated completion date have been announced yet, but this won't be the first arts institution that the OMA New York office has tackled this year.
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Koolhaas and Herzog & de Meuron venture into fashion design for Prada

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.
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AMO designs Prada's 2017 Spring/Summer set space

OMA's internationally-based research, branding, and publication studio AMO has designed the set of Italian fashion brand Prada's Spring Summer 2017 show.

Formed in 1999, 24 years after Rem Koolhaas founded the Office for Metropolitan Architecture (OMA), AMO is the architecture practice's research think-tank. Directed by Reinier de Graaf, a partner at OMA, AMO addresses issues surrounding architectural production and other mediums such as fashion, print, online media. Past projects include a redesign of the EU flag and being a leader in the production of Volume magazine.

In 2011, the group worked with Prada on the confusingly titled OMA*AMO for/with Prada, an exhibition in Venice. This year, OMA's Shohei Shigematsu designed the exhibition space for Manus x Machina at the Met.

This year's project for Prada, however, is on a much larger scale. The design features a catwalk runway divided into three zigzagging segments that slope down to the audience seating. The upper-most level, the entry gangway, is located behind a mesh-crafted colonnade.

Made from metal, the mesh dominates the interior space and allows an array of colored lighting to permeate through and illuminate the space. "Generating an abstract layer, composed of meshes with different patterns and dimensions...overlap to recreate a total space. The transparency of the cladding material unveils the underlying framework with Cartesian precision," the firm said in a press release.

Subsequently the resultant glow from the lights aims to de-humanize the space, "[dematerializing] all the surfaces, coloring the room, now reminiscent of a post-human scenario."

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Koolhaas Flag Inspires Designer Skateboard Deck Pattern

Since 2011, skateboarders from all over Europe have flocked to a large concrete slab in OMA’s Museum Park in the city center of Rotterdam as a local spot for tricks and meetups. Nicknamed “Rem’s Flag,” the spot is painted with a massive 492-foot version of the EU Barcode, a multi-colored barcode design by architect Rem Koolhaas, conceived as an equal display of the flags of the European Union. Various objects have been “barcoded” with the Koolhaas flag. The most recent is a set of 80 limited edition skateboard decks, a collaboration between surf-inspired skateboard brand Dufarge and AMO, an OMA think tank, in honor of the Rem’s Flag skating experience. For skaters at Museum Park, the EU Barcode at Rem’s Flag is a challenge: only the best can land their tricks on its straight lines. Working with Generator, a Southern California–based custom skateboard company, Dufarge and OMA scaled the barcode to screenprint on each hand-numbered deck. Taking care to match the country-representative colors exactly, the high quality boards honor Koolhaas’ design and the OMA urban space that has become iconic in the skateboarding world.