After fending off Rafael Viñoly, Zaha Hadid, Nicholas Grimshaw, Haworth Tompkins Limited and compatriots Mecanoo, OMA's design for "The Factory" will become Manchester's new art house. Lead by Rem Koolhaas, The Factory will be in the British city's center and is touted to cost $166 million with a further $13.5 million-a-year to run. Funding will not be an issue for Koolhaas' building as U.K. Chancellor George Osborne has pledged $117.5 million to the project with the view that The Factory will become the "Northern Powerhouse" showpiece. The project's name supposedly comes from the home-grown Factory Records, an indie record label launched in 1978 that produced notable bands such as Joy Division and Happy Mondays. Koolhaas has designed what essentially is an art-box that will host a wide range of artistic events in Manchester, with an aim for the facility to become the cultural focal point of the region. The venue is dedicated to theatre, music, dance, technology, film, TV, and scientific advancements and will have a combined capacity of 7,200—2,200 seated and 5,000 standing. This will be OMA's first major public development on British soil, aside from a few minor forays into London, Glasgow, and the south coast. “The importance of the Factory cannot be overstated," Manchester council leader, Sir Richard Leese, told the Guardian. "It will be of international significance, the cultural anchor for the next phase of economic and cultural regeneration in Manchester, Greater Manchester and beyond. It will help power Manchester and the wider region towards becoming a genuine cultural and economic counterbalance to London, as well as being a place where inspirational art is created.” Koolhaas' project in Manchester is set to break ground next year with the aim to finish by 2019. According to the Guardian, "Those behind the project have predicted that within a decade it will help create the equivalent of 2,500 jobs adding nearly $211 million to the local economy."
Posts tagged with "Koolhaas":
PEOPLE'S CHOICE AWARDS Who among us hasn’t been following the pruning at our beloved Condé Nast? “Cold,” we gasped as the swag was packed up and shipped to the catacombs under 4 Times Square. “Just plain mean!” we stammered when Gourmet was euthanized. Cold and mean are economic realities across the board these days, so we soldier on. Recently, however, we learned of a totally out-of-character editorial move at Vanity Fair editor Graydon Carter sent letters, via FedEx, to 80 architects, critics, historians, and others asking them to contribute to an “opinion survey” from which the “five most important” buildings or works of engineering or infrastructure since 1980 would emerge. Respondents were then asked to name, in their opinion, the single most important work completed thus far in the 21st century. The letter went on to promise a lavishly illustrated feature, including interviews with the winning architects. This is not the way we evaluate art, design, and architecture. This is the way we pick the best corned-beef sandwich in town. One of the esteemed invitees opined that if the survey went out to all the usual suspects, then we can expect the winners to be the usual and suspect as well. Another cynic pointed out that the survey relieves the magazine from having to pay a real writer. (Forbes did something similar in 2002, but its search was for the ugliest.) Yet another voter suggested that the article be a roundup of architects who have designed showrooms or headquarters for *Vanity Fair advertisers: Koolhaas, Marino, Koolhaas, Pawson, Koolhaas. BACK TO THE FUTURE Eavesdrop is giddy about the opening of Bauhaus 1919–1933: Workshops for Modernity at MoMA. Much to see and do. And yet, we’d like to draw your attention to a footnote, one of those insider’s jokes with historical significance beyond its visual impact. Think back to 1975. Arthur Drexler, MoMA’s director of architecture and design, had just mounted *The Architecture of the Ecole des Beaux-Arts, which many thought was an anachronistic exhibition for a modern museum. As an ironic joke, Suzanne Stephens, now deputy editor at Architectural Record, and Susana Torre, a practicing architect in Spain, designed a “bring back the Bauhaus” button for the 1975 opening. Both Stephens and Torre, alumnae of MoMA’s Architecture and Design Department, wanted to acknowledge the shock value of presenting a show based on a 19th-century academy. According to the package notes, when offered a button at the opening, Drexler refused but by the end of the evening he was caught up in the spirit of the occasion. We are happy to announce that now that MoMA has indeed brought back the Bauhaus, the button has been reissued. Go buy one before someone introduces “bring back the Beaux.” Send Anni Albers rugs and Breuer club chairs to firstname.lastname@example.org.