OMA has been selected to design the Bogotá Centro Administrativo Nacional (CAN) new civic center, situated at the heart of the city’s main axis, Calle 26. Steered by partner-in-charge Shohei Shigematsu, the 680-acre mixed-use design occupies a footprint as large as Washington, D.C.’s National Mall and will operate as the city’s government headquarters with intermixed residential, educational, retail, and cultural developments, all which encourage continuous activity within separate districts. The design intends to integrate civic and public life while connecting to local destinations. CAN will form a new public axis in Bogotá, unifying green, infrastructural, and programmatic networks. The site is divided into three districts, including an institutional/governmental area that connects to the current cultural and park spaces, an office zone linked to the current financial district, and an educational campus that links to the University City of Bogotá. The multi-use program will be tied together by a green path that extends into Bogotá’s decidedly popular pedestrian and cycling CicloVia system. Shigematsu described the development as one that attains “clear urban density while accommodating programmatic diversity.” The winning design will move Bogotá’s historic downtown center, master-planned between 1947 and 1951 by Le Corbusier. CAN will be the second largest constructed institutional master plan in Latin America, with Oscar Neimeyer’s 1960s Brasilia being the largest. The project will be carried out in partnership with local architect Gomez + Castro, mobility consultant Carlos Moncada, financial consultant Oscar Borerro, and sustainability consultant Esteban Martinez. [beforeafter] [/beforeafter]
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The clock is currently ticking on fundraising for Marina Abramović’s proposed Marina Abramović Institute for the Preservation of Performance Art (MAI), a performance art center designed by Rem Koolhaas' OMA. The facility is planned to be set in a former theater in Hudson, New York. On July 26th, the artist launched a $600 thousand Kickstarter campaign to fund the institute she hopes will develop new forms of the long durational—six hours or more—performance art she is famous for. Abramović has teamed with OMA architects Shohei Shigematsu and Rem Koolhaas to gut the current building and design a multi-level, multi-room performance hall in which visitors will stay for a minimum of six hours (as signed by contract upon entrance). With the Kickstarter campaign fundraising goal, which must be fulfilled by August 25th, the team will transform the building's state of disrepair into a conceptualized laboratory: a performance and education space where visitors will wear white lab coats and participate in the Marina Abramović Method of durational performance art. The artist means for MAI to become a center of interaction across topics, “foster[ing] collaborations between art, science, technology, and spirituality, bringing those fields into conversation” and her designing architects have taken the mission to heart. For the New York Times Art Beat last year, Shigematsu said he and Koolhaas planned on “creating a one-of-a-kind typology” for MAI’s less than typical theater program. In the Abramović Method, participants become the art they simultaneously view. The current OMA architectural models their interpretation of Abramović's unique vision. OMA plans specifically-purposed rooms surrounding the central performance space, which will be visible throughout the facility. Abramović believes the institute fills a current void in the art world as a place for people to satisfy their “immense desire to slow down and connect to themselves and to one another in a live setting.” She hopes that MAI will show the work of several long durational performance artists across a variety of genres.
In response to Hurricane Sandy, the Department of Housing and Urban Development (HUD) launched the Rebuild by Design competition to develop strategies to increase the resiliency of urban and coastal areas in the face of extreme weather events and climate change. According to HUD's website, the goal of the competition is "to promote innovation by developing regionally-scalable but locally-contextual solutions that increase resilience in the region, and to implement selected proposals with both public and private funding dedicated to this effort. The competition also represents a policy innovation by committing to set aside HUD Community Development Block Grant Disaster Recovery funding specifically to incentivize implementation of winning projects and proposals. Examples of design solutions are expected to range in scope and scale—from large-scale green infrastructure to small-scale residential resiliency retrofits." The shortlist of 10 teams—including architects, landscape architects, university groups, developers, engineers and others—has been announced. Interboro Partners with the New Jersey Institute of Technology Infrastructure Planning Program; TU Delft; Project Projects; RFA Investments; IMG Rebel; Center for Urban Pedagogy; David Rusk; Apex; Deltares; Bosch Slabbers; H+N+S; and Palmbout Urban Landscapes. PennDesign/OLIN with PennPraxis, Buro Happold, HR&A Advisors, and E-Design Dynamics WXY architecture + urban design / West 8 Urban Design & Landscape Architecture with ARCADIS Engineering and the Stevens Institute of Technology, Rutgers University; Maxine Griffith; Parsons the New School for Design; Duke University; BJH Advisors; and Mary Edna Fraser. OMA with Royal Haskoning DHV; Balmori Associaties; R/GA; and HR&A Advisors. HR&A Advisors with Cooper, Robertson, & Partners; Grimshaw; Langan Engineering; W Architecture; Hargreaves Associates; Alamo Architects; Urban Green Council; Ironstate Development; Brooklyn Navy Yard Development Corporation; New City America. SCAPE Landscape Architecture with Parsons Brinckerhoff; SeARC Ecological Consulting; Ocean and Coastal Consultants; The New York Harbor School; Phil Orton/Stevens Institute; Paul Greenberg; LOT-EK; and MTWTF. Massachusetts Institute of Technology Center for Advanced Urbanism and the Dutch Delta Collaborative with ZUS; De Urbanisten; Deltares; 75B; and Volker Infra Design. Sasaki Associates with Rutgers University and ARUP. Bjarke Ingels Group with One Architecture; Starr Whitehouse; James Lima Planning & Development; Green Shield Ecology; Buro Happold; AEA Consulting; and Project Projects. unabridged Architecture with Mississippi State University; Waggoner and Ball Architects; Gulf Coast Community Design; and the Center for Urban Pedagogy.
After months of fierce rivalry and contentious one-upping, Rem Koolhaas' OMA has beat out Bjarke Ingels (BIG) in the competition for the Miami Beach Convention Center commission. At times, it appeared as if BIG was in the lead, but OMA crept up and ultimately took home the prize. OMA has proposed a $600 million overhaul of the 52-acre convention center to build a more integrated facility in addition to tacking on more open space and park land. This plan calls for reconfiguring the layout of the convention center to provide enhanced access to Lincoln Road, green space, and existing hotel on the beach. “We wanted to expand the convention center without taking up more space within the city, so one of the key elements of our design is that we stack the hotel and ballroom,” Jason Long, associate architect at OMA, told AN in June. “We integrated the hotel to reduce the footprint of the building and leave some breathing room for open space and as a buffer between the convention center and the Jackie Gleason Theater and new cultural building to the south.” Before announcing their decision, Miami Beach Commission requested trimmed down versions of their proposals. The winning South Beach ACE Team, consisting of OMA and Tishman, shaved off some retail, and axed the residential and cultural buildings.
In the last month, the competition for the Miami Beach Convention Center commission has morphed into an all out, gloves off, battle between two design teams, Bjarke Ingels Group (BIG) and Rem Koolhaas' OMA. The South Florida Business Journal has reported that the Miami Beach Convention Center Advisory Board chose the Portman CMC team—consisting of BIG, CMC Group, Portman Holdings, and West 8—over South Beach ACE in a 4-3 vote on June 18th. But this vote isn't the deciding factor. Next, the Miami Beach Commission will vote on the matter sometime before July 17th. Then it is up to residents to cast their vote for the stand alone convention center plan or the same plan with additional residential and commercial development tacked on.
One of the few regions that superstar Bjarke Ingels has yet to invade is Southern California, and he’s made it clear that he wants that to change. It just might, soon. Ingels, we hear from an unnamed source, has been added to one of the teams competing to design the city's 4th and Arizona mixed use project in Santa Monica, a city experiencing the beginnings of a building boom. They’ll replace RTKL on a team that also includes local firms Koning Eizenberg and Rios Clementi Hale. So now this shortlist is the most starchitect-heavy of any in the region, including not just BIG, but OMA with VTBS and Robert A.M. Stern with Brooks + Scarpa. In addition to a building that could reach up to 130 feet, the RFP calls for a “programmable gathering space that adds to the community’s civic life with public gatherings and seasonal activities.” Currently, the city hosts an ice skating rink on the site in the winters. According to the RFP a winner is expected to be chosen by Santa Monica's city council by this August. Stay tuned.
AN had boots on the ground at the 2013 Milan Furniture Fair, taking the air and parsing the differences. This year saw an abundance of collaborations between furniture designers and architects. What follows is the second half of our greatest hits, everything from modular shelving and sleek hardware to design-forward consoles and practical seating. View even more architect-designed furniture from Milan in the first section of our roundup here. Parrish Collection Emeco In conjunction with its collaboration with Konstantin Grcic on the mobile interiors of the new Parrish Art Museum, Emeco released the Parrish Collection of modular indoor–outdoor chairs and tables. Chairs are available with three recycled aluminum frame designs that can be combined into four seat options, including one made of locally sourced wood from Lancaster, Pennsylvania. Ovetto Wallsystem FLOS Continuing his collaboration with Flos, Antonio Citterio designed the new Ovetto wall light for functional up- and down-lighting on walls. The light can be mounted on a rosette or in its own socket. Other additions to the Wallsystem collection include a long-necked Minikelvin design and Disco, a pivoting head that allows for adjustable directional lighting. Tools for Life Knoll Celebrating 75 years of design at this year’s Salone, Knoll introduced its new Tools for Life collection designed by Rem Koolhaas’ practice, OMA. The twelve-piece collection is designed to facilitate the flow between office and social life with adjustable tables and consoles available in a range of Knoll finishes. Dream Chair Carl Hansen & Son Pritzker Prize–winning Japanese architect Tadao Ando and Carl Hansen & Son teamed up to pay tribute to Danish furniture designer Hans Wegner, one of Ando’s own influences. Designed with a single piece of bent plywood atop a bent plywood base, the chair is also available in oak and American walnut with optional leather upholstery. Stack Shelving Paustian Designed by professor and architect Anders Brix, Paustian’s Stack shelving system is made up of stacking elements that lock into each other, allowing the shelves to be assembled without tools. Elements are available in six colors and are easily reconfigured based on evolving needs at home or at the office. ColoRing Collection Schemata Architects Young Tokyo-based architect Jo Nagasaka, founder of Schemata Architects, reinterprets the traditional technique of Udukuri, in which a wood surface is polished to reveal its coarse grain pattern, applying bright paint leftover from construction sites before polishing the surface smooth. The collection includes a variety of tables, chairs, benches, and stools.
Rem Koolhaas and OMA may have grander commissions and more famous clients (Miuccia Prada?), but probably not a more devoted and long lasting partnership than with David Maupin of the Lehmann Maupin Gallery. The gallerist first commissioned Koolhaas to design a new exhibition space on Manhattan's Greene Street in 1995 and again when they moved to 26th Street in Chelsea ten years later (there is non-OMA-designed Lehmann Maupin on the Lower East Side). Now the Lehmann Maupin Gallery has asked OMA to design a third gallery, this time in Hong Kong. On Greene Street Koolhaas gave Lehmann Maupin a simple but stunning design that featured an enormous moving plywood wall that was at once not precious (like Soho at the time) and a classic white box gallery. The Dutch architect carried this same theme over to Lehmann Maupin's Chelsea gallery but with the addition of travertine floors. Now for Lehmann Maupin's latest gallery, in the central, pre-war Pedder Building in Hong Kong, Koolhaas has brought a bit of old Soho "loft" style to Hong Kong. The new gallery space features marine plywood, modern fixtures and minimalist lighting set against the rough existing walls of the Pedder building. The new design features a corner entrance "that obscures the boundary between the interior and exterior" while leaving the two gallery rooms divided by a large sliding plywood wall/partition as in Soho. It's a honest, straight-forward design that "reveals, rather than conceals, the patina that distinguishes the historic building from its more glossy neighbors." The art work in this Hong Kong Image is from the gallery's first show of the Korean artist Lee Bul.
Koolhaas Controversy: OMA to Turn Venice Palazzo into a Department Store and Venue for the 2014 Biennale
After much controversy, Rem Koolhaas' firm OMA has been granted permission to transform a historic Venice palazzo that is currently a post office into a department store and venue for the 2014 Venice Biennale. Fashion retailer Benetton bought the site, the Fondaco die Tedeschi, five years ago for more than $68 million. OMA, which is currently keeping busy in Miami, modified its original plans for the redesign to to appease opponents to the project. The updated scheme attempts to interfere with the original architecture as minimally as possible. An escalator planned for the central atrium is no longer included and the need to demolish a section of the roof has been sidestepped. In the new design, the rooftop terrace is propped above the building. Project architect Ippolito Pestellini Laparelli asserted that the department store would not be a typical one since art events, film festivals, and architectural biennales will be given space in the palazzo along with local arts and crafts venues. In the manner of a typical department store, however, the space will also be shared by international retail outlets. Opposition movements are not yet satisfied with OMA’s modifications. Heritage group Italia Nostra complained in court last year that “serious damage to the building’s physical integrity and historical identity” would be unavoidable if the plan was allowed to proceed. Salvatore Settis, an art historian, accused Benetton of purchasing planning approval. The retailer allegedly promised to give over $7 million dollars to the city. Koolhaas, who is directing the 2014 Venice Biennale, chose "Fundamentals" as its title. It will focus on historic architecture as opposed to contemporary, which has been the primary subject of previous biennales. Koolhaas aims to expose the erasure of national architectural identities by global architecture during the last 200 years, which, he says, has created a monotonous built environment.
OMA announced on Friday that it will design a master plan for Airport City, an ambitious 3.9-square-mile project that will link the new Hamad International Airport with Doha, Qatar. Recalling the ideas put forth last year by John D. Kasarda and Greg Lindsay in Aerotropolis: The Way We’ll Live Next, OMA’s enterprising piece of urbanism will incorporate four distinct districts along a green axis of public spaces parallel to the airport’s runways to create a functionally differentiated but continuous urban system. Residential, business, aviation, and logistics districts will be tied together in a new type of 21st century transit oriented development. Rem Koolhaas commented in a statement, “We are delighted and honored to participate in the exciting growth of Doha, in a project that is perhaps the first serious effort anywhere in the world to interface between an international airport and the city it serves.” While it will take at least 30 years to complete the project, the first phase should be ready for the 2022 World Cup in Qatar.
We’ve always known that Rem Koolhaas has a special relationship with textiles and those who make them. But watch out Petra Blaisse, someone else may be hoping to knit his way into Rem’s heart. According to the blog Knitting Daily, artist Jared Flood has created the wool “Koolhaas Hat,” a toboggan whose diamond-shaped pattern is inspired by the facade of OMA’s Seattle Public Library. We hope Flood will send a sample directly to Rotterdam. Watching a recent video of Rem accepting the annual Charles Jencks Award at RIBA in London, the formidable noggin looked particularly windswept.
Dutch firm OMA, Australian architecture firms HASSEL and Denton, Corker & Marshall, along with international design practice Populous have been selected to redevelop a large convention, exhibition, and entertainment district along Darling Harbour in Sydney. Developers Lend Lease will lead the creation of the 2.15 million-square-foot project called “Darling Harbour Live” that will include a red carpet entertainment venue, an exhibition center, a new residential neighborhood called The Haymarket —designed by Denton Corker & Marshall —and a 900 room hotel for which OMA led the conceptual design. As part of this urban renewal plan, there will also be a focus on outdoor public space with a renovated Tumbalong Park, which can accommodate 25,000 people as an outdoor event space; a new Harbourside Place, a palm tree lined street alongside the crystalline ICC; a Chinese Garden Square; and Haymarket Square, a central meeting spot for the Haymarket neighborhood with outdoor tables and seating. Australia's NSW Premier Barry O’Farrell said in a statement that, “The redevelopment goes far beyond improving facilities—it’s also about re-shaping the city. Darling Harbor already attracts 25 million people a year and this development will create a more vibrant place on Sydney Harbor.” Redevelopment of the area will take place in phases as the projects replace existing structures like the current Sydney Convention & Exhibition Center, which will close in December of 2013 followed two years later by the Sydney Entertainment center in December of 2015. Construction of the new buildings is expected to be complete in 2016 and estimated to cost $1 billion.