Next Tuesday, the nearly 850-foot-tall Shenzhen Stock Exchange Building will be inaugurated as the new head of capitalist trading in Hong Kong. OMA, Rem Koolhaas’ architectural firm, was commissioned to design and construct the soaring structure in 2006. After nearly $500 million in expenditures, according to reports by the Wall Street Journal blog, the square-form skyscraper with a surprising floating base, is complete. Situated 118 feet above an outdoor, ground-level plaza, the Shenzhen Stock Exchange’s three-story cantilevered podium creates drama in the building’s form while satisfying practical needs. This floating base provides shade to pedestrians, a garden rooftop, and an outward indication of interior operations. OMA located the stock exchange’s main trading floors in the interior of this base, allowing maximum square footage for the computer servers. With a facade constructed of a gridded exoskeleton over a patterned glass curtain wall, the building reacts to changes in weather, muting to reflect grey days and brightening when the sun peeks out. The generic skyscraper design of the rest of the structure allows it to fit in with existing neighbors, but clever details like these set it apart from the typical.
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A tired strip along Collins Avenue in Miami, once populated by swanky hotels, will soon be returned to its former glory days. The Miami Herald reported that Argentinian developer Alan Faena is moving forward with his grand vision for this ghostly side of town, dubbed the "Faena District Miami Beach," which will consist of an elaborate mix of residential, hotels, retail, and cultural space. Modeled after his successful transformation of the Puerto Madero district in his hometown of Buenos Aires, this new plan aims to turn this washed up, beachfront stretch into a bustling cultural and residential neighborhood. And to accomplish this, Faena has enlisted the help of big name architects such as Norman Foster, Rem Koolhaas, and Roman & Williams. The developer just broke ground on the first phase: A lavish 18-story condo tower designed by Foster + Partners with apartments, ranging from 4,000 to 18,000-square feet in size, and costing up to $50 million. Across the street, Koolhaas' OMA will design a cultural center with a domed auditorium and an underground parking garage with shops on ground floor. The firm will also overhaul the understated Atlantic Beach Hotel and turn it into an open courtyard building for retail. The developer has also purchased the run down Saxony Hotel and asked Roman & Williams to renovate the interior of the historic landmark. And apparently designers aren't the only creatives coming on board this project. Filmmaker Baz Luhrmann—of the flashy, over-the-top productions, such as The Great Gatsby, Moulin Rouge, and Romeo and Juliette—will work in some currently-vague capacity, along with his wife Catherine Martin, in what the Herald has called a “creative role’’ at the hotel. Should we expect to find his visual spectacles projected on walls of suites playing to soundtracks by Jay-Z?
Marina Abramović owes 4,765 hugs to the supporters of her successfully funded $600,000 Kickstarter. Last month, the artist launched the online campaign to fund her own Marina Abramović Institute (MAI) in upstate New York, a performance center conceptualized as a laboratory that will be dedicated to the practice of long-durational performance art and the “Marina Abramović Method.” Project donations ranged from $1 to $10,000 and all donors are invited to receive a personal hug from the artist in a future performance event called “The Embrace.” With help from social media, celebrity interest, and a few encouragements from Abramović herself, the center surpassed its goal by more than $60,000 before the end of its month-long funding period this past Sunday. Designed by OMA’s Rem Koolhaas and Shohei Shigematsu, the center’s focus is the large hall where Abramović and other performance artists will show six-hour art pieces to an audience donning lab coats. Contracted to stay for the duration, visitors will be trained in the Marina Abramović Method, being led through a variety of sensory exercises in rooms surrounding the great theater space. A few weeks ago, a viral video of pop singer Lady Gaga practicing the Method in the nude raised interest in the MAI campaign. Last month, rapper Jay-Z’s recent six-hour performance of “Picasso Baby” at Pace Gallery in New York City paid homage to Abramović’s 2010 The Artist is Present performance at the Museum of Modern Art. Even the artist herself posted a playful clip, explaining how many long durational performance artists it takes to screw in a lightbulb. With celebrity support and interest generated through Abramović's #whyMAI blog and Reddit Q&A sessions, this unique vision is now on course to be realized. Overall, the Kickstarter campaign raised $661,452 and MAI became the largest cultural institution to be funded in this way. Soon, OMA will begin to transform a 29,000-square-foot former theater in Hudson, New York, into an institute devoted solely to long durational performance art, definitely the first of its kind.
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]
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.