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 "OMA":
A shortlist was announced for the Pershing Square Renew competition. Ten teams were selected to have a chance at a crack at redoing Ricardo Legorreta's scheme. The five-acre park is seen as the centerpiece of a revitalized Downtown Los Angeles and the competition, a public-private partnership backed by councilmember José Huizar, is a critical step toward that effort. The ten semi-finalists are global, national, and local—and often in combination. They include: Paris-based Agence Ter with SALT Landscape Architects, Snohetta, James Corner Field Operations and Frederick Fisher and Partners, New York-based W Architecture, San Francisco-based PWP Landscape Architecture with Allied Works Architecture, Mia Lehrer Associates with NYC’s !Melk, Peterson Studio + BNIM, Rios Clementi Hale with OMA, SWA with Morphosis, and wHY Architecture These teams will continue to develop designs, which will be reviewed later this fall and a group of four finalists will be announced in December. Pershing Square Renew will select a winner in February 2016. On bets as to who might emerge from the pack, it seems that the organization is looking for details over gesture. “Their challenge isn’t to win awards; it’s to win over hearts,” said executive director Eduardo Santana. “More than anything else, these groups need to focus on the experiences their design will inspire and the memories the Square will create.”
OMA's Timmerhuis project for Rotterdam, a gleaming stack of municipal offices, will open to the public on December 11, 2015. The mixed-use building will primarily house office space taking up 262,000 square feet with residential, parking, gallery, and retail spaces occupying the rest of the building. The design for Dutch developers Ontwikkelingsbedrijf was lead by OMA partner Reinier de Graaf and associates Alex de Jong and Katrien van Dijk and will be only a stone's throw away from the firm's other, already built project in the city—the towering De Rotterdam. A modular aesthetic is created via the stratified composition of repeated units stepped back from the street and would be reminiscent to a game of architectural Tetris if it weren't for the building's glass facade that makes use of high-tech,translucent energy-efficient insulation. Adaptability was a key component to the project's program, Rem Koolhaas said in a statement. "Units can be added or even dismounted from the structure as demands on the building change over time, and can adapt to either office space or residential parameters as desired." OMA also wanted to create the possibility of having an apartment with a garden in the city center, so green terraces are featured on higher levels while overhanging modules create open spaces at street level, adding a private/public threshold between the dwellings at the city. According to Koolhaas, the design brief required Timmerhuis to be "the most sustainable building in the Netherlands." OMA achieved this via the buildings flexible program and thanks to two large atriums which essentially act as the "building's lungs." These lungs are integrated into a climate control system that retains the summer heat, releasing it in the winter. Likewise, cold air from the winter is stored to be released in the summer. "Rather than being yet another statement in Rotterdam's crowded history of revisionist planning and cacophony of architectural styles, the ambiguous mass of the Timmerhuis tries to mediate between the existing buildings surrounding it," Koolhaas said. "The axis between the existing town hall and the post office coincides with the axis of symmetry of the Timmerhuis , and the street between these two buildings continues into a passageway to the Haagseveer," he continued. "The Timmerhuis integrates with the neighbouring Stadtimmerhuis by maintaining the same floor heights, while the plinth height of 20m conforms to the character of the surrounding Laurenskwartier."
Washington, D.C.'s rundown Robert F. Kennedy Memorial Stadium–Armory Campus, home to soccer team D.C. United, is finally edging closer to redevelopment. The New York office of Rem Koolhaas' Rotterdam-based firm OMA has been commissioned to master plan the 190-acre site. The stadium, located in the Southeast quadrant of the District, boasts a significant soccer pedigree, having hosted five World Cup matches in 1994. Constructed in 1961, the RFK Memorial Stadium was famed for being one of the first multi-sport sports venues, pitched as both a baseball and soccer arena. After almost 60 years of service, the stadium is now long overdue for a facelift. The project is being overseen by Events DC and the Sports Authority for the District of Columbia. OMA will also work with management firm Brailsford & Dunlavey to develop long- and short-term concepts for the future usage of the site. The project will be managed by OMA's New York office, with the intention of creating a "holistic conceptual plan" that "resonates with the surrounding community" forming axis points and public meeting points, acting as a social hub for residents. Jason Long, partner at OMA, said in a statement that the plan will seek to to play an "important role in reconnecting the city to the Anacostia waterfront.” No renderings have been released to date. OMA will seek to integrate the stadium into the 190-acre site, a vast expanse currently covered by surface-level parking lots, underutilized green spaces, and wide roadways. The windswept campus today appears eerily abandoned. “The goal of the project is to develop conceptual master plans for the entire Campus that complement the site, benefit the community, and create access points and public areas of convergence for residents and visitors” Laura Baird, associate at OMA, said in a statement. Plans and concepts for the project will be released in January 2016. The campus master plan is OMA's second commission in Washington, D.C. The firm also won a design competition, with landscape architecture firm OLIN, to build the 11th Street Bridge Park that spans the Anacostia River.The so-called "Anacostia Crossings" proposal configures the bridge into an X-shaped , multi-story linear park. According to AN's October 2014 report on the bridge, nearly $16 million had already been raised for the project, with a goal of $40 million more.
Word of an OMA-designed building for the Wilshire Boulevard Temple has been in the grapevine for months. The firm was on the short list this past spring along with Kengo Kuma & Associates, Morphosis Architects, and Steven Holl Architects for the 55,000-square-foot event space across the street from the institution’s recently restored 1929 Byzantine-Revival sanctuary. Now, a new building is moving forward with a name, an architect, and a fundraising campaign. Koolhaas is officially the architect for the Audrey Irmas Pavilion, even if renderings are still under wraps. Shohei Shigematsu and Jason Long will lead the project out of OMA’s New York office. Irmas, a philanthropist, art collector, and temple congregant pledged $30 million to lead the fundraising campaign for the new building. She is raising those funds by putting a Cy Twombly in her personal collection up for sale. The entire proceeds of the sale of the painting will benefit The Audrey Irmas Foundation for Social Justice, with a portion earmarked for the OMA pavilion. The new building, proposed to open in 2019, will accommodate all sorts of community events: weddings, bar mitzvahs, and galas. The project would be the firm’s first cultural building in California and first commission from a religious institution. OMA’s commercial project, The Plaza at Santa Monica, seems to be sluggishly moving through that city’s political channels. It passed the City Council in June, but still faces community opposition due to its height.
After nine years, MVRDV reclaims architecture’s coveted ArchiCup, beating Mecanoo, West 8, OMA, and others an the annual soccer matchup
After a seemingly never ending nine-year wait, Dutch architecture firm MVRDV finally reclaimed the ArchiCup in Rotterdam after a contentious soccer matchup. https://vimeo.com/139137485 Organized by GROUPA and Bekkering Adams Architects the competition was hosted at the Henegouwerplein in Rotterdam. Despite the questionable playing surface, MVRDV reigned victorious over bitter rivals Power House Company causing scenes of jubilation as they launched their captain into the air. Other teams included Broek Bakema, De Zwarte Hond, Hoogstad, Groosman, KCAP, Mecanoo, Nov '82, OMA, West 8, ZUS and RAVB.
When The Broad opens to the public on September 20, Angelenos will finally get to see how Diller Scofidio + Renfro’s design compliments philanthropists Eli and Edythe Broad’s powerhouse collection of 2,000 pieces of contemporary art in their eponymous museum. Works by Ed Ruscha and Cindy Sherman will hang in the 35,000-square-foot, column-free gallery space lit by some 300 skylights. Expectations are high for the $140 million dollar building, but from what we’ve seen and heard, the architecture is refined and detail-oriented. Or, as DS+R architect Kevin Rice said of Eli Broad, “I’ve never worked with another billionaire so interested in bathroom fixtures.” While the opening of a new building is always a thrill, AN has been tracking this feat of design, engineering, and curatorial might almost since its inception and we thought we’d share some of the highlights along the way. Q+A> KEVIN RICE Architectural journalist Sam Lubell spoke with DS+R's Kevin Rice and got a behind-the-scenes preview of the museum. He asked Rice about design goals for the adjacent public space. “The last thing we wanted was another dead corporate plaza that gets filled at lunchtime and has tumbleweeds flying around the rest of the time,” said Rice. “We wanted something that people would want to come back to throughout the day.” Q+A> BROAD ART FOUNDATION DIRECTOR TALKS ARCHITECTURE, OPENING DATE FOR DS+R’S LOS ANGELES MUSEUM Late last year, AN talked with Broad Art Foundation Director Joanne Heyler to learn how the arts community was reacting to the new architecture. “The building is very sculptural because the Vault form [which contains the museum’s collection] creates the heart of the building,” said Heyler. “I’ve taken artists to see the collection inside and gotten an incredibly enthusiastic response.” COMMENT: ARCHITECTURE IS NOT ENOUGH AT GRAND AVENUE “No amount of architecture will transform Bunker Hill,” said architecture critic and curator Greg Goldin in his comment that drew attention to the lackluster urban condition along Grand Avenue. While Eli Broad has an ambition to make the street into a boulevard, Goldin questions redevelopment efforts going back decades that have wiped out topography and displaced population. “Broad’s obsession with having architects strut their stuff has obscured the need for a considered response to the city itself—with varied program and a welcoming streetscape—not one street-top civic center,” he wrote. HERE’S REM KOOLHAAS’ “FLOATING” RUNNER-UP PROPOSAL FOR LOS ANGELES’ BROAD MUSEUM Lastly, why not show OMA’s similar, but not winning proposal? Rem Koolhaas’s firm proposed a “floating” box covered in a lacy-patterned metal screen and cantilevered via steel brace frames above Grand Avenue.
New York has one, Chicago has one, and now the Chronicle’s John King alerts us that San Francisco might see a Trump-brand tower in its future. No one is taking bets on the conservative presidential candidate’s name emblazoned on a highrise located in one the most progressive cities on the planet, but King is stirring the pot to call attention to a land auction hosted by Transbay Joint Powers Authority on September 2. On the docket: a parcel of land on the 500 block of Howard Street, where zoning allows for an 800-foot tower. Five development teams will bid against each other. According to King, “[I]dentities are being kept secret until the live auction to, in the words of bureaucrats, 'preserve the integrity of the competition.'” Will Trump be one? The Chron’s critic is wagering a guess, suggesting that with minimum bid at $160 million, the live auction could set off a bidding war that would help pay for the Transbay Transit Center. Designed by Pelli Clarke Pelli, the center expected to serve eleven different transportation systems and feature a rooftop park. The tower on the offer would join others in San Francisco's Transbay district by Studio Gang, OMA, SOM, and Foster and Partners. Gang’s undulating 40-story tower recently came under fire for its soaring height, which community activists protested would cast a shadow over the public Rincon Park on the Embarcadero waterfront. King’s argument, however, is not that Trump will soon be mixing it up in the town of Milk and Moscone (or the new SF: Twitter and Uber) but that design is pushed off the table for the sake of raising cash. In 2007, the city held a design competition for the transit center and neighboring tower. This auction comes with no design strings attached. “Standards are slipping,” he wrote and continued: “If the check clears, good enough. Let the city’s Planning Department sort through messy questions about how the tower looks or whether the developer will try to push for extra space.”
Opening August 20, Shelter: Rethinking How We Live in Los Angeles, the inaugural exhibition at the A+D Museum's new Arts District space presents works by architects and designers that challenge and improve upon L.A. housing typologies. The single-family house has long been the touchstone for experimental architecture in Los Angeles, from the Case Study Houses to Gehry’s own home in Santa Monica, replete with (now-removed) domesticated chain-link fencing. But as the cost of real estate puts pressure on residential architecture, new solutions for single- and multi-family housing are desperately needed. Curators Sam Lubell and Danielle Rago invited local practices to develop proposals for the Wilshire Corridor and along the Los Angeles River, these include Bureau Spectacular, LA Más, Lorcan O’Herlihy Architects, MAD Architects, PAR, and wHY Architecture. (Editor's Note: Both Lubell and Rago are regular contributors to AN, and Lubell is AN's former West Coast editor.) Works by Kevin Daly Architects, Michael Maltzan Architects, Bestor Architecture, OMA, R&A, and Koning Eizenberg, will also be on view. AN spoke with the curators. The title is Shelter, the absolute basis for architecture, but what does it mean to “rethink how we live” and why is this reassessment so pressing right now? Sam Lubell: LA is going through monumental changes, re-embracing density, transit, and the public realm while facing unprecedented challenges around affordability, the environment, and congestion. But while the city has always been a center for residential innovation, most residential architecture here today does not properly respond to the changes taking place. We're hoping to help spur a dialogue about reshaping our housing and our lifestyles to today's realities. It’s a great line up of practices in the show. What were your criteria for selecting participants? Danielle Rago: The show features [six new proposals] by Los Angeles design practices—each occupies a different position in the field of architecture. Yet, we believe all approach residential design in interesting and innovative ways. SL: We also wanted a mix of emerging and established firms, and practice-oriented and research-oriented firms. We think it's a great mix, full of energy, creativity, and some surprise. How did the designers address some of Los Angeles’ hot button topics: density, affordability, accessibility, and sustainability? SL: The designers have done an excellent job addressing several of these issues. wHY, for instance, tackled both density and affordability by proposing new configurations of development in underused, residual public spaces along Wilshire Boulevard. LOHA tackled environmental issues by creating homes that utilize the aquifers near the L.A. River to capture and store water. And MAD has created a new type of outdoor living within a dense cluster of interconnected, extensively landscaped towers. DR: The invited teams all investigated one if not more of these pressing issues currently affecting Angelenos. LA Más' design addressed density and affordability by reconsidering the granny flat as a new model for low-rise high-density development in Elysian Valley along the L.A. River. PAR responded to increasing density and new transit offerings on the Wilshire Corridor with their proposal for a courtyard housing tower, where each unit maintains a visual connection to nature. And Bureau Spectacular investigated environmental challenges through the study and re-application of vernacular domestic architecture in L.A.
The Office for Metropolitan Architecture (OMA) announced that its designs for a joint Sports and Sciences department for the UK's Brighton College have been approved. The Rem Koolhaas–owned architecture practice won an invited competition in 2013, and the project was further developed and submitted for planning approval in 2015. The unveiled designs envision a linear building at the edge of the college’s playing field that combines the two departments for a “lively and animated circulation” inside. The primary sporting spaces will be at the same level as the playing field, with the sports hall opening directly onto it. A rooftop running track and basement-level swimming pool are among other expected amenities. Meanwhile, the science department spans over the sporting spaces like a “skeletal” bridge. The facade of the three-story building is inspired by the terraced housing adjacent to the building. As the biggest construction project in the school’s 170-year history, it will form an unexpected interplay between the two academic disciplines. The privately-owned, co-ed boarding and day school, one of Britain’s finest, is composed of two areas: a historical quadrangle hosting Grade II–listed gothic-revival buildings designed by Sir Gilbert Scott and Sir Thomas Jackson in the 19th century, and the playing field bordered by buildings from the 1970s and 1980s, the site of OMA’s new construction. Before building can commence, however, the 1970s sports hall, classroom block, maintenance building, and two-story pavilion must be demolished first. The project forms the final phase of a more than $62 million masterplan, which includes two other new buildings—a boarding house and amenities building by Allies & Morrison.
In Beirut, a group of activists seeks to protect a coastal area by setting up a grassroots design ideas competition
In the last two decades, Beirut’s real estate market boomed and transformed the city. One of the yet non-developed areas of the city is a coastal area called Dalieh. Despite the fact that this area is privately owned, it was used as an openly accessible space by the public for years. However, recent development plans, aiming to build a high-end real estate complex, would largely change the open access and current character of this space. A group of activists called "Civil Campaign to Protect the Dalieh of Raouche," rejects those plans and advocates for the protection of the social, archeological and ecological significance of this space. They addressed those concerns, for example, in an open letter to Rem Koolhaas, who was creating design ideas for the development of the site. However, this campaign is not stopping at opposing current development plans, they are also proposing alternatives for the future use of this space. Last spring, they organized a design ideas competition under the auspices of the Lebanese Ministry of Environment. The crowdfunded campaign set up an international jury of various professionals, including Jad Tabet, Lebanese architect and member of the UNESCO World Heritage Committee, and the German landscape architect Hans Kienle. At the end of May, the jury selected three winning entries which were exhibited during the Beirut Design Week in June and will be published in a booklet in coming months. Sarah Lily Yassine, engaged in the campaign, said that “the competition was successful, to engage more people and to show the institutions that there are alternatives to consider on such a site.” Even though the competition was not aiming to directly implement the resulting ideas, it sought to generate a debate about urban issues in Beirut, and in cities in general. Marwan Ghandour, professor of architecture and juror of the competition, describes this as “a competition which talks about something which is claimed by the people as an open space rather than something which is delivered by the government as a public space”. As an example of those spaces, Dalieh is called an “open access shared space” by the campaign. The idea of a grassroots design ideas competition shows an interesting model to trigger a debate about these spaces and also to generate new ideas for the future of our urban fabrics. Below, some images of the three winning entries:
Last week another point was scored for social media as the de rigueur disseminator of architecture with the opening of Rem Koolhaas' Garage Museum of Contemporary Art in Moscow’s Gorky Park. As new media takes over old, images of Facebook’s new headquarters by Frank Gehry hit Instagram first, the announcement of BIG replacing Norman Foster at Two World Trade Center came through on Wired, and it may have reached its natural apex with the Garage designed by OMA. The first images of the museum flooded Instagram several hours before the June 10 press event—the museum officially opened on June 12. Feeds from photographer Iwan Baan—@iwanbaan—Nadine Johnson PR, and of course Garage’s own account @garagemca, all captured the guts and glory of a building that still seemed to be finishing up construction. A more traditional press event with architect Rem Koolhaas, museum founder Dasha Zhukova, museum director Anton Belov and Garage chief curator Kate Fowle complimented the social media onslaught. The team sat under a giant mosaic from the building’s previous life as the 1960s pre-fabricated restaurant Vremena Goda where OMA cleverly (when are they not?) retained the generous interior spaces and replaced the exterior with a translucent polycarbonate enclosure. Koolhaas, like Gehry, seems to be returning back to his early projects for inspiration, utilizing low-cost materials for both economical reasons and to subtly subvert expectations of taste. Now, that off-the-shelf approach applies to media and storytelling. By revealing the project via a purely visual medium like Instagram, Koolhaas liberates the architectural narrative from the traditional modes of transmission much like he has altered our preconceptions of what types of buildings materials can be used for and to what purpose. These well-known architects are not the only ones taking charge of their own narratives via social media and using those platforms to create exposure that might not otherwise occur. Los Angeles–based Warren Techentin of WTA created the La Cage Aux Folles installation in the courtyard of experimental gallery Materials & Applications. Collective posts on Instagram led to digital coverage in before appearing in print. Leave it to OMA to most seamlessly integrate old and new media (intentionally or not) to build a narrative for the Garage Museum, an institution positioned to transform from an outpost of the art world to one that spawns its own curatorial efforts.