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.”
Posts tagged with "OMA":
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.
Last September, the Council on Tall Buildings and Urban Habitat invited me to serve as the special media correspondent for its Shanghai symposium, entitled Future Cities: Towards Sustainable Vertical Urbanism. I conducted video interviews with dozens of architects, developers, building managers, and others on topics relevant to tall building design and sustainable urbanism. Among the many designers, engineers and other tall building types I interviewed were Jos Melchers of MAB Development & OMA partner Ellen van Loon. We discussed the design of De Rotterdam, an innovative mixed-use development that won CTBUH's 2014 Best Tall Building award for Europe. https://www.youtube.com/watch?v=OygY60WSibU De Rotterdam's design resembles several skyscrapers stacked closely together, with bridges and protrusions in the facade connecting them into a single, flowing mass. "What you do in a low-rise city, where buildings are very close to each other with different functions, is now basically translated into a high-rise building," said van Loon. "I think what is interesting for me about this building is that tenants see each other on different heights... so not only the physical connections, but the view connections create a community in that building." Van Loon said it was a challenge to temper the community-building aspect of the building's connections with their potential to create confusion in the program or an overwhelming presence on the skyline. The result was the largest building in the Netherlands, but one that developer Jos Melchers said still respects the site. Getting tenants on board was another challenge at first, he said, but now the unusual layout is "becoming part of the city." "You feel that you can make a really mixed-use, multifunctional building," Melchers said. "The tenant has to believe in the concept of a vertical city. Of course tenants want to have their own block, their own building."
This abandoned rail corridor in Singapore will soon be a nationwide linear park, and these firms are competing to design it
Singapore’s Urban Redevelopment Authority (URA) has shortlisted five winning design firms for an RFP to overhaul the Singapore Rail Corridor. Defunct since 2011 and once a prominent Singapore–Malaysia trade route, the railway spans the entire country from north to south starting at the Tanjong Pagar Railway Station to the Woodlands Checkpoint. A competition launched by the URA requested proposals to transform the 15-mile stretch into a public greenway connecting four important urban nodes: Buona Vista, the Bukit Timah Railway Station area, former Bukit Timah Fire Station, and Kranji. The five shortlisted design teams are as follows:
- West 8 and DP Architects
- Grant Associates and MVRDV with Architects 61
- Turenscape International and MKPL Architects
- Nikken Sekkei with Tierra Design
- OLIN Partnership and OMA Asia with DP Architects
Earlier this year AN's Eavesdrop column predicted the shortlist for Wilshire Boulevard Temple's "Gathering Place," a 55,000-square-foot event space across the street from the institution's sanctuary. The final list has been revealed and includes big hitters such as OMA, Kengo Kuma & Associates, Morphosis Architects, and Steven Holl Architects. The only firm we didn't predict was Holl (we had Renzo Piano taking the fourth spot). According to the temple, the New York Times prematurely crowned OMA as the winner. "These things often leak but don’t always get reported accurately," said Temple spokesperson Susan Gordon. The announcement of the winning team is still "weeks away," said Gordon. Members of the selection committee include Erika Glazer, Eli Broad, Tony Pritzker, Dana Hutt, and Richard Koshalek. Meanwhile the temple—which is following an ambitious master plan— has already begun construction on the renovation of two school buildings, its Karsh Social Service Center, a rooftop athletic facilities, and a new landscaped walking path. Stay tuned for more.
Should you be looking for yet another reason to add Milan to your architectural travel itinerary, the Prada Foundation is scheduled to open its many doors to the public on May 9. Designed by Rem Koolhaas/OMA, the campus—part new construction, part rehabbed structures—will include 120,000 square feet of exhibition space, a theater, a children's area, a restaurant, and library. "It is surprising that despite the enormous expansion of art media, the number of typologies for the display of art remains limited," commented Koolhaas on his website. "It seems that art's apotheosis is unfolding in an increasingly limited repertoire of spatial conditions: The gallery (white, abstract, and neutral), the industrial space (attractive because of its predictable conditions which are meant to remain neutral when juxtaposed with any artwork), the contemporary art museum (a barely disguised version of the department store), and the purgatory of the art fair." The Prada Foundation is located in a former distillery at Largo Isarco, an industrial complex dating from 1910 that comprises seven existing buildings, including a warehouse, laboratories, and brewing silos surrounded by a large courtyard. OMA inserted three new structures into the site: a museum for temporary exhibitions, a transformable cinema building, and a ten-story gallery tower. Opening exhibits will draw on the holdings of the Prada Collection (which is heavy on 20th century and contemporary art) and works on loan from museums around the world. Projects commissioned for the occasion are also on the program; Robert Gober and Thomas Demand have created site-specific installations that engage the old and new architectures, and Roman Polanski has produced a documentary film that explores his cinematographic inspirations. [via NY Times.]
More than seventy years after their creation, a collection of classic office furniture by Jean Prouvé is being updated and released to the market. Dutch fashion purveyor G-Star, in conjunction with Swiss furniture manufacturer Vitra, have developed "Prouvé Raw," a collection of ten pieces that include chairs, desk and wall lighting, conference tables, and writing desks. And Rem Koolhaas also plays a role in this revival. In 2014, OMA and Koolhaas completed a new headquarters for G-Star. Observing an affinity between the architecture and the Prouvé pieces that was mirrored by the design philosophy of the fashion house, a decision was made to outfit the offices, conference rooms, and canteens of the new building with the seven-decade-old furnishings. In cooperation with the Prouvé family, Vitra adapted the French designer’s furnishings to meet the needs of today’s office. Desks have been modularized, and fitted with concealed runs for cables and pop-up power outlets. The swiveling desk chair has a more stable five-branch base. Teaming up with art directors at G-Star, color and material palettes were created that are true to the aesthetic of both Prouvé and the Dutch company. Several shades of industrial green, and leather and fabric upholstery complement the steel and solid-wood furnishings. The Prouvé Raw collection debuts next month at Salone in Milan.
It was always a question of when—not if—Rem Koolhaas would join the starchitect party alongside New York City's High Line. With the third phase of the popular park open, and multiple splashy projects rising alongside it, the New York Post is reporting that Koolhaas' time has come: he has been hired by The Related Companies to design a building on West 18th Street. Related is also developing a nearby building by Koolhaas' former student and then partner, Zaha Hadid. While there are very few details about Koolhaas' new building, it will certainly be significant given that it is the world-renowned architect's first major project in New York City—a city which he, of course, explored in depth over 30 years ago in Delirious New York. Rem's High Line tower won't be the only project his firm, OMA, will be working on in the New York City region. Last year, Koolhaas' team was selected as one of the major winners of HUD's Rebuild by Design competition.
Wilshire Boulevard Temple, one of Los Angeles' historic gems, was just splendidly renovated by a team led by Brenda Levin & Associates. Now it appears to have shortlisted some of the world's top architects for its 55,000 square foot addition. The temple has declined to comment on the shortlist, but according to a source OMA, Renzo Piano, Morphosis and Kengo Kuma are now competing to design a 55,000-square-foot addition. Called The Gathering Place, the$30-35 million event and programming space will contain a banquets hall, cafe, meeting and conference rooms, and administrative spaces located at the northwest corner of Wilshire and Harvard boulevards. "The design must establish an iconic profile while taking into account the adjacent historic sanctuary building," noted the competition RFQ. That's not an easy task considering the phenomenal presence of the Byzantine revival sanctuary. Finalists' submissions are due at the end of January, and the winning team will be chosen in June. Members of the architect selection committee include philanthropists Eli Broad and Tony Pritzker, and one advisor to the committee is Richard Koshalek, who oversaw the competition for Walt Disney Concert Hall, among others.