Posts tagged with "Rem Koolhaas":

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The Architecture and Design Film Festival returns to Los Angeles this weekend

The Architecture and Design Film Festival (ADFF) has returned to Los Angeles over this last week and will continue into the weekend. In total, the film showcase will present over 30 architecture-related short-length and feature films that cover topics as diverse as the career of Frank Gehry, the works of Czech glassmakers LASVIT, and speculative student work from Liam Young and the Southern California Institute of Architecture’s M.A. in Fiction and Entertainment program. The traveling film festival will also showcase films on Bjarke Ingles, founder of BIG, and the life and career of Swiss architect Albert Frey. Saturday will see the presentation of the film The Experimental City, a film covering the storied history of the Minnesota Experimental City, a domed futuristic settlement for 250,000 people created to prevent sprawl. A screening of the film will be followed by a panel discussion. Sunday’s offerings meanwhile, will include a double-feature that includes films on Greg Murcutt and Jean Nouvel. Other presented films over the course of the festival include a feature-length movie on the life of Dutch architect Rem Koolhaas, a documentary and panel discussion on Britain’s Maggie’s Homes program, and a documentary on the work of pioneering Mexican-American architectural photographer Pedro E. Guerrero. See the ADFF website for more information.
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Koolhaas and Herzog & de Meuron venture into fashion design for Prada

Prada has thrown its 2018 fall menswear collection back to the 90’s, with a fashion show in Milan that put utilitarian black nylon front and center. Rem Koolhaas, Herzog & de Meuron, French designers Ronan & Erwan Bouroullec, and German industrial designer Konstantin Grcic were all invited to interpret the material through an industrial lens to create a unique item for the collection. Fashion designer Miuccia Prada’s rise to fame was built on black nylon in 1984; in weaving nylon, typically used for packaging at the time and not clothing, into the landmark luxury “Vela” bag, Prada transformed the luxury brand into a contemporary clothing company. The same waterproof “Pocone” nylon used in the original Vela bag was on full display yesterday at Prada’s preview of its Autumn Winter 2018 menswear collection in Milan. Instead of flash or color, the focus was on form and usage, and the menswear fashion week show was appropriately staged in an industrial warehouse with a Prada twist. The storage facility in Viale Ortles, Milan, was plastered with throwbacks to Prada’s past and lit with blues, reds and purples by AMO, the research and branding studio of OMA. This isn’t the first time AMO has worked with Prada, as they also designed Prada’s 2017 Spring/Summer venue. OMA founding principal Rem Koolhaas contributed a backwards backpack to the show, designing a black nylon pack meant to be worn on the front of the body. The boxy container is meant to be first and foremost accessible, as Koolhaas notes that the convenience of a backpack is negated by having to take it off to access. “The shape of the backpack has the convenience of flexibility, the location–the back–the huge inconvenience that it is fundamentally inaccessible to the wearer,” Koolhaas told Prada. In the same way the Vela bag advanced the backpack through material, Koolhaas’s pack was meant to be the next step forward in the bag’s shape. Jacques Herzog and Pierre de Meuron chose to focus on the clothing side, designing a shirt patterned with what looks like statements in English, but reveals itself to be gibberish upon closer examination. Calling language useless, Herzog & de Meuron reduced words to nothing more than ornamentation as a commentary on the way untrue information has saturated our daily lives. “It has lost its seductive power. There is nothing new, nothing critical, nothing true in language that cannot be turned into its opposite and claimed to be equally true. Language has become an empty vehicle of information,” reads Herzog & de Meuron’s statement to Prada. OMA and Koolhaas have had a longstanding partnership with Prada, collaborating on everything from a 120,000-square-foot arts complex in Milan, to the Prada “Epicenter” in New York. All of Prada’s 2018 Autumn/Winter menswear collection can be found here.
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Rem Koolhaas ditches the city for the countryside in upcoming Guggenheim exhibition

Office for Metropolitan Architecture's (OMA) founding principal Rem Koolhaas and the Solomon R. Guggenheim Museum are teaming up to explore the earth's changing non-urban areas in an upcoming exhibition. Koolhaas, along with AMO, the OMA think tank, jettisons the city to speculate on the future of the countryside, an arguably less sexy topic for architects who love their Tokyos and Rios. By interrogating changing rural areas today, the exhibition, provisionally titled Countryside: Future of the World, will explore the effect of migration, automation and AI, radical politics, and ecological change on less-populated regions worldwide. “The fact that more than 50 percent of the world’s population now lives in cities has become an excuse to ignore the countryside,” said Koolhaas in a press release. “I have long been fascinated by the transformation of the city, but since looking at the countryside more closely in recent years, I have been surprised by the intensity of change taking place there. The story of this transformation is largely untold, and it is particularly meaningful to present it in one of the world’s great museums in one of the world’s densest cities.” The 50 percent figure Koolhaas cites is one of those urban myths that won't die, a tired United Nations statistic drawn from definitions of  "city" that vary wildly from country to country. Nevertheless, Countryside builds on work current work at AMO, as well as student work at the Harvard Graduate School of Design. The Guggenheim will announce further details on the exhibition, which is slated to open in fall 2019, as they become available.
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Marina Abramovic hits back over funding misuse allegations

Responding to recent articles by the New York Post and Artnet, performance artist Marina Abramovic spoke out over accusations that the her institute had misused funds for the now-cancelled Marina Abramovic Institute (MAI) building in Hudson, New York. Abramovic had announced the cancellation of the OMA-designed performance art space, citing that the cost had grown to $31 million. In a press release sent this morning, Abramovic broke down where the money from her Kickstarter had gone. She stated that the $661,452 she raised on Kickstarter, minus the crowdfunding platform's administrative fee, left her with $596,667. She also specified that “the Kickstarter was created to fund schematic designs by OMA New York for the building in Hudson, NY." The press release provided a list of costs and detailed how nearly a million dollars had gone to OMA for design fees and related services, with the firm writing off $142,167 as a donation. Abramovic revealed that OMA had billed her $655,167.10 for designing the new MAI building, with an added $354,502.67 in consultant fees, and $102,392.83 for the owner’s representative. Abramovic also clarified that any other money that had gone towards the project was paid for out of pocket, including over a million dollars for purchasing and renovating the existing building. In a recent interview with Vulture about the fate of the MAI, Abramovic explained that the cost of the renovation had grown to astronomical levels, including $700,000 for asbestos abatement alone. As for those Kickstarter backers who never received their awards? “[…] The only people that did not receive their rewards are the ones that did not respond to our requests for information. We welcome those backers that did not receive what they deserved to contact the institute directly via Kickstarter or on our website,” said Abramovic. True to Abramovic's performance-oriented aesthetic, the rewards were largely ephemeral; they ranged from a hug at the one dollar level to a soup-cooking session with the artist for $10,000 backers.
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Marina Abramovic cancels building project and leaves funders in the lurch

Update: Marina Abramovic responded to the allegations reported in this article. That response is available here After failing to meet its $31 million funding goal, performance artist Marina Abramovic recently announced the cancellation of her Hudson, New York-based Marina Abramović Institute for the Preservation of Performance Art (MAI). Designed by OMA partners Shohei Shigematsu and Rem Koolhaas, the 33,000-square-foot space would have led visitors through guided tours of the experimental performances that Abramovic is famous for. Originally estimated at $8 million, the project’s costs ballooned over the years to $31 million, according to the New York Post. Speaking at London’s Serpentine Sackler Gallery in October, Abramovic conceded that the project had grown too expensive to proceed with. “I, as a performance artist, could never raise $31 million unless some amazing guy from the Emirates [came forward] or some Russian who just wrote a cheque because he believed in me. But in real life, that doesn’t happen,” she said. With the cancellation of the MAI, questions have arisen over the $2.2 million already raised for the project. After a successful 2013 Kickstarter campaign raised $660,000, the artist pulled in another $1.5 million through private donations. According to the Post, a spokesperson for Abramovic has stated that any money raised has been paid to OMA. “The funds were raised not for the renovation itself but specifically for the schematics and the feasibility study,” the spokesperson said. Although the Kickstarter description confirms the spokesperson’s statement, several backers questioned whether they had thrown their money away, while others complained that they had never received their rewards for donating. “Fraud. I was supposed to receive a signed copy of the Abromovic Methods Exclusives DVD for $200 pledge back in 2013, and am still waiting for it. mised rewards,” said Andre Manukyan on the project’s comments page. Abramovic had hoped that the arts space, unveiled in 2012, would capture the ephemeral, transitive nature of performance art while still allowing visitors to engage with the building around them. Floor plans released by OMA show several distinct programmatic elements, including a fitness center, library, a learning center, offices and classrooms all situated around a 650-seat central performance space. Ambitious and wide-ranging in scope, the arts center would have mandated a minimum of six-hour “hard-core performance art” tours, where visitors would have surrendered their cellphones and worn white frocks while inside the building. OMA had also been set to design custom fixtures and furniture for the facility, including padded wheelchairs so that staff could ferry tired guests from one room to another. Built in 1929, the vacant theater in Hudson is owned by Abramovic and would have retained the original brick facade and column-flanked entryway under OMA’s proposal.Unused and abandoned, the former community theater now sits unmaintained. Abramovic has told the Post that the building would be put up for sale, with a portion of the proceeds going towards paying off the unpaid school taxes the artist owes for the property.
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OMA to design New Museum expansion

The New Museum has selected OMA to design a new building right next to its current home on the Bowery. Rem Koolhaas and Shohei Shigematsu are designing the expansion at 231 Bowery, a museum–owned property that currently houses an incubator program and private artist lofts. The building, funded through an $85 million capital campaign, will be integrated into the museum's current home, a structure by SANAA that opened in 2007. Despite authoring Delirious New York, Koolhaas will just now be designing his first public building in the city. Set to break ground in 2019, the addition will boost the museum's floor space by 50,000 square feet. The extra room will accommodate more galleries, improve circulation, and add "flexible space" for signature programming like IdeasCityNEW INC, and Rhizome, as well as other events. “Having collaborated with Kazuyo Sejima and Ryue Nishizawa on a number of projects in Europe, it is a real honor to stand alongside their great work of architecture, one of my favorites in the city," said OMA Founding Principal Rem Koolhaas, in a prepared statement. “I am honored to be awarded this project in the city perhaps most central to OMA's philosophy, and am thrilled to work with an institution that deeply values the practices of creative forward-thinkers," added Shohei Shigematsu, partner and leader of OMA's New York office. "As a Japanese architect, I am very happy to engage in a unique dialogue with SANAA and build alongside one of their seminal works.” Founded in 1977, the museum is the only institution in the city that exclusively displays contemporary art. It announced plans to grow its footprint back in May 2016, and since then, the museum has raised more than half the funds it needs to pay for the expansion. At that time, it said 231 Bowery would not be demolished. The Architect's Newspaper (AN) reached out to the New Museum to get a date for the design unveiling, and find out whether the museum plans to keep the current building, which houses NEW INC as well as artist live/work spaces. A spokesperson said design development will take eight months and details will be shared at the end of the process.
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No more weird architecture in Philadelphia: a retroactive manifesto for the AIA National Convention

The main exhibit hall at the Pennsylvania Convention Center in Philadelphia is as long as three city blocks. This is a universal space, unencumbered by columns, and enriched by connection points and affordances that offer access to electricity, light, water, ventilation. This space could hold and sustain almost anything. Today, as part of the AIA National Convention, it is filled with the elements of building, decontextualized and layered on top of one another in delirious profusion of texture and meaning. Here, a mockup of an elevator booth, across the aisle, a maze constructed entirely of doors. Signs over the booths invite us to do things like “Re-Think Wood,” and “Build our Community.” They remind us that “Glass is Everything.” A company making door knobs and handles announces that it is “The Global Leader in Door Opening Solutions.”

The breathless valorization of the normal is infectious. Things and people here seem on the verge of tipping over into some kind of technological singularity of the everyday. Even ordinary conversations occur with an extra layer of mediation. Each interaction with the staff at a booth is punctuated with an unusual question, "do you mind if I scan your badge?" Attendees are all wearing custom lanyards with QR codes, which booth staff photograph using smartphone apps, quantifying and upgrading any simple question about building components into an elevated transactional informational layer. This halo around the space, people, and things is also visible on the official convention app, where continuous backchannel discussions and jokes flow in real time, pulling attendees from the gridded space of the convention hall back into its virtual counterpart.

Two architects are haunting this universal space: Denise Scott Brown and Rem Koolhaas. The exhibit hall’s collection of elements can’t help but bring to mind the Venice Biennale exhibition that Koolhaas curated in 2014. His Elements of Architecture show included a suspended acoustic tile ceiling installed under an ornate frescoed dome, and a collection toilets from throughout history, with detailed annotations.

Similarly, the signs at the convention’s exhibits recall the gallery work and research of Scott Brown and her husband/partner Robert Venturi. For the 1976 show Signs of Life: Symbols in the American City, at the Smithsonian, the pair gave voices to the ordinary pieces of the domestic landscape. “Historical Elegance” says the ironwork on a rowhouse front door, “Regency Style” announces a suburban living room armchair. In her 1972 book, Learning From Las Vegas, Scott Brown, Venturi, and a third collaborator, Steven Izenour, drew a warehouse shed building with a large billboard optimistically declaring “I am a Monument.”

And there the drawing is, on a t-shirt available in the gift shop off the main hall. And here is Scott Brown herself, onstage with AIA President Russell Davidson and Executive Director Robert Ivy. They are awarding the AIA Gold Medal to her and Venturi. This is the first time that this award has gone to collaborative partnership, they announce, and they have voted to change the medal’s rules, just to make this possible. This is extraordinary, and long overdue, but it is also extraordinarily normal. Architects have been working together in partnerships for centuries. To adapt Scott Brown's own language, this moment, that has the audience of thousands on their feet and overcome with emotion, is Heroic and Original, but it's also Ordinary, and the failure, up until now, of the AIA to recognize and valorize this normal everyday mode is certainly a bit Ugly.

Architecture, like Main Street, is almost alright. After Scott Brown, we hear from Koolhaas, onstage with Mohsen Mostavi, the Dean of Harvard's GSD. Reminiscing about Learning From Las Vegas, Koolhaas said "I remember very clearly when I first saw a copy of that book. It was extraordinary, I bought it right away." Koolhaas has just finished signing hundreds of copies of his own 1978 book Delirious New York, A Retroactive Manifesto for Manhattan for sale in the bookstore alongside the "I am a Monument" shirts.

That book had chronicled the assimilation of the disruptive effect that several new technologies had on architecture in Manhattan: the steel frame, the elevator, the electric light, and the air conditioner. This re-normalization had taken place in the universal space of the 1811 street grid, allowing for the accommodation of difference in a way not unlike the neutral space of the convention center's exhibit hall holds the diverse booths. Although the two interlocutors never mention the city we are all in, the title of Mostavi and Koolhaas' talk is "Delirious Philadelphia." Billed by Ivy as "a real kick in the pants," the talk turns out to be quite an ordinary, low key conversation.

Koolhaas' own grand experiment with the nonstandard, Beijing's CCTV Building, for China's state controlled media, was another topic touched on by Mostavi and Koolhaas. It was completed in 2012, and in 2014, Chinese President Xi Jinping used it as an example to call for the end of what he called "weird architecture" in China. An official directive in 2016 followed up on this allusion, saying that buildings which are "oversized, xenocentric, weird," will no longer be permitted. "I share the opinion of my own most powerful critic," Koolhaas says, onstage in Philadelphia, "I am also perhaps skeptical of weird architecture."

Architecture is entering a period in which the destabilizing effects of robotics, digital communication, and computation are being brought to ground. New internet protocols coming online in the next few years will automate many aspects of the home, and there will soon be enough new IP addresses available to give every armchair and billboard its own identity and ability to communicate, fulfilling Scott Brown's vision of assertive home furnishings and self aware monumentally generic buildings. We will all have our badges to scan, and our conversations with each other, our spaces, and our things will be captured and recuperated constantly. As in Koolhaas's Manhattan, and in the conventionally universal convention space in Philadelphia, weirdness and xenocentrism will be deprecated and absorbed. In the future, everything will be normal.

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OMA selected to design The Factory, a major arts complex in Manchester, England

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."
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On View> The Cooper Union presents “Drawing Ambience: Alvin Boyarsky & the Architectural Association”

Drawing Ambience: Alvin Boyarsky & the Architectural Association Cooper Union 30 Cooper Square, New York Through November 25, 2015 Boasting a remarkable array of artwork from both past and contemporary architectural figures such as John Hejduk, Michael Webb, Daniel Libeskind, Frank Gehry, Zaha Hadid, Rem Koolhaas, and Bernard Tschumi, Drawing Ambience reflects and encourages the late Alvin Boyarsky’s assimilation of architectural drawings. During his tenure at the Architectural Association in London, Boyarsky developed a profound appreciation of these drawings. Known as a man with a keen eye for talent, Boyarsky fostered many young architects who would later dominate the field. He urged his students to investigate contemporary issues and use the evolving global culture as a vehicle to develop their own architectural agendas. These agendas manifested in the students’ visual work that Boyarsky regarded as equally important to the physical structures they depicted, viewing them as pieces of architecture in their own right. Visitors can expect to see works ranging from Hadid’s chaotic and crisp visualizations of her un-built projects to Koolhaas’ playful, almost Gameboy-esque The Pleasure of Architecture. The exhibition is currently on view at the Cooper Union in the Arthur A. Houghton Jr. Gallery and closes on November 25.
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OMA’s stacked Timmerhuis project in Rotterdam edges closer to its December opening

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."  
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On View> MoMA presents “Endless House: Intersections of Art and Architecture”

Endless House: Intersections of Art and Architecture Museum of Modern Art The Robert Menschel Architecture and Design Gallery 11 West 53rd Street, New York Through March 6, 2016 The Museum of Modern Art pays homage to the single-family home in Endless House: Intersections of Art and Architecture, a rich exhibition comprised of photographs, drawings, video, installations, and architectural models from MoMA’s collection. It showcases the artistic endeavors of both architects and artists alike with works that span seven decades. Intriguing house designs—ranging from historical projects by Mies van der Rohe, Frank Gehry, Peter Eisenman, and Rem Koolhaas, to new acquisitions from Smiljan Radic and Asymptote Architecture—are juxtaposed with visions from artists such as Louise Bourgeois, Bruce Nauman, Mario Merz, and Rachel Whiteread. The inspiration for the exhibit’s name is Frederick Kiesler’s "Endless House," shown in the 1960 MoMA show Visionary Architecture. Courtesy MoMA
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OMA does weddings and bar mitzvahs on Wilshire Boulevard

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.