Rem Koolhaas has been named director of the 2014 Venice Biennale, the 14th edition of the architecture exhibition. Koolhaas, a leading thinker and persistent provocateur in the discipline, succeeds David Chipperfield. "The Architecture Exhibitions of the Biennale have gradually grown in importance internationally," said Biennale President Paolo Baratta in a statement. "Rem Koolhaas, one of the most significant personalities among the architects of our time—who has based all his work on intense research, now renowned celebrity—has accepted to engage himself in yet another research and, why not, rethinking." Chipperfield's exhibition, called Common Ground, which sought to identify continuities across cultures, time periods, and architectural approaches, divided critics. Koolhaas will take a different approach: "We want to take a fresh look at the fundamental elements of architecture—used by any architect, anywhere, anytime—to see if we can discover something new about architecture.”
Posts tagged with "Rem Koolhaas":
On October 16 thieves nabbed a handful of valuable paintings, including works by Picasso, Matisse, and Monet, from the Kunsthal gallery in Rotterdam. At least one person points the finger at the architecture by home team OMA. Citing an interview with Dutch security expert Ton Cremers, Dezeen.com reports that the open plan and glass walls are a nightmare for guards. Cremers appreciates the design aesthetic of the museum, which was completed in 1992, but noted, “It’s an awful building to protect.”
After today's announcement of Norman Fosters next project in New York, a luxury condo tower at the United Nations, we just can't get enough of the British starchitect. Luckily, a stash of video renderings and presentations from the firms behind the planned 425 Park tower can provide just the fix. It wasn't too long ago that the starchitect-filled competition for the new Park Avenue tower selected Foster + Partners as its winner. Now after the design presentations at the recent MAS Summit and the release of photo renderings from all players—including runners up Richard Rogers, Rem Koolhaas, and Zaha Hadid—we can indulge in the virtual demonstrations of their designs. For more videos of the MAS summit presentations, click here.
Park Avenue in Manhattan is ready to grow taller, and a starchitect-filled competition won by Lord Norman Foster revealed the first of what's likely to be many new towers along the corridor. But what of the three runners up? Renderings from all four finalist—Zaha Hadid, Richard Rogers, OMA, and Norman Foster—have now been released by L&L Holdings and Lehman Brothers detailing four distinct visions for the future of the New York skyscraper. Foster's final winning design will be presented at the Municipal Arts Society's Summit for New York City, which begins on Thursday, October 18 (Foster will present on Friday at 9 a.m.). Also during the two day summit, an exhibition displaying the work of all four finalists' designs will be on view. Proposal by Zaha Hadid Height: 669 feet; Stories: 40 “The design challenge for 425 Park Avenue lies in producing a structure of timeless elegance, yet with a strong identity that reflects the complex and sophisticated age in which it was created and mirrors the exceptional setting in which it is placed. Our approach has been to unite the four fundamental qualities for the project — Function, Design, Culture and Value — and fuse them into a single seamless design which incorporates these characteristics in a harmonious and unified architectural concept. “With its breezy views up and down Park Avenue and breath-taking vistas of Central Park, the new building is quintessentially “New York” in its very definition. Its sleek verticality breathes the very essence of the city, while its gentle curves evoke a new dynamism of form which is both distinctly contemporary and ageless. This harmony is equally reflected in the building’s openness, flexible design and technological efficiency, providing an adaptable architectural context that allows it to accommodate its tenants’ requirements and desires." - Zaha Hadid Proposal by OMA Height: 648 feet; Stories: 38 “Our current aesthetics oscillate between nearly exhausted orthogonality and a still immature curvaceousness. “Our building is an intersection of these two observations: it proposes a stack of three cubes —the lower one a full solid block on Park Avenue, the smallest on top, rotated 45 degrees vis-a-vis the Manhattan grid, oriented beyond its mere location in a sweep from Midtown to Central Park. “The three cubes are connected by curved planes to create a subtle alternation of flat and 3 dimensional places, each reflecting sky and city in their own way." - Rem Koolhaas Proposal by Rogers Stirk Harbour Partners Height: 665 feet; Stories: 44 “We have created a contemporary homage to the quintessential New York skyscraper, by designing a tower that will define the next chapter in their illustrious story. Our solution acknowledges the design attributes of its neighbours on Park Avenue, but brings new qualities: honest expression; generosity; efficiency and humanity. The clear expression of the process of construction is evident from the huge 43 storey steel frame down to the smallest detail, this gives the building a human scale. “In designing sky gardens, we are reconnecting workers and the city with nature, by using different American landscape ecologies, from forest to alpine, to suit the different altitudes of each garden. These spaces also offer great views of the park and the metropolis." - Lord Richard Rogers Winning Proposal by Foster + Partners [ More Info ] Height: 687 feet; Stories: 41 “Our aim is to create an exceptional building, both of its time and timeless, as well as being respectful of its context and celebrated Modernist neighbours—a tower that is for the City and for the people that will work in it, setting a new standard for office design and providing an enduring landmark that befits its world-famous location. “Clearly expressing the geometry of its structure, the tapered steel-frame tower rises to meet three shear walls that will be illuminated, adding to the vibrant New York City skyline. Its elegant facade seamlessly integrates with an innovative internal arrangement that allows for three gradated tiers of column-free floors. Offering world-class, sustainable office accommodation, the new building anticipates changing needs in the workplace with large, flexible open floor plates. Each of the three tiers—low, medium and high-rise—is defined by a landscaped terrace with panoramic views across Manhattan and Central Park. To maximize the Park Avenue frontage, the core is placed to the rear, where glazed stairwells reveal long views towards the East River, while at street level, there is potential for a large civic plaza with significant works of art.” - Lord Norman Foster
High-design fashion label Coach has been pursuing big-name architects, recently announcing its corporate headquarters will be the anchor tenant for a new Kohn Pederson Fox tower at Hudson Yards with James Corner Field Operations and Diller Scofidio + Renfro's High Line running underneath. Next up, Rem Koolhaas' OMA will design the brand's new flagship shop-in-shop at Macy's in Herald Square. WWD reported today that Koolhaas will bring a clean, modern aesthetic to glass and acrylic modular display units slated for 1,930 square feet of the Macy's ground floor and expected to open in September. OMA partner Shohei Shigematsu told WWD the modules were flexible in how they could be used, "In typical instances they are used as display; in others they come together as an interior fixture. In others still, they enclose spaces for programs or curation, and by sealing that enclosure, it can even become the facade." OMA will also be designing the Coach Omotesando flagship in Tokyo. The firm has also designed high-end retail space for Prada in New York and Beverly Hills.
The Times is reporting that four finalists are competing to build a new tower at 425 Park Avenue in Midtown Manhattan: Norman Foster, Rem Koolhaas, Zaha Hadid, and Richard Rogers. AN previously reported an international roster of 11 firms were in the running. The new tower could be the first of many in the area, if the Department of City Planning's proposal to up-zone the area is approved.
The film My Architect, the story of Louis Kahn’s son on a mission to discover and understand his father, won over the hearts and praise of even the lay-est of architectural laypersons. The effects of which—a fresh spotlight on the work and life of a brilliant designer—did not fall on blind eyes. Tomas Koolhaas is making a film about his father, Rem Koolhaas—see the Facebook page!—called REM set to debut in 2013. It also appears from rough clips that the CCTV building in China will play a central role in the story. Awesome! We can’t wait to see this quaint little film about a humble and modest architect and his role in designing the media headquarters for political oppression and censorship in China. We’ll get the popcorn! An interview with a homeless person inside the Seattle Public Library: Footage from February 2012 of the completed CCTV building: Koolhaas talks with workers at the CCTV building while it's under construction:
What makes the performing arts so thrilling is also what makes them so elusive—they are, by nature, ephemeral. Any documentation of a performance is only a pale reflection of what it's like to be there in the moment. So when performance artist Marina Abramovic began to contemplate what her own legacy would be, she thought beyond biographies, retrospectives, or monuments and instead began to develop a method of generating the kind of experiences she valued, one that would allow her kind of performances to continue long after the artist was no longer present. Starting in late 2014, "long duration" (six hours plus) performance pieces as well as facilities intended to initiate the public into performance art will be housed in the Marina Abramovic Institute for the Preservation of Performance Art (MAI) in Hudson, New York. The institute will occupy an old 20,000 square-foot theater that was purchased by Abramovic in 2007 and whose interior is being redesigned by Shohei Shigematsu and Rem Koolhaas of OMA. At Monday's press preview held at MoMA P.S. 1 in Queens, Shigematsu compared the concept for the institute to the experience of attending a baseball game (which, he noted, can be "long and sometimes very boring"), where the main spectacle unfolds below on the field but plenty of equally engaging activities happen at the same time in and around the grandstands. OMA will leave the theater's 1929 brick facade and colonnaded entry but create a new box inside that functions as a central performance space with 650 seats. Wrapping around it will be a fitness space, a library, and classrooms, along with rooms dedicated to meditation, levitation (powered by magnets), and crystals (which Abramovic believes are "like regenerators for people"). The key feature of OMA's design is that all these spaces are visually connected back to the center, creating a series of layers that blur the boundaries between audience and performer. In fact, every visitor to MAI will become a performer of sorts, signing on for a minimum visit of six hours that requires donning a white lab coat and participating in a series of instructive experiences on what Abramovic terms "hard-core performance art." The artist calls this "The Abramovic Method,"—"I feel like I've become a brand," she said—and through it she has made her evolution into an institution it's own kind of performance. Realizing that this level of engagement may require not only an open mind but also some endurance training, Abramovic and OMA have invented a kind of wheeled lounge chair in which visitors can rest, nap, and be rolled by staff to different levels of facility along a giant spiral ramp (a cafe is planned for the rooftop). Given the sanatorium-style atmosphere that is part Magic Mountain and part Eleusinian mysteries some guests may never want their performance to end. But to realize this vision for MAI, Abramovic must first raise at least $15 million and is now beginning a fundraising tour.
Rem Koolhaas cut the interviewer short when asked if he had any regrets: “That’s a private matter and therefore not one I will answer.” And yet the entire hour-long conversation provided what seemed to be almost shockingly intimate glimpses into the architect’s state of mind, where feelings of being lonely, isolated, ineffectual, nostalgic, and even old seemed simmering. The event was LIVE, a series offering public interviews of topical characters, held in a sumptuous Victorian-age hall at the New York Public Library. And Rem Koolhaas with Hans Ulrich Obrist were there to talk with event curator Paul Holdengraber about their new book Project Japan: Metabolism Talks. The capacity audience numbered over 400, strong in architect professionals, including Marion Weiss, Michael Manfredi, SO-IL’s Jing Liu, Beatriz Colomina, Paul Goldberger, Suzanne Stephens, MoMA’s Pedro Gadhano, and Family’s Dong-Ping Wong among so many others. And they were all ears when Holdengraber said he had asked Koolhaas and Obrist to define themselves in seven words: Koolhaas gave a clear-cut six: mystic, rational, sober, baroque, patient, immediate. Obrist, sort of eight: catalyst, conversation, curating curiosity, guidance-making, and protest against forgetting. In a brief introduction, Koolhaas returned to a subject he’d addressed at the Japan Society a few nights before: How Kisho Kurokawa managed to be a magazine-posing celebrity architect in his day (1950s and 60s) who was still taken seriously enough to influence the direction of postwar Japan. “He was prominent enough to interview the prime minister,” Koolhaas noted, and you could almost feel the waves of longing and envy welling up. Today, he said, the effect is the opposite: the more media exposure, the less architects are taken seriously. Even more, the architect said, Kurokawa provided a postwar model for being male in Japan. (And that without wearing a black turtleneck.) The Metabolists worked together, and with the country almost entirely in ruins, their thinking as a group became “an extension of the imagination of the state.” Perhaps. What the Metabolists actually recommended in terms of architecture—floating fortresses, sky villas, pod-dwellings—seemed less of interest than the camaraderie of ideas. In contrast, Koolhaas said, “We are all lonely operators with very little cooperation. They could stand together and work in a movement.” And though the work itself dealt with impossibilities of scale and entirely broken down systems in desperate need, the united effort was “a miracle to behold.” Glossing over the homogeneity of postwar Japanese society with competitive zeal fueled by peer humiliations, Koolhaas apparently finds that zeitgeist preferable to today’s market economy where “architecture has been warped and separated from anything important and no longer serves the public good, but only the good of private interests.” The sheer Japanoiserie of Japanese architecture impressed both Obrist and Koolhaas who attribute that quality to modern architects having never cut off tradition but allowing it to flow continuously from the past and into their work. The same, he said, could never be said of a French, Dutch, or Swiss architect (pace Zumthor). It means something to be a Japanese architect, Koolhaas contended, while elsewhere, “architects have disintegrated to insignificance.” Such self-flagellating remarks have been voiced before by the profession’s most Sphinxian sage. And yet when he spoke of meeting with surviving Metabolists—some of them politically reactionary, to his surprise— it was how they coped with their advancing years that seems to have caught his attention most: "Perhaps old age requires strategy more than any other point in life. The conversations demonstrated touchingly that it is more crucial to exploit your limitations than to survive your gifts. As memory weakens, vision is your only option," Koolhaas said at the end, paraphrasing his book and, still marveling, added “It was magnificent to see the tactical ticking in their brains on how to make a good impression.” And so it was.
Rem Koolhaas has been thinking about the United Nations since his early Delirious New York days. Earlier this century, he even made a bid to design a new Secretariat. While that project didn’t pan out, the Dutch architect is joining a team of countrymen and women to “reconceive” the North Delegates Lounge in the Conference Building. In addition to OMA, the team will include designer Hella Jongerius, graphic designer Irma Boom, artist Gabriel Lester, and “theorist Louise Schouwenberg.” Occupied since 1952, the original space is sandwiched between the Secretariat and General Assembly; it is a magisterial double-height room hundreds of feet long with floor-to-ceiling windows overlooking the East River. A swank bar at one end was replaced in 1978 with a mezzanine and smaller bar that will be removed to take advantage, once again, of the room’s corner views. Keenly aware of the complex’s complex identity and Le Corbusier’s grab for design credit, Koolhaas who once wrote that the U.N. was a building that “an American could never have thought and a European could never have built” has described the team’s approach as the “preservation of change.” The renovation will include handmade bead curtains, new carpets, a combination of original Knoll club and Eames lounge chairs with new furnishings, and a new installation for artworks donated by member states. The fate of a 300-foot tapestry of the Great Wall of China (50,000 yards of wool; 600 pounds) that once hung in the lounge and was donated during the ping-pong détente of the 70s was not mentioned in the press release. The project sponsored by the Dutch Ministry of Foreign Affairs is scheduled for completion in 2012.
Fresh off winning a MacArthur Fellowship, last night Jeanne Gang gave a lecture at the Great Hall at Cooper-Union, organized by the Architectural League, which emphasized her firm's commitment to material research, sustainability, and collaboration with experts from diverse fields. She spoke about an ongoing research project into possibly restoring the natural flow of the Chicago River, which may have intrigued New York's Planning Commissioner, Amanda Burden, who was among those in the audience. The project, in many ways, mirrors the Bloomberg Administration's citywide sustainability efforts. Amale Andraos, from Work AC, introduced Gang and guided her through some gentle questioning. Andraos praised Studio Gang's civic engagement and the persistent "earnestness" of their work. When asked about mentors, Gang praised her unnamed professors, made a glancing reference to having worked for Rem Koolhaas, and said how much she learns from her employees. The Koolhaas connection, which she shares with Andraos, seemed particularly intriguing. Because though Koolhaas's research intensive process certainly inform's Gang's approach--as it has influenced countless architectural practices around the world--Gang's earnestness and plainspoken Midwestern attitude seems almost diametrically opposed to Rem's persona. She also discussed her Tower of Tubes in Lexington, Kentucky, which, though it was well received in the community, has yet to secure financing. In addition she gave an preview of the firm's contribution to MoMA's forthcoming exhibition Foreclosed, which looks at a post-industrial site in Cicero, Illinois. And while she emphasized the importance of community engagement, she said the firm has yet to "spring" the proposal on Cicero.
Cinema Pedal-iso. In London, you now have an alternative to the typical energy-consuming movie theater. The Cycle-In Cinema (led by a non-profit education project called Magnificent Revolution) allows you to to plug your bike into a generator, hop on, and start pedaling away for an entirely human-powered movie experience. More at Inhabitat. Reading Rem. Rem has a new book written with curator Hans Ulrich Obrist all about Japanese modernism. To be released this November, Project Japan: Metabolism Talks… documents "the first non-Western avantgarde movement in architecture" from post-war Tokyo in the 1960s and includes rare images from Manchuria to Tokyo, snapshots of the Metabolists at work and play, and architectural models. An advance preview and signing is coming up soon at the TASCHEN book store. Branding a Protest. The NY Times' Seymour Chwast draws attention to Occupy Wall Street's lack of a logo. As the demonstrations gain momentum, Chwast said now is a perfect time to consider branding, suggesting a 19th-century, cigar-smoking baron. Creativity Worldcup. Has the Gross National Product outlived its usefulness in determining the success of nations? Over at The Atlantic Cities, Richard Florida has compiled a list of top cities using his Global Creativity Index ranking global economic competitiveness and prosperity. According to the GCI, which evaluates and ranks 82 nations on the three "T's" (Technology, Talent, and Tolerance), the U.S. ranks second only to Sweden, the world-champion of creativity.