Lafayette Anticipations Press Kit EN 030318 PRINT.Key

Total Page:16

File Type:pdf, Size:1020Kb

Lafayette Anticipations Press Kit EN 030318 PRINT.Key LAFAY ETTE Cappelletti Marco and Legnani Sisto ©Delfino ANTI CIPA TIONS Fondation d’entreprise Galeries Lafayette Press Kit Opening March 10, 2018 9 rue du Plâtre F-75004 Paris 2 TABLE OF CONTENTS A production catalyst I at the service of artists IV Lutz Bacher, The Silence of the Sea P.5 P.23 a. Press Release P.6 a. Inaugural Exhibition P.24 b. “Anticipations”, by Guillaume Houzé P.7 b. Biography P.25 c. Lafayette Anticipations Mission Statement P.8 II 9 rue du Plâtre V Discover P.9 P.27 a. A Curatorial Machine P.10 a. The first event cycle P.28 b. Rem Koolhaas P.15 b. Publishing and Information Technology P.30 c. Words from the Architect P.16 c. Outreach P.32 2014 - 2017 : three years Pre-launch III of construction VI programme P.17 P.33 a. Construction and Heritage P.18 a. 2013 - 2017 P.34 b. Materials P.19 b. Joining Forces with the Unknown P.37 c. A Conjonction of Know-How P.20 c. Mutant Stage P.38 d. Acknowledgments P.21 d. Editathon Art+Feminisms P.39 e. Composer les mesures de son espace P.40 VIIAppendix P.41 a. The Curatorial Team P.42 b. The Collection P.45 c. Creation and the Galeries Lafayette Group P.46 d. The Board of Directors P.47 e. Lafayette Anticipations Team P.48 f. The Store and Café-Restaurant P.49 g. Practical Information P.51 DE LA3 4 CATA LCYST 5 PRESS RELEASE Lafayette Anticipations – Fondation d’entreprise A laboratory of anticipation and production open Galeries Lafayette is opening on March 10, 2018 in to all audiences the 9 rue du Plâtre building, revealing its inaugural programme. Lafayette Anticipations was created in October Until April 30, American artist Lutz Bacher will 2013 by the Galeries Lafayette Group and at the present her first exhibition in France, The Silence of initiative of Guillaume Houzé, who serves as its the Sea. President. The mission of this general interest foundation entails providing international creators With this inaugural programme, Lafayette – stemming from the fields of contemporary art, Anticipations wishes to highlight Lutz Bacher’s design and fashion – resources to produce, significant work, whose recognition was experiment and present new pieces, while focusing constructed in several waves as of the 1970s, on the collective dimension of the creative between California, New York and Europe. For process. Three to four annual exhibits, but also The Silence of the Sea, the artist provides a deft performance and workshop series, punctuate the response that reflects the 9 rue du Plâtre building’s Fondation’s artistic programme, open to the symbolic power. Bacher confronts the edifice with public. This programme is conceived by the stigmas of history, inviting the viewer to embark François Quintin, the Fondation’s Managing on an introspective visit. Director, and by a curatorial collective composed of Charles Aubin, Anna Colin and Hicham Khalidi. 9 rue du Plâtre: Rem Koolhaas’s first building in As a place of production, the Fondation also Paris wishes to host exchanges, encounters and public debates around societal issues that artists never The Fondation is settling into a 19th century fail to question. Infused with this mission and its industrial building located in the heart of the unique identity, the Fondation d’entreprise Marais, in Paris, and renovated by Rem Koolhaas Galeries Lafayette is the first multidisciplinary and OMA, his architectural firm. The architect centre of this kind in France. This new institution is conceived the 2, 200 m2 space as a curatorial conceived as a place of constant support to artists machine and introduced in its central courtyard a and their projects, as “only creation can consider steel and glass “exhibition tower” composed of the movement of an era in its diversity and thus four mobile platforms. An innovative play of the carry us continually to new horizons” platforms allows the space to be rearranged in (Guillaume Houzé). over forty different configurations. The 9 rue du Plâtre building thus instils flexibility and Press tools: adaptability, as required by numerous future projects. After three years of construction, this The press kit, as well as images of the structure features 875 m2 of exhibition space, Fondation’s building and inaugural exhibition are production workshops, an area dedicated to available on the Fondation’s website: artistic practices for all visitors, a café-restaurant and a store. These spaces’ original offer reflect the https://www.lafayetteanticipations.com/fr/ Fondation’s pioneering nature. espace-presse Media partners: 6 ANTICIPATIONS by Guillaume Houzé For over 120 years, the Galeries Lafayette To anchor our project in the heart of the has developed as a family business, by city, we asked OMA, the architectural firm cultivating values that were present from its directed by Rem Koolhaas, to transform our inception and which now provide a solid building located 9 rue du Plâtre into a place foundation on which to build: “the unique of production situated in a globalized world. encounter of creativity and commerce, Lafayette Anticipations, will open on accessible to all”. Deriving the full potential March 10, 2018, creating a place of welcome of living in the present means accepting the for artists and citizens to participate in the radicalism of the new. This also entails taking transformation of shapes and ideas. the initiative to surprise, to amaze, and to disrupt, which is what we expect from art. Creators in fashion, design, visual arts, as well as performers, will work in this space, To satisfy our thirst for creativity, we must exchanging their practices and ideas with drink from its source—close to the artists. those of a diverse audience. Thus, Lafayette Their work pushes us to exercise freely our Anticipations - Fondation d’entreprise judgment, and to forever alter our view of Galeries Lafayette will attempt to sharpen the world and of our lives. It is by our understanding of contemporary times, collaborating with artists that the Fondation fueled by the dynamism of modernity which is able to define its identity, commitments has nourished the Galeries Lafayette since and responsibilities. its inception. No one knows what the future holds; however, I believe that collective support of creation will contribute to its invention. Guillaume Houzé President of Lafayette Anticipations – Fondation d'entreprise Galeries Lafayette 7 MISSION Barret © Émile STATEMENT Lafayette Anticipations oversees initiatives for the support of contemporary creation led by two general interest organisms, the Fondation d’entreprise Galeries Lafayette and the Fonds de dotation Famille Moulin, established by the Galeries Lafayette Group Studio Brynjar & Veronika, The Circle Flute, 2016 and its stakeholder family. Lafayette Anticipations is a general interest foundation structured around its production activities and support provided to A PRODUCTION contemporary creation. The Fondation acts as a catalyser, providing artists unique, CATALYST made-to-measure conditions in which to produce, experiment and exhibit. As of its opening on March 10, 2018, the Fondation will become the first This pre-launch programme was marked multidisciplinary centre of its kind in France. by numerous events organised by Lafayette In its 19th century building situated in the Anticipations, namely Les Prolégomènes, heart of the Marais and renovated by OMA, Venir Voir Venir, Joining Forces with Rem Koolhaas’s architecture firm, the public the Unknown and Composer les mesures de will soon discover a curatorial machine in son espaces, as well as by projects led with which new pieces produced by international partner institutions, including the Centre creators – stemming from the fields of Pompidou, the Archives nationales, the contemporary art, design and fashion – will Kunsthalle Basel, MoMA PS1, Performa and be presented. the New Museum. Throughout the building’s renovation from Lafayette Anticipations also supports 2014 to 2017, Lafayette Anticipations contemporary creation through the Fonds explored the Fondation’s evolving identity de dotation Famille Moulin. Established in during artist-in-residence programmes, 2013, this endowment fund implements workshops, partnerships and direct support initiatives to support general interest artistic for the production of pieces. projects, while pursuing a policy of acquisition and enhancement of its art collection. 8 9 RUE DU P9LÂTRE 9 A CURATORIAL MACHINE 9 rue du Plâtre A Curatorial Machine OMA and Machines Located in a 19th century An “exhibition tower” equipped In the past, OMA has developed industrial building of 2, 200 m2, with four mobile platforms is machines whose operation Lafayette Anticipations is, as of inserted into the building’s is the core of the building March 10, 2018, a place for courtyard. These motorized housing them. In the Maison creation, innovation and research. platforms can move Lemoine in Bordeaux, The renovation project is led by independently along rails and a hydraulic platform moves architect Rem Koolhaas and his align with the existing floors. freely between floors, firm, OMA. and becomes a room within With each exhibit, these itself. The Wyly Theater in Dallas The seven story industrial innovative platforms will allow is constructed around building, characteristic of the end the space to be reconfigured retractable mobile platforms of the 19th century, is structured in 49 different ways. which have as many in a U-shape around a courtyard. These multiple arrangements configurations as possible uses The building can be crossed will instil verticality, flexibility for the scenic space. freely, thus leading to the rue and adaptability, as required by Sainte-Croix-de-la-Bretonnerie numerous future projects. The 19th Century Heritage via a covered passage. The building will offer 875 m2 of architectural intervention exhibition space. This curatorial Built for François-Xavier Ruel’s manages to articulate two machine completes another BHV in 1891 by architect seemingly contradictory fundamental component of the Samuel Mejot de Dammartin, conditions: the desire for Fondation: its production the 9 rue du Plâtre is programmatic flexibility and the workshop situated in the an industrial building with respect of strict and mandatory building’s basement.
Recommended publications
  • Hans-Peter Feldmann Named Winner
    Guggenheim and AMO / Rem Koolhaas Announce Research Project Culminating in February 2020 Exhibition Countryside: Future of the World to Examine Radical Changes Transforming the Nonurban Landscape (NEW YORK, NY—November 29, 2017)—The Solomon R. Guggenheim Museum, architect and urbanist Rem Koolhaas, and AMO, the think tank of the Office for Metropolitan Architecture (OMA), will collaborate on a project exploring radical changes in the countryside, the vast nonurban areas of Earth. The project extends work underway by AMO / Koolhaas and students at the Harvard Graduate School of Design and will culminate in a rotunda exhibition at the Guggenheim Museum in February 2020. Organized by Guggenheim Curator of Architecture and Digital Initiatives Troy Conrad Therrien, Founding Partner of OMA Rem Koolhaas, and AMO Director Samir Bantal, Countryside: Future of the World (working title) will present speculations about tomorrow through insights into the countryside of today. The exhibition will explore artificial intelligence and automation, the effects of genetic experimentation, political radicalization, mass and micro migration, large-scale territorial management, human-animal ecosystems, subsidies and tax incentives, the impact of the digital on the physical world, and other developments that are altering landscapes across the globe. “The Guggenheim has an appetite for experimentation and a founding belief in the transformative potential of art and architecture,” said Richard Armstrong, Director of the Solomon R. Guggenheim Museum and Foundation.
    [Show full text]
  • From Lille-Flandres to Lille-Europe —The Evolution of a Railway Station Corinne Tiry
    Feature From Lille-Flandres to Lille-Europe From Lille-Flandres to Lille-Europe —The Evolution of a Railway Station Corinne Tiry Since the mid-19th century, European Council, the Northern Railway Company economic arguments finally prevailed and cities evolved around the railway station established in 1845 by the Rothschild a good compromise was adopted—two as a central pivot where goods and people family, the French government and some stations would be built, a terminal inside converge. This is still true today when of Lille's most prominent citizens. These the city walls for passengers traffic, and a railway stations take on a new role as controversies also stimulated nearby urban through terminal outside for goods traffic. urban hubs in the European high-speed projects. Construction of the passenger terminal train network. Lille in northern France, started in 1845, and lasted 3 years. which has two stations from different The Railway Station Enters However, the builders underestimated the railway periods—Lille-Flandres and Lille- the City scale of both passenger and freight traffic Europe, is a good example illustrating this and the capacity was soon saturated. To quasi-continuous past and present urban In the 19th century, the railway station solve this new problem, an Imperial ambitions. became a new gateway to the city, Decree in 1861 allowed the Northern Lille is a city of 170,000 adjacent to the disrupting both the city walls' protective Railway Company to start construction of French-Belgian border. It is at the economic function, as well as the urban layout. The a marshalling yard—called Saint-Sauveur heart of the Lille-Roubaix-Tourcoing- original controversy in Lille emerged from station—south of the main passenger Villeneuve d'Ascq conurbation of 1.2 this duality and a station inside the city station, at the junction of the old city and million people, ranking (excepting Paris) was strongly opposed by the military.
    [Show full text]
  • In This Issue in Toronto and Jewelry Deco Pavilion
    F A L L 2 0 1 3 Major Art Deco Retrospective Opens in Paris at the Palais de Chaillot… page 11 The Carlu Gatsby’s Fashions Denver 1926 Pittsburgh IN THIS ISSUE in Toronto and Jewelry Deco Pavilion IN THIS ISSUE FALL 2013 FEATURE ARTICLES “Degenerate” Ceramics Revisited By Rolf Achilles . 7 Outside the Museum Doors By Linda Levendusky . 10. Prepare to be Dazzled: Major Art Deco Retrospective Opens in Paris . 11. Art Moderne in Toronto: The Carlu on the Tenth Anniversary of Its Restoration By Scott Weir . .14 Fashions and Jewels of the Jazz Age Sparkle in Gatsby Film By Annette Bochenek . .17 Denver Deco By David Wharton . 20 An Unlikely Art Deco Debut: The Pittsburgh Pavilion at the 1926 Philadelphia Sesquicentennial International Exposition By Dawn R. Reid . 24 A Look Inside… The Art Deco Poster . 27 The Architecture of Barry Byrne: Taking the Prairie School to Europe . 29 REGULAR FEATURES President’s Message . .3 CADS Recap . 4. Deco Preservation . .6 Deco Spotlight . .8 Fall 2013 1 Custom Fine Jewelry and Adaptation of Historic Designs A percentage of all sales will benefit CADS. Mention this ad! Best Friends Elevating Deco Diamonds & Gems Demilune Stacker CADS Member Karla Lewis, GG, AJP, (GIA) Zig Zag Deco By Appointment 29 East Madison, Chicago u [email protected] 312-269-9999 u Mobile: 312-953-1644 bestfriendsdiamonds.com Engagement Rings u Diamond Jewelry u South Sea Cultured Pearl Jewelry and Strands u Custom Designs 2 Chicago Art Deco Society Magazine CADS Board of Directors Joseph Loundy President Amy Keller Vice President PRESIDENT’S MESSAGE Susanne Petersson Secretary Mary Miller Treasurer Ruth Dearborn Ann Marie Del Monico Steve Hickson Conrad Miczko Dear CADS Members, Kevin Palmer Since I last wrote to you in April, there have been several important personnel changes at CADS .
    [Show full text]
  • Galeries Lafayette Paris Haussmann 2 2
    GALERIES LAFAYETTE PARIS HAUSSMANN 2 2 GALERIES LAFAYETTE PARIS HAUSSMANN, A NEW “WORLD DEPARTMENT STORE” Galeries Lafayette Haussmann has been the beating heart of Paris since its creation in 1894. The 100‑year‑old department store and its famous Art Nouveau dome symbolise creative 1894 energy and the spirit of the times, welcoming over 2,000 brands Creation of « Aux Galeries Lafayette » from all over the world. by Théophile Bader This important and legendary “world department store” is both 1912 Inauguration of the dome a trendsetter and a benchmark, surprising and amazing French designed by Ferdinand Chanut and international visitors and striving above all to provide its clients with a place of knowledge sharing, influence and culture. No.1 european department store in therms of revenue Its visitors are inspired and transformed; served with an 37 million visitors every year array of choice, advised with care. At Galeries Lafayette Paris Haussmann, no‑one is a foreigner — everyone feels at home. 70,000 SQ.M. spread throughout over 2,000 brands and 25 restaurants 4 “COUPOLE”, AN ICONIC BUILDING AND THE BEATING HEART OF PARISIAN SHOPPING Fashion Galeries Lafayette Paris Haussmann is a trendsetter in fashion, offering clients a constantly renewed selection of French and international brands. Three floors are set aside for must‑have brands and designer labels. Beauty Below the dome, the 2,500‑sq.m. ground floor displays the finest beauty brands and products from skincare experts, as well as a wide range of exceptional and emerging designer perfumes. The Beauty Lab offers a beneficial approach to cosmetics by combining the best brands for natural and organic skincare products.
    [Show full text]
  • Rem Koolhaas: an Architecture of Innovation Daniel Fox
    Lehigh University Lehigh Preserve Volume 16 - 2008 Lehigh Review 2008 Rem Koolhaas: An Architecture of Innovation Daniel Fox Follow this and additional works at: http://preserve.lehigh.edu/cas-lehighreview-vol-16 Recommended Citation Fox, Daniel, "Rem Koolhaas: An Architecture of Innovation" (2008). Volume 16 - 2008. Paper 8. http://preserve.lehigh.edu/cas-lehighreview-vol-16/8 This Article is brought to you for free and open access by the Lehigh Review at Lehigh Preserve. It has been accepted for inclusion in Volume 16 - 2008 by an authorized administrator of Lehigh Preserve. For more information, please contact [email protected]. Rem Koolhaas: An Architecture of Innovation by Daniel Fox 22 he three Master Builders (as author Peter Blake refers to them) – Le Corbusier, Mies van der Rohe, and Frank Lloyd Wright – each Drown Hall (1908) had a considerable impact on the architec- In 1918, a severe outbreak ture of the twentieth century. These men of Spanish Influenza caused T Drown Hall to be taken over demonstrated innovation, adherence distinct effect on the human condi- by the army (they had been to principle, and a great respect for tion. It is Koolhaas’ focus on layering using Lehigh’s labs for architecture in their own distinc- programmatic elements that leads research during WWI) and tive ways. Although many other an environment of interaction (with turned into a hospital for Le- architects did indeed make a splash other individuals, the architecture, high students after St. Luke’s during the past one hundred years, and the exterior environment) which became overcrowded. Four the Master Builders not only had a transcends the eclectic creations students died while battling great impact on the architecture of of a man who seems to have been the century but also on the archi- influenced by each of the Master the flu in Drown.
    [Show full text]
  • Theorie De L'architecture
    COURS 08 -sem 6 -UE1 17 mai 2006 COURS INAUGURAL SÉRIE 1 : « enquêtes » (Philippe Villien) 1,1 - ARNE JACOBSEN - ACIER - L’ESCALIER DE LA MAIRIE DE RODOVRE 1,2 - CARLO SCARPA - BÉTON - LE CIMETIÈRE BRION-VEGA À SAN VITO D’ALTIVOLE 1,3 - PETER ZUMTHOR - PIERRE - LES THERMES DE VALS 1,4 - SWERE FEHN - BOIS - MAISONS SÉRIE 2 : « paysage et édifice» (Dominique Hernandez) 2,1 - CULTURE DU REGARD (limites, seuils, topographie) 2,2 - LE PAYSAGE ENVELOPPE DE L’EDIFICE (composition dedans - dehors) 2,3 - LES TEMPS DU VIVANT (orientation, lumières, végétal) SÉRIE 3 : « représenter le concept » (Philippe Villien et Delphine Desert) 3,1 - LES OUTILS DE LA CONCEPTION ARCHITECTURALE 3,2 - DIFFUSION D’UNE PENSEE THEORIQUE : REM KOOLHAAS Ecole d’architecture de Paris-Belleville_cycle Licence_3e année_2e semestre THEORIE DE L’ARCHITECTURE Représenter le concept D elphine D E S E R T 2006 Ecole d’architecture de Paris-Belleville_cycle Licence_3e année_2e semestre THEORIE DE L’ARCHITECTURE R e p rése nter le concept 2re partie Diffusion d’une pensée théorique Ecole d’architecture de Paris-Belleville_cycle Licence_3e année_2e semestre R e présenter le co n cept Diffusion d’une pensée théorique Sommaire Ecole d’architecture de Paris-Belleville_cycle Licence_3e année_2e semestre L e s outils de la représentation sommaire 1. Prése ntation des acteurs • Re m Koolhaas • OMA • OMA/AMO • Réalisations pleïomorphes 2. Image et com m u nication • Communication du projet • Le discours • L'écriture • L’image 3. Approches théoriques Koolhaassienne • « Paranoiac Critical
    [Show full text]
  • Six Canonical Projects by Rem Koolhaas
    5 Six Canonical Projects by Rem Koolhaas has been part of the international avant-garde since the nineteen-seventies and has been named the Pritzker Rem Koolhaas Architecture Prize for the year 2000. This book, which builds on six canonical projects, traces the discursive practice analyse behind the design methods used by Koolhaas and his office + OMA. It uncovers recurring key themes—such as wall, void, tur montage, trajectory, infrastructure, and shape—that have tek structured this design discourse over the span of Koolhaas’s Essays on the History of Ideas oeuvre. The book moves beyond the six core pieces, as well: It explores how these identified thematic design principles archi manifest in other works by Koolhaas as both practical re- Ingrid Böck applications and further elaborations. In addition to Koolhaas’s individual genius, these textual and material layers are accounted for shaping the very context of his work’s relevance. By comparing the design principles with relevant concepts from the architectural Zeitgeist in which OMA has operated, the study moves beyond its specific subject—Rem Koolhaas—and provides novel insight into the broader history of architectural ideas. Ingrid Böck is a researcher at the Institute of Architectural Theory, Art History and Cultural Studies at the Graz Ingrid Böck University of Technology, Austria. “Despite the prominence and notoriety of Rem Koolhaas … there is not a single piece of scholarly writing coming close to the … length, to the intensity, or to the methodological rigor found in the manuscript
    [Show full text]
  • Uma Arqueologia Do Programa De Rem Koolhaas Adriana Veras Vasconcelos, Doutoranda Pelo MDU-UFPE E Upenn, Professora Assistente Do Depto
    Simpósio Temático: Da arte de construir à inteligência arquitetônica Megaestructura e Metrópole: Uma arqueologia do programa de Rem Koolhaas Adriana Veras Vasconcelos, Doutoranda pelo MDU-UFPE e UPenn, Professora Assistente do Depto. de Arquitetura da UFPB Fernando Diniz Moreira, Ph.D., Professor Adjunto do Depto. de Arquitetura e Urbanismo da UFPE 1 Resumo Termos como fragmentação, heterogeneidade, descontinuidade e imaterialidade têm sido constantemente usados para descrever a metrópole contemporânea. A tecnologia da informação e a justaposição de fluxos e realidades parecem enfraquecer uma tradição arquitetônica consolidada, baseada na tríade venustas, commoditas e utilitas. No entanto, estas mesmas características podem também estimular uma nova forma de pensar e fazer arquitetura. Nesse contexto, Rem Koolhaas é um dos arquitetos que mais tem explorado a metrópole como estratégia projetual, expondo a instabilidade da condição urbana atual. Originalmente jornalista e cineasta, Koolhaas publicou Delirious New York, um dos mais importantes manifestos da arquitetura contemporânea. Ele aceita a submissão da arquitetura à aparente falta ordem, fragmentação e heterogeneidade da metrópole contemporânea. Segundo ele, a metrópole é estruturada pela concentração e superposição de vários sistemas urbanos. Sua dinâmica é mantida pela congestão de atividades, espaços e programas que devem ser articulados por bigness: mecanismo arquitetônico capaz de sustentar uma proliferação de eventos em um único edifício. Para Koolhaas, a tarefa da arquitetura não é mais organizar o espaço com elementos permanentes, mas expor o caos da cidade no próprio edifício. O objetivo deste trabalho é oferecer uma arqueologia da obra de Koolhaas, estabelecendo conexões entre o pensamento arquitetônico e urbanístico das décadas de 1960 e 1970 suas idéias e entre estas e seus projetos construídos.
    [Show full text]
  • Performa Announces Pioneering Partnership with Lafayette Anticipation, Fondation Galeries Lafayette, Paris for Performa 15
    For Immediate Release September 3, 2015 PERFORMA ANNOUNCES PIONEERING PARTNERSHIP WITH LAFAYETTE ANTICIPATION, FONDATION GALERIES LAFAYETTE, PARIS FOR PERFORMA 15 PRESENTING WORKS BY ULLA VON BRANDENBURG, VOLMIR CORDEIRO, PAULINE CURNIER JARDIN, SIMON FUJIWARA, CHRISTODOULOS PANAYIOTOU, AND ERIKA VOGT New York—Performa, the internationally acclaimed organization dedicated to live performance across disciplines, announces a pioneering partnership with Lafayette Anticipation, Fondation Galeries Lafayette in Paris to launch during Performa’s 2015 biennial. Since its inception in 2004, Performa has been a leader in commissioning live performances by artists working in the field of visual arts. Likewise Lafayette Anticipation has established itself as a major player in producing ambitious new works by contemporary artists and designers since its creation in 2013. Both organizations strive to deepen this shared commitment and actively collaborate in mentoring and supporting artists to conceive, create, develop, and deliver stunning new works that will shape the visual art landscape of the twenty-first century. In anticipation of its 2017 Grand Opening in a building rehabilitated by internationally renowned architect Rem Koolhaas in the heart of Paris, Lafayette Anticipation organizes temporary peripatetic sessions. Part- workshops, part-showcases, these gatherings unfold as intense research programs that explore the various missions of the upcoming operational foundation, from its relationship to design and fashion to its creative online presence or the role of an artists’ library within the building. Since the beginning, performance has held a special place in the program, including projects such as the nighttime poetic street procession conceived by British artist Simon Fujiwara and the commission of a short film by French experimental ballet dancer Benjamin Millepied captured in the building’s construction site.
    [Show full text]
  • The New Qatar National Library and Its Services
    Next Chapter of Knowledge Management in Qatar: The new Qatar National Library and its services Claudia Lux Fifty years ago, 29 December 1962, in Doha, Qatar, the Dar-Al-Kutub – Library was founded in one of the first original library building of the region. The collection based on two libraries the Doha Public Library of 1956, and the Endowment Library, from 1954. The opening collection consisted of 30.000 volumes. (Khalifa, 1992) In the beginning Dar-Al-Kutub, was responsible for school and public libraries for the first 10 years, later these functions changed to public library and national library functions. (Khalifa, 1992). The first Qatar National Bibliography was published in 1970. (Al Nassr, 1993). But only in 1982, the legal deposit law by Emir Decree No. 14 was issued, and more national library functions developed: the collection of publications from Qataris published abroad and the ISBN-Agency of Qatar in 1994. From 1972 onwards the Qatar National Library organized the Qatar Book Fair, an important cultural event for the country and the region. Over the years the national library has served its users with a wide range of collection and activities. Between 1978 and 1985 the branches developed and their libraries filled up with Arab and English books. The Women’s library, with a collection of more than 60.000 volumes introduced educational computer games for Kids and internet in a modern office building, which was changed to become a library. They developed a set of activities with handicapped students from different schools and their new knowledge management is a good example to other public library branches after their facilities are renovated and modernized.
    [Show full text]
  • The Seattle Central Library: Civic Architecture in the Age of Media [Media and the City]
    UC Berkeley Places Title The Seattle Central Library: Civic Architecture in the Age of Media [Media and the City] Permalink https://escholarship.org/uc/item/042620kc Journal Places, 18(2) ISSN 0731-0455 Author Murphy, Amy Publication Date 2006-06-15 Peer reviewed eScholarship.org Powered by the California Digital Library University of California The Seattle Central Library: Civic Architecture in the Age of Media Amy Murphy Current technological devices are changing our under- powerful impact on the general population and its relation- standing of time and space. Most importantly, they are ship to urban experience. Media today is more mediatory changing the way we expect to experience time and space. than ever, insinuating itself between us and everything else. Our lives and cities have continually been redefi ned by In particular, digitization has created a situation where innovation, making it hard to argue which technology media is now not only a means by which we understand (mercantile, automobile, digital, etc.) has had the most the world (as with traditional media like newspapers), but impact. Yet, we are at a point of signifi cant inversion, increasingly the means by which we experience it. Even where many technologies are becoming more active than when we visit real urban spaces such as Times Square, their users. As Simone Weil has suggested, technology now the plurality of experience suggested by the two words “is the thing that thinks, and it is the man who is reduced to “public city,” has been slurred into one word—“publicity.” the state of the thing.”1 Through this slurring, the larger experiential potentials of While all of technology might be involved in this inver- architecture, as well as media, more often than not become sion to some extent, media technology has had the most diminished.2 Yet, in several completed projects in the United States, it is possible to see a renewed desire to reclaim Above: Seattle Central Library, exterior view.
    [Show full text]
  • Paine, A. the Rhetoric of Authentic Surfaces: Gold Leaf In
    PROCEEDINGS OF THE SOCIETY OF ARCHITECTURAL HISTORIANS AUSTRALIA AND NEW ZEALAND VOL. 33 Edited by AnnMarie Brennan and Philip Goad Published in Melbourne, Australia, by SAHANZ, 2016 ISBN: 978-0-7340-5265-0 The bibliographic citation for this paper is: Ashley Paine “The Rhetoric of Authentic Surfaces: Gold Leaf in the Recent Work of OMA and Mario Botta.” In Proceedings of the Society of Architectural Historians, Australia and New Zealand: 33, Gold, edited by AnnMarie Brennan and Philip Goad, 550-557. Melbourne: SAHANZ, 2016. All efforts have been undertaken to ensure that authors have secured appropriate permissions to reproduce the images illustrating individual contributions. Interested parties may contact the editors. Ashley Paine University of Queensland THE RHETORIC OF AUTHENTIC SURFACES: GOLD LEAF IN THE RECENT WORK OF OMA AND MARIO BOTTA. In 2015, the first stage of O.M.A.’s Fondazione Prada in Milan was opened to the public. Led by O.M.A. founder, Rem Koolhaas, the project consists of a campus of re-purposed industrial buildings to house the art collection and associated cultural activities of the Italian fashion giant. Of all the extant buildings, the visual focus is on an ordinary five-storey structure, which has been covered entirely in gold leaf. While O.M.A. have employed gold leaf on a small number of earlier projects, there are also other contemporary parallels, including Mario Botta’s church in Seriate, located just fifty kilometres east of Milan. Completed in 2004, Botta’s church establishes a curious inversion of O.M.A.’s gold building: its interior is lined extensively in gilded timber slats.
    [Show full text]