SOLO EXHIBITIONS (Selection)
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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. -
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. -
Simonis & Buunk
2019 / 2020 Gekleurd Gekleurd Gekleurd grijs grijs SIMONIS & BUUNK SIMONIS & BUUNK EEN KEUR AAN KUNST cover Haagse School_2019_bs.indd 1 06-11-19 16:00 Gekleurd grijs Verkooptentoonstelling Haagse School zaterdag 30 november 2019 t/m zaterdag 4 januari 2020 Dinsdag t/m zaterdag van 11-17 uur en op afspraak open zondagen: 1, 15 en 29 december van 11-17 uur Een collectie schilderijen en aquarellen van de Haagse School. Voor prijzen en foto’s met lijst: simonisbuunk.nl SIMONIS & BUUNK EEN KEUR AAN KUNST 19e eeuw Notaris Fischerstraat 30 20e eeuw Notaris Fischerstraat 19 Fischerhuis Notaris Fischerstraat 27 Buiten exposities om geopend dinsdag t/m zaterdag 11-17 uur en op afspraak Notaris Fischerstraat 30, 6711 BD Ede +31 (0) 318 652888 [email protected] www.simonisbuunk.nl cover Haagse School_2019_bs.indd 2 06-11-19 16:00 Predicaat ‘meesterlijk’ Frank Buunk Als ik aan de Haagse School denk dan komt het jaar trouwe halfjaarlijkse bezoeken aan zijn goede vriend 1976 in mijn herinnering, toen ik voor het eerst over Scheen thuis kwam. de vloer kwam bij Rien Simonis als aanbidder van Kunsthandelaar Pieter Scheen, samensteller van de zijn oudste dochter Mariëtte. Al snel raakte ik ook ‘Rode Scheen’, was toen een begrip in kunstkringen. geboeid door de anekdotes uit de kunstwereld die In zijn kunsthandel aan de Zeestraat 50, recht mijn aanstaande schoonvader in geuren en kleuren tegenover het Panorama Mesdag, presenteerde hij kon vertellen. Pieter Scheen passeerde vaak de revue vanaf de jaren 50 schilderijen uit de Romantische in de sterke verhalen waarmee schoonvader na zijn School en de Haagse School. -
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. -
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 -
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. -
BARTHOLOMEUS JOHANNES VAN HOVE (The Hague 1790 – the Hague 1880)
BARTHOLOMEUS JOHANNES VAN HOVE (The Hague 1790 – The Hague 1880) De Grote Houtpoort, Haarlem signed on the boat in the lower right B. VAN HOVE oil on panel 1 19 /8 x 26 inches (48.6 x 66 cm.) PROVENANCE Lady V. Braithwaite Lady V. Braithwaite, Eighteenth and Nineteenth Century Paintings and Drawings, Sotheby’s, London, May 17, 1967, lot 90, where bought by M. Newman, Ltd., London Frost & Reed Ltd., London Vixseboxse Art Galleries, Inc., Cleveland Heights, Ohio Private Collection, Ohio, until 2015 LITERATURE The Connoisseur, volume 166, September 1967, p. XLIV, in an advertisement for M. Newman, Ltd., London, reproduced E. Bénézit, “Bartholomeus-Johannes van Hove” in Dictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs, volume 5, Libraire Gründ, Paris, 1976, p. 634 In a large panel, under radiant skies, the old fortifications of Haarlem abut the Spaarne River. The Grote Houtpoort rises majestically in the foreground, dominating the scene with its weathervane reaching to the composition’s edge. The Kalistoren Tower, used for the storage of gunpowder, is in the middle with the Kleine Houtpoort visible in the distance. Built in 1570, the Grote Houtpoort was at the end of the Grote Houtstraat, one of the main roads from the Grote Markt that led outside the city walls. Beyond the gate lay the wooded area, called the Haarlemmerwoud. The temperature is mild, over the arched bridge of the Grote Houtpoort, residents contentedly stroll, conversed or stop to admire the view. Below boatmen propel their craft across glass-like waters with shimmering reflections and floating swans. The sense of well-being pervades this orderly view of the city’s great landmarks that dominate its skyline. -
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. -
OMA at Moma : Rem Koolhaas and the Place of Public Architecture
O.M.A. at MoMA : Rem Koolhaas and the place of public architecture : November 3, 1994-January 31, 1995, the Museum of Modern Art, New York Author Koolhaas, Rem Date 1994 Publisher The Museum of Modern Art Exhibition URL www.moma.org/calendar/exhibitions/440 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art THRESHOLDS IN CONTEMPORARY ARCHITECTURE O.M.A.at MoMA REMKOOLHAAS ANDTHE PLACEOF PUBLICARCHITECTURE NOVEMBER3, 1994- JANUARY31, 1995 THEMUSEUM OF MODERN ART, NEW YORK THIS EXHIBITION IS MADE POSSIBLE BY GRANTS FROM THE NETHERLANDS MINISTRY OF CULTURAL AFFAIRS, LILY AUCHINCLOSS, MRS. ARNOLD L. VAN AMERINGEN, THE GRAHAM FOUNDATION FOR ADVANCED STUDIES IN THE FINE ARTS, EURALILLE, THE CONTEMPORARY ARTS COUNCIL OF THE MUSEUM OF MODERN ART, THE NEW YORK STATE COUNCIL ON THE ARTS, AND KLM ROYAL DUTCH AIRLINES. REM KOOLHAASAND THE PLACEOF PUBLIC ARCHITECTURE ¥ -iofiA I. The Office for Metropolitan Architecture (O.M.A.), presence is a source of exhilaration; the density it founded by Rem Koolhaas with Elia and Zoe engenders, a potential to be exploited. In his Zenghelis and Madelon Vriesendorp, has for two "retroactive manifesto" for Manhattan, Delirious decades pursued a vision energized by the relation New York, Koolhaas writes: "Through the simulta ship between architecture and the contemporary neous explosion of human density and an invasion city. In addition to the ambitious program implicit in of new technologies, Manhattan became, from the studio's formation, there was and is a distinct 1850, a mythical laboratory for the invention and mission in O.M.A./Koolhaas's advocacy of the city testing of a revolutionary lifestyle: the Culture of as a legitimate and positive expression of contem Congestion." porary culture. -
Newsletter 35
IPC Executive Board: Sara Velas, President (USA-Los Angeles) [email protected] Dr. Guy Thewes, Vice-President (LU - Luxembourg) Patrick Deicher M.A., Treasurer (CH – Lucerne) Dr. Mimi Colligan (AU-Melbourne) Dominique Hanson (BE-Brussels) Mathias Thiel (GE - Berlin) Newsletter no. 35, June 2015 Ryszard Wójtowicz M.A. (PL- Rogoż) Content Register for the 24 th IPC conference Register for the 24 th IPC conference ............. 1 The Grand Moving Mirror of California Travels to Seoul, Korea ................................. 2 We hope that you all received the official invitation for the 24 th IPC conference. If not .............. 3 Re-Opening of the Asisi panorama please inform the secretariat and check the Gettysburg Cyclorama Original Unveiled to invitation here instead: Public .............................................................. 3 http://panoramacouncil.org/downloads/Of Opening exhibition J’aime les panoramas .. 4 fical_invitation_International_Panorama_Conf erence_2015.pdf Sevastopol panorama celebrates ................. 5 Crankies at the American Folk Art Museum . 5 Are you excited to come? Please use this link to register: Crankies in the press ..................................... 6 http://panoramacouncil.org/what_we_do/i Free wheeling ................................................ 6 nternational_panorama_conferences/upcomi 2015 Mesdag Year in The Hague with ng_conference/registration/ reopened Panorama Mesdag ....................... 6 ........................................................................ 7 New publications -
Girl with a Flute
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Dutch Paintings of the Seventeenth Century Attributed to Johannes Vermeer Johannes Vermeer Dutch, 1632 - 1675 Girl with a Flute probably 1665/1675 oil on panel painted surface: 20 x 17.8 cm (7 7/8 x 7 in.) framed: 39.7 x 37.5 x 5.1 cm (15 5/8 x 14 3/4 x 2 in.) Widener Collection 1942.9.98 ENTRY In 1906 Abraham Bredius, director of the Mauritshuis in The Hague, traveled to Brussels to examine a collection of drawings owned by the family of Jonkheer Jan de Grez. [1] There he discovered, hanging high on a wall, a small picture that he surmised might be by Vermeer of Delft. Bredius asked for permission to take down the painting, which he exclaimed to be “very beautiful.” He then asked if the painting could be exhibited at the Mauritshuis, which occurred during the summer of 1907. Bredius’ discovery was received with great acclaim. In 1911, after the death of Jonkheer Jan de Grez, the family sold the painting, and it soon entered the distinguished collection of August Janssen in Amsterdam. After this collector’s death in 1918, the painting was acquired by the Amsterdam art dealer Jacques Goudstikker, and then by M. Knoedler & Co., New York, which subsequently sold it to Joseph E. Widener. On March 1, 1923, the Paris art dealer René Gimpel recorded the transaction in his diary, commenting: “It’s truly one of the master’s most beautiful works.” [2] Despite the enthusiastic reception that this painting received after its discovery in the first decade of the twentieth century, the attribution of this work has frequently Girl with a Flute 1 © National Gallery of Art, Washington National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Dutch Paintings of the Seventeenth Century been brought into question by later scholars. -
Exhibitions, Street Art, Galleries and Sculptures
October 2019 – January 2020 exhibitions, street art, galleries and sculptures boijmans.nl/transit 1 Transit Boijmans Van Beuningen Museum Boijmans Van Beuningen’s long- term renovation has started. During this Transit period, institutions and museums across Rotterdam will be holding exhibitions with works of art from the museum collection under the title ‘Boijmans Next Door’. The Above: After seven months of collection will also be travelling to some of relocating the permanent the world’s top museums. In the meantime, collection, Museum Boijmans Van Beuningen is empty. construction of the Depot continues apace photo: Aad Hoogendoorn and this landmark is set to open in 2021. Right: Artist impression of the exterior of the Depot Boijmans Van Beuningen. Design: MVRDV Depot Boijmans Van Beuningen It is the first depot in the world that provides access to a complete collection without the intervention of a curator. The 40-metre high, mirrored building is a design from the Rotterdam architect Winy Maas from MVRDV and offers a beautiful, panoramic view of the city and the port from the freely accessible roof garden with restaurant. kunsthal.nl 2 Kunsthal Rotterdam Museumpark The Kunsthal Rotterdam is housed in Westzeedijk 341 a striking building designed by OMA/ Rem Koolhaas (1992). The Kunsthal presents several exhibitions simultaneously, taking visitors on a journey through various cultures and art movements from modern masters and contemporary art to forgotten cultures, photography, fashion and innovative design. Joana Vasconcelos. ‘I’m Your Mirror’ This impressive retrospective features the work of the famous Portuguese artist Joana Vasconcelos (1971). ‘I’m Your Mirror’ shows sculptures and installations such as ‘Lilicoptère, 2012’, a gold-plated helicopter Above: Lilicoptère, 2012 decorated with Swarovski crystals and pink © Joana Vasconcelos, FMGB Guggenheim Bilbao Museoa.