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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 -
CV Ivan Grubanov
Ivan Grubanov Born in Belgrade, 9th of March 1976 Education 2008 Casa de Velazquez (The French Institute in Madrid, scholarship and research-oriented residency), Madrid, ES 2005-2006 Delfina Foundation Studio Programme (Scholarship and practice-oriented residency), London, UK 2002-2004 Rijksakademie van Beeldende Kunsten (equivalent to University level PhD in Arts), Amsterdam, NL 1996-2001 Academy of Fine Arts, Bachelor and Master of Fine Arts in Painting, Belgrade, YU Teaching and Research Experience at University Level 2012-2013 Visiting Scholar in the class of Prof. Frances Scholz, Hochschule fuer bildende kunste Braunschweig, University of Arts Braunschweig, DE 2005-2006 Guest Tutor, Konlijnke akademie, Den Haag, NL 2003 Visiting Artist, Akademie voor Kunst en Vormgeving, Den Bosch, NL Solo exhibitions (selection) 2013 Loock Galerie, Berlin, DE, ‘Dead Flags’ 2012 National Museum of Contemporary Art, Athens, GR, ‘Current Pasts’ (with Vangelis Vlahos, curated by Daphne Vitali)) 2012 Loock Galerie, Berlin, DE, ‘Smokescreens’ 2010 MARZ Galeria, Lisbon, PT, ‘Haunting Memory’ (associated project of the Architecture Trienale) 2010 Loock Galerie, Berlin, DE, ‘Seven Studies for a Memorial’ 2009 ARCO, Solo Projects, Madrid, ES 2009 Center for Cultural Decontamination, Belgrade, RS (solo show within the 50th October Salon, Belgrade’s annual exhibition of international contemporary art) 2008 Loock Galerie, Berlin, DE, ‘The Evil Painter’ 2008 Laboratorio 987, MUSAC (Museo de arte contemporaneo de Castilla y Leon), Leon, ES 2007 Le Grand Cafe Centre d’Art Contemporain, St Nazaire, FR, ‘Non-Institutional’ 2007 Gallery of the Cultural Center of Belgrade, RS 2006 Nogueras Blanchard Gallery, Barcelona, ES 2005 Stroom Contemporary Art Center, Den Haag, NL (curated by Arno van Roosmalen) 2005 Museum of Contemporary Art, Belgrade, SCG. -
Mark Kremer: Exhibitions, Projects, Teaching (Update: 1.7.06)
Mark Kremer: Exhibitions, Projects, Teaching (update: 1.7.06) 2006 de kleine biënnale 2, Fort t Hemeltje, Houten (Utrecht), 28.6 – 18.7. 12 artists made new works that appeal to the intellect/imagination of children. A project by Stichting Storm, Utrecht. Publication. Artists: Mark Bain, André van Bergen, Michiel Blumenthal, Meschac Gaba, Yeondoo Jung , Suchan Kinoshita, Servet Kocyigit, Ingrid Mol, Hester Oerlemans, Wouter van Riessen, Hinrich Sachs/M. v. Tilburg. The Projection Project, exhibition in Museum of Contemporary Art, MuHKA, Antwerpen, 14.12.2006 – 25.2.2007.Initiative/concept: Mark Kremer. Co-curators: Edwin Carels,Dieter Roelstraete. Publication. 2005 Research for The Projection Project, scholarship from the Fonds voor Beeldende Kunsten Vormgeving en Bouwkunst, Amsterdam. Tutor in workshop “formation critique dart”, Ouagadougou, Burkina Faso (West-Africa). Participants: university students art/management. Initiator: Mahé Mas, Association Française d.Volontaires du Progrès. Other lecturers: Stéphane Eliard, Paris; Daniel Fra, Ouagadougou; R- P Turine, Brussels; Abdou Silla, Dakar; Chab Touré, Bamako. A Guest + a Host = a Ghost,exhibition at the Hedge House, Kasteel Wijlre, Jo & Marlies Eyck, Limburg. Opening of a new chapter in the history of a private collection. Co-curator: Zsa-Zsa Eyck. Catalogue. Artists: J-M Bustamante, Ad Dekkers, Ger van Elk,J.Fliçinski, Fortuyn/ O'Brien, Michel Francois, Hiryczuk/Van Oevelen, N. Kemps, Suchan Kinoshita, André Kruyssen, Pieter Laurens Mol, P. Struycken. Work visit of 1 week to Budapest, Hungary and Bratislava, Slowakija July 2005. Hungary,meetings with artists & other art players,research of Mogoly-Nagys legacy; visit to Július Koller Bratislava. Organized by: Edit Molnar, dir. Studio Gallery/Ass. -
Jaarverslag 2012
Jaarverslag 2012 1 Inhoudsopgave Bericht van de ....................................................................................................................................... 4 Raad van Toezicht ................................................................................................................................ 4 Voorwoord ............................................................................................................................................ 5 1 Codarts Rotterdam ...................................................................................................................... 8 1.1 Missie...................................................................................................................................... 8 1.2 Opleidingen ............................................................................................................................ 8 1.3 Kengetallen ........................................................................................................................... 10 2 Studenten .................................................................................................................................... 12 2.1 Kroonjuwelen ....................................................................................................................... 12 2.2 Uitvoeringen door Codarts-studenten ................................................................................... 13 2.3 Kengetallen student en onderwijs ........................................................................................ -
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. -
WARCHITECTURE Hinted at the Day Before
IIAS_NL#39 09-12-2005 17:03 Pagina 20 > Rem Koolhaas IIAS annual lecture SKYSCRAPERS AND SLEDGEHAMMERS The 10th IIAS annual lecture was delivered in Amsterdam on 17 November by world-famous Dutch architect and Harvard professor ...THE DAY AFTER Rem Koolhaas. Co-founder and partner of the Office for Metropolitan Architecture (OMA) and initiator of AMO, its think-tank/mirror Zheng Shiling from Shanghai, Xing Ruan from Sydney and Anne- image, Koolhaas’ projects include de Kunsthal in Rotterdam, Guggenheim Las Vegas, a Prada boutique in Soho, Casa da Musica in Marie Broudehoux from Quebec City were Koolhaas’ discussants Porto and most spectacularly, the new CCTV headquarters in Beijing. His writings range from his Delirious New York, a retroactive following the lecture. To give our guests a chance to meet their manifesto (1978) to his massive 1,500 page S,M,L,XL (1995), several projects supervised at Harvard including Great Leap Forward Dutch and Flemish brothers in arms, IIAS organized a meeting (2002) and Harvard Design School Guide to Shopping (2002) to his most recent volume between a book and a magazine, Content at the Netherlands Architectural Institute in Rotterdam the fol- (2005). On these pages of the IIAS newsletter, itself a strange animal between an academic journal and newspaper, we explore why lowing day. Bearing the title (Per)forming Culture; Architecture and Koolhaas in his last book invites us to Go East; why he has a long-time fascination with the Asian city; why the Metabolists have Life in the Chinese Megalopolis, specialists of contemporary Chi- always intrigued him; why OMA has developed an interest in preserving ancient Beijing; and, perhaps most importantly, why he nese urban change – including scholars of architectural theory, thinks architecture is so closely connected to ideology. -
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. -
Museum and Center for Contemporary Art: Design Principles and Functional Features
E3S Web of Conferences 274, 01019 (2021) https://doi.org/10.1051/e3sconf/202127401019 STCCE – 2021 Museum and center for contemporary art: design principles and functional features Elza Bashirova1[0000-0002-0346-1713], Elena Denisenko1[0000-0002-3155-2153], Kamilla Akhmetova1, and Vilnur Kadirov1 1Kazan State University of Architecture and Engineering, 420043 Kazan, Russia Abstract. The article discusses the topical issue of the establishment of museum and center for contemporary art. The objective of the research is to analyze the historical background of contemporary art museums; to review the world design practice of them according to urban planning, functional, architectural and expositional criteria; to reveal functional features’ trends and to identify the design principles of an advanced center for contemporary art. We collected more than 45 leading examples to compile a matrix using classification and analysis methods. As a result, we reached the museums’ functional features: administrative, exhibition, educational, recreational are fixed functions; storage and research functions are optional; cultural and entertainment are particularly additional functions. At first, art museums and centers are focused on adaption to visitors and intersection with them, secondly, on the exhibit. To sum up, we define the design principles of the ideal architectural model on the basis of urban planning, architectural, sociocultural and technological radicals. In conclusion, it is revealed that contemporary art centers have absorbed most of the historical functions of the museum and today are one of the developed types of the multifunctional architecture. Keywords. Architecture, center for contemporary art, museum, contemporary art, design principles, functional features. 1 Introduction Contemporary art, that was formed by the end of the Second World War and has been changing its appearance up to the present time, has become an integral part of the social and cultural life of a person. -
The Diagram As a Vehicle of Transposition in the Quest of Architectural Form: Program | Typology | Drawing
Yannis Zavoleas The Diagram as a Vehicle of Transposition in the Quest of Architectural Form: Program | Typology | Drawing Yannis Zavoleas Architect, Assistant Professor Department of Architecture, Technical University of Crete Chania, Greece [email protected] #154 PAPER #C2#5 Yannis Zavoleas The Diagram as a Vehicle of Transposition in the Quest of Architectural Form: Program | Typology | Drawing Abstract This paper discusses the impact of diagrammatic processes into architectural design. The dia- gram may be related to its scientific origin as a means of analysis and comparison of data. In accordance with diagrammatic interpretations of Jeremy Bentham’s Panopticon, also with Gilles Deleuze’s notion of “abstract machine,” the diagram operates in architecture as a means express- ing the dynamic relationships among different elements having spatial significance. With the use of diagrams, abstract information of analysis is transposed into architectural design by using codes of spatial definition. The diagram may thus be distinguished from architectural form, as the connection between them remains metaphorical. From a theoretical point, such an explanation of the diagram is illuminating, also tying up with computational practices using advanced CAD software; however, ambiguities may be raised due to the fact that, in practice, essential issues regarding the diagram’s overall functionality are often being disregarded. For example: under what conditions might it be useful arguing that the diagram has no relationship whatsoever with a sketch drawing of an architectural idea? Or, upon the assumption that the diagram is a tool aiding the conceptual manipulation of data and besides any of its representational capabilities, how would it be beneficial denying its direct or indirect contribution as a harbinger to architectural synthesis? In response, this paper redeploys the applications of the diagram in the transition from abstract notions to the first graphic sign and the gradual development of an architectural project. -
Návštěva Biennále Evropské Architektury V Rotterdamu
Návštěva Biennále evropské architektury v Rotterdamu Účastníci: ing. arch. Karel Bíba ing.arch. Břetislav Cír Termín: 18. – 21.června 2007 Cíl: Rotterdam - Nizozemí Účel: Biennále evropské architektury. Komunikace: němčina, angličtina (bez tlumočníka) Úhrada: MHMP Zprávu předal: ing. arch. Karel Bíba, odd. památkových architektů, kunshistoriků a archeologů MHMP - OKP Datum: 24. srpna 2007 Časový průběh cesty: 17. 6. 2007 neděle 20.00 odjezd vlakem z Prahy 18. 6. 2007 pondělí přestup Frankfurt, přestup Utrecht 11.45 příjezd na hotel v Rotterdamu, ubytování; odpoledne prohlídka nové výstavby v okolí hlavního nádraží 19.6.2007 úterý dopoledne Biennále evropské architektury v Koolhaasově Kunsthal odpoledne prohlídkaKinderdijských větrných mlýnů, které byly v roce 1997 zařazeny na seznam světového kulturního a přírodního dědictví UNESCO. 20.6. 2007 středa prohlídka Rotterdamu – výstavba nových výškových budov, nové mosty přes řeku Maas, architektonické a urbanistické řešení centrální části města. 21.6. 2007 čtvrtek dopoledne Biennále evropské architektury – pokračování, odpoledne prohlídka staré části města Delfshaven 16.00 odjezd z Rotterdamu 22.6. 20007 pátek 8.55 příjezd vlakem na hlavní nádraží, příchod do práce KUNSTHAL ROTTERDAM Od otevření své kanceláře v Rotterdamu na počátku 80. let se OMA usilovně zabývala urbanismem tohoto válkou poničeného města. Zatímco oni hledali nová využití v centru, byla pozornost všech ostatních byla namířena na průmyslové oblasti a kolem přístavu. V polovině osmdesátých se konečně začalo něco dít i s “terrain vague“ v centru města. Jedním z projektů byl 440 metrů dlouhý a 130 metrů široký Museum Park, který měl do sebe zakomponovat stávající Boymans-van Beuningen Museum a nemocnici od Jeana Prouvé . Jako kompenzaci za nepříliš ziskové akce OMA usilující o nový Rotterdam, byla kancelář pověřena návrhem parku a Kunsthal. -
Curriculum Vitae
Curriculum Vitae Current Academic Appointments 1995- Professor in Practice of Architecture and Urban Design, Harvard University Graduate School of Design Education 1972 Diploma in Architecture, Architectural Association, London Academic Experience 1990-95 Arthur Rotch Adjunct Professor of Architecture, Harvard University Graduate School of Design 1991-92 Professor of Architecture, Rice University, Houston, Texas 1988-89 Professor of Architecture, Technical University, Delft, Holland 1976 Architectural Association, London, England 1975 University of California, Los Angeles School of Architecture 1975 Institute for Architecture and Urban Studies, New York Professional Experience 1975- Principal, Office for Metropolitan Architecture Selected Realizations 2003 Headquarters for Central Chinese Television (CCTV) in Beijing Netherlands Embassy, Berlin 2001 Prada store New York, USA Guggenheim Exhibition Hall, Las Vegas, USA Guggenheim Hermitage, Las Vegas, USA 1999 2nd Stage Theatre, New York, USA 1998 Maison à Bordeaux, France 1997 Educatorium, Utrecht, Netherlands 1994 Lille Grand Palais, Lille, France Euralille Masterplan, Lille, France 1993 Dutch House, Holland 1992 Kunsthal, Rotterdam, Holland 1991 Villa dall'Ava, Paris, France Nexus Housing, Fukuoka, Japan Byzantium, Amsterdam, Netherlands 1989 Patio Villa, Rotterdam, Holland 1987 Netherlands Dance Theatre, The Hague, Holland Work in Progress 2001 Extension LACMA, LA, USA Dallas multi form theatre, Dallas, USA Zeche Zollverein Masterplan, Essen, Germany Cordoba Conference Centre, Cordoba,