Dezeen Screen: in the second instalment of our video interview with Rem Koolhaas, the OMA co-founder discusses two of his current preoccupations: the countryside, which he is addressing for the first time; and generic architecture, which could result in neutral, copyright-free building forms. Watch the movie »
As we wrote in an update to a post from last week, it appears as though Frank Gehry‘s latest meeting with the National Capital Planning Commission didn’t go as well as he’d likely hoped. The famous architect had been there to discuss some recent updates to his plans for the Dwight Eisenhower Memorial (namely adding story-telling, metal-engraved tapestries), which is set to be built on a four-acre site just across from the Air and Space Museum, changes we believed he’d made to help increase enthusiasm and grease the wheels a bit in getting the project finally approved (he’d landed the commission more than two years ago after all). Instead, Gehry suffered a number of hits. The Washington Post reports that the NCPC is still very concerned about the memorial blocking the view of the Capitol and shared worries that the proposed tapestries didn’t tell enough of the former President’s life story and/or would block sunlight filtering into the Department of Education building. And perhaps the toughest hit of all came from the Eisenhower family, who have issued a statement calling for the whole approval to come to a stand-still while everyone can essentially collect their thoughts about the whole project, and idea we’re sure Gehry and even members of the NCPC aren’t entirely keen to. Here’s a bit of that from the Post:
Signed by Eisenhower granddaughters Anne, Susan and Mary Jean Eisenhower, their statement expressed gratitude to Congress and the White House for their support of the memorial but called for a timeout in the approval process. “We feel that now is the time to get these elements right — before any final design approvals are given and before any ground is broken.”
…Daniel J. Feil, executive architect for the Eisenhower Memorial Commission, said that his organization would defer comment on the Eisenhower sisters’ statement but that David Eisenhower, the brother of Anne, Susan and Mary Jean, is a commission member and supports the design. David Eisenhower could not be reached for comment.
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A walkway by Tetsuo Kondo Architects winds its way around tree trunks and up into the canopy at a park in Tallinn, Estonia.
Called A Path in the Forest, the 95-metre trail is supported by a steel tube that rests against the tree trunks, with no additional columns.
The installation remains in place in Kadriorg Park until 22 October as part of LIFT11, a festival of urban installations in Tallinn’s public spaces for the European Capital of Culture Tallinn 2011.
Tetsuo Kondo presented a similar structure at the venice Architecture Biennale last year, where visitors walked round a spiralling path and up into a cloud.
Here are some more details from the architect:
In the elegant woods of Kadriorg, we added a path.
A path which relies on the forest as it floats through the woods with over 300 years of age.
I feel that the appearance of the woods slightly changes when you walk along this path. We no longer are looking up at the woods from the ground but we get closer to the leaves and sliver through the branches. It is a piece of architecture which exists for the woods as the forest exists for the architecture. We can not change the form of the forest but we think the various elements in a forest can become one entity in this condition.
I hope that we can experience a forest, architecture, and an environment which we do not know yet.
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| Cloudscapes by Tetsuo Kondo Architects | Mirror by Tetsuo Kondo Architects | Garden of 10,000 Bridges by West 8 |
Computer software generates endless possible architectural configurations from standardised components at an exhibition in Taipei designed by architects MVRDV.
The exhibition explores conceptual alternatives to the relentless construction of standard apartment blocks in East Asia.
Analytical research, models, animations, installations, a documentary and two software packages demonstrate the possibility to develop dense, vertical urban villages.
Visitors to the exhibition are able to design their own ‘vertical village’ using parametric computer software.
The concept was developed in collaboration with The Why Factory, a global think tank and research institute run by MVRDV and the Delft University of Technology.
Vertical Village is on show at the Chung Shan Creative Hub, Taipei from 8 October 2011 to 8 January 2012.
See all of our stories about MVRDV here.
Here are some more details from MVRDV:
Today MVRDV, The Why Factory and the JUT Foundation for Arts and Architecture opened the fourth edition of the exhibition series “Museum of Tomorrow” in Taipei. Under the title “The Vertical Village” the exhibition explores the rapid urban transformation in East Asia, the qualities of urban villages and the potential to realize this in a much denser, vertical way as a radical alternative to the identical block architecture with standard apartments and its consequences for the city. The exhibition consists of analytical research, a grid of models, various movies, a documentary and animations, two software packages and a 6 meter tall installation of a possible Vertical Village developed by MVRDV and The Why Factory. Visitors can design their ideal house and compose their own Vertical Village with parametric software. The exhibition is located in Chung Shan Creative Hub, Taipei and open from 8th of October to 8th of January 2012.
The pressure on the East Asian cities has lead to an increasing urbanization and densification during the last decades. It has made way for the construction of giant buildings, mostly towers, blocks and slabs. A ‘Block Attack’ that gradually replaces and scrapes away the more traditional low rise, small scale, often ‘lighter’ types of architecture and urbanism: the Hutong in Beijing, the small wooden houses in Tokyo, the villages in Singapore, the individual houses in Taipei and other East Asian cities. These urban villages form mostly intense and socially highly connected communities, with enormous individual identities and differentiations. One can speak of urban ecologies, communities that have evolved over the course of centuries. Their faceless replacements packed with identical apartment units offer a Western standard of living at an affordable price, but at the expense of differentiation, flexibility and individual expression.
Is there an alternative to this process? Can one imagine a new model for the development of East Asian cities? Can these areas be densified in such a way that the qualities of the traditional village are preserved? The exhibition offers an alternative, a contemporary Vertical Village – a three-dimensional community that brings personal freedom, diversity, flexibility and neighbourhood life back into East Asian – and maybe even Western – cities.
In the fourth edition of the Museum of Tomorrow, MVRDV and The Why Factory analyse, explore and deepen this vision, with the help of the Berlage Institute and many other contributors. The exhibition located in Chung Shan Creative Hub, Taipei, features a 6 meter tall installation and a variety of analytical models and research elements. Visitors will be able to design their ideal house with an interactive platform, “The House Maker”, and develop their Vertical Village with parametric software – a Grasshopper scripted Rhinoceros model, developed by MVRDV and The Why Factory.
JUT Foundation for Arts and Architecture publishes the Chinese edition of ‘the Vertical Village catalogue. NAi Publishers is publisher of the English language version which will be published January 16th 2012. The 528 page volume contains the ample research made comprehensible with countless colour illustrations. It features detailed case studies for Tokyo, Beijing, Shanghai, Taipei, Djakarta, Seoul and Bangkok, interviews with among others Winy Maas, Alfredo Brillemburg and Hubert Klumpner, Lieven De Cauter, Peter Trummer and families living in Taipei.
The exhibition and publication has been made possible with the generous support of JUT Foundation for Arts and Architecture, Delft University of Technology, The Why Foundation and the Netherlands Architecture Funds.
MVRDV develops its work in a conceptual way, the changing condition is visualised and discussed through designs, sometimes literally through the design and construction of a diagram. The office continues to pursue its fascination and methodical research on density using a method of shaping space through complex amounts of data that accompany contemporary building and design processes.
MVRDV first published a cross section of these study results in FARMAX (1998), followed by a.o. MetaCity/Datatown (1999), Costa Iberica (2000), Regionmaker (2002), 5 Minutes City (2003), KM3 (2005), and more recently Spacefighter (2007) and Skycar City (2007). MVRDV deals with global ecological issues in large scale studies such as Pig City as well as in small pragmatic solutions for devastated areas of New Orleans.
Current projects include various housing projects in the Netherlands, Spain, China, France, the United Kingdom, USA, India, Korea and other countries, a bank headquarter in Oslo, Norway, a public library for Spijkenisse , Netherlands, a central market hall for Rotterdam, a culture plaza in Nanjing, China, large scale urban plans include a plan for an eco-city in Logroño, Spain, an urban vision for the doubling in size of Almere, Netherlands and Grand Paris, the vision of a post-Kyoto Greater Paris region.
The work of MVRDV is exhibited and published world wide and receives international awards. The 60 architects, designers and staff members conceive projects in a multi-disciplinary collaborative design process and apply highest technological and sustainable standards.
Together with Delft University of Technology MVRDV runs The Why Factory, an independent think tank and research institute providing argument for architecture and urbanism by envisioning the city of the future.
MVRDV was set up in Rotterdam (the Netherlands) in 1993 by Winy Maas, Jacob van Rijs and Nathalie de Vries. MVRDV engages globally in providing solutions to contemporary architectural and urban issues. A research based and highly collaborative design method engages experts from all fields, clients and stakeholders in the creative process. The results are exemplary and outspoken buildings, urban plans, studies and objects, which enable our cities and landscapes to develop towards a better future.
Early projects such as the headquarters for the Dutch Public Broadcaster VPRO and housing for elderly WoZoCo in Amsterdam lead to international acclaim.
The Why Factory is a global think-tank and research institute, run by MVRDV and Delft University of Technology and led by professor Winy Maas. The Why Factory’s Future Cities research program explores possibilities for the development of our cities by focussing on the production of models and visualizations for cities of the future. The results of this research programme are being presented in a series of books – the Future Cities Series – published in association with NAI Publishers in Rotterdam, edited by Jennifer Sigler, and designed by Bas de Wolff of Thonik / Beng! in Amsterdam. The Vertical Village is the fourth publication in this series after Visionary Cities (2009), The Green Dream (2010) and The Why Factor(y) & The Future City (2010).
The JUT Foundation for Arts and Architecture was formed in 2007. Its intent is to use diverse architectural, artistic and cultural perspectives to create better living spaces. Its outreach extends from small minority areas to larger communal ones, for the purpose of establishing ideal built environments.
By using knowledge and resources from the field of architecture, and integrating multifaceted views from architects, designers, artists and cultural workers, the foundation is devoted to raising awareness about the concerns and developments of city environments, and to the empowerment of the artistic and creative industries. Events such as exhibitions, competitions, seminars and publications build vivid relationships between art and city dwellers, provoking ideas on living aesthetics and nourishing local art and culture. Through architecture-based projects, JUT has created a stage for artistic movements.
Since its founding, the JUT Foundation has organized activities such the ‘Museum of Tomorrow’ exhibition series and international architecture forums and lectures. In 2009, the foundation began to display animations, movies and installations, in order to seek new perspectives on architecture in Taiwan (Alternative Architecture). The year 2010 marked the launch of ‘Project Urbancore’, a project that places art in unused spaces, providing local artistic perspectives and a source of energy for urban regeneration.
The Museum of Tomorrow project began in 2007 as an engagement with unused land or buildings that lay idle, at a time of transition from old to new. What will be the most ideal plot in the future? The JUT Foundation sees the ‘Museum of Tomorrow’ as a stage to practice ideas for future city aesthetics. The concept ‘nomad museum’ reflects the rapidly changing character of the city, using the city as its stage. Observations and interpretations are given by experts from different fields – from art and architecture to design – to help city dwellers understand different contexts, and to extend the spirit of place.
The ‘Museum of Tomorrow’ has an inherent difference from traditional museums and art museums. It is a ‘formless’ stage that uses no fixed time, location or definition. Performance activities with different scales and themes happen in every corner of the city, bringing about interpretation between people and environment, new and old, tradition and future, private and public. The museum has various kinds of exhibitions in accordance with nomad sites in the city, with organic performances of architecture, art and culture, combining the virtual and the tangible, the active and the static, the two-dimensional and the three-dimensional. The Museum of Tomorrow creates a variety of possible impulses that allow us to imagine tomorrow today. Beyond these variations, the museum aims to create the purest spirit for our time. There is always a better tomorrow.
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| The Why Factory by MVRDV and Richard Hutten | ROCKmagneten by MVRDV and COBE | China Hills by MVRDV |
After a remarkably rocky year that involved a number of lawsuits, very vocal exits by staff and principals, unpaid wages, a bail out, and most recently, the exit of Will Alsop, one of their most high-profile architects, RMJM received some positive news this week: they’re going to keep working on the Gazprom Tower, a massive, multi-billion dollar structure based in St. Petersburg, Russia, which will be Europe’s tallest skyscraper when completed. As the Herald Scotland writes, the project originally stipulated that RMJM, one of the largest architecture firms in the world, would only be involved in the initial planning phases, “devising the original masterplan and evolving the building concept.” Things were apparently pushed further into question after UNESCO had tried to fight off the original location for the tower and, as Building Design writes, “Gazprom confirmed it was talking to several different firms” at that time. To make matters worse, there was also some talk back in late June when the German firm Muller BBM filed a suit against the company, claiming it was owed $140,000 in unpaid fees after having contributed work on the tower. However, all that now seems at though it’s water under the bridge, as RMJM has announced that the Gazprom developers have decided to keep them on throughout the entirety of the four-year building process, with the firm serving as its lead in project management.
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Dezeen Screen: in the first of a series of movies filmed by Dezeen at the opening of OMA/Progress at the Barbican in London earlier this week, OMA co-founder Rem Koolhaas gives us a private tour of the show. Watch the movie »
If we’ve learned anything from the recent opening of the Martin Luther King Jr. Memorial, it’s that it takes a long time and a lot of work to get a national monument up and standing in Washington DC (and even once it’s standing, all those labors and controversies don’t necessarily immediately dissipate). In a move this week to perhaps help smooth that rocky road, Frank Gehry has introduced a few changes to his Eisenhower Memorial, his first monument in the city. Having landed the commission two years ago, at which time we were told that his plans might not just change the way we think about memorials, but of Gehry’s talents as well, the architect has undergone a handful of skirmishes with the National Capital Planning Commission, having to revise his original plans several times in order to meet their exacting standards. Yesterday, Gehry met with the NCPC to introduce the idea of forging a sort of engraved tapestry onto the large pillars that make up the memorial. No word on what exactly the images will be yet, but as the Washington Post speculates, they are likely to include pieces from the former President’s life, from growing up in Kansas to commanding military forces in World War II. This being government, we’re certain the NCPC will need some time to think this new plan through (the next design review meeting is scheduled for “late 2011 or early 2012″). What’s more, on top of that, we’re assuming that the commission and the architect are still working through the revisions proposed earlier this year, which focused on trying to make the memorial block less of the view of the nearby Capitol.
Update: Looks like things didn’t go as well as Mr. Gehry might have hoped.
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Foster + Partners have unveiled designs for an new international airport in Kuwait.
Each terminal will have three symmetrical wings, with each facade spanning 1.2 kilometers.
The airport will accommodate 13 million passengers a year, with the possibility to expand for 50 million passengers.
See all our stories about Foster + Partners here and more airports here.
Here’s some more information from Foster + Partners:
Designs unveiled for Kuwait International Airport
Kuwait International Airport is planned to significantly increase capacity and establish a new regional air hub in the Gulf – the project’s strategic aims will be matched by a state-of-the-art terminal building, which will provide the highest levels of comfort for passengers and will set a new environmental benchmark for airport buildings. Its design is rooted in a sense of place, responsive to the climate of one of the hottest inhabited environments on earth and inspired by local forms and materials.
The terminal has a trefoil plan, comprising three symmetrical wings of departure gates. Each façade spans 1.2 kilometres and all extend from a dramatic 25-metre-high central space. The terminal balances the enclosure of this vast area with a design that is highly legible at a human scale – for simplicity and ease of use there are few level changes.
To further aid orientation, the building is planned under a single roof canopy, punctuated by glazed openings that filter daylight, while deflecting direct solar radiation. The canopy extends to shade a generous entrance plaza and is supported by tapering concrete columns – their fluid, organic forms draw inspiration from the contrast between the solidity of the stone and the shape and movement of Kuwait’s traditional dhow sailing boats.
The project targets LEED ‘gold’ – it aims to be the first passenger terminal in the world to attain this level of environmental accreditation. The concrete structure provides thermal mass and the roof incorporates a large expanse of photovoltaic panels to harvest solar energy.
Foster + Partners has designed a flexible masterplan for the site, with the terminal strategically located to anticipate and enable future expansion. The airport will initially accommodate 13 million passengers per year, with the flexibility to increase to 25 million passengers and to accommodate 50 million passengers with further development.
Mouzhan Majidi, Chief Executive of Foster + Partners, commented: “The scale of the airport shows Kuwait’s great foresight in recognising the benefits of strategic investment in future infrastructure. The environmental ambitions driving the project are equally impressive.
We are pleased to have this opportunity to reveal our designs. The emblematic three-winged form will be as memorable from the air as from the ground – a new symbol of contemporary Kuwait, which resonates with its rich culture and history.”
Nikolai Malsch, a partner at Foster + Partners, said: “We look forward to continuing to work with the Ministry of Public Works and the Directorate General of Civil Aviation Kuwait on the planning and design of the new airport. We have established an excellent working relationship with our client – we have a shared goal to create a terminal that is an exemplar of sustainable design and will establish Kuwait as the region’s leading air hub.”
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| Shenzhen Airport by Massimiliano and Fuksas | Carrasco International Airport by Rafael Viñoly | Mestia Airport by J. Mayer H. |
TreStykker is a semiannual workshop held for students from three architecture schools in Norway: The Bergen School of Architecture, the Oslo School of Architecture and the Norwegian University of Science and Technology (also known as NTNU). This year’s focus was to create an art and architecture exhibition pavilion in the Norwegian city of Trondheim, and working under the theme of “Re-use,” 30 students banded together to create an unusual cube-like structure built almost entirely from parts of nearby office buildings scheduled for demolition.
Called RAKE Visningsrom (“RAKE Showroom”), the roughly 50-square-meter space boasts walls built from two layers of old windows and a ceiling built from doors. The students put RAKE together in just 12 days, then handed the space over to a local cadre of artists and architects who will curate exhibits for the space. For our Norwegian readers thinking of paying a visit, their (Norwegian-language-only) website is here.
Coinciding with the OMA retrospective opening at the Barbican in London this week, here are some photos of the Maggie’s Centre for cancer care that the firm just completed in Glasgow.
Maggie’s Gartnavel opened on Monday and is the second in Glasgow, located on top of a hill at Gartnavel General Hospital.
The building comprises a sequence of L-shaped, interlocking rooms around a landscaped courtyard.
Glazed walls afford views of the surrounding trees, planted in glades according to a design by Lily Jencks, daughter of Maggie’s founders Maggie Keswick Jencks and Charles Jencks.
Visitors to the OMA/Progress exhibition can walk over a 1:1 plan of the building in the Barbican’s sculpture gallery. See visuals of the building that were produced at the start of its construction in our story from November 2010.
Maggie’s was founded fifteen years ago to provide support to anyone affected by cancer and they now have 15 centres around the UK, including the London facility by Rogers Stirk Harbour + Partners that was awarded the 2009 Stirling Prize.
See all our stories about Maggie’s Centres here.
Photographs are by Philippe Ruault.
Here are some more details from Maggie’s:
Pioneering cancer caring charity Maggie’s open their eighth centre in the UK, Maggie’s Gartnavel – the first of three new Maggie’s Centres set to open before the end of the year.
The building is funded by grant making charity Walk the Walk from some of the money raised at The MoonWalk Edinburgh, providing a much needed second Maggie’s Centre in Glasgow to serve the west of Scotland’s cancer population – an area with a high incidence of cancer. The centre acknowledges the support from the tens of thousands of women and men who have taken part in The MoonWalk Edinburgh, Power Walking a half or full marathon in brightly decorated bras over the past six years, throughan engraving on the front door.
The centre is designed by OMA Founding Partner Rem Koolhaas and OMA Partner-in-charge of the project, Ellen van Loon. OMA is one of the most influential architectural practices working today, whose most celebrated buildings include the Seattle Central Library and the Netherlands Embassy in Berlin. Maggie’s Gartnavel will be OMA’s first permanent building to open in the UK, followed closely by a new headquarters for NM Rothschild and Sons in London.
Maggie’s Gartnavel is a single-level building in the form of a ring of interlocking rooms surrounding an internal landscaped courtyard, which overlooks the hospital site and city from its position atop a hill on the Gartnavel Hospital site. The centre is located a stone’s throw from the Scotland’s leading oncology facility, the Beatson West of Scotland Cancer Centre, which serves a population of 2.8 million people (60 per cent of Scotland’s population).
Maggie’s Gartnavel will work in tandem with the original Maggie’s Glasgow at the Western Infirmary (opened in 2002), to provide a first class level of evidence based emotional support and practical advice to people with cancer, their friends and family. People at any stage of their cancer journey will be able to access the professional and peer led support available at Maggie’s, to help them to build a life with, through and beyond cancer.
Maggie’s place great emphasis on the designs of their centres to help facilitate the work they do. Seemingly haphazardly arranged, Maggie’s Gartnavel is actually a carefully considered composition of spaces responding to the needs of a Maggie’s Centre. As opposed to a series of isolated rooms, the building is designed as a sequence of interconnected L-shaped figures in plan that create clearly distinguished areas – an arrangement that minimises the need for corridors and hallways and allows the rooms to flow one to another. The plan has been organised for the spaces to feel casual, almost carefree, allowing one to feel at ease and at home; part of an empathetic community of people. The centre has been constructed by local company, Dunne Group.
Complementing the centre’s design is a landscape design consisting of internal courtyard plantings and a surrounding wooded glades area, designed by Lily Jencks, daughter of Maggie’s Founders, Maggie Keswick Jencks and Charles Jencks, in conjunction with the landscape architecture and urban design company HarrisonStevens. Furthermore, leading contemporary Scottish artist Callum Innes has gifted three oil on oil paper 205 x 100cms paintings to the centre. These paintings are similar to art works that Callum has made that are based in the Pompidou and National Galleries of Scotland.
2011 is a landmark year for Maggie’s as the charity celebrates its 15th birthday, and its growth to 15 centres which are either open or in development. Maggie’s Gartnavel, Maggie’s Nottingham and Maggie’s South West Wales will all open before the end of the year, as part of a dramatic expansion to improve the landscape of cancer care and support across the UK. In the space of 15 years, Maggie’s has helped nearly half a million people to build a life with, through and beyond cancer and has been recognised as providing outstanding cancer care by the Department of Health. The Architecture of Hope Exhibition to mark Maggie’s 15th anniversary year is currently on display at The Lighthouse, Scotland’s Centre for Architecture and Design, until November.
Laura Lee, Maggie’s Chief Executive, said: “It is an honour to open our eighth Maggie’s Centre. Today is a celebration of a fantastic new resource for the west of Scotland’s cancer population, as well as a celebration of this pivotal year in Maggie’s history. It’s hard to believe that it was fifteen years ago when we opened our very first centre in Edinburgh – delivering Maggie Keswick Jencks vision of providing an antidote to the isolation and despair of cancer. It soon became apparent that other regions and communities greatly needed a Maggie’s Centre too, and through wonderful support, we have managed to grow our network of centres and today take great pride in our newest centre – Maggie’s Gartnavel. OMA have created a truly unique environment, which will help to facilitate our programme of support, by making people feel safe, inspired and valued, whilst Lily Jencks garden design complements the centre beautifully. Most importantly, Maggie’s Gartnavel has been made possible through a unique partnership with Walk the Walk, whose tenacious Edinburgh MoonWalkers, take to the streets of Edinburgh each year in wonderfully decorate bras to raise money to support cancer charities. Thank you to Walk the Walk and to everyone who has graciously support us over the years – you are helping to make a huge difference.”
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Nina Barough, Chief Executive and Founder of Walk the Walk Worldwide, said: “What a proud day it is for Walk the Walk! Over the past six years, our Scottish MoonWalkers have trained hard, devised fantastic fundraising schemes, designed outlandish bras, and then actually had the courage to go into the streets of the capital at Midnight wearing their creations as they take on their marathon challenge at The MoonWalk Edinburgh, all with a united vision of helping to support people facing cancer. Today that vision has become a reality as Walk the Walk has become the principle funder for this wonderful new Maggie’s Centre, which will offer cancer patients the care and support so needed when facing a cancer diagnosis. We have a very special relationship with Maggie’s and are pleased that in 2011, as we partner to open this new centre, Maggie’ s celebrate their 15th year and Walk the Walk are about to start a celebration of 15 years of MoonWalking!”
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Ellen Van Loon, OMA Partner-in-charge of the project, said: “I enjoyed designing such an exceptional environment with this very dedicated and inspired team of designers and contractors. The sequence of spaces is an interplay of openness, retreat and support to underpin the Maggie’s programme.”
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Rem Koolhaas, OMA Founding Partner, said: “We were touched to be asked to design a Maggie’s Centre, and invigorated by the opportunity to work on a completely different scale, with different ambitions, and in a different environment. Maggie’s Centre is so unique and urgent among the projects we are working on.”
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Callum Innes, Contemporary Artist, said: “Often works leave the studio and take on a life of their own and you never know where they are or who is seeing them. It gives me great pleasure to gift these works to Maggie’s and know they will be seen by different people who come through their centre.”
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| OMA/Progress at the Barbican | Parc des Expositions by OMA | McKinsey & Company by OMA |
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