Rem Koolhaas/OMAIRem Koolhaas/OMA teNeuesEditor in chiet Paco Asensio Editor and of ‘Aurora Cuito al texts: English translation: Gorman translation: Betina Beck French tronsat Michel Ficerai Ntalian translation Giovanna Carnovali ‘At directio Casanovas Soley ie Design / Layout: Emma Termes Parera and Soi Mas-Baga Published worldwide by teNeues Publishing Group (except Spain, Portugal and South-America) ‘teNeues Book Di Never Zollhof 1, 40221 Dasseldort, Germany Te: 0043-(0}211-998597-0 Fax: 0048 0)211-994587-40, 16 West 224 “el: 001-212-677-9090 Fax: 001-212-627-9511 ‘toNoues Publishing UK Led. Alawych House, 7/81 Aldwych Londan WC28 4HN, UK Tol: 0048 1682-857-171 Fax: 0088-1882-837-272 toNeves France SARL 140, rue dela Croix Nivert, 75018 Paris, France ‘el: 0033-1-5576-6205, Fax: 0083-1-5576-6418 project: © 2002 LOFT Publications Domenech 7-3, 2°2 08012 Barcelona, Spain Tel: 034992 183099 Fax: 0034 922370 060, e-mail loft@loftpubications.com ‘won lftpublications.com Printed by Graficas Anman, Sabadel, September 2002 Picture and text riahts reserved forall counties. No part ofthis ‘ublcaton may be reproduced in any manner whatsover Alright reserved. nite we stve for umst precision never deta, we cannot be held sponsible for ary inaccuracies, neither for ary subsequent lasso damage arising, Die Deutsche Bibliothek ~CIPEineitsautahme Fin Teldatenstfr hese Pubkaion it ei dor Deutschen Bibithek ori, ISBN: 2.9730-5560-426 38 48 60 70 78 Villa Dall’Ava Kunsthal Congrexpo House in the Forest Educatorium Prada Shop Guggenheim Museums Chronologyte “Let us free architacture of the responsioiities that it can no. longer assume and let Us aggressively explore this newy. released freedom.” There is one primordal aim that moves: ‘the work of Fem Koolhaas, from the time of his wntings to his projects and buildings, and this also determines the deci- sions on every scale, from the domestic to the urban, from the ciagram to the detail the discovery and empowerment of the relation that can be established between architecture and liberty, Koolhaas sets out to create new teritories, phys: ical and conceptual terrtorias, of expansion, more than of regulation and control, experimental spaces where a wide variety of constructive lagies can be applied. He defends: chaos and the lack of moderation, and thus we see in his bouilcings walls that fold, celings that become floors, and. combinations of materials that are highly imaginative and eclectic, Koolhaas's architecture is, defintely, a set of oxplic. t contradictions and tensions. ‘The work of OMA, the studio headed by the Dutch architect, and cofounded with Ela and Zoe Zanghelis and Mandlan \Vriesendorp has generated some of the most interesting projects to appear on the ecene in recent years. These pro Jects range from fiting out universities ike the Educatorium in Utrecht, where the students themselves propose and cre- ‘ate the functional program, to shops like Prada in Now York, where the clients make their purchases in the most interac: tive of spaces. 6 | invodetion “Lagst uns die Architektur von der ihr unertréiglich gowor denen Verantwortlichkeit befreien und uns diese neu cerlangte Freiheit in aggressiver Art und Weise erforschen’ Dio Arbeit Rem Koolhaas’, von seinen Schriften bis hin zu seinen Entwirfen und Gebauden, besitzt die vorrangige Zielsetzung, die zwischen Architektur und Freiheit herstelt- bare Beziehung zu entdecken und 2u verstirken. Dieses Ziel bestimmt die Entscheidungen aut allen Ebenen, vom. Hauslichen bis zum Urbanen, vom Diagramm bis zum Detail. Koolhaas’ Absicht ist die Schaffung neuer physi scher und konzeptueller Territorien unter dem Aspekt der ‘Ausdehnung statt der Regulierung und Kontrolle, die Schaffung experimenteller Raume, die vielfétige Anwen- dungsmoglichkeiten fur konstruktive Vorstellungen bieten. Er verteidigt Chaos und MaBlosigkeit. Bei seinen Gebai den biegen sich die Wande, Dacher werden 2u 8den und die Kombination der Materialien ist phantasievoll und eklek- tizistisch, Seine Architektur ist letztendlich ein Bundel von Widerspriichen und ausdriicklich erwiinschten Spannun- gen. ‘OMA, das Baro, das der niederlindische Architekt letet und ddas er zusammen mit Elia und Zoe Zenghelis und Mandelon Vriesendorp griindete, hat einige der interessantesten Pro- jokto dor lotzton Jahre hervorgebracht. Diese reichen von tuniversitéren Einrichtungen wie dem Educatorium in Utrecht, wo die Studenten selbst das funktionelle Programm vor- ‘schlagen und formen, bis hin zu Geschaiftsraumen wie Prada in New York, wo die Kunden in wahrhaftig interaktiven R&u- men einkaufen kénnen.« Libérons Varchitecture des responsabilités qu'elle ne peut plus assumer et explorons de facon agressive cette liberté encore naissante ». Un objectif primordial anime le travail de Rem Koolhaas, de ses écrits & ses projets ou ses constructions, et qui détermine les décisions, quel ue soit le cadre, domestique ou urbain, du diagramme au détail : découvrir et promouvoir ia relation qui peut s'é- tablir entre architecture et la liberté. Koolhaas prétend créer de nouveaux territoires, physiques et conceptuels, dexpansion plus que de régulation et de contréle. Des ‘espaces expérimentaux susceptibles de se voir appliqué toute une diversité de logiques constructives. II défend le chaos et la démesure. Ainsi, tous ses édifices affichent des murs pliables, des toits convertibles en sols et la combinaison de matériaux s'y révéle imaginative et éclec- tique. En définitive, son architecture est un foyer de contradictions et de tensions explicites. Lepuvre d'OMA, l'étude dirigée par 'architecte hollandais et co-fondée avec Elia et Zoe Zenghelis et Mandelon Vrie- sendorp, a engendré quelques-uns des projets les plus intérossants de cos demiéres années : depuis des instal- lations universitaires comme l'Educatorium d'Utrecht, ol, les étudiants proposent et disposent euxmémes le pro- ‘gramme fonctionnel, jusqu’a des boutiques, ainsi Prada a New York, dont les clients peuvent acheter dans des espaces effectivement interactifs. “Liberiamo Varchitettura dalle responsabilia che ormai non pud pil assumersi e abbiamo il coraggio di esplora- re in modo aggressivo questa recente liberta acquisita”. ‘C6 un obiettivo primordiale che sta alla base di tutti lavori di Rem Koolhaas, a partire dai sui scritti fino ad arrivare ai suoi progetti e edifici, e questo determina inoltre le decisioni che prende a tutte le scale, dal dise- ‘gno deail interni sino al progetto urbano, dal diagramma ‘scoprire e potenziare la relazione che si pud tra architettura e liberta. Koolhaas pretende di Creare nuovi tertitori,fisici e concettuall, quelli in espan- sione, in cambiamento piuttosto che quelli di regolariz- zazione e di controllo. Spazi sperimentali dove si possa applicare un’ innumerevole variabile di logiche costrutti- “fuor-misura” , allo stesso modo per cui nei suoi edifici le parati ino, le coperture si convertono in superfici calpestabili e la combinazione dei materiali é ricca di immaginazione ed eclettica. La ‘sua architettura é, in definitiva, un raggruppamento di ‘contraddizioni e tensioni esplicite. Lopera di OMA, lo studio cappeggiato dallarchitetto ‘olandese e fondato insieme a Elia e Zoe Zenghelis e Mandelon Vriesendorp ha generato alcuni dei progetti pid interessanti degli ultimi anni, dal polo universitario ‘come ad esempio I'Educatorium di Utrecht in cui ali stue denti propongono e conformano il programma funziona- lo, fino ad arrivare ai negozi come per esempio quello di Prada a New York in cui i clienti possono comprare in spazi realmente interatti Iroducsion |Villa Dall’Ava Location: Saint Cloud, Paris, France Date of construction: 1985-1991 Photography: Hisao Suzuki The Villa Dall’Ava project, on the outskirts of Paris, consti- tuted something of a challenge because it was difficult to integrate it into a suburban environment that was densely built up. The architects had to raise a house that would ‘adapt itself to the neighboring constructions and simultane ‘ously provide intimacy and offer views of the surrounding landscape. The builders opted for the creation of three strips that cross the site from east to west: the first was used as an asphalt accessway tothe garage, the second is occupied by the residence, and the third was made into a gardened ‘space with pedestrian access to the residence. The back part of the site was not built on, and the stands of trees there hhave been conserved. The domestic spaces are distributed ‘on three levels. The garage and the rooms ofthe service per- sonnel are on the ground floor. The kitchen and the living room are on the first floor. And the bedrooms occupy the hays on the top floor of the building. On the roof, from which Paris may be viewed, are two large terraces, one of which is gardened, the other having a swimming pool. Le projet dela Villa Dall'Ava, dans la banlioue de Paris, constituat un réel defi de par sa dfcila imtégration dans un environnement suburbain densément construit, Les architectes devaient construire une maison susceptible de se marier aux constructions voisines tout en offrant intimité et vues sur le paysage environnant. Loption, fut prise de créer trois franges entrecroisant le terrain dest en, ‘uest: la premigre fut uiisée pour offrir un accés asphalté au garage, la seconde était réservée @ la demeure et la tosiéme fut, ‘aménagée en jardin proposant un acc&s piétonnier& la maison. La partie ariére du terran fut aissée en stat, conservant les arbres origine, Les espaces domestiques se dlstrbuent selon trois, riveaux : le garage et les pidces de services accupent le rez-de chaussée, la cuisine et les sales de séjour le premier étage et les, chambres occupent deux volumes de la partie supérieure de la Construction. Sur le toit, qui permet de profitr d'un panorama, magnifique sur Paris, ont été disposées deux terrasses, dont une ‘aménagée en jain, et une piscine 8 | Vila Dar ave Das Projokt der Villa Dall’Ava in einam Vorort von Pais war aut rund der Schwvierigkeit, es in eine dcht besiedelte Gegend einzu- igen, eine groe Herausforderung, Die Architekten mussten en an die Nachbargebaude angepasstes Haus bauen, das aber gleichzei- tig Inimitatbieten und Ausblick aut die umliegende Landschaft gewdhen sollte. Sie entschieden sich fOr drei das Grundstick in ‘ostwestlicher Richtung durchquerende Strifan, Der erste wurde als asphalterer Eingang zur Gerage benutzt, den zweiten nam das Wohrnhaus ein und der drtte wurde bepflanct und beinhaltet einen Zugang fir FuBgnger. Der hintere Teil des Grundsticks ver- biieb unbebaut und die vorhandenen Baume wurden erhalten Die ume sind auf drei Ebenen verteilt Die Garage und die Dienst zimmer wurden ins Erdgeschoss gelegt, Kiche und Wohnzimmer ins erste Obergeschoss und die anderen Zimmer in den oberen Teil des Gebéudes. Auf dem Dach, von dem aus man einen groBartigen Blick Uber Paris hat, befinden sich zwei Terassen, eine davon bepflanct, sowie ein Schwimmbad, {I progetto della Villa Dal‘Ava, nalla porifria di Pargi, consi: stove in una sfida @ causa dela sua difficile itegrazione con Fintorno urbano densamente costruito. Gli architeti dovevano sollovare una case por adatarsi quella vicine @ allo stesso tempo per trovare un giusto equilibro tra intimita ed esterno, che offre un fantastico panorama sul paesaggio circostante. Si coptd per craare tre stecche che incrociassero area di proget- ‘to, secondo Forientazione est-ovest: la prima & destinata alfaccesso asfatato e al garage, la seconds alla residenza menire la terzaal'accesso pedonale alle casa. La parte retro- stante del terreno non venne costruitae vennero conserva gl aber esisteti. Gli spazi domestic si dstibuiscono su te lvl- J. Il garage ei servizi sono ubicati al piano terra la cucina ei soggiomo al primo piano mente le stanze da letto occupano ‘due volumi che fuoriescono dal volume totale. Sulla pianta coperture, dalla quale si pub ammirare una fantastica vista di Patil, vennero colocate due terraze, di cul una con giardino mo te Falta con piscina| |Vila Cava | 13.Kunsthal Location: Museum Park, Westzeedijk 341, Rotterdam, The Netherlands et Date of construction: 1992 Photography: Christian Richters Located between an extremely busy avenue and the zone lim- iting the southside of Museum Park, the Kunsthal is obliged t0 confront a double situation: one ofthe facades looks onto the park, a context of peace and quiet: but the other, sited on a higher level, bears the brunt of the bustle on a major city artery. The building strikes us as a continuous circuit that ceaselessly crosses the different exhibition rooms through the use of ramps, corridors, and stairs. A pedestrian ramp divides the whole in a longitudinal direction, joining street ‘and park. The exterior section, which admits the public, then becomes the integrating part ofthe interior route of the art gallery. Parallel to this passageway, another ramp has been placed, going down, and at the intersection of these two es is the main entrance tothe place. When museum-goers hhave finished their visit, they are provided with access to an ‘outdoor gardened terrace that offers magnificent views of the ‘surroundings. The building combines the use of a wide variety ‘of materials, such as metal, translucent glass, wood, or stone. This eclecticism is also present in the structure, which does, not follow # modular arrangement. Situé entre une avenue au trafic intense et a zone jouxtant au sud avec le Museum Patk, le Kunsthal est confronté& une situation dale : une des facades est orientée vers le parc, un espace de trancuillté et de contemplation, autre, en revanch, stuée 8 un niveau supérieur, saffonte avec un pont de passage bryant. U6 citice se présente comme un circuit continu qu traverse les fe rentos salles ¢ exposition & Taide de rempes, de couloirs et des calits. Une rampe piétomizre divise ensemble dans le sens longitudinal, connectant la voie et le pac. Le trongon extriaur, ouvert au public, dovient une parts intégrante du parcours intriaur de la galerie tar. Pralele& ce parcours, une autre rape dic neison inverse traverse espace et, a leur intersection, se rowve entrée principale de a premire salle, Lorsque usager termine la visit, il peut accéder & une terrasse paysagere extérieure, sur le tot, depuis laquelle ‘offent & lui de magniiques wes sur les alontours. Le batiment combine une grande varie de matériaux tel le méta, ever translucide, le bois aula pet. Cet éclects ime se manifeste tout autant dar la structure, qui ne suit aucun ordonnancement moduaire 16 | Kurata ‘uischen einer stark befahrenen Verkehrsader und dem Museum Park iegend, an den sie im Sien angrenat, leg die Kunsthal zw ‘chen zwei Extremen: Eine der Fessaden liegt, ubig und beschau- lich, 2um Park hin, wabrend der andere, weiter oben gelegene Bereich, auf eine laute Stra8e hinaus geht. Das Gebéude stat eine Kcislnie dar auf der die verschiedenen Ausstellungsréume dutch Ramen, Freund Treppen duchireur sin. Ene Fucngerrampe telt den Komplex in Langsrchtung und verbindet die StraGe mit dem Park, Der auBere, der Offentichkeit zuganglche Abschnit wird zum Bestendteil der innen gelegenen Ausstellungsréume. Parallel zu diesem Durchgang verlaut eine weitere, abwvrts fat rende Rampe und am Schnitpunkt der beiden befindet sich der Haupteingang 2um ersten Raum. Hat der Besucher seinen Rund gang beendet, kann er au eine beplancte Dachterrasse hinaustre ten, von deraus man einen groBartigen Ausbick auf die Umgebung hat. Das Gebéude vreintin sich velatige Materialien wie Metal Holz oder Stein, Dieser Eklektzismus wird auch an der Struktur deutch, die keiner modularen Ordhung flat Ubicato in una strada di intenso traffic e la zona che limita la parte sud con il Museum Park, il Kunsthal sitrova di fronte @ tuna doppia situazione: una delle facciate& orientata verso il parco, area tranquila ededita alla contemplazione, mentre al tra, ubicata al vello superiore he difronte un passaggio motto traficato. Uediicio si presenta come un circuito continuo che incrocia di volta in volt le different sale espositive mediente rampe, corridoie scale. Una rampa pedonale divide i! com- plessoin senso longitudinale, cha si allacca alla passeggiata con il parco, La part ester, aperta al pubblico, si converte in una parte integrante del percorso interno della galleria dart. Paraliela a questo passaggio, scende un‘akra ramps con unincinezione opposta a quella precedente, e la intersezione i queste awviene relfentrata principale della prima sala Quando il vsitatore termine la propria visita pud accedere ala terrazzaestorna con giardno nella copertura dala quae si pub godere di una belisina vista delintoro. Ledificio & una mmiscellanea dimaterali, come il metallo, il cristrallotransluci- ‘o,illegno ela pietra. Questo ecteticismo si manifesta notre nella stutura, che non segue un‘ordine modulare.‘i! i \ 1 |7 scadaaale 210]ey ! Gah Elevations = uti 03 6 vations Praspet Longitudinal section ings 024 Secon ongininale Sezione longtinale unsttal| 23Congrexpo Location: Euralille, Lille, France Date of construction: 1990-1994 Photography: Christian Richters The project by Rem Koolhaas described here involves an urban restructuring. It was done in the French town of Lille in collaboration with other architects of some international mown, people such as Jean Nouvel, Christian de Portzamparc. The project, which isin fact locat- ‘ed inside the old city walls between the historical city center ‘and the outskirts, isa species of hybrid building 984 feet long. Ithas a clear, three-bay distribution: there is @ room for rock. ‘concerts (Zenith), with a eapacity for 6000 spectators; a con- ‘gressional center (Congres), with three auditoriums, exhibi tion rooms, a banquet area, and kitchens; and a large exhibit space (Expo) of a surface area of 215,278 square feet, which subdivides into three equal areas. The complex also includes large covered garage. The diferent building programs, inte- ‘arated under a single roof, are interconnecting and, in some ‘cases, include the option of merging and carrying out new functions. The unit having one roof is emphasized by the use ‘of materials in similar tones of gray, materials like cement, steel, and a medium gauge metalic screen. La participation de Rem Koolhaas s‘inscrit dans le cadre de la res- ‘ructuration urbanistique entrprise dans la ville de Lil, & laquel le purentcollaborer d'autres architectes au prestige international tels Jean Nowel, Giles Clément ou Christian de Portzamparc. Le projet, situé a Iintérieur du périmetre des anciens murs dela ville, ent le centre historique et la périphérie, est une construction hhybrde de 300 metres de long et présente une distribution claire en tibis éléments: une salle de concerts de rock (Zenith), d'une capa- Cité de 6 000 spectateurs, un palais des congrés (Congres), compo- sé de trois auditoriums, de sales d exposition, ¢ une zone pour les banquets et de cuisines, et enfin dun palais des expositions (Expo, ‘une superficie de 20 000 m subdivsibles en trai zones similai- res. Le complexe inclut aussi un vaste parking cowvert. Les dtfé- rents programmes du projet, intégralement situés sous une cowver- te unique, siinterconnectent et, dans certains cas, deux ou plusieurs espaces peuvent méme s‘unir pour répandre a de now vveaux besoins.l‘unité apportée par le toit unique se voit soulignée par emploi de matériaux aux tonalités grisAtres semblables, ainsi le béton, 'acier et la maille métallique. 26 | Congreso Der Beitrag von Rem Koolhaas steht im Zusammenhang mit der Umstrukturierung der franzbsischen Stadt Lille, an der weitere intr- national anerkannto Achtokten wio Joan Nouv, Giles Cismont ‘oer Chistian de Portzamparc mitwitten. Das inna der alten Stadtmaver awischen dem alten Stadxern und der Perf betingl- che Projekt besteht aus einem hybrden Gebaude von 300 m Lange und ener karen Aufteiung in re Elemente. Es sett sch 2usammen ‘aus einem Saal ir Rockkorzerte (Zenith mit Platz fr 6000 Zuschau- «sina aus drei Autoren, Ausstllungsraumen und einem Ban kett- und Kichenbereich bestehenden Kongresszentrum (Congres), und schlielich einem Ausstellanaspalast (Expo) mit einer Flic ven 20,000 mi, die in cei gleich groRe Bereche untertelt werden kann. ‘Augerdem beintatet der Komplex ein Parkhaus. Die verschiedenen Programme des unter einem einzigen Dach untergebrachten Baus sind miteinander verbunden. in einigen Fallen Ktnnen sogar zwei oder mehr Raume 2u einem neuen Zweck miteinander vetbunden ‘werden. Diese Einheit vrschiedener Gebude unter demselben Dach wird durch die Verwendung von Materalen von ahnicher Graufr bung wie Beton, Stal und Metalnetz betont | lavoro di Rem Koolhaas di riconosce nella riforma a lvello. Uurbanistico che si port) a termine nella cittéfrancese di Lille, in cui collaborerono altri arcitet di fama internazionele come Jean Nouvel, Gilles Clément o Christian de Portzamparc. I pro getto, che @ ubicato dentro il perimetro delle antiche mure della ctt, trail centro storicoe le periteria, é un eifcio ibrido i 300 meti di longitudine e ha una distrbuzione chiara di tre element: una sala per concerti rack (Zenith, con una capaci- ‘8d 6000 spettator, un contro congrassi Congres} , composto datre auditor, sale espositive, una zona per banchettie ricevi- ‘menti con cucine; einotre un palazzo di esposizioni (Expo), con ‘una superficie di 20 mila me, suddvsibile in te aree ugual I complesso include inotre un grande parcheggio al coperto. | diversi programmi del complesso,ubicati integral-mente sotto un'unica copertura, si connettono reciprocamerte e in alcuni casi si possono unire due di questi pid per ospitare nuove fun- Zioni.Uunitd che apporta un'unica copertura viene enfatizata dalla utilizazione di materili con tonalit di grigio simi tra loro, come il cemento, acco e la magia metallicaCross sections Ouerscnine . Sections tanevrsalesSezionitrasversal 048 30 | Consexpo1 ema He 4 ceHouse-in the Forest Location: The Netherlands Date of construction: 1992-1994 Photography: Christian Richters part of a large pine woods on a moraine that dates back to the end of the Ice Age. The unstable conditions of the foun- dation and current local urban codes that keep buildings at least 13 feet from the access road were determining factors in the project's development. The domestic program was also a conditioning aspect of the final design: two well- delineated zones were called for, one for the couple who ormanently live in the house and another for their three children, who come to visit their parents from time to tim In order to maintain a kind of lived-in look during the ‘absences of the younger generation, two independent ‘spaces were built, one on top of the other. These, in turn, are made mutually available through a large ramp that serves as an interface element. The children's area includes a bay behind a surrounding wall that defines a series of rooms en suite with patios. The floating ceiling supports the transpar- ent volume of the parents’ space. This establishes a relation with the extorior that varies according to the function and orientation of each of the spaces. a parcelle de cing mille metres carrés accueilant cette demeure appartient 8 une vaste pinéde reposant sur une moraine remontant, 2 Ia fin de Iére glaciaire. Les conditions de fondations stables et, les notmes urbanistiques locales, interdisant de dépasser une hau: tour de quatre métres au-dela du riveau de la route d'accts, ont été déterinantes dans le développement du projet. Le programme intérieur a également condtionné la conceation finale : deux zones différenciéas étaient nécessaires, une pour le couple résidant de fagan permanente dans la maison et autre pour leurs tos fille, visiteuses occasionnelles de leurs parents. Dans [intention de dis simular la certitude de ces absences, deux pidces indépendantes ‘ont 6 créées,cisposées lune sur autre, qui pour autant jou sent de moments dinteraction en étant relies par une rampe. La partie occupée par les filles dispose d'un mur denceinte qui défi- nit une série de pidces et de patos. Sa cowerteflotante soutient le volume transparent des parents qui étabit une relation avec Iex- ‘érieur, évoluant selon la fonction et orientation de chacun des espaces, ‘38 | Hous inthe Forest as fUnftausend Quadratmeter groBe Grundstick, auf dem sich das Wohnhaus bofinde, ist Teil eines groBen Pinienwals, der au einer eiszeitichen Endmérane liegt. Die Instabilitt der Fundamente und tie orlichen stadtebaulichen Vorschiften, die eine Bauiche von moby als vier Meter Giber der Hohe dar Zugangsstrae unmaglich ‘machten, gehrten 2u den Pramissen der Projektentwicklung. Doch auch die Anforderungen, die an das Innere des Hauses gestelt wurden, bestimmten die endgiltige Gestaltung. Es wurden zwei Lnterschiedliche Bereiche benotigt, einer fur das Paar, das das Hous stindig bewohnt, und ein weiterer flr die dei Tochter, die ihre Elter nur gelagentich besuchen. Damit das Gebéude auch watrend der Abwesenheit der Kinder einen bewohnten Eindruck macht, wurden cwei selbststandige, Uvereinanderliegende Teile geschaffen, die durch verschiedene Elemente wie beispelsweise eine Rampe miteinander verounden sind. Der von den Téchtem Lbewohnte Tiakt besteht aus einer Reine von Zimmein und Héfen, die von einer Mauer eingefasst sind. Auf dem schivebenden Dach liegt der tansparente Bereich der Etter, der seinerseits eine je nach Funktion und Ausrichtung der verschiedenen Raume vaieren de Beziehung mit dem Auteren eingeht La parcella di cinquemila metri quadrati dove si ubicd questa asa appartene a un grande bosco di pini che si adagiano un una area che viene datata circa verso la fine delEra Glacial Le instabili condizioni di cementazione e le leggi urbanistche locali che non permettevano di otrepassare i quatro metr in altezza della quota stradale di accesso, furono le regoe che determinarono lo sviluppo del progetto. Inokre anche i pro- gramme dallosvluppo degi intori condizion@ il disogno fina- le:sirichiadevano zone distnte, una per a coppia che rsiede permanentemente in casa e ata perl te fige che vanno a ‘rovare i genitori occasionalmente. Con 'intenzione ddissimu- lare la certezza dele loro assenza, si crearono due parti indi- pendent, colocate una sulfate, che 2 loro volta possono godere dei momenti di intorazione © sono relazionate de una arande rama corpo del edfcio occupato dalle igi cons- ste in un muro perimetrale che definisce una serie di soggior- nied pati. Il teto sospeso sostiene i volume trasparente dei genitori che a sua vot stablsce una reazione con esterna che varia in funzione del rientazione di ciscuno degli spazi ee 7 .Ground oor Edozschose waussée Plano tore 42 | Howse ine ForesFret for Proie eage vies Oberg 1 Piano prima 03 6Educatorium Location: Lewvenlaan 19, Utrecht, The Netherlands Date of construction: 1992-1997 Photography: Christian Richters In 1985, the University of Utrecht, called Uithof, commis- sioned the studio cofounded by Rem Koolhaas, OMA, to draw ‘up a project that included a general plan that would be used to guide the growth ofthe institution. The development taken to fruition by the Dutch team made Uithot into @ campus with student residence halls, libraries, research infrastructure, ‘and sports installations, as well as fomenting a highly intense social life, The construction of Educatorium, a made-up name intended to connote an apprenticeship center, constitutes the first phase of the modernizing project for the institution of higher learning. The building houses activities shared by all the faculties and includes a cafeteria with a capacity for 1,000 users, two auditoriums, study rooms, meeting rooms, ‘examination rooms, and a large parking space for bikes. It also includes a rest and recreation space that has progres- sively been compartmentalized into small rooms and vestibules fitted with different ambiences according to the function. The access ramps lead to an exterior portico over ‘hich the exam rooms are built. The largest ofthe auditori- ums looks onto botanical gardens and has the appearance of ‘a corniced amphitheater. En 1985, [Université d'Utrecht, baptisée Uithot, commanda au cabinet de Rem Koolhaas, OMA, étude du projet d'un plan géné- ral afin de guider la croissance de institution. Le développement ‘alisé par équipe Hollandaise a convert a Uithot en un campus comprenant des résidences étudiantes, des bibliotheques, des infrastructures pour la recherche, des installations spotives et a, par surcroft, confre a ensemble une intense vie sociale. La cons; ‘tucton de Educatorium, un nom inventé qui tend & qualifier une « usine »& apprentssage, constite a premiére phase du projet de modernisation de universite, Uédifice héberge des fonctions com runes & toutes les facultés et accueille une cafeteria d'une capa. Cité de mille usagers, deux auditoriums, des sales d'études et (examen et un vaste parc de stationnement pour bicyclettes. en semble comprend également une aire de repos quia été compart imentée en petites salles et vestibules,auxquals les usagers conf rent une atmosphere diftrente-selon la fonction attendue. Les rampes ¢'aca®s ménent & un porque extériourau-dessus duquel ‘ont été planées les sales examen. Le principal auditorium disp se de sues sur les jardins botaniques et s‘apparente & un amphi theatre projeté 48 | Eoxatrion a fe « we r | 1885 beauftragte die Uithot genannte Universitat von Utrecht das Buro von Rem Koolhaas, OMA, mit dem Entwurt fr einan Goneral plan, der die Entwicklung dieser wachsenden Institution stevern sollte, Das hollandische Team hat Uithf zu einem Campus mit Stu dentorwohnheimen, Bibliotheken, Forschungs- und Sportoinrich tungen gemacht und dariber hineus den Komplex mit intensivem sorialem Leben erfllt. Der Bau des Educatoriums ~ der Name ‘wurde erfunden, um eine ,Lernfabrik" zu beschreiben —ist die erste Phase des Moderisierungsprojekts der Universitat. Das Gebaude beherbergt von allen Fakultdten gemeinsam benutzte Einichtur gen: Eine Cafeteria fr tausend Gaste, zwei Auditorien, Studion, Tagungs- und Prafungsraume sowie einen groGen Fahrradparkplatz Auerdem wurde ein in kleine Sale und Vestbile untertelter Rune- bereich integriert, dessen Raum von den Benutzer je nach Zweck {gestaltet werden kann. Die Zugangsrampen fohren zu einem aue- ren Sdulengang, Uber dem sich die Examensraume befinden. Das agrdRere der Auditarien erscheint wie ein iberkragendes Amphithe: ater und bietet Ausblicke auf die botanischen Garten, Nel 1985 la universita di Utrecht, chiamata Uithof,incaricb allo studio di Rem Koolnaas, OMA, la progettazione di un piano regolatore che dovesse guidare la crescita dalfsttuto. Lo svi- |uppo di questo compito portato a termine dallo studio olandese hha converito Uthof in un campus con residenze per student, bibliotecho, infrastruture per la riceca e sviluppo, ettrezzature sportve einoltreha dotato il complesso diur’intensa vite socia- le. La costruzione delfEducatorium, un nome inventato che ha Yembizione di qualificare un‘industria del apprendimento, costiuisce ta prima fase del progetto di modernizzazione delfuniversta, Ledificio alberga funzioni condivise tra tute Ie facolta e accogle una caffetteria.con una capienza per mille persone; due auditor, sled studio edi runione,aule per esami @ un grande parcheggio per biciclete. Si incluse inotre un'aree diriposo che si@ divisa successivamente in piccole aul e sale di ingresso a seconda dei diversi utenti e dalle loro diverse necessita difunzion ichieste. Le rampe di accesso conducono @ un-porticato astern in cima al-quale-sono-ubicate le sale dedicate agi esami. Lauditoro pi grande possiede viste a tut i gierdini botanicio sombra un anfteatro a sbatzo:TF SG a ;Ly we eet ul pi :ach a I 1 lacleelealt laa he)Prada Shop Locatioh: 575 Broadway, New York, USA Date of construction: 2002 Photography: Michael Moran ‘Any fashion firm that has a proper amount of amour propre must update its selling points quite as often as the apparel it markets. Besides, stores act as a comercial inducement and there are progressively more companies in the sector that mn their designs to internationally prest architects. The Italian brand Prada has put its money on Rem Koolhaas, who in turn has counted on the collaboration of the ARO Studio, to build its new New York Soho boutique And this, as it happens, is a luxurious place for an innovative and interactive project that includes the latest technologies and can constantly transform itself. The building has two floors and a basement destined for use asa storage area, The ironwork that separates the ground floor from the first floor evocative of a tectonic plate: it molds itself into a large staircase around which clients may sit down and try on shoes, in the process molding the floor ofthe next level up. AMO, OMA's parallel studio, was commissioned to create the computerized accessories. An example of what they ‘came up with in this sphere are the computors that make it possible to vary the opacity ofthe dressing rooms or to pro- ject videos onto some of the walls. Toute entreprise de mode qui se respecte doit mettre ses points de ‘vente au godt du jour aussi souvent que les vatements qu'elle vend. De plus, les boutiques remplissent un rdle publicitaire et de plus en plus de ces soriéts confient la conception de ler locaux des architects de prestige international. La git italenne Pada mist su em Koozas, qui pu compte avec la contrbuton de étude AMO, dans sa nouvelle boutique cu Soho nev yrkais. Un emplacement de uxe pour un poet novateur et interact, incorpo ‘ant les uitines technologies et capable de se métamoxpheser constanment.élficecomparte deux rveaux et un sous, es ‘tiné au stock. La structure forgée séparant le rez-de-chaussée évoque une plaque tectonique dan es contours dornent rasan co un vast esl, ls conts pouontsassoir ot ossayar les chaussures, pour monter 8 noweau comme une gigantesque ‘aque et forme esol du niveau supérieur AMO, étude paralile |ALOMA, fut charge de créer les accessoires informatiques, nota “nent ceux permatiant de fae varie Vopacté des cabines tes ‘saya 1 de pojtec ds vidas su ertzines partitions Jedes angesehene Modehaus muss seine Verkausraume genauso hautig aktualisioren wie die Klidungssticke, die es verkaut Auferdem fungieren ce Geschatte als konmereller Anziehungs- unit, sodass imme mehr Unternehmen in dieser ranche interna- tional anerkannte Arcitekten mit dem Design ihrer Geschaftrau- ime beaufragen. Di italenishe Marke Prada setzte bei inrer neuen Boutique im New Yorker Stadteil Soho auf Rem Koolhaas und die Mitwickung des Buros ARO. n dieser Lunuslage entstand ein inoratives und interktves Projet, das de jéngsten Technoo- gion umfasst und zu konstanter Transformation fahig ist. Das Gebue bestet aus nvei Stockwerken und einem Untergeschoss, das als Layer bentzt wid. Die leppe zwischen dem Erigeschoss und dom ersten Obergeschoss erinnertan eine tektonsche Platte und beta in ier Biegung Reum fr Kunden, die Schuhe anprobie- ren méchten. Anschlie8end fbhrt die Treppe wie eine gigantsche Wille waiter nach oben und bildat den FuBbodon dor daraber li genden Ebene. AMO, das Partnerbiro von OMA, Obernahm die computergesteverte Ausstattung. So kann beispielsweise die Durchsichtigkeit dor Umeidokabinen vordndert oder es konnen in einigen Abteilung Videos vorgefitre werden. Qualunque firma della moda che tiene ambizione debe attualiz- are i suoi punt vendita tanto frequentemente come le presen- tazonistagionaii di capi che presenta, notre, inegoztrivestono il rotor ichiamo commerciale e sempre pi requentemente le imprese di settore incaricano i disegno dei proprilocali ad architet di prestigio e fama internazionale, La marca italiana Prada ha scommesso su Rem Koolhaas, che ha collaborato con lo studio ARO, per la sua nuova boutique del Soho newyorkino, Una posizone di lusso per un progetto nuovo e interativo, che incorpora le ulime tecnologie ed @ in grado di trasformarsi costantemente, Uedificio é su due piani e un semi interrato destinato a magazzino. Il pavimento che separa la pianta piano terra dal primo piano richiama una placca tttonica e gira su se stesso per dare origine a una grande scalinata, dave i clienti si possono sedere e provare le scarpe, per poi scendere suc- ccassivamente come un‘onda gigantosca o aper quindidiventa- ‘re pavimento del piano superiore. AMD. 10 studio paralielo a OMA; su incaticato ¢i creare gli accessor informatici, come per esempio quelli che permettono di variare opacita, dei ‘camerinio di proiatare video:in-alcune paret divisoie.Guggenheim Museums Location: 3355 Las Vegas Boulevard South, Las Vegas, USA Date of construction: 2002 Photography: Michael Moran ‘The Las Vegas Guggenheim and the Guggenheim-Hermitage ‘Museum are two museums that the foundation has opened in the city of the casinos, in installations that belong tothe sur- prising Venetian Hotel. The Venetian recreates the italian ci to the point of bringing you the canals and gondolas to take you to some of the rooms. Guggenheim Las Vegas he Conceived to present contemporary art exhibits: painting, sculpture, architecture, design, and multimedia art. In the ‘main room, accessed by a spectacular revolving door 68.9 ‘eet high, an escalator was installed to accompany the large lime green staircase that descends to the lower level. A large skylight introduces natural light that is filtered by a large ‘mural that reproduces the emblematic Si bby Michelangelo. The Guggenheim-Hermitage Museum came ‘out of the collaboration of the two institutions as a new way to program modern art exhibits. The building, located infront of the hotel, is constructed of metal permanently covered in a layer of rust, which brings to mind the velvet curtains ofthe ‘museum in Saint Petersburg and which also contrasts beauti- fully withthe smooth birch wood floors. Le Guggenheim Las Vegas et le Musée Guggenheim Hermitage sont les deux musées que la fondation a ouverts dans la ville des casinos, dans le installations du surpenant tel The Venetian qui recrée la vile italienne au point de compter canaux et gondoles pour relier certaines chambres, Le Guggenheim Las Vegas a été congu afin de présente des expositions dat contemporain: pen ture, sculpture architecture, design et art multimédia, Bans a salle principale, accessible par une spectaculaire porte pivotante de 21 metres de haut, ont été disposés des escalers mécaniques et un and escalier de couleur vert lime, qui descendent vers es niveaux inférieurs. Une ample caire-voieinrodut le lumiére naturelle qu demeutefitvée par un grand mural reproduisant la scbne emble rmatique de la Chapelle Sistine de Miche-Ange. Le musée Guagen heim-Hermitage a surgi de la coopération des deux insttutions pour programmer des expositions d'art moderne, ke batiment, situé face & 'héte, est construt en acer cortén, un métalrecouvert de fagan permanente d'une couche oxyde qu évoque les tentures de velouts rouge du musée de Saint Petersbourg et ofre un contraste avec les sols et les piafondslisses, en bois d'érable 70 | Guggrtin Museums (Das Guggentieim Las Vegas und das Museum Guggerhein-Hesmita- {ge snd die beiden von der Stiftung in dor Kasinohochburg eéffnaten Museen, cie zum Komplex des spektakuéren Hotels The Venetian ‘gehtren. Es empfindt die itaienische Stat so getreu nach, dass as, Verbindung zwischen einigen der Zimmer sogar Kandle und Gondeln ‘uncieren. Das Guogenheim Las Vegas wurde fir ie Pasentation von Ausstellungen zitgendssischer Kunst konpet: Malere, Bildhaue rei, Architektur, Design und Multimedia Kunst. Im Hauptsaal, in den ‘man durch eine spektakulére 21 m hohe Drehtargelangt wurden die in die untere Ebene fUhrenden Raltreppen und eine gre limonen ane Freiteppe untergebracht. Ein gre Lichthof lass naiiches Licht einstémen, das von einem gra8en Wandgemaide gefiter wid, das Michelangelos Deckenfresko der Sintnschen Kapellereprodu Zier. Das Museum Guggenheim Heritage entstand aus. der Zusammenarbeit der beiden Eiricttungen zur Planung von Ausstelln- gen zitgendsischer Kunst. Das dem Hotel gegenbetigende Gebau Geist aus Corten Stab gehaut. Dieses Metall ist permanent von einer Rostchicht uberzogen, die an de Samvorhange des St. Petersbuger ‘Museums ernret und auBerdem enen reiaollen Kontrast2u den gla ten Biden urd Dache aus Ahomboleblde. 11 Guggenheim Las Vegas e il Museo Guggenheim-Hermitage sono i due musei che fa Fondazione ha aperto nella ctta dei ‘casind, press le installazioni del sorpendente Hotel The Vene- tian che raffigure la citt liana fino al punto di utiizare i canali¢ le gondole par metter in comunicszione alcune stan- 2. I Guggenheim Las Vegas venne concepito per presentare esposizioni di arte contemporanea: pttura, scultura, architet- tura, design e multimedia, Nella sala principale, alle quale accede tramite una spettacolare porta pivotante di21 meti di attezza, vennero callocare le scale mobil una grande scalt- nata di color verde lima che scende al velo inferiore. Un gran lucemario lascia penetrare luce naturale che viene fitrata da un grande murales che riproduce l'emblomatica scena dolla Cappella Sistina di Michelangelo. II museo Guggenheim-Her- mitage nacque dalla collaborazione delle due isttuzioni a fine di programmare @ organizzare esposizioni di arte modema. Ldifci, ubicatodfronte alrhotel,& costrito in acciaio cor- ten, metallo ricoperto costantemente da uno strato di assido che richiama le tende vellutate del museo di San Pietroburgo che contrasta con: pavimenti ei tet lsc. in legno W'acero,f AN quem rdaeLae le eos pasesChronology of works 1989-2002 78 | Cronology 1989 1990 1991 1992 1993 1994 1995, Sea Terminal, Zeebrugge, Belgium. Competition Museum Park, Rotterdam, The Netherlands. Nexus World Housing Fukuoka, Japan. OMA: The First Decade, Rotterdam, The Netherlands. 2KM (Center for Art and Media Technology), Karlsruhe, Germany. Project for an Office City, Frankfurt, Germany. Competition. Trés Grande Bibliothéque, Paris, France. Competition. Sports Complex, Groningen, The Netherlands. Staad aan de Stroom, Antwerp, Belgium. Competition. Video Bus Stop, Groningen, The Netherlands. OMA: Fin de sicle, Paris, France. Exhibition, Rem Koolhaas, OMA in Lille Lille, France. Exhibition Energieen, Amsterdam, The Netherlands. Exhibition. Palm Bay Seafront Hotel and Convention, Agadir, Morocco. Competition. Hilton Hotel, The Hague, The Netherlands. Project. Souterrain, The Hague, The Netherlands. Congrexpo, Lille, France. OMA: Recent Projects, Barcelona, Spain. Exhibition Mission Grand Axe, La Défense, Paris, France. Competition. Duisburg Urban Planning, Duisburg, Germany. Competition. Transferia, Waterstaat, The Netherlands. Competition. Zac Danton Office Tower, La Défense, Paris, France. Competition. Leipziger Messe, Leipzig, Germany. Competition Villa Dall‘Ava, Saint Cloud, Paris, France. Urban Design Forum, Yokohama, Japan. Project. Kunsthal, Museum Park, Rotterdam, The Netherlands. Educatorium, Utrecht, The Netherlands. House in the Forest, The Netherlands. \W-Oevers Master Plan, Amsterdam, The Netherlands. Extension to the Stedelik Museum, Amsterdam, The Netherlands. Competition. Point ity / South City, The Netherlands. Project 2Bibliotheques de Jussieu, Paris, France. Competition. Hypo Bank, Munich, Germany. Maison & Bordeaux, France. Cardiff Bay Opera House, Cardiff, UK. Competition ‘Super and Popular, Groningen, The Netherlands. Metro Dade Performing Arts Center, Miami, USA. Competition. Saitama Arena, Tokio, Japan. Competition Tate Gallery Modern Art, London, UK. Competition. Almere, Master Plan, Almere, The Netherlands. Place des Nations, Gendve, Switzerland. Competition. New Deal Residences, Amsterdam, The Netherlands. C3 Towers, Rotterdam, The Netherlands. Woningbouwfestival Housing, The Hague, The Netherlands. ‘At Highway Corridor. Rotterdam, The Netherlands. Project. Seniorewoningen Housing, Alblasserdam, The Netherlands, New Seou! International Airport, Seoul, Korea. Project. TPaard Cultural Center, The Hague, The Netherlands. H-Project Masterplan, Seoul, Korea.1996 1997 1998 1999 2001 2002 Zurich Airport, Zurich, Switzerland. Competition. Stockholm Olympic Stadium, Stockholm, Sweden, Togok Tower, Seoul, Korea. Project. Luxor Theater, Rotterdam, The Netherlands. Massena-Rive Gauche, Paris, France. Competition. Villa Burnap, Palm Beach, USA. Hotels and Apartinents, The Hague, The Netherlands. S,M,L,XL. Book. Chassé Campus, Breda, The Netherlands. Competition Breda Carré Buiding, Breda, The Netherlands. Parking, Breda, The Netherlands. Alliance Francais, Rotterdam, The Netherlands. SNU Museum, Seoul, Korea Pier Project, Thessaloniki, Greece. Project. Maison des Droits de I'Homme, Genave, Switzerland. Competition Universal City Masterplan, Los Angeles, USA. Project. INT, Chicago, USA. Competition Maasviakte Master Plan, Rotterdam, The Netherlands. Papendorp Master Plan, The Netherlands. Hanoi New Master Plan, Hanoi, Vietnam. Extension of the MOMA, New York, USA. Competition. New Urbanism, Kassel, Germany. Exhibition. Office Park, Dusseldorf, Germany. Project. Zoetermeer Centrum West, The Netherlands, Project. Lensvelt Showroom, Rotterdam, The Netherlands. ‘Netherlands Embassy, Berlin, Germany. Competition. House, Berlin, Germany. Almere Block 6, Almere, The Netherlands. £1 Baijo Bussiness & Cutural Center, Guadalajara, Mexico. Competition Santa Cruz de Tenerife Master Plan, Canary Islands, Spain. Competition. Song-Do New Town, Inchon, Korea Second Stage Theater, New York, USA. MAB-Tower, Rotterdam, The Netherlands. Schiphol Airport Study, Amsterdam, The Netherlands. Project Living, Bordeaux, France. Exhibition. OCA, Roma, Italy, Competition. Y2k House, Rotterdam, The Netherlands. Project Seatlle Public Library, Seatlle, USA. Casa Da Musica, Porto, Portugal. Competition. Philips Offices, Eindhoven, The Netherlands. Competition, Zurich Satdium, Zurich, Switzerland. Competition. Cities on the Move, London, UK. Exhibition. 30 Colours. Book Media Valley. Project. Cita da Cultura, Santiago de Compostela, Spain. Competition. Cultural Center, Cordoba, Spain, Competition Prada Shop, New York, USA, Guggenheim Museums, Las Vegas, USA. Cnencley | 79