There is a new book out right now about the United Arab Emirates called 50U. It has been fifty years since the confederation of the seven Gulf states was officially declared (December 2, 1971), and so the book is a celebration of that. The format is 50 portraits of people, places, and plants (yes, plants) that tell the story of the UAE.
Included in the book is an excerpt of a 2009 talk by architect Rem Koolhaas (of OMA) about his reading of Dubai. ArchDaily published an abridged version over here and I thought it was an interesting read. Few people think about cities as deeply as Koolhaas does, and few can express their thoughts in such a rational and Dutch-like way. Here's a snippet of the talk:
I came here first in 2004. We were asked to do a major building on the site which is marked by the flag. Then, two years ago it was the exact moment… I became increasingly nervous about the mission of architecture and the uses of architecture. And I really became almost desperate… that the incredible pressure of the market economy was forcing architecture itself into increasingly extravagant conditions. Seemingly, Dubai seemed to be the epicenter of that extravagance. So, I came with deeply ambivalent feelings. It seemed as if the idea of the city and the metropolis itself had been almost turned into a caricature, not a coherent entity but maybe a patchwork of theme parks. And those themes would become the bogus and increasingly bizarre characters that were perhaps partly mythical and partly real.
There is a new book out right now about the United Arab Emirates called 50U. It has been fifty years since the confederation of the seven Gulf states was officially declared (December 2, 1971), and so the book is a celebration of that. The format is 50 portraits of people, places, and plants (yes, plants) that tell the story of the UAE.
Included in the book is an excerpt of a 2009 talk by architect Rem Koolhaas (of OMA) about his reading of Dubai. ArchDaily published an abridged version over here and I thought it was an interesting read. Few people think about cities as deeply as Koolhaas does, and few can express their thoughts in such a rational and Dutch-like way. Here's a snippet of the talk:
I came here first in 2004. We were asked to do a major building on the site which is marked by the flag. Then, two years ago it was the exact moment… I became increasingly nervous about the mission of architecture and the uses of architecture. And I really became almost desperate… that the incredible pressure of the market economy was forcing architecture itself into increasingly extravagant conditions. Seemingly, Dubai seemed to be the epicenter of that extravagance. So, I came with deeply ambivalent feelings. It seemed as if the idea of the city and the metropolis itself had been almost turned into a caricature, not a coherent entity but maybe a patchwork of theme parks. And those themes would become the bogus and increasingly bizarre characters that were perhaps partly mythical and partly real.
I've only been to Dubai once. It was back in 2008 or 2009. And to be honest, it wasn't my favorite city; I think primarily because I enjoy walking cities and Dubai is largely the opposite of that. It felt like a patchwork of theme parks that you had to drive around to -- ideally in an exotic car while being as flashy as possible.
Now if these theme parks were within walking distance (and the drinks were good), that would be an entirely different story.
The OMA-designed Greenpoint Landing Towers in northern Brooklyn recently topped out. Photos and announcement over here. If you aren't familiar with the project, it's very OMA. What I mean by that is that there's a kind of simple rationality to it. (I just made up this architecture speak.) Big bold moves with a certain logic behind it. Here's the story and thinking behind Greenpoint Landing:
Supposedly this project is in a part of Brooklyn that stipulates a maximum tower floor plate size of 11,000 square feet. Following this rule, you get a two-tower design that looks something like image number one in the top left hand corner of the above diagram. The resulting tower separation would be 40 feet, or just over 12 meters. (Are you seeing these numbers, Toronto?)
What OMA did was taper one tower (diagram image #2) and then create an inverted ziggurat form for the second tower (diagram image #3). The effect is two towers that look like they were almost one giant tower that had been simply pulled apart. The resulting tower separation distance in this final scenario is 60 feet, or just over 18 meters.
I am assuming that there's some area loss in this design because of the increased tower separation, though maybe the larger podium makes it up. Either way, from what I can tell, there are two main benefits to this design: (1) you get a tower with stepbacks facing the water (so places for outdoor spaces) and (2) it breaks up the visual monotony of two equally extruded towers.
If any of you are more familiar with this project, I would welcome your thoughts in the comment section below.
I've only been to Dubai once. It was back in 2008 or 2009. And to be honest, it wasn't my favorite city; I think primarily because I enjoy walking cities and Dubai is largely the opposite of that. It felt like a patchwork of theme parks that you had to drive around to -- ideally in an exotic car while being as flashy as possible.
Now if these theme parks were within walking distance (and the drinks were good), that would be an entirely different story.
The OMA-designed Greenpoint Landing Towers in northern Brooklyn recently topped out. Photos and announcement over here. If you aren't familiar with the project, it's very OMA. What I mean by that is that there's a kind of simple rationality to it. (I just made up this architecture speak.) Big bold moves with a certain logic behind it. Here's the story and thinking behind Greenpoint Landing:
Supposedly this project is in a part of Brooklyn that stipulates a maximum tower floor plate size of 11,000 square feet. Following this rule, you get a two-tower design that looks something like image number one in the top left hand corner of the above diagram. The resulting tower separation would be 40 feet, or just over 12 meters. (Are you seeing these numbers, Toronto?)
What OMA did was taper one tower (diagram image #2) and then create an inverted ziggurat form for the second tower (diagram image #3). The effect is two towers that look like they were almost one giant tower that had been simply pulled apart. The resulting tower separation distance in this final scenario is 60 feet, or just over 18 meters.
I am assuming that there's some area loss in this design because of the increased tower separation, though maybe the larger podium makes it up. Either way, from what I can tell, there are two main benefits to this design: (1) you get a tower with stepbacks facing the water (so places for outdoor spaces) and (2) it breaks up the visual monotony of two equally extruded towers.
If any of you are more familiar with this project, I would welcome your thoughts in the comment section below.
OMA NY -- the New York office of OMA -- has just published its first monograph. It's called OMA NY: Search Term. For those of you who may be unfamiliar, Office for Metropolitan Architecture (OMA) is an architecture firm that was founded by Rem Koolhaas in Rotterdam in 1975.
When I was in architecture school, OMA was a firm that people wanted to work at and I had friends who did. You weren't paid very much from what I remember, but people put up with that because you wanted OMA on your resume and you wanted to learn things from Rem (apparently he's a big fan of Raisin Bran in the morning).
The New York office of OMA is run by Shohei Shigematsu and Jason Long who are both partners. The practice started out as an American outpost, but it has become more independent over the years and, from what I can gather, it now prides itself on having its own attitudes and views on architecture and urbanism.
This monograph is about that. Twenty radical projects from the firm's new guard. It also includes interviews from people like Virgil Abloh (Off-White). I don't have a copy yet, but if you're an architecture and urbanism person, you probably want this one on your bookshelf.
Image: Rizzoli
OMA NY -- the New York office of OMA -- has just published its first monograph. It's called OMA NY: Search Term. For those of you who may be unfamiliar, Office for Metropolitan Architecture (OMA) is an architecture firm that was founded by Rem Koolhaas in Rotterdam in 1975.
When I was in architecture school, OMA was a firm that people wanted to work at and I had friends who did. You weren't paid very much from what I remember, but people put up with that because you wanted OMA on your resume and you wanted to learn things from Rem (apparently he's a big fan of Raisin Bran in the morning).
The New York office of OMA is run by Shohei Shigematsu and Jason Long who are both partners. The practice started out as an American outpost, but it has become more independent over the years and, from what I can gather, it now prides itself on having its own attitudes and views on architecture and urbanism.
This monograph is about that. Twenty radical projects from the firm's new guard. It also includes interviews from people like Virgil Abloh (Off-White). I don't have a copy yet, but if you're an architecture and urbanism person, you probably want this one on your bookshelf.
