DESCRIPTION The ISSEY MIYAKE x UN Node is a strappy woven sandal featuring thick adjustable rope ties and a subtle lift. SIZE & FIT - Standard Fit - Heel Height: 65mm/2.56in - Knit fabric upper - Leather lining lining - Foam rubber outsole outsole Rem D. Koolhaas (nephew and namesake of architect Rem Koolhaas), together with Galahad Clark (a seventh-generation shoemaker), established UNITED NUDE in 2003. UNITED NUDE represents innovation at the intersection of fashion and architecture. Each product holds a strong connection to architectural design and is an exploration of the possibilities offered by movement, colors, and materials.
Visit a selection of bold buildings by the Pritzker Prize–winning architect Rem Koolhaas
DESCRIPTION The Delta Run is a lightweight platform sandal modernized with geometric shapes and graphic lines. Adjustable straps provide a customized fit and a contoured footbed will make this your go-to sandal. SIZE & FIT - Standard Fit - Heel Height: 65mm/2.56in - Leather upper and lining - Rubber outsole Rem D. Koolhaas (nephew and namesake of architect Rem Koolhaas), together with Galahad Clark (a seventh-generation shoemaker), established UNITED NUDE in 2003. UNITED NUDE represents innovation at the intersection of fashion and architecture. Each product holds a strong connection to architectural design and is an exploration of the possibilities offered by movement, colors, and materials.
The property is built on a “microscopic” hillside plot
"Describing the project of a house would not be too innovative. In this case talking about those who use it, gives it identity and converts it into a place that is, without a doubt, a step. However, describing it through the eyes of Guadalupe Acedo (a lady from extremadura living in Bordeaus), the person responsible for the maintenance of the house, makes it much more than the presentation of a project by a famous architect.
Archinect image gallery.
This collection is a look through the microscope at the real fundamentals of our buildings, revealing the essential design techniques used by any architect, anywhere, anytime. Conceived by Rem Koolhaas and made with the Harvard Graduate School of Design, it is a primordial toolkit to understanding how seemingly stable elements are actually in constant evolution. “A brilliant and stimulating exploration of the stories behind the most mundane and ubiquitous elements of architecture.” Financial Times “Rem Koolhaas explains it all in Elements of Architecture. With examples ranging from the Sydney Opera House to St. Peter’s Basilica, this beautiful book also works as a history of architecture.” The New York Times “…when it comes to learning about the differences in architectural evolution, this is the book.” forbes.com “A mammoth undertaking: smashing open the last 100 years of architecture and ripping out its innards for forensic analysis.” The Guardian “…exhaustive and exhausting, mad and maddening.” Metropolis Magazine “A fascinating compendium of cultural references, iconic design, and everyday history that work together to turn architectural theory on its head.” Architectural Digest Hardcover, 20 x 25.5 cm, 3.54 kg, 2528 pagesArchitecture under the microscope Rem Koolhaas’s essential toolkit to building anatomies Elements of Architecture focuses on the fragments of the rich and complex architectural collage. Window, façade, balcony, corridor, fireplace, stair, escalator, elevator and toilet: the book seeks to excavate the micro-narratives of building detail. The result is no single history, but rather the web of origins, contaminations, similarities, and differences in architectural evolution, including the influence of technological advances, climatic adaptation, political calculation, economic contexts, regulatory requirements, and new digital opportunities. It’s a guide that is long overdue—in Koolhaas’s own words, “Never was a book more relevant—at a moment where architecture as we know it is changing beyond recognition.” Derived, updated, and expanded from Koolhaas’s exhaustive and much-lauded exhibition at the 2014 Venice Architecture Biennale, this is an essential toolkit to understanding the fundamentals that comprise structure around the globe. Designed by Irma Boom and based on research from the Harvard Graduate School of Design, the 2,600-page monograph contains essays from Rem Koolhaas, Stephan Trueby, James Westcott and Stephan Petermann; interviews with Werner Sobek and Tony Fadell (of Nest); and an exclusive photo essay by Wolfgang Tillmans. In addition to comprehensively updated texts and new images, this edition is designed and produced to visually (and physically) embody the immense scope of its subject matter: Custom split-spine binding: our printer modified their industrial binding machine to allow for the flexible, eight-centimeter thick spine Contains a new introductory chapter with forewords, table of contents, and an index, located in the middle of the book (where it naturally opens due to its unique spine) Printed on 50g Opakal paper, allowing for the ideal level of opacity needed to realize Boom’s palimpsest-like design Translucent overlays and personal annotations by Koolhaas and Boom are woven in each chapter to create an alternative, faster route through the book Printed at the originally intended 100% size for full readability The author Rem Koolhaas is a co-founder of the Office for Metropolitan Architecture. Having worked as a journalist and scriptwriter before becoming an architect, in 1978 he published Delirious New York. His 1996 book S,M,L,XL summarized the work of OMA and established connections between contemporary society and architecture. Among many international awards, he has received the Pritzker Prize (2000) and the Praemium Imperiale (2003). The designer Irma Boom is a graphic designer specialized in making books. Since founding Irma Boom Office in 1990, she has worked with the likes of Chanel, the United Nations, OMA/Rem Koolhaas, Fondazione Prada, Pirelli, and Rijksmuseum Amsterdam. She received the Gutenberg Prize and the Johannes Vermeer Prize, the Dutch state prize for the arts, among others. Her work is in a permanent collection of the Design and Architecture Department of the Museum of Modern Art in New York. Since 1992, Boom is a Senior Critic at Yale University in the USA. The photographer Wolfgang Tillmans is regarded as one of the most influential artists of his generation. His diverse body of work–still lifes, portraits, abstract imagery–spans a range of subjects, namely political movements, photographic representation, and subcultures. Today, his work is shown in numerous international museums including the Museum of Modern Art, Centre Pompidou and the Tate and has earned many awards, including the Turner Prize in 2000. Koolhaas. Elements of Architecture Hardcover, 20 x 25.5 cm, 3.54 kg, 2528 pages ISBN 978-3-8365-5614-9 Edition: English Download product images here
"Describing the project of a house would not be too innovative. In this case talking about those who use it, gives it identity and converts it into a place that is, without a doubt, a step. However, describing it through the eyes of Guadalupe Acedo (a lady from extremadura living in Bordeaus), the person responsible for the maintenance of the house, makes it much more than the presentation of a project by a famous architect.
Visit a selection of bold buildings by the Pritzker Prize–winning architect Rem Koolhaas
Image 2 of 22 from gallery of House in Almen / Barend Koolhaas. Photograph by Jeroen Musch
Rem Koolhaas OMA
S M L XL [Rem Koolhaas, Bruce Mau, Hans Werlemann] on Amazon.com. *FREE* shipping on qualifying offers. S M L XL
At DAM the German Museum of Architecture in Frankfurt portraits of prominent international architects photographed by Ingrid von Kruse are on exhibit until January
Set in a beautiful Renaissance palazzo and with eye-catching details, this brand new department store is Italy's answer to Harrods
Seattle Central Public Library, designed by Office for Metropolitan Architecture (OMA) [Rem Koolhaas/Joshua Prince-Ramus] Seattle, Washington. All rights reserved. No use & distribution without express written permission. Strictly enforced.
To take a peek inside the mind of Rem Koolhaas, would be to discover an inquisitive nature set against the common conventions with a different outlook towards life.
Celebrated Dutch architect and Pritzker Prize laureate (2000) Rem Koolhaas is not known mainly as a designer of private residences. However, the ones he has designed have become iconic. His famous private residence projects include the most recent three, all of them completed more than 30 years ago: the Maison à Bordeaux (1998), Dutch House (1995) and Villa dall’Ava (1991).
Hanwha galleria en Gwanggyo, Rem Koolhaas OMA Teniendo en cuenta la actitud propositiva de Rem Koolhaas, resulta complejo establecer el predominio de cada concepto en determinados contextos. Aunque el eclecticismo…
Categories Clothing / Shirts & Tops / T-Shirts SKU P1521406-BLA-S-MEN-HE-x6f062EM The product unique design you searched for is Rem Koolhaas Architect Building - Architecture Building - T-Shirt For belong theme T-Shirts at Printerval Key features Solid colors are 100% cotton Heather colors are 50% cotton, 50% polyester (Sport Grey is 90% cotton, 10% polyester) Antique colors are 60% cotton, 40% polyester Care instructions Machine wash: warm (max 40C or 105F); Non-chlorine: bleach as needed; Tumble dry: medium; Do not iron; Do not dry-clean. Due to variations of light and color settings of computer/personal device screens, colors may appear slightly different from photographic images. Due to the manufacturing process, sizes of items listed in descriptions are approximate and actual size may vary slightly. Due to the manufacturing process, alignment of images may vary slightly Buy eye-catching Rem Koolhaas Architect Building - Architecture Building - T-Shirt or see more T-Shirts products at Printerval shop now to explore many surprises from our shop!
Last night, as Christopher Hawthorne reported for the LA Times, the Hammer Museum played “Koolhaas Houselife”, a comical and witty documentary...
Arquitecto: Rem Koolhaas Construido en: 1994-1998 Piso: 3 Área construida: 500m2 Considerada una de las mejores casas de la década de los noventa del siglo pasado, esta casa de Koolhas/OMA en Burdeos se asienta sobre un jardín de estilo inglés de una antigua mansión y cerca de una cantera abandonada. Según parece su promotor, un paralítico le dijo a Koolhas: "Esta casa es mi mundo, por favor, hazlo lo más complejo posible" y así fue. Koolhas creo una casa dispuesta en tres plantas, como una villa clásica pero completamente diferente, su aspecto, que nos recuerda al brutalismo de las villas de Le Corbusier en la India se caracteriza por su fachada de hormigón, lo que le valió el sobrenombre de "El búnker". El búnker sobre sale de forma espectacular de una de las vertientes de la colina y se coloca sobre una casa ocultada al exterior donde el cristal es el material protagonista. La interrelación entre el interior y el exterior es ás parecida a un gran rompecabezas que a un espacio continuo. Cerca del centro de la planta, una sección de suelo del tamaño de una habitación, se ha transformado en ascensor-oficina, que se mueve entre los diferentes niveles de la casa. Se trata de una vivienda unifamiliar en la que la tecnología se une con la arquitectura para crear un universo al mismo tiempo simple y complejo. La casa en Burdeos ha sido proyectada para una familia compuesta por los padres y los tres hijos, pero con un objetivo particular. El cliente, Jean François Lemoine, quedó paralítico como consecuencia de un accidente automovilístico, moviéndose en silla de ruedas, y deseaba una vivienda que pudiera satisfacer sus propias necesidades y que fuese al mismo tiempo una casa para toda la familia: una solución que lograra combinar dos vidas paralelas. El edificio no tendría que ser una vivienda para un minusválido, sino todo un universo diverso y sorprendente, un escenario creativo en el que se desarrollaría la mayor parte de sus días. La vivienda se encuentra situada sobre una colina cerca de Burdeos, Francia y está rodeada por un parque de estilo inglés. Se trata de un proyecto práctico, destinado a solucionar más que adecuadamente los requerimientos funcionales, físicos y psicológicos del propietario que se desplaza en silla de ruedas y de su familia, creando tres mundos diferentes, uno en cada planta, unidos por un eje común, un ascensor. El edificio está compuesto por tres casas sobrepuestas una sobre la otra: tres plantas de naturaleza completamente diferente y en claro contraste visual. La planta más baja está excavada en las laderas rocosas y se dispone en varias cuevas; la planta de en medio es acristalada y transparente; y la planta más alta está dividida en varias habitaciones. Primer nivel La planta situada más abajo ha sido excavada literalmente en la colina y consiste en un semisótano, con una pared de vidrio que da al patio de entrada. Cada una de sus habitaciones está excavada en el terreno de forma independiente, la entrada principal, la cocina, el lavadero, una bodega, la sala de TV, y el área de servicio. Para subir a los siguientes niveles se ha colocado un ascensor y una escalera. La escalera desemboca en la terraza de la planta baja. Segundo nivel La planta central es la que principalmente llama la atención: dedicada a la zona de día, está abierta a todos los lados y acotada sólo por paredes acristaladas que excluyen el interior creando una estrecha relación con el jardín. En este nivel se ubican, además de la sala de estar, el comedor, la terraza, un estudio y el ascensor La inmaterialidad de la planta central hace que la planta superior de cemento quede como suspendida, levitando en el aire. La planta baja, aun estando en parte bajo tierra, no da la idea de cierre al interior, se abre como un patio transitable desde el que se accede a la entrada principal en el corazón de la vivienda, donde también están situados las conexiones verticales. Una pared corredera de vidrio permite abrir la sala de estar a la terraza, a la vez que por su posición la protege. Toda la luz que invade la sala contrasta con su techo de hormigón rústico, que determina de forma abrumadora el espacio. Tercer nivel La planta más alta está dividida en dos partes dedicadas respectivamente a la pareja y a los niños. Es una caja protectora de hormigón con espacios varios interconexos, algunos de los cuales se abren al cielo. El dormitorio de los padres se abre al paisaje en el extremo oriental abierto de la caja y los dormitorios de los niños acceden al paisaje desde determinados puntos de las habitaciones, la cama, el baño o el escritorio, y a través de unos pequeños ojos de buey, ahusados y oblicuos, ubicados a unas alturas específicas. La planta de noche invierte la filosofía aplicada al cuarto de estar, interiorizando los ambientes que se asoman al exterior solo por ojos de buey recortados en el cemento y situados con cuidado para ofrecer los escorzos mejores sobre el panorama que la rodea. Primer nivel, 1-entrada principal, 2-cocina, 3-lavadero, 4-ascensor, 5-bodega, 6-sala TV, 7-zona servicio Segundo nivel, 1-sala de estar, 2-comedor, 3-terraza, 4-estudio, 5-ascensorç Tercer nivel, 1-dormitorio padres, 2-baño, 3-ascensor, 4-dormitorio, 5-baño Ascensor Los diversos niveles están atravesados por una ingeniosa plataforma que se desplaza verticalmente por medio de un pistón, no es un simple ascensor, sino una verdadera habitación sin paredes pensada como estudio para el dueño, la cual le permite ir desde la cocina al cuarto de estar o al dormitorio, sin moverse del escritorio. Las paredes que rodean la plataforma están equipadas con librerías, de modo que el Sr. Lemoine puede alcanzar fácilmente sus libros yendo hacia arriba o hacia abajo en su estudio. El ascensor es el espacio clave de la casa que la abre a todos sus habitantes, vayan o no con silla de ruedas. En el sótano, el ascensor se abre a la bodega y forma parte de la cocina. En la panta baja, domina la sala de estar en el último nivel se convierte en una alcoba del dormitorio principal. Estructuralmente la planta en voladizo únicamente está sustentada en un de sus extremos por el pórtico de acero situado más abajo y por una viga que se apoya sobre la pared exterior de hormigón y el cilindro revestido de acero inoxidable que encierra de la escalera en el otro. Este resulta un “extraño” pilar con respecto a la viga en voladizo, por lo que se equilibra mediante un tirante anclado al terreno del patio. Pilares A no ser dos perfiles de acero en el sótano, no existen en esta construcción nada que se pueda llamar auténtico pilar, como tampoco muros de carga. Habitualmente las construcciones tienen bases sólidas y las partes de arriba más ligeras. En esta casa sucede todo lo contrario, la enorme caja de hormigón se apoya sobre un espacio abierto, aparentemente sin mayores apoyos y con paredes de cristal. Por lo general las vigas sostienen las cargas desde abajo, en este proyecto una enorme viga de acero, de casi un piso de altura, se apoya sobre el edificio como si fuera cualquier cosa, menos un miembro imprescindible de la estructura y así sucesivamente con todos los elementos o detalles de la construcción, como si se tratara de un juego manual. Vacíos y llenos, lo introvertido y lo extrovertido, animan tanto las fachadas como los interiores junto a la buscada asimetría, y se hacen posibles gracias a ingeniosas soluciones funcionales y estructurales. Las combinaciones de los materiales subrayan el dualismo recurrente: el cemento se contrapone al cristal y al aluminio, se mezcla con el acero, creando una fascinante ambigüedad estructural. Cemento visto, pintado de gris en los techos del salón, revestimiento de cromo reflectante en la caja de escalera al atravesar la terraza para conferirle una apariencia incorpórea.
The luxury department store’s renovation centers around a stairwell created by the OMA principal
A précis by Emma Watson Delirious New York: A Retroactive Manifesto for Manhattan is an engaging review of modern architecture and urbanism, setting a celebratory account of the surreal ‘culture of congestion’ found in Manhattan. Written while Rem Koolhaas was a visiting professor at the Institute for Architecture and Urban Studies in New York, and first published in 1978 - written during a period of financial crisis, with the city government narrowly avoiding bankruptcy through a substantial federal loan. At a time when confidence in the city is at an all time low, Koolhaas promotes Manhattan as a prototype of the modern metropolis, a collaboration of visionaries that strive to make life in the city a ‘deeply irrational experience’. Declaring himself as the city’s ghost-writer, Koolhaas tells the story of Manhattan, a ‘mythical island’ and setting of an urban experiment in which the city becomes a factory for man made experiences, a laboratory to test the potential of modern life. He claims that ‘Manhattanism’ is the one urbanistic concept that revels in ‘hyper density’ and is fuelled by the splendours and miseries than come with the urban condition of man made living. ‘With Manhattan as an example, this book is a blueprint for a culture of congestion.’ The first chapter gives an overview of the history of the island, discovered in 1609, and depicted by a French artist as existing European components reassembled into a single location, ‘A Utopian Europe’. A utopia that is indifferent to topography, imposing the mental over the real. The grid system in Manhattan predicted the future condition of the city; its two dimensional restrictions gave way to three dimensional freedom, and the millions of people that it now houses was envisaged far before a tiny proportion were even present. Much like the grid, central park was created long before the programmes which fill it had been realised, quoted as ‘a colossal leap of faith, the contrast it describes – between the built and the unbuilt – hardly exists at the time of its creation.’ The book is a representation of the grid: ‘a collection of blocks whose proximity and juxtaposition reinforce their separate meanings.’ Each block correlates to a chapter; Coney Island, the Skyscraper, Rockefeller Centre and Europeans. When Manhattan transforms from a city into a metropolis, Coney Island offers a resort, the ‘safety value of the worlds most highly charged metropolis’. As demand for escape increases; ‘the island is forced to mutate; it must turn itself into the very opposite of nature’, and instead of providing a release from the urban pressure, Coney provides intensification. The island’s artificiality becomes an attraction, counteracting the theatricality of the new metropolis with its unique ‘super-natural’. Coney’s amusement parks Steeplechase, Luna and Dreamland emerge, each more ostentatious than its predecessor, providing an infrastructure that made the island the ‘most modern fragment of the world’. Within Coney these three parks act as the testing grounds for a ‘new technology of the fantastic’, from which stem the strategies and mechanisms that came to shape Manhattan. A ‘glorious whole’ – the skyscraper represents a coming together of a number of urbanistic breakthroughs. The tower was first tested on Coney with the ‘snow white pinnacles’ of Luna’s skyline. Now, in Manhattan, building became tower through the union of the elevator and steel frame, giving way to a construction which was ‘able to support newly discovered territories’, the further you ascend, the more you leave behind the undesirable circumstances below. Any site could now be multiplied ad infinitum to produce a proliferation of floor space. The skyscraper was a utopian formula which could be used an instrument for ‘a new form of unknowable urbanism’. Manhattan’s architecture under went a lobotomy, ‘less and less surface represented more and more internal activity’. By separating the internal and external, the monolith of the skyscraper spared the outside world of everyday life, a shell housing layers of reality. Entering a building in Manhattan, even changing floors, could become an act of moving between worlds. The deliberate disconnection of storeys – ‘the vertical schism’ – accepted the skyscrapers instability in a definitive composition, succumbing to cultural potential. Each new building spanning a block, like a collection of urban islands, each striving to be a ‘city within a city’, all potentially at war with each other. Media technologies were structurally integrated into the modern metropolis, as can be seen in the Waldorf-Astoria Hotel, Daily News Building, and most importantly the Rockefeller Center. Like the speculative Manhattan grid, the Rockefeller Centre was ‘an artificial domain planned for non existent clients’, it finds a perfect occupant in the Radio Corporation of America and its subsidiary NBC and their state of the art production facilities. The theatricality that was once experienced on Coney Island, and then of the interior activities of the skyscraper, could now be fabricated within the Centre and transmitted across the world, ‘the nerve center of an electronic community that would congregate at Rockefeller Center without actually being there. Rockefeller Center is the first architecture that can be broadcast’. Manhattanism is ‘congestion for congestion’s sake’, and the reason why any of Le Corbusier’s schemes failed to be realised in Manhattan. Radiant City, which Koolhaas describes as ‘a majestic flow of humanist non sequiturs’, is a proposal to erase all the utopian urbanistic ideals upon which Manhattan was built and replace them with a uniform set of towers – Cartesian skyscrapers - evenly planted in green spaces. His desire was to purify the city, and give its residents access to light and air. His urban form removed the congestion, offering only the efficiency of banality in exchange. This congestion, in a realm divorced from reality, forces the metropolis ever upward into the speculative. There was no place for Manhattan’s technology of the fantastic within the Cartesian skyscraper, for Corbusier; ‘use of technology as instrument and extension of the imagination equals abuse…for him technology itself is fantastic’. The Cartesian skyscraper had been stripped of the stone cladding that enclosed the Manhattan skyscraper and allowed the ‘ideological hysteria’ of the internal architecture to thrive. Koolhaas concludes that the glass walls of Corbusier’s skyscraper enclosed ‘a complete cultural void’. During these playful journeys through Manhattans history, Koolhaas advocates his duty to modernity, if not to architectural modernism as a movement. He focuses on Manhattan’s ability to invent the ‘modern’, creating a parallel to the sober and abstract ideals of Le Corbusier’s European Modernism. The city’s buildings are not advocated as architectural masterpieces, but the tools for reinventing city life.
