Rem Koolhaas領銜的OMA受Prada基金會所托，在意大利米蘭將一座始建于1910年的工業園區改建成為全新的Prada基金會新總部。這座古老的工業園原有7棟倉庫與實驗室建筑與中間的一個孤零零的院子。OMA大刀闊斧將其整合改建，并新增了3個建筑主體，包含博物館臨時展覽區，電影院，以及一個10層高的畫廊，最終總面積達到18900平方米，公共面積12300平方米，私人區域6600平方米。
Rem Koolhaas告訴gooood：“如今藝術領域的改擴建項目數量已有所減少，而廢棄的工業用地也已經成為最有吸引力的改建場所，因為其卓越的空間姿態可以完美的承載藝術家的挑戰與理念。Prada基金會把新址選在了廢棄的工業園區，我們增加了大展館，塔，電影院這三個新體量以確保Prada基金會新總部擁有與建筑完美結合的藝術空間?！?/p>
Photograph by Bas Princen, Courtesy of Fondazione Prada
It is surprising that the enormous expansion of the art system has taken place in a reduced number of typologies for art’s display. To apparently everybody’s satisfaction, the abandoned industrial space has become art’s default preference — attractive because its predictable conditions do not challenge the artist’s intentions — enlivened occasionally with exceptional architectural gestures.
The new Fondazione Prada is projected in a former industrial complex too, but one with an unusual diversity of spatial environments. To this repertoire, we are adding three new buildings — a large exhibition pavilion, a tower, and a cinema — so that the new Fondazione Prada represents a genuine collection of architectural spaces in addition to its holdings in art.
The Fondazione is not a preservation project and not a new architecture. Two conditions that are usually kept separate here confront each other in a state of permanent interaction – offering an ensemble of fragments that will not congeal into a single image, or allow any part to dominate the others.
New, old, horizontal, vertical, wide, narrow, white, black, open, enclosed — all these contrasts establish the range of oppositions that define the new Fondazione. By introducing so many spatial variables, the complexity of the architecture will promote an unstable, open programming, where art and architecture will benefit from each other’s challenges.
Photograph by Bas Princen, Courtesy of Fondazione Prada
“該基金會既不是一個保護項目，也不是一個全新的建筑”，Rem Koolhaas繼續說道：“而是兩者保持相互獨立對立但又永久交互，他們不會凝結成為單一的形象體，他們是合奏體中的獨立存在。在這里，新，老，水平，垂直，寬，窄，白，黑，開放，封閉—所有的差異和變量都對立并存于這個不穩定的復雜環境中，是建筑與藝術得益于這樣的挑戰與激發?！?/p>
Photograph by Bas Princen, Courtesy of Fondazione Prada
Photograph by Bas Princen, Courtesy of Fondazione Prada
Photograph by Bas Princen, Courtesy of Fondazione Prada
Photograph by Bas Princen, Courtesy of Fondazione Prada
Photograph by Bas Princen, Courtesy of Fondazione Prada
Photograph by Bas Princen, Courtesy of Fondazione Prada
Photograph By Charlie Koolhaas ? OMA
Photograph By Charlie Koolhaas ? OMA
Status: Construction
Client: Fondazione Prada
Location: Milan, Italy
Site: Former distillery at Largo Isarco No2, Milan, an industrial complex dating from 1910, comprising seven existing structures, including warehouse, laboratories, and brewing silos surrounded by a large courtyard and three new structures including a museum for temporary exhibitions, a transformable cinema building and a 10-storey high gallery tower.
Program: Total public area,12300 m2; total private area, 6600 m2; and total built area, 18900 m2
OMA Team
Partner in Charge: Rem Koolhaas, Chris van Duijn
Project leader: Federico Pompignoli
Preliminary Design: Sam Aitkenhead, Doug Allard, Andrea Bertassi, Aleksandr Bierig, Eva Dietrich, Paul-Emmanuel Lambert, Jonah Gamblin, Takuya Hosokai, Stephen Hodgson, Jan Kroman, Jedidiah Lau, Francesco Marullo, Vincent McIlduff, Alexander Menke,
Aoibheann Ni Mhearain, Sophie van Noten, Jan Pawlik, Rocio Paz Chavez, Christopher Parlato, Ippolito Pestellini Laparelli, Dirk Peters, Andrea Sollazzo, Michaela Tonus, Jussi Vuori, Luca Vigliero, Mei-Lun Xue
Progetto Definitivo: Anna Dzierzon, Jonah Gamblin, Ross Harrison, Hans Hammink, Matthew Jull, Taiga Koponen, Vincent Konate, Andres Mendoza, Susanan Mondejar, Vincent McIlduff, Sasha Smolin, Michaela Tonus
Construction documentation: Katarina Barunica, Marco Cimenti, Cecilia Del Pozo Rios, Anita Ernodi, Felix Fassbinder, Peter Feldmann, Siliang Fu, Romina Grillo, Jonah Gamblin, Clive Hennessey, Taiga Koponen, Roy Lin, Debora Mateo, Vincent Mc Ilduff, Andres Mendoza, Arminas Sadzevicius, Magdalena Stanescu, Lingxiao Zhang
Construction Administration: Mateo Budel, Marco Cimenti, Andrea Giovenzana, Nicolas Lee, Victor Pricop, Pawel Panfiluk
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在裝置中安裝由單線組成的網格，待裝置充氣后其自身的張力和特別的掐絲安裝技術使得線繃緊后并牢固到有足以支撐一個人的重量。人們在這個網格組成的白色均一空間中能夠任意攀行，且因為其均質不能判定方向和規模，在空間中有著非正常的空間體驗。
這個項目仍處于開發階段。這次為大家展示的是2013年年底在維也納鄉村地區做的一次實驗。
Prototype of a self supporting inhabitable social sculpture.
The installation is based on production system of large geometric inflated objects. Since the physical behavior of fluids tend to make all inflates spherical, thin parallel ropes are tied on opposite sides of the volume, keeping them parallel to one another. Filigree interiors of this technically invented system are never exposed to public.
When the volume deflates, the ropes get loose and lay on the ground enabling compression of the installation. When the object inflates, the ropes tense to a perfect line again, strained enough to carry the weight of a human being. Bodies entrapped in 3D grid, flying in unnatural positions throughout superficial white space, resemble Dadaist collages. Impossibility of perception of scale and direction results in simultaneous feeling of immenseness and absence of space.The project is still in development. The test was made in rural surrounding of Vienna, end of December 2013.
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“Nobody can replicate light in the way that it exists in nature. I would be happy if I was to capture a small part of that complexity when designing a fixture.” – Michael Anastassiades
The new Mobile Chandeliers are a natural evolution of the series, first designed in 2008 (Mobile Chandelier 1) with an introduction of curves to the existing linear language. All pieces are individually “tailored” with all elements, perfectly balanced in total equilibrium.
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