In the land of Prada, a clinical precision prevails; here, even the bathroom — a trippy 16-foot-high cube with walls and ceiling covered in salvaged vintage mirrors endlessly reflecting the Mod brown 1960s plumbing fixtures — is an opportunity for whimsy — NYT - T Magazine
For the 2016 Spring/Summer Prada Real Fantasies, AMO graphically reinterprets the Indefinite Hangar as a synthetic sunset fixed within a 3 dimensional blank space. The abstract hangar is populated with geometric objects and furniture. Characters move through a neutral scene between the undefined and distilled fragments of daily life. The horizon and scale constantly shifts, manipulating the frame and disrupting a linear sequence: an artificial landscape where fiction and collection collide. — OMA
Dutch architect Rem Koolhaas talks to SPIEGEL about the new Fondazione Prada museum he designed in Milan, the danger of turning cities into historical Disneylands and his desire to raze an entire neighborhood of Paris. [...]
Koolhaas: Before the 1980s, the decisions were made by cities. Since then power has shifted toward private investors. Nothing good has come of this for Holland. [...] I regret that cities no longer have money to even pursue a vision of their ongoing development. — spiegel.de
Filmmaker Wes Anderson has a knack for creating fictional spaces with attention paid to the last excruciating detail. His latest space is real, though, and even better, you can get a drink there. [...]
Three new buildings, which were part of a century-old distillery and transformed by renowned Dutch architect Rem Koolhaas, will now house art rather than alcohol. But for the thirsty there’s also a new bar, called Bar Luce, that Anderson designed himself. — qz.com
Some of the spaces are as Mr. Koolhaas found them; others have been reconfigured but look as though they haven’t been touched. The three new buildings are made of glass, white concrete and an aluminum — NYT
The conceptual storefront Prada Marfa, 2005, by Elmgreen & Dragset, has a new lease on life. The Texas Department of Transportation reached an agreement last week with the foundation Ballroom Marfa to preserve the sculpture after nearly one year of negotiations. The government threatened to shut down the work because it could be considered an illegal roadside advertisement under state law. [...] the foundation plans to lease the land underneath Prada Marfa and register it as an art museum. — theartnewspaper.com
Curated by architect and historian Joseph Abram, in collaboration with Rem Koolhaas’ OMA/AMO, the exhibition celebrates the work of Perret, in particular his extended use of reinforced concrete.
The exhibition analyzes, through more than 400 original documents such as sketches, pictures, scale models and personal letters, eight buildings conceived by Perret. These include the Théâtre des Champs-Elysées in Paris, along with the Hôtel de Ville and the Eglise Saint Joseph in Le Havre. — wwd.com
Nearly eight years after opening, Prada Marfa has been classified by the Texas Department of Transportation as an “illegal outdoor advertising sign” because it displays the Prada logo on land where that is prohibited. This could lead to forced removal of the installation, although the department has not yet decided what action it will take. — nytimes.com
The staging was called the Ideal House, and it was a fully furnished modern home, but one with an audience, a runway wrapped around it, and “windows” projected on the walls with scenes of the outside world. It was the latest in many intricate and avant-garde pairings between Prada and OMA...
The 12-piece furniture collection, designed by OMA for Knoll, will debut at the Salon Internazionale del Mobile in Milan in April. — blogs.artinfo.com
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