The rhetoric of smart cities would be more persuasive if the environment that the technology companies create was actually a compelling one that offered models for what the city can be. But if you look at Silicon Valley you see that the greatest innovators in the digital field have created a bland suburban environment that is becoming increasingly exclusive — European Commissioner for the Digital Agenda for Europe

The Garage Museum of Contemporary Art announced yesterday that its forthcoming permanent home inside the Soviet-era eatery in the capital’s central Gorky Park is due to open in June 2015. [...]

And Rem Koolhaas, who was tasked with transforming the abandoned restaurant's ruin for the museum, is leaving it largely untouched. — blouinartinfo.com

This year's Biennale reveals that neither modernism nor contemporary architectural practice is as it seems. The best architecture today may not be revolutionary, but then today more than ever the desirability of revolutions are in doubt. Situated modernism has for many years been and continues to dominate architectural practice with the opposite of flattening results. — newrepublic.com

An exploded false ceiling and a lineup of lavatories become the stars as Koolhaas delves into the overlooked innards of today's buildings – and shows how architecture has become nothing more than cardboard — theguardian.com

As the 14th edition of the Venice Biennale of Architecture prepares to open, the pavilions of the Giardini might be the perfect venue for an analysis of the architectural manifestations of national identity. [...]

Architecture is a curious world in which the things we hate might look very similar, to a less-inured eye, to the things we love. It is a question of degrees, of finesse. Koolhaas exemplifies the paradox. — ft.com

To sever instances of “architecture” from the deaths of indentured construction workers on a building site in Qatar, or from the property lines measured out at Twin Lakes, is an elemental act, comparable to flushing a toilet, turning on the water, or switching on a light... Understanding these infrastructures, and contesting their hegemony with that knowledge, is therefore as basic as it gets. — Places Journal

“We've never been this vulgar,” says the practice's founding partner Rem Koolhaas, sitting in the building's boardroom, flanked either side by neat men in military denim jackets, like officers from some future fashion police. [...] brazenly conflating G-Star's brand values with their own, aligning their manifestos, house styles, ways of working and even presenting a shared aesthetic of raw industrial chic – with concrete and steel fragments of OMA buildings overlaid on to G-Star models. — theguardian.com

The wait is finally over. After a unanimous decision from the jury, Rem Koolhaas of OMA has the winning design for the new Berlin Media Campus of German publishing house Axel Springer. OMA's concept won against those of two notable finalists, Bjarke Ingels Group (BIG) and Buro Ole Scheeren. A contract will be issued once it has been decided if and when the construction project can be implemented. — bustler.net

vado retro is moved to wonder "with the rash of notable building demolition that has and continues to occur, is there a checklist of what makes a building valuable enough not to demolish?...is it because buildings are more about image and visuals than spatial experience that we are willing to rid ourselves of award winning pieces of architecture/art?...maybe buildings don't really matter that much"

Under his tutelage, designers learn to privilege approach over style. Rather than work with drawings, like most traditional architecture firms, OMA employees first "Diagram" a building—identify the structure's basic components and how they fit together—and then proceed to build it. It's an analytical method that results in buildings that are sometimes ungainly but never unexciting and reject the signature styles associated with many other renowned architects. — online.wsj.com