KOOLHAASREM

Carol Tu Obi Vattanawong + Dedy Wong Jaan Jing Liew Kelvn Wong

OMA*AMORem Koolhaas’ projects are completed by the Office for Metropolitan Architecture (OMA), !which is a leading international partnership practicing contemporary architecture, urbanism, and cultural analysis. It is led by Rem Koolhaas and his five partners, and maintains offices in four countries.

OMA has a design and research studio named AMO in its Rotterdam office. AMO works for the same clients and pursues architecture beyond its traditional boundaries.

THE INTERLACE, SINGAPORE, 2009

CAMOUFLAGE

The theory of Camouflage is not a form of disguise. It constitutes the symbolization of an individual within its cultural setting and can be described as an interface with the world that mediates between self and the environment through the careful control of aesthetic production.

The  aesthetic  design  of  Koolhaas�’  architecture  demonstrates  Camouflage.  

Their  visual  significance  represents  their  cultures without  being  

aesthetically  distracting  from  their  surroundings.  They  merge  contrasting  

features  of  a  city  or  location  through  connectivity.

MAHANAKHON, THAILAND, BANGKOK, 2009

The  aesthetic  design  of  Koolhaas�’  architecture  demonstrates  Camouflage.  

Their  visual  significance  represents  their  cultures without  being  

aesthetically  distracting  from  their  surroundings.  They  merge  contrasting  

features  of  a  city  or  location  through  connectivity.

PRADA TRANSFORMER, SOUTH KOREA, SEOUL, 2008

�“Design  an  architectural  space  to  accommodate  

a  specific  program,  experience,  or  intent.�”

-­  Matthew  Frederick

ACCOMMODATION

IIT – MCCORMICK TRIBUNE CAMPUS CENTER, USA, CHICAGO, 2003

Koolhaas  architects  must  research  and  address  issues  of  the  location  because  

they  must  find a way  to  work  within  the  location�’s  context  to  design  a  successful  

building  that  achieves  the  purpose for  which  it  was  built.

�“Design  an  architectural  space  to  accommodate  

-­  Rem  Koolhaas

�“How  to  make  a  serious  building  in  an  age  of  icons?�”

CASA DA MÚSICA

The Casa Da Música is a music hall located in a public square in Porto, Portugal. The interior contains two main auditoriums, but other areas can be easily adapted for musical activity.

Koolhaas surrounded the music hall with white concrete walls on three sides to create a unique shape, and integrated a continuous public route that connects areas of the building.

MAISON  À  BORDEAUX

Koolhaas surrounded the music hall with white concrete walls on three sides to create a unique shape, and integrated a continuous public route that connects areas of the building.

The Maison à Bordeaux is a private residence Koolhaas built on a hill overlooking the city of Bordeaux in France. It is three stories high, with distinctly divided sections differentiating rooms for the mother, father, children, and guests.

�“I  want  a  complex  house,  because  the  house  will  define  my  world.�”

The most significant feature of this residence is its 3 X 3.5m elevator platform.The father of the residing family was a handicapped clientwho had limited access to the world around him.

-­  Koolhaas�’  client

Koolhaas’ elevator fulfilled the father’s request. A single wall intersected each floor of the house beside the elevator. The wall held books, wine, or other belongings of the father. As the elevator leaves a floor it leaves a gaping opening, making the wall inaccessible to the rest of the family when the elevator platform was not present. The elevator also caused the space of the interior to change continuously.

KUNSTHAL

1

2

3

The main anchors in the Kunsthal are the entrance facing the highway and the exit to Museum Park. As visitors traverse from highway to park, they are encouraged to enter the exhibition halls.

3

The Kunsthal’s ramps are negative spaces visitors travel through, and the exhibition halls are positive spaces they stop in.

Rooftop

2

The auditorium is a positive space people can sit in, but the right side of it is a ramp that to the garden ramp, which connects to the rooftop.

This mixture of positive and negative space creates a constant dynamic distribution of visitors throughout the Kunsthal.

Auditorium

The Kunsthal also takes on the challenge of connecting two levels within a square building. Naturally, a square shape does not suggest very good movement or circulation.

The Kunsthal's spiral pathway establishes circulation and facilitates movement between the two levels and its main exhibition halls. Also the placement of entrances within the spiral pathway encourages and establishes movement.

2

The roof and the restaurant act as anchors in the Kunsthal.Visitors eating in the restaurant can go see the view from the rooftop.They can traverse through the giftshop then walk through the auditorium to reach the rooftop. The anchors facilitate movement through the auditorium and the giftshop, keeping the dynamic flow of people throughout the Kunsthal.

GiftShop

2 2

Small Gallery

CONCLUSION

Rem Koolhaas designs his projects with careful attention to landscape and societal situations.

As a result his buildings are symbolic to the location’s culture and significant in appearance without being aesthetically distracting from its background.

COMPARISION

PHOTOSCOMPARISION

PHOTOSCOMPARISION

REFERENCE

IMAGES

Husanna, S. “Maison A Bordeaux”, De Rem Koolhaas. Retrieved February 24, 2010 from http://storiesofhouses.blogspot.com/#111875876221998436

Koolhaas, R. (1998). OMA Rem Koolhaas living, vivre, Leben. Bordeaux, France: Arc en reve centre d'architecture

OMA/AMO. Casa Da Musica, Portugal, Porto. Retrieved February 25, 2010 from http://www.oma.eu/index.php?option=com_projects&view=portal&id=48&Itemid=10 OMA/AMO. Maison À Bordeaux, France, Dordeaux, 1998. Retrieved February 25, 2010, from http://www.oma.eu/index.php?option=com_projects&view= project&id=19&Itemid=10

OMA/AMO. OMA. Retrieved February 25, 2010 from http://www.oma.eu/index.php?option=com_content&view=article&id=3&Itemid=1

Patteeuw, V. (Ed.). (2003). Considering Rem Koolhaas and the Office for Metropolitan Architecture. New York, NY: NAi

Tsukui, N. (Ed.) (2000). OMA@work.a+u .Tokyo: a+u publishing Co.

http://www.flickr.com/photos/8680656@N06/2901502662http://www.flickr.com/photos/alfonstr/3470283935/http://www.flickr.com/photos/amocontent/3067370855http://www.flickr.com/photos/esmuz/2944249199/http://www.flickr.com/photos/javier1949/3190153317/http://www.flickr.com/photos/jolyn/429331115/sizes/o/http://www.flickr.com/photos/nickvg/3589922879http://media.photobucket.com/image/rem%20koolhaas/nuisikaa/iaakuza/lecture3_14.jpg