BIG’s masterplan (top) and OMA’s (bottom) Miami Beach is heating up as two of the biggest international architecture firms compete for the masterplan of its convention center area. High-profile competitions between high-profile firms are nothing new; usually involving four out of the ten usual contenders, these matches happen on almost a weekly basis. What makes …Continue Reading
Archivo de la categoría: Rem Koolhaas
A Crash Course on Modern Architecture (Part 2)
Merete Ahnfeldt-Mollerup is associate Professor at The Royal Danish Academy of Fine Arts. This article originally appeared in GRASP.
Miss Part 1? Find it here.
Architecture is inseparable from planning, and the huge challenge for the current generation is the growth and shrinkage of cities. Some cities, mainly in the Southern Hemisphere, are growing at exponential rates, while former global hubs in the northern are turning into countrysides. In the south, populations are still growing a lot, while populations are dwindling in Europe, Russia and North East Asia. The dream of the Bilbao effect was based on the hope that there might be a quick fix to both of these problems. Well, there is not.
A decade ago, few people even recognized this was a real issue and even today it is hardly ever mentioned in a political context. As a politician, you cannot say out loud that you have given up on a huge part of the electorate, or that it makes sense for the national economy to favor another part. Reclaiming the agricultural part of a nation is a political suicide issue whether you are in Europe or Latin America. And investing in urban development in a few, hand-picked areas while other areas are desolate is equally despised.
The one person, who is consistently thinking and writing about this problem, is Rem Koolhaas, a co-founder of OMA.
Koolhaas is probably the most influential architectural theorist of the late 20th century – it remains to be seen whether his influence will remain as strong in the post economic crisis era. In this context, what is important is the coolness and clarity of his analysis. While many of his followers cherry-pick the facts they use for their analysis, one sometimes gets the impression that Koolhaas himself has an intellectual obsession with real facts, even when they run against his theory.
Koolhaas’ theoretical points of departure were the two great cities of New York and Berlin, which, at the time (1970s), were in different but similar states of decay. At the time, there was no hope in sight for either city in terms of economy or population growth, but both were intellectual and artistic centers on a global level. Koolhaas, however, set out to understand the historical foundations of Manhattan as the world’s financial hub, rather than the (then) reality of a depressed shrinking city, and from that understanding, he developed a theory of the sound, expanding city; since then he has been testing this theory in both theory and practice, with several failures in his portfolio.
One very powerful element in the theory of Koolhaas is the concept of “complexity of program”. From the early 20th century and on, a fundamental tenet of architecture and planning has been that of separation of programs. In the cities both industry, government, shopping and housing were separated in areas. In houses, sleeping, dining, relaxing, working, cooking, bathing and playing had separate rooms. I’m old enough to have been taught design in these terms. If you draw a bedroom, you can define all the essential properties, and thus the most excellent placement of the bed, the window, the wardrobe and the doors. And then onwards. Design becomes a social engineering puzzle.
Koolhaas criticizes modernism by showing examples of rugged, cross-intuitive programming. Eating oysters with your boxing gloves on. Dancing in an office building. Building a successful city where production, administration, living, recreation and creativity co-exist in every square mile. Ignoring all historical/European ideas about the city.
At the time (1978), it was impossible to claim N.Y.C. as an example of a successful city, since the consensus then was that cities were per definition not successful. Still, “Delirious New York” is a model of progressive architectural theory.
Since then Koolhaas and his collaborators have published a number of important works, expanding this initial masterpiece, and dealing with the post 1989-reality of a boom economy and unpredictable societal structures. Throughout this body of work is a certain sense of depravity or nihilism, similar to the work of David Bowie, which is fascinating but also alienating for a lot of people. So even if Koolhaas is a starchitect, he is an outlier in the field, someone who points both backwards and forwards, and someone whose spectacular projects are driven by very complex layers of knowledge.
As I said earlier, these are issues which is almost impossible to deal with politically. One might suspect that some of the nihilism of OMA and its sister AMO grows out of dealing with real politicians who need creative wordings for inescapable realities. Who will say out loud that we may need gentrification of certain areas? Or tearing down villages that are unsustainable? Or inviting immigrants because population is dwindling?
In this context young Danish architectural practices like Bjarke Ingels Group (BIG) represent an optimism and interest in the human scale and perception not found in the Dutch tradition after Koolhaas, or among the international elite of starchitects like Gehry, Herzog & de Meuron or Foster. Especially outside Europe, Danish architecture has come to represent the dream of friendly management of urbanization, a country where even the so-called ghetto housing looks like luxury condominiums built in bountiful parks, and the “say yes”-philosophy of BIG seems to be a promise that everything can be happily designed for everyone. It will be interesting to see how this plays out in the future.
In Copenhagen, among young architects and students of architecture, there seems to be a strong reaction against what they call “Dutch architecture”. This puzzles international students who come to study at the alma mater of Bjarke Ingels or work as interns at BIG. I think the reaction to some extent has to do with the reality of the construction business here: most of the work is either on big welfare and infrastructure projects like hospitals, nursing homes and metro development, or within the area of renovation and transformation, and in these contexts, the programmatic optimism and disregard for details which are characteristic of BIG are not useful. Someone showing a portfolio of diagrams and happy pictograms is not going to get work.
At the same time, there is an awareness internationally that the above-mentioned management of urban change must be understood within the contexts of climate change and a less expansive economy, even in the BRIC countries, which is another reason the High Line is such a good example of what will come. At last year’s Venice Architecture Biennale, one of the most poetic and inspiring exhibitions was the Angolan pavilion, telling about a visionary greening project for a large slum-area. The winner of the Golden Lion was another slum-project, a Venezuelan favela-café. The winner of the last Mies van der Rohe award (the most prestigious European prize for architecture) and a huge inspiration for young architects was David Chipperfield’s Berlin Museum renovation.
Another interesting position, which seems to be garnering a lot of interest globally, is the tendency in Japanese architecture towards an extreme minimalism, where the technology of the buildings are pushed to the limits, and new building typologies are invented in order to subvert conventional uses of space. SANAA in particular are established as the new anti-starchitects, literally inverting the concept of statement architecture with strange, soft and barely there buildings, which are less experienced with the eye and mind, and more through the movement through and around the spaces, while interacting with other people. Their European buildings challenge the whole system of building here, in ways that are useful for all architects. In New York and in Japan, where the coastal cities are dense both in population and information, their airy and cool buildings seem almost cloud-like and unearthly.
So it seems, as of right now that we are heading towards an era of less expressive and less programmatic approaches to architecture, where the knowledges of technology, of human sensory, emotional perception, and of socially inclusive planning are prized.
Merete Ahnfeldt-Mollerup is associate Professor at The Royal Danish Academy of Fine Arts
A Crash Course on Modern Architecture (Part 2) originally appeared on ArchDaily, the most visited architecture website on 08 May 2013.
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Friday Fun: Dogs Who Look Like Starchitects
If you’re anything like, um, everyone else who uses the Internet, you spend a good chunk of your time online looking at animal photos. But while the World Wide Web abounds with images of writers and their dogs, or celebrities and their cats, or Salvador Dali and his lobsters, there are dismayingly few—if any—Architecture + Animal posts. (Believe us, we’ve Googled it. Lots.) So, inspired by our friends at Buzzfeed and their amazing Corgi roundups, we present: starchitects and dogs, specifically their doggy doppelgängers. Because, it’s Friday, and we—and you—deserve it. Click through to see them all!
Bjarke Ingels is a wide-eyed French Bulldog!
Johannes Vermeer Award 2013 goes to Rem Koolhaas
With the ambition of honoring and encouraging outstanding artistic talent, the Dutch state prize for the arts – the Johannes Vermeer Award – has been awarded this year to architect and writer Rem Koolhaas. The jury made a unanimous decision, citing Koolhaas’s critical contributions to architecture and urbanism since his career began with the publication of Delirious New York in 1975.
The jury of the Johannes Vermeer Award 2013 commended Rem Koolhaas for his impressive body of work as a designer and a thinker, as well as his contribution to the discourse on cities, in particular his innovative practice in areas with rapidly growing populations and economies. The jury also admired Koolhaas’ exceptional energy, which allows him and his office OMA to continuously seek and invent possibilities to shape the built environment.
The Minister of Culture, Jet Bussemaker, will present the prize to Koolhaas on Monday, October 21, at the recently re-opened Rijksmuseum in Amsterdam.
News via Johannes Vermeer Prijs
Johannes Vermeer Award 2013 goes to Rem Koolhaas originally appeared on ArchDaily, the most visited architecture website on 27 Apr 2013.
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Best Architect-Designed Products of Milan Design Week 2013
This week at the 52nd edition of the Salone Internazionale del Mobile in Milan, over 2,500 exhibitors showcased an endless collection of the latest international products and home-furnishing designs. Among them included a variety of elegant and intelligently designed items envisioned by some of our favorite architects. Continue after the break to scroll through a list of the best architect-designed products featured at the Milan Design Week 2013.
Jean Nouvel
Pure has commissioned Jean Nouvel to explore the world of fashion with the creation of the Ruco Line - a high quality sneaker that idolizes “purity of form”. The basic conception of the design is the monolith, whose complexity is perceived only when the sneaker is put on: the bottom, highlighted by a double band, is light and the purity of form gives the shoe a versatility that makes it right at any time during the day. This complexity, or as Nouvel defines it, this contradiction between opposites becomes a creative paradigm. It makes reference to many dichotomies: simple/complex, light/heavy, macro/micro, universal/special.
OMA
The new furniture range, Tools for Life, designed by OMA for Knoll, is based on the idea that furniture should be understood as a high-performance instrument rather than a design statement. OMA conceived the furniture to facilitate the contemporary flow between work and social life, while literally adjusting to the different needs of both.
Rem Koolhaas commented: “We wanted to create a range of furniture that performs in very precise but also in completely unpredictable ways, furniture that not only contributes to the interior but also to the animation of the interior.”
Tools for Life includes the 04 Counter, intended as a new typology of furniture: starting as a stack of three horizontal bars, the user can rotate the top two bars into any configuration, transform the wall-like unit into a series of shelves, desks, and cantilevered benches at different heights – a metamorphosis from a spatial partition to a communal gathering place.
The collection features tables that can be adjusted – also by electric motor – from coffee table to desk height, swivel chairs, a stool, an executive desk, and other items. Each piece is made from a simple material palette (transparent acrylic, leather, travertine, steel, wood, glass, concrete) making the furniture compatible with a range of residential and workplace interiors.
Ron Arad
Known for his constant experimentation with materials and his radical reconceptions of form and structure, Ron Arad’s 3 Nuns Stool for Moroso’s American Collection rethinks the structural logic of stool design, transforming its structure of tempered steel ribbons into an intricate spectacle that allows users to adjust the seat height to their preference.
The 3D printed “Springs” eyewear collection by Ron Arad for Pq presents a playful series of monolithic masterpieces to the new spring collection. The lightweight and highly durable frames, cost-effectively made using SLS (selective laser sintering) technology, feature gill-like sides to allow fluid movement for the arms and “perfect pressure” for the head.
Nendo
Chairs’ backrests divide to become armrests and legs, while the top of the coat stand peels away to provide coat hooks and the side table’s stand splinter to turn into three legs. Nendo works with the grain and delicately peels away at each piece to create the unique wooden furniture collection Splinter for Conde House.
Inspired by the silhouette of a stiletto, the thin profile of Nendo’s Heel Chair for Moroso is made from wood lacquered in black.
Zaha Hadid
Developed in resin quartz as an urban sculpture for seating and resting, the striated articulation of the Serac Bench for LAB 23 emerges seamlessly from the landscape, with each layer taking its own unique trajectory in reaction to latent forces that disperse – and ultimately coalesce – the many strata of the bench.
Zaha Hadid’s monochrome Avia and Aria lamps for Slamp combines dramatic architectural features with the intrinsic weightlessness of the materials to create a sculpture of light and technology that fascinates and enchants observers. The 90 cm by 130 cm veil of Aria is comprised of 50 individual layers of Cristalflex (a techno-polymer patented by Slamp), while Avia used 52 different layers of Opalflex (also a techno-polymer patented by Slamp) to create an effect of fluidity, dynamism and harmony.
An Array is a matrix in the language of science and is perfectly apt to describe the new auditorium seating system designed by Zaha Hadid for Poltrona Frau Contract as it creates a network of visual and geometrical effects in each seating area. This system forms breaks the mold of traditional auditorium seating with a single, self-rotating “seat sculpture” built on the principles of Euclidean geometry.
Zaha Hadid’s Liquid Glacial Tables for David Gill Galleries embeds surface complexity and refraction within a powerful fluid dynamic. The table top appears transformed from static to fluid by the subtle waves and ripples evident below the surface, while the table’s legs seem to pour from the horizontal in an intense vortex.
Daniel Libeskind
The PARAGON lamp, designed by Daniel Libeskind for Artemide, is the latest in the company’s line of decorative table lamps. With its four hinged segments, the PARAGON can be playfully bent to create myriad interesting shapes such as a perched bird or a rocket poised for launch. The lamp head is fitted with the latest LED technology.
Doriana and Massimiliano Fuksas
The Candy Collection lamps, designed by Doriana and Massimiliano Fuksas for Zonca, starts by a geometric design, a jewel box consists of twelve pentagonal faces that make up the structure of each lamp. Following a game of full and empty, it passes from one body designed as a framework, where the structure is exposed, to a coating of micro-faces with a reason. The idea is to play with each lamp to create a unique setting. It can give rise to an installation, a sculpture, a light path through this series of colored lamps designed to be joined together to create a lamp always original. Completes the series a variant for directing the light, a pentagonal prism stylized that can be embedded on each lamp.
UNStudio
Inspired by the rhythmic smoothness of geological formations, the sculptural Seating Stones – designed by Ben van Berkel of UNStudio for Walter Knoll and presented at Tortona Design Week Milan 2013 – exhibit a playful take on spatial awareness and versatility, presenting myriad possibilities for placement, color, texture, arrangement and communication.
Originally designed with the Mercedes-Benz lobby in mind, the Sofa Circle for Walter Knoll, currently on view at Tortona Design Week Milan 2013, is the sum of four distinct seating sections sinuously morphed together. The four sections can be positioned in either a concave or convex arrangement. The circular arrangement generates a closed space for communication or concentration in contrast the sofa sections can also be positioned in an outward facing manner that encourages more anonymous or transient use.
“The architectural approach to furniture is different from that of the industrial designer as the architect begins with the space and the environment that the chair will become a part of. All the details of the chair are considered for their spatial effects. This architectural approach to furniture is connected with a very personal ideology of space,” stated UNStudio’s Ben van Berkel in reference MYchair for Walter Knoll at Tortona Design Week Milan 2013.
Studio gt2P
The story behind the Chilean Studio gt2P’s Vilu Light Collection for DHPH is from an old Chilean Myth about two gigantic snakes battling over a piece of land. After battle, when the smoke had cleared, islands were all that was left. Although not your typical bedtime story, gt2P found their inspiration for the Vilu Lights in the image of these islands and brought together old and new, digital techniques and craftsmanship, to form this new collection.
More images of each project in the gallery below.
Best Architect-Designed Products of Milan Design Week 2013 originally appeared on ArchDaily, the most visited architecture website on 12 Apr 2013.
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Best Architect-Designed Products of Milan Design Week 2013
This week at the 52nd edition of the Salone Internazionale del Mobile in Milan, over 2,500 exhibitors showcased an endless collection of the latest international products and home-furnishing designs. Among them included a variety of elegant and intelligently designed items envisioned by some of our favorite architects. Continue after the break to scroll through a list of the best architect-designed products featured at the Milan Design Week 2013.
Jean Nouvel
Pure has commissioned Jean Nouvel to explore the world of fashion with the creation of the Ruco Line - a high quality sneaker that idolizes “purity of form”. The basic conception of the design is the monolith, whose complexity is perceived only when the sneaker is put on: the bottom, highlighted by a double band, is light and the purity of form gives the shoe a versatility that makes it right at any time during the day. This complexity, or as Nouvel defines it, this contradiction between opposites becomes a creative paradigm. It makes reference to many dichotomies: simple/complex, light/heavy, macro/micro, universal/special.
OMA
The new furniture range, Tools for Life, designed by OMA for Knoll, is based on the idea that furniture should be understood as a high-performance instrument rather than a design statement. OMA conceived the furniture to facilitate the contemporary flow between work and social life, while literally adjusting to the different needs of both.
Rem Koolhaas commented: “We wanted to create a range of furniture that performs in very precise but also in completely unpredictable ways, furniture that not only contributes to the interior but also to the animation of the interior.”
Tools for Life includes the 04 Counter, intended as a new typology of furniture: starting as a stack of three horizontal bars, the user can rotate the top two bars into any configuration, transform the wall-like unit into a series of shelves, desks, and cantilevered benches at different heights – a metamorphosis from a spatial partition to a communal gathering place.
The collection features tables that can be adjusted – also by electric motor – from coffee table to desk height, swivel chairs, a stool, an executive desk, and other items. Each piece is made from a simple material palette (transparent acrylic, leather, travertine, steel, wood, glass, concrete) making the furniture compatible with a range of residential and workplace interiors.
Ron Arad
Known for his constant experimentation with materials and his radical reconceptions of form and structure, Ron Arad’s 3 Nuns Stool for Moroso’s American Collection rethinks the structural logic of stool design, transforming its structure of tempered steel ribbons into an intricate spectacle that allows users to adjust the seat height to their preference.
The 3D printed “Springs” eyewear collection by Ron Arad for Pq presents a playful series of monolithic masterpieces to the new spring collection. The lightweight and highly durable frames, cost-effectively made using SLS (selective laser sintering) technology, feature gill-like sides to allow fluid movement for the arms and “perfect pressure” for the head.
Nendo
Chairs’ backrests divide to become armrests and legs, while the top of the coat stand peels away to provide coat hooks and the side table’s stand splinter to turn into three legs. Nendo works with the grain and delicately peels away at each piece to create the unique wooden furniture collection Splinter for Conde House.
Inspired by the silhouette of a stiletto, the thin profile of Nendo’s Heel Chair for Moroso is made from wood lacquered in black.
Zaha Hadid
Developed in resin quartz as an urban sculpture for seating and resting, the striated articulation of the Serac Bench for LAB 23 emerges seamlessly from the landscape, with each layer taking its own unique trajectory in reaction to latent forces that disperse – and ultimately coalesce – the many strata of the bench.
Zaha Hadid’s monochrome Avia and Aria lamps for Slamp combines dramatic architectural features with the intrinsic weightlessness of the materials to create a sculpture of light and technology that fascinates and enchants observers. The 90 cm by 130 cm veil of Aria is comprised of 50 individual layers of Cristalflex (a techno-polymer patented by Slamp), while Avia used 52 different layers of Opalflex (also a techno-polymer patented by Slamp) to create an effect of fluidity, dynamism and harmony.
An Array is a matrix in the language of science and is perfectly apt to describe the new auditorium seating system designed by Zaha Hadid for Poltrona Frau Contract as it creates a network of visual and geometrical effects in each seating area. This system forms breaks the mold of traditional auditorium seating with a single, self-rotating “seat sculpture” built on the principles of Euclidean geometry.
Zaha Hadid’s Liquid Glacial Tables for David Gill Galleries embeds surface complexity and refraction within a powerful fluid dynamic. The table top appears transformed from static to fluid by the subtle waves and ripples evident below the surface, while the table’s legs seem to pour from the horizontal in an intense vortex.
Daniel Libeskind
The PARAGON lamp, designed by Daniel Libeskind for Artemide, is the latest in the company’s line of decorative table lamps. With its four hinged segments, the PARAGON can be playfully bent to create myriad interesting shapes such as a perched bird or a rocket poised for launch. The lamp head is fitted with the latest LED technology.
Doriana and Massimiliano Fuksas
The Candy Collection lamps, designed by Doriana and Massimiliano Fuksas for Zonca, starts by a geometric design, a jewel box consists of twelve pentagonal faces that make up the structure of each lamp. Following a game of full and empty, it passes from one body designed as a framework, where the structure is exposed, to a coating of micro-faces with a reason. The idea is to play with each lamp to create a unique setting. It can give rise to an installation, a sculpture, a light path through this series of colored lamps designed to be joined together to create a lamp always original. Completes the series a variant for directing the light, a pentagonal prism stylized that can be embedded on each lamp.
UNStudio
Inspired by the rhythmic smoothness of geological formations, the sculptural Seating Stones – designed by Ben van Berkel of UNStudio for Walter Knoll and presented at Tortona Design Week Milan 2013 – exhibit a playful take on spatial awareness and versatility, presenting myriad possibilities for placement, color, texture, arrangement and communication.
Originally designed with the Mercedes-Benz lobby in mind, the Sofa Circle for Walter Knoll, currently on view at Tortona Design Week Milan 2013, is the sum of four distinct seating sections sinuously morphed together. The four sections can be positioned in either a concave or convex arrangement. The circular arrangement generates a closed space for communication or concentration in contrast the sofa sections can also be positioned in an outward facing manner that encourages more anonymous or transient use.
“The architectural approach to furniture is different from that of the industrial designer as the architect begins with the space and the environment that the chair will become a part of. All the details of the chair are considered for their spatial effects. This architectural approach to furniture is connected with a very personal ideology of space,” stated UNStudio’s Ben van Berkel in reference MYchair for Walter Knoll at Tortona Design Week Milan 2013.
Studio gt2P
The story behind the Chilean Studio gt2P’s Vilu Light Collection for DHPH is from an old Chilean Myth about two gigantic snakes battling over a piece of land. After battle, when the smoke had cleared, islands were all that was left. Although not your typical bedtime story, gt2P found their inspiration for the Vilu Lights in the image of these islands and brought together old and new, digital techniques and craftsmanship, to form this new collection.
More images of each project in the gallery below.
Best Architect-Designed Products of Milan Design Week 2013 originally appeared on ArchDaily, the most visited architecture website on 12 Apr 2013.
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OMA Unveils Funky New Furniture Line During Milan Design Week
Milan Design Week is in full swing! And among the exhibitions we’re most excited to check out? “Tools for Life,” OMA‘s collection of stacked, adjustable, and motorized furniture designed for the venerable company Knoll.
Knoll, which has commissioned work by architects such as Mies van der Rohe, Eero Saarinen, and Frank Gehry in the past, had approached OMA head Rem Koolhaas about designing a special line to mark the company’s 75 years in the business. The resulting collection includes a counter made of rotating stacked blocks, a coffee table whose translucent top rises and falls with the press of a button, adjustable mod-ish swivel chairs, and more.
“Tools for Life” will be on view throughout Salone del Mobile, at Prada’s Milan exhibition space. Click through to see the photos!
Photos: Agostino Osio, courtesy of OMA and Knoll
[via dezeen]
Robert Venturi and Rem Koolhaas Side with Denise Scott Brown on Pritzker Debate
Robert Venturi has joined nearly 4,000 advocates in the call to retrospectively acknowledge Denise Scott Brown as a joint Pritzker Prize laureate, stating: “Denise Scott Brown is my inspiring and equal partner.”
His support was then quickly followed by Rem Koolhaas, who stated: “I totally support this action. The fact that one of the most creative and productive partnerships we have ever seen in architecture was separated rather than celebrated by a prize has been an embarrassing injustice which it would be great to undo.”
New updates after the break…
Since Brown’s call on Pritzker to “salute the notion of joint creativity”, thousands of supporters, including architects Zaha Hadid, Farshid Moussavi and Hani Rashid, have passionately joined her cause. However, as in all debates, there is more than one side to the argument.
In an 1991 NYTimes “note to the editor” titled Robert Venturi; No Architect Is an Island, a reader calls for Pritzker to re-evaluate their selection criteria, stating: “The Pritzker committee and Mr. Goldberger both mention Denise Scott Brown in passing, but the effect of this name-dropping is more chilling than reassuring. Her work is presented as a footnote to Mr. Venturi’s and, in the process, a 30-year collaboration is eradicated. By promoting this type of omission, the Pritzker committee and The Times architecture critic perpetuate a long-standing tradition: the romantic myth of the hero-architect.”
In response, Paul Goldberger replied: “I find it absurd to suggest that, by virtue of its decision to award the Pritzker Prize to Venturi alone, the Pritzker jury has reduced Venturi’s long and fruitful collaboration with Denise Scott Brown to a mere “footnote.” Scott Brown is both the presiding partner and the guiding theorist for planning and urban-design work at the office of Venturi, Scott Brown & Associates, and her essential role in 20th-century planning as both practitioner and thinker has been well documented in my writings and elsewhere.
“But if few have contributed as much as she has in this area, it does not follow from this that all of the work of Robert Venturi is equally the product of collaboration. As I took it, the Pritzker Prize was awarded largely for Venturi’s architectural designs, which are rather more his own, and in recognition of the extraordinary influence of the ideas set out in his very first book, “Complexity and Contradiction in Architecture,” of which he was the sole author. To honor Robert Venturi need hardly be taken as a slight to Denise Scott Brown.”
Although an overwhelming amount of support seems to be in Brown’s favor, we are curious to know where our readers stand. Please share you thoughts in the comment section below.
Robert Venturi and Rem Koolhaas Side with Denise Scott Brown on Pritzker Debate originally appeared on ArchDaily, the most visited architecture website on 04 Apr 2013.
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