Arquitectura Viva
Wednesday, June 20, 2018
MARCAS CULTURALES

Arquitectura Viva 83

MARCAS CULTURALES

Koolhaas, Guggenheim, Prada: el Estilo Multinacional
III-IV 2002
Synopses 

The Cultural Brands of Koolhaas. With the same fascinated and critical view with which he contemplated Manhattan’s congestion in Delirious New York, the Dutch carries out with his Harvard students a thorough analysis of the urban mutations at the turn of the millennium, fruit of which are two books respectively devoted to the colonization of territory in Asia and to commercial activity. And with the ability of a one-man band, he combines that theoretical dedication with professional practice: without ceasing to pontificate on the effects of globalization, he also performs as a designer of brands
 

  Contents 

François Chaslin
Fronts of Rupture
Interview with Rem Koolhaas
Deyan Sudjic
Critiques and Compromises
Koolhaas’s Ambiguous Revolution
Richard Ingersoll
From Pra(v)da to Harvard’s Mall
The Scenarios of Koolhaas
 

Cover Story  


Guggenheim-Las Vegas: the Price of Art. Admirer of those who made of the Las Vegas strip a manifesto, Koolhaas, together with Hans Ulrich Obrist, talks with Venturi and Scott Brown about the city, turned today into a thematized premise where he himself has built branches for the Guggenheim and Hermitage museums, here discussed by Jacob Ward and James Fenton.

  Architecture 


Venturi & Scott Brown
In Dialogue with Koolhaas
Jacob Ward
The Business of Leisure
James Fenton
Altarpieces of Art

Prada-Nueva York: Prisoners of Consumerism. In a conversation with Charles Jencks, Koolhaas talks about his double role as an analyst of the phenomena of consumerism and as an advertising advisor. Hired to redesign the image of Prada with new boutiques, he opened the first of these in New York; Michael Sorkin and Joan Ockman describe their impressions on it.
 
  Charles Jencks,
A Conversation with Koolhaas
Michael Sorkin,
A Corporate Wave
Joan Ockman,
The ¥E$ Man
 
Views and Reviews  


Lessons and Legacies. The Australian Glenn Murcutt has been awarded the Pritzker prize for the exemplary sincerity of his work; and the American Samuel Mockbee shall be remembered for the social orientation of his career.

  Art / Culture 


Françoise Fromonot
Glenn Murcutt, Pritzker 2002
Ana María Torres
Samuel Mockbee, 1944-2001

Sesquicentennial Feasts. Catalonia in general and Barcelona in particular celebrate the 150th anniversary of the birth of Antoni Gaudí with a busy program of exhibitions that reivindicate his figure and review his heritage.   Juan José Lahuerta
Gaudí in One Thousand Words
Marisa García
Gaudí: a Hermeneutical Feast
Atlantic Extremes. Compilations on Portugal’s last decade and Argentina’s last century appear; the work of the Swiss Peter Märkli is subject of a fine editorial labour; and the bibliography on Spanish Modern masters increases.
 
  Focho's Cartoon
Daniel Libeskind
Various Authors
Books
 
Recent Projects 


Totems of Manhattan. The architecture of New York gradually recovers after September 11 with the inauguration of the Austrian Cultural Forum, by Raimund Abraham, and the American Folk Art Museum, by Tod Williams and Billie Tsien, two buildings on narrow plots between party walls which identify themselves as public institutions through their respective facades.

  Technique/Design 


Martin Filler
Wise Crafts
Williams & Tsien’s Museum
Cynthia Davidson
An Arcaic Cliff
Abraham’s Austrian Forum

To close, one of the chapters of 13,99 euros, by Frédéric Beigbeder, where the French author harshly presents the world of advertising, to which he was professionally linked, and analyzes its contaminating effects. When the only desired goal is to persuade to consume, “everything is temporary and everything has a price. Man is a product like any other, with an expiry date.”   Products
Offices, Claddings
Frédéric Beigbeder
13,99 euros
 
Luis Fernández-Galiano

ABCD Logo

Ad Architecture
On the threshold of the nineties, Rem Koolhaas brought architecture closer to advertising with the swimmers who decorated the media launching of the Villa Dall’Ava. Like his friend Laurinda Spear in the DuPont ad, “great architecture... catches you with a wink and leaves you with a smile.”

Boxes or Blobs
At the end of the decade, even the severe Swiss (Zumthor in Vals or H&deM in Dominus) saw their buildings turned into fashion catwalks; and in the Louis Vuitton or Georges Rech ads, French luxury is associated to the warps of the restaurant by Jakob & MacFarlane at the Centre Pompidou.

Cultural Commerce
Both Guggenheim and Prada integrate culture and commerce on the eve of the 21st century: the Bilbao museum (as the Las Vegas branches) supplies style brands with a factory of dreams; and the New York store is advertised with a model by OMA which shows it as a stage for spectacles.

Defensive Disorder
The day before a demonstration, the photographs by Johnnie Shand Kydd of 2001 show the shops of the London West End boarded up to protect them from violence against the fashion multinationals: the logos which say yes to cultural and economic globalization face the disorder of the times.

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