3/30/2023 0 Comments Oma diagrams![]() But if you analyse the development of the projects, you see very clearly that most of the crucial ideas derive from Rem. Rem’s instructions are mostly so vague, his presence over long periods only intermittent and his distance to the design team so great that some employees opine that he is not really a designer at all, it is his staff who produce the architecture. Rem Koolhaas’s role in the design process varies a great deal from project to project: for some projects, he furnishes an abstract idea at the beginning, or makes a few sketches that stake out the broad lines in other projects, the staff searches for a concept for weeks, even months, and Rem keeps aloof, as he is too busy with other things, or does not yet have an idea himself of how the project is to be developed. And sometimes it is possible to arrive at entirely new, surprising and yet very simple solutions, like the roof construction of the Educatorium in Utrecht, for example. Over and over again they are confronted with quantities of naive, intelligent or abstruse proposals. The office pursues a strategy of expansion in order to take in as many aspects of the design process as possible.) The idea in doing this is to use the competence of the engineers to combat the conventionality of their profession. (OMA is not prepared to leave implementation to the technicians. In addition, they are supposed to develop innovative proposals in their discipline without defining concrete forms. Secondly, through engineers from outside or consultants whose judgement carries a great deal of weight – not that they make suggestions for solutions and impose those solutions, rather they comment on the ideas from their own perspective, evaluate them and formulate requirements as basically as possible, so that OMA can develop new solutions with their help. Ignorant of how the problem would normally be solved, they can experiment with a childlike lack of inhibitions and thus develop new ideas.īut how can this potential be linked up with the necessary expert knowledge, the required technical intelligence or even negotiating capacities without being limited by convention? Competence emerges at OMA in two ways: firstly, in the shape of staff who have been in the employ of OMA for a long time, having joined as students or recent graduates and who have accumulated experience at OMA and learned to apply their competence for – not against – an experimental design praxis. Not only do they work unbelievably hard for relatively little money and thereby make it possible to pursue thousands of ideas, to try them out and reject them, which no client would ever want or be able to pay for, but more importantly, it is the naivety with which they approach the tasks they are set. ![]() Yet there is a series of prerequisites and parameters that are characteristic of the design process.Īn important precondition is that the majority of the employees are quite inexperienced and young. There is, of course, no method, no recipe. Does the office have the character of a Zen Buddhist monastery, in which believers’ certainties are systematically destroyed in order to reveal to them the ‘truth’? How does an office whose rule is to have no rules function? One that continually seeks to escape its own history and the inevitable acquisition of a repertoire or a style, one that seeks to be contemporary and at the same time attempts to avoid similarities with other contemporary architecture. ![]()
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