Exhibition “Recent Work” about OASE’s graphic designer Karel Martens presented at P!, a gallery in New York from 11 September - 30 October 2016.
OASE 96 examines the remarkable revival of architectural practices that focus on reuse and appropriation of buildings, environments and materials. To what extent can and will designers engage in this process, and what is the possible positive or negative social impact of these interventions? This issue focuses on case studies, practical experience, critical refl ection and ideas that show how architects and urban planners proactively deploy reuse in view of future user opportunities and/or applications.
The aim of
this issue of OASE is to understand
the historical foundations of the concept of narrativity in reading and
designing the (urban) landscape, and to uncover the relevance of narrativity for
Please send your abstract (maximum 500 words) before 15 July 2016 to firstname.lastname@example.org.
This issue of OASE takes as its point of departure the cross-cultural conditions in which architects, urban designers and landscape architects work. It focuses in particular on architects working in a condition of displacement – in other words in relation to cultures, far away or nearby, that are not their own.
The Architecture of Use and Appropriation.
This issue of OASE is situated within a tradition that gives a central role to questions of use and appropriation in architectural reflection. The general attention to use and appropriation is part and parcel of a layered critique of architecture.
and performative spaces have long been at the centre of OMA’s – and now mostly AMO’s
– work. Two key exhibitions of the late 20th century roughly bookend
the time span covered by OASE 94 –
which title is inspired by OMA’s The
First Decade 1989 show at the Museum Boijmans van Beuningen in Rotterdam. On
the one hand, OMA’s participation in the Strada
Novissima at the First International Architecture Exhibition of the Venice
Biennale, for which a facade had been elaborated between 1979 and 1980; and on
the other hand, the Deconstructivist
Architecture exhibition that opened in June 1988 at the MoMA in New York. Yet
the Strada Novissima facade has been omitted
from all OMA’s chronologies. What sense can we make of that project and what
did it represent? Which were the commonalities between OMA’s agonistic
participation and other projects featuring Koolhaas’ paradoxical use of history?
This thematic issue of OASE sheds new light on the architectural
production of OMA during its first decade (1978-1989) – a mythical but
at the same time not very well known period in the history of the
world-famous office of Rem Koolhaas.