Posts Tagged Rem Koolhaas
Eneropa: our energy future?
Posted by The Sheet in Architecture News on May 10, 2010
Rem Koolhaas's brave renewable world: how a new power network could solve Europe's carbon crisis
Roadmap 2050 by Rem Koolhaas’s OMA | Architecture review
Posted by The Sheet in Architecture News on May 8, 2010
Rem Koolhaas has helped come up with a daring plan to run Europe on a grid of shared renewable energy – and redraw the map of the continent at the same time
I well remember my interview for a place at architecture school. As a kindly tutor leafed through my cobbled-together portfolio, on the wall I noticed a photo of a trapezoidal cabin with a whirly helical thing on top. It was, I was told, a prototype of an energy-efficient house, a concept of which I was then only dimly conscious.
That was more decades ago than I care to think, and it goes to show that green architecture is nothing new. It goes to the heart of the paradox most architects face: they tend to be hopeful, liberal types who want to change things for the better, but construction requires money and power, which are not always in the hands of the nicest people. So nice architects find themselves working for not-nice clients. Similarly with environmental matters: buildings gobble energy and resources in their construction and use, so the most ecological thing might be not to build them at all, but that would put architects out of work. So they are drawn to that conscience-salving potential oxymoron, the green building.
Just as what was once called health food has gone from muddy lentils to crisp Ottolenghi sophistication, so green architecture has been through many phases. For a while, it wore its ecology on its sleeve, sticking conspicuous turbines and ventilators on roofs, as in the large bronze chimneys over Portcullis House, the MPs' office building next to Big Ben. Now it tends to be a more technical matter, governed by the calculations of the engineering consultancies that have grown up to make buildings sustainable.
There has also been a shift in scale since my tutor's cabin. Now architects design green cities, such as Dongtan in China, or Foster and Partners' $22bn Masdar City in Abu Dhabi, which is currently on show at the Sustainable Futures exhibition at the Design Museum. But none have gone as far as the Office of Metropolitan Architecture (OMA), the practice created by Rem Koolhaas. It is proposing to redesign an entire continent – ours, Europe – along energy-saving lines. In fact, they would like to include North Africa as well. As Reinier de Graaf, the partner in charge of the proposal, says: "Megalomania is a standard part of our repertoire."
Called Roadmap 2050, it is a plan calculated to make the Ukip-ians of this world bubble and froth with rage, as it combines the belief that drastic intervention is required to mitigate climate change, with a desire to give meaning and power to the European Union. It has been commissioned by the European Climate Foundation, a philanthropic body dedicated to promoting policies that reduce greenhouse gas emissions, and it aims to show how the EU can achieve an incredible-seeming target of an 80% reduction in carbon emissions by 2050. The proposal is being considered by the EU Council of Ministers, for their possible endorsement.
The proposal's starting point is the fact that renewable energy sources such as wind and sunshine are erratic and unreliable, which means they have to be supported by other forms of power. But they are also available in different quantities in different places – wind is abundant in Britain, sun in Spain – and in different seasons. The big idea is to create a power network across the continent linking all these sources, which could then compensate for each other. If it was windless in Britain but sunny in Spain, power could travel from them to us, and vice versa.
This is a political, as well as a technical proposal. "You can use this project to create integration. It creates a very pragmatic reason to integrate," says De Graaf. It coincides with work the OMA has been doing for several years on the ways that the European Union represents itself, through their design and research subsidiary AMO, which "operates in areas beyond the traditional boundaries of architecture". Koolhaas is a member of the EU's Reflection Group, whose job is to think about what might happen a decade or two hence.
With a cheeky, provocative tone typical of OMA, they even show a map of Europe redrawn as "Eneropa", with regions defined by their energy source. Ireland and the western half of Britain become the "tidal states", while the eastern half forms part of the "isles of wind". Former Yugoslavia is miraculously reunited as "Biomassburg". Most of Portugal, Spain, Italy and Greece become "Solaria". OMA shows images of these places, like postcards from the future, with batteries of turbines, or plumes of geothermal steam.
OMA insists that its plan makes sense, even if you exclude climate issues. It has produced figures to show that the scheme would not cost all that much per head, especially when compared with road-building, war in Iraq, or bailing out bankers. They point out the benefit of reducing reliance on Middle Eastern oil and Russian gas. They argue that the economic benefits would outweigh the costs. They say that a reduction of even more than 80% could be achieved if North Africa, with all its sunshine, could be included in the grid. Their plan, they say, is "not rooted in apocalyptic hysteria", but is eminently practical.
It's a seductive proposition: go green and get richer. It is also refreshing and unusual to hear architects proposing environmental strategies that do not require the future commissioning of architects to design buildings. It also raises an obvious question: what on earth qualifies architects who spend most of their time designing museums or office buildings or Prada stores to pronounce on these subjects? This is partly answered by the fact that OMA is not acting alone, but is part of a team that includes management consultants McKinsey, energy consultants Kema and Imperial College London. But OMA still takes responsibility for the "overarching vision".
The other question is whether to believe them. OMA has over the years shown me new cities on islands off Korea, the transposition of Amsterdam Schiphol airport into the North Sea, and the redesign of the European flag of gold stars on blue into a multicoloured barcode derived from the flags of its different nations. So far all these ideas have remained on paper. Is there any reason to think the Roadmap would be different?
It is plain that their plan would need will and cohesion that has not been evident in, for example, the EU's attempts to solve the Greek debt crisis. Reinier de Graaf cites as a model President Kennedy's declaration that, before the 1960s were out, America would put men on the moon, but Herman Van Rompuy, the president of the European Union, is no Jack Kennedy. However, De Graaf argues that European countries cooperate better at a practical level than an ideological one. He also stresses that the Roadmap "doesn't require member states to give up their identities. It allows states to be themselves."
I have, frankly, no idea if by 2050 anything like this network will exist, or whether it will join the ranks of the fantastical and doomed, along with the cities teeming with autogyros imagined in the 1930s, or the 1960s' faith in the future ubiquity of hovercrafts. I doubt if anyone else knows, either. But, of all the abstract speculations about what sustainable futures might look like, there has not previously been one so tangible or engaging. Its value at the very least is to get people thinking about what, actually, we do want. OMA's Roadmap is either prophecy or provocation, but whichever way it's worth having.
Maggie’s Centres: can architecture cure cancer?
Posted by The Sheet in Architecture News on May 6, 2010
Cancer care doesn't have to mean grim hospital wards, believes Maggie's co-founder Charles Jencks: uplifting buildings benefit both body and soul. But are they just an architectural placebo?
In pictures: Maggie's Centres present and future
Charles Jencks would be the last person to claim that architecture could replace chemotherapy, but he's the first to argue that it can make a difference to cancer patients. As the driving force behind cancer care charity Maggie's, and a well-established architectural writer, Jencks often finds himself having to defend his views. The Maggie's Centre initiative, named after Jencks's wife, Maggie Keswick, who died of cancer in 1993, has grown from a one-off project to a mushrooming nationwide network – six existing buildings with more on the way, and a lengthening list of high-profile designers: Richard Rogers, Frank Gehry, Zaha Hadid, Rem Koolhaas. As the idea has taken off, so Jencks has come under fire from both the scientific community, who question the validity of his claims (or media distortions of them); and the design community, who wonder if Maggie's Centres aren't injecting more architecture into small healthcare facilities than they strictly need.
Jencks is not advocating some deterministic equation between architecture and health – as if the sight of a well-detailed staircase could somehow zap away a malignant tumour – but he does believes in what he calls an "architectural placebo effect". "A placebo is a phoney cure that works," he explains. "This is very hard for the medical profession to get their teeth around because they hate placebos but scientifically, placebos work in about 30% of cases that are psychogenic diseases. You have to believe in a placebo or it won't work, but if it works it's obviously working in some indirect way, through feedback in the immune system, let us say, or in the willpower of the patient to take a more strenuous exercise in their own therapy.
"You can imagine all sorts of ways in which architecture adds to the placebo effect," he continues, "and in that sense it's impossible to measure. Here's a funny insight: in a way, the carers are more important than the patients. Because if the carers are cared for, they turn up, they enjoy it and you create this virtuous circle, this mood in a Maggie's Centre which is quite amazing. So architecture helps do that because it looks after the carers. There's a lot of people who would quite rightly attack that notion, and I don't want to claim that we can yet prove it, but we hope to."
Jencks presents his case in a new book whose title succinctly sums up his approach: The Architecture of Hope. "It is my hope, and it was Maggie's hope, to live longer with cancer. And I think any cancer patient, if you dig not too deeply, they want to live. So is there an architecture that helps you live?"
If there is, Jencks argues, it is not to be found in the modern hospital. He describes the space in which Maggie herself received her weekly chemotherapy as a form of "architectural aversion therapy" – a windowless neon-lit corridor of Edinburgh's Western General Hospital. Many of us are familiar with similar spaces. In the industrial age, the design of healthcare buildings has been dictated by the demands of hygiene and efficiency: hard, sterile surfaces; bright, white spaces; long corridors; artificial ventilation systems. The template has been updated a little in the PFI age with atrium lobbies and toothpaste-coloured cladding, but these places are still overwhelmingly alienating.
Jencks and others, such as the Dutch academic Cor Wagenaar, believe that modernism created a rupture in the long, intimate relationship between architecture and health. That history stretches back to ancient Greece, where temple complexes such as Epidauros were about healing the spirit as well as the body, and even Stonehenge, which recent findings suggest may have been a hospital. Its modern roots lie in the Enlightenment, when it was first proposed that good design of the built environment could do more for public health than the medical profession could. In a way, Maggie's Centres reconnect with this "secret tradition", says Jencks. Yes, we need medical environments to cure us, but we also need to feel like people again, rather than patients. He is not alone in this. Witness the Circle group's recent hospital in Bath, designed by Foster and Partners, which feels more like a boutique hotel. They, too, are recruiting architects such as Richard Rogers and Michael Hopkins to rethink hospital design on a more humane scale. Or there's the AHMM's bright, fresh Kentish Town Health Centre, also nominated for last year's Stirling prize, or Gareth Hoskins's civic-minded health centre designs. Things are changing.
There's no great architectural secret at work in the design of Maggie's Centres. They are defined by inarguably positive qualities: light, space, openness, intimacy, views, connectedness to nature – the opposite of a standard-issue hospital environment. They are domestic in scale, centred around the kitchen, a place where you can make yourself a cup of tea and have an informal conversation. In Jencks's words, they are buildings that hug you, but don't pat you on the head. It's not just about giving people architecture, he argues – it's also providing information, relief; psychological, emotional and even financial support – all of which contribute to the urge to go on living. Nor is there any set of instructions for architects as to how to achieve these goals. Frank Gehry's building, for example, combines a crinkly-roofed fairytale aesthetic with a serene view over Dundee on one side and a garden maze on the other. Zaha Hadid's outlet in Fife has been compared to a Stealth bomber – sharp and black on the outside, but mercifully calm and light inside. More recently, Richard Rogers's London Maggie's Centre shut out the city behind rhubarb-pink walls and opened up an oasis of intimate, domestic-scaled spaces, all capped by a protective roof.
The award of the 2009 Stirling prize to Rogers's building was another gesture of approval for the Maggie's Centre approach, but it also raised the question of whether they really needed such star names to design them. In addition to the six existing Maggie's Centres, there are another six under way, including designs by Dutch superstar Rem Koolhaas, the late Japanese architect Kisho Kurokawa and some of Britain's best-known names – Piers Gough, Chris Wilkinson, Ted Cullinan and Richard MacCormac. There are plans for as many as 23 buildings further down the line, even outposts in Hong Kong and Barcelona. If the brief is so relatively straightforward, why the starchitects? Is there a danger that Maggie's Centres are becoming more about prizes than patients – a free pass for virtuoso architects to get something built?
In Jencks's defence, Koolhaas and Hadid were fellow students of Maggie's. Gehry and co were lifelong friends of the couple. They just happened to hang out with future superstar architects. Besides which, Jencks says, without the media attention generated by these names, the charity would not have attracted the public donations that are enabling it to expand. Cancer affects up to one in three adults, after all. A great many people have been affected by Maggie's Centres already, and each of the new buildings hopes to serve a catchment area of two million people. "This was not thought of way back, that architecture would make such a difference to raising money," says Jencks. "And it's a double thing: it raises our profile, but it also gives us good buildings which last, so we benefit in the long term. I can't understand why other institutions haven't done the same."
Maggie’s Centres: healing architecture?
Posted by The Sheet in Architecture News on May 6, 2010
Maggie's co-founder Charles Jencks believes that architecture can help improve cancer patients' health. Click through to see existing centres, and designs for the future, by star architects