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DeliriousNew YorkFrench Edit.

Casabella408 L'Architecure

d'Aujourd'hui

DeliriousNew YorkEnglish Edit

AD47

L'architecture

d'ajourd'hui 238

Casabella418

BOosterdok

Uithof2000 C

Telegram

Rotterdam

DeBolBosphorus

BridgeChurchillpleinOfceTower

IJPleinKochstrasse ParcdelaVilletteIJpleinBoompjes

NDT NDT

Modo

1975

Roosevelt IslandCompetition,NewYork

Hotel SphinxStudy,NewYork

1976

WelfarePalaceHotel Study,NewYorkTheStory ofthePoolNewWelfareIsland Study,NewYork

1977 1978

ExtensionoftheDutchParliament TheHague,TheNetherlandsCompetition,First PrizeDeliriousNewYork:ARetroactiveManifesto forManhattanTheSparklingMetropolis

1979

PrimeMinisterResidenceCompetition,DublinStudy fortehRenovationofa PanopticonPrison Arhem,TheNetherlandsBoompjesTowerSlab Rotterdam,TheNetherlands

1980

HousingKochstrasse/FriedrichstrasseBerlin,GermanyHousingLutzowstrasseBerlin,Germany,Competition

1981

IJ- PleinUrbanPlanning.Amsterdam,Completed1992NetherlandsDanceTheaterI TheHagueOost III HousingandShopsAmsterdam,TheNetherlandsSchool andGymnasiumAmsterdam,TheNetherlandsVillasAntiparosAntiparos,GreeceHotel ThermaLesbos,Greece

1982

PoliceStation.Almere-Haven,TheNetherlandsParcDeLa Villette.Paris,Two Part Competition,First Prize

1983

ExpositionUniverselle.Paris

1984

Villa Dall`AvaParis,Completed1991

NederlandsDanceTheater,Project IITheHague,Completed1987

DeBrink Apartments.Groningen,Completed1988ChurchillpleinOfceTowerCompetition,RotterdamCheckpoint CharlieHousingBerlin,Completed1992

1985

Patio VillaRotterdam,Completed1988ByzantiumAmsterdam,Completed1991BusStationRotterdam,Completed1987

Installationforthe1986 MilanTriennaleMilanItalyMorganBankAmsterdam,TheNetherlandsParcCitroenCevennesParis,FranceBay ofKoutavousReconstructionArgostoli,Greece

1986

UithofMasterplan,Utrecht,CompletioTheHagueCity HallTheHague,CompetBijlmermeerRedevMasterplan,Amst

Year

PAGECOUNT GRAPHNumberofPublishedPagesonOMA- AMOby Month.

MONOGRAPHZEBRACROSSINGBetweentheProject Book andtheBook asProject.

PUBLICATION BARGRAPHOMAoverall yearly productionofpublicationsincludingbothprojectbooks,monograpsandbooksasprojects.

OMAIN THECOVERPublicationsfeaturingAMOinthecoverproducedoutsideoftheofce.

PROJECT BOOKBooksproducedfordescriptionofOMAprojects.

BOOK PROJECTBooksproducedwherethepublicationistheproject.

Casabella n.378 publishes Exodus,

Voluntary Prisoners of Architecture on

its cover in 1973, representingthe Pre-

History of publications by OMA, founded

in 1975.

Firstmonograph producedoutside the

ofce, Casabella 47, 1978Delirious NewYork, Firstbook and

monograph publishedsimultaiuslly in

French andEnglish including5 projects,

1978

Park de la Villette, Two-Part

competition, rstprize, Park for the 21st

Century, 1982

Firstmonograph includingbuiltwork,

LAA n.238, 1985

White-Period, self describedas period

of proliferation of the use of white A3

format, from 1986 to 1991

REM KOOLHAAS/ OMABOOKSPublicationsakconwledgeby OMA

AWARDS/HONORSPublicationscelebratingOMAsawards,honors,prizesandPraemiums,

OMATime-Line ofPublications:1975 -2007

Thistime-line offersa concise scan ofthe entire publicationsoutput

ofOMAsince itsfoundation. Thisproduction rangesfrom one

monograph every ten yearsin itsearly stages, to averaging one

monograph every couple ofmonths. The resulting graph reveals

a massive bodyofpublication which growsexponentially both

inintensity and complexity and it distillsfrom thisproduction a

numberofmodelsworth closeranalysis, such asthe Project-Books,

Book-Projects,and the Monographs.

The Project-Bookmodel, found in the casesshown in the lower

halfofthe time-line; identiesthe in-house production ofbooks,

brochures, dossiers, bookletsorpamphletswhich foreground the

ofcesdesignsin parallel with the conceptsdriving them.

The Book-Projectmodel, found in the casesshown in the upperhalf

ofthe time-line, identiesboth in-house and out-sourced production

ofbooks, brochures, dossiers, bookletsorpamphletswhere the

publication itselfisthe objective. In these instances, a broader

cultural discourse and itsimplicationsisexplored independently

from the architectural design.

The model ofthe Monograph, found in the c asesalong the dashed

red line in the middle ofthe time-line, isfeed from the previoustwo

modelsthrougha kind ofporousboundary. The yellowbackground

producing the skyline behind the coverschartsout the exact monthly

page-count kept by the ofce in the articlespublished about OMA,

offering a sense ofthe relationship between writing in the studio and

writing about the studio.

Historical Period, 1975-1985

Since itsearlystagesin 1975, publicationshave been OMAsprimary

medium and agent in the development and diffusion ofprojects. In

the same yearofitsinception, OMAisfeatured on two coversin the

Italian magazine Casabella. In the following year, OMAisfeatured

ina third coverin the issue ofthe French magazine LArchitecture

DAjourdHui. In 1978, and coinciding with the publication of

DeliriousNew York, the English magazineAD dedicatesan entire

issue to the ofcesrst monograph. Thisissue follows a historical

tradition ofmonographsfrom LArchitecture Vivanteto El Croquis,where a magazine turnsoveran entire issue to a single ofce,

bringing togetheritsdesigns, textsand ideaswithin the framework

ofa magazine format. In thisearly period, OMAspublishing enjoys

a remarkable early success, following a trajectory mostly based on

historical publication models.

Apres LAmour on the cover, Casabella

408, 1975

PublicationP u bl i ca t io n P u bl i ca t io n

PublicationPublication

Publication

PublicationPublication

PublicationPublication

Publication

UNCERTAIN PAGECOUNT GRAPHEstimateNumberofPublishedPagesonOMA- AMOby MonthwhenDataismissingfromOMA-AMOStatistics.

The White and Black Periods, 1986-1995

Systematically produced since 1986, Project-Booksare kept in the

private realm ofthe ofce-client relationship. Testing the available

technical meansof production within the ofce forthe generation of

in-house publications, they are a meansto push the designsfurther,

exploiting such formatsasthe Xerox A3 which ishere outlined as

the White-Periodin the time-line, approximately from 1986-1991.

Thisperiod isfollowed by the use ofthe colorphotocopier, which is

here outlined asthe Black-Periodin the time-line, approximately

from 1995-1998. Here, a reduction ofpage size and a proliferation

ofmultiple formatsand iconsare tested in a way that encouragesthe

many iterative versionsofdesignsproduced at thistime.

The publication ofS,M,L,XLin 1995 representsa radical departure

from the format ofa monograph asan oeuvre complete. Strategically

tested in a numberofprecedents, such asthe in-house produced

catalog 6 Projects from 1990, and the Japanese magazine Kenchiku

Bunka, KoolhaasOMA:fromAto Z from1995; the encyclopedic

structure ofS,M,L,XL reorganizesthe production ofthe ofce

according to a scale based logic.

Present, 2001-2006

In 2001, a Project-BookcalledAMO, retroactively claimsthe

emergence ofAMO, asthe mirrored virtual-shadowbranch ofOMA,

back to 1996. Structured asa Monographit collectsten OMA

projectsthat push theirconceptualization to the foreground to such

an extent where the coverage ofthemesbegin to surpassthe design

ofthe projectsthemselves. The pagesofAMOsBook-Projects

are no longerhinged around the architectural conventionsofplans,

sections, model-shots, and renderings but open the framework

ofthe publication to include a much broaderset ofconcernsand

content.

Otherexamplesofthe category ofBook-Projectat thistime include

those produced forPrada, Schiphol, Universal, and the Whitney;

extending theircontent beyond architectural production and closer

to a practice of cultural consulting. The research and publications

developed fortheHarvard Projectson the Cityare a clearexampleofthispractice.

It isin thisperiod where the momentum ofthe Book-Project

ismost widely embraced by educational and cultural institutions

culminates in theMoMa Charrette, where a short-list ofinvited

architectsisasked to propose theirideasforthe extension ofthe

Museum ofModern Art in NewYork, in the format ofa book.

Design isunambiguously book design.

Forthe occasion ofthe 2004 OMAretrospective Content, at

the Berlin National Gallery, OMA/AMOproduce a catalog for

the exhibition underthat same name. Somewhere between a

magazine and a book, dispensable and cheap, Contentcollects

a heterogeneousbody ofideasin the form of a saturated, low-

resolution aesthetic asan editorial response to S,M,L,XL. Free from a

monographic character, the structure isopened up to include external

collaborationsand articleswhich exemplify the potential ofthe

editorial Book-Project.

Afterthe successful formula ofthe issue of Wiredmagazine, Cool

World, edited by OMA/AMO; Contentisfollowed by othereditorial

joint-venturessuch asVolume. In thislast case, AMOcomestogether

with Columbia UniversitysGSAPP,and the Dutch magazineArchis,

representing a continuation ofboth the Harvard Projectson the City

and Content,nowbrought togetherinto a single editorial project.

Now, 2006

In itsmost recent experimentsin architectural publications, OMA/

AMOreturnsto explore the relationship between the conventionsof

the Project-Bookand Book-Project,in the rst issue ofDomus

DAutore, April, 2006. In thisinstance,fourprojectsare represented

in comparative termssliced by thin sectionsdedicated to media. This

media isargued to represent the rec eption ofeach project in multiple

forms Surveillance, Quotes,Internet Blogs, Journalists

Viewpointsand TVCoverage. It isperhapsin thislast episode

where OMA/AMOonce again reconguresthe nature ofitsown

publication production in orderto introduce yet anotherhybrid

model that addsto itsextensive repertoire.DomusDAutorereturns

to exploring the formsofmedia closest to the occupation ofthe

project, in orderto sample itsmost generic form ofreception.

Finally,DomusDAutorepointsthe way to a model ofreciprocity

between the Project-Bookand Book-Projectin the body ofa

Monographwhich isextendedto include the Post-Occupancy

phase ofthe projects. It isperhapsin thisissue where the latest

exploration ofthe fertile ground between categorieshasbeen mademost explicit and generic, crystallizing into a single issue the many

modelsdiscovered along the path ofthe ongoing time-line.

Urzti Grau and Daniel Lopez-Perez