Fondazione Prada Milan

Critics often accuse Rem Koolhaas of his cynical glossing and superficial attention-grabbing. His clients do not address social issues or sustainability. Koolhaas himself, however, tends to express his views on all events (from megacities to the countryside, from art to agriculture, from visionary ideas to heritage protection), which should always be taken with caution. Behind the tabloid exaggeration, however, lie critical reflections that manage to satisfy the opposing poles of consumers of contemporary architecture. One such example is the transformation of the former gin distillery in the industrial complex of Largo Isarco on the southern outskirts of Milan, which now serves as the new headquarters for an art foundation linked to the fashion brand of Miuccia Prada. With his provocative intervention, Koolhaas somewhat resignedly refers to himself, but he also values the historical legacy, preserving it and even elevating it with gilding. This global architect's building is surprisingly closely tied to the location. An attentive visitor to Milan will notice during his walks the ubiquitous grids on sidewalks, squares, and even in front of the Milan Cathedral, which are the result of the underground railway system – an invisible city beneath the city. While modernity replaced stone with plaster or ceramic cladding, Milan retained its stony face even in the 20th century. From marble to granite and rough travertine with visible shells. Koolhaas incorporated these two observations from his visit to the city into his design for the Milan Prada Gallery, but he wouldn’t be the 'Flying Dutchman' if he hadn’t partially undermined the design and materiality.