For this month's issue of Interview magazine, artist Francesco Vezzoli met with Italian fashion designer Miuccia Prada and Dutch architect Rem Koolhaas for the first interview the duo have done together. Earlier in the month, the Prada Foundation announced its collaboration with OMS/ Rem Koolhaa on the Prada Transformer, an open-air pavilion whose design combines the four sides of a tetahedron -- hexagon, cross, rectangle, and square. Situated next to the 16th-century Gyeonghui Palace in Seoul, Korea, the Prada Transformer opens on April 25th with "Waist Down: Skirts By Miuccia Prada," an exhibition of the designer's skirts from early in her career to the present day. In June, the Transformer will become a theater where a series of films selected Babel director Alejandro González Iñárritu will run throughout the month. Beyond Control, Italian curator and critic Germano Celant's picks from the Prada Foundation's collection opens July 30th.
FRANCESCO VEZZOLI: So let’s talk about the Transformer. When did this idea come up and when did you start working on it?
MIUCCIA PRADA: I think basically it came from the idea of doing activities in countries and places that were not Milan. I’ve been doing things in Milan for many years. For a while I wanted to open a branch of the Fondazione in Beijing, and that took a long time just to search for a proper place. One recent example that did come to fruition is the Carsten Höller Double Club, also known as Prada Congo Club, which opened in London last November . . . Actually, I really don’t remember how exactly it started for our idea in South Korea. It was mainly because it is a place that is not a big capital and it has a very different culture.
REM KOOLHAAS: Do you know South Korea? Have you ever been to Seoul?
VEZZOLI: Unfortunately not.
KOOLHAAS: It’s not that famous but it is a wonderful city, very lively. It’s mountainous, like Switzerland, but also a metropolis, which is a very strange but exciting combination.
PRADA: The starting point was the idea of movement, something like mobile architecture. I don’t want to say temporary, because temporary is such a trendy word . . . I would say a series of activities in different places. We wanted to have a flexible space, something that could exist anywhere we think could be right for it.
KOOLHAAS: What was also important is that, for the first time, Prada gave up on the idea that all the activities should be separate . . .
To read Vezzoli's entire interview with Prada and Koolhaas, see this month's issue of Interview magazine.