The Albright-Knox Art Gallery released its latest schematic designs in the AK360 expansion project, revealing a new direction from the previous controversial design concept. The new plan, which was developed in coordination with local, state, and national preservationists, was approved unanimously on Monday night by the Buffalo Fine Arts Academy, the board that oversees the gallery, according to Buffalo News. Under the new iteration of the AK360 Campus Development and Expansion plan developed by OMA and firm partner Shohei Shigematsu, a freestanding building will be added to the north side of the historic campus that houses the gallery in Buffalo, New York. The new building adds 29,000 square feet of space for displaying special exhibitions and the museum’s permanent collection, allowing the number of artworks that can be displayed to increase dramatically. The extension is also planned to have a double-height wraparound promenade as well as a translucent facade to connect the interior of the building to the site, a Frederick Law Olmsted-designed landscape. This ensures the preservation of the existing Gordon Bunshaft building built in 1962, which was an addition to the original Beaux-Arts museum that was built in 1905. OMA still plans to add improvements to the 1962 building taken from the first design concept. Changes include adding a new education wing in the lower level, transforming the surface level parking lot into a green landscape, and adding a new point of entry into the east façade. The open-air courtyard in the 1962 building will be covered to serve as an “indoor town square” and open the space up for year-round activities. A “scenic bridge” will connect the new north building to the original 1905 building, weaving through the Olmsted Park. Previous expansion plans included drastically transforming the Bunshaft building, rattling preservationists and igniting controversy. OMA/Shohei Shigematsu was first chosen as the lead designer for the expansion in June 2016 and released their first design concept in 2017, which proposed building two architectural volumes—one that would hover above the sculpture garden of the Bunshaft building and one that would be constructed underground along the original gallery. Opposition to that plan halted it from moving forward, until now. Fundraising for the project is almost complete—approximately $125 million is raised for the $155 million project. More refined plans for the expansion will emerge over the next months during the design development phase, which is expected to continue into 2019. Construction is aimed for fall 2019 with an expected opening in 2021.
Posts tagged with "Shohei Shigemarsu":
The clock is currently ticking on fundraising for Marina Abramović’s proposed Marina Abramović Institute for the Preservation of Performance Art (MAI), a performance art center designed by Rem Koolhaas' OMA. The facility is planned to be set in a former theater in Hudson, New York. On July 26th, the artist launched a $600 thousand Kickstarter campaign to fund the institute she hopes will develop new forms of the long durational—six hours or more—performance art she is famous for. Abramović has teamed with OMA architects Shohei Shigematsu and Rem Koolhaas to gut the current building and design a multi-level, multi-room performance hall in which visitors will stay for a minimum of six hours (as signed by contract upon entrance). With the Kickstarter campaign fundraising goal, which must be fulfilled by August 25th, the team will transform the building's state of disrepair into a conceptualized laboratory: a performance and education space where visitors will wear white lab coats and participate in the Marina Abramović Method of durational performance art. The artist means for MAI to become a center of interaction across topics, “foster[ing] collaborations between art, science, technology, and spirituality, bringing those fields into conversation” and her designing architects have taken the mission to heart. For the New York Times Art Beat last year, Shigematsu said he and Koolhaas planned on “creating a one-of-a-kind typology” for MAI’s less than typical theater program. In the Abramović Method, participants become the art they simultaneously view. The current OMA architectural models their interpretation of Abramović's unique vision. OMA plans specifically-purposed rooms surrounding the central performance space, which will be visible throughout the facility. Abramović believes the institute fills a current void in the art world as a place for people to satisfy their “immense desire to slow down and connect to themselves and to one another in a live setting.” She hopes that MAI will show the work of several long durational performance artists across a variety of genres.