Word of an OMA-designed building for the Wilshire Boulevard Temple has been in the grapevine for months. The firm was on the short list this past spring along with Kengo Kuma & Associates, Morphosis Architects, and Steven Holl Architects for the 55,000-square-foot event space across the street from the institution’s recently restored 1929 Byzantine-Revival sanctuary. Now, a new building is moving forward with a name, an architect, and a fundraising campaign. Koolhaas is officially the architect for the Audrey Irmas Pavilion, even if renderings are still under wraps. Shohei Shigematsu and Jason Long will lead the project out of OMA’s New York office. Irmas, a philanthropist, art collector, and temple congregant pledged $30 million to lead the fundraising campaign for the new building. She is raising those funds by putting a Cy Twombly in her personal collection up for sale. The entire proceeds of the sale of the painting will benefit The Audrey Irmas Foundation for Social Justice, with a portion earmarked for the OMA pavilion. The new building, proposed to open in 2019, will accommodate all sorts of community events: weddings, bar mitzvahs, and galas. The project would be the firm’s first cultural building in California and first commission from a religious institution. OMA’s commercial project, The Plaza at Santa Monica, seems to be sluggishly moving through that city’s political channels. It passed the City Council in June, but still faces community opposition due to its height.
Posts tagged with "Shohei Shigematsu":
Marina Abramović owes 4,765 hugs to the supporters of her successfully funded $600,000 Kickstarter. Last month, the artist launched the online campaign to fund her own Marina Abramović Institute (MAI) in upstate New York, a performance center conceptualized as a laboratory that will be dedicated to the practice of long-durational performance art and the “Marina Abramović Method.” Project donations ranged from $1 to $10,000 and all donors are invited to receive a personal hug from the artist in a future performance event called “The Embrace.” With help from social media, celebrity interest, and a few encouragements from Abramović herself, the center surpassed its goal by more than $60,000 before the end of its month-long funding period this past Sunday. Designed by OMA’s Rem Koolhaas and Shohei Shigematsu, the center’s focus is the large hall where Abramović and other performance artists will show six-hour art pieces to an audience donning lab coats. Contracted to stay for the duration, visitors will be trained in the Marina Abramović Method, being led through a variety of sensory exercises in rooms surrounding the great theater space. A few weeks ago, a viral video of pop singer Lady Gaga practicing the Method in the nude raised interest in the MAI campaign. Last month, rapper Jay-Z’s recent six-hour performance of “Picasso Baby” at Pace Gallery in New York City paid homage to Abramović’s 2010 The Artist is Present performance at the Museum of Modern Art. Even the artist herself posted a playful clip, explaining how many long durational performance artists it takes to screw in a lightbulb. With celebrity support and interest generated through Abramović's #whyMAI blog and Reddit Q&A sessions, this unique vision is now on course to be realized. Overall, the Kickstarter campaign raised $661,452 and MAI became the largest cultural institution to be funded in this way. Soon, OMA will begin to transform a 29,000-square-foot former theater in Hudson, New York, into an institute devoted solely to long durational performance art, definitely the first of its kind.
OMA has been selected to design the Bogotá Centro Administrativo Nacional (CAN) new civic center, situated at the heart of the city’s main axis, Calle 26. Steered by partner-in-charge Shohei Shigematsu, the 680-acre mixed-use design occupies a footprint as large as Washington, D.C.’s National Mall and will operate as the city’s government headquarters with intermixed residential, educational, retail, and cultural developments, all which encourage continuous activity within separate districts. The design intends to integrate civic and public life while connecting to local destinations. CAN will form a new public axis in Bogotá, unifying green, infrastructural, and programmatic networks. The site is divided into three districts, including an institutional/governmental area that connects to the current cultural and park spaces, an office zone linked to the current financial district, and an educational campus that links to the University City of Bogotá. The multi-use program will be tied together by a green path that extends into Bogotá’s decidedly popular pedestrian and cycling CicloVia system. Shigematsu described the development as one that attains “clear urban density while accommodating programmatic diversity.” The winning design will move Bogotá’s historic downtown center, master-planned between 1947 and 1951 by Le Corbusier. CAN will be the second largest constructed institutional master plan in Latin America, with Oscar Neimeyer’s 1960s Brasilia being the largest. The project will be carried out in partnership with local architect Gomez + Castro, mobility consultant Carlos Moncada, financial consultant Oscar Borerro, and sustainability consultant Esteban Martinez. [beforeafter] [/beforeafter]
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.
What makes the performing arts so thrilling is also what makes them so elusive—they are, by nature, ephemeral. Any documentation of a performance is only a pale reflection of what it's like to be there in the moment. So when performance artist Marina Abramovic began to contemplate what her own legacy would be, she thought beyond biographies, retrospectives, or monuments and instead began to develop a method of generating the kind of experiences she valued, one that would allow her kind of performances to continue long after the artist was no longer present. Starting in late 2014, "long duration" (six hours plus) performance pieces as well as facilities intended to initiate the public into performance art will be housed in the Marina Abramovic Institute for the Preservation of Performance Art (MAI) in Hudson, New York. The institute will occupy an old 20,000 square-foot theater that was purchased by Abramovic in 2007 and whose interior is being redesigned by Shohei Shigematsu and Rem Koolhaas of OMA. At Monday's press preview held at MoMA P.S. 1 in Queens, Shigematsu compared the concept for the institute to the experience of attending a baseball game (which, he noted, can be "long and sometimes very boring"), where the main spectacle unfolds below on the field but plenty of equally engaging activities happen at the same time in and around the grandstands. OMA will leave the theater's 1929 brick facade and colonnaded entry but create a new box inside that functions as a central performance space with 650 seats. Wrapping around it will be a fitness space, a library, and classrooms, along with rooms dedicated to meditation, levitation (powered by magnets), and crystals (which Abramovic believes are "like regenerators for people"). The key feature of OMA's design is that all these spaces are visually connected back to the center, creating a series of layers that blur the boundaries between audience and performer. In fact, every visitor to MAI will become a performer of sorts, signing on for a minimum visit of six hours that requires donning a white lab coat and participating in a series of instructive experiences on what Abramovic terms "hard-core performance art." The artist calls this "The Abramovic Method,"—"I feel like I've become a brand," she said—and through it she has made her evolution into an institution it's own kind of performance. Realizing that this level of engagement may require not only an open mind but also some endurance training, Abramovic and OMA have invented a kind of wheeled lounge chair in which visitors can rest, nap, and be rolled by staff to different levels of facility along a giant spiral ramp (a cafe is planned for the rooftop). Given the sanatorium-style atmosphere that is part Magic Mountain and part Eleusinian mysteries some guests may never want their performance to end. But to realize this vision for MAI, Abramovic must first raise at least $15 million and is now beginning a fundraising tour.