Скачать или смотреть Shohei Shigematsu OMA April 19, 2017

University at Buffalo School of Architecture and Planning was pleased to host Shohei Shigematsu, partner at OMA, on April 19, 2017 for the Sydney Gross Memorial Lecture. Shohei Shigematsu has led the New York City office since 2006 where he began rebuilding the brand of OMA as a New York ‘outpost’ of the international practice. His lecture weaves through the theme of ‘change,’ a concept Sho said he has learned the most from working at OMA and through Rem: “when you capture the moment of change, you can always try to reinvent the architecture or condition in favor of architecture and urbanism.”

Several projects are highlighted and the topics of ‘creative economy,’ ‘cultural city,’ the definition of true design, ‘perennialogy,’ ‘mixed-use will be the new generic,’ and ‘alimentary design’ are introduced before briefly touching upon his upcoming Albright-Knox Art Gallery Expansion (https://www.albrightknox.org/campus-e...) prior to the Q&A session.

Urban projects initially discussed include Anacostia Crossing, Washington D.C.; an urban upgrade project to rebuild the city of Hoboken post-Hurricane Sandy (Resist, Delay, Store, Discharge); a recently announced new city center and transit hub in Toronto (East Harbour Site); a new government district in Bogata (Bogata Centro Administrativo Nacional (CAN) in Colombia).

Sho describes other building projects and how they develop their schemes through research and models of the specific site area of a project:
-Cornell University’s College of Architecture, Art, and Planning (AAP) Milstein Hall which connects existing Sibley and Rand Halls and establishes a relationship with a third AAP facility, the Foundry, ultimately uniting students at all levels and providing programmatically flexible spaces to create a unique environment for learning and interaction that had not been possible before;
-Quebec National Museum building, (similar to AKAG in that is bridges the divide between city and park), connects to the three existing pavilions and in its design, utilizes three stacked gallery volumes, to provide column-free exhibit space, an auditorium, café, shop, and roof terraces—all of which allows art to act as a catalyst between the city and park;
the Faena Arts District in Miami with three elements linked by courtyards: Faena Forum comprised of conjoined cylinder and cuboid volumes that can be combined or separated for various public events, the Faena Bazaar, a shopping center which preserves the original 1939 Atlantic Beach Hotel façade, and Faena Park, an automated luxury car park with a visible car elevator;
-mixed-use buildings in Jersey City (111 First Street) and Santa Monica (Fifth Street and Arizona Avenue block), which isolate each component of the buildings’ programs into individual blocks that are then stacked at angles to each other for impact on the cities’ skylines;
-a skyscraper for Mori Building in Tokyo (Toranomon Hills Station Tower) that will join two other towers and has an axis of activity that runs through the central base and then extends vertically upward to communicate the activity of the complex at an urban scale;
exhibit design in 2016 for the Costume Institute, Metropolitan Museum of Art (“Manus x Machina – Fashion in an Age of Technology”) where an exhibition space was created in an underutilized area of the museum and 3D mapping technology was integrated with the created space resulting in a ‘ghost cathedral.’

Although Sho could not reveal details about the Albright-Knox Art Gallery Expansion design during the lecture, he proposed a succinct typology of expansion design options related to the original (old) museum structure:
a) autonomous; b) competitive; c) seamless; or d) subservient.
After showing scale comparisons of the AKAG museum with other recent museum espansions (Kimbell Art Museum, Kahn, 1972; Resnick Pavilion LACMA, Renzo Piano, 2010; Building for Permanent Collection LACMA, Peter Zumthor, 2023; Stedelijk Museum, Benthem Crouwel Architects 2012; SFMOMA, Snøhetta, 2016; Prada Foundation Milan, OMA, 2015; Pierre Lassonde pavilion of the Musée national des beaux-arts du Québec, OMA, 2016), Sho touches upon OMA’s ongoing research of the last AKAG addition (1962) by Gordon Bunshaft noting the amazing dialogue between the old and new buildings; his careful attention to a datum; and interesting details in Bunshaft’s model that was found in the archives. The only assurance given about the new design is the parking lot, parallel to Elmwood Avenue, would be removed.