OMA 完成纽约新博物馆“高度互联但高度个性化”的扩建

Magazine Awards Jobs Events Guide Showroom School Shows Courses Competitions Follow: Architecture Interiors Design Technology Series Features Interviews Opinion News Lookbooks Talks Videos Podcasts About Comments Newsletters Preferences Submit a story Advertise Privacy notice Contact Dezeen Magazine dezeen-logo dezeen-logo Next story clear Search –> –> Follow: Awards Jobs Events Guide Showroom School Shows Courses Competitions Series Interviews Opinion Talks Videos Newsletters Magazine Architecture Interiors Design Technology –> Search results: Read more: Posts: –> Refine your search: Cats OMA completes “highly connected, but highly individual” expansion of New York’s New Museum Share: Ben Dreith | 18 March 2026 Leave a comment Architecture studio OMA has mirrored the programme of the SANAA -designed New Museum in Manhattan with an extension that has a unique profile and facade treatment.
Led by OMA ‘s New York office, the New Museum expansion features a ground-up build abutting the structure Japanese architecture studio SANAA designed for the institution in 2007 .
OMA’s project, its first public building in the city, doubles the footprint of the contemporary art museum to 120,000 square feet (11,000 square metres), adding much-needed social and gallery space and additional egress for the expanding number of visitors.
OMA New York principal Shohei Shigematsu said the conditions for the expansion were unusual, given the relative contemporaneity of the SANAA building and referenced the idea of a “twin or pair” in his studio’s design.
“We were very careful in actually understanding what it means to build contemporary against contemporary,” Shigematsu told Dezeen.
“We actually looked at the idea of the pairs, or that notion of the pair.”
He recalled a set of reference images, such as that of a performance of Marina Abramovic and her then-husband Ulay standing naked facing each other in a doorway for in 1977 and of the fixed-service structures that support an orbital rocket pre-launch.
“I often joked, when I had to present this to the board members, that finding the love of your life is one of the most difficult things, right?” he said. “So this is what we were doing here.”
“It’s highly connected, but highly individual too,” he continued.
Scrapping the initial notion of maintaining the facade of the pre-existing, mid-rise industrial building, OMA designed a building that resembles a pentagon in section. It has a steep recess at ground level and a deep setback above tapering towards a central point, where it “kisses” the facade of the SANAA building.
From the north, the structure is mostly obscured by the taller SANAA building, but it extends deeper into the block.
“It’s actually quite surprising, because from outside, it’s not so screaming for presence, but as you enter, you feel the depth,” said Shigematsu.
The faceted facade was clad in laminated glass with metal mesh that recalls the aluminium mesh of the SANAA building, while remaining distinct.
Immediately inside the street-facing walls, an atrium between the galleries and the facade allowed for a winding staircase that connects at each landing to the levels of both buildings.
At the fourth level, there is a soaring columnless space with an auditorium that faces a glass-filled void in the facade, which has views out into the Bowery.
Shigematsu referred to the staircase atrium as a “social and visible condenser” that allows the whole museum complex to become more “open and communicative”.
Shigematsu said the vernacular front-facade fire escape played into the articulation of the stair.
Further voids in the facade hold balconies and additional panes of glass without the metal mesh form stripes running down the side of the building, giving the building a sense of publicness and transparency.
OMA’s building sits at the junction of a three-way intersection and faces Prince Street, acting as a terminus. The entry into the newly programmed entrance extends the street into the bui