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    Cornell University Fall 2009 Professor Michael Silver The focus of this project is on strategies of density in cities; specifically Buffalo, Ne… Read More
    Cornell University Fall 2009 Professor Michael Silver The focus of this project is on strategies of density in cities; specifically Buffalo, New York. This project in particular deals with the attempt to socially engage downtown Buffalo by means of inserting a museum into the urban arrangement. Addressing urban versus suburan issues of public and privatized areas are connected through seamless transitions between indoor and outdoor spaces. Using a unique and formal manner to address the concept of high and low density within the urban arrangement of Buffalo, this transforming progression drove the design process of the building’s form and the functions of the spaces created. The resulting spatial order suited the program, providing space for display of contemporary art, natural history, and sculptures. Thus the building is not based on typological or programmatic precedents, but instead it is an artifact that resulted from a sequence of rationalized formal operations. SITE: Buffalo, New York PROGRAM: 50,000+ sq/ft museum capable of sustaining 100,000 visitors daily. Parking, 100 person auditorium, and storage with loading access. Information kiosk, cafe w/ seating, lobby, digital/film exhibition space, large space for sculptures and paintings, as well as featured artist gallery spaces, administration offices, technology lab, and quiet lounge. Read Less
    Published:
Buffalo Kunsthal
 
The focus of this project is on strategies of density in cities; specifically Buffalo, New York. This project in particular deals with the attempt to socially engage downtown Buffalo by means of inserting a museum into the urban arrangement.  Addressing urban versus suburan issues of public and privatized areas are connected through seamless transitions between indoor and outdoor spaces. Using a unique and formal manner to address the concept of high and low density within the urban arrangement of Buffalo, this transforming progression drove the design process of the building’s form and the functions of the spaces created. 
The resulting spatial order suited the program, providing space for display of contemporary art, natural history, and sculptures. Thus the building is not based on typological or programmatic precedents, but instead it is an artifact that resulted from a sequence of rationalized formal operations.