Qatar Art Mill Competition

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Remembrance on the Pacific Rim: The Canterbury Earthquake Memorial Dedication

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TWIN CREEKS: Trail as Experience Maker

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M20 – Museum of 20th Century Extension Competition

 

This is not what we fought for!

 

by Wilfried Wang*

 


Winning design: ©Herzog & de Meuron

 

Wilfried Wang’s commentary on the competition results for the extension of Mies’s Museum of the 20th Century (M20) was published in the German journal, Bauwelt (40.2016). The author is the founder of the Berlin architectural practice Hoidn Wang Partner with Barbara Hoidn and has been the O’Neil Ford Centennial Professor in Architecture at the University of Texas at Austin since 2002. The text, translated by the Editor, is a slightly modified version (by the author) that appeared in Bauwelt.

 

Both in architectural and urbanistic terms, the jury’s misguided selection of the Herzog de Meuron entry as the winner of the M20 competition is another missed opportunity for Berlin.


By extending the form of this introverted structure to cover the entire competition site, little or no value is added to the immediate environs. To the contrary, that and the immense surfaces of the facades, right up to the edge of the pedestrian walkways, only serve to diminish the importance of the surrounding buildings. All the trees to the south of the site will disappear, and 90% of the outer walls of the building, regardless of the suggested use of porous brick detailing, are completely closed off. Only the eastern entrance of the Herzog de Meuron plan faces the main entrance of Scharoun’s State Library; the other two main entrances lack any such connection with the urban context. Thus, the Cultural Forum gains nothing in urban quality, but rather the sense of desolation will increase.

 

The corridors stacked over one another, labeled “Boulevards” by the architects, are connected in the quadrants by smaller corridors and stairs. The metaphor, “Boulevard,” is as misleading as was Le Corbusier’s “rue intérieur.” Boulevards are accessible 24 hours a day as open public spaces. In the evenings these corridors will be closed to the public.

 

Rectangular exhibit areas are placed on three levels—not easily accessible to the visitor as a result of the labyrinth-like circulation plan. What is so innovative about this? The Goetz Pavilion was innovative.

 

Viewed from an artistic- and architecture-historic point of view, the selection of this design was an egregious mistake. First of all, a gable roof design is not appropriate for this Cultural Forum, and, secondly, it does not express the modern spirit; actually it is quite the opposite. Originally, the Cultural Forum was not only West Berlin’s gesture to the East, but also an attempt to replace the Nazi north-south axis with a modern alternative.

 

The lack of sensitivity, unnecessary haste followed by yearlong inaction and a desire for label-architecture have strangely culminated in a provincial selection. The shortlisted designs from the initial open competition were more modern, sensitive, and led one to assume that a different solution would be in store.

 

If this design were actually to be built, this unfortunate selection process would result in a catastrophe. This reminds me of the competition for the City of Culture for Santiago de Compostela. In that instance I was the sole juror to vote against the Eisenman scheme. Then my arguments fell on deaf ears. I was not a juror in the M20 competition. For this reason, I’m thankful that I can air my concerns about this result; however, I believe that my concerns will once again suffer the same fate. -WW

 


*The following should be pointed out: For his Master’s degree in 1981, the author researched six cultural centers—amongst others, London’s South Bank Centre, Paris’ Centre Beaubourg and Berlin’s Kulturforum. In 1992 the author published a monograph on the work of HdM. The author was a member of the jury for the limited competition for the extension of the Basel Kunstmuseum, which was unanimously awarded to Gigon & Guyer; HdM was one of the five invited architects. In 2013 the author published a monograph on Scharoun’s Philharmonie, therein his essay on “The Lightness of Democracy.” As part of his activities in the Architecture Section of the Akademie der Künste in Berlin, the author was co-organizer of a number of public discussions on the development of the Kulturforum, in which politicians and representatives of the Prussian Cultural Foundation (the users of M20) participated. In 2014 and 2015 the author set the design of M20 as a test for advanced design studios. Finally, the competition entry for the first phase of the M20 selection process by the author’s office was eliminated in the first round: www.hoidnwang.de/04projekte_53_de.html.

 

 


View of site from Mies van der Rohe’s Museum of the 20th Century to Hans Sharoun’s Berlin Philharmonic
Photo: Stanley Collyer

 

The above photo of the M20 site makes abundantly clear the difficult challenges facing the architects who tried to produce an acceptable solution for the extension of the Mies museum. One might normally assume that a grand plaza would have been an appropriate answer. However, an extension of the M20 came into the conversation when a major art collector offered the collection to the museum in its enirety—necessitating more exhibit space.So the solution to this expansion had to lie in a design competition.

 

First of all, the very presence of two easily recognized architectural icons facing each other across the site would normally be enough to intimidate anyone. So the initial question in the back of everyone’s mind would have been: should this addition simply constitute a link between the two buildings; or should it be something more?


Organized in two stages, the first, anonymous stage was open internationally and resulted in eight finalist entries advancing to a second stage (http://competitions.org/2016/02/berlins-20th-century-art-museum-competition/?preview_id=18468&preview_nonce=20af7e537d&_thumbnail_id=-1&preview=true). From the 480 competition entries, one would have assumed that at least one entry would have been convincing enough to gain favor not only from the jury, but also the community. The addition of this second stage was to accommodate short-listed name firms, so there could be no complaints that high-profile, established architects were not part of the mix. Based on the final rankings from the second stage, none of the premiated designs really solved this challenge satisfactorily. Most tried to recognize the importance of a sightline between the two icons by going at least partially underground.

 


Site diagram

 

 

The two firms that took this most to heart were both from Japan—SANAA and, no surprise, Sou Fujimoto, with the latter covering the entire partially submerged structure with vegetation. The second-place winner from Denmark found favor from the main client with what looked to be very commercially looking solution, what one might imagine as an outdoor shopping center. The most extreme anti-urbanistic example honored by the jury with a merit award was OMA’s pyramid-like scheme, completely blocking any relationship between Mies and Sharoun by inserting their own icon in between the two.

 

When Herzog & de Meuron’s design was declared the winner, it had to come as somewhat of a surprise. Structurally no more than a shed in appearance, it seemed to be completely out of character with all of its neighbors—almost thumbing its nose at them. The abundant use of brick, its blank facade facing the street, and the claim by the authors that the corridor cut through the middle as a “boulevard” would serve as a symbolic link between the Museum and Philharmonie, was hardly convincing. This is especially true when one realizes that it would be closed off evenings to all comers. As an urbanistic solution and example of architectural expression, the winner unfortunately fell flat on its face. -Ed

 

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A Symbol of Gratitude: The Tri An Monument Competition

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Gallaudet University Design Competition Results

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Mesa’s Answer to Urban Sprawl: The Major Redesign of a City Center

Mesa’s Answer to Urban Sprawl

The Major Redesign of a City Center

by Stanley Collyer

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Winning Entry – Image courtesy Colwell Shelor

Designing a city plaza as a “people place” is no small challenge. One only has to recall the various redesigns that Pershing Square in Los Angeles went through, or Seattle’s Pioneer Square, to recognize how intent and reality were often in conflict. In both of these temperate climate municipalities, the image of an otherwise welcoming destination was tarnished by an unforeseen presence of the homeless.

The City of Mesa, in sunny Arizona, believes that a new plaza, well connected to the surrounding urban environment, can present “a signature public space” that will not only serve as a destination for public activities, but also as a catalyst for downtown revitalization. It would appear that a number of favorable conditions already exist: city administration buildings are located directly within the two block site area; Arizona’s largest art center borders the area to the south; and the city library is in the block immediately facing the site to the north. With this kind of built-in pedestrian activity, the site should be well positioned to attract a higher-than-average number of locals and visitors.

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Vienna School of Economics

An Academic Cluster Pointing to the Future

The Vienna School of Economics Campus Plan

By Stanley Collyer

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School of Economics Library by Zaha Hadid (all photos by Stanley Collyer)

At the turn of the 21st Century, the Vienna School of Economics (Wirtschaftsuniversität Wien), the largest of its kind in Europe, was bursting at the seams. Over 23,000 students were scattered throughout different locatons in the city. When it became obvious that it would be necessary to consolidate the programs at a central location, the decision was made to select an area near the Prater for the new campus—the site of the World Exhibition Area and Fairgrounds. The building program was ambitious, with a number of facilities planned to accommodate all the programs, and the strategy was typically European, as student dormitories were not envisaged as an integral part of the overall campus plan.

To begin with, a local Viennese firm, BUSarchitektur, was engaged to complete a masterplan for the site, and a number of renowned architects were then commissioned to design the various facilities: No.MAD Arquitectos, CRABstudio Architects, Estudio Carme Pinós, Atelier Hitoshi Abe, and BUSarchitektur, the latter local firm being the author of the masterplan.

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Surfer’s Paradise Goes Cultural: The Gold Coast Precinct Competition

Surfer’s Paradise Goes Cultural

The Gold Coast Cultural Precinct Competition

by Stanley Collyer

arm art scape
Winning entry by ARM Architecture

Are a Surfer’s Paradise and a significant emphasis on culture mutually compatible? Australia’s City of Gold Coast thinks so, as evidenced by its ambitious competition for a new cultural precinct. The site of the Cultural Precinct competition is the Evandale district, separated by a river and Chevron Island from the city’s premier attraction—Surfer’s Paradise. As indicated by the latter’s name, the city has gained a large share of its revenue as a tourist attraction. Outside of the inviting coastline, there is much to supplement the entertainment needs of tourists, including 40 golf courses and five theme parks. But as Australia’s fastest growing city—now at almost 600,000—the focus has now turned to the arts as a major asset.

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Re-Thinking the University of Manitoba’s Campus: Visionary (re)Generation International Competition

Re-Thinking the University of Manitoba’s Campus

Visionary (re)Generation International Competition

by Carmela Cucuzzella and Camille Crossman

Note: This article originally appeared in the Canadian Competitions Catalogue at the Université de Montréal

uofm perspective campus
First Place entry by Janet Rosenberg and Studio Inc. + Cibinel Architects Ltd. + Landmark Planning and Design Inc.
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At a time when universities are summoned to assume their responsibilities in the shaping of major urban areas, and in an era of ferocious educational competitions in which benchmarking and the Academic Ranking of World Universities (ARWU) released by Shanghai Jiao Tong University rule the educational market, some universities have decided to take advantage of the potential power of competitions to seek excellence in design. This was the case when the University of Manitoba launched their competition for a new campus in December 2012.

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