HB:BX Building Cultural Infrastructure The High Bridge International Ideas CompetitionSponsors:
Emerging New York Architects Committee (ENYA)
AIA New York Chapter
BRONXMUSEUM
Artists Unite
TRESPA
Service Point Type: Open, International, Ideas Competition Language: English Eligibility: Any student or professional (architect, landscape designer, planner, engineer, designer, artist) who has received an undergraduate or undergraduate degree after Sept. 10, 1999.
Registration Fee: add $5 for all categories after November 20, 2009
Student Entry $35
Single Entry $65
Team Entry (2-4 persons) $110
Team Entry (5+persons) $300
Academic Use $35 Awards:
1st Place: $5,000
2nd Place: $2,000
3rd Place: $1,000
Student: $1,000 Timeline:
10 September, 2009 – Competition Launch Reception at Trespa Design Center
10 October, 2009 – Open House New York Site Tour
11 October, 2009 – Open House New York Site Tour
1 November, 2009 – Jurors Announced
20 November, 2009 – Early Registration Deadline
15 December, 2009 – Late Registration Deadline
15 January, 2009 – Submission Deadline
February, 2010 – Jury Day
March, 2010 – Winners Announced
Fall, 2010 – Exhibition Opening at the Center for Architecture
Jury: Seven person jury TBA 11 November, 2009 Jury
Antonia Sergio Bessa – Director/Curator/Edu. Program, Bronx Museum of Art
Joshua David – Co-founder/Chief Dev. Officer of Friends of the Highline
Craig Dykers; NAL, AIA – Principal, Sonhetta
Peter Ferko – Artist/President of Artists Unite, Inc
Sangmok Kim; AIA, LEED AP – Principal N.E.E.D
Hilary Sample; AIA – Principal, MOS & Assistant Professor at Yale
Kazys Varnelis; Ph.D – Director, Network Architecture Lab at Columbia Design Challenge:
HB:BX is an open international ideas competition to design an arts center that culturally reinforces the physical connection between the Manhattan and Bronx Highbridge communities of New York City. This competition is meant to draw awareness to the current efforts to restore and reopen the bridge. Thus, ENYA challenges emerging architects and designers to explore how disused historic structures can be reprogrammed into vibrant urban centers. Competition entrants are also challenged to rethink the relationship between infrastructure (aqueduct, railway, highway) and it’s urban context. These architectural issues, universally relevant to any growing city, take on a more site-specific nature when considering the historic importance of the High Bridge and the topographic challenge posed by the steep riverbanks of the Harlem River. Also grounding this competition to its local context are the unique clients who ask the entrants to reconsider architecture’s role in the creation, displaying of and experience of art. The competition expects entrants to use the program as a connector to bridge the ideological gap between such two different arts organizations as Artists Unite and the Bronx Museum of the Arts with the local residents. Another one of ENYA’s objectives is to generate a discourse about universal urban issues that are currently relevant in New York City. The competition is designed to generate a spectrum of possible solutions. Submission Requirements:
30” X 40” presentation board, oriented horizontally
half-sized digital version on CD, 15” X 20” in a .jpg format, 300dpi For more information, go to: www.enyacompetitions.org |
Perkins & Will
Carrying the label, “Artistic Ideas Competition,” five firms vied for a commission to design a new National Museum of the U.S. Navy. Household names, the five were
Bjarke Ingels Group (BIG) Copenhagen/ New York
Gehry Partners (Los Angeles)
DLR Group (Columbus, OH)
Perkins&Will (Chicago) Winner!
Quinn Evans (Ann Arbor) With a site not yet identified, it is possible that a final design will look quite different from the present submission. the Navy has expressed a preference for M Street SE and 6th Street SE, near the Navy Yard in Washington, D.C. Young Architects in Competitions When Competitions and a New Generation of Ideas Elevate Architectural Quality 
by Jean-Pierre Chupin and G. Stanley Collyer
published by Potential Architecture Books, Montreal, Canada 2020
271 illustrations in color and black & white
Available in PDF and eBook formats
ISBN 9781988962047
What do the Vietnam Memorial, the St. Louis Arch, and the Sydney Opera House have in common? These world renowned landmarks were all designed by architects under the age of 40, and in each case they were selected through open competitions. At their best, design competitions can provide a singular opportunity for young and unknown architects to make their mark on the built environment and launch productive, fruitful careers. But what happens when design competitions are engineered to favor the established and experienced practitioners from the very outset? This comprehensive new book written by Jean-Pierre Chupin (Canadian Competitions Catalogue) and Stanley Collyer (COMPETITIONS) highlights for the crucial role competitions have played in fostering the careers of young architects, and makes an argument against the trend of invited competitions and RFQs. The authors take an in-depth look at past competitions won by young architects and planners, and survey the state of competitions through the world on a region by region basis. The end result is a compelling argument for an inclusive approach to conducting international design competitions. Download Young Architects in Competitions for free at the following link: https://crc.umontreal.ca/en/publications-libre-acces/ Six Firms Competed to Rethink the Future of a Major Museum 
Aerial view of winning design ©Nieto Sobejano Arquitectos (courtesy Malcolm Reading Consultants)
The history of the Dallas Museum of Art’s expansion has been punctuated by several moves, culminating in a new building designed by Edward Larrabee Barnes in 1984. The importance of this move to a new, somewhat desolate location in the city cannot be underestimated: it has led to the revitalization of what is now called the “Arts District,” with the relocation of various arts institutions to new facilities: the opera house (Foster and Partners), Dee and Charles Wyly Performing Arts Theater (REX/OMA), Nasher Sculpture Center (Renzo Piano), and I.M. Pei’s Meyerson Symphony Center being among the most significant. Read more… 
Courtesy Malcolm Reading Consultants, ©Kengo Kuma & Associates
A UNESCO World Heritage Site Again on the World Stage How does one approach a challenge when creating a design worthy of a park with a history dating back to antiquity? This was what four design teams faced when shortlisted for the design of a Visitor Center for the Butrint National Park in Albania. The park’s history is illuminating in this regard.
Read more…
Chungji National Heritage Museum Competition
Image ©Ona Architects + Jongjin Lee architects + Laguillo Arquitectos
For those unfamiliar with Korean Heritage and its symbols, the choice of the jury for a new complex to house artifacts, now located at various scattered sites, would seem to beg more information, especially when one views the designs of the non-selected finalists—all quite modern. Some of this can certainly be explained by the subject matter of the new museum’s holdings, another by the site in broader terms. Some might say that emphasis placed on the heritage element in the design brief fostered an interpretation leading to the choice of the winning design: “The site chosen for the new Chungji National Museum is logical: Chungju, located in the central part of the Korean Peninsula, is the center of the so-called ‘Jungwon culture,’ which has played an important role geographically and historically since ancient time. Jungwon culture developed around the Namhan River, which runs through the central region from east to west, and the relics showing this are currently scattered and stored in various museums.”
Read more… University of Florida’s College of Design Construction and Planning’s New Addition 
Development phase image courtesy ©Brooks + Scarpa
If architects have had one complaint concerning the planning and realization of a project, it has been with planners and especially construction managers, both of whom often display a lack of knowledge about architecture. The survival of a well-conceived design can hang in the balance when there is a knowledge gap at the planning and realization end.
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