Interview: Hodgetts & Fung (Summer 2006)Hollywood Bowl Renovation – Completed 2003 (Photo: Courtesy Hodgetts + Fung)
COMPETITIONS: Pursuing architecture as a profession apparently was not a foregone conclusion for either one of you when you began your college educations. It was somewhat of a winding road for both of you. Although industrial design and fine arts are not that far removed from the workings and aesthetics of architecture, it evidently took some time before you both decided to pursue it as a profession.
Ming Fung: I was always interested in the arts and in theater. Also, my background in anthropology led me to have a strong interest in how people live in a space. That interest in theater has always been in the background, in the work Craig and I do.
Craig Hodgetts: When we started our practice together, what really bonded us was this idea of human narratives, theater, and architecture as a setting for that. Ming was coming out of a background of film and theater, and I sort of came to it in a similar path, because I actually studied theater and did a lot of play writing. I got into architecture, because I wasn’t making any money as a playwright or as a scenic designer. A friend of mine had a drafting job where he was making ten dollars an hour. I thought I better learn how to draft. Then Charles Moore seduced me in terms of his humanistic view of what architecture was all about. I had no clue. There was a kind of resonance with Moore’s approach to architecture and the more theatrical approach. I think that’s a common D&A that Ming and I have: it’s not about the building, it’s about what happens in the building. You make the building frame these various scenarios, exchanges, and interludes. There is another layer that went on top of that when we started working together, because we did do a lot of TV commercials and things like that. That brought us into contact in a serendipitous way with this incredible array of fabricators and technicians that exist in LA, and not anywhere else. That became a great resource, which came out of the theater and film background. This gave a certain flavor to the ideas that we have about how to fabricate a building.
COMPETITIONS: It has occurred to me that students studying architecture should be required to take a course in set design.
CH: We both press for that in our individual schools.
MF: Set design and theater lighting. Architects often don’t know how to light a building, and theater really sets the mood. There is a lot to learn from that.
CH: It can get over amplified to the point where your design becomes so particular in trying to control what people feel—which is inappropriate in an architectural framework.
Los Angeles Public Library, Hyde Park – Miriam Matthews Branch (Photo: Courtesy Hodgetts + Fung)
COMPETITIONS: Craig, you were working in Stirling’s office before he became a star. What led you to that office, what was it like in those days, and what did you take from that experience?
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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/ An Ideas Competition in Opposition to a Concrete Design
Entry by TheeAe (Image © TheeAe)
In early 2020, a group advocating a new approach to the design of the Los Angeles Museum of Art (LACMA)—The Citizens’ Brigade to Save LACMA—organized a competition to counter an existing design by the Swiss Architect Peter Zumthor. Already commissioned by the LACMA administration, the project is slated to begin almost immediately with the demolition of four LACMA buildings—three existing and one new. Moreover, the existing plan to incorporate all of the existing collections under one roof isn’t covered by the Zumthor plan. This obvious lack of exhibit space was the focus of a query by the Ahmanson Foundation, a major donor of artworks to LACMA in the past. Upon not receiving assurances from LACMA that those donated works would be exhibited, but possibly held in storage and hidden from public view, the Foundation cut all ties with LACMA. Finally, the plan by Zumthor foresees the new structure not only occupying much of the new space created by demolition, but extends part of the new building over Wiltshire Boulevard. As one might anticipate from Zumthor, the construction of the structure is also primarily of concrete, thereby raising the cost per SF. So no matter how highly finished this material turns out to be, it does in essence represent a brutalist structure replacing an eclectic ensemble. Read more… National Railway Museum Central Hall (U.K.)
Winning entry by Feilden Fowles (image © Fielden Fowles)
If one were to search for a railway museum in the U.K., London would seem to be an obvious choice. But, as it happens, its location is in the northeastern city of York, far from the major cultural and economic centers of the country. But despite its distance from the major metropolitan areas to the south and west, York has managed to become the focal point of research into the history of rail in the U.K., supplemented by a major museum. Here we are not just talking about some posters, but sheds replete with a large collection of vintage trains. Read more…
View to winning entry ©KDA
Foundation non-profits are no strangers to good architecture. Ford Foundation’s forward-looking headquarters in New York City by Roche Dinkeloo was an early example of a non-profit using architecture as a vehicle for serving to brand it as a progressive institution. In 2001 the California Endowment went one step further, staging an invited competition for their new headquarters in Los Angeles. Read more… 
Winning entry by Cui Kai (© Cui Kai)
Master plans have been around for ages; but master plans for very large cities with all their support systems are relatively new. Milton Keynes (MK), located in Buckinghamshire in southern England, and begun in the late 1960s, is one of the most successful of the new cities, now having a population of almost 250,000. Its success lies mainly on the lessons learned from the establishment of the planning which generated the new towns in the U.K. during the 1940s and 50s, many of which have not fared well in the test of time. MK’s success was based primarily on the careful separation of high density from residential where the influence of the “garden city” could be seen. Here the idea of a live/work environment was even incorporated. Read more… The O’Hare International Airport Competition
Winning entry – Studio-ORD The updating and modernization of Chicago’s O’Hare Airport has been well overdue. Aside from occasional problems caused by Chicago’s winter storms, congestion at the airport has led air travelers to avoid the airport when catching a connecting flight is on the agenda. So Chicago, noted for its modern architecture and the home of several high-profile architecture firms, decided to turn to an invited competition for a solution to these issues. Competitions in Chicago in the recent past have been anything but encouraging, especially when transparency is an issue. During the competition for the Obama Center on the South Side, the Obama Foundation, which was responsible for the administration of that “competition,” was anything but a model of transparency; and to this day, none of the finalist designs, other than that of the winner, have seen the light of day. In the case of the O’Hare project, videos submitted by the five finalists teams were on public display, and the public was even asked to vote for their favorite. Read more… |
