Museum of the 20th Century and its Urban Integration (Berlin)
(Mies van der Rohe’s Museum des 20. Jahrhunderts)
Sponsor: Prussian Cultural Heritage Foundation
Location: Berlin, Germany
Type: Open, ideas
Entrance Fee: None
Awards: The total competition money available amounts to 260,000 euros plus VAT. 10-20 equivalent prizes of 13,000 to 26,000 euros each are planned to be awarded.
Languages: English, German
Eligiblity: The competition is held as an open ideas competition for bidding consortiums of architects with landscape architects in keeping with the guidelines for planning competitions (RPW 2013). Urban planners are eligible to take part in a bidding consortium with architects and landscape architects.
Submission Deadline: 12 December, 2015
Design Challenge: A museum of international standing is to be created for the art of the 20th century at the behest of the Prussian Cultural Heritage Foundation SPK. For the first time in decades, the newly created museum complex Neue Nationalgalerie – Museum of the 20th Century will enable the collection of the Nationalgalerie, so far only exhibited to the public in parts, to be presented in an adequate fashion. The internationally important holdings of the Nationalgalerie of 20th century art, the Marx and Pietsch collections, the Marzona archive and works from the Museum of Prints and Drawings will be permanently and jointly exhibited for the first time. The presentation of the holdings will embrace the lower level of the Neue Nationalgalerie and – first and foremost – the exhibition spaces of the new building.
The new building will thus form a tightly circumscribed unity with the Neue Nationalgalerie in content and function. Both establishments – the Neue Nationalgalerie and the new building – are meanwhile to be understood as autonomous architectures with their own entrances, own functional areas (exhibition spaces, administrations, foyers, visitor services, etc.) and their respective own identities. The target set for the new building is a usable area of ca. 14,700 m² (UA 1 – 6), ca. 9,200 m² of which can be used as exhibition spaces. The construction field at Potsdamer Strasse has a buildable area of ca. 10,200 m². The gross floor area expected, depending on the concept, is ca. 27,700 m², while the clear room height in the exhibition areas needs to reach up to 9 m.
The location of the new museum at the Kulturforum, in the direct vicinity of two of Germany‘s most important architectural icons of the 20th century (Neue Nationalgalerie, Ludwig Mies van der Rohe, 1968 and Philharmonie, Hans Scharoun, 1963), as well as in the environs of further architectural monuments (St. Matthew‘s Church, Berlin State Library), calls for a particularly attentive architectural and development approach.
This competition for ideas is meant to clarify how the new building for the Museum of the 20th Century and its immediate environment can be fashioned architecturally, in terms of urban planning, and in the design of the open spaces. The competition is aimed at gaining insights into the task formulation and framework conditions of the realisation competition to follow. Based on the results of the competition for ideas, its organiser will optionally define further parameters for the urban planning and the design of the open spaces. In addition to this, 10-20 competitors are meant to be qualified for the subsequent realisation competition as prize winners of the competition for ideas. The competition for ideas is thus designed to provide architects who have not yet planned or realised large museums or similar buildings with an opportunity to take part in the realisation competition.
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:
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.
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.
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.
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.
In these times when political emotions run high and gun violence is the norm, not the exception; and when emotions no longer are held in check, but encouraged by our leaders, minorities become easy targets for those who adhere to ideologies based primarily on exclusivity and hate.
The LGBT community has long been the target of various segments of our society; but the massacre that took place at the Pulse nightclub in Orlando, a favorite hangout for gays, elevated this phenomenon to a new level. After an event that claimed the lives of 49 victims, injured 68 others, and left hundreds permanently traumatized, it should come as no surprise that a memorial to this tragedy has been front and center in the minds of the community ever since. Because the very nature of this event has drawn nationwide attention, the community wanted to get it right. So it was only logical that they would turn to a competition as the most viable vehicle for arriving at a solution for the design of a memorial, as well as a museum. For this, the onePULSE Foundation was formed, to memorialize this tragedy and “ensure that Pulse”s legacy of love, acceptance and hope will never be lost.”
IMPORTANT NOTICE : Unless otherwise indicated, photographs of buildings and
projects are from professional or institutional archives. All reproduction is prohibited
unless authorized by the architects, designers, office managers, consortia or archives
centers concerned. The Competitions-Archive LLC is not held responsible for any
omissions or inaccuracies, but appreciate all comments and pertinent information that
will permit necessary modifications during future updates.
