Zaha Hadid Architects has won an invited international competition to design the Forest Green Rovers Stadium, part of an eco-friendly complex in Stroud, Gloucestershire. The competition was actually staged in three phases, with almost 50 firms from around the world participating in the first stage. After a jury shortlisted nine entries from the initial competition phase to participate in the next round, two teams, Zaha Hadid Architects and Glenn Howells Architects, both from the UK, were provided with an honorarium to fine-tune their designs in a third and final stage of the process. Two other firms AFL Architects (Manchester) and George King Architects (London) were “highly commended” on their designs.
Of special note was the emphasis placed on sustainability as illustrated by the extensive use of wood in the Zaha Hadid design, serving to underline the significant ecological nature of the project and the environment where it is to be located.
The nine shortlisted firms were:
AFL Architects, Manchester, UK
DP Architects, Singapore
George King Architects, London, UK
Gianni Botsford Architects, London, UK
Glenn Howells Architects, Birmingham, UK
Richard Kroeker, Halifax, Nova Scotia, Canada
Studio M12, Morden, Surrey, UK
Zaha Hadid Architects, London, UK
ZedFactory, Wallington, UK
The subject of the competition was the design of an innovative new 5,000 capacity stadium for Forest Green. The new stadium will be the centerpiece of the £100million Eco Park development, a 100-acre sports and green technology business park proposal beside junction 13 of the M5 in Gloucestershire.
Half of Eco Park will consist of state-of-the-art sporting facilities, including the new stadium, grass and all-weather training pitches, publicly accessible multi-disciplinary facilities, and a sports science hub.
The other half will comprise a green technology business park with sustainably built commercial offices and light industrial units, giving Eco Park the potential to create up to 4,000 jobs, including room for the continued expansion of green energy company Ecotricity, which has submitted the overall proposal and is already the biggest employer in Stroud with 700 employees located across four sites.
The proposal will also see the development of a nature reserve on the site, a potential public transport hub, including a Stroud Park and Ride, as well as help with the restoration of the Stroudwater canal.
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.
Form and Dichroic Light Scott Hall at Carnegie Mellon University Michelle LaFoe and Isaac Campbell OFFICE 52 Architecture Forward by Cesar Pelli, FAIA Introduction by Michael J. Crosbie, FAIA Leete”s Island Books, Maine USA Hard cover; 96 pages in color ISBN 9780918172709
In his introduction to Form and Dichroic LIght, Michael Crosbie never mentions the term, “wild card,” to describe Office 52’s participation in the invited competition for the Carnegie Mellon Engineering Building. The four finalists, picked from a list of 17 firms, also included three household names: ZGF, Wilson, and BCJ (Bohlin Cywinski, Jackson). So what possible chance could a firm, which had just recently opened a small office in Portland, Oregon, have against a competition lineup of this magnitude? But as OFFICE 52 Principal, Isaac Campbell explained, as a small firm, “we were quite nimble,” and the $50,000 stipend the firms all received to produce a design could allow OFFICE 52 more time to undertake the research involved than might be the case with a larger office, where a cost controller is constantly focusing on the operation.
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.”
As part of a policy to relocate archives of local interest outside of major Bavarian cities, a competition was staged for the design of a new archive in Kitzingen, 12 miles from the provincial capital city of Würzburg, Germany. The competition was open to qualified teams in the EU, with 25 firms identified to take part in a competition. Since five firms were preinvited, 20 openings were available for the 79 applicants that vied for participation in the competition. In the end, 23 firms submitted designs for the final adjudication process.
In July 2019 the Vilnius Concert Hall competition jury began its deliberations to identify a suitable design for this major performing arts project. As one might have anticipated, two of thejurors on the seven member panel, Ole Gustavsen (Snohetta) and Andreas Cukrowicz (Nachbaur Architekten) had won high profile competitions for similar music center projects—in Oslo and Munich.The jury was confronted with a formidable task, as the competition, organized according to UIA regulations and anonymous in its format, had attracted 248 entries from around the world. For this one-stage competition, the organizers listed the following evaluation criteria, whereby the order of the criteria was not to reflect any priority:
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