When you think of iconic libraries in the United States, Louis Kahn’s Kiimball Library in Fort Worth, Texas is one of the first that comes to mind. But space in the old existing Museum of Modern Art as well as in the Kahn building was limited; so in 1996 a competition was organized to select an architect, based on a winning design. The competition, which was documented in our quarterly (COMPETITIONS, Vol. 8,#1), was supplemented by an insightful article by the former Dean of the School of Architecture at the University of Texas at Arlington, George Wright. He mentioned that the competition took place at the same time that the competition was occurring for MOMA in New York, but that this did not deter architects from the first echelon from submitting their qualifications for a shortlist.
From that group, Tadao Ando from Japan won out over Richard Gluckman (New York), Arata Isozaki (Tokyo), Ricardo Legorreta (Mexico City), and David Schwartz (Dallas).
The brief stipulated that the new museum should “neither mimic the Kimball nor dispute its primacy.” As a very modern giant box with protruding galleries breaking up the façade by facing out into the lagoon, Ando’s design did neither. But its very spacious entrance and lobby area was an immediate sign that it was a different kind of museum. Consisting for the most part of large volumes, it was ideally designed to accommodate 21st Century art installations and art works.
Visiting such an important facility more than a decade after its opening was an opportunity to examine how the museum has stood the test of time. From my perspective, it is certainly one of the best museums dedicated solely to modern art that I have visited—a view affirmed by others accompanying me on this visit, most of whom were not architects but frequent museum visitors.
Aside from the many attributes of the main building, the landscaping, containing a large lagoon surrounding the structure, was also masterfully conceived. As a shallow element at the edge of the building, one could see an artwork by Jenny Holzer, illuminated words in red, carrying a message out of the building into the shallows. Also of special note, exemplifying the spatial attributes of the building, was Martin Puryear’s Ladder for Booker T. Washington (left), an obvious crowd favorite.
This building, exquisite in its finished concrete interior and spatial planning, with a flexibility to accommodate all kinds of modern art, is an example not only of good architecture in the broader sense, but also turning the landscape into an art form.
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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