Contemporary Memorial Symbolism on the Thames
Image: © Adjaye Associates & Malcolm Reading Consultants
The recent U.K. Holocaust Memorial Competition in London concluded with designs from ten high-profile international firms . This began with a short-listing procedure which attracted expressions of interest from 97 international firms. In contrast to the entirely
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Image © Adjaye Associates and Ron Arad Architects
There were 92 expressions of interest submitted, of which ten firms were invited to submit proposals.
Winner: Adjaye Associates and Ron Arad Architects, London/New York
Honorable Mention Henenghan Peng Architects, Gustafson Porter + Bowman, Bruce Mau Design,and Sven Anderson, Dublin/London/U.S.
Finalists
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Sponsor: Ukrainian Ministry of Culture Theme: Memory/Museum Type: International, open, 2-stage, RfQ, (both for architecture and art/sculpture) Fee: none Selection procedure: • For the “memorial competition”, a total of approx. 12 artists/sculptors, architects or landscape architects will be selected to participate. • For participation in the “museum competition” a total of approx. 12 architects or
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Sponsor: Taiwan Power Company, Taiwan Theme: Aesthetics” becomes a new dimension of the next-generation power plant. Type: open, international, two-stage, Expressions of Interest (EOI) Languages: English, Chinese Fee: none Qualifications for Participation: 1. Any licensed architect (or architect firm) of Taiwan or any licensed architect (or architect firm), licensed landscape architect (or landscape architect firm)
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On August 24th, 2017 a distinguished jury of notable professionals, academics, and cultural leaders met to decide the competition winners. In response to this year’s Chicago Architecture Biennial prompting Make New History, the 2017 Burnham Prize Competition: Under the Dome used the historical and typological construct of the dome and called for its critical re-imagination.
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Sponsor: FAKRO Type: International, Open Languages: English Fee: None Eligibility: persons holding a Master’s Degree in Architecture or Architectural Engineer or equivalent title or practicing the profession of an architect (in the event of the design submitted by the team it applies to the representative of this team). Timetable: 20 February 2018 – Submission Deadline
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Sponsors: Government of the Russian Federation; Russian Ministry of Construction Industry, Housing and Utilities Sector; Unified Development Institution in the Housing Sector DOM/RF Competition organizer: Strelka KB, Moscow Type: International, Open, two-stage Languages: English, Russian Fee: none Eligibility: students, architects, Landscape architects and urban designers Timetable:
25 December 2017 – 1st stage submission deadline February
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333 Wacker Drive – view with Chicago River in foreground (photo: ©Barbara Karant)
COMPETITIONS: When you are called on to design a ‘foreground’ building for a corporate client—although it’s usually an office building, it could be any number of building types—how do you balance the private and public interest beyond the usual zoning regulations?
left and below Gargoyle Club Prize Best Architectural Thesis, University of Minnesota School of Architecture (1961) Theme: Hospital Project
Images: courtesy William Pedersen
Pedersen: The interest of the client as it relates to the quantity of the construction they wish to place on a site is perhaps the most difficult issue, particularly during the 80s, when a tremendous amount of construction was taking place in the United States, and one more office building was not hailed by anybody as a contribution to society. The situation has changed rather dramatically in the 90s, when almost none of them are being built; so the issue is not as pressing. But there always is the question, ‘Is a building, given the bulk proposed, appropriate for its specific condition?’ One’s ability to deal with that issue is somewhat limited because zoning establishes what is of right, and not of right. Therefore, the battle has largely been fought prior to our entrance on the scene.
Past that point, the relationship of our buildings to a specific context has been a fundamental issue of our architecture. This is particularly how we take tall buildings, which are in themselves somewhat insular, autonomous and discrete, and bring them into a more social state of existence. That’s been the subject of our study for the last twenty years. We’ve developed strategies for doing that, of which I’ve spoken at length. The preoccupation of making the tall buildings—part of a more continuous, overriding fabric—that’s been central to our architecture.
COMPETITIONS: The most obvious argument against contextualism—as many people understand it—would be the Pompidou Centre in Paris, which has turned out to be the most visitied and popular building in that city. Wouldn’t that seem to give architects a good argument for doing something different? Was that even a lesson?
WP: Juxtaposition is a fundamental contextual strategy; but it has to be used sparingly and has to be introduced at exactly the right moment for it to have a powerful effect. For example, the Seagrams Building on Park Avenue—before any of the other buildings followed suit—was exceedingly powerful and very successful as a result of the juxtaposition at that particular place. I would argue that our building in Chicago (333 Wacker Drive) is an equally successful contextual building. It’s on the only triangular site of the Chicago grid at a bend in the Chicago River, and it sits within a context of totally masonry buildings, largely of the classical derivation. Somehow the relationship between those very distinct parts works. We were asked to build a building right next to 333 Wacker Drive, which did not occupy a unique geometric piece of property, but in fact became more of a continuation of the street wall leading up to 333 Wacker. We elected there to utilize a more Classical language in total juxtaposition to our own 333 Wacker in an effort to try to achieve the continuity of the wall that we thought was necessary, but also to maintain that poignancy of a juxtaposition to 333 Wacker Drive to the rest of the context. It would weaken it tremendously if it had been reproduced next door.
The same is true of the Pompidou Centre. If one were to tear down that section of Paris around it and build a number of Pompidou Centers there, it would lose its impact, because ifs impact is an object set within a very careful framing in that traditional neighborhood. Without the dialogue between the two, the game is over.
AAL Hqs. building addition (1971), Appleton, Wisconsin
AAL Hqs. original building
AAL rendering
COMPETITIONS: Most people seem to believe that 333 Wacker is the best building you have done. Maybe it was the time and unique site. It was one of those projects where one announces, ‘Well, here I am.’ Sometimes it’s difficult to top a wonderful building like that, though you may believe your next building is the one you like best.
WP: I think that 333 was a product of my sensibility at that point in time. It was a building that tended tobe an intuitive response to the site. In terms of it language, it came out of a couple of other buildings I had done immediately prior to that—one being the Aid Association for Lutherans in Appleton, Wisconsin, the other being the Brooklyn Criminal Courts Building, which had very similar geometric ideas in terms of its relationship to context. The very conscious attitude of trying to make the tall building part of a larger urban contet preoccupied us for the next five years. As a result, we used a more classical language to try to develop connecting strategies, because a Classical language is largely built on ideas of connection of pieces and parts, one to another…buildings connect well because they have parts that are combined and are part of a central language.
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Helsinki Central Library, by ALA Architects (2012-2018)
The world has experienced a limited number of open competitions over the past three decades, but even with diminishing numbers, some stand out among projects in their categories that can’t be ignored for the high quality and degree of creativity they revealed. Included among those are several invited competitions that were extraordinary in their efforts to explore new avenues of institutional and museum design. Some might ask why the Vietnam Memorial is not mentioned here. Only included in our list are competitions that were covered by us, beginning in 1990 with COMPETITIONS magazine to the present day. As for what category a project under construction (Science Island), might belong to or fundraising still in progress (San Jose’s Urban Confluence or the Cold War Memorial competition, Wisconsin), we would classify the former as “built” and wait and see what happens with the latter—keeping our fingers crossed for a positive outcome.
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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/
RUR model perspective – ©RUR
New Kaohsiung Port and Cruise Terminal, Taiwan (2011-2020)
Reiser+Umemoto RUR Architecture PC/ Jesse Reiser – U.S.A.
with
Fei & Cheng Associates/Philip T.C. Fei –R.O.C. (Tendener)
This was probably the last international open competition result that was built in Taiwan. A later competition for the Keelung Harbor Service Building Competition, won by Neil Denari of the U.S., the result of a shortlisting procedure, was not built. The fact that the project by RUR was eventually completed—the result of the RUR/Fei & Cheng’s winning entry there—certainly goes back to the collaborative role of those to firms in winning the 2008 Taipei Pop Music Center competition, a collaboration that should not be underestimated in setting the stage for this competition.
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Winning entry ©Herzog de Meuron
In visiting any museum, one might wonder what important works of art are out of view in storage, possibly not considered high profile enough to see the light of day? In Korea, an answer to this question is in the making.
It can come as no surprise that museums are running out of storage space. This is not just the case with long established “western” museums, but elsewhere throughout the world as well. In Seoul, South Korea, such an issue has been addressed by planning for a new kind of storage facility, the Seouipul Open Storage Museum. The new institution will house artworks and artifacts of three major museums in Seoul: the Seoul Museum of Modern Art, the Seoul Museum of History, and the Seoul Museum of Craft Art.
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Belfast Looks Toward an Equitable and Sustainable Housing Model
Birdseye view of Mackie site ©Matthew Lloyd Architects
If one were to look for a theme that is common to most affordable housing models, public access has been based primarily on income, or to be more precise, the very lack of it. Here it is no different, with Belfast’s homeless problem posing a major concern. But the competition also hopes to address another of Belfast’s decades-long issues—its religious divide. There is an underlying assumption here that religion will play no part in a selection process. The competition’s local sponsor was “Take Back the City,” its membership consisting mainly of social advocates. In setting priorities for the housing model, the group interviewed potential future dwellers as well as stakeholders to determine the nature of this model. Among those actions taken was the “photo- mapping of available land in Belfast, which could be used to tackle the housing crisis. Since 2020, (the group) hosted seminars that brought together international experts and homeless people with the goal of finding solutions. Surveys and workshops involving local people, housing associations and council duty-bearers have explored the potential of the Mackie’s site.” This research was the basis for the competition launched in 2022.
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Alster Swimming Pool after restoration (2023)
Linking Two Competitions with Three Modernist Projects
Hardly a week goes by without the news of another architectural icon being threatened with demolition. A modernist swimming pool in Hamburg, Germany belonged in this category, even though the concrete shell roof had been placed under landmark status. When the possibility of being replaced by a high-rise building, it came to the notice of architects at von Gerkan Marg Partners (gmp), who in collaboration with schlaich bergermann partner (sbp), developed a feasibility study that became the basis for the decision to retain and refurbish the building.
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