The Aalto ConnectionA Famous Name Attracts 674 Entries 
Winning entry by Sini Rahikainen, Hannele Cederström, Inka Norros, Kirsti Paloheimo, Maria Kleimola
Images courtesy ©Alvar Aalto Foundation
Extensions to buildings are normally regarded as significant projects by most architects, whereas linking two existing structures might appear as a lesser priority. On rare occasion of such a significant linkage, which took place between two buildings at Pratt Institute in New York was the project by Steven Holl, which had to deal with differing floor levels in fitting the connection to the two structures.
Steven Holl Architects – Pratt Institute connection linking two buildings
Image courtesy ©Steven Holl
In joining two museums structurally, especially when designed by a world-renowned architect, the design bar is suddenly raised. Add to that the fact that the architect of both museums is a household name in his home country of Finland. With that in mind, the connector cannot be too high-profile, but must enhance, rather than detract from its two neighbors, at the same time becoming part of a greater composition. When confronted with the question of solving such a challenge—connecting two museums designed by Alvar Aalto—the Finnish city of Jyväskylä turned to an international design competition for a solution. Even considering the rather small size of the project, the Aalto name alone was enough to attract the submission of 674 entries. Sponsored by the Alvar Aalto Foundation, and adjudicated by an all-Finnish jury, the aims as expressed in the brief were clear: “In its criteria the competition jury stresses the need for an integrated architectural approach and the technical and economic feasibility of the design. It is particularly important that the winning entry should suit this nationally important cultural environment, and that it should find a way of creating a seamless link with Alvar Aalto’s architecture.” Important to note is that a plaza is created by linking the two buildings, introducing the importance of landscape design. As is often the case with Scandinavian juries, the majority of the members were local stakeholders, with two architect appointees serving on the behest of the National Finnish Architectural Association.
At the conclusion of judging, An entry called “Silmu” (Finnish for a leaf bud) by a team of young Finnish architects was announced as the winner of the international Ruusupuisto design competition.
By staging a competition for a project of relative modest size, but high-profile in its importance, the Finns have shown that competitions for smaller projects can also be the subject for important solutions. First Place by Sini Rahikainen, Hannele Cederström, Inka Norros, Kirsti Paloheimo, & Maria Kleimola – Finland
Images courtesy © Alvar Aalto Foundation
Second Place by Tarmo Juhola, Essi Peltola, & Anna Juhola – Finland
Images courtesy © Alvar Aalto Foundation
Third Place by SMAR Architecture Studio – Madrid/Western Australia
Images courtesy © Alvar Aalto Foundation
Purchase #1 by Arkkitehtuurityöhuone BUENAVENTURA – Finland
Images courtesy ©Alvar Aalto Foundation
Purchase #2 by Antti Soini / Leo Lindroos– Finland
Images courtesy © Alvar Aalto Foundation
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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/ Another Competition for Moscow’s Expanding Subway Network
Image © Zaha Hadid Architects
Even under Stalin, Moscow subway stations represented the crown jewels of the city’s projects when it came to design. In more recent years, the emphasis placed on modern design in the city’s expanding metro rail network has resulted in some major new projects, and this year’s competitions for two stations was no exception: the Klenoviy Boulevard Station 2 won by Zaha Hadid Architects (London), and the Prospect Marshala Zhukova station, won by the ASADOV Architectural Bureau (Moscow). Read More… Hangang District Urban Design International Master Competition
1st place entry by Dominique Perrault Architecture (image ©Dominique Perrault Architect)
China’s planning priorities for their urban areas experienced a sharp turn after the post-Mao reforms took place. During the early post-WWII period, when Soviet influence in the early urbanization of China dominated, industrial development took precedence over all other issues, with heritage, conservation, residential planning, and the amenities associated with it, being almost entirely neglected. Read more…
Winning design by ©Moreau Kusunoki /Genton
Although one might normally assume that local firms participating in a competition might have a clear advantage over foreign competitors, this has seldom been the case: just see Sydney’s Opera House, won by a Danish architect, and Toronto’s City Hall, won by a Finn—as evidence that well devised competition briefs as adequate documentation can create a level playing field for potential competitors, regardless of their location.
Read more…
Jensen Architects – Winning entry (Honor Award) Beginning in 2011, Architecture at Zero, a collaboration between the Pacific Gas and Electric Company (PG&E) and the California chapter of the American Institute of Architects (AIACA), was established to investigate the role architecture might play in reducing energy consumption in the built environment. Since then, every year has seen a new site and building type selected as a design challenge in what has become one of the world’s most interesting international competitions.
As a sign of its mounting popularity, the competition received 237 registrations from 49 countries and, according to the professional adviser, about 150 entries— all this during the Covid-19 virus pandemic, when all were compelled to work from home. Read more… 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… |
