Sponsors: Advocates for Privately Owned Public Space The New York City Department of City Planning The Municipal Art Society of New York Type: open, two-stage, international Fee: None Eligibility: The Competition is open to any individual, group of individuals, or legal entity worldwide. Timetable: 15 March 2019 – Submission deadline Awards: A payment of $2,000 will be provided to each Awardee. The Awardee that created the logo chosen as the official New York City POPS logo will receive an additional $2,000 payment.
Jury: – Jerold S. Kayden, Professor of Urban Planning and Design at the Harvard University Graduate School of Design – Glen Cummings, Creative Director, MTWTF – Katherine Farley, MArch, Harvard GSD – Elizabeth Goldstein, President, Municipal Art Society of New York – Marisa Lago, Director, NYC Department of City Planning – Kim Mathews, FASLA, RLA – Justin Barrett Moore, Executive Director, NYC Public Design Commission Design Challenge: Since 1961, New York City has offered floor area bonuses and other zoning incentives to private developers of office and residential buildings to encourage them to provide the more than 550 POPS that are scattered about the city, especially in the borough of Manhattan and increasingly in Brooklyn and Queens. Combined, the city’s POPS provide nearly 3.8 million square feet of additional public space – equivalent to nine Bryant Parks, 24 Union Squares, or 10% of Central Park. Each POPS has a distinct identity shaped by its design, location, applicable legal requirements, owner and manager, and users.
For POPS to be well used by the public, it is imperative that residents, workers, and visitors know which spaces are indeed POPS and what amenities are required. For example, during what hours is a space required to be open? Must it provide amenities such as seating, landscaping, water fountains, bathrooms, or bike racks? If members of the public have a question about the space, whom should they contact? The New York City Zoning Resolution, from 1975 onward, has obliged almost all POPS owners to post signage on-site, identifying the space as a POPS and specifying required hours of access and amenities. Signage must also include information about who owns and manages the space and to whom a complaint may be submitted. For more information: http://popslogo.nyc Contact info: contact@popslogo.nyc
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.”
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.
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:
Memorials to commemorate atrocities committed by the Nazis during World War II have taken many forms. Holocaust museums such as the United States Holocaust Memorial Museum in Washington, D.C. by Pei Cobb Freed or the Jewish Museum in Berlin by Daniel Libeskind, all endeavor to paint a broad picture, including narratives covering most of the major events and sites. Former concentration camps such as Auschwitz, Dachau, Theresienstadt and Buchenwald have been frequent tour destinations. In the case of Buchenwald, the local city of Weimar has placed pictures of “Witnesses” throughout the downtown area as a reminder of the Nazi legacy.
Detroit’s Dia Plaza competition is hardly unique in initiating a search for urbanistic solutions to a cultural cluster. Vienna, Berlin, Mesa, Fort Worth, Chicago’s Millennium Park and Paris’ Parc de la Villette are just a few examples of projects where the focus on spaces between buildings, and arriving at a connective plan to infuse new energy into the site, has been the primary goal of other projects. All of these have been faced with their own challenges: solutions for some have been relatively simple—Vienna’s Museum Quarter and Berlin’s Forum—while others such as Paris’ La Villette and Mesa’s Downtown Plaza represent a more challenging subject spatially. In the case of Detroit, the aim of the competition was clear: “The design competition centers around enhancing and enlivening the DIA’s exterior campus and aims to connect all the institutions with a beautiful series of settings that support all types of programming and public art.”
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