National Pulse Memorial & Museum International Design Competition
Sponsor: onePULSE Foundation
Type: open, international, two-phase (RfQ)
Location: Orlando, Florida
Professional Adviser: Dovetail Design Strategists, LLC
www.dovetailstrategists.com
Eligibility: Open to architects across the globe. Architects will be required to form and lead a multi-disciplinary team to include urban design, landscape design and
exhibition design professionals. The inclusion of an artist is strongly encouraged.
Fees: None
Language: English and Spanish
Timetable:
25 March 2019 – Competition launch
30 April 2019 (15:00 EST) Stage I RFQ submissions due
Compensation: Up to six architect-led design teams will be selected to participate in Stage II
of the Design Competition and an honorarium of $50,000 will be paid to each
of the shortlisted teams who have met onePULSE’s Stage II requirements, payable upon selection of a winning team.
Design Challenge:
On June 12, 2016 the largest and deadliest act of violence affecting LGBTQ+ people, and one of the deadliest terrorist attacks by a single gunman in modern American history occurred at the Pulse nightclub in Orlando, Florida. A total of 49 people’s lives were taken that night, 68 others were injured and hundreds were left permanently affected from the trauma.
In the aftermath, the Orlando community and the world came together to prove that love will overcome fear and hatred. Under this banner, the onePULSE Foundation, an educational nonprofit, was created to memorialize this tragedy and ensure that Pulse’s legacy of love, acceptance and hope will never be lost.
The National Pulse Memorial & Museum International Design Competition challenges architects to create an iconic Memorial & Museum, including a pedestrian pathway called Survivors Walk in Orlando, Florida on the site of the Pulse nightclub and nearby properties. The National Pulse Memorial will be a
sanctuary of hope and healing, the Pulse Museum will educate, enlighten, inspire reflection and start conversations that will change mindsets. Survivors Walk will trace the three-block journey many victims and survivors took the night of the tragedy to get to the Orlando Regional Medical Center.
Together these three distinct elements will be a tribute to all those affected, will engage and educate visitors from around the world, and will serve as a catalyst for positive change.
The Jury includes:
Mayra Alvear, Victim’s Liaison, Mother of Amanda Alvear, Task Force Advisory Council, onePULSE
Earl Crittenden, Chair, Board of Trustees onePULSE, GrayRobinson, P.A.
Yolande Daniels, Principal, studioSUMO
Mayor Jerry Demings, Orange County, Florida
Mayor Buddy Dyer, Orlando, Florida
Hilary Lewis, Board of Trustees onePULSE, Chief Curator & Creative Director, The Glass House
Teresa Jacobs, School Board Chair, Orange County Public Schools, former Orange County Mayor
George Kalogridis, Vice Chair, Board of Trustees onePULSE, President, Walt Disney World
Ricardo J. Negron-Almodovar, Survivor, Service Legal Coordinator, Latino Justice Southeast Office
Barbara Poma, Owner, Pulse Nightclub, Founder & CEO of onePULSE
Laurinda Spear, Principal, Arquitectonica
Sarah Whiting, Dean, Rice University School of Architecture, Principal WW Architecture
Susanna Sirefman, Competition Director and Jury Advisor, President, Dovetail Design Strategists
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:
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.
If one were to search for a railway museum in the U.K., London would seem to be an obvious choice. But, as it happens, its location is in the northeastern city of York, far from the major cultural and economic centers of the country. But despite its distance from the major metropolitan areas to the south and west, York has managed to become the focal point of research into the history of rail in the U.K., supplemented by a major museum. Here we are not just talking about some posters, but sheds replete with a large collection of vintage trains.
Foundation non-profits are no strangers to good architecture. Ford Foundation’s forward-looking headquarters in New York City by Roche Dinkeloo was an early example of a non-profit using architecture as a vehicle for serving to brand it as a progressive institution. In 2001 the California Endowment went one step further, staging an invited competition for their new headquarters in Los Angeles.
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.
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.
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