Open Call for 2019 Shenzhen Bi-City Biennale of Urbanism\Architecture: Eyes of the City Exhibition
Sponsors: Bi-City Biennale of Urbanism\Architecture Type: Open, international Languages: Chinese, English
Timetable: 31 May 2019 – Submissions deadline Challenge:
The Bi-City Biennale of Urbanism\Architecture is the only biennial exhibition in the world based exclusively on urbanism and urbanisation. Co-organised by the neighbouring cities of Shenzhen and Hong Kong, the three-month event brings together international practitioners and theorists from a diverse range of disciplines to promote discourse and public engagement with globally shared issues in and around urbanism.
The eighth edition of the Biennale launches in Shenzhen on 15 December 2019. The location is the Futian district of Shenzhen, with Futian Railway Station acting as the main Biennale hub supported by clusters of sub-venues across the city. For the event, the space in and around the station will be re-designed and transformed in line with the 2019 Urban Interactions theme.
The open call asks what kind of digitally-augmented city we want to build for tomorrow and seeks responses to a series of specific questions set out in a curatorial statement that relate to the interrelationships of people, technology and the city.
Applicants can submit in one of three categories:
Design projects Designers, architects, architectural offices and practitioners are challenged to conceive installations that demonstrate an experimental approach to the Biennale theme and specific context while engaging visitors in a highly interactive participatory relationship with their spatial environment. Participants are encouraged to form multi-disciplinary teams combining expertise from research and industry that will open up new perspectives on the relation between users and urban space, and which will create a legacy for the city of Shenzhen.
Research projects Research-based practices, universities and research centres operating in and around the design disciplines are invited to propose innovative research projects that explore the potential of design practice as a mediating tool between digital and physical spaces in the future city. Proposals should aim to use the Biennale locale as a testing ground for new methods of research and practice that can be applied by scientific and professional communities worldwide.
Critical essays Scholars, critics, philosophers, historians, thinkers and researchers operating in and around the design disciplines are encouraged to propose contributions to ignite further modes of theoretical exploration into the relationship between cities and technologies. Proposals should open up new perspectives on relationships between design practice, user experience and urban space and should aim to contribute to outlining new theoretical ways of conceiving the city.
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.
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.
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:
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.
IMPORTANT NOTICE : Unless otherwise indicated, photographs of buildings and
projects are from professional or institutional archives. All reproduction is prohibited
unless authorized by the architects, designers, office managers, consortia or archives
centers concerned. The Competition Project, Inc. is not held responsible for any
omissions or inaccuracies, but appreciate all comments and pertinent information that
will permit necessary modifications during future updates.
