Spreebogen Takes a Final Lap Plans for the Final Expansion of Schultes’ Federal Chancellery Building  Aerial view with new addition at bottom of site (Image © Schultes Frank Architekten) The reunification of Germany in 1989 not only had a great impact on the lives of many Germans, especially those living in the former DDR, but together with the decision to move the nation’s capital from Bonn to Berlin resulted in two major international design competitions in 1992: the first was to convert the existing Reichstag building into a home for the German parliament, the second being the Spreebogen planning competition, which included a chancellery for the head of state as well as needed buildings nearby for the Federal government. Many will recall that the Reichstag competition was won in a second stage by Norman Foster. The difference between the firm’s initial proposal in the open stage and the final solution in the second stage would seem to lend credence to the rumor that others in the firm were responsible for the initial proposal, though Foster himself may have seen it before it was submitted.  The 1992-93 Spreebogen planning competition, the most significant urban planning competition to occur in Europe in the 20th Century, drew 825 entries from around the world, including 96 from the U.S. It called for 5 million square feet of new government buildings, including the Federal Chancellery, the Federal Council and the Reichstag together with its related facilities on the Spreebogen site. Won by Schultes/Frank of Berlin by a very large majority of the jury vote, it was followed by opposition from powerful politicians, who were successful in demanding a second, final stage to be contested by the First, Second, and Fourth Place winners who were to respond to a list of criticisms formulated by the Ministry of Regional Planning, Building, and Urban Design. The revision stage was completed in June 1993, and, once again, confirmed by a large majority, the Schultes/Frank scheme was the jury’s overwhelming choice.* It was almost immediately followed by an invited competition for the Chancellery building itself—also won by Schultes and completed in 2001. This was the first building block of the Spreebogen design, followed by the construction of several government buildings to the north of the Reichstag and spanning the Spree River to the east.  The final, western phase of the Spreebogen concept has recently been approved by the government and will address needed additional space for the Chancellery. Already ten times the size of the U.S. White House, it will be connected by a bridge to the Winter Garden park on the other side of the Spree to the west, and have room for 400 offices now scattered throughout in the city. Scheduled for completion in 2027, the complete realization of the Spreebogen plan will then have taken no less than 44 years. *Karen van Lengen, competition juror, COMPETITIONS, Vol. 3, #3 (1993) p. 12   All above images ©Schultes Frank Architekten |
A Church Ruin as Reconciliation Memorial  View of winning design from south ©Heninghan Peng Architects For those tourists visiting Berlin today, the sudden approach to the ruins of a 1895 church building located on the city’s downtown Breitscheidplatz would certainly arouse their curiosity. One of the few remaining relics of World War II in the city, the church has now been the subject of a competition: Redesign and renovation of the Old Tower of the Friedrich Wilhelm Memorial Church (Umgestaltung des Alten Turms der Kaiser-Wilhelm-Gedächnis-Kirche). Read more… 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/ Architecture as a Unifying Concept  1st Place – UNStudio Image: ©Aerial image: ©die developer Projektentwicklung GmbH As attractive as some of our most famous towers might appear, they do have a serious downside according to some observers: ‘they suck the life out of the street.’ This has not gone unnoticed, as some cities have required setbacks as partial solutions. Two Mies Van Der Rohe projects, New York’s Seagram Building and the Toronto-Dominion Centre are prime examples of this concept. More recently the recognition that landscaping can provide some breathing space has become quite the fashion. Competitions are now replete with competitors who insist that the surrounding green environment does not stop at the front door. One of the most obvious in recent history is Elizabeth de Portzamparc’s competition winning entry for the Taichung Tower 2 competition in Taiwan. Read more… 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. Read more…  Perkins & Will Carrying the label, “Artistic Ideas Competition,” five firms vied for a commission to design a new National Museum of the U.S. Navy. Household names, the five were Bjarke Ingels Group (BIG) Copenhagen/ New York Gehry Partners (Los Angeles) DLR Group (Columbus, OH) Perkins&Will (Chicago) Winner! Quinn Evans (Ann Arbor) With a site not yet identified, it is possible that a final design will look quite different from the present submission. the Navy has expressed a preference for M Street SE and 6th Street SE, near the Navy Yard in Washington, D.C. Six Firms Competed to Rethink the Future of a Major Museum  Aerial view of winning design ©Nieto Sobejano Arquitectos (courtesy Malcolm Reading Consultants) The history of the Dallas Museum of Art’s expansion has been punctuated by several moves, culminating in a new building designed by Edward Larrabee Barnes in 1984. The importance of this move to a new, somewhat desolate location in the city cannot be underestimated: it has led to the revitalization of what is now called the “Arts District,” with the relocation of various arts institutions to new facilities: the opera house (Foster and Partners), Dee and Charles Wyly Performing Arts Theater (REX/OMA), Nasher Sculpture Center (Renzo Piano), and I.M. Pei’s Meyerson Symphony Center being among the most significant. Read more… |