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
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.
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.
The renovation of Miremont-le-Cret n 2012 was unusual in that the project was the subject of a competition. This building had long been landmarked as one of Geneva’s most significant modern accomplishments, designed in 1953 by a local architect, Marc-Joseph Saugey. The building’s design is remarkable in how it fits into a somewhat narrow, elongated site, but solving the issue of monotony that could naturally arise, had the facades not consisted of a simple elevation with no protruding edges. Instead Saugey came up with the idea of a faceted treatment of the facade on both sides of the structure, thus eliminating any notion of boredom on the part of a casual visitor.
The Rise in the City Housing Competition in the African country of Lesotho presented many similarities with student competitions that have occurred over the past decades, the main link being the presence of mentors as advisers to the team(s) who were designing the entries. One of the most famous examples of this was the winning design for the Vietnam Memorial Competition by Maya Lin, who was enrolled at the time in a studio course at Yale University. In that case it was also a case of students competing against professionals. Lin’s design just happened to find favor with the jury.
The features of a truly international competition were quite in evidence in Prague’s SMÍCHOV School search for an ideal elementary school design: the event attracted 66 entries from around the world, and the winners were a team from Canada and Poland. The sponsors went so far as to even estimate the number of hours spent by all of the architects who submitted entries for the competition (58,800). One can only imagine what that number might have been for the Helsinki Guggenheim competition, which attracted 1,715 entries.
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