2020 Forge Prize: Vision in Steel for Architectural Excellence and Speed
Sponsor: American Institute of Steel Construction (AISC) Type: open, ideas, two-stage Eligibility: U.S. and Canadian architects within 10 years of licensure or pursuing licensure.
Participants must be working professionals in any of the following firm types: Architecture Firm; A/E Firm, but submitting as an emerging architec; Design-Build Firm, but submitting as an emerging architect Fee: None Language: English Process: During Stage One, a jury of experts will convene to identify up to three conceptual submissions that will be awarded a $10,000 stipend to continue onto Stage Two Timetable: 25 January 2020 – Submission deadline February 2020 – Stage One Finalists Annoounced May 2020 – Stage two Submissions deadline Spring 2020 – Final winner announcement and event Awards: Three finalists each receive $10,000 for their participation Winner receives and additional $10,000 for a total of $20,000
Jury: TBD Challenge: The design submissions may be for any type of conceptual building structure and should represent creative, technical, or innovative approaches to solving a specific design challenge or challenges (i.e. environmental, economic, social, logistical). Additionally, all submissions will be judged on how much they contribute to the reduction in time it takes to design and build. The design approach and resolve of the challenge(s) should be clearly identified in a narrative that includes an overview of the role played by the utilization of structural steel in the design to achieve the resolution. If submitting as a team, only one team member is eligible to present at the live Presentation and Critique Session. The cumulative package consisting of a narrative, drawings, and live presentation should be developed to convey evidence of understanding and process of design consideration given to context, structure, aesthetics, and real-world feasibility.
Regarding site selection for the proposed building structures, participants must select an actual and existing site but have the discretion to locate it anywhere in the United States. Existing sites that are currently occupied with existing buildings may also be utilized to introduce the new proposal; however, participants must note this replacement in the narrative. The site must be prominently identified as part of the drawing submittal.
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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