For anyone who recalls the Black Mountain project in North Carolina from the late 1930s and mid-1940s, the Lagi 2020 Fly Ranch project in many respects is almost a carbon copy of that famous progressive initiative. Besides Walter Gropius, the Black Mountain project, which focused on the arts, had its close connection to the German Bauhaus. Besides Gropius and Marcel Breuer, who drew up plans for the construction of new buildings there (never built), Bauhaus artists such as Josef and Anni Albers and Xanti Schawinsky were teaching there. As a result, the social content of the Black Mountain project lent more than local prominence to the project.
The Lagi 2020 Fly Ranch project is a serious of competitions sponsored with the intent of raising public awareness about the environment and measures to preserve it, focusing on demonstration projects that deal in large part with energy regeneration. Because of the importance placed on the role of art in sending a strong message as to how this can be accomplished, the Lagi project in this sense does bear a resemblance to Black Mountain. Unfortunately, WWII interrupted fundraising for the construction of buildings by Gropius and Breuer, thus ending any high-profile outcome for the college. It will be interesting to see how the Fly Ranch project progresses, although located in a much less inviting environment than the location of the Black Mountain program in the mountains of North Carolina near Asheville.
Sponsors: Land Art Generator initiative/Burning Man Project Type: open, one-stage Location: Black Rock, Nevada Fee: none Language: English Timeline: 31 October 2020 – Design submissions deadline Awards: $150,000 set aside as stipends for implementation of 10 winning designs
History Black Rock City is the oldest and largest Burning Man gathering in the world. Each August, Black Rock City is briefly home to 70,000 people in northern Nevada gathering to celebrate Burning Man. The gathering has been built in roughly the same spot every year but one since 1990. In 1997, Black Rock City moved to Fly Ranch, a 3,800 acre property just north of the normal event site.
For twenty years after that event, people imagined building a permanent home for Burning Man’s temporary community at Fly Ranch. In 2016, Burning Man Project—the non-profit that organizes the city—became the steward of Fly Ranch. As is, Fly Ranch is an agricultural site where the only residents are 150 cows. Over the past few years, passionate people have organized nature walks, hosted small camping trips, built art, and tested temporary infrastructure. To scale the site, more infrastructure will be needed. Everyone could bring generators, bottled water, prepared food, tents, and dispose of our waste off-site. This is how most gatherings occur. But there is a different approach, where people live in service to nature and give more to the land than they take from it.
The Land Art Generator Initiative’s design challenge, LAGI 2020 Fly Ranch, aims to move Fly Ranch in that type of regenerative direction. The project invites people to propose and build infrastructure at Fly Ranch while supporting the goals in Burning Man’s environmental roadmap Selection criteria: • Adherence to the Design Brief; • The integration of the work into the surrounding environment and landscape; • The sensitivity of the work to the environment, and to local, and regional ecosystems; • The utility of the support system(s) for Fly Ranch provided by the work (energy, water, shelter, food, and/or zero-waste). Please note, you do not need to tackle all five systems with your design; • The way in which the work addresses visitors to Fly Ranch; • The embodied energy required to construct the work; • The originality and social relevance of the concept. For more information, and to enter: landartgenerator.org/lagi2020/LAGI2020-DesignGuidelines.pdf
Book Review
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:
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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