The New Jongno-gu Government Complex Design Competition
Sponsor: Seoul Metropolitan Government Jongno-gu
Location: Seoul, South Korea
Type: Open, international
Language: Korean, English
Fee: None
Eligibility: Both Korean and foreign licensed architects can participate, and one team can be made of up to three architects but one appointed representative should carry out the registration.
Timetable:
20 August 2020 – Registration deadline
27 August – Submission deadline
Honoraria:
First Prize – Commission to develop design
Second Prize – 80,000,000 KRW (about $66,700 US)
Third Prize – 60,000,000 KRW (about $50,000 US)
Fourth Prize – 40,000,000 KRW (about $33,300 US)
Fifth Prize – 20,000,000 KRW (about $17,000 US)
Jury:
• Kim Dong-Jin – Hongik University / architecture
• Yongmi Kim – GEUMSUNG Architects & Associates
• Junsung, Kim – Graduate school of architecture, Konkuk University / architecture
• Insoo Park – PARKiz
• Hyun Seo – Seoul Nat'l Univ.
• Na-Kyoung Yu – Principal, Place Making Associates Co.
• Kwanseok Lee – Kyung Hee University
• Kiok Lee – PHILLIP Architects
• Chung Kee Lee – University of Seoul
• KIM, Hyundai – Preparatory Jury
Design Challenge:
This competition aims to select a future-oriented and sustainable proposal for the governmental office complex that will accommodate both memory of the past as well as futuristic creativity. It will be constructed on the current Jongno-gu Office site which has many historical and cultural layers in order to enhance working efficiency and to create a public and community space for residents of Jongno-gu.
The site of the Jongno-gu Office is of great historical value. It is presumed to be the home of Jeong Do-jeon, a founding contributor of the Joseon Dynasty. In addition, several historical and cultural resources and historical spaces linked to both the Joseon and modern eras are concentrated and distributed around this area. On the east side of the site are modern middle and high-rise buildings, and beyond that are buildings that maintain the traditional architecture and horizontal form of the Joseon Dynasty.
Site summary:
• Site Area: 8,622.3m² • Total Floor Area: 66,970m² (Total Floor Area and each program area can be changed within ±3% of required area) • Estimated construction cost: KRW 168,161 million (approx $140,428,520 US) • Design Cost: KRW 8,904 million, including VAT and Securities for Damage Liability (approx $7,436,950 US)
Available Materials: The following materials are provided on official website and only registered entrants can have access:
•Design Competition Guidelines (Korean and English) •[Attachment] Detailed Guideline of Programs (Korean and English) •Forms (design description cover form, relevant documents, etc.) •Task Instruction (Korean) •Project Site Digital Map •Site Survey Drawing (* Surveyed as of 2015, and the surrounding condition may differ slightly) •Drawings of main building of Jongno-gu Office (plan, elevation, section, and structural plan) •Safety Inspection Report of main building (Korean) •Abbreviated report on the first and second drilling investigation of buried cultural properties (Korean) •Maintenance plan decision •Breakdown on design service cost •Report on the actual status of preservation values including signboards and monuments (Korean) •Drawings of temporary land dividing line •Link to the project site of the 3D spatial information system in Seoul https://vo.la/X1R8 •Construction Documents for underground public pedestrian passage connected to Gwanghwamun Station related to Urban Environment Improvement Project in Cheongjin District
Submission of Entries:
Each entry can submit only one design entry. Both digital and physical materials are required:
• Digital Submission: All entries are to be submitted as digital files on official website (http://project.seoul.go.kr) within the deadline. • Submission by personal delivery or per post: All entries and models should be submitted by personal delivery or per post to the designated submission address within the deadline. Materials include full size projects boards and a scale model.
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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