Sverdlovsk Philharmonic Concert Hall Competition

 


Image courtesy Ministry of Construction and Infrastructure ©Zaha Hadid Architects

 

Zaha Hadid Architects prevailed over the entries of 47 other firms to win the Sverdlovsk Concert Hall Competition in Yekaterinburg, Russia. Staging this competition in the Urals, in a remote location in European Russia from the centers of power, is testimony that culture can thrive in regions outside of Moscow and St. Petersburg. Considered the capital of the Urals, the city of Yekaterinburg is Russia’s third largest economy. Its population has increased by over 10% in the past decade to 1.5 million and continues to grow as the primary hub and meeting point connecting east and west, Europe and Asia; attracting the many cultures, talents and industries from across Eurasia.

 

Organized by the Ministry of Construction and Infrastructure with the support of a charitable foundation for the support of the Ural Philharmonic Orchestra, the competition adjudication process narrowed the number of finalist firms down to three:

 

  • Zaha Hadid Architects, London (Winner)
  • Alvisi Kirimoto Partners Srl, Rome, Italy (2nd Place)
  • Robert Gutowski Architects, Budapest, Hungary (3rd Place)

 

The dimensions of the site and its location in a space between buildings prioritized the entrance experience to the concert hall. The Zaha Hadid and Robert Gotowski teams approached this in a somewhat similar fashion. Whereas the Zaha Hadid design suggested an almost open stage with setback as the arrival feature, Gotowski went even farther, imagining a curtain-like, concave structure as a prelude to the concert inside. Alvisi Kirimoto was more conventional, using an extension of the roof toward the street as shelter theme. The Hadid designers also extended the roof over the entire program at one level, suggesting an archeological theme.

 

Solving this program, which included two music performance venues, posed a real challenge to the architects. All three proposals could be understood as valid performance venues, and assuming the Zaha Hadid design is realized as proposed, we might see a few pilgrimages to Yekaterinburg in the coming years.

 

First Place

Zaha Hadid Architects (London)
Local Architect: SPEECH (Moscow)
Landscape design: ARTEZA (Moscow)

 

 

   
Images courtesy Ministry of Construction and Infrastructure ©Zaha Hadid Architects

 

 

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Interview: James Mary O’Connor FAIA (Winter 2017)

After receiving his Diploma in Architecture from the Dublin Institute of Technology and BS in Architecture from Trinity College in Dublin, James received his Masters in Architecture from the University of California, Los Angeles while a Fulbright Scholar in the U.S. Shortly after his time as a student in Charles Moore’s Master Class at UCLA, he joined the Moore firm in Los Angeles, now Moore Ruble Yudell. Beginning in the late 1980s, he was involved in the firm’s many projects in Germany, many of which dealt with masterplanning and the construction of large housing, primarily in Berlin. Subsequently, he was involved in the Potatisåkern Master Plan & Housing, as well as the Bo01 Housing Exhibition, both in Malmö, Sweden.
James was MRY’s point person in its subsequent involvement with the firm’s many projects in the People’s Republic of China, beginning with their winning competition proposal for the Century Center project in Beijing. Although unbuilt, it didn’t escape the notice of the Chinese, who invited the firm to participate in a competition for the Tianjin Xin-He large neighborhood masterplan—which they won. This was followed by the 2004 Chun Sen Bi An Housing Masterplan competition in the city of Chongqing, located in central China—completed in 2010. This high profile project resulted in a number of affordable and high-end housing projects throughout China. The firm’s most remarkable sustainability project was the COFCO Agricultural Eco-Valley Master Plan project outside Beijing, envisioned to become the first net zero-carbon project of its kind in the world.
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Interview: Dattner Architects (Summer 2007)


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Goodwill Games Swimming and Diving Complex, New York, NY (Photo: Peter Mauss/ESTO)


COMPETITIONS: What led you to choose architecture as a profession?

 

RICHARD DATTNER: It’s a little like Dustin Hoffman in the movie The Graduate. I already wanted to be an architect in the seventh grade, when I was building architectural models. When I was in high school, somebody whispered to me “electronics.” “Since architects don’t make money, you should study something that has a real future.” So I actually went to MIT thinking I would become an electrical engineer. I realized you couldn’t see any of those little things zipping around—the electrons, etc. My next door dorm-mates, actually three architects from New York,--Andy Blackman, Peter Samton and Jordan Gruzen, were three years ahead of me and were having a lot of fun—building models, beautiful girls came in and out of their dormitory rooms. I thought, “I’ll have what they’re having.” Luckily, at MIT, the first year is the same for whatever your major will ultimately be; so I switched back to my original love. From there, I never looked back.

 

COMPETITIONS: MIT was different than Harvard when you were there. At Harvard, where they had very strong deans—Gropius and Sert—everything that the students turned out looked pretty much the same. At MIT it was different.

 

RD: MIT was a kind of ‘Let a Hundred Flowers Bloom.’ They had some wonderful people, some of whom were rejects from Harvard, .i.e. Joseph Hudnut, who had been the dean at Harvard. Other great professors included Lewis Mumford, Kenzo Tange, Leonardo Ricci, Georgy Kepes, Richard Filipowski, Lawrence Anderson, etc.

 

COMPETITIONS: What effect did your stay at the Architecture Association in London have on you?

 

RD: During my junior year at MIT, I had an opportunity to take the middle year of my 5-year stay at MIT at the AA. There I had a similarly interesting roster of people—James Stirling and many of the British “brutalists.” It was a good antidote to America. In those days in America, Edward Durrell Stone was the hero, producing a kind of “surface architecture,” which by the way is probably going on today. So what goes around, comes around. When I was in London in 1957/58, London was still recovering from the war—there were still bombed-out sites. So architects were much more brutal and honest—Corbusier was a hero. The London County Council was doing incredible social housing, some of it based on the Unité d’habitation of Corbu. There was a lot of fascinating school design going on. As an interesting time, it was a real kind of antidote to the postwar, feelgood (trend) then current in the United States.

 

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Courtlandt City Hall, Courtlandt, NY - Winning Competition entry, 1976 (unbuilt)

COMPETITIONS: When you started your own firm in New York, you were doing a lot of playgrounds. Is there some kind of logical progression from that genre to designing schools?

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