Adelaide Contemporary Art Museum Winner Announced

 


Winning entry © Diller Scofidio Renfro

 

 

Diller Scofidio Renfro’s solid and compelling design for Adelaide’s new Museum of Contemporary Art prevailed over a strong field of five international teams. As a high-profile project, it could come as no surprise that the original RfQ drew 107 teams including over 500 firms—before the shortlisting process whittled a list of finalists down to six teams. This organization format occurred under the guidance of the professional adviser, Malcolm Reading Consultants.

 

All of the finalists had considerable experience in museum design; so this exercise would be interesting to see how much of each team’s history would appear in their final presentations. The size of the compensation package for each team—$80,000 upon design submission—although probably not sufficient to totally cover the cost of producing the required presentation materials, was certainly enough to guarantee a concerted effort by each team.

 

The shortlisted teams were:

 

  • Adjaye Associates and BVNwith McGregor Coxall, Steensen Varming, Plan A Consultants, Barbara Flynn, Yvonne Koolmatrie, Aurecon Group and Front Inc
  • BIG – Bjarke Ingels Group and JPE Design Studiowith United Natures, Arketype, BuildSurv, Virtual Built, Future Urban Group, Lewis Yerloburka O’Brien, Marijana Tadic, Erica Green, Peter Dungey, Brian Parkes and Lindy Lee
  • David Chipperfield Architects and SJB Architectswith Jane Irwin Landscape Architecture and Arup Lighting
  • Diller Scofidio + Renfro and Woods Bagotwith Oculus, Pentagram, Right Angle Studio, Klynton Wanganeen, Dustin Yellin, Studio Adrien Gardère, Australian Dance Theatre, Deloitte, Ekistics and Katnich Dodd
  • HASSELL and SO-ILwith Ali Cobby Eckermann, Arup, Australian Industrial Transformation Institute, Fabio Ongarato Design, Fiona Hall and Mosbach Paysagistes
  • Khai Liew, Office of Ryue Nishizawa and Durbach Block Jaggerswith Masako Yamazaki, Mark Richardson, Arup, Irma Boom, Taylor Cullity Lethlean and URPS

 

The composition of the jury was notable for its strong participation of local stakeholders. Only two international architects were impaneled, Toshiko Mori (Harvard GSD), and landscape architect, Walter Hood (Hood Design Studio, Oakland, California). The jury consisted of:

 

  • Michael Lynch AO CBE (Chair),Chair, Sydney Community Foundation and Chair, Circa
  • Lee-Ann Tjunypa Buckskin,Deputy Chair, Australia Council for the Arts, Managing Director, L-AB & Associates and Executive, Aboriginal Strategy, South Australian Film Corporation
  • Beatrice Galilee,Daniel Brodsky Associate Curator of Architecture and Design, The Metropolitan Museum of Art, New York
  • Walter Hood,Creative Director and Founder, Hood Design Studio
  • David Knox,Deputy Chair, Economic Development Board of South Australia and Member, Adelaide Botanic Gardens Foundation Committee
  • Toshiko Mori,Founder and Principal, Toshiko Mori Architect and Robert P. Hubbard Professor in the Practice of Architecture at Harvard University Graduate School of Design
  • Lisa Slade,Assistant Director, Artistic Programs, Art Gallery of South Australia
  • Sally Smart,Vice-Chancellor’s Professorial Fellow, University of Melbourne and renowned contemporary artist
  • Tracey Whiting,Chair, Art Gallery of South Australia Board

 

 

The choice of the site was logical for such a program, as it was bordered on one side by the city, and on the other by the Botanic Garden. But to accommodate this strategy and free up the site, a large demolition program in two stages has to occur. The considerable expense this will entail only can attest to the importance which the City of Adelaide has placed on this project.

 

 

A general perusal of the entries indicates that the design strategies of the six firms had little in common with each other. And one wonders if the shortlisting process assumed this would be the case in the end. Without a jury report, but only a short summary about the winner, we cannot but imagine how the adjudication process might have evolved.

 

 

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Recent Archive Updates

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.
In the meantime, the firm’s focus in China has evolved from its concentration on housing to institutional projects, such as the Shanghai University of Technology‘s research buildings. In the meantime MRY has been noted as a leader in the design of campus projects in the U.S. and abroad, as well as numerous government projects—courthouses and embassies.

 

 

Interview: Silvio d’Ascia (2013) with Olha Romaniuk

with Olha Romaniuk

silvio2

COMPETITIONS: You moved from Italy to France in 1993. What was your decision behind moving and starting your architecture firm in Paris?

 

Silvio D'Ascia: Ever since I was a little boy, I wanted to be an artist and, ever since the first time I went to Paris when I was 12 years old, it was a childhood dream of mine to live in such an artistic city. After receiving my degree in Italy, I came to live in Paris and was supposed to stay only for a few months. This temporary visit turned into an opportunity for me to stay and work in France.

 

COMPETITIONS: How do you find the architectural scene in France compared to Italy?

SD: The main difference between Italy and France is that in Italy there was not a competition system in place in the 1990s. Every country in Europe looked at France as a place where it was possible for a young architect to participate in and win competitions, as well as be paid for competition participation and have a chance to do research even if the competition fee was not so high. During the first year of my firm in Paris, we participated in 9 public competitions. It was a great opportunity and my main reason behind the decision to stay in Paris.

 

COMPETITIONS: Were competitions always a part of your firm’s strategy to acquire new work or has that been a fairly recent development?


SD: Competitions have always been important for my own career as they paved the way for me in many areas. In the beginning, during my first four or five years in Paris, I was associated with another architect and we won several competitions together. And in 1999, as we went our separate ways, I entered an anonymous international competition for the Palais de Congrès, going against architects like Richard Rogers and Rafael Vinoly, with Norman Foster as the president of the jury. Massimiliano Fuksas won the competition and I received a second prize. This competition marked the beginning of Silvio d’Ascia Architecture.

One and a half years later, after the above-mentioned project, we won another competition for the Turin (Italy) high-speed railway station. This was the beginning of the next chapter of my professional experiences and projects. The Turin high-speed railway station has brought many other commissions in the railway and transport sectors for the firm.

rome 2 rome 1

Congress Center of Rome (1999 design competition)

 

COMPETITIONS: How do you decide which competitions to go after?

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