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: Blostein/Overly Architects (Summer 2010)

blosteinoverly_bw

 

COMPETITIONS: What led both of you to architecture? Was it something that occurred early on, or was it more of an evolutionary process?

 

BETH BLOSTEIN: Our answers will be very different. My interest was pretty sudden. I randomly decided to take an architecture class at Ohio State, and once I got into it, it seemed to be such a natural fit—for a way of thinking and making things. Even though it wasn’t something I had considered before, it seemed pretty natural.

 


Beth Blostein and Bart Overly

 

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Franklinton Arts District, Live/Make Artist's Housing, Columbus, OH
COMPETITIONS: In these times it’s pretty unusual to be able to come in as a general studies student and take a studio course in architecture.
BETH BLOSTEIN: In those days, you took a studio course and then applied. I applied for the program after I had taken an introductory class, not really sure if I would get in. After I did get accepted to the program, it did turn out to seem like a natural fit/
BART OVERLY: I can very distinctly remember when I was in third grade, we got a Crate and Barrel catalogue at the house. Everything was crisp and clean and white and black and red. I just loved the stuff. I grew up in a house with two parents with very traditional tastes, and I asked my mom, ‘Who buys this stuff?’ And she said, ‘I think architects probably buy this stuff.’ I was always very interested in the arts as a young kid, and I liked how the profession merged with so many other disciplines to effect cultural change and all those kinds of issues. That’s why I think architects are still needed in our culture today.
COMPETITIONS: You both were students at about the same time at Ohio State. Was it clear early on that a professional partnership was a possibility in the future?

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