Architecture as Political Statement in the Ukraine

Design Competition for the National Memorial for the Heavenly Hundred Heroes and Revolution of Dignity Museum in Kiev


Winning design: ©Kleihues + Kleihues Gesellschaft von Architekten

 

After an extended and rigorous competition process, the winner(s) of the National Memorial for the Heavenly Hundred Heroes and Revolution of Dignity Museum in Kiev have been selected. They are:

 

1st Prize – Kleihues + Kleihues Gesellschaft von Architekten mbH, Berlin/Germany
2nd Prize – Burø architects, Kiev/Ukraine
3rd Prize – Lina Ghotmeh – Architecture, Paris/France

 

This was the second competition in the process to determine the designs for both the site and the museum complex itself. The purpose of the project was to honor the victims of the attempted suppression of the protests, which ultimately ended with the deposition of the pro-Russian premier, Viktor Yanukovych.

 

The competitors in the Museum competition were selected as a result of a RfQ/qualifications process. From the 12 invited participants in stage 1, six teams were shortlisted for stage two. In addition to the above-mentioned winners, they were:
Guillermo Vázquez Consuegra Arquitecto SLP, Seville/Spain (round 3)
Dominique Lyon Architectes Paris, France (round 2)
Coop Himme(l)blau, Vienna/Austria (round 1)

 

It was understandable that none of the illustrations of the submitted entries indicated any kind of symbolism that one might construe as a revolutionary, symbolic reference to the events surrounding the Maiden revolution. Here we see a process with a primary focus on the visualization, organization, and functionality of a facility that could best serve to illustrate an event of a major historical event for the community. In this sense, it mirrors the non-representational styles from the exterior of numerous Holocaust museums, where only upon entering does one encounter the full force of the subject matter.

 

If there was any symbolism here, it was somehow reminiscent of Lina Ghotmeh’s recent winning design for the National Estonian Museum. In that case, the architecture of the museum was certainly apolitical, but a former Soviet military airstrip as the site of the Museum was a certain statement that Estonia was determined to no longer be a vassal to its neighbor. In the Ukrainian case, the architecture is also apolitical, but the site is certainly not.

 

As for the architectural expression of the finalists, the winning design by Kleihues + Kleihues could have been mistaken for Chipperfield—certainly not a bad act to follow. The others also exhibited variations on recent examples of modern museum architecture, as seen in a number of recent competitions. But based on the composition of the jury, there would be no chance for a traditional design on this one.

 

The competition jury was a good mix of Ukrainian and foreign professionals. The participating architectural jurors were:

 

• Julian Chaplynskyy, Architect (Lviv, Ukraine) *
Guido Hager, Landscape Architect (Zurich, Switzerland)
Prof. Rainer Mahlamäki, Architect (Helsinki, Finland)
Maciej Miłobędzki, Architect, (Warsaw, Poland)
Prof. Matthias Sauerbruch, Architect (Berlin, Germany)
Olexander Svystunov, Architect (Kiev, Ukraine)
• P
rof. Can Togay, Artist, Filmmaker, Writer (Berlin, Germany) *
• D
mytro Volyk, Architect (Dnipro, Ukraine)

Deputy Architectural Juror
Volodymyr Shevchenko, Architect (Kiev, Ukraine)
*excused, not attending Stage 2

 

The coordination of the jury was administered by Benjamin Hosbach, Architect and Director [phase eins]. The extensive notes surrounding the discussion of the finalists, and approved by the jury chair, are included with the three prize winners.

 

1002 (1st prize)
Kleihues + Kleihues Gesellschaft von Architekten mbH, Berlin/Germany
Authors: Prof. Jan Kleihues, Johannes Kressner
Employees/freelance collaborator:
Markus Schlosser, Pia Nürnberger
Consultants/experts:
Visualization: bloomimages Berlin GmbH, Andrea Cogo, Berlin
Structural Design Concept: sbp schlaich bergermann partner, Boris Reyher
Sustainability concept: Transsolar, Mathias Rammig
Model: Monath + Menzel GmbH, Christian Axel Monath, Berlin

 

Photo:©Andrey Mikhailov

 

 

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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.
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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

 

franklinton_email-2
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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