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.
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: Will Alsop (Winter 2002)

 

with George Kapelos

 

Interview 1
Swansea Literature Center (competition 1993)


KAPELOS: What led you to architecture?

 

ALSOP: I want to start by saying that I never remember not wanting to be an architect. Why that should be I have no idea. I grew up in England in Northampton near a Peter Behrens house. It was one of the first modern movement houses in the UK, built around 1926 and it had an interior done by Charles Rennie Mackintosh. As a child you were always aware of this house. My parents had different views on this house. My mother thought it was incredibly ugly, while my father, who was 64 when I was born, hated Victorian architecture. Their views influenced me. I got to like the house—I even found it fascinating—it was comfortable and I responded to its ambiance. Plus it had extraordinary furnishings, so I guess this is where I started.

 

KAPELOS: What were your earliest experiences with architecture?

 

ALSOP: My father died when I was quite young—I was 15—and I went to work for a local architectural firm. This office was not what I considered to be 'architecture.' I measured buildings and did rudimentary working drawings. The practice was disappointing. One of the partners, Brian Pennock, thought of the design process as first getting the plan right and then designing the building's elevations. It struck me curious that you wouldn't think of the building as a whole. The plan and the object were one, in my thinking. Pennock was trained along the lines of 'form follows function.' In this line of thinking everything would come from the plan. Pennock, in my opinion, was deliberately obscuring his sensibility. I have been suspicious of this or any methodology ever since. You can teach people to build, but 'architecture' is something else. That's what I want to be paid for. The something else, that's where you put the most value.

 

Pompidou Centre

Second Place, Centre Georges Pompidou competition (1971)

 

KAPELOS: What about your early exposure to art and sculpture?

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