Movies in the Park: Garage Screen Summer Cinema Competition in Moscow

 

 


Winning entry by SYNDICATE (image © SYNDICATE , courtesy Strelka-KB)

 

Garage Screen, a program of film screenings on contemporary art and culture, was launched in 2012 and introduces viewers to notable examples of Russian and foreign feature films, documentaries, and experimental films. Since its inception, the Garage Museum of Contemporary Art has selected and shown films and videos examining issues of contemporary art and culture in all their manifestations, rare documentary films on the lives and lifestyles of prominent and little-known artists, musicians, architects, and performing artists, as well as films about the creation of exhibitions and works of art.

 

In 2016, the Garage Screen program was held on the roof of Garage. Usually closed to the public, the Museum rooftop was transformed into an open-air cinema outfitted with innovative equipment that could not be found anywhere else in Russia or the CIS. In 2017 and 2018, film screenings were held on Garage Square in a summer cinema pavilion designed by GRACE architects. The 350-seat pavilion had a mirror surface, reflecting the architecture of the Museum building.

 

When the Museum decided to turn to a competition for the design of a new pavilion in the fall of 2018, it engaged Strelka as the administrator of the event. Between October 17 and November 9, 2018, one hundred and thirty-one architects and architectural bureaus from all over Russia registered for the competition.

 


Winning entry by SYNDICATE (image © SYNDICATE , courtesy Strelka-KB)

 

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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: John McAslan (Winter 2003)

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COMPETITIONS: I am presently here in London to talk to my editor about a ‘how to’ book we are doing on competitions.

 

JOHN MCASLAN: And how not to do them, I hope.

 

COMPETITIONS: You're familiar with one of those?

 

JM: We recently did one—Middlesborough Town Hall. It caused a real furor here.

 

COMPETITIONS: Usually the RIBA competitions are well organized.


Science Center, Florida Southern College (1996-2001)

 

JM: This was an open, non-RIBA competition to re-market (rebuild) the Town Hall in Middlesborough, a town which had quite a good artistic tradition. About ten years ago they commissioned Claes Oldenburg to design a sculpture. There was also a competition for a museum there—which we didn't get. And then there was the competition for the Town Hall, where we got to the last six. It was chaotic, as to what was to be submitted. There was a lot of to-ing and fro-ing, because the terms of reference weren't clear. And then there were long delays before the interviews. Finally we were asked to submit a tender(fee bid). But of the six tenders, only four arrived on time. Because of that, the two late tenderers were eliminated. I thought, 'well, you know you have to get them in on time.' But then one of the jurors walked out, because she thought it unfair that these two had been eliminated. Then it came out that they had opened the bids before the interviews took place.
We were only runners-up; but the whole thing has caused chaos because of the sloppiness with which the whole thing was organized. They should have selected the preferred team , then opened the bids.

   You asked about the RIBA competitions. We have won some and lost a some. But you can say that they are always immaculately organized—very transparent, no confusion over what is required when. If a competition is badly administered with lots of criticism,    it doesn't help at all, especially with funding.

 

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Science Center, Florida Southern College (1996-2001)   Lab interior (left) and model (right)

 

COMPETITIONS: You were recently in the Fresh Kills competition in the U.S.

 

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