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)

 

Read more…

 

 

Calendar

 

 

Exhibitions and Conferences

 

No events

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: Steven Holl (Summer 1998)

with Stanley Collyer

portrait 30% copy SHA_02_PAN view_extra long
Mumbai City Museum Competition Winner (2014)

 

COMPETITIONS: What was the first competition you ever participated in?

 

HOLL: I did a competition in 1972 for the Niagara Falls Rainbow Plaza Gardens—which I did in my bedroom in San Francisco. I had just graduated from the University of Washington and had moved to San Francisco, where I was working for Backen Aarigoni and Ross. I think I got fourth place, or something like that in that competition, and it gave me incredible encouragement to proceed in my own design work. It was published in architecture plus by Peter Blake. The article was called “Back from Niagara.” That was the first time I ever got published.

 

COMPETITIONS: The last time we met you had just returned from San Francisco, where you came in a very close second in the San Francisco Mission Bay planning competition (COMPETITIONS, Vol. 8, #2). You teamed up with George Hargreaves, a landscape architect who is not known for just filling in the blanks.

 

HOLL: Whenever you go after a competition, you try to put the best team together and envision winning it. I thought that George would be a great collaborator out there in San Francisco—he lives on a hill which overlooks the Mission Hill project—I thought that if all things went well, he would be the best person to work with. We collaborated back and forth by fax and met a few times. I think he was very partial to some of the ideas we had; he helped us to develop them. There was a good back-and-forth going on.

 

COMPETITIONS: I understand that one of the major concerns of the jury was phasing, since the plan could not be realized all at once. One member of the jury characterized the first phase as “brilliant.”

 

HOLL: I thought our phasing scheme was very good—and this was George’s idea—in the sense that we could landscape and make an incredible public space in the first phase. I thought it was the strongest part of our scheme. I think one has to look at it carefully to understand it. That was actually the strongest part of our scheme.

 

model view from SE Glasgow SHA 14-01 7506

Glasgow SHA 14-01 6922 Completed-003
Holl model (upper left) for Glasgow School of Art Competition (2009); Completion (2013)

 

COMPETITIONS: Many of your recent projects have been additions to buildings—Cranbrook, Pratt Institute, the University of Minnesota School of Architecture. Additions can be almost like infill; but in other respects, a question may arise, as in Cranbrook, as to how much you may feel obligated to defer to Saarinen’s design. How does the existing architecture play a role?

Read more...