Addressing Affordable Housing in Bentonville

The North West Arkansas Housing Competitions

 


Site 2 Winner: ©Kevin Daly Architects

 

Focusing on the lack of affordable housing in the region for residents and newcomers at all levels of income, the Fay Jones School of Architecture and Design at the University of Arkansas launched the Housing Northwest Arkansas initiative. Intended to be much more than a theoretical exercise, it began with an advanced design studio and a regional symposium and culminated with a design competition for five sites in neighboring Bentonville. The entire program was supported by a $250,000 grant from the Walton Family Foundation, whereby $100,000 of the grant was earmarked for prizes and compensation for the 25 firms that participated in the competition.

 

The competition was invited, with invitations sent out to 100 firms that had shown some level of proficiency in the housing sector. Of the 25 selected to compete, five each were assigned to the different sites, with a winner at each of the sites receiving a $10,000 award. According to the organizers, the selection for each site was based on the following system: “Competitors were divided into 5 groups so that each group included a similar geographic representation. For example, we had 5 international firms, so each was assigned to a separate group. Each of the 5 groups had a similar representation of competitors from the east coast, west coast, and interior states, and one international competitor. Then each group was randomly assigned to a site.”

 

With the exception of one site, all of the sites were contiguous when expansion was included. The linear Third Street site was bisected by a through street, indicating an entirely different approach to the design challenge from the other four sites.

 

Since the zoning codes for all downtown Bentonville were pretty restrictive, the guidelines, including height, ware relaxed considerably. As always in such competitions, cost was to be a factor, and off-site production of pre-cast panels, etc. was always a safe bet. Creativity was expected, and monotony frowned upon.

 

The challenge of organizing a competition of this magnitude, which included 25 teams for five different sites, fell to the Chicago-based consulting firm of Jones/Kroloff. With wide-ranging experience in the administration of competitions on municipal, private and the government levels, the firm was a logical choice to carry out the operation of this unusual task.

 

The competition jury included several household names:
• Anne Fougeron FAIA, San Francisco, (Jury Chair)
• Jeanne Gang FAIA, Studio Gang, Chicago

• Marlon Blackwell FAIA, Fayetteville
• Brenda Anderson, Northwest Arkansas Downtown Revitalization Fund
• The Honorable Shaun Donovan, Former U.S. Secretary of Housing and Urban Development

 

The design competition winners were:
• Digsau, Philadelphia, Pennsylvania
• Kevin Daly Architects, Los Angeles
• 5468796 Architecture, Winnipeg, Canada
• Merge Architects Inc., Boston.

 

Works Progress Architecture of Portland, Oregon, received an overall commendation from the jury. PAU Studio of New York City received a jury commendation for their urban design approach to their particular site, while Bucholz McEvoy Architects of Dublin, Ireland, received a jury commendation for architecture and originality, in particular for their unit planning.

 

Site 1 Winner
Digsau, Philadelphia


Images ©Digsau

 

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: William Pedersen FAIA (Winter 1996/97)

 


333 Wacker Drive - view with Chicago River in foreground (photo: ©Barbara Karant)

 

COMPETITIONS: When you are called on to design a ‘foreground’ building for a corporate client—although it’s usually an office building, it could be any number of building types—how do you balance the private and public interest beyond the usual zoning regulations?

 

 

 

 

 

 

 

 

 

 

 

 

 

 

left and below
Gargoyle Club Prize
Best Architectural Thesis, University of Minnesota School of Architecture (1961)
Theme: Hospital Project


Images: courtesy William Pedersen

 

Pedersen: The interest of the client as it relates to the quantity of the construction they wish to place on a site is perhaps the most difficult issue, particularly during the 80s, when a tremendous amount of construction was taking place in the United States, and one more office building was not hailed by anybody as a contribution to society. The situation has changed rather dramatically in the 90s, when almost none of them are being built; so the issue is not as pressing. But there always is the question, ‘Is a building, given the bulk proposed, appropriate for its specific condition?’ One’s ability to deal with that issue is somewhat limited because zoning establishes what is of right, and not of right. Therefore, the battle has largely been fought prior to our entrance on the scene.

 

Past that point, the relationship of our buildings to a specific context has been a fundamental issue of our architecture. This is particularly how we take tall buildings, which are in themselves somewhat insular, autonomous and discrete, and bring them into a more social state of existence. That’s been the subject of our study for the last twenty years. We’ve developed strategies for doing that, of which I’ve spoken at length. The preoccupation of making the tall buildings—part of a more continuous, overriding fabric—that’s been central to our architecture.

 

COMPETITIONS: The most obvious argument against contextualism—as many people understand it—would be the Pompidou Centre in Paris, which has turned out to be the most visitied and popular building in that city. Wouldn’t that seem to give architects a good argument for doing something different? Was that even a lesson?

 

WP: Juxtaposition is a fundamental contextual strategy; but it has to be used sparingly and has to be introduced at exactly the right moment for it to have a powerful effect. For example, the Seagrams Building on Park Avenue—before any of the other buildings followed suit—was exceedingly powerful and very successful as a result of the juxtaposition at that particular place. I would argue that our building in Chicago (333 Wacker Drive) is an equally successful contextual building. It’s on the only triangular site of the Chicago grid at a bend in the Chicago River, and it sits within a context of totally masonry buildings, largely of the classical derivation. Somehow the relationship between those very distinct parts works. We were asked to build a building right next to 333 Wacker Drive, which did not occupy a unique geometric piece of property, but in fact became more of a continuation of the street wall leading up to 333 Wacker. We elected there to utilize a more Classical language in total juxtaposition to our own 333 Wacker in an effort to try to achieve the continuity of the wall that we thought was necessary, but also to maintain that poignancy of a juxtaposition to 333 Wacker Drive to the rest of the context. It would weaken it tremendously if it had been reproduced next door.

 

The same is true of the Pompidou Centre. If one were to tear down that section of Paris around it and build a number of Pompidou Centers there, it would lose its impact, because ifs impact is an object set within a very careful framing in that traditional neighborhood. Without the dialogue between the two, the game is over.

 


AAL Hqs. building addition (1971), Appleton, Wisconsin


AAL Hqs. original building


AAL rendering

 

COMPETITIONS: Most people seem to believe that 333 Wacker is the best building you have done. Maybe it was the time and unique site. It was one of those projects where one announces, ‘Well, here I am.’ Sometimes it’s difficult to top a wonderful building like that, though you may believe your next building is the one you like best.

 

WP: I think that 333 was a product of my sensibility at that point in time. It was a building that tended tobe an intuitive response to the site. In terms of it language, it came out of a couple of other buildings I had done immediately prior to that—one being the Aid Association for Lutherans in Appleton, Wisconsin, the other being the Brooklyn Criminal Courts Building, which had very similar geometric ideas in terms of its relationship to context. The very conscious attitude of trying to make the tall building part of a larger urban contet preoccupied us for the next five years. As a result, we used a more classical language to try to develop connecting strategies, because a Classical language is largely built on ideas of connection of pieces and parts, one to another…buildings connect well because they have parts that are combined and are part of a central language.

 

Read more...