Sandy Hook Memorial


Winning entry (image ©SWA Group)

 

Commemorating the deaths of 26 victims of a well-publicized school shooting is no small chore. But because of the tragic events at its elementary school in 2012, the village of Sandy Hook has achieved national prominence as a symbol of the gun violence afflicting the nation. Although it is almost impossible to bring closure to such an event, the community did determine that the establishment of a memorial would at least be a positive step in that direction. To arrive at such an important issue as a design for the memorial, it was determined that an international design competition was a logical path to follow.

 

Although this was not a competition for a large structure, interest was understandably high in the design community, with the result that 189 international submissions were received from around the world. For subjects such as this, a single symbolic structure was hardly the answer. The closest any of the three second-stage finalists came to employing this approach was SWA, the winner, who located a tree of life at the very center of the focal point of their submission—a large pond. But there was more to their design than that. Instead of locating the main event near the parking lot, they created a substantial journey along a pathway crossing two water features with pedestrian bridges, before arriving at the center of a large circular plan. Then one realizes that this was not just about the memorial itself, but fulfilling a larger purpose with an attractive park for walkers and joggers, an additional purpose added to those of contemplation and paying homage.

 

The two other finalists chose different approaches. A team composed of Teri Kwant (AIGE NAI), Joan MacLeod (ASLA) and Julia McFadden (AIA) with Alex Felson (ASLA) had a circular plan, but with various theme stages along the way before arriving at the main destination, the Memorial Grove. One of the stations, “the breathing field,” consisted of a large floral area within a circular walkway, somehow reminiscent of Tolstoy’s impressive burial marker in Yasnaya Polyana, a small mound only adorned with flowers. This was a design clearly focused on the mind and senses.

 

The final finalist, Justin Arleo from Arizona, concentrated his commemorative design on a bosque of trees, arranged in a very linear fashion, like what might have been imagined by landscape architect, Dan Kiley. Here, the processional was located in a covered wooded area. In a departure from the other finalists, access to this memorial site was directly available from the parking area.

 

 

Winner

SWA Group, led by Ben Waldo and Daniel Affleck with SWA/Balsley, Jim

Garland, AIA of Fluidity and Sherwood Design Engineers.

San Francisco/New York

 


Winning entry (image ©SWA Group)

 

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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: Craig Dykers/Snøhetta (Fall 2006)

craig dykers 4

COMPETITIONS: When did you decide you wanted to become an architect?

Craig Dykers: I started off wanting to work with fashion—women’s fashion and clothing seemed very interesting to me. I quickly learned that the world of fashion wasn’t what I had anticipated. It came to feel very superficial and calculating. I left that and was somehow accepted into medical school, perhaps because of an interest I had in the human body. My grades were not very high; but my notebooks were apparently impressive. In medical school your notebooks are reviewed as well as taking tests My ability to draw anatomical forms was very good and one of the professors recommended that instead of studying medicine I should enroll in the art school and become an anatomical illustrator.

 

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Alexandria Library, Alexandria, Egypt (Competition 1989, completion 2001)
Surprisingly I was accepted into the art department and I soon found myself feeling very comfortable. I began to fall in love with everything; I was beginning to get commissions, drawing cartoons for a local paper, and doing editorial illustrations. I called up my father one day—with whom I had had a very good relationship, and told him I wanted to become an artist. This was met with silence. I didn’t understand that, because he had always taken me to museums, and he was very much a lover of art. He simply said, ‘Well son, you’re not going to get any help from me.’ A couple of weeks later I asked him why he had been so negative. He replied, ‘If you need to call up your father to get his approval for being an artist, then you will never be a good artist. You should have done it and not called me. Then I would have given you all the help you wanted.’

I was confused with what to do with this conundrum. He advised me further, ‘You like science and art; architecture seems like a good thing.' I admitted that I had no idea what that was all about. He said something like, “Architects make churches and things like that. I felt I could work with this, making places for people. The architecture school accepted me and I rolled right into it, staying up many nights to work on my studio assignments. The end result of that long story is that there is an interest in the human form and the notion of the human body as it relates to the things we create. I think that is still with me.

COMPETITIONS: Was Charles Moore already in Austin when you were a student there?

CD: He arrived as I was leaving and there was only one semester overlap. I remember asking him why the nice parts of cities often appear to be on the west or north sides. Not entirely true, but it’s pretty frequent.

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Alexandria Library, Alexandria, Egypt (Competition 1989, completion 2001)

COMPETITIONS: Snøhetta’s origin began with the Alexandria competition. How did that come about?

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