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: Craig Hartman FAIA of SOM (Spring 2000)

 

 

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View from rooftop of San Francisco Airport International Terminal View to skylights from terminal interior

 

COMPETITIONS: What led you to the study of architecture?

 

HARTMAN: It wasn't so much architecture, as what architecture is about. When I was a kid I loved to draw and paint, loved science and, to a certain extent, math. Growing up in the sixties, when NASA was in the news, I was probably one of the millions who thought that space and science was the greatest thing. So I did all these science fairs and was even invited to some schools which had engineering programs. When I saw what it was actually about—the curriculum—it seemed very dry to me, not nearly as exciting as I had imagined it to be. My father was absolutely adamant that I not become an artist. At about that time one of my cousins, who was taking a course on architecture in college, came home. I saw the work and felt it was really interesting stuff. Initially to me architecture as an idea was more the pieces which made up architecture rather than the excitement of designing buildings. In fact, my understanding of architecture as a kid in Indiana was that of an arcane profession—certainly not cutting edge. When I discovered through one of my teachers that Ball State University had just undertaken the first architecture program in the state, I felt I should check it out, especially since our family finances precluded my going to an out-or-state school. It turned out to be an incredibly great experience.

 

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SOM 1
San Francisco Terminal: vehicle approach to airside (above, left); plan (above, right) and structural concept (below)

 

COMPETITIONS: That was still when the program was based in quonset huts?

 

HARTMAN: It was. And those were great times. The school was all in one place, and I believe that students often learn as much from one another as they do from faculty. We had some very energized young faculty there at the time, and that was a huge part of it. Tony Costello, for instance, was a huge influence on me.

 

COMPETITIONS: It was a great experiment.

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