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Winning entry by Greg Tamborino
If cities in the U.S. are anticipating funding from government entities to solve a dire need for affordable housing, they should be prepared for a long wait. The national government, a traditional source of funds for such projects, has shown little if no interest in the issue, and The Renovation of a City Landmark
Photo: ©yandre Prises de vues du 9 10 2015
The renovation of Miremont-le-Cret in 2012 was unusual in that the project was the subject of a competition. Designed in 1953 by a local architect, Marc-Joseph Saugey, this building had long been landmarked as one Wining entry “Creating Spaces” by Tanmoy Dey (all images courtesy RISE)
The Rise in the City Housing Competition in the African country of Lesotho presented many similarities with student competitions that have occurred over the past decades, the main link being the presence of mentors as advisers to the team(s) who were 1st category prize entry by AKVS (Image courtesy STRELKA-KB, © AKVS Architecture)
Of all the nations that had been part of the Soviet Bloc after World War II, only the Russian Federation itself has lagged behind most of its neighbors in the design and construction of affordable housing. During that post-Cold War Login to see more (login problems? E: scollyer@competitions.org or http://competitions.org/contact/) Login to see more (login problems? E: scollyer@competitions.org or http://competitions.org/contact/) by William Morgan Winning entry ©D/R/E/A/M Collaborative / Wozny Barbar & Associates
“We must look beyond current options and activate new and original ideas,” declared Mayor Martin J. Walsh in announcing Boston’s first-ever housing competition. “The Housing Innovation Competition, “ Walsh continued, “ is a chance for Boston to take its place in
Several years ago, Zero Net Energy, or ZNE as it is often referred to, would have been an unthinkable goal for any community in this country, let alone for an entire state. But in California, it is certain to become a household word by the end of this decade. The City of Santa Monica recently passed an ordinance requiring all newly built single-family homes, duplexes, as well as multi-family structures, to be in compliance with ZNE codes. By the year 2020, the State of California will require the implementation of a similar step in housing construction. According to California’s Green Building Code, a ZNE home is one that produces as much renewable energy on-site as it consumes annually.
Contrary to anti-sustainability positions taken by some government officials in other states—most notably in Florida—California has been at the forefront in promoting energy efficiency measures. As an offshoot of this trend, a series of competitions supported not only by the AIA California, but also by the primary energy provider in the state, PG&E have taken place annually since 2011—all at different sites. Although conceived as ideas competitions, the clients who were considering construction projects participated in supplying the necessary site and volume data for the program, and it was probably understood that some of the ideas from the competitions would be incorporated in the ultimate projects.
In this year’s 2016 Architecture at Zero competition, the site was located at San Francisco State University, near Lake Merced in the southwestern area of the city. As a potential client, the university supplied data for a student residence project, especially important to the San Francisco area because of the high cost of housing. One negative outcome of this scenario has been a low student retention rate. By targeting affordable housing for students, the university sees this as part of the solution.
Competitors were tasked to regard the design challenge with these priorities in mind:  1st Place entry by M.A.M.O.T.H For years, the earth has long been the basic construction material for houses in rural Ghana. Although 98% of the houses in the Abetenim area of Ashanti province—typical of warm, humid climate conditions—are made of earth, stereotypes about this building type persist because of eroding which takes place from poor construction and water damage. This has resulted in a stigma associated with mud architecture and the local perception that mud architecture is only for the poor. Instead of earth, metal and cement block have become the material of choice—at a considerable expense. In light of this problem, the Nka Foundation, a non-profit organization dealing with art and design in Africa, staged the Mud House Design Competition—to encourage designers, architects and builders to use their creativity to come up with innovative designs for modest, affordable homes that can be built locally. The focus of the design was to aim at creating a single family and semi-urban house type that would be a place to live, a place to rest, store modest belongings, and feel safe. What was the preferred construction method for the winning entries? It could be cob construction, rammed earth, mud brick, cast earth (poured earth) by formwork, or any other earth construction techniques that can be easily learned by local labor. Roofing design could be of vault, fired mud roof, or corrugated zinc sheets, which is the conventional roofing materials, because zinc roofing withstands the heavy rainfall better. As a prototype, the intended solution should be a durable mud house that promotes open source design for the continuity of building with earth for a more sustainable future. The house was to include a kitchen, living area, bedrooms and a toilet. The maximum cost of the house was to be $6,000, for which each entry was required to present a detailed budget. The Process After a Preselection Jury of experts examined all of the entries, it was charged with shortlisting 20 for adjudication by a Grand Jury. The members of the latter were: ÂÂÂÂÂÂ • Belinda van Buiten, Utrecht, The Netherlands • Marcio Albuquerque Buson, University of Brasilia • Mariana Correia, Escola Superior Gallaecia, Portugal • Toby Cumberbatch, The Cooper Union, New York • Ahmad Hamid, Ahmad Hamid Architects, Egypt • Rowland Keable, UNESCO Chair on Earthen Architecture • Bruno Marques, Oporto Lusiada University, Portugal • John Quale, Professor, University of New Mexico, USA • Roland Rael, University of California, Berkeley • Humberto Varum, University of Porto, Portugal According to John Quale, he agreed to participate as a juror because he found the topic to be quite interesting. The selection process by the Grand Jury did not, however, take place face-to-face, but electronically. A web interface during the final stages of the process did occur, resulting in the final ranking of the entries. Prof. Quale found this to be an adequate method to adjudicate the designs, as this was obviously a competition with a limited budget, obviating the cost of impaneling the jury on-site. Judging criteria involved the functionality, aesthetics and technical factors to the degree to the degree that the design responded to the design program. The Winning Designs Of the short-listed projects (20), there were three winners. Jurors awarded prizes for first, second and third place consisting of a commemorative plague and cash prizes to the winning designs as follows: 1st prize—$1,500 or construction of the design in Ghana, plus a short trip to Ghana for the opening ceremony once construction is completed (in case the winner is not located in Ghana and to a maximum of 1 person); 2nd prize—Construction or $1,000 and 3rd prize—construction or $500. University of Chicago North Campus Student Residence  Winning entry by Studio Gang with Mortenson Construction—Image courtesy Studio Gang ©University of Chicago Like many American universities in the late 19th and early 20th centuries, the University of Chicago viewed Gothic architecture as a recognizable symbol to suggest academic excellence in the tradition of Ivy League universities and Oxford. In this, Chicago was not alone, as other schools used a similar formula to imply a connection to a pre-existing academic tradition—Duke University and Butler University in the 1920s being prime examples. As time passed, and to accommodate Chicago’s reputation architecturally as a forward-looking community, the university gradually hired contemporary architects such as Eero Saarinen, Mies van der Rohe, Edward Larrabee Barnes, Walter Netsche and Harry Weese to add to the university’s built fabric. Beginning with the early 21st century, the look on the campus has been updated even more to reflect current trends with buildings by Cesar Pelli, Helmut Jahn, Rafael Viñoly, Joe Valerio, and most recently, the musum by Tod Williams and Billie Tsien. |
A Quest to Memorialize a Serious Hate Crime: The Pulse Memorial Competition
In these times when political emotions run high and gun violence is the norm, not the exception; and when emotions no longer are held in check, but encouraged by our leaders, minorities become easy targets for those who adhere to ideologies based primarily on exclusivity and hate.
The LGBT community has long been the target of various segments of our society; but the massacre that took place at the Pulse nightclub in Orlando, a favorite hangout for gays, elevated this phenomenon to a new level. After an event that claimed the lives of 49 victims, injured 68 others, and left hundreds permanently traumatized, it should come as no surprise that a memorial to this tragedy has been front and center in the minds of the community ever since. Because the very nature of this event has drawn nationwide attention, the community wanted to get it right. So it was only logical that they would turn to a competition as the most viable vehicle for arriving at a solution for the design of a memorial, as well as a museum. For this, the onePULSE Foundation was formed, to memorialize this tragedy and “ensure that Pulse”s legacy of love, acceptance and hope will never be lost.”
OFFICE 52 at Carnegie Mellon
Form and Dichroic Light
In his introduction to Form and Dichroic LIght, Michael Crosbie never mentions the term, “wild card,” to describe Office 52’s participation in the invited competition for the Carnegie Mellon Engineering Building. The four finalists, picked from a list of 17 firms, also included three household names: ZGF, Wilson, and BCJ (Bohlin Cywinski, Jackson). So what possible chance could a firm, which had just recently opened a small office in Portland, Oregon, have against a competition lineup of this magnitude? But as OFFICE 52 Principal, Isaac Campbell explained, as a small firm, “we were quite nimble,” and the $50,000 stipend the firms all received to produce a design could allow OFFICE 52 more time to undertake the research involved than might be the case with a larger office, where a cost controller is constantly focusing on the operation.
A New State Archive in Kitzingen, Germany
As part of a policy to relocate archives of local interest outside of major Bavarian cities, a competition was staged for the design of a new archive in Kitzingen, 12 miles from the provincial capital city of Würzburg, Germany. The competition was open to qualified teams in the EU, with 25 firms identified to take part in a competition. Since five firms were preinvited, 20 openings were available for the 79 applicants that vied for participation in the competition. In the end, 23 firms submitted designs for the final adjudication process.
Vilnius Concert Hall Competition
In July 2019 the Vilnius Concert Hall competition jury began its deliberations to identify a suitable design for this major performing arts project. As one might have anticipated, two of the jurors on the seven member panel, Ole Gustavsen (Snohetta) and Andreas Cukrowicz (Nachbaur Architekten) had won high profile competitions for similar music center projects—in Oslo and Munich. The jury was confronted with a formidable task, as the competition, organized according to UIA regulations and anonymous in its format, had attracted 248 entries from around the world. For this one-stage competition, the organizers listed the following evaluation criteria, whereby the order of the criteria was not to reflect any priority: Babyn Yar Holocaust Memorial Competition
Memorials to commemorate atrocities committed by the Nazis during World War II have taken many forms. Holocaust museums such as the United States Holocaust Memorial Museum in Washington, D.C. by Pei Cobb Freed or the Jewish Museum in Berlin by Daniel Libeskind, all endeavor to paint a broad picture, including narratives covering most of the major events and sites. Former concentration camps such as Auschwitz, Dachau, Theresienstadt and Buchenwald have been frequent tour destinations. In the case of Buchenwald, the local city of Weimar has placed pictures of “Witnesses” throughout the downtown area as a reminder of the Nazi legacy.
A Cultural Cluster as Community AssetDIA Plaza: Detroit’s Midtown Cultural Connection Competition
Detroit’s Dia Plaza competition is hardly unique in initiating a search for urbanistic solutions to a cultural cluster. Vienna, Berlin, Mesa, Fort Worth, Chicago’s Millennium Park and Paris’ Parc de la Villette are just a few examples of projects where the focus on spaces between buildings, and arriving at a connective plan to infuse new energy into the site, has been the primary goal of other projects. All of these have been faced with their own challenges: solutions for some have been relatively simple—Vienna’s Museum Quarter and Berlin’s Forum—while others such as Paris’ La Villette and Mesa’s Downtown Plaza represent a more challenging subject spatially. In the case of Detroit, the aim of the competition was clear: “The design competition centers around enhancing and enlivening the DIA’s exterior campus and aims to connect all the institutions with a beautiful series of settings that support all types of programming and public art.”
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