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.
As projected, the Weimar Bauhaus Museum, one of two new Bauhaus museums scheduled to commemorate the 100-year anniversary of the founding of the Bauhaus in Germany, has opened its doors
Pelli Clarke Pelli Architects (PCP) in collaboration with China Southwest Architectural Design and Research Institute Corp Ltd. has prevailed over a strong field to win the competition for a Natural History Museum in Chengdu, China. The other finalists included Zaha
The competition for the Taoyuan Museum of Arts is similar to now what has become the typical invited format for major projects in Taiwan. In this case, 14 architectural teams submitted their qualifications, and
Extensions to buildings are normally regarded as significant projects by most architects, whereas linking two existing structures might appear as a lesser priority. On rare occasion of
After several near misses in some recent high profile competitions, Aalto Museum, Guggenheim Museum, Lima Museum of Contemporary Art, SMAR Architecture Studio (Madrid/Western Australia) was rewarded with the commission for the Science Island project in Kuanas, Lithuania. Against
Fresh from his much-admired contemporary art museum Kiasma in Helsinki, Steven Holl has landed yet another important museum commission: an $80 million enlargemennt and renovation of the Nelson-Atkins Museum of Art in Kansas City, Missouri. The New York-based architect, whose choice was announced in July (1999), was one of six high-profile finalists picked to participate in a sketchbook competition. The others were Tadao Ando Architects and Associates, Annette Gigon/Mike Guyer, Carlos Jimenez Studio, Machado and Silvetti Associates, Inc., and Atelier Christian de Portzamparc.
The Nelson-Atkins museum is known especially for it collection of Asian art and furnishings. It also is developing an increasingly important collection of 20th-century, including a large group of Henry Moore’s and four large “Shuttlecocks” by Claes Oldenburg and Coosje van Bruggen. The building program calls for a roughly 55 percent addition to the roughly 234,000 GSF of the museum’s 66-year-old existing structure, a stern neoclassical monolith designed by the Kansas City firm of Wight & Wight. (Other Wight & Wight landmarks in Kansas City include the deco-neoclassical City Hall and Jackson County Court House downtown.)
In a way, Holl’s design—with underground galleries topped by a series of seven free-form, translucent glass “lenses”—is the most conservative (entry) in that it presents the least obstruction to the 1933 building. Holl’s plan calls for a new main entrance lobby off the northeast corner of the present building, to be accessible from either ground level or a new underground parking garage. New galleries will be arrayed in an underground procession down the sloping east side of the Museum’s grounds. The above-ground lenses will house the entrance lobby, a cafe, an educational facility and library.
In October 1993, rainwater was seen filtering down through the cracked, poorly maintained roof of the Prado museum’s 18th century building, directly threatening some of the world’s greatest masterpieces, including Velazquez’s “Las Meninas.” Alarm bells went off, both in the building and in the media, and the public learned what until then only a few insiders knew: that one of the best and most famous museums in the world had been in desperate need of repair and expansion for decades. As an emergency solution, seven architects were requested in 1994 by the Ministry of Culture to submit their own ideas for the refurbishment of the museum’s roof. At the same time, the notion of a more ambitious, high-profile international competition to design an extension to the Prado began to take shape.
The competition was to be organized by the Ministry of Culture of Spain, with the technical assistance of the UIA (International Union of Architects) and UNESCO’s endorsement. With government elections coming up, the politicians in charge of the problem needed to demonstrate that the Prado was a high priority.. Thus, the media was immediately informed to ensure complete and regular coverage. From the start, the competition took on the character of a political public relations affair, which in the end, would come back to haunt them.
The Rules
The Prado Competition began in earnest in February 1995, when the Museum’s board of trustees approved the competition rules, which were in turn accepted by the Ministry of Culture of the ruling Socialist Party. In theory, there had been a top-level agreement on the approach to be taken to address the museum’s problems between the Socialist government and the main opposition party, the Conservatives, who by then were already expected to prevail in the next election. The reason for such agreement was obvious—to make sure that the process would not be overturned for political reasons.
Subsequently, it would appear that this agreement had been on a shaky foundation from the very beginning. According to the rules, which were fraught with ambiguities and inconsistencies, the Prado was going to double its size to 40,000 m2 by the year 2000 via its expansion into three adjacent buildings. This brought about the first conflicts, as some of the owners of the buildings in question denied any association with the expansion plans. This included Spain’s Catholic church, which took the Ministry to court. Madrid’s City hall, already under Conservative Party control before the elections, hardly appreciated such a high-profile initiative taken by the lame-duck Socialist government—directed at the very heart of the city. Moreover, at the insistence of the Museum’s Board of Trustees, a clause declaring that the “current architectural image of the main building could not be disturbed” had to be included in the rules (and it was). The original competition schedule had to be delayed two months, and last-minute, but significant, amendments had to be made to the rules, giving everyone a feeling of improvisation. The whole venture started on a note of controversy.
The Entrants
According to the organizer’s estimates, 500 architects from all over the world were expected to register for the competition. Some were individually invited to enter, including Isozaki, Ando, Hollein, Wilford, Salmona, Macary, Pelli and Siza (who immediately declared he would not take part, and then was asked to become a member of the jury, to which he said no as well). Others, like Foster and Calatrava, both well-known to the Spanish general public, had already confirmed their interest, which raised everybody’s expectations after their much publicized showdown at the Reichstag competition in Berlin.
Finalist – Distinction (2) Alberto Martinez/Beatriz Matos Madrid, Spain Second Place in First Round (11 votes)
This low-impact proposal creates a new urban space in front of the Prado’s historic building back elevation, which now acquires a new character as an urban facade. Below this platform, a new three-story underground structure houses the entrance hall, auditorium, cafeteria, library and storage areas. A transversal gap across the plaza brings natural light into the underground structure. From this, the building connects with a new adjacent structure, located on the old covent’s grounds, which houses the museum’s services (restoration workshops, offices, etc.) -MR
As architects learned more about the competition’s details, skepticism and even open criticism heightened—from architectural circles as well as in the media. Some internationally famous names such as Ungers or Ando decided not to register, arguing either work overload or disagreement with the competition’s rules. The organizers, however, seemed to be satisfied with the fact that well-known architects like Foster, Moneo, Calatrava, Tusquets, Bohigas, Navarro, Eisenman or Benevolo had decided to enter, thus giving credibility to the initiative.
Interestingly enough, while the organization was obviously very forthcoming in disclosing names of high-profile participants, they would not supply a complete list of entrants, arguing that the competition was anonymous and, as a consequence, only overall registration statistics could be released.
Finalist – Distinction (2) Jean-Paul Duerig and Philippe Rami Zürich, Switzerland Seventh place in stage 1 semi-final round (6 votes) – tied with E. Zoido
This blunt proposal attaches a new gray granite and red brick structure, 300m (1,000 feet) long, to the Prado’s rear facade to house the entrance hall, exhibition halls, auditorium, cafeteria and shops. The nearby convent becomes a four-story building for the library, the restoration workshops, and the museum’s services and offices, while the old building will be used exclusively for exhibitions. The whole museum complex (four existent buildings, plus the proposed structure) are linked by underground connectors. –MR
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 thejurors 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:
Form and Dichroic Light Scott Hall at Carnegie Mellon University Michelle LaFoe and Isaac Campbell OFFICE 52 Architecture Forward by Cesar Pelli, FAIA Introduction by Michael J. Crosbie, FAIA Leete”s Island Books, Maine USA Hard cover; 96 pages in color ISBN 9780918172709
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.
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.
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.”
Milton Keynes, known simply as MK, represented one of the more significant results of the UK’s “new town” programs from the 1950s and 60s. Situated almost equidistant between Oxford and Cambridge, and within easy access from London, the city had everything one might expect from a modern community—except a university. For a city having a population exceeding 250,000, and projected to have 500,000 inhabitants by 2050, that will all change, as a competition supported by the MK Council (MKC) and Cranfield University has resulted in five firms competing for the opportunity to design a higher educational institution to eventually accommodate 15,000 students.
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 state and local sources are at a minimum. To exacerbate the problem, the construction cost of affordable housing has risen exponentially the the past few decades. Gone are those days when architects such as Oakland-based Michael Pyatok could build affordable housing for $100 a square foot.
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