 |
||||
|
Winning entry by Arquivio Architects (image © Arquivio Architects)
The Process
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 Login to see more (login problems? E: scollyer@competitions.org or http://competitions.org/contact/) Image courtesy Ministry of Construction and Infrastructure ©Zaha Hadid Architects
Zaha Hadid Architects prevailed over the entries of 47 other firms to win the Sverdlovsk Concert Hall Competition in Yekaterinburg, Russia. Staging this competition in the Urals, in a remote location in European Russia from the centers of power, is testimony that culture
1st Prize project by Cukrowicz Nachbaur Architekten (image © Cukrowicz Nachbaur Architekten)
Until the early 1970s, architecture in Bavaria, and in Munich in particular, was not only viewed as traditional, but even leaving the impression to some as being ‘quaint.’ Then came the 1972 Olympic Games, which marked a watershed moment in
RUR 2016 Development design RUR’s winning 2009 design for the Taipei Pop Music Center has undergone several changes since its original competition submission in the two-stage event. Now under construction, the first piece to be realized is the main performance venue, here to be seen in the back of the above picture. Changes
By winning the Ross Pavilion International competition, Los Angeles-based wHY Architecture’s efforts as a competitor in several recent high-profile invited competitions has finally borne fruit. Among the seven shortlisted finalists from the 125 teams that submitted EOIs from around the world, wHY’s design separated itself from the others by featuring their pavilion as an integral part of the landscape, rather than a pavilion as activities structure representing a central focal point of the site.
Even while concentrating on the landscape, wHY’s sustainability concept revealed an interesting tactic, using one of its favorite curvilinear ideas as a principal design element. To anyone who remembered the wHY design for the Mumbai City Museum extension, this was combining architecture with landscape in their representation of a “butterfly” motif. By doing so, a garden is transformed into something almost magical, while lower key on an intellectual level. According to the jury, “The team’s concept design as ‘a beautiful and intensely appealing proposal that complemented, but did not compete with, the skyline of the City and the Castle.’ They liked the concept of the activated community space with a democratic spirit, potentially creating a new and welcoming focus for the City’s festivals while appreciating that the team’s design balanced this with a strong approach to the smaller, intimate spaces within the wider Gardens.” Finally, the performance function did not simply turn into a high-profile icon, but became a logical extension of the landscape.
The shortlisted finalists were: • wHY, GRAS, Groves-Raines Architects, Arup, Studio Yann Kersalé, O Street, Stuco, Creative Concern, Noel Kingsbury, Atelier Ten and Lawrence Barth (Winner) • Adjaye Associates with Morgan McDonnell, BuroHappold Engineering, Plan A Consultants, JLL, Turley, Arup, Sandy Brown, Charcoalblue, AOC Archaeology, Studio LR, FMDC, Interserve and Thomas & Adamson • Bjarke Ingels Group (BIG) with JM Architects, WSP Parsons Brinckerhoff, GROSS.MAX., Charcoalblue, Speirs + Major, JLL, Alan Baxter and People Friendly • Flanagan Lawrence with Gillespies, Expedition Engineering, JLL, Arup and Alan Baxter • Page \ Park Architects, West 8 Landscape Architects and BuroHappold Engineering with Charcoalblue and Muir Smith Evans • Reiulf Ramstad Arkitekter with GROSS.MAX., AECOM, Charcoalblue, Groves-Raines Architects and Forbes Massie Studio • William Matthews Associates and Sou Fujimoto Architects with BuroHappold Engineering, GROSS.MAX., Purcell, Scott Hobbs Planning and Filippo Bolognese
It’s seldom that one finds a separate section in an obituary dedicated to architecture competitions. We shouldn’t have been surprised to find this in the case of Bill Bricken, a frequent participant in design competitions and one of our long-time subscribers. It was also a case where we had published articles on competitions Looking for an Iconic Answer: The Oceanside High School Performing Arts Center by Larry Gordon  Winning entry by Harley Devereaux
Oceanside High School has a location that many other big public campuses may envy. The 2,500-student school is an easy walk to some of California’s most beautiful beaches and also is close to the big open spaces of the U.S. Marines’ Camp Pendleton base along the Pacific coast. What’s more, the campus is just to the west of the Interstate 5, the main freeway route that puts downtown San Diego only about 40 minutes away. Creating Spaces: A Multi-Layered Approach to a Complex Program The Kaohsiung Maritime Cultural & Music Center, Taiwan by Stanley Collyer  Once the destination of large passenger liners and freighters, ports such as Manhattan and San Francisco are now more likely to be the site of entirely different activities. Cities have discovered that waterfronts lend themselves to all kinds of recreational activities: instead of large ships, we may now find tennis courts, museums and restaurants located on those once abandoned piers. The conversion of waterfronts to other uses is hardly limited to North America. In the run-up to the 1984 Barcelona Olympic Games, Oriel Bohigas was asked to devise a plan, which included the redesign of the Barcelona waterfront. It turned out to be an attractive destination for locals and tourists alike and may have represented a subliminal moment in the minds of the Spanish architects who recently won the recent Kaohsiung Maritime Cultural & Popular Music Center International Competition in Taiwan. Recognizing the potential of this post-industrial site, the Kaohsiung authorities chose to stage a competition as a vehicle to facilitate the transformation process — with the stated intention of injecting new energy into an outdated waterfront location. |
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: 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.
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.”
A New City University Takes ShapeMK:U’s Forward Looking Model Explored in Detail
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.
Chicago Disruptive Housing
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.
|
|||
|
Copyright © 2019 Competitions All Rights Reserved COMPETITIONS, P.O. Box 20445, Louisville, Ky 40250 U.S.A Ph: (502) 451-3623; Fax: (502) 451-3623 Website: https://competitions.org E: scollyer@competitions.org Privacy Policy: CP-Privacy-Policy.pdf IMPORTANT NOTICE : Unless otherwise indicated, photographs of buildings and projects are from professional or institutional archives. All reproduction is prohibited unless authorized by the architects, designers, office managers, consortia or archives centers concerned. The Competition Project, Inc. is not held responsible for any omissions or inaccuracies, but appreciate all comments and pertinent information that will permit necessary modifications during future updates. Powered by WordPress & Atahualpa |
||||
