Search results for "Syracuse University School of Architecture"
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AN kicks off its Building Practice interview series
2020 AIA Gold Medal awarded to Marlon Blackwell
Here's to paid competitions!
Last week, as AN’s executive director, I participated in a juried competition for a renovation of the cafe at the Everson Museum of Art in Syracuse, New York. Dallas-based ceramic artist and collector Louise Rosenfield has donated a 3,000-piece functional ceramics collection to the museum, which will be integrated into the cafe’s food and beverage programming.
It was a unique design prompt, and it deserved a comparably special design to complement it. In a collaboration between the Everson Museum and the School of Architecture at Syracuse University, Dean Michael Speaks and Assistant Professor Kyle Miller organized the competition, which brought together four finalists and seven jurors to decide who would take on the cafe design. The jury consisted of Everson Museum director and CEO Elizabeth Dunbar and Everson Museum curator of ceramics Garth Johnson along with Sean Anderson (MoMA), Aric Chen (Design Miami), Jing Liu (SO—IL), Matt Shaw (The Architect’s Newspaper), and Oana Stănescu (Harvard GSD).
The four presenters were FreelandBuck (David Freeland and Brennan Buck, Los Angeles/New York), MILLIØNS (Zeina Koreitem and John May, Los Angeles), NATURALBUILD (Yanfei Shui and Yichi Su, Shanghai) and Norman Kelley (Thomas Kelley and Carrie Norman, Chicago/New Orleans).
The competition brought to light a host of serious issues and questions about architecture today.
First, the format is a throwback to a time when competitions were a way for architects to get high-profile commissions and build their practices through proposals and thought experiments. Some of the world’s greatest structures were realized through competitions, including London’s Palace of Westminster (1836), the Sydney Opera House (1956), and Paris’s Centre Pompidou (1971).
Competitions have also served as fertile grounds for the development of intellectual projects, as second-place proposals have become as important historically as the winners. OMA’s Parc de la Villete (1982) and Reiser + Umemoto’s Yokohama Port Terminal (1995) are both important markers in the firms’ legacies, while the Chicago Tribune Tower competition has echoed through time, first as an actual building competition (1922), then as the basis for Stanley Tigerman’s book Late Entries to the Chicago Tribune Tower Competition (1980), and then in Johnston Marklee’s Vertical City (2017) as part of the Chicago Architecture Biennial.
Despite their significance and success at delivering world-class projects, competitions have come under fire in recent years as exploitative, using architects as sources for ideas while not compensating them for their time and effort. However, a paid, invited competition is much different than an open call where labor goes uncompensated.
The competition model helps clients mitigate risk by giving them the opportunity to move beyond obvious choices and take a chance on a younger practice that might not immediately seem capable to the untrained eye. In the Everson competition, the jury directed the clients toward a more ambitious proposal that might have seemed less desirable to a client at first.
Competitions not only allow institutions to take risks on progressive architecture, but they also save them money. Rather than pay top dollar for large corporate firms or high-profile established designers who have already proven themselves over multiple projects, an institution can find a cheaper firm that would not be affordable in ten years. This kind of knowledge only comes from a panel of experts. It is a win-win for everyone involved, and, at the Syracuse competition, it was clear that both the jury and the museum were satisfied with the result.
These competitions might cost money up front, but the results they deliver for the client will offer savings in the long run by using a less-established—yet talented—team that is not charging corporate rates or top dollar design fees. And they are an important way to create opportunity for young designers and foster the contributions they make to architectural history. Here’s to more paid competitions!
The Chicago-based Graham Foundation has released a list of organizations that will receive its coveted Production and Presentation Grants to pursue architecture-related projects this year. A total of 54 organizations will be presented with financial support from the foundation, with no grantee’s allocation exceeding $30,000 and few receiving the full amount requested. In line with the Graham Foundation’s mission to “foster the development and exchange of diverse and challenging ideas about architecture,” awardees will receive assistance with production-related expenses for a variety of undertakings that aim to enrich architectural discourse, including films, publications, exhibitions, and lectures. Final decisions were made on the basis of four criteria: originality, feasibility, capacity, and potential for impact.
The winning projects for 2020 are split into four distinct categories—exhibitions; film, video, and new media projects; public programs; and publications—and were submitted by a wide range of institutions, companies, and non-profits. Among the grantees are Boston’s MASS Design Group, Michael Sorkin’s Terreform, the Oslo Architecture Triennale, and the University of Chicago’s South Side Home Movie Project. Several past grant recipients received funding for new projects this year, including the Museum of Modern Art for a publication on the work of Robert Venturi and Mexico City-based LIGA-Space for Architecture, which is working to highlight Latin American designers in its annual public program. Here is the full list of the 2020 recipients and their respective projects:
EXHIBITIONS (19 awards)
Àkéte Art Foundation Lagos, Nigeria How To Build a Lagoon with Just a Bottle of Wine?, 2nd Lagos Biennial
ArchiteXX Syracuse, NY Now What?! Advocacy, Activism, and Alliances in American Architecture since 1968
Art Institute of Chicago Chicago, IL In a Cloud, in a Wall, in a Chair: Six Modernists in Mexico at Midcentury
Chicago Architecture Biennial Chicago, IL Graham Foundation Artistic Director
Cranbrook Art Museum Bloomfield Hills, MI Ruth Adler Schnee: Modern Designs for Living
Elmhurst Art Museum Elmhurst, IL Assaf Evron & Claudia Weber
El Museo Francisco Oller y Diego Rivera Buffalo, NY Paul Rudolph’s Shoreline Apartments
Equitable Vitrines Los Angeles, CA Florian Hecker
Landmark Columbus Foundation Columbus, IN Good Design and the Community: 2019 Exhibition, Exhibit Columbus
LIGA–Space for Architecture Mexico City, Mexico LIGA Public Program 2019–2020
Madison Square Park Conservancy New York, NY Martin Puryear: Liberty/Libertà: US Pavilion, 58th International Art Exhibition
Materials & Applications Los Angeles, CA Staging Construction
National Building Museum Washington, DC Architecture is Never Neutral: The Work of MASS Design Group
National Trust for Historic Preservation—Farnsworth House Plano, IL Edith Farnsworth Reconsidered
Oslo Architecture Triennale Oslo, Norway Enough: The Architecture of Degrowth, Oslo Architecture Triennale 2019
Serpentine Galleries London, United Kingdom Serpentine Pavilion 2019 by Junya Ishigami
Storefront for Art and Architecture New York, NY Building Cycles
Toronto Biennial of Art Toronto, Canada Learning from Ice
University of Illinois at Chicago—College of Architecture, Design, and the Arts Chicago, IL A Certain Kind of Life
FILM/VIDEO/NEW MEDIA PROJECTS (4 awards)
Architectural Association School of Architecture London, United Kingdom Architecture in Translation
The Funambulist Paris, France The Funambulist Network
MASS Design Group Boston, MA The Whole Architect: Giancarlo De Carlo
University of Chicago—South Side Home Movie Project Chicago, IL South Side Home Movie Project Interactive Digital Archive
PUBLIC PROGRAMS (6 awards)
Association of Architecture Organizations Chicago, IL 2019 Design Matters Conference
Harvard University—Graduate School of Design—African American Student Union Cambridge, MA Black Futurism: Creating a More Equitable Future
Independent Curators International New York, NY Curatorial Forum
Lampo Chicago, IL Lampo 2019 Concert Series at the Graham Foundation
New Architecture Writers London, United Kingdom Constructive Criticism
University of Michigan—A. Alfred Taubman College of Architecture and Urban Planning Ann Arbor, MI Re: Housing: Detroit
PUBLICATIONS (25 awards)
Anyone Corporation New York, NY Log: Observations on Architecture and the Contemporary City, Issues 47, 48, and 49
ETH Zurich—gta exhibitions Zurich, Switzerland Inside Outside / Petra Blaisse
Flat Out Inc. Chicago, IL Flat Out, Issues 5 and 6
Harvard University—Graduate School of Design–New Geographies Cambridge, MA New Geographies 11: Extraterrestrial
Haus der Kulturen der Welt Berlin, Germany Counter Gravity: The Architecture Films of Heinz Emigholz
Instituto Bardi/Casa de Vidro São Paulo, Brazil Casa de Vidro: The Bardis’ Life between Art, Architecture and Landscape
The Museum of Modern Art New York, NY Robert Venturi’s Complexity and Contradiction at Fifty
Northwestern University Press Evanston, IL Southern Exposure: The Overlooked Architecture of Chicago’s South Side
Paprika! New Haven, CT Paprika! Volume V
Places Journal San Francisco, CA Reservoir: Nature, Culture, Infrastructure
PRAXIS, Inc. Boston, MA PRAXIS, Issue 15: Bad Architectures
Produzioni Nero Scrl Rome, Italy Scenes from the Life of Raimund Abraham
REAL foundation London, United Kingdom Kommunen in der Neuen Welt: 1740–1972
Rice University—School of Architecture Houston, TX PLAT 9.0
The School of Architecture at Taliesin Scottsdale, AZ WASH Magazine, Issues 003 and 004
Solomon R. Guggenheim Museum New York, NY Countryside, The Future
Southern California Institute of Architecture Los Angeles, CA LA8020
Standpunkte Basel, Switzerland Archetypes: David Ross
The Studio Museum in Harlem New York, NY The Smokehouse Associates
Terreform New York, NY UR (Urban Research) 2019
University of California, Los Angeles—Department of Architecture and Urban Design Los Angeles, CA POOL, Issue No. 5
University of Florida—Graduate School of Architecture Gainesville, FL VORKURS_Dérive
University of Maryland, College Park—School of Architecture, Planning and Preservation College Park, MD See/Saw, No. 2: Difference
University of Miami—School of Architecture Coral Gables, FL Cuban Modernism: Mid-Century Architecture, 1940–1970
Yale University Press New Haven, CT Mies van der Rohe: The Architect in His Time