Competition or PR stunt? That's up to you to decide, but there is no debate that the Guggenheim Helsinki Design Competition has provoked some interesting conversations around issues of the cultural institution in the globalized 21st century. On June 23, the Guggenheim will announce a winner, from the 1,715 official entries, all of which you can see here. However, the most interesting parts of the competition will probably be auxiliary to the building chosen on next Tuesday. In October 2014, the list was trimmed to a more manageable (and anonymous) six finalists. One of the spin-offs of the Helsinki competition is Next Helsinki, an alternative call-for-proposals that solicited new ideas about how the museum can bring its centrally located, waterfront site to life through the continuation of emergent urban trends. Rather than simply create another icon, Michael Sorkin explained on the website, organizers initiated the competition because of an “outrage at the march of the homogenizing multi-national brand culture emblematized by the imperial Guggenheim franchise—the cultural equivalent of Starbucks—was what launched us.” However, they also did it because they care about the city of Helsinki. “The feeling of love came from our mutual affection for Helsinki, from a sense that it is a singular place, unique in setting, form, and culture. Understanding the impetus to acquire a Guggenheim as a pursuit of the vaunted Bilbao effect, the idea that some gaudy global repository would put a tired place on the map, we wondered why a city so indelibly fixed in the urban firmament, so superb, would ant to surrender such a fabulous site to some starchitect supermarket,” Sorkin continued. For more on the Next Helsinki project, and to see the shortlisted projects, see their website.
Posts tagged with "Competitions":
The Rudy Bruner Award for Urban Excellence has announced its 2015 gold and silver medalists. For the past 27 years, the biennial competition has honored “transformative places distinguished by physical design and contributions to the economic, environmental and social vitality of America’s cities.” This year’s gold medal—and $50,000—goes to Baltimore’s “Miller Court,” an abandoned industrial facility that was transformed into a mixed-use building with housing, and a focus on fostering teachers and education-focused non-profits. The transformation was spearheaded by the Seawall Development Company, Enterprise Community Investment, and Marks, Thomas Architects. The project was completed in 2009. “Aware of the challenges facing the Baltimore school system and professionals entering the field through programs like Teach for America, Seawall sought to build a safe, welcoming community for teachers and a home for allied nonprofits that would strengthen the neighborhood and city,” the Bruner Foundation said in a press release. “Attracting national attention as a model, the project has generated additional investment in Remington and has been replicated in Philadelphia.” Below are the four silver medalists, each of which received $10,000. Falls Park on the Reedy Greenville, South Carolina
From the Bruner Foundation: "The renaissance of a 26-acre river corridor running through the heart of Greenville, restoring public access to the falls and greenspace and catalyzing adjacent downtown development. (Submitted by the City of Greenville)"Grand Rapids Downtown Market Grand Rapids, Michigan
From the Bruner Foundation: "A new downtown public space promoting local food producers and community events, entrepreneurship, and education about nutrition and healthy lifestyles. (Submitted by Grand Rapids Downtown Market)"Quixote Village Olympia, Washington
From the Bruner Foundation: "A two-acre community of 30 tiny houses and a common building that provides permanent, supportive housing for chronically homeless adults. (Submitted by Panza)"Uptown District Cleveland, Ohio
From the Bruner Foundation: "The redevelopment of a corridor linking art, educational and health care institutions with surrounding neighborhoods, creating outdoor gathering spaces, retail shops and restaurants, student and market-rate housing, and public transit connections. (Submitted by Case Western Reserve University)"
When it comes to a famous landmark, to what extent does locale add to its majesty? An inventive design competition posted to Australian virtual design studio DesignCrowd explored this question with a challenge to designers to reposition the world’s most hyped monuments in all-new locations using high-resolution images. Designers were tasked with making the extrication of the Big Ben look believable, inserting in its place the Sydney Opera House, the Eiffel Tower, or the Great Wall of China. The first-place accolade went to a Photoshop-aholic who had supplanted Moscow’s St. Basil’s Cathedral in place of the Great Pyramid of Giza in Egypt. Snagging second place was a seamless overlay of the Roman Colosseum where the Sydney Opera House had once stood. Meanwhile, another designer made the Sydney Opera House seem a natural addition to the Thames riverfront overlooked by the London Eye. Another creative effort saw the Hollywood sign superimposed on the hills along which the Great Wall of China undulates. The design brief, posted to the crowdsourced graphic design bidding site, received 92 designs from 25 designers.
The City of Atlanta has announced a competition for the design of an outdoor cultural pavilion for prominent display on the Westside trail of the Atlanta BeltLine. The BeltLine is the most comprehensive transportation and economic development ever undertaken by the City of Atlanta, and among the largest urban redevelopment programs in the US, providing affordable workforce housing, brownfield remediation, public art, and historic preservation. The National Pavilion Design Competition seeks designs for the second pavilion in a series of small, multi-purpose artistic pavilions occupying green spaces along the BeltLine as part of the Art on the Atlanta BeltLine program, which represents the South’s largest outdoor temporary art exhibition. The culture-conscious platform engages hundreds of artists to display visual and performing arts in the parks and along the trails of the BeltLine. The pavilion’s prospective location at the intersection of the Westside trail and Allene Avenue poises it to become an iconic landmark for the Adair Park community and its surrounding historic neighborhood. In the spirit of fostering community gathering, the Atlanta BeltLine is also seeking designs for a permanent performance space at Adair Park. Design-wise, the facility should represent the quality art and architecture which the BeltLine strives to embody. The competition is seen to straddle the fields of art, architecture, landscape architecture, and the pedestrian experience, as well as provide a catalyst for economic development. “This competition demonstrates that small yet exceptional design can offer huge benefits for Atlanta communities,” said Melody Harclerode, President of AIA Atlanta and manager of the National Pavilion Design Competition. The only eligibility requirement is that an individual or team member be a licensed architect holding active AIA membership. The first place winner stands to receive a $10,000 cash prize, while a $5,000 and $3,000 prize are up for grabs for the second and third place winners respectively. The competition represents a partnership between AIA Atlanta, Atlanta BeltLine Inc., and the City of Atlanta Mayor’s Office of Cultural Affairs.
Recognizing architects’ increased use of installations for experimentation and prototyping, the "Bigger than a Breadbox, Smaller than a Building" competition awards project proposals that use the medium for spatial exploration. This year’s selected winner is The Pulp Canopy by Katie Donahue and Mason Limke of MYKA, who explore architectural applications of cellulose fiber (paper pulp), considered the “most abundant raw material on the planet.” The architects collected discarded paper products, transformed them into pulp and reshaped the pliable mulch into modules of varying thinness, transparency, and texture. Originally conceptualized as The Pulp Wall, Donahue and Limke reimagined it as a canopy for the competition, which requires entrants to re-envision a previous installation in the context of the competition brief rather than produce an original proposal. The work of art will hang from the ceiling in the lobby of the Boston Society of Architects headquarters at 290 Congress Street. In the meantime, the honorable mention teams such as Beta-Field, Alibi Studio, Justin Diles, and Studio Modo, are also preparing their projects for exhibition in Bigger than a Breadbox, opening June 17. The exhibition as a whole examines the “appropriation” of installation in contemporary architectural practice as an investigative tool for experimenting with new materials and technologies. Space constraints are part of the challenge: the double-height lobby of the building allows for an installation covering 150 square feet of floor space and extending up to 8 feet high. A further stipulation is that the installation must actively engage building occupants and visitors to the gallery. Winning designs for "Bigger than a Breadbox, Smaller than a Building 2015" were selected by the following jury members:
- Benjamin Ball, Ball-Nogues Studio (Los Angeles, CA)
- Shauna Gilles-Smith, Ground (Boston, MA)
- Monica Ponce de Leon, MPdL Studio (Ann Arbor, MI; New York, NY; Boston, MA)
- Jenny Sabin, Jenny Sabin Studio (Philadelphia, PA)
- J. Frano Violich, Kennedy Violich Architecture, Ltd. (Boston, MA)
Enormous architecture-shaped pillows will fill a vacant field for Chicago’s third annual Ragdale Ring
A suburban field on Chicago's North Shore will host a fantastical summer pavilion fashioned after a toy box, with outsized pillows in the shape of architectural elements, according to designs selected as the winner of the third annual Ragdale Ring competition. Young Chicago designers Design With Company (Dw/Co) took their cues from the original Ragdale Ring garden theatre designed by architect Howard Van Doren Shaw in 1912. The Ragdale Foundation was founded in 1897 on the grounds of Arts and Crafts architect Shaw’s summer home in Lake Forest, Illinois, 30 miles north of Chicago. Architects Stewart Hicks and Allison Newmeyer dubbed their contemporary interpretation of the outdoor theater Shaw Town. Dw/Co plucked architectural details from some of Shaw's early 20th century buildings in the Chicago area—such as the rooftops of Market Square in Lake Forest and the Quadrangle Club at the University of Chicago—and created “audience-friendly pillows” in their form, to be stored in a giant wooden toy box when not in use. “The moveable pillows sprinkled across the landscape are intended to be used by the audience in a multitude of ways from seating to play,” reads Ragdale's announcement. “Visitors are encouraged to rediscover Shaw’s buildings without even knowing it.” Last year's winner, New York–based Bittertang Farm, sculpted an earthen grotto from packs of hay. (See a gallery of photos from that installation here.) Like Bittertang's ring, Shaw Town is also made from biodegradable materials. Shaw Town, whose construction will be funded by a $15,000 production grant, debuts June 13 at 1230 North Green Bay Road, Lake Forest, Illinois. More information can be found on Ragdale's website, ragdale.org.
Competition winner uses composite materials to re-imagine Semper's primitive hut.The title of TEX-FAB's fourth annual competition—Plasticity—has a double meaning. It refers first to the concept at the core of the competition brief: the capacity of parametric design and digital fabrication to manifest new formal possibilities. But it also alludes to the material itself, fiber-reinforced polymer (FRP). “Plastics have the potential to push contemporary architecture beyond the frame-plus-cladding formula dominant since at least the 19th century,” said competition winner Justin Diles. Pointing to traditional stonecutting and vault work, he said, "I'm very interested in this large volumetric mode of construction, but I'm not at all interested in the stone. I think that composites probably offer the best way of addressing this old yet new mode of constructing architecture." Diles' proposal, Plastic Stereotomy, builds on his work as a KSA fellow at The Ohio State University. But where his earlier Eigenforms were two-dimensional freestanding walls, Diles' Plastic Stereotomy pavilion—which he will build at scale during the coming months—is fully three-dimensional. Inspired by teaching tools designed by Robert le Ricolais, Diles used a finite element analysis 3D modeling plugin to simulate surface buckling by superimposing volumes onto one another. "Those pieces are voluptuous; they create a lot of poché [thickness] as they overlap with one another," Diles observed. While the plugin developed by his friend was critical to the design process, Diles remained focused throughout on the end goal of fabrication. "What I'm really looking at is how we can use simulation to think about issues of construction rather than just optimization," he said. Custom fabrication shop Kreysler & Associates will provide technical support as Diles moves from design to construction. Diles cites the fire-resistant FRP cladding developed by Kreysler for Snøhetta's SFMOMA as an example of how composite materials can ease the transition from two-dimensional to volumetric design. "Even though the project still adheres to Gottfried Semper's model of a lightweight frame and cladding, the panels don't have a frame expression," he said. "They're massive, with ripples and indentations. They point to a new way of thinking about architectural surface and enclosure." Kreysler and Diles will work together to streamline the techniques he used to build his competition prototype, a scaled-down section of the Plastic Stereotomy pavilion. (Bollinger + Grohmann will provide additional structural and material engineering support.) For the mockup, Diles used a 5-axis CNC mill to shape EPS foam molds onto which he layered up FRP cloth. He then removed the pieces from the molds, painted them, and glued and bolted them together, adding stiffeners to the open-backed components. Because the FRP is so light, he used two solid foam blocks to weigh down the structure. "I'm interested in working with Kreysler around thinking through production to make it more efficient," said Diles. For the fabricators, the TEX-FAB collaboration represents another step in Kreysler's journey from boat-building to other applications of composite materials, including architecture. "We're excited to work on this with Justin," said Kreysler's Josh Zabel. "It's exciting to see designers put fresh eyes on these materials we're devoted to." Plastic Stereotomy will be on display at TEX-FAB 2015 Houston at the University of Houston College of Architecture, March 26-29. The conference will feature workshops, lectures, and an exhibition on the theme of Plasticity.
As several Chicago sites—as well as institutions in New York City and Hawaii—vie to host Barack Obama's Presidential Library, the Chicago Architectural Club is “calling for speculative proposals” to consider the design impacts of the nation's 14th presidential library. Submissions are due January 10, one month after official contenders for the library have to submit their proposals to The Barack Obama Foundation. Winners will be announced February 3 at the Chicago Architecture Foundation, 224 South Michigan Avenue. First prize nets $1,500, while second takes $1,000 and third gets $750. The Architectural Club and CAF will exhibit the winning projects on their websites. Jurors for the award include Andy Metter (Epstein), Brian Lee (SOM), Dan Wheeler (Wheeler Kearns Architects), Elva Rubio (Gensler), Geoffrey Goldberg, (G. Goldberg + Associates) and John Ronan (John Ronan Architects). More information on submission protocol is available on the Chicago Architectural Club's website AN's editorial page has called for the library to catalyze the development of public space wherever it ends up, and the speculative designs offered by the Club's annual Chicago Prize are sure to spur good conversation on that topic. The competition literature identifies the site as the rail yard at the southwest corner of the Chicago River confluence—a site already devoted to Goettsch Partners' River Point development, currently under construction. In library news more likely to materialize as built work, the University of Chicago is mulling Jackson Park as a potential site. The Hyde Park university where Obama taught law is also reportedly considering an empty lot at Garfield Boulevard and Martin Luther King Drive, the South Shore Cultural Center, and an area of Jackson Park across from Hyde Park Academy High School at Cornell Avenue and Hayes Drive, according to DNAinfo Chicago.
As we’ve mentioned before, the biggest competition in town is not in the United States. Virtually every design firm in California and everywhere else has entered the competition for the Guggenheim Helsinki. Proposals were due on September 10, and Eavesdrop received a secret picture of the storeroom where they are being kept. Let’s just say it is FULL. There appears to be several hundred submissions. Only six of the proposals will advance to stage two of the competition, a list that will be announced later this fall. The winning entry will eventually be chosen next June. So stay tuned, there’s plenty of Guggenheim madness left! (And why doesn’t the Guggenheim open a branch in Los Angeles already?!)
Architectural competitions with substantial cash prizes tend to focus on monuments, museums, and other high-brow concerns. Such is not the case for Breaking New Ground: Designing Affordable Housing for the Coachella Valley Workforce. Sponsored by The California Endowment, a Los Angeles–based private health organization, Breaking New Ground targets the gap between the people who come to the Eastern Coachella Valley to play and those who keep its $4 billion agriculture and tourism industries running. Home to resort communities including Palm Springs, Palm Desert, and Rancho Mirage, the Eastern Coachella Valley lacks affordable housing for the permanent and seasonal workers who harvest its crops and staff the local service industry. With annual salaries of just $15,000–$30,000, workers and their families are forced to live on the streets, in cars, or in one of more than 100 unpermitted mobile home parks, without access to adequate heat, hot water, sanitation, or ventilation. Breaking New Ground will offer a total of $350,000 in unrestricted awards, including prizes for four finalists in each of the Open and Student categories. The jury will evaluate submissions based not just on physical design, but also on their economic, social, and regulatory aspects, such as: market feasibility, the provision of integrated social services, and proposed policy changes. The competition will be based on an existing 9.4-acre vacant site, selected by the County of Riverside for competition purposes only. Though Breaking New Ground is a design and ideas competition, “The California Endowment does intend to fund a project inspired by the competition entries,” said Colin Drukker of PlaceWorks, the competition’s lead project coordinator. “Winning entries will not be guaranteed a chance to participate in a potential construction project, but they will obviously have an advantage in any subsequent RFP.” The competition begins October 21, with online registration open sooner. The first round will conclude December 19, at which point the jury will select four winners from the Student category as well as four finalists from the Open Category. The second round, to begin January 22, will conclude with live presentations and a celebration March 30–31. (All dates are subject to change until registration opens.)
The vision42design competition to rethink and redesign the entire length of New York City's 42nd Street was launched last April by AN and The Institute for Rational Urban Mobility. Entrants in the competition have the opportunity to not only rethink this important street but transform Manhattan at its core and become a model for major urban thoroughfares worldwide. The competition has generated wide interest from architects, urban designers, transportation planners, landscape architects, and other professionals and academic design studios from around the world. The date for submission of digital design materials for the competition is midnight EST on October 1, 2014, but the digital registration deadline is September 8 at midnight. In order to register, go to the competition website and then click "Registration." We will announce a short list of phase one winners on October 6, 2014.
Earlier this month, the Van Alen Institute announced Future Ground, an international design competition that is hoping to attract fresh strategies for reusing the many vacant lots that dot New Orleans. The competition is seeking submissions from landscape designers, architects, planners, public policy wonks, and pretty much anybody in the business of shaping urban environments and is supported by the New Orleans Redevelopment Authority (NORA), which owns more than 2,000 vacant lots. There are somewhere around 30,000 empty lots and abandoned structures throughout New Orleans today, most of them left by Hurricane Katrina, which devastated the city in 2005. As the 10-year anniversary of the storm approaches, Future Ground is looking to create design and policy strategies capable of adapting to changes in density, demand, climate, and landscape in New Orleans over the next half-century in an effort to turn these abandoned landscapes into lasting resources. NORA is currently working with New Orleans–based landscape architecture firm Spackman Mossop Michaels to develop land use strategies to reduce maintenance on many of its vacant lots. The firm's principals, Elizabeth Mossop and Wes Michaels—along with Richard Campanella of Tulane University, Renia Ehrenfeucht and Marla Nelson of the University of New Orleans, and Allison Plyer of The Data Center—are serving on the competition's Futures Team. "Some of this land might not be developed for a long time. It's important that the teams we select are not just looking at solutions for now, but for 10, 20, 50 years from now," said Jerome Chou, director of competitions, Van Alen Institute. "They need to be flexible, accommodate future needs, changes in the climate, and shifting development pressures. That's what the Futures Team is going to help us do. They will be working on potential scenarios of how the city might change over the next half century. It's obviously not set in stone, but thinking through those scenarios can help us tell residents, government officials, and philanthropists 'here's what's possible.'" Winning teams will be selected from an international open RFQ process. Applications are due by September 29, 2014, and will be evaluated by a jury of local design and policy leaders, as well as representatives of other cities with land reuse problems of their own, including Dan Kinkead of Detroit Future City, and Terry Schwartz of the Cleveland Urban Design Collaborative. Each winning team will be given a $15,000 stipend and will be asked to work closely in a six-month collaborative process with local stakeholders and national leaders. The goal is to bring small, incremental improvements to individual neighborhoods as well as the city as a whole; to develop policy that bolsters beneficial design strategies; and to make these strategies good enough to be sustained into the next generation. The Van Alen Institute will help out the selected teams to make up for the modest figure of the stipend by promoting their work nationally and internationally and developing networks.