In 2009, vandals pushed a dump truck through a hole in the wall on the fourth story of the abandoned Packard Automotive Plant in Detroit. (Of course there’s a video.) It’s a level of dereliction and decay that’s frankly common to North America’s foremost basket-case city, but it’s made a bit more poignant by the fact that the plant (built in 1907 and closed in the late '90s) was once an icon of Detroit’s command over automotive technology and the automotive industry. The 3.5-million-square-foot facility was designed by Albert Kahn to produce luxury cars, and was the first of its type to use a reinforced concrete structure. But now it’s time for some more creative thinking about how to use the Packard site, beyond inventive ways to project giant pieces of refuse out of windows. As such, Parallel Projections released the winners of an ideas competition to adaptively reuse the site on Friday. The competition (the first one Parallel Projections has hosted) garnered 200 entries from 30 countries. The three winners received $3,000, $2,000, and $1,000, respectively, and six Honorable Mentions were named. Called Reanimate the Ruins, Parallel Projections founder Kyle Beneventi said that, beyond adding another chapter to the history of a building that’s forced the carry the symbolic weight of the city’s struggles, he wants the competition to show how design can address social and economic problems. “We hope to act as a catalyst, and put these ideas in front of decision-makers to raise awareness about how design can address these issues,” he said. The site is currently owned by Peru-based developer Fernando Palazuelo, who has his own plans for the site, though Beneventi says proposals from the ideas competition can be complimentary to his efforts, and that he’s been working with Palazuelo’s company, Arte Express. The competition winners range from pragmatic land-use proposals to loose thought experiments. The winners are: 1st Place Cross the Plant by Vincent Lavergne is based on one simple programmatic shift: Turn much of the factory into housing, provide financial incentives for residents in unsustainably depopulated neighborhoods to move in, thus freeing up more land for urban agriculture. 2nd Place The Packard Belt by Javier Galindo crisscrosses the plant with a car-path belt, inspired by automotive engine belts. It’s a slow, nostalgic ride through Detroit history—a sort of a linear museum you experience while driving. 3rd Place Ecological Engineering Center Detroit by Toni Yli-Suvanto installs a waste recycling, urban agriculture, and power generation facility on the site. Sewage treatment yields biogas, power is harvested from the sun, hydroponic plants are grown, and water is recycled. Honorable Mention Higher Calling: A Spiritual Mycoremediation Corridor for Detroit by Tak Stewart, Arnulfo Ramirez, and Giselle Altea recruits monks to remediate the site’s polluted soil with mushrooms via mycoremediation, using fungi to degrade or absorb contaminants. Honorable Mention Packard City by Bastian Gerner and Pola Rebecca Koch is an open-ended series of templates for ways to repurpose the factory’s buildings. Honorable Mention Urban Paradox: Architectural Iteration to Paranoiac Tensions by Chun Shing Tsui develops a hub for Detroit’s newest, saddest industry: scrap metal recovery. In an effort to tempt car companies back to the city of Detroit, this design proposes an organ that aids the city in cannibalizing itself. Honorable Mention Packard [Model D]etroit by Dominic Walbridge, Michael Miller, and Yan Ding divides the site into light manufacturing and fabrication areas, office space, a museum, and leisure and retail space. Honorable Mention Hollow Ground: Reconceiving Packard as an Urban Archipelago by Samaa Elimam and James Leng begins by renovating the site’s most recognizable buildings and converting them with strong geometric shapes into education and cultural spaces. Honorable Mention Augmented Chassis by Jason Butz and Akshita Sivakumar augments the physical infrastructure of the factory with smart-phone enabled “augmented reality” applications that overlay historical imagery as well as potential future renovations into museum and exhibition spaces.
Posts tagged with "Competitions":
Work wrapped up this summer on Bittertang Farms’ installation at Ragdale, the nonprofit artists’ community in Chicago’s North Shore suburbs, and true to its plans the straw amphitheater springs forth from a lush hillside in Lake Forest, Illinois. Designers Michael Loverich and Antonio Torres of The Bittertang Farm won $15,000 earlier this year to erect the 102nd Ragdale Ring—an ongoing design competition for temporary outdoor theater spaces in north suburban Chicago. Based in Mexico City and New York City, the designers evoked the theater’s bucolic setting with straw-filled tubes of biodegradable material. Dubbed Buru Buru, Bittertang’s amphitheater creeps up from the soil with straw wattle tendrils. Wrapping around a framework of trusses, it forms a pentagonal opening whose womb-like quality is only enhanced by LEDs that illuminate the interior at night. Buru Buru’s organic elements are more than a formal nod to fuzzy ideas—the structure is actually meant to entwine with its natural habitat over time. In addition to sheltering actors and activating the rolling hills of Lake Forest, Buru Buru is also a substrate for growing grasses and mushrooms.
On Monday, dozens of designers, planners, and community organizers packed the amphitheater at the newly opened LEESER-designed BRIC House in Brooklyn's rapidly-growing BAM district. The attendees were there to hear the details of the latest Request For Proposals (RFP) from the Design Trust for Public Space, The Energetic City: Connectivity in the Public Realm. The Design Trust has launched pivotal projects before, like their Five Borough Farm that is helping to redefine urban agriculture in New York City. This time, the group is seeking new ideas for public space and, according to a statement, "develop new forms of connectivity among the diverse people, systems, and built, natural, and digital environments of New York City." At stake is the future of public space in New York, along with seed funding that could provide research fellows and eventually a publication of ideas from the winning proposals. Chin said at the launch event that the Design Trust takes the long view, and that winning proposals could move on to future phases with higher budgets and potentially much more lasting impacts. "Public space is all around us, yet for so many New Yorkers it remains invisible and unchangeable. The Design trust is committed to unlocking the potential of NYC's public spaces. With The Energetic City, we will continue to push for design innovation," Chin said in a statement. "We're open to revolutionary ideas that change ways that public space is conceived in many different areas, ranging from sustainable design, transportation, and communication to art, product design, and technology initiatives. We want to help ordinary and extraordinary citizens make a difference in their own communities and in the life of their city." Chin has asked interested parties to look closely at a particular public space in New York City and how ideas revolving around "connectivity" can help to create a more sustainable and equitable city. The Energetic City initiative is open to public agencies, community groups, and, this year, individuals—a first for the Design Trust. The deadline to participate in the RFP's first phase is June 30. Chin highly recommended that interested groups and individuals coordinate their proposals with Rosamond Fletcher, Director of Programs at the Design Trust, to make sure the RFP process goes smoothly. Read more info about the RFP and submit your proposals on the Design Trust website.
[Editor's Note: The following is a reader-submitted response to a backpage comment by Marshall Brown, “Kick the Architectural Competition Habit” (AN02_02.19.2014_Midwest). Opinions expressed in letters to the editor do not necessarily reflect the opinions or sentiments of the newspaper. AN welcomes reader letters, which could appear in our regional print editions. To share your opinion, please email firstname.lastname@example.org. ] Bravo. This “addiction” at the top of the field inspires exploitation of architects all the way down the line. While I was in graduate school, a professor “employed” a classmate to pull all-nighters on a competition entry, which had no relation to his coursework. He was told that if they won the competition, then he would be offered a job at the firm. Just how did this arrangement correlate with his supposedly progressive politics? As a firm principal, I have also encountered job applicants and employees, long out of school, whose skill set was incredibly narrow due to their fixation on competition entries, which only required graphic dexterity. They couldn’t make anything. Christopher Rawlins Rawlins Design Incorporated
It’s a battle of the starchitects in Mexico City—and the Brits are leading the pack. Out of the seven finalists short-listed to design an expansion for the capital city's airport, Benito Juarez International, four hail from the UK: Zaha Hadid, Norman Foster, Richard Rogers, and Pascall+Watson. They are joined in the final round by Teodoro González de León with Taller de Arquitectura X, SOM, and Gensler. All of these teams are being led by Mexican practices, and construction could begin later this year. The multi-billion dollar expansion should accommodate 40 million annual passengers at over 70 new gates. The airport's current cheese-grater-like facade in Terminal 2 was completed by Serrano Arquitectos in 2008. The envelope's many circular windows are used to maximize natural daylight within the terminal year round. [Via Architects' Journal]
The Institute for Rational Urban Mobility is hosting the just-announced vision42design Competition calling on architects, designers, and transportation gurus to re-imagine one of the most iconic (and congested) streets in New York City—42nd Street. Submit your plans today to transform the street into a world-class boulevard complete with a high-quality public spaces and a light-rail tram. In addition to the $10,000 winner's prize, the jury’s top selected projects will be featured in The Architect’s Newspaper. For more info and to register visit the competition website. Registration Deadline: Sept 8, 2014 (Midnight) EST
For the fourth year running, Robson Street in downtown Vancouver will play host to a public art project designed to enhance people's connection to one another and people's connection to the space. The brief for "Robson Redux "entails transforming a street that acts largely as a pedestrian thoroughfare into something more akin to a plaza or city square for the coming summer months. On today, April 15th, a jury will select one of the 79 entries to build and install in time for Canada Day (July 1st for those not in the know). Loose Affiliates' Picnurbia, 2011's winner VIVA Vancouver, a subsidiary of the City responsible for public art programming, is the host of the competition, which was inaugurated in 2011. Local design collective Loose Affiliates were responsible for that year's winning design; rolling orange turf-covered hills traversed by occasional flat walkways and umbrellas. Subsequent winners Pop-Ups and Pop Rocks and Corduroy Road were continued efforts to recast Robson as a site for gathering rather than circulation. 2012 Winner Pop-Ups and Pop Rocks While only a single design will be realized, two additional submissions will receive honorable mention while online voting will decide the recipient of the people's choice award. The winner will remain in place through the end of August. On April 3rd all of 2014's entries were displayed in a public exhibition at the Vancouver Art Gallery. Last year's winner, Corduroy Road
Socrates Sculpture Park and the Architectural League have selected Jason Austin and Aleksandr Mergold as the winners of their Folly 2014 competition. Commenced in earlier this year and launched in 2012, the contest's name and theme derive from the 18th and 19th century Romantic practice of architectural follies, or structures with little discernible function that are typically sited within a garden or landscape. Austin and Mergold's SuralArk was deemed the most deserving contemporary interpretation of the tradition, and will be erected within the park's Long Island City confines by early May. The winning submission takes equal parts inspiration from an upturned ship hull and a suburban home to arrive at its final form. Measuring 50 feet long and 16 feet tall, the design and its context are meant to speak to the increasingly ambiguous distinctions between city, suburban environments, and rural living. In a nod to its greater surroundings, the structure will be coated in the same vinyl sidings frequently found coating the walls of Queens residences. Such paneling will allow light to filter through the building's exterior, an effect that becomes more dramatic with night fall. The resonance of the ark form grows when one considers the East River's uninvited entry to and eventual submergence of the Park during 2012's Hurricane Sandy. A jury of Chris Doyle, Artist; John Hatfield, Socrates Sculpture Park; Enrique Norten, TEN Arquitectos; Lisa Switkin, James Corner Field Operations; and Ada Tolla, LOT-EK judged 171 entries from 17 countries before choosing the Austin and Mergold design. The pair currently work at a Philadelphia-based architecture and landscape firm that bears their name. They will be granted unfettered access to the Sculpture Park's studios and facilities throughout April in order to oversee the execution of SuralArk which should be open to the public on May 11th and remain on the grounds through August 3rd.
The Guggenheim will launch a competition in early June to design their new branch in Helsinki. Working alongside the Finnish Association of Architects, the Foundation is seeking proposals for a currently vacant site alongside the city’s South Harbor. The competition comes three years after the city expressed interest in a Guggenheim outpost. But, according to the Art Newspaper, despite the competition, a new branch is not certain. The paper reported, “The Guggenheim announced that a decision to go ahead with the project would be taken after the architectural competition is completed." The competition comes as the Guggenheim faces heated backlash for their planned museum in Abu Dhabi, which has a dismal record on workers’ rights.
Every year at about this time, Los Angeles' design community comes together for a good cause—and a chance to show off their ingenuity working with an unusual building material. We’re talking Canstruction LA, which just wrapped its eighth outing. Like other Canstruction events nationwide, Canstruction LA invites teams of architects, engineers, builders, and designers to design and build sculptures entirely out of canned food. The 2014 competition produced an array of impressive designs and—most importantly—donated 28,551 cans of food to the Los Angeles Regional Food Bank. Canstruction LA is put on by an all-volunteer steering committee under the auspices of the Society for Design Administration. Julie D. Taylor, Hon. AIA/LA, who serves on the committee, first read about the Canstruction program in a magazine. “[I] thought, this would be great for my clients to do,” said Taylor, who is the principal of Taylor & Company, a public relations firm for creative professionals. “I called up the national organization and said, ‘Who’s doing it in LA?’ They said, ‘No one. Why don’t you do it?’” So Taylor did, and the event keeps getting better. This year’s participants donated 7,000 more pounds of food than last year’s. Because the design teams are responsible for obtaining the cans, “it’s a major commitment for the firms that contribute,” said Taylor. Participants must also agree to a set of ground rules: they’re limited in size to a 10- by 10- by 8-foot cube; they have to use nutritious food, and the labels have to stay on. The designers can use a few additional materials to hold their creations together, but the sculptures should be mostly cans. The participating teams submitted drawings to the event organizers ahead of time. “Every year I look at them and I go, ‘There’s no way they’re going to be able to do that,” said Taylor. “And every year they knock me out.” Once on site, the designers have just one all-nighter to put their sculptures together. A jury of art, architecture, and culinary experts reviews the creations and awards several prizes, including the Juror’s Favorite, Best Use of Labels, Best Meal, and Structural Ingenuity. Visitors to the exhibition of finished works can vote for a People’s Choice honoree for one dollar, with all proceeds going to the Los Angeles Regional Food Bank. This year’s Juror’s Favorite was FOOD FIGHT! by PCL Construction Services, KPFF Consulting Engineers, and Callison, a face-off between a container of french fries and an apple that reflects on Angelenos’ struggle to access nutritious foods. Best Use of Labels went to Reflecting Hunger, by Steinberg Architects, which is based on Anish Kapoor’s Cloud Gate sculpture in Chicago. CANimal Style Trio, by American Society of Civil Engineers Younger Member Forum, which imagines a health-conscious update to the classic fast-food meal, took Best Meal. The spiraling Pineapple Twist, by NBBJ and Thornton Tomasetti won both Structural Ingenuity and People’s Choice. Honorable Mention went to CAN Get some Satisfaction, a Rolling Stones-inspired challenge to hunger by LARGE Architecture and HKS Inc. Canstruction LA 2014 took place for the second time at the Farmers and Merchants Bank in downtown Los Angeles as part of the Downtown Art Walk. “Being open during the Downtown Art Walk is incredible,” said Taylor. “The number of people who go through, and the diversity of people, is fabulous, and so that’s been a really big boon. We hope to be downtown for many, many years and engage the downtown community.”
[ Editor's Note: The following is a selection of reader-submitted comments from the online feature about AN's recent Reimagine the Astrodome competition. It appeared as a letter to the editor in a recent print edition, AN01_02.05.2014_SW. Opinions expressed in letters to the editor do not necessarily reflect the opinions or sentiments of the newspaper. AN welcomes reader letters, which could appear in our regional print editions. To share your opinion, please email email@example.com. ] Three of these are not serious, and the one with merit, the “sky dome” closely resembles a proposal I published over two years ago. Naturally we think that is a great concept, but the devil is in the details. We will continue to pursue our proposals, which are the result of over six years of research and collaboration. We will also continue to pursue the Orbital Experience, our original version of the “sky dome.” And we are fully date stamped so no one need think about challenging our intellectual property position on that. You guys are not connected to reality. Chris Alexander Astrodome Tomorrow Incredible article! First you assemble a team of, presumably, the brightest lights in the area as judges. Then you put out a call to the entire country for the highest and best visions for a re-imagined Astrodome—a call to artists, architects, engineers calculated to unleash the collective genius and spirit of Astrodome-followers everywhere. The stage was set perfectly for you to launch your new edition with a fabulous piece of journalism. Everyone was waiting. You had our attention. Harris County and the HCSCC set the lowest possible bar for you to meet or exceed with a plan that not even 150,000 people out of a population of 4 million wanted to support. Finally, after a month of agonizing over everything that came in, you did it. Congratulations on a job, well, done (note the punctuation). You managed to do something no one on the planet would have thought possible. You managed to make the County’s New Dome Experience look inspired and visionary. J. M. Arpad Lamell Lamell & Associates See the competition winners at: archpaper.com/news/articles.asp?id=6936
The winners of the AIA New York's biennial design competition have been been announced. The Emerging New York Architects (ENYA) committee selected from 120 proposals submitted as a part of QueensWay Connection: Elevating the Public Realm, which was intended to drum up ideas that would contribute to the proposed re-purposing of an elevated railway in Queens. Entrants were tasked with designing a vertical gateway for the elevated viaduct portion of the 3.5 mile–long track currently under consideration for the High Line treatment. A jury consisting of Claire Weisz of WXY Architecture + Urban Design, Matthew Johnson of Diller Scofidio + Renfro and project manager of the High Line, and Margaret Newman from the New York Department of Transportation among others convened on January 18th to anoint Carrie Wibert the winner and recipient of the $5000 ENYA prize. Nikolay Martynov's Queens Bilboard finished second, followed by Song Deng's Make It! Grow It! Jessica Shomekaer won the Student Prize while Queens local Hyontek Yoon received honorable mention for Upside Down Bridge. These proposals, along with others submitted to the competition will go on display July 17th in an exhibition at the Center for Architecture that will be supplemented by a series of discussion panels. The exhibit should come on the heels of the completion of the ongoing feasibility study undertaken by WXY and dlandstudio Landscape Architecture & Architecture. The project is not without its detractors, with some locals clamoring for the re-activation of the track for rail transportation as a means of alleviating congestion in the borough. Advocates of the Queensway question the feasibility of such a move and also claim that the park would link communities, improve quality of life, and enable safer bike and foot traffic.