Yesterday, Harvard University’s Graduate School of Design officially announced the winner of the first Wheelwright Prize, a $100,000 traveling fellowship aimed at cultivating new forms of architectural research through cultural exchange. The jury awarded the fellowship to Gia Wolff, a Harvard graduate and Brooklyn-based architect, for her original proposal Floating City: The Community-Based Architecture of Parade Floats. The young architect and professor, who currently leads her own practice, uniquely explored the cultural significance and design of the traditional parade float, which frequently transforms cities and brings people together during carnival festivals all throughout the world. The competition generated 231 submissions from 45 countries "The Wheelright Prize is about putting a voyage together in order to discover, and learn from, a particular architectural production somewhere distant in the world. Gia, whose work is all about imagination, has identified the parade float—in such cities as Rio de Janeiro, Nice, and Goa— as an ephemeral form of architecture both laden with cultural exuberance and remarkable for the communitarian organization it requires,” commented jury member Farès el-Dahdah in a statement. Applicants were asked to submit a portfolio of their work, a research proposal, as well as a detailed travel itinerary specifying exactly where, how, and what they intend to achieve with the $100,000 grant, which will fund 2 years of research. The competition stems from the Arthur Wheelwright Traveling Fellowship, established in 1935, exclusively open to Harvard graduates, and awarded to distinguished architects like I.M Pei and Elliot Noyes. In keeping with the school’s commitment to the sharing and exchanging of ideas between countries, cultures, themes, and issues, the Wheelwright Prize was opened to early-career architects practicing all over the world.
Posts tagged with "Harvard":
Asensio_mah & Harvard's Graduate School of Design's moss-covered installation is architecture on the cellular levelWhen visitors stroll through Quebec's Redford Gardens, the first of many large installations they come upon is Surface Deep, an undulating, moss-covered structure designed by international architecture firm asensio_mah in collaboration with students from Harvard's Graduate School of Design. It was built last summer, but with this year's Metis International Garden Festival, Surface Deep is once again getting major foot traffic in the most literal sense of the word. Surface Deep is a mountable, climbable series of snaking panels that invites visitors to explore it in its entirety, from its long, sweeping form to its small, mossy nooks. The panels vary in height depending on their angle, but have a constant width of 0.5m. The plywood frame and the patterned overlays were made at the Harvard Graduate School of Design's Fabrication Laboratory over a two-week period using CNC milling, robotic water jet cutting and welding. White celltech plastic trays were constructed to house the moss substrate, which were then fixed within the plywood frame and covered with panels. The parts were shipped to Quebec and assembled on site with steel anchor plates. Once the team had an idea of the overall gesture of the installation, they worked with a local biologist, Suzanna Campeau at Bryophyta Technologies, to determine which species of mosses were best suited to the microclimates created by the varying orientations and lean of the individual panels. Some panels, for example, receive full sunlight while others are in constant shade. According to the students, "the first 11 units were made with Niphotrichum canescens (a sun-loving species), unit 12 is planted with Callicladium haldanianum while the other units remaining (13 to 22) were made with a mixture of Callicladium haldanianum and other shade-loving, forest species such as Pleurozium schreberii and Ptilium crista-castrensis." Campeau grew the moss on a geotextile, a permeable fabric often used with soil for erosion control or slope stabilization. The "moss textile" was then installed on a plywood substrate and into the panel system where it's held in place by the webbed overlay. The team used the cellular structure of moss as their design inspiration for the web-like panel pattern, though they have practical applications as well. The panels help with water retention, keep the moss protected and actually provide it with some shade, albeit on the micro level. It requires watering, but the overall maintenance is quite low. And though Surface Deep is not considered permanent, the installation will be kept in the park for several years to come.
Kevin Greenberg sends us another insightful dispatch from Kenmare Street: Last Tuesday, the Storefront for Art and Architecture felt like a satellite campus of the GSD as Harvard students and other Cambridgians joined locals at the Storefront for a release party for the second issue of New Geographies, a doctoral student-edited periodical recently launched by the GSD’s Aga Khan Program. The editors of New Geographies, Neyran Turan and Stephan Ramos, told us that they had several meanings in mind when they chose the theme for the second issue. Titled “After Zero,” the issue centers on the slippery idea of a “zero point." The editors cite zero carbon and “zero context” urban developments (or “cities from scratch”) as contemporary examples that force designers to question design methodologies and justifications. Nothing makes for compelling architectural discourse like a nice, open-ended theme. The zero in question might be seen as a tabula rasa from which to proceed, but it’s also a means of marking a significant event. In the context of the current climate, zero is also a code word for crisis. How should architects and designers re-frame interventions after the global economic downturn, in an age when the glitzy mega-developments that grew like crystals in the Persian Gulf suddenly seem like relics of a recently bygone age? What kind of models for future urbanism can we realistically project? These are among the questions that interest the journal’s editors and contributors. You have to hand it to them, too: “After Zero” is a handsome, considered object. Design duties were handled by NYC-based Thumb, who also manage graphic design for Princeton Architectural Press’s 306090, and they do a great job presenting articles from a host of notables, including Keller Easterling, Joseph Grima and Peter Hall. While a few contributors chose to focus on the bizarre urbanism of the Persian Gulf, the “geographies” analyzed really range in their scope and locale from the arctic to Africa, from China to goode olde Europe. Matthew Gandy’s article on French landscape architect Gilles Clement’s “paradise of weeds,” for example, is an interesting interpretation of the issue’s theme and will seem timely to anyone who’s recently visited the High Line. Turan and Ramos were on hand Tuesday to briefly present the new volume, and Harvard professor Hashim Sarkis offered a few words both on the significance of some of the nascent issues that are the theme of “After Zero” and of New Geographies itself. Sarkis gave a little insight into yet another shade of meaning of the “zero” in the volume’s title: It’s a nod to the survival of the journal itself. The inaugural issue of New Geographies, released last year, was numbered zero. Since, as Sarkis noted, many student-run publications start with the first issue and end with the first issue, the release of “After Zero” is cause for celebration indeed. Afterwards the audience sipped prosecco and queued up to purchase copies of the journal, which quickly sold out.