The Harvard Graduate School of Design has announced the three potential awardees of the 2015 Wheelwright Prize, a travel-based architectural research grant valued at $100,000. Each year, one architect from approximately 200 applicants bags the prize. Established in 1935 at a time when foreign travel was limited to an elite few and then known as the Arthur C. Wheelwright Traveling Fellowship, the prize used to be awarded solely to GSD alumni. It has now become an international competition welcoming early-career architects (within 15 years of earning an architectural degree) from around the world to bring in new blood, fresh ideas, and cross-cultural exchange. The number of countries represented has grown from 46 the previous year to 51 this year, including Bosnia, Cuba, Egypt, Iran, Kazakhstan, Morocco, Poland, Sri Lanka, Ukraine, Zimbabwe and more. The seven-person jury of architects has selected three finalists to present their research proposals at the Harvard Graduate School of Design on April 16, with the winner to be announced at the end of the month. To inspire the next generation of Wheelwright prizewinners, the winner of the 2013 Wheelwright Prize, Gia Wolff, will present "Floating City: The Community-Based Architecture of Parade Floats," reporting on her research on over the past two years on carnival festivals. "The idea is not just about travel—the act of going and seeing the world—but it is about binding the idea of geography to themes and issues that hold great potential relevance to contemporary practice," said Harvard GSD Dean Mohsen Mostafavi in a statement. The three 2015 finalists are as follows: Erik L’Heureux, Assistant Professor at the National University of Singapore, presenting: “Hot and Wet: The Equatorial City and the Architectures of Atmosphere.” Malkit Shoshan, founder of think tank, FAST (Foundation for Achieving Seamless Territory) Amsterdam, presenting: “Architecture and Conflict: Pre-Cycling the Compound” Quynh Vantu, Award-winning Architect, London, presenting : “On Movement: The Threshold and its Shaping of Culture and Spatial Experience.”
Posts tagged with "Harvard":
Harvard University Graduate School of Design (GSD) has announced seven finalists for the $100,000 Wheelwright Grant which is awarded annually for travel-based architectural research. This prize was first given in 1935 to purely GSD grads until it was revamped in 2013 to be an open competition. The 2014 competition received nearly 200 submissions from 46 countries. The jury awarded special commendation to seven individuals for their exceptional design talent and imaginative research proposals. The winner will be announced on April 30th. Jose Ahedo Studio Ahedo Barcelona Wheelwright proposal: Domesticated Grounds: Design and Domesticity Within Animal Farming Systems. Jose Ahedo established his own firm, Studio Ahedo, in 2010. His first completed project is Blanca, a dairy complex in the Pyrenees, which includes 13 buildings comprising animal facilities, research labs, and an education center. Ana Dana Beros Think Space Zagreb, Croatia Wheelwright proposal: INTERMUNDIA: Re-Imagining Border-Scape in Mediterranean Countries. Ana Dana Beros is an independent architect, curator, editor, educator, and exhibition designer. Alison Crawshaw Alison Crawshaw Architecture London Wheelwright proposal: The Poison and the Cure: Rubbish in the Information Age. Alison wrote a thesis on illegal building practices in Rome during her time as a Rome Scholar. Masaaki Iwamoto Vo Trong Nghia Architects Ho Chi Minh City Wheelwright proposal: Tropical Skin: Study on New Building Envelope for Tropical Megacities. His work includes low-cost housing, a kindergarten, and workplaces, has been widely published. Jimenez Lai Bureau Spectacular Chicago Wheelwright proposal: Caricatures, Fictions and Hyperboles: A Revisit of the World of Wonders. Jimenez Lai is the principal of Bureau Spectacular and an assistant architecture professor at the University of Illinois at Chicago. Sean Lally Weathers Chicago Wheelwright proposal: Climate Design: The Architecture of Energies. Sean Lally is the founder of the firm Weathers and assistant architecture professor at the University of Illinois in Chicago. Kaz Yoneda Takram Design Engineering Tokyo Wheelwright proposal: Utopics of Cities: Amorphous Contemporaneity of Ideal. Kaz Yoneda is the founder of the Architecture and Space Design Unit at Takram Design Engineering
Harvard’s Holyoke Center, designed by renowned Catalan architect and former Dean on the Harvard Graduate School of Design, Josep Lluís Sert, will soon be undergoing major renovations, university President Drew Faust announced last Thursday. London-based Hopkins Architects, the designers of Princeton’s Frick Chemistry Laboratory and Yale’s Kroon Hall, have signed on to transform the 50-year-old, cast-in-place administrative building into multifaceted campus center by 2018. The 360,000-square-foot, H-shaped structure, completed in 1966, represents both the first high-rise building in the area as well as the beginning of Harvard’s adoption of Modern architecture. Behind its complex, Corbusian facade of concrete fins, colored bands, and seemingly randomly placed windows, Holyoke Center has housed the university’s health services, infirmary, and the majority of its administrative offices, as well as ground-floor retail. As part of Harvard's ongoing efforts to improve common spaces across its campus, the building will undergo extensive interior remodeling and exterior renovations in order to provide students, faculty, and staff with an expansive cultural and social center. Once complete, the rechristened Richard A. and Susan F. Smith Campus Center will contain a flexible indoor gathering space, lounges, and study areas, as well as exhibition, performance and event spaces. The building’s ground floor, renovated over a decade ago to enclose Sert’s original open-air arcade with glass walls, will remain open to the public with a variety of retail and food service outlets. “The Smith Campus Center will draw members of the University community together and serve as an important common space for everyone to enjoy and use,” said Harvard President Drew Faust last Thursday during the unveiling of the building’s new identity. “We are very pleased to be moving forward with planning, and we are eager to engage students, faculty, and staff in the important work of creating a flexible and welcoming campus hub.” Construction is scheduled to begin in 2016 following an extensive planning process that will include considerable student and community participation.
This year marks the 50th anniversary of the construction of the Carpenter Center for the Visual Arts. Completed in 1963, it is Le Corbusier’s only major building in the United States, and one of his final commissions before his death in 1965. The renowned modernist architect envisaged a "synthesis of the arts," the union of architecture with sculpture, painting, and other arts. In the spirit of Corbusier’s unique style, the building stands out among the more traditional architectural prototypes of the Harvard campus. This is evident right from his initial concept sketch of the building, where Corbusier utilized bold colors to denote the new building, while shading the surrounding Harvard campus in dark brown—a color not typically part of his visual palette. The Center is unmistakably Corbusier, and reminiscent of the Villa Savoye with its smooth concrete finish, thin columns which break up the interior spaces, and a great curvilinear ramp which runs through the heart of the building, encouraging public circulation while providing views into the design studios. This achieves visibility and transparency of the creative process taking place within. To mark the anniversary of the buildings completion, Harvard displayed new material that revealed the evolution of this unique five-story structure. While Le Corbusier was never able to see his preliminary sketches come to fruition, the Carpenter Center for the Arts successfully unites a range of art disciplines, and continues to maintain the largest 35mm film collection in the New England region, as well as housing Harvard’s historic film archives.
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.
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.