Today, onePULSE Foundation announced it will hold an open two-stage international competition to design the new National Pulse Memorial & Museum in Orlando, Florida. Architects from around the world are encouraged to submit their qualifications by 3 p.m. EST on April 30, 2019. In collaboration with Dovetail Design Strategists, one of the country’s leading independent selection firms, the Foundation will pick six studios and their proposed teams by late May to create concept designs for the overall project, which will sit on the site of the PULSE nightclub and nearby properties. The original building, in which 49 members of Orlando’s LGBTQ community were killed in an early morning shooting on June 12, 2016, will be incorporated into the new memorial masterplan. Per the competition website, the “focus of the memorial will be the victims, survivors, and first responders, not the tragic event.” For Stage II of the competition, entrants will be challenged to reimagine the sacred site with a sprawling landscape and comprehensive urban design that honors the lives that were lost, while simultaneously bringing hope and joy to visitors and the families of the victims. The site will feature a new, 30,000-square-foot, “architecturally iconic” museum that will educate and address issues of tolerance, diversity, and inclusion. Outdoor space for community gathering and performances will also be woven into the new construction. An integral part of the site’s extension will be the pedestrian pathway known as Survivors' Walk. It will trace the three-block journey many victims and survivors took to the nearby Orlando Regional Medical Center that fateful summer night. The Walk will additionally stretch further north to the Dr. Phillips Center for the Performing Arts, where the first community vigil was held for the tragedy three years ago. According to the Foundation, this link will further deepen the site’s connection to downtown. The six shortlisted firms will be selected by a jury of onePULSE Foundation leadership, local Orlando stakeholders, and architects Laurind H. Spear, co-founder of Arquitectonica and principal of Arquitectonica GEO, Sarah Whiting of WW Architecture, and Yolanda Daniels of studioSUMO. This September, the top concepts will be showcased at a public exhibition at the Orange County Regional Historic Center in Orlando, Florida. After a public commentary period and presentations to the jury, the winning team will be announced in late October. Each team will receive a $50,000 honorarium for meeting the Stage II requirements of the competition once the final design is chosen. The new National Pulse Memorial & Museum is slated to cost $45 million and expected to open in 2022. The memorial site will be free and open to the public year-round, seven-days-a-week, 24-hours-a-day. For more information on submitting, visit the onePULSE competition website.
Posts tagged with "Memorial Museum":
The new National Law Enforcement Museum isn’t easy to find, and that’s a good thing. Tucked beneath Washington, D.C.’s Judiciary Square, the 57,000-square-foot facility, which opened in mid-October, is only visible via two glass pavilions that mark its presence on the street. Driving, walking, or pedaling by, you’d never know that under the asphalt lies a structure that dives deep into the history of the policing profession in the United States. In a recent article, The Washington Post noted that the museum, designed by Davis Buckley Architects and Planners (DBA), “exhibits history with a light touch of controversy.” The architecture goes out of its way to minimize that controversy. An attention-grabbing, large-scale structure would have been a mistake given contemporary anger between local communities and law enforcement agencies. The museum goes underground in an apparent sign of humility, but also largely because of the federal building requirements already in place for that specific site. It’s located under a plaza in front of the historic District of Columbia Courthouse, a striking neoclassical building. The museum's pavilions rise 25-feet above the courthouse square, allowing the landmarked structure to retain clear sight lines of the adjacent National Law Enforcement Officers Memorial, which DBA completed in 1991. In an effort to respect this context and comply with public law, the museum was constructed below-grade, rendering it nearly invisible to the public. Despite this, the space is more rooted in light than shadow. The semi-submerged three-story building boasts ample natural light thanks to the aforementioned above-ground transparent boxes that serve as the entrance and exit. As the sole points of access to the outside world, these portals enliven what would have otherwise been a claustrophobic sunken space. The architects chose to make light a central feature of the design, which is helpful considering the sometimes somber nature of the museum’s content. DBA, a local firm, has plenty of experience with the difficult nature of designing commemorative architecture. Principals Davis Buckley and Tom Striegel have created award-winning designs all over D.C., most notably the National Japanese American Memorial. Their work is thorough and thoughtful, two major reasons why the non-profit organization in charge of the memorial plaza and garden, the National Law Enforcement Officers Memorial Fund, chose them again to build out the major exhibition space. The museum is the result of a near 20-year effort. In 2000, Congress passed a bill supporting the project that President Clinton signed it into law later that year. Though constructed on federal land and supported by the government, the $103 million museum was entirely funded through private donations raised by the Memorial Fund. Nearly a quarter of the money was raised through an annual police bike-riding fundraiser. This allowed the vision for the museum to be dictated solely by its supporters. Based on this timeline, the museum's creation was not intended to be a response to this current political moment, but it's hard to detach from the fact that it came online this year at the height of 21st-century racial tension and police brutality in the U.S. The exhibits, as well as, the building's design, don't explicitly confront these issues. Since the museum opened, it’s maintained a relatively low-profile for smart-but-obvious reasons. According to Rebecca Looney, lead director of exhibits and programs, it isn’t here to address current national politics but to give civilians a “walk in their shoes” experience of what it’s like to be in law enforcement. For all intents and purposes, the museum does just that. With an extensive collection of over 20,000 artifacts from historic moments in our nation’s history, such as the handcuffs used by police to arrest Robert F. Kennedy’s assassin to the bulletproof vest that Al Capone wore, anyone who is remotely interested in crime will be gripped. The curation even caters to pop culture enthusiasts with RoboCop’s full costume and clips of Brooklyn Nine-Nine. When a visitor steps into the facility, they get a sweeping view of almost the entire exhibition space simply from traversing the curved, second-floor walkway. With a sneak peek of what’s to come, people of all ages can zero in on the interactive exhibition they’d like to view first, whether it’s hearing about how cops train search-and-sniff dogs or taking a faux emergency call at a police dispatcher’s console. Many of these exhibits are laid out within a single, spacious room that makes other over-crowded local museums seem even more stifling. Several of the museum’s exhibits look at law enforcement through the lens of heroism, but none more respectfully than the small room known as the “Hall of Remembrance.” Photos of officers who have died this year in the line of duty are displayed in row after row on the room's back wall. It’s a startling view, given the wall is nearly full with well over 300 people. The headshots will rotate each year, according to Looney, and will play a special role in National Police Week every May when officers and their families visit for the first time. Other media exhibits show how law enforcement responded to and worked with communities after September 11, 2001, and the Emanuel 9 massacre, among other recent tragedies. One of the museum’s main offerings is a 20-minute introductory video that details the history of law enforcement and current issues officers face every day in police work. It’s set inside a striking, 111-seat theater with dramatic acoustics. According to Looney, weighty topics like police brutality and corruption within the profession won’t be explored in the museum’s main exhibits but will be part of educational programming and temporary shows when possible. Critics are already calling this a major flaw and a missed opportunity. The National Law Enforcement Museum's completion comes on the heels of the David Adjaye–designed Smithsonian National Museum of African American History and Culture (NMAAHC), which opened in September of 2016. The two museums are starkly different. While the NMAAHC gives much more space to the Black Lives Matter movement and the relationship between the African American community and the police, the law enforcement museum only dips briefly into those issues, touching on the 2014 shooting and subsequent riots in Ferguson, Missouri. Maybe this will change, maybe it won't. Regardless, the NMAAHC rightfully stands tall in all the glory that its 100-plus years of planning should produce. The Davis Buckley–designed museum for law enforcement—while hidden—is full of light, exuding a subtle poise, and perhaps providing a much-needed point of connection for the American people who are having trouble relating to or caring for law enforcement today. Only time will tell if it makes an impact on our cultural divide. At the very least, the museum will be a place of solace for friends and family who have lost loved ones in this profession, and for those who serve today. The National Law Enforcement Museum is located at 444 E St. NW in Washington, D.C. It’s open Sunday through Saturday from 10 a.m. to 6 p.m. and until 9 p.m. on Thursdays. Buy tickets here.
The concrete-wrapped National Veterans Memorial and Museum (NVMM) in Columbus, Ohio, is now complete and open to the public. Rather than a traditional museum focused solely on exhibitions, the NVMM was envisioned as a memorial to departed veterans, a place of education, and as a gathering place for civic and commemorative events. The NVMM, sited right on the banks of the Scioto River, integrates a contemplative OLIN-designed landscape with the Allied Works Architecture–designed two-story, 53,000-square-foot museum building. The round museum building features a distinctive cross-braced concrete facade over the main entrance—a motif repeated across the interior walls—which symbolically elevates a rooftop sanctuary plaza. The skyline of downtown Columbus looms over the sanctuary, but the plaza is meant to be for reflection, events, and ceremonies exclusively. The sanctuary, which resembles a sunken amphitheater ringed by greenspace, can be accessed from inside the museum, or by traveling up a sloping concrete ramp that wraps around the building. Inside, the museum’s exhibition spaces have been ringed around the perimeter of the building, affording plenty of natural light and views of the surrounding waterfront. Past the ground floor lobby, a great hall offers views of the city as well as a place for gatherings and other events. The NVMM’s programming, laid out by the creative agency Ralph Appelbaum Associates with the Veterans Advisory Committee, uses the museum’s circular structure to guide visitors through a storyline designed to connect them with veterans’ experiences. Films, sculptures, photos, and quotes from veterans are included throughout each phase of the story: leaving home, being in service, returning, and becoming a veteran. On the second floor, guests will find a remembrance gallery dedicated to veterans who have lost their lives and an entrance to the sanctuary plaza, connecting the building’s external structure to the internal features. Outside, OLIN has designed a walkable landscape around the museum, including a circular path leading to a similarly-round memorial grove at its core. The grove has been bounded by a stacked-stone wall and several waterfall fountains that feed an illuminated reflecting pool below. The design, development, and construction of the museum, as well as the push to have it designated as a national site, was led by the Columbus Downtown Development Corporation. The NVMM is the country’s first national veterans museum, and as the project grew in scope, it eventually grew to include narratives and artifacts from veterans across every branch of the military and every state.
Absence is not abstract. It is felt and perceived. Absence implicates all of us inasmuch as it confounds the very writing of our stories. To see absence is to have our limits revealed, not as if in a mirror, but in a manner that shows that we are entangled with distant tethers that keep our bodies, our histories, in check. Absence, when made visible, is not observed immediately. It takes time. The April 26 opening of the National Memorial for Peace and Justice and the Legacy Museum in Montgomery, Alabama, is perhaps one such catalyst for the effacement of the visitor with respect to the racial terror that led to the loss of thousands of lives through lynching. Lynching victims who were burned alive, hanged, shot—murdered—in and along the towns and byways of our nation from 1877 until 1950, are documented in this memorial initiated by the Equal Justice Initiative (EJI). Such violence continues today in the form of excessive imprisonment; by the murders of black women and men by the police; by the enforcement of state-sanctioned economic violence. By crafting spaces in which the subtractive is both a tool and a frame, the design of this memorial signals the recuperative agency of building as a means to affect the erasable and irascible conditions that established and purvey hatred, fear, and ignorance in this country. Here, looking away is not conscionable, as it moves against the habitus of memory, where our own individual pasts intersect with the Past. That the National Memorial for Peace and Justice and the Legacy Museum are realized in this, the 50th anniversary of the Memphis Sanitation Workers’ Strike and the Fair Housing Act of 1968, is indeed an extraordinary feat indebted to the efforts of many individuals that came before. However, I would be remiss in not reminding readers that in recent reportage, including The New York Times and Rolling Stone, there is scant mention of the architects. During the spectacle of the opening ceremony, EJI’s Executive Director, Bryan Stevenson, acknowledged builders, contractors, laborers, and “local” architects—but did not name the project architects, MASS Design Group. Only on the EJI website can we find mention that the Initiative had the “assistance” of MASS Design Group. It feels purposeful, and we are thus left to speculate. I am left wondering: Are architects supposed to fade away in the fashioning of a memorial? I can think of recent examples for which this is clearly not the case. What has been wrought in other locations, including Washington, D.C., Berlin, Johannesburg, New York City, and Birmingham, all speak through their authors. And, in varying degrees, formal aspects of each of these memorial spaces are present now in Montgomery. Memorials render ghosts. And Boston-based MASS Design’s work with the EJI on the design and building of this structure is no less haunted by the iniquities of American history. With distant views of limpid hills and a semiformal state capitol town center with its empty shops, deserted lots, 59 Confederate markers, and recent loft conversions, the Memorial for Peace and Justice is adjacent, without irony, to the storefront of the State of Alabama Office of Pardons and Paroles Day Reporting Center. From the street below, the memorial structure is partially indiscernible due to its horizontal profile cutting across the sightline, but it may also be read as an empty pedestal through and on which the lives of so many passed, passed away, disappeared. One climbs farther up the hill alongside a boundary wall upon which a series of chronological narratives is posted to convey the story of “Why here?” and “Why now?” The manifestations of slavery, of incipient racism that persist today, are described as a backdrop to an unfolding of both landscape and architecture as marked sites for unceasing brutality. We are soon confronted by a bronze sculpture of humans in chains by Kwame Akoto-Bamfo. The signs begin too high to be read easily and meet our eyes as we climb the hill. A sharp corner, and one rises again to the structure while unfortunately overlooking the conclusion of the memorial space one floor below. There is no fixed entrance, per se, except a momentary pause with a large fire extinguisher. Stepping onto a timber floor, one is immediately surrounded by a dense array of body-size steel casks hung from pipes that disappear into a paneled metal ceiling. One moves cautiously through a grid of “bleeding” Corten steel containers, each incised with the name of the county and names accompanied by dates, including those unknown, of the lynched. The floor gradually descends as the casks remain above our heads; their intact volumes remain whole. By moving downward, one returns into the ground. The horizon has been excised. Gravity is idle. A series of narratives printed on thin metal strips is hung in a similar manner to the initial chronologies, describing in the briefest of ways the events of individual lynchings. The blunt quotidian language, their facticity, arrests our movements. At the next corner, one is presented with two very large indictments. A cascade of water pushes across the adjacent wall, merging with, not obscuring, an extended text. The temperature changes. Two choices are apparent: Climb a ramp or stair into the center of the quadrangle or leave. The empty center, while perhaps disguised as a space of confrontation, is more like a cloister in which condemnation is subdued, internalized; here it is possible to see across through the casks while observing others. It is not a sanctum. Greeting one’s unceremonial departure from the memorial upon moving outside, another sliver of text is located across from the pipes and pumps of the interior waterfall. This is not as much a “door of no return,” as merely a way out. This non-exit merges with an unmarked landscape of horizontal metal casks, akin to those held inside the structure—a topology of loss. Despite being worrisome for those who might wish to touch one of the steel containers after a hot day, one walks between their seemingly geographic order(s) locating states and counties, and names. Farther on, a series of bronzes by Dana King, depicting Rosa Parks and her heroic companions leading the Montgomery Bus Boycott, intersects the path. A small circular garden of mushroom-like concrete stools is sited nearby and is unlike anything seen elsewhere, with no explanation as to its role. One moves across on pathways above, around, and below another bronze, this one by Hank Willis Thomas, spelling bodies of containment, of stability falling away. With the building of such thresholds for historical reckoning, the arc of our knowing also asserts unknowing; absence lingers. The National Memorial for Peace and Justice and the Legacy Museum attest to our own entanglements with reconciliation and truth. Memorials, like museums, are structures that attempt to keep us in their grasp as long as possible, allowing for the disclosure of our interior selves with multiple worlds. Such “new worlds” are partially uncovered at the intersection of reflection and remembrance, yet allow for and point to the rupture of what our passages have been and continue to be.
On April 26, the National Memorial for Peace and Justice, the first memorial in the U.S. dedicated to African American victims of lynching and continued discrimination, will open to the public in Montgomery, Alabama. The memorial, designed by Boston-based MASS Design Group, will open in tandem alongside The Legacy Museum: From Enslavement to Mass Incarceration, also located in Montgomery, which will chart the history of African American segregation from slavery to the present day. Both projects stem from the Equal Justice Initiative (EJI), a nonprofit group that works to right racial injustices, advocates for those in racially or economically segregated communities, and provides legal representation for the illegally arrested or abused. The memorial itself, located in the middle of six acres of hilltop in Montgomery, is a square-shaped, open-air pavilion dedicated to the more than 4,400 victims of lynching in America. Their names are inscribed across over 800 six-foot-tall, rectangular columns wrapped in Corten steel and hung from the ceiling of the memorial. Each of the columns represents a county where the lynchings listed took place, and replicas of each are located outside of the pavilion for their respective counties to come and claim; the columns left behind are meant to be a public reminder of which county has failed to engage with the memorial. Visitors just outside of the pavilion’s entrance will be confronted by a sculpture from Ghanian artist Kwame Akoto-Bamfo of a mother in chains, crying out while cradling a baby under her arm. A sculpture by Dana King dedicated to the women who kept the Montgomery Bus Boycott alive will also be located near the “town square” memorial. “Our nation’s history of racial injustice casts a shadow across the American landscape,” said EJI Director Bryan Stevenson. “This shadow cannot be lifted until we shine the light of truth on the destructive violence that shaped our nation, traumatized people of color, and compromised our commitment to the rule of law and to equal justice.” The Legacy Museum is only a 15-minute walk from the memorial, and the two-story, 11,000-square-foot brick building sits on a site that had historically been used to warehouse slaves. Inside, the museum will use videos, photography, and research materials to introduce visitors to first-hand accounts of the domestic slave trade. From there, sculptures from Titus Kaphar and Sanford Biggers, among other mixed-media works and photographs, will paint a portrait of life under enforced segregation in the Jim Crow South. Through a range of mediums including animation and paintings, the museum hopes to create a full timeline of racial segregation in America. According to the EJI, design and artistic partners for the museum also include Local Projects, Tim Lewis and TALA, Molly Crabapple, Orchid Création, Stink Studios, Human Pictures, HBO, and Google. The April 26 opening ceremony will be followed by several days of panels, presentations, and concerts at the museum.
The Allied Works Architecture-designed National Veterans Memorial & Museum (NVMM) is rapidly rising on the shore of the Scioto River in downtown Columbus, Ohio, and is on track to open in July 2018. Allied Works’s design for the two-story, 53,000-square-foot memorial museum, a circular building with a glass curtain wall ensconced in a spiraling concrete superstructure, is the result of a closed 2013 design competition that included David Chipperfield and Diller Scofidio + Renfro. The winning scheme includes a ramp that wraps around the edge of the building and up to a rooftop “sanctuary” plaza, while large concrete arches crisscrosses the museum’s exterior to symbolically elevate the sanctuary. The sanctuary will be exclusively for ceremonies, events, and reflection, and from renderings, it looks like the rooftop plaza will include amphitheater seating and look out into museum’s exhibition space. Inside, the museum’s programming will similarly follow the building’s curves, with exhibition galleries arranged in a ring. A double-height great hall will greet visitors at the entrance, while two floors of permanent exhibition space will be arranged in a central ring and provide access to the sanctuary from inside. “Thematic alcoves” will be scattered throughout the museum, each meant to evoke a specific emotion and relay the challenges faced by veterans. Landscape architect OLIN will be handling the surrounding greenery and have designed a memorial grove in the middle of a circular path near the museum. The grove will also contain a stone wall with a reflecting pool at the base. The museum’s development, design, and construction were led by the Columbus Downtown Development Corporation (CDDC). The group is also managing the exhibition curation, as well as raising approximately $80 million for the project. The NVMM, which claims to be the first national veterans museum, has set its sights on being part museum and part memorial, with veteran narratives being placed front and center. With only 1 percent of the population currently serving in the military, the museum's mission is to expose guests, who may not personally know a veteran, to the stories of servicemen and women, while also stimulating conversations around what it means to serve. While originally planned as the Ohio Veteran’s Museum, the scope was drastically expanded to include the stories of veterans from across the country, and from every branch and conflict. In November 2017, the House passed a bill officially designating the museum a national site, capping a years-long push by the NVMM for federal recognition.
With our office just two blocks up from Ground Zero, we are feeling the exhilaration and pride right up to our 5th floor windows. And when we saw NBC’s Matt Lauer at the corner Starbucks preparing for a ‘live from’ segment, we didn’t hesitate to buttonhole the guy and give him our latest timely issue—online today!—featuring a complete rundown on the Memorial Museum, along with some first views of the underground construction site that is taking shape as a museum as large as almost any in the city—with the potency of history.
It's been a couple of weeks since we stopped by the WTC site. The most striking aspect from the street remains the speed with which glass surfaces begin to rise. It seems like only yesterday that three stories of glass wrapped around Tower One. Now with ten stories completed, the quartz-like surfaces start to take shape. At the Memorial Museum, Snohetta's glass has flown up in what seems a matter of days. The facade already reflects the grove, whose trees continue their own march toward West Street.