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Laboratory for Vision Architecture (LAVA) and Australian design practice Aspect Studios have won an international competition to design the new Central Park for Ho Chi Minh City. Located on the site where southeast Asia’s first train station was located, the 16-hectare linear park will pay homage to its industrial heritage with walkways overlaid atop 19th-century railway tracks. In addition to historical references, the visionary public space will also integrate sustainable and futuristic “tree” structures engineered to provide shelter, harvest water and generate solar energy.

Located in District 1, the central urban district of Ho Chi Minh City, the proposed Central Park will replace and expand the existing September 23 Park. The new design will retain its predecessor’s lush appearance while adding greater functionality to include sculpture gardens, outdoor art galleries, water features, music and theater performance pavilions, a skate park, sport zones and playgrounds.

”The site has always been about transportation,” said Chris Bosse, director of LAVA. “It was the first train station in southeast Asia, it’s currently a bus terminal and in the near future it will be Vietnam’s first metro station. Our design references this history and future mobility. Known locally as ‘September 23 Park’, it also hosts the important annual spring festival.”

The designers plan to link the redesigned park to the new Ben Thanh Metro Station and memorialize the transport history with a dramatic twisting steel sculpture at one end of the park.

To improve the energy efficiency of Central Park, three types of eco-friendly structures will be installed, and each one will be created in the image of “artificial plants” and “trees.” The “water purification trees” will collect rainwater for reuse for irrigation, drinking fountains and fire hydrants. “Ventilation trees” will reduce the urban heat island effect and generate fresh air, and the “solar trees” feature angled solar panels to generate renewable energy used for powering the charging docks, information screens and the park’s Wi-Fi system. Construction on Central Park is slated to begin in 2020.

West 8
The Rotterdam, Netherlands–based firm will revitalize 11 miles of the city's shoreline.

Rotterdam, Netherlands–based urban design firm West 8 has been named the winner of the Middle Branch Waterfront Revitalization Competition, which called for submissions to restore the area's wetlands and connect the surrounding neighborhoods with recreational parks and trails. The firm's winning proposal will bring new life to an 11-mile stretch of Baltimore's Patapsco River shoreline, "recreat[ing] and redefin[ing] the blue green heart of Baltimore," according to a press release from the firm.

In the winning design, West 8 proposed reusing dredges from Baltimore's port to control the water and sediment flow along the waterfront's bay. With the expectation that this will create new marshlands overtime, the team also proposed an 11-mile ring of multiuse piers, boardwalks, and structures to create a more community-focused environment.

"A future phase of the design reimagines the iconic Hanover Street Bridge as a park which completes parkland ring and connects people from all walks of life to each other and to the Middle Branch," said West 8 design director Adriaan Geuze in the same release.

The three finalists for the competition, which included the New York-based firms James Corner Field Operations and Hargreaves Jones, were revealed in April. After the announcement, residents were invited to visit an exhibition where they could learn more about the shortlisted designs and add their own comments. A five person jury then ranked the teams on elements such as technical merit, feasibility of the ideas, ability to integrate community feedback, originality of design vision, and responsiveness to the competition's objectives.

San Jose Spotlight
Silicon Valley has no icon. For more than 50 years the area has had an international reputation as the world’s leading region for technology, business innovation and venture capital. In all that time, no monument has been built to symbolize its prestige.

But this week, a group of local philanthropists launched Urban Confluence Silicon Valley, a worldwide ideas competition to create a recognizable landmark just northwest of downtown San Jose — on Arena Green in Guadalupe River Park — one they hope will rival the Eiffel Tower in Paris or the Gateway Arch in St. Louis.

“We thought it was odd that an area as important as ours didn’t have a monument,” said Steve Borkenhagen, executive director of the San Jose Light Tower Corporation, a nonprofit group founded by Borkenhagen, Jon Ball and Thomas Wohlmut to manifest the missing icon.

He says the group has raised more than $1 million from hundreds of donors to finance the contest and the construction of the monument.

The nonprofit takes its name from San Jose’s first, and last, international symbol — a 237-foot light tower that could be seen from San Francisco — a 19th century technological wonder making it the first city west of the Rocky Mountains to light itself using electricity in 1881.

But the tower did not endure. It survived the 1906 earthquake that destroyed many of the surrounding structures. But strong winds toppled it in 1915, and more than a century later, nothing has emerged to replace it.

The original concept the nonprofit came up with was to create a 21st century version of the tower near its original location at the corner of Market and Santa Clara streets.

Although the light tower continues to be an inspiration for the project, Borkenhagen said the group opened up to a wider set of possibilities after that idea received a lukewarm reception from the public. Part of the excitement around the project will be examining new ideas the founders of the group never envisioned, he added.

“We’ve come a long way from our original notion of a light tower,” Borkenhagen said, noting that the competition takes its name from the confluence of the Guadalupe and Coyote Rivers.

It’s a good thing too, says Bob Staedler, a land use consultant who worked in San Jose’s redevelopment agency for 12 years.

“The starting premise was off putting,” Staedler said. “Trying to replicate the past to make it seem iconic is futile.”

Former newspaper publisher David Cohen, who also serves on the Urban Confluence Silicon Valley community task force, says he wasn’t excited about the original concept either.

“Back in the day, the light tower was monumental, but today if it were replicated it would only be a relic,” Cohen said.

Even with the change in direction, Staedler says he’s not confident the project will achieve its goal.

“I’m extremely skeptical on this,” he said. “But I don’t make it a habit to tell other people how to spend their time and money, so as long as it’s not draining the general fund, God bless them.”

Staedler said the city should focus on expanding its trails and maintaining its parks for the people who live here, rather than building a monument for tourists.

But Borkenhagen says the monument will be a source of civic pride, something that is sorely lacking, conspicuous by its absence in a place with an oversized ego in many other ways.

“Silicon Valley has great self-esteem in certain areas,” Borkenhagen said. “Intellectually and technologically, but we don’t have a place that causes people to have that feeling of awe that these great icons and landmarks do. That was our original motivation.”

That said, the nonprofit is not looking for an artist’s interpretation of the tech industry.

“We are in Silicon Valley, but we don’t want this to be an homage to the microchip or bro-culture or coding or any of that stuff,” the executive director said.

The group started soliciting entries for the contest on Tuesday and Borkenhagen says he expects hundreds, if not thousands, of applications. The deadline to submit is October 15. Next, up to 50 submissions will be selected by a community panel for a public exhibition in November. Those entries will go before a distinguished panel of artists, designers and place-makers, which will select t
MAD Architects
Beijing-based architectural firm MAD Architects has won a competition for Zhejiang’s Yiwu Grand Theater with a proposal that’s stunning, sculptural and site-specific. Inspired by the Chinese junks that once sailed on the city’s Dongyang River, the Yiwu Grand Theater mimics the form of a glass-walled boat floating on the river while its subtle curves echo the Jiangnan-style eaves found in the region’s ancient vernacular architecture. Its facade of layered glass sails will be semitransparent to reduce overall energy consumption through passive solar means.

As the world’s largest wholesale commodities market, Yiwu has built its reputation on commerce, not culture. In a bid to elevate its soft power, the city hosted an international competition to design the Yiwu Grand Theater, a hub of arts and culture to be located on the south bank of the Dongyang River. The building will include a 1,600-seat grand theater, a 1,200-seat medium theater and a 2,000-person-capacity international conference center. The project will also offer new and easily accessible public green space with an amphitheater and large open plaza that extends into the water on its southern edge.

“The ‘Yiwu Grand Theater’ has been designed as a monument for the city that will serve to connect inhabitants to the waterfront from a new perspective,” the architects explained. “In its completion, it will stand as a world-class venue that will attract visitors from around the globe, putting Yiwu on the map as a cultural destination. The transparency and lightness of the glass express the texture of thin, silky fabric, creating a dynamic rhythm that makes them appear as if they are blowing in the wind. They act as a protective canopy around the building, resonating with the river, elegantly floating above the water’s surface, setting a romantic atmosphere.”

In addition to giving the Yiwu Grand Theater a sense of lightness in spite of its size, the semi-transparent glass curtain wall also helps to reduce heating and cooling costs while letting in ample amounts of natural light. In winter, the glass creates a solar greenhouse effect but can be opened up in summer to promote natural ventilation. The Yiwu Grand Theater is expected to begin construction in 2020.

Matthew Millman
Carney Logan Burke Architects (CLB) has dropped an all-in-one performance venue, sculpture, and gathering space for the public in front of the Center for the Arts in Jackson Hole, Wyoming. The austere Town Enclosure, installed on June 27, 2018, was designed to have a minimalist footprint and will be repurposed for installation elsewhere (to be decided) by the end of October.

The airy enclosure was the winning entry in a 2018 competition to design a pavilion for the Jackson Hole Public Art and Center for the Arts’ 2018 Creative in Residence program. CLB was selected from a pool of local artists and architects. Rather than an enclosed space, as one might expect from the name, Town Enclosure was built as a porous circle.

Sustainably sourced timber panels were arranged four feet apart from each other and angled towards the center of the circular base to form the “walls” of Town Enclosure, with one side of each panel left raw and the other painted black. The openness of the pavilion is thus dictated by the viewer’s angle.

Approaching the structure parallelly, from the Center and the adjacent Snow King Mountain, makes it appear totally porous, but approaching from a perpendicular angle gives the impression of a solid, closed design. Although the pavilion is simple, the movement of the sun across the slabs creates dynamic shadows over the course of the day, and as the seasons change.

Even the base was intended to have a minimal impact. Instead of using concrete for the foundation, CLB opted to anchor the pavilion with reusable steel panels covered by gravel. Besides improving the installation’s portability and minimizing the impact to the site’s grounds, the base references local fencing and corrals from the surrounding mountains.

Town Enclosure is also first and foremost a performance venue for the Center’s residents, and talks, classes, dance and music performances, and visual art shows from the Center and community groups have all been staged there.
SB Architects
What does it take to be a finalist in the 2019 Radical Innovation competition? How about a 21st-century train with wilderness stops along its route through the American West, the world’s tallest modular hotel, and collapsible modular construction units that are adaptable to a variety of environments?

Those three concepts—Infinite Explorer by San Francisco-based SB Architects, the Volumetric High-Rise Modular Hotel by New York-based Danny Forster & Architecture, and Connectic by New York-based Cooper Carry—were recently announced as the three finalists in the 13th-annual Radical Innovation competition. The award challenges professional designers and hoteliers, along with students in a separate competition, to create compelling innovations in travel and hospitality design.

Infinite Explorer is intended to help travelers connect with remote destinations in the American West utilizing defunct passenger rail lines via one-of-a-kind hospitality experience: a train with cabins designed to open at a variety of stops with newly created outdoor infrastructure, allowing passengers to step from their cabin to enjoy the region’s incredible natural scenery along with adventure and wellness activities and dining.

The second finalist is already in the works: AC by Marriott (to be located at Sixth Avenue between 29th St. and 30th St. in Manhattan) will be the tallest modular hotel in the world when it opens in late 2020. Constructed using the Volumetric High-Rise Modular Hotel model by Danny Forster & Architecture, the $65 million build mixes the efficiency of modular design processes with inventive architectural design. A full 80 percent of the AC hotel’s square footage will be shipped from a factory in Poland—pre-constructed and already decorated with curtains, TV, and wall art.

Connectic by Cooper Carry is the year’s third innovator—a collective of modules that a flexible, adaptable, and reusable. Uses could include a pop-up hotel in a remote area, a temporary event space, and interstitial spaces between buildings or in forgotten pocket parks.

The trio of professional finalists was chosen from among nearly 50 entries from more than 20 countries by a jury of hospitality and design experts. They will compete in a live pitch presentation at the New Museum in New York City this fall, where the audience will vote to determine the grand-prize winner of $10,000; the runner-up will receive $5,000.

In addition, the jury selected a student submission winner: Rooftop Hotel Gardens by Ruslan Mannapov and Airat Zaididullin from Kazan State University of Architecture and Engineering (KSUAE) in Russia. They will receive $1,500 and be invited to join the professional finalists at the New Museum event this fall.

Since its founding, Radical Innovation has awarded more than $150,000 to progressive architectural/hospitality innovators.
White Arkitekter
Scandinavian firm White Arkitekter has won an architectural competition for a landmark 12-meter-tall observation tower, hosted by the municipality of Varberg, Sweden. The winning proposal will form part of the development of the region’s new ecological recreation area at the Getterön nature reserve.

The brief called for an iconic structure with a viewing platform that would generate a stimulating and experiential environment. The White scheme is constructed entirely of wood, with 140 wooden ribs forming a three-dimensional woven structure. The design process was led by the hyperboloid construction principle, consisting of a lattice of straight beams which creates the illusion of a curve.

The clear, hourglass form is visible from the city’s northern areas, including nearby transport nodes. Located on a flat landscape where land meets the sea, the tower will be free to access and offer uninterrupted views of the surrounding landscape.

We are of course very pleased that Varberg recognized that our proposal has all the qualities needed to be the future symbol of the Getterön nature reserve. Given the ecological challenges that our society is facing, we are particularly proud to contribute to the development of a sustainable place as well as with a construction that puts people in direct contact with nature in an inspiring way.
-Ulla Antonsson & Mattias Lind, White Arkitekter

Construction of the scheme is expected to begin in 2021.
On May 29, 2019, the City of Edmonton announced the winners of its Missing Middle Infill Design Competition. Launched earlier this year, the design-build competition turned its gaze to medium-density (or ‘missing middle’) housing and how to make it both economically feasible and well designed to work in Edmonton. Increasing the city’s housing choices, particularly how to integrate more housing in the ‘missing middle’ range, is an important part of the City Plan — Edmonton’s future growth strategy for a city headed towards a metropolitan area of two million people.

Endorsed by The Alberta Association of Architects, the 2019 competition drew proposals from teams of architects and builders/developers from across Canada and abroad. Their task: design a ‘missing middle’ housing development on five City-owned parcels of land at the northeast corner of 112 Avenue and 106 Street in the Spruce Avenue neighbourhood. Their prize: the opportunity to purchase the site and build their winning design, subject to rezoning approval.

The Missing Middle Infill Design winners are:

1st Place

The Goodweather
Part & Parcel, Studio North, and Gravity Architecture

Jury Commentary: This scheme provides a contextually responsive design which may be translated into a tangible community asset due to its high degree of construction viability and replicable design elements.

The first place team is currently in negotiations with the City to purchase the five parcels of land and build their winning design, conditional on rezoning approval.

2nd Place

Leckie Studio Architecture + Design Inc.

Jury Commentary: This submission provides a twist on classic urbanism through its marriage of high quality and durable materials and simple, elegant shape.

3rd Place

RedBrick Group of Companies and SPECTACLE

Jury Commentary: This scheme represents an innovative approach to site layout by distributing densities and amenity spaces through a unique “checkerboard” development pattern and basic massing, which supports affordability and sustainability.
OMA new york + KOO
OMA has held off competition from two other high profile firms — morphosis and johnston marklee — to design a new arts center for the university of illinois at chicago (UIC). earlier this year, the institution initiated a contest that called for ‘an architecturally significant center for the arts that serves as a gateway and bridge between UIC and the world, and as a destination for innovative arts and cultural production.’

as the only public research university in chicago, the university of illinois at chicago (UIC) provides a rare combination of research excellence and public access to higher education. UIC’s school of theatre & music (STM) will be the primary occupant of the proposed center. every year, the school presents four main stage theater productions and more than 50 concerts, all of which are open to the public. in developing their proposals, OMA, morphosis, and johnston marklee each partnered with a chicago-based architect — KOO, STL architects, and urbanworks architecture respectively.

as a public, urban hub for performance and gathering, and a home for the school of theatre and music, the project required an 88,000-square-foot building with a 500-seat vineyard-style concert hall and a 270-seat flexible mainstage theater, as well as instrumental and choral rehearsal halls and theater production shops. supporting facilities, a donor lounge, a small café/jazz club and exhibition space will also be included.

OMA/KOO’s winning concept design proposes two towers: a student tower that faces the campus and opens to a performance park along the peoria street bridge, and a public tower that looks to the cityscape and opens to a phase one screening plaza along halsted street. large ramps flow from the street to an ‘accessible topography of performances’ on the second level, connecting the outdoor and indoor performances spaces, including the concert hall between the towers, and the phase two mainstage theatre on halsted street. production spaces line harrison street on the ground floor.

the scheme is topped with a translucent, tent-like roof with embedded photovoltaics that stretches from and between the towers, covering the concert hall and the mainstage theatre. the colors of the performance space volumes would shine through the translucent areas. ‘we are honored to be awarded this project that will serve as a new cultural anchor for the students of UIC and the city of chicago,’ says OMA partner shohei shigematsu. ‘our design focuses on fostering dialogue between performance and the public — the new building will be a connector between the city and UIC’s urban campus.’

Henning Larsen Architects
Danish architectural firm Henning Larsen Architects has won an international competition for the design of the Shenzhen Bay Headquarters City, a new district in the southern Chinese city spanning 5.5 million square meters. Working alongside two other local firms, Henning Larsen’s green and sustainable master plan will help cement Shenzhen — often likened to China’s Silicon Valley — as the innovation center of the country.

A critical part of the Shenzhen Bay Headquarters City is reconnecting the business district with the waterfront and emphasizing the pedestrian urban realm — something that Chinese planning authorities have long overlooked in favor of vehicular traffic. In Henning Larsen’s approach, cars will be relegated to an underground network of roads and highways so that commuter cars will rarely be seen aboveground in public areas. Moreover, the master plan’s central organizing axis will consist of a linear waterway that visually and physically connects the district to two larger bodies of water.

“Our design aims to make Shenzhen the waterfront city it should always have been,” said Claude Godefroy, partner and design director of Henning Larsen’s Hong Kong Office. “To create an attractive waterfront, we brought commercial and cultural facilities meters away from the seashore, so citizens will finally be able to enjoy the atmosphere of Shenzhen Bay in an activated urban environment, like in Sydney, Singapore or Copenhagen.”

AI SpaceFactory
AI SpaceFactory has been awarded first place in the NASA Centennial Challenge. The multi-planetary architectural and technology design agency’s Mars habitat MARSHA was awarded the overall winner in the long-running competition series, which saw 60 challengers in total. The MARSHA habitat offers a glimpse into what the future of human life could look like on Mars, with a 15-feet-tall prototype 3D printed during the final phase of the competition, including three robotically-placed windows.

MARSHA was praised for its smart use of materiality, constructed from a biodegradable and recyclable basalt composite derived from natural materials found on Mars. After withstanding NASA’s pressure, smoke, and impact resting, the material was found to be stronger and more durable than its concrete competitors.

Built from a novel mixture of basalt fiber extracted from Marian rock and renewable plant-based bioplastic, MARSHA’s vertical shape, and human-centric design marks a radical departure from previous Martian designs. AI SpaceFactory describes MARSHA as a first-principles rethinking of what a Martian habitat could be — not another low-lying dome or confined half-buried structure, but an airy, multi-level environment filled with diffuse light. This innovation challenges the conventional image of “space age” architecture by focusing on the creation of highly habitable spaces tuned to the demands of a Mars mission.

Virginia Polytechnic Institute and State University
Virginia students have won the 2019 Solar Decathlon Design Challenge with their treeHAUS highly sustainable solar+storage+trees+food waste+sound and so much more design, focused on expanding their local campus’ student housing resources.

If we’re going to build for the future, it is the students learning today that will build it, and this year students decided to design their own future homes. Most interestingly, we get to see a vision from all groups that showed solar power is only a small part of the much broader design considerations that must be made.

The 2019 Solar Decathlon announced its ten Design Challenge winners, and the overall winner – Virginia Polytechnic Institution and State University (VT and VPI) – had only a few slides out (below) of 100 in its presentation (.pdf) focused on solar power.

The treeHAUS is a pre-fabricated home built to help the VT and VPI campus grow, while also integrating itself into – and minimizing its effect on – the local environment. The 12 unit / 30 bedroom site includes a 50 kWdc solar power system on the roofs, with which the group projects it will generate 60 MWh/yr of electricity – a 16.4% capacity factor.

Approximately 15% of the energy needs are projected to come from the solar power installation. The site also projects electricity and heat from collected food waste (below). The structure is outfitted with heat pumps and hardware that can run on either electricity or gas directly.

The site is dependent on getting roughly 2/3 of food waste from the main campus nearby.

The systems is designed to focus on making student life more efficient. For instance, there was significant acoustic analysis done. Those of us who lived in dorms can all attest to the various sounds – music, arguments, and so much more – that come from our nearby mates. The system also integrates block chain and machine learning to track individual energy usage, and fine tune the living system to the user’s actions.
Today, the U.S. Environmental Protection Agency (EPA) announced the winners of its seventh annual Campus RainWorks Challenge, a national competition that engages college students in the design of on-campus green infrastructure solutions to address stormwater pollution.

“EPA’s Campus RainWorks Challenge encourages students to transform classroom knowledge into innovative ideas to solve real-world environmental problems,” said EPA Administrator Andrew Wheeler. “I congratulate this year’s winners, and it is encouraging to see how contestants worked closely with their local communities to develop ways to protect water resources from harmful stormwater pollution.”

Stormwater runoff is a significant source of water pollution in America. Managing runoff remains a complex environmental challenge for local communities across the country. EPA’s Campus RainWorks Challenge asks students and faculty members at colleges and universities across the country to apply green infrastructure design principles, foster interdisciplinary collaboration, and increase the use of green infrastructure on the nation’s college campuses.

Through this year’s Challenge, EPA invited student teams to compete in two design categories: the Master Plan category, which examines how green infrastructure can be broadly integrated across campus, and the Demonstration Project category, which focuses on how green infrastructure can address stormwater pollution at a specific site on campus. With the help of a faculty advisor, teams of students focused their expertise, creativity, and energy on the challenges of stormwater management and showcased the environmental, economic, and social benefits of green infrastructure.

The Challenge winners are:

University of Oregon (1st Place Demonstration Project Category) – The team’s project, titled “Good Drainage Good Vibes,” redesigned a local high school campus to incorporate a variety of green infrastructure practices. Extensive stakeholder engagement within the community led to a practicable design capable of not only managing stormwater runoff onsite, but also providing hands-on education for students and connecting the local community their watershed. Watch the team’s video about their project: https://youtu.be/3QkKMIUBRhs

"The challenge was meaningful for our College of Design students because it created a chance to collaborate on tackling an urgent environmental design problem while working with local high school students on connecting the community with their watershed,” said University of Oregon College of Design Dean Christoph Lindner.

University of Louisiana at Lafayette (1st Place Master Plan Category) – Titled “The Ripple Effect,” this project’s ambition reached beyond the borders of its own campus. Located in low-lying Southern Louisiana, the community of Lafayette often experiences extreme weather events that cause flooding and threaten infrastructure. With the support of the university’s Department of Sustainability, the team redesigned their campus to incorporate realistic, replicable green infrastructure practices that engage with the broader community to cultivate regional resiliency. Watch the team’s video about their project: https://www.youtube.com/watch?v=c6qMrIi7sLc

"The Ripple Effect is designed to improve infrastructure at UL Lafayette, and to provide a framework for using campus as a ‘living lab’ for researching and developing green infrastructure strategies that will benefit the entire community and region,” said Gretchen LaCombe Vanicor, director the Office of Sustainability at the University of Louisiana at Lafayette.

University of Arizona (2nd Place Demonstration Project Category) – Their project titled “(Re)Searching for a Spot,” this team proposed to transform a parking lot to manage stormwater runoff onsite, reduce local flooding during Arizona’s monsoon season, and create a multi-functional space that yields educational and ecological benefits. The design’s proximity to relevant research departments on-campus inspired the students to incorporate monitoring installations into the design to provide quantitative information on the environmental benefits of green infrastructure practices. Watch the team’s video about their project: https://youtu.be/UUxH6zG51kY

“We are so thankful to the EPA for providing this opportunity t
Pablo Enriquez
Few occupations require as rigorous a set of academic courses and professional exams while promising so little by way of remuneration as architecture. And, for early-career architects, salaries can be precarious—and in some cases nonexistent—while emerging designers chase dream commissions, and prioritize prestige over pay when taking jobs.

Recent questions about the internship practices of this year’s Serpentine Gallery pavilion winner, Junya Ishigami, have again brought the topic of competition compensation to the fore. Shortly after the February announcement of Ishigami’s selection, designer Adam Nathaniel Furman circulated an image purporting to be a screenshot of an e-mail soliciting unpaid work at the firm. Although Ishigami’s office could not be reached for comment, the Serpentine Gallery later issued a statement requiring Ishigami to pay all those working on his commission for the annual summer pavilion. (The same issue arose in 2013 when fellow Japanese architect Sou Fujimoto won the Serpentine commission.)

In the United States, unpaid work is illegal. Federal law prohibits employment without a minimum wage, which varies from state to state, but student internships offer a loophole, allowing non-employee interns to receive on-the-job training or school credit in lieu of payment.

The AIA’s official stance on internship payment is as hard to pin down as its exact definition of an intern. “If you, as an AIA member, want to run for office or want to submit a project or your firm for an honor or award, you have to state that you do not employ, or have not employed, working students or unpaid interns,” said AIA deputy general counsel Terence F. Canela in a video for the organization. Beyond that, the AIA’s Code of Ethics requires its members to follow federal laws, which are murky on the subject at best.

Design competitions also remain a complex realm within the profession. Many offer more in the way of prestige and recognition than they do in prize money. Some open competitions are criticized for soliciting thousands of hours of design work with pay reserved for a small group of finalists. Other invited competitions offer build budgets and travel stipends, but leave employee overhead to be covered by the firms.

There’s no doubt in the mind of 2017 Young Architects Program (YAP) winner Jenny Sabin that designing Lumen for MoMA PS1’s annual summer pavilion is one of the biggest highlights of her career. According to the museum’s press office, the year Sabin won, the YAP began offering finalists $5,000 to develop their designs and produce an exhibition model; the ultimate winner receives an additional $15,000 toward design development, and $100,000 for build-out. But even with those designated funds, Sabin says that “part of the creative maneuvering of producing the design is finding ways to bolster the budget in support of the project.” YAP winners are not allowed to fund-raise, but “there are ways of thinking creatively around the budget,” Sabin tells record. “You have to organize a team of professionals, such as structural engineers and contractors, and because of the size of their companies, many of those people are able to do pro bono work.”

A relative newcomer on the American competition circuit originated with Exhibit Columbus, the annual program in Columbus, Indiana, celebrating art, architecture, and community. Named for the philanthropists who helped shape the city’s notable architectural legacy (in 30 square miles, one can find works by Eliel and Eero Saarinen, Cesar Pelli, Kevin Roche, I.M. Pei, and others) and meant to encourage the next generation of architectural creativity, the J. Irwin and Xenia S. Miller Prize offers $70,000 build budgets to each of five winners. But Richard McCoy, who is director of Landmark Columbus, the organization behind the Exhibit Columbus program, admits that organizers have never verified a firm’s accounting for Miller Prize–winning projects. “We offer to help the winners find local fabricators and people to build or work with them, and we’ve had a tremendous amount of in-kind donations to all of the installations,” McCoy tells record. “But I also recognize that some studios don’t view this as a profitable enterprise,” he adds. “They all do it for the love of the art, and because it’s a chance to experiment in an interesting context.”

While, generally,
Foster + Partners
Norman Foster has jumped into the international competition to design a replacement spire for Paris’s Notre Dame Cathedral, proposing a glass-and-steel topper to replace the cathedral’s ruined roof.

According to an interview in English publication The Times, Foster presented his vision for a new “light and airy” roof for the fire-ravaged cathedral. The previous attic space dated back to the 12th century and was nicknamed “The Forest,” as it contained a tangle of 1,300 timber frames, each coming from a unique oak tree—the sheer amount of wood likely fed the fire that ravaged it last week.

Foster’s updated vision for the cathedral calls for installing a glass topper, arched to mimic the original wooden roof, ribbed with lightweight steel supports. The new spire would be made of glass and steel and could potentially include an observation deck at its base.

“In every case, the replacement used the most advanced building technology of the age,” Foster told The Guardian. “It never replicated the original. In Chartres, the 12th-century timbers were replaced in the 19th century by a new structure of cast iron and copper. The decision to hold a competition for the rebuilding of Notre Dame is to be applauded because it is an acknowledgment of that tradition of new interventions.”

The modernization scheme drew an immediate reaction online, where social media users compared the revamped cathedral to a Foster-designed Apple store or the glass Reichstag dome in Berlin. Additionally, several people pointed out that the plan to flood the interior with light would be hamstrung by the stone vaulted ceiling below the attic space and would blow out any light coming in from the historic stained-glass windows.

Of course, Foster isn’t the only architect to propose a radical overhaul of the 19th -century spire. Belgian artist Wim Delvoye, known for his neo-Gothic, laser-cut steel sculptures, announced last week that he would be entering the design competition as well.

Since the international competition was announced, plenty of people have gotten creative in envisioning “adaptive reuse” projects that give the historic cathedral a bland, modernist overhaul without regard for its surroundings. Even though these have been done in jest, some of them have come quite close to what Foster has proposed.

Ennead Architects
Ennead Architects and Andropogon Landscape Architects have won an international competition for the Shanghai Yangtze River Estuary Chinese Sturgeon Nature Preserve. The proposed design takes the shape of an undulating sculpture mimicking the curves of Asia’s longest river while referencing “biomorphic anatomy.” The building will be clad in translucent PTFE panels and engineered with sustainable, energy-efficient technologies such as geothermal heating and cooling loops.

The purpose of the Shanghai Yangtze River Estuary Chinese Sturgeon Nature Preserve is to rescue critically endangered species and to restore the natural ecology of Yangtze River, which has been plagued by pollution and construction. The project also aims to engage the public and raise environmental awareness with immersive exhibit experiences. To achieve these goals, the 427,000-square-foot nature reserve building, which will sit on a 17.5-hectare site on an island at the mouth of the Yangtze River, will consist of a dual-function aquarium and research facility, bringing together efforts to repopulate the endangered Chinese Sturgeon and Finless Porpoise.

Ennead Architects and Andropogon Landscape Architects proposed a dramatic design for the building that takes cues from nature. Split into three wings united around a central spine, the structure will be built with a cross-laminated timber structural system wrapped in a lightweight PTFE skin, which will fill the interior with daylight.

Inside, constructed wetlands landscaped with local flora and aquatic plants provide a beautiful connection with the outdoors, sequester carbon and serve as a biofiltration system for aquarium water, “resulting in a new paradigm of environmental equilibrium,” the designers said in their press release.

The landscape design in and around the buildings mimics the natural shoreline ecosystems found throughout the Yangtze River basin and provides opportunities for breeding and raising Chinese Sturgeons and Finless Porpoises. Visitors will be able to view these pools from suspended walkways that weave throughout the campus grounds.

BOMA Canada
The Building Owners and Managers Association of Canada (BOMA Canada) is excited to announce year 2 of the Net Zero Challenge, supported by Natural Resources Canada and sponsored by Bullfrog Power. The Net Zero Challenge continues to recognize buildings that have achieved outstanding energy performance, have drastically improved their performance, or have demonstrated leadership through the implementation of replicable and innovative strategies that support efficiency and clean energy production.

As existing buildings and the businesses within them currently use 40% of global energy, net zero buildings are one of the key solutions to a carbon neutral world. BOMA Canada is excited to build on last year’s success and continue to recognize and celebrate forward thinking individuals, organizations and buildings that are investing in initiatives that lead to exceptional energy and/or carbon performance, as well as those that can be wholly supplied by renewable energy.

“As we move towards a zero carbon economy,” says Benjamin Shinewald, President and CEO of BOMA Canada, “we continue to see new technology, innovative ideas and simple hard work driving our entire industry forward. The Net Zero Challenge is a key element in reaching something that we can only imagine today, but that will be increasingly within reach tomorrow: a world where net zero buildings are commonplace.”

BOMA Canada already offers the BOMA BEST program, Canada’s largest environmental assessment and certification program for existing buildings, with nearly 3,000 buildings certified. BOMA BEST supports building owners in the sustainable operations of their assets, while the Net Zero Challenge is an evolution of the organization’s environmental commitment.

“Energy efficiency provides benefits for our buildings, homes, neighbourhoods, environment, and wallets,” says the Honourable Amarjeet Sohi, Canada’s Minister of Natural Resources. “Our government is supporting initiatives like BOMA Canada’s Net Zero Challenge to build a cleaner future for our kids, create jobs for Canadians and support our climate change goals.”

“Net zero energy buildings are the future of the industry and the future is right now,” says John Smiciklas, BOMA Canada’s Director, Energy and Environment. “The uptake of the Net Zero Challenge tells us we are headed in right direction.”

“We are excited to see continued innovation in renewable, efficient energy programs for buildings all across Canada,” says Sean Drygas, President, Bullfrog Power. “For this reason, Bullfrog Power is proud to support BOMA Canada’s Net Zero Challenge.”

The deadline for new entries in BOMA Canada’s 2019 Net Zero Challenge is July 15, 2019 in all three award categories: Best in Class, Most Improved and Innovation. Winners will be announced on September 11, 2019 at the BOMA Canada National Awards Gala held during BOMEX 2019 in St. John’s, Newfoundland and Labrador, September 9-11, 2019.
Hank Willis Thomas with MASS Design Droup
in december 2017, boston announced that it was seeking a designer for a new outdoor memorial dedicated to martin luther king, jr and his wife coretta scott king. five teams — comprising names such as david adjaye and yinka shonibare — submitted competing proposals for the project, which sought to commemorate the legacy of the two civil rights activists. it has now been announced that a team led by artist hank willis thomas and architecture firm MASS design group has been selected to complete the project. inspired by images of the kings locked in a powerful embrace and walking arm in arm at the frontlines of a protest or march, the sculpture depicts clasped arms.

to be built on boston common, the memorial is being coordinated by king boston — a privately funded non-profit organization. the team is is working toward a goal of completing and unveiling the memorial in 2020. read more about each of the schemes below, starting with the winning proposal.

‘the embrace’

‘the embrace’ has been conceived by hank willis thomas with MASS design group as a simple and accessible monument that reminds passersby of our ‘shared human connection’. the memorial will envelop participants, allowing them to be simultaneously vulnerable and protected. the memorial will solidify the ideals of inclusion that the kings defended in their united life of activism. ‘we seek to call people into the act of empathy, an idea coretta scott captured when she spoke about the power and accessibility of unconditional love, which when embraced, impels people to go into their community, take risks, and change others’ lives for the better,’ says the design team.

‘avenue of peace’

designed by yinka shonibare and stephen stimson associates, ‘avenue of peace’ is a memorial walkway, sculpture, and water feature that honors and celebrates the lives and values of dr. martin luther and coretta scott king. the interactive memorial engages the public with the story of their lives and mission, through a series of 22 inscribed benches and an app that visitors can download. ‘this memorial is not a singular sculpture, but rather a site for public contemplation and understanding,’ says the design team.

‘boston’s king memorial’

this design — proposed by adam pendleton, adjaye associates, futurepace, and david reinfurt — is woven into boston’s existing urban environment. from the summit of the memorial, visitors can view america’s oldest city park and new mountainous sculptures below, which together compose a radical amphitheater. the open structure bridges over the common’s walking path, and is accompanied by a gentle ramp which leads visitors from the upper street-level down to the lower-level of the existing walking path.

Philip Kamrass/New York Power Authority
On the heels of former New York City Mayor Michael Bloomberg’s announcement on Tuesday that he would devote his efforts and resources to shuttering every remaining coal plant in the U.S. by 2030, New York State revealed on Wednesday its “Buildings of Excellence” initiative to advance the design, construction, and operation of low- or zero-carbon emitting buildings on the way to a fossil fuel-free future.

The competition, which will include three rounds over the course of three years, each providing up to $10 million for projects featuring innovative, energy efficiency solutions, is part of Governor Andrew Cuomo's goal to transform New York's entire building stock as part of his Green New Deal, and will be administered by the New York State Energy Research and Development Authority (NYSERDA). The first round is focused on multi-family buildings, which make up 40 percent of the 100 million square feet of new construction in the state each year. Applications are being accepted through June 4, 2019. Awards to eligible developers are expected by late summer 2019.

Eligible projects that will be awarded must be in one of the following four phases:
  • Early Design - Projects in the schematic design or design development phase; eligible for an award of up to $1,000,000.
  • Late Design - Design development is complete, and the construction documents are being developed, but the building permit has not yet been issued; eligible for an award of up to $750,000.
  • Under Construction - If the building permit has been issued, but the first Certificate of Occupancy, whether temporary or permanent, has not been issued; eligible for an award of up to $500,000.
  • Post-Completion Performance Optimization - Projects must show how additional proposed enhancements and/or optimizations demonstrate replicability and improve the living environment; eligible for an award of up to $250,000.
Speaking at a press conference in New York City, NYSERDA president and CEO Alicia Barton said, “Launching the Buildings of Excellence competition is setting a new bar for buildings throughout the state, and providing the support needed to recognize and advance solutions that will help building owners achieve a low-carbon or net-zero status that delivers environmental and health benefits, reduces energy costs, and provides safe, comfortable spaces for all residents and users.”
Studio Fuksas
Studio Fuksas has won the competition to revitalize the Fontvieille site along the port of Monaco, France. The project is designed to provides answers to major commercial, urban, architectural and ecological issues. The idea draws inspiration from the water and the green slopes of the Mediterranean hills. The new project aims to create a vertical park that links the city to the sea.

Organized by the principality of Monaco, the Fontvieille project was made to transform the waterfront through mixed-use programming across flowing platforms. The project will cover a a 48,000-square-meter area and draw connections with a series of public terraces to the island of Ranieri III, the Canton Square, the zoo, Telecabina station and Alberto II Avenue. The design's curved lines were made to evoke the movement of waves and the morphology of the bottom of the sea. They also recall the Monegasque landscape and the curves that gradually reach to the water's edge.

The project is organized across five levels that are joined by a staircase through the floors. It will also be built alongside a cable car station being designed by Shigeru Ban Architects. Studio Fuksas used different colors for the floor, furniture, and ceiling of each of the building’s levels. As they said, the site is known for its "rose garden and the pastel colors of its buildings." Sited in the southernmost ward in the principality of Monaco, the project hopes to bring new life to the district and the port. The vertical park will open up to scenic views of the city and the sea.
Vincent Callebaut Architectures
In Iraq, as an estimated 900,000 people return home to the city of Mosul after liberation, many of the returnees will only find desolation. The Tamayouz Excellence Award, Rifat Chadirji Prize focuses on bringing global awareness as well as global talent toward addressing the social issues Iraq faces through design.

This year’s theme, “Rebuilding Iraq’s Liberated Areas: Mosul’s Housing Competition” asked applicants design prototypes for affordable housing. The winning housing proposals selected by the jury are practical, inspiring, and scalable, while adding capacity and density. The competition received 223 submissions from 42 countries. The Top 20 entries will be featured in a traveling exhibition that will visit Amman, Baghdad, Boston, Beirut, Milan, and London. Read on to learn about the three winning proposals and seven honorable mentions.

The Rifat Chadirji Prize got its namesake from Iraqi architect, theorist and author, Dr Rifat Chadirji. Chandirji’s work, both in thought leadership and built projects, has influenced the built environment and holds significance today. The founder of the Tamayouz Excellence Award, Ahmed Al-Mallak said, “all contributing ideas responding to the humanitarian crisis is heartwarming. This competition had the value of reflecting difficult and controversial situations but through a reasonably optimistic lens. Although the competition finished, our work starts now to help organizations responsible for the reconstruction efforts.”

The tessellating and evolutionary project, Re-Settlement by Anna Otlik, takes into consideration the immediate needs of the city of Mosul, as the anticipated 900,000 displaced citizens return, but also longer-term needs for community and public services. The first phase of re-settlement is an informal process, with catalyst points determined organically by the returning community. With a matrix of modules, the settlements can then grow, densify, and evolve through the proposed rule-set. The judges panel states that Re-Settlement “considers the situation at all the relevant scales and stages, from initial emergency housing to a full-fledged neighborhood.” Otlik’s design takes inspiration from the vernacular Iraqi architecture, with the incorporation of outdoor spaces “it complements the fabric and the density of the city,” as described by the Judging Panel.