The Guggenheim Helsinki Design Competition, first open international competition organized by the Solomon R. Guggenheim Foundation, was officially launched today. Submission deadline for stage one is September 10. A jury that includes Mark Wigley, Jeanne Gang, Juan Herreros, and Yoshiharu Tsukamoto will announce the shortlist during Fall 2014.
Following a detailed Concept and Development Study by the Guggenheim Foundation, the City of Helsinki has reserved a prominent waterfront site for the architectural competition of the proposed museum. The site is located in the Eteläsatama, or South Harbor area, an urban space of great national and cultural significance, close to the historic city center and immediately visible to visitors arriving by sea.
It is envisaged that the Guggenheim Helsinki would organize and present internationally significant exhibitions of artworks from the twentieth and twenty-first centuries while also specializing in Nordic art and architecture. Within the Guggenheim Foundation’s international constellation of museums, including the Solomon R. Guggenheim Museum in New York, the Peggy Guggenheim Collection in Venice, the Guggenheim Museum Bilbao, and the future Guggenheim Abu Dhabi, the Guggenheim Helsinki would be distinctive in its active inclusion of design and architecture in its programming.
As part of his strategy to solidify the “Olympic Legacy” of East London, Mayor Boris Johnson has recently been focusing on providing the Queen Elizabeth Olympic Park with a little more diversity in its buildings, placing an emphasis on bringing cultural institutions alongside the sports buildings. Now, alongside the V&A’s plans for new galleries and University College London’s proposed design school and cultural centre, The Art Newspaper reports that Johnson is out to grab a headline attraction: London’s own Guggenheim.
Read on after the break for more
The BMW Guggenheim Lab, a mobile think-tank focused on the study of urban life, has returned to New York City for its homecoming exhibition currently on view at the Guggenheim Museum till January 5, 2014. After two years of research and touring Berlin and Mumbai, the lab aims to present major urban themes in art, architecture, education, science, sustainability and technology.”100 Urban Trends: A Glossary of Ideas” is a compilation of definitions of the most pressing issues in urban centers today, contextualized to reflect how different cities interpret them. Architects, planners and students take note: From street facades to bailouts, gentrification to trash mapping, this resource archives years of discussion into one user-friendly interface. Explore the glossary, here.
From 2011 to 2013, the BMW Guggenheim Lab, a mobile think tank for exploring urban life, traveled to New York, Berlin, and Mumbai to inspire innovative ideas for urban design and new ways of thinking about cities. To sum up the major themes and ideas that emerged during this two-year global journey, the Guggenheim Museum will present the exhibition Participatory City: 100 Urban Trends from the BMW Guggenheim Lab, on view from October 11, 2013, to January 5, 2014.
With many museums worldwide seeking to extend to accommodate larger collections, Athens-based Oiio Architecture Office has asked: “What if we decided we needed a little more of Guggenheim?”
More on the design after the break…
Not that many films can have the amount of high-end architecture as location for their scenes. In “The International” the characters goes to a secondary position – through architects’ eyes - since the movie is a showroom of well known buildings and cities.
The mythic Guggenheim Museum in New York by Frank Lloyd Wright serves as the space for one of the main scenes, jumping to the Phaeno Science Center by Zaha Hadid in Wolfsburg, Germany. Cities where the movie was filmed include Istanbul, Berlin, Lyon, Milan, and New York, showing us an impressive catalogue of “international” architecture.
Let us know your thoughts about the movie and international architecture. What does this concept mean today? Or was it only an utopian modern movement?
The second iteration of stillspotting nyc–a two-year multidisciplinary project that takes the Guggenheim’s programming into the streets of New York City–features Estonian composer Arvo Pärt and U.S. and Norway–based architecture firm Snøhetta in collaboration on urban soundscapes around Lower Manhattan. To a Great City, the Manhattan edition of stillspotting nyc, will be open to the public for two extended weekends on September 15–18 and 22–25, 2011. The installations explore the relationship between space and sound.
The architects have selected, and sometimes altered, urban spaces embodying the concept of a central tone, extending the perception of sound in the realm of space. Visitors will experience the confluence of music and architecture at five locations that quietly celebrate the city, ten years after September 11th. Around the periphery of Ground Zero, “participants may encounter a green labyrinth created by The Battery Conservancy, reflect in an underground chamber at Governors Island National Monument, and enter otherwise inaccessible spaces in landmark skyscrapers.” Participants can visit spaces multiple times at their leisure to understand how their perception changes based on circumstances such as time, stress, appetite, and sleep.
Exhibition: stillspotting nyc: manhattan (To a Great City by Arvo Pärt and Snøhetta)
Venue: Five locations, starting at Castle Clinton National Monument in Battery Park, across from 17 Battery Place, New York, NY
Dates: September 15–18 and 22–25, 2011
Read the press release here: http://www.guggenheim.org/new-york/press-room/releases/4219-stillspottingmanhattan
The Solomon R. Guggenheim Museum was the last major project designed and built by Frank Lloyd Wright between 1943 until it opened to the public in 1959, six months after his death, making it one of his longest works in creation along with one of his most popular projects. Completely contrasting the strict Manhattan city grid, the organic curves of the museum are a familiar landmark for both art lovers, visitors, and pedestrians alike.
The Guggenheim Museum has created this video along with an interactive time line documenting the design and construction of this monumental building. Keeping Faith with an Idea: A Time Line of the Guggenheim Museum, covers the years of 1943-59 and includes stories, audio, and video.
Vanity Fair asked 52 of the world’s leading architects, critics, and deans of architecture schools for their five most important buildings constructed since 1980, and for the greatest work of architecture thus far in the 21st century. With 28 votes, the most voted building since 1980 was Frank Gehry’s Guggenheim Museum in Bilbao, Spain.
A few months ago, the Guggenheim Museum exhibited Contemplating the Void in honor of the museum’s 50th anniversary. After receiving 200 submissions, curators from the museum selected five winners. We’ve shared different proposals with you previously on AD, and today, we bring you Bad Architects Group’s winning Void Codition[ed]. In German, void or “Luftraum“, literally translates to “air-space“. By conditioning the given air, which is already present in the void, the architects create the possibility to access the space as is without interrupting how it currently exists. The proposal “adds another dimension or layer to the existing experience in form of a vertical wind tunnel.”
The Guggenheim Musuem’s newest exhibit features the work of Julie Mehretu, an abstract painter best known for her densely-layered paintings. Her work expresses an obsession with architecture, in particular, densely populated urban environments. In her pieces, Mehretu takes recognizable architectural components, such as the column, façade, and elevation, which are then compressed and combined to capture different perspectives. “Her paintings present a tornado of visual incident where gridded cities become fluid and flattened, like many layers of urban graffiti.”
During 2009 the Guggenheim Museum celebrated its 50th anniversary. The museum commissioned nearly 200 artists, architects and designers to imagine their dream interventions on the most significative space of Frank Lloyd Wright’s building, the central void.
The artwork for every design is now available through a charity auction. You can bid for your favorite one right here. “Contemplating the void” (check some of the designs in ArchDaily here) will be on exhibit at the Museum until Apr 28th.
Entitled “State Fair Guggenheim”, the proposal by Chinese firm MAD uses a floating habitable balloon, located at the top of the void, to mediate between interior/exterior:
“As the core of the museum, the spiraling rotunda inherits the classic relationship between human and the divine. The delicately glazed domed roof transforms the natural light into distilled radiance, allowing the visitors to feel the distance from the mystical, and reverence to the sublime. Wright designed the continuous ramp encouraging visitors to ascend, becoming closer to the light with each step; however, one would find himself bounded by the glass ceiling at the top of the ramp. The anti-climactic ending to this experience seems to hint at advancement to the future of this rotunda. ”
During 2009 the Guggenheim Museum celebrated its 50th anniversary. And now, the museum commissioned nearly 200 artists, architects and designers to imagine their dream interventions on the most significative space of Frank Lloyd Wright’s building, the central void. “Contemplating the void” will be on exhibit at the Museum from Feb 12th until Apr 28th.
We are going to present you some of the interventions proposed by the architects, starting with “Experience the void” by danish practice JDS.
JDS/Julien De Smedt Architects proposal is architecture turned into enjoyment and participation. Instead of contemplating the void we propose to experience it by letting a trampoline net spiral down the rotunda space. The experience plays with Wright’s original scenography for the Guggenheim: to visit the exhibition downwards.
The below image corresponds to the project featured on the new book by JDS “Agenda: Can We Sustain Our Ability to Crisis?“, published by ACTAR. Expect a review soon.
Over the course of the summer, Design It: Shelter Competition received submissions from people in 68 countries for a total of nearly 600 entries that met competition requirements. On the occasion of the Guggenheim Museum‘s 50th Anniversary, they are pleased to announce the two winning entries.
David Mares’s CBS – Cork Block Shelter, won the People’s Prize after receiving 64,875 votes out of more than 100,000 votes submitted online by voters around the world; and David Eltang’s SeaShelter, which was selected by a jury of architecture and design experts for the Juried Prize. Prizes include airfare and two nights accommodation for two in New York City, behind-the-scenes tours of the Guggenheim Museum and Google offices, and Google SketchUp Pro licenses.
Images of the two winners and videos from the competition after the break.
On the occasion of the exhibitions Frank Lloyd Wright: From Within Outward and Learning By Doing, the Guggenheim and Google SketchUp invited amateur and professional designers from around the world to submit a 3-D shelter for any location in the world using Google SketchUp and Google Earth. Over the course of the summer, nearly 600 contestants from 68 different countries submitted designs that met the competition requirements. Current Frank Lloyd Wright School of Architecture students then selected ten finalists for the People’s Prize award.
Public voting is now open! Vote now for your favorite shelter design among the ten finalists. Don’t forget to check back on October 21, when the People’s Prize winner will be announced along with a special Juried Prize chosen by a panel of experts.
It seems fitting that since the Guggenheim is currently featuring the works of its designer, Frank Lloyd Wright, we should feature some of the process work of the iconic museum. Well known for its white curving form, it is important to note that the current rendition of the museum is vastly different from Wright’s original ideas. The struggle between the architect and the client (in this case Solomon R. Guggenheim, a wealthy mining entrepreneur) to see eye-to-eye is not something new, however it is interesting to consider whether the renowned museum would still have its status if it were as Wright had originally envisioned: a polygonal structure, partly in blue or perhaps a red-marble structure with long-slim pottery red bricks.
More about the Guggenheim after the break.