The Serpentine Gallery is delighted to reveal the plans for the Serpentine Gallery Pavilion 2011 by world-renowned Swiss architect Peter Zumthor. This year’s Pavilion is the 11th commission in the Gallery’s annual series, the world’s first and most ambitious architectural programme of its kind. It will be the architect’s first completed building in the UK and will include a specially created garden by the influential Dutch designer Piet Oudolf. [More info and images after the break]

The concept for this year’s Pavilion is the hortus conclusus, a contemplative room, a garden within a garden. One enters the building from the lawn and begins the transition into the central garden, a place abstracted from the world of noise and traffic and the smells of London – an interior space within which to sit, to walk, to observe the flowers.

With this Pavilion, as with previous structures such as the famous Thermal Baths at Vals, Switzerland, or the Bruder Klaus Chapel in Mechernich, Germany, Zumthor has emphasised the sensory and spiritual aspects of the architectural experience, from the precise yet simple composition and ‘presence’ of the materials, to the handling of scale and the effect of light.

At the heart of Peter Zumthor’s practice is a refined selection of materials used to create contemplative spaces that evoke the spiritual dimension of our physical environment. As always, Zumthor’s aesthetic goal is to customise the building precisely to its purpose as a physical body and an object of emotional experience.

Hortus conclusus
‘A garden is the most intimate landscape ensemble I know of. It is close to us. There we cultivate the plants we need. A garden requires care and protection. And so we encircle it, we defend it and fend for it. We give it shelter. The garden turns into a place.

Enclosed gardens fascinate me. A forerunner of this fascination is my love of the fenced vegetable gardens on farms in the Alps, where farmers’ wives often planted flowers as well. I love the image of these small rectangles cut out of vast alpine meadows, the fence keeping the animals out. There is something else that strikes me in this image of a garden fenced off within the larger landscape around it: something small has found sanctuary within something big.

The hortus conclusus that I dream of is enclosed all around and open to the sky. Every time I imagine a garden in an architectural setting, it turns into a magical place. I think of gardens that I have seen, that I believe I have seen, that I long to see, surrounded by simple walls, columns, arcades or the façades of buildings – sheltered places of great intimacy where I want to stay for a long time.’
Peter Zumthor
May 2011

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The next big event in China after the Beijing Olympics and Shanghai Expo with a projected 12 Mio visitors for the coming 6 months, Xi’an International Horticultural Expo has officially opened last Thursday and already received more than 200,000 visitors over the first weekend. The ancient city of Xi’an- home to the Terracotta Army and many buildings of unique historical significance- is using this opportunity to focus on the current challenges from its recent growth and transformation. [More images and project description after the break]

The International Horticultural Expo has become the instigator and hub for the redevelopment of a large area between the airport and the centre of the ancient city of Xi’an. The city is known as the home of the Terracotta Army of the Qin Dynasty (210 BC) and is also a major business centre for the vast interior of the Chinese mainland.

GroundLab, in collaboration with Plasma Studio, were successful in winning this international competition following invitation, with a radical self-sustainable vision for the future. The project entitled Flowing Gardens creates constant functionality using water, planting, circulation and architecture harmonized into one seamless system.

The proposal comprises of a 5000m2 Exhibition Hall, a 4000m2 Greenhouse and a 3500m2 Gate Building sitting in a 37 ha landscape that will house the International Horticultural Expo and create a park for Xi’an City as its legacy. The opening will be in 2011, and is expected to receive approximately 15 Mio visitors.

Flowing Gardens unfolds into many sinuous paths, creating a network for intermingling circulation, landscape and water. The given topography and its existing slopes were used as inspiration to draw out paths in a similar way to roads around a mountain, negotiating the steepness with gradients. These paths vary in width, ranging from main walkways and arteries to towpaths. The patches between these paths become zones for various types of planting and natural wetland areas. The three projected buildings, located at the intersections of the major pathways, are developed as articulated nodes of the landscape.

Landscape
The project proposes a hybrid of both natural and artificial systems, brought together as a synergy of waterscapes. With consideration to the amount of water required for irrigation, the project seeks to introduce various technologies and designs found in nature, but it is enhanced to meet the specific needs of the new population. Rainwater is collected and channeled into the wetland areas, where natural plants and reed beds clean and store the water, which is then later dispersed and used for irrigation. These integrated wetlands and ponds are also to be enjoyed by the visitors as oasis and points of personal tranquility.

More complex water cycle issues are sensitively controlled with the introduction of grey and black water treatment systems. The proposal aims to make use of the initial investment and organization during the exhibition, to set up an environment, which becomes autonomous in function and character. The gardens transform the artificial and natural conditions of the site into a sustainable system that becomes increasingly more maintenance-free once the exhibition is over, allowing the park to develop into a new model, or paradigm, within the horticultural industry. The park area manifests in a variety of scales in association with very specific planting, surfacing and lighting, thus providing a sandbox of experiences that ranges from the very intimate with semi-enclosed, shaded, self contained, one- to-one spaces, to the very public with communal plazas formed by wider pedestrian paths with full exposure to the sun and a direct, uninterrupted visual link to the main hiatus on the site.

The Guangyun Entrance
The Guangyun Entrance operates as infrastructure and fulfils the role of bridging the main road that dissects the site. It channels visitors from the plaza at the entrance where they congregate and orient themselves, plotting their direction. Their path over the bridge rises 7m and offers vantage points to gain an overview of the different zones of the Expo displayed ahead.

Bridge design often has two lanes: one for incoming and another for outgoing traffic. However in this case, the flows are uneven and change throughout the day. With inspiration taken from rush hour escalator traffic in the London Underground stations, the bridge has been devised with three lanes, so the middle lane can switch direction from incoming in the morning to outgoing later in the day.

These three bands read as interwoven braids, and together with a surrounding trellis roofed structure, they give the appearance of bands of landscape peeling off and rejoining the mass at the end of the journey. Between the three bands are green areas and a water feature for visitors to stop, rest and enjoy the view. Above, an open trellis steel structure forms the shading device that is intended to become naturally overgrown with climbing plants, thus forming a green roof, and suggests the theme of the Expo to distant onlookers. The lightweight roof has been developed together with Arup engineers as an innovative integral structure that appears as beams seemingly free-floating in space.

Theme Pavilion
The Theme Pavilion is located on the edge of the lake as the endpoint to the central axis that starts with the Gate Building, and is the starting point for the water crossing by boat. It ties in with a series of piers that follow the landscape jutting out into the water. The built volume is interwoven with the articulating ground, producing continuities on many levels integrating the landscape and building together. From this flows the organization of the building massed as three parallel volumes within the landscape, flowing through and underneath, leading to the piers, the volumes themselves hover as cantilevers over the lake. The fluid experience of passing through the landscape continues inside, where all zones are generous and interconnected. The use of ramps enables visitors to move up to the mezzanine level and out onto the roof of the building. Through its materiality the building again manifests itself as an extension of the ground with its floors and interior walls made from high quality concrete and bronze is used, as a locally sourced material, to wrap the buildings partially while bands of greenery cover it like a tessellated net. The roofs are structured as a series of folds, which can be experienced as articulated ceilings introducing a finer grain into the otherwise simple and minimal spaces.

Green House
The Greenhouse is formed as a precious crystal, semi-submerged in splendid isolation reached by boat across the lake followed by a short walk from the shore. The greenhouse blends into the hillside even more so than the other two structures. The building is entered through a prolonged cut, literally scooped up from the ground, emerging within a light-filled cavernous reception space.

From here the visitor passes along a tessellated mesh of paths through three different climatic zones with corresponding plant environments. The greenhouse has a horseshoe plan creating a loop that changes radically in section to accommodate a sequence of different planting and spatial conditions. With the ground inside and out, gradually changing in relation to each other, the visitor experiences sequences of visual enclosure alternating with long vistas out and across. The horseshoe shape also generates an inner courtyard of outside space, making it the natural centre of the building, dissected by two paths that slope up and pass over the roof at the apex of the greenhouse and further into the landscape. This creates a three-dimensional interweaving of interior and exterior circulation.

The first environment encountered by visitors is the ‘arctic zone’, sitting relatively low inside the ground, directed towards the north. The paths are sunken further so that visitors are closer to the small and delicate plant features. The building then turns a corner to become the ‘rare plants zone’, laid out to contain a finer capillary weave of plant beds and paths. From here visitors walk up to the highest point in the building, where they enter into the ‘tropical zone’, fully exposed to sunlight at the southeastern side of the hillside facing the lake. It has a total height of 18 meters and contains abundant and exuberant vegetation. Visitors then walk down to the lower level along a series of ramps, experiencing a rich variety of vantage points celebrating the complex and multilayered fabric of the expo.

International Competition: 1. Prize, 2009
Project: 2009-2011
Opening: April 28th 2011
Completion: March 2011
Client: Chan-Ba Ecological District
Total Area: 37 Ha
Architecture: Plasma Studio, BIAD
Landscape Design: GroundLab, LAUR Studio, Beijing Forestry University
Engineers: John Martin and Associates, Arup

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Title: International Conference; BioDigital architecture and genetics
Location: ESARQ (UIC), Barcelona
Link out: Click here
Description: In the twenties and thirties of the 20th century, when some architects were disposed systematically to configure modern world, they did it stimulated for a cultural pressure, for a correct adaptation to new times, and fighting for minimum conditions of human existence. On the other hand, today the urgency is bigger. It is about the entire planetary subsistence. The question is not any more a simple caprice, neither an intellectual necessity, neither sensibility for losing less favoured people. Now, the necessity is global, without reservations of classes, races or religions. The whole planet is in front of danger of no-sustainability for all mankind.

By chance, now in this crucial moment, are offered new techniques of an enormous potential: biological techniques and digital techniques. And even fusion of both, in something that can be named biodigital architecture. One that has incorporated the advantages proportioned by the understanding of genetics in both ways, the biological and the digital way, that permit to face with hope some continuity also worthy, but this time a dignity for all The Earth.

Then, as the ones that made efforts to break with the ancient classical tradition to found the new modern tradition, we are in front of the challenge of creating the future tradition of biodigital and genetics. For this is necessary that people work on three key elements: research, teaching and profession. This is exactly what we have been doing in Barcelona from 2000, with the Genetic Architecture Research Group and Ph.D. Programme, with the Biodigital Architecture Master’s Degree and with the Genetic Architectures Office. There we learn & teach, we make research and we design: Knowing that there are sufficient differential parameters to predict a complete age’s change. Today, after the first decade of our new Century, it is time to explain, to check, to discuss, fascinations, inspirations, experiences, that the graduates of these Research Group, Master’s Degree and Architecture Office have done in the developing of this biodigital architecture and genetics, up to now.

Alberto T. Estévez
Conference Chair
Start Date: 2011-05-30
End Date: 2011-06-05

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Project: Living Nature
Architect: Héctor Ruiz-Velazquez
Location: Valencia, Spain
Time: September – October 2010
Photography: Pedro Martinez

The Fair hired me to build an ephemeral building in the entrance of the fair Sept-Oct 2010 . The structure has four shop windows (like a small shopping center representing the four types of living in the country). The project had to be built in only 10 days and it had to be reusable with a different shape at another fair.

The space Living Nature houses an exhibition about different ways of Spanish life style. It’s a new expositional concept inspired by innovation and sustainability. The space was build with almost 2.000 boxes of recycled carton that can be used afterwards for different purposes.

Via: Contemporist

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The World Architecture Festival took place in Barcelona, Spain last week. Part of the annual festival program is the announcement of the WAF Award Winners. This year the title of World Building of the Year went to the MAXXI Museun in Rome, Zaha Hadid, which also won the 2010 Stirling Prize this year. After the break all the 2010 award winners.

World Building of the Year
MAXXI, National Museum of XXI Century Arts, Rome, Italy
Zaha Hadid Architects, United Kingdom

http://www.worldbuildingsdirectory.com/project.cfm?id=2552

Future Project of the Year
The Arc, Palestinian Occupied Territory
Suisman Urban Design, United States of America

 http://www.worldbuildingsdirectory.com/project.cfm?id=2262

Interiors and Fit Out of the Year
ANZ Centre, Melbourne, Australia
HASSELL, Australia

 http://www.worldbuildingsdirectory.com/project.cfm?id=2391

Structural Design of the Year
V&A Medieval & Renaissance Galleries, London, United Kingdom
MUMA, United Kingdom

http://www.worldbuildingsdirectory.com/project.cfm?id=2856

AECOM + URBAN SOS Transformations student competition
Robin Bankert, Michael Murphy,
Caroline Shannon and Joseph Wilfong
University of Harvard
http://www.worldarchitecturefestival.com/news-detail.cfm?newsId=174

COMPLETED BUILDINGS:

Civic and Community
City of Justice, Barcelona, Spain
David Chipperfield Architects, United Kingdom

http://www.worldbuildingsdirectory.com/project.cfm?id=2910

Culture
MAXXI, National Museum of XXI Century Arts, Rome, Italy
Zaha Hadid Architects, United Kingdom

http://www.worldbuildingsdirectory.com/project.cfm?id=2552

Display
Spanish Pavilion for Shanghai World Expo, China
Miralles Tagliabue Embt, Spain

http://www.worldbuildingsdirectory.com/project.cfm?id=2681

Health
Brain and Mind Research Institute – Youth Mental Health Building, Australia
BVN Architecture, Australia

http://www.worldbuildingsdirectory.com/project.cfm?id=2571

Holiday
Alila Villas Uluwatu, Bali, Indonesia
WOHA, Singapore

http://www.worldbuildingsdirectory.com/project.cfm?id=2392

House
A Forest for a Moon Dazzler, Costa Rica
Benjamin Garcia Saxe Architect, United Kingdom

http://www.worldbuildingsdirectory.com/project.cfm?id=2436

Housing
The Pinnacle @ Duxton, Singapore
ARC Studio Architecture + Urbanism, Singapore

http://www.worldbuildingsdirectory.com/project.cfm?id=2445

Landscape
Shanghai Houtan Park, China
Turenscape, China

http://www.worldbuildingsdirectory.com/project.cfm?id=2318

Learning
School of the Arts, Singapore
WOHA, Singapore

http://www.worldbuildingsdirectory.com/project.cfm?id=2547

New and Old
DDB Office, Istanbul, Turkey
Erginoglu & Calislar Mimarlik Insaat Ticaret ve Turizm Limited Sirketi, Turkey

http://www.worldbuildingsdirectory.com/project.cfm?id=2659

Office
Vali Asr Commercial Office Building, Iran
Kelvan, Iran

http://www.worldbuildingsdirectory.com/project.cfm?id=2661

Production, Energy and Recycling
Yevlakh Seed Industry Campus, Azerbaijan
TOCA, Turkey

http://www.worldbuildingsdirectory.com/project.cfm?id=2672

Shopping
Yamaha Ginza, Japan
Nikken Sekkei Ltd, Japan

http://www.worldbuildingsdirectory.com/project.cfm?id=2634

Sport
Soccer City, National Stadium, Johannesburg, South Africa
Boogertman+Partners, South Africa in association with Populous, United Kingdom

http://www.worldbuildingsdirectory.com/project.cfm?id=2471

Transport
The Helix Bridge, Singapore
Cox Rayner Architects, Australia + Architects 61 Pte, Singapore

http://www.worldbuildingsdirectory.com/project.cfm?id=2705

FUTURE PROJECTS:
Future Projects – Commercial
Offices’ 63, Gurgaon, India
Sanjay Puri Architects, India
http://www.worldbuildingsdirectory.com/project.cfm?id=2628

Future Projects – Competition Entries
Dance and Music Centre, Netherlands
Aedas, Hong Kong
http://www.worldbuildingsdirectory.com/project.cfm?id=2887

Future Projects – Cultural
Concert Hall, Torun, Poland
Menis Arquitectos, Spain
http://www.worldbuildingsdirectory.com/project.cfm?id=2542

Future Projects – Education
Sabah Al-Salem University Kuwait University City, College of Education, Kuwait City, Kuwait
Perkins+Will, United States of America
http://www.worldbuildingsdirectory.com/project.cfm?id=2568

Future Projects – Experimental Projects
No project awarded as overall winner

Future Projects – Health
Kuwait Children’s Hospital, Kuwait City, Kuwait
AGi Architects SL, Spain
http://www.worldbuildingsdirectory.com/project.cfm?id=2770

Future Projects – Infrastructure
West Kowloon Terminus, Hong Kong
Aedas, Hong Kong
http://www.worldbuildingsdirectory.com/project.cfm?id=2262

Future Projects – Landscape
No project awarded as overall winner

Future Projects – Masterplanning
The Arc, Palestinian Occupied Territory
Suisman Urban Design, United States of America
http://www.worldbuildingsdirectory.com/project.cfm?id=2262

Future Projects – Residential
No project awarded as overall winner

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Last thursday, August 26, NYC studio SOFTlab opened and installation at the bridegallery in New York City. The installation was made with over 4,600 panels each one with a unique color. The project was crowd-financed via kickstarter and for everyone who pledged for the projet their name was laser atached in one of the panels, which will be sent to the donator once the installation comes down. [More images after the break]

Design Team:
Michael Szivos, Jose Gonzalez, Carrie McKnelly, Elliot White, Tyler O’Rielley, Troy Zezula, Sean Madigan, Corey Kingston

Installation:
Julia Schleppe, Andrew Manart, Simon Kristak, David Gonzalez, Andrew Chen, Anthony Buccellato, Laura Vincent, Michael House, Brandt Graves, Austin Smith, Andrew Sutton, Alan Tansey, Mac Glovinsky, Robin Jones

Photos:
Andrew Manart

Via: Bustler

The Guggenheim is celebrating its 50th Anniversary and they have done so many things to celebrate, back in April we wrote abouth the competition “RE: Contemplating the Void: Intervention in the Guggenheim” where the museum invited participants to reimagine the museum´s iconic rotunda and submit their ideas via Flickr. At midnight on May 14, 2010 the competition was closed and the museum recived over 200 submissions. After careful review, Contemplating the Void curators Nancy Spector, Deputy Director and Chief Curator, and David Van Der Leer, Assistant Curator for Architecture and Design, have selected five winning submissions which are shown after the break. All submissions are available in the flickr pool.

The Buried Void
Noel Turgeon
St. Paul, Minnesota
In The Buried Void, a stream of sand falls continuously from the oculus at the top of the Guggenheim into the museum and collects on the rotunda floor. For fifty years the sand will gradually fill the void, stopping on October 21, 2059 (the 100th anniversary of the Guggenheim) when it will have filled the space completely. Until then, guests in the building will be encouraged to experience and actively participate in this measure of time: as the physical objects in their lives become obsolete, visitors are encouraged to place them into museum-provided capsules and throw them into the sand. During the centennial celebration of the Guggenheim the rotunda will be excavated and the contents will be displayed in an evolutionary retrospective of forgotten things from the first half of the 21st century. The inspiration for this intervention comes from two sources: the first is wondering what will be forgotten by the future and how it could be remembered, the second is a desire to trace the passage of time through the physical means of space and objects.

Favelart
Lucio Carvalho
Sao Paulo, Brazil
Favelart was inspired by Brazil where, if the culture does not reach out to parts that are in poverty, then poverty will, in turn, invade the culture.

Sunflowers
David Andrew Tasman
New York, New York
Sunflowers proposes the installation of a field of sunflowers on the upper level of the rotunda. For the past 50 years, the Guggenheim has helped to bring art into life as well as the reverse. By bringing the outside in, the typical relationship between building and landscape is inverted, making the natural available for contemplation in a way that is normally reserved for works of art. The inspiration for this intervention came from an interest in popular culture and using contrasting juxtapositions as away to invoke the sublime.

VOID CONDITION(ED)
Bad Architects Group (Paul Burgstaller/Ursula Faix
Innsbruck, Austria
VOID CONDITION(ED) was inspired by the German word for “void” (luftraum), which literally translates to “air space,” and the idea to change the space completely by changing it as little as possible.? By conditioning the air already present in the void, one can access the space without interrupting how it currently exists, while simultaneously adding another dimension or layer to the existing experience in form of a vertical wind tunnel.

WTF?! (watch the fool)
Bruny Yan You Fu
Rennes, France
WTF?! (watch the fool) tries to give a geometrical response to “contemplating the void.” The inspiration for this intervention was drawn from a story about the famous architect, Tadao Ando. When Ando was young, the roof of his house collapsed and left a big hole. This was when Ando came to realize that “contemplating the void” is also feeling the space, feeling the beauty of something invisible. Inspiration was also drawn from the Pantheon of Hadrien in Rome.

The flickr pool containing all the photos:
http://www.flickr.com/groups/recontemplating

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During a 4 week workshop program called: Social Technologies 2010 at the Department of Architecture and Design of the Aalborg University, the students researched the link between CNC fabrication techinques and digital tools. The students worked together with Dolle Trapper and the result were 7 architectural models and the Pavilion Art615, more images and videos after the break.

Pinche aquí para ver el vídeo

Description of Social Technologies 2010
The workshop ‘Social Technologies’ explores the basic exercise in the development of dynamic architectural concepts and computer-generated geometry. The vision was to challenge the complex programs of the urban field and to explore the inherent potentials of new digital tools. Working with two main focus areas the workshop simultaneously aimed at developing advanced spatial systems for organizing and articulating new social complexities, and at utilizing and adapting different advanced digital design methods for exploring various principles of form generation and advanced production. The workshop was divided into five phases: registration and analysis, geometry generation, lighting control, synthesis, and exhibition.

In collaboration with architects, CNC-manufacturing companies, media artists, sociologist and the Danish National Crime preventing council the students participating in the workshop sought to explore the ways in which advanced digital design methods can generate new alternatives for the existing anti-crime initiatives, where technology is often being used to identify guilty persons. The workshop encourage research in the crossing between performative formations and interactive light systems, thus enabling discussions on local culture production and social potentialities in form.

During the workshop the students were among other things introduces to: the development of dynamic architectural concepts, digital tools as Grasshopper for Rhino and RhinoScripting, the utilization of sensor technology and dynamic light control in the software vvvv, and to work with digital technologies and interactive urban environments on a conceptual level.

The workshop is developed into 4 parts:

1. Concept
2. Sensor technology and Light control (vvvv)
3. Advanced geometries and rapid manufacturing (Grasshopper)
4. Synthesis

In the 3 first weeks the students develops individual projects in week 4, 7 projects is selected and groups will finalize 7 projects. One is selected to be realized in 1:1.

Pinche aquí para ver el vídeo

Pinche aquí para ver el vídeo

Digital Design Team
Mads Brath, Sune Petersen & Esben Skouboe Poulsen
Department for Architecture, Design & Media Technology.
Aalborg University, DK

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To celebrate the close of the Guggenheim’s 50th Anniversary year, the Guggenheim Museum invites you to create your own dream intervention of the Guggenheim Museum. Now you can take on the same challenge that 200 artists, designers, and architects took on for the exhibition Contemplating the Void: Interventions in the Guggenheim Museum. More info after the break.

How to Submit:

• Design your own intervention of the Guggenheim’s iconic rotunda.
• Your submission can be a hand sketch, a computer rendering, a watercolor, a painting, a photo collage—in other words, any 2-D format that helps communicate your ideas.
• You have the option to use your own image of the Guggenheim Museum or download an image here to help communicate your vision. (See the rules below and the Official Rules for photography guidelines and use restrictions)
• Provide a descriptive text between 50–200 words explaining your concept (optional).
• Upload your design or a photograph of your design to the Flickr group Re: Contemplating the Void – Create Your Own Guggenheim Intervention. Please note that you must register for a Flickr account and join this Flickr group if you would like to upload your submission.
• Become a member of the group and click “Add something?” to upload your submission.
• You must tag your submission “guggenheim_museum”. If you forget to tag your submission, it will not be entered in the competition.
• Don’t wait until the last hour to post your submission! If you miss the deadline, your submission won’t be eligible to win the prize.
• Please see the Official Rules for the full list of eligibility and submission requirements. All submissions will be reviewed prior their acceptance in this competition for compliance with the Rules.

Timeline and Deadlines:

• Competition opens: Friday, April 16, 2010, noon EST
• Competition closes: Friday, May 14, 2010, midnight EST
• Winners announced: June 1, 2010, on www.guggenheim.org

Winners:

• Contemplating the Void exhibition curators, Nancy Spector, Deputy Director and Chief Curator, and David van der Leer, Assistant Curator for Architecture and Design, will select five winners from all of the approved submissions received by midnight on May 14, 2010. Qualified entries will be judged on a variety of qualities. The jury invites you to be truly creative. Please send your dream interventions designed to capture the full potential of the Guggenheim’s rotunda. No need to be limited by any sense of reality.
• The winning designs will be announced on June 1, 2010 on the homepage of www.guggenheim.org. The Flickr group will remain open for submissions after the competition has closed, but these submissions will not be eligible for any prize.

Prizes:

• Winning designs announced on the homepage of www.guggenheim.org
• Each winner will receive a Guggenheim Store Gift Package ($191 value), including:
  - Interior-printed skylight tote
  - Fisheye camera
  - The Guggenheim: Frank Lloyd Wright and the Making of the Modern Museum
  - Two admission tickets to the Solomon R. Guggenheim Museum

Any taxes are the sole responsibility of the winners. Please see the Official Rules for complete details.

About the Guggenheim Rotunda
Since its opening in 1959, the Guggenheim Museum has served as an inspiration for invention, challenging artists and architects to react to its eccentric, organic design. The central void of the spiraling Rotunda has elicited many unique and innovative responses over the years, which have been manifested in both site-specific solo shows and memorable exhibition designs.

Your Images
If you use your own photographs of the Guggenheim Museum in your submission, please note that only exterior building images or interior images taken from the rotunda floor are eligible for this competition. Photographs taken from any location inside the Guggenheim Museum other than the rotunda floor and photographs that display any artworks on view inside the Guggenheim Museum are not eligible for this competition and will not be posted in the Flickr group. In addition, you must have the consent of any persons whose faces are visible in your photographs. Please see the Official Rules for complete details.

Limited Use of Guggenheim-Provided Images
The Guggenheim Museum has made available certain images of the Solomon R. Guggenheim Museum building (the “Guggenheim Images”) solely for the noncommercial purpose of creating a Submission for this Competition and only in accordance with the Official Rules. By downloading the Guggenheim Images, you agree not to reproduce, distribute and/or otherwise use the Guggenheim Images for any other purpose, including, without limitation, any commercial or revenue-generating use. Please see the Official Rules for complete details.
Official Rules

The Official Rules for this competition, which detail, among other things, eligibility requirements, submission requirements, rights granted to the Guggenheim Museum with respect to your submissions, and the additional paperwork you may be required to submit in the event you are selected as a competition winner, are available at www.flickr.com/groups/recontemplating/rules/. You must accept and agree to the Official Rules before you may join the Flickr group, Re: Contemplating the Void – Create Your Own Guggenheim Intervention, and enter this competition, so we urge you to read them carefully. We may need to change the Official Rules from time to time and reserve the right to do so. Please check back at www.flickr.com/groups/recontemplating/rules/ to see the latest.

Image Via Flickr: wallyg

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There is more to modernist architecture in Mexico than just the work of Luis Barragán, its most renowned representative. The detailed plans and impressive enlarged photographs in this exhibition offer a broad overview of architectural production in post-war Mexico. In addition, a unique series of documentary films and contemporary documents helps to flesh out this fascination evocation of the refined lines and raw functionalism of Mexican modernism.

At Bozar, the Fine Arts Centre in Brussels, the exhibition ‘Mexican Modernisms’ will open its doors to the general public the forthcoming 11th of February as part of the festival ¡MEXICO! The exhibition is a co-production between BOZAR (BE), A+ (BE) and CONACULTA (MEX) and presents a series of impressive enlarged photographs of 40 canonical architectural pieces build between 1930 and 1985. In addition, newly produced audiovisual documents review these buildings in their actual context. The curatorial work was realized by José Castillo and PRODUCTORA with additional research by Fernanda Canales and Alejandro Hernández. PRODUCTORA was in charge of the exhibition design. More info after the break.

SUCURSAL DEL BANCO DEL VALLE DE MEXICO, Mexico City Architect: Augusto H. Álvarez 1958 © Image cortesy of the ‘Archivos de Arquitectos Mexicanos, UNAM’

Architects included into the exhibition:
Augusto H. Álvarez, Alberto T. Arai, Francisco Artigas, Luis Barragán, Félix Candela, Fray Gabriel Chávez de la Mora, Enrique de la Mora y Palomar, Enrique del Moral, Mathias Goeritz, Teodoro González de León, Fernando Gónzalez Gortázar, Agustín Hernández, Horst Hartung, Ricardo Legorreta, David Muñoz, Carlos Obregón Santacilia, Juan O’Gorman, Jaime Ortiz Monasterio, Mario Pani, Augusto Pérez Palacios, Reinaldo Pérez Rayón, Pedro Ramírez Vázquez, Juan Sordo Madaleno, Héctor Velázquez y Ramón Torres, Alejandro Zohn.

BIBLIOTECA CENTRAL DE CIUDAD UNIVERSITARIA, Mexico City Architect: Juan O’ Gorman Colaborador. Gustavo Saavedra y Juan Martínez de Velasco. 1950-1952. © Image cortesy of the ‘Archivos de Arquitectos Mexicanos, UNAM’

ESTADIO DEPORTIVO DE CIUDAD UNIVERSITARIA, Mexico City Architect: Augusto Pérez Palacios, Jorge Bravo y Raúl Salinas. Con murales de Diego Rivera. 1949-1952. © Image cortesy of the ‘Archivos de Arquitectos Mexicanos, UNAM’

ESTADIO DEPORTIVO DE CIUDAD UNIVERSITARIA, Mexico City Architect: Augusto Pérez Palacios, Jorge Bravo y Raúl Salinas. Con murales de Diego Rivera. 1949-1952. © Image cortesy of the ‘Archivos de Arquitectos Mexicanos, UNAM’

Augustin Hérnandez, Heroico Colegio Militar, 1975

Juan Sordo Madaleno, Edificio Palmas, 1975

TALLER DE ARQUITECTURA, Ciudad de México Architect: Agustín Hernández 1970 © Image cortesy of Agustín Hernández

Thursday 11.02 > Sunday 11.04.2010
Centre for Fine ArtsRue Ravensteinstraat 23
1000 Brussels

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