Terreform ONE has released the brief for this year's ONE Prize Competition, challenging entrants to envision urban design strategies for coping with present and future “severe climate dynamism.”
How can cities adapt to the future challenges of extreme weather? The ONE Prize is a call to deploy sophisticated design to alleviate storm impact through various urban interventions such as: protective green spaces, barrier shorelines, alternative housing, waterproofing technology, and public space solutions. We wish to reinvigorate infrastructure and repurpose spaces towards environmental adaptation in order to put design in the service of the community.
Perhaps a network of smart dikes snaking through daylighted marshes and mangroves wherein retreating villages of soft pavilions inhabited by Ethel Mermans and Fred Astaires perpetually cycle through periods of colonization and diaspora? A city of a thousand and one artificial mesas?
The deadline is 31 August 2013, meaning you have plenty of time to develop your submission or multiple entries. There is also no registration fee.
How will you concern yourself with issues of materials, technology, politics and economics, waxing and waning through countless eons? How do you imagine your users, your many million-times great-grandchildren, will come to experience it, being ultra-post-human as they are? Will you be that optimistic and not include a built-in fail safe monument to our extinct species? How will it endure such unimaginable timescales, when any potential site is subject to the hyper-migration of rivers and oceans, the deep exhalations of mountains, and continents splitting and evaporating? In an era of apocalypses, perhaps the only solution to our problems is to subject ourselves to the terrifying sublimity of deep time.
You have just about a week to put a team together and vie for one of the spots in the next edition of the 72 Hour Urban Action competition, which the organizers bill as “the world's first real-time architecture competition.” If you can find only a couple of interested colleagues or no one at all, you can still apply as an individual participant or a small team, and if selected, you will then be joined into a larger team.
There will be ten teams in all. On take-off day on July 11, 2012, those teams will be tasked to “realize projects in response to the spatial and social challenges the sites and missions offer.” That is, in just 72 hours, they will actually have to build something that will “leave a lasting impact on the city's urban fabric.” And for all their efforts, the winning team will receive $4,000.
The members of the jury is worth mentioning. They include Joseph Grima, the editor-in-chief of Domus, and Eva Franch i Gilabert, director of Storefront for Art and Architecture. Also a member is Benjamin Foerster Bladenius of Raumlabor, the urban collective who designed a bubble pavilion, called the Spacebuster, which can be inflated almost anywhere and anytime into “a billowing urban room.”
Meanwhile, you will have to excuse me for prolonging this post by again fantasizing about urban sites of social and economic disturbances that have seen countless urban actions. So many urban hackers have passed through over the years and decades that on these sites — delineated perhaps by an autocratic master planner from another century — now stand towering, Kowloon-like skyfavelas made of the accreted remains of past installations.
Say, for instance, on the topmost layer are pavilions that provide cooling shades to people, who sit on benches designed and built during a delirious 72-hour period. Not particularly following any traditional garden layout are feral groupings of planters. During peacetime, the vegetation rustles a delightful chime. During times of protest, when the state has jammed the electromagnetic spectrum, they are converted into antennas to broadcast images of the burning city to the rest of the world. Inscribed on the pavers are hieroglyphs that simultaneously set the rules for an urban recreation and mark the game space. Atop solar-powered lampposts are aviaries and apiaries.
Below all that is a catacomb of old pavilions, and below that is another catacomb of pavilions above another catacomb, and so on all the way down to the street. This network of interior bosquets are structurally prevented from collapse by the root system of guerrilla gardens and an internal buttress system made up of the bones of chickens and goats reared and butchered at the urban farmsteads. Somewhere within this sedimentary maze of fossilized and repurposed DIYs are the Holy Grails of urban adventurers: dumpster pools fed by water from rainwater harvesters attached to the vertiginous façades of these rubbish heaps.
If you get lost inside, you might as well stay awhile, as other drifters have done, making your squatter camp out of the detritus embedded in the superstructure — in 72 hours, of course.
Be sure to check out the installations from the Bat-Yam competition in 2010, and also the installations from an affiliated (until it sort of wasn't) competition in Melbourne last year.
The Landscape Art Generator Initiative has chosen Freshkills Park as the site for the next edition of its design ideas competition. In 2010, artists, designers, scientists and engineers alike were challenged to design a land art sculpture that was also a power plant capable of generating clean energy for thousands of homes. The brief for 2012 is basically the same, except of course you will be plopping down your installation not on the sands of the United Arab Emirates but on a park reclaimed from what was once the world's largest landfill, Fresh Kills (N.B. two words for the dump, one word for the park).
If you're not familiar with Freshkills Park, here's some information taken from its blog (every park should have a blog, or at least a Twitter account!):
At 2,200 acres, Freshkills Park will be almost three times the size of Central Park and the largest park developed in New York City in over 100 years. The transformation of what was formerly the world’s largest landfill into a productive and beautiful cultural destination will make the park a symbol of renewal and an expression of how our society can restore balance to its landscape.
In addition to providing a wide range of recreational opportunities, including many uncommon in the city, the park’s design, ecological restoration and cultural and educational programming will emphasize environmental sustainability and a renewed public concern for our human impact on the earth.
In case you're eager to start your creative process now, we suggest reading John May's essay on Fresh Kills, published in the boogazineVerb: Crisis, 2008. Here's one of the closing passages:
Fresh Kills is our generation’s A-Bomb: we express dignified shame at the fact of its existence to mask our delight in knowing that it belongs to us. It may be a disturbing thing, but it also seems somehow extraordinary, and in either case, it is our disturbing-extraordinary thing. We secretly love it. We like to know that it’s there. Its location with respect to Manhattan is indicative of a preferential derision; near enough to be seen, to enjoy the peace of mind provided by the power implicit in its existence, but too far away to be smelled, too distant to impose on our comfort. It is material evidence that the American Way of Life is still very much expanding, that our morality is still dominant, still at work in the corners of life. The size of the pile—taller than the Statue of Liberty across the bay—is evidence in support of our belief in American strength and control. Fresh Kills is the literal, substantive embodiment of the consumptive-moral technologies of flexible accumulation, of a late twentieth-century, Neoliberal American economy; a testament to the fecundity of its principal metropolitan region, its most prominent image of a free-market. Trash and waste are central elements in our morality; they demonstrate our power, and allow us to sleep well.
Now how can one resist adding a bit more seductive, soporific images on top of that tenuous veil separating us from our monstrous anus.
Full details will be released on 1 January 2012, and you have until 1 July 2012 to submit your proposals.
Drylands Design seeks innovation in architecture, urban design, landscape architecture, regional planning, and infrastructure design that addresses water supply, water quality, water access, water treatment, and the water/energy nexus. Drylands Design seeks integrative proposals from multidisciplinary design teams that anticipate science and policy perspectives as necessary dimensions of intelligent design response, and exploit beauty as an instrument of resilience and adaptation.
Registration ends 15 November 2011, and entries are due 15 December 2011.
It's worth noting, meanwhile, that one of the organizers, the Arid Land Institutes, recently hosted a series of lectures that showcased contemporary design strategies for managing water scarcity in arid landscapes.
At the institute's Vimeo account, you can watch Katherine Rinne's talk on the 3,000-year history of water infrastructure and urban development in Rome (Part 1 and 2); Morna Livingston on Indian stepwells (Part 1 and 2); and Aziza Chaouni and Liat Margolis on their Out of Water project (Part 1, 2 and 3), a traveling exhibition that included the above speculative project, Sietch Nevada by Matsys.
Nan Ellin's talk hasn't been uploaded yet, but you can still read about the canalscape of Phoenix, Arizona, online.
Algae Landscape Design: How will algae production be integrated into future landscapes and eco-communities and what will they look like and how will they work?
Algae Production Systems: What are the best designs, engineering and systems for algae production to work effectively and economically on a community scale or distributed model?
Algae Food Development: What will be the next algae foods and recipes and the future uses of algae as food and feed ingredients that will transform our health and our diet?
Registration closes 11 September 2011, after which you have until 11 October 2011 to submit your entries.
No doubt you're already aware of the Animal Architecture Awards, and probably hard at work on your submission. But just in case, here's part of the brief:
Animal Architecture seeks exciting projects that engage the lives, minds and behaviors of our alternate, sometimes familiar companion species — insects, birds, mammals, fish and microorganisms — each one with unique ways of world-making. As our society re-examines its place in the global ecology Animal Architecture invites your critical and unpublished essays and projects to address how architecture can mediate and encourage multiple new ways of species learning and benefiting from each other — or as we say it here: to illustrate cospecies coshaping.
The deadline to register is 15 May 2011. Check the project's website for more information.
Meanwhile, here are the posts we've tagged with #faunaphilia since the last retrospective. Hopefully they'll provide some inspiration.
31)Fish Ladder: a new hydrological continuum for fish to bypass brackish rivers and reach their spawning grounds.
32)Walking Apiary: foreclosed houses turned into roving urban honey farms.
33)GPS Coyotes: a tour of the city in search of indigenous cyborg fauna.
The 72 Hour Urban Action — a rapid, real-time architecture competition first organized last year in Bat-Yam, Israel — is coming to Melbourne on 25-30 July 2011. And applications are now being accepted!
100 international/national architects, designers, craftspeople and artists will race the clock to design and construct exciting new public space projects in just 72 hours in a real-time design challenge aimed at transforming Melbourne’s Docklands.
Applications for the competition are now open for individuals and groups, who will work in cross-disciplinary teams of 10 over three days and three nights to construct 10 exciting urban sites throughout the Docklands area from Monday, 25 July. Landscape Urbanism 72 Hour Urban Action Melbourne teams design, build, work and sleep on site, enriching the city with a multi-cultural and multi-disciplinary experience. The competition offers an innovative platform that encourages rapid change through human initiative and creativity.
There's a two-tiered registration deadline. For the early bird, send your application by 2 May 2011. Everyone else has until 31 May 2011 to file theirs.
First prize is worth $20,000.00AUD.
Meanwhile, original event co-organizer Kerem Halbrecht is on a lecture tour of the United States this month presenting his organization's innovative platform for rapid urban change. He'll be speaking tonight at the Rebar Group in San Francisco, and tomorrow at Materials & Applications in Los Angeles.
Also, if you're still interested in which direction we think this event should go in the future, check out our idea for 72 Hour Urban Action in Venice. But you could just substitute Venice with any city with an architecture biennale (or without).
Which is one of the many ideas you can submit to the Chicago Architectural Club's annual Burnham Prize Competition.
This year's competition, McCormick Place REDUX, is “intended to examine the controversial origins and questionable future of the McCormick Place East Building, the 1971 modernist convention hall designed by Gene Summers of C.F. Murphy Associates and sited along the lakefront in Burnham Park.”
Built on parkland meant to be “forever open, clear, and free”, considered an eyesore by open space advocates, and suffering from benign neglect at the hands of its owners, the Metropolitan Pier and Exposition Authority, Gene Summer’s design for McCormick Place East is nevertheless a powerfully elegant exploration of some of modernism’s deepest concerns. The current building’s predecessor generated withering criticism from civic groups so when it burned in 1967 its critics mobilized. The raw economic power of the convention business served to hasten rebuilding atop the ruins. But while Shaw’s previous building lacked any architectural merit, Gene Summers brought to the new project his years of experience at Mies van der Rohe’s side. The resulting building is a tour de force that succinctly caps the modernist dream of vast heroic column-free interior spaces.
[...]
The “McCormick Place REDUX” competition seeks to launch a debate about the future of this significant piece of architecture, this lakefront site that was effectively removed from the public realm, and the powerful pull of a collective and public claim on the lakefront. This iconic building is caught in the crossfire of a strong, principled, and stirring debate. So the question posed by the competition is quite simple: what would you do with this massive facility? What alternate role might the building play in Chicago should it be decommissioned as a convention hall? And if the building were to go away, how might the site be utilized? What might you do with a million square feet of space on Chicago’s lakefront (along with 4,200 seat Arie Crown theatre)?
Will you, as Chicago Tribune's architecture critic Blair Kamin suggested, propose to tear the entire building down and restitch the lakefront's splintered parkland?
Despite one of its member's aversion to ideas competitions, it would be awesome to see an entry from the FAT gang.
You have until 4 April 2011 to send in your proposals.
Proposed by John S. Wright in 1849, the system was envisioned twenty years later when the State Legislature established the South, West, and Lincoln Park Commissions. Also referred as the “Emerald Necklace” since the 1893 World Columbian Exposition, it is composed by a series of streets and parks, some of them designed by Frederick Law Olmsted and William Le Baron Jenney. After the mid-twentieth century, the lack of proper funding, the split of management of the system as a whole (parks would be managed separately from the streets) and the migration of residents to the suburbs were some of the circumstances that accelerated the deterioration of the system. While portions of it, such as the Logan Square Boulevards District (an official city landmark district since 2005) still maintain the original character, other parts have just become underutilized areas and oversized streets that act as barriers within neighborhoods.
That is where we are now and this competition asks you to envision where we can be in the near future. These are some of the questions that we are asking ourselves and we want you to think about in your proposal: What if the system becomes a new transportation corridor in the city? What type of transportation would that be? What if the open space becomes an active layer and not just a passive one? What if this system provides activities that the city as a whole is lacking? What if the system becomes a tool for social cohesion? What if the system has a strong visual identity? What if it becomes an economic catalyst for the neighborhoods? What if the system is all of this and more?
Participants are asked to look at the urban scale and propose a framework for the entire boulevard system as well as provide answers and visualize the interventions at a smaller scale that can directly impact its potential users. Through images, diagrams and drawings we want to know what are those soft or hard, big or small, temporary or permanent interventions that can reactivate and reset the Boulevard System of Chicago.
Submission deadline is Monday, February 21, 2011.
Hopefully by predicting that we'll be seeing entries proposing the ubiquitous urban farm and alternative energy generating field, we won't actually be seeing too many of those.
For this DIY pow-wow, organizers invite ten teams of architects, students, designers, artists and craftspeople who will be tasked “to respond to community needs and wants in relations to its public spaces.” Each team will be given up to $2,500 for materials, room and board, a central work space and a truck for transport. Engineers will also be on hand for construction and safety consultations. Starting on September 25, 2010, the launch date of the biennale, the teams will have three days and three nights to design and build their projects, some of which will be chosen to remain on site permanently. There's also a money prize worth $3,800 for the top project.
The deadline for registration is August 8, 2010. That's only a few days away, so if you're interested, you'll have to hustle.
Meanwhile, perhaps the entire Venice Architecture Biennale in 2012 could be turned into a massive 72 Hour Urban Action festival. Instead of installing also-rans from the previous year's Art Biennale or taking the pickings from an august atelier's dusty model museums or asking Zaha Hadid to make another sofa, the architecture world's elite and bright young tykes are flown in, given a slightly plumper budget and then let loose in Venice and the surrounding salt marshes, with some perhaps venturing inland to the industrial landscapes of Veneto.
Just as at Bat-Yam, they have 3 days (could be longer) to design and build a project that meets a local social need or improves the urban experience. Biennale groupies can watch the teams while they work and then play around in/with the completed spatial interventions. They might even be asked to lend an extra pair of helping hands to hammer a few nails, to the horrors of biennale lawyers and insurance people. And in case you're wondering, the teams will be housed, fed and given working spaces at the Arsenale or in their country's pavilion.
Also like at Bat-Yam, some of the projects will be allowed to remain permanently. Every couple of years, new projects are plugged-in to the built environment, perhaps even to an earlier intervention. In this way, Venice and its environs are continually reshaped and renewed.
After countless biennales, we might have two Venices. There's La Serenissima, flooded and crumbling. Above it is the newer Venice built out of all the accumulated projects. This encrustation of ad hoc interventions is where the indigenous Venetians live and work, where the tourists buy their souvenirs after venturing down to the ancient city below.
Still need something to do this summer? How about revisiting some of your much cherished childhood (or yesterday's) dreamscapes of a fantastical lunar city and then propping it (or not) with a bit of scientific credibility for SHIFTboston's Moon Capital competition.
When considering the moon destination, competitors are welcome to explore any concept, however, we recommend the submission address one of the following criteria:
PROTECTION The moon has no atmosphere. Envision shielding to protect the habitat from radiation, space debris, and temperature extremes.
MICRO-GRAVITY How would life and industry be in 1/6g?
FOOD A self-sustaining community that incorporates agriculture and food production.
ENERGY How would we harness or generate enough energy to run an entire community?
WATER production, purification and recycling.
How about a moon CULTURE?
How about a moon TRANSPORTATION?
This might be just the perfect opportunity for you to team up with those civil engineering students on the other side of campus to help you better understand constructing on indigenous soil material. If you're thinking of designing a lunar food system, surely you would want to exploit the expertise of a lunar farmer. Are you wondering if the entire moon could be turned into a giganticbattery? No doubt our readers already know who to consult first.
In any case, it's probably no different from designing for extreme environments here on earth, or a second Phoenix in a much harsher desert. Perhaps it's better to conceptualize your city as a company mining town, after all an independent moon would be more likely be supported by an exo-natural resource-based economy than tourism or scientific research, right?
Access to Trestles, one of North America’s most celebrated waves, is under threat due to safety and environmental concerns. Currently, over 100,000 people each year follow informal trails through wetlands and over active train tracks to gain access to the surf breaks at Trestles. These impromptu manmade paths present a safety hazard with passing trains and threaten the fragile ecosystem of Trestles.
In response, a coalition of concerned groups organized by the volunteer non-profit organization Architecture for Humanity, are launching Safe Trestles, an open-to-all, two-stage design competition to create a safe pathway to serve surfers, the local coastal community and day visitors to San Onofre State Beach. This coalition is looking for cohesive designs that eliminate the danger of crossing active train tracks, help to restore wetlands that have been damaged by the present path, preserve and improve vistas, and offer education about the history of the site and the beach marsh environment. The new path should ensure continued access to the resources by all members of our community and adhere to Americans with Disabilities Act (ADA) standards.
While placing no limitations on the originality or imaginativeness of design ideas, we are looking for tangible low-impact solutions that can actually be built at a future date. Ideally, the winning entry will be sensitive to the remote and undisturbed nature of the area—providing safe access without compromising the pristine environment and views of this rare example of natural Southern California coast.
The deadline for registration and submission is April 17, 2010.
Once you've fully reviewed the project brief and guidelines, check out the comment section where there is an interesting discussion about the need for such a competition. One commenter appears to be arguing that since a self-perceived element of hazard is an important part of the landscape's character, a designed access path “will just take the adventure away and whole surfing experience.” The landscape is sublime, and making it “safer” would betray this supposedly inherent nature.
Setting aside the question of just how one goes about determining the “true” nature of landscapes (there's no such thing, if you were wondering), is there a design solution that will give you the best of both worlds: sublimity and ADA approval? Where is that balance? Does one even have to strive for balance, aiming instead for a strategy that's unequal parts feral wilderness and bureaucratic restrictions?
Perhaps we're bringing our own baggage to the discussion but territoriality seems to be bubbling just below the surface of the comments critical of the competition. Reading between the lines, we suspect that inaccessibility is being seen as a filter separating those who don't mind and indeed can navigate the dangers of passing trains (e.g., surfers) from the public at large. The former have proprietary use over this beach while the latter are interlopers. A safer route would presumably bring the wrong kinds of users, the “rude people” (non-surfers?) who “go off the paths” and “will bring trash.” If you're on a wheelchair or intimidated by informal trails or a non-surfer, this landscape just isn't for you. But should it remain “closed” to you? Should (and could) this space be made a bit more egalitarian?
In any case, we're very excited about this competition, and can't wait to see all the submissions, not just the finalists.
Here's another competition, and it's organized by the Chicago Architectural Club. The site is the Chicago Spire hole.
The Chicago Architectural Club is pleased to announce the 2010 Chicago Prize Competition: MINE THE GAP, a single-stage international design ideas competition dedicated to examining one of the most visible scars left after the collapse of the real estate market in Chicago: the massive hole along the Lake Michigan shore that was to have been—and may yet be—the foundation for a singular 150-story condominium tower designed by an internationally-renowned Spanish architect, a tower which was to have become a new icon for the city and region. What to do with the gap? Whether or not the project is resuscitated, what else can we do with this strategic and highly-charged site? Once the motor of real-estate speculation has stalled, what can we use to propel ourselves, and the discipline, forward?
The goal of the competition is to design and construct Land Art / Environmental Art installations that have the added benefit of large scale clean energy generation. Each sculpture will continuously distribute clean energy into the electrical grid with each land art sculpture having the potential to provide power to thousands of homes.
Note that this is foremost an art competition, meaning “the installations are art first, power plants second. There may need to be sacrifices to be made in terms of efficiency of energy generation in order that the design function primarily on a conceptual and aesthetic level. The objective is not to design and engineer a device that provides the cheapest KWh or the most energy per square meter of land.”
Coinciding with the next issue (#18) of Kerb, the annual landscape architecture journal edited by students at RMIT, Melbourne, is their first ever international design competition, PlastiCity FantastiCity. The competition brief sounds wildly open ended, which could frustrate some but hopefully will only foster astonishing visions of the future city.
Imagine the limitless world of a child. Creative boundaries have not yet been conceived, limits not yet understood. We want to see your city in all its wildness. A child can compose a world of immeasurable fantasy and pleasure yet the regulations that we currently adhere to have diminished our ability to make this our reality.
What if when you take a lunch break, parks literally broke from the earth, airlifted above the clouds escaping into the sunlight, landing within the hour leaving you at peace with the world?
PlastiCity FantastiCity is remodeling the constructed city at any chosen scale to become a world of playful opportunity, where nothing that manifests itself in today's cities is present. This ideas competition seeks a multidisciplinary approach to discover new potentials and possibilities within the world and in particular for the Landscape Architecture profession.
The registration deadline is December 18, 2009, and the submission deadline for panels is January 18, 2010.
Winners will receive cash prizes in addition to page spreads in Kerb 18.
There are still two weeks left in this year's International Garden Festival at the Jardin de Métis/Reford Gardens in Quebec, but organizers have already sent out the call for proposals for next year's festival.
Since time immemorial mankind has re-imagined the idea of paradise on earth through the garden and has imagined places of great beauty. These places, by evoking our senses, have pulled us out of our everyday world to experience the sublime.
What does paradise look like today?
By reading paradise in different directions (not only the religious one), designers are invited to frame the theme by using, for example, the notion of the landscape or garden as a metaphor and framework to support a story or myth, whether religious or not. Another direction to explore would be to frame paradise within the technical or pragmatic imperative to recover the world in its primeval state prior to the destructive forces that are perceived to be undermining the environment; the notion of the lost state of “nature” as a kind of environmental and technical ideal. It would also be interesting to explore the notion of Utopia, bringing the metaphoric ideas of paradise within the realm of the real.
Building on emerging practices in landscape architecture, we ask you to imagine your garden of paradise; a creation that will speak to the history of gardening, to philosophy, to religion and to history in general, as well as to contemporary society and to your own personal history. This contemporary garden should be considered as an exploration, an experimentation and a strong expression of community. It will be a complex landscape, living and responding to the human condition, a composition of natural and artificial elements that will give meaning to everyday life. Proposed projects must demonstrate through the use of new practices the role that landscape architecture may be expected to play in our current historical and social context.
The deadline is November 6, 2009. If selected, you will be given a budget of C$25,000 to develop and construct your installation.
Columbia: A Journal of Literature and Art is challenging artists to design a universal warning sign that will deter our many-times-great-grandchildren from entering a nuclear waste dump site.
How do you create a warning system to prevent an accidental unearthing of 200 million pounds of radioactive nuclear waste? A simple sign, some chain link and a military post, might work today. But what about 10,000 years from now? In 2002 the U.S. Department of Energy brought together engineers, archaeologists, anthropologists and linguists and asked them this question. What type of warning system can be put in place so people, 370 generations from now, won’t open the glowing door?
What they came up with is hardly inspiring: a large earthen mound with a salt core and two identical Dr. Strangelove-esque control rooms with a warning message written in the six official languages of the U.N. and Navajo. Construction of this Waste Isolation Pilot Plant is scheduled to begin in less than three years.
What if an artist designed the system?
Of course, “architects, cartoonists, computer engineers, graphic designers and scientists” can also submit proposals.
There was a similar competition held years ago. The project site was the (now cancelled) nuclear waste depository at Yucca Mountain. Of the proposals, we wrote that none of them will keep people away.
What should be done in the intervening thousands of year is to develop an anti-radiation pill or the fast-acting anti-tumor pill, so that with these miraculous medical breakthroughs, future travelers will go on so-called radiation tours.
As you walk through the excavated labyrinth of Yucca Mountain, you become listless, nauseous. Going deeper and deeper into the caverns — damp, mildewed surfaces; stale air; pyramids of light falling heavily on your weakening body — you begin to have what will become the worst migraine of your life.
Others in your group had taken a different path and are now suffering from beta burns. Still others, on a different scenic route, are vomiting every few steps, their nose bleeding.
But obviously, all is well; you've taken the pills. Radiation poisoning is as safe as a Disney ride or a stroll through the park.
At the moment, there are no project sites, no deadlines, no jury and no sponsors to announce, let alone what coming in first place will mean, either receiving a cash prize or a commission or both. But if and when the logistics are properly set up, Land Art Generator Initiative could be a fascinating competition to follow.
From the project statement, emphasis theirs:
The goal of the Land Art Generator Initiative (LAGI) is to design and construct Land Art / Environmental Art installations in the United Arab Emirates that have the added benefit of large scale clean energy generation. Each sculpture will continuously distribute clean energy into the electrical grid with each land art sculpture having the potential to provide power to up to 50,000 homes in the UAE.
We don't know if our readers are as interested in coastlines as we are, but we do want to point out a new competition to generate ideas for a near-future San Francisco and environs inundated by sea level rise caused by climate change and with a population perhaps too unwilling to be displaced.
To grapple with the realities of sea level rise, a new suite of shoreline design concepts is needed. The Rising Tides ideas competition seeks responses to various design challenges, such as: How do we build in an area that is dry now, but that may be wet in the future? How do we retrofit existing shoreline infrastructure such as shipping ports, highways, airports, power plants and wastewater treatment plants? Can we imagine a different shoreline configuration or settlement pattern that allows temporary inundation from extreme storm events? And how do we provide flood protection inland of marshes without drowning the wetland when the water rises?
We're hoping not to see stilts and barges, because there are just too many of those littering other ideas competitions. How about more of this and less of this? But then again, we'll be eating everything up — any and all ideas — with sustained glee: monstrous Army Corps megaengineering; the Golden Gate Dam; stilt forests; mobile sewers; genetically modified water sucking post-arboreals; SpongeOakland; San Francisco, Utah; bay-to-river-to-rivulets land reclamation; Climate Refugee ID cards for an odd/even year system of temporary displacement; walking houses; container wetlands as wildlife preserves and wastewater treatment plants; The Super Awesome Supersurface of Super Awesomeness.
