How to Win an Architectural Competition Winning is easier said than done, right? The next few lines will give you a checklist to follow that will guarantee you come out on top. As originality cannot conform to a set of guidelines, the quest for uniqueness when considering the international aspect of a comp co mpet etit itio ion n ma may y se seem em a da daunt untin ing g ta task sk how howev ever er,, if yo you u wa want nt to ma maxi ximi mise se th the e effectiveness of your entry, it’s est to take a few pointers from entries which have! actually won. 1. Select the right competition for you "imply, don’t e the guy who is interested in the parametric design and coding, and then th en yo you u go fo forr an ur ura an n de desi sign gn co comp mpet etit itio ion, n, th this is is a co comp mplet lete e di diff ffer eren entt fi fiel eld# d# $oreover, if you are a college student, then %ideas& competitions would fit you more than competitions that have a legitimate end product. Whether the competition shall result in construction or whether it 'ust calls for ideas will have a ig influence on your entry. While civil codes and attention to the cityscape will e of great importance for actual construction, idea competitions will allow for more outrageous designs. 2. Follow the brief, and exceed it (nce you have chosen which competition is right for you then go ahead and analyse the rief meticulously ensuring that each statement is tackled in your design and then taken further. )ive the 'udges what they want and more. *esearch into the organi+ers of the competition will help inform you further on what they’re really after as well as their approach in design however a derivative of any previous commissions should e avoide avo ided. d. *em *emem emer er,, the intent of a com compet petiti ition on is alw always ays to sin single gle out that one innovative yet functional design. . Form that Function! $any designers would proaly overlook this point if the focus is directed solely on the aesthetics of the entry. -ou have to very well understand the function of your intended uilding and how the spaces perform est. $any other factors like pulic interaction with the uilding, landscaping solutions and asic design in terms of materials, spaces, circulation and structure should not e an afterthought. ". #e!ign Chari!ma
This is ovious, what looks good is good. nsure your design has a charismatic flair, something that sets you out from everyone else. /arge pulic commissions often seek audacious concepts, with the knowledge that later refinements will ensure the pro'ect can e grounded in reality. *elating to the purpose of your intended uilding and finding a way to manipulate it into something communicative and attractive will ensure that your concept will e appreciated y the 'udges as well as the pulic. A classic example is the "ydney (pera 0ouse. 12rn 3t+on was a young and relatively unknown architect efore his proposal eat 454 other entrants for the 'o. ero "aarinen, one of the 'urors declared the design to e outstanding, an icon of creativity in oth architecture and engineering. $. %xternal %ye i! important The process of putting together a competition entry is intense, especially when considering the timeframe allowed. The end product and how it is perceived must e as clear to a new eye, as it is to the designer working constantly on it. 6y having a guest critic, with no association to the pro'ect, giving a feedack on the content may provide new perspectives that will enefit the entire work. &. 're!entation i! the (ey 7f all other points listed are followed, an eye catching presentation will ensure you succeed and stand out from the other hundreds of entries. 6e direct and straight to the point, use clear and attractive imaging that explains your concept and design thoroughly and quick. 8or 'udges faced with hundreds of entries, contextual images are always advantageous, while flashy images used solely for the sake of aesthetics may e considered inessential. ). What will you get out of thi!* The deate over whether architectural competitions are eneficial to architects or not is ongoing, however despite this, there is no arguing that win or no win you will always get something out of the experience including a wonderful addition to your portfolio that will surely attract prospective clients. 9ompetitions allow for freedom of thoughts, while giving the opportunity to focus skill sets often on urgent social and cultural issues making example of your creative and versatile amition. +e!!on! from Competition! Winner : ; 9algary
There were 5= sumissions to this particular competition from around the gloe. World renowned "nohetta and >ialog ended up winning, and yes the high profile company did take the gold, however a few other smaller firms including @$6 and 6@>7 *ex and )roup 4 were also part of the four shortlisted entries.
9algary’s 87<7T7(< of the concept of a lirary, which in this digital era was deemed a defining factor to alter people’s perception of liraries aout their irrelevance nowadays. Also, when having a look at the designs, no one can argue its direct aesthetic appeal.
9algary’s 77> Architectes and @H+IpJletterve+K LMrtkHrNen $NkHdK *Is+vInytMrsasMg.
0ouse of 0ungarian $usic; "ou 8u'imoto ArchitectsD 7mage 9ourtesy "ou 8u'imoto Architects
8otomu+eum 6udapest and the 0ungarian $useum of Architecture; @H+IpJletterve+K LMrtkHrNen $NkHdK *Is+vInytMrsasMg The 'ury of 5O experts evaluated the entries on their architectural quality and functional planning giving ma'or importance to the uilding’s sustainaility, contextual dialogue and cost of implementation. @ey consideration was given to uilding plans that spared as much as possile the green park surface.
$useum of thnograp hy; Gallet de $artinis >77> Architectes ; 7mage 9ourtesy of >77> Architectes +e!!on! learnt Analyse the rief meticulously ensuring that each statement is tackled in your design and taken further. )ive the 'udges what they want and more. *esearch into the organisers would help in this aspect, as it will inform you further on what they’re really after as well as their approach in design. Winner - 0ew St. 'eter!burg 'ier Competition A winning pro'ect might not e viewed equally y everyone. The competition for the "t. etersurg ier in 8lorida originally took place in 4F:4, however the winning entry PThe /ens’, y /os Angeles firm $ichael $alt+an Architecture in collaoration with landscape architects Tom /eader "tudio, was so negatively received y the pulic that the whole process was started over. The core argument against PThe /ens’ was the preservation of the signature 7nverted yramid design uilt ack in :QR5. ight finalists have now een presented to the pulic.
S*ogers artnersS@"/A +e!!on! learnt To avoid any situations like that experienced with PThe /ens’ pro'ect, get feedack and critique on your work efore sumission from third parties. This will ensure that your pro'ect is appealing to the masses. The underlying concept for all eight finalists whether taken from the form of the inverted pyramid in a literal sense, was creating a relationship etween nature, the past and present in a sustainale manner. With complex designs such as those presented, it’s always a good idea to present clearly, the functional layout as well as a feasile structural design. Winner " - eolo 21" S(y!craper Competition 7f oundaries are not something you desire, then idea competitions are for you. The eGolo maga+ine annual skyscraper competition calls for outstanding ideas for vertical living using innovative means. 8irst place was awarded to -ong 1u /ee for his pro'ect PGernacular Gersatility’ which reinterprets traditional @orean architecture in a contemporary mixedDuse high rise. The limits for imagination are inexistent runner ups to the competition include skyscrapers that investigate the structural use of caron
dioxide that filter the air of polluted cities and a 5> printed tower in the desert, amongst other innovative pro'ects.
4F: eGolo $aga+ine "kyscraper 9ompetition Winner ; 7mage 9ourtesy of eGolo.us +e!!on! learnt from -ong 1u /ee, we learn that innovation also translates into transforming traditional materials and ideologies. There really should e no limit to creativity in such competitions, and with the wide variety out there, the possiilities for continuous learning and skill improvement are infinite. Winner $ - 3uggenheim Hel!in(i Competition
)0D:4:5R:5; )uggenheim 0elsinki >esign 9ompetition 8inalist U9ourtesy www.designguggenheimhelsinki.orgV (ne thing is for certain the competition for the )uggenheim museum put architectural competition in the limelight. The :,R:E anonymous entries made availale to the pulic highlighted the fact that a flashy and out there design does not guarantee you success. The four finalists chosen were handpicked for their sensitivity towards the surroundings. +e!!on! learnt whether the competition shall result in construction or whether it 'ust calls for ideas will have a ig influence on your entry. While civil codes and attention to the cityscape will e of great importance for actual construction, idea competitions will allow for more outrageous designs. The uran faric, access and overall vision must all play a role and it really is irrelevant to create a standalone structure.
To e a winner you have to think like one, however winning doesn’t necessarily mean you need to come first. $ore often than not, entries that receive honourale mention, placing second and even third, receive great pulicity and praise, while those not as fortunate still get something out of the whole experience, including a wonderful portfolio addition.
)0DEO5:O=:RRF; )uggenheim 0elsinki >esign 9ompetition 8inalist U9ourtesy www.designguggenheimhelsinki.orgV
)0DEO5:O=:RRF; )uggenheim 0elsinki >esign 9ompetition 8inalist U9ourtesy www.designguggenheimhelsinki.orgV
