The Moran Museum of Art has announced a design competition for a $10,000 USD architectural folly near Namyangju in South Korea (Deadline: 8 August)
Open to all artists, the contest seeks proposals for an interactive, weather resistant and environmentally-friendly structure which can be constructed in the gallery’s sculpture garden.
The winning scheme will be permanently installed alongside other artworks displayed in the gallery’s 28,380m² open air exhibition space.
According to the brief: ‘The theme of the MORAN FOLLY 2016 is “peaceful Dynamics”.
‘We are looking forward to a great art piece that emanates energy in its geographical specialty tranquillity and silence.’
The high-profile free-to-enter museum is located within woodland close to suburban Namyangju on the eastern periphery of Seoul.
The gallery – which focuses on Korean and international contemporary art – features a 947㎡ exhibition space, four laboratories and seminar rooms.
Nearby attractions include the Namyangju Organic Museum which opened five years ago as the world’s first museum of organic agriculture and hosts the oldest rice seeds on the planet.
Participating teams must feature no more than three members with one member named as the main representative. Submissions should include two A3 boards with drawings and 3D models.
The jury – which has yet to be fully announced – will be chaired by Spanish composer and musician Anton Garcia-Abril. Ten finalist proposals will be exhibited inside the museum later this year.
The winning team – set to be announced 16 August – will receive $10,000 to realise its design which must complete in time for a grand opening ceremony in October.
Participating artists are responsible for other expenses, such as flights, accommodation and any external design or exhibition costs.
How to apply
The deadline for submissions is 8 Aug 11:59 PM (JST)
Moran Museum of Art
Tel: +82 (0) 31-594-8001~2
Fax: +82 (0) 31-594-6335
Myriad case study: Q&A with David Rickard and Germano Di Chello
The founders of CORD discuss lessons learned designing a competition-winning folly for Snape Maltings in Suffolk, England
How did your competition-winning Myriad project respond to its unique context and client’s requirements?
Myriad was designed in response to the brief for a sculpture that ‘offers a vantage point across the marshes at Snape and a new view over this flat and beautiful landscape.’ The brief also included a requirement that the sculpture paid close attention to the Equality Act 2010. Therefore, we decided early on to develop a sculpture that reflects high-level views of the surrounding landscape down to earth so the vantage point is equally accessible to all.
We wanted to create a sculpture that placed the spectacular surroundings of Snape Maltings centre stage. By incorporating an array of mirrored surfaces, we found that we could create a dynamic multi-perspective collage that constantly shifts in relation to the visitors’ movement around and within the sculpture.
Snape Maltings in Suffolk, England
Which material, structural and design techniques are available to architects seeking to achieve a similarly impressive outcome?
As a studio, we believe strongly in the power of collaboration. In the case of Myriad, we were fortunate to work with structural engineers Price & Myers, who have a wealth of experience designing innovative structures. Within our initial concept we had considered the dual role of the angled mirrors, which reflect views down to visitors and also provide cross bracing. Then at a later stage, structural analysis modelling was used to determine the optimum element sizes of the structure, and check globally for strength and vibration.
Snape Maltings in Suffolk, England
How would you set about designing a folly for a park setting such as required by the Moran Museum of Art in Korea?
Research is the first priority for us. We would spend time learning about the Moran Museum of Art, and the context of the work culturally and physically. With this information, we would begin regular pin-ups within the studio to test and debate initial concepts. Once the concepts for the work have been determined, it’s then a matter of constantly refining and clarifying the design in response to them.
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