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Public art contest held for Kiev office complex

Kiev
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The IQ Business Centre in Kiev has announced an international design competition for a new public art work

The contest seeks ‘creative ideas’ to enhance the landscape surrounding the 46,560m² IQ Business Centre which opened in the Ukrainian capital’s Pechersk district three years ago.

The winning scheme will be erected close to the 19-storey office complex, designed by locally-based Pashenko Architectural Bureau, which features a rooftop helipad (pictured).

According to the brief: ‘Meeting the requirements of technological, environmental and sustainable development principles, the IQ Business Centre is the first intelligent Class A + office scheme in Ukraine.

‘The IQ Public Art contest will include a selection process and several stages of discussion to determine the best project to be further implemented. Future work should be connected to the urban and architectural context so it interacts with the main ideas positioned by IQ Business Centre.’

Since Ukraine’s independence in 1991, Kiev has witnessed a surge of growth in its finance and service industries with new hotels, restaurants and office buildings opening.

The city was rocked by the Euromaidan protests two years ago, when protesters occcupied many government buildings, 15,000 people were injured and nearly 100 killed. The city has since recovered, but the country is still witnessing armed conflict in the Donbass region

The leafy Pechersk area, on the west bank of the river Dnipro, is one of Kiev’s most prestigious neighbourhoods. The IQ Business Centre occupies a prominent corner plot on Bolsunovskaya Street close to the city’s Motherland Monument. The building features a rooftop helipad, swimming pool, conference hall, fitness centre, retail units and lobby designed by Swanke Hayden Connell.

The winning scheme will be erected on a small hill just north of the complex and above its 229-capacity subterranean car park.

The contest is open to everyone and applications should include a biography, short description of the proposal, a site plan and visualisations. Judges include Kiev deputy chief architect Anna Bondar, Andrew Pashenko of Pashenko Architectural Bureau and London-based artist Clemens Poole.

The winner, set to be announced on 1 February, will receive around £2,500 and see their project delivered by next year.

The registration deadline is 10 December and submissions must be completed by 15 December.

How to apply

Visit the competition website for more information

Contact details

Olesia Nazarenko
IQ Business Centre
13-15 Bolsunovska St.
Kiev
UKRAINE

Tel: +38 097 437 94 03
Email: nazarenko@iqbc.ua

 

Q&A: Clemens Poole, artist and contest judge

What role do you see the art work and IQ Business Centre playing in Kiev’s wider renaissance?

The role of the artwork depends greatly on the projects selected—we should let the work have its own voice. It could be argued that the initiative, however, exists in a context with relatively little precedent, and therefore has potential to influence how the world sees these types of competitions in a Ukrainian context.

What sort of architects are you hoping will apply?

The opportunity is open to any who feel their vision is applicable to this context. While extensive experience is not a prerequisite, it is important that those applying have demonstrated commitment and integrity in their work. For this initiative to have a broader social reach it requires a contextual sensitivity and a durable vision.

Which other public art works in business developments have you been impressed by?

When an artist (and by extension, a patron) puts something out into the public sphere, they make an admirable gamble with the fate of their project. An art work in public is given a chance to live a social life, one in which the work itself is susceptible to change. For this reason I am greatly attracted to the ArcelorMittal Orbit in London by Anish Kapoor and Cecil Balmond. The Orbit is fascinating because of the public’s relationship to it, and power over it, expressed through the Memorial in Exile initiative. I believe that public art works should be imagined as dynamic entities, and their power is vested in their mutable capabilities for addressing the needs of the public and society.

 

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