February 14, 1997
Arthur Amiotte
Paul Andrew Hutton
A. Gay Kingman
Richard K. Pohl
Kevin Red Star
Carol Redcherries
Dennis Sun Rhodes
Robert Burley, FAIA
Parmly Billings Library
Billings, Montana
February 9 to 14, 1997
The jury worked diligently over a five and one-half day period, with all members present at all work sessions. Total anonymity was preserved during the entire judging process, using numbers only to identify entries. While the Jury represented a broad range of viewpoints, all of those viewpoints were properly recognized and respected by the other jurors.
Voting was by written ballots, with the majority vote carrying in each case. Jurors' names were not attached to the ballots. The voting process was designed to narrow down the number of entries being considered for each "cut." In one case where two entries were close, further discussion was encouraged and a repeat vote produced a clear majority. The First Place Award received a substantial majority.
FIRST PLACE: Entry No. 949, John R. Collins; Alison Towers,
Philadelphia, PA
SECOND PLACE: Entry No. 914, Richard Alan Borkovetz, Albuquerque, NM
THIRD PLACE: Entry No. 402, Robert Lundgren, Philadelphia, PA
SIX HONORABLE MENTIONS (not in order of merit):
Entry No. 435, Design Team led by Herb Fricke, Portland, OR
Entry No. 567, Peter Kindel, Chicago, IL
Entry No. 601, University of Oregon Design Team, led by John S.
Reynolds
Entry No. 633, Mark L. Goodman, North Miami Beach, FL
Entry No. 830, Michael Stewart, Crow Agency, MT
Entry No. 843, John Buenz, Chicago, IL
FIRST PLACE, entry number 949, by John R. Collins and Alison J. Towers.
DESCRIPTION: A six to eight foot high earth berm surrounds a circular gathering place. Narrow entranceways cut through the berm from the east and west and a broad platform opens the berm to the north. Along the outer edge of this platform, "large scale bronze ethereal tracings of Sioux, Cheyenne and Arapaho warriors" are silhouetted against the Great Plains sky. A visual slot, or "spirit gate" is on axis between the center of the circle and the 7th Cavalry Monument. Two 32' wooden posts straddle this gate. The native stone vertical inner face of the berm displays selected texts, artifacts, offerings and pictographs to serve as a living memorial.
JURY COMMENTS: The placement and scale of this entry are very fitting and appropriate. The designer has worked very carefully to screen the ceremonial area from the view of the 7th Cavalry Monument. The skyline, the height of the masts, and the view back through the crevice to the Cavalry Monument are all particularly meaningful.
This entry succeeds to a high degree in meeting the multiple goals of the competition. While the earth berm blends with the original landscape and is unobtrusive as seen from the 7th Cavalry Monument, the two poles with pennants give the Memorial a presence when viewed from a great distance, and almost any direction. The poles command attention, without overpowering the existing monument.
Visitors will be unaware of the platform and the horsemen until they discover the inner circle and the opening to the north. A strong feature of this design is that once you are within the circle, the berm obscures the 7th Cavalry Monument to the south and attention is drawn to the bronze figure tracings and the information contained on the vertical walls. The designer envisions these walls as containing educational and commemorative materials; the Jury encourages the use of low-relief sculpture and the warriors' names as well.
The symbolism of the Indian Mounds is timeless and appropriate. This memorial design will have international appeal; it has meaning for everyone. The construction appears straightforward; it is very buildable.
As the development of this design continues, the Jury felt that the inner circle might be extended to accommodate a larger gathering. The scheme seems to have the capacity to do that. For example, the bronze figures might be moved outward somewhat to create more space. The berm slopes should be less steep and considered part of the surrounding landscape.
SECOND PLACE, entry number 914, by Richard Alan Borkovetz.
DESCRIPTION: Stainless steel poles suggest an abstract tipi form. The poles are free-standing, cantilevering from the ground; and rather than crossing at the peak, the poles bend outward just before intersecting. The upper portions of the hollow tubes have openings that will produce flute sounds in the prairie wind.
The tipi is set on a circular base that lies a few feet below the earth plane. The ceremonial circle within the tipi form is a pictorial spiral of stone that records significant events each year and ends at the tipi's east entrance. Beyond the perimeter is a larger circle of story stones that slope inwards towards the tipi and illustrate the history of the plains Indians by means of pictographs and text.
JURY COMMENTS: The monument must show respect for those who died; this design speaks to that. It gives pride to the Indian people. It creates a good gathering place for people to celebrate and honor the participants in the battle.
The stainless steel poles will reflect differently as the sky, landscape, and light change. The Jury was enamored by the windsong theme and the sculptural quality of the form. While this design has a twenty-foot high presence, the structure is so light that it provides a respectful contrast to the 7th Cavalry Monument. It seems to echo the tipis of the past.
Giving expression to the wind is appropriate; it is the female wind that carries the souls of warriors to heaven. The stone spiral and sloping circle provide ample space for illustrations, inscriptions, and narratives. Because of the transparency of the structure, an audience could expand beyond the ceremonial circle itself.
In all cases the Jury was concerned about the fragility of the memorial site and emphasized the need for outer walkways. Provision needs to be made for larger annual gatherings.
This structure would require a substantial amount of technical engineering assistance to keep the "pure state" of the form. Together with the musical element, this design could produce a lot of excitement.
THIRD PLACE, entry number 402, by Robert Lundgren.
DESCRIPTION: Three incomplete stone arches, or plinths, thrust 35 to 40 feet upwards, and towards the center of the Memorial. These plinths symbolize the three tribes that took part in the battle. They rise from a very irregular ring of stones ranging from a few feet to six or eight feet in height. Under the arches is stone paving in the shape of a Buffalo hide and with a victory symbol at its center.
The stones surrounding the "council ring" tell stories--images related to Indian life and heritage. The entrance to the monument faces east, opening to the morning sky.
JURY COMMENTS: The fact that the arches never meet leaves something to the imagination. The forms try to reach further--to the sky--giving the sense of skydome. The forms are reminiscent of natural stone spires found in the Black Hills and along the Missouri River, and the natural stone works well with the site.
While the circle of stones is contained within the designated site, the design is sufficiently open that a larger gathering of people could still participate. This space might even be covered with a canopy for special events. The assemblage of stones around the circle offer ample opportunity for stories, offerings, and educational information. The texts in French and English reflect the international significance of this place.
The three spires not only symbolize the three nations, but also symbolize the basic structure of a tipi, the tripod.
The Jury felt that the victory symbol at the center could easily be a sculptural piece. Jury concern was expressed that the stone arches are technically feasible, but would require concealed reinforcing that would make them less than honest. Shorter plinths might be equally effective, but more workable.
The tapering stone forms echo the Custer Monument. The two memorials could work together; they would be compatible.
HONORABLE MENTIONS:
Entry number 435, by Herb Fricke, et. al.
DESCRIPTION: A 52 foot circle is surrounded by a wall that gains in height towards the south, the direction of the 7th Cavalry Monument. The NE and NW quadrants of this wall offer sculptured figures and inscriptions. Granite plaques in stepped pyramid granite blocks contain the names of the warriors who died in the battle.
The SE and SW quadrants of the wall form benches
to accomodate visitors, or an audience at the time of the ceremony. The
image of a large eagle spreads across the southern half of the circular
paving. At the center of the circle is a grass oval and the seated figure
of a Sioux warrior. The warrior holds a staff with five feathers that identify
each of the five tribes.
JURY COMMENTS: The jury admired the simple, plain
manner in which this design was able to display educational materials that
everyone could understand. It is not hi-tech, or hi-art but it achieves
the purpose of symbolizing the native Americans' victory at the Battle of
the Little Bighorn. Pictographs illustrate the battle. Sculpture honors
the participants: not only the warriors, but also the children, medicine
man, elders, and parents--many of whom also died.
The symbolism of this design is also contained
in the circle--the circle of life. And in the eagle that rides on the winds
and symbolizes freedom.
Everything in this memorial has great meaning and
it is in a form that allows us to see what took place. This whole design
is educational. Without these elements people would come to this memorial
and they would not know.
Entry number 567, by Peter Kindel.
DESCRIPTION: The central feature of this design
is an small elliptical stadium form with curved seating along the south
and east sides. The stadium is partially excavated within the central ceremonial
space and partially hidden by berming on the south and north sides. On the
long axis of the ellipse are three circles: a large circle at the center,
and two smaller circles to the east and west. The east circle serves as
an entry; the west circle contains a scaffold with a symbolic burial platform.
A stone wall that flanks the entry includes inscriptions.
JURY COMMENTS: While the Jury felt that this design
had a great deal of dignity and nobility, they were concerned about the
use of the scaffold as the most prominent element. The architectural forms
and stonework are architecturally strong and seem to nest into the site,
like the nest of an eagle.
The sense of nobility speaks of victory, but it
also speaks of the survivors who continue to fight for and defend their
traditional way of life. It symbolizes the enduring spirit of the native
people; the dignity and "livingness of the survivors." It is a
memorial to the warriors who died and also a memorial to the capacity to
survive: a reaffirmation of our presence.
The gathering place at the center works very well,
along with the entry circle. The space for inscriptions and other information
is important, but appears to be rather limited.
Entry number 601, by John S. Reynolds, et. al.
DESCRIPTION: A 50' diameter stainless steel hoop
is set into the earth at a 30-degree angle. The submerged portion creates
a crescent shaped pool of water. The elevated portion emits a curtain of
water that is recycled from the pool back to the inclined hoop, or ring.
At the center is a flame, supported by three heroic tribal figures: Peace
through Unity. At night the flame becomes a beacon that shines directly
to the south, and through the rain-curtain to the north.
JURY COMMENTS: This entry is significantly different;
it uses modern materials and shapes--and was therefore somewhat controversial.
It has all of the symbols: fire, water, the circle, the vegetation of the
earth, and these are arranged in a contemporary manner. Unique to this solution
was a night beacon, to guide the warriors' spirits home and the use of water
for animation.
Entry number 633, by Mark L. Goodman.
DESCRIPTION: A 33' tall tipi form rises from a
22' diameter base, thus creating a form that is taller and slenderer than
the traditional tipi. The eight legs of the structure are made of glossy
black aluminum and silver metallic aluminum. At the center of the structure
is a ceremonial fire pit.
Two curved walls surround the tipi: one 32' in
diameter and one 52' in diameter. The inner wall is open to the east, where
a smaller, conical structure marks the entranceway. That structure is also
glossy black and silver metallic. The outer wall is closed except for the
easterly entrance circle and a short opening to the NE. The clockwise walk
between the outer and inner walls is used for interpretive purposes.
JURY COMMENTS: Several members of the Jury were
drawn to this contemporary adaptation of the tipi form. This one is hi-tech
and futuristic.
The design includes the symbolism of the central
fire place and the entryway to the east with its own structure. The two
long, segmented wall surfaces provide an excellent opportunity for educational
and commemorative materials.
The Jury was fascinated by the design and felt
that it would attract young people with its futuristic, Star Wars daring.
Entry number 830, by Michael Stewart.
DESCRIPTION: This memorial honors the women, as
well as the men, who participated in battle. A heroic scale sculpture, 21'
high and 32' long, depicts three horsement and one horsewoman, a total of
four figures. The figures ride towards the east: a new day, a new beginning,
a new opportunity. The sculpture is on a rocky base with a rising sun design
in the pavement, just ahead of the group.
JURY COMMENTS: A more traditional sculpture. The
Jury felt that there was a place for such a piece in this setting. It is
realistic--understandable--and memorable. It also speaks of the Plains Indian
way: the four figures on horseback and the powerfulness, fierceness, and
determination to defend our way of life.
Entry number 843, by John Buenz.
DESCRIPTION: Eight slender sculptures rise 42'
in the air around the perimeter of the designated site. They depict "nature's
coup stick," the hearty Blue Grama grass that is indigenous the high
plains. The stainless steel leaves and stems gleam in the sun, the tall
stems are carefully proportioned to bend, but not break, in the high winds,
and the pennants swivel with the shifting directions of the wind. The grass
stems, which after bending return to their original stature, are meant to
symbolize the triumph of the American Indian.
JURY COMMENTS: Minimalist. Touches lightly on the
high plains landscape and respects the original site. Captures the spirit,
in nature, of the tribal victory dance standards, flags or scalps that are
raised, lowered, and swayed back and forth. The wind play would be bold
and striking: animated.
While the stems are much higher than the 7th Cavalry
Monument, their lightness would not compete with massiveness of the Cavalry
Monument. Appropriately, they are two very different statements.
The Jury expressed a concern for the fragility
of the site. Since the designated site has already been disturbed, it may
be wise to develop a sturdier grass cover leading to and around the memorial
that would avoid the necessity of hard paving materials.
GENERAL RECOMMENDATIONS BY THE JURY:
One of the most important recommendations is that
many of these designs, including ones that did not receive awards, should
be built at other sites across the Country. The Jury was impressed by the
great range of skill, talent, and imagination that went into the hundreds
of entries. It would be unfortunate to not benefit from this wonderful resource
of design ideas.
The research and fine work that went into the entries
made it difficult to cull through the entire collection and reach final
decisions. Every jury member applauds the hundreds of artists and designers
who submitted concepts.
Finally, the Jury felt that it was essential to
include the names of the warriors in the actual memorial. Since this list
may well expand, there should be space to allow for additions. Crowds that
will gather around the memorial need to be anticipated; the surrounding
site needs to be protected in some manner.
JURY CHAIRMAN'S COMMENTS:
Robert Burley, FAIA, advised the Jury and served
as Jury Chairman, without vote. In that position, he advised the Jury on
construction feasibility and program requirements that had been supplied
to the entrants. He organized and directed the judging process but did not
advocate positions for the jury to take.
After the judging was complete, the Chairman made
the following comments in support of the Jury's decision for First Place:
1. This is a buildable solution. It uses traditional,
proven construction systems. At the same time, it offers an opportunity
for creative artwork and offerings.
2. More than any other solution, it appears to
meet the design goals that were established by the Indian Memorial Advisory
Committee.
3. It respects the 7th Cavalry Monument. Viewed
from the Seventh Cavalry Monument, it is a simple earth form--less high
and at a lower elevation. While the two poles are higher than the existing
monument, they are quite slender. The pennants add appropriate animation
and they signal the essential fact that this was a victory for the Indian
Nations.
4. The ceremonial area within the Memorial is self-contained.
The earth berm shields it from the Seventh Cavalry Monument and it is not
apparent until a visitor actually enters the circle. The winning design
has an element of discovery.
5. Many jurors expressed concern for the fragility
of the original historic landscape. This concern, which was also a program
goal, may be in conflict with a nearly equal desire to provide for larger
audiences and greater participation--which can only be answered by expanded
hard surfaces and paving.
The self-contained nature of the winning design
and its discrete relationship to the existing memorial and the original
site may prove to be a major advantage. Enlarging the inner circle may risk
losing this quality.
6. The Jury's selection for First Place promises
to become even better as design development proceeds. It offers a continuing
opportunity for art, celebration, learning, honoring, and personal contemplation.
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8 December 1999, lrb