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ÏÐÎÑÒÐÀÍÑÒÂÎ È ÂÐÅÌÅ ÎÁÅÄÈÍÅÍÈ Â “ÒÐÈÅÄÈÍÑÒÂΔ ÏÐÎÅÊÒÚÒ Å ÍÎÑÈÒÅË ÍÀ ÑÏÅÖÈÀËÍÀÒÀ ÍÀÃÐÀÄ ÍÀ ÈÇÄÀÒÅËÑÒÂÎ “ÀÒËÀÑ ÑÒÈË”- ÊÐÈÑÒÀËÍÀ ÏËÀÑÒÈÊÀ, ÑÐÅÁÚÐÅÍ ÌÅÄÀË ÍÀ ÈÍÒÅÐÀÐÕ 2009 È ÏÎ×ÅÒÍÀ ÄÈÏËÎÌÀ Ïðîåêò íà “Èíòåð áèëäèíã ïðîåêò” ÅÎÎÄ Ïðîåêòàíòè: àðõ. Åìèë Ñàðäàðåâ, àðõ. Àëåêñàíäúð Ñàðäàðåâ, àðõ. Äàìÿí Ñàðäàðåâ

‘’Òðèåäèíñòâî’’ å ïðîåêò, îñíîâàí íà èäåÿòà çà îáåäèíåíèå. Çàäà÷àòà áåøå äà ñå ïðîåêòèðà îôèñåí öåíòúð íà òðè ðàçëè÷íè ôèðìè, îáåäèíÿâàùè ñå â åäíà êîðïîðàöèÿ. Ïðîåêòúò ïîçâîëÿâà âñÿêà ôèðìà äà çàïàçè ñâîÿòà èäåíòè÷íîñò è â ñúùîòî âðåìå äà îñòàíå ñâúðçàíà ñ äðóãèòå. Îáåäèíÿâàíåòî å ïîñòèãíàòî ïðàêòè÷åñêè ÷ðåç îáåìíîòî è ïðîñòðàíñòâåíî îôîðìëåíèå íà ñãðàäàòà. Âèçóàëíî òàçè àðõèòåêòóðíà ôèëîñîôèÿ ñå îñúøåñòâÿâà ïîñðåäñòâîì ñâåòëèííîòî ‘’ïðîïóêâàíå’’ íà îáåìèòå. Òàêúâ ïîõâàò ïîçâîëÿâà ñâîåîáðàçíà äèíàìèêà íà ñãðàäàòà è íà íà÷è-

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íà, ïî êîéòî òÿ ñå âúçïðèåìà â ãðàäñêàòà ñðåäà ïðåç ðàçëè÷íèòå ïåðèîäè íà äåíîíîùèåòî. ‘’Òðèåäèíñòâî” ñå ïðåâðúùà â åäèí 4D ïðîåêò, îáåäèíÿâàéêè òðèòå ïðîñòðàíñòâåíè èçìåðåíèÿ ñ ÷åòâúðòîòî – òîâà íà âðåìåòî. Êàòî èçðàçíè ñðåäñòâà ñå èçïîëçâàò ðàçëè÷íè ôàñàäíè ÷ëåíåíèÿ è ìàòåðèàëè íà òåçè îáåìè.  îáðàçà íà „âèñîêèòå” ñãðàäèòå å ïîòúðñåí ïàðàëåë ñ ðàñòåðèçèðàíè íà ïèêñåëè åëåêòðîííè èçîáðàæåíèÿ. Ôàñàäíèòå ïëîñêîñòè ñà ðåøåíè êàòî îêà÷åíè ðàñòåðíè ôàñàäè ñ íàêëîí äî 5% ïî âåðòèêàëà. Î÷åðòàíèÿòà â ïëàí ñå ïîä÷èíÿâàò íà òàçè ëîãèêà, êàòî "îñò-

ðèòå” úãëèòå ñà áëèçêè äî òåçè íàêëîíè è ñà îò 81 º äî 88º. Ïðåäâèæäà ñå ðàçïîëàãàíå íà ñâîåîáðàçíà ñâåòëèííà ìðåæà â çîíèòå íà ñòèêîâàíå íà ôàñàäíèòå ïëîñêîñòè è âðúçêè ìåæäó òÿõ, êîèòî ïðîìåíÿò ñâîåòî íàïðàâëåíèå â çàâèñèìîñò îò ïëîñêîñòà, â êîÿòî ñå íàìèðàò, ñ öåë ïðèäàâàíå íà äîïúëíèòåëíà äèíàìèêà íà êîìïîçèöèÿòà è ðàçëè÷íî åñòåòè÷åñêî âúçäåéñòíèå. Ïîäõ îäÿùî å ðåàëèçàöèÿòà íà òåçè åëåìåíòè äà ñòàíå ñúc ñâåòîäèîäíè èëè íåîíîâè èçòî÷íèöè íà ñâåòëèíà.

ÒÅÊÑÒ: àðõ. Åìèë Ñaðäàðåâ


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Space and time united in “Trinity” This project is awarded from publishing house Atlas Style with crystal plastic, silver medal of Interarch 2009 and honor diploma

Project of “Inter building project” Ltd. Designers: arch. Emil Sardadrev, arch. Alexander Sardarev, arch. Damian Sardarev

The “Trinity” is a project based on the idea of union. The task was to have a project with three different volumes for three different companies united in one corporation. The project allows every company to preserve its identity and in the same time to remain connected with the others. The union is achieved by volumetric and spatial design of the building. Visually this architectural philosophy is achieved through light “rifts” in the volumes. This approach allows special dynamics of the building and the way in which it is perceived

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in the urban environment in the different periods of the day. The “Trinity” has become 4D project, uniting the spatial dimensions with the fourth one of time. As expressions are used different façade divisions and materials and those of the volumes. In the image of “high” building is looked for connection with raster pixel images. The façade surfaces are decided as suspended raster facades with an inclination of 5% vertically. The contours of the plans are governed by this logic as the

acute angles are near to the inclination of 81º up to 88 º. Light net is foreseen in the zones of union of the façade surfaces and the connection in between that change their direction depending on the surface in which they are placed with the aim to give more dynamics of the composition and different aesthetical influence. It is suitable to realize these elements with diode or neon sources of light.

Text: arch. Emil Sardarev


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Ãðàäèíàòà íà Àïîëîí Ðúöåòå æåëàÿò äà âèäÿò. Î÷èòå æåëàÿò äà äîêîñâàò. Ãüîòå Àðõèòåêò Richard England Ñúòðóäíèöè Albert Borg Costanzi, Stephen Buttigieg Ðàçïîëîæåíèå St Julians / Malta

×àñò îò àðõèòåêòóðíîòî æèëèùå å ïðåóñòðîåíî ïðåç 2007 êàòî ìÿñòî çà ðàáîòà ñúñ çàòâîðåí äâîð. Âúòðå ñå ïîìåùàâà ñòóäèî îñèãóðÿâàùî ðàáîòíè ïëîùè è ìåñòà çà ñðåùà, äîêàòî îáãðàäåíàòà ãðàäèíà îñèãóðÿâà çàòâàðÿíå, ïðîåêòèðàíî êàòî ìÿñòî çà òèøèíà è ñïîêîéñòâèå; ôîðìà íà àëåãîðè÷íè è èëþçîðíè äåêîðè, íàïîìíÿùè åíèãìàòè÷íèòå ñðåäèçåìíîìîðñêè ïëàòíà äà Äæîðäæî äå Êèðèêî, êúäåòî ìå÷òàòåëñêè àðõèòåêòóðíè îáðàçè ñà ðàçïîëîæåíè ñúñ ñòàòóè, çà äà íàïðàâÿò îáùèÿ ìåòàôèçè÷íè åôåêòè íà ñïîêîéñòâèå è ðàâíîâåñèå. Àðõèòåêòúò âèíàãè å âÿðâàë â òîâà, ÷å àðõèòåêòóðàòà òðÿáâà äà ïðîâîêèðà ÷óâñòâî è ñúçäàâàíåòî íà àðõèòåêòóðíîòî ïðîñòðàíñòâî íå ñå ñâåæäà ñàìî äî èçêóñòâî, íàóêà èëè çàíàÿò, íî è äî åìîöèÿ, ñïîìåí è ðàçêàçâàíå íà èñòîðèÿ. Ãðàäèíàòà íà Àïîëîí å ïúðâîíà÷àëíî ïðîåêòèðàíà êàòî òàéíà ãðàäèíà, íåéíèÿò îáåêòèâ å äà ñúçäàäå òåàòðàëåí îàçèñ, êîéòî äà ïîçâîëè íà ÷îâåê äà ñå äèñòàíöèðà îò õàîñà íà âñåêèäíåâèåòî è äà äåéñòâà êàòî ïðîòèâîîòðîâà íà ÷îâåøêèÿ ìåõàíèçèðàí è áåçïîðÿäú÷åí íà÷èí íà æèâîò. Ãðàäèíàòà å ïîñâåòåíà íà Àïîëîí – ìèòîëîãè÷íèÿò áîã íà ïðîïîðöèÿòà, ìóçèêàòà, ïîåçèÿòà è ìàãèÿòà. Öâåòíè èçîáðàæåíèÿ íà òîçè ãðúöêè áîã íà ñëúíöåòî ñåäÿò íà ïèåäåñòàëè è ñÿêàø íàáëþäàâàò è çàùèòàâàò òîçè èçîëèðàí îñòðîâ íà ïîêîÿ. Èçïîëçàíèòå ìàòåðèàëè ñà Ìàëòèéñêè êàìúê, ñòîìàíåíè áëîêîâå è êàìúíè, íàìåðåíè â ìåñòíîñòòà. Ðàñòèòåëíîñòòà â ðàéîíà ñà àìáðîçèè, çþìáþëè è äðóãè öâåòÿ, êîèòî ñà ñèëíî ñâúðçàíè ñ òîçè ìèòîëîãè÷åí áîã. Èçïîëçâàí å è òî÷íèÿò ïåéçàæ çà ôîí â ïðîñòðàíñòâåíàòà èëþçîðíà òðàäèöèÿ íà „çàåìàíå íà ãëåäêà” îò ßïîíñêèòå Êàðà-Ñåíöóè ãðàäèíè. Òàçè ðàáîòà å çà÷åíàòà êàòî ïîñòðîåíà ïîåìà, çà äà ïîçâîëè íà ÷îâåê äà ìå÷òàå è êîïíåå, äîêàòî áóäè àðõèòåêòóðà, êîÿòî îòðàçÿâà àðõèòåêòóðíîòî êðåäî, çàñòðîåíàòà ñðåäà òðÿáâà ïðåäè âñè÷êî äà ïîä÷åðòàâà âúòðåøíàòà ñðåäà íà äóøàòà.

Ðè÷àðä Èíãëàíä

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The Garden of Apollo “The hands want to see. The eyes want to caress” Goethe Office/Name of Architechts Richard England Collaborators Albert Borg Costanzi, Stephen Buttigieg City/Country St Julians / Malta

A section of the architect's residence, remodelled in 2007 as a work area and cloistered courtyard. The interior houses a studio providing work spaces and meeting areas, while the walled garden provides an enclosure designed specifically as a meditative locus of calm and tranquility; a form of allegorical and illusory stage-set, evoking Giorgio de Chirico’s enigmatic Mediterranean canvasses, where dream-like architectural images are juxtaposed with statuary to produce overall metaphysical effects of serenity and stasis. The architect has always believed that architecture must provide a sensorial experience and that the creation of any architectural space is not only about art, science and craft, but more so, about emotion, memory and story telling. The garden of Apollo is primarily designed as a secret garden, its objective is to create a theatrical oasis which enables one to distance oneself from the chaotic intrusions of everyday life, and to act as an antidote to contemporary man’s mechanised and turmoiled life-style. The garden is dedicated to Apollo the mythological god of proportion, music, poetry and magic. Coloured casts of this Greek sun god stand on pedestals as if guarding and protecting this enclave of quiescence. The materials utilized are Malta stone, concrete block and hardstone local paving. Planting around the area includes ambrosia, hyacinth and other nectared flowers all strongly associated with this mythological god. Use, is also made of the lush layered background of the main garden in the spatial illusion tradition of the ‘borrow scenery’ of the Japanese Kara-Senzui gardens. This is a work conceived as a “built” poem to enable one to engage in dream and desire while evoking an architecture which reflects the architect's belief that built environments should above all provide soul enhancing ambiances.

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AMC Aspects 03/09  

AMC Aspects is the magazine of the Chamber of Architects in Bulgaria. It is an article for the project of the Bulgarian arch. Sardarev that...

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