WAM Issue 05

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Àêàäåìè÷åí ñúâåò Àêàäåìèöè íà MAA ïðîô. Ïèåð Àíäðå Äþôåòåë - Ôðàíöèÿ ïðîô. ßí Õóãñòàä - Õîëàíäèÿ ïðîô. Êèîíîðè Êèêóòàêå - ßïîíèÿ ïðîô. Ìàíôðåäè Íèêîëåòè - Èòàëèÿ ïðîô. Þðèé Ïëàòîíîâ - Ðóñèÿ ïðîô. Áðàéúí Ñïåíñúð - ÑÀÙ ïðîô. Ãåîðãè Ñòîèëîâ - Áúëãàðèÿ

Academic council IAA Academician prof. Pierre Andre Dufetel - France prof. Jan Hoogstad - The Netherlands prof. Kiyonori Kikutake - Japan prof. Manfredi Nicoletti - Italy prof. Juri Platonov - Russia prof. Brian Spencer - USA prof. Georgi Stoilov - Bulgaria

Ãëàâåí ðåäàêòîð ïðîô. Ãåîðãè Ñòîèëîâ, àêàäåìèê íà ÌÀÀ

Editor-in-chief prof. Georgi Stoilov, IAA Academician

Óïðàâèòåë Íàòàëèÿ Áîíäàðåíêî

General manager Natalia Bondarenko

Îòãîâîðåí ðåäàêòîð NEWS àðõ. Ãåîðãè Ñòàíèøåâ, ïðîôåñîð íà ÌÀÀ

Editor-in-chief NEWS arch. Georgi Stanishev, prof. IAA

Ðåäàêöèîííà êîëåãèÿ Êðàñèìèðà ßâàøåâà Íèêîëèíà Ñòîéêîâà

Editors team Krassimira Yavasheva Nikolina Stoykova

Îòãîâîðåí ðåäàêòîð NEWS - çà Èòàëèÿ àðõ. Àëôðåäî Êàìàðà

Editor-in-chief NEWS - Italy arch. Alfredo Kammara

Ìåíèäæúð ïðåäïå÷àòíà ïîäãîòîâêà Ïåòúð ×óïåòëîâñêè

Pre-print manager Peter Chupetlovsky

Ãðàôè÷åí äèçàéíåð Åëåîíîðà Ãåîðãèåâà

Graphic designer Eleonora Georgieva

ÌÀÀ, 1504 Ñîôèÿ, óë. Îáîðèùå 35 ï. ê. 56, Ñîôèÿ òåë.: 02 944 62 97 0882@mail.bol.org, www.iaa-ngo.org

IÀÀ, Bulgaria, 1504 Sofia 35 Oborishte str., P.O. Box 56 tel.: +359 2 944 62 97 0882@mail.bol.org, www.iaa-ngo.org

Ïðåäïå÷àòíà ïîäãîòîâêà Ìàÿ Ãåðàñèìîâà Ëèëèÿ Êàðàêîëåâà Èíà Êàìáàðåâà

Pre-print preparation Maya Gerasimova Liliya Karakoleva Ina Kambareva

Êîîðäèíàòîð ìàðêåòèíã è ðåêëàìà Ñèÿíà ×àëúêîâà

Marketing and advertisement coordinator Siana Chalakova

Ðåêëàìåí åêèï: Äèàíà Ñòîÿíîâà Âàíÿ Åôðåìîâà Âàëåðèÿ Òîäîðîâà Åìèëèàí Ìèëêîâ Ëóèçà Äàìÿíîâà Íàäåæäà Ãóðåâà

Advertising Team: Diana Stoyanova Vania Efremova Valeria Todorova Emilian Milkov Luiza Damqnova Nadezhda Gureva

Ïðåâîäà÷ Ìàðèÿíà Êîëàðñêà

Translator Mariana Kolarska

îôèñ Ïëîâäèâ Äàíèåëà Àðíàóäîâà Âàëåíòèíà Âàíãåëîâà

offis Plovdiv Daniela Arnaudova Valentina Vangelova

Êîðåêòîð Ìàðèÿ Òîäîðîâà

Proof-reader Maria Todorova

Ðàçïðîñòðàíåíèå Åâãåíèÿ Éîðäàíîâà

Distribution Evguenya Yordanova

Èçäàòåëè: Ìåæäóíàðîäíà Àêàäåìèÿ çà Àðõèòåêòóðà Àðõ ìåäèÿ ÎÎÄ

Publishers: International Academy of Architecture Arhc Media Ltd.

Ðåäàêöèÿ: Ñîôèÿ 1407 óë. “Ãîëî áúðäî” ¹ 22 Óïðàâèòåë: 02/868 81 83 Ðåäàêòîðè: 02/868 83 50 Ðåêëàìåí ìåíèäæúð: 02/868 77 91 Ðåêëàìíè àãåíòè: 02/ 868 75 67, 868 75 53 Ïðåäïå÷àò: 02/868 78 47 Ðåãèîíàëåí îôèñ: Ïëîâäèâ 4000 óë. “Êíÿç Áîãîðèäè” ¹ 8 òåë./ôàêñ: 032/63 32 16 Îôèñ Èòàëèÿ - Òîðèíî 10128 óë. Âèêòîð Åìàíóåë II ¹ 63 òåë.: +39011 54 21 41 òåë./ ôàêñ: +39011 54 62 37 arch.cam@libero.it

Îffice: Sofia 1407 22 “Golo bardo” Str. General manager: +359 2 868 81 83 Editors: +359 2 868 83 50 Advertising manager: +359 2 868 77 91 Advertising Team: +359 2 868 75 67, 868 75 53 Ìàòåðèàëè è èëþñòðàöèè îò WAM ìîãàò äà ñå èçïîëçâàò ñàìî ñ ðàçðåøåíèå íà ðåäàêöèÿòà.

Pre-print: +359 2 868 78 47 Materals and illustrations of WAM can be used only with permission of the editor's office.

Local office Plovdiv 4000 8 “Kniaz Bogoridi” Str. tel./fax: +359 32 63 32 16 Italy office - Torino 10128 Victtorio Emanuelle II Str. ¹ 63 tel.: +39011 54 21 41 tel./ fax: +39011 54 62 37 arch.cam@libero.it

The editors of the magazine World Architecture Masters would like to thank Arch. Norman Foster for his amiability submitting materials from her private archive at ours disposal for the fifth issue of WAM. Ñïèñàíèå World Architecture Masters áëàãîäàðè íà àðõ. Íîðìàí Ôîñòúð çà ëþáåçíî ïðåäîñòàâåíèòå ìàòåðèàëè îò ëè÷íèÿ ìó àðõèâ çà ïåòè áðîé íà WAM.

NORMAN FOSTER

CONTENTS

30 St Swiss Re Headquarters London, England 1997-2004

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Dresden Station Redevelopment Dresden, Germany 1997-2006

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Commerzbank Headquarters Frankfurt, Germany 1991 - 1997

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The Court at the British London, England 1994-2000

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Hearst Headquarters New York, USA 2001 - 2006

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Russia Tower Moscow - Russia 2006

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Parliament, Reichstag Berlin, Germany 1992 - 1999

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Wembley Stadium London, England 1996 –2007

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St Petersburg, Russia 2006 -

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Millau Viaduct Gorges du Tarn, France 1993 -2004

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Bishops Development at Spitalfields London, England 2001 -2005

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Black Sea Gardens - Bulgaria

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World Architecture Masters - Manfredi Nikoletti

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Íà ãðàíèöàòà íà áèòèåòî è îòâúäíîòî

On the border of life and beyond the other side

Ìèëèàðäè ãîäèíè ñïîíòàííà åâîëþöèÿ ïðåâðúùà åæåìèíóòíî îòâúäíîòî â ðåàëíî áèòèå. Òîâà å ñèëàòà íà âåëèêèÿ çàêîí íà ñàìîñúòâîðåíèåòî. Òîé ñúòâîðè íà çåìÿòà íàé-ìîãúùîòî ñè îðúäèå èíòåëåêòà íà Hîòî Sapiåïñå. Ñ íåãîâàòà ïîÿâà åâîëþöèÿòà ïîëó÷è ñúçíàíèå. Íàøàòà ñîöèàëíà ïðàêòèêà âå÷å ñå ñúçäàâà îò íàøåÿ èíòåëåêò. Òîâà ñå èçâúðøâà â ïðîöåñà íà òâîð÷åñòâîòî. Çà àðõèòåêòà - òîâà å àðõèòåêòóðíîòî òâîð÷åñòâî. Òî å ãîëÿìàòà áèòêà äà çàâîþâàø áúäåùåòî (òî÷êàòà “Îìåãà”, Àáñîëþòíàòà èñòèíà, Âåëèêàòà õàðìîíèÿ) è äà ãî íàïðàâèø áèòèå íà îáùåñòâîòî. Òàêà ìèñòèêàòàòà ñå ïðåâðúùà â ðåàëíîñò. Òîâà ñå âúðøè îò Àâàíãàðäà. Îïèòúò íà âå÷å ïîñòèãíàòîòî å áàçàòà. Íî àêî îñòàíåø ñàìî íà áàçàòà, îñòàâàø: âñå ïî-äàëå÷ â ìèíàëîòî. Àâàíãàðäúò å íàøåòî àäåêâàòíî äâèæåíèå íàïðåä ñ òåìïîâåòå íà ðåàëíîòî âðåìå â ñúòâîðÿâàíåòî íà ðåàëíî ïðîñòðàíñòâî. Õâàëà íà àðõèòåêòèòå - ïîêîðèòåëè íà áúäåùåòî. Òå ñúòâîðÿâàò íîâèòå ñâåòîâå. Òå ðàçøèðÿâàò ãðàíèöèòå íà íàøåòî áèòèå êúì áåçêðàéíîòî, îòâúäíî. Íîðìàí Ôîñòúð å åäèí îò íàé-ñìåëèòå.

Milliard of years the spontaneous evolution transforms the other side into real life. This is the power of the great law of self-creation.

It created the most powerful instrument on earth – the intellect of Homo sapiens. The evolution got consciousness with its appearance .Our social practice is created by our intellect. It happens in the process of creative work. For an architect this is the architectural creative work. It is the greatest fight to conquer future ( the Omega Point, the Absolute Truth, the Great Harmony) and to make it life of the society. That is how mystery is transformed into reality.

This process is an act of the society. The experience of the achieved lays is the base. But if you stay only on this base, you stay in the past. The active part of the society is our adequate movement forward in creating the real space.

Praise be the architects- conquerors of future. They create new worlds.

They broaden the boubdaries of our life to the endless, the other side.

Norman Foster is one of the bravest.

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Norman Foster Íîðìàí Ðîáúðò Ôîñòúð å ðîäåí íà 1 þíè 1935ã. â Ðåäèø, Ñòîêïîðò, Àíãëèÿ, è å åäèí îò âîäåùèòå àðõèòåêòè íà Îáåäèíåíîòî êðàëñòâî è ñâåòà. Òîé å íàäàðåíî äåòå è ñå ïðåäñòàâÿ äîáðå â ó÷èëèùå, ïðîÿâÿâà èíòåðåñ êúì àðõèòåêòóðàòà è îñîáåíî êúì ðàáîòàòà íà Ôðàíê Ëîéä Ðàéò è Ëüî Êîðáóçèå. Ïðåç 1956 ã. Ôîñòúð ïîñåùàâà ó÷èëèùåòî ïî àðõèòåêòóðà è ãðàäîóñòðîéñòâî êúì óíèâåðñèòåòà â Ìàí÷åñòúð è ãî çàâúðøâà ïðåç 1961 ã. Ïî-êúñíî ó÷è â ó÷èëèùåòî ïî àðõèòåêòóðà â Éåéë, êúäåòî ñðåùà ñâîÿ ïàðòíüîð Ðè÷àðä Ðîäæúðñ è çàâúðøâà ìàãèñòðàòóðà. Áëèçî ãîäèíà ïúòóâà èç Àìåðèêà è ñå âðúùà â Îáåäèíåíîòî êðàëñòâî ïðåç 1962 ã., êúäåòî çàïî÷âà ñâîÿòà àðõèòåêòóðíà ïðàêòèêà çàåäíî ñ Ðîäæúðñ è òåõíèòå ñúïðóãè Óåíäè ×èèçìàí è Ñþ Ðîäæúðñ. Ïðåç 1967 ã. Íîðìàí Ôîñòúð è Óåíäè ×èèçìàí îñíîâàâàò “Ôîñòúð àñîñèåéøúí”, êîåòî ïîêúñíî å ïðåèìåíóâàíî âúâ “Ôîñòúð è ïàðòíüîðè”. Ïðåç 1968 ã. å ïîëîæåíî íà÷àëîòî íà ñúòðóäíè÷åñòâîòî ñ àìåðèêàíñêèÿ àðõèòåêò Ðè÷àðä Áúêìèíñòúð Ôóëúð è ïðîäúëæàâà äî ñìúðòòà ìó ïðåç 1983 ã. Ôîñòúð å ïðîâúçãëàñåí çà ðèöàð ïðåç 1990 ã. Ïðåç 1999-à ìó ñå äàâà ïîæèçíåíàòà òèòëà ïåð, áàðîí Ôîñòúð íà áàíêàòà íà Òåìçà â Ðåäèø, ãðàôñòâî Ìàí÷åñòúð. Òîé å âòîðèÿò áðèòàíñêè àðõèòåêò, êîéòî ïå÷åëè íàãðàäàòà “Ñòúðëèíã” äâà ïúòè: ïúðâàòà å çà àìåðèêàíñêèÿ õàíãàð âúâ âîåííèÿ ìóçåé â Äóêñôîðä ïðåç 1998 ã., à âòîðàòà çà - Swiss Re, ÷èåòî ïîëóëÿðíî íàèìåíîâàíèå å “Êðàñòàâèöàòà” ïðåç 2004 ã. Êàòî ñå èìà ïðåäâèä öÿëîòî ìó ïîðòôîëèî, Ôîñòúð å íàãðàäåí ñ àðõèòåêòóðàíàòà íàãðàäà “Ïðèòöêúð” ïðåç 1999 ã. Òîé å ÷ëåí íà îáùåñòâîòî íà äèçàéíåðèòå è å íîñèòåë íà íàé-âèñîêîòî èì îòëè÷èå “Ìèíåðâà ìåäàë” . Íàñêîðî, ïðåç ñåïòåìâðè 2007 ã., Ôîñòúð å íàãðàäåí ñ íàé-ãîëÿìàòà ñâåòîâíà íàãðàäà çà àðõèòåêòóðà “Àãà Õàí” çà óíèâåðñèòåòà ïî òåõíîëîãèè â Ïåòðîíàñ, Áàíäàð Ñåðè â Èñêàíäàð, Ìàëàéçèÿ.

Norman Robert Foster was born on June, 1 1935 in Reddish, Stockport, England and he is one of the leading British architects of the United Kingdom and in the world. He was naturally gifted and performed well at school and took an interest in architecture, particularly in the works of Frank Lloyd Wright and Le Corbusier.In 1956 Foster attended the University of Manchester’s School of Architecture and City Planning and graduated in 1961. Later, he studied at the Yale School of Architecture, where he met former business partner Richard Rogers and earned his Master’s degree. He then travelled in America for a year, returning to the UK in 1962 where he set up an architectural practice as Team 4 with Rogers and their respective wives Wendy Cheesman and Sue Rogers. In 1967 Foster and Wendy Cheeseman founded Foster Associates, which later became Foster and Partners. 1968 saw the beginning of a long period of collaboration with American architect Richard Buckminster Fuller, which continued until Fuller’s death in 1983.

Foster was knighted in 1990. In 1999, he was created a life peer, as Baron Foster of Thames Bank, of Reddish in the County of Greater Manchester. He is the second British architect to win the Sterling Prize twice: the first for the American Hangar at the Imperial War Museum Duxford in 1998, and the second for 30 St Mary Axe in 2004. In consideration of his whole portfolio, Foster was awarded the Pritzker Architecture Prize in 1999. He is also a Fellow of the Chartered Society of Designers and winner of the Minerva Medal, the Society’s highest award. Most recently, in September of 2007, Foster was awarded the Aga Khan Award for Architecture, the largest architectural award in the world, for the Petronas University of Technology, Bandar Seri in Iskandar, Malaysia.

World Architecture Masters - Norman Foster

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30 St Swiss Re Headquarters London, England 1997-2004 London’s first ecological tall building, Swiss Re is rooted in a radical approach - technically, architecturally, socially and spatially.

Conceptually, it develops ideas explored in the Commerzbank and before that in the Climatroffice, a project with Buckminster Fuller that suggested a new rapport between nature and the workplace, its energyconscious enclosure resolving walls and roof into a continuous triangulated skin. Here, the tower’s diagonally braced structure allows column-free spaces and a fully glazed facade, opening up the interior to light and views.

Generated by a radial plan with a circular perimeter, the building has a small footprint to maximise public space at ground level, then widens in profile as it rises and tapers towards its apex - a club room with a spectacular panorama across the capital.

Openings in each floor link vertically to form atria that spiral up the building. These are the building’s ‘lungs’, distributing fresh air drawn in through the facade. Together with other energy saving measures, this natural system allows the building to use only half the energy consumed by a conventional office tower.

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12 Historic station opened in 1898 Original design by Giese & Weidner North/south elevation 240 m long East/west elevation 122 m long Centre hall iron arches span 59m, 32m high North/south hall iron arches span 31/32m, 19m high Reception Building Area 4,500m² New design - Platform Halls 29,000 m2 membrane roof, area covered by roof 24,500m² Glass fibre fabric, teflon coated 67 skylights Refurbishment was carried out while trains were running Movable working platforms were used with scaffolding on top New design - Reception Building Historic, cruciform arcade to be reconstructed (central concourse 70m long, intersecting concourse 50m long), 34 metre-high glass dome to be reinstated above the crossing-point of the two concourses Historic 400m² waiting rooms converted into Travel Centre and Market Hall with contemporary roofs

Dresden Station Redevelopment Dresden, Germany 1997-2006

13 Retail facilities are located in the arcade Mainly natural stone (from the mountains near the Elbe river) The same materials were used as those in the Frauenkirche 15mĂ˜ movable ETFE foil cushion below glazed dome

Programme March 1997 Design start December 1997 Presentation to Deutsche Bahn board September 1999 Deutsche Bahn review of project basis April 2000 Project proceeded with reduced scheme, membrane roof only August 2000 Construction drawings membrane roof submitted February 2001 Site start membrane roof August 2002 Flood October 2003 Start on site reception building July 2006 Project completion to be ready for the 800th anniversary of Dresden in 2006 10 Nov 2006 Opening Cost EUR 85 million budget for membrane roof EUR 55 million budget for reception building

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16 The redevelopment of Dresden Station, with its’ striking new 30,000square-metre translucent roof, has been officially opened. One of the most impressive nineteenth-century railways termini in Europe and one of the very few major buildings to survive the air raid of 1945, the station’s original structure has been exposed and restored to its former grandeur.

The teflon-coated glass fibre skin allows daylight to flood the station, significantly reducing the energy demands of artificial lighting. At night, light reflects off the underside of the roof canopy, creating an even wash of illumination, while from outside the whole structure radiates an ethereal silvery glow. Part of a wider masterplan to revive the surrounding area, the project includes the restoration of the historic reception building containing the Travel Centre, shops and restaurants.

Dresden Station was built in 1898 to a design by Ernst Giese and Paul Weidner. Severely damaged during World War II, it deteriorated further due to poor maintenance in the post-war period. The original roof was partially glazed, but after the war it was covered with timber, admitting little daylight. Faced with this crumbling structure, Foster and Partners removed various additions and alterations made to the building over the last hundred years in order to restore the integrity of the original design. The new roof is supported by the nineteenth-century station arches, with only minimal reinforcement, drawing attention to the fine

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Like a grand basilica, the reception building contains a cruciform arcade, crowned by a 34-metre high square glass cupola. Previously hidden, the dome’s glazing has been replaced and a new movable transparent foil cushion beneath it allows light to fill the space and facilitates natural ventilation. Historic waiting rooms form a Travel Centre and restaurant area, with shops lining the arches of the arcade.

Circulation within and through the station has been rationalised. Design allows for the future expansion of the station by extending the barrelvaulted membrane roof over the outer platforms by 200 metres, providing a cover for the new high-speed trains, which are almost twice the length of the old platforms.

Attending the ceremony Lord Foster said: “Our redevelopment of Dresden Station represents a true celebration of the 19th century original through the means of our times. The dramatic roof structure has been specially engineered to rest comfortably on the original station arches revealing the fine historic detailing while flooding the space below with natural light, reducing energy consumption and reinventing the station for the 21st century.�

The project has been completed in time for the 2006 800th anniversary of Dresden.

World Architecture Masters - Norman Foster

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Commerzbank Headquarters Frankfurt, Germany 1991 - 1997

The Commerzbank is the world’s first ecological office tower. And it has reinvented its working patterns. Every office is daylit, with openable windows, which not only allows the occupants to control their environment, but gives energy consumption levels equivalent to half those of conventional office towers, Winter gardens spiral up around the central atrium to become the visual and social focus for four-storey office clusters. These ‘gardens in the sky’ play an ecological role, introducing daylight and fresh air, and provide places to relax during breaks. The tower has a distinctive presence on the skyline but it is also integrated into the lower-scale city fabric, creating a galleria with restaurants and cafes that forms a busy route across the site. Interestingly, on the day the Commerzbank opened, the Financial Times had adopted it as a symbol for Frankfurt, joining Big Ben and the Eiffel Tower as symbols for London and Paris.

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This project is about the reinvention of one of London’s long-lost spaces - the courtyard at the centre of the British Museum. The Great Court is entered from the Museum’s principal level, and connects all the surrounding galleries. The largest enclosed public space in Europe, at its heart is the magnificent space of the restored Reading Room, now an information centre and library of world cultures, which for the first time in its history is open to all. The glazed canopy that makes all this possible is a fusion of . state-of-the-art engineering and economy of form. As a cultural square, the Great Court resonates beyond the confines of the Museum, forming a new link in the pedestrian route from the British Library to Covent Garden and the river.

The Court at the British London, England 1994-2000

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Hearst Headquarters New York, USA 2001 - 2006 The new forty-two-storey tower rises above the existing Art Deco building linked on the outside by a skirt of glazing that encourages an impression of the tower floating weightlessly above the base. The main spatial event is a lobby that occupies the entire floor plate of the old building and rises up through six floors. Like a bustling town square, this dramatic space provides access to all parts of the building. Structurally, the tower has a triangulated form - a highly efficient solution that uses 20 per cent less steel than a conventionally framed structure. Built using 80 per cent recycled steel and designed to consume 25 per cent less energy than its conventional neighbours, Hearst Tower is the first office building in Manhattan to achieve a gold rating under the US Green Buildings Council’s Leadership in Energy and Environmental Design (LEED) programme.

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Foster + Partners’ Moscow City Tower continues the practice’s investigation into the nature of the tower, taking structural, functional, environmental and urban logic to a new dimension. The mixed-use project - incorporating apartments, hotel, office and leisure space - will have an ‘energy cycle’ that will pioneer sustainable architecture and reinforce the economic and social vitality of Moscow City. Based on a highly efficient geometry derived from the triangular plan, the vertical city is a powerful triumvirate of three fins that meet at a central green spine running the full height of the tower. Wider at the base and tapering towards the top, the pyramidal form is elegant and slender in profile, and benefits from a highly efficient composition to and the most effective distribution of space.

Russia Tower Moscow - Russia 2006

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Parliament, Reichstag Berlin, Germany 1992 - 1999 The Reichstag’s transformation is rooted in four issues: the Bundestag’s significance as a domestic forum, a commitment to public accessibility, a sensitivity to history, and a rigorous environmental agenda. As found, the Reichstag was mutilated by war and insensitive reconstruction; surviving nineteenth-century interiors were concealed beneath plaster linings, Peeling away these layers revealed striking imprints of the past, including graffiti left by Soviet soldiers, These scars are preserved and historical layers articulated; the Reichstag become a ‘living museum’ of German history - its striking cupola a new Berlin landmark and its modest energy requirements allow the building to perform as a power station for the new government quarter.

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EUROMED CENTER, MARSEILLE

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Wembley Stadium London, England 1996 –2007

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Site Area 500,000m² Area (gross) 170,000m² Area (net) 120,000m² hospitality accommodation Dimensions 300 east-west x 280m north-south x 49m from main concourse to top of main roof Budget Shell and core £350 million Cost per seat £3,300 Capacity 90,000 seats for football & rugby events 68,400 to 72,000 for athletics events

World Architecture Masters - Norman Foster

48 The completion of Wembley National Stadium designed by Foster + Partners and HOK Sport, heralds a new chapter for Britain’s iconic venue. With facilities designed to world-class standards and an unparalleled attention to spectator comfort, the stadium’s rich legacy will continue for millions of sports and music fans.

Originally known as the “Empire Stadium”, Wembley Stadium was built for the British Empire Exhibition of 1924 and was first opened for the 1923 FA Cup Final. Since then it has become the most important sports venue in Britain. Home to the England national football team, Wembley was the site of the Olympic Games in 1948 and the football World Cup Final in 1966. It has also acted as a venue for major rock concerts and other popular events.

The new Wembley Stadium will be the first of a new generation of sports stadia, with facilities unparalleled anywhere in the world, including banqueting halls, pre-function gathering spaces and facilities for media coverage. The design builds upon the heritage of the old stadium to provide future generations of sports and music fans with a venue equipped for the twenty-first century. When completed, it will form a new home for English football.

49 A key feature of the new stadium is its partly retractable roof.

When fully open it allows sunlight to reach the whole pitch – an essential element in maintaining the world-standard quality of the turf. In poor weather, the roof can be closed within 1 hour, providing cover for all 90,000 seats.

The roof is supported structurally by a spectacular 135-metrehigh arch that soars over the stadium, providing an iconic replacement for the old building’s landmark twin towers.

Dramatically illuminated at night, the arch will be visible from vantage points across London.

Facilities are designed to maximise spectator comfort and enjoyment of events: the stadium’s geometry with its curved seating tiers ensure that everyone has an unobstructed view; seats are wider than the previous stadium with more leg-room; the second and third tiers are easily accessed via escalators and a new concourse wrapping around the building allows easy circulation and provides catering for all, including 10,000 seated diners at any one time.

To create an intimate atmosphere during matches, the stadium has been designed with seats as close to the pitch as possible.

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However it also has the potential to host athletics track and field competitions, for which an elevated track and athletics arena can be installed above the pitch and the first few rows of the lower tier, supported by a temporary rigid deck structure. At the same time, acoustic performance has been given particular attention to continue the thrilling ‘Wembley roar’ that energises this spectacular venue.

Notes to editors Wembley National Stadium Limited (WNSL) is the company that is redeveloping Wembley Stadium as the world’s leading sport and music venue. Offering 90,000 fans unrivalled views of the action in state-ofthe-art facilities while generating an unbeatable atmosphere, WNSL will set new standards for supporters and performers alike.

A subsidiary of The Football Association, profits generated by WNSL will provide an important revenue stream for The FA to reinvest in football at every level.

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World Architecture Masters - Norman Foster

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Roof • Large spanning roof with moving roof panels suspended below arch; partially retractable; in closed position the roof covers all 90, 000 seats • Retracting roof panels on the south-east and west sides allow extra daylight and ventilation at pitch level and enhance growing conditions for the natural grass pitch.

• Retractable roof panels can open and close within 60 minutes.

• With the roof in retracted position, late spring matches such as the FA Cup final can be played on a sunlit pitch for better spectator viewing, especially for those watching on TV, without heavy contrast between shade and sunlight across the pitch.

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World Architecture Masters - Norman Foster

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St Petersburg, Russia 2006 -

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The triangular shaped self-sustaining island provides 7.6-hectares of mixed-use cultural development, transforming the city of St. Petersburg into the foremost venue for performance and visual arts in the world.

Reflecting a creative dialogue between old and new, the project reinvents the eighteenth-century former timber storage structures into hotels and shops. An outdoor arena, unified beneath a dramatic roof, culminates in a glowing cupola that subtly rises above the height of the surrounding buildings. Using a sophisticated system of natural ventilation and an energy strategy that maximises the insulating properties of snow and the cooling potential of the surrounding canals, the island is entirely self-sustaining. The scheme also provides the infrastructure to relate to the city at the urban scale. New bridges and routes connect with a wider cultural quarter that includes the Mariinsky Theatre and the Hermitage Museum to establish a thriving, sustainable centre for the arts.

INFRASTRUCTURE The infrastructure in a modern city is arguably more significant than the collective merits of individual buildings in terms of its impact on our daily lives. Whether crossing a city square or alighting at a railway station, we tend to take the public realm for granted. Yet it is the outcome of

many acts of design. The quality of a city’s infrastructure influences the quality of our lives. It is the ‘urban glue’ that binds a city together.

Architecture is both an interior and exterior experience. The way we move through a building - whether ascending a stair or navigating a sequence of spaces - is matched by the way we trace routes through a city, with its streets, squares and bridges. It has both a spiritual and physical dimension.

The practice’s infrastructure projects can be characterized by their sense of place - Beijing Airport’s soaring dynamic roof evoking traditional Chinese colours and symbols creates a spectacular gateway to the city. Equally significant is ease of movement, clarity ofwayfinding and the reduction of the complexities of modern travel. The treatment of light is fundamental to the legibility of these often vast buildings concentrating natural light dramatically at certain points can enhance orientation and encourages movement.

Rather than belonging to the realm of structural engineers, the architecture of infrastructure has a powerful impact on the environment and these projects illustrate how the architect can play an integral role.

They express a fascination with the relationships between function, technology and aesthetics in graceful, structural form.

World Architecture Masters - Norman Foster

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Millau Viaduct Gorges du Tarn, France 1993 -2004 The architecture of infrastructure has a powerful impact on the environment and the Millau Viaduct, designed in close collaboration with structural engineers, illustrates how the architect can play an integral role in the design of bridges. It follows the Millennium Bridge over the River Thames, in expressing a fascination with the relationships between function, technology and aesthetics in a graceful structural form. A cable-stayed, masted structure, the bridge is delicate and transparent. Each of its sections spans 34,2 metres and its columns range in height from 75 metres to 245 metres (equivalent to the height of the Eiffel Tower), with the masts rising a further 90 metres above the road deck. The tapered form of the columns both expresses their structural loads and minimises their profile in elevation. The bridge not only has a dramatic silhouette, but crucially, it also makes the minimum intervention in the landscape.

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World Architecture Masters - Norman Foster

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World Architecture Masters - Norman Foster

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Bishops Development at Spitalfields London, England 2001-2005 Bishops Square development extends the original wholesale fruit and vegetable market to create a new urban destination which celebrates the historic legacy of the site while creating a dynamic urban quarter. Comprising a new network of pedestrian routes and plazas, there is also a covered market area, an outdoor performance space and shops. A new headquarters building for Alien & Overy steps back from the site in a series of green tiers with lush roof gardens overlooking the plaza below. The building incorporates the largest commercial photovoltaic installation in Europe and will produce enough energy to power the landscape lighting across the site, Charnel House, a 12th century chapel discovered during archaeological excavations, has been preserved below street level and is exhibited within a sunken courtyard. Illuminated glass cases containing found archaeological objects are set within the square’s paving.

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World Architecture Masters - Norman Foster

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Black Sea Gardens - Bulgaria

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Black Sea Gardens is a carbon neutral resort comprising a series of car free hill towns integrated into the existing contours of the landscape.

Five clustered communities nestle within the broadleaf forest, and are characterised by the nature of their immediate surroundings within the site - the relationship to the sea, the topography and vegetation.

Resonating with the vernacular architecture of the region, the narrow streets and clustering of residences creates environmental benefits such

as reduced wind speeds, cooler streets and sunny balconies. The diffuse terracing of the hill towns also maximises sea views, and the microclimate is further enhanced by the preservation of the existing mature trees and integrated planting. The development will create a year-round community with its lakeland spa, activity centres, sports park, restaurants and shops. Anchored by a 200-berth marina, Black Sea Gardens will become a key leisure destination.

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World Architecture Masters - Norman Foster

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World Architecture Masters - Manfredi Nikoletti

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“Ñåéíò Ìåðè Àêñ” - ãëàâåí îôèñ íà Swiss Re, Ëîíäîí, Âåëèêîáðèòàíèÿ, 1997-2004 ã.

Ïúðâàòà åêîëîãè÷íà âèñîêà ñãðàäà â Ëîíäîí å ãëàâíèÿò îôèñ íà SWISS RE. Òàéíàòà é ñå êîðåíè

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â åäèí ðàäèêàëåí ïîäõîä â òåõíè÷åñêî, àðõèòåêòóðíî, îáùåñòâåíî è ïðîñòðàíñòâåíî îòíîøåíèå.  ñëó÷àÿ äèàãîíàëíàòà ïîäïîðà íà ñòðóêòóðàòà ïîçâîëÿâà íàëè÷èå íà ïðîñòðàíñòâà áåç êîëîíè è èçöÿëî îñòúêëåíà ôàñàäà, êîÿòî îòâàðÿ èíòåðèîðà êúì ñâåòëèíàòà è ãëåäêèòå íàâúí. Ïîääúðæàíà îò çâåçäîîá-

ðàçíà ñõåìà ñ êðúãëà îáèêîëêà ñãðàäàòà èìà çà öåë äà óâåëè÷è îáùåñòâåíîòî ïðîñòðàíñòâî íà íèâîòî íà çåìÿòà. Ñ èçîñòðÿíåòî é âúâ âèñî÷èíà òÿ ðàçøèðÿâà ïðîôèëà ñè è ïðåäëàãà îòëè÷íà ãëåäêà êúì ñòîëè÷íèÿ ãðàä. Îòâîðèòå íà âñåêè åòàæ ñå ñâúðçâàò âåðòèêàëíî êàòî îôîðìÿò ôîàéåòà, êîèòî ñå èçâèâàò

ñïèðàëîâèäíî íàãîðå. Òîâà ñà áåëèòå äðîáîâå íà ñãðàäàòà, êîèòî ðàçïðîñòðàíÿâàò ñâåæ âúçäóõ ïðåç ôàñàäàòà. Òàçè åñòåñòâåíà ñèñòåìà çàåäíî ñ äðóãè åíåðãèéíîåôåêòèâíè ìåòîäè ïîçâîëÿâà äà ñå êîíñóìèðà ñàìî ïîëîâèíàòà åíåðãèÿ îò êîëè÷åñòâîòî, êîåòî èçïîëçâà åäíà òðàäèöèîííà îôèñ ñãðàäà.

Ïîäîáðåíèå íà ãàðàòà â Äðåçäåí, Ãåðìàíèÿ (1997-2006)

Ïîäîáðåíàòà ãàðà â Äðåçäåí, íàä êîÿòî å ïîëîæåí 30 000 êâ.ì ïîëóïðîçðà÷åí ïîêðèâ áå îôèöèàëíî îòêðèòà. Òÿ å ñðåä íàé-âïå÷àòëÿâàùèòå ãàðè â Åâðîïà è åäíà îò ìàëêîòî ñãðàäè, îöåëåëè ñëåä áîìáåíèòå àòàêè îò 1945 ã. Îðèãèíàëíàòà ñòðóêòóðà íà ãàðàòà å âúçñòàíîâåíà è ñåãà òÿ ïðèòåæàâà ïðåäèøíîòî ñè âåëèêîëåïèå. Ñòúêëåíîòî ïîêðèòèå ïîçâîëÿâà íà äíåâíàòà ñâåòëèíà äà ïðîíèêíå â ñãðàäàòà è òîâà çíà÷èòåëíî íàìàëÿâà ïîòðåáëåíèåòî íà èçêóñòâåíî îñâåòëåíèå.

Ïðåç íîùòà ñâåòëèíàòà ñå îòðàçÿâà íà ïîêðèâíèÿ áàëäàõèí, ñúçäàâàéêè ñíîï îò ñâåòëèíà, äîêàòî îòâúí öÿëàòà ñãðàäà å îñâåòåíà îò ñðåáðèñò áëÿñúê.  ïëàíà å âêëþ÷åíî ñúæèâÿâàíåòî íà îêîëíàòà ñðåäà, ðåñòàâðàöèÿ íà èñòîðè÷åñêèòå ñãðàäè, ìàãàçèíèòå è ðåñòîðàíòèòå îêîëî ïúòíè÷åñêèÿ öåíòúð. Ãàðàòà â Äðåçäåí å áèëà ïîñòðîåíà ïðåç 1898 ã. ïî ïðîåêò íà Åðíñ Ãèçå è Ïîë Âàèäíåð. Áèëà å ðàçðóøåíà â çíà÷èòåëíà ñòåïåí ïî âðåìå íà Âòîðàòà ñâåòîâíà âîéíà, ñúñòîÿíèåòî è å áèëî âëîøåíî è ïîðàäè ëîøà ïîääðúæêà â ñëåäâîåííèÿ ïåðèîä. Îðèãèíàëíèÿò ïîêðèâ å áèë ñòúêëåí, íî

ñëåä âîéíàòà å îáëèöîâàí ñ äúðâåí ìàòåðèàë, êîéòî îãðàíè÷àâà äîñòúïà íà ñâåòëèíà. Ñáëúñêâàéêè ñå ñ ðóøàùàòà ñå ñãðàäà, Ôîñòúð è ïàðòíüîðè ðåøàâàò äà ïðåìàõíàò ðàçíîîáðàçíèòå ïðèòóðêè è ïîïðàâêè, íàïðàâåíè ïðåç ïîñëåäíèòå ñòîòèíà ãîäèíè, ñ öåë äà âúçñòàíîâÿò èçöÿëî îðèãèíàëíèÿ äèçàéí. Íîâèÿò ïîêðèâ ñå ïîääúðæà îò àðêèòå, íàïðåâåíè ïðåç XIX âåê, êîèòî ñà ìèíèìàëíî ïîäñèëåíè, êàòî ñå îáðúùà âíèìàíèå íà ôèíèòå äåòàéëè íà ñúùåñòâóâàùàòà ñòðóêòóðà. Êàêòî ïðè ãîëåìèòå êàòåäðàëè ïðèåìíàòà íà ñãðàäàòà ïðåäñòàâëÿâà êðúñòîâèäíà àðêàäà,

çàâúðøâàùà ñ êâàäðàòåí ñòúêëåí êóïîë, âèñîê 34 ì. Ïðåäèøíîòî ñòúêëåíî êóáå å áèëî çàìåíåíî ñ ïîäâèæåí ïðîçðà÷åí îòâîð, êîéòî èçïúëâà ïðîñòðàíñòâîòî ñúñ ñâåòëèíà è óëåñíÿâà åñòåñòâåíàòà âåíòèëàöèÿ íà ïîìåùåíèåòî. Äâèæåíèåòî íàâúòðå è íàâúí îò ñãðàäàòà å ðàöèîíàëèçèðàíî. Äèçàéíúò ïîçâîëÿâà áúäåùè ðàçøèðåíèÿ íà ãàðàòà ÷ðåç îáòÿãàíå íà ñâîäåñò ìåìáðàíåí ïîêðèâ íàä ïåðîíèòå, äîñòèãàùè 200 ì, êîåòî îñèãóðÿâà ïîêðèòèå çà íîâèòå áúðçîñêîðîñòíè âëàêîâå. Ïðîåêòúò å çàâúðøåí äî 2006 ã., êîãàòî ñå ÷åñòâà 800-àòà ãîäèøíèíà íà Äðåçäåí.

Ãëàâíèÿò îôèñ íà Commerzbank Ôðàíêôóðò, Ãåðìàíèÿ, 1991-1997 ã.

Òîâà å ïúðâàòà â ñâåòà åêîëîãè÷íà îôèñ êóëà. Âúâ âñè÷êè ïîìåùåíèÿ òóê èìà åñòåñòâåíà ñâåòëèíà è ïðîçîðöè, êîèòî äà ñå îòâàðÿò. Òîâà íå ñàìî ïîçâîëÿâà íà îáèòàòåëèòå äà óïðàâëÿâàò ñðåäàòà, íî è íàìàëÿâà íàïîëîâèíà ïîòðåáëåíèåòî íà åíåðãèÿ â ñðàâíåíèå ñ òðàäèöèîííèòå îôèñè. Çèìíèòå ãðàäè-

íè ñà ðàçïîëîæåíè â ãëàâíîòî ôîàéå è ïðèâëè÷àò îáùåñòâåíîòî âíèìàíèå. Òå èìàò åêîëîãè÷íà ðîëÿ, íî îñâåí òîâà â ñú÷åòàíèå ñúñ ñëúí÷åâàòà ñâåòëèíà è ñâåæèÿ âúçäóõ ïðàâÿò ìÿñòîòî èäåàëíî çà ïî÷èâêà. Âúïðåêè ÷å êóëàòà å ÿñíî ðàçëè÷èìà íà õîðèçîíòà, òÿ ñúùî å è èíòåãðèðàíà ñ ïî-íèñêàòà ãðàäñêà ñðåäà

÷ðåç ðåäèöà ðåñòîðàíòè è êàôåíåòà, êîèòî ñúçäàâàò åäíî ïðèÿòíî óñåùàíå íà îæèâåíîñò. Èíòåðåñåí å ôàêòúò, ÷å â äåíÿ íà îòêðèâàíåòî íà Commerbank âåñòíèêúò “Ôàéíåíøúë Òàéìñ” ÿ èçäèãíà äî ñèìâîë íà ãðàäà òàêà êàêòî Áèã Áåí è Àéôåëîâàòà êóëà ñà íàðèöàòåëíè çà Ëîíäîí è Ïàðèæ.

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Ãîëåìèÿò äâîð, Áðèòàíñêè ìóçåé Ëîíäîí, Âåëèêîáðèòàíèÿ, 1994-2000 ã.

Ïðîåêòúò êàñàå ïðåîòêðèâàíåòî íà åäíî îòäàâíà ïîçàáðàâåíî ìÿñòî â Ëîíäîí - âúòðåøíèÿ äâîð â öåíòúðà íà Áðèòàíñêèÿ ìóçåé. Êúì íåãî ñå âëèçà îò îñíîâíîòî íèâî íà ìóçåÿ, öåíò-

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ðàëíî ìÿñòîòî å çà âñè÷êè çàîáèêàëÿùè ãî ãàëåðèè. Íàé-ãîëÿìîòî çàòâîðåíî îáùåñòâåíî ïðîñòðàíñòâî â Åâðîïà ïî ñúùåñòâî å âåëèêîëåïíàòà ðåñòàâðèðàíà ÷èòàëíÿ, êîÿòî ñåãà å èíôîðìà-

öèîíåí öåíòúð è áèáëèîòåêà è çà ïðúâ ïúò å äîñòúïíà çà âñè÷êè. Ñòúêëåíèÿò íàâåñ å ñèíòåç ìåæäó èíæåíåðíî ïðîèçâåäåíèå íà èçêóñòâîòî è ïðåöèçíà èçðàáîòêà.  êà÷åñòâîòî ñè íà êóëòóðíî

ñðåäèùå Ãîëåìèÿò äâîð ñå ïðîñòèðà èçâúí ãðàíèöèòå íà ìóçåÿ è ôîðìèðà íîâ ïåøåõîäåí ìàðøðóò îò Áðèòàíñêàòà áèáëèîòåêà äî Êîâúíò Ãàðäúí è ðåêàòà.

Ñãðàäàòà íà êîðïîðàöèÿòà “Õúðñò” â Íþ Éîðê, 2001-2006

Íîâàòà 42-åòàæíà ñãðàäà ñå èçäèãà íàä ñúùåñòâóâàùàòà â

ñòèë àðò äåêî. Òÿ å èçöÿëî îñòúêëåíà è ñúçäàâà âïå÷àòëåíèå çà íîñåùà ñå áåçòåãëîâíî íàä îñíîâàòà ñè. Àêöåíòúò å ëîáèòî, êîåòî îáõâàùà ïîäîâàòà îñíîâà íà ñòàðàòà ñãðàäà è ñå èçäèãà 6 åòàæà íàãîðå. Ïðèëè÷à íà îæèâåí ãðàäñêè ïëîùàä è ñúùåâðåìåííî îñèãóðÿâà äîñòúï äî âñè÷-

êè ÷àñòè íà ñãðàäàòà. Ñòðóêòóðàòà íà êóëàòà å ñ òðèúãúëíà ôîðìà – èçêëþ÷èòåëíî åôèêàñíî ðåøåíèå, òúé êàòî å èçïîëçâàíà ñòîìàíà ñ 20 % ïî-ìàëêî îòêîëêîòî ïðè ñòàíäàðòíîòî îôîðìÿíå íà ñãðàäèòå. Âëîæåíè ñà 80 % ðåöèêëèðàíà ñòîìàíà è ïðîåêòúò ïðåäâèæäà 25 %

ïî-ìàëêà êîíñóìàöèÿ íà åíåðãèÿ îò ñúñåäíèòå ñãðàäè. Êóëàòà “Õúðñò” å ïúðâàòà îôèñ ñãðàäà â Ìàíõàòúí, êîÿòî ïå÷åëè çëàòíà êàòåãîðèÿ ïî ïðîãðàìàòà „ Âîäåù ïðîåêò çà åíåðãèÿ è îêîëíà ñðåäà” íà àìåðèêàíñêèÿ ñúâåò çà åêîñãðàäè.

Êóëàòà “Ðóñèÿ“ Ìîñêâà, Ðóñèÿ 2006 ã.

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Ïðîåêòúò çà êóëàòà “Ðóñèÿ” îòíîâî âêëþ÷âà èçñëåäâàíå íà êîíñòðóêöèÿ, ôóíêöèÿ, ãðàäîóñòðîéñòâî è ïðèðîäîñúîáðàçíîñò. Ïðîåêòúò å ñúñ ñìåñåíè ôóíêöèè êàòî âêëþ÷âà àïàðòàìåíòè, õîòåëè, îôèñè è äð. Ïðîåêòúò ñå áà-

çèðà íà âèñîêîåôåêòèâíà ãåîìåòðè÷íà ñòðàòåãèÿ, êîÿòî ïðåäâèæäà òðèúãúëåí ïëàí. Ñòðóêòóðàòà ùå ñå ñúñòîè îò òðè ðåáðà, êîèòî ñå ñðåùàò â åäèí öåíòðàëåí "ãðúáíàê” äî ñàìèÿ âðúõ.  îñíîâàòà ñè çäàíèåòî å ïî-øè-

ðîêî êàòî íàãîðå ïîñòåïåííî èçòúíÿâà. Ìîæå äà ñå êàæå, ÷å èìà ïèðàìèäàëíà ôîðìà è ñúùåâðåìåííî åëåãàíòåí è òúíúê ïðîôèë. Êóëàòà ùå ïðåäëîæè åôåêòèâíà êîíñòðóêöèÿ è ðàçïîëîæåíèå íà ïðîñòðàíñòâàòà.

World Architecture Masters - Manfredi Nikoletti

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Ðàéõñòàãúò, Áåðëèí Ãåðìàíèÿ, 1992 -1999 ã.

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Òðàíñôîðìàöèÿòà íà Ðàéõñòàãà ñå êðèå â íÿêîëêî ïðè÷èíè: çíà÷èìîñòòà íà Áóíäåñòàãà, ÷óâñòâèòåëíîñòòà êúì èñòîðèÿòà è ñòðîãèÿò äíåâåí ðåä íà çàîáèêàëÿùàòà ñðåäà. Ãåðìàíñêèÿò ïàðëàìåíò å îñàêàòåí ïðåç âîéíàòà, à îïèòèòå äà áúäå ðåêîíñòðó-

èðàí íå ñà îñîáåíî óñïåøíè. Îöåëåëèÿò èíòåðèîð îò 19 âåê å ïîêðèò ñ íàéëîíè. Ñëåä îòñòðàíÿâàíå íà ïîêðèòèåòî ñà îòêðèòè ïîòðåñàâàùè è óæàñíè îòïå÷àòúöè îò ìèíàëîòî, âêëþ÷èòåëíî è íàäïèñè îò ðóñêè âîéíèöè. Òåçè áåëåçè íàðåä ñ èñòîðè÷åñêèòå

ïëàñòîâå ñà çàïàçåíè. Ðàéõñòàãúò ñåãà å åäèí æèâ ìóçåé íà ãåðìàíñêàòà èñòîðèÿ. Ïîðàçèòåëíèÿò êóïîë, êîéòî å íîâ îòëè÷èòåëåí áåëåã íà Áåðëèí, è ñêðîìíèòå åíåðãèéíè èçèñêâàíèÿ íà ñãðàäàòà ÿ ïðåâðúùàò â îñíîâíà ñãðàäà íà ãåðìàíñêàòà äúðæàâíîñò.

Ñòàäèîí „Óåìáëè”, Ëîíäîí, Àíãëèÿ

Çàâúðøâàíåòî íà íàöèîíàëíèÿ ñòàäèîí “ Óåìáëè”, ïðîåêòèðàí îò Ôîñòúð è ïàðíüîðè è HOK ñïîðò, ïðåäñòàâè íîâè ñòàíäàðòè çà ïîäîáíè ñúîðúæåíèÿ â Áðèòàíèÿ. Ñ óäîáñòâàòà íà ñïîðòèñòèòå è èçïúëíèòåëèòå, ïðîåêòèðàíè ñïîðåä ñúâðåìåííèòå èçèñêâàíèÿ, îò åäíà ñòðà-

íà, è óäîáñòâàòà íà çðèòåëÿ, îò äðóãà ñòðàíà, ñòàäèîíúò ùå ñòàíå ëþáèìî ìÿñòî çà ìèëèîíè ñïîðòíè è ìóçèêàëíè ôåíîâå. Èçâåñòåí êàòî Ñòàäèîíà íà èìïåðèÿòà, “Óåìáëè” å áèë ïîñòðîåí çà èçëîæáàòà íà áðèòàíñêàòà èìïåðèÿ ïðåç 1924 ã., íî çà ïúðâè ïúò å áèë îòâîðåí çà ôèíàëíàòà êóïà ïî ôóòáîë ïðåç 1923 ã. Îòòîãàâà å íàé-âàæíîòî ñïîðòíî ñðåäèùå â Áðèòàíèÿ. Îñâåí äîì íà àíãëèéñêèÿ íàöèîíàëåí îòáîð”Óåìáëè” å ìÿñòîòî, êúäåòî ñà ïðîâåäåíè Îëèìïèéñêèòå èãðè ïðåç 1948 ã. è ôèíàëúò íà ñâåòîâíîòî ôóòáîëíî ïúðâåíñòâî ïðåç 1966 ã. Òîé å è

ñðåäèùå çà êîíöåðòè íà ðîê èçïúëíèòåëè è äðóãè ïîïóëÿðíè ñúáèòèÿ. Íîâèÿò “ Óåìáëè” å ïúðâèÿò ñòàäèîí îò ñúâðåìåííàòà ãåíåðàöèÿ ñ óäîáñòâà, êîèòî íå ìîãàò äà áúäàò ñðàâíåíè ñ íèùî äðóãî ïî ñâåòà - âêëþ÷åíè ñà áàíêåòíè çàëè, ïðîñòðàíñòâà çà ñúáèðàíå è ìåäèéíè çàëè. Ïðîåêòúò å áàçèðàí íà ñòàðàòà ñãðàäà, êîÿòî ñëåä ïîäîáðåíèÿòà ñå ïðåâðúùà â íàé-äîáðå îáîðóäâàíàòà è ãîòîâà çà ñïîðòíè è ìóçèêàëíè ñúáèòèÿ ïðåç 21âè âåê. Êîãàòî áúäå çàâúðøåíà, ùå ñòàíå íîâèÿò äîì íà àíãëèéñêèÿ

ôóòáîë. Êëþ÷îâ åëåìåíò íà ñúîðúæåíèåòî å ïîêðèâúò, êîéòî ÷àñòè÷íî ìîæå äà ñå ïðåìàõâà. Êîãàòî èçöÿëî å îòêðèò, ñëúí÷åâàòà ñâåòëèíà ïðîíèêâà äî êðàåí ïðåäåë – çàäúëæèòåëåí åëåìåíò ñïîðåä ñâåòîâíèòå ñòàíäàðòè çà êà÷åñòâî ïðè ïîääðúæêà íà òðåâíàòà ïëîù. Ïðè ëîøî âðåìå òîé ìîæå äà áúäå çàòâîðåí çà îêîëî ÷àñ, äàâàéêè ïîêðèòèå íà 90 000 ìåñòà. Ïîêðèâúò ñå ïîääúðæà ñòðóêòóðíî îò ãðàìàäíà àðêà, âèñîêà 135 ì, êîÿòî ñå èçâèñÿâà íàä ñòàäèîíà. Òÿ å îñâåòåíà ïðåç íîùòà è ìîæå äà ñå âèäè îò ìíîãî òî÷êè â Ëîíäîí.

Çàñòðîÿâàíå íà îñòðîâà Íîâà Õîëàíäèÿ â Ñàíêò-Ïåòåðáóðã, Ðóñèÿ 2006 ã.

Íîâà Õîëàíäèÿ â Ñàíêò Ïåòåðáóðã å ñàìîñòîÿòåëåí îñòðîâ â òðèúãúëíà ôîðìà, êîéòî ðàçïîëàãà ñ 7.6 õà çàñòðîåíà ïëîù è ìíîãîôóíêöèîíàëíè ñãðàäè. Òîé ùå ïðåâúðíå Ñàíêò Ïåòåðáóðã âúâ âàæíî ñðåäèùå íà àêòüîðè è òâîðöè îò öÿë ñâÿò. Ïðîåêòúò

ñúçäàâà õàðìîíèÿ ìåæäó ñòàðî è íîâî, êàòî ïðåâðúùà äúðâåíèòå êîíñòðóêöèè îò 18 âåê â õîòåëè è ìàãàçèíè. Ïðîåêòèðàí å âúíøåí òåàòúð ñ êóïîë, êîéòî åäâà äîëîâèìî ñå ïîêàçâà íàä çàîáèêàëÿùèòå ãî ñãðàäè. Èçïîëçâàéêè óñúâúðøåíñòâàíà ñèñòåìà çà åñòåñòâåíà âåíòèëàöèÿ è åíåðãèéíè ðåøåíèÿ, êîèòî óâåëè÷àâàò èçîëàöèîííèòå ñâîéñòâà íà ñíåãà è îõëàæäàùèÿ ïîòåíöèàë íà êàíàëèòå, îñòðîâúò ùå ìîæå ñàìîñòîÿòåëíî äà çàäîâîëÿâà íóæäèòå ñè. Ïðîåêòúò ïðåäëàãà è èíôðàñòðóêòóðà, êîÿòî äà îòãîâàðÿ íà ïîòðåáíîñòèòå íà ãðàäà. Íîâè ìîñòîâå è ïúòèùà âîäÿò äî ïî-çíà÷èìàòà êóëòóðíà ÷àñò, êî-

ÿòî âêëþ÷âà “Ìàðèéíñêèÿ òåàòúð” è “Åðìèòàæà”. Ïðîåêòúò ùå îñèãóðè åäèí àêòèâåí è ïðîöúôòÿâàù êóëòóðåí öåíòúð. Èíôðàñòðóêòóðà Èíôðàñòðóêòóðàòà â åäèí ìîäåðåí ãðàä åäâà ëè å ïî-âàæíà îò îáùèòå äîñòîéíñòâà íà îòäåëíèòå ñãðàäè, êîãàòî ñòàâà âúïðîñ çà òÿõíîòî âëèÿíèå âúðõó æèâîòà è åæåäíåâèåòî. Äàëè ïðåñè÷àìå íÿêîé ïëîùàä, èëè ÷àêàìå íà æ. ï. ãàðà, íèå ïðèåìàìå îáùåñòâåíèÿ ñâÿò çà äàäåíîñò. Êà÷åñòâîòî íà ãðàäñêàòà èíôðàñòðóêòóðà âëèÿå âúðõó êà÷åñòâîòî íà æèâîòà íè. Èìåííî òàêà íàðå÷åíîòî ãðàäñêî ëåïèëî å òîâà, êîåòî ñïëîòÿâà ãðàäà. Íà÷èíà, ïî êîé-

54

òî ñå äâèæèì èç ñãðàäèòå -ñëèçàíå ïî ñòúëáè èëè ïðåìèíàâàíå ïðåç ïðîñòðàíñòâà, å ñú÷åòàíî ñ íà÷èíà, ïî êîéòî òúðñèì ïúòèùà èç ãðàäà - óëèöè, ïëîùàäè è ìîñòîâå. Ðåàëèçèðàíèòå èíôðàñòðóêòóðíè ïðîåêòè ñå õàðàêòåðèçèðàò ñ óñåùàíå çà ëîêàöèÿ. Ïåêèíñêîòî ëåòèùå íàïðèìåð èìà èçâèñÿâàù ñå ïîêðèâ â òðàäèöèîííè êèòàéñêè öâåòîâå è ñèìâîëè, êîåòî ñúçäàâà çðåëèùåí ïîðòàë ïðè âëèçàíå â ãðàäà. Äîáðèòå ïîñòèæåíèÿ î÷àðîâàò ñúñ ñïîëó÷ëèâèÿ ñèíõðîí ìåæäó ôóíêöèÿ, òåõíîëîãèÿ è åñòåòèêà â êðàñèâà è äîáðå ñòðóêòóðèðàíà ôîðìà.

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Âèàäóêòúò "Ìèéî", Ôðàíöèÿ, 1993-2004 ã.

Èíôðàñòðóêòóðíàòà àðõèòåêòóðà èìà îãðîìíî âëèÿíèå âúðõó îêîëíàòà ñðåäà è âèàäóêòúò Ìèéî ïîêàçâà êàê àðõèòåêòúò ìîæå äà èãðàå âàæíà ðîëÿ ïðè

56 60 62

ïðîåêòèðàíå íà ìîñòîâå. Ìîäåëúò ñëåäâà ïðèìåðà íà Ìèëåíèóì Áðèäæ íàä ðåêà Òåìçà è ñú÷åòàâà ôóíêöèîíàëíîñò, òåõíîëîãèÿ è åñòåòèêà â èçÿùíà ôîðìà. Êîíñòðóêöèÿòà å ìà÷òîâà, ìîñòúò èìà åëåãàíòíà ôîðìà.

Âñåêè îò ó÷àñòúöèòå ñå ïðîñòèðà íà 342 ì, êîëîíèòå âàðèðàò íà âèñî÷èíà îò 75 ì. äî 245 ì (âèñî÷èíàòà íà Àéôåëîâàòà êóëà). Ìà÷òèòå ñå ïðîñòèðàò íà ïîâå÷å îò 90 ìåòðà íàä ïúòíàòà ïëàòôîðìà. Çàîñòðåíàòà ôîðìà íà

êîëîíèòå ïîêàçâà íå ñàìî ñòðóêòóðíàòà èì íàòîâàðåíîñò, íî è íàìàëÿâà ïðîôèëà âúâ âèñî÷èíà. Ìîñòúò íå ñàìî èìà âúçäåéñòâàùà îñàíêà, íî ñúùåâðåìåííî õàðìîíè÷íî ñå ñëèâà ñ ïåéçàæà.

Ïðîåêòúò "Áèøúïñ ñêóåúð" Ëîíäîí, Âåëèêîáðèòàíèÿ, 2001 -2005 ã.

"Áèøúïñ ñêóåúð" å ðàçøèðåíèå íà ïúðâîíà÷àëíèÿ ïàçàð çà ïëîäîâå è çåëåí÷óöè íà åäðî. Ñúçäàäåí å äèíàìè÷åí ãðàäñêè êâàðòàë, êîéòî ñúùåâðåìåí-

íî çàïàçâà èñòîðè÷åñêîòî íàñëåäñòâî íà ìÿñòîòî. Ïëàíúò âêëþ÷âà íîâà ìðåæà ïåøåõîäíè ìàðøðóòè è ïëîùàäè, ïîêðèò ïàçàð, ìàãàçèíè è ò.í. Òóê å è óïðàâëåíèåòî íà êîìïàíèÿ ÀÍåï &

Îóåãó, ïî ïîêðèâèòå íà ÷èèòî ñãðàäè èìà ïðåêðàñíè ãðàäèíè.  ñãðàäàòà ñå ïîìåùàâà íàé-ãîëÿìàòà òúðãîâñêà ôîòîåëåêòðè÷åñêà èíñòàëàöèÿ â Åâðîïà., êîÿòî îñèãóðÿâà äîñòàòú-

÷íî åíåðãèÿ çà öÿëîòî îñâåòëåíèå â îáåêòà. Çàïàçåí å è ìàëúê ïàðàêëèñ îò 12 âåê, îòêðèò ïðè àðõåîëîãè÷åñêè ðàçêîïêè. Íàìåðåíèòå àðòåôàêòè ñà èçëîæåíè â ñòúêëåíè îñâåòåíè êóòèè.

Áúëãàðèÿ "Áëåê ñèé ãàðäúíñ"

Áëåê Ñèé Ãàðäúíñ å êóðîðò ñ íóëåâè âúãëåðîäíè åìèñèè, ñúñòîÿù ñå îò ñãðàäè, ðàçïðúñíàòè ïî õúëìîâåòå, è íÿìà íèêàêâè àâòîìîáèëè. Èìà 5 îáùíîñòè ñðåä øèðîêîëèñòíèòå ãîðè, ÷èÿòî ñúùíîñò äî ãîëÿìà ñòåïåí ñå îïðåäåëÿ îò çàîáèêàëÿùàòà ãè ñðåäà â ðåãèîíà âðúçêàòà ñ ìîðåòî, òîïîãðàôè-

ÿòà è ðàñòèòåëíîñòòà. Êàòî îòðàçÿâàò õàðàêòåðíàòà çà ðåãèîíà àðõèòåêòóðà, òåñíèòå óëè÷êè è ñòðóïâàíèÿòà íà æèëèùà ñúçäàâàò åêîëîãè÷íè ïðèâèëåãèè êàòî íàïðèìåð íàìàëåíà ñêîðîñò íà âÿòúðà, ïî-õëàäíè óëèöè è ñëúí÷åâè âåðàíäè. Ðàçïðîñòðàíåíîòî òåðàñîâèäíî çàñòðîÿâàíå íà õúëìèñòèòå

ãðàäîâå óâåëè÷àâà ãëåäêèòå êúì ìîðåòî, ìèêðîêëèìàòúò äîïúëíèòåëíî ñå ïîä÷åðòàâà îò çàïàçâàíåòî íà ñúùåñòâóâàùèòå ãîëåìè äúðâåòà è ðàñòèòåëíîñòòà. Ïðîåêòúò ùå ñúçäàäå ïîñòîÿííà îáùíîñò ÷ðåç ñïà òåðàïèè, öåíòðîâå çà ðàçëè÷íè çàíèìàíèÿ, ïàðê, ðåñòîðàíòè è ìàãàçèíè.

World Architecture Masters - Manfredi Nikoletti

2

EUROMED CENTER, MARSEILLE

NEWS

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Ëîðäúò íà àðõèòåêòóðàòà îòêðè ñâîÿ èçëîæáà â Ñîôèÿ

Ìèíèñòúð-ïðåäñåäàòåëÿò Ñåðãåé Ñòàíèøåâ è ñúð Íîðìàí Ôîñòåð îòêðèõà çàåäíî èçëîæáàòà

Íà 12 äåêåìâðè â Íàöèîíàëíàòà ãàëåðèÿ çà ÷óæäåñòðàííî èçêóñòâî áåøå îòêðèòà èçëîæáàòà íà ñâåòîâíîèçâåñòíèÿ àðõèòåêò ñúð Íîðìàí Ôîñòúð. Èçëîæáàòà å ïî èíèöèàòèâà íà Ìåæäóíàðîäíàòà àêàäåìèÿ ïî àðõèòåêòóðà è Ìåæäóíàðîäíàòà ôîíäàöèÿ "ßêîâ ×åðíèõîâ” è ñå îðãàíèçèðà îò ÌÐÐÁ è ÌÊ ñúñ ñúäåéñòâèåòî íà Íàöèîíàëíàòà ãàëåðèÿ çà ÷óæäåñòðàííî èçêóñòâî, ÑÀÁ, ÊÀÁ, ÓÀÑÃ.  åêñïîçèöèÿòà ñà àðàíæèðàíè íàä 30 ìàêåòà, ôîòîãðàôèè è ñêèöè íà ïðîåêòè íà "Ôîñòúð è ïàðòíüîðè”. Èçëîæáàòà å ÷àñò îò Ñåäìèöèòå íà åâðîïåéñêàòà êóëòóðà, çàïî÷íàëè â êðàÿ íà ìë ìàé ñ èçëîæáàòà íà Çàõà Õàäèä. Íîðìàí Ôîñòúð îñíîâàâà êîìïàíèÿòà "Ôîñòúð è ïàðòíüîðè” ïðåç 1967 ã. â Ëîíäîí. Òîãàâà ñðåäíàòà âúçðàñò íà ðàáîòåùèòå â íåÿ å 32 ãîäèíè, äíåñ òÿ ñúùî å òàêàâà, íî âå÷å ìëàäèòå àðõèòåêòè â êîìïàíèÿòà ñà îò ðàçëè÷íè ñòðàíè è ãîâîðÿò íà ðàçëè÷íè åçèöè. Âúâ âå÷å 40-ãîäèøíàòà áèîãðàôèÿ íà "Ôîñòúð è ïàðòíüîðè” ïðèñúñòâàò îáåêòè êàòî Ìèëåíèóì áðèäæ â Ëîíäîí, êóïîëúò íà Ðàéõñòàãà â Áåðëèí, îáíîâåíèÿò ñòàäèîí "Óåìáëè”. Ñðåä íàé-íîâèòå ïðîåêòè ñà ëåòèùå â Ïåêèí, ìîñòúò âèàäóêò "Ìèéî” âúâ Ôðàíöèÿ, ëåòèùå â Õîíãêîíã, êóëàòà Swiss Re ( "Êðàñòàâèöàòà"), ãîëåìèÿò äâîð íà Áðèòàíñêèÿ ìóçåé. "Ôîñòúð è ïàðòíüîðè" ñà ïîäãîòâèëè ïðîåêò çà êóðîðòíî ñåëèùå Black Sea Garden íà ïëîù îò 2000 äêà â ðàéîíà íà Áÿëà, Âàðíåíñêî. Îò ñúçäàâàíåòî ñè äî äíåñ êîìïàíèÿòà å ñïå÷åëèëà íàä 70 ìåæäóíàðîäíè êîíêóðñà è íàä 440 íàãðàäè. Ïðåç 1999 ã. Íîðìàí Ôîñòúð

ïîëó÷àâà òèòëàòà ëîðä îò êðàëèöà Åëèçàáåò II. Õàðàêòåðíà ÷åðòà íà òâîð÷åñòâîòî íà ãîëåìèÿ àðõèòåêò å ÷óâñòâèòåëíîñòòà êúì îêîëíàòà ñðåäà, êîÿòî íå ñå îãðàíè÷àâà ñ îñúçíàâàíå íà êëèìàòè÷íèòå ïðîìåíè, ïåñòåíå íà åíåðãèÿ è îãðàíè÷àâàíå íà âúãëåðîäíèòå åìèñèè, çà íåãî ãðàäúò íà áúäåùåòî å ãðàä íà ïåøåõîäöèòå.  ñâîÿòà ðàáîòà òîé îò÷èòà êóëòóðíèòå è èñòîðè÷åñêè õàðàêòåðèñòèêè íà ìÿñòîòî, çà êîåòî å ïðåäíàçíà÷åí ïðîåêòúò, ïîêàçâàéêè êàê àðõèòåêòúò òðÿáâà äà ðàáîòè â êîìïëåêñíèÿ êîíòåêñò íà ñðåäàòà. Íà îòêðèâàíåòî ñâåòîâíîèçâåñòíèÿò àðõèòåêò áåøå ïðåäñòàâåí îò àðõ. Ãåîðãè Ñòàíèøåâ, âèöåïðåçèäåíò íà Ìåæäóíàðîäíàòà ôîíäàöèÿ "ßêîâ ×åðíèõîâ”. Ñúð Íîðìàí Ôîñòúð îïðåäåëè åêñïîçèöèÿòà êàòî æèâ îðãàíèçúì è ïîä÷åðòà ôàêòà, ÷å òîâà å ïúðâàòà èçëîæáà, çà êîÿòî êàòàëîãúò å ãîòîâ ïðåäè îòêðèâàíåòî é. "Ïðèåìàì ãî êàòî ïîäàðúê çà 40-ãîäèøíèÿ þáèëåé íà ìîÿòà òâîð÷åñêà äåéíîñò”, ñïîäåëè òîé. Íà îòêðèâàíåòî íà èçëîæáàòà ïðåäñåäàòåëÿò íà Ìåæäóíàðîäíàòà àêàäåìèÿ ïî àðõèòåêòóðà àðõ. Ãåîðãè Ñòîèëîâ âðú÷è çëàòíèÿ ìåäàë íà àêàäåìèÿòà íà ñúð Íîðìàí Ôîñòúð. Íà òúðæåñòâîòî ïðèñúñòâàõà ìèíèñòúð-ïðåäñåäàòåëÿò Ñåðãåé Ñòàíèøåâ, ìèíèñòúðúò íà ðåãèîíàëíîòî ðàçâèòèå Àñåí Ãàãàóçîâ, ïîñëàíèêúò íà Âåëèêîáðèòàíèÿ ó íàñ Í. ïð. Ñòèâ Óèëÿìñ, èçÿâåíè áúëãàðñêè àðõèòåêòè è ìíîãî ãîñòè.

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The visitors took an interest in the exposition in which 30 models, pictures and sketches, work of Foster and Partners were included

Partners have prepared a project for the resort settlement Black Sea Garden in the region of Byala, Varna. The company has won 70 international competitions and 440 awards since its foundation. In 1999, he was created a life peer, as Baron Foster by the Queen Elizabeth II. A characteristic feature of the greatest architect’s work is the sensibility toward the environment, which is not limited with the realization of the climatic changes, energy saving and the limitation of carbon emissions, for him the city of future is the city of pedestrians. He takes into consideration the cultural and historical characteristics of the place showing how the architect should work in the environment. The world famous

architect was presented at the opening by architect Georgi Stanishev, vice president of the International Foundation Jakov Chernihov. Sir Norman Foster defined the exposition as a live organism and underlined the fact that it is the first exhibition for which the catalogue was ready before its opening. “I accepted it as a gift for the 40 anniversary of my creative work�, he said.

At the opening the president of the International Academy of Architecture Georgi Stoilov presented with the golden medal of the Academy Sir Norman Foster.

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The Lord of Architecture Opened his Exhibition in Sofia The exhibition of the world famous architect Sir Norman Foster was opened on December 12, 2007 in the National gallery for foreign arts.

The exhibition is an initiative of the IAA and the International Foundation Jakov Chernihov and it is organized by the Ministry of Regional Development and Public Works and the Ministry of Culture with the cooperation of the National gallery for foreign arts, the Union of the Bulgarian architects, the Chamber of Architects in Bulgaria and the University of Architecture, Building and Geodesy.

Over 30 models, pictures and sketches of projects of Foster and Partners are arranged in the exposition. The exhibition is a part of the Weeks of the European culture, which began with the exhibition of Zaha Hadid at the

end of May. Norman Foster founded his company Foster and Partners in 1967 in London. The average age of the people who worked there at that time is 32. Today it is the same but the young architects in the company are from different countries and they speak different languages. The 40 year biography of Foster and Partners includes objects as Millennium Bridge in London, the restored Reichstag dome in Berlin, the restored Wembley Stadium.

Among the newest projects is the airport in Peking, Millau Viaduct in France, the airport in Hong Kong, Swiss Re (The Gherkin), and redevelopment of the Great Court of the British Museum. Foster and

29 öåíòèðàùà âúðõó ñòèëíèòå ëèíèè íà ïîçëàòåíèòå ìåòàëíè ðàìêè íà ñãðàäàòà. Ìåòàëíèòå ïëàñòèíêè ñà ïîêðèòè ñúñ ñíåæíîáÿë ìàòîâ ïëåêñèãëàñ, êîéòî ñÿêàø ïðèäàâà íà ôàñàäàòà áðèëÿíòíà ñâåòëèíà. Òàéíèòå äúëáèíè íà ëóêñà Áóòèêúò íà Äæîðäæî Àðìàíè çàåìà ïàðòåðíîòî íèâî è ïðîäúëæàâà íàãîðå ïî ñòúëáèòå äî âòîðèÿ è òðåòèÿ åòàæ. Òóê ñà ðàçïîëîæåíè äàìñêèòå è ìúæêèòå êîëåêöèè, ïîäðåäåíè â ïðàçíè÷íà àòìîñôåðà, êîÿòî àêöåíòèðà âúðõó óäîâîëñòâèåòî ïðè ñëó÷àéíàòà ñðåùà ñ ëóêñà. Çà âñåêè èçëîæåí ïðîäóêò èìà ñïåöèàëåí ñàëîí ñúñ ñòîéêè è îòäåëåíèÿ, êîèòî áëåñòÿò êàòî ñëúí÷åâè ëú÷è: ïëàòèíåíî öâåòíè ìåòàëíè ìðåæè÷êè ìåæäó äâåòå ïîâúðõíîñòè íà êðèñòàëíî ÿñíè ñòúêëà. Àðìàíè å èçïîëçâàë ÷åðíèÿ öâÿò çà ïîäà, êîéòî ñÿêàø ðàçøèðÿâà ïðîñòðàíñòâîòî. Ïîäîâåòå ñà ïîêðèòè ñ ìðàìîðíè ïëî÷è, à òàâàíèòå - ñ ëàêèðàíè â ÷åðíî ìåòàëíè ïàíåëè. Ñòåíèòå ñà çàâúðøåíè ñ ìàòîâè ñòúêëà è èìàò ïîçëàòåíè ìåòàëíè è ïðîçðà÷íè ïëåêñèãëàñîâè åëåìåíòè, êîèòî òðÿáâà äà íàïîäîáÿâàò ãîðè îò áàìáóêîâè äúðâåòà. Ìåêè èçâèâàùè ñå ëèíèè ñå ïîä÷èíÿâàò íà ïðî÷óâñòâåíîòî áàðîêî, áîÿäèñàíèòå äúðâåíè êàáèíè ñ ïîçëàòåí ìåòàë, ñòîìàíà, ïðîçðà÷íè è ìàòîâè ïëåêñèãëàñîâè óêðàñè.

Ó äîìà ñ Àðìàíè Êîëåêöèÿòà “Àðìàíè Êàçà” å ïðåäñòàâåíà íà ÷åòâúðòèÿ åòàæ â Àðìàíè - Ãèíçà Òàóúð, êîÿòî äàâà âúçìîæíîñò äà ñå ðàçáåðå ñòèëíàòà ôèëîñîôèÿ íà Àðìàíè â ñâåòà íà èíòåðèîðíîòî îáçàâåæäàíå. Êîëåêöèÿòà “Àðìàíè Êàçà” âêëþ÷âà âèäîâå òåêñòèë, ìåáåëè, îñâåòëåíèå è ïðåäìåòè çà âñè÷êè ÷àñòè íà äîìà è ñå ïðåäñòàâÿ â äåëèêàòíà è ëóêñîçíà àòìîñôåðà. Ñâåòëèíàòå å íàñòðîåíà òàêà, ÷å äà óâåëè÷àâà ÷èñòîòàòà íà âñÿêî èçäåëèå, ìåêîòàòà íà ìàòåðèÿòà è öåííàòà ñóáñòàíöèÿ íà äúðâîòî. Åäèí ïîãëåä êúì áúäåùåòî  ìàãàçèíà “Åìïîðèî Àðìàíè”, êîéòî ñå íàìèðà íà äâåòå ñóòåðåííè íèâà è ÷àñò îò ïàðòåðà, äîñòúïúò å îñúùåñòâåí íàïðàâî îò ñòàíöèÿòà íà ìåòðîòî â Ãèíçà. Õàðàêòåðíîòî çà íåãî å ñòúêëîòî, ÷åðíèòå ìðàìîðíè ïëî÷è, ïëåêñèãëàñúò, ñòîìàíåíèòå åëåìåíòè, êîèòî ñà ëàçàðíî îáòî÷åíè. Ëúñêàâèòå ÷åðíè ñòîìàíåíè ïàíåëè ñà èçïîëçâàíè, çà äà îôîðìÿò ñåêòîðè. Ëîãîòî íà “Åìïîðèî Àðìàíè” ïðèäàâà çàâúðøåíîñò. Èçêëþ÷èòåëíàòà êîëåêöèÿ “Àðìàíè - Ãèíçà” Òîâà å êîëåêöèÿ çà èçêëþ÷èòåëåí ìàãàçèí. Àðìàíè å ñúçäàë îãðàíè÷åíà ñåðèÿ íà Äæîðäæî Àðìàíè è Åìïîðèî Àðìàíè, êîëåêöèÿ îò äðåõè è àêñåñîàðè, êîÿòî å èíñïèðèðàíà îò òåìàòà íà çëàòíèòå è ÷åðíè öâåòîâå íà ñãðàäàòà, êàòî ñ òîâà ñå ïîêàçâà ñïåöèàëíàòà ìàðêà “Àðìàíè - Ãèíçà Òàóúð”, êîÿòî íèå ìîæåì äà âèäèì ñàìî òàì. Ðàçïóñêàùî èçæèâÿâàíå Èçêëþ÷èòåëíî. Èíòèìíî. Ëè÷íî. Ïúðâèÿò Àðìàíè SPA öåíòúð å ìÿñòî, êúäåòî ìîæåì äà ïîñòèãíåì õàðìîíèÿ äàëå÷ îò çàáúðçàíèÿ ãðàäñêè íà÷èí íà æèâîò. Óíèêàëíî âúòðåøíî ïúòåøåñòâèå êúì äúëáîêà è ïðîäúëæèòåëíà ðåëàêñàöèÿ. Ìå÷òàåõ çà ìÿñòî, êúäåòî òÿëîòî è äóøàòà ìîãàò äà ñå ñúæèâÿò çàåäíî”, êàçâà Äæîðäæî Àðìàíè.  òðàäèöèîííà è èíòèìíà àòìîñôåðà, èíñïèðèðàíà îò äðåâíèòå ðèìñêè òåðìàëíè áàíè, “Àðìàíè SPA” âè äàâà âúçìîæíîñò äà ñå íàñëàäèòå íà òåðàïèèòå, ïðåäëàãàíè òàì. Òðè÷àñîâàòà öåðåìîíèÿ å èçêëþ÷èòåëåí ðèòóàë, â êîÿòî ñå èçïîëçâàò ðàçëè÷íè ôîðìè íà îáñèäèàí, êàìúê èçâàäåí îò âêàìåíåíàòà ëàâà , íàìåðåíà íà þæíèÿ èòàëèàíñêè îñòðîâ Ïàíòåëåðèÿ, êîÿòî ïðåìàõâà íàïðåæåíèåòî, ïðî÷èñòâà, ðåãåíåðèðà è ðàçêðàñÿâà êîæàòà. Õðàíà çà ðàçìèñúë Äåñåòèÿò è åäèíàäåñåòèÿò åòàæ ñà äîìîâå íà “Àðìàíè Ðèñòîðàíòå” è “Àðìàíè Ïðèâå”. 120- ìåñòíèÿò ðåñòîðàíò ïðåäëàãà èòàëèàíñêà êóõíÿ íà ãëàâíèÿ ãîòâà÷ Åíðèêî Äåðôëèíãåð. Ìàñèòå ñà äúðâåíè, ïîêðèòè ñ ÷åðåí ëàê è ïîçëàòåíè ðàìêè ñúñ ñòúêëî îòãîðå, îáðàäåíî ñ ïàíåëè è áàìáóêîâè ëèñòà.

40- ìåñòíèÿò “Àðìàíè Ïðèâå” èìà äâå çîíè, ïðèåìíà è òåðàñà îòâúí ñ òèêîâà óêðàñà, êàòî âñè÷êî òîâà íàïîäîáÿâà åäíà ìàëêà ãðàäèíà.

27 perfect expression of the seeming contrasts of this country,” says the designer.

So, a bamboo motif has been used across the façades of the first three floors which are then extended through the use of LED backlighting, accentuating the stylized line of the building’s gilt metal frame. Leaves are covered with a film of milky white frosted Plexiglas, draping the façade in a brilliant mantle of light The secret depths of luxury The Giorgio Armani boutique occupies the ground floor and continues upstairs to the second and third floors. This is where the designer’s signature men’s and women’s collections can be found, arranged in a convivial atmosphere that accentuates the relaxed pleasure of an encounter with style. The mood comes from a series of ‘salons’ for each type of product on display, with racks and special partitions gleaming as sunrays: platinumcoloured metal mesh sandwiched between two sheets of ultra clear glass.

Armani black, used on floors, extends the sense of space. Floors are covered in reconstituted marble tiles, while the ceiling features gloss blacklacquered steel panels. Walls are finished in frosted glass and have gilt metal and transparent Plexiglas display units, calculated to conjure up forests of bamboo trees whose relief leaves serve as supports and shelves.

Soft sinuous lines are a tribute to sensual baroque, featuring painted wooden cabinets and brushed gilt metal, steel, transparent and frosted Plexiglas trim. The areas are defined by a peek-a-boo system of frosted or extra clear glass layered with platinum-coloured metal mesh, scored in various points to imagine the bamboo tree.

At home with Armani The Armani Casa collection is presented in a sumptuous environment on the fourth floor of the Armani/Ginza Tower giving meaning to the way Giorgio Armani has extended his style philosophy to the world of interior furnishings. The Armani Casa collection including textiles, furniture, lighting and objects for all areas of the home, is presented in a delicate and luxurious atmosphere, with a flowing pathway looping around panels used to define living space vignettes. The lighting is never flat and is adjusted to enhance the pure form of an item, the softness of a fabric, the precious essence of a wood.

An eye to the future With direct access from the Ginza subway station the Emporio Armani store, on the two basement levels and part of the ground floor, comes to life with a compelling, contemporary image through glass, black reconstituted marble floors, Plexiglas and laser-cut steel, where leadingedge technologies give materials stunning emphasis. Gloss blacklacquered steel panels are used to create seamless wall bands, from which strips are folded to create special loops for displaying the collection.

The Emporio Armani logo cut into the finishes has been given an original new emphasis through backlighting.

The exclusive Armani / Ginza Tower Collection An exclusive collection for an extraordinary store. Giorgio Armani has designed a limited edition series of Giorgio Armani and Emporio Armani apparel and accessories inspired by the building’s gold and black colour theme featuring a special Armani / Ginza Tower label, which will only be available at that location.

A liberating experience.

Exclusive. Intimate. Personal. The first-ever Armani/Spa is a place where one can achieve personal harmony away from the demands of today’s hectic urban lifestyle. A unique inner journey to achieve deep and lasting relaxation. “I dreamed of a place where the body and the being are revitalised together in a nurturing and liberating experience”, said Giorgio Armani.

In a sophisticated and welcoming atmosphere inspired by the ancient Roman thermal baths, the Armani/Spa provides complete privacy with three luxurious private treatment suites dedicated to individual and customised therapies. The three hour Armani Ceremony is an exclusive ritual performed by the Spa Masters using various forms of Obsidian, a stone extracted from petrified lava found on the southern Italian island of Pantelleria, to soothe tension, purify, regenerate and embellish the skin.

PROJECT Doriana e Massimiliano Fuksas PROJECT NAME - ARMANI GINZA TOWER PROGRAM Programma multibrand : GIORGIO ARMANI, EMPORIO ARMANI ARMANI/RISTORANTE, ARMANI/PRIVE’ DATE Da Dicembre 2005 Inaugurazione 7 novembre 2007 SURFACE [m²] Superficie lotto: 760 mq Numero piani: 12 Superficie totale: 7370 mq Superficie di vendita GIORGIO ARMANI: 1026mq Superficie di vendita EMPORIO ARMANI: 476mq Superficie ARMANI/RISTORANTE: 384mq Superficie ARMANI/PRIVE’: 164mq CLIENT Gruppo Giorgio Armani

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28 Àðìàíè – Ãèíçà Òàóúð â Òîêèî Âäúõíîâÿâàùà è íåóñòîèìà å âðúçêàòà, êîÿòî Äæîðäæî Àðìàíè èìà ñ ßïîíèÿ. Íåãîâàòà ìàðêà ñå ïîÿâÿâà çà ïúðâè ïúò ïðåç 1987 ã. Äíåñ Äæîðäæî Àðìàíè ïðåäëàãà ñâîèòå êîëåêöèè â ìðåæà îò äîáðå óïðàâëÿâàíè ìàãàçèíè, â êîÿòî ñà âêëþ÷åíè 12 áóòèêà, 2 ìàãàçèíà çà êîëåêöèè, 14 “Åìïîðèî Àðìàíè”, 2 ìàãàçèíà çà äæèíñè “Àðìàíè” è 2 À/Õ Àðìàíè.  ñúðöåòî íà ñâåòîâíîèçâåñòíèÿ ìîäåí ðàéîí íà Ãèíçà å îòêðèò ìàãàçèí â òðàäèöèîíåí ñòèë “Àðìàíè - Ãèíçà òàóúð”, êîéòî å ðàçïîëîæåí íà 554 Ãèíçà. Òîé å îòêðèò íà 7 íîåìâðè è íîâàòà ñãðàäà å åäíà îò íàé-çàáåëåæèòåëíèòå íå ñàìî â êîíñòðóêòèâåí, íî è â åêñòåðèîðåí è èíòåðèîðåí ïëàí, êîéòî Äæîðäæî Àðìàíè å ðàçðàáîòèë â ñúòðóäíè÷åñòâî ñ âîäåùèòå èòàëèàíñêè àðõèòåêòè Äîðèàíà è Ìàñèìèëèàíî Ôóêñàñ.

- Çà ïîñëåäíèòå ïåò ãîäèíè Ãèíçà ñå ïðåâúðíà â ñâåòîâíà ìîäíà äåñòèíàöèÿ, êîÿòî ìîæå äà ñå îïðèëè÷è ñ “Ïåòî àâåíþ” â Íþ Éîðê, óëèöà “Áîíä” â Ëîíäîí, óëèöà “Ìîíòåíàïîëåîíå” â Ìèëàíî è àâåíþ “Ìîíòàí” â Ïàðèæ. Òÿ å ïðåñå÷íà òî÷êà, ïðèâëè÷àùà êëèåíòè, íà êîèòî ñå õàðåñâà ñúçäàëàòà ñå åíåðãèÿ è âúîäóøåâëåíèå”, ñïîäåëÿ Äæîðäæî Àðìàíè. Âåëè÷åñòâåíàòà “Àðìàíè Ãèíçà Òàóúð” (ïîêðèâàùà ïëîù îò 6000 êâ. ì) å åäíà îò ïîðåäèöàòà ìàãàçèíè íà Äæîðäæî Àðìàíè ïðåç 2000ã, êîãàòî òîé îòêðèâà ìàãàçèíà Àðìàíè - Ìàíöîíè â Ìèëàíî, åäèí ìîäåí è ñòèëåí ìàãàçèí, ïðåäëàãàù íå ñàìî ìîäíè ñòîêè , íî è àêñåñîàðè, êîëåêöèÿ çà äîìà, ðåñòîðàíò “Íîáó”, “Åìïîðèî-Àðìàíè” ñëàäêàðíèöà, íîùåí êëóá “Àðìàíè”, ìàãàçèí çà öâåòÿ, êíèæàðíèöà è ïàðôþìåðèåí ùàíä. Ñëåä òîâà ñëåäâàò “Àðìàíè Ôþíô Õþôå” â Ìþíõåí è “Àðìàíè- Øàòåð Õàóñ” â Õîíêîíã, êúì êîèòî ñå ïðèñúåäèíÿâà “Àðìàíè-Ãèíçà Òàóúð”. Ïðåç 2008 ã. å îáÿâåíà êîíöåïöèÿòà çà ìàãàçèí â Íþ Éîðê “Àðìàíè - Ïåòî àâåíþ” . Äæîðäæî Àðìàíè å ïåðñîíàëèçèðàë âñÿêà îò òåçè äåñòèíàöèè ñúñ ñâîÿ ñîáñòâåí àðõèòåêòóðåí ñòèë, ðàçâèò ñ äóõà íà ãðàäà è ìåñòîïîëîæåíèåòî íà óìà. "Âèíàãè ñúì ìèñëèë çà ñåáå ñè êàòî çà äåìîêðàòè÷åí äèçàéíåð, êîåòî èçðàçÿâàì ÷ðåç ðàçíîîáðàçèåòî íà êîëåêöèèòå ñè. Ìåñòîïîëîæåíèÿ êàòî “Àðìàíè-Ãèíçà Òàóúð” äàâàò âúçìîæíîñò äà ñå èçðàçè òîâà âÿðâàíå, êëèåíòèòå ñå ñòè÷àò îò âñè÷êè ñòðàíè è èìàò äîñòúï äî ðàçíîîáðàçèåòî íà ìîèòå èçäåëèÿ. Àç ìèñëÿ, ÷å òîâà ðåôëåêòèðà âúðõó íà÷èíà, ïî êîéòî ñâåòúò ñå ïðîìåíÿ äíåñ, òúé êàòî òîé ñòàâà âñå ïî êîñìî-

ïîëèòåí, ìåæäóíàðîäåí, ìíîãîñòðàííî êóëòóðåí”, êîìåíòèðà Äæîðäæî Àðìàíè. Äà âèäèì ïðîñòðàíñòâîòî ïî äðóã íà÷èí “Àðìàíè - Ãèíçà Òàóúð” èìà 12 åòàæà, äâå ñóòåðåííè íèâà. Òàì ñå íàìèðà ãëàâíèÿò îôèñ íà Äæîðäæî Àðìàíè, èçëîæáåíè çàëè ñà ðàçïîëîæåíè îò 6 äî 9 åòàæ. Îñòàíàëàòà ÷àñò îò ñãðàäàòà å ïîñâåòåíà íà ìîäíèòå èçäåëèÿ. Ïðîñòðàíñòâàòà çà ãëåçåíå íà óñåùàíèÿòà âêëþ÷âàò îò èçèñêàíèòå ìàòåðèè è ìàòåðèàëè, èçïîëçâàíè â êîëåêöèèòå íà Äæîðäæî Àðìàíè è Åìïîðèî Àðìàíè, äî ëèøåíèòå îò ïðîñòîòà íà êîìôîðòà êîëåêöèè çà äîìà, êóëèíàðíèòå ëàêîìñòâà íà ðåñòîðàíòà “Àðìàíè” è èçòúí÷åíèòå àðîìàòè íà ïúðâèÿ “Àðìàíè Spa öåíòúð”. Öÿëàòà àòìîñôåðà èçðàçÿâà âçàèìîäåéñòâèå íà ÷èñòîòà è ñèëà, êîåòî å â òîí ñ èçêëþ÷èòåëíîñòòà íà ãðàäà Òîêèî. Äæîðäæî Àðìàíè êàíè Äîðèàíà è Ìàñèìèëèàíî Ôóêñàñ, ñ êîèòî âå÷å å ðàáîòèë ïî ïðîåêòà “Àðìàíè- Øàòåð Õàóñ” â Õîíêîíã, äà âíåäðÿò áàìáóêà êàòî îñíîâåí åëåìåíò îò äèçàéíà íà ñãðàäàòà. "Íåãîâîòî êà÷åñòâî å ïåðôåêòåí èçðàç íà êîíòðàñòèòå â òàçè ñòðàíà”, êàçâà äèçàéíåðúò. Áàìáóêîâèÿò ìîòèâ å èçïîëçâàí ïî öÿëàòà ôàñàäà íà ïúðâèòå òðè åòàæà , êîèòî ñå ðàçøèðÿâàò îò èçïîëçâàíåòî íà LED ñèñòåìà , àê-

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new project

Armani/Gianza Tower, Tokio

The inspirational connection that Giorgio Armani finds with Japan is compelling: an affinity which is evident in a physical way before one considers the instincts that underpin the designer’s work - pure forms, symbolism of line, the synthesis - where what is taken away, what cannot be seen is as much a part of the creative process as what can be.

Since Giorgio Armani brought his label to Japan in 1987 the attraction has become mutual with an ever-growing base of clients making this one of his most important markets in the world. Today Giorgio Armani Japan distributes each of the designer’s lifestyle collections through a network of directly controlled stores, including: 12 Giorgio Armani boutiques, 2 Armani Collezioni stores, 14 Emporio Armani, 2 Armani Jeans and 2 A/X Armani Exchange stores and selected department and multi-brand stores.

Now comes the opening of an iconic Armani concept store: the Armani/ Ginza Tower located at 5-5-4, Ginza, Chuo-ku in the heart of the world renowned Ginza fashion retail district. Opening to the public on the 7th November, the distinctive new building was conceived to be seen as one of the district’s most significant architectural landmarks, not only for its construction (reaching the area’s maximum allowed height of 56 metres), but also for its exterior and interior design, which Giorgio Armani has developed in collaboration with the leading Italian architects Doriana and Massimiliano Fuksas.

“Over the last five years Ginza has become one of the world’s unique fashion retail destinations, quickly joining the likes of New York’s Fifth Avenue, London’s Bond Street, Milan’s Via Montenapoleone and Paris’s Avenue Montaigne as a fashion and luxury shopping destination. It is literally an intersection that is now attracting a diverse and international cross-section of fashion consumers who are attracted by the energy and excitement that has been created there,” observes Giorgio Armani.

The imposing Armani/Ginza Tower (covering an area of about 6,000 square metres) is the next in a series of unique concept stores pioneered

by Giorgio Armani in 2000, when he opened Milan’s Armani/Manzoni store: a destination fashion and lifestyle retail experience, offering fashion and accessories, the home collection, a Nobu restaurant and an Emporio Armani Caffe, an Armani Privé nightclub, a flower shop and bookstore and a fragrance and cosmetics counter.

Two further locations followed: Armani/Funf Höfe in Munich and Armani/ Chater House in Hong Kong, now to be joined by the Armani/Ginza Tower and, in 2008, the recently announced Armani/Fifth Avenue concept store in New York.

Giorgio Armani has personalised each destination with its own architectural style, developed with the spirit of the city and the location in mind. “I have always thought of myself as a democratic designer which I express through the variety of my collections. Locations such as the Armani/Ginza Tower provide the possibility to express this belief in a retail environment where a cross-section of customers can have access to a mix of my designs. I think this reflects the way the world is moving today as it becomes ever more cosmopolitan, international and multi-cultural”, comments Giorgio Armani.

Seeing space in a different way The Armani/Ginza Tower has 12 floors as well as two basement levels, with Giorgio Armani Japan’s new corporate head office and showrooms housed on floors 6 to 9 and the rest of the building dedicated to the fashion and lifestyle retail experience. A space of tumbling sensations and indulgence in every sense, from the delights of exquisite fabrics and materials used in the Giorgio Armani and Emporio Armani ready-to-wear collections to the sophisticated comfort of the Armani/Casa home interiors collection and from the culinary pleasures of the Armani/Ristorante to the delicate aromas of the first-ever Armani/Spa. The overall atmosphere expresses a subtle interplay of purity and strength, unique yet absolutely in tune with the extraordinary city of Tokyo.

Reaching out to the future but equally respecting a past rooted in honour and tradition. Giorgio Armani invited Doriana and Massimiliano Fuksas, the architects who had already worked with him on the Hong Kong Armani/Chater House, to incorporate bamboo as a signature element in the building’s design: “Its quality as a delicate yet enduring material is a

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24 íèçúì êúì íîâîîòêðèòèÿ èíòåðåñ êúì îðãàíè÷íîòî.  Áðèòàíèÿ òàçè ïðîìÿíà ïîñëóæèëà çà îñíîâíî çàãëàâèå íà îãðîìíàòà ðåòðîñïåêòèâíà èçëîæáà, îðãàíèçèðàíà îò Êðàëñêèÿ èíñòèòóò íà áðèòàíñêàòà àðõèòåêòóðà ïðåç 1998 ã. Ïðåäñòàâåíè ñà ñòîòèöè ñêèöè è ïëàíîâå, êàêòî è èçÿùíî íàïðàâåíè ìàëêè ïî ìàùàá ìîäåëè, îñâåòåíè íà ìåñòà. Òîâà å áèëî èçêëþ÷èòåëíî øîó, ïîìðà÷åíî åäèíñòâåíî, êàêòî Êèøî ãî íàðåêúë, îò - îòâðàòèòåëíàòà ìèðèçìà íà çàêóñêà” îò ñúñåäíîòî êàôåíå. Ðåòðîñïåêòèâíàòà èçëîæáà, ñòðóâàùà ìèëèîíè äîëàðè, âèäÿíà ñúùî â Ïàðèæ, ×èêàãî, Áåðëèí, Àìñòåðäàì è ßïîíèÿ, áèëà ïîñåòåíà îò èçáðàíà ïóáëèêà. Ñëåä òîâà èçëîæáàòà íà ïðîåêòèòå íà Êóðîêàâà â Áðèòàíèÿ ïðîäúëæèëà â Ìàí÷åñòúð è Êþ Ãàðäåíñ, à ïî-êúñíî êàòî ÷àñò îò íàöèîíàëíèÿ ôåñòèâàë â ßïîíèÿ ïðåç 2001-2002 ã. Êèøî Êóðîêàâà å áèë âåëèêîäóøåí â ñâîÿòà ùåäðîñò, äîðè ìèëîñòèâ, ñåðèîçåí ïðåäïðèåìà÷, êîéòî îðãàíèçèðàë èçëîæáè íà ìëàäè àðõèòåêòè â Òîêèî è Ëîíäîí. Àðõèòåêòóðíèòå æóðíàëè íà Êðàëñêèÿ èíñòèòóò íà áðèòàíñêàòà àðõèòåêòóðà ïðåäñòàâÿëè ðàáîòàòà íà òâîðöè îò íîâàòà ãåíåðàöèÿ êàòî Ñåäæèìà, Êóìà, Íàèòî, Áàí è äðóãè â Ëîíäîí, à íà ïúðâàòà èçëîæáà â Òîêèî ñà ïîêàçàíè ðàáîòèòå íà áðèòàíñêèòå àðõèòåêòè Àëèåñ è Ìîðèñúí, Êðåéã Äàóíè, Ïåéòúë Òàéëúð. Âúïðåêè óñïåõà íà òåçè èçëîæáè Êóðîêàâà íå å èìàë ìíîãî îáåêòè â Àíãëèÿ. Íåãîâèÿò ÿïîíñêè êóëòóðåí öåíòúð â Ãàíåðñáúðè ïàðê, ïðåäñòâåí â Êþ Ãàðäåíñ, å áèë îòõâúðëåí. Ìàêàð ÷å ìíîãî äèñêóñèè ñà ñå ïðîâåëè çà ðàçãëåæäàíåòî íà ïðîåêòà “Àðåíà” íà Êèíã Êðîñ, êàêâî ùå èçëåçå îò òîâà, îùå íå çíàåì, íî íîâèÿò öåíòúð, êîéòî òîé ïðîåêòèðà çà ãðàä Ñóîíñè, ùå áúäå ñúçäàäåí. Íåãîâàòà êíèãà “Ôèëîñîôèÿòà å ñèìáèîçà” å êóëòîâ òåêñò ñðåä ÿïîíñêèòå ëèòåðàòóðíè è ïîëèòè÷åñêè êðúãîâå. Êíèãàòà ðàçãëåæäà ïðèíöèïèòå íà æèâîòà â äèðåêòíà îïîçèöèÿ íà ìåòîäîëîãèèòå íà ìîäåðíèçìà â ïðÿêà âðúçêà ñ åñòåòèêàòà íà ìàøèíèòå. “Ñèìáèîçà” ñïîðåä èíòåðïðåòàöèÿòà íà Êóðîêàâà îò ãðúöêè îçíà÷àâà “æèâååéêè çàåäíî” è ñúçäàâàéêè îòíîøåíèÿ ìåæäó äâà îðãàíèçìà å íå ñàìî èçãîäíî, íî è íåîáõîäèìî è çà äâàòà îðãàíèçìà. Íåãîâèòå òðóäîâå èìàò ïðîäúëæèòåëåí ðåçîíàíñ è áëèçêà âðúçêà ñ ðàçâèòèåòî íà àðõèòåêòóðàòà. Îôèñúò íà Êóðîêàâà (ñ òðè êëîíà â Òîêèî) å ïðîèçâåë ìíîãî ñãðàäè â Ñîôèÿ, Ïàðèæ, Ìåëáúðí, Ñèíãàïóð, Ïåêèí è Àìñòåðäàì. Òå ñà òîëêîâà ìíîãî, ÷å ïîíÿêîãà ñúùíîñòòà íà íåãîâàòà õîëèñòè÷íà ôèëîñîôèÿ ñå ãóáè è ñå ñëåäâà ìîäåëúò íà ãîëåìèòå àìåðèêàíñêè êîìåðñèàëíè ôèðìè. Íåãîâèòå ïðîåêòè â ßïîíèÿ ìó ïîçâîëÿâàò äà ðàçâèå èíòåðåñ â ìåñòíàòà, ðåãèîíàëíàòà è íàöèîíàëíàòà êóëòóðà, êîåòî ñå äåìîíñòðèðà â ïðîåêòèòå îò 70-òå çà ìóçåÿ â Óàêàÿìà (Ìóçåé íà ñúâðåìåííîòî èçêóñòâî), Õèðîøèìà (ãðàäñêèÿ ìóçåé íà ñúâðåìåííîòî èçêóñòâî ñ äóïêà â ñúðöåòî ñè, ñèìâîëèçèðàùà ìÿñòîòî îò óäàðà íà àòîìíàòà áîìáà îò 6 àâãóñò 1945 ã., êîÿòî å óáèëà íàä 100 000 äóøè) è Åõèìå (Ìóçåé íà îáùèòå íàóêè), êúäåòî ñðåä èíäóñòðèàëíèÿ ëàíäøàôò òîé å ñâúðçàë àíñàìáúë îò ãåîìåòðè÷íè ôèãóðè - öèëèíäúð, êîíóñ è êóá - â êîìïîçèöèÿ, êîÿòî áëåñòè ïîä ñëúí÷åâàòà ñâåòëèíà, è îãðîìíè ïàð÷åòà, ïðîèçâîëíî õâúðëåíè âúðõó îòâåñíèòå áåòîííè ñòåíè. Ìåæäóíàðîäíîòî ëåòèùå â Êóàëà Ëóìïóð, ðàçïîëîæåíî íà ðúáà íà òðîïè÷åñêèòå ãîðè, å ñïå÷åëåíî íà êîíêóðñ ïðåç 1990 ã. Íåãîâèÿò äèçàéí ñå îñíîâàâà íà ïðèíöèïèòå íà æèâîòà, êîèòî ïîêàçâàò ñëèâàíå íà ïðèðîäàòà è òåõíîëîãèÿòà ñ èçîáðåòàòåëíà ïîääúðæàùà ññèñòåìà, îáåäèíÿâàùà ñòðóêòóðè è óñëóãè, êàòî ãîðè÷êà îò ñòðóêòóðíè äúðâåòà. Ëåòèùåòî å âèäÿíî êàòî ÷àñò îò åäíà ïî-øèðîêà êîíöåïöèÿ çà ìåäèåí êîðèäîð, ñâúðçâàù ëåòèùåòî ñúñ ñòîëèöàòà. Ïðåç 2003 ã. Êóðîêàâà çàâúðøâà ãðàäîóñòðîéñòâåíèÿ ïëàí çà Àñòàíà, Êàçàõñòàí, ïëàí-êîíöåïöèÿ çà Æåíãæó è ïðîåêò çà Øåíæåí â Êèòàé. Òîé å ïîëó÷èë ìíîãî íàãðàäè, âêëþ÷èòåëíî çëàòåí ìåäàë íà ïàðèæêàòà àêàäåìèÿ è íà ÌÀÀ. Íàãðàäåí å ñ ïî÷åòíî ÷ëåíñòâî íà Êðàëñêèÿ èíñòèòóò íà áðèòàíñêàòà àðõèòåêòóðà è Àìåðèêàíñêèÿ èíñòèòóò ïî àðõèòåêòóðà, à ñúâñåì ñêîðî ñ - ìåæäóíàðîäíà àðõèòåêòóðíà íàãðàäà 2006 ã. îò Ìóçåÿ ïî àðõèòåêòóðà è äèçàéí â ×èêàãî.

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Êèøî Êóðîêàâà (1934-2007) Ïðîôåñîð Äåíèñ Øàðï, ÷ëåí íà ÌÀÀ, êîéòî å ðàáîòèë íà èçëîæáè êîíôåðåíöèè çàåäíî ñ ä-ð Êèøî Êóðîêàâà, îòäàâà ïî÷èò íà âåëèêèÿ àðõèòåêò, ÷èÿòî èíîâàöèîííà ðàáîòà è ñèìáèîòè÷íà òåîðèÿ å èçâåñòíà â Àçèÿ è íà Çàïàä. Íîðèàêè (Êèøî) Êóðîêàâà, êîéòî ïî÷èíà ïðåç îêòîìâðè â Òîêèî, áåøå âàæíà ôèãóðà â ñëåäâîåííàòà àðõèòåêòóðà íà ßïîíèÿ. Òîé ñå ðàäâàøå íà óíèâåðñàëíà ðåïóòàöèÿ êàòî àðõèòåêò, õóäîæíèê, ñúñòàâèòåë íà ïëàíîâå, åêîôèëîñîô, ëåêòîð, à ïî-êúñíî è êàòî ïîëèòèê. Íî êàêòî å èçâåñòíî íà âñåêè ñòóäåíò ïî àðõèòåêòóðà, òîé ùå áúäå çàïîìíåí êàòî åäèí îò îñíîâàòåëèòå íà ìåòàáîëè÷íàòà ãðóïà è äèçàéíåð íà èçâåñòíàòà êàïñóëîâèäíà êóëà Íàêàäæèí, Òîêèî (1970), êóëàòà íà êîðïîðàöèÿ “Ñîíè” â Îñàêà (1972) è íàñêîðî ìåæäóíàðîäíîòî ëåòèùå â Êóàëà Ëóìïóð (2000). Ìèíàëàòà ãîäèíà Êóðîêàâà ñå íàñî÷è êúì ïîëèòèêàòà. Òîé ñå áîðè çà ïîçèöèÿòà íà êìåò íà Òîêèî (êîÿòî çàãóáè), à ñëåä òîâà çà ìÿñòî â ïàðëàìåíòà, êîåòî ñúùî èçãóáè. Ñëåä êàòî ÷óë çà ñìúðòòà ìó, ïðåìèåð - ìèíèñòúðúò ßñóî Ôóêóäà êàçàë íà ðåïîðòåðèòå, ÷å Êóðîêàâà å "èçÿâèë ñâîÿòà ãåíèàëíîñò, çà äà îòêðèå íîâ ïúò êúì àðõèòåêòóðàòà”. Êóðîêàâà å ðîäåí â Íàãîéà ïðåç 1934 ã., îáó÷àâàí å îò áóäèñòêè ìîíàñè â Òîêàé, ïîäãîòâÿë ñå å çà àðõèòåêò â óíèâåðñèòåòà â Êèîòî (1954 -1957), ïðåäè äà ñå ïðåìåñòè â ó÷èëèùå ïî àðõèòåêòóðà êúì Òîêèéñêèÿ óíèâåðñèòåò, êúäåòî íåãîâ ìåíòîð å áèë Êåíçî Òàíãå. Ïðåç 1962 ã. òîé îòêðèâà ñòóäèî "Àðõèòåêò Êèøî Êóðîêàâà è ñúòðóäíèöè” â Òîêèî. Ïðåç 60-òå ãîäèíè å åäèí îò ÷ëåíîâåòå îòêðèâàòåëè íà ìåòàáîëè÷íàòà ãðóïà, ÷èåòî èìå îçíà÷àâà "ïðîìÿíà”, íî ñúùî òàêà ïîêàçâà èíòåðåñ êúì áóäèçìà è öèêëè÷íèòå áèîëîãè÷íè ïðîöåñè. Äðóãèòå ÷ëåíîâå íà ãðóïàòà ñà Êèîíîðè Êèêóòàêè, Ìàñàòî Îòàêà è Ôóìèõèêî Ìàêè. Ïî-êúñíî êúì òÿõ ñå ïðèñúåäèíÿâàò Êåíçî Òàíãå è Àðàòà Èñîçàêè. Òå âÿðâàëè, ÷å áèîëîãè÷íèÿò ïðîöåñ âúâ âðúçêà ñ àðõèòåêòóðàòà è ãðàäñêèÿ ðàñòåæ áè ìîãúë äà ñå îáÿñíè êàòî âèäèìà èíäèâèäóàëíîñò íà êëåòêàòà - êàòî ñòðóêòóðè, êîèòî ñà ÷àñò îò ïî-ãîëÿìà ïîñëåäîâàòåëíîñò, êàòî ñèñòåìà îò ñãðàäè èëè ïðîìÿíà íà ãðàäñêîòî óñòðîéñòâî. Ïúðâèÿò ìåòàáîëè÷åí ïðîåêò íà Êóðîêàâà å Helix City (1961), êîéòî å ñåðèÿ îò ñâúðçàíè ñïèðàëîâèäíè ñòðóêòóðè, ïîñòàâåíè â "èçêóñòâåí ëàíäøàôò, ñúçäàâàù òðèèçìåðíî îðãàíè÷íà è âåðòèêàëíà çåìÿ”. Îò 1964 ã. ðàáîòè çàåäíî ñ Òàíãå âúðõó ïðîåêòà çà çàëèâà â Òîêèî, ïðîåêò, êîéòî ïîëó÷àâà ñâåòîâíà èçâåñòíîñò. Ìåòàáîëè÷íèòå ïðîåêòè ñà áèëè èíñïèðèðàíè îò îòêðèâàíåòî íà ÄÍÊ îò Óîòñúí è Êðèê. Íåéíàòà ôîðìà ïðåäèçâèêàëà èíòåðåñà íà Êóðîêàâà êúì ðàçòåãàåìèòå êàïñóëíè ñòðóêòóðè, çà êîèòî òîé òâúðäè, ÷å äåìîíñòðèðàò íåãîâèòå ìåòàáîëèñòè÷íè òåîðèè ÷ðåç èíäèâèäóàëíè ñãðàäè. Ïúðâàòà îò êîèòî å êàïñóëîâèäíàòà êóëà Íàêàäæèí (1970), ïðåäâàðèòåëíî èçðàáîòåíà âèñîêà áåòîííà ñãðàäà ñ ëåñíî âúçñòàíîâÿåìè õàëêè è ðàáîòíè æëåáîâå è âåðòèêàëíè ìàøèíè. Òàçè ñãðàäà äíåñ å ïîä óãðîçà îò ñðóòâàíå ïîðàäè àçáåñòîâîòî ñè ñúäúðæàíèå. Íåéíàòà íîìèíàöèÿ îò DOCOMOMO (ìåæäóíàðîäíà ðàáîòåùà ïàðòèÿ çà äîêóìåíòàöèÿ è êîíñåðâàöèÿ íà ñãðàäè è êâàðòàëè íà ñúâðåìåííîòî ðàçâèòèå) êúì êîìèñèÿòà ïî ñâåòîâíîòî íàñëåäñòâî çà ðàçãëåæäàíåòî è êàòî åäèí îò ñúâðåìåííèòå èíîâàöèîííè åêñïåðèìåíòè â ñëåäâîåííà ßïîíèÿ å áèëà îòõâúðëåíà.  Îñàêà ïðåç 1972 ã. å ïîñòðîåíà ïðåäñòàâèòåëíàòà êàïñóëoâèäíà îôèñ ñãðàäà íà “Ñîíè” ñ îòêðèòè àñàíñüîðè è óñëóãè. Ñòðàííî å, ÷å ïðèòåæàâàéêè ãîëÿì îôèñ â Òîêèî, Êóðîêàâà ïîñòðîÿâà è ìàëúê îôèñ â ãðàäà, äîêàòî íåãîâèÿò îãðîìåí öåíòúð íà íàöèîíàëíîòî èçêóñòâî â Ðàïîíäæè ñòàíå ãîòîâ. Òîé áåøå îòêðèò ïðåç òàçè ãîäèíà. Íåãîâàòà ðàáîòà â ßïîíèÿ è çàä ãðàíèöà ñòàíà èçâåñòíà ÷ðåç ïîñòðîåíèòå îáåêòè è ðàçâèòèåòî íà íåãîâàòà ôèëîñîôèÿ çà ñèìáèîçàòà, êîÿòî ïðîïîâÿäâà ïðîìÿíà îò "åðàòà íà ìàøèíèòå êúì åðàòà íà æèâîòà”, îò ñòàðîìîäíèÿ åâðîïåéñêè ìîäåð-

NEWS

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million dollar Retrospective, also seen in Paris, Chicago, Berlin and Amsterdam and Japan, was visited by an estimated audience of nearly a million. Further British exhibitions of Kurokawa’s projects followed in Manchester and at Kew Gardens, the latter as part of the 2001-2 nation wide Japan Festival.

Kisho Kurokawa was magnanimous in his generosity to others an ever gracious, serious entrepreneur who co-curated telling exhibitions on ‘Emerging young architects’ held in Tokyo and in London. These AJ/ RIBA exhibitions introduced the work of a new generation including Sejima, Kuma, Naito, Ban and others to London while the first show in Tokyo enabled British architects Allies and Morrison, Craig Downie, Patel Taylor et al to demonstrate the originality of their work.

Despite the success of these exhibitions Kurokawa had little success with new commissions in England. His Japanese Cultural Centre in Gunnersbury Park featured in the Kew exhibition was rejected. Although recent discussions took place with him on the siting of a signature Japan Arena project in Kings Cross. What will come of that we don’t know but the new Maggie’s Centre he designed for Swansea will go ahead.

Kurokawa’s Retrospective heralded English translation of his book The Philosophy of Symbiosis, a cult text in Japan in environmental, literary and political circles. The book espoused his ‘Age of Life’ principle in direct opposition ‘to the methodologies of Modernism’ with its close association with the machine aesthetic. ‘Symbiosis’ in Kurokawa’s interpretation from the Greek means ‘living together’ and creating ‘a relationship between two or more organisms that is not only advantageous, but necessary to both’.

His writings have had a continuing resonance and have a close connection with the development of his architecture.

Kurokawa’s Tokyo office (with three branches in other countries) has produced dramatic new buildings in Sofia, Paris, Melbourne, Singapore, Beijing and Amsterdam. So many in fact that the major core works that espoused his holistic philosophy have sometimes been lost in the wider output of a practice which also followed the pattern of the big American ‘commercial’ firms.

He was however most fortunate in his national commissions many of which allowed him to develop an interest in local, regional and international cultures which is demonstrated in projects from the 1970s for prefectural museums in Wakayama ( Museum of Modern Art), Hiroshima (the City Museum of Contemporary Art with a hole at its heart symbolising the place the atomic bomb hit on 6 August 1945 killing over 100,000 souls) and in the Ehime (The Museum of General Science) where in a low bland industrial landscape he brought together an assembly of geometric forms - cylinder, cone and cube - in a scheme that sparkles in the sunlight with titanium slips randomly cast into the sheer concrete walls.

Kuala Lumpur International Airport, situated at the edge of a rain forest won in competition in 1990. Its design based on ‘Life’ principles showed a fusion of nature and technology with an ingenious support system combining structures and services like a spinney of structural trees. The airport was seen as part of a wider concept for an ‘Eco-city’ media corridor linking the airport and the Capital.

In 2003 he completed a master plan for Astana, Kazakhstan, a concept plan for Zhengzhou and a central Axis project for Shenzhen in China.

Kurokawa received many awards including the Gold Medal of the Paris Academy and the IAA. He was awarded Hon Fellowships from the RIBA and AIA and most recently the Chicago Athenaeum Museum International Architecture Award, 2006.

He is survived by his second wife, the actress Ayako Wakao, and a son and daughter from a previous marriage.

21 Kisho Kurokawa (1934-2007) IAA Prof Dennis Sharp who worked on exhibitions, lectures and conferences with Dr Kisho Kurokawa pays tribute to a great architect whose innovative work and Symbiotic theories were known in Asia and the West.

Noriaki (Kisho) Kurokawa who died in Tokyo in October was a major figure in post-war Japanese architecture. He enjoyed a universal reputation as architect, artist, master planner, eco-philosopher, lecturer and latterly as a politician manqué. But as every architectural student will know he is best remembered as a founder member of the Metabolist Group and the designer of the famous Nakagin Capsule Tower, Tokyo (1970), the Sony Tower, Osaka (1972) and recently the eco-friendly International Airport at Kuala Lumpur (2000). Last year saw Kurokawa moving into politics. He contested the position of Mayor of Tokyo (which he lost) and recently contended a seat in the Upper House, which he also lost! Prime Minister Yasuo Fukuda on hearing of his death told reporters that Kurokawa had: ‘demonstrated his genius to open a new way to architecture’.

He was born in Nagoya in 1934, educated in Tokai by Buddhist monks and trained as an architect at Kyoto University (1954-7) before moving on to the Graduate School of Architecture, Tokyo University where he studied under his mentor Kenzo Tange. In 1962 He opened Kisho Kurokawa Architect and Associates in Tokyo. During the 1960s he was a founder member of the Metabolist Group, the name of which means ‘change’ but also signified an interest in Buddhism and cyclical biological processes. Other members of the Group included Kiyonori Kikutaki, Masato Otaka and Fumihiko Maki. They were later joined by Kenzo Tange and Arata Isozaki. They believed biological processes could, in relation to architecture and urban growth, refer to the visible individuality of cell-like structures as part of a larger order such as system buildings or changing city patterns.

Kurokawa’s first Metabolist project Helix City (1961) – was a series of linked helical structures set in an ‘artificial landscape creating three dimensional, organic vertical land’. From 1964 he worked with Tange on designs for Tokyo Bay a project which received world wide publicity.

Metabolist designs were inspired by Watson and Crick’s discovery of DNA which resembled the molecules of life. For Kurokawa this led to an interest in extensible capsule structures which he claimed demonstrated his Metabolistic theories through individual buildings.

The first of these was the Nakagin Capsule Tower (1970) a prefabricated tall concrete structure with renewable clip-on live and work pods and the appearance of a vertical machine. Sadly this iconic structure is today under threat of demolition due to asbestos content. Its nomination by DOCOMOMO to the World Heritage Committee for consideration as one of the major innovative modern experiments in post war Japan has been ignored. In Osaka the spectacular Sony HQ capsule office tower followed in 1972 with its exposed lifts and services.

It is ironic that with his large office in Tokyo Kurokawa built little in the City, at least until recently when his huge, spectacular wavy glass walled National Art Centre in Roppongi was opened this year. His work in Japan and abroad became known through his built projects and in Japan and abroad through the publicity surrounding his evolving philosophy of symbiosis that advocated a paradigm shift from ‘The Age of the Machine to the Age of Life’, ie, from old fashioned European Modernism to the new found interest in the organic.

In Britain this shift served as the main title for the huge Retrospective exhibition held at the RIBA’ in 1998 which I curated with Dr Kurokawa.

With its see through floors featuring hundreds of sketches by Kurokawa as well as the exquisitely made small scale models lit by fibre optic spots it was a knock-out show only marred by what Kisho called ‘the disgusting smell of breakfast ‘ from the adjacent café. The multi-

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Nomination for IAA Annual Pize 2006 Vittario Gregotti Banka Lombarda Headquarters

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Charles Correa

Architect: Charles Correa Associates (lead designers—Charles Corm, FAIA, principal m charge; julwn Bemhart, principal, Nonditu Correa-Mehrotra, project archuect; E. Daniel Brogfs, executive srchhect; Scschtti Agit shikar, design architect; Salil Simon, Urian Andersen Architect of record: Gewdy Clancy - Roger Goldstein, FAIA, principal; Ted George, Doug Carr, AIA, project architects; Doran Abel, AIA, Jim Horrs, AIA, project managers: Bernard Dooley, AIA. laboratory design director Client: Massachusetts Institute of Technology Engineers; LeMesswser Coiisuttiuns (structural); BR+A Consulting: Engineers (mechanical/ electrical/ telecimmunications); SEA Consultants (civil/storm water); Arup (facade engineering) Size: 412,000 square feet Cost: $175 million (construction) Comptetion date: September 2005

The Massachusetts institute of Technology has undergone remarkable transformations in the past decade. Not ssnce the mid-20th century, when the school commissioned Alvar Aafto’s Baker House and Ec-ro Saarlnen’s MIT Chape! and Kresge Auditorium, has the 90-year-old, IBSacre ‘campus in Cambridge, Massachusetts, seen so much formally adventurous new architecture. Notable projects of the billion-doliar campus building program include Simmons Hall, the riotously fenestrated dormitory by Steven Holl Architects and the Stata Center, a computer science extravaganza by Gehry Partners, The latest niapr new work is the Brain and Cognitive Sciences Complex (BCSC), certainly the least showy and arguably the most satisfying of them all. Designed by Charles Correa Associates, of rvlumbai, h collaboration with architect of record Goody CEancy, of Boston, the seven-story, 412.000-square-foot BCSC is the world’s lorgesi center for neuro-science research; it is also an elegant example of leading-edge laboratory design.

Program The BCSC posed all the typical demands of design for research - and

then some. The program specified almost four dozen wet and dry laboratories, along with much spedallzeci equipment (cold rooms, hot rooms, autoclaves, centrifuges, magnetic resonance imagers, eiectrophysiology rigs, etc.). it also calied tor communal areas that would support ad hoc collaboration.

The program was further complicated by a oureaucratcally and philanthropicaiEy intricate agenda. Home to the ‘Brain and Cognitive Sciences department, the complex also would house two new, endowed centers, the IVtcGovern Institute for Brain Research and the Picower Institute for Leaning and Memory- each requiring a distinct presence.

Programmatic comolexsties wre matched by s:ite idiosyncrasies. The BCSC is located on a triangular plot of land. To the north is the major thooughfare of Masn Street, making the new building a campus gateway.

To the south as the ebullient Stata Center, a tough iconic act to follow.

Complicating matters further, the site is bisected by an active freight railroad. On top of this spatial challenge, the sensitive lab machinery required structural isolation from low-frequency train vibrations.

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Nomination for IAA Annual Pize 2006

Norman FosterHeadquarters New York, USA 2001 - 2006 The new forty-two-storey tower rises above the existing Art Deco building linked on the outside by a skirt of glazing that encourages an impression of the tower floating weightlessly above the base.

Êîðïîðàòèâíàòà ñãðàäà íà "Õúðñò", Íþ Éîðê, ÑÀÙ 2001-2006 ã. Íîâàòà 42-åòàæíà êóëà ñå èçäèãà íàä ñòàðàòà ñãðàäà àð äåêî, ñ êîÿòî å ñâúðçàíà ÷ðåç ñòúêëî è ñúçäàâà óñåùàíå, ÷å ñå íîñè â áåçòåãëîâíîñò.

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Âïèñàí êàòî ïðîâåðÿâàù íà ôèíàíñèðàíèòå ñãðàäè êúì ìèíèñòåðñòâîòî íà îáùåñòâåíèòå äåëà Ðúêîâîäè àðõèòåêòèòå îò Ïàðìà, 1987 ã. Ãëàâåí àðõèòåêò êúì óíèâåðñèòåòà ïî àðõèòåêòóðà âúâ Âåíåöèÿ ïðåç 1986 ã., ÷ëåí íà áîðäà íà àðõèòåêòèòå â Áðèòàíèÿ êúì Êðàëñêèÿ èíñòèòóò íà áðèòàíñêàòà àðõèòåêòóðà. Åçèöè: âëàäåå èòàëèàíñêè, àíãëèéñêè, îòëè÷åí ôðåíñêè, íà÷èíàåù ïî êíèæîâåí êèòàéñêè Îò ìàé 1999 ã. å ãëàâåí àðõèòåêò è äèðåêòîð íà êîìïàíèÿ â Ìàëàéçèÿ Ïðîåêòèðà íÿêîëêî îáåêòà â Ìàëàéçèÿ: îáíîâÿâàíå íà ïúðâèÿ åòàæ íà õèïåðìàðêåò êúì Equal Gain Sdn.Bhd., áóíãàëà-êúùè îò âèñîêà êàòåãîðèÿ â Äæèí Àáäóë Ñàìàä çà “Áåòèíà Õîëäèíã” Sdn. Bhd., 8-åòàæíà ñãðàäà â Òàìàí Ïåëàíäæè çà “Óðóñ Çàìàí Õîëäèíã” Sdn.Bhd., òúðãîâñêè öåíòúð â Ïóòàäæàéà çà Ñåòèÿ. Ðåñòàâðèðà “Áàëàé Çàõàðàí” â Èñòàíà Áåçàð Ãàðäåí. Îáíîâÿâà õîòåë “Ñîôèòåë” â Äæîõîð Áàõðó è ïðîåêòèðà çîíà çà ðåöåïöèÿòà è áàñåéí çà Íîâîòåë “Íóñà Äóà” â Áàëè, Èíäîíåçèÿ, ñúâìåñòíî ñ Ì.Ë. Áóíàíã îò Òàéëàíä. Íåãîâè ñà ïðîåêòèòå çà îáíîâÿâàíå íà áóíãàëî-êúùà çà Ó. Ì. Òåíãêó Ìàêîòà Äæîõîð â Äæèí Ïåðäàíà- Äæîõîð Áàõðó, çà áóíãàëîêúùà çà ïðîôåñîð Àçìàí Àóîíã â Äæèí Êàëàì - Äæîõîð Áàõðó çà Êîíã Ñàí Åíòúðïðàèéç è çà íîâ öåíòúð çà óñëóãè çà “Rolex” â Êóàëà Ëóìïóð è Äæàêàðòà. Îò ñåïòåìâðè 1998 ã. äî 1999 ã. å àðõèòåêò â ñòóäèî “Âèñòà” ÎÎÄ â Ñèíãàïóð. Ðàçâèâà ïðîåêò çà ìåñòíîñòòà “Ïàíãîë” çà îêîëî 796 æèëèùíè åäèíèöè è íÿêîëêî ïðåäâàðèòåëíè ïðîåêòà çà “Íîãêàé Ìèëåíèóì” â Òàéëàíä è Òèåíäæèí â Êèòàé. Îò 1997 ã. äî àâãóñò 1998 ã. å ïðîåêòàíò àðõèòåêò êúì “Àãàðòà Þíèâúðñ” Sdn Bhd Íàåò å îò “Àãàðòà Þíèâúðñ”, çà äà ðàçâèå êîíöåïòóàëåí ïðîåêò çà “Òèì Ïàðê” â Ñåðèë Àëàì. “Äæîõîð” ñå ñúñòîè îò 10 ïúòÿ è 8 çîíè. “Ïîðú÷åíèåòî íà êëèåíòà áåøå ðàçâèòî ïúðâîíà÷àëíî â ñêèöè è ïðåäâàðèòåëíè ïëàíîâå, âïîñëåäñòâèå ñå ñòèãíà äî ÷åðòåæèòå è äîêóìåíòèòå. Àç áÿõ îòãîâîðåí çà ñúçäàâàíåòî íà ÿñíà ôîðìà íà ïðîåêòà è äà êîîðäèíèðàì êîíñóëòàíòèòå, êîèòî òðÿáâàøå äà ïîäãîòâÿ ÷åðòåæèòå è äîêóìåíòèòå. ×åðòåæèòå è äîêóìåíòèòå çà äâåòå çîíè áÿõà çàâúðøåíè è îôåðòàòà áåøå ïðåäëîæåíà ïðåç îêòîìâðè 1997 ã Ðàáîòàòà ïî îñòàâàùèòå 6 çîíè ïðîäúëæàâà. Ñåãà àç êîîðäèíèðàì îò èìåòî íà êëèåíòà îñòàíàëàòà ÷àñò îò ðàáîòàòà, ïðåäèìíî èçêîïèòå, ðàçðàáîòêàòà íà ÷åðòåæèòå è äåòàéëèòå, íåîáõîäèìè çà ñúñòàâÿíå íà îôåðòàòà çà îñòàâàùèòå çîíè â ïàðêà”, ñïîäåëÿ àðõ. Êóêè. Îò 1986 ã. äî ñåãà å ãëàâåí àðõèòåêò â “Ïàîëî Êóêè è àðõèòåêòè”. Ïðèòåæàâà ñîáñòâåíî àðõèòåêòíî ñòóäèî â Ïàðìà è Ìèëàíî. Ïðåäëàãà ïúëåí ïàêåò óñëóãè: ïðîó÷âàíå, äèçàéí, íàäçîð íà ðàáîòàòà äî ïðåäàâàíå íà êëèåíòà êàêòî â ïóáëè÷íèÿ, òàêà è â ÷àñòíèÿ ñåêòîð.  äîáàâêà ìîãàò äà áúäàò âêþ÷åíè åêñïåðòíè îöåíêè, âúòðåøåí äèçàéí è îáíîâÿâàíå íà æèëèùíè è òúðãîâñêè ïîìåùåíèÿ, ðåñòàâðàöèè íà ôàñàäè è èíòåðèîð íà èñòîðè÷åñêè ñãðàäè. “Àç ñúì ãëàâíèÿò àðõèòåêò è ðúêîâîäÿ êîíöåïòóàëíîòî ðàçâèòèå íà ôàçèòå íà âñÿêà âúçëîæåíà çàäà÷à è ôèíàíñîâàòà ÷àñò íà ïðîåêòà. Àðõèòåêòèòå ðàçâèâàò ïðîåêòèòå, äîêàòî àç ïîääúðæàì êîíòàêòè è îöåíÿâàì ñåäìè÷íèÿ ïðîãðåñ. Èìàì ñúñòàâ îò 5 àðõèòåêòè, 9 ÷åðòîæíèêà è 3 äóøè ïîääúðæàù ïåðñîíàë.” Ïðèêðåïåíèòå ñïèñúöè äàâàò øèðîêà ãàìà îò ïðèìåðè çà ðàçíîîáðàçèåòî íà ïðîåêòèòå â íàøàòà ïðàêòèêà.

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IAA new Professors

Paolo Cucchi - Architect - 10th April 1956 Parma (Italy) Education and Professional Qualifications Professor at UTM (University Technology Malaysia) Faculty of Architecture from 2003 President of Italian-Malaysian Business Association 2003-2007 Order Of Designers and Testers of the Agency for the Promotion and Development of Southern Italy, 1988 Enrolled as a Tester for Financed Building Constructions, at the Ministry Of Public Works.

Order Of Architects Of Parma, 1987 (Reg no 290) M.Arch. University Institute of Architecture of Venice 1986, UK Board of the Architects (071310D) and RIBA. Language: Italian, English, French fluent, Mandarin only beginning Experience Record From May 1999 Pricipal Architect and Managing Director of SPV (M) Sdn Bhd As Project Architect and Managing Director of the Company is carrying several project in Malaysia.

Renovation of first floor of Xtra Hypermarket for Equal Gain Sdn Bhd. Project of medium cost of 300 units in Sungai Masai for Kong Sun Enterprise Sdn.Bhd. Project of high class bungalows house in Jln Abdul Samad for Bettina Holding Sdn Bhd. Project of 8 storey office building in Taman Pelangi for Urus Zaman Holding Sdn. Bhd. Project of a shopping complex in Putajaya for P.T. Setia. Project of restoration of Balai Zaharah in Istana Besar Garden. Renovation of Sofitel Hotel in Johor Bahru and design of reception area and swimming pool area of Novotel Nusa Dua in Bali – Indonesia, both with M.L. Bunnang (Thai). Project of renovation of bungalow house for Y.M. Tengku Mahkota Johor in Jln Perdana - Johor Bahru, project of a bungalow house for Prof. Azman Awang in Jln Kolam Air -- Johor Bahru, project of bungalow house in Fifth Avenue in Singapore for Victor Sassoon, 50 terrace houses in Kulai - Johor Bahru for Kong Sun Enterprise Sdn. Bhd and project of new service centre for Rolex in Kuala Lumpur and Jakarta.

9/1998 to 1999 Architect in Architects Vista Pte Ltd Singapore I have develop conceptual design for HDB competition in Punggol area for 796 residential units and some preliminary conceptual project for Nogkai Millenium in Thailand and Tienjin in China.

1997 to 8/1998 Project Architect, Agarta Universe Sdn Bhd Engaged by Agarta Universe to develop conceptual designs for Theme Park in Seri Alam, Johor consisting of ten rides and eight zones and with expected passenger traffic of 6M people per year. The Client brief was

Paolo Cucchi developed in to conceptual sketches and preliminary layouts and has subsequently been advanced to tender drawings and tender documents. I have been responsible for crystallizing the conceptual designs and coordinating the consultants to realise a set of drawings and documents upon which tenders can be called. The drawings and documentation for two zones have been completed and a tender was called in October 1997. Work on the remaining six zones is currently ongoing. I am presently coordinating, on behalf of the Client, the ongoing site works, predominantly earthworks, and the development of the drawings and details necessary for tender for the remaining zones of the park.

1986 until now (directly involved until 1997) Principal. “Paolo Cucchi Architects” Proprietor of architectural design practice with offices in Parma and Milan. The practice offered the full range of Architectural services from feasibility studies to design & supervision of major development works to Clients in both the public and private sector. In addition the practice developed specific expertise in interior design and renovation of residential and retail premises, restoration of facades and interiors of historical buildings. I am the Principal Architect and oversee the conceptual development stages of all commissions undertaken by the practice and all financial matters relating to the Clients. Thereafter the architects developed the projects whilst I maintained contact with progress via weekly appraisals. I have a staff of five architects, nine draughtsmen and three support staff. The attached listings give a broad range of samples of the diverse mix of projects undertaken by the practice. Àðõèòåêò Ïàîëî Êóêè å ðîäåí íà 10 àïðèë 1956 ã. â Ïàðìà Îáðàçîâàíèå è ïðîôåñèîíàëíà êâàëèôèêàöèÿ Ïðîôåñîð â Óíèâåðñèòåòà ïî òåõíîëîãèè â Ìàëàéçèÿ, ôàêóëòåò ïî àðõèòåêòóðà îò 2003 ã. Ïðåçèäåíò íà èòàëèàñêî-ìàëàéçèéñêà áèçíåñ àñîöèàöèÿ 20032007 ã. Ðúêîâîäè Àãåíöèÿòà íà äèçàéíåðèòå çà ðàçâèòèå íà Þæíà Èòàëèÿ,1988ã.

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IAA new Professors Mario Pisani was born in Rome in 1947. Designer, historian and critic, professor at the Faculty of Architecture of Naples II University “Luigi Vanvitelli”, teaches History of Contemporary Architecture at the Faculty “Ludovico Quaroni” in Rome, I University “La Sapienza”.

He also gives lectures at the “Accademia di Belle Arti Pietro Vannucci” in Perugia, and is Visiting Professor at the Faculty of Architecture of Msida, Malta. He gives lectures, holds seminars and conferences in many Italian Universities (Florence, Rome, Naples, Salerno, Palermo) and foreign ones (Amman).

He has collaborated with the “C.N.R” and the “Biennale di Venezia” and has been member of many international and national judging committees. (Reggio Calabria, Sesto Fiorentino, Tirana) His essays have been published on important magazines as Palladio, Controspazio, L’Industria delle Costruzioni, Eupalino, Materia, Demetra, L’Arca, Domus, Art Forum of New York and Artics of Barcelona. He is editor in chief of the Italian magazine Abitare la Terra.

Among his most important essays: Paolo Portoghesi Opere e progetti, Electa, Milan 1989 (III Edition 1997); Architecture Studio Rites de Passages, Wordsearch Publishing London-Carte Segrete Rome 1995; Le architetture di Armando Brasini, Officina Edizioni, Rome 1996; Il Padiglione Italiano all’Esposizione delle Arti Decorative del 1925, ovvero “L’Onta di Parigi”, Librìa, Melfi 1996; Marcello Piacentini L’architettura del dopoguerra, in La Cappella della Divina Sapienza nella città universitaria di Roma, editor Sandro Benedetti, Gangemi Editore, Rome 1998; L’architettura di Piermarini attraverso le considerazioni degli intellettuali del suo tempo, in AA. VV., Giuseppe Piermarini I disegni di Foligno. Il volto piermariniano della Scala, Electa, Milano 1998; Studio Passarelli Palazzina in via Campania, Roma, Universale di Architettura, Riva presso Chieri (Turin) 2000; Rosoni in Umbria, Casa editrice Caprai, Foligno 2002. Marcello Piacentini Architetture Le opere maestre, Edizioni Nuova Argos, Roma 2004; Signorini Architetture, Casa editrice Librìa Melfi dicembre 2004, Architecture Studio, Edilstampa Roma febbraio 2005 , SITE , Edilstampa Roma 2006 He has updated the notion La città e l’architettura of the “Enciclopedia Universale dell’Arte”, in the volume dedicated to Post-modern architecture, while a series of articles and interviews concerning the theme Imparare dalla Natura (Learning from Nature) were published in 1999 September issue of the monthly “Domus”. He has collaborated to several researches of the Consiglio Nazionale delle Ricerche on Mediterranean Cities, especially Martina Franca, and on Contemporary Museums.

In 1980 he projected the Cultural Center at the Casilino quarter, in Rome.

In 1982 He carried out the plan of the Maestoso Cinema, in Roma.In 1984 He organized the exhibition “Pier Paolo Pasolini...Avec les armes de la poesie”, held in Paris from October 1 to December 31. He projected in 1987, in collaboration with Paolo Portoghesi, The Center of Culture and Art in the Ionian region in Montegiordano. In 1996 - 1997 he won the competion of Potenza Municipality for the Piazza Pagano arrangement. In 1997 he supervises the accomplishment of Museo Totò in Naples. In 1999 he projected Via Garibaldi and Piazza Garibaldi in Foligno. In 2001 he won the national competition for Piazza dell’Annunziata in Acri near Cosenza.

Mario Pisani Ìàðèî Ïèçàíè å ðîäåí â Ðèì ïðåç 1947 ã Äèçàéíåð, èñòîðèê è êðèòèê, ïðîôåñîð ïî àðõèòåêòóðà â óíèâåðñèòåòà â Íåàïîë “Ëóèäæè Âàíâèòåëè”, ïðåïîäàâà èñòîðèÿ íà ñúâðåìåííàòà àðõèòåêòóðà âúâ ôàêóëòåòà “Ëóäîâèêî Êóàðîíè” â Ðèì è óíèâåðñèòåòà “Ñïèåíöà”. Èçíàñÿ ëåêöèè â àêàäåìèÿòà ïî èçÿùíè èçêóñòâà “Ïèåòðî Âàíó÷è” â Ïåðóäæà è å ëåêòîð íà ôàêóëòåòà ïî àðõèòåêòóðà â Ìñèäà, Ìàëòà. Òîé íå ñàìî èçíàñÿ ëåêöèè, íî ïðîâåæäà ñåìèíàðè è êîíôåðåíöèè â ìíîãî èòàëèàíñêè óíèâåðñèòåòè âúâ Ôëîðåíöèÿ, Ðèì, Íåàïîë, Ñàëåðíî, Ïàëåðìî è â ÷óæäè óíèâåðñèòåòè . Ñúòðóäíè÷è ñúñ “CNR” è “Áèàíàëå äè Âåíåöèÿ”, ÷ëåí å íà ìíîãî ìåæäóíàðîäíè è íàöèîíàëíè êîìèñèè â Ðåäæî äè Êàëàáðèÿ, Ñåñòî Ôèîðåíòèíî, Òèðàíà. Íåãîâèòå åñåòà ñà èçäàâàíè âúâ âàæíè ñïèñàíèÿ êàòî “Ïàëàäèî”, “Êîíòîñïàöèî”, “Ëèíäóñòðèÿ äåëå êîñòðóöèîíè”, “Åóïàëèíî”, “Ìàòåðèÿ”, “Äåìåòðà”, “Ëàðåà”, “Àðò ôîðóì” íà Íþ Éîðê è “Àðòèåñ” íà Áàðñåëîíà. Òîé å ãëàâåí ðåäàêòîð íà èòàëèàíñêîòî ñïèñàíèå “Àáèòàðå ëà òåðà”. Ñðåä íåãîâèòå íàé-èçâåñòíè åñåòà ñà: “Ïàîëî Ïîðòîãåçè - òðóäîâå è ïðîåêòè”, Åëåêòà , Ìèëàíî 1989 ã. ; “Àðõèòåêòóðíî ñòóäèî Ðàéò äå Ïàñàäæåñ” , Ëîíäîí è Ðèì ïðåç 1995, “Àðõèòåêòóðàòà íà Àðìàíî Áðàçèíè”, îôèöèàëíî èçäàíèå, Ðèì 1996; “Èòàëèàíñêè ïàâèëèîí íà èçëîæáàòà íà äåêîðàòèâíî èçêóñòâî îò 1925 ã”, “Âúëíàòà íà Ïàðèæ”, 1996ã; “ Àðõèòåêòóðàòà íà Ìàð÷åëî Ïèà÷åíòèíè ñëåä âîéíàòà”, èçäàòåë Ñàíäðî Áåíåäåòè, Ðèì 1998ã.; “Àðõèòåêòóðàòà íà Ïèåðìàðèíè ñðåùó ñúîáðàæåíèÿòà íà èíòåëåêòóàëöèòå îò íåãîâîòî âðåìå”, Ìèëàíî 1998 ã; “Ñòóäèî Ïàñàðåëè Ïàëàöèíà íà óëèöà Êàìïàíÿ â Ðèì”, Òîðèíî 2000 ã, Ïðîçîðöèòå â Óìáðèÿ ”2002 ã”, “ Àðõèòåêòóðàòà íà Ìàð÷åëî Ïèà÷åíòèíè”, Ðèì 2004 ã, “Àðõèòåêòóðíî ñòóäèî”, Ðèì 2005 ã. Òîé å ïîäíîâèë “Ãðàäúò è àðõèòåêòóðàòà” îò “ Óíèâåðñàëíà åíöèêëîïåäèÿ íà èçêóñòâàòà” â òîì, ïîñâåòåí íà ïîñòìîäåðíàòà àðõèòåêòóðà, à ïðåç òîâà âðåìå å íàïèñëà ñåðèÿ îò ñòàòèè è èíòåðâþòà íà òåìà “Äà ó÷èì îò ïðèðîäàòà”, êîèòî ñà áèëè ïóáëèêóâàíè ïðåç 1999 ã â ñåïòåìâðèéñêîòî èçäàíèå íà ìåñå÷íèêà “Äîìóñ”. Òîé å ñúòðóäíè÷èë íà Íàöèîíàëíèÿ ñúâåò ïî íàó÷íî-èçñëåäîâàòåëñêà äåéíîñò íà ñðåäîçåìíîìîðñêèòå ãðàäîâå è ìóçåèòå ïî ñúâðåìåííî èçêóñòâî. Ïðåç 1980 ã. å ïðîåêòèðàë êóëòóðåí öåíòúð â êâàðòàëà “Êàçèëèíî” â Ðèì. Ïðåç 1982 ã. ñúçäàâà ïëàí çà êèíîòî “Ìàåñòîçî” â Ðèì. Ïðåç 1984 ã îðãàíèçèðà èçëîæáà “Ïèåð Ïàîëî Ïàçîëèíè - ñ ðúöåòå íà ïîåçèÿòà”, îòêðèòà â Ïàðèæ îò 1 îêòîìâðè äî 31 äåêåìâðè . Ïðîåêòèðà â ñúòðóäíè÷åñòâî ñ Ïàîëî Ïîðòîãåçè Öåíòúð íà êóëòóðàòà è èçêóñòâîòî ïðåç 1987 ã. â Ìîíòåäæîðäàíî. Ïðåç 1996-1997 ã ïå÷åëè êîíêóðñà íà îáùèíà Ïîòåíöà çà ïëîùàä “Ïàãàíî”. Ïðåç 1997 ã ðúêîâîäè èçïúëíåíèåòî íà ìóçåÿ “Òîòî” â Íåàïîë. Ïðåç 1999 ã ïðîåêòèðà óëèöà “Ãàðèáàëäè” è ïëîùàä ”Ãàðèáàëäè” âúâ Ôîëèíî. Ïðåç 2001 ã ïå÷åëè íàöèîíàëåí êîíêóðñ çà “Ïèàöà äåë Àíóíçèàòà” áëèçî äî Êîçåíöà.

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2000 - 2003 Ìåæäóíàðîäíà èçëîæáà "Àðõ Ìîñêâà", Ìîñêâà, ëàóðåàò çà 2000 è 2003 ã.

2002 - èçëîæáà íà 6 ðóñêè àðõèòåêòè â Ùóòãàðä, Ãåðìàíèÿ 2002 - èçëîæáà íà 10 ðóñêè àðõèòåêòè â Ëîíäîí, Àíãëèÿ 2002 - èçëîæáà íà 5 ðóñêè àðõèòåêòè âúâ Âåíåöèÿ "V-NICE", Èòàëèÿ

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IAA new Professors Vladimir Plotkin was born on May 13, 1955 in Leningrad. He graduated architectural faculty in Polytechnic University, Byelorussia in 1980, senior architect in Belgosproekt in Minsk ( 1985-1995), architect in chief in AO Mosproekt ( 1985 1995), architect in chief of TPO Reserv (1995), member of the Architectural Union (1984), professor of the International Academy of Architecture, member of the managing committee of MOSA. He is author of many realized projects, main of them are: 2003 - Residential complex Tatarovskaya Poima in Moscow 2003 - Trade complex Quadro, the Kutozov prospect in Moscow He is author of many projects: 2003 - Trade and entertaining complex on Kutuzov prospect.

2003 - Residential complex on Lenin prospect He took part in many competitions: 1998 - Ethnography museum in Gothenburg, Sweden 2000 - Museum in Egypt 2002 - Complex of buildings of Moscow municipal council and the new building of Moscow municipality.

He took part in many exhibitions: 2000-2003 International exhibitions Arch Moscow, in Moscow, prizewinner for 2000 and 2003 2002 - Exhibition of 6 Russian architects in Stuttgart, Germany 2002 - Exhibition of 10 Russian architects in London, England 2002 - Exhibition of 5 Russian architects in Venice, Italy

Ðîäåí íà 13. 05. 1955 ã. â ãðàä Ëåíèíãðàä. Çàâúðøâà Àðõèòåêòóðíèÿ ôàêóëòåò íà Áåëîðóñêèÿ Ïîëèòåõíè÷åñêè óíèâåðñèòåò (1980 ã.), ñòàðøè àðõèòåêò íà " Áåëãîñïðîåêò" Ìèíñê (1980-1985 ã.), ãëàâåí àðõèòåêò íà ÀÎ "Ìîñïðîåêò" (1985-1995), ãëàâåí àðõåòåêò íà ÒÏÎ "Ðåçåðâ" (1995), ÷ëåí íà Ñúþçà íà àðõèòåêòèòå (1984), ïðîôåñîð íà Ìåæäóíàðîäíàòà àêàäåìèÿ ïî àðõèòåêòóðà, ÷ëåí íà óïðàâèòåëíèÿ ñúâåò íà ÌÎÑÀ, Àâòîð íà ãîëÿì áðîé ðåàëèçèðàíè ïðîåêòè, êàòî îñíîâíè ïðåç ïîñëåäíèòå ãîäèíè ñà: 2003 - æèëèùåí êîìïëåêñ "Òàòàðîâñêàÿ ïîéìà" Ìîñêâà 2003 - òúðãîâñêè êîìïëåêñ "Êâàäðî", Êóòóçîâñêè ïðîñïåêò Ìîñêâà Àâòîð íà ìíîãîáðîéíè ïðîåêòè, îò êîèòî ïîñëåäíè ñà: 2003 - òúðãîâñêî-ðàçâëåêàòåëåí êîìïëåêñ íà Êóòóçîâñêè ïðîñïåêò 2003 - æèëèùåí êîìïëåêñ íà Ëåíèíñêè ïðîñïåêò Ó÷àñòâà â ðåäèöà êîíêóðñè. Íÿêîè îò ïîñëåäíèòå ñà: 1998 - åòíîãðàôñêè ìóçåé â Ãåòåáîðã, Øâåöèÿ 2000 - Ãîëÿì åãèïåòñêè ìóçåé 2002 - êîìïëåêñ ñãðàäè íà Ìîñêîâñêè îáùèíñêè ñúâåò è íîâàòà ñãðàäà íà Ìîñêîâñêà îáùèíà Âçèìà ó÷àñòèå è â ìíîãî èçëîæáè:

Vladimir Plotkin

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Ðúêîâîäèòåë íà àðõèòåêòóðíî ñòóäèî 19 "Ìîñïðîåêò-2", ÷ëåí íà ðóñêàòà è ìåæäóíàðîäíà àêàäåìèÿ ïî àðõèòåêòóðà, ÷ëåí íà óïðàâèòåëíèÿ ñúâåò íà ÑÀ íà Ìîñêâà, ëàóðåàò íà ìíîãîáðîéíè ðóñêè è ìåæäóíàðîäíè êîíêóðñè è ïðåãëåäè, àâòîð íà íà ãîëÿì áðîé ïðîåêòè íà æèëèùíè è îáùåñòâåíè ñãðàäè.

1951 - ðîäåí å â ãðàä Õáàðîâñê 1974 - çàâúðøâà Ìîñêîâñêè àðõèòåêòóðåí óíèâåðñèòåò 1975 - 1988 - ðàáîòè â ðàçëè÷íè ïðîåêòàíòñêè îðãàíèçàöèè â Ìîñêâà 1989 - ðúêîâîäèòåë íà ñîáñòâåíî òâîð÷åñêî ïðîåêòàíòñêî áþðî 1994 - íàñòîÿùå âðåìå - ðúêîâîäèòåë íà 19 "Ìîñïðîåêò-2" Âçåìà ó÷àñòèå â èçëîæáè: 1993 - "Ìîñêîâñêè àðõèòåêòóðåí àâàíãàðä" (×èêàãî) 1995 - "Ñòðîèòåëíà ïëîùàäêà - Ìîñêâà" (Áåðëèí) 1998 - Ïåðñîíàëíà èçëîæáà â Ñúþçà íà àðõèòåêòèòå â Ìîñêâà 1996 - 2003 - ó÷àñòèå â ñúþçè, àðõèòåêòóðíè ïðåãëåäè, â òîâà ÷èñëî "Çëàòíîòî ñå÷åíèå", Çîä÷åñòâî", "Àðõ - Ìîñêâà" è "Ìîñêâà - êðà÷êà â áúäåùåòî" Îñíîâíè ïîñòðîåíè ñãðàäè: ðåêîíñòðóêöèÿ íà ñãðàäàòà íà "Òàéñ ðåèë ñåðâèñ", ðåêîíñòðóêöèÿ íà áèáëèîòåêàòà íà Òóðãåíåâ, ðåêîíñòðóêöèÿ íà ñãðàäàòà íà Ðóñîáàíê, ðåêîíñòðóêöèÿ íà æèëèùíà ñãðàäà íà Àðáàò è Õëåáíèêîâ ïåðåóëîê, ïåøåõîäíè ìîñòîâå ÌÊÀÄ è 3 òðàíñïîðòíè ïðúñòåíè, ðåêîíñòðóêöèÿ íà æèëèùíè áëîêîâå íà Âëàäèìèñêà óëèöà, ðåêîíñòðóêöèÿ íà ñãðàäàòà íà Öåíòðèçáèðêîìà, òúðãîâñêè êîìïëåêñ "Ðóñêîòî áèñòðî", ñãðàäàòà íà Ðóñêî áèáëåéñêî îáùåñòâî è ìíîãî äðóãè. Îñíîâíè ïðîåêòè: Áèçíåñ öåíòúð "Ñòîìàòîëîãèÿ", Øâåäñêè êðàëñêè ìåäèöèíñêè öåíòúð, Îëèìïèéñêè áîóëèíã öåíòúð â Ìîñêâà, Îñòðîâ íà çàáàâëåíèÿòà íà ×åðíî ìîðå, êîìïëåêñ ñ åäíîôàìèëíè êúùè â "Áàðâèõà - Îè" è äð.

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IAA new Professors Director of 19 workshop “ M o sproject2”. Member of the Russian and International Architect u r a l Academy. Member of Moscow Architectural Union committee, laureate of many national and international competitions and reviews. Author of numerous public and residential buildings, sport and transport facilities.

1951 - born in Khabarovsk \ 1974 graduate from Moscow Architectural Institute \ 1975-1988 - working in different Moscow project institutes 1989 - director of personal architectural studio \ 1994-present - director of 19 workshop “Mosproject-2” Main exibitions: 1993 - “Moscow architectural Avantguarde” [Chicago) \ 1995 - “Construction site Moscow” (Berlin) \ 1998 - personal exibition in Moscow Architectural Union 1996-2003 - participation in several architectural expositions [“Golden Section”, “Zodchestvo”, “ArchMoscow”, “Moscow- step into the future”) Main buildings - reconstruction of “Transreilservice” building, reconstruction ofTurgenev library, reconstruction of Russobank building, reconstruction of residential houses on Arbat and HIebny street, pedestrian bridges on the Moscow Ring Road and 3 Car Ring, reconstruction of residential houses on Vladimirskaya str., reconstruction of Centerizbircom building, trade center “Russkoye bistro”, Russian Bible society building, tennice center “Olympic star”, Mercedes-Benz center “Avilon”, cottage settlement “Barvikha-2”.

Main projects - Business-center “Stomatology”, reconstruction of the Moscow Planetarium, trade centers on 51, 68, 74, 78 km of Mos-

Alexander Asadov

cow Ring Road, complex project of 3 Rail Ring stations, Swedish Royal medicine center, Olympic Bowling center in Moscow, hotel center in Surgut, Main Post office in HantyMansiysk, Sberbank residence in Rostov-na-Oonu, Island of Entertainments on the Black sea, Mercedes-Benz center on Rublyovskoe sh., residential complex in Mytishy, cottage settlement “Barvikha Club”, residential houses on Tverskaya and Tihvinskaya street, Central Area of the “Moscow-City” Business center.

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1980s to the present

Oscar Niemeyer Museum (NovoMuseu), Curitiba, Brazil

Municipal Library in city center, Duque de Caxias, RJ, Brasil

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Oscar Niemayer Äèêòàòóðàòà â Áðàçèëèÿ ïðîäúëæàâà 21 ãîäèíè, äî 1985-à. Ïðè óïðàâëåíèåòî íà Õîðî Ôèãóåéðåäî òÿ ïîñòåïåííî ïðåìèíàâà â äåìîêðàöèÿ. Ïî òîâà âðåìå Íèìàéåð ðåøàâà äà ñå çàâúðíå â ñòðàíàòà ñè. Òîé ñàì îïðåäåëÿ òîâà âðåìå êàòî íà÷àëî íà ïîñëåäíàòà ôàçà îò íåãîâèÿ æèâîò. Ïðåç òîçè ïåðèîä òîé ïðàâè ïàìåòíèê íà Éîñåëèíî Êóáè÷åê (1980), "Ïàíòåîíà” (1985) è ïàìåòíèê íà Ëàòèíñêà Àìåðèêà (1987), êîéòî èçîáðàçÿâà íàðàíåíàòà ðúêà íà Èñóñ, êîÿòî êúðâè, à êàïêàòà êðúâ ïðèëè÷à íà Öåíòðàëíà è Þæíà Àìåðèêà. Ïðåç 1988 ã. Îñêàð Íèìàéåð ïîëó÷àâà àðõèòåêòóðíàòà íàãðàäà "Ïðèòöêåð”çàåäíî ñ àìåðèêàíñêèÿ àðõèòåêò Ãîðäîí Áóíøàôò. Ïî-êúñíî ïðîåêòèðà îùå äâå ñãðàäè â Áðàçèëèÿ - ïàìåòíèê íà ìåñòíèòå õîðà è êàòåäðàëàòà "Ìèëèòàð”. Ïðåç 1996 ãîäèíà, íà 89-ãîäèøíà âúçðàñò, ñúçäàâà ñïîðåä íÿêîè ñâîÿòà íàé-âåëèêà òâîðáà - ñúâðåìåíåí ìóçåé íà èçêóñòâàòà â ãð. Íèòåðèë, áëèçî äî Ðèî äå Æåíåéðî. Ñãðàäàòà ñå ñïóñêà îò ñêàëà, èìà ïðåêðàñíà ãëåäêà êúì çàëèâà Ãóàíàðàáà è Ðèî äå Æåíåéðî. Êðèòèöèòå íà ìóçåÿ êàçâàò, ÷å ñãðàäàòà å òîëêîâà åêçîòè÷íà, ÷å íàäìèíàâà òâîðáèòå íà èçêóñòâîòî, èçëîæåíè â íåÿ. Ïðåç 2002 ã. å îòêðèò êîìïëåêñ ìóçåé íà Îñêàð Íèìàéåð â ãð. Êóðèòèáà. Òàçè ñãðàäà å èçâåñòíà êàòî "Îêîòî íà Íèìàéåð”. Ïðåç 2003 ã. å ïîìîëåí äà ïðîåêòèðà ëåòíèÿ ïàâèëèîí â "Ñåðïàíòèí ãàðäåí” â Õàéä ïàðê, Ëîíäîí. Òîâà å ãàëåðèÿ, êîÿòî âñÿêà ãîäèíà êàíè èçâåñòíè àðõèòåêòè, êîèòî íèêîãà ïðåäè òîâà íå ñà ñòðîèëè â Îáåäèíåíîòî êðàëñòâî. Ïðåç 2005 ã. å îäîáðåí íåãîâ ïðîåêò, ðàçïîëîæåí â íàé-èçòî÷íàòà

The Niterói Contemporary Art Museum

òî÷êà íà Àìåðèêà, â Äæîàî Ïåñîà. Íà 15 äåêåìâðè 2006 ã. Áðàçèëèà ïîëó÷àâà äâå îò ñãðàäèòå íà Íèìàéåð - íàöèîíàëíèÿ ìóçåé è íàöèîíàëíàòà áèáëèîòåêà. Îòêðèâàíåòî ñúâïàäà ñ 99-ãîäèøíèíàòà ìó. È äâåòå ñãðàäè ñà ðàçïîëîæåíè íà “Åñïëàíàäà äîñ ìèíèñòðèîñ”, êàòî îôîðìÿò ÷àñò îò ðåïóáëèêàíñêèÿ êóëòóðåí êîìïëåêñ, áëèçî äî êàòåäðàëàòà íà Íèìàéåð. Ïðåç 2007 ãîäèíà Íèìàéåð ÷åñòâà ñâîÿòà 100-ãîäèøíèíà èâúïðåêè ïðåêëîííàòà ñè âúçðàñò âñå îùå ó÷àñòâà â ðàçëè÷íè ïðîåêòè, ïðåäèìíî ñêóëïòóðè è ïîäîáðåíèÿ íà ñòàðè íåãîâè ñãðàäè, çàùèòåíè îò íàöèîíàëíèÿ, à íÿêîè è îò ìåæäóíàðîäíè çàêîíè çà èñòîðè÷åñêîòî íàñëåäñòâî, ñïîðåä êîèòî ñàìî òîé èìà ïðàâî äà ãè ïðîìåíÿ. Ñåãà ðàáîòè ïî ïðîåêò íà ñêóëïòóðà, èçîáðàçÿâàùà òèãúð ñ îòâîðåíà óñòà è ìúæ, êîéòî ñå áîðè ñ íåãî. Ìúæúò äúðæè â ðúêà êóáèíñêîòî çíàìå Òâîðáàòà å ïðîòåñò ñðåùó àìåðèêàíñêàòà áëîêàäà íàä Êóáà. Íà 100-ãîäèøíèíàòà íà Íèìàéåð ðóñêèÿò ïðåçèäåíò Âëàäèìèð Ïóòèí ãî íàãðàæäàâà ñ Îðäåíà íà ïðèÿòåëñòâîòî. Íà 26 äåêåìâðè 2007 ã. Íèêîëàé Óðîñîâ, àðõèòåêò-êðèòèê íà “ Íþ Éîðê òàéìñ” ïóáëèêóâà ñòàòèÿ, â êîÿòî ïèòà äàëè ñåãàøíàòà ìó ðàáîòà å ïîä âúçäåéñòâèå íà ñòàðèòå âðåìåíà. Êðèòèêúò ðàçãëåæäà ìóçåÿ çà ñúâðåìåííî èçêóñòâî â Íèòåðèë êàòî òâîðáà ñ ïî-ìàëêà çíà÷èìîñò îò ïðåäèøíèòå ðàáîòè. Òîé çàÿâÿâà, ÷å “íàé-ãîëÿìàòà çàïëàõà îò çàáåëåæèòåëíîòî íàñëåäñòâî íà Íèìàéåð íå ñà íåãîâèòå áóëäîçåðè èëè áåç÷óâñòâåíè ãðàäñêè ïëàíîâå, à ñàìèÿò Íèìàéåð”. Êðèòèêúò çàÿâÿâà, ÷å íÿêîè îò íåãîâèòå ðàáîòè íà “Åñïëàíàäà äîñ ìèíèñòðèîñ” òðÿáâà äà áúäàò ðàçâàëåíè îò ñîáñòâåíàòà ðúêà íà àðõèòåêòà.

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Oscar Niemayer

1980s to the present

The dictatorship lasted 21 years, until 1985. Under João Figueiredo’s rule it softened and gradually turned into a democracy. At this time Niemeyer decided to return to his country. He himself defines this time as the beginning of the last phase of his life. During that decade he made the Memorial Juscelino Kubitschek (1980), the Pantheon (1985) and the Latin America Memorial (1987), the last a beautiful sculpture representing the wounded hand of Jesus, whose wound bleeds in the shape of Central and South America.

In 1988 Oscar Niemeyer was awarded the Pritzker Architecture Prize, together with the American architect Gordon Bunshaft.

He designed at least two more buildings in Brasilia, small ones, the Memorial dos Povos Indigenas (“Memorial for the Indigenous People”) and the Catedral Militar, Igreja de N.S. da Paz. In 1996, at 89 years old, he created what many consider his greatest work: the Niterói Contemporary Art Museum (in the city of Niterói, a city next to Rio de Janeiro). The building flies from a rock, giving a beautiful view of the Guanabara Bay and the city of Rio de Janeiro. Critics of the museum say the building is so exotic that it upstages the works of art inside it.

In 2002 was inaugurated the Oscar Niemeyer Museum complex, in the city of Curitiba, Paraná. This building is locally known as “Niemeyer’s Eye”.

In 2003, Niemeyer was called to design the Serpentine Gallery Summer Pavilion in Hyde Park London, a gallery that each year invites a famous architect who has never previously built in the UK, to design this temporary structure.

On December 10, 2004, a Niemeyer designed tombstone for Communist Carlos Marighella, in Salvador da Bahia in the north-east of Brazil, was inaugurated to comemorate the 35th anniversary of his death.

In 2005, one of his projects entitled “ESTAÇÃO CIÊNCIA, CULTURA e ARTES”

was approved to be built at Joao Pessoa, the easternmost point of the Americas, at 34º 47' 38" west longitude and 7º 9' 28" south latitude [1] (in Portuguese).

In 2006, Niemeyer (98) wed longtime aide Vera Lucia Cabreira (born in mid-1940s) at his apartment in Rio de Janeiro’s Ipanema district a month after fracturing his hip in a fall.

On December, 15th, 2006, almost 50 years belatedly, Brasilia gained a couple of Niemeyer’s buildings, the National Museum and the National Library. The inauguration coincided with Oscar Niemeyer 99th anniversary.

Both buildings are located at the “Esplanada dos Ministérios”, making part of the Republic Cultural Complex, next to Niemeyer’s Cathedral.

As of 2007, Niemeyer is 100 and still involved in diverse projects, mainly sculptures and readjustments of old works of his that, protected by national (and some cases international) historic heritage regulations, can only be modified by him. He is currently designing a statue showing a tiger with its mouth open and a man fighting it raising the Cuban flag against the US blockade of Cuba.

On Niemeyer’s 100th birthday, Russia’s president Vladimir Putin awarded him the Order of Friendship.

In Dec. 26, 2007 Nicolai Ouroussoff, the architecture critic of the New York Times published an article questioning if his recent work is being affected by old age. He considers his “Niterói Contemporary Art Museum” to be of significant lower quality than his previous works. Most notably, he argues that “the greatest threat to Mr. Niemeyer’s remarkable legacy may not be the developer’s bulldozer or insensitive city planners, but Mr. Niemeyer himself.” In particular, he considers that some of his iconic works at “Esplanada dos Ministérios” to “have been marred by the architect’s own hand”.

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Exile and projects overseas The leftist position of Niemeyer would cost him much during the military dictatorship. His office was pillaged, the headquarters of the magazine he coordinated was destroyed, his projects mysteriously began to be refused and clients disappeared.

In 1965, two hundred professors, Niemeyer among them, asked for their resignation from the University of Brasília, in protest against the government treatment of universities. In the same year he traveled to France for an exhibition in the Louvre museum.

In the following year, his work hindered in Brazil, Niemeyer moved to Paris. There he started a new phase of his life and workmanship. Also in 1966, he travelled to Lebanon (city of Tripoli) to design the International Permanent Exhibition Centre[2]. Despite completing the construction , the start of the civil war in Lebanon prevented it from achieving its full utility. He opened an office on the Champs-Élysées, and had customers in diverse countries, especially in Algeria where, among others he designed the University of Constantine. In Paris he created the headquarters of the French Communist Party (photos), Place du Colonel Fabien, and in Italy that of the Mondadori publishing company. In Funchal on Madeira, a 19th century hotel was removed to build a casino

by Niemeyer. Another prominent design of his was the Penang State Mosque in George Town the state capital of Penang, Malaysia in 1970s.

Ëåâèòå ïîçèöèè íà Íèìàéåð ùå ìó ñòðóâàò ìíîãî ïî âðåìå íà âîåííàòà äèêòàòóðà. Îôèñúò ìó å îãðàáåí, ñåäàëèùåòî íà ñïèñàíèåòî, êîåòî òîé êîîðäèíèðà, å ðàçðóøåíî, ïðîåêòèòå ìó áèâàò ìèñòåðèîçíî îòêàçâàíè, à êëèåíòèòå èç÷åçâàò. Ïðåç 1965 ã. 200 ïðîôåñîðè, ñðåä òÿõ è Íèìàéåð, ïîäàâàò îñòàâêà â çíàê íà ïðîòåñò ñðåùó ïðàâèòåëñòâåíîòî îòíîøåíèå êúì óíèâåðñèòåòèòå. Ïðåç ñúùàòà ãîäèíà òîé çàìèíàâà çà Ôðàíöèÿ çà èçëîæáà â Ëóâúðà.  Ïàðèæ Íèìàéåð çàïî÷âà íîâà ôàçà îò ñâîÿ æèâîò è òâîð÷åñòâî. Ïðåç 1966 ã. ïúòóâà äî Ëèâàí, çà äà ïðîåêòèðà ìåæäóíàðîäåí ïîñòîÿíåí èçëîæáåí öåíòúð. Âúïðåêè ÷å êîíñòðóêöèÿòà å áèëà çàâúðøåíà, íà÷àëîòî íà ãðàæäàíñêàòà âîéíà â Ëèâàí é ïîïðå÷âà äà áúäå îáùåñòâåíîïîëåçíà. Íèìàéåð îòêðèâà îôèñ è èìà êëèåíòè îò ðàçëè÷íè ñòðàíè, îñîáåíî îò Àëæèð, êúäåòî ïðîåêòèðà óíèâåðñèòåòà â Êîíñòàíòèí.  Ïàðèæ òîé ñúçäàâà ùàá-êâàðòèðàòà íà ôðåíñêàòà êîìóíèñòè÷åñêà ïàðòèÿ . Âúâ Ôóíêàë íà Ìàäåéðà ïîñòðîÿâà êàçèíî íà ìÿñòîòî íà õîòåë îò XIX âåê. Âàæåí ïðîåêò îò íåãîâîòî òâîð÷åñòâî å "Ïåíàíã ñòåéò ìîñê” â Äæîðäæ òàóí, ñòîëèöà íà ùàòà Ïåíàíã, Ìàëàéçèÿ. (1970 ã.)

The French Communist Party headquarters in Place du Colonel Fabien in Paris.

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Brasilia Niemeyer organized a competition for the lay-out of Brasília, the new capital, and the winner was the project of his old master and great friend, Lúcio Costa. Niemeyer would design the buildings and Lucio the plan of the city.

In the space of a few months, Niemeyer designed a large number of residential, commercial and government buildings. Among them were the residence of the President (Palacio da Alvorada), the House of the deputy, the National Congress, the Cathedral of Brasília (a hyperboloid structure), diverse ministries, not to mention residential buildings. Viewed from above, the city can be seen to have elements that repeat themselves in every building, giving it a formal unity. The cathedral of Brasília is especially beautiful, with diverse modern symbolism. Its entrance is a dimly-lit corridor that contrasts with the bright, naturally illuminated hall.

In 1964, after being invited by Abba Hushi, the mayor of Haifa, Israel, to plan the campus of the University of Haifa, he came back to a completely different Brazil. In March president João Goulart, who succeeded president Jânio Quadros in 1961, was deposed in a military coup. General Castello Branco assumed command of the country, which would remain a dictatorship until 1985. Íèìàéåð îðãàíèçèðà êîíêóðñ çà ñúñòàâÿíå íà ïëàíà íà Áðàçèëèà, íîâàòà ñòîëèöà. Ïîáåäèòåë å ïðîåêòúò íà íåãîâèÿ ñòàð ó÷èòåë è ïðèÿòåë Ëó÷î Êîñòà. Íèìàéåð ùå ïðîåêòèðà ñãðàäèòå, à Ëó÷î ùå ïëàíèðà ãðàäà. Çà íÿêîëêî ìåñåöà Íèìàéåð ïðîåêòèðà îãðîìåí áðîé æèëèùíè, òúðãîâñêè è ïðàâèòåëñòâåíè ñãðàäè. Ñðåä òÿõ ñà ðåçèäåíöèÿòà íà ïðåçèäåíòà, êúùàòà íà äåïóòàòèòå, íàöèîíàëíèÿ êîíãðåñ, êàòåäðàëàòà íà Áðàçèëèÿ, ðàçëè÷íè ìèíèñòåðñòâà, áåç äà ñïîìåíàâàìå æèëèùíèòå ñãðàäè. Ïîãëåäíàò îòãîðå, ãðàäúò ìîæå äà áúäå âèäÿí êàòî ãðàä íà åëåìåíòè, êîèòî ñå ïîâòàðÿò âúâ âñÿêà ñãðàäà è ìó ïðèäàâàò åäíî ôîðìàëíî åäèíñòâî. Êàòåäðàëàòà íà Áðàçèëèÿ å îñîáåíî êðàñèâà. Õàðàêòåðåí çà íåÿ å ìîäåðíèÿò ñèìâîëèçúì. Âõîäúò å ñëàáî îñâåòåí è êîíòðàñòèðà ñ ÿðêàòà åñòåñòâåíà ñâåòëèíà íà çàëàòà. Êìåòúò íà Õàèôà Àáà Õóøè êàíè Íèìàéåð äà ñúñòàâè ïëàíà íà óíèâåðñèòåòñêèÿ ðàéîí â Õàèôà. Ñëåä ïðèêëþ÷âàíåòî íà òîçè ïðîåêò ïðåç 1964 ã. òîé ñå çàâðúùà â åäíà íàïúëíî ðàçëè÷íà Áðàçèëèà. Ïðåç ìàðò ïðåçèäåíòúò Õîðî Ãóëàðò å ñâàëåí îò âëàñò ñ âîåíåí ïðåâðàò, óïðàâëåíèåòî íà ñòðàíàòà ïîåìà ãåíåðàë Êàñòåëî è ïîääúðæà âîåííàòà äèêòàòóðà äî 1985 ã.

Cathedral of Brasília, hyperboloid structure

National Congress of Brazil, Brasília

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Oscar Niemayer The Pampulha project In 1940 Niemeyer met Juscelino Kubitschek, who was at the time the mayor of Belo Horizonte, capital of the state of Minas Gerais. He and Minas Gerais Governor Benedito Valadares wanted to develop a new suburb to the north of the city called Pampulha, and commissioned Niemeyer to design a series of buildings to be known as the “Pampulha complex”. Brazil’s first listed modern monument was Niemeyer’s Pampulha Church of São Francisco de Assis, in Pampulha, made part of the national high art canon in 1943, one year after its completion. The Pampulha complex included a casino, a dance hall and restaurant, a yacht club, a golf club, and a 100 room hotel (unbuilt), distributed around the artificial lake. A weekend retreat for the Mayor was also constructed near the lake.

The buildings were completed in 1943, and provoked some controversy.

They received international acclaim following the 1943 ‘Brazil Builds’ exhibition, at the New York Museum of Modern Art (MoMA). The conservative Church authorities of Minas Gerais refused to consecrate the Church of Saint Francis of Assisi until 1959, in part because of its unorthodox form, in part because of the altar mural painted by Candido Portinari.

The mural depicts Saint Francis of Assisi as the saviour of the ill, the poor and, most importantly, the sinner.

Pampulha, says Niemeyer, offered him the opportunity to ‘challenge the monotony of contemporary architecture, the wave of misinterpreted functionalism that hindered it, and the dogmas of form and function that had emerged, counteracting the plastic freedom that reinforced concrete introduced. I was attracted by the curve - the liberated, sensual curve suggested by the possibilities of new technology yet so often recalled in venerable old baroque churches. I deliberately disregarded the right angle and rationalist architecture designed with ruler and square to boldly enter the world of curves and straight lines offered by reinforced concrete.

This deliberate protest arose from the environment in which I lived, with its white beaches, its huge mountains, its old baroque churches, and the beautiful suntanned women.’ (Niemeyer, Oscar, 2000, The Curves of Time: The Memoirs of Oscar Niemeyer (London: Phaidon), pp. 62 and 169-70).

Ïðîåêòúò „Ïàìïóëà” Ïðåç 1940 ã. Íèìàéåð ñðåùà Éîñåëèíî Êóáè÷åê, êîéòî ïî òîâà âðåìå å êìåò íà Áåëî õîðèçîíòå, ñòîëèöàòà íà ùàòà Ìèíàñ Ãåðàèñ, è ãóáåðíàòîðà íà ùàòà Áåíåäèòî Âàëàäàðåñ . Íèìàéåð, Ìèíàñ Ãåðàðèñ è Áåíåäèòî Âàëàäàðåñ ðåøàâàò äà ðàçâèÿò åäíî íîâî ïðåäãðàäèå íà ñåâåð îò ãðàäà, íàðå÷åíî Ïàìïóëà. Çàäà÷àòà çà ïðîåêòèðàíå íà ãðóïà ñãðàäè, êîÿòî ùå ñòàíå èçâåñòíà êàòî êîìïëåêñ "Ïàìïóëà”, áèëà âúçëîæåíà íà Íèìàéåð. Ïúðâèÿò áðàçèëñêè ñúâðåìåíåí ìîíóìåíò â òîçè àíñàìáúë å ÷åðêâàòà "Ñâåòè Ôðàíöèñê îò Àñèçè”. Êîìïëåêñúò "Ïàìïóëà” âêëþ÷âà êàçèíî, ðåñòîðàíò è çàëà çà òàíöè, ÿõò êëóá, ãîëô êëóá è õîòåë ñúñ 100 ìåñòà (íåïîñòðîåí), ðàçïîëîæåí îêîëî èçêóñòâåíî åçåðî. Ìÿñòîòî çà óñàìîòåíèå íà êìåòà ñúùî å áèëî ïîñòðîåíî áëèçî äî åçåðîòî. Ñãðàäèòå ñà çàâúðøåíè ïðåç 1943 ã. è ñà ïðîâîêèðàëè äîñòà ñïîðîâå. Òå ïîëó÷àâàò ìåæäóíàðîäíî îäîáðåíèå è ñà ïîñëåäâàíè îò èçëîæáàòà "Áðàçèëèÿ ñòðîè” ïðåç 1943 ã. â Ìóçåÿ çà ñúâðåìåííî èçêóñòâî â Íþ Éîðê. Àâòîðèòåòèòå íà êîíñåðâàòèâíàòà êàòîëè÷åñêà öúðêâà â Ìèíàñ Ãåðàèñ îòêàçàëè äà îñâåòÿò õðàìà íà ñâåòè Ôðàíöèñê îò Àñèçè äî 1959 ã., îò åäíà ñòðàíà, ïîðàäè íåîðòîäîêñàëíàòà ôîðìà è îò äðóãà, çàðàäè íàðèñóâàíèÿ îëòàð íà ñòåíàòà îò Êàíäèäî Ïîðòèíàðè. Ñòåíîïèñúò èçîáðàçÿâà ñâåòè Ôðàíöèñê îò Àñèçè êàòî ñïàñèòåë îò áîëåñòè, áåäíîñò è íàé-âàæíîòî îò ãðåõîâå. Íèìàéåð êàçâà, ÷å Ïàìïóëà ìó å äàëà âúçìîæíîñò äà ïðåäèçâèêà ìîíîòîííàòà ñúâðåìåííà àðõèòåêòóðà, âúëíàòà íà íåïðàâèëíî èíòåðïðåòèðàíèÿ ôóíêöèîíàëèçúì, êîéòî ÿ ñïúâà, äîãìèòå íà ôîðìàòà è ôóíêöèÿòà, êîèòî ïðîòèâîäåéñòâàò íà ñâîáîäíàòà ïëàñòèêà, êîÿòî ñòîìàíîáåòîíúò âíàñÿ. "Àç áÿõ âïå÷àòëåí îò êðèâàòà" ÷óâñòâåíàòà êðèâà, ïðåäëîæåíà îò âúçìîæíîñòèòå íà íîâèòå òåõíîëîãèè, òîëêîâà ÷åñòî îòõâúðëÿíè îò ïî÷èòàíàòà ñòàðà áàðîêîâà ÷åðêâà. Àç îïðåäåëåíî íå ðàçãëåæäàì ïðàâèÿ úãúë è ðàöèîíàëíàòà àðõèòåêòóðà, ïðîåêòèðàíè ñ ëèíèéêà è êâàäðàòè, íî ñìåëî âëèçàì â ñâåòà íà êðèâèòå ëèíèè. Òîçè ïðîòåñò ïðîèçòè÷à îò îáêðúæàâàùàòà ñðåäà, â êîÿòî æèâåÿ, ñ íåéíèòå êðàñèâè ïëàæîâå, îãðîìíè ïëàíèíè, ñòàðè áàðîêîâè ÷åðêâè è æåíè ñ êðàñèâ òåí.” (Îñêàð Íèìàéåð, 2000 ã. - Êðèâèòå íà âðåìåòî : Ìåìîàðè íà Îñêàð Íèìàéåð”)

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Oscar Niemayer Oscar Niemeyer was born in the city of Rio de Janeiro in 1907 in Laranjeiras neighborhood to Jewish parents, on a street that later would receive the name of his grandfather Ribeiro de Almeida. He spent his youth as a typical young Carioca of the time: bohemian and relatively unconcerned with his future. He concluded his secondary education at age 21. The same year, he married Annita Baldo, daughter of Italian immigrants from Padua. Marriage gave him a sense of responsibility: he decided to work and enter university.

He started to work in his father’s typography house and entered the Escola de Belas Artes (Brazil), from which he graduated as engineer architect in 1934. At the time he had financial difficulties but decided to work without fee anyway, in the architecture studio of Lúcio Costa and Carlos Leão. He felt unsatisfied with the architecture that he saw in the streets and believed he could find a career there.

In 1945, already an architect of some repute, he joined the Brazilian Communist Party. Niemeyer was a boy at the time of the Russian Revolution of 1917, and by the Second World War he became a young idealist. He was an enthusiastic communist, a position which would cost him much later in his life. During the military dictatorship of Brazil his office was raided and he was forced into exile in Europe. The Minister of Aeronautics of the time reportedly said that “the place for a communist architect is Moscow.” He visited the USSR, met with diverse socialist leaders and became a personal friend of some of them. Fidel Castro once said: “Niemeyer and I are the last Communists of this planet.”

In 1936, Lucio Costa was appointed by Education Minister Gustavo Capanema architect of the new headquarters for the Ministry of Education and Public Health in Rio de Janeiro. In 1939, Niemeyer assumed the leadership of the team of architects (Lucio Costa, Carlos Leão, Affonso Eduardo Reidy, Jorge Moreira, Ernani Vasconcellos and Oscar Niemeyer, with Le Corbusier acting as a consultant in 1936) responsible for the Ministry that had assumed the task of shaping the ‘novo homem, Brasileiro e moderno’ (new man, Brazilian and modern). Following Niemeyer’s request, it was renamed Palácio Gustavo Capanema in 1985. It was the first state-sponsored modernist skyscraper in the world, and of a much larger scale than anything Le Corbusier had built until then. Completed in 1943, the building which housed the regulator and manager of Brazilian culture and cultural heritage developed all the elements of what was to become recognised as Brazilian modernist movement: it employed local materials and techniques, like the azulejos linked to the Portuguese tradition; the revolutionised Corbusian brisessoleil, made adjustable and related to the Moorish shading devices of colonial architecture; bold colours; the tropical gardens of Roberto Burle Marx; the Imperial Palm (Roystonea oleracea), known as the Brazilian order; further allusions to the icons of the Brazilian landscape; and the specially commissioned works by Brazilian artists.

In 1939 Niemeyer with Lúcio Costa designed the Brazilian pavilion at the New York World’s Fair (executed in collaboration with Paul Lester Wiener). Impressed by the executed Pavilion, Mayor Fiorello La Guardia awarded Niemeyer the keys of the city of New York. Costa explained that the Brazilian Pavilion adopted a language of ‘grace and elegance’, lightness and spatial fluidity, open plan, curves and free walls, which he termed ‘Ionic’, contrasting it to the contemporaneous stern Modernist architecture, which he termed ‘Doric’. By mid-twentieth century, Brazilian architectural Modernism had been recognised as the ‘first national style in modern architecture’ (Reyner Bahnam). The international architectural periodicals of the 1940s and 1950s dedicated hundreds of dithyrambic pages to the ‘chosen land of the most original and most audacious contemporary architecture’, followed by monographs on individual architects like Oscar Niemeyer and Affonso Eduardo Reidy.

Îñêàð Íèìàéåð å ðîäåí â Ðèî äå Æåíåéðî ïðåç 1907 ã. â ñåìåéñòâîòî íà åâðåè, íà óëèöà êîÿòî ïî-êúñíî ùå íîñè èìåòî íà íåãîâèÿ äÿäî Ðèáåéðà äå Àëìåéäà. Òîé ïðåêàðâà ìëàäåæêèòå ñè ãîäèíè êàòî òèïè÷åí ìëàä áðàçèëåöáîõåì, áåç ãðèæè çà áúäåùåòî. Çàâúðøâà ñðåäíîòî ñè îáðàçîâàíèå íà 21 ãîäèíè. Ïðåç ñúùàòà ãîäèíà ñå æåíè çà Àíèòà Áàëäî, äúùåðÿ íà èòàëèàíñêè èìèãðàíò îò Ïàäóà. Áðàêúò ïðîâîêèðà ÷óâñòâîòî ìó çà îòãîâîðíîñò è òîé ðåøàâà äà ðàáîòè è äà ïîñòúïè â óíèâåðñèòåò. Çàïî÷âà ðàáîòà â ïå÷àòíèöàòà íà ñâîÿ áàùà è ïîñòúïâà â ó÷èëèùå çà èçÿùíè èçêóñòâà, êîåòî çàâúðøâà êàòî èíæåíåð àðõèòåêò ïðåç 1934 ã. Ìàêàð äà èìà ôèíàíñîâè çàòðóäíåíèÿ ïî òîâà âðåìå, ðåøàâà äà ðàáîòè áåç õîíîðàð â àðõèòåêòóðíîòî ñòóäèî íà Ëó÷î Êîñòà è Êàðëîñ Ëåðî. Íèìàéåð íå õàðåñâà ñãðàäèòå, êîèòî âèæäà ïî óëèöèòå è âÿðâà, ÷å ùå íàìåðè ïîïðèùå â àðõèòåêòóðàòà. Ïðåç 1945 ã. âå÷å ñ íÿêàêâà ðåïóòàöèÿ íà àðõèòåêò ñå ïðèñúåäèíÿâà êúì áðàçèëñêàòà êîìóíèñòè÷åñêà ïàðòèÿ. Íèìàéåð å ìîì÷å ïî âðåìå íà ðóñêàòà ðåâîëþöèÿ îò 1917 ã., à äî Âòîðàòà ñâåòîâíà âîéíà ñå ïðåâðúùà â ìëàä èäåàëèñò. Òîé ñòàâà åíòóñèàçèðàí êîìóíèñò, ïîçèöèÿ, êîÿòî ùå ìó ñòðóâà ìíîãî ïî-êúñíî â æèâîòà. Ïî âðåìå íà âîåííàòà äèêòàòóðà â Áðàçèëèÿ íåãîâèÿò îôèñ å íàïàäíàò, à òîé å îñúäåí íà èçãíàíèå â Åâðîïà. Ìèíèñòúðúò íà âúçäóøíèòå ñèëè ïî òîâà âðåìå êàçâà: "Ìÿñòîòî íà êîìóíèñò àðõèòåêò å â Ìîñêâà.” Íèìàéåð ïîñåùàâà ÑÑÑÐ, ñðåùà ñå ñ ðàçëè÷íè ñîöèàëèñòè÷åñêè ëèäåðè, ñòàâà ëè÷åí ïðèÿòåë ñ íÿêîè îò òÿõ. Ôèäåë Êàñòðî ñïîäåëÿ: "Íèìàéåð è àç ñìå ïîñëåäíèòå êîìóíèñòè íà òàçè ïëàíåòà.” Ïðåç 1936 ã. Ëó÷î Êîñòà å íàçíà÷åí îò ìèíèñòúðà íà îáðàçîâàíèåòî Ãóñòàâî Êàïàíåìà çà àðõèòåêò íà íîâàòà ñãðàäà íà Ìèíèñòåðñòâîòî íà îáðàçîâàíèåòî è îáùåñòâåíîòî çäðàâå â Ðèî äå Æåíåéðî. Ïðç 1939 ã. Íéìàéåð ïðèåìà äà ðúêîâîäè ñúñòàâ îò àðõèòåêòè ( Ëó÷î Êîñòà, Êàðëîñ Ëåðî, Àôîíñî Åäóàðäî Ðåéäè, Õîðõå Ìîðåéðà, Åðíàíè Âàñêîíñåëîñ è Îñêàð Íèìàéåð, çàåäíî ñ Êîðáóçèå êàòî êîíñóëòàíò) , êîèòî ñà îòãîâîðíè çà ïðîåêòà. Ïî-êúñíî, ïðåç 1985 ã., ïî ìîëáà íà Íèìàéåð òîé å ïðåèìåíóâàí â "Ïàëàñèî Ãóñòàâî Êàïàíåìà”. Òîâà å ïúðâèÿò ñïîíñîðèðàí îò äúðæàâàòà ìîäåðíèñòêè íåáîñòúðãà÷ â ñâåòà, äîñòà ïî-ãîëÿì ïî ìàùàá îò òîçè, êîéòî Êîðáóçèå íÿêîãà å ïîñòðîèë. Ñãðàäàòà å çàâúðøåíà ïðåç 1943 ã.Ïðè îôîðìÿíåòî é ñà èçïîëçâàíè ìåñòíè ìàòåðèàëè è òåõíèêè, êàòî àçóëåæó, ñâúðçàíè ñ ïîðòóãàëñêàòà òðàäèöèÿ, ðåâîëþöèîííèòå áðèñå-ñîëåéë íà Êîðáóçèå, ïðèñïîñîáèìè çà ìàâðèòàíñêèòå ñåííèöè îò êîëîíèàëíàòà àðõèòåêòóðà, íàñèòåíè öâåòîâå, òðîïè÷åñêè ãðàäèíè íà Ðîáåðòî Áóðëå Ìàðêñ, âåëè÷åñòâåíè ïàëìè, èçâåñòíè êàòî áðàçèëñêè âèä, çàãàòâàíèÿ íà áðàçèëñêèÿ ïåéçàæ è ñïåöèàëíî èçðàáîòåíè òâîðáè îò áðàçèëñêè õóäîæíèöè. Ïðåç 1939 ã. Íèìàéåð çàåäíî ñ Ëó÷î Êîñòà ïðîåêòèðàò áðàçèëñêè ïàâèëèîí íà ñâåòîâíèÿ ïàíàèð â Íþ Éîðê. Âïå÷àòëåí îò èçïúëíåíèåòî íà ïàâèëèîíà, êìåòúò Ôèîðåëî ëà Ãóàðäèà íàãðàæäàâà Íèìàéåð ñ êëþ÷îâåòå íà Íþ Éîðê. Ëó÷î Êîñòà îáÿñíÿâà, ÷å áðàçèëñêèÿò ïàâèëèîí å âúçïðèåë åçèêà íà "ãðàöèÿòà è åëåãàíòíîñòòà”, "ëåêîòàòà è ïðîñòðàíñòâåíàòà ïëàâíîñò, èìà îòâîðåí ïëàí, êðèâè è ñâîáîäíè ñòåíè, êîèòî òîé îïðåäåëÿ êàòî"éîíèéñêè”, êîíòðàñòèðàùè íà ñúâðåìåííàòà ñòðîãà ìîäåðíèñòñêà àðõèòåêòóðà, êîÿòî íàðè÷à "äîðèéñêà”. Äî ñðåäàòà íà äâàäåñåòè âåê áðàçèëñêèÿò àðõèòåêòóðåí ìîäåðíèçúì å ðàçïîçíàâàí êàòî - ïúðâè íàöèîíàëåí ñòèë â ñúâðåìåííàòà àðõèòåêòóðà”. Ìåæäóíàðîäíèòå àðõèòåêòóðíè ïåðèîäè÷íè èçäàíèÿ íà 40-òå è 50-òå ãîäèíè ïîñâåùàâàò ñòîòèöè ñòðàíèöè íà èçáðàíàòà ñòðàíà íà íàé-îðèãèíàëíàòà è íàé-ñìåëà ñúâðåìåííà àðõèòåêòóðà”, ïîñëåäâàíà îò ìîíîãðàôèè çà èíäèâèäóàëíè àðõèòåêòè êàòî Îñêàð Íèìàéåð è Àôîíñî Åäóàðäî Ðåéäè.

NEWS

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100 Anniversary Oscar Niemayer Dear Academician Oscar Niemayer, On behalf of the Academic Council of the International Academy of Architecture (non-governmental organization of special status with the Economic and Social Council of the United Nations) and on behalf of all your Bulgarian admirers, I have the honor and the pleasure to express our sincere congratulations on the occasion of your 100 Anniversary.

This is a significant event not only for you and your family, but for the world architectural society, who highly admires and highly appreciates all your noble personality and warm friendship.

All your built works have reflected the emanation of your enormous energy and artistic talent.

As one of the leading Master of the world contemporary architecture you are well known with your successful creativity.

The International Academy of Architecture is proud that you are one of its first members.

Dear Master, please, accept again my cordial congratulations on the occasion of your 100 Anniversary and our best wishes for good health and high spirit.

Prof. Georgi Stoilov IAA President Former UIA President 15 December 2007, Sofia

ÎÑÊÀÐ ÍÈÌÀÉÅÐ ÍÀ 100 ÃÎÄÈÍÈ Äðàãè ìàåñòðî Îñêàð Íèìàéåð Ìåæäóíàðîäíàòà Àêàäåìèÿ .íà Àðõèòåêòóðàòà å ùàñòëèâà è ãîðäà äà Âè ïðèâåòñòâà ñ Âàøèÿ âåëèê 100-ãîäèøåí þáèëåè. Ìàëêî ñà ùàñòëèâöèòå íà ïëàíåòàòà äà ïðàçíóâàò òàêúâ þáèëåé, íî îùå ïî-ìàëêî ñà ëè÷íîñòèòå äà èìàò òàêîâà òâîð÷åñòâî êàòî Âàøåòî. ×îâåøêàòà èñòîðèÿ ñå òâîðè îò âåëèêèòå ëè÷íîñòè. Èñòîðèÿòà íà àðõèòåêòóðàòà ñå òâîðè îò âåëèêèòå àðõèòåêòè.  ìíîãîâåêîâíàòà èñòîðèÿ Âèå ñòå åäèí îò ìàëêîòî, êîèòî ñúçäàäîõà àðõèòåêòóðíîòî ëèöå íà ñâîÿòà åïîõà. Âàøèòå èäåè è òâîðáè ðàçøèðèõà ãðàíèöèòå íà àðõèòåêòóðàòà è îñòàâàò çàâèíàãè ìåæäó íàé-ãîëåìèòå àðõèòåêòóðíè ïîñòèæåíèÿ Âèå çàâîþâàõòå íàé-âèñîêîòî çâàíèå “àðõèòåêò íà ñâîÿòà åïîõà” è îñòàâàòå ñ íåãî çàâèíàãè â èñòîðèÿòà. Ïîæåëàâàìå Âè îùå ìíîãî ãîäèíè çäðàâå è òâîð÷åñêà åíåðãèÿ. Àêàäåìè÷åí ñúâåò íà Ìåæäóíàðîäíàòà àêàäåìèÿ íà àðõèòåêòóðàòà

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