WAM magazine 09

World Architecture Masters

ISSN 1313-177X

9/ 2009/ 008

TOYO ITO

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EUROMED CENTER, MARSEILLE

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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 Academicians 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

Editor-in-chief Ãëàâåí ðåäàêòîð ïðîô. Ãåîðãè Ñòîèëîâ, àêàäåìèê íà ÌÀÀ prof. Georgi Stoilov, IAA Academician Îòãîâîðåí ðåäàêòîð NEWS àðõ. Ãåîðãè Ñòàíèøåâ, ïðîô. íà ÌÀÀ

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

Óïðàâèòåë Íàòàëèÿ Áîíäàðåíêî

General manager Natalia Bondarenko

Îòãîâîðåí ðåäàêòîð NEWS - çà Èòàëèÿ àðõ. Àëôðåäî Êàìàðà

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

Ðåäàêöèîííà êîëåãèÿ Êðàñèìèðà ßâàøåâà

Editors team Krassimira Yavasheva

Ìåíèäæúð ïðåäïå÷àòíà ïîäãîòîâêà Ïåòúð ×óïåòëîâñêè

Pre-print manager Peter Chupetlovsky

ÌÀÀ, 1504 Ñîôèÿ, óë. Îáîðèùå 35 ï. ê. 56, Ñîôèÿ òåë.: 02 944 62 97 iaarch@yahoo.com, www.iaa-ngo.org

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

Ãðàôè÷åí äèçàéíåð Åëåîíîðà Ãåîðãèåâà - Åëåòî

Graphic designer Eleonora Georgieva - Eleto

Ïðåäïå÷àòíà ïîäãîòîâêà Ìàÿ Ãåðàñèìîâà Èíà Êàìáàðåâà

Pre-print preparation Maya Gerasimova Ina Kambareva

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

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

Ïðåâîäà÷ Ïîëèíà Õàäæèìèòîâà

Translator Polina Hadjimitova

îôèñ Ïëîâäèâ Âàëåíòèíà Âàíãåëîâà

offis Plovdiv 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

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 Pre-print: +359 2 868 78 47

Ðåãèîíàëåí îôèñ: Ïëîâäèâ 4000 óë. “Êíÿç Áîãîðèäè” ¹ 8 òåë./ôàêñ: 032/63 32 16

Local office Plovdiv 4000 8 “Kniaz Bogoridi” Str. tel./fax: +359 32 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

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

IAA Academicians Kurt Ackermann Ahmet Vefik Alp Tadao Ando Paul Andreu Rasem Badran Gunter Behnisch Jai Rattan Bhalla Bogdan Bogdanovic Gottfried Bohm Mario Botta Santiago Calatrava Douglas J. Cardinal VitautasI Chekanauskas Peter Cook Charles Correa Justus Dahinden Vakhtang Davitaia Balkrisha Doshi Pierre-Andre Dufetel Richard England Arthur Erickson Ralph Erskine Adrien Fainsilber

Norman Foster Massimiliano Fuksas Frank O. Gehry YuryURY Gnedovski Teodoro Gonzalez De Leon VittorioI Gregotti Nicholas Grimshaw Zaha Hadid Agustin Hernandez Navarro Thomas Herzog Jan Hoogstad Toyo Ito Helmut Jahn Kiyonori Kikutake Rem Koolhaas Vladilen Krasilnikov Lucien Kroll Alexander Kudrjavtzev Henning Larsen Ricardo Legorreta V. Wu Liangyong Daniel Libeskind Fumihiko Maki Imre Makovecz

Richard Meier Manfredi Nicoletti Oscar Niemeyer Jean Nouvel Frei Otto Ieoh Ming Pei Gustav Peichl Cesar Pelli Renzo Piano Yuri Platonov Pedro Ramirez Vazquez Kevin Roche Richard Rogers Moshe Safdie Brian Spencer Georgi Stoilov Paolo Soleri Clorindo Testa Sara Topelson De Grinberg Jim Torossian Jorn Utzon R. Randall Vosbeck Kenneth Yeang Aymeric Zublena

The editors of the magazine World Architecture Masters would like to thank Toyo Ito for his amiability submitting materials from theirs private archive at ours disposal for the ninth issue of WAM. Ñïèñàíèå World Architecture Masters áëàãîäàðè íà Òîèî Èòî çà ëþáåçíî ïðåäîñòàâåíèòå ìàòåðèàëè îò ëè÷íèÿ ìó àðõèâ çà äåâåòè áðîé íà WAM.

Ìàòåðèàëè è èëþñòðàöèè îò WAM ìîãàò äà ñå èçïîëçâàò ñàìî ñ ðàçðåøåíèå íà ðåäàêöèÿòà.

Materals and illustrations of WAM can be used only with permission of the editor's office.

SENDAI MEDIATHEQUE

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MATSUMOTO PERFORMING ARTS CENTRE

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TOD’S OMOTESANDO BUILDING

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BUILDING FOR ISLAND CITY

Toyo Ito

CENTRAL PARK “GRIN GRIN”

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MIKIMOTO GINZA2 BUILDING

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CONTENTS

MUNICIPAL FUNERAL HALL

“MEISO NO MORI” 44

HOSPITAL COGNACQ-JAY IN PARIS

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SUGINAMI PERFORMING ARTS CENTRE

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PROJECT FOR THE EXTENSION OF BARCELONA TRADE FAIR, GRAN VIA VENUE TORRES PORTA FIRA

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TAMA ART UNIVERSITY NEW LIBRARY

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PARQUE DE LA GAVIA

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TAICHUNG METROPOLITAN OPERA HOUSE

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Çà ïðåõîäíèòå è âå÷íèòå öåííîñòè â èçêóñòâîòî

For the temporal and eternal values in art

Íèå îò XXI âåê ïðèòåæàâàìå èíòåëèãåíòíîñò, ïî-âèñîêà îò òàçè íà âñè÷êè ïðåäè íàñ. Òîâà å î÷åâèäíî çà íàóêàòà è çà òåõíîëîãèèòå, êîèòî ñà ïîäâëàñòíè íà åâîëþöèÿòà. Íî êàêâà å èñòèíàòà çà èçêóñòâîòî? Èìà ëè òàì âúçõîäÿùî ðàçâèòèå è âðåìåâà äåâàëâàöèÿ íà öåííîñòèòå?  õèëÿäîëåòíàòà èñòîðèÿ íà èçêóñòâîòî èìà ìíîæåñòâî ñòèëîâå è åñòåòèêè. Òå ñà ïðåõîäíè, íî íå íàñëåäñòâåíè. Òå ñå îòíàñÿò äî ôðîíòàëíîòî íèâî íà èçêóñòâîòî. Çà èçêóñòâîòî òå ñà âàæíà çàäà÷à, íî çà ãîëÿìîòî èçêóñòâî ñúùåñòâåíà å "ñâðúõçàäà÷àòà” (Ñòàíèñëàâñêè) - òîâà, êîåòî òå êàðà äà ñå ðàäâàø è äà ñòðàäàø, òîâà, êîåòî å íå ñàìî ñåòèâíîòî, à è ñóáñòàíöèîíàëíîòî íèâî íà íåùàòà. Åäíîòî íèâî å ñâúðçàíî ñ ÷àñòíèòå, ïðåõîäíèòå öåííîñòè, à äðóãîòî - ñ òðàéíèòå, âå÷íèòå. Êàìúêúò ìîæå äà áúäå ÷åðåí, áÿë, îáúë èëè ðúáåñò, êîåòî å ñåòèâíî. Íî âñåêè êàìúê èìà ñèëà òåæåñò, êîÿòî íå âèæäàø, íî óñåùàø ñóáñòàíöèîíàëíî. Çà èçêóñòâîòî ñà áåçñìèñëåíè òàêèâà âúïðîñè, êàòî: "Êîé å ïîâåëèê - Ïàðòåíîíúò èëè åãèïåòñêèòå õðàìîâå, òúé êàòî òîé å ñëåä òÿõ. Äàíòå èëè Øåêñïèð, êîéòî å ñëåä íåãî. Ëåîíàðäî èëè Ïèêàñî, êîéòî å ñëåä íåãî?” Òå âñè÷êè ñà åäíàêâî âåëèêè, áåçñìúðòíè, çàùîòî âúïëúùàâàò íåïðåõîäíàòà êâàíòîâà ñúùíîñò íà Âñåëåíàòà. Òå âñè÷êè ñà âúðõîâå íà ðàçëè÷íè ïëàíèíè (åïîõè). Øåäüîâðèòå íà èçêóñòâîòî íÿìàò âúçðàñò, äîêàòî òåõíèÿò òâîðåö è êîíñóìàòîð å åäèí - Homo sapience.

Today in the 21st century our intelligence possibilities are higher compared to our ancestors. It is obvious with the science and the technologies, which are subservient of the evolution. But what is the truth about art? Is there ascending evolution and devaluation with the passing time?

In the millenary history of art many esthetics and styles have been developed. They are temporal, but not inheritable. They concern the frontal level of art. For the art they are an important task, but for the big art important is the “hyper-task” (Stanislavski) - that makes joy and sorrow, this is not only sensuous, but is the substantial level of things. One of the levels is connected with the private temporal values, the other with the eternity.

The stone could be black, white, round or ribbed - something sensuous.

But every stone has force -heaviness that you don`t see, but feel substantially.

For the art questions like “Who is greater - the Parthenon or the Egypt temples as it is built later” are pointless. “Who is greater Dante or Shakespeare - that comes later?” “Leonardo Da Vinci or Picasso that comes later?” They are all great, immortal, because they incarnate the intransitive quantum essence of the Universe. They are all peaks of different planets (epochs).

The master-pieces don`t have age while their creator and consumer is always the same - Homo sapience.

Aêàä. Ãåîðãè Ñòîèëîâ Ïðåçèäåíò íà ÌÀÀ

Acad. Georgi Stoilov President of IAA

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Toyo Ito Born in 1941. After graduating from the University of Tokyo, Department of Architecture in 1965, Mr. Ito worked for the Metabolist architect Kiyonori Kikutake until 1969. In 1971 he opened his own office, Urban Robot (URBOT), which was renamed to Toyo Ito & Associates, Architects in 1979. He has held teaching positions attaught 1988~89 Visiting Lecturer at the University of Tokyo as a Visiting Lecturer , Department of Architecture as a Visiting Lecturer (1988~89), at at Columbia University (1991) and the University of California, Los Angeles (UCLA) (1999) , Depertment of Architecture as a Visiting Professor(1991)Department of Architecture, at University of California, Los Angeles (UCLA), Department of Architecture as a visiting professor(1999), at Kyoto University, Department of Engineering as a vVisiting lLecturer (2002~07)., and at Tama Art University, Department of Art and Design as a gGuest p Professor (2002~). He also has been a commissioner atof the Kumamoto Artpolis fromsince 2005. 1991 Visiting Professor at Columbia University, Department of Architecture. 1999 Visiting Professor at University of California, Los Angeles (UCLA), Department of Architecture. 2002~07 Visiting Lecturer at Kyoto University, Faculty of Enginnering. 2002~ Guest Professor at Tama Art University, Faculty of Art and Design. 2005~ Commissioner of Kumamoto Artpolis.

Main worksprojects; White U (1976), Silver Hut - house of the architect (1984), Tower of Winds (1986), Yatsushiro Municipal Museum (1991), Shimosuwa Municipal Museum (1993), Nagaoka Lyric Hall (1996), Dome in Odate (1997), T Hall in Taisha (1999), Sendai Mediatheque (2001), Brugge Pavilion (2002), Serpentine Gallery Pavilion 2002 (2002), Matsumoto Performing Arts Centre (2004), TOD’S Omotesando Building (2004), Island City Central Park GRIN GRIN (2005), MIKIMOTO Ginza 2 (2005), Meiso no Mori Municipal Funeral Hall (2006), Hopital Cognacq-Jay (2006, Paris), VivoCity (2006, Singapore), Tama Art University Library (Hachioji campus) (2007), etc.

Under development; Suginami Performing Arts Center (Tokyo), Taichung Metropolitan Opera House (Taiwan R.O.C.), The Main Stadium for 2009 World Games (Taiwan R.O.C.), National Taiwan University, New College of Social Sciences (Taiwan R.O.C.), Project for the Extension of Barcelona Trade Fair, Gran Via Venue (Spain), Relaxation Park in Torrevieja (Spain), University of California, Berkeley Art Museum and Pacific Film Archive (U.S.A.), etc.

Awards and Prizes; Architectural Institute of Japan Prize (1986, for Silver Hut), 33rd Mainichi Arts Award (1992, for Yatsushiro Municipal Museum), Ministry of Education Award for the Encouragement of Arts (1998, for Dome in Odate), Japan Art Academy Prize (1999, for Dome in Odate), 2000 The Arnold W. Brunner Memorial Prize in Architecture from American Academy of Arts and Letters (2000), Grand Prize of Good Design Award 2001 from Japan Industrial Design Promotion Organization (2001, for Sendai Mediatheque), XX ADI Compasso d’Oro Award (2004, for wooden bench, “Ripples”), Royal Gold Medal from The Royal Institute of British Architects (2006), ADI Compasso d’Oro Award (2008, for the Stand Horm 2005), 6th Austrian Frederick Kiesler Prize for Architecture and the Arts, etc. etc.

Publications; Transfiguration of Winds (1989, Seidosha), Architecture in a Simulated City (1992, INAX), Blurring Architecture (2000, Seidosha), Michi no Ie (2006, Index Communications), 10 Adventures in Architectural World (2006, Shokokusha), etc.

Ðîäåí ïðåç 1942 ã., ñëåä äèïëîìèðàíåòî ñè âúâ Ôàêóëòåòà ïî àðõèòåêòóðà íà Òîêèéñêèÿ óíèâåðñèòåò ïðåç 1965 ã. ã-í Èòî ðàáîòè çà àðõèòåêò îò Metabolist äî 1969 ã. Ïðåç 1971 ã. îòâàðÿ ñîáñòâåíî ñòóäèî, Urban Robot (URBOT), êîåòî å ïðåèìåíóâàíî â Toyo Ito & Associates, Architects ïðåç 1979 ã. Òîé å ïðåïîäàâàë â óíèâåðñèòåòà â Òîêèî êàòî ãîñòóâàù ëåêòîð (1988 - 1989), â óíèâåðñèòåòà â Êîëóìáèÿ (1991) è óíèâåðñèòåòà â Ëîñ Àíäæåëèñ, Êàëèôîðíèÿ (1999), óíèâåðñèòåòà â Êèîòî (2002 2007) è â Òàìà Àðòóíèâåðñèòåòà îò 2002 ã. Ñúùî òàêà å ó÷àñòíèê â Kumamoto Artpolis îò 2005 ã. Îñíîâíè ïðîåêòè: White U (1976), Silver Hut - êúùàòà íà àðõèòåêòà (1984), Tower of Winds (1986), Yatsushiro Municipal Museum (1991), Shimosuwa Municipal Museum (1993), Nagaoka Lyric Hall (1996), Dome in Odate (1997), T Hall in Taisha (1999), Sendai Mediatheque (2001), Brugge Pavilion (2002), Serpentine Gallery Pavilion 2002 (2002), Matsumoto Performing Arts Centre (2004), TOD’S Omotesando Building (2004), Island City Central Park GRIN GRIN (2005), MIKIMOTO Ginza 2 (2005), Meiso no Mori Municipal Funeral Hall (2006), Hopital Cognacq-Jay (2006, Paris), VivoCity (2006, Singapore), Tama Art University Library (Hachioji campus) (2007), etc.  ïðîöåñ íà ñòðîèòåëñòâî: Suginami Performing Arts Center (Tokyo), Taichung Metropolitan Opera House (Taiwan R.O.C.), The Main Stadium for 2009 World Games (Taiwan R.O.C.), National Taiwan University, New College of Social Sciences (Taiwan R.O.C.), Project for the Extension of Barcelona Trade Fair, Gran Via Venue (Spain), Relaxation Park in Torrevieja (Spain), University of California, Berkeley Art Museum and Pacific Film Archive (U.S.A.), etc. Íàãðàäè: Architectural Institute of Japan Prize (1986, for Silver Hut), 33rd Mainichi Arts Award (1992, for Yatsushiro Municipal Museum), Ministry of Education Award for the Encouragement of Arts (1998, for Dome in Odate), Japan Art Academy Prize (1999, for Dome in Odate), 2000 The Arnold W. Brunner Memorial Prize in Architecture from American Academy of Arts and Letters (2000), Grand Prize of Good Design Award 2001 from Japan Industrial Design Promotion Organization (2001, for Sendai Mediatheque), XX ADI Compasso d’Oro Award (2004, for wooden bench, “Ripples”), Royal Gold Medal

6 Project Title Sendai Mediatheque Location Sendai City, Miyagi Pref., Japan Client Sendai City Site Area 3,948.72 sqm Building Area 2,933.12 sqm Total Floor Area 21,682.15 sqm Design Team Toyo Ito, Tatsuo Kuwahara*, Takeo Higashi, Makoto Yokomizo*, Toyohiko Kobayashi, Shinichi Takeuchi*, Takuhiro Seo*, Masahiro Inoue*, Hironori Matsubara*, Leo Yokota ( * ex-staff ) Structural Engineers Sasaki Structural Consultants Mechanical Engineers ES Associates, Sogo Consultants, Otaki E&M Consultants Lighting Design Lighting Planners Associates Inc. Contractor Kumagai Gumi, Takenaka, Ando, Hashimoto JV Design 1995 - 1997 Completion 2001

Sendai Mediatheque

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Ever since its opening in 2001, the Sendai Mediatheque has been an iconic symbol of Sendai City, attracting more than 3,000 visitors and users every day. Being more like a park than architecture, people come together with a sense of freedom and generate a stimulating mix of creative and intellectual activities every day. Our biggest challenge, from the competition through the design development phase, was not to follow conventional programmes defined by functions such as a museum, library and so on, but to redefine and integrate them in a completely new software, called “mediatheque.” Discussions and hearings on the programmes were endlessly repeated with experts of various fields, authorities, and citizens from the design stage until the construction.

Through such unusual processes, the mediatheque was completed.

Each floor was named by its feature. The first level is called “Plaza” just like an urban public park. The second level, “Information” is a general information centre of the facility. “Library” of the 3rd and 4th levels functions as a municipal library. The 5th and 6th floors of different ceiling heights are “Gallery” spaces which flexibly accommodate various uses for both amateur and professional artists. The 7th floor, “Studio”, is a space for people to create and watch movies.

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2F Information

1F Plaza

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6F Gallery

5F Gallery

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B1F

B2F

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The most significant characteristic of Sendai Mediatheque is the thirteen tubes piercing through the floors. The tubes are the structure by themselves, and at the same time the voids they create contain staircases, elevators, ventilation ducts, service ducts, intelligent cables etc. Although these elements are generally hidden in cores, in this project, everything in the tubes is exposed. Usually, building space is homogeneous, however, in this project, it is intended to create various flows of people, information and nature - light, air, water, sounds etc. by the effects of tubes, and to generate interaction between those flows and activities around each tube.

The Sendai Mediatheque focuses on new projects every year, and by attracting many people promotes exchanges between local citizens and visitors.

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Matsumoto Performing Arts Centre

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Project Title Matsumoto Performing Arts Centre Location Matsumoto, Nagano Pref., Japan Client Matsumoto City Site Area 9,142.50 sqm Building Area 7,080.02 sqm Total Floor Area 19,184.38 sqm Design Team Toyo Ito, Takeo Higashi, Shinichi Takeuchi*, Leo Yokota, Hideyuki Nakayama, Takuji Aoshima, Yuichi Yokokawa*, Koki Akasaki* ( * ex-staff ) Total Adviser Shozo Motosugi Stage Adviser Tetsuya Oguri (mechanism), Motoi Hattori (lighting), Kunihiro Ichiki (sound) Structural Engineers Sasaki Structural Consultants Mechanical Engineers Kankyo Engineering Inc. Acoustical Engineers Nagata Acoustics Lighting Design LightDesign Landscape Design Mikiko Ishikawa + Tokyo Landscape Architects Sign Design Workshop for Architecture and Urbanism + Matzdaoffice General Contractor Joint Venture of Takenaka, Toda, Matsumoto-doken Design 2000- 2001 Completion 2004

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first floor

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The Matsumoto Performing Arts Centre is comprised of one small and one large performance hall and is located in Matsumoto City, Nagano Prefecture, on the site of the former theatre in the city center. The plan was drawn up for a competition among ten design teams. The larger hall, which seats 1800, was required to accommodate opera performances for the annual summer Saito Kinen Festival, as well as a variety of theatrical performances and other events. Smaller local events and citizens’ meetings are housed in the more intimate space of the 240 seat hall. In addition, the facility includes rehearsal rooms and studios that serve as venues for a wide variety of activities.

The biggest challenge was in finding a way to fit the entire program into an unusually shaped site that stretches from north to south like a wine bottle. The site width and other conditions, including the diagonal placement of the road, necessitated that the larger hall run along the southern side of the site. Although intuitively this would have placed the stage at the back edge of the site, such a configuration would turn the back of the building toward the residential area to the south. After studying a variety of patterns we came up with the idea of turning the hall around and placing the stage in the center. This configuration places the seating area and surrounding foyer on the south side of the site, alleviating the problem of front and back with respect to the neighboring residential area. An entranceway with a gentle sloping staircase into the foyer and the smaller hall were then placed along the site’s northern edge and a lobby space for relaxing was inserted between the large and small halls. By reversing the direction of the large hall we were able to create a fluid design without a front or a back, transforming the architecture into a park-like space.

Initially, for the competition, we proposed a milky-white double glass glazing for the building. After beginning the actual design process however, we realized that the surroundings were not uniformly attractive and that the interior spatial sequence leading up to the theatre deserved a more remarkable and inspiring façade. We wanted something that “used the same system and materials to create a lighting situation responsive to a variety of sequences,” and which would give “not a geometric impression, but a random and natural one.” The glass-inlaid GRC panels that we finally chose introduce soft light into the interior through randomly placed glass. The lighting shifts according to the amount of glass and the orientation of the outer walls to create a variety of places within a fluid and continuous space, beckoning visitors on towards the theatre.

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Project Title TOD’S Omotesando Location Jingumae, Shibuya, Tokyo, Japan Client Holpaf B.V. Site Area 516.23 sqm Building Area 401.55 sqm Total Floor Area 2,448.84 sqm Design Team Toyo Ito, Takeo Higashi, Akihisa Hirata, Kaori Shikichi, Leo Yokota, Takuji Aoshima, Yasuaki Mizunuma Structural Engineers Structural Design Office OAK Inc. Mechanical Engineers ES Associates Lighting Design Light Design Furniture Design Toyo Ito & Associates, Architects Fixtures and Fittings Design Modar srl, Garde U.S. P CO.,LTD. Contractor Takenaka Corporation Design 2002 - 2003 Completion 2004

TOD’S Omotesando Building concept

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26 Located in the fashionable Omotesando area of Tokyo, this building was built especially for Tod’s, an Italian shoe and handbag brand. The lower levels of this seven-story building are used as a shop, with the middle and upper levels containing offices and a multi-purpose space.

Since the site is L-shaped and has a narrow frontage, in order to give the building a unified volume we enclosed the site with a wall that gives the impression of a row zelkova trees. This exterior surface serves as both graphic pattern and structural system, and is composed of 300mmthick concrete and flush-mounted frameless glass. The resulting surface supports floor slabs spanning 10-15 meters without any internal columns.

In relation to environment around the site in Omotesando, where many luxury brand boutiques have been built, by selecting concrete as a material we daringly proposed a substance and strength absent from the adjacent “glass architecture”. This concrete structure, however, is not simply used as in conventional architecture to express the volume or the massiveness of the walls. More than being merely a pattern or a structure, this building instead acquires a new dimension relating to the notion of surface.

Our various studies started with the question, “How can we escape the conventional notion of a wall structure?” In other words, we were seeking a way to avoid transparent openings in an opaque volume.

Instead of distinguishing transparency from opaqueness, we were seeking a new method that would simultaneously define and unite them – we were attempting to relate all the lines (columns), surfaces (walls), and openings in an innovative way. Our studies suddenly moved

in a different direction after formulating the question: “Shouldn’t it be possible to create a surface as structure that directly expresses the flow of force, so long as it is formed as a structural diagram drawn as a pattern of thick lines on a flat surface?”

After passing through this process, the idea of using a structure composed of overlapping tree silhouettes was conceived, in a sense, suddenly. Our direction was set with a certain excitement when, following various investigations, we found that through the tree shape, we could order various conditions in an innovative way that is very different from conventional geometry. Trees are organisms0that stand by themselves, and therefore their shape has an inherent structural rationality. The pattern of overlapped tree silhouettes also generates rational flows of force. Having adapted the branched tree diagram, as you move higher up the building, the thinner and more numerous the branches become, with a higher ratio of openings. Thus, the building unfolds as interior spaces with slightly different atmospheres relating to the various intended uses.

Rejecting the obvious distinctions between walls and openings, lines and planes, two- and three-dimensions, transparency and opaqueness, this building is characterized by0distinctive type of abstractness. The tree silhouette creates a new image, with a constant tension generated between the building’s symbolic concreteness and its abstractness. For this project, we intended to create a building that through its architectural newness expresses both the vivid presence of a fashion brand and strength in the cityscape that will withstand the passage of time.

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Building for Island City Central Park “GRIN GRIN”

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Project Title Island City Central Park GRIN GRIN Location Fukuoka City, Fukuoka Pref., Japan Client Fukuoka City Site Area 129,170 sqm Building Area 5,162 sqm Total Floor Area 5,033 sqm Design Team Toyo Ito, Takeo Higashi, Toyohiko Kobayashi, Hiroyuki Shinozaki, Maya Nishikori, Yoshitaka Ihara Landscape Architects Sohgoh Landscape Planning Office + Toyo Ito & Associates, Architects Structural Engineers Sasaki Structural Consultants Mechanical Engineers Kankyo Engineering Inc. Lighting Design Lighting Planners Associates Contractor Takenaka, Takamatsu JV Design 2002 - 2004 Completion 2005

“Island City” is aNÿ large, roughly 400ha artificial island on the eastern side of Hakata Bay. The client, Fukuoka City, planned to create a new nature on this stark and flat artificial island and proposed a central park with a total area of 15.3ha and a 1.7km long green belt. The core facility of this park, named “GRIN GRIN”, is the first building in this island.

Our proposal aimed to provide a fluid and gentle change to the landscape of the whole park in order to bring various activities to the visitors.

Here, GRIN GRIN is not an autonomous object, but rather an entirely new environment that merges into the topographic changes of the surrounding undulating landscape and forms a gentle spatial spiral for people to gather within. The whole landscape becomes a series of hills continuous throughout the interior and exterior where people, light and air crisscross.

The interior of this approximately 5,000m2 complex is divided into three roughly equal spaces, each0one featuring different flowers and vegetation. The northern section is a free space with the largest green area, the central section is mainly for exhibiting subtropical plants, and the south section functions as a workshop space where visitors can experience and learn how to grow plants. These three spaces are continuous to each other through the spiral form, which also generates continuity between the inside and outside. The fully planted rooftop serves as a walkway that provides a sweeping view of the entire island.

Here, the distinction between the ground and the roof is almost erased.

GRIN GRIN creates a variety of places. People can freely choose the places where they wish to sit, lay down0or walk around. One could say that it is a park like a building, as well as a building like a park.

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MIKIMOTO Ginza2 Building Location Ginza, Chuo-ku, Tokyo, Japan Client K. MIKIMOTO & CO., LTD. Principal use Shop, Office, Restaurant Design Oct. 2003 - Nov. 2004 Construction Nov. 2004 - Nov. 2005 Main Structure Concrete Filled Steel Wall Site Area 275.74 m2 Building Area 237.69 m2 Total Floor Area 2205.02 m2 Scale in Building 9 stories and 1 basement Maximum Height 56.50 m Architect Toyo Ito & Associates, Architects + TAISEI DESIGN PAE Structural Engineer Sasaki Structural Consultants + TAISEI DESIGN PAE Mechanical Engineer TAISEI DESIGN PAE Lighting Design LIGHT DESIGN INC. General Contractor TAISEI Corporation

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40 Overview This commercial building in Tokyo’s Ginza district has been designed for Mikimoto, a company world famous for its pearl jewelry. This is a rectangular building, 17m wide by 14m deep, with nine stories above ground and one basement level. The lower levels are used as a shop and offices for Mikimoto and the upper levels are leased as offices.

41 Structure and Surface (Structural System) “Mikimoto Ginza 2� is wrapped in four thin walls to create a tube structural system. There are no internal columns, and the floor slabs are a stack of nine homogeneous layers.

In previous projects we have integrated the structure and surface layers to express a strong presence, but with this project we used a steel plate-sandwitched concrete structure in which concrete is poured into a space between two steel plates. Panels composed of steel plates (t=6-12mm) sandwiched together with studs and structural reinforcements are made in a factory and conveyed to the construction site. After erection and adjustment on the site, they are welded together

and 200mm of concrete is poured inside. Through this system, which treats the steel plates as expendable formwork, it was possible to create an extremely thin structure and achieve high strength and redundancy.

Also, since it is a non-directional planar structural system, it was possible for openings to be inserted freely.

Opening Patterns The openings of this building employ random shapes derived from a quasi-crystalline geometry generated by the dividing the façade planes with seven triangle shapes. By integrating the structure and the fluid opening pattern (as if capturing a moment of fluctuation), and through the use of a special coating, the building expresses both soft lightness and refined intensity. This design is not based on pure

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geometry, nor does it follow a (structural) expressionist approach, but employs a new method. It goes without saying that such a design has become possible for the first time through the use of structural analysis technology known as the “finite element analysis method�.

Materials, Joints, Coatings, and Abstractness In order to realize flat facades without joints, the welded joints were smoothed flat on site and the steel received many layers of paint, from rust proofing to topcoats. By eliminating the joints usually found in curtain walls, the external image of the building presents a different kind of abstractness, and the multilayer coatings draw out the materiality of the steel plate to the maximum and directly express the strength of the structure.

Construction Since we were challenging something very new, this project required sophisticated construction technology and verification by careful inspection. We made mock-ups, testing construction methods and evaluating performance through a trial and error process. The building was completed in December 2005, and has since become a focal point of architecture in the Ginza shopping area.

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“Meiso no Mori� Municipal Funeral Hall

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Location Kakamigahara,Gifu,Japan Client Kakamigahara City Principal use Crematorium Design 2004 - 2005 Construction 2005 - 2006 Main Structure RC Site Area 6695.97 m3 Building Area 2269.66 m3 Total Floor Area 2264.57 m3 Scale in Building stories Maximum Heightÿ11.5m Architect Toyo Ito & Associates,Architects Structural Engineers Sasaki Structural Consultants Mechanical Engineers Kankyo Engineering Inc Landscape Design Professor Mikiko Ishikawa, Keio University Lighting Design LIGHTDESIGN INC. General Contractor Joint Venture of Toda,Ichikawa,Tenryu

“Meiso no Mori” was planned to reconstruct a decrepit crematorium as part of a cemetery in a park. This cemetery, which is currently being developed, is located in a serene site, nestled in mountains with various trees and plants in the south and facing a pond in the north. The design brief called for a sublime space appropriate to give the last honors to the deceased, while subtly integrating the surrounding landscape of the park cemetery. Our idea was to respond not with a conventional massive crematorium but with an architecture of a spacious roof floating above the site like slowly drifting clouds creating a soft field. We investigated a freely curved reinforced-concrete shell structure to construct a roof characterized by concavities and convexities. The shape of the roof structure was determined by an algorithm generating the optimum structural solution. Since this type of structural analysis resembles the growth patterns of plants which keep transforming following simple natural rules, the process is called “evolution.” Several hundred such evolutionary cycles produced the final shape. The curved line becomes landscape, in harmony with the edge silhouette of the surrounding mountains. Four structural cores and twelve cone columns with built-in rainwater collection pipes are positioned evenly under the roof structure.

Ceremonial spaces are placed between the cores and columns effectively. The smooth roof line also articulates the ceiling in the interior.

Indirect light softly illuminates the curved ceiling and spreads to all directions. The funeral ceremonies will be administered in this serene space with the expressive nuances of light.

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Hospital Cognacq-Jay in Paris

Project Title Hospital Cognacq-Jay Location Paris, France Client Foundation Cognacq - Jay Site Area 4,976 m3 Building Area 3,207 m3 Total Floor Area 17,968 m3 Design team Toyo Ito, Takeo Higashi, Akio Takatsuka Collaborating Architects Jun Yanagisawa(Contemporaries), Manuel Tardits(MIKAN) Collaborating Architects (France) Extra Muros (France) Structural Engineers Sasaki Structural Consultants (Japan), Setec (France) Mechanical Engineers Kankyo Engineering Inc. (Japan), Setec (France) Facade Design Consultant R.F.R (France), Landscape design Extra Muros(France)

Coupe 1 1. Livracion 2. Rampe 3. Parking 4. Local tehnique

General Contractors (all France) Concrete work: Demathieu & Bard Facade Bluntzer Sas / Rinaldi Structal Interior decorating Rim & Alma Bat Steel work Sam + Roumiguier Wood work, Furniture Treuil / James EbĂŠnistes Floor covering France Sols Painting Papillon Electricity Ineo Air-conditioning Plumbing Cegelec Elevator Schindler Kitchen Frega X-ray installation Electrolux Landscape Viapark Design 2000 - 2003 Completion 2006

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Coupe 2 1. Accuel 2. Service de lymphologie 3. Service de vascularie 4. Service d'infectiologie 5. Service de readaptation ortopedique 6. Sonis palliatifs 7. Institut medico-educativ 8. Local tehnique 9. Gymnase 10. Bassin 11. Consultations 12. Parking

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Niveau 1 1. Cusine 2. Gymnase 3. Imagerie 4. Plateau de reeducation 5. Kinesiterapie 6. Consultations 7. Balanchisserie 8. Pharmacie 9. Secteur mortuaire 10. livrasion

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This project concerns the rebuilding of “Cognacq-Jay�, a private hospital with a history of over 100 years. The site is located in the 15th district in Paris near the Eiffel Tower, within a residential quarter home to many hospitals.

The old Cognacq-Jay facilities, like many of the hospitals in this district, stood independently among the surrounding residential blocks. The main building had a T-shaped plan, and a group of small buildings and nondescript patches of garden were scattered about the site.

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The international design competition to redesign the Cognacq-Jay was held in 1999 among a field of roughly 70 competitors. The program specified an increase in beds from 72 to 168, parking space for 128 cars, new rehabilitation facilities and a section for children suffering from various handicaps. Upgrading the quality of the medical services was a key concern of the rebuilding, in particular improvements in the hospice section. To prevent the building volume from growing unwieldy in size and organization, the requirements for each of the rooms were strictly defined in advance. For the design, we aligned the surface lines of the exterior walls to run parallel with the streets on the north and south of the site and then placed the three hospital-ward buildings inside, maximizing the garden patios that emerge between the wards.

The linear block along the street accommodates spacious gallery-

type nursing rooms and private rooms arranged like apartment houses, respectively facing the street and garden, with corridors running in between. By maximizing the wall surface facing the garden, most of these private rooms are provided with views and natural lighting.

Privacy inside the block, including the garden, is assured by closing the building with regard to the streets. The majority of the service functions have been collected into the first basement level, which also provides an underground link between the north and south blocks.

The form of the garden with respect to the blocks allows ample sunshine and ventilation to be brought down to this level, providing a comfortable environment for the staff. We believe that these considerations play a key role in bringing the entire hospital together in a functional manner.

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Suginami Performing Arts Centre

Project Title Suginami Performing Arts Centre Location Koenji-kita, Suginami-ku, Tokyo Client Suginami Ward Design Toyo Ito & Associates, Architects, So-ken architects Design Team Toyo Ito, Takeo Higashi, Takuji Aoshima, Hiroyuki Shinozaki, Takayasu Hirayama, Michiko Okano, Kentaro Maeda*, Miya Ito, Rie Kigami, Leo Yokota, Ken-ichi Shinozaki ( * ex-staff ) Structural Engineers Sasaki Structural Consultants Mechanical Engineers Kankyo Engineering Inc.

Acoustical Engineers Nagata Acoustics Theatre Engineers Jun Mano Lighting Design LightDesign General Contractor Taisei Corporation Site Area 1649.26 sqm Building Area 1107.86 sqm Total Floor Area 4977.74 sqm Design 2005.6 - 2006.8 Completion 2008.11

59 In the beginning of 2005, we won the design competition for a theater complex in Suginami, Tokyo, a project centering on a few small theaters and a civic hall.

In consideration for the surrounding environment, the majority of the facility is positioned below ground in the basement. On the ground level, small theaters encased in steel and seating 240 to 300 people emerge, resembling a playhouse.

The hall on the ground floor is a 9 by 9 meter square in plan and rises 9 meters in height to the “bridge,” to accommodate a variety of plays.

The complex curved surface of the roof obtained by intersecting and uniting a series of cylinders and oblique cones, is built out of a combination

steel and concrete structural system. 300 round windows, each 300 mm in diameter, are set into this surface randomly. The “closed theater” was designed deliberately to avoid unwanted external noises from the street.

Following the competition, we began monthly meetings with advisors like producers, stage directors and technical experts who specialize in plays, in addition to theater designers, in order to discuss operation policies and the overall character of the theater.

At the same time, meetings for dialogue with the local residents were held and the design was gradually finalized.

The building is currently under construction, with completion slated for November 2008.

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Project for the Extension of Barcelona Trade Fair, Gran Via Venue Torres Porta FIRA This project is an extension to the Trade Fair complex, Gran Via Venue in Barcelona. It was selected as the winning proposal in an international competition held in 2002.

Located within the “Metropolitan General Plan”, this project is situated at the foot of the western side of Montjuic hill, in the Pedorasa district that straddles the boundary between Barcelona and L’Hospitalet cities.

It is located between the airport and the city, on the boundary between a residential area and a warehousing district. With L’Hospitalet city’s new urban plan, the airport, and the port all nearby, and with two subway lines also under construction, this is an area with a very high potential for circulation and transportation.

In addition to the two existing buildings of the Montjuic-2 Trade Fair complex, two new halls are now under construction. The extension project consists of two further exhibition halls (Pavilion 0 & Pavilion 5), an entrance hall on the L’Hospitalet side, an auditorium, administration buildings, a Central Axis that links all the complex’s facilities, and landscaping around the site. In addition to the extension project, we are also designing a multiuse complex composed of a hotel tower, an office tower, and commercial facilities on an adjacent site.

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The following are the projects now in progress: Pavilion 5 is a rectangular two-storey building. The ground level is designed as a convention hall that can be flexibly sub-divided by movable partition walls, and the upper level is an exhibition hall. The floor of the upper level is conceived as a technical floor within which air conditioning ducts and technical services for the exhibition booths are integrated, creating a neutral and systematic whole.

The Central Axis is a huge pedestrian route that ties together all the facilities of the trade fair site - when completed it will be one kilometer one. Taking careful account of the complex constraints - such as the existing buildings and those now under construction, the buildings now being designed, and the conditions for bridging over a the public road - this building is a circulation path that creates a dynamic flow of people that penetrates all the facilities on the site, the building having a different character in each place.

Pavilion 0 is an exhibition space with a trapezoid plan. In order to make the building as simple as possible, we enhanced the exhibition space’s continuity with both the Entrance Hall and the adjacent landscape by installing an organic facade wall along the street located on Pavilion 0’s Western side.

The Entrance Hall is located alongside L’Hospitalet City’s new urban development, and functions as the main entrance to the renewed Montjuic-2 facilities. With an organic plan shape like a gesturing hand, this building consists of three levels (including the basement). The ground level is the main entrance for visitors and the upper level provides reception zones such as the VIP area and the restaurant, the intention being to make the visitors’ movement towards the Central Axis as smooth as possible. Arranged on the basement level are work spaces for fair organizers (such as the service centers for press and customers), as well as an access lobby for the subway station that is being constructed on the southern side of the site. Strongly horizontal, this building stands face to face with the two towers of the Torres Fira complex, and has facade walls which combine curved glass and structural walls to present a soft impression towards the plaza.

The Landscaping which surrounds the whole site is composed as an area of interaction along the boundary between the fair complex and the surrounding roads. Through the continuous flowing lines of benches and fountains – forms that are organic yet simple, like the water’s edge at the ocean - we have inserted a human scale into the urban scale of the trade fair complex.

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The first in a series of high rise buildings in the ambitious urban development around L’Hospitalet City’s new Plaza Europa, the two 110m-tall towers of the Torres Porta Fira stand between the airport and the city centre. In negotiating between the fluid landscape of the trade fair and the Plaza Europa’s orthogonality, these high-rise buildings, one a hotel and the other an office tower, link Montjuic-2 with this new part of Barcelona.

The hotel, a reddish volume rotating and growing wider at the top, is complemented by the office tower, a strictly orthogonal transparent volume with a soft, reddish internal core.

Based on a few simple rules of geometric translation (the plan rotates as it moves up and at one and two thirds of the building height is slightly off-center), the hotel tower appears to be moving and intriguingly fragile, an effect further emphasized by its red skin of closely-spaced anodized aluminum tubes. In addition to the effects of the off-centering, the tower widens in the top third. These smooth transitions are directly felt on the interior as they create a continuous variation of rooms (virtually no two rooms are alike). Similar to the hotel, the core of the office tower rotates and changes as it rises. Sliced by the rectangular volume of the office floors, the vertical circulation core is cut open and receives natural daylight. This sliced core becomes the sole articulation of the otherwise simple facade.

At ground level, the lobby spaces of the hotel and a shopping area under the office tower are linked by a large hall for banquets and conventions. The roof of the podium is a park-like landscape which visually connects the Mediterranean Sea, the mountains, and the Montjuic hill.

This expansion project is intended to provide a stage for Fira de Barcelona to participate not only as a domestic exhibition complex but also to play a significant role in Europe’s major international market.

Moreover, together with L’Hospitalet City’s innovative urban development and the axis of the Gran Via, this site is positioned in the city expansion plan as a new landmark within Barcelona’s urban structure. It is anticipated that this trade fair project will encourage and generate various activities and communication between people, objects, information, and the city.

72 Project title Tama Art University New Library Location Hachioji City, Tokyo, Japan Architects Toyo Ito & Associates, Architects Client Tama Art University Program Library Design and Supervision Campus Planning Tama Art University Campus Project Team Architects Toyo Ito & Associates, Architects Design team Toyo Ito, Takeo Higashi, Hideyuki Nakayama, Yoshitaka Ihara Associate Architect Kajima Design Structural engineers Sasaki Structural Consultants Associate Architect Kajima Design Mechanical engineer Associate Architect: Kajima Design Interaction design Workshop for Architecture and Urbanism Furniture design Fujie Kazuko Aterier Curtain design and fabricator Nuno Corporation Supervision Toyo Ito & Associates, Architects Design team Toyo Ito, Takeo Higashi, Hideyuki Nakayama, Yoshitaka Ihara

Tama Art University New Library

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74 This is a library for an art university located in the suburbs of Tokyo.

Passing through the main entrance gate, the site lies behind a front garden with small and large trees, and stretches up a gentle slope.

The existing cafeteria was the sole place in the university shared by both students and staff members across all disciplines, so the first impetus for our design was to question how an institution as specialised as a library could provide an open commonality for all.

Our first idea was for a wide open gallery on the ground level that would serve as an active thoroughfare for people crossing the campus, even without intending to go to the library.

To let the flows and views of these people freely penetrate the building, we began to think of a structure of randomly placed arches which would create the sensation as if the sloping floor and the front garden’s scenery were continuing within the building.

The characteristic arches are made out of steel plates covered with concrete. In plan these arches are arranged along curved lines which cross at several points. With these intersections, we were able to keep the arches extremely slender at the bottom and still support the heavy live loads of the floor above. The spans of the arches vary from 1.8 to 16 metres, but the width is kept uniformly at 200mm.

The intersections of the rows of arches help to articulate softly separated zones within this one space. Shelves and study desks of various shapes, glass partitions that function as bulletin boards, etc., give these zones a sense of both individual character and visual as well as spatial continuity.

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On the sloped ground level, a movie-browser like a bar counter and a large glass table for the latest issues of magazines invite students to spend their time waiting for the bus in the library.

Climbing the stairs to the second floor, one finds large art books on low bookshelves crossing under the arches. Between these shelves are study desks of various sizes. A large table with a state-of-art copy machine allows users to do professional editing work.

The spatial diversity one experiences when walking through the arches different in span and height changes seamlessly from a cloister-like space filled with natural light, to the impression of a tunnel that cannot be penetrated visually. The new library is a place where everyone can discover their style of “interacting� with books and film media as if they were walking through a forest or in a cave; a new place of arcade-like spaces where soft mutual relations form by simply passing through; a focal centre where a new sense of creativity begins to spread throughout the art university’s campus.

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Area Site area 159,184.87m2 Building area 2,224.59m2 Total floor area 5,639.46m2 Building coverage(Whole campus) 22.87%(allowance 33.47%) Floor area ratio(Whole campus) 58.56%(allowance111.56%) Floor area Basement / 852.62m2 1F / 2,287.72m2 2F / 2,499.12m2 Number of stories 1 besement, 2 stories Ceiling height 1F 3400mm~6600mm 2F 5100mm~6700mm Height 10,900mm(eave)/13,110mm(maximum)

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Parque de la Gavia

This is a new type of park, and is located on a 39ha site adjacent to a newly developed area in Vallecas, Madrid, being planned by Empressa Municipal de la Vivienda. The main requirement for this park is to use natural resources to further purify treated water from the district sewage plant. The key theme of the design is to create a new type of public space that could be called an “infrastructural landscape.” This infrastructure is intended to treat wastes and recycle energy using natural water treatment processes to sustain a rich forest and wildlife with a low environmental load.

Our concept for the project is “watertrees,” which define the geometry of the water treatment system.

There are two types of watertree, one following the pattern of a tree in plan, and the other the pattern of a tree in section. The first type defines the flows of water along the ridges, and the second the flows along the valleys. These two sets of flows are connected by water penetrating through the ground of the slopes between them. Along these slopes, the natural energy of the sun, plants and soil is employed to clean the water through a series of processes such as sterilization, sedimentation and filtration.

The water treated in the park will be utilized not only to irrigate the park and the surrounding housing area, but will also contribute to regenerating the flow of the Gavia River that used to run through this area. The landscape formed by this series of water treatment processes includes many kinds of landforms and supports a variety of biotopes. Just as in the 20th century Le Corbusier proposed constructing “trees of housing” to turn Paris into a green city, we propose planting “trees of water” to develop Gavia Park as a place full of greenery for the 21st century.

This project has a special importance as the first stage of the “ECOVALLE” project, which seeks to create autonomous city environments that provide for diversity and the high quality of life promoted by the European Union.

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Location Madrid, Spain Client Madrid City, Empresa Municipal de la Vivienda y Suelo (EMVS) - City Council of Madrid Site Area 390,000 sqm Design Team Toyo Ito, Akio Takatsuka, Rie Kigami, Takahiro Akiyama, Andrew Barrie Collaborating Architect Ken-ichi Shinozaki Collaborating Architects (Spain) Antonio Marquerie Tamayo, Dario-Ignacio Gazapo de Aguilera, Conchita Lapayese Luque Landscape & Biology Mikiko Ishikawa, Keio University Rafael Mata Olmo, Universidad Autónoma de Madrid Pedro Molina Holgado, Universidad Autónoma de Madrid Luis Tejero Encinao Water system & Civil, Structural, and Service Engineering Takakuni Murai, Kankyo Reform Jesús Jiménez Cañas Ove ARUP (Madrid) Juan Azcasate Design 2003.4-

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Taichung Metropolitan Opera House

This project for the Taichung Metropolitan Opera House was selected in an international competition held in 2005 and is progressing through final stages of design toward realization.

The site is located in what will become the heart of Taichung City’s redevelopment district included facilities of the complex will be three theater spaces the “Grand Theater” with 2009 seats, the “Playhouse” with 800 seats and the “Black Box” with 200 seats together forming a center of international performing arts, an “Art Plaza” shopping center with restaurants and cafes, and the parklike landscape.

To fulfill the requirements of this project, we proposed a system called the “Emerging Grid,” or generative grid organize the whole out of the constituent parts. This is a topological grid system in which 2-dimensional plans plotted according to the programs and functions of each floor are developed into a space with a continuous 3-dimensional curved surface.

By developing this system, the internal space including the three halls finds a form like the continuum of a cave, and stimulates the connection between visitor and artist.

The pattern from the inside plan expands into the outside landscape, and networks of water and green assimilate with the building, integrating relationships between the interior and exterior.

At the present, we are progressing through the stages of detailed design.

Study models for three differentsized theaters, a structural mock-up and an acoustic model have been produced in order to discuss and analyze the many aspects and details of this project.

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Project title Taichung Metropolitan Opera House Location Taichung City, Taiwan Program Theater, Commercial facility, Park Architects Toyo Ito & Associates, Architects Local Architects Da-Ju Architects & Associates Structural engineers Cecil Balmond, Ove Arup & Partners Mechanical engineers Kankyo Engineering Inc., Takenaka Corp.

Acoustic engineers Nagata Acoustics Structure Reinforced Concrete construction, partly steel construction Site area 57,685.78m2 Building area 8,052m2 Total floor area 34,067m2 (excl. parking) Design period September 2005 ~

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84 Ìåäèàòåêà â Ñåíäàé

Îò ñâîåòî îòêðèâàíå ïðåç 2001ã., ìåäèàòåêàòà â Ñåíäàé å ñèìâîë íà ãðàäà Ñåíäàé, ïðèâëè÷àù ïîâå÷å îò 3000 ïîñåòèòåëè íà äåí. Áèäåéêè ïî-ñêîðî ïàðê, îòêîëêîòî àðõèòåêòóðà, õîðàòà ñå ñúáèðàò òóê ñâîáîäíî è ãåíåðèðàò ñòèìóëèðàù ìèêñ îò èíòåëåêòóàëíà è êðåàòèâíà åíåðãèÿ âñåêè äåí. Íàé-ãîëÿìîòî íè ïðåäèçâèêàòåëñòâî îò êîí-

êóðñà äî ìîìåíòà íà èçïúëíåíèå áåøå íå äà ñëåäâàìå êîíâåíöèîíàëíà ñõåìà, ïðîäèêòóâàíà îò ôóíêöèèòå íà ìóçåé, áèáëèîòåêà è ò.í. Çà äà âêëþ÷èì âñè÷êî, ñìå ÿ íàðåêëè “ìåäèàòåêà”. Äèñêóñèè ñúñ ñïåöèàëèñòè îò ðàçëè÷íè îáëàñòè, âëàñòèòå è ãðàæäàíè ñà îïðåäåëèëè äèçàéíà â äíåøíèÿ âèä íà ïðîåêòà. Âñåêè åòàæ íà ñãðàäàòà èìà ñâîÿòà õàðàêòåðíà ÷åðòà. Ïúðâèÿò å íàðå÷åí “Plaza”, òî÷íî êàòî ïóáëè÷åí ãðàäñêè ïàðê. Âòîðèÿò åòàæ “Information” å ïðîäèêòóâàí îò èíôîðìàöèîííèÿ öåíòúð. “Áèáëèîòåêà”- íà

òðåòèÿ è ÷åòâúðòèÿ åòàæ, êîÿòî å îáùèíñêàòà áèáëèîòåêà. Ïåòèÿò è øåñòèÿò åòàæ ñà “Ãàëåðèÿ”, ãúâêàâè ïðîñòðàíñòâà çà èçÿâà íà ðàçëè÷íè àðòèñòè. Ñåäìèÿò åòàæ “Studio” å ìÿñòîòî çà õîðà, êîèòî ñúçäàâàò è ãëåäàò ôèëìè. Íàé-õàðàêòåðíàòà ÷åðòà íà ìåäèàòåêàòà â Ñåíäàé ñà 13-òe òðúáè, ïðîáèâàùè åòàæèòå. Òðúáèòå ñà ÷àñò îò ñòðóêòóðàòà è â ñúùîòî âðåìå ïðàçíèíèòå, êîèòî ôîðìèðàò, ñå èçïîëçâàò çà ñòúëáè, àñàíñüîðè, âåíòèëàöèîííè îòâîäè, ñåðâèçíè ïîìåùåíèÿ, îêàáåëÿâàíå è ò.í. Âúïðåêè ÷å òåçè åëåìåíòè îáèêíîâåíî ñà

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ñêðèòè â îáâèâêàòà, â òîçè ïðîåêò âñè÷êî ñêðèòî â òðúáèòå å ïîêàçàíî. Îáèêíîâåííî ïðîñòðàíñòâîòî â ñãðàäàòà å õîìîãåííî, âúïðåêè ÷å â òîçè ïðîåêò å òúðñåíî ñúçäàâàíåòî íà ïîòîöè îò õîðà, èíôîðìàöèÿ è ïðèðîäà-ñâåòëèíà, âúçäóõ, âîäà, çâóê è ò.í. ÷ðåç òðúáèòå ñå ñúçäàâà âçàèìîäåéñòâå ìåæäó òåçè ïîòîöè è äåéíîñòè, ðàçâèâàùè ñå ïîêðàé âñÿêà îò òðúáèòå. Âñÿêà ãîäèíà â Ìåäèàòåêàòàòà íà Ñåíäàé ñå ôîêóñèðà íà íîâ ïðîåêò è ïðèâëè÷àéêè ìíîãî õîðà êúì ñåáå ñè, ñå îáìåíÿ èíôîðìàöèÿ ìåæäó ìåñòíèòå æèòåëè è ïîñåòèòåëèòå.

Öåíòúð çà èçêóñòâî "Ìàòñóìîòî”

Öåíòúðúò çà ïðåäñòàâëåíèÿ "Ìàòñóìîòî” ñå ñúñòîè îò åäíà ìàëêà è åäíà ãîëÿìà çàëà è ñå íàìèðà â ãðàä Ìàòñóìîòî, îáëàñò Íàãàíî, íà ìÿñòîòî íà íÿêîãàøåí òåàòúð â öåíòúðà íà ãðàäà. Ïðîåêòúò å èçáðàí ÷ðåç êîíêóðñ èçìåæäó äðóãè 10. Ïî-ãîëÿìàòà çàëà, êîÿòî èìà 1800 ìåñòà, å íåîáõîäèìà ïðåç ëÿòîòî, çà äà ïîäñëîíè ãîäèøíèÿ ëåòåí îïåðåí ôåñòèâàë "Ñàèòî Êèíåí”, êàêòî è ðåäèöà òåàòðàëíè è äðóãè ñúáèòèÿ. Ïî-ìàëêèòå ìåñòíè ñúáèòèÿ è ñðåùè íà ãðàæäàíè ñå îðãàíè-

çèðàò â ïî-èíòèìíî ïðîñòðàíñòâî ñ 240 ìåñòà. Îñâåí òîâà ñúîðúæåíèåòî ïðèòåæàâà ñòóäèî çà ðåïåòèöèè. Íàé-ãîëÿìîòî ïðåäèçâèêàòåëñòâî å äà ñå íàìåðè íà÷èí äà ñå ñúâìåñòè âñè÷êî íà òåðåí, êîéòî ñå ðàçòÿãà îò ñåâåð íà þã ïîäîáíî íà áîòèëêà çà âèíî. Øèðèíàòà íà ìÿñòîòî è äðóãè óñëîâèÿ, âêëþ÷âàùè äèàãîíàëíîòî ðàçïîëîæåíèå íà ïúòÿ, íàëàãàò íåîáõîäèìîñòòà ïî-ãîëÿìàòà çàëà äà ñå ðàçïîëîæè íà þæíàòà ñòðàíà. Âúïðåêè ÷å òîâà áè èçíåñëî ñöåíàòà íà çàäíàòà ñòðàíà, ïîäîáíà êîíôèãóðàöèÿ ùå íàñî÷è ãúðáà íà ñãðàäàòà êúì æèëèùíèÿ êâàðòàë íà þã. Ñëåä âíèìàòåëíî èçó÷àâàíå íà âñè÷êè âúçìîæíîñòè ðåøèõìå äà ïîñòàâèì ñöåíàòà â öåíòúðà. Òîâà

ðàçïîëîæåíèå ðàçïîëàãà ìåñòàòà çà ñÿäàíå è ôîàéåòî íà þæíàòà ñòðàíà, ðåøàâàéêè ïðîáëåìà ñ ëèöå è ãðúá íà ñãðàäàòà. Âõîäúò ñ íåæíî ñïóñêàùè ñå ñòúëáè êúì ôîàéåòî è ïî-ìàëêàòà çàëà ñà ðàçïîëîæåíè ïî ñåâåðíàòà ñòðàíà, à ëîáè-ïðîñòðàíñòâîòî çà ïî÷èâêà å ìåæäó ãîëÿìàòà è ìàëêàòà çàëà. Êàòî îáúðíàõìå ïîëîæíèåòî íà ãîëÿìàòà çàëà, âå÷å ìîæåõìå äà ñúçäàäåì ïîäâèæåí äèçàéí, áåç äà èìà ëèöå èëè ãðúá, ïðåîáðàçÿâàéêè àðõèòåêòóðàòà â ïàðêîâî ïðîñòðàíñòâî. Ïúðâîíà÷àëíî ïî âðåìå íà êîíêóðñà ïðåäëîæèõìå ìëå÷íîáÿëî äâîéíî îñòúêëÿâàíå íà ñãðàäàòà. Ñëåä çàïî÷âàíå íà ïðîöåñà íà ïðîåêòèðàíå îñúçíàõìå, ÷å îêîëíîñòòà íå å åäíàê-

âî àòðàêòèâíà è ÷å èíòåðèîðíîïðîñòðàíñòâåíîòî ðåøåíèå òðÿáâàøå äà íàïðàâè òåàòúðà ïî-çàáåëåæèì è ñ ïî-ïðèâëåêàòåëíà ôàñàäà. Èñêàõìå íåùî, êîåòî “èçïîëçâà ñúùàòà ñèñòåìà è ìàòåðèàëè, çà äà ñúçäàäå îñâåòëåíèå, ïîäõîäÿùî çà ðàçëè÷íè ñèòóàöèè è îáåìè”, è êîåòî äà å ðåøåíî “íå ãåîìåòðè÷íî, à ïðîèçâîëíî è åñòåñòâåíî”. Ñòúêëåíèòå ïàíåëè GRC, íà êîèòî ñå ñïðÿõìå, îñèãóðÿâàò ìåêà ñâåòëèíà â èíòåðèîðà ÷ðåç ïðîèçâîëíî ìîíòèðàíè ñòúêëà. Îñâåòëåíèåòî ñå ïðîìåíÿ ñïðÿìî êîëè÷åñòâîòî ñòúêëî è îðèåíòàöèÿòà íà âúíøíèòå ñòåíè, çà äà ñúçäàäå ðàçíîîáðàçíè ìåñòà ñðåä ãúâêàâîòî è èçäúëæåíî ïðîñòðàíñòâî, êîåòî ïðèâëè÷à ïîñåòèòåëèòå êúì òåàòúðà.

Ñãðàäàòà TOD â Îìîòåñàíäî

Ðàçïîëîæåíà â ìîäíàòà ÷àñò íà Òîêéîí-Îìîòåñàíäî, òàçè ñãðàäà å ñïåöèàëíî ïðîåêòèðàíà çà TOD, èòàëèàíñêà ìàðêà îáóâêè è ÷àíòè. Ïî-íèñêèòå íèâà îò òàçè ñåäåìåòàæíà ñãðàäà ñå èçïîëçâàò çà ìàãàçèí, à ñðåäíèòå è ïî-ãîðíè åòàæè ñà îôèñè è ìíîãîôóíêöèîíàëíè ïðîñòðàíñòâà. Òúé êàòî ñãðàäàòà å ñ L-îáðàç-

íà ôîðìà è èìà òÿñíî ëèöå, çà äà é ñå äàäå öÿëîñòåí âúíøåí âèä, íèå ïðèáàâèõìå ñòåíà, êîÿòî íàïîìíÿ çà ðåäèöà äúðâåòà. Âúíøíàòà ïîâúðõíîñò ñëóæè åäíîâðåìåííî êàòî ãðàôè÷åí øàáëîí è ñòðóêòóðíà ñèñòåìà è å ñúñòàâåíà îò 300 ìì áåòîí è íåðàìêèðàíè ïðîçîðöè. Ïîëó÷åíàòà ïîâúðõíîñò ïîääúðæà ïëî÷è, 10-15 ìåòðà, áåç íèêàêâè âúòðåøíè êîëîíè. Âúâ âðúçêà ñúñ çàîáèêàëÿùàòà ñðåäà â Îìîòåñàíäî, êúäåòî èìà ìíîãî ëóêñîçíè áóòèöè, èçáèðàéêè áåòîíà êàòî îñíîâåí ìàòåðèàë, íèå ñìåëî ïðåäëî-

æèõìå ñóáñòàíöèÿ è òåæåñò, êîÿòî ëèïñâà â ñúñåäíàòà äîëåïåíà “ñòúêëåíà àðõèòåêòóðà”. Áåòîííàòà ñòðóêòóðà íå å èçïîëçâàíà ïðîñòî êàòî â êîíâåíöèîíàëíàòà àðõèòåêòóðà, çà äà èçðàçè îáåì èëè ìàñèâíîñò íà ñòåíèòå. Áèäåéêè íåùî ïîâå÷å îò ïðîñò øàáëîí èëè ñòðóêòóðà, òàçè ñãðàäà äîáèâà íîâî èçìåðåíèå, ñâúðçàíî ñ èäåÿòà çà ïîâúðõíîñò. Ðàçëè÷íè íàøè èçñëåäâàíèÿ çàïî÷âàò ñ âúïðîñà “Êàê ìîæåì äà èçáÿãàìå îò êîíâåíöèîíàëíàòà èäåÿ çà ñòðóêòóðà íà ñòåíà?" Ñ äðóãè äóìè, òúðñèì íà÷èí äà èçáåãíåì ïðîçðà÷íè îòâîðè â

ïëúòíî ïðîñòðàíñòâî. Âìåñòî äà ðàçäåëÿìå ïðîçðà÷íîòî îò íåïðîçðà÷íîòî, ñå îïèòàõìå äà íàìåðèì íîâ ìåòîä, êîéòî åäíîâðåìåííî äà ãè ðàçãðàíè÷àâà è îáåäèíÿâà - îïèòàõìå ñå äà ñâúðæåì âñè÷êè òåçè ëèíèè (êîëîíè), ïîâúðõíîñòè (ñòåíè) è îòâîðè ïî èíîâàòèâåí íà÷èí. Íàøèòå èçñëåäâàíèÿ èçâåäíúæ ñå îáúðíàõà â äðóãà ïîñîêà, ñëåä êàòî ôîðìóëèðàõìå âúïðîñà: “Íå ìîæå ëè äà ñå íàïðàâè ïîâúðõíîñò êàòî ñòðóêòóðà, êîÿòî åäíîâðåìåííî èçðàçÿâà ïîòîê íà ñèëà òîëêîâà äúëúã, ÷å äà ôîðìèðà ñòðóêòóðíà äèàãðàìà,

85 îáðàçóâàíà îò ìðåæà òúíêè ëèíèè íà ïëîñêà ïîâúðõíîñò?" Ñëåä ïðåìèíàâàíåòî ïðåç òîçè ïðîöåñ èäåÿòà äà èçïîëçâàìå ñòðóêòóðíà êîìïîçèöèÿ îò ïðèïîêðèâàùè ñå òðè ñèëóåòà èçëåçå èçâåäíúæ. Íàøèòå òúðñåíèÿ áÿõà ñúïðîâîäåíè îò äîñòà âúëíåíèÿ è ïðîó÷âàíèÿ. Îòêðèõìå, ÷å ÷ðåç ôîðìàòà íà äúðâî ìîæåì äà èçäúðæèì íà îïðåäåëåíè óñëîâèÿ ïî èíîâàòèâåí íà-

÷èí è äà ïîëó÷èì íåùî ìíîãî ðàçëè÷íî îò êîíâåíöèîíàëíàòà ãåîìåòðèÿ. Äúðâåòàòà ñà îðãàíèçìè, êîèòî ñå ñàìîèçäúðæàò, òúé êàòî ôîðìàòà èì èìà âðîäåíà ñòðóêòóðíà ðàöèîíàëíîñò. Îáðàçóâàíèÿò øàáëîí îò ïðèïîêðèâàùèòå ñå òðè ñèëóåòà ãåíåðèðà è ðàöèîíàëåí ïîòîê îò ñèëà. Àäàïòèðàéêè ðàçêëîíåíàòà äèàãðàìà íà äúðâî, íàãîðå

ñãðàäàòà èìà ïî-òúíêè è ïî-ìíîãîáðîéíè êëîíè ñ ïî-øèðîêè îòâîðè. Ïî òîçè íà÷èí òÿ îòêðèâà âúòðåøíè ïðîñòðàíñòâà ñ ðàçëè÷íà àòìîñôåðà ñïðÿìî ðàçëè÷íèòå ôóíêöèè. Îòêàçâàéêè ìåòîäà íà î÷åâèäíîòî ðàçäåëåíèå ìåæäó ñòåíè, îòâîðè, ëèíèè è ïîâúðõíîñòè, äâóè òðèèçìåðíî, ïðîçðà÷íîñò è ïëúòíîñò, òàçè ñãðàäà ñå õàðàêòåðèçèðà ñ îñîáåíà àáñòðàêò-

íîñò. Ñèëóåòúò íà äúðâî ñúçäàâà íîâ îáðàç ñ ïîñòîÿííî íàïðåæåíèå, ïîðîäåíî îò ñèìâîëè÷íàòà êîíêðåòíîñò, è â ñúùîòî âðåìå àáñòðàêòíîñò. Çà òîçè ïðîåêò èìàõìå íàìåðåíèå äà ñúçäàäåì ñãðàäà, êîÿòî ÷ðåç ñâîÿòà èíîâàòèâíîñò åäíîâðåìåííî èçðàçÿâà æèâî ïðèñúñòâèå íà ìîäíàòà ìàðêà è ñèëåí ãðàäñêè ñèëóåò, êîéòî äà óñòîè íà âðåìåòî.

Ïîñòðîÿâàíåòî íà öåíòðàëíèÿ ïàðê â Îñòðîâíèÿ ãðàä GRIN GRIN

Îñòðîâíèÿò ãðàä å ãîëÿì, îêîëî 400 õåêòàðà èçêóñòâåíî ñúçäàäåí îñòðîâ íà èçòî÷íàòà ñòðàíà íà çàëèâà Õàêàòà. Êëèåíòúò ãðàä Ôóêóîêà, ïëàíèðà äà ñúçäàäå íîâà ïðèðîäíà ñðåäà íà îñòðîâà è ïðåäëàãà öåíòðàëåí ïàðê ñ ïëîù îò 15,3 õåêòàðà è 1,7 êì çåëåí ïîÿñ. Îñíîâíîòî ñúîðúæåíèå â òîçè ïàðê, íàðå÷åí GRIN GRIN, å ïúðâàòà ïîñòðîéêà íà îñòðîâà. Íàøåòî ïðåäëîæåíèå èìàøå

çà öåë äà ïðåäëîæè ïëàâíà è íåæíà ïðîìÿíà íà öåëèÿ ïàðê, çà äà ïðåäîñòàâè âúçìîæíîñò çà ðàçëè÷íè äåéíîñòè íà ïîñåòèòåëèòå. Òóê GRIN GRIN å íå ñàìî ñàìîñòîÿòåëåí îáåêò, à ïî-ñêîðî èçöÿëî íîâà ñðåäà, êîÿòî èçïëóâà â òîïîãðàôñêèòå ïðîìåíè íà çàîáèêàëÿùèÿ âúëíîîáðàçåí ðåëåô è îáðàçóâà ëåêà ñïèðàëà çà õîðàòà, êîèòî ãî ïîñåùàâàò. Öåëèÿò ïåéçàæ ñå ïðåâðúùà â ïðîäúëæåíèå íà õúëìîâå, êîèòî ïðåìèíàâàò îò åêñòåðèîðà è èí-

òåðèîðà çàäíî ñ äâèæåùèòå ñå õîðà, ñâåòëèíàòà è âúçäóõà. Âúòðåøíîòî ïðîñòðàíñòâî îò îêîëî 5000 êâ. ì å ðàçäåëåíî íà òðè ðàâíè ÷àñòè, âñÿêà îò êîèòî ïîìåùàâà ðàçëè÷åí âåãåòàòèâåí ñâÿò. Ñåâåðíàòà ÷àñò å ñâîáîäíî ïðîñòðàíñòâî ñ íàé-ãîëÿìàòà çåëåíà ïëîù, öåíòðàëíàòà îñíîâíî èçëàãà ñóáòðîïè÷åñêè ðàñòåíèÿ, à þæíàòà ôóíêöèîíèðà êàòî ðàáîòíà ïëîùàäêà, êúäåòî ïîñåòèòåëèòå ìîãàò äà ñå íàó÷àò äà çàñàæäàò ðàñòåíèÿ. Òåçè òðè ïðîñòðàíñòâà ñå ïðå-

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ëèâàò åäíî â äðóãî ÷ðåç ñïèðàëîâèäíà ôîðìà, êîÿòî ãåíåðèðà ïðîäúëæåíèåòî íà èíòåðèîðà â åêñòåðèîðà. Èçöÿëî îçåëåíåíèÿò ïîêðèâ ñëóæè êàòî ìÿñòî çà ðàçõîäêà è îñèãóðÿâà ãëåäêà êúì öåëèÿ îñòðîâ. Òóê ðàçëèêàòà ìåæäó çåìÿ è ïîêðèâ å ïî÷òè íåçàáåëåæèìà. GRIN GRIN ñúçäàâà ðàçíîîáðàçèå îò ìåñòà. Õîðàòà ìîãàò ñâîáîäíî äà èçáåðàò ñâîåòî ìÿñòî çà îòäèõ. Íÿêîé ìîæå äîðè äà êàæå, ÷å òîâà å ïàðê êàòî ñãðàäà èëè ñðàäà êàòî ïàðê.

MIKIMOTO Ginza 2 Ñãðàäà

Òàçè òúðãîâñêà ñãðàäà â ðàéîíà Ãèíçà â Òîêèî å ïðîåêòèðàíà çà "Ìèêèìîòî”, ôèðìà, ïðèäîáèëà ñâåòîâíà ñëàâà ñúñ ñâîèòå ïåðëåíè áèæóòà. Ñãðàäàòà å ïðàâîúãúëíà - 17 ì äúëãà è 14 ì øèðîêà, ñ îñåì åòàæà íàä ïàðòåðíîòî íèâî è ñóòåðåíà. Ïîíèñêèòå åòàæè ñå èçïîëçâàò çà ìàãàçèíè è îôèñè çà "Ìèêèìîòî”, à ïî-ãîðíèòå íèâà ñe äàâàò ïîä íàåì çà îôèñè.

Mikimoto Ginza 2 å îáãðàäåíà ñ ÷åòèðè òúíêè ñòåíè è å ñúçäàäåíà ñòðóêòóðíà ñèñòåìà âúâ

ôîðìà íà òðúáà. Íÿìà íèêàêâè âúòðåøíè êîëîíè è ïëî÷èòå ñà íàïðàâåíè îò äåâåò õîìîãåííè ïëàñòà.  ïðåäèøíè ïðîåêòè ñìå ïðèëàãàëè äîïúëíèòåëíè ñòðóêóðíè è îáëèöîâú÷íè ïëàñòîâå, çà äà ïîä÷åðòàåì ìàñèâíîñòòà, íî â òîçè ïðîåêò ñìå èçïîëçâàëè ñòîìàíåíîáåòîííà ñàíäâè÷-ñòðóêòóðà, â êîÿòî öèìåíòúò ñå èçëèâà ìåæäó äâåòå ñòîìàíåíè ïëîñêîñòè. Ïàíåëèòå ñà ñúñòàâåíè îò ñòîìàíåíè ïëî÷è (6-12 ìì), ïðèêà÷åíè åäíè â äðóãè ÷ðåç øàéáè è ñòðóêòóðíè ïîäñèëâàíèÿ, êîèòî ñà ôàáðè÷íè è ñà ìîíòèðàíè íàìÿñòî. Ñëåä êàòî ñà èçäèãíàòè è ìîíòèðàíè, ñà ñïîåíè è âúòðå å èçëÿò 200 ìì öèìåíò. ×ðåç òàçè ñèñòåìà, êîÿòî òðåòèðà ñòîìàíåíèòå ëèñòîâå êàòî êàëúï, å âúçìîæíî ñúçäàâàíåòî íà èçêëþ÷èòåëíî òúíêà ñòðóêòóðà ñ âèñîêè óñòîé÷èâè ïîêàçàòåëè. Ñúùî òàêà, òúé

êàòî ñòðóêòóðíàòà ñèñòåìà íå å äèðåêöèîííî ïëàíèðàíà, å âúçìîæíî îòâîðèòå äà áúäàò ñâîáîäíî ðàçïîëîæåíè. Îòâîðèòå íà òàçè ñãðàäà ñà ñ ïðîèçâîëíà ôîðìà è ñ ïîëóêðèñòàëíà ãåîìåòðèÿ, ãåíåðèðàíà îò ðàçäåëÿíåòî íà ïëîñêîñòèòå íà ôàñàäàòà ñúñ ñåäåì òðèúãúëíè ôîðìè. ×ðåç èíòåãðèðàíåòî íà ñòðóêòóðàòà è íà îáëèòå ïðîçîðöè (ñÿêàø å õâàíàòà â ìîìåíò íà ðàçïóêâàíå) è ÷ðåç èçïîëçâàíåòî íà ñïåöèàëíî ïîêðèòèå ñãðàäàòà èçëú÷âà ìåêî îñâåòëåíèå ñ ïðåìåðåí èíòåíçèòåò. Äèçàéíúò íå å îñíîâàí íà ïðîñòà ãåîìåòðèÿ, íèòî ñëåäâà ïîäõîäà íà ñòðóêòóðíà åêñïðåñèâíîñò, à èçïîëçâà íàé-íîâèòå ìåòîäè. Íÿìà íóæäà äà ñå ïîä÷åðòàâà, ÷å ïîäîáåí äèçàéí å âúçìîæåí çà ïúðâè ïúò ÷ðåç èçïîëçâàíåòî íà ñòðóêòóðíîàíàëèçèðàùè ïðîãðàìè, ïîçíàòè êàòî “ìåòîä çà

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àíàëèç íà ôèíàëíèòå åëåìåíòè”. Çà äà ñå ðåàëèçèðà ïëúòíà ðàâíà ôàñàäà áåç áåëåçè íà ñâðúçêè - ñïîéêèòå ñà èçðàâíåíè è ñà íàëîæåíè ìíîæåñòâî ïëàñòîâå áîÿ. Ñ ïðåìàõâàíåòî íà ñâðúçêèòå, íàìèðàùè ñå â íåíîñåùèòå ñòåíè âúíøíèÿò, âèä íà ñãðàäàòà äåìîíñòðèðà îñîáåí âèä àáñòðàêòíîñò è ìíîãîïëàñòîâè ïîêðèòèÿ è ïîä÷åðòàâà ñòîìàíåíàòà ñúùíîñò è çäðàâèíà íà ñòðóêòóðàòà. Ïðåä íàñ áåøå ïðåäèçâèêàòåëñòâîòî çà íåùî ìíîãî íîâî, íî òîçè ïðîåêò èçèñêâà è ñëîæíè êîíñòðóêòèâíè òåõíîëîãèè è òÿõíàòà âíèìàòåëíà ïðîâåðêà. Íèå èçðàáîòèõìå ìîäåëè è ìåòîäè çà èçïðîáâàíå íà èçäðúæëèâîñòòà è âúçìîæíîñòòà çà ãðåøêè. Ñãðàäàòà å çàâúðøåíà ïðåç äåêåìâðè 2005 ã. è îòòîãàâà å ïîñåùàâàí àðõèòåêòóðåí îáåêò â òúðãîâñêàòà ÷àñò íà ðàéîíà Ãèíçà.

86 Meiso no Mori - îáùèíñêà ïîãðåáàëíà çàëà

Meiso no Mori å ïðîåêòèðàíà ñ öåëòà äà ñå ðåêîíñòðóèðà ñòàð êðåìàòîðèóì êàòî ÷àñò îò ãðîáèùåí ïàðê. Ãðîáèùåòî å èçãðàäåíî ñêîðî è å ðàçïîëîæåíî â ñóðîâà ñðåäà, ñãóøåíî ìåæäó ãîðèñòè õúëìîâå îò þæíàòà ìó

ñòðàíà è â ñúñåäñòâî ñ ìàëêî åçåðöå íà ñåâåð. Îò äèçàéíà ñå èñêàøå ïðåêðàñíî ïðîñòðàíñòâî, ïîäõîäÿùî çà îòäàâàíå íà ïî÷èò, äîáðå âìåñòåíî â ãðîáèùíèÿ ïàðê. Íàøàòà èäåÿ áåøå äà îòãîâîðèì íå ñ êîíâåíöèîíàëåí ìàñèâåí êðåìàòîðèóì, à ñ àðõèòåêòóðà ñ øèðîê ïîêðèâ, êîéòî ïëóâà íàä ìÿñòîòî êàòî áàâíî äâèæåùè ñå îáëàöè, êîèòî ñúçäàâàò ìåêî ïîëå. Íèå ïîòúðñèõìå òîâà ðåøåíèå â ñâîáîäíî îãúíàòà ñòîìàíîáåòîííà îáâèâêà, êî-

ÿòî äà îáðàçóâà âäëúáâàíèÿ è èçäèãàíèÿ. Ôîðìàòà íà ïîêðèâà å îïðåäåëåíà îò àëãîðèòúì, ïðåäëàãàù íàé-äîáðèòå ñòðóêòóðíè ðåøåíèÿ. Òîçè òèï ñòðóêòóðåí àíàëèç íàïîìíÿ íà÷èíà, ïî êîéòî ðàñòåíèÿòà ñå ðàçâèâàò ïî ïðàâèëàòà â ïðèðîäàòà - ò. íàð. åâîëþöèÿ. Íÿêîëêî õèëÿäè åâîëþöèîííè êðúãà ïîñòèãàò êðàéíàòà ôîðìà. Èçâèòèòå ëèíèè ñå ïðåâðúùàò â îêîëíà ñðåäà â õàðìîíèÿ ñúñ ñèëóåòèòå íà çàîáèêàëÿùèòå ïëàíèíè. Ñúçäàäîõìå ÷å-

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òèðè ñòðóêòóðíè îáâèâêè è äâàíàäåñåò êîëîíè ñ âãðàäåíè óëóöè çà îòòè÷àíå íà ñúáðàíàòà âîäà. Öåðåìîíèàëíèòå çàëè ñà ðàçïîëîæåíè ìåæäó ÷åòèðèòå îáâèâêè è êîëîíèòå. Ïëàâíàòà ëèíèÿ íà ïîêðèâà èãðàå ñâîÿòà ðîëÿ è â èíòåðèîðà. Ìåêà ñâåòëèíà îñâåòÿâà èçâèòèÿ òàâàí è ñå ðàçïðúñêâà âúâ âñè÷êè ïîñîêè. Ïîãðåáàëíèòå öåðåìîíèè ùå ñå ïðîâåæäàò â åäíî òèõî ïðîñòðàíñòâî ñ åêñïðåñèâíè íþàíñè íà ñâåòëèíàòà.

Áîëíèöà Cognacq-Jay â Ïàðèæ

Òîçè ïðîåêò ñå ñúñòîè â ðåêîíñòðóêöèÿòà íà Cognacq-Jay, ÷àñòíà áîëíèöà ñ íàä 100-ãîäèøíà èñòîðèÿ. Ìÿñòîòî ñå íàìèðà â 15-è êâàðòàë íà Ïàðèæ, â áëèçîñò äî Àéôåëîâàòà êóëà. Ñãðàäèòå íà ñòàðàòà Cognacq-Jay, êàêòî íà ìíîãî îò áîëíèöèòå â ðàéîíà, ñà ñå èçäèãàëè íåçàâèñèìî îò çàîáèêàëÿùèòå ãè æèëèùíè áëîêîâå. Cognacq-Jay ñå ñúñòîè îò îñíîâåí êîðïóñ ñ Ò-

îáðàçíà ôîðìà è ãðóïà ïî-ìàëêè ñãðàäè è ðàçïðúñíàòè ïàðêîâè ïëîùè. Ìåæäóíàðîäíèÿò êîíêóðñ çà ïðîåêò íà Cognacq-Jay å îðãàíèçèðàí ïðåç 1999 ã. ñúñ 70 ó÷àñòíèöè. Çàäàíèÿòà ñà: óâåëè÷àâàíå íà ëåãëàòà îò 72 íà 168, ïàðêîìåñòà çà 128 êîëè, íîâè ñúîðúæåíèÿ çà ðåõàáèëèòàöèÿ è ÷àñò çà äåöà ñ óâðåæäàíèÿ. Ïîäîáðÿâàíåòî íà êà÷åñòâîòî íà ìåäèöèíñêèòå óñëóãè å êëþ÷îâî çà ðåêîíñòðóêöèÿòà, ïî-ñïåöèàëíî ïîäîáðåíèÿ â ñïàëíàòà ñåêöèÿ. Çà äà ñå ïðåäîòâðàòè ïðåêîìåð-

íîòî ðàçøèðÿâàíå íà îáåìà, ñà çàäàäåíè ñòðîãè ïàðàìåòðè çà ãîëåìèíàòà íà âñÿêà ñòàÿ. Çà ïðîåêòà íèå ïîñòàâèõìå âúíøíèòå ôàñàäè ïàðàëåëíî íà óëèöèòå íà ñåâåð è þã è ïîñëå ðàçïîëîæèõìå òðèòå îñíîâíè êîðïóñà âúâ âúòðåøíîñòòà, îáðàçóâàéêè ãîëåìè äâîðîâå ìåæäó ñãðàäèòå. Ïðîäúëãîâàòèòå áëîêîâå ñ ëèöå êúì óëèöèòå ïîìåùàâàò ñòàè ñ èçãëåä êúì óëèöàòà è ãðàäèíàòà ñ êîðèäîðè ïîìåæäó èì. Óâåëè÷àâàíåòî íà ïðîñòðàíñòâàòà ñ èçãëåä êúì äâîðà äàäå âúçìîæíîñò ïîâå÷åòî îò ñòàèòå

äà áúäàò ñ åñòåñòâåíî îñâåòëÿâàíå. Óåäèíÿâàíåòî â ñãðàäàòà, âêëþ÷èòåëíî è â ãðàäèíàòà, å ïîñòèãíàòî ñ èçîëàöèÿòà íà ñãðàäèòå îò óëèöèòå. Ïîâå÷åòî îò îáñëóæâàùèòå ôóíêöèè ñà íà ïúðâîòî ïîäçåìíî íèâî, êîåòî ïðàâè âðúçêàòà ìåæäó ñåâåðíèÿ è þæíèÿ áëîê. Ôîðìàòà íà ãðàäèíàòà îòâàðÿ ñãðàäèòå è ïîçâîëÿâà äîáðî îñâåòëåíèå è âåíòèëàöèÿ è íà íàé-íèñêèòå íèâà. Ñìÿòàìå, ÷å òîâà ñà îñíîâíèòå õàðàêòåðèñòèêè, êîèòî ñà êëþ÷îâè â îðãàíèçèðàíåòî íà áîëíèöàòà ïî ôóíêöèîíàëåí íà÷èí.

Òåàòðàëåí êîìïëåêñ â Ñóãèíàìè

 íà÷àëîòî íà 2005 ã. ñïå÷åëèõìå êîíêóðñà çà òåàòðàëåí êîìïëåêñ â Ñóãèíàìè, Òîêèî, ïðîåêò, êîéòî îñíîâíî ñå ñúñòîåøå â íÿêîëêî ìàëêè òåàòúðà è ãðàäñêà çàëà.  óíèñîí ñ îêîëíàòà ñðåäà ïîãîëÿìàòà ÷àñò îò ñúîðúæåíèÿòà

ñà ðàçïîëîæåíè íà ïîäçåìíîòî íèâî. Íà ïàðòåðíèÿ åòàæ èìà ìàëêè òåàòðè ñúñ ñòîìàíåíà îáâèâêà çà 240-300 äóøè. Çàëàòà íà ïàðòåðíîòî íèâî å 9 íà 9 ìåòðà è 9 ìåòðà âèñîêà äî “ìîñò”, êúäåòî ñå ïîñòàâÿò ðàçëè÷íè ïðåäñòàâëåíèÿ. Èçâèòàòà ïîâúðõíîñò íà ïîêðèâà, ïîñòèãíàòà ÷ðåç íàðÿçâàíå è îáåäèíÿâàíå íà ðåäèöà öèëèíäðè è êîíóñè, å íàïðàâåíà

îò êîìáèíàöèÿ íà ñòîìàíà è öèìåíò. 300 êðúãëè ïðîçîðåöà, âñåêè îò êîèòî ñ äèàìåòúð 300 ìì, ñà ðàçïîëîæåíè â òàçè ïîâúðõíîñò ïðîèçâîëíî. “Çàòâîðåíèÿò òåàòúð” å óìèøëåíî ïðîåêòèðàí òàêà, ÷å äà ñå èçáåãíàò íåæåëàíè øóìîâå îòâúí. Ïî âðåìå íà êîíêóðñà çàïî÷íàõìå äà ïðîâåæäàìå ìåñå÷íè ñðåùè ñúñ ñúâåòíèöè êàòî ïðîäóöåíòè, ðåæèñüîðè è òåõíè÷åñ-

êè åêñïåðòè, ñïåöèàëèçèðàíè â èãðàëíîòî èçêóñòâî, îñâåí òîâà è ñúñ ñöåíè÷íè äåêîðàòîðè, çà äà ñå îáñúäÿò îñíîâíèòå õàðàêòåðèñòèêè íà òåàòúðà. Óñïîðåäíî ñ òîâà ñå ñðåùàõìå ñ ìåñòíèòå æèòåëè è ïî òîçè íà÷èí íàøèÿò ïðîåêò áåøå çàâúðøåí. Ñãðàäàòà å â ïðîöåñ íà ñòðîèòåëñòâî è ùå áúäå çàâúðøåíà ïðåç íîåìâðè 2008 ã.

87 Ïðîåêò çà ðàçøèðÿâàíå íà Òúðãîâñêèÿ èçëîæáåí öåíòúð â Áàðñåëîíà Gran Via Venue Òîðåñ Ïîðòà Ôèðà Ïðîåêòúò å ñâúðçàí ñ ðàçøèðåíèåòî íà òúðãîâñêèÿ èçëîæáåí êîìïëåêñ Gran Via Venue â Áàðñåëîíà. Òîé å ñïå÷åëèë ïúðâîòî ìÿñòî â ìåæäóíàðîäåí êîíêóðñ ïðåç 2002 ã. Ñïîðåä Îáùèÿ ãðàäñêè ïëàí Òúðãîâñêèÿò èçëîæáåí öåíòúð â Áàðñåëîíà ñå íàìèðà â ïîäíîæèåòî íà çàïàäíàòà ñòðàíà íà õúëìà Ìîíòäæóèê â ðàéîí Ïåäîðàñà, íà ãðàíèöàòà ìåæäó Áàðñåëîíà è ãðàä÷åòàòà Õîñïèòàëå. Ðàçïîëîæåí å ìåæäó ëåòèùåòî è ãðàäà, íà ãðàíèöàòà íà æèëèùåí ðàéîí è ìåñòíîñò ñúñ ñêëàäîâå. Ñ íîâèÿ ïëàí íà ãðàä Õîñïèòàëå, ëåòèùåòî, ïðèñòàíèùåòî è äâåòå ïîäçåìíè ëèíèè íà ìåòðîòî, êîèòî ñå èçãðàæäàò ñåãà, ðàéîíúò å ñ ìíîãî âèñîê ïîòåíöèàë çà ïðèäâèæâàíå è òðàíñïîðò. Îñâåí äâåòå ñúùåñòâóâàùè ñãðàäè íà Ìîíòäæóèê - 2 â Òúðãîâñêèÿ èçëîæáåí êîìïëåêñ ñà â ïðîöåñ íà èçãðàæäàíå äâå íîâè çàëè. Ïðîåêòúò çà ðàçøèðÿâàíå íà äâåòå ñëåäâàùè èçëîæáåíè çàëè âêëþ÷âà Ïàâèëèîí 0 & Ïàâèëèîí 5, âõîä îò ñòðàíàòà íà Õîñïèòàëå, àóäèòîðèóì, àäìèíèñòðàòèâíè ñãðàäè è îñíîâíà îñ, êîÿòî ñâúðçâà ñúîðúæåíèÿòà íà êîìïëåêñà è îêîëíîñòèòå.  äîáàâêà íà ðàçøèðåíèÿ ïðîåêò ñìå ïðîåêòèðàëè ìíîãîôóíêöèîíàëåí êîìïëåêñ, ñúäúðæàù õîòåë, îôèñ ñãðàäà è êîìåðñèàëíè ñúîðúæåíèÿ íà äîëåïåíàòà ñòðàíà. Ïðîåêòèòå, êîèòî ñà â ïðîöåñ íà èçãðàæäàíå, ñà ñëåäíèòå: Ïàâèëèèîí 5 å êâàäðàòíà äâó-

åòàæí ñãðàäà. Ïàðòåðíîòî íèâî å ïðîåêòèðàíî êàòî êîíâåíöèîíàëíà çàëà, êîÿòî ëåñíî ìîæå äà áúäå ðàçäåëåíà ñ ïîäâèæíè ñòåíè, à ãîðíîòî íèâî å èçëîæáåíà çàëà ñ òåõíè÷ñêè ñúîðúæíèÿ. Öåíòðàëíàòà îñ å ãîëÿì ïåøåõîäåí ìàðøðóò, êîéòî ñâúðçâà âñè÷êè ñúîðúæíèÿ íà òúðãîâñêàòà èçëîæáåíà ÷àñò. Èìàéêè ïðåäâèä êîìïëåêñíàòà ñèòóàöèÿ - ñúùåñòâóâàùèòå ñãðàäè è òåçè, êîèòî ñå ñòðîÿò, íîâîïðîåêòèðàíèòå çäàíèÿ è óñëîâèÿòà çà ïðåìîñòâàíå íà ïúòÿ, Ïàâèëèèîí 5 å çàîáèêîëåí ñ ïúòåêà, êîÿòî ñúçäàâà äèíàìè÷åí ïîòîê îò õîðà, êîèòî ïðîíèêâàò â ñúîðúæåíèÿòà. Ñãðàäàòà ïðèòåæàâà ðàçëè÷åí õàðàêòåð â ðàçëè÷íèòå ñè ÷àñòè. Ïàâèëèîí 0 å èçëîæáåíî ïðîñòðàíñòâî ñ òðàïåöîâèäåí ïëàí. Çà äà ñå íàïðàâè ñãðàäàòà âúçìîæíî íàé-ïðîñòî, ïîä÷åðòàõìå ïðîäúëæèòåëíîñòòà íà èçëîæáåíèòå ïðîñòðàíñòâà åäíîâðåìåííî ñ âõîä è äîëåïåíèÿ ïåéçàæ ÷ðåç èçïîëçâàíåòî íà îðãàíè÷íà ñòåíà íà ôàñàäàòà ïîêðàé óëèöàòà, íàìèðàùà ñå íà çàïàäíàòà ñòðàíà íà Ïàâèëèîí 0. Âõîäúò å ðàçïîëîæí ïî ïðîäúëæåíèåòî íà íîâèòå êîíñòðóêöèè â Õîñïèòàëå, à ôóíêöèèòå íà ãëàâåí âõîä íà ðåíîâèðàíèÿ Ìîíòäæóèê 2. Ñ îðãàíè÷åí ïëàí íà æåñòèêóëèðàùà ðúêà òàçè ñðàäà èìà òðè åòàæà (âêëþ÷èòåëíî è ìàçå). Íà ïàðòåðíèÿ åòàæ å ãëàâíèÿò âõîä çà ïîñåòèòåëè, à ïî-ãîðíèòå íèâà ñà çàåòè

îò ðåöåïöèÿ, VIP çîíà, ðåñòîðàíò. Íàìåðåíèåòî íè áå äà ñúçäàäåì óñëîâèÿ äâèæåíèåòî íà õîðà äà áúäå âúçìîæíî íàéïëàâíî. Íà ïîäçåìíîòî íèâî èìà ðàáîòíè ïðîñòðàíñòâà çà îðãàíèçàòîðèòå íà èçëîæåíèÿ (êàòî öåíòúð çà îáñëóæâàíå íà êëèåíòè è ïðåñà), êàêòî è ëîáè-ïîäõîä êúì ìåòðîñòàíöèÿòà, êîÿòî ñå ñòðîè íà þæíàòà ñòðàíà. Ïîä÷åðòàíî õîðèçîíòàëíà, ñãðàäàòà ñå èçïðàâÿ ëèöå â ëèöå ñ äâå îò êóëèòå íà êîìïëåêñà Torres Fira è èìà ôàñàäà, êîÿòî êîìáèíèðà èçâèòî ñòúêëî è ñòðóêòóðíè ñòåíè, êîèòî ïðåäñòàâÿò ïëîùàäà. Îêîëíàòà ñðåäà å ïðîñòðàíñòâîòî ìåæäó ãðàíèöàòà íà èçëîæáåíèÿ êîìïëåêñ è çàîáèêîëíèÿ ïúò. ×ðåç ïðîäúëæèòåëíèòå ðåäèöè îò ïåéêè è ôîíòàíè ñúñ ñåìïëè è îðãàíè÷íè ôîðìè ïîñòàâèõìå ÷îâåøêèÿ ìàùàá â ãðàäñêàòà ñðåäà íà òúðãîâñêèÿ èçëîæáåí êîìïëåêñ. Ïúðâèòå îò âèñîêèòå ñãðàäèòå â àìáèöèîçíàòà ãðàäñêà ñðåäà îêîëî íîâèÿ ïëîùàä "Åâðîïà" â Õîñïèòàëå ñà äâåòå 110 ì êóëè íà Torres Porta Fira, êîèòî ñå íàìèðàò ìåæäó ëåòèùåòî è ãðàäñêèÿ öåíòúð. Ïåéçàæúò, òúðãîâñêèÿò èçëîæáåí öåíòúð, õîòåë è êóëà ñ îôèñè ñâúðçâàò Ìîíòäæóèê 2 ñ íîâàòà ÷àñò íà Áàðñåëîíà. Õîòåëúò ñ íàâèòà ôîðìà è ÷åðâåí öâÿò ñå ðàçøèðÿâà â ãîðíàòà ÷àñò, çàïúëíåíà îò îôèñè, ñòðîãî îðòîãîíàëíî ïðîçðà÷íî ÷åðâåíèêàâî ïðîñòðàíñòâî. Áàçèðàí íà íÿêîëêî ïðîñòè ãåîìåòðè÷íè ïðàâèëà (ïëàíúò ñå çàâúðòà ñ äâèæåíèåòî íàãîðå è

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äâå òðåòè îò âèñî÷èíàòà íà ñãðàäàòà å ëåêî íàñòðàíè), õîòåëúò èçãëåæäà â äâèæåíèå è ñòðàííî ÷óïëèâ, ïî-íàòàòúê òîçè åôåêò îò çàáîäåíèòå àëóìèíèåâè òðúáè.  äîáàâêà êúì åôåêòèòå íà äåöåíòðèðàíå, êóëàòà ñå ðàçøèðÿâà â ïîñëåäíàòà ñè åäíà òðåòà. Òåçè ìåêè ïðåìèíàâàíèÿ ñà ïî÷óâñòâàíè â èíòåðèîðà, òúé êàòî ñúçäàâàò ïðîäúëæèòåëíî ðàçíîîáðàçèå îò ñòàè (íÿìà äâå åäíàêâè ñòàè). Ïîäîáíî íà õîòåëà, îáâèâêàòà íà îôèñ ñãðàäàòà ñúùî ñå âúðòè è ñå ïðîìåíÿ, èçäèãàéêè ñå. Òàçè íàðÿçàíà îáâèâêà ñòàâà åäèíñòâåíàòà àðòèêóëàöèÿ îò èíà÷å ïðîñòàòà ôàñàäà. Íà ïðèçåìíîòî íèâî ëîáè ïðîñòðàíñòâîòî íà õîòåëà è òúðãîâñêàòà ïëîù ïîä îôèñ êóëàòà ñà ñâúðçàíè ñ îãðîìíà çàëà çà áàíêåòè. Ïîêðèâúò íà ïîäèóìà å êàòî ïàðê, êîéòî âèçóàëíî ñâúðçâà Ñðåäèçåìíî ìîðå, ïëàíèíèòå è õúëìà Ìîíäæóèê. Åêñïàíçèÿòà íà ïðîåêòà èìà çà öåë äà îñèãóðè ñöåíàòà çà Fira de Barcelona äà áúäå íå ñàìî ìåñòåí èçëîæáåí êîìïëåêñ, íî è äà èãðàå êëþ÷îâà ðîëÿ íà ìåæäóíàðîäíÿ ïàçàð â Åâðîïà. Îñâåí òîâà, çàåäíî ñ ðàçâèòèåòî íà ãðàäà Õîñïèòàëå è îñòà Gran Via, òàçè ÷àñò å ðàçïîëîæåíà â ðàçøèðåíèÿ ãðàäñêè ïëàí êàòî íîâà çàáåëåæèòåëíîñò çà ãðàäñêàòà ñðåäà â Áàðñåëîíà. Î÷àêâà ñå, ÷å òîçè òúðãîâñêè öåíòúð ùå ïîäñèëè è ãåíåðèðà ðàçëè÷íè äåéíîñòè è êîìóíèêàöèÿ ìåæäó õîðà, îáåêòè, èíôîðìàöèÿ è ãðàäà.

Íîâà áèáëèîòåêà íà óíèâåðñèòåòà çà èçêóñòâà Òàìà Òîâà å áèáëèîòåêà çà óíèâåðñèòåò çà èçêóñòâà, ðàçïîëîæåí â ïîêðàéíèíèòå íà Òîêèî. Ìèíàâàéêè ïðåç ãëàâíèÿ âõîä - ìÿñòîòî å ðàçïîëîæåíî çàä ãðàäèíà ñ ìàëêè è ãîëåìè äúðâåòà è ñå ðàçâèâà ñ ëåê íàêëîí. Íÿêîãà íà ìÿ-

ñòîòî åäíî êàôåíå å áèëî èçïîëçâàíî åäíîâðåìåííî îò ó÷åíèöè è ðàáîòåùè âúâ âñ÷è÷êè äèñöèïëèíè, òàêà îñíîâíàòà äâèæåùà ñèëà â íàøèÿ äèçàéí áåøå âúïðîñúò êàê äà íàïðàâèì áèáëèîòåêàòà îòâîðåíà è çà âñè÷êè

88 åäíîâðåìåííî. Ïúðâîíà÷àëíàòà èäåÿ áåøå çà øèðîêà îòâîðåíà ãàëåðèÿ íà ïàðòåðíîòî íèâî, êîÿòî áè ñëóæèëà êàòî ïðîõîä çà õîðàòà, ïðåìèíàâàùè ïðåç êàìïóñà äîðè áåç íàìåðåíèå äà ïîñåòÿò áèáëèîòåêàòà. Çà äà ïîçâîëèì ïîòîêúò íà õîðàòà è ãëåäêè ñâîáîäíî äà ïðîíèêâà â ñãðàäàòà, çàïî÷íàõìå äà ìèñëèì çà ñòðóêòóðà ñ ïðîèçâîëíî ðàçïîëîæåíè àðêè, êîèòî äà

ñúçäàâàò ÷óâñòâîòî íà ñïóñêàù ñå åòàæ è ïåéçàæúò îò ãðàäèíàòà äà ïðîäúëæàâà ñãðàäàòà. Õàðàêòåðíèòå àðêè ñà íàïðàâåíè îò ñòîìàíîáåòîí.  ïëàíà òåçè àðêè ñà ðàçïîëîæåíè ïîêðàé çàîáëåíè ëèíèè, êîèòî ïðåìèíàâàò ïðåç íÿêîëêî òî÷êè. Ñ òåçè ïðåñè÷àíèÿ èìàõìå âúçìîæíîñòòà äà îñòàâèì àðêèòå íåæíè è âúïðåêè òîâà äà ïîääúðæàò òåæåñòòà íà ãîðíèòå åòàæè. Ðàçñòîÿíèÿòà ìåæäó àðêèòå âàðèðà

ìåæäó 1.8 è 16 ìåòðà, íî øèðî÷èíàòà å çàïàçåíà íàâñÿêúäå îò 200 ìì. Ñåãà íà ïàðòåðíîòî íèâî ãîëÿìà ñòúêëåíà ìàñà, íàïîìíÿùà íà áàð, äàâà âúçìîæíîñò çà îòäèõ è ÷åòåíå íà ñïèñàíèÿ, äîêàòî õîðàòà ÷àêàò àâòîáóñ. Ïðåñè÷àíåòî íà àðêèòå ïîìàãà çà ðàãðàíè÷àâàíåòî íà çîíè. Ïîëèöè è áþðà ñ ðàçëè÷íè ôîðìè, ñòúêëåíè ðàçãðàíè÷èòåëè, êîèòî ñëóæàò è çà òàáëà, äàâàò

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íà òåçè çîíè åäíîâðåìåííî ÷óâñòâî çà èíäèâèäóàëåí õàðàêòåð è âèçóàëíî ðàçãðàíè÷åíèå åäíîâðåìåííî ñ ïðîñòðàíñòâåíî ïðîäúëæåíèå. Íîâàòà áèáëèîòåêà å ìÿñòî, â êîåòî âñåêè ìîæå äà îòêðèå ñâîÿ ñòèë çà “êîìóíèêàöèÿ” ñ êíèãèòå è ôèëìèòå, êàòî ïðåìèíàâà ïðåç åäíà ãîðà èëè ïåùåðà îò àðêàäè, êîÿòî ñúçäàâà óñåùàíå çà êðåàòèâíîñò è ñå ðàçïðúñêâà â öåëèÿ êàìïóñ íà óíèâåðñèòåòà çà èçêóñòâà.

Ïàðê âúâ Vallecas

Òîâà å íîâ âèä ïàðê â áëèçîñò äî íîâ ðàéîí â Ìàäðèä Vallecas. Îñíîâíîòî èçèñêâàíå êúì ïàðêà å äà èçïîëçâà ïðèðîäíè ðåñóðñè çà ïðå÷èñòâàíå íà âîäàòà îò ìåñòíàòà êàíàëèçàöèÿ. Êëþ÷îâî â äèçàéíà å ñúçäàâàíåòî íà îáùåñòâåíî ïðîñòðàíñòâî, êîåòî ìîæå äà áúäå íàðå÷åíî “èíôðàñòðóêòó-

ðåí ïåéçàæ”. Èíôðàñòðóêòóðàòà ùå èçïîëçâà çàãóáèòå è ðåöèêëèðàíåòî íà åíåðãèÿ, èçïîëçâàéêè ïðèðîäíè ñðåäñòâà ïðè òðåòèðàíåòî íà âîäà, çà äà ïîääúðæà ãîðñêèÿ ìàñèâ ñ íèñúê åíåðãèåí ðàçõîä. Íàøàòà êîíöåïöèÿ å “âîäíè äúðâåòà”, òÿ îïðåäåëÿ ãåîìåòðèÿòà íà âîäíàòà ñèñòåìà. Èìà äâà âèäà âîäíè äúðâåòà - åäèíèÿò âèä ñëåäâà ñòðóêòóðàòà íà äúðâî â ïëàí, à äðóãèÿò - íà äúðâî â ðàçðåç. Ïúðâèÿò òèï îïðåäåëÿ ïîòîêà íà âîäà ïî íàáðàçäÿâàíèÿòà, âòîðèÿò - ïî õúëìîâåòå. Òåçè äâà ïîòîêà îò

âîäà ñà ñâúðçàíè ÷ðåç íàêëîíèòå, ïîêðàé êîèòî åíåðãèÿòà íà ñëúíöåòî, ðàñòåíèÿòà è ïî÷âèòå å èçïîëçâàíà çà ïðå÷èñòâàíå íà âîäàòà ÷ðåç ðåäèöà ïðîöåñè êàòî ñòåðèëèçèðàíå, ñåäèìåíòàöèÿ è ôèëòðèðàíå. Èçïîëçâàíàòà âîäà â ïàðêà ùå ñëóæè íå ñàìî äà ãî íàïîÿâà è äà îáåçïå÷àâà ïîòðåáëåíèåòî íà êúùèòå íàîêîëî, íî è äà âúçñòàíîâè ïîòîêà íà Gavia River, êîÿòî ïðåäè å òåêëà â ðàéîíà. Ïåéçàæúò, îáðàçóâàí îò ðåäèöà âîäíè ñúîðúæåíèÿ è ïðîöåñè, âêëþ÷âà ðàçëè÷íè âèäîâå ðåëåôíè ôîðìè è ïîääúðæà ðàç-

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íîîáðàçèå îò áèîòîïè. Òî÷íî êàêòî ïðåç ÕÕ âåê Ëüî Êîðáóçèå ïðåäëàãà èçãðàæäàíåòî íà “æèëèùíè äúðâåòà”, çà äà ïðåâúðíå Ïàðèæ â îçåëåíåí ãðàä, íèå ïðåäëàãàìå çàñàæäàíåòî íà “âîäíè äúðâåòà”, çà äà ïðåâúðíåì Gavia Park â ìÿñòî, ïúëíî ñúñ çåëåíèíà ïðåç XXI âåê. Òîçè ïðîåêò èìà ñïåöèàëíî çíà÷åíèå êàòî ïúðâà ñòúïêà îò ïðîåêòà ECOVALLE, êîéòî ñå ñòðåìè êúì èçãðàæäàíåòî íà ñàìîñòîÿòåëíè ãðàäñêè ñðåäè, êîèòî ïîäñèãóðÿâàò ðàçíîîáðàçèå è âèñîê ñòàíäàðò íà æèâîò, ïîääúðæàí îò Åâðîïåéñêèÿ ñúþç.

Ñòîëè÷íà îïåðà Òàé÷óíã

Òîçè ïðîåê çà îïåðàòà Òàé÷óíã å èçáðàí ÷ðåç ìåæäóíàðîäåí êîíêóðñ, ïðîâåäåí ïðåç 2005 ã., è ñå äâèæè îò ïîñëåäíèÿ ñòàäèé íà ïðîåêòèðàíå êúì ðåàëèçàöèÿ. Ìÿñòîòî ùå ñå ïðåâúðíå â ñúðöåòî íà Òàé÷óíã, âêëþ÷âàù ñúîðúæåíèÿ îò òðè òåàòðàëíè ïðîñòðàíñòâà: “Grand Theater” ñ 2009 ìåñòà, “Playhouse” ñ 800 ìåñòà è “Black Box” ñ 200 ìåñòà,

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ôîðìèðàùè, ìåæäóíàðîäåí öåíòúð çà èçêóñòâà è “Art Plaza” òúðãîâñêè öåíòúð ñ ðåñòîðàíòè è êàôåíåòà è ïàðêîâî ïðîñòðàíñòâî. Çà äà èçïúëíèì èçèñêâàíèÿòà çà òîçè ïðîåêò, ïðåäëîæèõìå ñèñòåìà, íàðå÷åíà “âúçõîäÿùà ìðåæà”, èëè "ãåíåðèðàùà ìðåæà", îðãàíèçèðàíà â åäíî öÿëî, ôîðìèðàíà îò ñúñòàâíè ÷àñòè. Òîâà å òîïèëîãè÷íà ìðåæîâà

ñèñòåìà, â êîÿòî äâóèçìåðíèòå ïëàíîâå ñà ðàçâèòè ñïðÿìî ôóíêöèîíàëíèòå ïðîãðàìè íà åòàæèòå, ïðîäúëæåíè â òðèèçìåðíè çàîáëåíè ïîâúðõíîñòè. ×ðåç òàçè ñèñòåìà âúòðåøíèòå ïðîñòðàíñòâà, âêëþ÷âàùè òðèòå çàëè, ñúçäàâàò êîíòèíóàöèÿòà íà ïåùåðà è ñòèìóëèðàò âðúçêàòà ìåæäó ïîñåòèòåë è àðòèñò. Øàáëîíúò îò âúòðåøíèÿ ïëàí èçëèçà íàâúí è ìðåæàòà îò âîä-

íè ïåòíà è çåëåíèíà íàïîäîáÿâà ñãðàäàòà, òàêà ñå îñúùåñòâÿâà âðúçêà ìåæäó èíòåðèîð è åêñòåðèîð.  ìîìåíòà íèå ïðåìèíàâàìå ïðåç ðàçëè÷íè ôàçè íà ïîäðîáåí äèçàéí. Ìàêåòè ñ òðè ðàçëè÷íè ðàçìåðà íà òåàòúðà, ñòðóêòóðíà ðàçðàáîòêà è ìîäåë çà àêóñòèêàòà ñà íàïðàâåíè ñ öåë àíàëèçèðàíå íà ìíîãîòî àñïåêòè è äåòàéëè â ïðîåêòà.

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NEWS

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ÌÅÆÄÓÍÀÐÎÄÍÀÒÀ ÀÊÀÄÅÌÈß ÏÎ ÀÐÕÈÒÅÊÒÓÐÀ ÊÀÌÀÐÀÒÀ ÍÀ ÀÐÕÈÒÅÊÒÈÅ Â ÁÚËÃÀÐÈß ÓÍÈÂÅÐÑÈÒÅÒÀ ÏÎ ÀÐÕÈÒÅÊÒÓÐÀ, ÑÒÐÎÈÒÅËÑÒÂÎ È ÃÅÎÄÅÇÈß, ÑÎÔÈß ÎÐÃÀÍÈÇÈÐÀÒ

XII- ÒÎÒÎ ÑÂÅÒÎÂÍÎ ÒÐÈÅÍÀËÅ ÇÀ ÀÐÕÈÒÅÊÒÓÐÀINTERARCH ‘ 2009

INTERNATIONAL ACADEMY OF ARCHITECTURE UNION OF ARCHITECTS IN BULGARIA UNIVERSITY OF ARCHITECTURE, CIVIL ENGINEERING AND GEODESY, SOFIA ORGANIZE

XII- TH WORLD TRIENNIAL OF ARCHITECTURE I-st II-nd III-rd IV-th V-th VI-th VII-th VIII-th IX-th X-th jubilee XI-th XII-th

Interarch`81 Interarch`83 Interarch`85 Interarch`87 Interarch`89 Interarch`91 Interarch`94 Interarch`97 Interarch`2000

June June June September June July June June May

03-12,1981 06-12,1983 03-09,1985 21-27,1987 20-26,1989 02-06,1991 20-25,1994 23-27,1997 22-26,2000

Interarch`2003 Interarch`2006 INTERARCH`2009

May May May

19-23,2003 14-17,2006 17-20, 2009

Çà ïîâå÷å èíôîðìàöèÿ ìîæåòå äà ñå ñâúðæåòå ñ ñåêðåòàðèàòà íà “INTERARCH `2009” For more information, please, don’t hesitateto contact the "INTERARCH `2009" SECRETARIAT: Milka Kosturkova- IAA Director, Secretary General of “Interarch”.

35 Oborishte str.

1504 Sofia,Bulgaria, tel.: +359 2 9434950 fax: +359 2 9434959 GSM 0898255302 E-mail: iaarch@yahoo.com Lilo Popov -Deputy President of UAB. 11Krakra str.,1504 Sofia,Bulgaria. tel.: +359 2 9438321 fax: +359 2 9438349 E-mail: sab@ bgnet.bg Patar Penev - Deputy Rector of UASG. 1 Chr. Smirnenski str.

1402 Sofia, Bulgaria, fax:+359 2 8656863 GSM 0882529597

All accommodations, transport and other expenses will be borne by the participants.

The detailed program as well as the entry forms will be distributed in the month of September 2008. Deadline for registration 28 February 2009. Íàñòàíÿâàíå, òðàíñïîðò è äð. ðàçõîäè ñà çà ñìåòêà íà ó÷àñòíèöèòå. Ïîäðîáíà ïðîãðàìà, êàêòî è ôîðìóëÿðèòå çà ó÷àñòèå ùå áúäàò ðàçïðîñòðàíåíè ïðåç Ñåïòåìâðè 2008ã. Êðàåí ñðîê çà ðåãèñòðàöèÿ 28 Ôåâðóàðè 2009.

3 PARTICIPATION FEE till 15.03.2009 - 100 EURO after 15.03.2009 - 120 EURO For students: till 15.03.2009 - 50 EUR after 15.03.2009 - 60 EUR

ÒÀÊÑÈ ÇÀ Ó×ÀÑÒÈÅ äî 15.03.2009 - 100 EURO ñëåä 15.03.2009 - 120 EURO Çà ñòóäåíòè äî 15.03.2009 - 50 EUR ñëåä 15.03.2009 - 60 EUR

Working language: English

Îñíîâåí åçèê íà ðàáîòà: English

The most important architectural event in 2009 for the world architectural society. Open international forum with professional participation of architects and theoreticians from all over the world, profiling a panorama of the tendencies and achievements of contemporary world architecture.

Participants will discuss the “Architecture of XXI century”, exchange of ideas with leading masters of the world contemporary architecture and will take part in the different sections of "Interarch `2009".

Íàé-âàæíîòî àðõèòåêòóðíî ñúáèòèå â ñâåòà ïðåç 2009 çà àðõèòåêòóðíàòà îáùíîñò. Îòâîðåí èíòåðíàöèîíàëåí ôîðóì ñ ïðîôåñèîíàëíî ó÷àñòèå íà àðõèòåêòè è òåîðåòèöè, èäâàùè îò öåëèÿ ñâÿò ñ ïðîôèë ïàíîðàìà íà òåíäåíöèèòå è ïîñòèæåíèÿòà íà ñâåòîâíàòà ñúâðåìåííà àðõèòåêòóðà. Ó÷àñòíèöèòå ùå îáñúæäàò ”Àðõèòåêòóðàòà íà XXI âåê”, ùå îáìåíÿò èäåè ñ âîäåùèòå ìàéñòîðè íà ñâåòîâíàòà ñúâðåìåííà àðõèòåêòóðà è ùå âçåìàò ó÷àñòèå â ðàçëè÷íè ñåêöèè íà “Interarch `2009”.

01. FORUM “ARCHITECTURE OF XXI CENTURY”.

INVITED SPEAKERS: AHMET VEFIK ALP (TURKEY), JUSTUS DAHINDEN (SWITZERLAND), RICHARD ENGLAND (MALTA), KENNETH FRAMPTON (USA), JORGE GLUSBERG (ARGENTINA), JAN HOOGSTAD (THE NETHERLANDS), ALEXANDER KUDRJAVTZEV (RUSSIA), LOISE NOELLE MERELES (MEXICO), JUHANI PALLASMAA (FINLAND), MARIO PISANI (FRANCE), LILO POPOV (BULGARIA), DENNIS SHARP (UK), BRIAN SPENCER (USA) 02. AUTHORS CONFERENCES BY LEADING MASTERS OF WORLD CONTEMPORARY ARCHITECTURE. INVITED: TEODORO GONZALEZ DE LEON TADAO ANDO, HELMUT JAHN, SANTIAGO CALATRAVA, JEAN MARIE CHARPENTIER, BALKRISHNA DOSHI, YURI GNEDOVSKI, ERICK VAN EGERAAT, MASSIMILIANO FUKSAS, VITTORIO GREGOTTI, NICHOLAS GRIMSHAW, THOMAS HERZOG, STEVEN HOLL, TOYO ITO, KIYONORE KIKUTAKE, REM KOOLHAAS, DANIEL LIBESKIND, RICARDO LEGORRETA, WU LIANGYONG, MOSHE SAFDIE, MANFREDI NICOLETTI, FRANK O.GEHRY, KAS OOSTERHUIS, FABIO PENTEADO, CESAR PELLI, RENZO PIANO, JEAN NOUVEL, PAUL ANDREU, JOHN KAY, KENNETH YEANG, AGUSTIN HERNANDEZ NAVARRO, MARIO BOTTA, RICHARD ROGERS, THOM MAYNE. 03. EXHIBITION-COMPETITION OF ARCHITECTURAL PROJECTS AND BUILT WORKS

01. ÔÎÐÓÌ “ÀÐÕÈÒÅÊÒÓÐÀÒÀ ÍÀ XXI ÂÅÊ”. ÏÎÊÀÍÅÍÈ ÃÎÂÎÐÈÒÅËÈ : AHMET VEFIK ALP (ÒÓÐÖÈß), JUSTUS DAHINDEN (ØÂÅÉÖÀÐÈß), RICHARD ENGLAND (ÌÀËÒÀ), KENNETH FRAMPTON (USA), JORGE GLUSBERG (ÀÐÆÅÍÒÈÍÀ), JAN HOOGSTAD (ÕÎËÀÍÄÈß), ALEXANDER KUDRJAVTZEV (ÐÓÑÈß), LOISE NOELLE MERELES (ÌÅÊÑÈÊÎ), JUHANI PALLASMAA (ÔÈÍËÀÍÄÈß), MARIO PISANI (ÔÐÀÍÖÈß), LILO POPOV (ÁÚËÃÀÐÈß), DENNIS SHARP (ÓÊ), BRIAN SPENCER (USA) 02. ÀÂÒÎÐÑÊÈ ÊÎÍÔÅÐÅÍÖÈÈ ÎÒ ÂÎÄÅÙÈ ÌÀÉÑÒÎÐÈ ÍÀ ÑÂÅÒÎÂÍÀÒÀ ÑÚÂÐÅÌÅÍÍÀ ÀÐÕÈÒÅÊÒÓÐÀ. ÏÎÊÀÍÅÍÈ: TEODORO GONZALEZ DE LEON TADAO ANDO, HELMUT JAHN, SANTIAGO CALATRAVA, JEAN MARIE CHARPENTIER, BALKRISHNA DOSHI, YURI GNEDOVSKI, ERICK VAN EGERAAT, MASSIMILIANO FUKSAS, VITTORIO GREGOTTI, NICHOLAS GRIMSHAW, THOMAS HERZOG, STEVEN HOLL, TOYO ITO, KIYONORE KIKUTAKE, REM KOOLHAAS, DANIEL LIBESKIND, RICARDO LEGORRETA, WU LIANGYONG, MOSHE SAFDIE, MANFREDI NICOLETTI, FRANK O.GEHRY, KAS OOSTERHUIS, FABIO PENTEADO, CESAR PELLI, RENZO PIANO, JEAN NOUVEL, PAUL ANDREU, JOHN KAY, KENNETH YEANG, AGUSTIN HERNANDEZ NAVARRO, MARIO BOTTA, RICHARD ROGERS, THOM MAYNE. 03. ÈÇËÎÆÁÀ - ÊÎÍÊÓÐÑ ÍÀ ÀÐÕÈÒÅÊÒÓÐÍÈ ÏÐÎÅÊÒÈ È ÐÅÀËÈÇÀÖÈÈ

SECTIONS: Architectural Structures of the Future; Innovations and Traditional Architecture; Architectural Identity; Architecture and Ecology; Sustainable Cities.

The participants should submit panels profiling their architectural projects and\or built works with texts, drawings, sketches and color or black & white photos.

International Honorary Awards, as well as Laureate Diplomas will be presented by an International Jury.

ÐÀÇÄÅËÈ: Àðõèòåêòóðíè ñòðóêòóðè îò áúäåùåòî; Èíîâàöèÿ è òðàäèöèÿ; Àðõèòåêòóðà; Àðõèòåêòóðíà èäåíòè÷íîñò; Àðõèòåêòóðà è Åêîëîãèÿ; Óñòîé÷èâè ãðàäîâå Ó÷àñòíèöèòå òðÿáâà äà ïîäàäàò ïðîôèë íà ñâîÿòÿ ðàáîòà è èëè ìàêåòè ñ òåêñò, ðèñóíêè, ãðàôèêè èëè ÷åðíî áåëè ñíèìêè. Ìåæäóíàðîäíè ïî÷åòíè íàãðàäè, êàêòî è ëàóðåàòñêè äèïëîìè ùå áúäàò îòðåäåíè îò ìåæäóíàðîäíî æóðè.

04. EXHIBITION-COMPETITION OF BOOKS AND MAGAZINES ON ARCHITECTURE (PUBLISHED AFTER 2006). AN INTERNATIONAL JURY WILL PRESENT HONORARY AWARDS.

04. Èçëîæáà-êîíêóðñ íà êíèãè è ñïèñàíèÿ çà àðõèòåêòóðà (ïóáëèêóâàíè ñëåä 2006). Èíòåðíàöèîíàëíî æóðè ùå îòñúäè ïî÷åòíè íàãðàäè.

05. EXHIBITION-COMPETITION OF STUDENT’S DIPLOMA PROJECTS FROM LEADING ARCHITECTURAL SCHOOLS. INTERNATIONAL JURY WILL PRESENT HONORARY AWARDS.

05. Èçëîæáà-êîíêóðñ ñòóäåíòñêà äèïëîìíà ðàáîòà îò âîäåùè ó÷åáíè çàâåäåíèÿ çà àðõèòåêòóðà. Èíòåðíàöèîíàëíî æóðè ùå îòñúäè ïî÷åòíè íàãðàäè.

06. EXHIBITION "LEADING MASTERS OF THE WORLD CONTEMPORARY ARCHITECTURE"-IAA MEMBERS.

06. Èçëîæáà ”Âîäåùè ìàéñòîðè â ñâåòîâíàòà ñúâðåìåííà àðõèòåêòóðà” ÷ëåíîâå íà ÌÀÀ

07. ARCHITECTURAL EXHIBITIONS FROM DIFFERENT COUNTRIES.

07. Àðõèòåêòóðíè èçëîæáè îò ðàçëè÷íè äúðæàâè

NEWS

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Daniel Libeskind Fiera Milano – City Life Site Area 3,109,467 sq.ft.

Structure Tower Steel structure with glass curtain wall cladding Residences Concrete structure stone cladding Museum Concrete structure with stone cladding Principal Architect Yama Karim Competition Team Joe Rom, Omar Toro, Terra Krieger, Josh McKeown, Ghiora Aharoni, Michael Heim, Susanne Milne Design Team Attilio Terragni, Agostino Ghirardelli, Chiara Assanelli, Patrick Head, Luca Mangione, Giuseppe Blengini, Amanda Short, Jonathan Fournier, Bora Temelkuran, Maddalena Beretta, Guglielmo De’Giusti, Marta Oddone, Lucia Bazzoli, Emil Muenger, Martina Valcamonica, Valentina Ruta, Anna Del Nero Joint Venture Partner CityEdge SRL Landscape Architect Sophie Agate Ambroise MEP Engineering Alpina SpA TOWER AND MUSEUM MEP and Structural Engineering ARUP Lift Strategy Roger Preston & Partners RESIDENTIAL Structural Engineering AMIS srl MEP Engineering MANENS INTERTECNICA s.r.l.

Client Representative Europrogetti Collaborating Architects Zaha Hadid, Arata Isozaki, Pier Paolo Maggiora

The Fiera Milano project is located in the heart of Milan, spanning 106 acres on the old fairgrounds of this historic city. Daniel Libeskind won the commission for master planner of the site in 2004 and is now working in collaboration with Zaha Hadid, Arata Isozaki and Pier Paolo Maggiora on the project. The scheme of Fiera Milano incorporates residential and office development, retail space and a museum all built around a central park - a much needed lung for the city. SDL will design not only the master plan, but the park, the museum of contemporary art, one of the office towers and the first housing area.

Close to the center of the new grand central park are three iconic commercial high rise buildings. The skyscrapers are personally crafted and conceived to provide a sculpted and highly visible skyline on the site. Each building has an individual expression, yet all three are coupled in a cohesive arrangement in order to create the grand public piazza, now called, “Piazz 3 Torri.” The designs of the skyscrapers go beyond superficial treatments of facades and create a spatial and functional disposition of spaces with extraordinary internal vistas and activities for the users. These iconic skyscrapers have been engineered with state of the art technology and are environmentally sound and sustainable.

Underneath the new piazza there are retail and particular public amenities which help to dissolve the boundary between the public and private commercial realm. This will be located in direct connection with the a station of Line 5, the planned expansion to Milan’s subway system.

This urban planning proposal marks the Fiera grounds as an urban paradigm for new and emerging lifestyles, recreation and wellness. The proposal is unique in that it does not duplicate any other urban plan.

The archipelago arrangements flow into the park containing housing, iconic skyscrapers, cultural and commercial programs. This concept allows for a seamless, practical and economically viable phasing plan which developments of this scale require and can benefit from. By allowing the collaboration of four different architects to flower, the scheme achieves a plurality of expression and heterogeneity of architectural form and public space. This kind of democratic expression of the planning of the city mirrors the rich historical reality of Milan’s history.

Now more than ever, on account of winning the competition as Host City for Expo 2015, the words of Daniel Libeskind during the 2004 competition for City Life have a profound meaning for the City of Milan: “There is a wind flying through the city of Milan bringing with it the message of change. This new century is not about the one, but about the many; it is not about one voice, but multiple voices.”

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Ïðîåêòúò Fiera Milano - City Life

Ïðîåêòúò Fiera Milano - City Life å ðàçïîëîæåí â ñúðöåòî íà Ìèëàíî, ðàçïðîñòèðàéêè ñå íà 106 àêðà îò èñòîðè÷åñêàòà ìåñòíîñò èçïîëçâàíà çà èçëîæåíèÿ. Äàíèåë Ëèáåñêèíä ïå÷åëè êîíêóðñ çà îáù ïëàí íà ðàéîíà ïðåç 2001 è ñåãà ñúòðóäíè÷è ñúñ Çàõà Õàäèä, Àðàòà Èñîçàêè è Ïèåð Ïàîëî Ìàäæîðà â ïðîåêò çà ìåñòíîñòòà. Ïëàíúò íà Fiera Milano âêëþ÷âà æèëèùíè è îôèñ ñãðàäè, òúðãîâñêè ïëîùè è ìóçåé - âñè÷êè ïîñòðîåíè îêîëî ïàðê - èçêëþ÷èòåëíî âàæåí çà áúáðåöèòå íà ãðàäà. SDL ùå ïðîåêòèðà í ñàìî îáùèÿò ãðàäîóñòðîéñòâåí ïëàí çà òàçè ÷àñò, íî ñúùî òàêà ïàðêà, ìóçåÿ çà ñúâðåìåííî èçêóñòâî, åäíà îò êóëèòå ñ îôèñè è ïúðâàòà îò æèëèùíèòå çîíè.  áëèçîñò äî öåíòúðà íà íîâèÿ öåíòðàëåí ïàðê ñà òðè âèñîêè òúðãîâñêè ñãðàäè. Íåáîñòúðãà÷èòå ñà èíäèâèäóàëíî ïðîåêòèðàíè è îðèåíòèðàíè, çà äà îñèãóðÿò âèñîêà âèäèìîñò. Âñÿêà ñãðàäà èìà ñâîé õàðàêòåð è âúïðåêè èìàò ñâúðçàíî ðàçïîëîæåíèå, êîåòî ñúçäàâà “Ïëîùàä 3 Êóëè”. Äèçàéíúò íà ñãðàäèòå îòèâà îòâúä ïîâúðõíîñòíî òðåòèðàíå íà ôàñàäèòå è ñúçäàâà ïðîñòðàíñòâåíî è ôóíêöèîíàëíî ðàçïðäåëåíè íà ïëîùè ñ èçêëþ÷èòåëíè ãëåäêè. Èçïîëçâàò ñå âèñîêè òåõíîëîãèè è åêîëîãè÷íè ÷èñòè çà îêîëíàòà ñðåäà, êàêòî è øóìà. Ïîä ïëîùàäà ñå ðàçïîëàãàò òúðãîâñêè ïðîñòðàíñòâà è ðàçëè÷íè îáùåñòâåíè óäîáñòâà, êîèòî ùå ðàçìèâàò ãðàíèöàòà ìåæäó îáùåñòâåíî è ÷àñòíî êîìåðñèàëía ñôåðà. Òàì ùå áúäå è âðúçêàòà ñ áúäåùàòà 5-òà ëèíèÿ íà ìèëàíñêîòî ìåòðî. Ïîäîáíî ïðåäëîæåíèå çà ãðàäñêî ïëàíèðàíå ìàðêèðà çåìÿòà íà Fiera Milano êàòî åäíà ãðàäñêà ïàðàäèãìà çà íîâè èçïëóâàùè ñòèëîâå íà æèâîò. Ïðåäëîæåíèåòî å óíèêàëíî ñ òîâà. ×å íå ïîâòàðÿ äðóã ãðàäñêè ïëàí. Àðõèïåëàãè÷íî ðàçïîëîæåíèå ñå âëèâà â ïàðêà, ñúäúðæàù æèëèùíè ñãðàäè, íåáîñòúðãà÷è, êóëòóðíè è êîìåðñèàëíè ïðîãðàìè. Òàçè êîíöåïöèÿ ïîçâîëÿâà ðàçãðàíè÷åíî, ïðàêòè÷íî è èêîíîìè÷åñêè ïîñòåïåíî ïëàíèðàíå, îò êîåòî ïðîåêòè ñ òàêúâ ìàùàá ìîãàò ñàìî äà ñå îáëàãîäåòåëñòâàò. ×ðåç âúçìîæíîñòòà îò ñúòðóäíè÷åñòâî íà ÷òèðè àðõèòåêòà – ñõåìàòà èìà ïëóðàëèñòè÷åí õàðàêòåð è õåòåðîãåíí àðõèòåêòóðíè ôîðìè è îáùåñòâåíè ïðîñòðàíñòâà. Îäîáíî äåìîêðàòè÷íî ïëàíèðàíå íà ãðàäà îòðàçÿâà áîãàòà èñòîðèÿ íà Ìèëàíî. Ñåãà ïîâå÷å îò âñÿêîãà ñ âðúçêà ñúñ ñïå÷åëâàíåòî íà êîíêóðñ çà äîìàêèí íà ìåæäóíàðîäîíîòî èçëîæåíèå Expo 2015, äóìèòå íà Äàíèåë Ëèáåñêèíä ïî âðåìå íà êîíêóðñà ïðåç 2004 çà City Life èìàò äúëáîêî çíà÷åíèå çà ãðàä Ìèëàíî: “ Ìèëàíî âåå âÿòúðà íà ïðîìÿíàòà. Òîçè íîâ âåê ñå îòëè÷àâà íå ñ åäèí, íî ñ ìíîãîòî, íå ñòàâà âúïðîñ ñàìî çà ãëàñà íà åäèí, à çà ãëàñà íà ìíîãî”

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The Beijing National Grand Theatre: a cultural island in the middle of a lake.

The building is situated in the heart of Beijing on Chang An Avenue next to the Great Hall of the People and about 500 meters from Tian An Men Square and the Forbidden City. It is a curved building, with a total surface area of 149,500 square meters, that emerges like an island at the center of a lake. The titanium shell is in the shape of a super ellipsoid with a maximum span of 213 meters, a minimum span of 144 meters and a height of 46 meters).

It is divided in two by a curved glass covering, 100 meters wide at the base. During the day, light flows through the glass roof into the building. At night, the movements within can be seen from outside.

The building houses three performance auditoriums – a

2,416-seat opera house, a 2,017 seat concert hall and a 1,040 theatre – as well as art and exhibition spaces opened to a wide public and integrated into the city.

The building is connected to the shore by way of a 60-meter long transparent underpass. This entrance leaves the exterior of the building intact, without any openings and mysterious looking while providing the public with a passage from their daily world to the world of opera, fiction and dreams.

The areas inside that are open to the general public take the form of an urban district with its succession of different spaces: streets, plazas, shopping areas, restaurants, restful spaces and waiting lounges. This public area is

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Íàöèîíàëíèÿò ãðàíäòåàòúð íà Ïåêèí: êóëòóðåí îàçèñ ïîñðåä åçåðî

Ñãðàäàòà ñå íàìèðà â ñúðöåòî íà Ïåêèí íà ×àíã Àí àâåíþ â ñúñåäñòâî ñ Ãîëÿìàòà çàëà íà People è 500 ìåòðà îò ïëîùàä "Òèàí Àí Ìåí" è "Çàáðàíåí ãðàä". Òîâà å îáëà ñãðàäà ñ ÐÇÏ îò 149 500 êâ.ì, êîÿòî èçïëóâà êàòî îñòðîâ â öåíòúðà íà åçåðîòî. Îáâèâêà îò òèòàí âúâ ôîðìàòà íà åëèïñîèä ñ ìàêñèìàëíà øèðèíà 213 ìåòðà, ìèíèìàëíà øèðèíà 144 ìåòðà è âèñî÷èíà îò 46 ìåòðà. Ðàçäåëåíà å íà äâå îò îáëî îñòúêëåíî ïîêðèòèå, 100 ìåòðà øèðîêà â áàçàòà. Äåíåì ñâåòëèíàòà ïðåìèíàâà ïðåç ñòúêëåíèÿ ïîêðèâ â ñãðàäàòà. Íîùåì äâèæåíèÿòà âúòðå ìîãàò äà áúäàò âèäåíè îòâúí. Ñãðàäàòà ïîìåùàâà òðè àóäèòîðèóìà îïåðà ñ 2416 ìåñòà, êîíöåðòíà

çàëà ñ 2017 ìåñòà è òåàòúð ñ 1040, êàêòî è àðò è èçëîæáåíè ïëîùè îòâîðåíè çà øèðîêàòà ïóáëèêà è èíòåãðèðàíè â ãðàäè. Ñãðàäàòà å ñâúðçàíà ñ áðåãà ÷ðåç 60 ìåòðîâ ïðîçðà÷åí ïîäçåìåí ïàñàæ. Òîçè âõîä îñòàâÿ åêñòåðèîðà íà ñãðàäàòà íåäîêîñíàò, áåç îòâîðè - ïðåäîñòàâÿéêè íà ïóáëèêàòà ïàñàæ îòâåæäàù ãè îò äíåâíèÿ ñâÿò â ñâåòà íà îïåðàòà, ôèêöèÿòà è ìå÷òèòå. Âúòðåøíèòå ïðîñòðàíñòâà, êîèòî ñà îòâîðåíè çà øèðîêàòà ïóáëèêà, èìàò ôîðìà íà êâàðòàë ñúñ ñâîèòå ïðîäúëæåíèÿ: óëèöè, ïëîùàäè, òúðãîâñêè ïëîùè, ðåñòîðàíòè, ìåñòà çà îòäèõ. Òàçè îáùà ïëîù å äîáðå ðàçâèòà, çà äà îñèãóðè íà ñãðàäàòà ïîïóëÿðíîñò. Êîìïëåêñúò å ïðîåêòèðàí êàòî îòâîðåí ôîðóì, à

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highly developed in order to endow the building with its open, popular character. The complex is designed as an open forum not a place for elitist shows. The different performance auditoriums open onto this common concourse. Their entrances are positioned so as to ensure an even distribution of people, and a smooth, easy flow everywhere while giving each element in the project a distinctive character. The opera house is at the center. It is the single most important element in the project, and by the art that is practiced there, it is the one that is most dependent on convention; most mysterious too. The concert hall and the theatre are situated on either side of the opera house. Access to the performance halls must never be brutal.

It has to be something gradual, something that requires time and space.

The performance halls and public areas are built on a base that houses all operating and support facilities in a complex designed to be as efficiently and economically organized as an industrial production area. At the same time, this technical utility area never mars the harmony of the public areas and the pleasure of visitors and theatre-goers.

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íå êàòî ìÿñòî çà åëèòàðíè ñúáèòèÿ. Ðàçëè÷íèòå àóäèòîðèóìè ñå îòâàðÿò êúì îáùàòà ïëîù. Òåõíèòå âõîäîâå ñà ðàçïîëîæåíè òàêà, ÷å äà îñèãóðÿò äîáúð äîñòúï çà õîðàòà è ïëàâåí ïîòîê, äàâàéêè íà âñåêè åëåìåíò ñâîÿ îòëè÷èòåëíà ÷åðòà. Îïåðàòà å â öåíòúðà íà ïðîåêòà, áèäåéêè íàé-âàæíèÿò åëåìåíò è ÷ðåç èçêóñòâîòî ñòàâà íàé-êîíâåíöèîíàëåí, ñúùî è ìèñòåðèîçåí. Êîíöåðòíàòà çàëà è òåàòúðúò ñà ðàçïîëîæåíè íà ñúùàòà ñòðàíà íà îïåðàòà. Äîñòúïúò äî çàëèòå íå áè òðÿáâàëî äà å áðóòàëåí. Òðÿáâà äà èìà íÿêàêâà ãðàäàöèÿ, íåùî êîåòî èçèñêâà âðåìå è ïðîñòðàíñòâî. Çàëèòå è îáùèòå ïëîùè ñà ïîñòðîåíè íà îñíîâà, êîÿòî ïîìåùàâà âñè÷êè îïåðàòèâíè è ïîäêðåïÿùè ñúîðúæåíèÿ â êîìïëåêñ, íàïðàâåí äà áúäå ôóíêöèîíàëíî è èêîíîìè÷åñêè îðãàíèçèðàí, ïîäîáíî íà èíäóñòðèàëåí îáåêò.  ñúùîòî âðåìå òåõíè÷åñêàòà ÷àñò íèêîãà íå çàñÿãà õàðìîíèÿòà â ïóáëè÷íèòå ïëîùè è óäîâîëñòâèåòî íà ïîñåòèòåëèòå è ëþáèòåëèòå íà òåàòúð.

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PRESENTATION TEXT FOR THE FINAL STAGE IN THE COMPETITION

It's a new building.

It's a building made of curves that emerges like an island at the center of a lake.

Is it open or is it closed? It is both at once. Its exterior surface is in glass and gray titanium: the glass opens the building like a curtain that is drawn aside so that you can see the theatres, promenades and exhibition spaces inside; the titanium protects and covers it, and in doing so it creating more secret shadowy areas. The colors of the titanium and the glass change with the hour of the day and night as the light moves over its surface and plays on its countless facets. You can see that this huge volume is a shell, the enclosing case, the partially opened outer covering of a fruit or flower. You can see that the titanium is faced with an inner skin of dark red wood, and that the bright red interior of the opera house is itself enclosed by a partially transparent gilt covering so that the movements of the audience entering and leaving it are visible from outside.

You can see that the outer surface of the concert hall and the theatre are silver. And everywhere you can see people moving about, along the inner streets, on the plazas, in the upper lounges and walking just below the surface of the water through the transparent underpass that connects the building to the shore. These continual movements convey the life of a building that has become like a living organism, at once simple and complex, evident and secretive.

In winter, on the frozen surface of the water, ice-skaters will trace the pattern of countless other curves all around the building.

There is no other complex like it in the world. It is a unique building, born in unique circumstances for a singular place, inconceivable anywhere else. Its design expresses the age-old harmony, serenity and simplicity of a balance between opposites.

Paul Andreu

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12 MASSIMILIANO AND DORIANA FUKSAS won competition to ARCHITECTURAL SCHEMATIC DESIGN OF TERMINAL 3 INTERNATIONAL SHENZEN BAO'AN INTERNATIONAL AIRPORT Shenzhen International Airport Terminal will be the gateway to the main tourist destination – the city of Shenzhen. The master plan for Shenzhen Bao’an International Airport intends to offer world-class transportation services. Achieving this means that Shenzhen airport must be operate at the following levels:Globally, T3 at Shenzhen Bao’an International Airport must serve as the global aviation gateway between China and the rest of the world. Nationally, as the fourth largest following Beijing, Shanghai, and Guangzhou in China, Shenzhen Bao’an International Airport is a trunk of domestic flights and hub of national flights. Enhancement of transfer services between international and domestic flights will improve the distribution of wealth among all Chinese cities.

Regionally, Currently, there are more than 40 cities with populations of over one million within 3.5 hours flying time of Shenzhen. This makes Shenzhen an excellent location for a regional hub. Passengers travelling from neighboring cities could fly to Shenzhen to connect with long distance global flights or flights to other Asian cities. Construction terms, its design

optimizes the performance of materials selected on the basis of local availability, functionality, application of local skills, and low cost procurement.

Remarkably, it will have been designed and built in just few years. For the complete of T3 Shenzhen Bao’an Airport there are three phases.

Phase 1 (in 2015) Major facilities in Phase 1 will include the unit terminal with 63 contact gates, the first stage of the APM, traffic system, parking place, landscape, and shopping centre.

Train service for APM will not be available until the complete of Phase 2.

Phase 2 (in 2025) Expansion after Phase 1 will occur based on masterplan. During Phase 2, the first remote passenger concourse will be constructed to add gates and the satellite terminal with rail stations will be operational. This will require expansion of the APM.

Phase 3 (in 2035) Development of the airport’s west side will continue until about 2035 when T3 Shenzhen International Airport will be fully constructed. Phase 3 continues the demand driven development process. The satellite terminal will again undergo expansion and more remote concourse will be added during this decade. And also there will be expansion of Terminal head house. The volume of extension of Terminal head house is going to be glass facade with glass roof so that the extension of building can have continuity in terms of construction material. Consequently this way of extension can have merits not only for the aesthetic reason but also for construction.

Designed for maximum flexibility to cope with the unpredictable nature of the aviation industry, like its predecessors, it aims to resolve the complexities of modern air travel, combining spatial clarity with high service standards.

13 Ìàêñèìèëèàíî è Äîðèàíà Ôóêñàñ ïå÷åëÿò êîíêóðñ çà àðõèòåêòóðåí ïðîåêò íà òåðìèíàë 3 íà ìåæäóíàðîäíîòî ëåòèùå â Øåíöåí Ìåæäóíàðîäíîòî ëåòèùå â Øåíöåí ùå áúäå ïîðòà êúì îñíîâíàòà òóðèñòè÷åñêà äåñòèíàöèÿ â Êèòàé - ãð. Øåíöåí. Îáùèÿò ïëàí íà ëåòèùå Øåíöåí ùå ïðåäëîæè òðàíñïîðòíî îáñëóæâàíå íà ñâåòîâíî íèâî. Ïîñòèãàéêè òîâà, îçíà÷àâà, ÷å ëåòèùåòî Øåíöåí ùå ðàáîòè íà íÿêîëêî íèâà: ñâåòîâíî, òåðìèíàë3 íà ëåòèùåòî ùå ñëóæè çà ãëîáàëíà àâèàöèîííà ïîðòà ìåæäó Êèòàé è îñòàíàëàòà ÷àñò îò ñâåòà. Íàöèîíàëíî íèâî, íà êîåòî ëåòèùåòî ùå å öåíòúð íà ÷àðòúðíè è âúòðåøíè ïîëåòè. Ïîâèøàâàíåòî íà òðàíçèòà íà ìåæäóíàðîäíè è âúòðåøíè ïîëåòè ùå ïîäîáðè ôèíàíñîâîòî ñúñòîÿíèå â êèòàéñêèòå ãðàäîâå.  ìîìåíòà èìà ïîâå÷å îò 40 ãðàäà ñ íàñåëåíèå îò íàä åäèí ìèëèîí â ðàäèóñ íà 3 ÷àñà ïúò ñúñ ñàìîëåò îò Øåíöåí. Ïúòíèöè, ïúòóâàùè îò ñúñåäíèòå ãðàäîâå, ìîãàò äà êàöíàò â Øåíöåí, çà äà ñå ïðåõâúðëÿò íà ìåæäóíàðîäåí ïîëåò. Èçãðàæäàíåòî íà òåðìèíàë 3 íà ëåòèùåòî ùå ñå èçâúðøâà íà 3 ôàçè.

Ôàçà 1 (äî 2015 ã.) âêëþ÷âà èçãðàæäàíåòî íà îñíîâíèòå ñúîðúæåíèÿ ñ 63 èçõîäà, ïúðâèÿ åòàï îò APM, òðàíñïîðòíàòà ñèñòåìà, ïàðêèíã ìåñòàòà, òúðãîâñêè öåíòúð, ïåéçàæà. Âðúçêàòà ñ æåëåçîïúòíàòà ëèíèÿ ùå ñå îñúùåñòâè ñëåä çàâúðøâàíåòî íà ôàçà 2. Ôàçà 2 (äî 2025 ã.) âêëþ÷âà èçãðàæäàíåòî íà ïúðâèÿ ãîëÿì àòðèóì çà ïðåìèíàâàùèòå è ñàòåëèòåí òåðìèíàë ñ æåëåçîïúòíè ñïèðêè. Òîâà ùå èçèñêâà è ðàçøèðÿâàíå íà APM. Ôàçà 3 (äî 2035 ã.) å èçãðàæäàíåòî íà çàïàäíàòà ÷àñò íà ëåòèùåòî, êîÿòî ùå ïðîäúëæè äî 2035 ã.

Îùå îòâîðåíè ïðîñòðàíñòâà çà ïúòíèöèòå ùå áúäàò íàïðàâåíè. Ñàòåëèòíèÿò òåðìèíàë ùå áúäå äîïúëíèòåëíî ðàçøèðåí, êàêòî è îñíîâíèÿò êîðïóñ íà òåðìèíàëà. Îáåìúò íà ðàçøèðåíèåòî íà îñíîâíèÿ êîðïóñ ùå èìà ñòúêëåíè ôàñàäà è ïîêðèâ. Ïðîåêòúò å ìàêñèìàëíî ãúâêàâ, çà äà óñïåå äà ñå ñïðàâè ñ íåî÷àêâàíè ïðèðîäíè è àâèàöèîííè ñèòóàöèè, êàêòî â ïðåäèøíè ïîäîáíè ïðîåêòè ñå ñòðåìè äà îòãîâîðè íà ñëîæíîñòòà íà ñúâðåìåííîòî ïúòóâàíå ïî âúçäóõ, ñú÷åòàâàéêè ïðîñòðàíñòâåíà îò÷åòëèâîñò ñ âèñîê ñòàíäàðò íà îáñëóæâàíå.

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Terminal and Concourse The passenger terminal and concourse constitute the major portion of the passengers’ perception of an airport. Factors which affect passengers’ impressions include processing times, walking distances, ease of orientation, crowding, and availability of desired amenities. Each of these has been carefully considered in developing the concept for the passenger terminal and concourse. Natural the terminal is open to views to the outside and planned under a single unifying roof canopy. Light is coming through the skin that is double skins with pattern. The skin avoids direct sunlight to reduce energy consumption and creates elegant atmosphere. It makes the air travelers have marvelous impression with comfort.

Terminal The plaza provides access to the baggage handling, departures and arrivals hall on the ground floor as well as to the cafes and restaurants, offices and facilities for business meetings. Void in the grand departure hall establishes not only a visual link between different levels but also the passages of natural light to the other levels.

The grand departure hall has vast plaza with check-in counters that is brighten elegantly by the diffusion of light from the roof. This provides a pleasant waiting space with check-in desks, an information counter, car rental companies and airline counters.

The mega-trusses are used to have this vast closed plaza.

Concourse Concourse area is one of key function area at the airport. Concourse area at T3 Shenzhen International Airport is composed with three levels.

Each level is destined for independent function: departure, arrival, and services. The form of the concourse is simple, but elegant. It is also for the consideration of expansion of the airport in the future. The concept of interior space is fluid. There are two different spatial characters in concourse space. One is movement, the other is pause. Retails and waiting lounges

will be islands for pause. Especially retails are key-tenant in concourse space, not only for the management of airport but also for the impression of airport with high-services.

Retails and waiting lounges seem to be made naturally following spatial fluid.

The inner skin is made of very fine net. The movement of this skin gives concourse space elegant atmosphere. When we see the concourse from 14m level it will be marvellous space.

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Òåðìèíàë è àòðèóì Îñíîâíàòà ïðåäñòàâà íà ïúòíèöèòå çà ëåòèùå ñå ñúñòîè â îòâîðåíîòî ïðîñòðàíñòâî è òåðìèíàëèòå. Ôàêòîðè, êîèòî âëèàÿò íà âïå÷àòëåíèÿòà íà ïðåìèíàâàùèòå, ñà äâèæåíèåòî â ïðîñòðàíñòâîòî è âðåìåòî, ëåñíàòà îðèåíòàöèÿ, ñòðóïâàíåòî íà îïàøêè è íàëè÷èåòî íà óäîáñòâà. Âñè÷êè òåçè íåùà ñà âçåòè ïîä âíèìàíèå. Òåðìèíàëèòå ñâ âèæäàò îòâúí è ñà ïðîåêòèðàíè ïîä îáù ïîêðèâ. Ñâåòëèíàòà ïðåìèíàâà ïðåç ïîêðèòèå ñ äâà ðàçëè÷íè øàáëîíà íà ïîâúðõíîñòè. Ïîêðèòèåòî èçáÿãâà äèðåêòíàòà ñëúí÷åâà ñâåòëèíà, çà äà ñå íàìàëè ïîòðåáëåíèåòî íà åíåðãèÿ, è ñúçäàâà åëåãàíòíà àòìîñôåðà. Òîâà ïîçâîëÿâà íà âúçäóøíèòå ïúòíèöè äà îñòàíàò ñúñ ñòðàõîòíè âïå÷àòëåíèÿ, ñúïðîâîäåíè ñ êîìôîðò.

Òåðìèíàë Ïëîùàä îñèãóðÿâà äîñòúïà äî îòäåëåíèÿòà çà áàãàæ, çàëàòà çà çàìèíàâàùè è ïðèñèãàùè íà ïàðòåðíîòî íèâî, êàêòî è äî êàôåíåòà è ðåñòîðàíòè, îôèñè è ïðîñòðàíñòâà çà áèçíåñ ñðåøî. Ïðàçíîòà â îñíîâíàòà çàëà çà çàìèíàâàùè îñúùåñòâÿâà íå ñàìî âèçóàëíàòà âðúçêà ìåæäó ðàçëè÷íèòå íèâà, íî è íàëè÷èåòî íà åñòåñòâåíà ñâåòëèíà íà îñòàíàëèòå åòàæè. Ãîëÿìàòà çàëà çà çàìèíàâàùè èìà øèðîê ïëîùàä ñ ãèøåòà çà ðåãèñòðèðàíå, êîèòî ñà åëåãàíòíî îñâåòåíè îò ðàçïðîñòðàíÿâàùàòà ñå ñâåòëèíà îò ïîêðèâà. Òîâà îñèãóðÿâà ïðèÿòíî ïðîñòðàíñòâî çà ÷àêàùèòå ðåãèñòðàæà, èíôîðìàöèîíåí ïóíêò, ôèðìè ñ àâòîìîáèëè ïîä íàåì è ðàçëè÷íè àâèî êîìïàíèè. Ãîëåìè ïîääúðæàùè êîíñòðóêöèè ñà èçïîëçâàíè çà ïîñòèãàíåòî íà òîâà øèðîêî çàòâîðåíî ïðîñòðàíñòâî.

NEWS

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EUROMED CENTER, MARSEILLE

World Architectural Masters

International Academy Of Architecture