WAM Issue 12

World Architecture Masters

ISSN 1313-177X

11/ 2009/ 011

DOMINIQUE PERRAULT

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Àêàäåìè÷åí ñúâåò Àêàäåìèöè íà MAA ïðîô. Ïèåð Àíäðå Äþôåòåë - Ôðàíöèÿ ïðîô. Ðè÷àðä Èíãëàíä - Ìàëòà ïðîô. Êèîíîðè Êèêóòàêå - ßïîíèÿ ïðîô. Ìàíôðåäè Íèêîëåòè - Èòàëèÿ ïðîô. Þðèé Ïëàòîíîâ - Ðóñèÿ ïðîô. Áðàéúí Ñïåíñúð - ÑÀÙ ïðîô. Ãåîðãè Ñòîèëîâ - Áúëãàðèÿ Äæîçåâ Ðèêóåðò - ïðåçèäåíò íà ÑOAK

Academic council IAA Academicians prof. Pierre Andre Dufetel - France prof. Richard England - Malta prof. Kiyonori Kikutake - Japan prof. Manfredi Nicoletti - Italy prof. Juri Platonov - Russia prof. Brian Spencer - USA prof. Georgi Stoilov - Bulgaria Joseph Rykwert - president of CICA

Editor-in-chief Ãëàâåí ðåäàêòîð ïðîô. Ãåîðãè Ñòîèëîâ, àêàäåìèê íà ÌÀÀ prof. Georgi Stoilov, IAA Academician Óïðàâèòåë Íàòàëèÿ Áîíäàðåíêî

General manager Natalia Bondarenko

Îòãîâîðåí ðåäàêòîð NEWS àðõ. Ãåîðãè Ñòàíèøåâ, ïðîô. íà ÌÀÀ

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

Ðåäàêöèîííà êîëåãèÿ Êðàñèìèðà ßâàøåâà Ðóìÿíà Ñòåôàíîâà

Editors team Krassimira Yavasheva Rumiana Stefanova

Ìåíèäæúð ïðåäïå÷àòíà ïîäãîòîâêà Ïåòúð ×óïåòëîâñêè

Print design manager Peter Chupetlovsky

ÌÀÀ, 1202 Ñîôèÿ, áóë. Ìàðèÿ Ëóèçà 40 òåë.: 02 944 62 97 iaarch@yahoo.com, www.iaa-ngo.org

IÀÀ, Bulgaria, 1202 Sofia 40 Maria Luiza bul., 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 Èíà Êàìáàðåâà Ïîëèíà Õàäæèìèòîâà

Print design Ina Kambareva Polina Hadjimitova

Ðåêëàìåí åêèï: Äèàíà Ñòîÿíîâà Âàíÿ Åôðåìîâà Åìèëèàí Ìèëêîâ Ëóèçà Äàìÿíîâà

Advertising Team: Diana Stoyanova Vania Efremova 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 Evgeniya Yordanova

Èçäàòåëè: Ìåæäóíàðîäíà Àêàäåìèÿ çà Àðõèòåêòóðà Àðõ ìåäèÿ EÎÎÄ

Publishers: International Academy of Architecture Arhc Media SLtd.

Ðåäàêöèÿ: Ñîôèÿ 1000 óë. “Öàð Ñàìóèë” ¹ 81 Óïðàâèòåë: 02/868 81 83 Ðåäàêòîðè: 02/868 83 50 Ôàêñ: 02/868 79 04 contact@amc-aspects.com

Îffice: Sofia 1000 81 “Tsar Samuil” Str. General manager: +359 2 868 81 83 Editors: +359 2 868 83 50 Fax: +359 2 79 04 contact@amc-aspects.com

www.amc-aspects.com www.beautifulhouses.eu www.wamjournal.com www.atlas-style.com www.technostroi.com

www.amc-aspects.com www.beautifulhouses.eu www.wamjournal.com www.atlas-style.com www.technostroi.com

Ðåãèîíàëåí îôèñ: Ïëîâäèâ 4000 óë. “4 ÿíóàðè” ¹ 38, ïàðòåð, àòåëèå 2 òåë./ôàêñ: 032/63 32 16

Local office Plovdiv 4000 38 “4 yanuari” Str., grounfloor, atelier 2 tel./fax: +359 32 63 32 16

Ïðåäñòàâèòåëñòâî âúâ Âàðíà: Âàðíà, óë. "Ïåòúð Ðàé÷åâ" 12, îôèñ 9 òåë.: 052/ 97 94 83; 30 15 23 ìîá.: 0897 77 80 80

Local office Varna 12 “Peter Raichev” Str., office 9 tel.: +359 52/ 97 94 83; mob.: 0897 77 80 80

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 arch. Dominique Perrault for his amiability submitting materials from theirs private archive at ours disposal for the twelfth issue of WAM. Ñïèñàíèå World Architecture Masters áëàãîäàðè íà àðõ. Äîìèíèê Ïåðî çà ëþáåçíî ïðåäîñòàâåíèòå ìàòåðèàëè îò ëè÷íèÿ ìó àðõèâ çà äâàíàäåñåòè áðîé íà WAM. Copyright: Sketches; Renders, Plans, Schemes; Model photographs; Photographs: © Dominique Perrault / Adagp © Perrault Projets / Adagp © André Morin / DPA / Adagp © Georges Fessy / DPA / Adagp © Rui Morais de Sousa © Werner Huthmacher / DPA / Adagp © Luftbild-Pressefoto / DPA / Adagp 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.

Dominique Perrault

CONTENTS

Olympic Velodrome And Swimming Pool – Berlin, Germany

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Ewha Woman’s University – Seoul, South Korea

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The Court Of Justice of The European Communities

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MARIINSKY II St. Petersburg

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Olympic Tennis Center – Madrid, Spain

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ÀÐÕÈÒÅÊÒÓÐÀÒÀ ÍÀ XXI ÂÅÊ

THE ARCHITECTURE OF XXI CENTURY

Íèå èçëÿçîõìå îò XX âåê è âëèçàìå â XXI âåê.  ðàçëè÷íèòå åïîõè öåííîñòèòå íà àðõèòåêòóðàòà èìàò ðàçëè÷åí õàðàêòåð è åñòåòè÷åñêà ñòèëèñòèêà. Êàêúâ áåøå õàðàêòåðúò è åñòåòè÷åñêàòà ñòèëèñòèêà íà àðõèòåêòóðàòà íà XX âåê? Äâàäåñåòè âåê èçâúðøè ðàäèêàëíà ðåâîëþöèÿ â àðõèòåêòóðàòà, êîÿòî âåêîâå ïðåäè òîâà ñå ðàçâèâàøå íà áàçàòà íà ðåíåñàíñîâèòå è êëàñè÷åñêè òðàäèöèè.Òåçè òðàäèöèè âå÷å áÿõà èçãóáèëè ñâîÿòà åíåðãèÿ è ïîä óäàðèòå íà íîâèòå òåõíîëîãèè ñå ïðåâúðíàõà â æàëêà åêëåêòèêà. Íîâèòå èäåè íà ÑIÀÌ è íà Àòèíñêàòà õàðòà ñúçäàäîõà íîâàòà àðõèòåêòóðà íà XX âåê. Òîâà áåøå åäèí ãåðîè÷åí ïåðèîä íà òèòàíè, êîèòî ñúçäàäîõà âåëèêè ïðîèçâåäåíèÿ. Çà ãîëÿìî ñúæàëåíèå, òåçè âåëèêè òâîðöè íå ìîæàõà äà ñå îïàçÿò îò áîëåñòèòå íà äîêòðèíåðñòâîòî è ïàäíàõà â êëîïêàòà íà äîãìàòèçìà, ïðîòèâ êîéòî áÿõà õâúðëèëè òîëêîâà åíåðãèÿ è ñòðàñò. Òàêà ñå ðîäè ò. íàð. “èíòåðíàöèîíàëåí ñòèë” ôóíêöèîíàëèçúì, èëè ðàöèîíàëèçúì, ÷èéòî ñèìâîë ñòàíà àðõèòåêòóðíàòà “êóòèÿ”. È òîâà áåøå êðàÿò. Ôóíêöèîíàëèçìúò ñå ïðåâúðíà â ìúðòúâ ñòèë, ëåñåí è óäîáåí çà ïîëçâàíå îò ìèëèîíè áåçäàðíè åïèãîíè. Ðåàêöèèòå â ëèöåòî íà ïîñòìîäåðíèçìà, õàé-òåêà, äåêîíñòðóêòèâèçìà è ïð., áàçèðàíè íà ïîðî÷íèÿ ïðèíöèï çà òúðñåíå íà íîâ ñòèë, íå äîâåäîõà äî íîâ âúçõîä. Íî â êðàÿ íà XX è íà÷àëîòî íà XXI âåê ñå ðîäèõà èñòèíñêè àðõèòåêòóðíè øåäüîâðè. Òîâà ñà ïðîèçâåäåíèÿ íà ìàéñòîðè îò ðàçëè÷íè øêîëè è ïîêîëåíèÿ. Âñè÷êè òåçè ïðåêðàñíè òâîðáè ïðèòåæàâàò áåçêðàéíî ðàçíîîáðàçèå ïî ñâîèòå åñòåòè÷åñêè, ïëàñòè÷íè è êîìïîçèöèîííè êà÷åñòâà. Òå ñà äî òàêàâà ñòåïåí ðàçëè÷íè, ÷å åäâà ëè íÿêîé òåîðåòèê ùå ñå îñìåëè äà ãîâîðè çà ðàæäàíåòî íà íîâ àðõèòåêòóðåí ñòèë íà XXI âåê. È äåéñòâèòåëíî, ìîæå ëè äà ñëîæèòå â åäíà êîøíèöà òàêèâà áëåñòÿùè, íî íàïúëíî ðàçëè÷íè òâîðöè êàòî Íîðìàí Ôîñòúð è Ôðàíê Ãåðè, êàòî Ðåíöî Ïèàíî è Çàõà Õàäèä, êàòî Ñàíòÿãî Êàëàòðàâà è Ìàñèìèëèàíî ôóêñàñ, êàòî Òåîäîðî Ãîíçàëåç äå Ëåîí è Äàíèåë Ëèáåñêèíä, êàòî Ïîë Àíäðüî è Æàê Õåðöîã? À êîìó å íóæíî òîâà? Íå ñâúðøè ëè ñ êðàÿ íà XX âåê èäåîëîãèÿòà çà ìàñîâè “ãðóïåí êîìàíäè” â îáùåñòâîòî è íå íàñòúïè ëè âðåìåòî íà ñâîáîäàòà è êðàñîòàòà íà îòäåëíàòà ëè÷íîñò? Íåêà îñòàâèì òîâà äà ðåøàâàò ñàìèòå òâîðöè, áåç äà èì ñå ïðåäïèñâàò åñòåòè÷åñêè ðåöåïòè è ðåãëàìåíòè, à èñòîðèÿòà ùå ñè êàæå äóìàòà. Ìèñëÿ, ÷å àðõèòåêòóðíàòà òåîðèÿ è åñòåòèêàòà ìîãàò äà ïðèâåòñòâàò âñÿêî ïðîèçâåäåíèå, êîåòî ïðèòåæàâà ãîëÿìà äóõîâíà ñèëà, ïðèòåæàâà “Genius Loci”, íî å ñâîáîäíî îò áîëåñòèòå íà åêëåêòèêàòà, êè÷à è èìèòàöèÿòà! Íÿìà âåëèêî ïðîèçâåäåíèå â èçêóñòâîòî, êîåòî äà íå å èçðàçèòåë íà ãîëÿìàòà èñòèíà íà æèâîòà. Òîâà âàæè è çà âåëèêèòå îòêðèòèÿ â íàóêàòà, íî â íàóêàòà åäíà èñòèíà èìà ñàìî åäíî ëèöå.  èçêóñòâîòî åäíà èñòèíà èìà õèëÿäè ëèöà. Íåêà â àðõèòåêòóðàòà íà XXI âåê ðàçöúôòÿâàò õèëÿäè öâåòÿ íà ðåàëíàòà, ãîëÿìàòà àðõèòåêòóðíà èñòèíà (ÕÀÐÌÎÍÈ×ÍÀÒÀ ÅÍÅÐÃÈß) áåç ñòèëîâè äîãìè, êàíîíè è äîêòðèíè. ( ×àñò îò ëåêöèÿòà, èçíåñåíà íà ÈÍÒÅÐÀÐÕ 2009)

We went out the XX-th century to enter the XXI-st century In the different epochs - the values in architecture have different features and aesthetics. What were the character and the aesthetical stylistics of the architecture of the XX-th century? The twentieth century was revolutionary for the architecture that for centuries was based on Renaissance and Classical traditions. These traditions lost their energy and under the pressure of new technologies they became pathetic eclecticism. The new ideas of CIAM and the Athens Charter created the new architecture of the XX-th century. It was heroic period of titans, who created great works. Unfortunately, these great artists didn‘t manage to preserve themselves from the malady of doctrines and they fell in the trap of dogmas against whom they had fought and had lost so much energy and passion.

So was born the so called “international style” of functionalism or rationalism, whose symbol became the architectural “box”. And it was the end. The functionalism became dead style, easy and convenient to use for the talentless Epigones. The reactions of the postmodernism, high-tech, deconstructivism etc. were based on vicious principals of the search of a new style and did not bring new rising.

But at the end of the XX-th century and the beginning of the XXI-st century real architectural master-pieces were born. These are works of different masters with different backgrounds and from different generations. All those wonderful works are endlessly diverse in their aesthetical, plastic and composition qualities. They are all so different that it is doubtful that somebody would dare to talk about new architectural style of the XXI-st century. And really is it possible to summarize the work of those great and different authors like Norman Foster and Frank Gehry, like Renzo Piano and Zaha Hadid, like Santiago Calatrava and Massimiliano Fuksas, like Teodoro Gonzales de Leon and Daniel Libeskind, like Paul Andreu and Jacques Herzog? And why shall we do it? Isn‘t it finished with the ideology of the XX-th century of mass “group commands” in the society and isn‘t it the moment for freedom and beauty of the individual person? Lets‘ leave the artists alone to decide this without giving them aesthetical recipes and regulations and let the history tell the final word.

I think that the architectural theory and aesthetics could welcome every work that has great spiritual power and that owns “Genius Loci”, but is free from the malady of eclecticism, kitsch and imitation! There is no master-piece that does not express the great truth of life. The same is valid for the science discoveries, but the difference in art is that instead of one face - art has many faces.

Lets‘ have thousands of different flourished flowers in the architecture of the XXI-st century that express the real, great, architectural truth (harmonic energy) with no style dogmas, canons and doctrines.

Aêàä. Ãåîðãè Ñòîèëîâ Ïðåçèäåíò íà ÌÀÀ

(Excerpt of the lecture on Interarch 2009)

Acad. Georgi Stoilov President of IAA

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Dominique Perrault Architect DPLG - Urban planner SFU 1953 Born in Clermont-Ferrand, France 1978 Diploma in architecture (Ecole Nationale Supérieure des Beaux-Arts de Paris) 1979 Higher diploma in town planning (Ecole supérieure des Ponts et Chaussée, Paris) 1980 Postgraduate degree in history (Ecole des Hautes Etudes en Sciences Sociales, Paris) 1981 Opening of his office in Paris and first built work: factory Someloir in Châteaudun, France 1983 Winner of the ‘Program for New Architecture’ (PAN XII) 1984 First notable project: ESIEE (academy for engineers of electronics and electrical engineering) for the Chamber of Commerce and Industry of Paris - Marne-la-Vallée 1989 Winner of the international competition for the French National Library in Paris 1990 Completion of the Hôtel Industriel Jean-Baptiste Berlier in Paris. As its first tenant Dominique Perrault is setting up his office to build the National Library. The building receives the « l’Equerre d’argent» in 1990 and the «Constructa Prize» in 1992.

1992 Winner of the international competition for the Velodrome and Olympic Swimming Pool in Berlin, Germany Opening of an office in Berlin 1993 Great National Prize of Architecture, France 1995 Inauguration of the French National Library by François Mitterrand on March 23 1996 Winner of the international competition for the Town Hall of Innsbruck in Austria 1997 Mies van der Rohe Pavilion Award for European Architecture, conferred by the Foundation Mies van der Rohe and the European Parliament for the French National Library First direct order: factory Aplix in Cellier-sur-Loire, France, which receives the «World Architecture Award» in Hong Kong, first prize for best industrial building in 2001 2000 Opening of an office in Luxembourg for the extension of the Court of Justice of the European Communities 2002 Winner of the international competition for the New Olympic Tennis and Multisports Center, Madrid, Spain Opening of the Town Hall of Innsbruck and winner of the competition for the Urban planning of Donau-City centre in Vienna 2003 Winner of the international competition for the New Building of the State Academic Mariinsky Theatre, St. Petersburg, Russia 2004 Winner of the international competition for the New EWHA Womans University Campus Center, Seoul, Korea Creation of DPA Russia 2006 Creation of DPA Spain 2008 Winner of the international competition for the San Pellegrino thermal bath, San Pellegrino, Italia.

Inauguration of the Ewha Womans University and the Court of Justice of the European Communities Inauguration of the exhibition «DPA Dominique Perrault Architecture» at the Centre Georges Pompidou, Paris, France 2009 Inauguration of the NH-fieramilano Hotel in Milan, Italy Inauguration of the Olympic Tennis Center in Madrid, Spain Winner of the international competition for the new city center in Sofia, Burgaria

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OLYMPIC VELODROME AND SWIMMING POOL – BERLIN, GERMANY Inaugurated on November 1997 (velodrome) and November 1999 (swimming pool) Second Prize of the Deutscher Architekturpreis 1999

client City of Berlin, represented by OSB Sportstättenbauten GmbH contact direction: prof.Klaus Streckebach, Johannisberger Strasse 74-76, D-14197 Berlin, tel. : +49 30 827 083-101 architecte Dominique Perrault Architecte, Paris ; APP (Architects Perrault & Partners), Berlin ; Rolf Reichert, Munich • partners APP Architects Perrault and Partners, Rolf Reichert - RPM, SSP - Schmidt, Schicketanz & Partner • consultants Perrault Projets (architectural engineering), PROMOS projektmanagement Olympiasportdtätten (project management), Ove Arup & Partners Ltd. London et Berlin (structure and fluids), IBUS Institut für Bau, Umwelt und Solartechnik GmbH, IPB Frauenhofer Institut für Bauphysik (construction physics), Jean-Paul Lamoureux (acoustics and lighting), Landschaft Planen & Bauen (landscaping), Weidleplan Consulting GmbH, Architekt Kerschkamp (sports facilities consultant), Éric Jacobsen (agricultural engineer) location Landsberger Allee, Berlin, Germany site area 10 ha built area 53.780 m2(velodrome : 29.800 m2, swiming pool : 23.980 m2) built volume 809.816 m2 (velodrome : 452.701 m2, swiming pool : 357.115 m2) beginning of conceptual design 1992 beginning of construction velodrome : June 1993, swimming pool : June 1995 construction period velodrome : 4 years and 3 months, swimming pool : 4 years and 5 months budget 555 000 000 DM excluding taxes / 276 000 000 - excluding taxes (value 1997) program Multi-use velodrome (29,800 m2): cycling, athletics, tennis, equestrianism, sports education, concerts (11,420 spectators, 5,583 seats); pool (23,980 m2): 2 Olympic pools, Olympic diving platform, pools for diving training, handicapped, children (4,200 spectators, 2,136 seats); multisport hall.

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10 This project is bound up with the reunification of the two Germanys.

It was related to the wish of a city, Berlin, then about to become the capital, to be nominated for the Olympic Games in the year 2000.

From the first, there was a conjunction of the political ambitions of the Berlin Senate, an extremely strong desire for the redeployment and linking together of the two parts of the city, and a unifying project, the Olympic project, that enabled the planners to develop not only the setting up of a certain number of sporting facilities, but also a certain number of networks to serve these sporting facilities. It is within this context, at once enthusiastic and contentious, that the city of Berlin set up an international competition for the design of the Olympic velodrome and swimming pool. The site chosen is at the intersection of two

11 important urban elements: a major axis that goes from the city center (from Alexander Platz in the direction of Moscow), a wide avenue, which subsequently meets a second element, a peripheral one, namely a short metro line, which has since linked east and west, and which enables a tour of the city to be made.

The intersection of different networks, then "But also the intersection of fabrics" The concave part of the system contains an ensemble of fabrics typical of the standard Berliner block, plus the presence of the former Berlin abattoirs; and on the other hand, we find, on the far side of the railway track, 20 km given over to extended, slab-type blocks of flats; a completely different type of urbanism, then.

In order to resolve the conjunction of these two systems, we decided, in a somewhat obvious experiment, to cause the two buildings that house the Olympic swimming pool and velodrome to vanish from sight.

The concept here is limited to the considerations of a rectangular, quadrilateral territory on which two forms are inscribed; a round shape for the velodrome and a rectangular one for the swimming pool. The question of the form being thus resolved, done away with, we were able to address other issues "There are many things to stitch back together in this neighbourhood, many things to link up, and neither the time nor the place appeared to lend itself to the reception, the welcoming of a volume (or two volumes) of this size, which would, in my opinion, have curtailed exchanges between the different areas, rather than uniting and developing them"

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Just as the National Library of France offers Paris a large public space, it seemed interesting to me that the design of these two enormous buildings would provide an opportunity for the design of the city.

Our experience in weaving urban fabrics has often been based on the sitting of a public space, and in this instance in Berlin, in the sitting of a verdant public space.

The urban concept behind this project is the creation of a green space on a handsome scale (approximately 200 ? 500 meters), and at the center of this green space to implant - buildings, shall we say. Berlin is highly interesting from the geographical and landscape point of view, because it is almost a suburban space intimately linked to a city that has every claim to its noble rank. In Berlin one finds a way of blending nature and architecture. And this blending of nature and architecture is, as I see it, a form of intervention, of a work that can be developed in the city and particularly in Berlin. This didn’t mean creating the umpteenth public park. Since there are already many of these, it meant finding a definition for this park that would be appropriate to the neighbourhood while being different to the others, yet also relate to this natural presence at the heart of the area. Our idea was to create an orchard. Namely, to plant apple trees. The idea is that when you approach on foot through this orchard you discover, set into the ground and sticking out at a height of about a meter, two tables - One round and the other rectangular covered with wire gauze. These two metal surfaces will shimmer in the sunlight and appear, at first sight, to be stretches of water more than buildings, rather like lakes at the center of the orchard. To do this, and before speaking of buildings, the trees will have to be procured! We tried to find - in Germany, but also in France - apple trees that were, so to speak, already the bearers of a certain history. A little over 400, say 450, apple trees have been planted, and they must bear the traces of their past, so that we get the feeling that this orchard has been here for a certain time. It just so happens that when you try and buy fruit trees of a certain size, around 35 years old, it becomes rather interesting from the financial viewpoint, because the tree has already paid its way.

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That’s why you can find, particularly in Normandy, splendid apple trees at very competitive prices, which allowed us to propose transplanting such trees. To compare a German apple tree and a French apple tree is a bit like comparing a French cheese to a German cheese… One the one hand you have a farmhouse cheese, and on the other a pasteurized one… German apple trees are very fine, extremely upright and well put together, but they are rather uniform in kind, the product of a particular sort of production, at least in terms of their bearing. And that didn’t suit us. It wasn’t enough just to find these trees, it was also important to be sure they’d first resist being transported, but above all that they’d then cope with being transplanted; that is, adapt to their Berlin life and its winters… If I had to do things all over again, I’d probably concern myself more with trees than with buildings, because I’ve met people involved with trees who remain passionate about what they do (which isn’t necessarily our everyday environment), and on top of that there’s a really moving relationship with the living world which enables you to glimpse other ways of being, and maybe even certain ways of being that are currently beyond our ken.

Text by Dominique Perrault Architecture 2000

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EWHA WOMAN’S UNIVERSITY – SEOUL, SOUTH KOREA Inaugurated on April 29th 2008 client Ewha Campus Center Project T/F, Ewha Womans University, 11-1 Daehyundong, Seodaemun-gu, Seoul 120-750, Korea architect Dominique Perrault Architecture, Paris partners Baum Architects, Seoul engineering Perrault Projets, Paris (architectural engineers); VP&Green Ingenerie, Paris (structural engineers); HL-PP Consult, Munich (Building services); Jean-Paul Lamoureux, Paris (acoustic), RacheWillms, Aix-la-Chapelle (facades) consultant Jeon and Lee Partners, Seoul (structural engineer), HIMEC, Seoul (mechanical engineer), CG E&C, Seoul (civil engineer), CnK Associates, Seoul (landscape) location 11-1 Daehyundong, Seodaemun_gu, Seoul 120-750, South Korea site area 50,000 m2 built area 70,000 m2 built volume 350,000 m3 landcaping 31,000 m2 beginning of conceptual design 2004 beginning of construction 2004 construction period 40 month budget 120,000,000 - excluding taxes (value 2002), local equivalent

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Flying is the best way to reach the shores of Seoul Ewha University’s new building (founded in 1886, Ewha welcomes 22.000 female students and is ranked as one of the best universities in the world), thought and realised by Dominique Perrault, as a result of an international architecture competition organised in 2003, and inaugurated on April 29th 2008.

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A landscape then, more than an architecture work, located in the midst of Seoul’s university area.

A campus valley where nature, sport grounds, event locations and educational buildings mix, intermingle and follow one another. A long asphalted strip, delineated at one end by a race track, and completely surrounded by nature. Arranged nature where pear trees and topiary reign. Black asphalt, red race track, green nature and finally the white brightness of the valley appears.

A valley, which is bravely drawn in the ground, slides down along a gentle slope. At the other end of the valley, the slope becomes a huge stairway which can be used as an open air amphitheatre if necessary.

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23 At the very heart of the valley, a dreamlike immersion takes place.

Opposed to the outdoor world, a subtle and serene universe appears suddenly. Classrooms and libraries, amphitheatres and auditoriums, shops and movement‌ Everything follows up without any lack of natural light.

Perrault is prone to buried, excavated, nestled places (the French National Library in Paris, the Velodrome and Olympic swimming pool in Berlin, both realised, the studies for the Kansai Library in Japan and the Cultural Centre in Santiago de Compostela, Spain) Perrault has the desire, physically speaking, to appropriate the territory, to mingle the construction with the ground, the desire to exploit to its paroxysm the idea that “concept and matter have to grapple one with another�.

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At Ewha University, Perrault put one more time in action: words (idea, concept, abstraction, geometry, strategy, tension, fusion, freedom, simplicity, evidence), principles (physics, mechanics, dimension) and commitments (urban concerns, creation of a location and not only of a building, refusal of formalism, and disappearance of architecture) which best qualify his architecture.

With the inauguration of Seoul Ewha Womans University, Dominique Perrault attests his intense international activity (ME Hotel in Barcelona, achievement in May 2008,the NH-Fieramilano Hotel in Milan, May 2009, the Court of Justice of the European Communities in Luxembourg, December 2008, the Tennis Stadium in Madrid, May 2009, the DC Towers in Vienna, 2012).

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THE COURT OF JUSTICE OF THE EUROPEAN COMMUNITIES Invited to create a new extension and to triple the Court’s capacity from 50,000 sq metres (538,195 sq ft) to 150,000 sq metres (1.6 million sq ft), Perrault’s challenge was not only to increase space but also to give harmony to a building that had already been extended three times.

First inaugurated in 1973, when the European Community included only six member countries, the Court of Justice was extended in 1988, 1993 and 1994. As Perrault saw it, the scheme’s challenge was threefold: functional, urban and institutional.

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client European Court of Justice architect Dominique Perrault Architecte, Paris • associated architects Bureau CJ4 (Dominique Perrault Architecte, Paczowski & Fritsch, m3 architectes), Luxembourg • engineers Perrault Projets (architectural engineering); Ralf Rache (fasades); Jean-Paul Lamoureux (acoustics & lighting); Gehl, Jacoby & Associes SA, Schroeder & Associes SA, TR-Engineering SA, (civil engineering); Felgen & Associes SA, Bevilacqua & Associes SA, (electrical engineering); Jean Schmit Engineering SARL (thermal engineering); RMCconsulting (sanitary engineering); Cabinet Casso et cie (security); AIB Vinçotte Luxembourg asbl, Secolux (technical control); Geprolux SA (coordinator)

• project pilot Geprolux SA, Luxembourg location Kirchberg platform, Grand Duche du Luxembourg site surface 76,000 m2 built surface 100,000 m2 built volume 380,000 m 3 urban design square and spaces related to the tramway start of final design June 2002 construction start April 2004 duration of construction 4 years

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34 First, the Court required an additional 100,000 sq metres (1.08 million sq ft) to house more than 2,000 judges, clerks and translators.

Second, successive expansions, with sometimes contradictory designs needed to be rationalized and brought together to function as a whole. It was therefore not only necessary to create extra space but to unify the whole, creating a building that would seem more like an harmonious “injection” than a fourth extension.

Third, Perrault’s scheme sought to reinforce the symbolic importance of the prestigious institution.

The original building, made of corten steel, is hollowed out, to accommodate the courtrooms, which is encircled by a perfectly orthogonal ring hosting offices, chambers for the judges, advocate generals, and the Great Hall of justice.

On the lower level of this major body, the “grande galerie” is reorganized and extended, serving as a spinal cord, to provide circulation between the different extensions as well as to the two

35 new towers, which provide office space for more than 600 translators and legal officers working in 23 languages. With a height of 100 metres each, the new towers are now the tallest in Luxembourg.

The vast space to the north, designed to be discreet, creates a major access across a large porch to the entrance hall and to the meeting rooms.

In the basement, the courtroom’s ceiling is dressed with lights encircled in an anodized goldtinted aluminium mesh, giving the chamber a majestic and authoritative atmosphere while also providing a lyrical and poetic feel.

The material qualities of the anodized gold-tinted aluminium mesh are a major component of the new unity introduced in the different extensions. It has been employed throughout the project, for the sunshades of the two towers, as a screen for the judges’ chambers, as well as on the ceiling of the main courtroom. The rhythm of the metallic mesh, the dazzling texture, and the relief of its folds bestow a genuine

visual identity to the 76,000 sq metre (818,057 sq ft) plot area.

With Perrault’s scheme, the Court is endowed with a main courtroom, four smaller courtrooms, offices of the presidency, the members and the court registry office, translators’ offices (24,000 sq metres in two new towers – equivalent of 258,333 sq ft), library, restaurants, lounges, banks, parking garage and an esplanade of 23,000 sq metres (247,570 sq ft). The total built area is 100,000 sq metres (1,07 million sq ft).

In addition, since 2004, Perrault’s firm has been engaged to conduct an urban planning project, including landscape architecture, circulation, transport and a mixed-use program for the development of the entrance to the Kirchberg plateau.

The aim is to give a more urban look and feel to the Porte de l’Europe by creating a better relationship between the different elements of the district and its various users. The work is to be completed in 2020.

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MARIINSKY II St. Petersburg client Ministry of Culture of the Russian Federation - Federal Agency for Culture and Cinematography - North West Direction of construction, reconstruction and restoration of Saint-Petersburg + partner OOO «Dominique Perrault Architecture», Saint-Petersburg + team Perrault Projets, Paris (architectural engineering), Georeconstructzia Foundamentproekt, Saint-Petersbourg (foundation and concrete engineering), Nagata Acoustic, Santa Monica/Tokyo (acoustic for the main hall), Jean-Paul Lamoureux, Paris (acoustic), Bollinger und Grohmann, Francfort (structure of the Golden Shell and exterior fasades), Setec-Bâtiment, Paris/Moscou (technical engineering), HL-Technik, Munich (environmental studies), Changement à site area 14 000m2 built surface 60 000m2 built volume 340 000 m3 (240 000 m3 of building and 100 000 m3 under the Golden Shell) estimated pconstruction period 4 years estimated construction cost 200 000 000 - excluding taxes/ 230 180 000 US $ excluding taxes (value 2003)

Dominique Perrault Architecte May 2003 Opera house - theater Mariinsky II Saint-Petersburg How can one fail to be moved by Saint-Petersburg’s colors? Not only by the colors of the weather, but those of the city as well, of its silhouette punctuated by gold sparkles. For that is what they are: shimmering, gleaming reflections, so many signs radiating across the winter landscape, or the canals’ surface.

This urban fairy-tale world constitutes the geography of today’s SaintPetersburg. Golden globes, domes, cupolas and spires mark out the city’s center, indicating the places of religion, framing the place of palacemuseums, but leaving the OPERA in the shadows.

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The presence of these golden crowns contributes to Saint-Petersburg’s radiance. This stage design on the scale of the city must not overlook the Mariinsky. At the heart of a complex network of canals and streets, the project for the new Mariinsky must speak to its origins, while showing it is also a work of the future, of the contemporary Saint-Petersburg protecting its heritage as a precious treasure, but also opening itself to the world so it can be admired.

This alliance between history and modernity has engendered an architectural design offering the best functional organization to the opera’s stage machinery, and the most symbolic presence of the art of opera.

Two projects cohabite to create a single one, unique and inseparable: - One focused on setting up the pragmatic and rational tool of the « opera », - The other weaving links with the surrounding context, allowing the public access to marvel at the heart of the mystery, to penetrate the architecture, rise with it, live the opulence of this art from which it has been excluded too often, remaining outside the edifice, at the foot of the main façade, and especially if its members were not music-lovers.

Visible, like Saint-Petersburg’s other major monuments, the golden shell of the new opera does not conform to the building’s shape. Rather, it keeps its distance, even managing to envelope the structure without

42 touching the banks of the canal. It hovers over the halls, thus freeing up vast volumes, much like being under a cupola. Like a garment of light, it is broadly deployed ÂŤ around the body Âť, leaving free spaces, open to the city, prolonging the public space right into the interior of the building as a succession of foyers forming one generous covered gallery linking the main hall with the modern one, with restaurants, cafes, boutiques and other services.

The building takes advantage of this distance between envelope and edifice, transforming its upper levels into terraces, balconies and belvederes. One emerges above the roofs, perceiving through its

architecture the presence of the city. These upper levels of the buildings are accessible to all, day and night, during shows, rehearsals, set construction and dismantling. They make up the tip of the iceberg, the areas made available to all, where one may stroll, visit, where one agrees upon a meeting point - at the OPERA. This openness and permeability of the architecture spoil nothing of opera’s mystery. Behind the golden mask, one penetrates into an imposing volume of black marble to discover the main hall, a mythical place, always sumptuous and eternally surprising. Here, the red and gold merge like an immense fresco, MARIINSKY II St. Petersburg

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Dominique Perrault Architecte May 2003 whose image has been projected onto the rows, balconies, walls and ceiling. One enters into a painting, a tapestry inspired by the ornamentation of our most beautiful classical opera houses.

This distorted, almost blurred image of the decoration specific to this lyrical art induces a dream-like state, a poetic vision, beyond designing the seating, lamps and other furniture. Here we are in a pictorial universe.

The set is in the hall itself, since when the lights go down, the set is on the stage. The creation of this fresco, as a landscape in which one takes one’s place, transforms the public into an actor, introduces the living into this decorative «still life», adds a whiff of fantasy to the opera’s lyrical

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dimension.

Hidden behind this immense «wallpaper» is the machinery of the «opera». The other side of the shell allows one to see into all the functions for putting on events: access for truck delivery and the personnel, an atrium in the form of a covered passage to rehearsal rooms, to the different scenes, to the vast technical and stage-set spaces, but also into the offices, dressing rooms, all the way into the ballet hall itself.

In this wing, everything is rationally organized so each space can be accessed easily and directly from this spinal column that crosses the length of the building. This space of circulation and communication, veritable backbone, connects all of the Opera’s functions, like a sort of

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interior street reserved for the personnel and other authorized visitors.

This private face of the building constitutes an architectural counterpoint to the flamboyant and public one previously described. Its architecture of black marble, with its façades in dark glass, “lined” by red fabric composed of pure and smooth geometric masses, is strictly organized according to the functional requirements of the of the Opera house’s program.

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The appearance of this reasoned geometry creates an architectonic articulation with the different architectural styles of surrounding streets. This difference in architectural writing qualifies the building’s front and back, brings it closer to the Mariinsky across the way, and settles it into the urban fabric with a façade on the plaza, the canal and the streets. The contact with the existing opera is not merely visual, it is also physical: with this telescoping catwalk coming out of the golden shell « plugging into » the historical façade on the other side of the canal. Thus, with this project -one we hope proves realistic -we drill a deep link between the foyer of the old and new opera houses, where one immerge into one emerges into the other.

This disposition respects the historic perspective of the St. Nicholas church and preserves the landscape of the canal.

Appearing / Disappearing; the stage of the opera house, with its artists, sets, music and librettos.

Presence / Absence of the architecture, which settles into the city’s historic silhouette and retires behind its golden mask.

Heritage and modernity of a project that settles into the historic center. Its beauty, freely accessible, loses none its mystery.

Form and function form an organization founded upon the rationality and flexibility of technique, allowing itself to be enveloped in an architectural image, symbol of a lyricism that is still possible in our contemporary culture.

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MADRID’S OLYMPIC TENNIS CENTRE

BY DOMINIQUE PERRAULT TO OPEN ON 8 MAY 2009

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Madrid’s Olympic Tennis Centre, designed by leading French architect Dominique Perrault, will be inaugurated on 8 May 2009. Described as one of the world’s most advanced sports facilities, the venue will host some 200 players during the Madrid Open tennis (9-17 May 2009) and aims to reinforce the Spanish Capital’s candidature for the 2016 Olympics.

Dominique Perrault, best known for such pioneering buildings as the Berlin Velodrome and Olympic Swimming Pool and the Bibliothèque nationale de France, has offices in Paris, Madrid and Luxembourg. He has recently also delivered the Ewha Women’s University, in Seoul, South Korea, the tower hotel Me in Barcelona and the Court of Justice of the European Communities in Luxembourg. The firm is currently working on a variety of other major projects ranging from office buildings to hotels and urban planning programmes such as the Fukoku Tower in Japan, the San Pellegrino thermal baths in Italy and office and mixed-use buildings in France.

52 client Madrid Espacios y Congresos, Madrid, Spain architect Dominique Perrault Architecture, Paris • engineering Perrault Projets, Paris (architectural engineering) ; TYPSA, Madrid (structure and installations) • project manager LKS, Madrid location Parque del Manzanares, Madrid, Spain site area 16.5 ha (40.77 acres) built area 100,000 m2 built volume 1,051,680 m3 (225,000 m3 tennis indoor and 826,680 m3 Caja Magica) beginning of conceptual design 2002 beginning of construction April 2006 construction period 3 years estimated project cost - 120,000,000

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Madrid Olympic Tennis Centre With a plot area of 16.5 hectares (40.77 acres), the site is located on a former slum housing area, previously a wasteland in the middle of a busy motorway and train network. The 100,000 square metre (1.07 million sq ft) built project includes the “magic box� with three indoor /outdoor courts with covered area for 20,000 spectators (12,000, 5,000 and 3,000 respectively), 16 outdoor courts, five courts with a covered area for 350 spectators each, six practice courts, a pool, headquarters for the Madrid Tennis Federation, a tennis school,

clubhouse, press centre, stadium boxes and other private areas and restaurants. Built areas, made of steel, aluminium, concrete and glass, are organized around a vast artificial lake over which volumes of varying sizes are scattered, like islands or fragments of nature beckoning strollers.

A system of footbridges opens numerous paths through these volumes, offering spectacular new perspectives and connecting the "magic box" with the San Fermin neighbourhood and the Manzanares river Park, designed by Ricardo Bofill.

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The "magic box" design superimposes two worlds. At the lake level (level -2), there are spaces for the players and the support services: training, receptions for VIPs, press centre, technical installations. Eight metres above, at the street level (level 0), there are spaces for the public and services aimed at the audiences on match days or during other events.

Inside, the tennis arenas are adapted to the different uses of the complex. The roofs of the three indoor/outdoor courts are giant mobile slabs mounted on hydraulic jacks, which

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serve to partially or totally open the three roofs to allow for passage of air and sunlight or close them to avoid exposure to the rain or other hazardous weather conditions.

The three aluminium clad roofs together provide a combination of 27 different opening positions. The roof of the central court, which measures 102 m x 70 m and which weighs some 1,200 tons, can have a vertical opening reach of up to 20 m while the horizontal opening can slide as much as its width.

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Îëèìïèéñêè áàñåéí è âåëîäðóì â Ãåðìàíèÿ

Ðàçïîëîæåíèå: Landsberger Allee, Áåðëèí, Ãåðìàíèÿ Ïàðöåë: 10 õà/ha ÇÏ: 53.780 m3(âåëîäðóì: 29.800 3 m , áàñåéí : 23.980 m3) ÐÇÏ: 809.816 m2 (âåëîäðóì :

452.701 m2, áàñåéí : 357.115 m2) Íà÷àëî íà êîíöåïòóàëåí ïðîåêò : 1992 ã. Íà÷àëî íà ñòðîèòåëñòâî íà âåëîäðóìà: þíè 1993 ã., áàñåéíà : þíè 1995 ã. Ïðîäúëæèòåëíîñò íà ñòðîåíå íà âåëîäðóìà: 4 ã. è 3 ìåñåöà, áàñåéíà : 4 ã. è 5 ìåñåöà Áþäæåò: 555 000 000 DM áåç òàêñè / 276 000 000 - áåç òàêñè (ïî êóðñà ïðåç 1997ã.)

äðóì (29,800 m3): êîëîåçäåíå, àòëåòèêà, òåíèñ, equestrianism, êîíöåðòè (11,420 çðèòåëè, 5,583 ñåäàëêè); áàñåéí (23,980 m3): 2 îëèìïèéñêè áàñåéíà, îëèìïèéñêà ïëàòôîðìà çà ñêîêîâå, áàñåéíè çà ãìóðêàíå (4,200 çðèòåëè, 2,136 ñåäàëêè); çàëà çà ìíîãî âèäîâå ñïîðò. Âåëîäðóìúò å îòêðèò ïðåç íîåìâðè 1997 ã., à ïëóâíèÿò áàñåéí - ïðåç íîåìâðè 1999 ã. Íîñèòåë å íà âòîðà íàãðàäà íà Deutscher Architekturpreis ïðåç 1999 ã.

08 Ïðîãðàìà íà ïðîåêòà: Ìóëòèôóíêöèîíàëåí âåëî-

Òîçè ïðîåêò èìà âðúçêà ñ îáåäèíåíèåòî íà äâåòå Ãåðìàíèè. Ñâúðçàí å è ñ æåëàíèåòî íà Áåðëèí äà ñòàíå ñòîëèöà è äà áúäå íîìèíèðàí çà äîìàêèí íà Îëèìïèéñêèòå èãðè ïðåç 2000 ã. Îò åäíà ñòðàíà, ïîëèòè÷åñêèòå àìáèöèè íà ñåíàòà Áåðëèí äà ñå ïðåâúðíå â îáåäèíåí ãðàä, îò äðóãà, îëèìïèéñêèÿò ïðîåêò, ñà ïîçâîëèëè íà ïðîåêòàíòèòå äà ðàçâèÿò íå ñàìî ïðîãðàìà çà ñïîðòíè ñúîðúæåíèÿ, íî è äà ñúçäàäàò ìðåæà, êîÿòî îáñëóæâà öÿëàòà áàçà.

EWHA - æåíñêè óíèâåðñèòåò â Ñåóë – Þæíà Êîðåÿ Îòêðèò íà 29 àïðèë 2008ã.

Íîâàòà ñãðàäà íà Seoul Ewha University, îñíîâàí ïðåç 1886 ã., ïîñðåùà 22 000 æåíè - ñòóäåíòêè. Òîé å êëàñèðàí ñðåä íàéäîáðèòå óíèâåðñèòåòè â ñâåòà. Ñëåä êîíêóðñ, îðãàíèçèðàí ïðåç 2003 ã., åêèïúò íà Äîìèíèê Ïåðî ïå÷åëè ïðîåêòà çà íîâàòà ñãðàäà íà óíèâåðñèòåòà. Òîâà å ïðîåêò ïî-ñêîðî çà ëàíäøàôò, îòêîëêîòî çà àðõèòåêòóðà. Òåðè-

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òîðèÿòà ñå íàìèðà ïî ñðåäàòà íà óíèâåðñèòåòñêàòà çîíà â Ñåóë. Êàìïóñúò å ðàçïîëîæåí â íèçèíà, êúäåòî ñå ïðåïëèòàò ïðèðîäà, ñïîðòíè ñúîðúæåíèÿ, çîíè çà îðãàíèçèðàíå íà ñúáèòèÿ è ìèêñ îò ñãðàäè ñ îáðàçîâàòåëåí õàðàêòåð. Äúëãà àñôàëòîâà ëåíòà, ñâúðçàíà ñ âåëîàëåÿ, å íàïúëíî îáãðàäåíà îò ðàñòèòåëíîñò. Â ïàðêà äîìèíè-

ðàò ïðàñêîâåíè äúðâåòà è îôîðìåíè èãëîëèñòíè õðàñòè. ×åðåí àñôàëò, ÷åðâåíà âåëîàëåÿ, çåëåíèíà è îñâåòåíàòà áÿëà äîëèíà, êîÿòî ñå ñïóñêà ëåêî ïî íàêëîíà, ãðàáâàò ïîãëåäà.  äðóãèÿ êðàé íà äîëèíàòà íàêëîíúò ñå ïðåâðúùà â îãðîìíè ñòúïàëà, êîèòî ïðè íóæäà áèõà ìîãëè äà ñå èçïîëçâàò êàòî àìôèòåàòúð íà îòêðèòî. Ïðîòèâîïîñòàâåíà

íà âúíøíèÿ ñâÿò, èçâåäíàæ ïðåä ïîñåòèòåëÿ ñå ïîÿâÿâà åäíà èçòúí÷åíà è èçèñêàíà âñåëåíà, èçïúëíåíà ñ êëàñíè ñòàè è áèáëèîòåêè, àìôèòåàòðè è àóäèòîðèè, ìàãàçèíè è äâèæåíèå. Ïåðî å èìàë æåëàíèåòî ôèçè÷åñêè äà ñâúðæå ñãðàäàòà ñúñ çåìÿòà, äà ðàçðàáîòè èäåÿòà òàêà, ÷å "êîíöåïöèÿòà è ìàòåðèÿòà äà ñå âïèøàò åäíà â äðóãà”.

Äâîðåöúò íà ïðàâîñúäèåòî íà ÅÑ Îòêðèò íà 4 äåêåìâðè 2008 ã.

Äîìèíèê Ïåðî å ïîêàíåí äà íàïðàâè óäúëæåíèåòî è äà óãîëåìè òðîéíî êàïàöèòåòà íà Äâîðåöà íà ïðàâîñúäèåòî íà

ÅÑ îò 50 000 êâ.ì. íà 150 000 êâ.ì. Ïðåäèçâèêàòåëñòâîòî ïðåä íåãî å áèëî íå ñàìî äà óâåëè÷è ïëîùòà, íî è äà é ïðèäàäå õàð-

ìîíè÷åí âèä, çàùîòî ñãðàäàòà âå÷å å áèëà ïðèñòðîÿâàíà òðè ïúòè. Ñãðàäàòà íà ñúäà å îòêðèòà ïðåç 1973 ã., êîãàòî Åâðîïåé-

63 ñêàòà îáùíîñò èìà ñàìî øåñò ÷ëåíêè. Ïîñëå ñúäúò å ïðèñòðîÿâàí ïðåç 1988 ã., 1993 ã. è 1994ã. Ïåðî å âúçïðèåë ïðîåêòà êàòî òðîéíî ïðåäèçâèêàòåëñòâî- ôóíêöèîíàëíî, ãðàäñêî è èíñòèòóöèîíàëíî. Ïúðâî ñúäúò ñå å íóæäàåë îò 100 000 êâ.ì, çà äà ìîæå â íåãî äà ðàáîòÿò 2 000 ñúäèè è ñëóæèòåëè. Âòîðî, âòîðè÷íèòå ïðèñòðîÿâàíèÿ, íà ìîìåíòè ñ ïðîòèâîïîñòàâÿù ñå äèçàéí, å òðÿáâàëî äà áúäàò ðàöèîíàëèçèðàíè è äà ñå

îáåäèíÿò â åäíî ôóíêöèîíàëíî öÿëî. Íåîáõîäèìî å áèëî íå ñàìî äà ñå ñúçäàäå äîïúëíèòåëíî ïðîñòðàíñòâî, íî è äà ñå îáåäèíè öÿëîòî, äà ñå ñúçäàäå ñãðàäà, êîÿòî áè òðÿáâàëî ïîñêîðî äà õàðìîíèçèðà îñòàíàëèòå, îòêîëêîòî äà èçãëåæäà êàòî ÷åòâúðòà ïðèñòðîéêà. Íà òðåòî ìÿñòî ñòîè ñèìâîëè÷íîòî çíà÷åíèå íà ïðåñòèæíàòà èíñòèòóöèÿ. Ñ âèñî÷èíà íàä 100 ìåòðà, ñåãà íîâèòå êóëè ñà íàé-âèñîêèòå â Ëþêñåìáóðã.

Øèðîêèòå ïðîñòðàíñòâà íà ñåâåð, ïðîåêòèðàíè äà áúäàò äèñêðåòíè, îñèãóðÿâàò äîñòúï äî ïðîñòîðíî ôîàéå è äî çàëèòå çà ñðåùè. Ñïîðåä ïðîåêòà íà Ïåðî, ñúäúò ñå å ñäîáèë ñ îñíîâíà ñúäåáíà çàëà, ÷åòèðè ïî-ìàëêè ñúäåáíè çàëè, îôèñè íà ïðåçèäåíòñòâîòî è íà ÷ëåíîâåòå è ñúñ ñúäåáåí ðåãèñòðàöèîíåí îôèñ. Öÿëàòà ÐÇÏ å 100 000 êâ.ì. Îñâåí ïðîåêòèðàíåòî íà ñãðàäàòà, åêèïúò íà Ïåðî å

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íàïðàâèë è ãðàäñêîòî ïëàíèðàíå â ðàéîíà. Òî âêëþ÷âà ëàíäøàôòà, òðàíñïîðòà è ïðîãðàìà çà ñãðàäè ñúñ ñìåñåíè ôóíêöèè íà âõîäà íà Êèðõáåðã. Öåëòà å áèëà äà ñå äàäå ïîãðàäñêè âèä è äà ñå ïî÷óâñòâà Porte de l’Europe ÷ðåç ñúçäàâàíåòî íà ïî-äîáðà âðúçêà ìåæäó îòäåëíèòå åëåìåíòè íà ðàéîíà è ìèíóâà÷èòå. Öÿëîñòíîòî îñúùåñòâÿâàíå íà òîçè ïðîåêò ñå ïðåäâèæäà äà áúäå çàâúðøåíî ïðåç 2020 ã.

Ìàðèèíñêèÿò òåàòúð â Ñàíêò Ïåòåðáóðã Ìîæå ëè íÿêîé äà íå ñå ðàçâúëíóâà îò öâåòîâåòå íà Ñàíêò Ïåòåðáóðã? Íå ñàìî îò öâåòîâåòå íà ïðèðîäàòà, íî è îò òåçè íà ãðàäà, ìàðêèðàíè îò çëàòíè îòáëÿñúöè. Òîëêîâà ìíîãî áëåñòÿùè çíàöè ñå îòðàçÿâàò ïî çèìíèÿ ïåéçàæ è êàíàëèòå! Òàçè ãðàäñêà ïðèêàçêà èçãðàæäà ãåîãðàôèÿòà íà äíåøåí Ïåòåðáóðã. Çëàòíè ãëîáóñè, êóïîëè è ñïèðàëè ìàðêèðàò öåíòúðà íà ãðàäà êàòî ïîêàçâàò ðåëèãèîçíèòå ìåñòà è ðàìêèðàò ìóçåèòå. Ïðèñúñòâèå-

òî íà òåçè çëàòíè êîðîíè óâåí÷àâà öÿëîñòíîòî íåâåðîÿòíî èçëú÷âàíå íà Ñàíêò Ïåòåðáóðã. Òîçè ñöåíè÷åí äèçàéí â öåëèÿ ãðàä íå áè òðÿáâàëî äà ïîäìèíå è îïåðíèÿ òåàòúð Ìàðèèíñêè.  ñúðöåòî íà êîìïëåêñíàòà ìðåæà îò êàíàëè è óëèöè, ïðîåêòúò íà íîâèÿ Ìàðèèíñêè òåàòúð òðÿáâà äà ãîâîðè ñ åçèêà íà ìèíàëîòî, íî â ñúùîòî âðåìå äà ïîêàæå è áúäåùåòî íà ñúâðåìåíåí Ïåòåðáóðã, êîéòî çàùèòàâà àðõèòåêòóðíîòî íàñëåäñòâî êàòî öåííî áîãàòñòâî,

íî è ñå îòâàðÿ êúì ñâåòà. Òàçè âðúçêà ìåæäó èñòîðèÿ è ìîäåðíîñò å ôîðìèðàëà àðõèòåêòóðíèÿ äèçàéí íà ïðîåêòà, ïðåäëàãàéêè íàé-äîáðàòà ôóíêöèîíàëíà îðãàíèçàöèÿ íà îïåðíàòà ñöåíè÷íà ìàøèíà è íàéñèìâîëè÷íîòî ïðèñúñòâèå íà èçêóñòâîòî íà îïåðàòà. Çëàòíàòà îáâèâêà íà îïåðàòà íå ñå ïîä÷èíÿâà íà ôîðìàòà íà ñãðàäàòà. Ïî-ñêîðî ñå äèñòàíöèðà îò íåÿ è äîðè óñïÿâà äà ïîêðèå ñòðóêòóðàòà áåç äà äîêîñíå êà-

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íàëèòå. Òÿ ñå ïðîìúêâà íàä çàëèòå, îñâîáîæäàâàéêè øèðîêè ïðîñòðàíñòâà, íàïîäîáÿâàéêè êóïîë. Êàòî äðåõà îò ñâåòëèíà, òÿ å øèðîêî ðàçãúðíàòà ïîêðàé òÿëîòî, îñòàâÿéêè ñâîáîäíè ïðîñòðàíñòâàòà êúì ãðàäà. Ïóáëè÷íîòî ïðîñòðàíñòâî íàâëèçà íàâúòðå â ñãðàäàòà êàòî ïðîäúëæåíèå îò ôîàéåòà, ôîðìèðàùè ãàëåðèÿ, êîÿòî ñâúðçâà îñíîâíàòà ñ ìîäåðíàòà çàëà è ñ ðåñòîðàíòèòå, êàôåòàòà, áóòèöèòå è äðóãèòå ñåðâèçíè ïîìåùåíèÿ.

Îëèìïèéñêèÿò òåíèñ öåíòúð â Ìàäðèä Îëèìïèéñêèÿò òåíèñ öåíòúð â Ìàäðèä å ðàçïîëîæåí íà ïëîù îò 16,5 õåêòàðà (40,77 àêðà). Ïðîåêòúò âêëþ÷âà "ìàãè÷åñêà êóòèÿ” ñ òðè âúíøíè/âúòðåøíè êîðòà ñ ïîêðèòà ïëîù çà 20 000 çðèòåëè (12 000, 5000 è 3000 ðåñ-

ïåêòèâíî), 16 âúíøíè òåíèñ êîðòà, 5 òåíèñ êîðòà ñ ïîêðèòà ïëîù çà 350 çðèòåëè, øåñò äðóãè êîðòà, áàñåéí, ñåäàëèùåòî íà òåíèñ ôåäåðàöèÿòà â Ìàäðèä, êëóá, ïðåñ öåíòúð, ñòàäèîíè è äðóãè ÷àñòíè çîíè è ðåñ-

òîðàíòè. Ïîñòðîéêèòå ñà îò ñòîìàíà, àëóìèíèé, áåòîí è ñòúêëî. Òå ñà îðãàíèçèðàíè îêîëî øèðîêî èçêóñòâåíî åçåðî, íàä êîåòî ñà ðàçïðúñíàòè îáåìè ñ ðàçëè÷åí ðàçìåð êàòî îñòðîâè èëè ôðàãìåíòè. Ñèñòå-

ìà îò ìîñòîâå îòâàðÿ ìíîæåñòâî ïúòåêè ïðåç òåçè îáåìè, ïðåäëàãàéêè íîâè ïåðñïåêòèâè, ñâúðçâàùè "ìàãè÷åñêàòà êóòèÿ” ñ êâàðòàëà íà Ñàí Ôåðìèí è ïàðêà Ìàíçàíàðåñ, ïðîåêòèðàí îò Ðèêàðäî Áîôèë.

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Make it new, keep it old A look into private restoration efforts in the central part of Sofia and the ways of making it a bit more trueto-life with DENEL products.

A quick stroll round the central parts of Sofia these days might reveal to you an interesting symbiosis: several exhibitions of photographed houses, some of them 130-year-old, coexist with the still present objects of the reprinted century-old artworks. And while the B&W imagery might mostly induce some sense of pride, nostalgia and even a small change in the attitude toward the city-in-distress we Bulgarians call capital (or at least toward its historic grounds) the look of the still surviving century-old premises in their modern outlook would quite often bring to just the opposite state of mind. As crude as the latter sounds, it bears its grounds in the long-lasting efforts of owners and managers of such historic property to (at least) maintain it, if not make a profitable real estate deal out of the piece of urban history they execute their possessory rights upon. And mostly in the fact that success in making the reconstructed building into a still worthy architectural piece comes to very few of the latter. As complex as this matter is, the next lines are dedicated to a quick glimpse into a way to address the façade of a reconstructed building with a little more sense of the time and cultural history it bears.

Colour, textures and factures of the façade These three come to play a crucial part in a person’s perception of a building and they are al represented in the façade of the premises we’re talking about. And they have their own history, as materials, technology and artistic trends have developed throughout time.

So when faced with a façade, bearing missing or bruised plaster, faded colours and shredded brick, one has a choice to make - keep the spirit of the whole building and its initial style through true-to-life restoration or make something completely new of the building, sticking to just some elements of the façade (or to none at all).

And it is the first choice we are addressing here. As it bears several initial problems one has to encounter when deciding to deal with such a building.

Insulation: A much as old fifty-and-more centimeter thick brick walls are considered to have a pretty high insulating capability, one can boost it with laying an upper layer of relatively thin EPS sheets. EPSbased façade insulation systems tend to be the most common and affordable ways of making even an old façade wall meet the new energy-efficient building requirements and they are offered in wide variety on the nowadays market.

Still, it is the finishing layers of those systems that make the difference.

Plasters and Paints: Many of the discussed buildings’ facades have been plastered and then painted in the time of their initial construction. And as keeping them as close to their original outlook is crucial to maintaining the historical view of the façade, many of the modern silicone-based plasters do not seem to meet the requirements of final texturing.

DENEL offers a classical, yet durable and cost-effective way into solving this problem. The Bulgarian dry construction mixtures producer offers a wide variety of cement-based products to meet both contemporary standards and still provide a solution when searching for vintage look. All of the façade thermal insulation systems of the company include a final finishing of either colored or white, textured (rubbed) or smooth plaster in their SUPRA product series - the DENEL SUPRA MF 06 and MF 07. The cement based products, though harder to operate and requiring sufficient skill of the personnel applying them, still hold some irrefutable advantages: Cement hardens in an extremely long period and its durability is in the term of 50 to 70 years At the same time a cement-based plaster offers a much easier and nicer way into obtaining the historically true outlook of a century-old façade as it is close in terms of ingredients and technology to the original plasters used back at the time Modern technological developments have turned MF 06 and MF 07 into lasting, durable material, capable of withstanding direct exposition to UV radiation (from sunlight) and the chemical challenges of urban pollution.

Last, but not least - using uncolored (white mostly) versions of the plaster provides the opportunity of applying a finishing layer of paint over the facade - either the acrylate DENEL SUPRA B 02 or the silicone DENEL SUPRA Ñ01.

There are several advantages to taking this last step.

The first one, of course, being the aesthetic one. In coloring plaster one has a limited array of available options, while obtaining smooth colour over a large façade is a pretty hard job. At the same time applying a finishing layer of façade paint provides a great range of available colours and a much easier way of having evenly colored façade as an end result. And in terms of one aiming into obtaining a true-to-the original outlook of a façade being reconstructed, there’s no better way.

On the other hand, both the acrylate and the silicone-based paints have a high level of vapor-permeability, which makes them an effective component to the whole insulating system. The finishing layer of paint helps avoid the soaking of the plaster by rain water and negates the direct effect of pollution factors upon the plaster. The layer of paint absorbs the UV radiation and all the pollution elements, making maintainance of the facade a much easier job in the long term, when one has to only repaint the facade, not change the whole plaster layer over an area with faded colour. Thus it is the finishing layer of paint which helps a cementbased plaster stay uncompromised, develop and display its full potential of durability and sustainability.

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Îñíîâíèÿò ïðèîðèòåò â íîâîòî ñèòè å òî äà ïðèòåæàâà ìíîãî åíåðãèÿ. Ñïîðåä Ã-3 õàðìîíèÿòà íà îáåìè è ïðîñòðàíñòâà, òÿõíîòî îáåäèíåíèå è áîãàòî ðàçíîîáðàçèå çàåäíî ñ åëåìåíòè îò åêîñèñòåìàòà, ôîíòàíè è àðòèñòè÷íè ïëàñòè÷íè èçêóñòâà ñà àìàëãàìà, êîÿòî ñúçäàâà ïîçèòèâíà äóõîâíà åíåðãèÿ, ðàäîñò è æèçíåíîñò íà íîâèÿ öåíòúð. "Èñêàìå äà ïîñòðîèì ãðàä-ãðàäèíà" ãðàä íà ñëúíöåòî”. Êîíöåïöèÿòà å çà "Ñîôèÿ ãðàäèíà Ñèòè 21”. Ïî òàçè ïðè÷èíà íèâîòî íà êîìïëåêñà å ïîâäèãíàò íà ïëî÷à, îïèðàùà â äâåòå ìàãèñòðàëè, ÷ðåç êîåòî å ñúçäàäåíà åìîöèîíàëíà è âèçóàëíà âðúçêà íà þã ñ Âèòîøà è îñòàíàëèòå ïëàíèíñêè âåðèãè íàîêîëî. Ïðèðîäàòà è îñíîâíèòå ôóíêöèè ñúùî àêòèâíî ïðèñúñòâàò è â ïîäçåìíèòå íèâà ÷ðåç ãëàâíèòå âõîäîâå êúì ñãðàäèòå. Ñõåìàòà â ïëàíà å öåíòðàëèçèðàíà è ðàçëè÷íèòå ôóíêöèîíàëíè ãðóïè è êîíñòðóêöèè ñà ðàçâèòè ïîêðàé îñíîâíîòî ïóáëè÷íî ïðîñòðàíñòâî - ïëîùàäa â öåíòúðà. Ïðîåêòúò å îò âèñîêè ñãðàäè, ñðåä êîèòî äîìèíèðàò Öåíòúðúò íà ìåæäóíàðîäíèòå îðãàíèçàöèè è ïðàâèòåëñòâåíèÿò êîìïëåêñ. Îáåêòèòå ñà ãðóïèðàíè â ñâîáîäíè ôóíêöèîíàëíè ãðóïè. Áèçíåñ çîíàòà å ðàçïîëîæåíà êðàé “Öàðèãðàäñêî øîñå” è â íåÿ ïðåîáëàäàâàò ãðóïè îò ñãðàäè ñ 35 - 40 ì âèñî÷èíà. Æèëèùíèÿò êîìïëåêñ å â ñåâåðîèçòî÷íàòà ÷àñò íà òåðåíà.

NEWS

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Õàðìîíèÿ íà îáåìè è ïðîñòðàíñòâà

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The Center of Knowledge has universal planetary functions. It is located in a symbolic globe with Aula Magna in the center and plenty of offices in the external crust. In the lower levels there are forums and amphitheater for meetings and discussions of scientific and intellectual groups from various countries and continents. Its total height is 50 m.

The Business Park is the second functional complex in terms of public importance. It is the largest zone in the City and has a decisive significance for its vitality and profitability. These are groups of tall buildings for business companies, banks and hotels.

In terms of their public significance, increased building height and important role for the financing of the entire project, the Business Park has been allocated the representative territories around the main highways Tsarigradsko shosse and G. M. Dimitrov.

The elements of the Business Park are 35-40 storey buildings having their own aura and silhouette. The main town planning characteristics of the buildings such as location, height, plasticity are marked in the project while the particular architectural projects will give the complete identity of each of them.

The third important functional element is the international EXPO for cutting edge technologies and products. It is situated in the west part of the territory and has an excellent interface with prof. Yordanov shipping highway. This interface is absolutely required for the shipping of large freights and containers for the expositions.

The building of EXPO is a low storey, large area volume designed for the exposure of large number of exponents and mass visits.

The forth functional terrain is the housing complex. It is located in the north-east part of the territory connecting to the east with a large housing massif which is part of the master plan of Sofia.

The housing complex consists of 10 to 12 storey buildings and has apartments with extra comfort for the residents of the City and the capital. In the internal part of the housing complex there is a kids'

entertainment place. The ground floors of the housing blocks are planned for restaurants, cafeterias and public services. The mall servicing the City and external customers belongs to this functional terrain.

The fifth functional terrain is the group of restaurants, casinos and entertainment center. It is in immediate proximity to the sports terrain.

Seven restaurants and pool rooms are united in one structure. It offers halls for restaurants: Bulgarian, French, Italian, Russian, Chinese, IberoAmerican and Arabic. The halls have spacious terraces at the same level. The game group shall have its own program.

The sixth functional terrain is the existing sports complex. As per the assignment and the answers to the questions posed, this terrain shall be kept in its existing condition.

The seventh functional system is the park one. The concept does not differentiate an isolated park area but the whole City is a CITY GARDEN. The spaces between the architectural buildings are green areas covered with grass, flowers, decorative plastic arts and picturesque walking lanes that can also be used for prophylactic jogging.

The eighth functional system is the communication and the infrastructure. Optimal technical parameters and schemes for their many-years exploitation have been planned. Effective solutions for connection of the new City with the town have been developed as well as connections from the main highways and flexible underground communication for all sites in the complex. There is separate information about these issues.

The ninth functional system is the parking lot!

The building up of a large underground space at two levels offers and excellent solution to the parking needs without disturbing and polluting There is room for the open parking as required by the program on the big front square with an area of 3600 sq. m.

Thus the entire functional program of the engineering assignment has been fulfilled.

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Harmony of volumes and spaces THE MAIN IDEA OF THE CONCEPT IS TO BUILD UP A NEW CITY AS A "GARDEN CITY".

We would like to restore the detached umbilical cord of people with nature of the city concrete and automobile jungles.

For this purpose the main level of a plateau is allocated to the people and the ecosystems while the communications, the infrastructures and the technologies are located underground.

This is achieved by raising the level in the area of the complex by a 7 m high concrete slab, lying over it some ground for the ecosystems, keeping the underground levels for the communications and infrastructures.

In front of the plateau a square with dimensions 60 m/600 m with total area of 3600 sq. m. is created integrating the two levels.

The "City" level of Sofia, following the good examples of the worlds experience, has increased functional and plastic parameters and a highlighted silhouette in the cityscape.

It is in fact an urban composition of architectural structures of various height and plastic arts located in a park zone.

Unlike the Cartesian spirit and the dull rationalism of 20th century and its geometrical "box", the concept is based on the holistic quantum philosophy about the Universe and the Art. The concept is dependent on the synthesis of the functional and the

spiritual values, high level of environmental friendliness and energy efficiency.

II. FUNCTIONAL MODEL The suggested concept tries to find the optimal functional zoning of the territory and the respective spatial structures in the required hierarchy, diversity and unity.

In accordance with the engineering assignment, the government structures have been given the dominating position in the new city center. These are the buildings of the ministries and the Center of the International Organizations. They are integrated in a strictly highlighted composition which forms the government square.

The Center of Knowledge which marks the main access to the new City from the main artery - Tsarigradsko shosse - also belongs to this group in terms of its public and intellectual importance.

The group of the ministries consists of two structures each of four 25storey administrative blocks and glazed spaces in-between to be used for conference halls and winter gardens.

The Center of the International and Public Organizations will host offices of the European Union, the agencies of UNO and other prestigious administrative and intellectual international structures as well as some Bulgarian ones. This 65-storey building has a central location and is the vertical dominant of the whole City.

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"ÀÄÀÈÑ-ïðîåêò"

Ìóëòèôóíêöèîíàëåí öåíòúð - âòoðè÷åí öåíòúð

Àêöèîíåðíî äðóæåñòâî íà àðõèòåêòèòå è èíæåíåðèòå â ñòðîèòåëñòâîòî /ÀÄÀÈÑ/ âêëþ÷âà 18 ñúìèøëåíèöè - 15 àðõèòåêòè è 3-ìà ñòðîèòåëíè èíæåíåðè, ó÷àñòâàùè â êîíñîðöèóìà ñúñ ñîáñòâåíèòå ñè äðóæåñòâà. Ñëåä âúòðåøåí êîíêóðñ â êîíñîðöèóìà ïîäêðåïà ïîëó÷àâà èäåÿòà íà àðõ. Äèìèòúð Äèìèòðîâ çà ãàëàêòèêàòà, êîÿòî ïî-êúñíî å ðàçâèòà è ìàêñèìàëíî õàðìîíèçèðàíà ñ îêîëíàòà ñðåäà. ÀÄÀÈÑ å è åäèíñòâåíèÿò êîëåêòèâ, êîéòî ïðåäñòàâÿ ðàçðàáîòåí ïî àêòóàëíè íîðìàòèâè ïîäðîáåí óñòðîéñòâåí ïëàí - ïëàí çà ðåãóëàöèÿ è çàñòðîÿâàíå, êàêòî å èçèñêâàíåòî íà òåõíè÷åñêîòî çàäàíèå.  ðàáîòàòà ñè ïî ðàçðàáîòâàíå íà àðõèòåêòóðàòà íà êîìïëåêñà îñíîâíèÿò ïðèíöèï, îò êîéòî ñå âîäè åêèïúò, å òúðñåíåòî íà ñèëíà êîíöåïòóàëíà èäåÿ êàòî ïîäõîäÿù àðõèòåêòóðåí èçðàç íà ñúâðåìåííèÿ ñòðåìåæ êúì õàðìîíèÿ. Òîçè ñòðåìåæ ñå èçðàçÿâà â ãðàäîóñòðîéñòâåíàòà êîíöåïöèÿ ÷ðåç ñèìâîëèêàòà íà ãàëàêòèêàòà. Ãàëàêòèêàòà å ãðàâèòàöèîííî îáâúðçàíà ñèñòåìà, ñóïåðîðãàíèçàöèÿ íà ìèëèîíè çâåçäè â ïåðôåêòíî äâèæåíèå îêîëî åäèí öåíòúð. Òÿ ñèìâîëèçèðà âå÷íîòî äâèæåíèå, ïåðôåêòíàòà îðãàíèçàöèÿ è êîñìè÷åñêàòà åíåðãèÿ. Òåçè ïðèíöèïè ñå òúðñÿò âúâ âñÿêà ãðàäîóñòðîéñòâåíà ñõåìà, çàùîòî ãðàäúò å îðãàíèçúì, êîéòî ðàáîòè åäèíñòâåíî áëàãîäàðåíèå íà îðãàíèçàöèÿòà íà ñúñòàâÿùèòå ãî ÷àñòè è ñúùî ñå íóæäàå îò åíåðãèÿ è äâèæåíèå. ÀÄÀÈÑ ïðåäëàãà ÷èñòà è ÿñíà ïëàí-ñõåìà, êàòî îñíîâíàòà êîìïîçèöèîííà îñ å îðèåíòèðàíà ïî äèàãîíàëà íà ïðîåêòèðàíàòà òåðèòîðèÿ èçòîê-çàïàä ñ òðàíñïîðòåí ïîäõîä îò íîâî íèâî íà “Âèíàðîâî êîëåëî”, ðàçïîëîæåíî íàä Öàðèãðàäñêî øîñå è äîñòúïíî îò íåãî â äâåòå ïîñîêè. Îò òàì å ðàçâèòà îâàëíàòà ñòðóêòóðà è êîìïîçèöèÿ, êàòî êîíöåíòðè÷íî ðàçïîëîæåíàòà êîìóíèêàöèÿ îáðàçóâà äâàíàäåñåò êâàðòàëà. Òàçè ñòðóêòóðà ñå ïîâòàðÿ â ðàçëè÷íà ñòåïåí íà ïúðâî è âòîðî ïîäçåìíî íèâî, êîèòî ñà îáåçïå÷åíè ñ íåîáõîäèìèòå âðúçêè ïîìåæäó èì, êàêòî è ñ âðúçêè ñ èçãðàäåíàòà ãðàäñêà òðàíñïîðòíà êîìóíèêàöèÿ. Íàçåìíîòî è ïúðâî ïðèçåìíî íèâî ñà ñâúðçàíè â ïðîñòðàíñòâåíî îòíîøåíèå è ïîñðåäñòâîì ïðîáèâè ïîìåæäó èì, ïîçâîëÿâàùè ÷àñòè÷íî åñòåñòâåíî îñâåòëåíèå è âåíòèëàöèÿ íà ïðèçåìíîòî íèâî, êúäåòî îñâåí ïàðêèðàíå è èíæåíåðíà èíôðàñòðóêòóðà ñà ëîêàëèçèðàíè ðàçíîîá-

ðàçíè îáùåñòâåíî-îáñëóæâàùè äåéíîñòè. Ïëàíîâàòà ñõåìà ïðåäàâà äâèæåíèåòî íà äâà ïîòîêà åíåðãèÿ, êîèòî ñå çàâúðòàò â ïðîòèâîïîëîæíè ïîñîêè îêîëî öåíòðàëíîòî ïëîùàäíî ïðîñòðàíñòâî. Äâàòà óñïîðåäíè ïëàíà óñëîâíî ìîãàò äà ñå ðàçäåëÿò íà “íèñúê”, õàðàêòåðèçèðàù ñå ñ îáîãàòåí äåòàéë è ïîäõîäÿù çà âúçïðèåìàíå îò áëèçî, è “âèñîê” - èç÷èñòåí îò äåòàéë è ïîäõîäÿù çà âúçïðèåìàíå îò ïî-äàëå÷ èëè â äâèæåíèå. Äèàãîíàëíîòî ðàçïîëàãàíå íà êîìïîçèöèÿòà ïî îòíîøåíèå íà ïúðâîñòåïåííàòà óëè÷íà ìðåæà ïîçâîëÿâà âúçïðèåìàíå â ðàêóðñ, êîåòî äîïúëíèòåëíî ïîäñèëâà ïëàñòè÷íèÿ è õóäîæåñòâåí ðåçóëòàò. Ôðîíòúò íà çàñòðîÿâàíå â ïàðöåëèòå å ïðåêúñâàí ïåðèîäè÷íî ñ ïàóçè â íàïðå÷íà ïîñîêà ñ îãëåä îñèãóðÿâàíå íà ïðîãëåäè, âåðòèêàëíî îçåëåíÿâàíå è “äèøàíå” ïðåç ôàñàäèòå íà öÿëàòà óðáàíèçèðàíà ñòðóêòóðà. Èçáðàíèÿò ïîäõîä å ïîäêðåïåí è ñ ÷àñòè÷íî ïðåìèíàâàíå íà çàñòðîéêàòà íàä íÿêîè óëèöè è ïåøåõîäíè ïðîñòðàíñòâà. Êîìïëåêñúò å ðàçäåëåí íà äåâåò ÿñíî ðàçãðàíè÷åíè ôóíêöèîíàëíè çîíè - òúðãîâñêè êîìïëåêñ, îôèñè, èçëîæáåí öåíòúð, îñíîâíàòà àäìèíèñòðàòèâíà ñãðàäà íà ÅÑ è äúðæàâíàòà àäìèíèñòðàöèÿ, Öåíòúð íà ïîçíàíèåòî, æèëèùåí êîìïëåêñ, õîòåëè, îáðàçîâàòåëåí öåíòúð è ñïîðòíà çîíà. Òåçè ÿñíî îáîñîáåíè çîíè äàâàò âúçìîæíîñò çà åòàïíîñò íà èçïúëíåíèåòî è âúçìîæíîñò çà ó÷àñòèå íà ìíîãî íà áðîé èíâåñòèòîðè. Âñè÷êè çîíè ñà ðàçïîëîæåíè îêîëî öåíòðàëíèÿ ðàçâëåêàòåëåí ïàðê è îñíîâíèÿ ïëîùàä, êîåòî ïðàâè îðèåíòàöèÿòà â ðàìêèòå íà êîìïëåêñà îñîáåíî ëåñíà. ×ðåç èçãðàæäàíåòî íà íîâî íèâî íà “Âèíàðîâî êîëåëî” ñå îñúùåñòâÿâà íàé-ïðåêèÿò è ëåñåí ïîäõîä êúì êîìïëåêñà. Êîëåëîòî è âúòðåøíèÿò êîìóíèêàöèîíåí ïðúñòåí ñúçäàâàò ôèíà òðàíñïîðòíà ìðåæà ñ ðàçíîîáðàçíè ïîäõîäè. Äâà ïåøåõîäíè ìîñòà, ëåñåí äîñòúï îò îñíîâíèòå ñïèðêè íà îáùåñòâåíèÿ òðàíñïîðò äî êîìïëåêñà, êàêòî è äâå ïðîìåíàäè îòíàñÿò ïåøåõîäöèòå äèðåêòíî äî ãëàâíèÿ ïëîùàä è äî âñè÷êè ñãðàäè. Îáùî çà íóæäèòå íà ïàðêèðàíåòî è ãàðèðàíåòî â Ìíîãîôóíêöèîíàëíèÿ öåíòúð ñà îñèãóðåíè îêîëî 10 500 ïàðêîìåñòà, îò êîèòî 3100 - íàäçåìíè.

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Of the companies united in the consortium “Adais - Project”, participating in the contest for secondary center of Sofia.

ABT - Consult Arcont Arch - Engineering ATM Vesta Design Viaarch VIG - Engineering Vig - inv.

VIPROEKT KA2-Arch MEchanov Archstudio Peristil Pino 55 Rest Consult Solve IT Studio Nurkov Urbano - BG YARD

eng. Alexander Vasilev Traikov Arch. Ilko Nikolov Nikolov Arch. Gergana Mincheva Saralieva - Valkova Arch. Ivailo Vasilev Mishev Arch. Dimitar Lyubomirov Dimitrov arch. Vania Racheva Furnadjieva - Petlichkova eng. Vladimir Dzhelev Rusev Arch. Georgi Dimitrov Bakalov Àrch. Kamelia Petrova Peshunova Katia Zaharieva Vateva Arch. Georgi Ivanov Mechanov Arch. Rozina Pavlova Chervenkova Arch. Petar Dimitrov Cherveniashki Arch. Chavdar Naidenov Spasov Eng. Stefan Ivanov Kinarev Arch. Iordan Hristov Nurkov Ek. Radka Krumova Arch. Iavor Hristov Dichev

Chairman of the consortium: arch. Georgi Bakalov Second chairman: arch. Dimitar Dimitrov Controller: eng. Vladimir Rusev

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Adais-Project

Multifunctional complex - secondary center Shareholder association of architects and engineers in the construction /ADAIS/ involves 18 partners - 15 architects and 3 constructing engineers participating in the consortium with their own companies. After inner contest in the consortium - the idea of arch. Dimitar Dimitrov for a galaxy gets more support, which later is developed and harmonized with the environment. Adais is the only collective, which presented a project designed by the present detailed master plan as is in the requirements of the technical task.

The project presented by ADAIS is based on the idea of buildings organized in a pattern reminding the Milky way. The new center of Sofia will have big international attention in the future and the architects concept is cosmopolitan.

The plan is centralized by main plaza and geometrically developed buildings around it. The central plaza and curved triangle buildings in the two edges create the symbolic form of the human eye. So the future new city will be looking straight towards the space and the stars. The other components in the multifunctional level are developed around two main diagonals in the end of which are placed two main entrances to the secondary center of Sofia.

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Ìàñèìèëèàíî Ôóêñàñ

Âúëíóâàùî áÿãñòâî îò òðàäèöèîííàòà ãðàäñêà ñðåäà

Ïðîåêòúò íà èòàëèàíñêèÿ àðõèòåêò Ìàñèìèëèàíî Ôóêñàñ å ñëîæíà ñèñòåìà îò îáùåñòâåíè è ÷àñòíè ïëîùè, ïðåäëàãàùè âúëíóâàùî áÿãñòâî îò òðàäèöèîííàòà ãðàäñêà ñðåäà. Ôóòóðèñòè÷íàòà êîìïîçèöèÿ îáåäèíÿâà òðè ôóíòêöèîíàëíî îáîñîáåíè êðúãîâè çîíè, âðúçêàòà ìåæäó êîèòî ùå ñå îñúùåñòâÿâà ÷ðåç ïåøåõîäíî äâèæåíèå. Ïàðêèðàíåòî è êîìóíèêàöèèòå ñà â ïîäçåìíèòå íèâà. Çàáåëÿçâà ñå, ÷å àðõèòåêòèòå òúðñÿò êîíêðåòåí ñèìâîë, îáâúðçàí ñ Áúëãàðèÿ. Ðîçàòà å åìáëåìàòè÷íà çà íàøàòà äúðæàâà, îñîáåíî â ÷óæáèíà, è â ïðîåêòà ñà òúðñåíè ôîðìè, íàïîäîáÿâàùè òîâà öâåòå. Êîíöåïöèÿòà å äà ñå èçãðàäÿò ñòðóêòóðè, êîèòî äà îáðàçóâàò "Ðàçöúôíàëàòà ãðàäèíà” íà Ñîôèÿ è äà ñòàíàò ñèìâîë çà ñòîëèöàòà ïîäîáíî íà Àéôåëîâàòà êóëà â Ïàðèæ èëè Ñòàòóÿòà íà ñâîáîäàòà â Íþ Éîðê. Òåçè ñòðóêòóðè ùå èìàò ðàçëè÷íè ôóíêöèè - îò àäìèíèñòðàòèâíè äî åêñïîçèöèîííè ïðîñòðàíñòâà è ðåñòîðàíòè. Ïëàíúò å ðàçâèò â òðè îñíîâíè ãðóïè, íàðå÷åíè ãðàäèíè. Ðàçðàáîòåíà å è ñòðàòåãèÿ çà óñòîé÷èâî ðàçâèòèå è íàìàëÿâàíå íà îòäåëÿíåòî íà CO2.

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The project is complex system of public and private spaces offering an exciting experience as a get-away from the traditional urban environment. We could notice that the architects have been looking for certain symbol connected with Bulgaria. The rose is emblematic for our country especially abroad and this leads to the creation of floral forms reminding the Bulgarian rose. The idea is to create structures that will be “the blossomed garden� of Sofia and will become symbolic for the capital as the Eiffel tower in Paris or the statue of liberty in New York.

Those structures will have different functions from administrative to exposition spaces and restaurants. The plan is developed in three main groups called gardens. Part of the project is a strategy for sustainable urban development of the area.

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Massimiliano Fuksas

Exciting escape from the traditional urban environment

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“Çàõà Õàäèä àðõèòåêòè”

Àëãîðèòìè, âïëåòåíè â îðãàíè÷íà ñèñòåìà

Ïîäõîäúò íà “Çàõà Õàäèä àðõèòåêòè” êúì ïëàíà çà íîâ öåíòúð íà Ñîôèÿ å èçêëþ÷èòåëíî àíàëèòè÷åí.  ïðîåêòà å âêëþ÷åí çàäúëáî÷åí àíàëèç íà íóæäàòà îò íîâ öåíòúð, ïðèìåðèòå çà ïîäîáíè ïðîåêòè â äðóãè ãðàäîâå, ïðåäèìñòâàòà íà ìåñòîïîëîæåíèåòî è âðúçêàòà íà íîâèÿ öåíòúð ñ ãðàäà. Òèïè÷íî çà ïðîåêòèòå íà “Çàõà Õàäèä àðõèòåêòè” ôîðìèòå ñà èçãðàäåíè ÷ðåç ñåðèÿ îò àëãîðèòìè, êîèòî ñúçäàâàò îòäåëíè îáåêòè, îáðàçóâàùè ñâîÿ îðãàíè÷íà ñõåìà. Òàçè ñõåìà ñå õàðàêòåðèçèðà ñ îáðàçóâàíåòî íà äâà ïëîùàäà, êîèòî ôîðìèðàò îñíîâíèòå ïóáëè÷íè ïðîñòðàíñòâà. Ïúðâèÿò å ðàìêèðàí îò ñåðèÿ âèñîêè ñãðàäè ñ âèñî÷èíà îò 14 äî 30 åòàæà. Âñÿêà ñãðàäà èìà ðàçëè÷íà ôóíêöèÿ:

àäìèíèñòðàöèÿ, õîòåëè, îôèñè, æèëèùà, íàó÷íî-èçñëåäîâàòåëñêè è èçëîæáåí öåíòúð. Âòîðèÿò ïëîùàä ñå õàðàêòåðèçèðà îò äèíàìè÷íàòà ñè ôîðìà è å îñíîâíî îáãðàäåí îò æèëèùíè ïëîùè, õîòåëè è îôèñè. Îáùàòà âèñî÷èíà íà òåçè ñãðàäè å ìåæäó 10 è 13 åòàæà.  ïðîãðàìàòà çà óñòîé÷èâî ðàçâèòèå íà ïðîåêòà ñå îáðúùà âíèìàíèå íå ñàìî íà íà÷èíà íà èçãðàæäàíå íà íîâèòå ñãðàäè è âúçìîæíîñòèòå çà îïòèìàëíî èçïîëçâàíå íà åíåðãèÿ, íî è íà ðàçðóøàâàíåòî íà âå÷å ñúùåñòâóâàùèòå, êàêòî è ñâîåáðàçíîòî ðåöèêëèðàíå íà ñòðîèòåëíè ìàòåðèàëè ÷ðåç ïîâòîðíîòî èì èçïîëçâàíå â áúäåùèÿ ïðîöåñ íà ñòðîèòåëñòâî.

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The pattern itself is characterised by two public squares that form the primary public spaces of the Masterplan. Each of the squares has its own characteristics: a. The main square is framed by a series of tall buildings varying from 14 to 30 stories high. Each of the buildings supports different functions; state administration towers, offices, hotels, residential, a research tower and a high rise exhibition centre. b.The secondary square is characterized by the dynamism of its shape and it is primarily surrounded by residential. Hotel and office buildings. The overall height of these buildings is between 10 and 13 floors.

In the program for sustainability in Karo Masterplan we notice the attention of the architects not only to the way of construction of the new buildings, but also to the demolition process itself as partly the materials could be re-used in the future construction works.

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Zaha Hadid Architects

Algorithms entangled in organic pattern

The approach of Zaha Hadid Architects for new center of Sofia is extremely analytical. Part of the project itself is deep analysis of the need of new center, examples of similar developments in other countries, the advantages of the site and the location and the connection of the secondary center with the rest of the city. Typically for the projects of Zaha Hadid Architects the forms are generated by a series of algorithms that give us the guidelines for the individual objects that make a pattern.

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Ïðîåêòúò çà âòîðè÷åí ãðàäñêè öåíòúð íà "Ôîñòúð è ïàðòíüîðè” å ðàçðàáîòåí â êîíòåêñòà íà èäåÿòà çà ñúâðåìåíåí ãðàäñêè ðàéîí â áëèçîñò äî ãîëÿìà òðàíñïîðòíà àðòåðèÿ. Âúâ ôèëîñîôèÿòà íà ïðîåêòà å çàëîæåí ñòðåìåæúò òîçè ðàéîí äà ñå ïðåâúðíå íå ñàìî â íîâî àäìèíèñòðàòèâíî ÿäðî, íî è â ñðåäèùå çà ìåæäóíàðîäåí áèçíåñ è ïî òîçè íà÷èí äà ñå óòâúðäè êàòî èñòèíñêè âòîðè öåíòúð íà Ñîôèÿ.  ïðîåêòà ñå îòêðîÿâàò òðè òåìàòè÷íî-îðãàíèçàöèîííè àêöåíòà åâðîïåéñêè àäìèíèñòðàòèâåí êîìïëåêñ, öåíòúð íà çíàíèåòî è èçëîæáåíè ïàëàòè. Öÿëîñòíàòà êîìïîçèöèÿ îò ñãðàäè îáðàçóâà òðèúãúëíèê ñúñ çàîáëåíè âúðõîâå, êîéòî ñëåäâà åñòåñòâåíèòå êîíòóðè íà òåðåíà. Âèñîêàòà êóëà íà åâðîïåéñêèÿ àäìèíèñòðàòèâåí êîìïëåêñ å ñâîåîáðàçåí ìàðêåð íà âõîäà íà êîìïëåêñà, êîéòî ñå îòëè÷àâà êàòî àðõèòåêòóðíà ñòèëèñòèêà îò öåíòúðà íà çíàíèåòî è èçëîæáåíèòå ïàëàòè. Èçâèâêàòà íà âúíøíàòà ãðàíèöà íà òåðåíà â þæíà ïîñîêà äàâà âúçìîæíîñò èçëîæáåíèòå ñãðàäè äà áúäàò ïðîñòîðíè è ñ ðàçìåðè, ïîäõîäÿùè çà ìàùàáíè èçëîæåíèÿ è äðóãè ìàñîâè ïðîÿâè. Öåíòúðúò íà çíàíèåòî, íàìèðàù ñå íà ñåâåð, ùå ôóíêöèîíèðà íå ñàìî êàòî èçñëåäîâàòåëñêè êîìïëåêñ, íî è êàòî ìÿñòî çà ñðåùè, äåáàòè è çàáàâëåíèÿ, ò. å. åñòåñòâåíî ùå ñå ïðåëèâà â îáùåñòâåíèòå ïðîñòðàíñòâà è ïî òîçè íà÷èí ùå ãè ðàçøèðÿâà. Åäíà îò çàïîìíÿùèòå ñå õàðàêòåðèñòèêè íà ïðîåêòà å çåëåíèíàòà, Ñãðàäèòå ñà ðàçïîëîæåíè ñðåä ïðîñòîðåí ïàðê, ÷èèòî çåëåíè îáåìè ñÿêàø ñå îïèòâàò äà äîêîñíàò ãðàäà. Êúì ñãðàäèòå ñà ïðåäâèäåíè âúòðåøíè äâîðîâå, êîèòî äîðàçâèâàò è îáîãàòÿâàò âúçìîæíîñòèòå çà îçåëåíÿâàíå íà êîìïëåêñà.

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"Ôîñòúð è ïàðòíüîðè”

“Çåëåíèÿò” ïðîåêò çà íîâ ãðàäñêè öåíòúð

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The project for secondary urban center of “Foster partners� is developed in the context of the idea for contemporary urban area near big transport artery. In the philosophy of the project is put the yearning this area to become not only core for the administration, but also a meeting point for international business relations and so to become secondary center of Sofia.

In the project are underlined three thematic-organizational accents the European administration complex, the center for knowledge and exhibition spaces. The whole composition of buildings forms a triangle with sharp tops, which follows the natural contour of the terrain. The high tower of the European administration complex is marker of the entrance to the complex, which differs as architectural stylistics from the science center and the exhibition spaces.

The crinkle of the outer boundary of the terrain in southern direction gives a possibility the exhibitions halls to be constructed with sizes appropriate for big fairs and other big performances. The science center is located on the north and will work not only for research activities, but also as a place for meetings, debates and entertainment so it will naturally merge with the social spaces.

One of the remarkable characteristics of the project are the green spaces, the buildings are located in a big park, whose green spaces are trying to touch the city. For the buildings are foreseen also inside yards, which give a possibility for extra green spaces.

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Foster partners

The green project for new urban center

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Ñòðàòåãèÿ çà îòïàäúöè  ïðîåêòà å ïðåäâèäåíî ðàçäåëÿíå íà îòïàäúöèòå, âúçìîæíîñò çà ðåöèêëèðàíå è èíòåãðèðàíå íà ñúîðúæåíèÿ çà óïðàâëåíèå. Ñòàíöèèòå çà ðåöèêëèðàíå íà îðãàíè÷íè îòïàäúöè ùå áúäàò äîñòúïíè çà âñè÷êè â áúäåùèÿ êâàðòàë. Ñòðàòåãèÿ çà âîäà Ñúùåñòâóâàùè ïîäçåìíè ïîòîöè ùå áúäàò èçïîëçâàíè, çà äà áúäå ñúçäàäåíà ìðåæà îò êàíàëè, âêëþ÷âàùà âúçñòàíîâÿâàíåòî íà ñúùåñòâóâàùè âîäíè êàíàëè. Ãîëÿì âîäåí ðåçåðâîàð ùå áúäå èçãðàäåí â öåíòúðà íà ïàðêà è ùå áúäå èçïîëçâàí çà îõëàæäàíå, ïðàêòèêóâàíå íà ñïîðò è êàòî çàùèòà îò íàâîäíÿâàíå. Ïåéçàæ Ïîâå÷å îò 50% îò çåìÿòà ùå áúäå çàåòà îò ãðàäèíè, ïëîùàäè, ïàñàæè è ïàðêîâå. Ïëàíúò íà ñãðàäèòå ïðåäâèæäà çàïàçâàíå íà ïîëîâèíàòà îò ñúùåñòâóâàùèòå äúðâåòà. Òîâà ïðåäëîæåíèå íîñè ïëàòèíåí ñåðòèôèêàò LEED íà âòîðè÷íèÿ öåíòúð íà Ñîôèÿ â ñèñòåìàòà çà îöåíÿâàíå è ðàçâèòèå.

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Waste strategy The waste hierarchy will be used to determine opportunities for waste separation and recycling opportunities and waste management facilities will be fully integrated. Compost stations for organic waste recycling will be available to all users of the future district.

Water strategy Existing interrated water streams will be used to create a wide network of canals, including the restoration of pre-development water bodies.

It will help to restore previous wildlife habitat and wetlands. A large

Aerial view from South East April 2009 Š DPA / Adagp

water reservoir will be created in the Central Parkland and will be used for building cooling and sport practicing and to mitigate downstream flooding.

Landscape More than 50% of the site surface is devoted to landscape areas, gardens, squares, passages, parks.

The buildings implementation allows preserving half of the existing trees, and all new plantations will use native flora.

The proposed devices result to a LEED Platinum certification of Sofia Secondary Center in the LEED for Neighborhood Development rating system.

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View from West with buildings outline

April 2009

© DPA / Adagp

Åêîöåíòúð Ñìåñåíè ôóíêöèè Âìåñòî ìîíîôóíêöèîíàëíè ïàðöåëè, êîèòî áèõà äîâåëè äî ïðèëèâè è îòëèâè â òðàíñïîðòíàòà è èíôðàñòðóêòóðíà ìðåæà, ïðîåêòúò öåëè ñìåñâàíåòî íà îñíîâíè ôóíêöèè (îôèñè, òúðãîâñêè ïëîùè, õîòåëè, æèëèùà è ñïîðòíè ñúîðúæåíèÿ). Òðàíñïîðò è èíôðàñòðóêòóðà Íîâè áúðçè åêîëîãè÷íè òðàìâàè è òðîëåéáóñè ùå ñúçäàäàò ñèëíà òðàíñïîðòíà âðúçêà ñ öåíòúðà íà ãðàäà, ñúñåäíèòå êâàðòàëè è ëåòèùåòî, êàêòî è íàé-áëèçêàòà ìåòðîñòàíöèÿ. Íà ìàêñèìàëíî ðàçñòîÿíèå îò 150 ì ùå èìà òðàíñïîðòíè âðúçêè, à ñõåìàòà çà îñâîáîæäàâàíå îò çàâèñèìîñòòà îò êîëè ùå íàñúð÷è õîäåíåòî ïåøà è èçïîëçâàíåòî íà êîëåëà. Òðàíñïîðòíèÿò òðàôèê ùå áúäå ñâåäåí äî ìèíèìóì ÷ðåç ñúçäàâàíåòî íà ãîëÿìà ïåøåõîäíà çîíà è ïàðêèíãè, ðàçïîëîæåíè íà âõîäîâåòå. Ãðàäñêà îáâèâêà è î÷åðòàíèÿòà íà ñãðàäàòà Ãðàäñêàòà îáâèâêà å ïðîåêòèðàíà ñ èäåÿòà çà ìàêñèìàëíî ïðîíèêâàíå íà äíåâíà ñâåòëèíà â îòâîðåíèòå ïðîñòðàíñòâà, îñîáåíî â öåíòðàëíèÿ ïàðê. Îðèåíòàöèÿòà íà ñãðàäèòå è âèñî÷èíèòå ñà îïòèìàëíè, çà äà ñå óâåëè÷àò ïîëçèòå îò ïàñèâíîòî ñëúí÷åâî îòîïëåíèå ïðåç çèìàòà è çàñåí÷âàíåòî ïðåç ëÿòîòî. Îôèñèòå ñà îðèåíòèðàíè íà þã, çà äà óâåëè÷àò ïîòåíöèàëíîòî ñúáèðàíå íà äíåâíà ñëúí÷åâà ñâåòëèíà. Åíåðãèéíà ñòðàòåãèÿ Ïðåäëîæåíèåòî öåëè äà ïîñòèãíå 40% îò åíåðãèéíàòà óïîòðåáà íà âúçîáíîâÿåìè åíåðãèéíè èçòî÷íèöè. Âÿòúðíè òóðáèíè, ñëúí÷åâè ïàíåëè íà ïîêðèâèòå è ôàñàäèòå, è ñèñòåìà çà îõëàæäàíå, ñâúðçàíà ñ ïî÷âàòà çà ïëúòíèòå îôèñíè ïëîùè ùå ïîìîãíàò äà ñå ðåäóöèðà óïîòðåáàòà íà ãîðèâà è åíåðãèÿ.

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A LANDMARK ECO CENTER

Mixed functions Rather than monofunctional plots which would raise on and off site transports needs and infrastructures, the project aims at mixing the majors functions (Offices, Commercial, Hotels, Residential and Sports facilities) on each plots, with variant gradient depending on their location and density, thus improving social interactions, safety and pedestrian movement.

Transport and infrastructure New zero-emission fast trams and trolleybuses will create strong transport links to the city centre, to neighboring areas of the city, to the airport, and to the nearest subway stations. With a maximum distance of 150m to the nearest transport link and amenities, the dense network of car free paths encourages walking and cycling and social interactions. Car traffic will be kept to a minimum by creating large

View from East April 2009 © DPA / Adagp

scale plots and off-street car parking located at site entrances.

Urban envelope and building outline The urban envelope has been designed to preserve a maximum of daylight in all open areas, especially in the Central Parkland. Buildings orientations and heights are optimized to maximize the benefit of passive solar heating in the winter and sun shading in the summer. Office blocks are orientated to the South to maximize the potential of daylight harvesting.

Energy strategy The proposal aims to achieve 40% of energy use from renewable sources based on biomass Combined Heat and Power to meet the base thermal load. Wind turbines, solar panels on buildings’ roofs and façades and ground source cooling for high heat density offices will help reducing energy reliance from fossil fuels.

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Sections

April 2009 © DPA / Adagp

Îïèñàíèåòî íà DPA: Òîçè ïðîåêò å ñòðàòåãèÿ çà ãðàäñêî ðàçâèòèå. Òîâà íå å àðõèòåêòóðåí ïðîåêò, âñúùíîñò àðõèòåêòóðàòà å ñðåäñòâî çà ñúçäàâàíå íà òåðèòîðèÿ ñúñ ñâîÿ ñïåöèôè÷åí ïåéçàæ. Íèå íå èñêàìå äà ñòðîèì êóëè, à àðõèòåêòóðåí àíñàìáúë, ÷èéòî ñèëóåò íàïîìíÿ õúëìèñòèÿ ðåëåô íà ìàëêà ïëàíèíà.  òîïîãðàôèÿòà íà ïðîåêòà íå ñàìî òå÷å ðåêà, íî èìà ñúùî è ïàðêãðàäèíà, êîÿòî çàïàçâà ñúùåñòâóâàùèòå äúðâåòà. Íèå èñêàìå òîçè íîâ êâàðòàë äà áúäå ðàçâèò õàðìîíè÷íî ìåæäó ïðèðîäàòà è àðõèòåêòóðàòà. Òîâà äúëãî çåëåíî ïðîñòðàíñòâî ìèíàâà ïðåç öÿëàòà ïëîù è îáåäèíÿâà äâàòà âõîäà ñ êðúñòîïúòèùàòà, ïðåäëàãàéêè íîâè âúçìîæíîñòè çà âðúçêà ñ ïóáëè÷íèÿ òðàíñïîðò. Ñòðàòåãèÿòà ñå ñúñòîè â ïðåäëîæåíèå çà îáâèâêà, êîÿòî ùå îïðåäåëè ñèëóåòà íà êâàðòàëà è íåãîâàòà ïëúòíîñò. Âúòðå â òàçè "âèðòóàëíà” îáâèâêà, ñãðàäèòå ñà ðàçïîëîæåíè ñïðÿìî ïðîãðàìàòà íà ïðîåêòà, êàêòî è èìóùåñòâåíèòå è èêîíîìè÷åñêè âúçìîæíîñòè. Òàçè ÷àñò îò ãðàäà ñå ïîñòðîÿâà "ïîä” îáâèâêàòà ñúâñåì ñâîáîäíî, ïëàâíî è ãúâêàâî. Âñÿêà ñãðàäà èìà ñâîé àðõèòåêò, ñâîé ñîáñòâåí äèçàéí, êëèåíò, íî âñè÷êè òåçè àðõèòåêòóðè ïîêàçâàò ïîñòåïåííî ñïåöèôè÷íèòå î÷åðòàíèÿ íà òàçè òåðèòîðèÿ. Äâèæåíèÿòà íà ñèëóåòà ñà âçàèìîñâúðçàíè ñ ãðàäñêàòà è ãåîôèçè÷åñêà ñðåäà, îòáåëÿçâàéêè ñ âèñîêè òî÷êè âõîäîâåòå êúì êâàðòàëà èëè ïðèäðóæàâàéêè ñ ïî-íèñêè òî÷êè çàîáèêàëÿùèòå óëèöè. Ïàðêúò òðÿáâà äà ñå ïðåâúðíå â ãîëÿìî ïóáëè÷íî ïðîñòðàíñòâî, ãðúáíàê íà êâàðòàëà. Ñèëóåòúò å ðåãóëèðàí îò ñèëàòà íà ïóáëèêàòà, à ñèëàòà íà ÷àñòíèêà ñå èçðàçÿâàò â ðàçíîîáðàçíèòå è ñìåñåíè àðõèòåêòóðè. Äîìèíèê Ïåðî, àïðèë 2009

Ïðîåêòúò, ïðåäñòàâåí îò "Äîìèíèê Ïåðî Àðõèòåêòè" íåñúìíåíî èìà åñòåòè÷åñêè êà÷åñòâà, íî ïðè÷èíàòà òîé äà å òîëêîâà óñïåøåí âåðîÿòíî ñå êðèå â òîâà, ÷å èçêëþ÷èòåëíî äîáðå ñå âïèñâà â òîçè ãðàäñêè ôðàãìåíò íà ñòîëèöàòà è ñëåäâà ïðèíöèïèòå íà óñòîé÷èâàòà àðõèòåêòóðà, êîÿòî â áúäåùå ùå áúäå îñíîâåí ôàêòîð çà êà÷åñòâî.  êîíêóðñà çà íîâ ïðàâèòåëñòâåí öåíòúð â Ñîôèÿ ïðåäëîæåíèåòî íà DPA ñå ðàçëè÷àâà ñ òîâà, ÷å ïðåäëàãà îòâîðåí òèï êâàðòàë. Îáùåñòâåíîòî ïðîñòðàíñòâî íå å öåíòðàëèçèðàíî è çàòâîðåíî îò áúäåùèòå ñãðàäè, à å îñòàâåíî îòâîðåíî, êîåòî ùå ïîäêàíâà ìèíóâà÷èòå è îáèòàòåëèòå íà îêîëíèòå ðàéîíè äà ñå âúçïîëçâàò îò ïóáëè÷íèòå ïðîñòðàíñòâà è ñúîðúæåíèÿ â íîâèÿ êîìïëåêñ.  ïðîåêòà ñà ïðåäëîæåíè îòäåëíè áëîêîâå ñúñ ñêîñåíè âúðõîâå ïîðàäè ïî-äîáðîòî ïðîíèêâàíå íà ñâåòëèíà, êîèòî ñà îáåäèíåíè ïîä îáùà ãðàäñêà îáâèâêà. Âèñî÷èíàòà íà áëîêîâåòå ñå óâåëè÷àâà ïîñòåïåííî è òàêà ñå ñúçäàâà õàðìîíè÷åí ïîòîê îò ôîðìè, êîèòî íàïîìíÿò ïëàíèíñêè ðåëåô. Âúçìîæíîñòòà çà èíäèâèäóàëíîñò íà ñãðàäèòå å çàëîæåíà â ïðîåêòà, íî ñúùåâðåìåííî å ñúçäàäåí îáù ñèëóåò. Áëîêîâåòå ñà îáåäèíåíè â ðàçëè÷íè ôóíêöèîíàëíè ãðóïè ïîä ïîëóïðîçðà÷íà îáâèâêà, êîÿòî äàâà ôèíàëíèÿ îáëèê íà êîìïëåêñà è êîðåñïîíäèðà ñ ïëàíèíñêèÿ ñèëóåò íà Âèòîøà. Çà ðàçëè÷íèòå ôóíêöèîíàëíè ãðóïè ñà ðàçâèòè îòäåëíè ñòðàòåãèè çà óñòîé÷èâî ðàçâèòèå. Òå ìîãàò äà áúäàò îáîáùåíè â èçïîëçâàíåòî íà ñëúí÷åâè êîëåêòîðè, åñòåñòâåíà âåíòèëàöèÿ, çåëåíè ïëîùè, îïîëçîòâîðÿâàíåòî íà äúæäîâíàòà âîäà, ñèñòåìà çà âúçñòàíîâÿâàíå íà òîïëèíàòà è äîðè âÿòúðíè òóðáèíè. Äà ñå íàäÿâàìå, ÷å ïðîãðàìàòà, çàëîæåíà â ïðîåêòà, ùå áúäå îñúùåñòâåíà â ñâîÿòà öÿëîñò è Ñîôèÿ ùå ìîæå äà ñå ðàäâà íà íîâ åìáëåìàòè÷åí öåíòúð.

View from South April 2009 © DPA / Adagp

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Description by DPA: This project is an urban development strategy. It is not an architectural project; more precisely architecture is used as a device to create a territory with its specific landscape.

We do not want to build towers, but an architectural ensemble which silhouette evokes the hilly landscape of a small mountain. Inside this topography not only is a river flowing, but also a park-garden which preserves the existing trees. We want this new district to develop harmonious relationships between nature and architecture. This long green space runs through the site and joins the two entrance crossroads, offering to public transports new possibilities of connections and services.

The strategy consists in proposing a regulation envelope which will define the silhouette of the district and its density. Inside this “virtual” envelope, the buildings are arranged according to the programs as well as the property and economical opportunities. This piece of city gets built “under” this envelope with freedom, fluidity and flexibility.

Each architecture has its own architect, its own design, its own client, but all of these architectures show gradually the specific outline of this territory. The movements of this silhouette are interrelated with the urban and geophysical environment, scoring with high points the gates of the district, or accompanying with low points the surrounding streets. This park has to become the great public space, the spine of the district.

It is this silhouette that shall be controlled by the public power, the private power being in charge of the building varied and mixed architectures.

Dominique Perrault, April 2009

The project presented by Dominique Perrault architecture + ARUP is based on issues of sustainability. The world environmental problems get more attention and consequently reaction on local level could be seen more clearly. This project certainly has high aesthetical value and good outlook, but the reason why it is the most successful is probably in the fact that it is connected more adequately to the surroundings, it is environmentally friendly and it is a real strategy for development with the possibility of step-by-step construction and later design of the buildings.

The plan is composed by separate blocks with pitched tops because of the convenience of the penetration of light. The buildings are divided in different zones according to the demands for secondary center of Sofia. The blocks are getting higher gradually and so they create harmonic flow of forms that remind mountain relief. Between the two sides of new developments is designed a park. The idea that DPA propose for an open district is rather appealing as everybody could easily benefit from the facilities in the area. The blocks are united in different groups by the urban semi-transparent envelop that gives the final outlook of the complex and corresponds to the mountainous relief around Sofia.

For the groups of different constructions are developed different sustainable strategies. They could be summarized in: use of photovoltaic panels, natural ventilation, green spaces, re-use of the rain water, heat recovery system and even wind turbines. Hopefully the program in the project will be completed entirely and the city of Sofia could enjoy its secondary mixed-use center.

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Dominique Perrault Architecture + ARUP

ÅÄÈÍ ÑÈËÓÅÒ ÏÎÄ ÂÈÐÒÓÀËÍÀ ÎÁÂÈÂÊÀ

Masterplan April 2009 © DPA / Adagp

client: Minister for Regional Development and Public Construction , Sofia, Bulgaria. architects: Dominique Perrault Architects, Paris engineering: Arup, London location: boul. Tsarigradsko Shosse, Sofia, Bulgaria site area: 65 ha program: Government district, office buildings, hotels, housing buildings, sports facilities, knowledge center, exhibition center, park land area.

Government district: 325 000 m2 Office and housing buildings, hotels area: 555 000 m 2 Knowledge center: 50 000 m2 Exhibition center: 60 000 m2 Park land area and sports facilities: 190 000 m 2 Additional residential areas : 200 000 m 2

Êëèåíò: Ìèíèñòåðñòâî íà ðåãèîíàëíîòî ðàçâèòèå è áëàãîóñòðîéñòâî Àðõèòåêòè: Dominique Perrault Architects, Ïàðèæ Èíæåíåðè: Arup, Ëîíäîí Ìåñòîïîëîæåíèå: áóë. "Öàðèãðàäñêî øîñå", Ñîôèÿ, Áúëãàðèÿ Ïëîù: 65 õåêòàðà Ïðîãðàìà: Ïðàâèòåëñòâåí öåíòúð, îôèñè, õîòåëè, æèëèùà, ñïîðòíè ñúîðúæåíèÿ, ó÷åáíè çàâåäåíèÿ, èçëîæáåí öåíòúð, ïàðêèíãè Ïðàâèòåëñòâåí öåíòúð: 325 000 m 2 Îôèñè, æèëèùíè ñãðàäè, õîòåëè: 555 000 m 2 Ó÷åáåí öåíòúð: 50 000 m2 Èçëîæáåí öåíòúð: 60 000 m2 Ïàðêèíãè è ñïîðòíè ñúîðúæåíèÿ: 190 000 m 2 Äîïúëíèòåëíè æèëèùíè ïëîùè: 200 000 m 2

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The contest for secondary center of Sofia Kîíêóðñ çà âòîðè÷åí ãðàäñêè öåíòúð íà Ñîôèÿ

International jury with chairman arch.Helle Juul - Denmark, cochairman arch. Peter Dikov - chief architect of Sofia and members arch. Kiyonori Kikutake - Japan, arch. Brian Spencer - USA, arch.

Paul Andreu - France, Mitio Videlov - advisor of the minister of regional development and public works, arch. Lyubomir Pelovski - Union of Architects in Bulgaria determined the final winner of the contest announced in 2008 for secondary city center of the capital. In the intense competition the project of the French architectural bureau "Dominique Perrault Architects" was chosen for the winning one.

The idea for development of secondary city center of the capital was born after the entering of Bulgaria in the European Union, caused by the necessity of new working spaces on governmental level. The contest has had two phases - on the first one replied 18 architectural companies and among them 6 were chosen to elaborate a concept - Foster + Partners, Zaha Hadid Architects, Dominique Perrault Architects, Massimiliano Fuksas Architects, consortium Adais project, and G-3.

On the 29th of April in the National Gallery for foreign art was announced the winning project and the exhibition with projects of the six finalists. Among the attendants and guests was also the primeminister Sergei Stanishev. In his speech he underlined that for more than 100 years similar contest with this size has not been done and it will be a big success for Sofia as capital of a country of the EU.

Æóðè ñ ïðåäñåäàòåë àðõ. Õåëå Þë, Äàíèÿ, àðõ. Ïåòúð Äèêîâ, ãëàâåí àðõèòåêò íà Ñîôèÿ, ñúïðåäñåäàòåë è ÷ëåíîâå àðõ. Êèîíîðå Êèêóòàêå, ßïîíèÿ, àðõ. Áðàéúí Ñïåíñúð, ÑÀÙ, àðõ. Ïîë Àíäðüî, Ôðàíöèÿ, Ìèòüî Âèäåëîâ, ñúâåòíèê íà ìèíèñòúðà íà ÌÐÐÁ, àðõ. Ëþáîìèð Ïåëîâñêè, ÑÀÁ, îïðåäåëè êðàéíèÿò ïîáåäèòåë â îáÿâåíèÿ â ñðåäàòà íà 2008 ã. êîíêóðñ çà èçãðàæäàíå íà íîâ âòîðè÷åí ãðàäñêè öåíòúð íà ñòîëèöàòà.  îñïîðâàíàòà íàäïðåâàðà ñïå÷åëè ïðîåêòúò íà àðõèòåêòóðíîòî áþðî “Äîìèíèê Ïåðî àðõèòåêò” íà ôðåíñêèÿ àðõèòåêò Äîìèíèê Ïåðî. Èäåÿòà çà èçãðàæäàíå íà âòîðè÷åí ãðàäñêè öåíòúð íà ñòîëèöàòà ñå çàðàæäà ñëåä ïðèåìàíåòî íà Áúëãàðèÿ â Åâðîïåéñêèÿ ñúþç ïîðàäè íåîáõîäèìîñòòà îò ðàáîòíè ïëîùè çà ïðàâèòåëñòâåíè íóæäè. Êîíêóðñúò ïðîòå÷å â äâà åòàïà - ìåæäóíàðîäíà ïîêàíà êúì ó÷àñòíèöèòå â ïúðèÿ åòàï, íà êîÿòî îòãîâîðèõà 18 àðõèòåêòóðíè áþðà è îáåäèíåíèÿ è èçáîð íà øåñòèìà îò òÿõ, íà êîèòî áå âúçëîæåíî èçðàáîòâàíåòî íà êîíöåïöèÿòà - “Ôîñòúð + Ïàðòíúðñ”, “Çàõà Õàäèä àðõèòåêòè”, “Äîìèíèê Ïåðî àðõèòåêò”, “Ìàñèìèëèàíî Ôóêñàñ àðõèòåêòè”, êîíñîðöèóì “Àäàèñ ïðîåêò” ñ âîäåù ïðîåêòàíò àðõ. Ãåîðãè Áàêàëîâ”, îáåäèíåíèå Ã-3 ñ âîäåù ïðîåêòàíò àðõ. Ãåîãè Ñòîèëîâ. Íà 29 àïðèë ò. ã. â Íàöèîíàëíàòà ãàëåðèÿ çà ÷óæäåñòðàííî èçêóñòâî áå îáÿâåí ïå÷åëèâøèÿ ïðîåêò è áå îòêðèòà èçëîæáàòà íà êîíêóðñíèòå ïðîåêòè íà øåñòèìàòà ôèíàëèñòè. Ñðåä ïðèñúñòâàùèòå ãîñòè áå è ìèíèñòúðìèíèñòúð-ïðåäñåäàòåëÿò Ñåðãåé Ñòàíèøåâ.  ñâîåòî ñëîâî òîé ïîä÷åðòà, ÷å áëèçî 100 ãîäèíè â Áúëãàðèÿ íå å ïðàâåí àðõèòåêòóðåí êîíêóðñ îò òàêúâ ìàùàá è òîâà å ãîëÿì óñïåõ çà Ñîôèÿ êàòî ñòîëèöà íà ñòðàíà îò Åâðîïåéñêèÿ ñúþç.

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ÈÍÒÅÐÂÞ ñ Äîìèíèê Ïåðî

"Aðõèòåêòóðà

â èìåòî íà èçêóñòâîòî íå å äîñòàòú÷íî"

Alvaro Siza and Dominique Perrault caught in a conversation. Àëâàðî Ñèçà è Äîìåíèê Ïåðî â ìèíóòè íà îòäèõ áåñåäâàò.

Andrey Chernikhov, Georgi Stanishev, Dominique Perrault, Natalia Bondarenko and Nina Grigorieva on the pavilion of Atlas Style Ltd. Àíäðåé ×åðíèõîâ, Ãåîðãè Ñòàíèøåâ, Äîìèíèê Ïåðî, Íàòàëèÿ Áîíäàðåíêî è Íèíà Ãðèãîðèåâà íà ùàíäà íà “Àòëàñ ñòèë”.

Ó÷àñòâàëè ñòå â ìíîãî ìåæäóíàðîäíè êîíêóðñè. Êàêâî Âè ïðîâîêèðà äà ñå âêëþ÷èòå â êîíêóðñà çà âòîðè÷åí ïðàâèòåëñòâåí öåíòúð íà Ñîôèÿ? Òîâà å ìíîãî âàæíà òåìà, âúïðîñúò çà ãðàäñêîòî ðàçâèòèå íà òåðèòîðèèòå â Åâðîïà å ìíîãî èçîñòðåí, îñîáåíî ñåãà ñ âñè÷êè âúçìîæíîñòè, êîèòî íîñè Åâðîïåéñêèÿò ñúþç. Çà Ñîôèÿ òîâà å ñòðàõîòåí øàíñ, çàùîòî Ñîôèÿ íå å ìíîãî ïëúòåí ãðàä â ñìèñúë íà çàñòðîÿâàíå è ðàçïðåäåëåíèå íà ïðîñòðàíñòâàòà. Èìàòå îòâîðåíè ïðîñòðàíñòâà, îñîáåíî ìåæäó ñãðàäèòå è òîâà âè äàâà âúçìîæíîñò çà áúäåùè ïðîìåíè è ïîäîáðåíèÿ. Êàêâà å ôèëîñîôèÿòà, çàëîæåíà âúâ Âàøèÿ ïðîåêò çà âòîðè÷åí ïðàâèòåëñòâåí öåíòúð íà Ñîôèÿ è ðàçÿñíåòå êîíöåïöèÿòà ìó? Îñíîâíàòà èäåÿ å äà ñå ñúçäàäå îòâîðåí êâàðòàë ñ ïàðê â öåíòúðà. Òîçè ïàðê íå å êðúãúë - òîé å ëèíèÿ ïî ñðåäàòà íà íîâèòå ñãðàäè. Äðóã âàæåí ìîìåíò â ïðîåêòà å äà ñå íàïðàâè êâàðòàë ñúñ ñìåñåíè íóæäè, êàêòî å â ãîëåìèÿ ãðàä - ðàçëè÷íè õîðà ñ ðàçëè÷åí íà÷èí íà æèâîò è ò.í. Èäåÿòà å íå äà ñå ïîñòðîèÿò åäíà èëè äâå ãîëåìè ñãðàäè, à äà ñå ñúçäàäå ñèëóåò è âúçìîæíîñò çà ïîñòåïåííî èçãðàæäàíå íà ïðîåêòà. Ñëåä êàòî ñïå÷åëèõòå òîçè êîíêóðñ, êîíòàêòèòå Âè ñ íàøàòà ñòðàíà ùå ñòàíàò ïî-èíòåíçèâíè íàé-âåðîÿòíî. Êàêâî çíàåõòå çà Áúëãàðèÿ ïðåäè è êàêâî çíàåòå ñåãà? Èìàòå ëè ìíåíèå çà ñúâðåìåííàòà áúëãàðñêà àðõèòåêòóðà? Çà ìåí å ðàíî äà îòãîâîðÿ íà òîçè âúïðîñ, çàùîòî âñå îùå íå çíàì ìíîãî çà áúëãàðñêàòà êóëòóðà,çà ãðàäîâåòå è õîðàòà. Íî èìàì ìíîãî ïîçèòèâíî óñå-

ùàíå, ìèñëÿ ,÷å â òîçè ìîìåíò òóê âñè÷êî å âúçìîæíî. Ñìÿòàì, ÷å òîâà å åäíî äîáðî íà÷àëî, çà äà îïîçíàÿ Áúëãàðèÿ è ñúì ìíîãî îïòèìèñòè÷íî íàñòðîåí. À áúëãàðñêàòà àðõèòåêòóðà, êîÿòî óñïÿõ äà âèäÿ, å òàçè ìåæäó õîòåëà, â êîéòî ñúì îòñåäíàë, è ÓÀÑÃ. Çàòîâà ñìÿòàì, âñå îùå ÷å íå ìîãà äà äàì ìíåíèå . Èìàòå áîãàò ïðîôåñèîíàëåí îïèò è ñòå ðàáîòèëè âúðõó ïðîåêòè ñ ðàçëè÷åí ìàùàá è òèïîëîãèÿ. Ñìÿòàòå ëè, ÷å èìà ìîìåíò, â êîéòî àðõèòåêòóðàòà ñå ïðåâðúùà â èçêóñòâî? Àðõèòåêòóðàòà îïðåäåëåíî å ïî-ñêúïà îò èçêóñòâîòî. Íèå ðàáîòèì ñ ìíîãî ïàðè. Êîãàòî ñòðîèø íåùî, âèíàãè ãî ïðàâèø çà íÿêîãî, äîêàòî êîãàòî ðèñóâàø, íàïðèìåð,ãî ïðàâèø íàé-âå÷å çà ñåáå ñè. Òîâà å ðàçëè÷íî. Èçêóñòâîòî â èìåòî íà èçêóñòâîòî å äîñòàòú÷íî. Äîêàòî àðõèòåêòóðà â èìåòî íà èçêóñòâîòî íå å äîñòàòú÷íî. Êàêâè ñïîðåä Âàñ ñà íîâèòå òåíäåíöèè è áúäåùåòî íà àðõèòåêòóðàòà? Íå çíàì òî÷íî, çàùîòî àðõèòåêòóðàòà è ñâåòúò ñå ïðîìåíÿò ïîñòîÿííî. Àêî çíàåø êàê ùå áúäå óñòðîåí ñâåòúò â áúäåùå, çíàåø è êàêâà ùå áúäå àðõèòåêòóðàòà. Íî áúäåùåòî å íåïðåäñêàçóåìî è èìåííî òîâà ìè õàðåñâà. Óòðå å âèíàãè ìèñòåðèÿ. Ìèñëÿ, ÷å èìà òåíäåíöèÿ êúì ïðîìÿíà íà íà÷èíà íà âúçïðèåìàíå íà àðõèòåêòóðàòà. Çàùîòî àðõèòåêòóðàòà íå å êîíêðåòíà ñãðàäà, òÿ å ïåéçàæíà, ñîöèàëíà, ïîëèòè÷åñêà, èêîíîìè÷åñêà. Áè òðÿáâàëî äà çàïî÷íåì äà ãëåäàìå íà àðõèòåêòóðàòà êàòî îñíîâíà â íàøàòà êóëòóðà.

Èíòåðâþòî âçå Ïîëèíà Õàäæèìèòîâà ïî âðåìå íà Èíòåðàðõ 2009

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INTERVIEW with Dominique Perrault

"Architecture for

the sake of art is not enough."

You have participated in many international contests. What was interesting for you to participate in the contest for secondary center of Sofia?

It is very important subject, because in this moment in Europe the question about urban development is very prominent especially with all the new opportunities coming with the EU. For Sofia it is a great chance, because Sofia is not very dense city in terms of space distribution and you have some open areas - especially between the buildings, this gives possibility for further changes and improvements.

Would you explain briefly the philosophy behind your project for secondary center of Sofia and its concept?

Well, the main idea is to create an open district with a park in the center.

This park is not a circle though - it is more like a line between the new developments. Another important point in the project is to make the district with mixed uses just like in the big city - different people with different lifestyles etc. And the idea is not to build one big building or two big buildings, but to create a skyline and step-by-step development of the site.

After the winning of the contest for secondary center of Sofia - your contacts with our country will be more intense probably. What did you know about Bulgaria before and what do you know now? And have you got some opinion about the Bulgarian architecture?

For me it is a little bit early to answer on this question, because I don‘t know very well the Bulgarian culture, cities and people. But my feeling is

very positive, I feel that now all is possible here. And I think that it is a good begging to get to know Bulgaria and I am very optimistic.

The Bulgarian architecture I have seen is that between my hotel and the University of Architecture, Construction and Geodesy so I think it is not that much to have an opinion.

You have various professional experience and you have worked on many different projects with different scales and typology. Do you think that there is a moment when architecture becomes art?

The architecture is definitely more expensive than the art is. We spend a lot of money. When you are building you always do it for somebody while when you paint you could just do it for yourself and it is different.

Art for the sake of art is more than enough. Architecture for the sake of art is not enough.

What are the new tendencies and the future of architecture?

I don‘t know exactly, because the architecture and the world are changing constantly. And if you know how the world will be in the future - you can have the answer on your question - you will know what the architecture will be like. But the future is unpredictable and that is what I like about it. Tomorrow is a mystery.

I think there is a tendency to change the way we see architecture, because the architecture is not a single building, it is also the landscape, it is social, it is political, it is economical. We should consider the architecture as the most important part of the culture.

The interview was taken by Polina Hadjimitova during Interarch 2009

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Àðòóð Åðèêñîí

Ìàéñòîð íà áåòîíà

Äîáðå ïîçíàòèÿò êàíàäñêè àðõèòåêò Àðòóð Åðèêñîí ïî÷èíà ïðåç ìàé 2009ã. íà 84 ãîäèíè âúâ Âàíêóâúð. Íàé-èçâåñòíèòå ìó ñãðàäè ñà òåçè, êîèòî òîé âíèìàòåëíî å ïðîåêòèðàë â ãðàäñêàòà ñðåäà ïî íà÷èí, êîéòî âïîñëåäñòâèå å äàë ñâîÿ îòïå÷àòúê âúðõó öÿëîñòíèÿ îáëèê íà ãðàäà. Ïðîåêòèòå, êîèòî íåãîâàòà ôèðìà å íàïðàâèëà èçâúí Êàíàäà ñà Napp Laboratories â Êåìáðèäæ, Ïåòðîëíèÿ êîìïëåêñ â Êóâåéò, Kunlun Apartment Hotel â Ïåêèí è Convention Hall â Ñàí Äèåãî. Àðõèòåêòóðíîòî ìó áþðî èìà ôèëèàëè â Ëîñ Àíäæåëèñ, Òîðîíòî, Êóâåéò è Ñàóäèòñêà Àðàáèÿ. Ìíîãî îò ïðîåêòèòå ìó ñà ìàùàáíè è ñà ïðàâåíè ïðåäè äà ñå ïîÿâÿò ñåãàøíèòå "çâåçäè àðõèòåêòè”. Òå ñà êðåàòèâíè, ðèñóâàíè íà ðúêà è åäíîâðåìåííî èíîâàòèâíè è åêñïåðèìåíòàòîðñêè. Òîé âèíàãè å áèë âíèìàòåëåí êúì äåòàéëèòå â îêîëíàòà ñðåäà è îáèêíîâåíî å èçïîëçâàë áåòîí êàòî ìàòåðèàë, íàðè÷àéêè ãî "ìðàìîðúò íà íàøåòî âðåìå”. Àðòóð Åðèêñîí å ðîäåí ïðåç 1924 ã. âúâ Âàíêóâúð. Ðîäèòåëèòå ìó ñà áèëè òâîðöè. Òå ñà ãî íàñúð÷àâàëè äà óñòàíîâÿâà êîíòàêòè ñ äðóãè àðòèñòè. Âúïðåêè òîâà, åäíà ñòàòèÿ â ñïèñàíèå Fortune, íàïèñàíà îò Ôðàíê Ëîéä Ðàéä, ãî å íàñúð÷èëà äà ñå çàïèøå â êóðñà ïî àðõèòåêòóðà â óíèâåðñèòåòà â Ìîíðåàë. Ïî-êúñíî òîé êîìåíòèðà, â ñâîÿòà áèîãðàôèÿ : "Àêî ïðîôåñèÿòà íà àðõèòåêòà å òîëêîâà ìàãè÷åñêà, òî àç ùå ñòàíà òàêúâ”. Äèïëîìèðà ñå ïðåç 1950 ã. Ïúðâèÿò ìó ïî-ãîëÿì ïðîåêò å Simon Fraser University, ñ êîéòî ïå÷åëÿò êîíêóðñ ñúñ ñâîÿ ïàðòíüîð Äæåôðè Ìàñåé. Ñëåäâà ïåðèîä íà óñèëåíà ðàáîòà è ðåàëèçàöèÿ íà ìíîãî èíòåðåñíè ïðîåêòè. Ñðåä òÿõ å êðàñèâèÿò è øèðîêî êîìåíòèðàí ïðîåêò çà "õîðèçîíòàëåí íåáîñòúðãà÷” çà ñúäà íà Âàíêóâúð, åëåãàíòåí è ïðîçðà÷åí îïèò äà äåìîêðàòèçèðà çàêîíîâàòà ñèñòåìà. Ñïîðåä Åðèêñîí ñ òàçè ñãðàäà å áèëî âúçìîæíî äà ñå âèäè ïðàâîñúäèåòî â äåéñòâèå. Ìåæäó äðóãèòå ìó ïðåñòèæíè íàöèîíàëíè ïðîåêòè å êàíàäñêèÿò ïàâèëèîí çà Expo 67 íà ñâåòîâíàòà èçëîæáà â Ìîíðåàë. êîéòî èìà ôîðìàòà íà îáúðíàòà ïèðàìèäà. Àðòóð Åðèêñîí å àâòîð è íà èçâåñòíàòà êîíöåðòíà çàëà íà Roy Thomson

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ARTHUR ERICKSON A Master of Concrete Canada’s well known Modern architect Arthur Erickson died in May 2009 aged 84 in Vancouver. His best known buildings include those he so carefully designed and landscaped in his own city and which have had an enormous effect on the city itself.

Outside Canada the projects his firm carried out include the Napp Laboratories at Cambridge, the Kuwait Oil Sector Complex in Kuwait, the Kunlun Apartment Hotel building in Beijing and the San Diego Convention Hall. The office had branch offices in Los Angeles, Toronto, Kuwait and Saudi Arabia. Many of their schemes were big projects in their own right but designed before the now current iconic ‘Stararchitecture’ took over. Thus his buildings were creative works of art, drawn by hand and both innovative and experimental. He was closely attentive to landscape details and usually built in concrete, a material he loved, calling it ‘the marble of our time’.

Arthur Erickson was born in 1924, a native of Vancouver and the son of influential promoters of the arts. They encouraged him to establish contacts with other artists. However it was the sight of an article in Fortune magazine on Frank Lloyd Wright’s Taliesin West, Scottsdale that inspired him to take up the architecture course at Montreal’s McGill University.

He later commented, in his autobiography that: ‘If such a magical realm was the province of an architect, I would become one’. He did: graduating in 1950.

After graduation his first major university project was for the Simon Fraser University, Burnaby which was won in competition with his then partner Geoffrey Massey. Other work immediately followed. Among these are his widely published and beautifully landscaped ‘horizontal skyscraper’ for the Vancouver Law Courts, an elegant and transparent attempt to democratise the legal system. According to Erickson with

this building a passer-by was meant to be able to see justice at work.

Among other prestigious national projects was the Canadian Pavilion for Expo 67 shaped in the form of an inverted pyramid that years World’s Fair in Montreal. He also designed the popular Roy Thomson Concert Hall in Toronto. Less successful perhaps was the Canadian Embassy that he designed for Washington D C which was a direct commission awarded

by Prime Minster Pierre Trudeau without due process.

At a recent exhibition on Vancouverism at Canada House, London it was claimed that Erickson was the first to believe that Vancouver ‘could be a world-class city’. Subsequent events, including the concentration on a more diverse and dense urban planning fabric in the city, brought in more residential sites with expansive sea views while commercial areas were moved to downtown sites such as Richmond.

The huge concrete superstructure Erickson designed for the Museum of Anthropology (1976) at the University for British Columbia not only framed a splendid ocean view but also provided generous spaces and superb light conditions for the tallest of all the Totems displayed within. A major achievement locally it is undeniably one of the best buildings he designed drawing as it does upon both local native cultural sources and the solid concrete technology of the modern movement.

A master of modern concrete architecture Erickson experimented with an ambitious rough textured concrete framed commercial high building for MacMillan-Bloedel in downtown Vancouver in the 1970s. Its neat egg crate façade is amplified by his use of an entasis that allows the building to reduce its structural loading towards the top of the block making it a more economical solution for high building.

Arthur Erickson who was unmarried is survived by his brother, Don Erickson, and his nephews, Christopher and Geoffrey, and his niece, Emily McCullum.

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Îò èìåòî íà àêàäåìè÷íîòî êîíñóëñòâî íà Ìåæäóíàðîäíàòà aêàäåìèÿ ïî aðõèòåêòóðà ñ ðàäîñò èçðàçÿâàì èñêðåíèòå ñè ïîçäðàâëåíèÿ êúì Åâðîïåéñêèÿ öåíòúð íà ÌÀÀ â Ïàðèæ è ïðîô. Ïèåð Àíäðå Äþôàòåë - àêàäåìèê íà ÌÀÀ, êîéòî å íàãðàäåí îò ôðåíñêèÿ ïðåçèäåíò Íèêîëà Ñàðêîçè ñ íàé-âèñîêîòî îòëè÷èå “Grand oficie dans l`ordre national du Merite” è ìó ïîæåëàâàì çäðàâå, óñïåõ è åíòóñèàçúì â ðàáîòàòà, êàêòî è ëè÷íî ùàñòèå.

Aêàä. Ãåîðãè Ñòîèëîâ Ïðåçèäåíò íà ÌÀÀ

NEWS

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Prof. Pierre-Andre Dufetel

On behalf of the Academic Council of the International Academy of Architecture, I am pleased to express our sincere congratulations to the President of the European Center of IAA in Paris Prof. Pierre-Andre Dufetel, IAA Academician, who has been awarded by the French President Nicolas Sarkozy with the high distinction “Grand officier dans l`ordre national du Merite�, and to wish him health, success in his enthusiastic activity and personal happiness.

Acad. Georgi Stoilov President of IAA

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VII. The IAA members approved the Program of “Interarch`2009”.

VIII. The IAA members approved the IAA working Program for 2009- 2010.

IX. The IAA members approved the proposed by the Academic Council changes in the IAA Statute: A. Article 7 (2): - The IAA Centers are in Paris, Moscow, Tokyo, USA, Rome, Istanbul and Rotterdam.

The seat of IAA is in Sofia. The other possible seats of IAA may be in Paris or in Moscow.

- The change of the IAA seat has to be decided by the IAA Academic Council; B. Article 26 (3): Presidents of these Regional Centers can be only Academicians of the International Academy of Architecture C. Article 27: Organs of the Academy are a General Assembly, Academic Council and a President.

D. Article 33 (2) The IAA members' contribution is the annual membership fee. The amount of the annual membership fee has to be decided by the General Assembly.

The Academic Council proposed to the X-th General Assembly to approve Euro 250 for IAA Academicians and Euro 150 for IAA Professors per year. The General Assembly accepted the proposal.

X. Yuri Platonov- President of the IAA Center in Moscow proposed the IAA unique exhibition “Leading Masters of the World Contemporary Architecture- IAA members” to be presented in Moscow (later in Paris and Rome).

XI. The IAA members decided the name of Joseph Rykwert, CICA President, to be included in the Board of the IAA WAM magazine and WAM to publish articles by CICA members. IAA to collaborate with CICA. XII. According to the IAA Statute (Article 29, page 3) the X-th IAAGeneral Assembly, authorized the IAA President to implement the functions of the IAA Academic Council, when it is necessary.

17 May 2009

Secretary of the IAA Academic Council: /M. Kosturkova/

Ìèíóòè îò X-òàòà àñàìáëåÿ íà ÌÀÀ 17 ìàé 2009, Ñîôèÿ

I. Èíôîðìàöèÿ çà äåéíîñòèòå íà ÌÀÀ â ïåðèîäà 20062009 1. ÌÀÀ Àñàìáëåÿ; Ñåñèÿ íà àêàäåìè÷íîòî êîíñóëñòâî íà ÌÀÀ 2. Ïðîãðàìà “Workshops” 3. Ïðîãðàìà “Interarch” 4. Íàó÷íà ïðîãðàìà “Êîíôåðåíöèè, ñåìèíàðè” 5. Ïðîãðàìà “Àðõèòåêòóðà è åêîëîãèÿ” 6. Ïðîãðàìà “Àðõèòåêòóðíî îáðàçîâàíèå” 7. Ïðîãðàìà “Èçëîæáè” 8. Ïðîãðàìà “Àðõèòåêòóðà è äåöà” 9. Ïðîãðàìà “Ñúòðóäíè÷åñòâî ñ äðóãè îðãàíèçàöèè” 10. IFYA 11. Ìåæäóíàðîäåí êëóá íà àðõèòåêòèòå ÌÀÀ 12. Äåéíîñòè íà öåíòðîâåòå íà ÌÀÀ 13. Ïðîãðàìà “Ïóáëèêàöèè” 14. “Interacademica” è “Interproject.”

II. Íîâèòå ÷ëåíîâå íà ÌÀÀ; III. Èçáîð íà Ãîëÿìàòà íàãðàäà íà ÌÀÀ - Êðèñòàëåí ãëîáóñ 2009; ïîáåäèòåë IV. Èíôîðìàöèÿ îòíîñíî ãîäèøíàòà íàãðàäà íà ÌÀÀ 2008, èçáðàíà îò àêàäåìè÷íîòî êîíñóëñòâî V. Èçáîð íà íîâè ÷ëåíîâå â àêàäåìè÷íîòî êîíñóëñòâî íà ÌÀÀ VI. “Interarch`2009”: ïðîãðàìà VII. ÌÀÀ ðàáîòíà ïðîãðàìà 2009-2010 VIII. Ôèíàíñîâè âúïðîñè íà ÌÀÀ

NEWS

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INTERARCH ‘ 2009

Minutes of X-th ASSEMBLY of the International Academy of Architecture 17 May 2009, Sofia Approved by Prof. G. Stoilov According to the Bulgarian law the IAA members waited one hour before starting the Assembly, in order to have more participants Attended by: Manfredi Nicoletti, Pierre-Andre Dufetel, Yuri Platonov, Brian Spencer, Ahmet Vefik Alp, Joseph Rykwert, Richard England, Dennis Sharp, Teodoro Gonzalez de Leon, Dominique Perrault, Alvaro Siza, Qi Zhou, Yury Mamlin, Vladilen Krasilnikov, Yuri Gnedovskiy, George Stanishev, Andrey Chernihov, Georgi Stoilov, Vakhtang Davitaia, Paolo Cucchi, Stephan Popov, Andrey Nekrasov, Leonard Moskalevich, Juhani Pallasmaa, Justus Dahinden, Andrey Bokov, Thomas Herzog Guests: Dalgat Dalgatov (Dagestan), Yasmin Shariff (UK), Mrs. Rykwert (UK) Chairman: Georgi Stoilov, IAA President Georgi Stoilov read the presented Agenda of the X-th IAA General Assembly.

AGENDA I. Information about IAA activities 2006-2009 1. IAA Assembly; Sessions of the IAA Academic Council 2. Program “Workshops” 3. Program “Interarch” 4. Scientific program “Conferences, seminars” 5. Program “Architecture and ecology” 6.Program “Architectural education” 7. Program “Exhibitions” 8. Program “Architecture and children” 9. Program “Cooperation with other organizations” 10. IFYA 11. IAA International club of architects.

12 Activities of IAA Centers 13. Program “Publications” 14. “Interacademica” and “Interproject.”

II. New IAA members; III. Election of IAA Grand Prix- Crystal Globe‘2009 Winner; IV. Information about the winner of the IAA Annual Prize‘ 2008, elected by the IAA Academic Counci; V. Election of new IAA Academic Council Members; VI. “Interarch`2009” Programm; VII. IAA Working Program- 2009-2010; VIII. IAA Finances; IX. Miscellaneous; 1. The IAA members approved the Agenda of the X-th IAA General Assembly Session.

2. The IAA members approved the Information about IAA activity 2006-2009, presented by the IAA Secretariat.

3. The IAA members approved the presented by the main accountant Financial Report for 2008 and the Draft Budget for 2009.

DECCISIONS: I. The IAA members approved the new IAA Professors, elected by the Academic Council: - Joseph Rykwert- UK - Qi Zhou- China - Franck Hammountene- France - Andrey Vorontsov- Russia -Yury Mamlin- Belarus - Wallace E. Cunningham- USA - Atànas Kovachev- Bulgaria II. The IAA members elected the new IAA Academicians proposed by the Academic Council: Alvaro Siza- Portugal Dominique Perrault- France Peter Eisenman-USA Andrey Bokov- Russia Steven Holl- USA All new IAA Academicians and Professors, who tîok part in the X-th IAA General Assembly had been warmly welcomed and applauded.

III. After review and discussions on the received nominations the IAA members elected the outstanding architect Douglas Cardinal, IAA Academician, to be the IAA Grand Prix “Crystal Globe” 2009 winner for his dedication to the architectural profession and his dedication to the Canadian people. Brian Spencer underlined his works- schools, churches, museums etc.

IV. The IAA members approved Rem Koolhaas, who was elected by the Academic Council, for the IAA Annual Prix‘2008 winner, elected by the Academic Council for his “Concert Hall in the city of Porto” in Portugal.

V. The IAA members decided in the future not to accept self nominations for IAA Prizes.

VI. The IAA members expressed their gratitude to Jan Hoogstad for his enthusiastic activity and elected the new Academic Council members: -

Manfredi Nicoletti- Vice President Richard England- Vice President Pierre-Andre Dufetel Kiyonori Kikutake Brian Spencer Yuri Platonov Georgi Stoilov- President

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Çà ÷óäåñíîòî ïðîòè÷àíå íà "Èíòåðàðõ 2009" ñúùåñòâåí ïðèíîñ èìàò ñïîðñîðèòå íà òîâà ìåæäóíàðîäíî ñúáèòèå: Èçäàòåëñòâî "Àòëàñ ñòèë", "Äàó Êîðíèíã", "Ïðîâåíòóñ", Àé Ñè Äè, "ÅÒÅÌ" "Ðîëïëàñò", Ôðåíñêèÿò èíñòèòóò â Ñîôèÿ, Èñïàíñêèÿò êóëòóðåí èíñòèòóò “Ñåðâàíòåñ”, Êàìàðàòà íà àðõèòåêòèòå â Áúëãàðèÿ, "Áåðíäîðô Áàäåðáàó", "Èòîíã", ÑÅÀ Áúëãàðèÿ, Åé Äè Äè, "Èçîáåòîí", "Àáèòàðå", "Àðåêñèì ãàðäåí", "Òèëèÿ", "Ðåéíúðñ", "Áåñà Âàëåé", "Ëåâåíò", "Ïàñàø", "Áèîôðåø".

NEWS

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INTERARCH ‘ 2009 For the organization of Interarch 2009 big contribution have the sponsors of this international event: Publishing house “Atlas Style”, “Dau Korning”, “Proventus”, “ICD”, “Etem”, “Rollplast”, the French Institute in Sofia, the Spanish cultural institute “Cervantes”, the Chamber of Architects in Bulgaria, “BERNDORF BÄDERBAU”, “Ytong”, SEA Bulgaria, “ADD”, “Izobeton”, “Abitare”, “Arexim garden”, “Tilia”, “Rayners”, “Besa Valley”, “Levent”, “Passash”, “Biofresh.

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Publication in architecture

The jury consisted of Yury Gnedovskiy (Russia), Paolo Cucchi (Italy/ Malaysia), Georgi Stanishev (Bulgaria) as chairman hold its session for the selection on 16.05.09.

The jury has researched 26 participating publications, representing two main categories: periodicals and books (monographs). After the observation of field of the monograph publications the jury has articulated two main important themes, or sectors. The first sector is defined as an academic historical/theoretical discourse in the field of urban planning, history of architectural environment and vernacular architecture. The second one considered, is defined as a dedication to young architects and their introduction into the complexities of the architectural profession.

Thus the whole publications list was divided into three fields.

After debates upon these three sectors, the jury unanimously has decided to give three equal prices for most original and valuable publications in each one of these fields, as follows:

1. for the best publication in the field of architectural periodical, the prize is given to Project Baykal, Russia, Elena Grigoryeva and Bart Goldhorn. . 2. for the most performed publication in the field of architectural monographs in history/theory of architecture and urban planning the price has been awarded to the book Territorial planning, Atanas Kovachev, 3. for the most original publication in the sector of monographs approaching young architects theme the jury gives the price to You Can Be Young And An Architect, based on the true story of LAN architecture” by LAN architecture and Hugues Jallon.

In the three selections the jury was led by the intentions to price publications done by or dedicated to young generation of architects hoping that this will stimulate their participation in the field of architectural theory, criticism and publication activities.

Exebetions

In the Russian culture center was organized an exhibition of the Center of the International Academy of Architecture in Moscow.

 Ðóñêèÿ êóëòóðåí öåíòúð áå îðãàíèçèðàíà ñúïúòñòâàùà èçëîæáà íà Öåíòúðà íà Ìåæäóíàðîäíàòà àêàäåìèÿ íà àðõèòåêòóðàòà â Ìîñêâà.

In the gallery for foreign art was presented the exhibition of architectural projects from the international contest "Sofia city 21", which was won by the French architect Dominique Perrault.

In the same gallery was open the exposition of the young architects coming from all over the world, that are nominated for the award of foundation "Yakov Chernikhv" for 2006-2008.

 Ãàëåðèÿòà çà ÷óæäåñòðàííî èçêóñòâî áå ïðåäñòàâåíà èçëîæáàòà íà àðõèòåêòóðíè ïðîåêòè è ìàêåòè îò ìåæäóíàðîäíèÿ êîíêóðñ “Ñîôèÿ ñèòè 21”, êîéòî áå æóðèðàí ïðåäè ïî-ìàëêî îò ìåñåö è ñïå÷åëåí îò ãîëåìèÿ àðõèòåêò Äîìèíèê Ïåðî.  ñúùàòà ãàëåðèÿ áå îòêðèòà åêñïîçèöèÿòà íà ìëàäèòå àðõèòåêòè îò öÿë ñâÿò, íîñèòåëè íà ïðåìèÿòà íà ôîíäàöèÿ “ßêîâ ×åðíèõîâ” çà 2006-2008 ãîäèíà.

NEWS

6 Resolved to award: FOR THE LAUREATES OF THE EXHIBITIONCOMPETITION OF ARCHITECTURAL PROJECTS AND BUILT WORKS INTERARCH ‘ 2009

1. “Grand Prix” of the Minister of Culture Bulgaria, painting, Gold Interarch Medal and Honorary Diploma - Jacques Rougerie architects, France. Underwater archeological museum of Alexandria.

2. First Prize of the International Academy of Architecture - special plate, Gold Interarch Medal and Honorary diploma -NEMESIS Studio (Michele Mole, Karin Bergher, Alessandra Giannone, Alessia Tonetti, Ilaria Vernier, Elana Mangione), Italy. Varyap Atasheir project, Turkey.

3. First Prize of the Union of Architects in Bulgaria - painting, Gold Interarch Medal and Honorary Diploma - Vladimir Mihov, Bulgaria.

Residential building in Herakovo, Bulgaria.

4. First Prize of the University of Architecture, Civil engineering and Geodesy, plate of the University, Gold Interarch Medal and Honorary Diploma - SKYLINE ARCHITEKTEN-VIENNA (Peter Todorov, Konstantin Antonov, Christian Fessler, Christian Petras, Eva Raciborski, Okur Suha), Austria. Conference centre - hotel in Wesenufer, Austria.

5. Special Prize of UIA (International Union of Architects) - Silver Interarch Medal and Honorary diploma - Arte Charpentier architects (France). Station de traitement des eaux de l’ile Arrault, Orleans; Opera de Shanxi, Chine.

6. Special Prize of the Resident Representative of UN and UNDP in Bulgaria, Silver Interarch Medal and Honorary Diploma -Agence Pierre Tourre (France). Lycee H.Q.E. Jean-Jaures, Saint Clement de Riviere.

7. Special Prize of the Union of Architects in Russia - Golden Medal,Silver Interarch Medal and Honorary Diploma - Jourda architects (France). Hopital prive Jean Mermoz - Lyon 8. Special Prize of the Union of Architects in Russia - Golden Medal ,Silver Interarch Medal and Honorary Diploma - Douglas J. Cardinal (USA). Canadian Museum of Civilization.

9. Special Prize of the American Institute of Architects - book on architecture, Silver Interarch Medal and Honorary Diploma A.V.Ginzburg, K.B.Markus, E.I.Valeev, N.V.Rudenko D.L.Dzhavadova, E.I.Valeev (Russia). Multy - functional residential complex.

10. Special Prize of the American Institute of Architects - book on architecture, Silver Interarch Medal and Honorary Diploma - Li Changjun (China). JIADING HQ. 11. Special Prize of the American Institute of Architects - book on architecture, Silver Interarch Medal and Honorary Diploma- Architetti Associati (Italy). Teatro San Carlino, Villa Borghese, Italy.

12. Special Prize of the Mayor of the town of Varna (Bulgaria) - plate of the town, Silver Interarch Medal and Honorary Diploma - Rosario Pavia, Francesca Confuzzi, Matteo di Venosa, Guendalina Salimei (Italy). Multi-functional building in Taranto, San Cataldo dock.

13. Special Prize of the Permanent Deputy of Hainaut Province (Belgium), Silver Interarch Medal and Honorary Diploma- BUDIPRADONO ARCHITECTS: Budi Pradono, Yuri Sri Hartanto, Rizki Maulid Supratman, Vebriyani Valentina, Githa Hartako Ong (Indonesia). Ruman Kindah office, Jakarta, Indonesia 14. Special Prize of the Councilor of the Prime Minister of Dagestanplate, Silver Interarch Medal and Honorary Diploma - Bart Prince (USA).

Whiting Residence.

15. Special Prize of the Publishing House "Atlas Style "- Glass Sculpture, Silver Interarch Medal and Honorary Diploma - Richard England (Malta).

The Garden of Apollo, The Gardens, St. Julians, Malta.

.16. Special Prize of the Society of Architects in Sofia - sculpture ,Silver Interarch Medal and Honorary Diploma - LAN Architecture (Italy). EDF Archives centre, Bure, France.

17. Special Prize of the Mayor of Grenoble (France) - book, Silver Interarch - Medal and Honorary Diploma - A. Vorontsov, A. Kuzmin, I.Chertkov, G. Orlov, N. Zorina, T. Balan, (Russia). Multifunctional complex.

18. Special Prize of the Mayor of Mons (Belgium) - book, Silver Interarch - Medal and Honorary Diploma - M. Johnson. Parr Residence. Shelter Island, New York.

19. Special Prize of the Mayor of Brussels (Belgium) - book, Silver Interarch Medal and Honorary Diploma - Bdpgroupe 6 architects (France). Paris: “La vache noire”; shopping center and housing.

20. Special Prize of the Mayor of Thessaloniki (Greece) - symbol of the town, Silver Interarch Medal and Honorary Diploma - Agustin Hernandez Navaro, Alejandro Aragon (Mexico). Arcus House.

21. Special Prize of the Mayor of Lille (France) - symbol of the town, Silver Interarch Medal and Honorary Diploma - Mataibekov Shokhan, Amireev Kaisar (Kazakhstan). “Cloud - house”. 70 - storey multifunctional complex.

22. Special Prize of the Mayor of Vienna (Austria) - symbol of the town, Silver Interarch Medal and Honorary Diploma - Petukhov Andrey, Petukhov Anton, Krusheninnikova Tamara, Rubinchik Igor (Russia).

Opera and ballet theatre, Nizhny Novgorod 23. Special Prize of the Mayor of Strasbourg (France) - book, Silver Interarch Medal and Honorary Diploma - Michele Saee (USA). Museum of Antiquity, Beijing, China.

24. Special Prize of the Mayor of Charleroi (Belgium), Silver Interarch Medal and Honorary Diploma -Ruslan Alikov (Russia). BESLAN MEMORIAL. 25. Special Prize of the Union of Architects in Belgium - book, Silver Interarch Medal and Honorary Diploma, - “BULARCH” Ltd. (Bulgaria).

Gyeonggi-do Jeongok prehistory museum 26. Special Prize of the Board of Architects of Rome, Silver Interarch Medal and Honorary Diploma - Kendrick Bangs Kellogg (USA). Three Residences.

27. Special Prize of the Artist-in-chief of Moscow Igor Nikolaevich book on architecture, Silver Interarch Medal and Honorary Diploma Will Bruder and Partners (USA). Nevada Museum of Art. 28. Special Prize of the Union of Architects in Kazakhstan- Golden Medal, Silver Interarch Medal and Honorary Diploma - LABICS: Helene Bouchain, Leonardo Consolazione, Andrea Ottaviani, Giorgio Pasqualini (Italy). Multifunctional Building G.D., Bologna.

29. Special Prize of the “Taliesin Fellows”: alumni of the Frank Lloyd Wright School”, Silver Interarch Medal and Honorary Diploma - Atelier Philippe Madec (France). House of environment for ecological park “Izadia”.

30. Special Prize of “OWP+P” for Design, book, Silver Interarch Medal and Honorary Diploma - Sergio Bianchi (Italy). De Risi House in Bellegra, Rome.

31. Special Prize from the Chamber of Architects in Bulgaria, Silver Interarch Medal and Honorary Diploma - Gianluca Evels, Stefania Papitto (Italy). Folding scraper. New Podium Tower, Vancouver.

32. Special Prize of the Publishing House “Atlas Style “Glass Sculpture, Silver Interarch Medal and Honorary Diploma - Arch. Emil Sardarev, Alexander Sardarev, Damyan Sardarev- Coessentialy

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First Prize of the International Academy of Architecture - special plate, Gold Interarch Medal and Honorary diploma - NEMESIS Studio (Michele Mole, Karin Bergher, Alessandra Giannone, Alessia Tonetti, Ilaria Vernier, Elana Mangione), Italy. Varyap Atasheir project, Turkey.

First Prize of the Union of Architects in Bulgaria - painting, Gold Interarch Medal and Honorary Diploma - Vladimir Mihov, Bulgaria. Residential building in Herakovo, Bulgaria.

First Prize of the University of Architecture, Civil engineering and Geodesy, plate of the University, Gold Interarch Medal and Honorary Diploma - SKYLINE ARCHITEKTEN-VIENNA (Peter Todorov, Konstantin Antonov, Christian Fessler, Christian Petras, Eva Raciborski, Okur Suha), Austria. Conference centre - hotel in Wesenufer, Austria.

Special Prize of the Publishing House "Atlas Style "- Glass Sculpture, Silver Interarch Medal and Honorary Diploma - Richard England (Malta). The Garden of Apollo, The Gardens, St. Julians, Malta.

Special Prize of UIA (International Union of Architects) - Silver Interarch Medal and Honorary diploma Arte Charpentier architects (France).

Station de traitement des eaux de l’ile Arrault, Orleans; Opera de Shanxi, Chine.

NEWS

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INTERARCH ‘ 2009

In the forum took participation also the International Committee of Architectural Critics - the President, Prof Joseph Rykwert, prof.

Dennis Sharp and others.

Also the Russian participation was very active with the presence of important figures as Andrey Bokov, president of the Union of Architects in Russia, Yurii Platonov, Andrey Chernikhov, Yurii Gnedovski, Vladilen Krasilnikov and more of the masters in the Russian contemporary architecture. During the four days of the triennial were underlined the architectural tendencies of the new millennium, the contemporary phenomena and modern researches.

It is obvious that in the beginning of the 21-st century the sustainable projects are important as well as the green architecture and the energy efficiency. In the different sections of Interarch 2009 participated architects and students coming from Russia, USA, France, Italy, China, Canada, Mexico, Portugal, Kazakhstan, Malaysia, Georgia, Turkey, Belarus, Indonesia, Greece, Bulgaria and others.

In the exhibition – contest of architectural projects and realizations with 400 dashboards participated 152 architectural studios and architects coming from 17 countries – Bulgaria, Italy, Russia, Kazakhstan, Belarus, Georgia, Malaysia, Slovenia, Vietnam, China, America, Canada, Mexico, Indonesia, Turkey, Malta and France.

There was big interest in the exposition of 115 dashboards with the newest realizations of the masters of the world architecture that are members in the International Academy of Architecture.

Âúâ ôîðóìà ñå âêëþ÷è Ñâåòîâíàòà îðãàíèçàöèÿ íà àðõèòåêòóðíèòå êðèòèöè. Ñ äîêëàäè â êîíôåðåíòíàòà ïðîãðàìà ó÷àñòâàõà ïðåäñåäàòåëÿò íà Ñâåòîâíàòà îðãàíèçàöèÿ íà àðõèòåêòóðíèòå êðèòèöè Æîçåâ Ðèêóåðò, ïðîô. Äåíèñ Øàðï è äð. Àêòèâíî áåøå ó÷àñòèåòî íà âèäíèòå ïðåäñòàâèòåëè íà ðóñêàòà àðõèòåêòóðíà øêîëà Àíäðåé Áîêîâ, ïðåçèäåíò íà Ñúþçà íà àðõèòåêòèòå â Ðóñèÿ, Þðèé Ïëàòîíîâ, Àíäðåé ×åðíèõîâ, Þðèé Ãíåäîâñêè, Âëàäèëåí Êðàñèëíèêîâ è äðóãè óòâúðäåíè ìàéñòîðè íà ñúâðåìåííàòà ðóñêà àðõèòåêòóðà. Ïðåç ÷åòèðèòå äíè íà òðèåíàëåòî áÿõà î÷åðòàíè àðõèòåêòóðíèòå òåíäåíöèè íà íîâîòî õèëÿäîëåòèå, ñúâðåìåííèòå ÿâëåíèÿ è ìîäåðíèòå ðàçðàáîòêè. Ïðîëè÷à, ÷å â íà÷àëîòî íà 21 âåê ñîëèäíî ìÿñòî çàåìàò ïðîåêòèòå çà óñòîé÷èâîòî ðàçâèòèå, çåëåíàòà àðõèòåêòóðà è åíåðãèéíàòà åôåêòèâíîñò.  ðàçëè÷íèòå ñåêöèè íà ÈÍÒÅÐÀÐÕ 2009 ó÷àñòâàõà àðõèòåêòè è ñòóäåíòè ïî àðõèòåêòóðà îò Ðóñèÿ, ÑÀÙ, Ôðàíöèÿ, Èòàëèÿ, Êèòàé, Êàíàäà, Ìåêñèêî, Ïîðòóãàëèÿ, Êàçàõñòàí, Ìàëàéçèÿ, Ãðóçèÿ, Òóðöèÿ, Áåëàðóñ, Èíäîíåçèÿ, Ãúðöèÿ, Áúëãàðèÿ è äð.  èçëîæáàòà êîíêóðñ íà àðõèòåêòóðíè ïðîåêòè è ðåàëèçàöèè ñ 400 òàáëà ó÷àñòâàõà 152 àðõèòåêòóðíè áþðà è àðõèòåêòè îò 17 ñòðàíè Áúëãàðèÿ, Èòàëèÿ, Ðóñèÿ, Êàçàõñòàí, Áåëàðóñ, Ãðóçèÿ, Ìàëàéçèÿ, Ñëîâåíèÿ, Âèåòíàì, Êèòàé, Àìåðèêà, Êàíàäà, Ìåêñèêî, Èíäîíåçèÿ, Òóðöèÿ, Ìàëòà è Ôðàíöèÿ. Îñîáåí èíòåðåñ ïðåäèçâèêà åêñïîçèöèÿòà îò 115 òàáëà ñ ðåàëèçàöèè íà íàé-íîâèòå àðõèòåêòóðíè ïðîèçâåäåíèÿ íà ìàéñòîðèòå â ñâåòîâíàòà àðõèòåêòóðà, êîèòî ñà è ÷ëåíîâå íà Ìåæäóíàðîäíàòà àêàäåìèÿ íà àðõèòåêòóðàòà.

“Grand Prix” of the Minister of Culture Bulgaria, painting, Gold Interarch Medal and Honorary Diploma - Jacques Rougerie architects, France. Underwater archeological museum of Alexandria.

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Ìåæäóíàðîäíî ïðèçíàòè àðõèòåêòóðíè ñâåòèëà ó÷àñòâàõà â XII òðèåíàëå íà àðõèòåêòóðàòà â Ñîôèÿ Îò 17 äî 20 ìàé ò. ã. â Ñîôèÿ ñå ïðîâåäå ÕÕII ñâåòîâíî òðèåíàëå íà àðõèòåêòóðàòà ÈÍÒÅÐÀÐÕ 2009, îðãàíèçèðàíî îò Ìåæäóíàðîäíàòà àêàäåìèÿ íà àðõèòåêòóðàòà, Ìèíèñòåðñòâîòî íà ðåãèîíàëíîòî ðàçâèòèå è áëàãîóñòðîéñòâîòî, Ñúþçà íà àðõèòåêòèòå â Áúëãàðèÿ, Óíèâåðñèòåòà ïî àðõèòåêòóðà, ñòðîèòåëñòâî è ãåîäåçèÿ ïîä ïàòðîíàæà íà ïðåçèäåíòà íà Ðåïóáëèêà Áúëãàðèÿ, íà ÞÍÅÑÊÎ è íà Ìåæäóíàðîäíèÿ ñúþç íà àðõèòåêòèòå. Çà äâàíàäåñåòè ïúò Ñîôèÿ ñå ïðåâúðíà â ñâåòîâíà ñòîëèöà íà àðõèòåêòóðàòà. ÈÍÒÅÐÀÐÕ âå÷å å ìåæäóíàðîäåí ïðîôåñèîíàëåí ôîðóì ñ óòâúðäåí àâòîðèòåò è ïðåñòèæ. ×ëåíîâå íà ïî÷åòíèÿ êîìèòåò íà ÈÍÒÅÐÀÐÕ 2009 áÿõà ìèíèñòúðúò íà êóëòóðàòà ïðîô. Ñòåôàí Äàíàèëîâ, ìèíèñòúðúò íà ðåãèîíàëíîòî ðàçâèòèå è áëàãîóñòðîéñòâîòî Àñåí Ãàãàóçîâ, êìåòúò íà Ñîôèÿ Áîéêî Áîðèñîâ, ïðåçèäåíòúò íà Ìåæäóíàðîäíèÿ ñúþç íà àðõèòåêòèòå Ëóèç Êîêñ, ïîñòîÿííèÿò ïðåäñòàâèòåë íà Ïðîãðàìàòà çà ðàçâèòèå

íà ÎÎÍ è ÞÍÅÑÊÎ çà Áúëãàðèÿ Õåíðè Æàêëèí. Òúðæåñòâåíîòî îòêðèâàíå íà ÈÍÒÅÐÀÐÕ 2009 ñå ñúñòîÿ â àóëà Màêñèìà íà Óíèâåðñèòåòà ïî àðõèòåêòóðà, ñòðîèòåëñòâî è ãåîäåçèÿ.  ñâîåòî ñëîâî àêàä. ïðîô. ä-ð àðõ. Ãåîðãè Ñòîèëîâ, ïðåçèäåíò íà ÌÀÀ ïîä÷åðòà çíà÷åíèåòî íà òîâà àðõèòåêòóðíî ñúáèòèå è îòêðè ìåæäóíàðîäíèÿ ôîðóì “Àðõèòåêòóðàòà íà 21 âåê”. Ñ àâòîðñêè êîíôåðåíöèè ñå ïðåäñòàâèõà åäíè îò íàé-èçÿâåíèòå ñâåòîâíè àðõèòåêòè - Òåîäîðî Ãîíçàëåñ äå Ëåîí, Àëâàðî Ñèçà, Ïîë Àíäðþ, Áðàÿí Ñïåíñúð, ßí Õîãñòàä, Þõàíè Ïàëàñìàà, Ðè÷àðä Èíãëàíä, Òîìàñ Õåðöîã, Ïàîëî Êóêè, Äîìèíèê Ïåðî, ñïå÷åëèë êîíêóðñà çà âòîðè÷åí ãðàäñêè öåíòúð íà Ñîôèÿ, Äàíèåë Ëèáåñêèí ( êîéòî íå ìîæà äà ïðèñúñòâà ëè÷íî ïîðàäè çäðàâîñëîâíè ïðîáëåìè, íî òâîð÷åñòâîòî ìó áå ïðåäñòàâåíî ), Þñòóñ Äàõèíäå, Êè Çó, Àõìåò Òåôèê Àëï, Âàõòàíã Äàâèòàÿ è äð.

NEWS

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

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

XII- TH WORLD TRIENNIAL OF ARCHITECTURE XII- ÒÎ ÑÂÅÒÎÂÍÎ ÒÐÈÅÍÀËÅ ÇÀ ÀÐÕÈÒÅÊÒÓÐÀ

INTERARCH ‘ 2009

World known architects participated in the XII-th Triennial of Architecture in Sofia – INTERARCH 2009 From the 17th ot 20th of May was held the XII-the world Treinnial of Architecture INTERARCH 2009, organized by the International Academy of Architecture, the Ministry of regional development and public works, the Union of architects in Bulgaria, the University of architecture, construction and geodesy under the auspices of the president of the republic of Bulgaria, UNESCO and UIA. For the twelfth time Sofia became world capital of architecture, INTERARCH is already an international professional forum with time-tested fame and prestige. Members of the Committee of honor of Interarch 2009 were the Minister of the Culture – Bulgaria - prof. Stefan Danailov; the Minister of the Regional Development and Public Works - Asen Gagaouzov; the Mayor of Sofia Town - Boiko Borisov; UIA President - Louise Cox; UNESCO Representative,

UN Resident Coordinator and UNDP Resident Representative in Bulgaria.

The official opening of INTERARCH 2009 was held in aula maxima of the University of Architecture, Construction and Geodesy in Sofia. In his speech acad. prof. dr. arch. Georgi Stroilov - president of IAA underlined the significance of this architectural event and opened the international forum “The architecture of the 21-st century”. With authors conferences some of the most remarkable world architects presented their work – Teodoro Gonzales de Leon, Alvaro Siza, Paul Andeu, Brian Spencer, Jan Hoogstad, Juhani Uolevi Pallasmaa, Richard England, Thomas Herzog, Paolo Cucchi, Dominique Perrault (winner in the contest for Secondary center of Sofia), Daniel Libeskind (that couldn`t attend personally), Justus Dahinden, Vakhtang Davitaia, Ahmet Vefik Alp, Qi Zhou and others.

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World Architectural Masters

International Academy Of Architecture