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World Architecture Masters

ISSN 1313-177X

6/ 2008/ 006

MARIO BOTTA


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

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

Ãëàâåí ðåäàêòîð ïðîô. Ãåîðãè Ñòîèëîâ, àêàäåìèê íà ÌÀÀ

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

Óïðàâèòåë Íàòàëèÿ Áîíäàðåíêî

General manager Natalia Bondarenko

Îòãîâîðåí ðåäàêòîð NEWS àðõ. Ãåîðãè Ñòàíèøåâ, ïðîôåñîð íà ÌÀÀ

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

Ðåäàêöèîííà êîëåãèÿ Êðàñèìèðà ßâàøåâà Íèêîëèíà Ñòîéêîâà

Editors team Krassimira Yavasheva Nikolina Stoykova

Îòãîâîðåí ðåäàêòîð NEWS - çà Èòàëèÿ àðõ. Àëôðåäî Êàìàðà

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

Ìåíèäæúð ïðåäïå÷àòíà ïîäãîòîâêà Ïåòúð ×óïåòëîâñêè

Pre-print manager Peter Chupetlovsky

Ãðàôè÷åí äèçàéíåð Åëåîíîðà Ãåîðãèåâà

Graphic designer Eleonora Georgieva

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

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

Ïðåäïå÷àòíà ïîäãîòîâêà Ìàÿ Ãåðàñèìîâà Èíà Êàìáàðåâà

Pre-print preparation Maya Gerasimova Ina Kambareva

Êîîðäèíàòîð ìàðêåòèíã è ðåêëàìà Ñèÿíà ×àëúêîâà

Marketing and advertisement coordinator Siana Chalakova

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

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

Ïðåâîäà÷ Ìàðèàíà Êîëàðñêà

Translator Mariana Kolarska

îôèñ Ïëîâäèâ Äàíèåëà Àðíàóäîâà Âàëåíòèíà Âàíãåëîâà

offis Plovdiv Daniela Arnaudova Valentina Vangelova

Êîðåêòîð Ìàðèÿ Òîäîðîâà

Proof-reader Maria Todorova

Ðàçïðîñòðàíåíèå Åâãåíèÿ Éîðäàíîâà

Distribution Evguenya Yordanova

Èçäàòåëè: Ìåæäóíàðîäíà Àêàäåìèÿ çà Àðõèòåêòóðà Àðõ ìåäèÿ ÎÎÄ

Publishers: International Academy of Architecture Arhc Media Ltd.

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

Îffice: Sofia 1407 22 “Golo bardo” Str. General manager: +359 2 868 81 83 Editors: +359 2 868 83 50 Advertising manager: +359 2 868 77 91 Advertising Team: +359 2 868 75 67, 868 75 53 Pre-print: +359 2 868 78 47 Ìàòåðèàëè è èëþñòðàöèè îò WAM ìîãàò äà ñå èçïîëçâàò ñàìî ñ ðàçðåøåíèå íà ðåäàêöèÿòà. Local office Plovdiv 4000 Materals and illustrations of WAM can be used only with permission of the editor's office. 8 “Kniaz Bogoridi” Str. tel./fax: +359 32 63 32 16 Italy office - Torino 10128 Victtorio Emanuelle II Str. ¹ 63 tel.: +39011 54 21 41 tel./ fax: +39011 54 62 37 arch.cam@libero.it

The editors of the magazine World Architecture Masters would like to thank Arch. Mario Botta for his amiability submitting materials from her private archive at ours disposal for the sixth issue of WAM. Ñïèñàíèå World Architecture Masters áëàãîäàðè íà àðõ. Ìàðèî Áîòòà çà ëþáåçíî ïðåäîñòàâåíèòå ìàòåðèàëè îò ëè÷íèÿ ìó àðõèâ çà øåñòè áðîé íà WAM.


MARIO BOTTA

CONTENTS

Kyobo Tower in Seoul, South Korea

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Wellness centre Tschuggen Bergoase

10

New Casino at Campione D' Italia

16

Church Pope Giovanni XXIII Seriate, Italy

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Church Santo Volto, Turin Italy

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LEEUM - SAMSUNG Museum of art, Seoul, Korea

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MART Museum of Modern and Contemporary Art in Rovereto, Trento, Italy

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Petra Winery, Suvereto (Livorno) Italy

54

TCS (Tata Consultancy Services) Offices, Deccan Park - Madhapur Hydrabad, Andhra Pradesh, India

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TCS (Tata Consultancy Services) Offices, New Dehli, India

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Renovation and Restructuring of Theatre “Alla Scala” in Milan 2002-2004

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World Architecture Masters - Manfredi Nikoletti

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Àðõèòåêòóðíàòà èäåÿ

Architectural Idea

Âñÿêî ïðîèçâåäåíèå íà èçêóñòâîòî íîñè íÿêàêâî ïîñëàíèå. Òîâà ñà èäåèòå è ÷óâñòâàòà, êîèòî àâòîðúò èçïðàùà íà ñâîèòå ñúâðåìåííèöè è íà èäíèòå ïîêîëåíèÿ. Íî çà äà ñå ïðåâúðíå â èçêóñòâî òîâà ïîñëàíèå, ñëåäâà äà íàìåðè åñòåòè÷åñêà èäåÿ, åñòåòè÷åñêè èçðàç, ñïåöèôè÷åí çà âñÿêî èçêóñòâî. Òàêà ïîñëàíèåòî ñòàâà ïðîèçâåäåíèå íà èçêóñòâîòî.  àðõèòåêòóðàòà â íàé-ãîëÿìà ñòåïåí ñå î÷åðòàâà ðàçëèêàòà ìåæäó èñòèíñêîòî èçêóñòâî, ïúëíî ñ äóõîâíà åíåðãèÿ, ïðåëèâàùî îò åñòåòè÷åñêà ñâåòëèíà è ñèâîòàòà íà ìèëèîíè áåçëè÷íè ñãðàäè. Àðõèòåêòóðíàòà èäåÿ å ñóáñòàíöèÿ íà èêîíàòà â àðõèòåêòóðàòà, òÿ ôîðìèðà èäåíòè÷íîñòòà íà øåäüîâúðà è ãî ïðàâè âå÷åí. Ñòåíèòå ñå ðóøàò, ôóíêöèèòå óìèðàò çàåäíî ñúñ ñòîïàíèòå. Îñòàâà âå÷íà àðõèòåêòóðíàòà èäåÿ íà òâîðåöà. Òîâà å ãîëåìèÿò óðîê îò èñòîðèÿòà, êîéòî ñëåäâà äà ñòîè íà áåëèÿ ëèñò íà àðõèòåêòà âèíàãè, ïðåäè äà çàïî÷íå äà ãî òðàíñôîðìèðà. Àðõèòåêòóðàòà íà Ìàðèî Áîòòà èìà âèíàãè áðèëÿíòíà àðõèòåêòóðíà èäåÿ è èäåíòè÷íîñò.

Every work of art carries a message. These are the author’s ideas and feelings he sends to his present and future generations. To be turned this message into a work of art the esthetic idea and image specifically for every art should be found. That is how the message becomes a work of art. In architecture the difference between the real art full of spiritual energy and esthetical light and the grayness of million of buildings is outlined in the utmost degree. The architectural idea is a substance of the architecture’s icon, it forms the masterpiece’s identity and it makes it eternal. The walls are ruined, functions die together with the owner, and only the creator’s architectural idea remains eternal. This is the biggest history lesson which should stand on the architect’s white sheet of paper before he starts to transform it. The architecture of Mario Botta has always brilliant architectural idea and identity.

Ïðîô. Ã. Ñòîèëîâ

Professor Georgi Stoilov


Mario Botta Born in Mendrisio, Ticino, on April 1, 1943. After an apprenticeship in Lugano, he first attends the Art College in Milan and then studies at the University Institute of Architecture in Venice. Directed by Carlo Scarpa and Giuseppe Mazzariol he receives his professional degree in 1969. During his time in Venice he has the opportunity to meet and work for Le Corbusier and Louis I. Kahn. His professional activity begins in 1970 in Lugano. He builds his first single-family houses in Canton Ticino and subsequently all over the world. He has served as visiting professor at the Ecole Polytechnique Fédérale in Lausanne in 1976, and at the Yale School of Architecture, New Haven, USA in 1987. 1983 he is named professor of the Swiss Polytechnic Schools. During 1982 and 1987 his is member of the Swiss federal commission of fine arts. He has always committed himself in an intense architectural research and since 1996 he is involved as creator and founder of the new academy of architecture in Mendrisio, Ticino where he is Professor and held the directorship in 2002/2003. His work has been recognized with important awards such as the Merit Award for Excellence in Design by the AIA for the Museum of Modern Art in San Francisco; the International Architecture Award 2006 by the Chicago Athenaeum Museum of Architecture and Design and the “European Union Prize for Cultural Heritage Europa Nostra”, The Hague (The Netherlands) for the restructuring of the Theatre alla Scala in Milan; the International Architecture Award 2007 by the Chicago Athenaeum Museum of Architecture and Design for the Church Santo Volto in Turin and the wellness centre Tschuggen Berg Oase in Arosa. His work has been presented in many exhibitions. Among his realizations must be remembered the theatre and cultural center André Malraux in Chambéry, the library in Villeurbanne, the SFMOMA museum of modern art in San Francisco, the cathedral in Evry, the museum Jean Tinguely in Basel, the Cymbalista synagogue and Jewish heritage centre in Tel Aviv, the municipal library in Dortmund, the Friedrich Dürrenmatt centre in Neuchâtel, the MART museum of modern and contemporary art in Rovereto, the Kyobo tower in Seoul, the office building Tata CS in New Delhi and Hyderabad, the Fondation Bodmer, museum and library in Cologny, the church and pastoral center Pope John XXIII in Seriate, the public library in Bergamo and the restoration of the Theatre alla Scala in Milan, the new casinò in Campione d’Italia, the church Santo Volto in Turin and the wellness center in Arosa. Among the works in progress must be counted the office and residential complex in Treviso, the university library in Trento, the Bechtler art museum in Charlotte, North Carolina, the Tsinghua University art gallery and museum in Beijing, the Leeum offices in Seoul, the underground stations in Naples, the new auditorium in Rimini, the museum of architecture in Mendrisio, the parish centre “San Rocco” in Sambuceto in San Giovanni Teatino, the winery Château Faugères in Saint-Emilion, France. Ðîäåí å íà 1 àïðèë 1943 ã. â Ìåíäðèçèî, Èòàëèÿ. ×èðàêóâà â Ëóãàíî, ïîñåùàâà êîëåæà ïî èçêóñòâà â Ìèëàíî, à ñëåä òîâà ó÷è â Óíèâåðñèòåòà ïî àðõèòåêòóðà âúâ Âåíåöèÿ â êëàñà íà Êàðëî Ñêàðïà è Äæóçåïå Ìàçàðèîë. Ïðåç 1969 ã. çàâúðøâà ïðîôåñèîíàëíîòî ñè îáðàçîâàíèå. Ïî âðåìå íà îáó÷åíèåòî ñè âúâ Âåíåöèÿ ñå ñðåùà è ðàáîòè ñ Ëå

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Êîðáþçèå è Ëóè Êàí. Çàïî÷âà ïðîôåñèîíàëíàòà ñè äåéíîñò ïðåç 1970 ã. â Ëóãàíî, êúäåòî ïîñòðîÿâà ïúðâàòà åäíîôàìèëíà êúùà. Âïîñëåäñòâèå ðàáîòè ïî öåëèÿ ñâÿò. Òîé å ãîñò - ïðîôåñîð âúâ Ôåäåðàëíîòî ïîëèòåõíè÷åñêî ó÷èëèùå â Ëîçàíà ïðåç 1976 ã., à ïðåç 1987 ã. - â Éåëñêîòî ó÷èëèùå ïî àðõèòåêòóðà â Íþ Õåéâúí, ÑÀÙ. Ïðåç 1983 ã. ïîëó÷àâà òèòëàòà ïðîôåñîð îò øâåéöàðñêèòå ïîëèòåõíè÷åñêè ó÷èëèùà. Îò 1982 äî 1987 ã. å ÷ëåí íà øâåéöàðñêàòà Ôåäåðàëíà êîìèñèÿ ïî èçÿùíè èçêóñòâà. Ïîñâåùàâà ñå íà èíòåíçèâíè àðõèòåêòóðíè ðàçðàáîòêè è îò 1996 ã. å îñíîâàòåë è ñúçäàòåë íà íîâàòà àêàäåìèÿ ïî àðõèòåêòóðà â Ìåíäðèçèî, Òè÷èíî, êúäåòî å ïðîôåñîð è äèðåêòîð îò 2002 äî 2003 ã. Íîñèòåë å íà ñëåäíèòå íàãðàäè: íàãðàäàòà íà àìåðèêàíñêèÿ èíñòèòóò ïî àðõèòåêòóðà çà îòëè÷èå â äèçàéíà çà Ìóçåÿ íà ñúâðåìåííîòî èçêóñòâî â Ñàí Ôðàíöèñêî, ìåæäóíàðîäíàòà àðõèòåêòóðíà íàãðàäà 2006 ã. îò ×èêàãñêèÿ ìóçåé ïî àðõèòåêòóðà è äèçàéí è íàãðàäàòà íà ÅÑ çà êóëòóðíî íàñëåäñòâî "Åóðîïà íîñòðà”, íàãðàäàòà íà Õîëàíäèÿ çà ðåêîíñòðóèðàíå íà òåàòúðà "Ëà Ñêàëà” â Ìèëàíî, ìåæäóíàðîäíàòà àðõèòåêòóðíà íàãðàäà çà 2007 ã. îò ×èêàãñêèÿ ìóçåé ïî àðõèòåêòóðà è äèçàéí çà ÷åðêâàòà "Ñàíòî Âîëòî” â Òîðèíî è çà âúçñòàíîâèòåëíèÿ öåíòúð "Øóãåí Áåðã Îàçå” â Àðîçà. Íåãîâèòå ïðîåêòè ñà ïðåäñòàâÿíè ìíîãîêðàòíî íà ðàçëè÷íè èçëîæáè. Ñðåä ðåàëèçèðàíèòå ðàáîòè ñå ïîìíÿò òåàòúðúò è êóëòóðíèÿò öåíòúð "Àíäðå Ìàëðî” â Øàìáåðè, áèáëèîòåêàòà âúâ Âèëþáàí, ìóçåÿò ïî ñúâðåìåííî èçêóñòâî â Ñàí Ôðàíöèñêî, êàòåäðàëàòà â Åâðè, ìóçåÿò "Æàí Òèíêóåë” â Áàçåë, ñèíàãîãàòà è åâðåéñêèÿò öåíòúð çà íàñëåäñòâî â Òåë Àâèâ, îáùèíñêàòà áèáëèîòåêà â Äîðòìóíä, öåíòúðúò "Ôðèäðèõ Äþðåíìàò” â Íóøàòåë, ìóçåÿò ïî ìîäåðíî è ñúâðåìåííî èçêóñòâî â Ðîâåðòî, êóëàòà "Êéîáî” â Ñåóë, îôèñ ñãðàäàòà "Òàòà” â Íþ Äåëõè è Õèäåðàáàä, ôîíäàöèÿòà "Áîäìåð”, ìóçåÿò è áèáëèîòåêàòà â Êîëîíè, ÷åðêâàòà è ïàñòîðàëíèÿò öåíòúð "Ïàïà Éîàí XXIII” â Ñåðèàòå è äð. Ñðåä ðàáîòèòå, êîèòî ñà â ïðîöåñ íà èçãðàæäàíå, òðÿáâà äà ñå îòáåëåæàò îôèñúò è æèëèùíèÿò êîìïëåêñ â Òðåâèçî, óíèâåðñèòåòñêàòà áèáëèîòåêà â Òðåíòî, ìóçåÿò ïî èçêóñòâà "Áåõòëåð” â Øàðëîò, Ñåâåðíà Êàðîëèíà, ãàëåðèÿòà êúì óíèâåðñèòåòà â Öèíãóà è ìóçåÿò â Ïåêèí, îôèñèòå "Ëåóì” â Ñåóë, ñòàíöèèòå íà ìåòðîòî â Íåàïîë, íîâàòà àóäèòîðèÿ â Ðèìèíè, ìóçåÿò ïî àðõèòåêòóðà â Ìåíäðèçèî, åíîðèéñêèÿò öåíòúð "Ñàí Ðîêî” â Ñàìáó÷åòî â Ñàí Äæîâàíè Òåàòèíî, âèíàðíàòà èçáà "Øàòî Ôîæåð” â Ñàí Åìèëèàí, Ôðàíöèÿ.


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Project 1989/97 Realisation 1999-2003 Location Seocho-Dong, Seocho-Ku, Seoul, South Korea Client Kyobo Life Insurance Co., Seocho, Seoul, South Korea Architect Mario Botta, Lugano Studio Botta collaborators Maurizio Pelli, Han Man Wom, Nicola Pfister, Nicola Salvadé, Tommaso Botta. Architect of record Chang-Jo Architects, Inc., Seoul Site area 6770 m2 Net floor area 58‘000 m2 above ground (total 92’717 m2) Volume 350‘000 m3 Structure and materials steel bearing structure and reinforced concrete floor slabs; cladding in PTC curtain wall brick: precast concrete panels clad with red brick.

Kyobo Tower in Seoul, South Korea


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The site area for the new office tower is located in Seocho, Seoul down town, at the southwest corner of two main streets crossing - GangnamDae-Road and Sa-Pyong- Road. The idea was to create a very massif construction, compact and with apparently blind fronts to be in contrast with the glass and steel structured buildings in its surroundings. Straight as a medieval tower, this new and strong architectural presence shall help people to get orientated within the modern city. The huge brick-clad tower in this particular corner setting, underlines through its pattern and scale proportion, the importance of its location. The twin towers are set on a base which extends on the first three upper floors giving shape to the main volume of the new building. A spare room of 18 m of depth separates the towers to allow a bright day light infiltration in the interiors on all levels. Each tower is subdivided through vertical cuts to underline the vertical development of the construction. Seven brigdes connect the towers for an efficient and rational circulation on different levels, while the event room reunifies the towers on the top floor, offering a spectacular view on the city. The public area in front of the building has been developed and designed in reaction to the urban situation. The two main streets define an important site in the city and therefore a strategic location for the new headquarter building. The

green surfaces on the north and on the east sides are pedestrian public areas. The main entrance is located on the east side on Kang Nam de Ro street. On the north side a sunken garden area, set on a lower level, connects the underground levels as well as the future subway, while the access ramps to the parking lot are on the building’s west side. The building’s typology as a high rise building defines the whole organisation of the interior space. Related to each tower, every part features a service core of elevators, staircases, technic and service rooms. The tower’s base with the first three floors features a generous lobby, characterized by a void space, extending through all the floors and allowing a daylight through a wide skylight. This important space immediately helps to get orientated within the building and provides all public functions. The towers are organized with offices offering different central areas. Every floor is provided with daylight, extremely well controlled through sun shades which design the façade structure with the brick pattern. The concept of this building allows a maximum of flexibility in organizing the offices and spaces, in regard of a good and efficient work condition. The bearing structure is composed of steel and reinforced concrete. The facedes are in precast concrete panels clad with red bricks anchored to the structure.


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10 Location Tschuggen Grand Hotel, 7050 Arosa, CH Project 2003 Construction 2006 Object wellness centre Client Tschuggen Grand Hotel, AG Grandhotel Tschuggen, 7050 Arosa Architect Mario Botta Architetto, Lugano, Studio Botta collaborators Marco Strozzi, Davide Macullo, Nicola Salvadé, Carlo Falconi, Eleonora Castagnetta Partner architect/project management Fanzun AG, Chur, Switzerland Civil engineering Fanzun AG, Chur, Switzerland Eng specialist for excavation security Ribi & Mazzetta AG, Arosa, CH Electrical engineering Bühler + Scherler AG, Chur, CH Eng specialist for light planning Büro f. innovative Lichtplanung, Jürgen Häcker, St Moritz, CH Eng specialist for heating and ventilation system Hans Hermann, Obere Gasse 20, 7000 Chur Acoustics IFEC Consulenze SA, Rivera, Ticino, CH Eng specialist for the swimming pool Schneider Aquatec AG, Hauptstrasse 68, 9422 Staad Eng specialist for the fasades REBA Fassadentechnik AG, Ringstrasse 18, 7000 Chur Eng specialist for the sauna Klafs, Schwäbisch Hall, Erich-Klafs-Str. 1-3, 74523 Schwäbisch Hall, DE Eng specialist for sanitary fittings Felix Marco, Ringstrasse 37, 7000 Chur Area 5’300 m2 Volume 27’000 m3

Wellness centre Tschuggen Bergoase


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Arosa offers an extraordinary geographic configuration of natural bowl surrounded by mountains. A place where the comparison between man and nature is constantly emphasized by the powerful landscape and the ancestral fight between man and mountain is evident. The site for the new structure Berg Oase, next to the great hotel, is characterized as a free space and a park at the foot of the mountain. We imagined to build without building, to assert the presence of the new through the emergent parts and to leave interred the great volume with the functional program. The cover of the hypogeal spaces becomes a “stage” with geometric vegetal presences that rouse the visitor’s curiosity. This particular context therefore suggested us an intriguing solution of visual impact but, above all, of great respect for the surrounding village. The great volume disappears into the earth; only the vegetal and, at the same time, mechanical “trees” emerge, marking the recreational and collective character of the structure. The inner space appears as a terraced continuum with the slope, in order to limit the excavation works. Further to the client’s indications, the modular design allows the maximum flexibility in the organization of the different functions.


12 The areas of the “Berg Oase� are characterized by their interrelation and their privileged relationship with the environment by means of technological trees that guarantee natural lighting, an extraordinary sight towards the landscape and become signals of the internal life at night through the artificial illumination that gives to the whole resort a magic atmosphere. The interior space is divided into four floors. The ground floor (1856.51 a.s.l.) houses most of the fitness facilities, part of the technical area and the wardrobe for external users who have direct access to this floor. The first floor (1859.81 a.s.l.) accommodates the technical areas and the treatment spaces: HLZ station, swimming pool technical area, cabins for body treatment and beauty cabins, solarium, hairdresser, shop,


13 toilette, depots. On the second floor (1859.11 a.s.l) are located the connection glass bridge between the Tschuggen Hotel and the wellness centre, the reception, the staff spaces, the wardrobes for the users, the toilettes, and the “sauna world” with relax area. The third floor (1866.11 a.s.l.) houses the “water world” with swimming pool to swim and relax, the toilettes, the relax area, depots.


14 The external spaces (sauna, solarium, swimming pool) are reachable directly from the swimming pools and set on a attractive terracing dipped into nature. The new structure is accessible through a glass walkway (“promenade architecturale”), from the existing hotel as well as (for the external visitors) from the entrance level to the hotel. The new building, beyond the “unbuilt space” of the “trees”, resolves the relationship with the existing hotel and the ground through a great wall in natural stone. The external public space is therefore redesigned in order to create a cosy atmosphere and to solve the car parks problem thus discreetly integrated into the plan.


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New Casino at Campione D' Italia Design 1990 Realization 2006 Client City of Campione dItalia Architect Mario Botta, Lugano Site area 15 000 m2 Net floor area 63 550 m2 Volume 237 830 m3 General dimensions 100 x 70 m, height 70 m


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The area for the new Municipal Casino and its corollary services is positioned next to the historical centre, at the foot of the hill where the town rises. In this geographical context the lot, which extends from the hill to the lakeside, shows an unusual territorial articulation with respect to the alignment of the lakeside infrastructures, oriented quite differently at this point. The area is thus a place where diverse geographical and architectural fabrics coexist: on one side the old town, and on the other the development realised in this century. This peculiarity is at the basis of the project as it draws two footpaths from the hill to the lake, traced perpendicular to the contiguous urban plans.


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20 In this way, a rhomboidal lot is defined whose borders open toward the lake. These paths form a system of stairs useful to the whole community: sidewalks connecting the lakeside quarter to the hillside area. It is a system of paths which grazes the sides of the existing streets to form a great void in the middle. The construction of the new Casino is concentrated toward the upper portion of the lot [...] which permits the formation of a large urban park in the lower part, beneath Piazza Milano. The park serves as counterpoint to the large built volume above it and represents an area of urban convergence of the zones on either side the old centre to the south and the more recent quarter to the north. This arrangement makes it possible to transform a densely developed area at the lakeside into a completely free, verdant system of paths and promenades of about 6000 square meters in size. The volume of the Casino is organised in terms of function, with one overlapped on top of the other.


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Church Pope Giovanni XXIII Seriate, Italy


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Project 1994/2000 Construction 2001-2004 Location Paderno-Seriate, Bergamo, Italy Client Parish of Santissimo Redentore, Municipality of Seriate, Italy Architect Mario Botta, Lugano Studio Botta collaborators Davide Macullo, Nicola Pfister, Guido Botta Construction management Guglielmo Clivati, Seriate Civil Engineering P&P Consulting Engineers, Ing. Pezzoli Dimensions church side 25 x 25 m, height 22.50 m parish building 12.40 x 120 m, height 7.80 Total surface of the pastoral centre 26’300 m2 Surface of the new intervention 17’000 m2 Built area 2137 m2, of which 741 m2 (included sacristy), Oratory/house 1396 m2 Volume approx 16’500 m3 above ground Structure and materials reinforced concrete bearing structure; cladding in red Verona stone; interior finished in gilt wood (gold leaf) Sculptures in apse Giuliano Vangi


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Seriate is a little town located south of the city of Bergamo in Northern Italy. The site of the new church dedicated to Holy Pope Giovanni XXIII is next to the 18th-century church of San Alessandro Martyr in the Paderno area. Residences and single-family houses built in recent years characterise the surroundings and borderlines of the road connecting Seriate to Bergamo. In the planning of the new building, the old church defines the north-western limit of a rectangle facing the new church; on the southeastern side a long, single-storey building houses the priest quarters and few other rooms ending towards the countryside with the oratory and the catechism classrooms on the first floor. The square-plantchurch constitutes the centre of the whole project with a side length of

25 meters and a height of 23 meters. The bearing structure is made of reinforced concrete; the faรงades are clad in natural Verona stone slabs (split slabs), while the interior walls are covered with panels of gilded wood (similar to the technique of gilded frames). The interior space offers itself as a one and only volume shaped by the lateral wall; light flows in from four roof skylights. Polished Verona stone is used in the interior as a continuity of the whole flooring that shapes the plinth of the walls and the liturgy furniture (altar, pulpit, chair). A stone clad twin apse completes the church space and displays a sculptural work a crucifixion scene within the cladding by the Italian artist Giuliano Vangi.


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Church Santo Volto, Turin Italy Location Via Val della Torre, Turin Project 2001-2004 Construction June 2004 - December 2006 Object Church and pastoral centre Client Archbishopric of Turin Architect Mario Botta Architetto, Lugano Studio Botta collaborators Antonello Scala, Alessandro Biondi, Claudio Orsi, Tobia Botta, Tommaso Botta Project management Studio O. Siniscalco, Turin (Eng. S. Dalmasso) Structural design Studio O. Siniscalco, Turin (Prof. G.N. Siniscalco, Eng. L. Chiabrando) Electrical engineering E.L.Engineering Service srl, Turin (Eng. S. Berno, Eng. R. Zorzi) Mechanical Engineering Impro srl, Turin (Eng. R. Vaudano, Eng. C. Zanovello) Building firm Itinera spa, Tortona Built area 26.300 m2 Volume 125.000 m3


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34 Like many European cities, over the past several decades, Turin urban setting underwent deep transformations; wide unused industrial areas in the core of the town will take on new vocations in the near future. As industrial centre Turin is rapidly shifting his profile into a new post tertiary industrial reality. In this context of important changes His Eminence Cardinal Severino Poletto, Turin Archbishop, decided to build on the area of the former steelworks in Via Borgaro a pastoral centre. The project envisages the edification of a church dedicated to the Christs Sindon. It has a heptagonal plan surrounded by seven towers to which are connected the lower bodies of the chapels. Thanks to the truncated apex both the towers and the chapels function as skylights. The choice of the heptagonal plan, that coincides with the strong religious and symbolic meaning, orients the main axis of the church towards the city. The new parish complex gathers all the services once spread all over the city. Below the church main hall there is a hypogeal congress hall.

Inside the other bodies of the building, in addition to offices and apartments, there are a ferial chapel (for everyday service), a parsonage, and other facilities for the youth formation and recreation. These linear three-storey-buildings contain the parvis. The client and the architect were asked to integrate in the design the existing chimney of the former steelworks that becomes the symbol of the old and the new utilization. From the one side it visually reminds the industrial roots of the place, from the other it supports the cross. Surrounded by a helical steel structure with thin sheets that recall “thorns”, the chimney gleams by day and by night and the cross is set on top of its 60 metres. The small bells are inserted in a rectangular frame at the bottom of the chimney in correspondence with the main entrance. The void created by the pyramid-shaped cover is formed by the alternation of full and void gores that turn around the central drum acting as pivot. The towers, emptied to work as skylights, stand in the centre on the suspended cylinder whereas, perimetrically, stand on a couple of pillars.


35 The architect was also required to introduce an element displaying the Christs Sindon at the back of the altar. Working on computer through a binary image formed by black and white pixels, Mario Botta and his collaborators reshaped the sacred shroud by means of a wise stone fabric: little bricks of red Verona marble were worked with two different shapes and mounted in such a way as to create a shade and a flat side to reflect the light. The result shows the face of Christ materializing through the effect of the grazing light from above. Then, for the architect and the users as well, also the technical-functional services required for this intervention assume new symbolic meanings that show peculiar urban conditions where the citizen, new wandering pilgrim in the maze of the contemporary city, can still find an emotion, a silence, a question able to reconcile him with the history of his time.


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LEEUM - SAMSUNG Museum of art, Seoul, Korea

Project 1995-97/2002 Realization 2002-2004 Place 747-18, Hannam-Dong, Yongsan-Gu, Seoul, Korea,140-893. Client Samsung Foundation for Culture Architect Mario Botta Studio Botta collaborators Maurizio Pelli, Ugo Früh, Francis Blouin, Guido Medri, Paola Pellandini, Nicola Salvadé, Davide Macullo, Antonello Scala, Tommaso Botta, Marco Strozzi. Architect of record Samoo Architects & Engineers, Seoul Engineers Ove Arup and Partners, London Site area 2’333 m2 Floor area 10’000 m2, including1’600 m2 for exhibition purposes Volume 42’000 m3 Size 45m x 10 m, rotonda radium max. 12 m , height 20 m Structures reinforced concrete, finishes: cotto extruded bars


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42 The museum occupies a marginal position and is set higher up than the other buildings in the new development. At the highest point of this particular relief condition, the design becomes a landmark and is representative for the new urbanization proposed by the Samsung Foundation. The trees on the top of the building are reminiscent of the fluttering flags on medieval towers or frontier posts. The presence of this building, rich in symbolic connotations, completes the top end of the urbanization proposed for the hill. The museum volume stands as an isolated object rising up from the sloping green plane joining a high and low road. The building emerges from the ground as a set of two simple linked volumes: a parallelepiped linear building in the upper part and an inverted cone volume (wider on the top) in the lower part, which enters the ground near the low road. The architectural language in the handling of the surfaces of the two volumes complements each other with an evidence of horizontal bands, clad in terracotta tiles: plane panels in alternation with trapezoidal sectioned elements (both of ca. 50 cm height) for the parallelepiped linear volume and only trapezoidal sectioned tiles for the cone volume. In this way, a one and only modular system resolves the cladding of the circular cone surfaces of the exhibition building. But, besides a technical and functional respond given to the museum for ceramics, the building puts forward some questioning referred to architecture. The adopted character of the simple, primary and geometric volumes, with its abstract shape in this building transforms into a figurative language. It is evident that the reversed cone represents the core of the whole exhibition system, but despite of its geometric abstraction, it becomes in the same time a figurative sign. In the interior of the building, the visitor is led downstairs trough the central light core and invited to follow - level after level - the circular crown that offers a path through a space with oblique walls. While the showcase of the exhibition item instead, is the element that re-establishes the verticality privileging a unique and direct relation with the visitor.


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MART Museum of Modern and Contemporary Art in Rovereto, Trento, Italy Design 1988/92 Construction 1996-2002 Location Corso Bettini, Rovereto, Italy Client Municipality of Rovereto, Autonomous Province of Trento Architect Mario Botta, Lugano Studio Botta collaborators Marco Bovini, Maurizio Pelli, Nicola Pfister, Carlo Falconi, Lorenza Boschetti, Ugo Früh. Architect of record Giulio Andreolli, Rovereto Studio Andreolli collaborators Ivan Gugole, Francesco Misdaris, Licia Pirazzi, Camilla Gazzini. Construction management Contec Srl, Maurizio Cossato, Verona Service Design Manens Intertecnica Srl, Verona Exhibit design/interior Mario Botta with Giorgio Orsini Auditorium Mario Botta with Giulio Andreolli Site area 29‘000 m2 Net floor area 20‘800 m2 Volume 140‘000 m3


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48 The strong independent presence of the museum is not revealed at first sight. Its impressive mass remains partially hidden underground. Two palaces on Corso Bettini give a front to the building. A small alley between them forms an axis that leads to the central courtyard. This spacious circle-shaped piazza becomes the heart of the complex and connects to the public space developed at the back of the palaces and the street. The museum expands its uses to include the two palaces connected to it on the basement and ground levels. Architecture and book museums, a reading room with a top lit by a pyramidal skylight, and the museum store rooms are placed in the basement. The spacious piazza gives access to the museum, cafeteria, the restaurant and the bookshop. The large exhibition rooms are located on the first level, while the second floor houses smaller exhibition spaces. Circulation through the galleries on the two upper floors takes place around the central courtyard, while


49 staircases occupy the end corners of a square that is formed around it. Ample light comes from above through a series of skylights that give form to the roof. The way the building relates to the city, the transition from the public space to the interior, the process of entering and its movement, as well as the ability to understand the spatial structure, are important in the design of the museum. The hidden mass and the gradual disclosure of the geometricity of the building shows the formation of the volume. The acquired facade, the rhythm of the existing openings, and the solidity of the new walls point to the elaboration of the surface and its meaning as a front. The metal structure of the courtyard becomes a sign that signifies the presence of the core. The museum offers a sensitive interpretation of existing spatial relations, its composition a complex interplay with space and form.


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Petra Winery, Suvereto (Livorno) Italy


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Project 1999-2000 Construction 2001-2003 Location Suvereto, Toscana, Italia Client Terra Moretti, Dr. Vittorio Moretti Architect Mario Botta, Lugano Studio Botta collaborators Maurizio Pelli, Antonino Annaloro, Marco Strozzi. Structural design Moretti Industrie delle Costruzioni, Brescia Net floor area ca. 7Â’200 m2 Structure and materials bearing structure in precast reinforced concrete elements; cladding in split Prun stone.


56 Set on the hillside overlooking a broad expanse of vineyards in Suvereto, in the inland area of Piombino, the Petra Winery presents itself to visitors as a cylinder in Prun stone, cut across by a diagonal plane set parallel to the slope, with two porticoed wings facing seaward. This image of a constructed central volume with a powerfully plastic image and the barchesse porticoes on the sides reinterprets the sprawling villas typical of the Tuscan countryside, where the land is embroidered with patterns created by vegetation vineyards in this case enticing the visitor to examine the architectural work more closely. The frontal effect of this construction, with the central stone cylinder and its circular crown studded with olive trees, becomes a “designed flower” gracing the entire hillside. It is this image, extended over the endless rows of vineyards, that points to the existence of areas inside the mountain where the winerys production process takes place, from pressing grapes to bottling


57 wine. In its depth, the ground floor houses the central cylinder as well as the space set aside for the barriques in which the wine is aged, and a long tunnel pierces the mountain, ending in front of a rock wall: here, the heart of the hill takes on a central role, exquisitely evoking the ancestral values that are entwined with the land and are still part of the sheer mystery of winemaking. Visitors are ushered into the bowels of the hillside, almost as if to dispel any possible doubt about the nature and origin of what the bottles contain. To give the Petra Winery a specific image, the architect chose to create a powerful symbol within the landscape, instead of building a more conventional industrial complex. Indeed, the latter was deemed restrictive with respect to the generosity shown by Terra Moretti, which, alongside its quest for high-quality products, grasped this opportunity to redesign the landscape in a compelling way.


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64 Project 1999 Construction 2003 Client TCS Tata Consultancy Services, Mumbai Architect Mario Botta, Lugano Studio Botta collaborators Davide Macullo, Carlo Falconi Partner architect Shashi Dhume, Mumbai Shoba Bhopatkar, Pune Kartik Punjabi, Mumbai Civil engineering Pangasa Semac, New Dehli Mechanical engineering TCE Tata Consultancy Engineering, Mumbai Structure and materials reinforced concrete bearing structure; clad with slabs of red Agra stone

TCS (Tata Consultancy Services) Offices, Deccan Park - Madhapur Hydrabad, Andhra Pradesh, India


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This project is located in a district in the city of Hyderabad where the new technological hub known as “High Tech City” Indias version of Silicon Valley has burgeoned ever since the Nineties. Before the area was overrun by the haphazard constructions of new software production centres, pristine natural plains were the keynote of this landscape. The underlying intention of the design for the TCS Offices is to present a monolithic element hollowed out on the inside and open towards the city. As a single volume, the construction enhances the features of the site, accentuating the existing landform and making it an integral part of the construction, both formally and materially. For example, the excavated material provided the stone that was used for the paving and for the wall enclosing the property. The interaction between the two the landscape and the construction is resolved in this work through the complicity of the various parts, in which each one discovers its raison dêtre in its rapport with the others. The cylindrical volume thus breaks up where the mountainous layout changes direction, and it acts as a pivot on a territorial scale by fitting into the new skyline of High Tech City.


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The uniform treatment of the surfaces using red Agra stone reflects the intention of this new construction to make a statement as a primary element. The wide, deep vertical slashes that modulate the faรงade permit large windowed surfaces, thereby letting natural light into the interior spaces. At the same time, however, they also provide necessary protection and guarantee good insulation from the harsh weather conditions typical of the environs. This high-tech building was constructed using only a modicum of machinery and a large workforce of both men and women, who handled the construction work and transported the materials, stimulating the architect to ponder the basic principles of architecture, such as gravity and genius loci.


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TCS (Tata Consultancy Services) Offices, New Dehli, India Project 1996-1997 Completion 1999-2002 Client Tata Consultancy Services, Mumbai Architect Mario Botta, Lugano Studio Botta Collaborators Davide Macullo, Carlo Falconi Architect of record Snehal Shah, Ahmedabad Civil Engineer Arvind G. Kelkar, Mumbai Technical Engineer TCE - Tata Consultancy Engineering, Mumbai Site area 15Â’340 m2 Gross floor area 8484 m2 above ground, 2820 m2 underground Volume 50Â’000 m3


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A long building is designed parallel to the edge of the lot and perpendicular to the existing building separating the urbanized areas from the surrounding countryside. On the north front, towards the access road, a cylindrical volume stands clear off the linear building. Inside, there are collective spaces, characterized by a broad central volume. At the top of this volume small openings in the projecting ventilation tower provide overhead day lighting. A double skinned wall ensures a system of natural ventilation for the internal spaces for office use, while the more compact south walls have no apertures, and thus form a screen against the direct and strong sunlight. A portico shaped space on the ground floor reveals the presence of a vast green area, also effective in abating overheating in the areas adjacent to the new building. Agra stone slabs are used for the exterior cladding, while floors are finished with a dark grey polished Kota stone.


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Renovation and Restructuring of Theatre “Alla Scala” in Milan 2002-2004


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Works duration 912 consecutive days since 22 April 2002 Planned working hours 700.000 Installed cranes 5+1 Demolitions 120.000 m3 empty for full Excavations 17.500 m3 Special foundations 17.000 m3 Concrete castings 16.000 m3 Steel for reinforced concrete 2.000 tons Steel for metallic structures 700 tons Pipes for air-conditioning 140 toms Installed fridge power 3.000 KW Electric wires 600 Km Installed electric power 4.000 KW Water reserve 500 m3 Stage dimensions 20x18 m Stage area 1.600 m2 Stage tower height -18+36 56 m Marmorino (recovery + new) 1.800 m2 Seminato alla veneziana (recovery + new) 2.000 m2 Earthen floors (recovery + new) 1.500 m2 Hall pit floor 450 m2 Foyer, boxes, galleries floors 850 m2 Seats number: Pit 670 Boxes 800 Galleries 560 Total 2030 Volumes: Monumental part above ground 65.000 m3 underground 10.000 m3 total 75.000 m3 New part above ground 95.000 m3 underground 35.000 m3 total 130.000 m2


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80 The restoration and restructuring of the Scala Theatre affected a wide triangle of the city. It spreads, on one side, along Via Filodrammatici till Mediobanca square and, on the other, along Via Verdi till the building of the former San Paolo bank. The apex of the triangle is constituted by Piazza alla Scala. The main body of the opera-house and the backstage areas, laid out as designed by Piermarini, overlook Via Verdi; the operahouses 19th-century add-ons overlook Via Filodrammatici. The present configuration is the outcome of continual transformations from the first years after the inauguration till the last decades. The facades were not affected by these transformations which, on the contrary, altered the original ground plan and the layout with roof extensions and additions within the courtyard. Other add-ons were conceived in the last decades to face the exigencies of the theatrical machine and to respect the safety regulations. The architectural intervention proposed four aims: the conservative


81 restoration, the edification of the stage tower volume, the service installations on the roofs along Via Filodrammatici and, at a later date, the replacement of the former San Paolo bank building along Via Verdi. The conservative restoration involved Piermarinis auditorium and the 19th- century former Casino Ricordi. The intervention aimed at restoring the original structure with the removal of the parts added on over the years and at readjusting the finishes. The only sensible change was the raising of the floor in the stalls to improve the view of the stage. The volume of the stage tower is the most important intervention designed to meet the requirements of the new technical structure. It raises the roof to a height of 37.80 m above the street level. It also includes the excavation of the orchestra pit to a depth of 16 m below the street level. Six rehearsal rooms, as high as the tower roof, find place on the floors behind the tower itself. The vertical extensions of the stage tower and of the backstage volumes are inscribed within a parallelepiped set back 2.50 m to the faรงade along Via Verdi.


82 The services installations along Via Filodrammatici replace the recent roof add-ons in order to restore the original appearance of the façade. The ground floor area beyond the street façade was reorganized through the construction of a new space on the left side of the stage where “La Piccola Scala” once was. The courtyard behind the 19th century Casino Ricordi was cleared out and the jumble of roof add-ons, built over the past few decades, demolished. Instead of it a single elliptical volume, containing the different services required (dressing-rooms, changing-rooms, canteen), was designed. This new volume, that raises on one side of the stage tower, has its own visual autonomy. The replacement of the former San Paolo bank building was not scheduled in the first phase of the project because the building was not a property of the Comune of Milan. Anyway an important edification


83 was foreseen for the functioning of the Scala Theatre. The backstage spaces are on the ground floor and on the upper floors are the orchestra dressing-rooms and the ballet rehearsal-room. The new construction enables a reduction of the bulk of the new volumes within the Theatre perimeter. As for the materials, the construction of the new volumes above the existing roofs was carried out with a bearing structure made of reinforced concrete and iron sections. They are clad in stone (Botticino classico) and a different treatment was deviced for both volumes: a polished stone cladding with horizontal striping for the stage tower; with vertical slating for the elliptical volume overlooking Via Filodrammatici. The “abstractness” of the two volumes introduces a deliberate contrast between the “figurative” aspects of Piermarinis original opera-house and the added-on 19th-century buildings.


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Êóëàòà „ Êèîáî” â Ñåóë, Êîðåÿ

Íîâàòà îôèñ ñãðàäà å ðàçïîëîæåíà â Ñåîêî, öåíòúðà íà Ñåóë, íà þãîçàïàäíèÿ úãúë íà äâå ïðåñè÷àùè ñå óëèöè. Èäåÿòà å äà ñå èçãðàäè åäíà ìíîãî ìàñèâíà è êîìïàêòíà êîíñòðóêöèÿ, êàòî ëèöåâàòà é ÷àñò äà å â êîíòðàñò ñúñ ñòúêëåíî-ñòîìàíåíèòå êîíñòðóêöèè íàîêîëî. Ïðàâà êàòî ñðåäíîâåêîâíà êóëà, òàçè âíóøèòåëíà ñãðàäà ùå ïîìàãà íà õîðàòà äà ñå îðèåíòèðàò â ñúâðåìåííèÿ ãðàä. Îãðîìíàòà êóëà, ïîêðèòà ñ òóõëè, ïîä÷åðòàâà ñâîÿòà çíà÷èìîñò ÷ðåç ìàùàáíèòå ñè ïðîïîðöèè. Êóëèòå áëèçíàöè ñà ðàçïîëî-

æåíè âúðõó îñíîâà , êîÿòî ñå ðàçøèðÿâà íà ïúðâèòå òðè åòàæà, êàòî ïðèäàâàò ôîðìà íà îñíîâíèÿ îáåì íà íîâàòà ñãðàäà. Òå ñà ðàçäåëåíè íà ðàçñòîÿíèå îò 18 ì, êîåòî ðàçðåøàâà ïðîíèêâàíåòî íà åñòåñòâåíà ñâåòëèíà íà âñè÷êè íèâà. Âñÿêà îò êóëèòå å ðàçäåëåíà îò âåðòèêàëíè ðàçðåçè, êîèòî ïîä÷åðòàâàò âåðòèêàëíîòî ðåøåíèå íà êîíñòðóêöèÿòà. Ñåäåì ìîñòà ñâúðçâàò êóëèòå íà ðàçëè÷íè íèâà, à ïðîñòðàíñòâîòî ïðåäíàçíà÷åíî çà ðàçëè÷íè ñúáèòèÿ, îáåäèíÿâà êóëèòå íà ãîðíèÿ åòàæ, êàòî ïðåäëàãà íåâåðîÿòíà ãëåäêà êúì ãðàäà. Îáùåñòâåíàòà çîíà ïðåä ñãðàäàòà å ðàçâèòà â îòãîâîð íà ãðàäñêîòî èçèñêâàíå. Äâå îñíîâíè óëèöè îïðåäåëÿò âàæíîñ-

òòà íà ìÿñòîòî â ãðàäà è ñúîòâåòíî ñòðàòåãè÷åñêîòî ìåñòîïîëîæåíèå íà íîâàòà îôèñ ñãðàäà. Çåëåíèòå ïëîùè íà ñåâåð è èçòîê ñà ïðåäíàçíà÷åíè çà ïåøåõîäíè çîíè. Ãëàâíèÿò âõîä å îò èçòî÷íàòà ñòðàíà íà óëèöà "Êàíã Íàì äå Ðî”. Îò ñåâåðíàòà ñòðàíà íà ïî-íèñêî íèâî å ãðàäèíàòà, êîÿòî ñâúðçâà ïîäçåìíèòå íèâà ñ áúäåùîòî ìåòðî, à äîñòúïúò äî ïàðêèíãà êúì ñãðàäàòà ñå îñúùåñòâÿâà ÷ðåç ðàìïà îò çàïàäíàòà ñòðàíà. Òèïîëîãèÿòà íà ñãðàäàòà îïðåäåëÿ öÿëàòà îðãàíèçàöèÿ íà èíòåðèîðíîòî ïðîñòðàíñòâî. Âñÿêà îò êóëèòå èìà àñàíñüîð, ñòúëáèùà, ñòàè çà òåõíè÷åñêèÿ ïåðñîíàë.  îñíîâàòà èì å ðàçïîëîæåíî îãðîìíî ôîàéå, êîåòî ñå ðàçøèðÿâà êúì åòàæèòå, ïî-

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çâîëÿâàéêè íà äíåâíàòà ñâåòëèíà äà ïðîíèêâà ïðåç øèðîêèòå ïðîçîðöè. Òîâà âàæíî ïðîñòðàíñòâî ïîìàãà ÷îâåê äà ñå îðèåíòèðà â ñãðàäàòà. Òî ðàçïîëàãà ñ âñè÷êè îáùåñòâåíè ôóíêöèè. Îôèñèòå ñà íà ðàçëè÷íè öåíòðàëíè ïîçèöèè. Åòàæèòå ñà äîáðå ñíàáäåíè ñ åñòåñòâåíà ñâåòëèíà. Êîíöåïöèÿòà íà ñãðàäàòà ïîçâîëÿâà ìàêñèìàëíà ãúâêàâîñò â îðãàíèçàöèÿòà íà îôèñèòå è ïðîñòðàíñòâàòà, êîåòî ïðåäïîëàãà åôèêàñíè ðàáîòíè óñëîâèÿ. Íîñåùàòà ñòðóêòóðà å ñòîìàíîáåòîí. Ôàñàäèòå ñà èçðàáîòåíè îò áåòîííè ïàíåëè, ïîêðèòè ñ ÷åðâåíè òóõëè, êîèòî ñà çàêðåïåíè ñúñ ñòîìàíà êúì ñòðóêòóðàòà.

Öåíòúð çà îòäèõ Tschuggen Bergoase

Àðîñà ïðåäëàãà èçêëþ÷èòåëíî ãåîãðàôñêà ïîëîæåíèå âúðõó ñêëîí, çàîáèêîëåíà îò ïëàíèíè. Ìÿñòî, êúäåòî êîíòðàñòúò ìåæäó ÷îâåêà è ïðèðîäàòà å ïîñòîÿííî ïîä÷åðòàí îò ìîãúùèÿ ðåëåô è äðåâíàòà áîðáà ìåæäó ÷îâåêà è ïëàíèíàòà å î÷åâèäíà. Ïðîñòðàíñòâîòî íà íîâàòà ñòðóêòóðà Berg Oase å â íåïîñðåäñòâåíà áëèçîñò äî ãîëåìèÿ õîòåë è å îïðåäåëåíî êàòî ïàðêîâà çîíà çà ðàçõîäêè â ïîäíîæèåòî íà ïëàíè-

íàòà. Íèå ñè ïðåäñòàâÿõìå êàê ñòðîèì áåç ïîñòðîéêè - äà ïîêàæåì ïðèñúñòâèåòî íà íîâîòî ÷ðåç èçëèçàùè åëåìåíòè è äà îñòàâèì ïîä çåìÿòà ïî-ãîëåìèòå ôóíêöèîíàëíè ïðîñòðàíñòâà. Ïîêðèòèåòî îò õèïîãåàëíè ïðîñòðàíñòâà ñå ïðåâúùà â "ñöåíà” ñ ãåîìåòðè÷íî âåãåòàëíî ïðèñúñòâèå, êîåòî ïðèâëè÷à âíèìàíèåòî íà ïîñåòèòåëèòå. Âúòðåøíîòî ïðîñòðàíñòâî å òåðàñèðàíî, çà äà íàìàëè èçêîïíèòå ðàáîòè. Ïî-íàòàòúê ïî æåëàíèå íà êëèåíòà, ìîäóëíèÿò äèçàéí ïîçâîëÿâà ìàêñèìàëíà ãúâêàâîñòâ â îðãàíèçàöèÿòà íà ðàçëè÷íèòå ôóíêöèè. Ïëîùèòå íà “Berg Oase” ñà õàðàêòåðåçèðàíè îò òÿõíàòà âçàé-

ìîâðúçêà è ïðèâèëèãèðîâàíîòî èì îòíîøåíèå êúì îêîëíàòà ñðåäà, ïîñðåäñòâîì òåõíîëîãè÷íèòå äúðâåòà, êîèòî îñèãóðÿâàò åñòåñòâåíà ñâåòëèíà è èçêëþ÷èòåëíà ãëåäêà è ñå ïðåâðúùàò â ñèãíàëè çà æèâîòà âúòðå ÷ðåç îñâåòëåíèåòî ïðåç íîùòà, êîåòî äàâà ìàãè÷íà àòìîñôåðà íà öåëèÿ êóðîðò. Âúòðåøíîòî ïðîñòðàíñòâî å ðàçäåëåíî íà ÷åòèðè åòàæà. Ïðèçåìíèÿò åòàæ å ïðåäíàçíà÷åí çà ôèòíåñ ñúîðúæåíèÿ, ÷àñò îò òåõíè÷åñêàòà ïëîù è ãàðäåðîáà çà âúíøíè ïîñåòèòåëè, êîèòî èìàò äèðåêòåí äîñòúï äî òîçè åòàæ. Ïúðâèÿò åòàæ (1859.81 a.s.l.) å çàåò îò òåõíè÷åñêè ñúîðúæåíèÿ: HLZ ñòàíöèÿ, áàñåéí, îòäåëåíèÿ çà

ïîääðúæêà íà òÿëîòî è öåíòúð çà êðàñîòà, ñîëàðèóì, ôðèçüîð, òîàëåòíè, ñêëàäîâå. Íà âòîðèÿ åòàæ (1859.11 a.s.l) ñà ðàçïîëîæåíè ñâðúçâàùèÿò ñòúêëåí ìîñò ìåæäó Tschuggen Hotel è öåíòúðúò çà îòäèõ, ðåöåïöèÿòà, ïîìåùåíèÿòà çà ïåðñîíàëà, ãàðäåðîáíèòå, òîàëåòíèòå, "ñàóíà ñâÿò” ñ êúò çà ðåëàêñ. Òðåòèÿò åòàæ (1866.11 a.s.l.) ïîìåùàâà "âîäíèÿò ñâÿò” ñ áàñåéí çà ïëóâàíå è îòäèõ, òîàëåòíè, ìÿñòî çà ïî÷èâêà, ñëàäîâå. Âúíøíèòå ïðîñòðàíñòâà (ñàóíà, ñîëàðèóì, áàñåéí) ñå äîñòèãàò äèðåêòíî îò áàñåéíèòå è ñà ñèòóèðàíè íà àòðàêòèâíî òåðàñèðàíå, ïîòîïåíî â ïðèðîäàòà.

Íîâîòî êàçèíî â Êàìïèîíå

Ïàðöåëúò, â êîéòî ñå íàìèðà íîâîòî îáùèíñêî êàçèíî, å ðàçïîëîæåí äî èñòîðè÷åñêèÿ öåíòúð íà ãðàäà, â ïîäíîæèåòî

íà õúëì. Òóê ñúùåñòâóâàò ðàçëè÷íè ãåîãðàôñêè è àðõèòåêòóðíè ïîñòðîéêè. Îò åäíàòà ñòðàíà ñå íàìèðà ñòàðèÿò ãðàä, à îò äðóãàòà íîâèòå ñãðàäè, ðåàëèçèðàíè ïðåç XX âåê. Òàçè îñîáåíîñò ëåæè â îñíîâàòà íà ïðîåêòà, â êîéòî ðîìáîèäíèÿò ïàðöåë å îòâîðåí êúì åçåðîòî. Äâå ïúòåêè

îôîðìÿò ñèñòåìà îò ñòúëáè è òðîòîàðè, êîèòî ñâúðçâàò ÷àñò îò åçåðîòî ñ õúëìèñòàòà ìåñòíîñò. Íîâîòî êàçèíî å ðàçïîëîæåíî â ãîðíàòà ÷àñò îò ïàðöåëà, êîåòî ïîçâîëÿâà îáðàçóâàíåòî íà ãîëÿì ãðàäñêè ïàðê â äîëíàòà ìó ÷àñò ïîä ïëîùàä “Ìèëàíî”. Ïàðêúò å êîíòðàïóíêò íà ãîëåìèÿ

îáåì îòãîðå.  íåãî ñå ñðåùàò ñòàðèÿò þæåí öåíòúð è ïî-ñúâðåìåííàòà ñåâåðíà ÷àñò. Íåãîâîòî ðàçïîëîæåíèå ïîçâîëÿâà äà ñå òðàíñôîðìèðà ãúñòî íàñåëåíàòà ðàçâèòà çîíà îêîëî åçåðîòî â åäíà íàïúëíî ñâîáîäíà ñèñòåìà îò ïúòåêè è ìåñòà çà ðàçõîäêà îò îêîëî 6000 êâ. ì.


87

×åðêâàòà „Ïàïà Äæîâàíè XXIII”,

24 32 40 46

Ñåðèàòå, Èòàëèÿ

Ñåðèàòå å ìàëúê ãðàä, ðàçïîëîæåí áëèçî äî Áåðãàìî â Ñåâåðíà Èòàëèÿ. ×åðêâàòà, ïîñâåòåíà íà ñâåòèÿ ïàïà Äæîâàíè XXIII, ñå íàìèðà áëèçî äî ÷åðêâàòà “Ñàí Àëåñàíäðî Ìàðòèð” â ìåñòíîñòòà Ïàäåðíî, êîÿòî å

áèëà çàñòðîåíà ïðåç XVIII âåê. Æèëèùíè ñãðàäè è åäíîôàìèëíè êúùè õàðàêòåðèçèðàò îáêðúæàâàùàòà ñðåäà è ãðàíè÷íèòå ëèíèè íà ïúòÿ, ñâúðçâàù Ñåðèàòå ñ Áåðãàìî. Ñòàðàòà ÷åðêâà îïðåäåëÿ îãðàíè÷åíèÿòà çà ïëàíîâîòî ðàçïðåäåëåíèå íà íîâàòà ÷åðêâà îò ñåâåðîçàïàä. Îò þãîèçòîê â äúëãà åäíîåòàæíà ñãðàäà ñà ðàçïîëîæåíè ïîêîèòå íà ñâåùåíèêà è íÿêîëêî äðóãè ïîìåùåíèÿ, êîèòî äîñ-

òèãàò äî äâîðà, êúäåòî ñå íàìèðàò ìàëúê ïàðàêëèñ è êëàñíè ñòàè ïî êàòåõèçèñ. Êâàäðàòíàòà ïî ôîðìà ÷åðêâà (25 x 23 ì) å â öåíòúðà íà öåëèÿ ïðîåêò. Íîñåùàòà ñòðóêòóðà å íàïðàâåíà îò ñòîìàíîáåòîí, à ôàñàäèòå ñà èçïúëíåíè îò åñòåñòâåíè ÷åðâåíè ïëî÷è “Âåðîíà”, äîêàòî èíòåðèîðíèòå ñòåíè ñà ïîêðèòè ñ äúðâî. Èíòåðèîðíîòî ïðîñòðàíñòâî ïðåäñòàâëÿâà åäèí-åäèíñòâåí îáåì, îôîðìåí îò ñòðà-

íè÷íà ñòåíà. Ñâåòëèíàòà ñâîáîäíî ïðîíèêâà îò ïðîçîðöèòå íà ïîêðèâà. Ïîëèðàíèÿò êàìúê ”Âåðîíà” å èçïîëçâàí è â èíòåðèîðà êàòî ïðîäúëæåíèå íà ïîäîâàòà íàñòèëêà, êàòî îôîðìÿ öîêúëà íà ñòåíèòå è öúðêîâíàòà ìåáåë. (îëòàð, àìâîí, ñòîëîâå). Êàìåííàòà îáøèâêà íà àïñèäàòà çàâúðøâà öúðêîâíîòî ïðîñòðàíñòâî.  íåÿ ñà ïîêàçàíè ñöåíè, ðèñóâàíè îò èòàëèàíñêèÿ õóäîæíèê Äæóëèàíî Âàíäæè.

×åðêâàòà „Ñàíòî Âîëòî”, Òîðèíî, Èòàëèÿ

Êàêòî ïîâå÷åòî åâðîïåéñêè ãðàäîâå, Òîðèíî ïðåòúðïÿ ãîëåìè òðàíñôîðìàöèè. Ãîëåìèòå íåèçïîëçâàíè èíäóñòðèàëíè çîíè â ñúðöåâèíàòà íà ãðàäà ùå èìàò íîâî ïðåäíàçíà÷åíèå â áëèçêîòî áúäåùå. Âúâ âðúçêà ñ òåçè ïðîìåíè Íåãîâî Âèñîêîïðåîñâåùåíñòâî êàðäèíàë Ñåâåðèíî Ïîëå-

òî, àðõèåïèñêîïúò íà Òîðèíî, ðåøàâà äà ïîñòðîè ïàñòîðàëåí öåíòúð â çîíàòà íà áèâøèòå ñòîìàíåíè êîíñòðóêöèè íà óëèöà "Áîðãàðî”. Ïðîåêòúò å çà ÷åðêâà, ïîñâåòåíà íà ïëàùàíèöàòà íà Õðèñòîñ, êîÿòî èìà 7 ÷àñòè îáêðúæåíè îò 7 êóëè, ñâúðçàíè ñ íèñêèòå òåëà íà ïàðàêëèñèòå. Ãîðíèòå âúðõîâå íà êóëèòå è ïàðàêëèñèòå ñà îòðÿçàíè è ñëóæàò çà ïðîçîðöè. Íîâèÿò åíîðèéñêè êîìïëåêñ îáåäèíÿâà ðàçëè÷íè óñëóãè. Ïîä îñíîâíàòà çàëà å ðàçïîëîæåíà êîíãðåñíà çàëà.  äðóãèòå òåëà íà ÷åðêâàòà ñà îôèñèòå, àïàðòàìåíòèòå, äåëíè÷íèòå ïàðàêëèñè. Òåçè ïðîäúëãîâàòè òðèåòàæíè ñãðàäè ñúäúðæàò ïðåääâåðèÿ. Êëè-

åíòúò è àðõèòåêòúò ñà áèëè ïîìîëåíè äà èíòåãðèðàò â äèçàéíà ñúùåñòâóâàùèÿ êîìèí íà áèâøèòå ñòîìàíåíè êîíñòðóêöèè, êîèòî ñòàâàò ñèìâîë íà ñòàðîòî è íîâîòî. Êîìèíúò å îáãðàäåí ñúñ ñïèðàëîâèäíè ñòîìàíåíè ñòðóêòóðè ñ òúíêè ñòîìàíåíè ëèñòîâå, êîèòî íàïîäîáÿâàò "òðúíè”, à êðúñòúò å ðàçïîëîæåí íà 60 ì âèñî÷èíà. Ìàëêèòå êàìáàíè â ïðàâîúãúëíà ðàìêà â äúíîòî íà êîìèíà ñà â ñúîòâåòñòâèå ñ îñíîâíèÿ âõîä. Ïðàçíèíàòà, ñúçäàäåíà îò ïîêðèòèÿ ñ ïèðàìèäàëíà ôîðìà, ñå îáðàçóâà îò ðåäóâàíåòî íà ïúëíè è ïðàçíè êëèíîâå, êîèòî îáãðàæäàò öåíòðàëíèÿ áàðàáàí è ñëóæàò çà îïîðíà òî÷êà. Êóëèòå ñòîÿò â öåí-

òúðà íà îêà÷åí öèëèíäúð, êîéòî ñå íàìèðà âúðõó äâå êîëîíè. Àðõèòåêòúò å òðÿáâàëî äà ïðåäñòàâè åëåìåíò, êîéòî ïîêàçâà Õðèñòîâàòà ïëàùàíèöà â äúíîòî íà îëòàðà. Ìàðèî Áîòòà è íåãîâèòå ñúòðóäíèöè èçïîëçâàò êîìïþòúðà â ðàáîòàòà ñè, çà äà îôîðìÿò ñâåòàòà ïëàùàíèöà. Ìàëêèòå òóõëè÷êè îò ÷åðâåí ìðàìîð "Âåðîíà”, èçðàáîòåíè â äâå ðàçëè÷íè ôîðìè, ñà ìîíòèðàíè òàêà, ÷å ëèöåòî íà Õðèñòîñ ñå ìàòåðèàëèçèðà îò åôåêòà íà ñâåòëèíàòà, èäâàùà îò ãîðå. Òîâà ñèìâîëè÷íî çâó÷åíå ïîäñêàçâà, ÷å â áúðêîòèÿòà íà ñúâðåìåííèÿ ãðàä, ãðàæäàíèòå âñå îùå ìîãàò äà îòêðèÿò åìîöèÿ è òèøèíà.

Ìóçåÿò ïî èçêóñòâà „Ëååóì–Ñàìñóíã”

Ìóçåÿò çàåìà ñòðàíè÷íà ïîçèöèÿ è ñå èçâèñÿâà íàä îñòàíàëèòå ñãðàäè â îêîëíîñòòà. Ïðîåêòúò ñòàâà çàáåëåæèòåëíîñò çà

ðàéîíà è å ïðåäñòàâèòåë íà íîâàòà óðáàíèçàöèÿ, ïðåäëîæåíà îò ôîíäàöèÿòà "Ñàìñóíã”. Äúðâåòàòà íà âúðõà íà ñãðàäàòà íàïîìíÿò âååùè ñå çíàìåíà íà ñðåäíîâåêîâíà êóëà. Âíóøèòåëíîñòòà íà ñãðàäàòà, áîãàòà íà ñèìâîëè÷íè çíà÷åíèÿ, çàâúðøâà ãîðíèÿ êðàé íà óðáàíèçàöèÿòà. Ìóçåÿò, èçäèãàù ñå îò íà-

êëîíåíàòà çåëåíà ðàâíèíà, å îò äâà îáåìà, ñâúðçàíè ïîìåæäó ñè. Åäèíèÿò å ïàðàëåëåïèïåä.  äîëíàòà ÷àñò å îáúðíàò êîíóñ, êîéòî âëèçà â çåìÿòà áëèçî äî ïúòÿ. Äâàòà îáåìà ñà ñâúðçàíè ñ õîðèçîíòàëíè âðúçêè, êîèòî ñà ïîêðèòè ñ òåðàêîòà. Åäèí-åäèíñòâåí ìîäóë ðåøàâà ïîêðèòèåòî

íà ïîâúðõíîñòòà íà êîíóñà çà èçëîæáåíàòà çàëà. Îïðîñòåíèòå ãåîìåòðè÷íè ôîðìè ïðèäîáèâàò ïðåíîñíî çíà÷åíèå. Oáúðíàòèÿò êîíóñ ïðåäñòàâëÿâà ñúðöåâèíàòà íà öÿëàòà èçëîæáåíà ñèñòåìà. Ñëèçàéêè íàäîëó ïî ñòúëáèòå, ïîñåòèòåëÿò îòêðèâà íèâî ñëåä íèâî, ìèíàâàéêè ïî ïúòåêà ñúñ ñêîñåíè ñòåíè.

Ìóçåÿò çà ìîäåðíî è ñúâðåìåííî èçêóñòâî „ÌÀÐҔ â Ðîâåðåòî, Òðåíòî, Èòàëèÿ

Âíóøèòåëíîñòòà íà ìóçåÿ íå ñå ðàçêðèâà îò ïðúâ ïîãëåä, òÿ îñòàâà ÷àñòè÷íî ñêðèòà íà ïîäçåìíî íèâî. Äâà ïàëàòà, íàìèðàùè ñå

íà "Êîðçî Áåòèíè”, ñúñòàâëÿâàò ëèöåâàòà ñòðàíà íà ñãðàäàòà. Ìàëêà àëåÿ ìåæäó òÿõ îôîðìÿ îñ, êîÿòî âîäè êúì öåíòàëíèÿ äâîð. Òîçè ïðîñòðàíñòâåí ïëîùàä ñ ôîðìàòà íà êðúã ñòàâà öåíòúðà íà êîìïëåêñà è ñâúðçâà îáùåñòâåíèòå ïðîñòðàíñòâà, ðàçâèòè â çàäíàòà ÷àñò íà ïàëàòèòå è óëèöàòà. Ìóçåÿò

ñå ðàçøèðÿâà íà ìåñòàòà, êúäåòî ñå ñúåäèíÿâà ñ äâàòà ïàëàòà íà ñóòåðåííî è ïðèçåìíî íèâî. Íà ñóòåðåííî íèâî ñà ðàçïîëîæåíè àðõèòåêòóðíèòå çàëè, ÷èòàëíÿòà, êîÿòî å äîáðå îñâåòåíà îò ïèðàìèäàëíèòå ïðîçîðöè íà âúðõà, è ìóçåéíèòå õðàíèëèùà. Ïðîñòîðíèÿò ïëîùàä äàâà äîñòúï äî ìóçåÿ,

êàôå-ñëàäêàðíèöàòà, ðåñòîðàíòà è êíèæàðíèöàòà. Ãîëåìèòå èçëîæáåíè çàëè ñà ðàçïîëîæåíè íà ïúðâî íèâî, äîêàòî ïî-ìàëêèòå çàåìàò âòîðîòî íèâî. Äîñòúïúò äî ãàëåðèèòå íà ãîðíèòå äâà åòàæà ñå îñúùåñòâÿâà îò öåíòðàëíèÿ äâîð, à ñòúëáèùàòà çàåìàò êðàéíèòå úãëè íà ïëîùàäà.


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Âèíàðíà èçáà „Ïåòðà” â Ñóâåðåòî

Âèíàðíàòà “Ïåòðà” ñå íàìèðà íà õúëì ñ èçãëåä êúì ëîçÿ â Ñóâåðåòî, âúâ âúòðåøíàòà ÷àñò íà ìåñòíîñòòà Ïèîìáèíî è ïðåäñòàâëÿâà öèëèíäúð, êîéòî å îá-

ëèöîâàí ñ êàìúê “Ïðóí”, ïðåñå÷åí îò äèàãîíàë , óñïîðåäåí íà íàêëîíà, ñ äâå ïîðòèê - êðèëà ñ ëèöå êúì ìîðåòî. Èçãðàäåíèÿò öåíòðàëåí îáåì èìà ìîùåí ïëàñòè÷åí âèä è èíòåðïðåòèðà ðàçïðúñíàòèòå âèëè, êîèòî ñà òèïè÷íè çà ìåñòíîñòòà Òîñêàíà, êúäåòî çåìÿòà å ðàçêðàñåíà îò ëîçÿòà è óâëè÷à ïîñåòèòåëÿ äà èçñëåäâà àðõèòåê-

òóðíèòå òâîðáè ïî-îòáëèçî. Áåçêðàéíèòå ðåäèöè ëîçÿ ïîäñêàçâàò, ÷å â ìåñòíîñòèòå ñðåä ïëàíèíàòà , ïðîèçâîäñòâîòî íà âèíî çàïî÷âà îò èçñòèñêâàíåòî íà ãðîçäåòî è çàâúðøâà ñ áóòèëèðàíåòî íà âèíîòî.  ïðèçåìíèÿ åòàæ ñå ïîìåùàâà öåíòðàëíèÿò öèëèíäúð, êúäåòî ñå ñúõðàíÿâà âèíîòî. Åäèí äúëúã òóíåë ïðîíèçâà ïëàíèíàòà

è çàâúðøâà ïðåä ñêàëèñòà ñòåíà. Òóê, â ñúðöåòî íà ïëàíèíàòà ñå ïàçÿò ôàìèëíèòå öåííîñòè, êîèòî ñà ÷àñò îò ïðîçðà÷íàòà ìèñòåðèÿ íà âèíîïðîèçâîäñòâîòî. Çà äà ïðèäàäå ñïåöèôè÷åí âèä íà âèíàðíàòà “Ïåòðà”, àðõèòåêòúò èçáèðà äà ñúçäàäå ìîùåí ñèìâîë â ñàìèÿ ïåéçàæ, âìåñòî äà èçãðàæäà òðàäèöèîíåí èíäóñòðèàëåí êîìïëåêñ.

Îôèñ ñãðàäèòå

íà „Òàòà Êîíñàëòúíñè Ñúðâèñ” Òîçè îáåêò å ðàçïîëîæåí â åäèí îò ðàéîíèòå íà ãðàä Õèäåðàáàä, êúäåòî íîâèÿò òåõíîëîãè÷åí öåíòúð, èçâåñòåí êàòî “High Tech City”, áúðçî ñå ðàçðàñòíàë. Ïðåäè âðåìå â òàçè ìåñòíîñò ñà ñå íàìèðàëè ñãðàäè çà ïðîèçâîäñòâî íà ñîôòóåðíè ïðîäóêòè.

Ñïîðåä ïðîåêòà, îôèñúò íà ÒÊÑ ïðåäñòàâëÿâà ìîíîëèòåí åëåìåíò, îòâîðåí êúì ãðàäà. Êîíñòðóêöèÿòà èìà åäèí - åäèíñòâåí îáåì, êîåòî çàñèëâà ÷åðòèòå íà ñãðàäàòà è àêöåíòèðà âúðõó ìåñòíîñòòà, êúäåòî òÿ å ðàçïîëîæåíà. Âçàèìîâðúçêàòà ìåæäó êîíñòðóêöèÿòà è ìåñòíîñòòà å ðåøåíà ñ ïîìîùòà íà ðàçíîîáðàçíè ÷àñòè, â õàðìî-

íèÿ ïîìåäó ñè. Öèëèíäðè÷íèÿò îáåì ñå ïðå÷óïâà òàì, êúäåòî ïëàíèíñêîòî òðàñå ïðîìåíÿ ïîñîêàòà ñè. Òî ñå ÿâÿâà îïîðíà òî÷êà â òåðèòîðèàëåí ìàùàá, êàòî ïðèëÿãà êúì ëèíèÿòà íà õîðèçîíòà íà “High Tech City”.  îáëèöîâêàòà íà ñãðàäàòà å èçïîëçâàí ÷åðâåí êàìúê “Àãîðà”. Øèðîêèòå, äúëáîêè âåðòèêàëíè ðàçðåçè, êîèòî ìîäóëèðàò

ôàñàäàòà, äàâàò âúçìîæíîñò íà ãîëåìè ïðîçîðöè, äà ñíàáäÿâàò âúòðåøíèòå ïðîñòðàíñòâà ñ ìíîãî åñòåñòâåíà ñâåòëèíà. Ñãðàäàòà å ïîñòðîåíà, êàòî ñà èçïîëçâàíè ìàëêî ìàøèíè, íî ìíîãî ðàáîòíà ðúêà êàêòî ìúæêà, òàêà è æåíñêà, êîèòî ñà óïðàâëÿâàëè ðàáîòàòà ïî êîíñòðóêöèÿòà è òðàíñïîðòèðàíåòî íà ìàòåðèàëèòå.

Îôèñ ñãðàäà íà Òàòà, Íþ Äåëõè, Èíäèÿ

Íîâàòà äúëãà ñãðàäà å ïðîåêòèðàíà ïàðàëåëíî íà âå÷å

ñúùåñòâóâàùàòà ñòàðà ñãðàäà, êîÿòî îòäåëÿ ãðàäñêèòå çîíè îò îáêðúæàâàùèòå ñåëñêè ìåñòíîñòè. Îò ñåâåðíàòà ñòðàíà å èçäèãíàò öèëèíäðè÷åí îáåì, êîéòî èìà äîñòúï äî ïúòÿ. Âúòðå â ñãðàäàòà ñå íàìèðàò ïðîñòðàíñòâàòà, êîèòî ñå îáåäèíÿâàò â øèðîê öåíòðàëåí îáåì ñ ìàëêè îòâîðè íà âúðõà, êîèòî ñëóæàò

çà âåíòèëàöèÿ è ñíàáäÿâàò ñ äíåâíà ñâåòëèíà. Ñòåíà ñ äâîéíî ïîêðèòèå ñëóæè çà åñòåñòâåíà âåíòèëàöèÿ íà âúòðåøíèòå ïðîñòðàíñòâà íà îôèñèòå. Ïî-êîìïàêòíèòå þæíè ñòåíè íÿìàò îòâîðè è îáðàçóâàò åñòåñòâåíà çàùèòà îò äèðåêòíîòî ïðîíèêâàíå íà ñëúí÷åâàòà ñâåòëèíà.

Äîáðå îôîðìåíà ãàëåðèÿ îò êîëîíè íà ïðèçåìíèÿ åòàæ îòêðèâà ãëåäêà êúì îçåëåíåíà ïëîù. Òÿ åôåêòèâíî íàìàëÿâà ïðåãðÿâàíåòî â çîíèòå, áëèçêè äî íîâàòà ñãðàäà. Çà âúíøíàòà îáëèöîâêà ñà èçïîëçâàíè êàìåííè ïëî÷è "Àãðà”, à ïîäîâîòî ïîêðèòèå å çàâúðøåíî ñ òúìíîñèâè ïîëèðàíè êàìúíè "Êîòà”.

Îáíîâÿâàíå è ðåêîíñòðóêöèÿ íà òåàòúðà „Ëà Ñêàëà” â Ìèëàíî

Âúçñòàíîâÿâàíåòî è ðåêîíñòðóêöèÿòà íà òåàòúð "Ëà Ñêàëà” îáõâàùà øèðîê òðèúãúëíèê îò ãðàäà. Âúðõúò íà òðèúãúëíèêà ñòèãà äî ïëîùàä "Ñêàëà”. Íàñòîÿùàòà êîíôèãóðàöèÿ å ðåçóëòàò îò ïðîäúëæèòåëíè òðàíñôîðìàöèè. Ôàñàäèòå íå ñà ïðåòúðïåëè òðàíñôîðìàöèè. Ïðîìåíåíè ñà îðèãèíàëíèòå ïëàíîâå çà ïîñò-

ðîéêèòå, ïîêðèâíèòå ðàçøèðåíèÿ è ïðèñòðîéêèòå â äâîðà. Äðóãè ïðèñòðîéêè ñà ðåêîíñòðóèðàíè ïðåç ïîñëåäíèòå äåñåòèëåòèÿ. Àðõèòåêòóðíàòà èíòåðâåíöèÿ èìà ÷åòèðè öåëè: óìåðåíà ðåñòàâðàöèÿ è êîðåêöèÿ íà îáåìà íà ñöåíè÷íàòà êóëà, íà ñåðâèçíèòå èíñòàëàöèè è íà ïîêðèâèòå íà ïîñòðîéêèòå è âúçñòàíîâÿâàíåòî íà ñãðàäàòà íà áèâøàòà áàíêà "Ñàí Ïàîëî”. Åäèíñòâåíàòà ÷óâñòâèòåëíà ïðîìÿíà å èçäèãàíåòî íà ïàðòåðà. Íàé-âàæíàòà èíòåðâåíöèÿ å íà îáåìà íà ñöåíè÷íàòà êóëà ñ

öåë äà ñå îòãîâîðè íà èçèñêâàíèÿòà íà òåõíè÷åñêàòà ñòðóêòóðà. Ïîêðèâúò å èçäèãíàò íà âèñî÷èíà 37.8 ì íàä óëè÷íîòî íèâî, ìÿñòîòî íà îðêåñòúðà å ïðîìåíåíî íà äúëáî÷èíà 16 ì ïîä óëè÷íîòî íèâî. Øåñò çàëè çà ðåïåòèöèè ñà ðàçïîëîæåíè íà åòàæèòå çàä ñàìàòà êóëà. Âåðòèêàëíèòå ðàçøèðåíèÿ íà ñöåíè÷íàòà êóëà è çàäêóëèñíèòå îáåìè ñà âðÿçàíè â ïàðàëåëåïèïåä íà 2.5 ì îò ôàñàäàòà ïî óëèöà "Âåðäè”. Ñåðâèçíèòå èíñòàëàöèè èçìåñòâàò ïðèñòðîéêèòå íà ïîêðèâà ñ öåë äà ñå âúçñòàíîâè îðèãèíàë-

íèÿò âèä íà ôàñàäàòà. Ïëîùòà íà ïðèçåìíèÿ åòàæ äî óëè÷íàòà ôàñàäà å ðåîðãàíèçèðàíà ñ êîíñòðóêöèÿ îò ëÿâàòà ñòðàíà íà ñöåíàòà, êúäåòî íÿêîãà å áèëà "Ëà ïèêîëà ñêàëà”. Êîíñòðóêöèÿòà íà íîâèòå îáåìè íàä ñúùåñòâóâàùèòå ïîêðèâè å íîñåùà ñòðóêòóðà, íàïðàâåíà îò ñòîìàíîáåòîí è æåëåçíè åëåìåíòè. Òå ñà ïîêðèòè ñ êàìúê "Áîòè÷èíî êëàñèêî”. Çà äâàòà îáåìà ñà èçïîëçâàíè ðàçëè÷íè ïîêðèòèÿ: ïîëèðàíà êàìåííà îáëèöîâêà ñ õîðèçîíòàëíè ëåíòè çà ñöåíè÷íàòà êóëà è âåðòèêàëíè ïëî÷è çà åëèïñîâèäíèÿ îáåì.


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21_21 DESIGN SIGHT This is a building providing exhibition spaces for “design” that has been built in the open space of the large redevelopment district in Tokyo, Midtown. The original idea was drawn by Issey Miyake and his project team. The project is to create a new place of culture in Japan for “design” in a broad sense exploring new points of view and ways of thinking, expressing surprise and emotion, and communicating these feelings to the society. As the building is located in an open public space, most of the volume

has been buried underground in order to avoid interrupting this park area. The one-story above-ground and one-story underground building is placed along the geometry of the site and characterized by its roof made of two larger and smaller sheets of steel folded as they slope down toward the ground. This concept is based on “a piece of cloth”, the origin of Issey Miyakes creation. Inside a simple form composed of this “sheet of steel” develops a folded space suitable for freely creating designs.


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Location Tokyo, Japan Design Tadao Ando Term of design 2004/03 -2005/09 Term of construction work 2005/10 - 2007/02 site area 2,653 sqM0(museum wing + café wing) (total development area: 68,900 sqM) 2,039 sqM (museum wing) + 614 sqM (café wing) building area 597 sqM 395 sqM (museum wing) + 202 sqM (café wing) floor area 1,932 sqM 1,733 sqM (museum wing: 1F: 296 sqM0BF:1,437 sqM) 200 sqM (café wing) gallery 133 sqM gallery 1+ 443 sqM gallery 2


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Ñãðàäà çà ñúçäàâàíå íà ïðîåêòè

Ìåñòîïîëîæåíèå Òîêèî, ßïîíèÿ Ïðîåêò Òàäàî Àíäî Ïåðèîä íà ïðîåêòà ìàðò 2004 ã. - ñåïòåìâðè 2005 ã. Ïåðèîä íà ñòðîèòåëñòâîòî îêòîìâðè 2005 ã. - ôåâðóàðè 2007 ã. Ïëîù íà îáåêòà 2 653 ì2 Ïëîù íà ñãðàäàòà 597 ì2 Åòàæíà ïëîù 1 932 ì2 Ãàëåðèÿ 133 ì2


7 Òàçè ñãðàäà å ïðåäíàçíà÷åíà çà èçëîæáè íà ðàçëè÷íè ïðîåêòè, êîèòî ñà ïîñòðîåíè íà îòêðèòî â ãîëåìèÿ ðàçâèò íà Òîêèî Ìèäòàóí. Èäåÿòà ïðèíàäëåæè íà Èñåé Ìèéåéê è íåãîâèÿ åêèï. Òîçè ïðîåêò òðÿáâà äà ñúçäàäå åäíî íîâî êóëòóðíî ìÿñòî çà ïðîåêòèðàíå â ßïîíèÿ, êàòî èçñëåäâà íîâè ìíåíèÿ è íà÷èíè íà ìèñëåíå, äà èçðàçÿâà èçíåíàäè è åìîöèè è äà ïðåíåñå òåçè ÷óâñòâà â ñúçíàíèåòî íà îáùåñòâîòî. Òúé êàòî ñãðàäàòà å ðàçïîëîæåíà íà îòêðèòî îáùåñòâåíî ïðîñòðàíñòâî, ïîâå÷åòî îò íåéíèòå îáåìè ñå íàìèðàò ïîä çåìÿòà, çà äà ñå ïðåäïàçè ïàðêîâàòà çîíà. Ñãðàäàòà, êîÿòî ñúäúðæà åäèí åòàæ ïîä çåìÿòà è åäèí íàä íåÿ, å ðàçïîëîæåíà ãåîìåòðè÷íî è èçïúêâà ñ ïîêðèâà ñè, êîéòî å íàïðàâåí îò äâà ïî-ãîëåìè è äâà ïî-ìàëêè ñòîìàíåíè ëèñòà, êîèòî ñå ñïóñêàò íàïðàâî äî çåìÿòà. Êîíöåïöèÿòà ñå áàçèðà íà "ïàð÷å ïëàò”, êîÿòî å è îðèãèíàëíàòà èäåÿ íà Èñåé Ìèéåéê. Îòâúòðå îò òîçè ”ëèñò ñòîìàíà” å êîìïîçèðàíà îïðîñòåíà ôîðìà, êîÿòî îôîðìÿ ïðîñòðàíñòâî, ïîäõîäÿùî çà ñúçäàâàíå íà ïðîåêòè.


World Architecture Masters - Manfredi Nikoletti

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IAA new Projects

Grand Avenue Project

The Grand Avenue Project (along with LA Live) is a project currently under development designed to revive downtown Los Angeles. The $2.05 billion project, which is to be built on Grand Avenue next to the Walt Disney Concert Hall, is designed to give Los Angeles a thriving city center. It has been compared to, and is intended to be, the L.A. version of the Champs-Élysées of Paris and the Central Park of New York City. The location is deemed a logical place to build such a project since about 5.8 million people live within 15 miles of the Grand Avenue Project according to the Grand Avenue Committee. The project will create over 5,300 long-term jobs and will generate over $95 million annually in taxes for all levels of government, with the (Los Angeles) county receiving $2.3 million and the city receiving $5.8 million per year. On February 14, 2007 both the Los Angeles City Council and the Board of Supervisors approved the project, and officials originally hoped to break ground in December of 2007. The project’s key public component is a 16 acre (64,000 m²) park stretching between the development’s two boundaries: City Hall and the Department of Water and Power building. The park was designed to be pedestrian friendly and will connect Bunker Hill to the Civic Center. Plans call for tree-shaded sidewalks, plenty of street lights, benches, and kiosks, to encourage the walking and exploration of the area. The new Grand Avenue will also be equipped with upscale shopping stores and high-rise condos, in addition to a shopping center, bookstore, multiplex movie theater and a gourmet supermarket. The super-luxury Mandarin Oriental Los Angeles is scheduled to open in a Gehry-designed high-rise tower as part of the project. The project will also include a park that is to be built between city hall and the DWP building. This area is already a public space with plazas, a Court of Flags, and a park-like area with a large fountain where many county workers take their lunch under trees. However the design is disjointed and cut off by the entrances to several parking garages.

In June 2007, the design of Phase 1 was approved by the Los Angeles Grand Avenue Authority, the Community Redevelopment Agency, and the County Board of Supervisors. This will allow the project to move forward into the Design Development Phase, which was expected to be completed in the Fall of 2007. However, the construction has now been postponed until early summer 2008. While generally greeted with positive response, there have also been critical concerns expressed by local citizens, community leaders, local business owners, academics and advocates for the homeless. Grand Intervention, a project of the Norman Lear Center at USC’s Annenberg School for Communication, has attempted to maximize public input into the design of the park. This project, begun with a call for ideas in a July 2005 Op-Ed in the Los Angeles Times, resulted in more than 300 design submissions from across the city and around the world. Furthermore, when the park developer chose its design team, Grand Intervention invited them to view the best of the proposals. Since effective urban planning requires direct civic engagement by diverse and disparate communities, the Lear Center felt that new technology could extend the outreach process beyond the conventional Vermont town meeting model. In an effort to extend its public outreach on L.A.’s new civic park, the Grand Avenue Committee and the developer, The Related Companies, endorsed Grand Intervention’s online civic engagement efforts. The Lear Center has offered live and archived Webcasts of community park workshops, online transcriptions of the workshops and online digital resources of all materials distributed or displayed at the workshops. Some business owners fear their businesses won’t be able to compete with such a large, government-backed project and that many small downtown businesses will shut down. Backers assert that the project will attract more people to the downtown area and therefore boost local business.


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Ïðîåêòúò "Ãðàíä àâåíþ” å â ïðîöåñ íà ðàçâèòèå è å ñúçäàäåí, çà äà ñúæèâè öåíòúðà íà Ëîñ Àíäæåëèñ. Ùå áúäå ïîñòðîåí íà "Ãðàíä àâåíþ” áëèçî äî êîíöåðòíàòà çàëà "Óîëò Äèñíè” è âúçëèçà íàä 2,5 ìèëèàðäà äîëàðà. Ñðàâíÿâà ñå ñ "Øàíç-Åëèçå” â Ïàðèæ è "Ñåíòðàë ïàðê” â Íþ Éîðê. Ñïîðåä êîìèñèÿòà íà Ãðàíä àâåíþ, ìåñòîïîëîæåíèåòî íà ïðîåêòà å óäà÷íî, òúé êàòî áëèçî 5.8 ìèëèîíà õîðà æèâåÿò íà ðàçñòîÿíèå 15 ìèëè, êîåòî îáóñëàâÿ 5 300 ðàáîòíè ìåñòà è íàä 95 ìèëèîíà äîëàðà ãîäèøíè òàêñè çà âñè÷êè íèâà íà ïðàâèòåëñòâîòî. Íà 14 ôåâðóàðè 2007 ã. ãðàäñêèÿò ñúâåò è áîðäúò íà íàäçèðàòåëèòå â Ëîñ Àíäæåëèñ îäîáðÿâàò ïðîåêòà, îôèöèàëíèòå âëàñòè ñå íàäÿâàò ïúðâàòà êîïêà äà ñå íàïðàâè ïðç äåêåìâðè 2007 ã. Ïðîåêòúò å ðàçïîëîæåí â ïàðê, ðàçïðîñòèðàù ñå ìåæäó äâå ãðàíè÷íè çîíè, "Ñèòè Õîë" è ñãðàäàòà íà Äåïàðòàìåíòà ïî âîäèòå è åë.åíåðãèÿòà, íà òåðèòîðèÿ îò 64 000 ì. Ïàðêúò å ïðîåêòèðàí êàòî ìÿñòî çà ïåøåõîäöè è ùå ñâúðçâà "Áàíêåð Õèë” ñ öåíòúðà. Ïëàíúò âêëþ÷âà òðîòîàðè, ìíîãî óëè÷íî îñâåòëåíèå, ïåéêè, ïàâèëèîíè, äîáðå îáîðóäâàíè ìíîãîåòàæíè ìàãàçèíè, êíèæàðíèöè, êèíîñàëîíè è ñóïåðìàðêåò çà ÷ðåâîóãîäíèöè. Ñóïåðëóêñîçåí êèòàéñêî-îðèåíòàëñêè Ëîñ Àíäæåëèñ, ñå ïëàíèðà äà ñå îòêðèå âúâ âèñîêà êóëà, êàòî ÷àñò îò ïðîåêòà.  ïðîåêòà å âêëþ÷åí ïàðê, êîéòî ùå áúäå ïîñòðîåí ìåæäó "Ñèòè Õîë” è ñãðàäàòà íà Äåïàðòàìåíòà ïî âîäèòå è åë. åíåðãèÿòà â Ëîñ Àíäæåëèñ. Òàçè ìåñòíîñò å îáùåñòâåíî ïðîñòðàíñòâî ñ ïëîùàäè, çîíè ñ êðàñèâè ôîíòàíè, êúäåòî ïîâå÷åòî îò ðàáîò-

íèöèòå ïðåêàðâàò îáåäíèòå ñè ïî÷èâêè ïîä äúðâåòàòà. Ïðîåêòúò å ðàçäåëåí îò âõîäîâåòå íà ïàðêèíãè. Ïðåç þíè 2007 ã. å îäîáðåíà ïúðâà ôàçà íà ïðîåêòà îò àâòîðèòåòèòå íà "Ãðàíä àâåíþ”, îáùèíñêàòà àãåíöèÿ ïî ðàçâèòèå è îêðúæíèÿ áîðä íà íàäçèðàòåëèòå. Òîâà ðàçðåøàâà ïðîåêòúò äà ïðåìèíå âúâ ôàçà ðàçâèòèå äî åñåíòà íà 2007 ã., íî èçãðàæäàíåòî å áèëî îòëîæåíî äî íà÷àëîòî íà 2008 ã. Îñâåí ïîëîæèòåëíèòå ìíåíèÿ îòíîñíî ïðîåêòà ñúùî òàêà ñå ñðåùàò è êðèòè÷íè êîíöåïöèè, èçðàçåíè îò ìåñòíèòå æèòåëè, îáùèíñêè ëèäåðè, ñúäúðæàòåëè íà ìàëúê áèçíåñ, àêàäåìèöè è àäâîêàòè. "Ãðàíä èíòåðâåíøúí”, ïðîåêò íà öåíòúðà "Íîðìàí Ëèàð" , ïðàâè îïèò äà ìàêñèìèçèðà îáùåñòâåíèÿ âõîä â ïðîåêòà íà ïàðêà. Çà òàçè öåë ïóñêà îáÿâà â "Ëîñ Àíäæåëèñ òàéìñ”, â ðåçóëòàò íà êîåòî ñà ïîëó÷åíè íàä 300 ïðîåêòà îò öåëèÿ ñâÿò. Òúé êàòî ãðàäñêîòî ïëàíèðàíå èçèñêâà äèðåêòíî âúâëè÷àíå íà ðàçëè÷íè îáùèíè, öåíòúðúò íà Ëèàð ðàçáèðà, ÷å áëàãîäàðåíèå íà íîâèòå òåõíîëîãèè òðàäèöèîííèÿò ãðàäñêè ìîäåë ìîæå äà áúäå íàäìèíàò. Çà êîåòî òîé ïðåäëàãà îí-ëàéí âðúçêà ñ âñè÷êè îáùåñòâåíè ìåñòà â ïàðêà. Íÿêîè îò ïðèòåæàòåëèòå íà ìàëêèÿ áèçíåñ èçðàçÿâàò îïàñåíèÿòà ñè, ÷å íÿìà äà óñòîÿò íà òîçè ãîëÿì ïðîåêò è ùå ñå íàëîæè äà çàòâîðÿò âðàòè, äîêàòî ïîääðúæíèöèòå îòñòîÿâàò, ÷å ïðîåêòúò ùå ïðèâëå÷å ìíîãî ïîâå÷å õîðà â çîíàòà íà öåíòúðà íà ãðàäà è ïî òîçè íà÷èí ìåñòíèÿò áèçíåñ ùå ñå ðàçðàñíå.


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IAA new Projects Project CityCenter

Unlike other themed resorts along the strip, the CityCenter is set to include multiple high-rise buildings with contemporary urban design. The conceptual master plan was designed by Ehrenkrantz Eckstut and Kuhn Architects, laying out the project with approximate 2,650 residential condominiums units and approximately 4,800 hotel rooms, distributed within residential and hotel towers and mid-rise buildings above The Crystals, CityCenter’s retail and entertainment district. It is designed to have all commodities for daily life, featuring a 4,000-room hotel and casino, 2 400-room boutique hotels (The Residences at Mandarin Oriental and the Harmon Hotel, Spa, and Residences, both of which have 227 and 207 residential condo units respectively located on the upper floors of the buildings), a purely residential offering (Veer Towers), a condohotel (Vdara Condo-hotel)and a 500,000-square-foot (50,000 m2) retail and entertainment district which will house the first grocery store on the Strip. The multi-use project is being designed with green technologies to make it one of the world’s largest environmentally sustainable urban communities. Plans include the use of reclaimed water, and an on-site power plant. MGM Mirage will pursue LEED certification for the project as outlined by the U.S. Green Building Council. Siemens is to design and build $100 million 9-megawatt central energy plant to help power and cool CityCenter. With a total cost expected to exceed $8 billion, CityCenter is the largest privately financed development in the United States. The original cost estimate was $4 billion, but it was pushed up by rising construction costs and design changes. With an initial employee estimate of 12,000 people,

the CityCenter is scheduled to be completed and opened in late 2009 with a new Cirque du Soleil premier, honoring Elvis in an 1,800-seat theater. The Perini Building Company is lead contractor on the project, with Tishman Construction Corporation serving as the executive construction manager. Gensler is the Executive Architect, overseeing the project. The project is being roughly built in three blocks. Block A consisting of the CityCenter Casino & Resort and surrounding facilities, block B holds the Vdara and Block C the Mandarin, Veer, Crystals and Harmon structures. The last remaining permanent building on the project site, the Boardwalk Casino’s mid-rise hotel tower, was imploded on May 9, 2006. After most of the design process was complete, construction began without an official groundbreaking ceremony in June 2006. Most renderings of the project were released in September 2006 and some delayed until February 2007. Construction of the project started taking shape on June 26, 2006, when the first concrete was poured. Prior to this all of the work was site preparation including utilities and other infrastructure. Designed by Cesar Pelli and Associates, the hotel tower, casino and convention center will be CityCenter’s central feature. Totaling 10,345,000 square feet (961,100 m2), the structures will including the 4,000-room resort hotel with 4,000,000 square feet (400,000 m2) of hotel space, 155,000 square feet (14,400 m2) of casino area, a 3-story, 565,000-square-foot (52,500 m2) convention center, back-of-house areas, offices, two parking garages, one of which is a 13-level parking structure and a one subterranean garage located underneath the casino level. In early stages known as the Lifestyle Hotel, it was designed by Lord


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Norman Foster & Partners and will be operated by Andrew Sasson’s The Light Group. The Harmon Hotel will have an elliptical layout and is set to have a highly reflective exterior. The hotel’s pool deck will be perched 100 feet (30 m) above the Strip. The tower will have 400 hotel rooms and approximately 209 condominium residences from 800 to 2,900 square feet (270 m2). The Harmon Hotel & Residences is on the north end at the intersection of Las Vegas Boulevard South and Harmon Avenue of the Project this building was called. The Veer Towers will be two in opposite directions leaning towers (five degrees from center) that will rise on the side of the Crystals mall across from the future Mandarin Oriental. They were designed by Helmut Jahn’s Office based in Chicago. The 37-story towers will each house approximately 337 modern condominium residences ranging from 500 to 1,500 square feet (140 m2). Atop each tower, there will be an amenities floor including a pool, fitness center, spa, cabanas and a patio for outdoor entertaining. Lobbies and public spaces have been developed by designer Francisco GonzalezPulido and will showcase works by natural light. The team of Dianna Wong Architecture & Interior Design, Inc. are designing the residences. In early stages of the project they were known as the Sobella Residential Towers.

Ïðîåêòúò "Ñèòè Ñåíòúð” ïëàíèðà äà ñå âêëþ÷àò âèñîêîðàçâèòè ñãðàäè ñúñ ñúâðåìåíåí äèçàéí. Ïëàíúò ìó å ñúçäàäåí îò " Åðåíêðàíä Åêñòóò è Êóí Àðêèòåêòñ”.  íåãî ñà ðàçïîëîæåíè ïðèáëèçèòåëíî 2650 æèëèùíè è 4800 õîòåëñêè ñòàè, ðàçïðåäåëåíè â æèëèùíè è õîòåëñêè ñãðàäè íàä ñãðàäèòå "Êðèñòúëñ”, òúðãîâñêèÿ öåíòúð è ðàéîíà çà ðàçâëå÷åíèÿ. Îáåçïå÷åí å ñ âñè÷êè óäîáñòâà, õîòåë ñ 4000 ñòàè è êàçèíî, 2 áóòèê-õîòåëà ñ ïî 400 ñòàè ( ðåçèäåíöèè â êèòàéñêî-îðèåíòàëñêèÿ è "Õàðìîí” õîòåëè, ÑÏÀ, æèëèùíàòà ñãðàäà "Âèúð”, õîòåë "Âäàðà” è ðàéîí îò 50 000 ì çà ðàçâëå÷åíèÿ è òúðãîâèÿ. Ìóëòèïðîåêòúò å ñúçäàäåí ñ íîâè òåõíîëîãèè, çà äà ñå ïðåâúðíå â åäèí îò íàé-ãîëåìèòå ñâåòîâíè ìåñòà. Î÷àêâàíàòà ñòîéíîñò íà ïðîåêòà å 8 ìèëèàðäà äîëàðà. "Ñèòè ñåíòúð” å íàé-ãîëåìèÿò ÷àñòíî ôèíàíñèðàí ïðîåêò â ÑÀÙ. Ïúðâîíà÷àëíàòà ñòîéíîñò íà ïðîåêòà å áèëà 4 ìèëèàðäà äîëàðà, íî òÿ ñå ïîêà÷âà ñúñ ñòîéíîñòòà íà êîíñòðóêöèÿòà è ïðîìåíèòå â ïðîåêòà. Ñïîðåä ïëàíà öåíòúðúò òðÿáâà äà áúäå çàâúðøåí ïðåç 2009 ã. ñ íîâèÿ òåàòúð "Cirque du Soliel premier” â ÷åñò íà Åëâèñ. Ãëàâåí ïðåäïðèåìà÷ ïî ïðîåêòà å "Ïåðèíè áèëäèíã êàìïúíè” çàåäíî ñ èçïúëíèòåëåí ìåíèäæúð ïî èçãðàæäàíåòî "Òèøìàí êîí��òðàêøúí êîðïîðåéøúí”. Ãëàâåí àðõèòåêò å Äæåíñëåð. Ïðîåêòúò èìà òðè áëîêà, áëîê -"À” ñå ñúñòîè îò êàçèíîòî è êóðîðòíèòå óäîáñòâà, áëîê -"Á” ñúäúðæà õîòåëà "Âäàðà”, à áëîê -"є ðàçïîëàãà ñòðóêòóðèòå íà "Âèúð”, "Êðèñòúëñ” è "Õàðìîí” . Ïîñëåäíàòà îñòàâàùà ñãðàäà â ïðîåêòà å "Áîðäóîê êàçèíî” . Èçãðàæäàíå å çàïî÷íàòî áåç îôèöèàëíà öåðåìîíèÿ ïðåç þíè 2006 ã. Êîíñòðóêöèÿòà ïðèäîáèâà ôîðìà ïðåç þíè 2007 ã., êîãàòî ïúðâèÿò áåòîí å ïîëîæåí. Êàçèíîòî è êóðîðòíàòà ÷àñò ñà ïðîåêò íà Ñåçàð Ïåëè è ñúòðóäíèöè. Ñòðóêòóðèòå ñà ðàçïîëîæåíè íà òåðèòîðèÿ îò 961 100 êâ. ì è ùå âêëþ÷âàò õîòåë ñ 4000 ìåñòà âúðõó 400 000 êâ. ì ïðîñòðàíñòâî, êàçèíî âúðõó 14 400 êâ. ì è òðèåòàæåí öåíòúð âúðõó 52 500 êâ. ì çà îôèñè, 2 ïàðêèíãà, åäèí îò êîèòî å ñòðóêòóðà îò 13 íèâà è åäèí ñóòåðåíåí ãàðàæ, ðàçïîëîæåí ïîä íèâîòî íà êàçèíîòî. Õîòåëúò "Õàðìîí” å ïðîåêò íà ñúð Íîðìàí Ôîñòúð è ïàðòíüîðè. Ùå ñå óïðàâëÿâà îò Åíäðþ Ñàñúí. Õîòåëúò ùå èìà åëèïñîâèäíà ôîðìà è âèñîêî îòðàçÿâàù åêñòåðèîð. Ñãðàäàòà ùå ðàçïîëàãà ñ 400 õîòåëñêè ñòàè è 209 êîíäîìèíèóì çà ïðåáèâàâàíå íà ïëîù 270 êâ. ì. Ïðîåêòúò å ðàçïîëîæåí íà ñåâåðíèÿ êðàé íà ïðåñå÷êàòà íà áóëåâàðä "Ëàñ Âåãàñ” è "Õàðìîí àâåíþ”, íà ÷èåòî èìå å êðúñòåí. Êóëèòå "Âèúð” Ðàçïîëîæåíè ñà ïðîòèâîïëîæíî åäíà íà äðóãà . Ïðîåêòèðàíè ñà îò ñòóäèîòî íà Õåëìóò Äæàí, ×èêàãî. 37- åòàæíèòå êóëè ùå ðàçïîëîæàò 337 ñúâðåìåííè êîíäîìèíóìà ñ ïëîù îò 140 êâ. ì. Íà âúðõà íà âñÿêà êóëà ùå èìà åòàæ , êîéòî âêëþ÷âà áàñåéí, ôèòíåñ öåíòúð, ÑÏÀ è ìåñòà çà ðàçâëå÷åíèÿ. Ôîàéåòàòà è îáùåñòâåíèòå ïðîñòðàíñòâà ñà ðàçâèòè îò àðõèòåêòà Ôðàíñèñêî Ãîíçàëåñ - Ïóëèäî. Æèëèùíèòå ÷àñòè ñà ïðîåêò íà åêèïà íà Äèàíà Óîíã. "Êðèñòúëñ”- öåíòúð çà òúðãîâèÿ è ðàçâëå÷åíèÿ.


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14 By its playful form and character, the Zenith music hall contributes to the great Varietee Theaters which were built since the Zenith building in Paris was erected in 1984. The new Zenith building is an important project for the exhibition area in Strasbourg. It will be the new attraction which will give new impulse to the future development of the city’s infrastructure. The concept of the design is based on a modular and a well balanced organization of the different elements: good views for all spectators, best acoustics and an optimized cost management already addressed during the concept phase of the design. The Zenith music hall provides ideal facilities for the guests and the artist performing. The building is to be understood as a single, unifying and autonomous sculpture. By layering and rotating the ellipsoid metal façade structure,

the design receives a very dynamic character. This is underlined with the translucent textile membrane, which covers the steel-frame and creates magnificent light effects. These orange membranes also cover the volume of the music hall itself. This is the heart of the building: a totally enclosed and protected space, which creates a special theatre atmosphere. Projections on the outer skin create playful effects and convert the façade into a huge billboard communicating with the passers-by for upcoming events. While the buildings appearance exposed to daylight is of a monolithically calmness that mutates at dawn. The inner experience is transmitted to the outside thought out the transparent skin: the whole building becomes a “light sculpture”.

Zenith Strasbourg, France Musichall / 2003-2007 Massimiliano e Doriana Fuksas

Client Communitée urban de Strasbourg (S.E.R.S.) / Contact Herr Husson Area:14.000 qm, 12.000 Seats Internationale Competition, winning project Accustik-planer Altia-Acoustique / Contact: Richard Denayrou


15 Ñúñ ñâîÿòà èãðîâà ôîðìà è õàðàêòåð ìóçèêàëíàòà çàëà "Çåíèò" ñå âêëþ÷âà â ñòðàõîòíèòå Varietee Theaters, ïîñòðîåíè ñëåä èçäèãàíåòî íà ñãðàäàòà íà Çåíèò ïðåç 1984 ã. Íîâàòà ïîñòðîéêà íà "Çåíèò" å âàæåí ïðîåêò çà èçëîæáåíàòà ïëîù â Ñòðàñáóðã. Òîâà ùå áúäå íîâàòà àòðàêöèÿ, êîÿòî ùå äîíåñå íîâ èìïóëñ çà áúäåùîòî ðàçâèòèå íà ãðàäñêàòà èíôðàñòðóêòóðà. Öÿëàòà êîíöåïöèÿ íà äèçàéíà å áàçèðàíà íà ìîäóëèðàíå è íà äîáðå áàëàíñèðàíà îðãàíèçàöèÿ íà ðàçëè÷íè åëåìåíòè: äîáðà âèäèìîñò çà âñè÷êè çðèòåëè, îòëè÷íà àêóñòèêà è îïòèìàëåí ôèíàíñîâ ìåíèäæìúíò, çàäàäåíè îùå â êîíöåïòóëàíàòà ôàçà íà ïðîåêòèðàíå. Ìóçèêàëíàòà çàëà "Çåíèò" îñèãóðÿâà èäåàëíè ñúîðúæåíèÿ çà ñâîèòå ãîñòè è àðòèñòè÷íè èçïúëíåíèÿ. Ñãðàäàòà òðÿáâà äà áúäå ðàçáðàíà êàòî ñàìîñòîÿòåëíà, åäèííà è àâòîíîìíà ñêóëïóòðà. ×ðåç ïëàñòîâèäíîñòòà è âúðòåíåòî íà åëèïñîâèäíàòà ìåòàëíà ñòðóêòóðà íà ôàñàäàòà äèçàéíúò ïðèäîáèâà ìíîãî äèíàìè÷åí õàðàêòåð. Òîâà å ïîä÷åðòàíî ñ ïðîçðà÷íà òåêñòèëíà ìåìáðàíà, êîÿòî ïîêðèâà ñòîìàíåíàòà ðàìêà è ñúçäàâà âïå÷àòëÿâàùè ñâåòëèííè åôåêòè. Òåçè îðàíæåâè ìåìáðàíè ñúùî ïîêðèâàò îáåìà íà ñàìàòà ìóçèêàëíà çàëà. Òîâà å ñúðöåòî íà ñãðàäàòà: èçöÿëî çàòâîðåíî è çàùèòåíî ïðîñòðàíñòâî, êîåòî ñúçäàâà ñïåöèàëíà òåàòðàëíà àòìîñôåðà. Ïðîåêöèè âúðõó âúíøíàòà îáâèâêà ñúçäàâàò çàêà÷ëèâè åôåêòè è ïðåâðúùàò ôàñàäàòà â îãðîìåí áèëáîðä, èíôîðìèðàù ìèíàâàùèòå çà áúäåùèòå ñúáèòèÿ. Äîêàòî âúíøíèÿò âèä íà ñãðàäàòà, èçëîæåí íà äíåâíà ñâåòëèíà, ñå îòëè÷àâà ñ ìîíîëèòíî ñïîêîéñòâèå, òî ïðèâ÷åð òîâà ñå ïðîìåíÿ. Âúòðåøíîñòòà ñå èçíàñÿ íàâúí ïðåç ïðîçðà÷íàòà ñè îáâèâêà: öÿëàòà ñãðàäà ñå ïðåâðúùà â "ñâåòëèííà ñêóëïòóðà”.

"Çåíèò" Ñòðàñáóðã, Ôðåíñêà ìóçèêàëíà çàëà 2003-2007, Ìàêñèìèëèàíî è Äîðèàíà Ôóêñàñ


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 ìåæäóíàðîäíèÿ àðõèòåêòóðåí ñåìèíàð âçåõà ó÷àñòèå ìëàäè òàëàíòè îò ßïîíèÿ, Ðóñèÿ, Èòàëèÿ, Ãåðìàíèÿ, Ïîëøà è Áúëãàðèÿ. Òåìèòå, âúðõó êîèòî ó÷àñòíèöèòå â ïðîÿâàòà ðàáîòåõà, áÿõà ìíîãî ïðåñòèæíè è îòãîâîðíè: ïðîåêòèðàíå íà Îëèìïèéñêèÿ ñòàäèîí â Ñî÷è çà çèìíèòå èãðè ïðåç 2014 ã. è íà ãðóïà âèñîêè ñãðàäè â Êðàñíîäàð. Ïðè ðàçðàáîòêèòå áÿõà òúðñåíè îïðåäåëåíè öåëè. Ïî òåìàòà “Êðàñíîäàð ñèòè - XXI âåê” ñå àêöåíòèðàøå íà íîâèòå ãðàäîóñòðîéñòâåíè èäåè è íà àðõèòåêòóðíàòà åñòåòèêà ïðè èçãðàæäàíåòî íà êîìïëåêñà îò âèñîêè ñãðàäè. Ñ îñîáåíî âíèìàíèå áå ðàçâèòà êîíöåïöèÿòà, ñúçäàäåíà îùå îò àâòîðèòå íà çíàìåíèòàòà Àòèíñêà õàðòà - äà ñå ðàçâèå êîìóíèêàöèÿòà íà íîâèÿ öåíòúð êàòî ñïåöèôè÷åí òèï îðãàíèçàöèÿ çà ðàçäåëíî ïåøåõîäíî è àâòîìîáèëíî äâèæåíèå íà ðàçëè÷íè íèâà, êàêòî è çà óâåëè÷àâàíå íà çåëåíîòî ïðîñòðàíñòâî è

Ïîä åãèäàòà íà Ìåæäóíàðîäíàòà àêàäåìèÿ íà àðõèòåêòóðàòà ìëàäè àðõèòåêòè îò Åâðîïà è Àçèÿ ïðîåêòèðàõà Îëèìïèéñêè ñòàäèîí â Ñî÷è è êîìïëåêñ íåáîñòúðãà÷è â Êðàñíîäàð (113 íîåìâðè 2007 ã.)

ôóíêöèîíàëíîñòòà íà çàñòðîéêàòà â íîâèÿ öåíòúð. Òîâà ñà àäìèíèñòðàòèâíî-òúðãîâñêèÿò öåíòúð ñ íåáîñòúðãà÷è, ãîëÿì êóëòóðåí êîìëåêñ ñ ìîäåðíà êîíöåðòíî-ñïîðòíà çàëà è ñïåöèôè÷íè àðò öåíòðîâå, êàêòî è èçãðàæäàíåòî íà åòíîãðàôñêà ñòðóêòóðà ìóçåé çà èñòîðèÿòà è áèòà íà êóáàíñêîòî êàçà÷åñòâî. Ïðåäâèæäà ñå è ñúçäàâàíåòî íà ìèíè Ëàñ Âåãàñ - èãðàëíè êîìïëåêñè, êîèòî ñïîðåä âèçèÿòà íà ðóñêîòî ïðàâèòåëñòâî ùå ôóíöèîíèðàò ñàìî â Êàâêàç, Äàëå÷íèÿ èçòîê è â Êðàñíîäàðñêèÿ êðàé. Îùå åäèí ñúùåñòâåí åëåìåíò äîïúëâà íîâîòî ãðàäñêî ÿäðî.  ðàçðàáîòêèòå ñà ïðåäâèäåíè è ïðîåêòèðàíåòî íà òåðèòîðèÿ Åêñïî Êðàñíîäàð- öåíòúð çà èçëîæåíèÿ íà íàé-ñúâðåìåííèòå àâàíãàðäíè òåõíîëîãèè è èíôîðìàöèîííè ñèñòåìè.

Òðÿáâà ñúâñåì îïðåäåëåíî äà ñå ïîñî÷è, ÷å ñå ðîäèõà ìíîãî èíòåðåñíè è ñâåæè èäåè çà àëòåðíàòèâíèÿ ïðîåêò íà Îëèìïèéñêèÿ ñòàäèîí â Ñî÷è çà çèìíèòå èãðè ïðåç 2014. Òðè åêèïà, ñúñòàâåíè îò ìåæäóíàðîäíèòå ó÷àñòíèöè â ñåìèíàðà, èçðàçèõà ñâîåòî àðõèòåêòóðíî âèæäàíå êàê òðÿáâà äà èçãëåæäà åäèí ñúâðåìåíåí ñòàäèîí ïðåç XXI âåê. Åäíà ïîäðîáíîñò: ñòàäèîíúò ùå ïðèåìå îëèìïèéñêèòå ãîñòè è ñúñòåçàòåëèòå ñàìî â äåíÿ íà îòêðèâàíåòî è çàêðèâàíåòî íà Èãðèòå, êàòî òàì ñúñòåçàíèÿ â çèìíèòå ñïîðòîâå íå ñå ïðèäâèæäàò. Ïî-êúñíî ñòàäèîíúò ùå ñòàíå ôóòáîëåí, êîåòî íè êàðà äà ñå çàáàâëÿâàìå ñ ðàçëè÷íè âåñåëè èñòîðèè êàê Ñî÷è ùå ñòàíå ôóòáîëåí öåíòúð íà êàðòàòà íà Åâðîïà è Ðóñèÿ, çà äà îïðàâäàå òîâà ñêúïî è ïðåñòèæíî ñúîðúæåíèå.


17 Young Architects from Europe and Asia design an Olympic Stadium in Sochi and a complex of skyscrapers in Krasnodar (1-13 November 2007) under the Aegis of IAA Young talents from Japan, Russia, Italy, Germany, Poland and Bulgaria took part in the international seminar. The topics, that the participators discussed, were very prestige and responsible: to design an Olympic stadium in Sochi for the winter games in 2014 and a group of high buildings in Krasnodar region. Definite aims were searched for during the elaborations. The topic

Krasnodar City –XXI century includes new town-planning ideas; attention is paid to the architectural esthetics during the erection of the complex. The conception, created by the Athens Charter authors, was developed with high attention – to develop communications of the new center as a specific organization for separate pedestrian and automobile movement on different levels and to increase the green spaces and function of the building in the new center. It is an administrative and trade center with skyscrapers, a big cultural complex with a modern concert and sport hall, specific art centers and the construction of ethno museum about the history and life of the Kuban Cossacks. A mini Las Vegas complex is stipulated as well- gambling complexes, which according to the Russian Government’s vision will function only on the Caucuses, Far East and in the Krasnodar region.

One more considerable element adds to the new city body. On the territory of Expo Krasnodar center is stipulated a center for exhibitions of the most contemporary vanguard technologies and information systems. We should mention that many interesting and fresh ideas were born for the alternative project of the Olympic stadium in Sochi for the Winter Games in 2014. Three teams of international participators expressed their architectural view how the contemporary stadium of XXI century would look like. There is one detail- the stadium will accept the Olympic guests and competitors at the day of the opening and closing of the Games. Winter sports competitions are not stipulated there. Later the stadium will be used for football games what makes us enjoy different stories how Sochi will become a football center on the map of Europe and Russia to justify this expensive and prestige sports facility.


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World Architectural Masters

International Academy Of Architecture


WAM magazine Issue 6