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архитекторы. дизайнеры ARCHITECTS. Designers


ARCHITECTS. Designers «ARTINDEX» САНКТ-ПЕТЕРБУРГ | artindex st. Petersburg ВЫПУСК | 4 | EDITION | 08

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содержание CONTENTS | 035 архитектура Architecture 205 интерьер Interior 257 декор design 277 индекс index

обложка Rafael Vinoly Architects PC > Медицинский институт Говарда Хью, фото > Бред Файнкнопф cover Rafael Vinoly Architects PC > Howard Hughes Medical Institute, photo > Brad Feinknopf


архитекторы. дизайнеры CATALOG-DIRECTORY | КАТАЛОГ-СПРАВОЧНИК

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36| РАФАЭЛЬ ВИНЬОЛИ RAFAEL VINOLY 48| ЛЕННИИПРОЕКТ LENNIIPROEKT 68| HOPKINS ARCHITECTS HOPKINS ARCHITECTS 76| МАССИМИЛИАНО ФУКСАС MASSIMILIANO FUKSAS 80| СТЕФАН КАМЕНЗИНД CAMENZIND EVOLUTION STEFAN CAMENZIND 86| КИСЁ КУРОКАВА KISHO KUROKAWA 94| МАНФРЕДИ НИКОЛЕТТИ MANFREDI NICOLETTI 100| МАРК ДЗИВУЛЬСКИ MARK DZIEWULSKI 108| СТРОЙМОНТАЖ-ПРОЕКТ STROIMONTAGE-PROEKT 116| ATELIER BRUECKNER ATELIER BRUECKNER 120| ОДИЛЬ ДЕК ODILE DECQ 126| UN STUDIO UN STUDIO 132| CARAMEL CARAMEL 140| ДЗЮНЬЯ ТОДА JUNYA TODA 144| БЕРНАР ЧУМИ BERNARD TSUMI 148| АРХИТЕКТУРНОЕ БЮРО ТРАДИЦИЯ ARCHITECTURAL BUREAU TRADICIA 150| АНТОНИНО КАРДИЛЛО ANTONINO CARDILLO 152| FS ARCHITEKTEN FS ARCHITEKTEN 162| ДЭЙЛ ДЖОНС-ЭВАНС DALE JONS-EVANS 168| СУПОНИЦКАЯ ТАТЬЯНА SUPONITSKAYA TATYANA 170| ELLER + ELLER ARCHITEKTEN ELLER + ELLER ARCHITEKTEN 178| творческая архитектурная мастерская В.А. Гаврилова VALENTIN GAVRILOV’S ARCHITECTURAL WORKSHOP 182| TEC ARCHITECTURE TEC ARCHITECTURE 186| архитектурная мастерская м. п. копкова ARCHITECTURAL WORKSHOP OF M. KOPKOV 190| GIRAUDI WETTSTEIN ARCHITECTS GIRAUDI WETTSTEIN ARCHITECTS 194| МАЙКЛ ЯНТЦЕН MICHAEL JANTZEN 198| BAUMRAUM BAUMRAUM 206| DAIGO ISHII FUTURE DAIGO ISHII FUTURE 212| NEUHAUS NEUHAUS 216| ОДИЛЬ ДЕК ODILE DECQ 220| ATELIER BRUECKNER ATELIER BRUECKNER 222| соло solo 228| КВАДРАТ KVADRAT 234| чернышев виталий, чернышева мария chernyshev vitaliy, chernysheva mariya 238| GRAFT GRAFT 242| СТРОЙМОНТАЖ-ПРОЕКТ STROIMONTAGE-PROEKT 244| BOX 05 BOX 05 246| ФРАНК ЛЯ РИВЬЕР FRANK LA RIVIERE 250| БОГАРТ BOGART 252| JETZT JETZT 254| МИРЕЛЛА MIRELLA 258| дек-арт dec-art 262| ПАРФЕНОН PARFENON 264| СТУДИЯ ГОРОДЕЦКОЙ GORODETSKAYA STUDIO 266| ЛАНДШАФТ СПб LANDSHAFT SPb 268| мастер саун master saun


tec Architecture > Inotera Headquarters & Production Facility. Photo > Hisao Suzuki


От имени Комитета по инвестициям и стратегическим проектам, рад приветствовать гостей и участников Международного форума-выставки архитектуры и дизайна «Архитектурный Диалог 2008». «Архитектурный диалог» формирует уникальную площадку для обмена мнениями. Важность коммуникаций с европейскими странами и дальним зарубежьем, возможность организовать целенаправленный диалог между основными участниками, обеспечивающими претворение в жизнь крупных проектов на всех стадиях их реализации, способствует появлению инновационных подходов к решению наиболее актуальных и спорных проблем современной архитектуры. Одним из основных предметов обсуждения среди представителей профессиональной среды, бизнес-сообщества, государственных структур и общественных организаций является архитектурный стиль СанктПетербурга. Следует отметить, что Северо-Западный регион год от года становится более открытой площадкой для реализации масштабных инвестиционных и строительных проектов, каждый из которых собирает под собой множество ведущих международных архитектурных организаций. Мы не сомневаемся, что в будущем увидим только усиление этой тенденции. Это еще раз подчеркивает необходимость тесного диалога между деловым сектором, государственными структурами и международным архитектурным сообществом. Именно сейчас Северная столица, в лице городского правительства и комитетов, успешно формирует привлекательный инвестиционный климат для Российских и международных инвесторов, создавая новые инициативы в области современной архитектуры Санкт-Петербурга. Приветствуя участников международного форума-выставки архитектуры и дизайна «Архитектурный Диалог 2008», мы еще раз подчеркиваем важность мероприятий такого уровня и масштаба для Северной столицы. Добро пожаловать на Международный форум архитектуры и дизайна!

Роман Владимирович Старовойт Первый заместитель председателя Комитета по инвестициям и стратегическим проектам


Hopkins Architects > Wellcome Trust Gibbs Building. Photo > Nicholas Guttridge


ФГУП «ГУССТ №3» при Спецстрое России приветствует Вас на Международном форуме-выставке архитектуры и дизайна «Архитектурный Диалог 2008». Отрасль строительства неразделимо связана с экономикой страны, и динамично растущая экономика России диктует новые стандарты к компаниям строительного сектора. Акценты в строительстве ставятся не только на качественном возведении современных инженерных сооружений, но и на их архитектурном стиле, как неотъемлемой части любого проекта, выводя на первый план дискуссии о сохранении стиля, настоящем и будущем образе современного мегаполиса. В настоящий момент Санкт-Петербург переживает бум масштабных архитектурных проектов. Перенимая опыт зарубежных архитекторов, работающих в России, мы ищем новые подходы к решению наиболее актуальных и спорных проблем современной архитектуры. Благодаря накопленному за 55 лет колоссальному опыту, ФГУП «ГУССТ №3» при Спецстрое России выполняет все виды строительного производства, начиная от процесса проектирования и заканчивая полной отделкой и сдачей объектов в эксплуатацию, и уделяет большое значение соответствию архитектуры проектируемых объектов исторически сложившемуся стилю города. Архитектура Санкт-Петербурга является достоянием России. Принимая во внимание всю ценность культурного наследия, городу необходимо развиваться дальше, как деловому центру. Поэтому, основная задача сегодня, – сохраняя архитектурную целостность города, реализовывать новаторские направления в области строительства. Подчеркивая важность сопоставления развития и традиций архитектуры, мы поддерживаем инициативу международного форума, как открытой площадки для диалога и обмена опытом между представителями архитектурного сообщества России и международными архитекторами, строителями, ассоциациями и представителями государственных структур. До встречи на Международном форуме архитектуры и дизайна!

Владимир Аршавирович Даниелян Начальник ФГУП «ГУССТ №3» при Спецстрое России


Hopkins Architects > Wellcome Trust Gibbs Building. Photo > Nicholas Guttridge


ARCHITECTURAL DIALOG `08

International Exhibition of architecture and design


Eller + Eller Architekten > Mirax Plaza


ARCHITECTURAL DIALOG `08

International Exhibition of architecture and design

Международный форум–выставка формируется как долгосрочная программа деятельности, направленная на поддержку инновационного развития сфер архитектуры, строительства и интерьерного дизайна с участием представителей профессионального сообщества. Одна из важнейших особенностей форума состоит в том, что он рассматривается как регулярная конференция, ориентированная на создание независимого открытого информационного пространства для исследования современных тенденций развития архитектурного и дизайн проектирования, аккумулирования информации о деятельности современных отечественных и зарубежных мастерских и авторов, работающих в этой сфере. Идея мероприятия заключается в обсуждении важнейших аспектов архитектуры и строительства на профессиональном уровне с участием ключевых представителей бизнес–сообщества, государственных структур и общественных организаций. Одним из основных предметов обсуждения является архитектурный стиль Санкт–Петербурга, а именно, существует ли он, в каком виде, является ли идентичным его образ для представителей городской, российской и международной общественности.

International Forum of architecture and design projecting «Architectural Dialog `08» is formed as the long-term program of activity directed on support of innovative development of spheres of architecture, construction and interior design with participation of representatives of professional community. One of the major peculiarities of a forum is in it’s consideration as the regular conference focused on creation of open independent information space for architectural and design projecting development tendencies investigation, accumulations of the information on the modern domestic, foreign workshops and authors activity. The idea of forum consists in the major aspects of architecture and construction discussion at a professional level with participation of business-community key representatives, State structures and public organizations.


Massimiliano Fuksas > Grappa Nardini. Photo > Maurizio Marcato


Michael Jantzen > The Wind Shaped Pavilion


Camenzind Evolution > Cocoon Development Exclusive Office Headquarters


Baumraum > Nut room. Photo > Dirk Vogel


Atelier Brueckner > House of Johann Sebastian Bach


архитектура Architecture


ÐÀÔÀÝËÜ ÂÈÍÜÎËÈ ~ RAFAEL VINOLY

ÀÐÕÈÒÅÊÒÎÐ ARCHITECT

Âèíüîëè ðîäèëñÿ â Óðóãâàå â 1944 ãîäó, â âîçðàñòå 20 ëåò îí ñòàë ñîó÷ðåäèòåëåì àðõèòåêòóðíîé ñòóäèè Estudio de Arquitectura, êîòîðàÿ ïðåâðàòèëàñü â ñàìóþ áîëüøóþ ñòóäèþ äèçàéíà â Ëàòèíñêîé Àìåðèêå.  1978 Âèíüîëè ïåðååõàë â Ñîåäèíåííûå Øòàòû, ãäå ñíà÷àëà ÷èòàë ëåêöèè â Àñïèðàíòóðå äèçàéíà Ãàðâàðäñêîãî óíèâåðñèòåòà. Óæå â 1979 ãîäó àðõèòåêòîð ïåðååõàë â Íüþ-Éîðê, ãäå â 1983 ~ ãîäó îñíîâàë äèçàéíåðñêóþ ñòóäèþ Rafael Vinoly Architects PC, ó êîòîðîé âñêîðå ïîÿâèëèñü ôèëèàëû â Ëîíäîíå è Ëîñ-Àíäæåëåñå. Ïåðâîé áîëüøîé ðàáîòîé Âèíüîëè â Íüþ-Éîðêå ñòàëî çäàíèå Êîëëåäæà óãîëîâíîãî ñóäîïðîèçâîäñòâà èì. Äæîíà Äæåéÿ, ïîñòðîåííîå â 1988 ãîäó.  1989 ãîäó Âèíüîëè ïîáåäèë â ìåæäóíàðîäíîì êîíêóðñå è ïîëó÷èë ïðàâî ñïðîåêòèðîâàòü Ìåæäóíàðîäíûé ôîðóì â Òîêèî, ñàìûé áîëüøîé è çíà÷èòåëüíûé êóëüòóðíûé êîìïëåêñ ßïîíèè. Ôîðóì áûë îêîí÷åí â 1996 ãîäó è çàêðåïèë çà Âèíüîëè ðåïóòàöèþ àðõèòåêòîðà ñ áîãàòûì âîîáðàæåíèåì, ïîòðÿñàþùåé ïðîôåññèîíàëüíîé ñòðîãîñòüþ è ïðîâåðåííûì óìåíèåì îðãàíèçîâàòü îáùåñòâåííîå è êóëüòóðíîå ïðîñòðàíñòâî. Îòêðûòèå Ïåðôîðìàíñ Öåíòðà Kimmel â Ôèëàäåëüôèè â 2001 ãîäó îçíàìåíîâàëî òàêîé æå ãðîìêèé óñïåõ â ÑØÀ, ÷òî äàëî òîë÷îê äëÿ ïîñëåäóþùèõ çàêàçîâ, âêëþ÷àÿ òàêèå êóëüòîâûå ìåñòà îáùåñòâåííûõ ñáîðîâ êàê: Äæàç-Öåíòð èì. Ëèíêîëüíà (Íüþ-Éîðê), Äâîðåö ñúåçäîâ èì. Äýâèäà Ë. Ëîóðåíñà (Ïèòòñáóðã), Áîñòîíñêèé âûñòàâî÷íûé öåíòð. Ðàáîòàì Âèíüîëè õàðàêòåðíî ñòðóêòóðíîå ñâîåîáðàçèå, êîòîðîå âûõîäèò çà ðàìêè ïðîõîäÿùèõ àðõèòåêòóðíûõ ïðè÷óä.  ïîñëåäíåå âðåìÿ Âèíüîëè ðàáîòàë â ÑØÀ íàä êðóïíûìè è ìàëîìàñøòàáíûìè ïðîåêòàìè, â ÷èñëå êîòîðûõ êàê óíèâåðñèòåòñêèå çäàíèÿ: Àñïèðàíòóðà êîììåð÷åñêîé äåÿòåëüíîñòè ×èêàãñêîãî óíèâåðñèòåòà è Óîòñîíîâñêèé èíñòèòóò ìåæäóíàðîäíûõ èññëåäîâàíèé Áðàóíîâñêîãî óíèâåðñèòåòà, òàê è çäàíèÿ äëÿ ïåðåäîâûõ áèîìåäèöèíñêèõ è íàíîòåõíîëîãè÷åñêèõ èññëåäîâàíèé: Êàëèôîðíèéñêèé óíèâåðñèòåò â Ëîñ-Àíäæåëåñå; Ìåäèöèíñêèé èíñòèòóò èì. Õîâàðäà Õüþ, Èññëåäîâàòåëüñêèé êàìïóñ Äæàíåëèÿ Ôàðì â Âèðäæèíèè; Íàöèîíàëüíûé èíñòèòóò çäîðîâüÿ èì. Äæîíà Ýäâàðäà Ïîðòåðà, Íåâðîëîãè÷åñêèé öåíòð â Ìýðèëåíäå. Âèíüîëè òàêæå ðàáîòàë íàä ïðîåêòàìè ñóäîâ, ÷àñòíûõ ðåçèäåíöèé, ñïîðòèâíûõ ñîîðóæåíèé è òåàòðîâ, ïðèìåð òîìó — Ëåñòåðñêèé òåàòð è Ïåðôîðìàíñ-öåíòð â Àíãëèè. Ìóçåéíûå ïðîåêòû àðõèòåêòîðà âêëþ÷àþò ðàñøèðåíèå Ìóçåÿ èñêóññòâ â Êëèâëåíäå, îäíîãî èç âåäóùèõ íàöèîíàëüíûõ ìóçååâ íàðÿäó ñ Äåòñêèì ìóçååì â Áðóêëèíå è Ìóçååì èñêóññòâ Íýøåðà â Óíèâåðñèòåòå Äþêà. Ïîìèìî ãðîìêèõ óñïåõîâ íà êîíêóðñàõ, ïîñëåäíèé èç êîòîðûõ — ãåíåðàëüíûé ïëàí Îêñôîðäñêîãî óíèâåðñèòåòà, çàâåðøåííûé â 2006 ãîäó, ðàáîòû Âèíüîëè áûëè ïðèçíàíû âåäóùèìè ìèðîâûìè äèçàéíåðñêèìè èçäàíèÿìè è îòìå÷åíû ìíîãî÷èñëåííûìè íàãðàäàìè çà íåïðåâçîéäåííîå ìàñòåðñòâî.  1993 ãîäó Âèíüîëè ñòàë ÷ëåíîì Àìåðèêàíñêîãî àðõèòåêòóðíîãî èíñòèòóòà è ßïîíñêîãî àðõèòåêòóðíîãî èíñòèòóòà.  2006 ãîäó îí ïîëó÷èë çâàíèå ìåæäóíàðîäíîãî ÷ëåíà Êîðîëåâñêîãî Áðèòàíñêîãî èíñòèòóòà àðõèòåêòóðû. Ñåãîäíÿ Âèíüîëè ÷èòàåò ëåêöèè â ÑØÀ è çà ðóáåæîì.

~ Vinoly was born in Uruguay in 1944, and, by the age of twenty, he was a founding partner of Estudio de ~ Arquitectura, which would become one of the largest design studios in Latin America. In 1978, Vinoly moved to the United States. After briefly serving as a guest lecturer at the Harvard University Graduate ~ ~ School of Design, he settled in New York in 1979. In 1983, Vinoly founded Rafael Vinoly Architects PC, a New York-based firm that has grown to encompass affiliate offices in London and Los Angeles. Through ~ this highly developed entity, Vinoly has completed many critically acclaimed civic projects as well as private and institutional commissions. His first major New York project was the John Jay College of Criminal Justice, which was completed in 1988. In 1989, he won an open international competition to design the Tokyo International Forum, the largest and most important cultural complex in Japan. Completed in 1996, ~ this design secured Vinoly’s reputation as an architect of great imagination and immense professional rigor with a proven capacity to create beloved civic and cultural spaces. The opening of the Kimmel Center for the Performing Arts in Philadelphia in 2001 marked a similar success in the United States. The building prompted other seminal commissions including Jazz at Lincoln Center (New York), the David L. Lawrence Convention Center (Pittsburgh), and the Boston Convention & Exhibition Center, iconic civic ~ gathering spaces in their respective cities. Vinoly’s work is marked by a sustained structural originality that transcends the passing fads of architectural movements. At home with both large- and small-scale projects, his recent work ranges from university buildings such as the University of Chicago Graduate School of Business and the Watson Institute for International Studies at Brown University, to leadingedge biomedical and nanosystems research facilities such as the University of California, Los Angeles, California NanoSystems Institute; the Howard Hughes Medical Institute Janelia Farm Research Campus in Virginia; and the National Institutes of Health John Edward Porter Neuroscience Research Center in Maryland. His work also encompasses courthouses, private residences, athletic facilities, and additional ~ performing arts venues such as the Leicester Theatre and Performing Arts Centre in England. Vinoly’s museum projects include an expansion for the Cleveland Museum of Art, one of the nation’s leading cultural institutions, along with the Brooklyn Children’s Museum and the Nasher Museum of Art at Duke University. In addition to his many successes in competitions—including a University of Oxford master plan, ~ completed in 2006—Vinoly’s work has been recognized in the world’s leading design publications and by ~ numerous awards of excellence. Vinoly became a Fellow of the American Institute of Architects in 1993 and is a member of the Japan Institute of Architects. In 2006, he was named an International Fellow of the Royal Institute of British Architects. He lectures widely in the United States and abroad.

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1–4. Áîñòîíñêèé âûñòàâî÷íûé öåíòð ìåñòî > Áîñòîí, Ìàññà÷óñåòñ, ÑØÀ ïîñòðîéêà > 2004 ~ àðõèòåêòîð > Rafael Vinoly Architects PC ïëîùàäü > 518,160 êâ. ì áþäæåò > 525,000,000 $ US (2004) ôîòî > Áðåä Ôàéíêíîïô

1–4. Boston Convention & Exhibition Center location > Boston, Massachusetts, US constructed > 2004 ~ architect > Rafael Vinoly Architects PC area > 518,160 sq. m budget > 525,000,000 $ US (2004) photographer > Brad Feinknopf

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5–9. Çäàíèå îêðóæíîãî ñóäà â Áðîíêñå ìåñòî > Áðîíêñ, Íüþ-Éîðê, ÑØÀ ïîñòðîéêà > 2007 ~ àðõèòåêòîð > Rafael Vinoly Architects PC ïëîùàäü > 236,220 êâ. ì áþäæåò > 270,000,000 $ US (2006) ôîòî > Äæåôô Ãîëäáåðã (5–7, 9), Ïîë Óîðõîë (8)

5–9. Bronx County Hall of Justice

location > Bronx, New York, US constructed > 2007 ~ architect > Rafael Vinoly Architects PC area > 236,220 sq. m budget > 270,000,000 $ US (2006) photographers > Jeff Goldberg (5–7, 9), Paul Warchol (8)

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10–14. Ìåäèöèíñêèé èíñòèòóò Ãîâàðäà Õüþ ìåñòî > Àøáåðí, Âèðæèíèÿ, ÑØÀ ïîñòðîéêà > 2006 ~ àðõèòåêòîð > Rafael Vinoly Architects PC ïëîùàäü > 177,100 êâ. ì áþäæåò > 500,000,000 $ US (2006) ôîòîãðàô > Áðåä Ôàéíêíîïô (11, 13, 14), Ïîë Ôåòòåðñ (10), Ðîáåðò Ìàêãè (12)

10–14. Howard Hughes Medical Institute location > Ashburn, Virginia, US constructed > 2006 ~ architect > Rafael Vinoly Architects PC area > 177,100 sq. m budget > 500,000,000 $ US (2006) photographers > Brad Feinknopf (11, 13, 14), Paul Fetters (10), Robert McGhee (12)

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24–27. Atlas Building

Óíèâåðñèòåò Âàãåíèíãåíà è èññëåäîâàòåëüñêèé öåíòð ìåñòî > Âàãåíèíãåí, Íèäåðëàíäû ïîñòðîéêà > 2006 ~ àðõèòåêòîð > Rafael Vinoly Architects PC ïëîùàäü > 32,000 êâ. ì áþäæåò > 20,511,473 $ US (2006) ôîòî > Æåðîí Ìóø

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24–27. Atlas Building

Wageningen University and Research Centre location > Wageningen, The Netherlands constructed > 2006 ~ architect > Rafael Vinoly Architects PC area > 32,000 sq. m budget > 20,511,473 $ US (2006) photographer > Jeroen Musch

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HOPKINS ARCHITECTS

ÀÐÕÈÒÅÊÒÓÐÍÀß ÊÎÌÏÀÍÈß ARCHITECTURAL PRACTICE ORGANIZATION

Ñ ìîìåíòà îñíîâàíèÿ â 1976 ãîäó êîìïàíèÿ Hopkins Architects çàíèìàëà ïåðåäîâûå ïîçèöèè â áðèòàíñêîé àðõèòåêòóðå. Çà òðè äåñÿòèëåòèÿ ñâîåãî ñóùåñòâîâàíèÿ êîìïàíèÿ ñîáðàëà ïîðòôîëèî èç ñàìûõ ðàçíîîáðàçíûõ ïðîåêòîâ, âûïîëíåííûõ äëÿ ñâîèõ ìíîãî÷èñëåííûõ êëèåíòîâ. Íåñìîòðÿ íà òî, ÷òî âñå èõ çäàíèÿ ñîçäàíû ñ ó÷åòîì èíäèâèäóàëüíûõ îñîáåííîñòåé êàæäîãî ïðîåêòà, à èñïîëüçóåìûå ìàòåðèàëû î÷åíü ðàçíîîáðàçíû, êëþ÷åâûå àðõèòåêòóðíûå, ýêîëîãè÷åñêèå è ñîöèàëüíûå ïðèíöèïû, êîòîðûå áûëè ïîëîæåíû â îñíîâó ðàáîòû, îñòàëèñü íåèçìåííûìè, ÷òî ïîçâîëèëî äîñòè÷ü óçíàâàåìîñòè èõ àðõèòåêòóðû . Öåëü êîìïàíèè – ñòðîèòü çäàíèÿ îòëè÷íîãî êà÷åñòâà, êîòîðûå õîðîøî âïèñûâàþòñÿ â îêðóæàþùóþ ñðåäó, ñî÷åòàþò ïåðåäîâîé äèçàéí è îòâå÷àþò ýêîëîãè÷åñêèì òðåáîâàíèÿì. Èõ ðàáîòà ïîëó÷èëà øèðîêîå ïðèçíàíèå, êàê ñðåäè àðõèòåêòîðîâ, òàê è ó øèðîêîé ïóáëèêè; Hopkins Architects âûèãðàëè ïðàêòè÷åñêè âñå ãëàâíûå àðõèòåêòóðíûå ïðåìèè. Íàðÿäó ñ áîëüøèì êîëè÷åñòâîì âûïîëíåííûõ ïðîåêòîâ â Âåëèêîáðèòàíèè, â ïîñëåäíåå âðåìÿ áûñòðî ðàñòåò ÷èñëî ìåæäóíàðîäíûõ çàêàçîâ. Íåäàâíî àðõèòåêòîðû çàâåðøèëè ïðîåêòû â Àôèíàõ è Òîêèî.  ÑØÀ êîìïàíèÿ ðàáîòàåò íàä ïðîåêòàìè óíèâåðñèòåòñêèõ çäàíèé â Ïðèíñòîíå, Éåëå, Ðèñå è Ñåâåðíîé Àðèçîíå. Ñåé÷àñ êîìïàíèÿ çàíèìàåìñÿ òðåìÿ ïðîåêòàìè â Äóáàå, ïåðâûé èç êîòîðûõ áóäåò çàêîí÷åí â ñåðåäèíå 2008 ãîäà. Íåäàâíî îíè ïîëó÷èëè ïåðâûé çàêàç â Èíäèè – ñòàäèîí äëÿ êóáêà ìèðà ïî êðèêåòó â 2011 ãîäó. Êîìàíäà Hopkins Architects èç 150 ÷åëîâåê ðàáîòàåò â Ìàðèëåáîí (Ëîíäîí), â çäàíèè, êîòîðîå îíè ñàìè ñïðîåêòèðîâàëè, à òàêæå â ïðîåêòíîì áþðî â Äóáàå.

Hopkins Architects have been at the forefront of British architecture since the practice was established in 1976. Over these three decades, we have created a diverse portfolio of projects for our many and varied clients. Although the buildings we have created suit the specific requirements of each individual project and the materials we employ vary, the core architectural, environmental and social values that underpin our work have remained constant, which has resulted in a recognisable architectural expression. We are committed to delivering buildings of the highest architectural excellence that relate well to their context, while combining innovative design and environmental responsibility Our work has been widely acclaimed by both architects and the public alike and we have won most major architectural awards. In addition to our large portfolio of projects in the UK, our international work has increased rapidly recently. We have completed projects in Athens (Greece), Tokyo (Japan). In the USA we are currently working on University buildings at Princeton, Yale, Rice and in Northern Arizona, where we have completed their first LEED Platinum rated building. We are currently working on three projects in Dubai, the first of which will be completed in mid 2008 and have just been appointed for our first project in India, a new Cricket Stadium for the 2011 World Cup. Our team of 150 people work from a campus we designed for ourselves in Marylebone, London, and our project office in Dubai.

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1–3. Òðàïåçíàÿ â ñîáîðå Íîðèäæà ìåñòî > Íîðèäæ, Âåëèêîáðèòàíèÿ ïðîåêò > 1995–2004 ñòðîèòåëüñòâî > 2001–2004 àðõèòåêòîð > Hopkins Architects ïðîåêòíàÿ ãðóïïà > äèðåêòîð: Ñýð Ìàéêë Õîïêèíñ, Ýíäðþ Áàðíåòò, Ìàéêë Òýéëîð; äèðåêòîð ïðîåêòà: Êåí Õóä çàêàç÷èê > ñîáîð Íîðèäæà ïëîùàäü çàñòðîéêè > 991 êâ. ì ñòîèìîñòü > £3.15 ìëí. ôîòî > Ïîë Òÿãè (1, 3), Ðè÷àðä Äýâèñ (2)

1–3. Norwich Cathedral Refectory Centre location > Norwich, United Kingdom project > 1995–2004 construction > 2001–2004 architect > Hopkins Architects project team > directors: Sir Michael Hopkins, Andrew Barnett, Michael Taylor; project directors: Ken Hood client > Norwich Cathedral building area > 991 sq. m value > £3.15 mill photographers > Paul Tyagi (1, 3), Richard Davies (2)

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4–8. Äåòñêàÿ áîëüíèöà Evelina ìåñòî > Ëîíäîí, Âåëèêîáðèòàíèÿ ïðîåêò > 1999–2005 ñòðîèòåëüñòâî > 2001–2005 àðõèòåêòîð > Hopkins Architects ïðîåêòíàÿ ãðóïïà > äèðåêòîð: Ñýð Ìàéêë Õîïêèíñ, Âèëüÿì Òýéëîð, Ýíäðþ Áàðíåòò, Ïàìåëà Áýéò, Äæèì Ãðèâç, Ïèòåð Ðîìàíþê, Ïàòðèê Íè; äèðåêòîðû ïðîåêòà: Êåí Õóä, ßí Ìàêè çàêàç÷èê > Ãîñóäàðñòâåííàÿ ñëóæáà çäðàâîîõðàíåíèÿ èì. Ãàÿ è Ñâ. Òîìàñà ïëîùàäü çàñòðîéêè > 16,500 êâ. ì ñòîèìîñòü > £41.5 ìëí. ôîòî > Ïîë Òÿãè

4–8. Evelina Children’s Hospital location > London, United Kingdom project > 1999–2005 construction > 2001–2005 architect > Hopkins Architects project team > directors: Sir Michael Hopkins, William Taylor, Andrew Barnett, Pamela Bate, Jim Greaves, Peter Romaniuk, Patrick Nee; project directors: Ken Hood, Jan Mackie client > Guy’s and St Thomas’ NHS building area > 16,500 sq. m value > £41.5 mill photographer > Paul Tyagi

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9–13. Êàìïóñ äëÿ òîðæåñòâåííûõ ìåðîïðèÿòèé ìåñòî > Íîòòèíãåì, Âåëèêîáðèòàíèÿ ïðîåêò > 1996–1999 ñòðîèòåëüñòâî > 1997–1999 àðõèòåêòîð > Hopkins Architects ïðîåêòíàÿ ãðóïïà > äèðåêòîð: Ñýð Ìàéêë Õîïêèíñ, Âèëüÿì Òýéëîð, Ïàìåëà Áýéò, Ñèìîí Ôðýéçåð; äèðåêòîðû ïðîåêòà: Áèëë Äàíñòåð, ßí Ìàêè çàêàç÷èê > Óíèâåðñèòåò Íîòòèíãåìà ïëîùàäü çàñòðîéêè > 15,000 êâ. ì ñòîèìîñòü > £30 ìëí. ôîòî > Ìàðòèí Õýìèëüòîí Íàéò (9, 12, 13), Èàí Ëîóñîí (10), Äåíèñ Ãèëáåðò (11)

9–13. Jubilee Campus location > Nottingham, United Kingdom project > 1996–1999 construction > 1997–1999 architect > Hopkins Architects project team > directors: Sir Michael Hopkins, William Taylor, Pamela Bate, Simon Fraser; project directors: Bill Dunster Jan Mackie client > University of Nottingham building area > 15,000 sq. m value > £30 mill photographers > Martine Hamilton Knight (9, 12, 13), Ian Lowson (10), Dennis Gilbert (11)

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ÌÀÑÑÈÌÈËÈÀÍÎ ÔÓÊÑÀÑ MASSIMILIANO FUKSAS

Massimiliano Fuksas Architetto - ýòî îäíà èç êðóïíåéøèõ ìåæäóíàðîäíûõ àðõèòåêòóðíûõ êîìïàíèé. Óñïåøíî âûïîëíÿÿ ïðîåêòû ïî âñåìó ìèðó, êîìïàíèÿ çàâîåâàëà áåçóïðå÷íóþ ðåïóòàöèþ è ñ 1980-õ ãîäîâ èãðàåò çàìåòíóþ ðîëü â ìèðå åâðîïåéñêîé àðõèòåêòóðû. Ñ ìîìåíòà îñíîâàíèÿ â 1967 ãîäó Massimiliano Fuksas Architetto ïðèíÿëà ó÷àñòèå â áîëåå 350 ïðîåêòàõ, ïîëó÷èëà áîëåå 100 íàãðàä è äèïëîìîâ çà ëó÷øèå ðàáîòû è âûèãðàëà ìíîãèå íàöèîíàëüíûå è ìåæäóíàðîäíûå àðõèòåêòóðíûå êîíêóðñû. Ìíîãèå ïðîåêòû êîìïàíèè ñòàëè ýòàëîíàìè äëÿ çäàíèé ðàçëè÷íûõ òèïîâ, íàïðèìåð, íåäàâíî çàâåðøåííûé òîðãîâûé ïàâèëüîí â Ìèëàíå èëè èññëåäîâàòåëüñêèé öåíòð Ôåððàðè. Êîìïàíèÿ òâîðèò ÷óäåñà, ëåãêî ïðåîáðàæàÿ ïåðâîíà÷àëüíûå èäåè â ÿðêóþ âñïûøêó ëèíèé è öâåòîâ, íå àêöåíòèðóÿ âíèìàíèå íà ìåõàíè÷åñêîì ïðîöåññå âîïëîùåíèÿ çàäóìàííîãî â ðåàëüíîñòü, òàê êàê îáðàòíîå ÷àñòî ñòàíîâèòñÿ ìèíóñîì ïðîåêòà.

ÀÐÕÈÒÅÊÒÎÐ ARCHITECT

Massimiliano Fuksas Architetto is a major international practice with a proven record of delivering acclaimed projects all over the world and has played an important role in European Architectural Context since the 1980’s. It was founded in 1967. Since it’s inception the practice has participated in more than 350 projects, received more than 100 awards and citations for excellence and has won many national and international architectural competitions. Many projects have become the benchmark for the particular building type, for example, the recently completed Milan New Fair Trade and the Ferrari Research Centre. At first Fuksas is an imagist – one who is able to liberate the seeds of his first ideas into an explosion of line and colour; seemingly without effort, between the mechanical processes of the mind to the hand, which for most is a source of dilution in design.

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1–5. Íîâûé òîðãîâûé ïàâèëüîí

ìåñòî > Ðî-Ïåðî, Ìèëàí, Èòàëèÿ ñòðîèòåëüñòâî > 2003–2005 àðõèòåêòîðû > Ìàññèìèëèàíî Ôóêñàñ, Äîðèàíà O. Ìàíäðåëëè äèçàéíåð è àðò-äèðåêòîð > Äîðèàíà O. Ìàíäðåëëè çàêàç÷èê > Fondazione Fiera Milano îáùàÿ ïëîùàäü > 2.000.000 êâ. ì ïëîùàäü çàñòðîéêè > 1.000.000 êâ. ì ïëîùàäü ïîâåðõíîñòè > 2.000.000 êâ. ì ïëîùàäü çàñòðîéêè > 1.000.000 êâ. ì ¹ ïàâèëüîíà > 8 (164 x 224 ì) áþäæåò > 750 ìèëë. EUR ôîòî > àðõèâ êîìïàíèè

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1–5. New Trade Fair

location > Rho-Pero, Milan, Italy construction > 2003–2005 architects > Massimiliano Fuksas, Doriana O. Mandrelli designer and art director > Doriana O. Mandrelli client > Fondazione Fiera Milano total area > 2.000.000 sq. m building area > 1.000.000 sq. m surface area > 2.000.000 sq. m superficie surface builted > 1.000.000 sq. m pavillion > 8 (164 x 224 m) budget > 750 mill. EUR photo > archivio fuksas

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6–8. Grappa Nardini

Èññëåäîâàòåëüñêèé è ìóëüòèìåäèéíûé öåíòð Bassano ìåñòî > Âè÷åíöà, Èòàëèÿ ñòðîèòåëüñòâî > 2002–2004 àðõèòåêòîð > Ìàññèìèëèàíî Ôóêñàñ ðóêîâîäèòåëü ïðîåêòà > Äàâèä Ñòîëôè äèçàéí èíòåðüåðà > Äîðèàíà O. Ìàíäðåëëè ïðîåêòíàÿ ãðóïïà > Èàí Âýäõåì, Äåôíå Äèëáåð, Ìàéêë Øàôåð èíæåíåðíûé êîíñàëòèíã > Ing. Gilberto Sarti (Ðèìèíè) ñåðâèñíûé êîíñàëòèíã > AI Studio (Òóðèí) ôîòî > Ìàóðèöèî Ìàðêàòî

6–8. Grappa Nardini

Research and Multimedia Center Bassano location > Vicenza, Italy construction > 2002–2004 architect > Massimiliano Fuksas project leader > Davide Stolfi interior design > Doriana O. Mandrelli project team > Iain Wadham, Defne Dilber, Michael Schaffer engeneering consultant > Ing. Gilberto Sarti (Rimini) services consultant > AI Studio (Turin) photographer > Maurizio Marcato

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ÑÒÅÔÀÍ ÊÀÌÅÍÇÈÍÄ / CAMENZIND EVOLUTION STEFAN CAMENZIND / CAMENZIND EVOLUTION

 1995 ãîäó Ñòåôàí Êàìåíçèíä îòêðûë àðõèòåêòóðíóþ ñòóäèþ, â êîòîðîé ñåãîäíÿ ðàáîòàþò 15 àðõèòåêòîðîâ. Áîëüøèíñòâî ïðîåêòîâ, âûïîëíåííûõ ñòóäèåé, ðåçóëüòàò ïîáåäû íà àðõèòåêòóðíûõ êîíêóðñàõ. Îôèñíûé öåíòð Cocoon ïðåäñòàâëÿåò ñîáîé ðàçâèí÷èâàþùóþñÿ ñïèðàëü, ýòî íîâîå âèäåíèå îôèñíîãî çäàíèÿ. Âñå ïîìåùåíèÿ ðàñïîëîæåíû âäîëü âíóòðåííåãî ïàíäóñà, êîòîðûé ñïèðàëüþ îãèáàåò âåëèêîëåïíûé àòðèóì. Íåñìîòðÿ íà òî, ÷òî çäàíèå ñîçäàâàëîñü êàê ïðèìåð îðãàíèçàöèè ðàáî÷åãî ïðîñòðàíñòâà íîâîãî ïîêîëåíèÿ, ïîòåíöèàëüíûå âîçìîæíîñòè åãî èñïîëüçîâàíèÿ î÷åíü øèðîêè. Åùå îäèí ïðîåêò àðõèòåêòîðà – Loft Apartments. Èäåÿ çäàíèÿ áûëà îáóñëîâëåíà ìåñòîì åãî áóäóùåãî ðàñïîëîæåíèÿ, è íåîáõîäèìîñòüþ âìåñòèòü êàê ìîæíî áîëüøå âíóòðåííèõ ïîìåùåíèé ðàçëè÷íîé ïëàíèðîâêè. Äîì îáëèöîâàí ïðîçðà÷íûìè ïåðåêðûâàþùèìè äðóã äðóãà ñòåêëÿííûìè ëèñòàìè, ðàñïîëàãàþùèìèñÿ ïîâåðõ öâåòíûõ áëîêîâ èç èçîëÿöèîííîãî ìàòåðèàëà. Ëèñòû ïîêðûâàþò âåñü ñåâåðíûé ôàñàä çäàíèÿ è ïîñòåïåííî ïåðåõîäÿò íà þæíûé. Ïðîåêò ñïîðòèâíîãî öåíòðà Buchholz, ñîçäàííûé àðõèòåêòóðíîé ñòóäèåé, ïîáåäèë íà êîíêóðñå è áûë ðåàëèçîâàí. Áëàãîäàðÿ ñî÷åòàíèþ ñâåòîïðîçðà÷íûõ êîìïîíåíòîâ íàðóæíîé îáøèâêè âíóòðåííèå ïîìåùåíèÿ îñâåùåíû åñòåñòâåííûì ñâåòîì, ñîëíå÷íûé ñâåò ïðåâðàùàåòñÿ â ïðîñòðàíñòâåííûé ýëåìåíò çäàíèÿ. Äíåì âíåøíåå ïðîñòðàíñòâî ñòàíîâèòñÿ ÷àñòüþ èíòåðüåðà, à íî÷üþ – íàîáîðîò.

ÀÐÕÈÒÅÊÒÎÐ ARCHITECT

Stefan Camenzind founded the architectural studio in 1995. It counts 10-15 architects today. Many of the projects have been the result of winning architectural competition. The Cocoon building forms an opening spiral and creates a new concept for office buildings. All office spaces are openly arranged along the internal circulation ramp, which leads around a stunning atrium. Although the building was created to encourage and enable a new generation of workspace environments, the building concept has also a wide potential for other usage. Loft Apartments. The building footprint was established by site constraints and sculpted to suit as many different internal space layouts as possible. The building is clad with translucent overlapping glass ‘shingles‘ over coloured insulation, which cover the whole north façade and gradually open up towards the south facade. The Buchholz Sports Centre was build following a successful competition. Through the composition of translucence and transparent elements of cladding, the interior bathes in natural light and the light becomes a spatial element. The external transforms to the internal and in the night the internal can be seen at the external.

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1–4. Ýêñêëþçèâíûé îôèñíûé öåíòð Cocoon

ìåñòî > Çååôåëüäøòðàññå 287 8008 Öþðèõ, Øâåéöàðèÿ ïðîåêò > 2004 ñòîðèòåëüñòâî > 2006 çàêàç÷èê > Swiss Life àðõèòåêòîð > Camenzind Evolution ïðåêòíàÿ ãðóïïà > Ñòåôàí Êàìåíçèíä, Óðñ Ìàéåð, Ìàðêî Íîõ, Ñþçàíí Öåíêåð áþäæåò > 8.8 ìèëë. $ îáùàÿ ïëîùàäü > 1’900 êâ. ì

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1–4. Cocoon Development

Exclusive Office Headquarters location > Seefeldstrasse 287 8008 Zurich, Switzerland project > 2004 construction > 2006 client > Swiss Life architect > Camenzind Evolution project team > Stefan Camenzind, Urs Meyer, Marco Noch, Susanne Zenker budget > 8.8 mill. $ total area > 1’900 sq. m

ARCHITECT

STEFAN CAMENZIND

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ÊÈѨ ÊÓÐÎÊÀÂÀ KISHO KUROKAWA

ÀÐÕÈÒÅÊÒÎÐ È ÏÀÐÒÍÅÐÛ ARCHITECT & ASSOCIATES

Êèñ¸ Êóðîêàâà ðîäèëñÿ â Íàãîÿ â 1934 ãîäó.  1957 çàêîí÷èë àðõèòåêòóðíûé ôàêóëüòåò óíèâåðñèòåòà Êèîòî, â 1964 àñïèðàíòóðó Òîêèéñêîãî Óíèâåðñèòåòà ó Êåíçî Òàíãå.  1960-õ Êóðîêàâà âûñòóïèë îäíèì èç îñíîâàòåëåé è âåðíûì ïîñëåäîâàòåëåì äâèæåíèÿ ìåòàáîëèñòîâ, âîñïðèíèìàâøèõ ãîðîä, çäàíèÿ êàê æèâîé îðãàíèçì è âûñòóïàÿ ïðîòèâ ìîäåðíèñòñêèõ èäåé Ëå Êîðáþçüå.  1962 ãîäó Êèñ¸ Êóðîêàâà îñíîâàë áþðî «Kisho Kurokawa Architect & Associates». Êîìïàíèÿ ïðèíÿëà ó÷àñòèå â 38 íàöèîíàëüíûõ è ìåæäóíàðîäíûõ êîíêóðñàõ, â 34 èç íèõ çàíÿëà ïåðâîå ìåñòî. Ñðåäè åãî ïðîåêòîâ Íàöèîíàëüíûé ýòíîëîãè÷åñêèé ìóçåé â Òîêèî, Ìóçåé Âàí Ãîãà â Àìñòåðäàìå, Íàöèîíàëüíûé öåíòð èñêóññòâ â Òîêèî, àýðîïîðò â Êóàëà-Ëóìïóðå, Êèñ¸ Êóðîêàâà ñòàë àâòîðîì ïðîåêòà ñòàäèîíà «Çåíèò» äëÿ Ñàíêò-Ïåòåðáóðãà, ðàáîòàë íàä ãåíïëàíîì ñòîëèöû Êàçàõñòàíà Àñòàíû.

Kisho Kurokawa was born in 1937 in Nagoya. In 1957 he graduated from the University of Kyoto, Faculty of Architecture and in 1964 he got Master degree under the guidance of Kenzo Tange at the Tokyo University. In the 1960-s Kurokawa was one of the first founders and a true follower of the Metabolists, who considered a city as a living organism and were against modernist ideas of Le Corbusier. In 1962 Kisho Kurokawa opened his studio «Kisho Kurokawa Architect & Associates», which took part in 38 national and international contests and won 34 first prizes. Among his projects are National Ethnological Museum in Tokyo, Van Gogh Museum in Amsterdam, National Art Center in Tokyo and Airport in Kuala Lumpur. Kisho Kurokawa designed the stadium «Zenith» in Saint-Petersburg and worked on the general plan of Kazakhstan capital Astana.

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ÊÈѨ ÊÓÐÎÊÀÂÀ

ÀÐÕÈÒÅÊÒÎÐ È ÏÀÐÒÍÅÐÛ

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1–3. Ìóçåé äèíîçàâðîâ ïðåôåêòóðû Ôóêóé ìåñòî > Êàöóäçàìà, ïðåôåêòóðà Ôóêóé, ßïîíèÿ ïðîåêò > 1996–1998 ñòðîèòåëüñòâî > 1998–2000 îáùàÿ ïëîùàäü > 30,000.00 êâ. ì ïëîùàäü çäàíèÿ > 15,000.00 êâ. ì ìàòåðèàë > ñòàëüíàÿ êîíñòðóêöèÿ, æåëåçîáåòîí 1 öîêîëü + 3 ýòàæà

1–3. Fukui Prefectural Dinosaur Museum

location > Katsujama, Fukui Prefecture, Japan project > 1996–1998 construction > 1998–2000 total area > 30,000.00 sq. m building footprint > 15,000.00 sq. m structure > Steel structure, Steel reinforced concrete and Reinforced concrete 1 basement + 3 stories

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ARCHITECT & ASSOCIATES

KISHO KUROKAWA

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ÊÈѨ ÊÓÐÎÊÀÂÀ

ÀÐÕÈÒÅÊÒÎÐ È ÏÀÐÒÍÅÐÛ

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4–6. Íàöèîíàëüíûé õóäîæåñòâåííûé öåíòð, Òîêèî

ìåñòî > Òîêèî, ßïîíèÿ ïðîåêò > 2000–2001 ñòðîèòåëüñòâî > 2002–2005 îáùàÿ ïëîùàäü > îêîëî 30,000 êâ. ì ïëîùàäü çàñòðîéêè > 13,127 êâ. ì ïëîùàäü çäàíèÿ > 48,980 êâ. ì ìàòåðèàë > ñòàëüíàÿ êîíñòðóêöèÿ, ÷àñòè÷íî æåëåçîáåòîí 4 ýòàæà + 1 öîêîëüíûé ýòàæ

4–6. The National Art Center, Tokyo

location > Tokyo, Japan design > 2000–2001 construction > 2002–2005 total area > 30,000 sq. m (approx) building area > 13,127 sq. m building footprint > 48,980 sq. m structure > Steel structure, partly SRC structure 4 stories + 1 basements storey

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KISHO KUROKAWA

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7–9. Ìåæäóíàðîäíûé êîíãðåññ-õîëë â Îñàêå (Grand Cube Osaka)

ìåñòî > 5-3 Íàêàíîøèìà, Êèòà, Îñàêà, ßïîíèÿ îñíîâíîé ïðîåêò > 1994–1995 ïðîåêò > 1995–1996 ñòðîèòåëüñòâî > 1996–2000 çàêàç÷èê > Ïðàâèòåëüñòâî ïðåôåêòóðû Îñàêè íàçíà÷åíèå > êîíãðåññ-õîëë ïðîåêò > Kisho Kurokawa architect & associates, A. Epstein & Sons Japan, Ove Arup & Partners Japan Ltd àðõèòåêòîð > Kisho Kurokawa architect & associates, A. Epsten & Sons international Inc ñòðîèòåëüñòâî > Ove Arup & Partners Japan Limited òåõíè÷åñêàÿ ñèñòåìà > Shin Nippon Setsubi Consultant Engineers Office ëàíäøàôò > Environmental Dynamics and EDA âûâåñêà > GK Sekkei Architectural & environmental Disign çâóê > Nagata Acoustics Inc. îáùàÿ ïëîùàäü > 10146.08 êâ. ì ïëîùàäü çàñòðîéêè > 6756.93 êâ. ì ïëîùàäü çäàíèÿ > 67,545. 54 êâ. ì ìàòåðèàë > ñòàëüíàÿ êîíñòðóêöèÿ, ÷àñòè÷íî ñòàëü è æåëåçîáåòîí 3 öîêîëüíûõ ýòàæà, 13 ýòàæåé è 2 ïåíòõàóñà

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ÊÈѨ ÊÓÐÎÊÀÂÀ

ÀÐÕÈÒÅÊÒÎÐ È ÏÀÐÒÍÅÐÛ

7–9. Osaka International Convwention Center (Grand Cube Osaka)

location > 5-3 Nakanoshima, Kita-ku, Osaka Japan basic disign > 1994–1995 disign > 1995–1996 construction > 1996–2000 client > Osaka Prefectural Government function > Convention hall, event hall disign > JV of Kisho Kurokawa architect & associates, A. Epstein & Sons Japan, Ove Arup & Partners Japan Ltd. architects > Kisho Kurokawa architect & associates, A. Epsten & Sons international Inc structure > Ove Arup & Partners Japan Limited mechanical system > Shin Nippon Setsubi Consultant Engineers Office landscape > Environmental Dynamics and EDA sign > GK Sekkei Architectural & environmental Disign sound > Nagata Acoustics Inc. total area > 10146.08 sq. m building area > 6756.93 sq. m building footprint > 67,545. 54 sq. m structure > Steel structure, partly steel & reinforced concrete 3 basement levels, 13 stories, 2 penthouses

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ARCHITECT & ASSOCIATES

KISHO KUROKAWA

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ÌÀÍÔÐÅÄÈ ÍÈÊÎËÅÒÒÈ MANFREDI NICOLETTI

ÀÐÕÈÒÅÊÒÎÐ ARCHITECT

Ìàíôðåäè Íèêîëåòòè îñíîâàë ñâîþ ñòóäèþ â 1960 ïîñëå ïåðèîäà ñîòðóäíè÷åñòâà ñ Ïüåðîì Ëóèäæè Íåðâè, Âàëüòåðîì Ãðîïèóñîì, Ìèíîðó ßìàñàêè. Íèêîëåòòè îäèí èç îñíîâàòåëåé íàïðàâëåíèÿ Ìåãàñîîðóæåíèé è áèîêëèìàòèêè â ãîðîäñêîì ïëàíèðîâàíèè è àðõèòåêòóðíîì ïðîåêòèðîâàíèè. Îí ðàçðàáîòàë êóðñ «Ýêîñèñòåìíàÿ àðõèòåêòóðà» â óíèâåðñèòåòå Ðèìà. Ñ 1978 Íèêîëåòòè ÿâëÿåòñÿ ýêñïåðòîì ìèíèñòåðñòâà îêðóæàþùåé ñðåäû Èòàëèè, Ñèöèëèè, Íàöèîíàëüíîãî àãåíñòâà CASMEZ è Åâðîïåéñêîãî Ñîþçà. Îí àâòîð ðÿäà êíèã ïî òåîðèè è èñòîðèè àðõèòåêòóðû.

Manfredi Nicoletti opened his office in 1960, after a period of intense work with P.L. Nervi, Walter Gropius and Minorou Yamasaki. Nicoletti is a pioneer in Megastructurals and in Bioclimatic Urban and Architectural Design. He is the founder of the course «Ecosystemic Architecture» at Rome University. Since 1978 Nicoletti acted as expert in architectural ecology for the Italian Ministry of the Environment, for the Sicily Region, for the National Agency CASMEZ, and for the European Community. He is the author of several books on architectural theory and history.

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ÌÀÍÔÐÅÄÈ ÍÈÊÎËÅÒÒÈ

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1–3. Ìóçåé ñîâðåìåííîãî èñêóññòâà

ìåæäóíàðîäíûé êîíêóðñ, ïîõâàëüíûé îòçûâ ìåñòî > Âàðøàâà, Ïîëüøà ïðîåêò > 2007 àðõèòåêòîðû > Ëóêà Íèêîëåòòè, Ìàíôðåäè Íèêîëåòòè ïðîåêòíàÿ ãðóïïà > Ô. Ïàëèàíî Òàäæàíè, Ñ. Âåñòðè÷, Ë. Áåðòîíè èñïîëíåíèå > Ðåñ Ôèêòå ñòðîèòåëüíûé êîíñóëüòàíò > M. Ñàëàáå

1–3. Museum of Modern Art

international competition, honor mention location > Warsaw, Poland project > 2007 architects > Luca Nicoletti, Manfredi Nicoletti project team > F. Pagliano Tajani, S. Westrich, L. Bertoni renderings > Res Fictae structural consultant > M. Salabe

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MANFREDI NIKOLETTI

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9–11. New Arezzo çäàíèå ñóäà, Èòàëèÿ Åâðîïåéñêèé êîíêóðñ, ïåðâûé ïðèç ìåñòî > Àðåööî, Èòàëèÿ ñòðîèòåëüñòâî > 2001–2007 àðõèòåêòîð è ðóêîâîäèòåëü ïðîåêòà > Ìàíôðåäè Íèêîëåòòè ïàðòíåðû > Ë. Êàìïàíà, À. Ñåíåñè, Ï. Ëåîíå, Ä. äå Ñàíòèñ ïîìîùíèê àðõèòåêòîðà > Ô. Ïàãëèàíî Òàäæàíè êîíñòðóêöèè > Ì. Ìåëå îáñëóæèâàíèå > ENETEC ïîæàðíàÿ áåçîïàñíîñòü > Studio Sorrento

9–11. New Arezzo Hall of Justice, Italy European competition, first prize location > Arezzo, Italy construction > 2001–2007 architect and project leader > Manfredi Nicoletti collaborators > L. Campagna, A. Senesi, P. Leone, D. De Santis assistant architect > F. Pagliano Tajani structures > M. Mele services > ENETEC fire protection > Studio Sorrento

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ÌÀÍÔÐÅÄÈ ÍÈÊÎËÅÒÒÈ

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ÌÀÐÊ ÄÇÈÂÓËÜÑÊÈ MARK DZIEWULSKI

ÀÐÕÈÒÅÊÒÎÐ ARCHITECT

Çà 20 ëåò ñ ìîìåíòà îñíîâàíèÿ àðõèòåêòóðíàÿ ôèðìà Ìàðêà Äçèâóëüñêè óñïåëà íàêîïèòü áîãàòûé îïûò è çàâîåâàòü äîâåðèå çàêàç÷èêîâ. Äâà îòäåëåíèÿ ôèðìû â Ñàí-Ôðàöèñêî è â Ëîíäîíå ðàçðàáàòûâàþò ïðîåêòû â ÑØÀ, Åâðîïå è Àçèè. Çà ñâîè ðàáîòû êîìïàíèÿ ïîëó÷èëà íåìàëî äèçàéíåðñêèõ ïðåìèé, âêëþ÷àÿ òðè âûñøèõ íàãðàäû Àìåðèêàíñêîãî èíñòèòóòà àðõèòåêòîðîâ çà «Çíà÷èòåëüíûå äîñòèæåíèÿ â àðõèòåêòóðå», Ìåæäóíàðîäíóþ ïðåìèþ çà äèçàéí è áëàãîóñòðîéñòâî è äèçàéíåðñêóþ ïðåìèþ ñòðîèòåëåé òèõîîêåàíñêîãî ïîáåðåæüÿ â òå÷åíèå äâóõ ëåò ïîäðÿä. Êîìïàíèÿ ïðîåêòèðóåò êàê êóëüòóðíûå è îáùåñòâåííûå çäàíèÿ, òàê è êîììåð÷åñêèå è æèëûå êîìïëåêñû. Àðõèòåêòóðíàÿ ôèðìà Ìàðêà Äçèâóëüñêè âñå ïðî÷íåå çàâîåâûâàåò âåäóùèå ïîçèöèè â ñôåðå äèçàéíà; ðåïðîäóêöèè çäàíèé, ïîñòðîåííûõ ïî ïðîåêòàì êîìïàíèè, áûëè îïóáëèêîâàíû â áîëåå 50 êíèãàõ è æóðíàëàõ äâåíàäöàòè ñòðàí, âêëþ÷àÿ ëîíäîíñêóþ ãàçåòó «The Times» è íåñêîëüêî ñòàòåé â íüþ-éîðêñêîé ãàçåòå «The New York Times». Ðàáîòû ôèðìû îöåíèâàþòñÿ ïî äîñòîèíñòâó, òàê êàê îíè òîíêî îòðàæàþò îñîáåííîñòè îêðóæàþùåé äåéñòâèòåëüíîñòè è ñî âðåìåíåì ñòàíîâÿòñÿ ñèìâîëîì è äîñòîïðèìå÷àòåëüíîñòüþ äàííîãî ìåñòà. Êîìïàíèÿ íàöåëåíà íà ïîñòîÿííîå ðàçâèòèå è ðîñò â ïðîôåññèîíàëüíîì ïëàíå, áëàãîäàðÿ ñòðåìëåíèþ ê èííîâàöèîííûì è çàõâàòûâàþùèì ïðîåêòàì, ïîðòôîëèî ôèðìû ïîïîëíÿåòñÿ âñå íîâûìè ðàáîòàìè.

The office of Mark Dziewulski Architect has grown significantly in experience and reputation since it was established nearly twenty years ago. With offices in San Francisco and London, they carry out projects in the USA, Europe and Asia. They have received many design awards, including three Excellence in Design awards from the American Institute of Architects for «Significant Works of Architecture», as well as the International Design and Development Award and the Pacific Coast Builders Design Award two years in a row. Their work includes important cultural and institutional buildings as well as commercial and residential projects. Increasingly recognized as a design leader, their buildings have been published in over fifty books and magazines in twelve countries, including The Times in London and several articles in The New York Times. The work has been praised as being both sensitive to its context as well as providing iconic design, making the buildings important landmarks within their communities. Their goal is to continually evolve and grow as a design firm, expanding the range of their portfolio while striving to create innovative and exciting architecture.

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1–4. Ñòóäèÿ íà áåðåãó îçåðà

ìåñòî > Êàðìàéêë, Êàëèôîðíèÿ, ÑØÀ àðõèòåêòîð > Ìàðê Äçèâóëüñêè ïðîåêòíàÿ ãðóïïà > Ìàðê Äçèâóëüñêè , Áýí Ðàìîñ ïëîùàäü > 8,100 êâ. ì ïëîùàäü çàñòðîéêè > 120 êâ. ì ôîòî > Êåéò Êðîíèí

ARCHITECTURE | ARCHITECTS. DESIGNERS 4

1–4. Lakeside Studio

location > Carmichael, California, USA architect > Mark Dziewulski project team > Mark Dziewulski , Ben Ramos area > 8,100 sq. m building area > 120 sq. m photographer > Keith Cronin

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9–11. River House

ìåñòî > Ñàêðàìåíòî, Êàëèôîðíèÿ, ÑØÀ ïðîåêò > 2002 ñòðîèòåëüñòâî > 2003 àðõèòåêòîð > Ìàðê Äçèâóëüñêè ïðîåêòíàÿ ãðóïïà > Ìàðê Äçèâóëüñêè, Ëüþèñ Ðèäè ïëîùàäü > 4,000 êâ. ì ïëîùàäü çàñòðîéêè > 400 êâ. ì ôîòî > Êåéò Êðîíèí

ARCHITECTURE | ARCHITECTS. DESIGNERS 4

9–11. River House

location > Sacramento, California, USA project > 2002 construction > 2003 architect > Mark Dziewulski project team > Mark Dziewulski, Lewis Reedy area > 4,000 sq. m building area > 400 sq. m photographer > Keith Cronin

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12–17. River House

ìåñòî > Ñàêðàìåíòî, Êàëèôîðíèÿ, ÑØÀ ïðîåêò > 2002 ñòðîèòåëüñòâî > 2003 àðõèòåêòîð > Ìàðê Äçèâóëüñêè ïðîåêòíàÿ ãðóïïà > Ìàðê Äçèâóëüñêè, Ëüþèñ Ðèäè ïëîùàäü > 4,000 êâ. ì ïëîùàäü çàñòðîéêè > 400 êâ. ì ôîòî > Êåéò Êðîíèí

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12–17. River House

location > Sacramento, California, USA project > 2002 construction > 2003 architect > Mark Dziewulski project team > Mark Dziewulski, Lewis Reedy area > 4,000 sq. m building area > 400 sq. m photographer > Keith Cronin

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MARK DZIEWULSKI

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ATELIER BRUECKNER

ÀÐÕÈÒÅÊÒÓÐÍÀß ÑÒÓÄÈß ARCHITECTURAL STUDIO

Ñòóäèÿ Atelier Bruåckner ñîçäàåò ïðîñòðàíñòâî, ãåíåðèðóÿ ñîäåðæàíèå. Âîëíóþùàÿ èíòåðïðåòàöèÿ ñîäåðæèìîãî, ðàçâèòèå ñðåäû, ïðîáóæäåíèå ïðîñòðàíñòâåííûõ îáðàçîâ, ïîñòðîåííûõ ïî òåàòðàëüíûìè ïðèíöèïàìè, ñîõðàíåíèå ñâîåîáðàçíîé ñþæåòíîé ëèíèè – ýòî òî, ÷åì îïåðèðóåò ñöåíîãðàôèÿ. Îñíîâíàÿ çàäà÷à ñöåíîãðàôèè êàê öåëîñòíîãî ïðîèçâåäåíèÿ èñêóññòâà çàêëþ÷àåòñÿ â ñîåäèíåíèè ïðîñòðàíñòâåííîãî äèçàéíà ñ èíôîðìàöèåé, êîòîðóþ íåñåò ïðîñòðàíñòâî. Äèçàéí è ñîäåðæàíèå ñòàíîâÿòñÿ åäèíûì öåëûì. Öåëüþ ñöåíîãðàôè÷åñêîé ðàáîòû ÿâëÿåòñÿ ñîçäàíèå íîâîé êîìïîçèöèè, ãàðìîíè÷íûé äèàëîã ìåæäó ôîðìîé è ñîäåðæàíèåì, áåñïðèñòðàñòíîå ïðèìåíåíèå ýëåìåíòîâ äèçàéíà: ïðîñòðàíñòâà, ãðàôèêè, ñâåòà è ìàòåðèàëà. Èñõîäÿ èç ýòîãî îáðàçà ìûñëèòü è ðàáîòàòü, êîìïàíèÿ ôîðìóëèðóåò ñöåíîãðàôè÷åñêèé çàêîí îðãàíèçàöèè ïðîñòðàíñòâà: «ôîðìà ñëåäóåò çà ñîäåðæàíèåì».

Atelier Brueckner crafts spaces generated from content. Translating contents in an exciting way, allowing atmospheres to develop, evoking spatial images that arise from theatrical concepts, leading the visitor along constant line to the center of a specific story: that is the dimension of scenography. The challenge of scenography as «Gesamtkunstwerk» lies in linking spatial design and the information it contains. Design and content become one. The aim of the scenographic «Gesamtkunstwerk» is to create new compositions; a harmonizing dialog between form and content and the unbiased application of the design elements space, graphics, light and media. As a derivation from this way of thinking and working and modeled after a famous architectural credo Uwe R. Brueckner formulates «form follows content»: the designing of space through scenographic aspects.

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1–3. Æèâûå ãðàíèöû, Ýêñïî 2002, Àðòåïëàæ Áèëü, Øâåéöàðèÿ ñòðîèòåëüñòâî > 2002 ¨ çàêàç÷èê > Interkantonale Tragerschaft der 8 Grenzkantone ïëîùàäü > 900 êâ. ì îáùåå ïëàíèðîâàíèå, ïðîåêò, èíæåíåðíûå ðàáîðòû, äèçàéí è ñöåíîãðàôèÿ, ãðàôèêà > Atelier Brueckner ñòðóêòóðíîå ïëàíèðîâàíèå > ñîâìåñòíî ñ 3e, Øòóòãàðò îñâåùåíèå > ñîâìåñòíî ñ Ðîëüôîì Äåððåðîì, Öþðèõ ìåäèàïëàíèðîâàíèå > ñîâìåñòíî ñ Light&Magic, Õîåíøòàéí êèíîïðîèçâîäñòâî > ñîâìåñòíî ñ Tamschick, media+space, Áåðëèí

1–3. Living frontiers, Expo 2002, Arteplage Biel, Switzerland

construction > 2002 ¨ awarding authority > Interkantonale Tràgerschaft der 8 Grenzkantone earea > 900 sq. m general planning, architecture, building services engineering, exhibition design and scenography, graphic design > Atelier Brueckner structural planning > with 3e, Stuttgart ¨ lighting concept > with Rolf Derrer, Zurich media planning > with Light&Magic, Hohenstein film production > with Tamschick, media+space, Berlin

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4–7. Cyclebowl, Ýêñïî 2000, Ãàíîâåð, Ãåðìàíèÿ

ñòðîèòåëüñòâî > 2000 ãåíåðàëüíûé ïëàí, ïðîåêò, äèçàéí âûñòàâêè, ñöåíîãðàôèÿ > Atelier Brueckner çàêàç÷èê > Duales System Deutschland AG ïëîùàäü > 1600 êâ. ì èíæåíåðíûå ðàáîòû > ñîâìåñòíî ñ Arup Ingenieure, Áåðëèí ãðàôèêà > ñîâìåñòíî ñ Projekt Partner, Øòóòòãàðò îñâåùåíèå > ñîâìåñòíî ñ Luna Lichtarchitektur, Êàðëñðóå ìåäèàïëàíèðîâàíèå > ñîâìåñòíî ñ Ìèõýëåì Íîéìàíîì, Øòóòòãàðò òîðíàäî > ñîâìåñòíî ñ Íýäîì Êàíîì, Ëîñ-Àíäæåëåñ êèíîïðîèçâîäñòâî > ñîâìåñòíî ñ Tamschick, media+space, Áåðëèí èíòåðàêòèâíàÿ ñðåäà > ñîâìåñòíî ñ jangled nerves, Øòóòòãàðò

4–7. Cyclebowl, Expo 2000, Hanover, Germany

construction > 2000 general planning, architecture, exhibition design, scenography > Atelier Brueckner awarding authority > Duales System Deutschland AG area > 1600 sq. m building services engineering > with Arup Ingenieure, Berlin exhibition graphics > with Projekt Partner, Stuttgart lighting > with Luna Lichtarchitektur, Karlsruhe media planning > with Michael Neumann, Stuttgart tornado > with Ned Kahn, Los Angeles film production > with Tamschick, media+space, Berlin interactive media > with jangled nerves, Stuttgart

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ÎÄÈËÜ ÄÅÊ ODILE DECQ

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Êîíöåïöèÿ äèçàéíà Àäìèíèñòðàòèâíîãî öåíòðà áàíêà Banque Populaire de l’Ouest ïåðåäàåò ñòðîãîñòü, òî÷íîñòü, òåõíîëîãè÷íîñòü è äåÿòåëüíîñòü áàíêà çà ñ÷åò âûáîðà êîíñòðóêòèâíûõ ìåòîäîâ è ìàòåðèàëîâ, òåõíè÷åñêèõ èííîâàöèé, ïðèìåíåííîãî â îôîðìëåíèè ôàñàäà ïîäâåøåííîãî ñòåêëîïðîôèëèòà è íîâàòîðñêîé ïðèðîäû îðãàíèçàöèè ñàìîãî ïðîñòðàíñòâà. Ïðîçðà÷íûé þæíûé ôàñàä áåç âíóòðåííåãî êàðêàñà ïîëíîñòüþ îòâå÷àåò æåëàíèþ çàêàç÷èêà îáúåäèíèòü ïðîñòðàíñòâî öåíòðà ñ îêðóæàþùåé ñðåäîé è ïîä÷åðêíóòü îòêðûòîñòü êîìïàíèè. Ãàðìîíè÷íîå ñî÷åòàíèå ìàòåðèàëîâ è öâåòîâ íà âíåøíåé îáîëî÷êå èç ñåðîãî àëþìèíèÿ äîñòèãàåòñÿ èãðîé ïîñòîÿííî ìåíÿþùåãîñÿ ñâåòà è òåíè, à òàêæå ñêóëüïòóðíûìè êà÷åñòâàìè ðàçëè÷íûõ îáúåìîâ. Ïðîåêò Frac Bretagne, îñóùåñòâëÿåìûé â òåñíûõ ðàìêàõ ãîðîäñêèõ ïðàâèë, ïî-íîâîìó îñìûñëèâàåò ÿâíîå ïðîòèâîðå÷èå î íåîáõîäèìîñòè ñî÷åòàòü ãîðîäñêèå ïðåäïèñàíèÿ è áåãñòâî â íåìàòåðèàëüíûé ìèð, îò ïðèðîäíîãî ê èñêóññòâåííîìó, îò òÿæåëîãî ê ëåãêîìó, îò òåíè ê ñâåòó.  àðõèòåêòóðíîì ïëàíå çäàíèå ïðåäñòàâëÿåò ñîáîé î÷åíü íåîáû÷íûé ïðîåêò. Çäåñü ãîðèçîíòàëüíûå ëèíèè ïåðåõîäÿò â âåðòèêàëüíûå ñíàðóæè âíóòðü è âíîâü íàðóæó, èç ôîéå ê çàëàì ìóçåÿ. Âûñòàâî÷íûå ïîìåùåíèÿ ðàñïîëîæåíû íåçàâèñèìî äðóã îò äðóãà, íî îäíîâðåìåííî ñî÷ëåíåíû. Ñèñòåìà ïåðåõîäîâ ïîñðåäñòâîì ïàíäóñîâ ñ öåíòðàëüíûì àòðèóìîì ïîçâîëÿåò âûäåëèòü êàæäûé ýëåìåíò çäàíèÿ â îòäåëüíîñòè.  çäàíèè ìóçåÿ Liaunig Collection Museum ïî-íîâîìó îñìûñëåíî ÿâíîå ïðîòèâîðå÷èå î íåîáõîäèìîñòè ñî÷åòàòü ãîðîäñêèå ïðåäïèñàíèÿ è áåãñòâî â íåìàòåðèàëüíûé ìèð, îò ïðèðîäíîãî ê èñêóññòâåííîìó, îò òÿæåëîãî ê ëåãêîìó, îò òåíè ê ñâåòó. Ìåæäó çäàíèåì è îêðóæàþùåé ñðåäîé íåò âçàèìîïîä÷èíÿþùèõ îòíîøåíèé. Èõ âçàèìîäåéñòâèå îïðåäåëÿåò âûñòàâî÷íóþ àíôèëàäó. Òåì íå ìåíåå, ìóçåé îòäåëåí îò õîëìà áëàãîäàðÿ ñâîåé èñêóññòâåííîé ïîðèñòîé ñòðóêòóðå ÷åòêî âèäíîé ìåæäó âîëíîîáðàçíûìè ëèíèÿìè. Ôîðìû õîëìà îáûãðàíû â ñæàòûõ è èçâèëèñòûõ îáúåìàõ çäàíèÿ, êîòîðîå ïðåâðàùàåòñÿ â ïàâèëüîí ñ ïåðñïåêòèâíûì âèäîì íà äîëèíó, äåðåâíþ è çàìîê. Ëèíèè ôàñàäà èìèòèðóþò âîëíû. Âíåøíèå ãðàíèöû çäàíèÿ ñòàíîâÿòñÿ ïåðåõîäîì ìåæäó âíóòðåííèì è âíåøíèì ïðîñòðàíñòâîì, îòêðûòûì è çàêðûòûì, ìåæäó ìóçååì è ëàíäøàôòîì, èñêóññòâîì è ïðèðîäîé. Îíè êàê ñâåòîâîé ôèëüòð ïîçâîëÿþò ðàçäåëèòü ÿðêèé ïðèðîäíûé ñâåò ñíàðóæè è âíóòðåííåå ïðîñòðàíñòâî ìóçåéíîé àíôèëàäû.

In its conception and design, by the choice of construction methods and materials, by the technological innovations of the facade in structural suspended glass and the innovative nature of the spaces themselves, the Administrative Centre for the Banque Populaire expresses the rigour, the precision, the technology and the activities undertaken by the BPO. By the complete transparency of the south facade, devoid of any internal frame, the administrative centre radically expresses the wish of the bank to open out to its surroundings (countryside consisting of gently undulating groves) and to express, further that nothing is hidden. The interaction between the materials and colours on the external envelope of grey aluminium is achieved by the play of the constantly changing light and shadows and by the sculptural qualities of the various volumes. The Frac Bretagne project, within the tight borders of the constraints of urban regulation, reinterprets the apparent contradictory and dual idea of the necessary urban inscription simultaneously to that of immaterial escape, from nature to artificial, from heavy to light, from shade to brightness. In architecture, the section reveals the invisible; the section represents a specific point of view. In the FRAC project, the section reveals itself in the transfer from horizontal to vertical, from outside to inside and outside again, from the foyer towards the artworks. The exhibition areas and other activities are both separate and articulated. The system of transition through which atrium and ramps contaminate and irrigate space around, each element becomes attractive. The Liaunig Collection Museum reinterprets the dual idea, apparently in contradictions of the contextual inscription and the immaterial escaping, of natural and artificial, heavy and light, shadow and light. Between the site and the museum no one is before the other. Their interaction defines the exhibition promenade. Nevertheless, the museum is distinct from the slop by its artificiality and its porosity clearly seen through the interstices in between the curved lines. Lifted up, the curves of the slop are re-interpreted in volumes. Compressed, twisted and redeveloped they reconstitute the idea of a belvedere looking toward the valley, the village and the castle. On the facades the lines become waves. Then, the envelop becomes an in-between: the outside and the inside, the enclosed and the opened, a building and a landscape, Art and Nature. The envelop as light filter gives a transition between the full light of outside and the inside of the art promenade.

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1–4. Àäìèíèñòðàòèâíûé öåíòð è ñîöèàëüíûé öåíòð äëÿ ïåðñîíàëà Áàíêà Banque Populaire de l’Ouest

ìåñòî > Ðåíí, Ôðàíöèÿ ïðîåêò > 1991 ñòàòóñ > çàâåðøåí, ëó÷øèé ïðîåêò çäàíèÿ àðõèòåêòîð > Odile Decq and Benoit Cornette Architects ïëîùàäü > 6 770 êâ. ì áþäæåò > 9.500 ìèëë. EUR ïðîãðàììà > ðåãèîíàëüíûé îôèñ áàíêà ñ èñïîëüçîâàíèåì òåõíîëîãèè «èíòåëëåêòóàëüíîãî çäàíèÿ» ñ êàáåëüíûìè ñèñòåìàìè IBM ôîòî > Wogenski and S. Couturier

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1–4. Administrative Centre and Staff Social Centre for the Banque Populaire de l’Ouest location > Rennes, France project > 1991 status > realized, prize winning competition architect > Odile Decq and Benoit Cornette Architects area > 6 770 sq. m budget > 9.500 mill. EUR program > BPO local headquarters including use of the «intelligent building» IBM cabling system photographer > Wogenski and S. Couturier

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UNSTUDIO

ÀÐÕÈÒÅÊÒÓÐÍÀß ÑÒÓÄÈß ARCHITECTURAL STUDIO

UNStudio – ýòî ìåæäóíàðîäíàÿ àðõèòåêòóðíàÿ ñòóäèÿ, ðàñïîëîæåííàÿ â Àìñòåðäàìå. Ñ ìîìåíòà îñíîâàíèÿ â 1988 ãîäó ñòóäèÿ íàêîïèëà áîãàòûé îïûò ðàáîòû â ñôåðå ãîðîäñêîãî, îáùåñòâåííîãî, ÷àñòíîãî è êîììóíàëüíîãî ñòðîèòåëüñòâà ðàçëè÷íîãî óðîâíÿ. UNStudio îñóùåñòâëÿåò íåñêîëüêî äîëãîñðî÷íûõ ïðîåêòîâ, öåëüþ êîòîðûõ ÿâëÿåòñÿ ðóêîâîäñòâî êà÷åñòâîì ðàáîòû ñòóäèè â àðõèòåêòóðíîì íàïðàâëåíèè. Ñòóäèÿ ñòðåìèòñÿ âíåñòè ñâîé âêëàä â ñòðîèòåëüíîå èñêóññòâî, êà÷åñòâåííî ðàçâèòü òàêèå îáëàñòè àðõèòåêòóðû êàê äèçàéí, òåõíè÷åñêèå ñðåäñòâà, òåîðèÿ ñòðîèòåëüñòâà è ðóêîâîäñòâî ðàáîòàìè; çàäà÷à UNStudio – îñòàâàòüñÿ âûñîêîêâàëèôèöèðîâàííûì ñïåöèàëèñòîì â ñôåðå îñóùåñòâëåíèÿ îáùåäîñòóïíûõ ïðîåêòîâ.  1999 ãîäó UNStudio îòäåëèëàñü îò êîìïàíèè Ben Van Berkel & Caroline Bos. Íîâûå âçãëÿäû, íîâûé ñòèëü, íîâûå óìåíèÿ – ýòî òî ÷òî òðåáîâàëîñü, ÷òîáû óâèäåòü íîâûé ïðîåêò, êîòîðûì ñòóäèÿ âñå áîëüøå è áîëüøå õîòåëà çàíèìàòüñÿ. Ýòîò ïðîåêò ñòàë èçâåñòåí êàê íåèåðàðõè÷åñêèé, ïðîèçâîäèòåëüíûé, öåëîñòíûé ïðîöåññ ïðîåêòèðîâàíèÿ, ïîñòðîåííûé ïî ïðèíöèïó ñîâìåñòíîé ðàáîòû ñ èñïîëüçîâàíèåì òåõíîëîãèé, ìàêñèìàëüíî óâåëè÷èâàþùèõ âîçìîæíîñòè ñîòðóäíè÷åñòâà. Ñî âðåìåíåì âñå íîâûå ëþäè âîâëåêàëèñü â ïðîåêò, êâàëèôèöèðîâàííûå ðàáî÷èå òðóäèëèñü áîê î áîê ñî ñïåöèàëèñòàìè, çàêîí÷èâøèìè óíèâåðñèòåòû Êîëóìáèè è Ãàðâàðäà. Ìåñòíûå ôèðìû ïðèâëåêàëè êîíñóëüòàíòîâ èç Âåëèêîáðèòàíèè è Ãåðìàíèè. Âíóòðåííÿÿ ñòðóêòóðà îðãàíèçàöèè áûëà ïåðåñòðîåíà, îáðàçîâàëàñü UNStudio, êîòîðàÿ â ðàâíîé ìåðå ïðèçâàíà ñîâåðøåíñòâîâàòüñÿ â êîììåð÷åñêîé äåÿòåëüíîñòè, õóäîæåñòâåííîì ìàñòåðñòâå è â ïðîåêòèðîâàíèè.

UNStudio is an international architectural practice, situated in Amsterdam since 1988, with extensive experience in the fields of urbanism, infrastructure, public, private and utility buildings on different scale levels. At the basis of UNStudio are a number of long-term goals, which are intended to define and guide the quality of the studio’s performance in the architectural field. UNStudio strives to make a significant contribution to the discipline of architecture, to continue to develop qualities with respect to design, technology, knowledge and management and to be a specialist in public network projects. In 1999 UNStudio was born from Van Berkel & Bos architecture office . New visions, new ‘styles’, new skills; these were all needed to realise the new types of project that they had seen themselves increasingly confronted with. These projects required a non-hierarchical, generative and integral design process, organized in a contemporary way, and using technologies that allow for maximum exchange. New people entered the practice; the craftsmen found themselves working next to Columbia and Harvard postgrads. Consultants from the UK and Germany were hired alongside local firms. The internal organization was re-designed as UNStudio set out to equally excel at business, art and design.

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1–3. Òåàòð Àãîðà

ìåñòî > Ëåëèñòàä, Íèäåðëàíäû ñòðîèòåëüñòâî > 2002–2007 àðõèòåêòîðû > Áåí âàí Áåðêåëü, Äæåðàðä Ëóçåêóò ñîâìåñòíî > Æàê âàí Âèéê, Äæîá Ìîóâåí, Õîëüãåð Õîîôìàí, Êîé Òðàí, Êðèñòèàí Âåääåëåð, Êðèñòèàí Áåðãìàí, Ñàáèíå Õàáèõò, Ðàìîí Ýðíàíäåñ, Ðîí Ðîîñ, Ðåíå Âèñê, Êëàóäèÿ Äîðíåð, Ìàðêóñ Áåðãåð, Ìàðêóñ ßêîáè, Êåí Îêîíêâî, Éîðãåí Ãðàëü-Ìàäñå, Õàíêà Äðäëîâà ïðîãðàììà > ðåãèîíàëüíûé òåàòð ïëîùàäü çàñòðîéêè > 5890 êâ. ì îáùàÿ ïëîùàäü > 2925 êâ. ì êîëè÷åñòâî ìåñò > áîëüøîé çàë 725, ìàëûé çàë 200 âìåñòèòåëüíîñòü > 30.000 êóá. ì ôîòî > Êðèñòèàí Ðèõòåðñ

1–3. Theater Agora

location > Lelystad, the Netherlands construction > 2002–2007 architects > Ben van Berkel and Gerard Loozekoot with > Jacques van Wijk, Job Mouwen en Holger Hoffmann, Khoi Tran, Christian Veddeler, Christian Bergmann, Sabine Habicht, Ramon Hernandez, Ron Roos, Rene Wysk, Claudia Dorner, Markus Berger, Markus Jacobi, ¨ Ken Okonkwo, Jorgen Grahl-Madse, Hanka Drdlova program > Regional theatre building area > 5890 sq. m total area > 2925 sq. m and expedition area bvo seats > large theatre hall 725, small theatre hall 200 volume > 30.000 cub. m photographer > Christian Richters

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CARAMEL

ÀÐÕÈÒÅÊÒÓÐÍÀß ÑÒÓÄÈß ARCHITECTURE STUDIO

Caramel – ýòî àðõèòåêòóðíàÿ ñòóäèÿ, îñíîâàííàÿ â 2000 ãîäó Ãþíòåðîì Êàòåðëåì, Ìàðòèíîì Õàëëåðîì è Óëüðèõîì Àøïåöáåðãåðîì. Ñ ìîìåíòà îñíîâàíèÿ êîëëåêòèâ ñòóäèè óæå óñïåë ðàçðàáîòàòü áîëüøîå êîëè÷åñòâî ðàçíîîáðàçíûõ ïðîåêòîâ, îò ïðèàëüïèéñêèõ äîìèêîâ äî áîëüøèõ çäàíèé â Âåíå. Áîëüøèíñòâî ïîñëåäíèõ çàêàçîâ ïîëó÷åíû â ðåçóëüòàòå óñïåøíîãî ó÷àñòèÿ â ìåæäóíàðîäíûõ êîíêóðñàõ.  îñíîâíîì ñòóäèÿ ðàáîòàåò íàä ðåàëèçàöèåé êðóïíîìàñøòàáíûõ ïðîåêòîâ, òàêèõ êàê: ma 48 wien (îôèñíûé öåíòð ñ ãàðàæîì), Wifi-Dornbirn (ñîâðåìåííûé ó÷åáíûé öåíòð), Betriebsgebäude Ansfelden (çäàíèå çàâîäà), øêîëà â Êðåìñå, ïàðê íàóêè óíèâåðñèòåòà â Ëèíöå. Ïîìèìî ýòîãî òðèî àðõèòåêòîðîâ óäåëÿåò ìíîãî âðåìåíè ïðîåêòèðîâàíèþ íåîáû÷íûõ ñåìåéíûõ äîìîâ. Íî è ýòèì äåÿòåëüíîñòü ñòóäèè íå îãðàíè÷èâàåòñÿ, àðõèòåêòîðû ÷èòàþò ëåêöèè, âåäóò êóðñû, îðãàíèçóþò õóäîæåñòâåííûå ïðîåêòû, êàê íàïðèìåð, êîíòðîëèðóåìîå äîæäåâîå îáëàêî, êîòîðîå ïî çàäóìêå Caramel ïðåïîäíåñëî «ñâåæèé» ñþðïðèç ó÷àñòíèêàì àðõèòåêòóðíîãî áüåííàëå 2004 ãîäà.

Caramel – Günter Katherl, Martin Haller and Ulrich Aspetsberger – have been working together since 2000 and with the help of their team have already completed a number of building projects of varying dimensions from vorarlberg to vienna. Their most recent commissions have resulted from their continual and successful participation in international competitions. in addition to the realization of the largescale projects – ma 48 wien (office and garage building), Wifi-Dornbirn (advanced training center), Betriebsgebäude Ansfelden (plant facility), a school building in Krems and finally the new university science park in Linz – the trio also devotes itself in particular to design studies and unconventional single-family dwelling projects. Further areas of activity include lecture series, courses, and art projects, such as a remotecontrolled rain cloud with which caramel provided a «cool» surprise on the fairgrounds at the architecture biennale 2004.

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ÀÐÕÈÒÅÊÒÓÐÍÀß ÑÒÓÄÈß

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ìåñòî > Äàííåðâåã 10, A-4020 Ëèíö, Àâñòðèÿ ïðîåêò > 2002–2003 ñòðîèòåëüñòâî > 2004 àðõèòåêòîðû > Ãþíòåð Êàòåðëü, Ìàðòèí Õàëëåð, Óëüðèõ Àøïåöáåðãåð âíóòðåííÿÿ îòäåëêà > Atelier Tummelplatz – Ôðèäðèõ Øòèïåð ñòðîèòåëüíûå ðàáîòû > Werkraum Wien Zt Gmbh îôîðìëåíèå ñàäà > Äîðèñ Ïþðèíãåð ôîòî > Õåðòà Õóðíàóñ

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1–4. Haus H

location > Dannerweg 10, A-4020 Linz, Austria project > 2002–2003 construction > 2004 ¨ architects > Gunter Katherl, Martin Haller, Ulrich Aspetsberger interior design > Atelier Tummelplatz – Friedrich Stiper structural design and construction > Werkraum Wien Zt Gmbh ¨ garden design > Doris Puhringer photographer > Hertha Hurnaus

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ÄÇÞÍÜß ÒÎÄÀ JUNYA TODA

ÀÐÕÈÒÅÊÒÎÐ ARCHITECT

Àðõèòåêòóðíûå ðàáîòû Äçþíüÿ Òîäà õàðàêòåðèçóþòñÿ ïðîñòûìè êîíñòðóêöèÿìè è ïðèãëóøåííîé âíåøíåé îòäåëêîé èç îïðåäåëåííûõ ìàòåðèàëîâ: áåòîíà, ñòåêëà èëè ñòàëè. Èíòåðüåð, íàïðîòèâ, íàïîëíåí ïåðåïëåòåíèÿìè ñâåòà è òåíè, ñîçäàþùèìè âûðàçèòåëüíûé ñòèëü.  òî âðåìÿ êàê ëþäè èíôîðìàöèîííîãî îáùåñòâà âñå áîëüøåå è áîëüøåå çíà÷åíèå ïðèäàþò ïîâåðõíîñòíûì îáðàçàì, Òîäà ïîä÷åðêèâàåò ïðîñòðàíñòâåííûå ïåðåõîäû, ãëóáèíó è áëóæäàþùèå äâèæåíèÿ. Äçþíüÿ Òîäà ÷àñòî ïðèìåíÿåò ìîíîëèòíûå áåòîííûå ñòåíû è ïðîçðà÷íûå ñòåêëÿííûå îêíà â ñâîèõ àðõèòåêòóðíûõ ïðîåêòàõ. Îí ñïðàâåäëèâî âèäèò â ýòèõ êîìïîçèöèîííûõ ýëåìåíòàõ çàùèòíóþ îáîëî÷êó è â òîæå âðåìÿ – ìåìáðàíó, ñïîñîáíóþ ðàñøèðÿòü è ñæèìàòü âíóòðåííåå ïðîñòðàíñòâî. Âçàèìîîòíîøåíèÿ ñ îêðóæàþùåé ñðåäîé î÷åíü âàæíû â åãî àðõèòåêòóðå. Êîíöåíòðèðóÿñü íà âèçóàëüíîì âêëþ÷åíèè îêðóæàþùåãî ïðîñòðàíñòâà â äîì, Äçþíüÿ Òîäà ïðèäàåò ñâîèì òâîðåíèÿì îòêðûòîñòü è ñèëó áëàãîäàðÿ ïðîñòûì è ñòðîãèì êîíñòðóêöèÿì.

Simple frames and subdued exterior composed of limited materials such as concrete, glass, and steel characterize architectural works of Junya Toda. On the contrary, the weaving light and shadows fill the interior space, creating eloquent countenances. While people take superficial images increasingly important in the information society, he emphasize spatial flow, depth, and wandering movement which are tangible and in human scale. Junya Toda often uses solid concrete walls and transparent/translucent glass windows in architectural works. He sees those compositional elements justly as protective shells for residents and at the same time as membranes which expand and contract the inner space. Therefore, the relationship with surrounding environment is inevitably important to his architecture. By focusing on visually taking the surrounding into the house as «scenes», Junya Toda intends his architecture obtains the openness as well as strength due to the simple and rigid structures.

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ÄÇÞÍÜß ÒÎÄÀ

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1–5. Äîì íà õîëìå â Êîáå

ìåñòî > Ñóãèîäàé, Êèòà, Êîáå, ïðåô. Õüîãî, ßïîíèÿ ñòðîèòåëüñòâî > 2004 àðõèòåêòîð > Junya Toda Architect & Associates çàêàç÷èê > Òîøèìèöó Õîðèè ïëîùàäü çäàíèÿ > 88.10 êâ. ì îáùàÿ ïëîùàäü > 289.06 êâ. ì áþäæåò > 213,000.00 $ ôîòî > Nacasa and partners, Ìèéîäæè Óåäà

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1–5. House on a hill in Kobe

location > Sugiodai, Kita-ku, Kobe-city, Hyogo-pref, Japan construction > 2004 architect > Junya Toda Architect & Associates client > Toshimitsu Horii building footprint > 88.10 sq. m total area > 289.06 sq. m budget > 213,000.00 $ photographer > Nacasa and partners, Miyoji Ueda

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ìåñòî > Îòàíèìà÷è, Îöó, ïðåô. Øèãà, ßïîíèÿ ñòðîèòåëüñòâî > 2005 àðõèòåêòîð > Junya Toda Architect & Associates çàêàç÷èê > Êîé÷è Êàòî ïëîùàäü çäàíèÿ > 159.02 êâ. ì îáùàÿ ïëîùàäü > 241.48 êâ. ì áþäæåò > 284,000.00 $ ôîòî > Éîøèþêè Õèðàé, Ìèéîäæè Óåäà

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ÄÇÞÍÜß ÒÎÄÀ

ÀÐÕÈÒÅÊÒÎÐ

6–11. House in Otsu

location > Otanimachi, Otsu-city, Shiga-pref, Japan construction > 2005 architect > Junya Toda Architect & Associates client > Koichi Kato building footprint > 159.02 sq. m total area > 241.48 sq. m budget > 284,000.00 $ photographer > Yoshiyuki Hirai, Miyoji Ueda

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ÁÅÐÍÀÐ ×ÓÌÈ BERNARD TSHUMI

ÀÐÕÈÒÅÊÒÎÐ ARCHITECT

Bernard Tschumi Architects - ìåæäóíàðîäíàÿ ôèðìà, äåÿòåëüíîñòü êîòîðîé ïîñâÿùåíà ñîçäàíèþ àðõèòåêòóðû 21 âåêà. Êîìïàíèÿ áûëà îñíîâàíà â Ïàðèæå â 1983 ãîäó è íà÷àëà ñâîþ ðàáîòó ñ ïðîåêòà ïàðêà â ãîðîäå Âèéåòò, ñòîèìîñòüþ â 900 ìèëëèîíîâ äîëëàðîâ è ïëîùàäüþ â 125 àêðîâ, ïðîåêò áûë íàçâàí «ãîðîäñêèì ïàðêîì 21 âåêà». Ñ 1988 ãëàâíûé îôèñ ôèðìû ðàñïîëàãàåòñÿ â Íüþ-Éîðêå, ïàðèæñêèé îôèñ êîîðäèíèðóåò åâðîïåéñêèå ïðîåêòû. Ïî÷òè çà 25-ëåòíþþ èñòîðèþ Bernard Tschumi Architects ïîëó÷èëà ìíîãî÷èñëåííûå íàöèîíàëüíûå è ìåæäóíàðîäíûå íàãðàäû è çàâîåâàëà ðåïóòàöèþ âåäóùåé äèçàéíåðñêîé ôèðìû, èçâåñòíîé ñâîèìè íîâàòîðñêèìè ðåøåíèÿìè è äîëãîñðî÷íûìè ñòðàòåãèÿìè íà áëàãî îáùåñòâåííûõ è ÷àñòíûõ îðãàíèçàöèé.  ÷èñëå çàâåðøåííûõ ïðîåêòîâ: êîíöåðòíûé çàë è âûñòàâî÷íûé êîìïëåêñ íà 7000 ÷åëîâåê â Ðóýíå, Ôðàíöèÿ, (2001); Íàöèîíàëüíàÿ ñòóäèÿ ñîâðåìåííîãî èñêóññòâà Le Fresnoy â Òóðêîíå, Ôðàíöèÿ (1997); Øêîëà àðõèòåêòóðû â Ìàéÿìè, Ìåæäóíàðîäíûé óíèâåðñèòåò Ôëîðèäû, ÑØÀ (2003); Ëèìîæñêèé êîíöåðòíûé çàë, Ôðàíöèÿ (2007).

Bernard Tschumi Architects is an internationally-based firm dedicated to the interface between 21 st century conditions and architecture. It was established in Paris in 1983 with the commission for the Parc de la Villette, a $900-million, 125-acre cultural facility designated as an «urban park for the 21 st century». Since 1988, its main office has been located in New York with the Paris office acting to coordinate European projects. Over its nearly 25-year history, Bernard Tschumi Architects has been the recipient of numerous national and international honors, and has established a world reputation as a leading design firm known for its innovative solutions to, and long-range strategies for, the problems of public and private communities. Completed projects by the office include a 7000 – person Concert Hall and Exhibition Complex in Rouen, France (2001); Le Fresnoy National studio for Contemporary Arts in Tourcong, France (1997); the Florida international University School Of Architecture in Miami, US (2003), Concert Hall in Limoges, France (2007).

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ÁÅÐÍÀÐ ×ÓÌÈ

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1–7. Ëèìîæñêèé êîíöåðòíûé çàë

ìåñòî > Ëèìîæ, Ôðàíöèÿ ñòðîèòåëüñòâî > 2007 çàêàç÷èê > Ëèìîæ, Limoges Metropole, ìåñüå Àëàí Ðîäå – ïðåçèäåíò àðõèòåêòîð > Bernard Tschumi Architects ïàðòíåðû > Áåðíàð ×óìè, Âåðîíèê Äåñøàðüåð ïðîåêòíûå àðõèòåêòîðû > Æàí Æàê Þáåð, Àíòóàí Ñàíòüÿð, Æîýëü Ðþòòåí ïðîåêòíàÿ ãðóïïà > Àíí Ñàâ äå Áîðêóýëü, Øîíã-Çè Øåí, Íèêîëàñ Êàçåëè, Ìàòüå Ãåòö, Ëàðà Õåððî, Ðîáåðò Õîëòîí, Ñàðà Õàí, Éîíã Ñóá Êèì, Àëàí Êóñîâ, Äîìèíèê Ëåîíã, Ìèêàýëà Ìåòêàëüô, Àëåêñ Ðåéä, Âèíñåíò Ïðóíüåð, Ñèëüâèàí Áðîññàð ïëîùàäü > 6 ãà ðàçìåðû > äèàìåòð 90 ì êîíñòðóêöèÿ > áåòîííàÿ ñòåíà, ìåòàëë, äåðåâÿííûé êàðêàñ ôîòî > Êðèñòèàí Ðèõòåðñ (1, 4, 7), Ïèòåð Ìàóññ (2, 5)

1–7. Limoges Concert Hall

location > Limoges, France construction > 2007 client > Community of Limoges, Limoges Metropole, monsieur Alain Rodet – President architect > Bernard Tschumi Architects partners-in-charge > Bernard Tschumi, Veronique Descharrieres project architects > Jean Jacques Hubert, Antoine Santiard, Joel Rutten project team > Anne Save de Beaurecueil, Chong-Zi Chen, Nicolas Cazeli, Mathieu Goetz, Lara Herro, Robert Holton, Sarrah Khan, Joong Sub Kim, Alan Kusov, Dominic Leong, Michaela Metcalf, Alex Reid, Vincent Prunier, Sylviane Brossard area > 6 ha dimensions > 90 m diameter structure > concrete wall, metal, wood frame photographers > Christian Richters (1, 4, 7), Peter Mauss (2, 5)

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ÁÅÐÍÀÐ ×ÓÌÈ

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ÀÐÕÈÒÅÊÒÓÐÍÎÅ ÁÞÐÎ «ÒÐÀÄÈÖÈß» ARCHITECTURAL BUREAU «TRADICIJA»

ÀÐÕÈÒÅÊÒÓÐÍÎ-ÏÐÎÅÊÒÍÎÅ ÁÞÐÎ ARCHITECTURALLY-DESIGN BUREAU

Êîëëåêòèâ ÎÎÎ Àðõèòåêòóðíîå áþðî «Òðàäèöèÿ» ñôîðìèðîâàí â ìàðòå 1999 ãîäà íà îñíîâå îáúåäèíåíèÿ øåñòè àðõèòåêòîðî-õóäîæíèêîâ è èíæåíåðîâ, êîíñòðóêòîðîâ, èìåâøèõ ñàìîñòîÿòåëüíóþ ïðàêòèêó è ìíîãîëåòíèé îïûò ðàáîòû â äðóãèõ îðãàíèçàöèÿõ.  íàñòîÿùåå âðåìÿ êîëëåêòèâ âûðîñ â âîñåìü ðàç è íàñ÷èòûâàåò áîëåå ïÿòèäåñÿòè êâàëèôèöèðîâàííûõ ñïåöèàëèñòîâ. Îñíîâíûå âèäû äåÿòåëüíîñòè êîìïàíèè: àðõèòåêòóðíîå ïðîåêòèðîâàíèå (â òîì ÷èñëå ïðèñïîñîáëåíèå ïàìÿòíèêîâ èñòîðèè è êóëüòóðû ïîä ñîâðåìåííîå èñïîëüçîâàíèå, ðåñòàâðàöèÿ, ðåêîíñòðóêöèÿ), ñòðîèòåëüíîå ïðîåêòèðîâàíèå è êîíñòðóèðîâàíèå, ïðîåêòèðîâàíèå èíæåíåðíûõ ñåòåé è ñèñòåì, ðàçðàáîòêà ñïåöèàëüíûõ ðàçäåëîâ ïðîåêòà, òåõíîëîãè÷åñêîå ïðîåêòèðîâàíèå, îáñëåäîâàíèå òåõíè÷åñêîãî ñîñòîÿíèÿ çäàíèé è ñîîðóæåíèé, îñóùåñòâëåíèå ôóíêöèé ãåíåðàëüíîãî ïðîåêòèðîâùèêà, ïðîåêòíûé, òåõíîëîãè÷åñêèé è ñòðîèòåëüíûé èíæèíèðèíã, äèçàéí èíòåðüåðîâ.

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The Architectural Bureau «Tradicija» was founded in March 1999 and joined six architects-painters, engineers, constructors, who had had good experience working privately or in other organizations. By now the «Tradicija» has grown 8 times more and has over 50 qualified specialists. The company specializes in architectural design (including reconstruction of historic buildings for modern use, restoration), construction design, projecting engineering systems, working out special parts of the project, technological design, inspecting technical state of buildings and structures, general planning, project, technological and construction engineering, interior design.

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ÀÐÕÈÒÅÊÒÓÐÍÎÅ ÁÞÐÎ «ÒÐÀÄÈÖÈß»

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1–9. Ìàãàçèí ñïîðòèâíûõ òîâàðîâ «Ñïîðòìàñòåð» ïðîåêò > 2006 àâòîðû > àðõèòåêòóðíîå áþðî «Òðàäèöèÿ» ïëîùàäü ó÷àñòêà > 58 923 êâ. ì ïëîùàäü çàñòðîéêè > 3 090 êâ. ì îáùàÿ ïëîùàäü > 41 440 êâ. ì

1–9. Sports Shop «Sportmaster»

project > 2006 authors > Architectural Bureau «Tradicija» site area > 58 923 sq. m building area > 3 090 sq. m total area > 41 440 sq. m

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ÀÍÒÎÍÈÍÎ ÊÀÐÄÈËËÎ ANTONINO CARDILLO

ÀÐÕÈÒÅÊÒÎÐ ARCHITECT

Àíòîíèíî Êàðäèëëî ïîëó÷èë äèïëîì àðõèòåêòîðà â óíèâåðñèòåòå Ïàëåðìî. Íà÷àâ ñîáñòâåííóþ êàðüåðó, îí îñóùåñòâèë ðÿä óñïåøíûõ ïðîåêòîâ, ïîñëåäíèé èç êîòîðûõ – äîì â ôîðìå ýëëèïñà Ellipse 1501 House. Ó ñêàëèñòîãî ñêëîíà, ãóñòî ïîðîñøåãî ñîñíàìè, ïðÿ÷åòñÿ äîì â ôîðìå áàøíè. Äîì íå êðóãëûé, åãî ñòåíû ðàñøèðÿþòñÿ íà âîñòîêå è íà çàïàäå, ïðèâåòñòâóÿ âàñ â òåïëûõ ëó÷àõ âîñõîäÿùåãî èëè çàõîäÿùåãî ñîëíöà. Äâå ìîíîëèòíûå ñòåíû èç ëåãêîãî áåòîíà ïîñòåïåííî ðàñøèðÿþòñÿ ê öåíòðó, ïîä÷åðêèâàÿ ôîðìó ýëëèïñà â ïåðèìåòðå è ïîääåðæèâàÿ ïëîñêóþ ïîêàòóþ êðûøó. Îáøèðíîå âíóòðåííå ïðîñòðàíñòâî âêëþ÷àåò ïîäñîáíûå ïîìåùåíèÿ: ëåñòíèöó â ñïàëüíþ, âàííóþ êîìíàòó, êîòåëüíóþ, êëàäîâûå ïîìåùåíèÿ, ÷óëàí – âñå äëÿ óäîáñòâà æèëüöîâ è ñòàáèëüíîé òåìïåðàòóðû â áîëüøîì öåíòðàëüíîì çàëå. Âíóòðè îñíîâíîé êîìïîçèöèîííûé ìîòèâ ýëëèïñà èíòåðïðåòèðîâàí èíà÷å, ÷åì ñíàðóæè, áëàãîäàðÿ ñèñòåìå ïîïåðå÷íûõ ñå÷åíèé, ñìåùåííûõ â ïëàíå îòíîñèòåëüíî áîëüøåé îñè ýëëèïñà, ÷òî ïîçâîëÿåò ñêîîðäèíèðîâàòü íåñêîëüêî ñòåðåîìåòðè÷åñêèõ ïîìåùåíèé, âêëþ÷àÿ ñïàëüíþ äëÿ ãîñòåé â öîêîëüíîì ýòàæå è ñïàëüíþ ñâîáîäíîé ïëàíèðîâêè íà ïåðâîì ýòàæå. Ãëóáîêèå ïðîåìû â ñòåíå òî òóò, òî òàì îòêðûâàþò íåîæèäàííûå óñêîëüçàþùèå âèäû ñêàë è ëåñà, ðàçáèâàþò íåáî íà ìíîæåñòâî ñåêòîðîâ. Áóäü òî äåíü èëè íî÷ü, ëåòî èëè çèìà, âåñíà èëè îñåíü ìîùíûå ïðîåìû îêîí ïåðåäàþò ìåíÿþùèåñÿ êðàñêè íåáåñíîé ïîëóñôåðû. Òàê ñâåò çàñòàâëÿåò íåìîå çäàíèå ðàññêàçûâàòü î õîäå âðåìåíè, îêðàøèâàåò ïðîñòðàíñòâî è ìåíÿåò åãî. Ëèøü ñíàðóæè ñîîðóæåíèå, ñîïðîòèâëÿÿñü ïåðåìåíàì, îñòàåòñÿ âåðíûì ñåáå – áåñöâåòíî-ñåðîâàòûì.

Antonino Cardillo was educated in Palermo University. At the beginning of his career he accomplished a number of successful projects, the last of which is Ellipse 1501 House. Near a rocky slope behind a thick blanket of pines lives a house in the shape of a tower. It’s not round but its geometric set-up dilates toward east and west to welcome in the low, warm extended light of the sun at dawn and dusk. A double wall made from progressive monolithic castings of lightweight concrete develops the perimeter of an ellipse, supporting, above it, a stretched out slanting cover. In the internal space between the two walls an ample interspace comprises the accessory area (stairs to the bedroom, bathroom, boiler, storerooms, cupboard) serving the occupants of the house and contributing to stabilising the temperature of the large central hall. Inside, the original compositional set-up is reinterpreted by means of a cross-sectional system, rotated in plan relative to the largest axes of the ellipse. It co-ordinates several stereo metric spaces including the guest bedroom on the ground floor and the open plan bedroom on the first floor. All around, deep excavations in the outside wall suggest unexpected fleeting routes towards the rocks and the wood on the outside breaking up the sky into a multitude of quadrants. Over the course of days, nights and seasons the thick reveals of the windows register the changing colours of the celestial hemisphere. Thus the light of the sky makes a mutable architecture articulating the passing of time, so the light colours the space and changes with itself. In supporting these changes, the fabric remains in its original essence: colourless or tending to grey.

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1–4. Äîì «Ýëëèïñ 1501»

ìåñòî > Õîëìû áëèç Ðèìà, Èòàëèÿ ïîñòðîéêà > 2007 àðõèòåêòîð > Àíòîíèíî Êàðäèëëî ïëîùàäü > 140 + 80 êâ. ì âûñîòà > 6,30 ì ýòàæíîñòü > 2 ýòàæà

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1–4. Ellipse 1501 House

location > Hills near Rome, Italy construction > 2007 architect > Antonino Cardillo area > 140 + 80 sq. m height > 6,30 m levels > 2

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ANTONINO CARDILLO

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FS-ARCHITEKTEN

ÀÐÕÈÒÅÊÒÓÐÍÀß ÑÒÓÄÈß ARCHITECTURAL STUDIO

Êîìïàíèÿ FS-ARCHITEKTEN ïðîåêòèðóåò ïåðâûé â Ðîññèè æèëîé êîìïëåêñ äëÿ ïîñòîÿííîãî ïðîæèâàíèÿ ñ áîëüøîé ñîöèàëüíîé èíôðàñòðóêòóðîé, ïðåäíàçíà÷åííûé äëÿ îáåñïå÷åíèÿ ìàêñèìàëüíî êîìôîðòíûõ óñëîâèé æèçíè äëÿ ëþäåé ïîæèëîãî âîçðàñòà. Êîìïëåêñ íå èìååò àíàëîãîâ â Ðîññèè. Åãî êîíöåïöèÿ ñîçäàâàëàñü íà ïðèìåðå ëó÷øèõ çàðóáåæíûõ îáðàçöîâ. Ïðîàíàëèçèðîâàí îïûò ëó÷øèõ êîìïëåêñîâ äëÿ ïðîæèâàíèÿ ïîæèëûõ ëþäåé, ðàñïîëîæåííûõ â Àâñòðèè, Ãåðìàíèè, Ôèíëÿíäèè, Äàíèè è Èçðàèëå. Äëÿ æèëüöîâ êîìïëåêñà ïðåäóñìîòðåíà âîçìîæíîñòü – ïðè ïîñòîÿííîì ïðîæèâàíèè â ñâîåé ñîáñòâåííîé êâàðòèðå èëè êîòòåäæå – ñâîáîäíî ïîëüçîâàòüñÿ îáøèðíîé ìåäèöèíñêîé è ðåêðåàöèîííîé èíôðàñòðóêòóðîé êîìïëåêñà è ïðåäëàãàåìûìè ñåðâèñíûìè óñëóãàìè. Íà òåððèòîðèè 6 ãà, â ãîðîäå Ïàâëîâñêå, íåïîñðåäñòâåííî íàïðîòèâ Ïàâëîâñêîãî ïàðêà, ðàçìåñòèëèñü îñíîâíîå çäàíèå, âêëþ÷àþùåå â ñåáÿ æèëûå êîðïóñà, èíôðàñòðóêòóðíóþ ÷àñòü êîìïëåêñà è îòäåëåíèå ñåñòðèíñêîãî óõîäà; êîòòåäæè ñ èíäèâèäóàëüíûìè çåìåëüíûìè ó÷àñòêàìè; à òàêæå ìåäèöèíñêèé öåíòð. Íàó÷íûé êîíãðåññ-öåíòð â Äàðìøòàäòå ðàñïîëîæåí â íåïîñðåäñòâåííîé áëèçîñòè îò äâîðöà è òåõíè÷åñêîãî óíèâåðñèòåòà. Çäàíèå ïðåäñòàâëÿåò äèàëîã äèàãîíàëåé ãîðîäñêîé ñðåäû ó óíèâåðñèòåòñêîãî êàìïóñà, îòðàæàÿ ýòó âçàèìîñâÿçü â ñâîåé âíóòðåííåé ñòðóêòóðå. Îíî âîñïðèíèìàåòñÿ êàê ýêñïðåññèâíàÿ ñêóëüïòóðà: åãî îñîáûé õàðàêòåð ïðèêîâûâàåò âíèìàíèå, âûçûâàåò èíòåðåñ, òàêæå äàåò çäàíèþ õîðîøèå ìàðêåòèíãîâûå âîçìîæíîñòè.

Company FS-ARCHITEKTEN is designing the first residential complex for constant living with developed social infrastructure intended for maximum comfort for seniors. This complex is a unique in Russia. Its conception is based on the best examples from other countries. The best complexes for seniors in Austria, Germany, Finland, Denmark and Israel have been analyzed. The complex residents are provided for the eventuality to use the developed medical and rehabilitation complex infrastructure and services even living in their own apartments or cottages. The territory of the complex occupies 6 hectares, it is situated in the city of Pavlovsk, right in front of the Pavlovsk Park and includes the main building, residential campuses, infrastructural premises, nursing department; cottages with individual ground areas as well as medical center. Science Congress Hall in Darmstadt is situated quite next to the Palace and Technical University. The building represents a dialogue between diagonals of the city and University campus and reflects their interrelation in its inner structure. The Hall is being perceived as an expressive sculpture: its special character absorbs viewer’s attention, arouses interest, as well gives the building good marketing opportunities.

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1–9. Êîìïëåêñ äëÿ ïðîæèâàíèÿ ëèö ïðåêëîííîãî âîçðàñòà ñ ðåàáèëèòàöèîííûì êîðïóñîì ìåñòî > ã. Ïàâëîâñê, Ïóøêèíñêèé ð-í Ñàíêò-Ïåòåðáóðãà ïðîåêò > 2007–2008 çàêàç÷èê > Schongauer Investburo, Ñàíêò-Ïåòåðáóðã ãåíåðàëüíûé ïðîåêòèðîâùèê > FS-ARCHITEKTEN, Äàðìøòàäò, Ãåðìàíèÿ êîíñóëüòàíò > Humanocare Management-Consult GmbH, Âåíà, Àâñòðèÿ 1. Îáùèé âèä êîìïëåêñà 2. Ôîéå ãëàâíîãî êîðïóñà 3. Çàë îñíîâíîãî ðåñòîðàíà

1–9. Senior residential complex with rehabilitation center location > Pavlovsk, Pushkin District of SPb project > 2007–2008 owner > Schongauer Investburo, SPb general planner > FS-ARCHITEKTEN, Darmstadt, Germany consultant > Humanocare Management-Consult GmbH, Vienna, Austria 1. General view 2. Main building, foyer 3. Main restaurant

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4. Êîðïóñ ìíîãîêâàòèðíîãî êîìïëåêñà 5. Èíòåðüåð êâàðòèðû ïëîùàäüþ 42 êâ. ì

4. Campus of a many-storied complex 5. Interior of an apartment, 42 sq. m

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6. Èíòåðüåð êâàðòèðû ïëîùàäüþ 70 êâ. ì

6. Interior of an apartment, 70 sq. m

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10-13. Íàó÷íûé Êîíãðåññ-Öåíòð â ãîðîäå Äàðìøòàäò ìåñòî > Àëåêñàíäåðøòðàññå 5-7, 64283, Äàðìøòàäò, Ãåðìàíèÿ ñòàòóñ > íîâîå ñòðîèòåëüñòâî ñòðîèòåëüñòâî > 2008 àðõèòåêòîð > fs-architekten, Äàðìøòàäò, Ãåðìàíèÿ ïëîùàäü > 44.660 êâ. ì. çàêàç÷èê > Wissenschafts- und Kongresszentrum GmbH & Co. KG áþäæåò > 67.280.000 EUR

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ÀÐÕÈÒÅÊÒÓÐÍÀß ÑÒÓÄÈß

10-13. The Science Congress-center in Darmstadt location > Alexanderstrasse 5-7, 64283, Darmstadt, Germany status > new construction construction > 2008 architect > fs-architekten, Darmstadt, Germany area > 44.660 sq.m. customer > Wissenschafts-und Kongresszentrum GmbH Co. KG budget > 67.280.000 EUR

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ÄÝÉË ÄÆÎÍÑ-ÝÂÀÍÑ DALE JONS-EVANS

ÀÐÕÈÒÅÊÒÎÐ ARCHITECT

Dale Jones-Evans Pty Ltd Architecture (dje) – ýòî äèçàéíåðñêàÿ ñòóäèÿ, îñíîâàííàÿ â 1984 ãîäó. Êîëëåêòèâ ñòóäèè ðàáîòàåò â ñôåðå ãîðîäñêîãî ïëàíèðîâàíèÿ, àðõèòåêòóðû è èíòåðüåðíîãî äèçàéíà. Dje âñåãäà çàíèìàåò èíäèâèäóàëüíóþ, àêòèâíóþ è ïðîôåññèîíàëüíóþ ïîçèöèþ â ðàáîòå. Ñî÷åòàíèå îïûòà è ñâåæèõ èäåé, ðàññóäèòåëüíîñòè è òâîð÷åñêîé ýíåðãèè - çàëîã óñïåõà ñòóäèè ïðè ðàçðàáîòêå àðõèòåêòóðíûõ ïðîåêòîâ ñàìîãî øèðîêîãî ñïåêòðà. Dje ïðåäëàãàåò ïðîôåññèîíàëüíûå, «îòìå÷åííûå æþðè» ðåøåíèÿ èëè óäà÷íûå ãàðìîíè÷íî èñïîëíåííûå êîììåð÷åñêèå ïðîåêòû. Êîìïàíèÿ íå ïðåòåíäóåò íà ýêñêëþçèâíîñòü íè â òîì, íè â äðóãîì ñëó÷àå, íî îáëàäàåò òàëàíòîì è ñïîñîáíîñòÿìè ðàçðàáîòàòü ïðîåêò â îäíîì èç äâóõ íàïðàâëåíèé. Ïðîåêòû ñòóäèè óäîñòîåíû ìåæäóíàðîäíîãî, íàöèîíàëüíîãî è ãîñóäàðñòâåííîãî ïðèçíàíèÿ, âêëþ÷àÿ äåâÿòü íàãðàä Êîðîëåâñêîãî àâñòðàëèéñêîãî èíñòèòóòà àðõèòåêòóðû è ìíîãî÷èñëåííûå íàöèîíàëüíûå ïðåìèè.

Dale Jones-Evans Pty Ltd Architecture. Established in 1984, Dale Jones-Evans Pty Ltd Architecture (dje) is a studio-based design practice committed to the art of urban, architecture and interior design. dje’s approach is personal, pro-active and professional; blending experience with innovation and demonstrating a consistently high level of intelligence and creative energy in the execution of a wide range of architectural projects. The practice offers high-end ‘architecturally awarded’ design or successfully orchestrated commercial projects. We do not see either of these as mutually exclusive and have the talent, capability and record of designing both. We enjoy the challenge of complex commissions and delivering projects on time and to a budget. dje has received international, national and state recognition including nine Royal Australian Institute of Architecture awards and numerous national industry awards.

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1–5. Æèëîé äîì METALIKA

ìåñòî > Ñóððè Õèëëç, Íüþ Ñàóñ Óýéëñ, Àâñòðàëèÿ ñòðîèòåëüñòâî > 1999–2002 àðõèòåêòîðû > Dale Jones-Evans Pty Ltd Architecture ïðîåêòíàÿ ãðóïïà > Äýéë Äæîíñ-Ýâàíñ, Äæåéí Ìýäëèí Ïèíôîëüä, Ìàêè ßìàäæè, Ïîë Ìàéåðñ, Êýòðèí Ìåëëàíäåð, Êëåð Èòîí ïëîùàäü > 3200 êâ. ì ôîòî > Ïîëü Ãîñíè

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1–5. METALIKA Apartments

(mixed-use apartment block) location > Surry Hills, New South Wales, Australia construction > 1999–2002 architects > Dale Jones-Evans Pty Ltd Architecture project team > Dale Jones-Evans, Jane Madelaine Pinfold, Maki Yamaji, Paul Myers, Kathryn Mellander, Claire Eaton area > 3200 sq. m photographer > Paul Gosney

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6–11. Äîì Roozen Beach

ìåñòî > ð. Ìàðãàðåò, Çàïàäíàÿ Àâñòðàëèÿ, Àâñòðàëèÿ ñòðîèòåëüñòâî > 1998–2000 àðõèòåêòîðû > Dale Jones-Evans Pty Ltd Architecture ïðîåêòíàÿ ãðóïïà > Äýéë Äæîíñ-Ýâàíñ, Ìýòüþ ×ýí, Äæåéí Ìýäëèí Ïèíôîëüä ïëîùàäü > 280 êâ. ì íàãðàäû > 2001, Western Australia RAIA àðõèòåêòóðíàÿ íàãðàäà â êàòåãîðèè «Æèëîé äîì» 2001, BHP Metal Building Award – ïîõâàëüíàÿ ãðàìîòà ôîòî > Ýøëè Äæîíñ-Ýâàíñ, Ñòýôàí Áëýêíè

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6–11. Roozen Beach House

location > Margaret River, Western Australia, Australia construction > 1998–2000 architects > Dale Jones-Evans Pty Ltd Architecture project team > Dale Jones-Evans, Mathew Chan, Jane Madelaine Pinfold area > 280 sq. m awards > 2001, Western Australia RAIA Architecture Award - Category Single Residential; 2001, BHP Metal Building Award – commendation photographers > Ashley Jones-Evans, Stephen Blakeney

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ELLER + ELLER ARCHITEKTEN

ÀÐÕÈÒÅÊÒÓÐÍÎÅ ÁÞÐÎ ARCHITECTURAL BUREAU

«Ýëëåð+Ýëëåð Àðõèòåêòîðû» – àðõèòåêòóðíîå áþðî ñ ãëàâíûì îôèñîì â Äþññåëüäîðôå è ôèëèàëàìè â Áåðëèíå, Ìîñêâå è Êèåâå. Áþðî îñíîâàíî â 1964 ãîäó ïîä èìåíåì «Ýëëåð Ìîçåð Âàëüòåð», ñ 1997 ãîäà ðàáîòàåò ïîä ðóêîâîäñòâîì Ýðàñìóñà Ýëëåðà è íîñèò íàçâàíèå «Ýëëåð+Ýëëåð Àðõèòåêòîðû».  íàñòîÿùåå âðåìÿ â ÷åòûðåõ áþðî çàíÿòû áîëåå 70 ñîòðóäíèêîâ. Îñíîâíûå íàïðàâëåíèÿ äåÿòåëüíîñòè áþðî:îôèñíûå çäàíèÿ, òîðãîâûå è ìíîãîôóíêöèîíàëüíûå êîìïëåêñû, ïðàâèòåëüñòâåííûå çäàíèÿ, ìóçåè è êóëüòóðíûå öåíòðû, îòåëè, æèëûå çäàíèÿ, èíôðàñòðóêòóðà, ãðàäîñòðîèòåëüíûå ïðîåêòû, äèçàéí èíòåðüåðà. Ñ 1993 áþðî ðàáîòàåò â Âîñòî÷íîé Åâðîïå è Ìîñêâå. Ñðåäè âîñòî÷íî-åâðîïåéñêèõ ïðîåêòîâ, çàâåðøåííûõ èëè íà ñòàäèè ñòðîèòåëüñòâà: ãëàâíûé îôèñ Äàéìëåð Êðàéñëåð Àà (Ìîñêâà), ãëàâíûé îôèñ Ñèìåíñ Àà (Ìîñêâà), Êóòóçîâñêèé Ìåæäóíàðîäíûé Öåíòð (Ìîñêâà), Êàñïèé Ïëàçà (Ìîñêâà), Ìèðàêñ Ïëàçà (Êèåâ), Ïàðê-Ñèòè (Ìîñêâà) è äð. Ñðåäè îñíîâíûõ ïðîåêòîâ â Ãåðìàíèè: Ãîñóäàðñòâåííûé Ïàðëàìåíò (Äþññåëüäîðô), Ôåäåðàëüíîå Ìèíèñòåðñòâî Þñòèöèè (Áåðëèí), Íåìåöêèé Èñòîðè÷åñêèé Ìóçåé (Áåðëèí) (ñîâìåñòíàÿ ðàáîòà ñ I.M. Pei, Íüþ-Éîðê), Ìóçåé øîêîëàäà (Êåëüí).

Eller + Eller Architekten is an architectural practice with its main office in Duesseldorf and branches in Berlin, Moscow and Kiev. The firm was founded as Eller Moser Walter in 1964. Since 1997 it operates under the name Eller + Eller Architekten and is run by Erasmus Eller. On an average more than 70 staff members are working in the four offices and on our ongoing construction sites. We have been designing and building projects for public authorities and private clients for more than 40 years. Besides the traditional responsibilities as architects, services as general planners have increased during the last years and are one of our main activities. The firm’s focus is mainly on office and commercial buildings, governmental buildings, museums and cultural buildings, hotels, residential buildings, infrastructural projects, urban planning, interior design. Since 1993 Eller + Eller Architekten has been engaged in Eastern Europe, especially in Moscow. Its Eastern European projects, completed or currently under construction, are - amongst others: HQ DaimlerChrysler AG (Moscow ); HQ Siemens AG (Moscow); Kutuzovsky Int. Center (Moscow); Caspiy Plaza (Moscow); Mirax Plaza (Kiev); Park City (Moscow). In Germany, the diversity of explored projects includes: State Parliament (Duesseldorf); Federal Ministry of Justice (Berlin); German Historical Museum (Berlin) with I.M. Pei (New York); Chocolatemuseum (Cologne).

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1–2. Ãëàâíûé îôèñ Metro AG

ìåñòî > Ìîñêâà, Ðîññèÿ ñòðîèòåëüñòâî > 2004–2007 àðõèòåêòîð > Eller + Eller Architekten çàêàç÷èê > METRO Cash & Carry OOO, Ìîñêâà ïëîùàäü > 22.500 êâ. ì áþäæåò > 28,4 ìèëë. EUR

1–2. Headquarters Metro AG

location > Moscow, Russia construction > 2004–2007 architect > Eller + Eller Architekten client > METRO Cash & Carry OOO, Moscow area > 22.500 sq. m budget > 28,4 mill. EUR

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3–5. Êóòóçîâñêèé ìåæäóíàðîäíûé öåíòð

ìåñòî > Ìîñêâà, Ðîññèÿ ïðîåêò > 1994, 2005–2009 àðõèòåêòîð > Eller + Eller Architekten ñîâìåñòíî > Ñåðãåé Êèñåëåâ & Ïàðòíåðû, Ìîñêâà ïëîùàäü > 368.000 êâ. ì áþäæåò > 480 ìèëë. EUR

3–5. Kutuzovsky International Center location > Moscow, Russia project > 1994, 2005–2009 architect > Eller + Eller Architekten with > Sergej Kisselev & Partners, Moscow area > 368.000 sq. m budget > 480 mill. EUR

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6–8. Ãîðîäñêîé ïàðê

ìåñòî > Ìîñêâà, Ðîññèÿ ïðîåêò > 2007–2010 ñòàòóñ > ñòàäèÿ ïðîåêòèðîâàíèÿ àðõèòåêòîð > Eller + Eller Architekten çàêàç÷èêè > ÏÈÊ, Áàíê Ìîñêâû, Àáñîëþò Áàíê, Ìîñêâà ïëîùàäü > 70.000 êâ. ì

6–8. Park City

location > Moscow, Russia project > 2007–2010 status > planning stage; design services architect > Eller + Eller Architekten client > PIK, Moscow and Absolut Bank, Moscow area > 70.000 sq. m

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TEC ARCHITECTURE

ÀÐÕÈÒÅÊÒÓÐÍÀß ÑÒÓÄÈß ARCHITECTURAL STUDIO

Êîìïàíèÿ TEC ARCHITECTURE ñïåöèàëèçèðóåòñÿ íà òàêèõ êðóïíîìàñøòàáíûõ, âûñîêîòåõíîëîãè÷íûõ ïðîåêòàõ êàê ïàðêè íàóêè è òåõíèêè, à òàêæå ïðåäëàãàåò øèðîêèé âûáîð óñëóã ïî ãîðîäñêîìó äèçàéíó è ïðîåêòèðîâàíèþ, êîììåð÷åñêîìó è ðîçíè÷íîìó áëàãîóñòðîéñòâó, æèëèùíîìó è èíòåðüåðíîìó äèçàéíó. Ñ ìîìåíòà îñíîâàíèÿ â 2000 ãîäó TEC ARCHITECTURE ñî÷åòàåò â ñâîèõ ïðîåêòàõ âûñîêîòåõíîëîãè÷íóþ ñðåäó åâðîïåéñêîãî àðõèòåêòóðíîãî ëàíäøàôòà è òâîð÷åñêîå íîâàòîðñòâî êàëèôîðíèéñêîé äèçàéíåðñêîé êóëüòóðû. Êîìïàíèÿ ñòðåìèòñÿ ñîçäàòü àðõèòåêòóðó, âäîõíîâëåííóþ ïðèðîäíûìè ôîðìàìè è ïðîöåññàìè, ïðåâðàùàÿ îêðóæàþùóþ ñðåäó çàâòðàøíåãî äíÿ â åñòåñòâåííîå ñîñóùåñòâîâàíèå ÷åëîâåêà, òåõíèêè è ïðèðîäû. Íîâûé öåíòðàëüíûé îôèñ Asia Pacific êîìïàíèè Infineon Technologies, ìèðîâîãî ëèäåðà íà ðûíêå ïîëóïðîâîäíèêîâ, õàðàêòåðèçóåò ïåðåäîâîé äóõ êîìïàíèè. Îñíîâíîé çàäà÷åé ïðîåêòà ñòàëî ñîçäàíèå ñðåäû, âäîõíîâëÿþùåé âîîáðàæåíèå; òàêæå íåîáõîäèìî áûëî çàëîæèòü êàðêàñ, êîòîðûé ñìîã áû ïåðåäàòü íåïîâòîðèìóþ àðõèòåêòóðíóþ ýêñïðåññèþ. Çäàíèå îòðàæàåò óíèêàëüíóþ îáñòàíîâêó ñ åå îñîáîé òðóäîâîé ýòèêîé, äèíàìè÷íûì ïðîèçâîäñòâîì è êóëüòóðíûì ìíîãîîáðàçèåì áëàãîäàðÿ ïðèìåíåíèþ íåòðàäèöèîííûõ ìàòåðèàëîâ, êîíñòðóêòèâíûì âàðèàöèÿì ìîòèâîâ ìåñòíîé àðõèòåêòóðû è îñîáîìó ýêîëîãè÷åñêîìó ïîäõîäó.  öåíòðàëüíîì îôèñå Inotera êîìïàíèÿ À (êðàñíàÿ) è êîìïàíèÿ  (çåëåíàÿ) äåëÿò áîëüøîå ïîìåùåíèå (ãîëóáîå). Ñîâìåñòíî ýòè êîìïàíèè ïðîèçâîäÿò ñîâðåìåííûå ìèêðîñõåìû, ãîðþ÷åå íàøåãî èíôîðìàöèîííîãî âåêà, äîñòèãàÿ íàèâûñøåé ñòåïåíè ñëîæíîñòè, äîñòóïíîé ñåãîäíÿ ÷åëîâåêó.

TEC ARCHITECTURE specializes in large-scale hi-tech projects, such as science and technology parks, but also offers services ranging from urban design and planning, commercial and retail development, to residential and interior design. Since its start in 2000, TEC ARCHITECTURE combines the hi-tech ambience of Europe’s architectural landscape with the creativity of California’s innovative design culture. It pursues a type of architecture that is inspired by the structures and processes of nature, shaping tomorrow’s environment into an informal coexistence of people, technology and nature. The new Asia Pacific headquarters of Infineon Technologies, one of the world’s leading semiconductor companies, characterizes the spirit of Infineon as a forward-thinking company. The project’s priority was to create an environment that stimulates and nurtures the thriving of ideas, and to set the framework for pursuing a unique architectural expression. Taking into consideration particular work ethics, industry dynamism and cultural diversity, the building reflects its specific context by use of unconventional materials, structural interpretations of local architecture and specific ecologic considerations. In Inotera headquarters Company A (Red) and Company B (Green) share a large clean room facility (Blue). The companies jointly produce state-of-the-art microchips; the fuel of the information age, the highest degree of manmade complexity.

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ÀÐÕÈÒÅÊÒÓÐÍÀß ÑÒÓÄÈß

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1–4. Öåíòðàëüíûé îôèñ Asia Pacific

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ìåñòî > Ñèíãàïóð ïîñòðîéêà > 2005 àðõèòåêòîð > tec ARCHITECTURE ñîâìåñòíî > Architects 61, Ñèíãàïóð GTL-Landschaftsarchitekten, Êàññåëü ïëîùàäü > 27,000 êâ. ì

1–4. Asia Pacific Headquarters

location > Singapore construction > 2005 architects > tec ARCHITECTURE with > Architects 61, Singapore GTL-Landschaftsarchitekten, Kassel area > 27,000 sq. m

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5–9. Öåíòðàëüíûé îôèñ è ïðîèçâîäñòâåííûå ïîìåùåíèÿ Inotera ìåñòî > Òàéáýé, Òàéâàíü ïîñòðîéêà > 2004 àðõèòåêòîð > tec ARCHITECTURE ïëîùàäü > 26,900 êâ. ì ïëîùàäü êîìíàò > 18,600 êâ. ì ôîòî > Õèñàî Ñóçóêè

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5–9. Inotera Headquarters & Production Facility location > Taipei, Taiwan construction > 2004 architects > tec ARCHITECTURE area > 26,900 sq. m clean room > 18,600 sq. m photographer > Hisao Suzuki

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ÀÐÕÈÒÅÊÒÓÐÍÀß ÌÀÑÒÅÐÑÊÀß Ì. Ï. ÊÎÏÊÎÂÀ ARCHITECTURAL WORKSHOP OF M. KOPKOV

Àðõèòåêòóðíàÿ ìàñòåðñêàÿ Ìèõàèëà Êîïêîâà îñíîâàíà â 1989 ãîäó. Îñíîâíûì íàïðàâëåíèåì åå äåÿòåëüíîñòè ÿâëÿåòñÿ êîìïëåêñíîå ïðîåêòèðîâàíèå çäàíèé. Ñðåäè ðåàëèçîâàííûõ ïðîåêòîâ ìàñòåðñêîé: öåðêîâü «Íèêîëà íà ïóòÿõ», ñïåöèàëèçèðîâàííàÿ øêîëà «Äèíàìèêà», æèëîé êîìïëåêñ «ßíòàðíûé áåðåã», æèëîé êîìïëåêñ «Êíÿçü Àëåêñàíäð Íåâñêèé».

ÀÐÕÈÒÅÊÒÓÐÍÀß ÌÀÑÒÅÐÑÊÀß ARCHITECTURAL WORKSHOP

Architectural workshop of M. Kopkov was founded in 1989. It specializes in complex building design. Among the projects completed by the Workshop are Church «Nikola Na Putyakh», Gymnasium «Dinamika», Housing Estate «Amber Coast», Housing Estate «Prince Alexander Nevsky».

1. Æèëîé êîìïëåêñ «ßíòàðíûé áåðåã» ìåñòî > ÑÏá, Âàðøàâñêàÿ óë. ãîä ñòðîèòåëüñòâà > 2007 àðõèòåêòîðû > Ì. Ï. Êîïêîâ, Å. Í. Ãàïÿê çàêàç÷èê > ÎÎÎ «Ôèðìà «ËÝÊ Èñòåéò» îáùàÿ ïëîùàäü > 130.000 êâ. ì

1. Housing Estate «Amber Coast» location > Varshavskaya St., SPb construction > 2007 architects > M. Kopkov, Å. Gapyak owner > «LEC Estate» total area > 130.000 sq. m

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ÏÐÎÅÊÒÍÛÉ È ÍÀÓ×ÍÎ-ÈÑÑËÅÄÎÂÀÒÅËÜÑÊÈÉ ÈÍÑÒÈÒÓÒ

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2.3. Æèëîé êîìïëåêñ «Êíÿçü Àëåêñàíäð Íåâñêèé»

ìåñòî > ÑÏá, ïð. Îáóõîâñêîé Îáîðîíû, êâàðòàë «Ðûáàöêîå» ãîä ñòðîèòåëüñòâà > 2008-2010 àðõèòåêòîðû > Ì. Ï. Êîïêîâ, Ì. Ï. Ïàíôèëîâ, Î. Þ. Óäîâèêèíà, Å. Í. Ãàïÿê çàêàç÷èê > ÇÀÎ «ÐîñÑòðîéÈíâåñò» îáùàÿ ïëîùàäü > 100.000 êâ. ì

2.3. Housing Estate «Prince Alexander Nevsky»

location > Pr. Obukhovskoy Oborony, district «Rybatskoe», SPb construction > 2008-2010 architects > M. Kopkov, Ì. Panfilov, Î. Udovikina, Å. Gapyak owner > «RosStroyInvest» total area > 100.000 sq. m.

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ÌÀÉÊË ßÍÒÖÅÍ MICHAEL JANTZEN

ÕÓÄÎÆÍÈÊ, ÄÈÇÀÉÍÅÐ ARTIST, DESIGNER

Ìàéêë ßíòöåí – âñåìèðíî èçâåñòíûé äèçàéíåð è õóäîæíèê, ÷üè ðàáîòû îïóáëèêîâàíû â ñîòíÿõ æóðíàëîâ è êíèã ïî âñåìó ñâåòó. Åãî Âåòðîâîé äîì – ýòî äèçàéíåðñêîå âèäåíèå áîëüøîãî çäàíèÿ, êîòîðîå ìîæåò áûòü èñïîëüçîâàíî êàê îáùåñòâåííûé, òàê è ÷àñòíûé ïàâèëüîí. Øåñòü âåðõíèõ ýòàæåé äîìà èìåþò òàêóþ ôîðìó, ÷òî ïîä äåéñòâèåì âåòðà ëåãêî ïîâîðà÷èâàþòñÿ íà ïîäøèïíèêàõ âîêðóã öåíòðàëüíîãî ñòâîëà ñîîðóæåíèÿ, ãäå ñïðÿòàíà ëåñòíèöà. Âåòðîâîé Òóííåëü ïðåäñòàâëÿåò ñîáîé êðûòûé ïåøåõîäíûé ìîñò 21 âåêà. Ýòî äèçàéíåðñêàÿ ðàçðàáîòêà äëÿ íîâîãî òèïà ïåøåõîäíûõ ìîñòîâ èç ñòàëè è àëþìèíèÿ, ïðèâîäèìàÿ â äâèæåíèå âåòðîì, ïîðûâû êîòîðîãî ñ ðàçíîé ñêîðîñòüþ âðàùàþò áîëüøèå âåòðîâûå êîë¸ñà, îáíèìàþùèå ïåøåõîäíóþ äîðîæêó, ïî êîòîðîé ïðîãóëèâàþòñÿ ëþäè.

Michael Jantzen is an internationally known designer and artist whose work has been published in hundreds of magazines, books from around the world. Here represented two of his projects. The Wind Shaped pavilion is a design proposal for a large fabric structure that can be used as a public or private pavilion. As a light weight fabric structure, the wind slowly and randomly rotates each of the six segments around a central open support frame. The Wind Tunnel Foot Bridge is a new covered bridge for the 21st century; a design proposal for a new kind of wind activated footbridge made of steel and aluminum. As the wind blows, the five wind turbine wheels turn at different speeds around the people who are walking through to reach the other side.

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1–4. Ïåøåõîäíûé ìîñò «Âåòðîâîé òóííåëü» ïðîåêò > 2006 àâòîð > Ìàéêë ßíòöåí

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1–4. Wind Tunnel Footbridge project > 2006 author > Michael Jantzen

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5–10. Âåòðîâîé äîì ïðîåêò > 2007 àâòîð > Ìàéêë ßíòöåí

5–10. The Wind shaped Pavilion project > 2007 author > Michael Jantzen

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ÕÓÄÎÆÍÈÊ, ÄÈÇÀÉÍÅÐ

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BAUMRAUM

ÀÐÕÈÒÅÊÒÓÐÍÀß ÑÒÓÄÈß ARCHITECTURE OFFICE

Äîì íà äåðåâå! Äåòè ñðàçó âîîáðàæàþò ïðèêëþ÷åíèÿ, âçðîñëûì ïðåäñòàâëÿåòñÿ ðîìàíòè÷íûé ïðèþò íà ëîíå ïðèðîäû. Ýòè óäèâèòåëüíûå ìàëåíüêèå äîìèêè, ïðèþòèâøèåñÿ ñðåäè äåðåâüåâ, ðàçæèãàþò íàøå âîîáðàæåíèå è âîçáóæäàþò ëþáîïûòñòâî, íàâåâàÿ äåòñêèå âîñïîìèíàíèÿ, à ñ íèìè è æåëàíèå çàáðàòüñÿ íà äåðåâî è ïîãðóçèòüñÿ â âîëøåáíûé ìèð, îêóòàííûé ëèñòâîé. Òàê õî÷åòñÿ ñíîâà ïî÷óâñòâîâàòü ñåáÿ çàêîëäîâàííûì, äíåì èëè íî÷üþ, ëåòîì èëè çèìîé óâèäåòü ìèð ñâåðõó, ïîèãðàòü òàì èëè ïîðàáîòàòü ñïîêîéíî, ðàññëàáèòüñÿ èëè ïîìå÷òàòü íàÿâó… Baumraum – ýòî àðõèòåêòóðíàÿ ñòóäèÿ, ïîñâåòèâøàÿ ñåáÿ ýòîìó óíèêàëüíîìó èñêóññòâó. Êîìïàíèÿ çàíèìàåòñÿ ïðîåêòèðîâàíèåì è ñòðîèòåëüñòâîì äîìèêîâ íà äåðåâüÿõ è äðóãèõ ñîîðóæåíèé â åñòåñòâåííîé ñðåäå. Îíà âîïëîùàåò èíäèâèäóàëüíûå èäåè è æåëàíèÿ â îðèãèíàëüíûå ÷àðóþùèå âîîáðàæåíèå äîìèêè, êîòîðûå ñî÷åòàþò óíèâåðñàëüíîñòü ñ ìàñòåðñòâîì âûñøåãî êëàññà è ìàêñèìàëüíûìè ñòàíäàðòàìè áåçîïàñíîñòè. Ñàìàÿ âàæíàÿ çàäà÷à ïðè ýòîì – îáðàùàòüñÿ ñ äåðåâüÿìè è åñòåñòâåííîé ñðåäîé ñ ïðåäåëüíîé îñòîðîæíîñòüþ, îáåñïå÷èòü èõ çàùèòó è ñîõðàííîñòü. Baumraum ïðåäëàãàåò òâîð÷åñêèå ðåøåíèÿ ïðèçíàííûõ ñïåöèàëèñòîâ â ñâîåé îáëàñòè, îáëàäàþùèõ êîíñòðóêòèâíûì ìàñòåðñòâîì àðõèòåêòîðîâ è áîëüøèì îïûòîì ðàáîòû ñ ëàíäøàôòíûì äèçàéíîì.

A treehouse! A promise of adventure for the kids, a retreat for the adults, a romantic hideaway close to nature. These special little dwellings installed up among the trees fire our imagination and rouse our curiosity, bringing back childhood memories, and with them the desire to climb up and enter a magic world amongst the foliage. To be spellbound again, to witness the different sights and sounds up there by day and night and throughout the seasons. To play up there, to work undisturbed, to relax, to daydream… Baumraum is a planning co-operative dedicated to this unique area of expertise. We specialize in the planning and realization of treehouses and other constructions in natural surroundings. We transform your individual ideas and wishes into ingenious and inspiring dwellings that combine versatility with craftsmanship of the highest quality and maximum safety standards. A major objective thereby is to handle the trees and their surroundings with the utmost care, ensuring their protection and preservation. Baumraum combines the creative and constructive expertise of an architect with the long-standing experience of a landscape architect, a tree expert, and established, reputable craftsmen.

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BAUMRAUM

ÀÐÕÈÒÅÊÒÓÐÍÀß ÑÒÓÄÈß

ÀÐÕÈÒÅÊÒÓÐÀ | ÀÐÕÈÒÅÊÒÎÐÛ. ÄÈÇÀÉÍÅÐÛ 4


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1–3. Äîì äëÿ ìåäèòàöèè

ìåñòî > Ðèì, Èòàëèÿ ðåàëèçàöèÿ > 2007 àðõèòåêòîð > Àíäðåàñ Âåííèíã çàêàç÷èê > âûïîëíåíî äëÿ æåíùèíû êàê ìåñòî îòäûõà äåðåâî > ñòàðûé êàøòàí âûñîòà > 4 ì ïàðòíåð > Øîðëèíã Õîëüö ôîòî > Íèêî Ìàðöèàëè

ARCHITECTURE | ARCHITECTS. DESIGNERS 4

1–3. Meditation treehouse

location > Rome, Italy completion > 2007 architect > Andreas Wenning client > realized for a woman as a place for relaxation tree > old chestnut total height > 4 m partner > Schorling Holz photographer > Nico Marziali

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ÈÍÒÅÐÜÅÐ INTERIOR


DAIGO ISHII FUTURE

ÀÐÕÈÒÅÊÒÓÐÍÀß ÑÒÓÄÈß ARCHITECTURAL STUDIO

Ó çàêàç÷èêà áåëî-ñèíå-÷åðíîãî äîìà áûëî ìíîãî êíèã. Ñàìîå ãëàâíîå ïðàâèëî ïðè ïëàíèðîâêå äîìà ãëàñèëî: ñòåíû äîìà äîëæíû áûòü áåëûìè, îïîðíûå ýëåìåíòû: îêîííûå âûñòóïû, ëåñòíèöû, ïåðèëà, êàðíèçû è ò. ä. – ÷åðíûìè, à êíèæíûå ïîëêè – ñèíèìè. Ýòîò öâåò áûë âûáðàí äëÿ ïîëîê, ïîòîìó ÷òî êíèãè õîðîøî âûäåëÿþòñÿ íà åãî ôîíå, íî â òîæå âðåìÿ ñèíèé ñòèðàåò îùóùåíèå òÿæåëîâåñíîñòè êíèã. Áåëûé è ÷åðíûé ñòàëè öâåòîâûìè êîîðäèíàòàìè äîìà. Äîì ó ñàêóðû ðàñïîëîæåí â îäíîì èç ñàìûõ ãóñòîíàñåëåííûõ ðàéîíîâ Òîêèî è ñìîòðèò íà âèøíåâûé ñàä áëèç íà÷àëüíîé øêîëû, ÷òî ïî äðóãóþ ñòîðîíó êàíàëà. Ìåíÿòü ïðåêðàñíûé ïåéçàæ, îòêðûâàþùèéñÿ èç îêíà, â áëèæàéøåì áóäóùåì íå ïðåäïîëàãàþò, ïîýòîìó, ðàáîòàÿ íàä ýòèì ïðîåêòîì, ÿ õîòåë äàòü êàê ìîæíî áîëüøèé îáçîð ñàäà, ïðèáëèçèòü åãî ê äîìó. Åùå îäíèì çàêàçîì ñòàëà ðåêîíñòðóêöèÿ ïåðâîãî ýòàæà ñòàðîãî çäàíèÿ Tendo PLY, ïîñòðîåííîãî 40 ëåò íàçàä. Ýòîò ýòàæ êîãäà-òî çàíèìàëà ïîäãîòîâèòåëüíàÿ øêîëà, çà 40 ëåò çäàíèå íè ðàçó íå ðåìîíòèðîâàëè. Çäåñü íàõîäèëàñü êëàññíàÿ êîìíàòà, ðàçäåëåííàÿ æåëåçîáåòîííîé ñòåíîé íà ÷åòûðå ïîìåùåíèÿ.  ñâÿçè ñ êîíñòðóêòèâíûìè îñîáåííîñòÿìè çäàíèÿ áûëî íåâîçìîæíî ðàñøèðèòü óçêèå ïðîåìû, ñîåäèíÿþùèå âñå ïîìåùåíèÿ. Ïî âñåìó ýòàæó àðõèòåêòîð äîáàâèë êîðè÷íåâûå ýëåìåíòû, êîòîðûå ñëóæàò ïðîñòðàíñòâåííûìè óêàçàòåëÿìè äëÿ ïîñåòèòåëåé ìàãàçèíà è êîìïîçèöèîííî ñîåäèíÿþò âñå ïîìåùåíèÿ. Ýòè êîðè÷íåâûå ýëåìåíòû èìåþò ëèíåéíûå, ïðÿìîóãîëüíûå èëè öèëèíäðè÷åñêèå ôîðìû, âîïëîùåííûå â ôóíêöèîíàëüíûõ äåòàëÿõ: äâåðíûõ ðó÷êàõ, ïðîõîäàõ èëè ïîëêàõ – âñå çàâèñåëî îò òîãî, êàêîé äåòàëè íå õâàòàëî â òîì ìåñòå, ãäå äîëæåí áûë ðàñïîëàãàòüñÿ êîðè÷íåâûé ýëåìåíò.

In White Blue Black house, the client had many books. Planning the house, the rule was established at first. The rule was as follows: the structure of the house was painted in white, the supporting elements in black and the bookshelves in blue. The supporting elements were bay window, staircase, handrail, small eaves for rain and etc. Blue was chosen as the color that did not conform to the existence of books and erased the gravity of the books. While, white and black was coordinates of the color. The House towards the cherry tree locates in the high- density area of Tokyo. The site faces to the cherry trees in the elementary school over the small canal. So, the scenery of the cherry trees is not slated for redevelopment in the foreseeable future. In this house, I intended to create divers scenes for seeing the cherry trees in order to make approach the client life to those. The renovation of one floor of the old Tendo PLY building constructed 40 years ago. This floor was used as a preparatory school between 40 years and the renovation had never been done. This floor used as a classroom was divided in four spaces by the reinforced concrete wall, and, due to the structural reason, it was impossible to make wider the narrow openings that connected each space. Through the whole of floor, the brown elements are newly added and are scattered. Those are apparatus as a space sign for introducing visitor from the entrance to the fond of the shop and for connecting each space. The brown elements are expressed as a linear form, long board or tunnel form with functions such as a handrail, an eye-stop board, a gate, or a shelf. The functions correspond to the request needed in the small area around the setting point where the brown elements are disposed.

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DAIGO ISHII FUTURE

ÀÐÕÈÒÅÊÒÓÐÍÀß ÑÒÓÄÈß

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1–6. Äîì ó ñàêóðû

ìåñòî > Êîãàíåé, Òîêèî, ßïîíèÿ ñòðîèòåëüñòâî > 2004 àðõèòåêòîð > Äàéãî Èñèè + Future-scape Architects çàêàç÷èê > ñåìüÿ ñ äâóìÿ äåòüìè èíæåíåðû-ñòðîèòåëè > Oga Structural Design Office èíæåíåðû-ìåõàíèêè > Akeno Mechanical Làboratory îáùàÿ ïëîùàäü > 104.50 êâ. ì ïëîùàäü çàñòðîéêè > 61.76 êâ. ì ïëîùàäü äîìà > 119.09 êâ. ì ìàòåðèàë > ñòàëü

1–6. House towards the cherry tree

location > Koganei, Tokyo, Japan construction > 2004 architect > Daigo Ishii + Future-scape Architects client > parents and two children structural engineers > Oga Structural Design Office mechanical engineers > Akeno Mechanical Làboratory total area > 104.50 sq. m building area > 61.76 sq. m floor area > 119.09 sq. m structure > steel

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NEUHAUS

ÃÀËÅÐÅß ÄÈÇÀÉÍÀ È ÈÍÒÅÐÜÅÐÀ GALLERY OF DESIGN AND INTERIOR

Ãàëåðåÿ äèçàéíà è èíòåðüåðà Neuhaus — ñåòü íåìåöêèõ èíòåðüåðíûõ ñàëîíîâ êàòåãîðèè «ñóïåðïðåìèóì». Ñ ôåâðàëÿ 1996 ãîäà Neuhaus ïðåäëàãàåò ðîññèéñêèì çàêàç÷èêàì òîâàðû èñêëþ÷èòåëüíîãî êà÷åñòâà è ñåðâèñ åâðîïåéñêîãî êëàññà. Âìåñòå ñ ãàëåðååé â Ðîññèþ ïðèøëè ìàðêè Miele è Villeroy & Boch, Interlübke è Draenert, Cor è Behr, Dornbracht è Hoesch, àâòîðñêèå êîëëåêöèè ñàíòåõíèêè Ôèëèïïà Ñòàðêà è Äèòåðà Çèãåðà, ìåáåëüíûå ïðîãðàììû Áåíçèíãåðà è Þðãåíà Ëàíãå, ìåáåëü è êîâðû Ïåòåðà Ìàëè.  1999 ãîäó êîëëåêöèÿ òîï-ôàáðèê Ãàëåðåè Neuhaus áûëà ïðèçíàíà íàèáîëåå ïîëíîé â Âîñòî÷íîé Åâðîïå.  êëóá èçáðàííûõ ìàðîê âõîäÿò de Sede (Øâåéöàðèÿ), Wittmann (Àâñòðèÿ), Cor, Rolf Benz, Siematic, Draenert, JAB, Sahco, Hansgrohe, Ingo Maurer, Tobias Grau (Ãåðìàíèÿ), Treca de Paris (Ôðàíöèÿ), Tonelli, Artemide, Flos, Fontana Arte, Murano due (Èòàëèÿ), äåñÿòêè äðóãèõ êîìïàíèé, ëó÷øèõ â ñâîèõ îáëàñòÿõ, à èíîãäà è åäèíñòâåííûõ â ñâîåì ðîäå. Ñåãîäíÿ â Ðîññèè äåéñòâóþò òðè âûñòàâî÷íûõ ñàëîíà òîï-èíòåðüåðîâ îáùåé ïëîùàäüþ áîëåå 4500 êâ. ì, â êîòîðûõ ïðåäñòàâëåíû òîâàðû áîëåå 200 åâðîïåéñêèõ êîìïàíèé

Gallery of design and interior Neuhaus is a trading network of super premium German interior salons . Since February 1996 Neuhaus has been offering Russian customers exclusive goods and European services. The Gallery has brought to Russia such brands as Miele and Villeroy & Boch, Interlübke and Draenert, Cor and Behr, Dornbracht and Hoesch, author’s collections by Philipp Stark and Dieter Sieger, furniture programs by Bensienger and Jurgen Lange, furniture and carpets by Peter Maly. In 1999 the collection of Gallery Neuhaus top-factories was considered to be the most profound in Western Europe. The club of selected brands includes such companies as de Sede (Switzerland), Wittmann (Austria), Cor, Rolf Benz, Siematic, Draenert, JAB, Sahco, Hansgrohe, Ingo Maurer, Tobias Grau (Germany), Treca de Paris (France), Tonelli, Artemide, Flos, Fontana Arte, Murano due (Italy) and dozens of other companies, leaders or even unique enterprises in their fields. Today in Russia there are three exhibition salons of top interiors with the total area of more than 4500 sq. m., where you can find products from more than 200 European companies.

1–6. Ãàëåðåÿ äèçàéíà è èíòåðüåðà Neuhaus ìåñòî > ÑÏá, Íîâîñìîëåíñêàÿ íàá., ä. 1/4 îáùàÿ ïëîùàäü > 2000 êâ. ì

1. Èíòåðüåð ôîòî > Ãåîðãèé Øàáëîâñêèé çåðêàëî > BMB (Èòàëèÿ) ñåðèÿ êîìîäîâ > Interluebke (Cube TV) äèâàí è ïóô > Wittmann ( Loft ) êðåñëà > Wittmann (Mokka) ñâåò > Artemide, ITRE, ROKAN êîâåð > Oliver Treutlein (ANEMONES) òåêñòèëü > Kendix (GRAFITO), JAB (LARIX) 2–5. Ñòîë-òðàíñôîðìåð > Draenert (Atlas) ñòîëåøíèöà > íàòóðàëüíûé êàìåíü, ìàññèâíîå äåðåâî, øïîíèðîâàííîå äåðåâî 6. Ñåðèÿ êîìîäîâ äëÿ ðàçìåùåíèÿ ÒB è ìóëüòèìåäèàòåõíèêè > Interluebke (Cube TV)

1–6. Gallery of design and interior Neuhaus location > 1/4 Novosmolenskaya Emb., SPb total area > 2000 sq. m.

1. Interior photo > Georgy Shablovsky mirror > BMB (Italy) bureaus> Interluebke (Cube TV) couch and padded stool> Wittmann ( Loft ) arm-chairs > Wittmann (Mokka) light > Artemide, ITRE, ROKAN carpet > Oliver Treutlein (ANEMONES) textiles > Kendix (GRAFITO), JAB (LARIX) 2–5. Table-transformer > Draenert (Atlas) table > natural stone, massive wood, keyed joint wood 6. Bureaus for TV sets and multimedia > Interluebke (Cube TV)

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NEUHAUS

ÃÀËÅÐÅß ÄÈÇÀÉÍÀ È ÈÍÒÅÐÜÅÐÀ

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INTERIOR | ARCHITECTS. DESIGNERS 4

GALLERY OF DESIGN AND INTERIOR

NEUHAUS

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ÎÄÈËÜ ÄÅÊ ODILE DECQ

ÀÐÕÈÒÅÊÒÎÐ ARCHITECT

Ãëàâíàÿ çàäà÷à ïðîåêòà À5 «Áåçãðàíè÷íûé èíòåðüåð» – óñèëèòü âîñïðèÿòèå âíóòðåííåãî ïðîñòðàíñòâà ïîìåùåíèÿ, ïîçâîëèòü ïðîñòðàíñòâó ìàêñèìàëüíî ðàçâèòüñÿ. Àðõèòåêòîð èãðàåò ñ ïëîñêîñòÿìè, ïîëîì è ïîòîëêîì, ñîçäàåò «áåñêîíå÷íîå ïðîñòðàíñòâî», èñïîëüçóÿ íåñêîëüêî òî÷åê îáçîðà è íåïðÿìûå ïåðñïåêòèâû. Ïðîõîä ìåæäó óäàëåííûìè äðóã îò äðóãà è ðàçðîçíåííûìè êîìïîíåíòàìè îáðàçóåò ïðîìåæóòî÷íûé ïðîõîä.

The main idea of the A5 – Infinite Interior project is to increase the perception of the interior space of the apartment, to give to the space a maximum of fluidity. To play in between surfaces, the floor and the ceiling and to create an ‘infinite space’ by tmultiple point of views and tangential perspectives. The cinematic promenade amongst the dissociate components of limits institutes the promenade in the in-between.

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ÎÄÈËÜ ÄÅÊ

ÀÐÕÈÒÅÊÒÎÐ

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1–4. Ðåñòîðàí Il Tre ìåñòî > Ïàðèæ, Ôðàíöèÿ ïðîåêò > 2005 àðõèòåêòîð > Îäèëü Äåê çàêàç÷èê > Ôèëèïï Ðåáóööè, Societe Juliana ïëîùàäü > 160 êâ. ì

INTERIOR | ARCHITECTS. DESIGNERS 4

1–4. Il Tre Restaurant location > Paris, France project > 2005 architect > Odile Decq client > Philippe Rebuzzi, Societe Juliana area > 160 sq. m

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ODIL DECQ

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ATELIER BRUECKNER

ÀÐÕÈÒÅÊÒÓÐÍÀß ÑÒÓÄÈß ARCHITECTURAL STUDIO

 Íàöèîíàëüíîì ìóçåå ñïîðòà â Êåëüíå ìîæíî ñîâåðøèòü íàñòîÿùåå ïóòåøåñòâèå ïî 200-ëåòíåé èñòîðèè íåìåöêîãî ñïîðòà. Ñêîðîñòü è äâèæåíèå, ÷åñòíàÿ èãðà è êóëüò ïîáåäû, òðèóìô è ðàçî÷àðîâàíèå – ñïîðò çàâîðàæèâàåò. Ýòî ìèã ìåæäó ïîáåäîé è ïîðàæåíèåì, ìîìåíò òðèóìôà è íåóäà÷è â áîðüáå, ìãíîâåíèå Îëèìïèéñêîãî äóõà, ïðîôåññèîíàëüíîãî ñïîðòà è ïðåîäîëåíèÿ ñåáÿ.

A staged journey through 200 Years of German sports history is shown at the German Sport and Olympia Museum in Cologne. Speed and movement, fairness and the cult of victory, triumph and disap-pointment – sport fascinates: the instant between victory and defeat, the moment of triumph and disappointment in the struggle between Olympic ethos, professional sports and exceeding one’s limits.

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ÀÐÕÈÒÅÊÒÓÐÍÀß ÑÒÓÄÈß

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1–6. Ìóçåé ñïîðòà

ìåñòî > Ðåéíàóõàôåí, Êåëüí, Ãåðìàíèÿ ñòðîèòåëüñòâî > 1999 âûñòàâî÷íîå îôîðìëåíèå , ñöåíîãðàôèÿ, ãðàôè÷åñêèé äèçàéí > Atelier Brueckner ñòàòóñ > âðåìåííàÿ âûñòàâêà çàêàç÷èê > Stiftung Deutsches Ìóçåé ñïîðòà ïëîùàäü > 2800 êâ. ì

INTERIOR | ARCHITECTS. DESIGNERS 4

1–6. Sport and Olympia Museum

location > Rheinauhafen, Cologne, Germany completed > 1999 exhibition design, scenography, graphic design > Atelier Brueckner status > permanent exhibition awarding authority > Stiftung Deutsches Sport and Olympia Museum exhibition area > 2800 sq. m

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ATELIER BRUECKNER

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SOLO SOLO

ÎÔÈÑ-ÄÈÇÀÉÍ OFFICE DESIGN

Îñíîâàííàÿ â 1993 ãîäó, êîìïàíèÿ ãîðäèòñÿ ðåïóòàöèåé íàäåæíîãî ïàðòíåðà è ýêñïåðòà. Ëèäåðñòâî ÑÎËÎ â îáëàñòè ñîçäàíèÿ îôèñíûõ èíòåðüåðîâ îáåcïå÷èâàåòñÿ âûñîêèì ïðîôåññèîíàëèçìîì ñîòðóäíèêîâ âñåõ óðîâíåé. Ãëàâû îòäåëîâ – ìåíåäæåðû ñ áîëåå ÷åì ïÿòèëåòíèì îïûòîì ðàáîòû â ìåáåëüíîì áèçíåñå è äèïëîìàìè MBA. Ñîòðóäíèêè ïðîåêòíîãî áþðî – äèïëîìèðîâàííûå àðõèòåêòîðû è èíæåíåðû-ñòðîèòåëè. Ñîòðóäíèêè êîíòðàêòíûõ îòäåëîâ ïðîõîäÿò ðåãóëÿðíûå ñòàæèðîâêè â Åâðîïå. Áîëåå 150 êîëëåêöèé ìåáåëè âåäóùèõ åâðîïåéñêèõ ïðîèçâîäèòåëåé. Ýðãîíîìè÷íûå êðåñëà. Îôèñíûå ïåðåãîðîäêè. Ñòåíîâûå ïàíåëè. Ïðîôåññèîíàëüíûé îôèñíûé ñâåò. Êîíñóëüòèðîâàíèå ïî îðãàíèçàöèè îôèñíîãî ïðîñòðàíñòâà. Äèçàéí-ïðîåêòèðîâàíèå. ÑÎËÎ âïåðâûå â Ðîññèè ââîäèò â äåëîâîé îáîðîò ïîíÿòèå «ïðîôåññèîíàëüíûé îôèñíûé ñâåò».  ñòðàòåãèè ÑÎËÎ ðåàëèçàöèÿ ýòîãî íàïðàâëåíèÿ ñòàíîâèòñÿ âàæíûì ýëåìåíòîì ñèñòåìû ïî ðàçðàáîòêå êîìïëåêñíûõ ðåøåíèé äëÿ îôèñîâ âûñîêîãî êëàññà. Ðåøåíèé, âêëþ÷àþùèõ â ñåáÿ ñîâðåìåííûå ñèñòåìû ïåðåãîðîäîê, óñëóãè ïî áèçíåñ-êîíñóëüòèðîâàíèþ è ïðîåêòèðîâàíèþ. Êà÷åñòâî îñâåòèòåëüíûõ óñòàíîâîê, êîòîðûå ñïåöèàëèñòû ÑÎËÎ ïðîåêòèðóþò äëÿ ñâîèõ ïàðòíåðîâ è êëèåíòîâ, îïðåäåëÿåòñÿ ïðîôåññèîíàëèçìîì ïðîåêòèðîâùèêîâ è ïðîäóêöèåé, ñîîòâåòñòâóþùåé âûñøèì ìèðîâûì ñòàíäàðòàì îò ëèäåðîâ îòðàñëè: Artemide, Martini Lighting, Luceplan, øâåäñêàÿ Fagerhult, íåìåöêàÿ Waldmann, ôðàíöóçñêèå Unilux è Manade.  îòëè÷èå îò ïîäàâëÿþùåãî áîëüøèíñòâà èãðîêîâ ðîññèéñêîãî ðûíêà îôèñíûõ ïåðåãîðîäîê, ñâÿçàííûõ íåîáõîäèìîñòüþ êàæäûé ðàç ïðîäàâàòü òî, ÷òî îíè ñàìè æå è ïðîèçâîäÿò, ÑÎËÎ ñòàíîâèòñÿ ïåðâûì ñèñòåìíûì èíòåãðàòîðîì, ïðåäëàãàÿ ïëàíèðîâî÷íûå ðåøåíèÿ íà áàçå ñîâðåìåííûõ òåõíîëîãè÷åñêèõ ðåøåíèé âåäóùèõ åâðîïåéñêèõ ðàçðàáîò÷èêîâ òàêèõ ñèñòåì.  ðåçóëüòàòå ýòîé ïîëèòèêè îðèãèíàëüíûå ôðàíöóçñêèå ïåðåãîðîäêè ABCD, ê ïðèìåðó, ñïîñîáíû ëåãêî êîíêóðèðîâàòü â ýêîíîì-êëàññå ñ èõ ðîññèéñêèìè ñîáðàòüÿìè áëàãîäàðÿ ýôôåêòó ìàñøòàáà è ëîêàëèçàöèè ïðîèçâîäñòâà â Ðîññèè. Ïàðòíåðû ÑÎËÎ: Sinetica (Datum, OXE), Universal Selecta, Nordwall, Dorma, Huppe. Ïðîãðàììà PROFESSIONAL OFFICE ïîçâîëÿåò êëèåíòó ìèíèìàëüíî ñæàòûå ñðîêè ïîëó÷èòü íåîáõîäèìûé êîìïëåêò ìåáåëè. Êëèåíòû: Àýðîôëîò, áàíê «Çåíèò», èçäàòåëüñêèé äîì «Êîììåðñàíòú», ÀËÐÎÑÀ, Ìýðèÿ Ìîñêâû, êîìïàíèÿ Äîí-ñòðîé, «Ñëàâíåôòü», ÌÈÀÍ, ãðóïïà Bosco de Ciliegi, ÐÅÍÅÑÑÀÍÑ, ÑÒÑ Ìîòîðñ (îôèöèàëüíûé äèëåð Opel, Chevrolet â Ðîññèè), Ernst&Young (CIS) Limited.

The company was founded in 1993 and today it is proud of having gained the reputation of reliable partner and good expert. Highly qualified team of the company ensured SOLO leading positions in the sphere of designing office interiors. Heads of departments are managers with MBA degree and more than five year experience in furniture market. Members of the project bureau are certificated architects and civil engineers. Contract employees regularly work on probation in Europe. More than 150 furniture collections from the leading European companies. Ergonomic arm-chairs, office partitions, wall panels, professional office lighting, consultations on organizing office space, project design. SOLO was the first to introduce the conception of «professional office lighting». Developing this direction has become an important element of SOLO strategy on complex solutions for offices of high class. These solutions include up-to-date systems of office partitions, business and design consulting. SOLO specialists design high-quality lighting installations for their partners and clients, which is due to designers’ professionalism and goods of the highest world standard from the leading companies: Artemide, Martini Lighting, Luceplan, Swiss Fagerhult, German Waldmann and French Unilux è Manade. As oppose to other companies working in Russian market of office partitions and selling what they produce, SOLO was the first to use system approach offering design solutions based on modern technologies applied by the European leaders. As the result for example original French partitions ABCD can easily compete with Russian analogues thanks to scale effect and production localization in Russia. SOLO Partners: Sinetica (Datum, OXE), Universal Selecta, Nordwall, Dorma, Huppe. Program PROFESSIONAL OFFICE allows clients to get the necessary furniture set in minimal time. Clients: Aeroflot, Bank «Zenit», Publishing House «Kommersant», ALROSA, City Hall of Moscow, Company «Donstroy», «Slavneft», MIAN, Bosco de Ciliegi Group, RENESSANS, STS Motors (official dealer of Opel and Chevrolet in Russia), Ernst&Young (CIS) Limited.

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1. Ïðèåìíàÿ çàâîäà «Ïðîãðåññ»

ìåñòî > ÑÏá, íàá. ×åðíîé ðå÷êè, ä. 41 ðåàëèçàöèÿ > 2007 àâòîð > Àíòîí Áàáåíêîâ «Ñîëî» ôîòî > Åëåíà Áîÿðñêîâà

2–3. «ÂåÌàÒåê-Íîðä»

ìåñòî > ÑÏá, Êîëîìÿæñêèé ïð., ä. 33 ðåàëèçàöèÿ > 2007 àðõèòåêòîðû > àðõèòåêòóðíàÿ ñòóäèÿ «Êâàäðàò» ïëîùàäü > 500 êâ. ì ôîòî > Åëåíà Áîÿðñêîâà

1. Waiting room, factory «Progress»

location > 41 Chernaya Rechka Emb., SPb construction > 2007 author > Anton Babenkov «SOLO» photographer > Elena Boyarskova

2–3. «VeMaTek-Nord»

location > 33 Kolomyazhsky Pr., SPb construction > 2007 architects > architectural studio «Kvadrat» area > 500 sq. m photographer > Elena Boyarskova

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ÊÂÀÄÐÀÒ KVADRAT

ÀÐÕÈÒÅÊÒÓÐÍÀß ÑÒÓÄÈß ARCHITECTURAL STUDIO

Àðõèòåêòóðíàÿ ñòóäèÿ «Kâàäðàò» áûëà ñîçäàíà â 1997 ãîäó è çà âðåìÿ ñâîåãî ñóùåñòâîâàíèÿ ñòàëà íàäåæíîé è âîñòðåáîâàííîé àðõèòåêòóðíî-ñòðîèòåëüíîé êîìïàíèåé. Còóäèÿ ñïåöèàëèçèðóåòñÿ íà àðõèòåêòóðíîì ïðîåêòèðîâàíèè è ñòðîèòåëüñòâå çäàíèé, äèçàéíå è îòäåëêå èíòåðüåðîâ êëàññà deluxe. Àðõèòåêòóðíàÿ ñòóäèÿ «Kâàäðàò» ïðåäîñòàâëÿåò âåñü êîìïëåêñ óñëóã ïî ïðîåêòèðîâàíèþ îáúåêòîâ ëþáîãî íàçíà÷åíèÿ è êàòåãîðèè, ñòðîèòåëüñòâà è ðåêîíñòðóêöèè, ââîäà â ýêñïëóàòàöèþ æèëûõ è íåæèëûõ ïîìåùåíèé, ñîïðîâîæäåíèþ ñòðîèòåëüñòâà â Ïåòåðáóðãå, îáëàñòè, è â äðóãèõ ãîðîäàõ Ðîññèè. «Kâàäðàò» – êîìàíäà ïðîôåññèîíàëüíûõ äèçàéíåðîâ è àðõèòåêòîðîâ, ïðåêðàñíî îðèåíòèðóþùèõñÿ â ñîâðåìåííûõ òå÷åíèÿõ äèçàéíà èíòåðüåðà è àðõèòåêòóðå, ãäå ðàáîòàþò ñïåöèàëèñòû, èìåþùèå áîëüøîé ïðàêòè÷åñêèé îïûò è ìåæäóíàðîäíûå êîíòàêòû â äàííûõ îáëàñòÿõ äåÿòåëüíîñòè. «Êâàäðàò» ïðàêòèêóåò ãèáêèé âàðèàíò ïîäõîäà ê ïðîåêòèðîâàíèþ, êàê èíäèâèäóàëüíûé, òàê è òèïîâîé, â çàâèñèìîñòè îò æåëàíèÿ è âîçìîæíîñòåé êëèåíòà. Ìíîãîëåòíèé îïûò ïîñòîÿííîå ñîâåðøåíñòâîâàíèå ïðîôåññèîíàëüíûõ çíàíèé â îáëàñòè àðõèòåêòóðû è äèçàéíà, õîðîøèé âêóñ è áîãàòàÿ ôàíòàçèÿ ïîçâîëÿåò àðõèòåêòîðàì ñîçäàâàòü íåïîâòîðèìûå, ÿðêèå è çàïîìèíàþùèåñÿ èíòåðüåðû.

The architectural studio «Kvadrat» was established in 1997, since that time it has become a reliable and successful architectural and construction company. The studio specializes in architectural projects, building construction, design and deluxe interiors finish. The architectural studio «Kvadrat» offers the whole spectrum of services on designing objects of any type and category, construction and reconstruction, commissioning residential and commercial buildings, construction following in Saint-Petersburg, Leningrad Region and other cities of Russia. «Kvadrat» is a team of professional designers and architects. who know well modern trends in interior design and architecture and have great practical experience and international contacts in these spheres. «Kvadrat» uses flexible approach in individual design as well as standard design, depending on the request of the client. Many years’ experience and constant perfection of their professional knowledge in the field of design and architecture, good style and rich imagination enable our architects to create unique and lively interiors.

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1–2. Áàíê «Àëåêñàíäðîâñêèé»

ìåñòî > ÑÏá, Á.Ìîðñêàÿ óë. ñòðîèòåëüñòâî > 2007 àðõèòåêòîðû > Âëàäèìèð Êóçíåöîâ, Àëåêñàíäð Êðàíèí, Êèðà Ëèñåíêîâñêàÿ ïëîùàäü > 4800 êâ. ì ôîòî > Âëàäèìèð Êóçíåöîâ

3. Êàáèíåò äèðåêòîðà ÏÒÑ

ìåñòî > ÑÏá, Á. Ìîðñêàÿ óë. ñòðîèòåëüñòâî > 2006 àðõèòåêòîðû > Àëåêñåé Àëþõèí, Ðîìàí Ñàâè÷åâ, ßíà Âåñåëîâà ïëîùàäü > 250 êâ. ì ôîòî > Àíäðåé Ñàìîéëîâ

1–2. Bank «Alexandrovskiy»

location > Bolshaya Morskaya St., SPb construction >2007 architects > Vladimir Kuznetsov, Alexander Kranin, Kira Lisenkovskaya area > 4800 sq. m photographer > Vladimir Kuznetsov

3. PTS Director’s office

location > Bolshaya Morskaya St., SPb construction > 2006 architects > Alexey Alyukhin, Roman Savichev, Yana Veselova area > 250 sq. m photographer > Andrey Samoylov

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7–8. Îôèñ ïðîäàæ êîìïàíè ÑÊÀÉËÈÍÊ

ìåñòî > ÑÏá, ïð. Äîáðîëþáîâà, ä. 11 ñòðîèòåëüñòâî > 2002 àðõèòåêòîðû > Àëåêñåé Àëþõèí, Ðîìàí Ñàâè÷åâ, Êîíñòàíòèí Íåêëþäîâ, ßíà Âåñåëîâà ïëîùàäü > 450 êâ. ì ôîòî > Àíäðåé Ñàìîéëîâ

9–10. Êîíäèòåðñêàÿ «Áaëòèéñêèé õëåá»

ìåñòî > ÑÏá, ÒÐÖ «Ðàäóãà», ïð. Êîñìîíàâòîâ, ä. 14 ñòðîèòåëüñòâî> 2007 àðõèòåêòîð > ßíà Âåñåëîâà ïëîùàäü > 130 êâ. ì ôîòî > Àíäðåé Ñàìîéëîâ

7–8. SKYLINK sale office

location > 11 Dobrolyubova Pr., SPb construction > 2002 architects > Alexey Alyukhin, Roman Savichev, Konstantin Neklyudov, Yana Veselova area > 450 sq. m photographer > Andrey Samoylov

9–10. Confectionery «Baltiysky Khleb»

location > Shopping Mall «Raduga», 14 Kosmonavtov Pr., SPb construction > 2007 architect > Yana Veselova area > 130 sq. m photographer > Andrey Samoylov

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GRAFT

ÀÐÕÈÒÅÊÒÓÐÍÀß ÑÒÓÄÈß ARCHITECTURAL STUDIO

Àíãëèéñêîå ñëîâî «graft» èìååò ìíîãî çíà÷åíèé è ìîæåò áûòü ïîíÿòî ïî-ðàçíîìó, ýòî è òðàíñïëàíòàíò, è øóëåðñòâî, íî è óïîðíàÿ ðàáîòà.  áîòàíèêå ýòî ñëîâî îáîçíà÷àåò ïðèâèâàíèå, êîãäà îäèí ïîáåã ñîåäèíÿþò ñ äðóãèì, ãåíåòè÷åñêè îòëè÷íûì. Ïîëîæèòåëüíûå ñâîéñòâà äâóõ ãåíåòè÷åñêè ðàçíûõ êóëüòóð ñîåäèíÿþòñÿ â íîâîì áèîëîãè÷åñêîì âèäå.  ñåëüñêîì õîçÿéñòâå, íàïðèìåð, ÷àñòî ïðèâèâàþò ÷åðåíêè ê êîðíÿì, êîòîðûå óñòîé÷èâû ê ìîðîçàì è ïàðàçèòàì. òàêîì áîòàíè÷åñêîì ïîíèìàíèè ïðèâèâàíèå ìîæíî ðàññìàòðèâàòü êàê ôåíîìåí ÷åëîâå÷åñêîé êóëüòóðû. Êàê òîãäà îí ïîâëèÿåò íà àðõèòåêòóðó? Ìû æèâåì â íîâîì êî÷åâîì âåêå, êîãäà âñå áîëüøå âîçðàñòàåò ïîòðåáíîñòü â ìàíåâðåííîñòè è óñîâåðøåíñòâîâàíèè ïîñòîÿííî ñîêðàùàþùèõñÿ îòíîøåíèé ïðîñòðàíñòâî-âðåìÿ-èíôîðìàöèÿ. Ñàìîèäåíòèôèêàöèÿ ëè÷íîñòè ñòàâèòñÿ ïîä âîïðîñ, ìû âûðâàíû èç ïðèâû÷íîãî íàì îêðóæåíèÿ è âûíóæäåíû èñêàòü íîâûå êîðíè â èçìåíèâøåéñÿ èíôîðìàöèîííîé ñðåäå ñ ïîìîùüþ íîâûõ ïîíÿòèé.  ÿíâàðå 1998 ãîäà â Ëîñ-Àíäæåëåñå ïîÿâèëàñü íîâàÿ àðõèòåêòóðíàÿ, õóäîæåñòâåííàÿ è ìóçûêàëüíàÿ ìàðêà «ïîãîíè çà ñ÷àñòüåì» GRAFT, îñíîâàòåëÿìè êîòîðîé ñòàëè Ëàðñ Êðþêåáåðã, Âîëüôðàì Ïóö è Òîìàñ Âèëëåìåéò. Ñåãîäíÿ â ñòóäèè çàíÿòû áîëåå 20 àðõèòåêòîðîâ è õóäîæíèêîâ èç ÑØÀ, Åâðîïû è Àçèè. Ïîìèìî îôèñà â Ëîñ-Àíäæåëåñå è Áåðëèíå GRAFT îòêðûëà ïðåäñòàâèòåëüñòâî â Ïåêèíå (Êèòàé) âî ãëàâå ñ ïàðòíåðîì ïî àçèàòñêîìó ðûíêó Ãðåãîðîì Õîõàéçåëåì.

The English word «graft» provokes a variety of meanings and multiple readings. It stands for transplants in the field of medicine, for cheating, but also for hard work. In the terminology of botany, it describes the grafting of one shoot onto a genetically different host. The positive properties of two genetically different cultures are combined in the new biological hybrid. In agriculture for example a scion is usually grafted onto a root, which is resistant to frost and parasites. With botany as a point of departure we can look at graft as a phenomenon in human culture and examine its implications for Architecture. We live in an age of NeoNomads with an increasing necessity for flexibility and the advance of compressed space-time-media relations. The identity of the individual becomes questionable: he is displaced from his original physical context and has to find new roots in the changed media environment through enriching new definitions. In January 1998 the GRAFT has been created in Los Angeles as a label for architecture, art, music and the «pursuit of happiness Kruckeberg, Wolfram Putz and Thomas Willemeit are the partners of GRAFT that today employs about 20 architects and». Lars artists in the US, Europe and in Asia. GRAFT has offices in Los Angeles and Berlin. In 2003 GRAFT opened an office in Beijing, China with Gregor Hoheisel as partner for the asian market.

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1–2. OPTICON

ìåñòî > Ãàìáóðã, Ãåðìàíèÿ ïðîåêò > 2006–2007 ñòðîèòåëüñòâî > 2007 äèçàéí > GRAFT ïðîåêòíàÿ ãðóïïà > Ëàðñ Êðþêåáåðã, Âîëüôðàì Ïóö, Òîìàñ Âèëëåìåéò, Ñâåí Ôóêñ, Þëèàí Áóø, Ãóõèëüä Íèããåìàéåð, Êðèñòîô ßíòîñ, Àëåõàíäðî Èëëî çàêàç÷èê > Hamburg Eyewear On GmbH ã-í Àíäðåàñ Êó÷êå ïëîùàäü > 140 êâ. ì ôîòî > Êðèñòèàí Áàðö

1–2. OPTICON

location > Hamburg, Germany project > 2006–2007 construction > 2007 design > GRAFT project team > Lars Krückeberg, Wolfram Putz, Thomas Willemeit, Sven Fuchs, Julian Busch, Gunhild Niggemeier, Christoph Jantos, Alejandra Illo client > Hamburg Eyewear On GmbH Mr. Andreas Kutschke area > 140 sq. m photographer > Christian Barz

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3–8. Eric Paris Salon Kerry Centre

ìåñòî > Ïåêèí, Êèòàé ñòðîèòåëüñòâî > 2007 äèçàéí > GRAFT ïðîåêòíàÿ ãðóïïà > Ãðåãîð Õîõàéçåëü, Ëàðñ Êðþêåáåðã, Òîìàñ Âèëëåìåéò, Âîëüôðàì Ïóö, Áåðòèë Äîíêåð, Áóðêå Ãðèíâóä, Êðèñòèàí Òîéáåðò, Äîííà Ðèäåëü, Íèêî Áîðíìàíí, Èíã-Öå ×åí, Ñóíí Äà Éîíã çàêàç÷èê > Eric Paris Salons Ltd, Ýðèê Êîíñòàíòèíî, Êàòè Ñèííîòò, Ëè Þ Õóè, Ðîáèñîí Ðàíäðèÿõàðèìàëàëà, Òüåððè Ëåêàò ïëîùàäü > 580 êâ. ì ôîòî > ßíã Äè

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ÀÐÕÈÒÅÊÒÓÐÍÀß ÑÒÓÄÈß

3–8. Eric Paris Salon Kerry Centre

location > Beijing, China construction > 2007 design > GRAFT project team > Gregor Hoheisel, Lars Krueckeberg, Thomas Willemeit, Wolfram Putz, Bertil Donker, Burke Greenwood, Christian Taeubert, Donna Riedel, Nico Bornmann, Ing-Tse Chen, Sun Da Yong client > Eric Paris Salons Ltd, Eric Costantino, Katy Sinnott, Li Yu Hui, Robison Randriaharimalala, Thierry Lecat area > 580 sq. m photographer > Yang Di

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ARCHITECTURAL STUDIO

GRAFT

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ÑÒÐÎÉÌÎÍÒÀÆ-ÏÐÎÅÊÒ STROYMONTAGE-PROJEKT

ÏÐÎÅÊÒÍÎÅ ÁÞÐÎ PROJEKT BUREAU

Ïðîåêò âõîäíûõ ãðóïï èìååò öåëü ìàêñèìàëüíî èçáàâèòü íàñ îò ñòåðåîòèïíîãî âîñïðèÿòèÿ ïîäúåçäà, êàê ôóíêöèîíàëüíîãî ïîìåùåíèÿ. Ïîñëå ôàñàäà ïîäúåçä ÿâëÿåòñÿ âòîðûì «ëèöîì äîìà», îòðàæàþùèì êëàññ æèëüÿ. Ó êàæäîãî âõîäÿùåãî, íå âàæíî – ãîñòü îí èëè æèëåö, äîëæíî ñðàçó æå âîçíèêàòü îùóùåíèå äîìàøíåãî óþòà, ÷èñòîòû. Äàæå ñàìîå ïðîñòîå ìîæåò áûòü êðàñèâûì.

The project of the entrance groups is aimed at avoiding stereotype of a porch as a premise. After the façade the porch is the second face of the building, representing the class of the house. Every person entering the house no matter guest of owner should feel being at home. Even simple things can be beautiful.

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ÑÒÐÎÉÌÎÍÒÀÆ-ÏÐÎÅÊÒ

3

ÏÐÎÅÊÒÍÎÅ ÁÞÐÎ

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4

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1–3. Èíòåðüåð îôèñíîé ÷àñòè êîìïëåêñà «Mont Blanc»

1–3. Suits’ interior in the complex «Mont Blanc»

1,2. Õîëë ïåðâîãî ýòàæà 3. Âòîðîé ýòàæ

1,2. Hall, ground floor 3. First floor

4, 6–7. Èíòåðüåð âõîäíîé ãðóïïû æèëîãî äîìà

4, 6–7. Interior of the entrance group of an apartment house

5, 8–9. Èíòåðüåð âõîäíîé ãðóïïû æèëîãî äîìà

5, 8–9. Interior of the entrance group of an apartment house

ìåñòî > ÑÏá, Á. Ñàìïñîíèåâñêèé ïð., ä. 4, 6, 8 àâòîð > Þ. Ãàâðèëè÷åâà ïðîåêò > 2007

ìåñòî > ÑÏá, óë. Áðÿíöåâà, êîðï. 2 àâòîð > È. Ðîùèí ïðîåêò > 2007

ìåñòî > ÑÏá, óë. Ðèõàðäà Çîðãå, êîðï. 14 àâòîð > Ì. Âàñþòèí ïðîåêò > 2007

INTERIOR | ARCHITECTS. DESIGNERS 4

location > 4, 6, 8 Bolshoy Sampsonievskiy Pr., SPb author > Y. Gavrilicheva project > 2007

location >2 Bryantseva St., SPb author > I. Roshchin project > 2007

location > 14 Richard Zorge St., SPb author > Ì. Vasyutin project > 2007

PROJEKT BUREAU

STROYMONTAGE-PROJEKT

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ÑÒÓÄÈß ÀÐÕÈÒÅÊÒÓÐÍÎÃÎ ÄÈÇÀÉÍÀ ÌÓÄÐÎÃÅËÅÍÊÎ BOX 05 ARCHITECTURAL DESIGN STUDIO OF MUDROGELENKO BOX 05

Ñòóäèÿ àðõèòåêòóðíîãî äèçàéíà Äìèòðèÿ Ìóäðîãåëåíêî box05 ñïåöèàëèçèðóåòñÿ íà ðàçðàáîòêå è ðåàëèçàöèè ïðåèìóùåñòâåííî ñîâðåìåííûõ àðõèòåêòóðíûõ ðåøåíèé. Ïðè ðåàëèçàöèè îáúåêòîâ, îòäàåò ïðåäïî÷òåíèå â èñïîëüçîâàíèè ïðîäóêöèè êîíöåïòóàëüíûõ ìåáåëüíûõ ôàáðèê, ôàáðèê îñâåòèòåëüíîãî îáîðóäîâàíèÿ è ïðî÷èõ ýëåìåíòîâ, áåç êîòîðûõ àðõèòåêòóðíûé îáúåêò íå ìîæåò ñ÷èòàòüñÿ âïîëíå çàâåðøåííûì. Ñòóäèÿ ñìîòðèò íà äèçàéí ñî ñòîðîíû àðõèòåêòóðû, ïîýòîìó åå ðàáîòû íîñÿò áîëåå àðõèòåêòóðíûé õàðàêòåð, íåæåëè äåêîðàòèâíûé. Óäåëÿåòñÿ áîëüøåå âíèìàíèå îáùåìó îáúåìíî-ïëàíèðîâî÷íîìó ðåøåíèþ, ôóíêöèîíàëüíîìó çîíèðîâàíèþ, ðåøåíèþ ÷èñòûõ óçëîâ. Êîìïîçèöèîííûé ïðèíöèï, ïðèìåíÿåìûé â ïðîåêòèðîâàíèè box 05: èñïîëüçîâàíèå ðàçíûõ ïî ñâîåé àðõèòåêòóðå è ôàêòóðå ýëåìåíòîâ ìàëûõ ôîðì äëÿ ôîðìèðîâàíèÿ îðèãèíàëüíîãî öåëîñòíîãî ïðîñòðàíñòâà.

ÀÐÕÈÒÅÊÒÐÓÍÀß ÑÒÓÄÈß ARCHITECTURAL STUDIO

Architectural Design Studio of Dmitriy Mudrogelenko box 05 specializes in projecting and realization of mainly modern architectural solutions. In its work the Studio gives preference to the production of conceptual furniture plants, lighting equipment plants and other elements, which are integral parts of an accomplished architectural project. The Studio considers design from the architectural point of view that is why its works are more architectural than decorative. It pays a lot attention to the general spaceand-planning parameters, functional zoning and clear details. Compositional principle used by box05 include implementing different architectural and texture elements of small sizes for forming original integrated space.

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ÑÒÓÄÈß ÀÐÕÈÒÅÊÒÓÐÍÎÃÎ ÄÈÇÀÉÍÀ ÌÓÄÐÎÃÅËÅÍÊÎ BOX 05

ÀÐÕÈÒÅÊÒÓÐÍÀß ÑÒÓÄÈß

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1–3 Èíòåðüåð çàãîðîäíîãî äîìà ïîä Ñàíêò-Ïåòåðáóðãîì àâòîð > Äìèòðèé Ìóäðîãåëåíêî ïðîåêò > 2005 ñòðîèòåëüñòâî > 2005–2007 îáùàÿ ïëîùàäü > 650 êâ. ì ôîòî > Ïåòð Ëåáåäåâ, 2007 1. Ãîñòèíàÿ 2. Äåòñêàÿ 3. Êîìíàòà îòäûõà

1–3 Interior of a country house near Saint-Petersburg author > Dmitriy Mudrogelenko project > 2005 construction > 2005–2007 total area > 650 sq. m photographer > Petr Lebedev, 2007 1. Living room 2. Children’s room 3. Rest room

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ARCHITECTURAL STUDIO

ARCHITECTURAL DESIGN STUDIO OF MUDROGELENKO BOX 05

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ÁÎÃÀÐÒ BOGART

ÄÈÇÀÉÍ-ÑÒÓÄÈß DESIGN STUDIO

Ñàíêò-Ïåòåðáóðãñêàÿ êîìïàíèÿ «Áîãàðò» ñ 2002 ãîäà ðåàëèçóåò ïðîåêòû â îáëàñòè îñíàùåíèÿ ìåáåëüþ îôèñíûõ è îáùåñòâåííûõ çäàíèé. Ïðåäñòàâëÿÿ â Ðîññèè ðÿä êðóïíåéøèõ åâðîïåéñêèõ ìåáåëüíûõ êîíöåðíîâ, âûïóñêàþùèõ ïåðåäîâóþ ñ òî÷êè çðåíèÿ ôóíêöèîíàëüíîñòè, äèçàéíà è ýðãîíîìèêè ïðîäóêöèþ, êîìïàíèÿ çàíèìàåòñÿ ïîäãîòîâêîé ïðîåêòîâ è, â òî æå âðåìÿ, ÿâëÿåòñÿ ïîñòàâùèêîì ïðîôåññèîíàëüíîé ìåáåëè è àêñåññóàðîâ äëÿ èõ ðåàëèçàöèè. Êà÷åñòâî ïðîäóêöèè ïîäòâåðæäåíî åâðîïåéñêèìè è ðîññèéñêèìè ñåðòèôèêàòàìè êà÷åñòâà è ýêîëîãè÷íîñòè. Ñòðåìÿñü áûòü ìàêñèìàëüíî ïîëåçíûìè êëèåíòàì íà âñåõ ýòàïàõ ïîäãîòîâêè ïðîåêòîâ – îò ïîäáîðà ïîñòàâùèêîâ äî ðåîðãàíèçàöèè ðàáî÷åãî ïðîñòðàíñòâà, «Áîãàðò» âûïîëíÿåò ïîëíûé ñïåêòð ñåðâèñíûõ óñëóã, âêëþ÷àÿ: ïîäãîòîâêó ïðîåêòîâ èíòåðüåðà, ïîñòàâêó ìåáåëè è ïðåäìåòîâ èíòåðüåðà âåäóùèõ åâðîïåéñêèõ ïðîèçâîäèòåëåé, ïðåäîñòàâëåíèå ãàðàíòèé âûïîëíåíèÿ îáÿçàòåëüñòâ ïî òî÷íîñòè ïîñòàâîê è ñîáëþäåíèþ çàÿâëåííûõ ñðîêîâ, âûïîëíåíèå ïðåçåíòàöèé èíòåðüåðíûõ ðåøåíèé è îòäåëüíûõ êîëëåêöèé ìåáåëè äëÿ àðõèòåêòîðîâ è çàêàç÷èêîâ ïðîåêòà, îðãàíèçàöèþ âñòðå÷ ñ åâðîïåéñêèìè äèçàéíåðàìè è ïðåäñòàâèòåëÿìè ôàáðèê, ïðåäîñòàâëåíèå ïîäðîáíîé èíôîðìàöèè î ðàíåå îñóùåñòâëåííûõ ïðîåêòàõ, ïîäãîòîâêó êàòàëîãîâ è èíîé ìàðêåòèíãîâîé èíôîðìàöèè è ìàòåðèàëîâ, ðåãóëÿðíóþ ðàññûëêó èíôîðìàöèè î ñîâðåìåííûõ òåíäåíöèÿõ â îðãàíèçàöèè ïðîñòðàíñòâà è î íîâûõ êîëëåêöèÿõ åâðîïåéñêèõ ïðîèçâîäèòåëåé ìåáåëè. Ìíîãèå ïðåäñòàâëÿåìûå êîìïàíèåé ìîäåëè áûëè îòìå÷åíû ìåæäóíàðîäíûìè íàãðàäàìè çà âûñîêèé óðîâåíü äèçàéíà è ýðãîíîìèêè. Ïðîåêòû, âûïîëíåííûå ñ èñïîëüçîâàíèåì ïðåäëàãàåìûõ êîëëåêöèé, íåîäíîêðàòíî ïîëó÷àëè ïðåìèè êàê ëó÷øèå àðõèòåêòóðíûå ðåøåíèÿ â ðàçëè÷íûõ ñòðàíàõ ìèðà.

Saint-Petersburg Company «Bogart» has been realizing its projects in the field of furniture for offices and public buildings since 2002. The Company represents a number of the largest European furniture concerns producing furniture of upto-date functionality, design and ergonomics. «Bogart» works out projects and at the same time delivers and sells professional furniture and accessories. The products quality is confirmed with European and Russian certificates of quality and ecological compatibility. Striving to do its best on all projecting levels from selection of a supplier to reorganization of the working space, «Bogart» offers the whole spectrum of services including interior design, delivering furniture and accessories from the leading European companies, guarantee of accurate and punctual deliveries, presentation of interior solutions and furniture collections for architects and customers, organizing meetings with European designers and representatives of furniture factories, providing information about previous projects, making catalogues and other marketing information and materials and regular distribution of information on modern trends in development and new European furniture collections. Most of the models offered by the Company were awarded with international prizes for the high level of design and ergonomics. Projects, using presented collections, were many times awarded as the best architectural solutions in different countries.

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ÁÎÃÀÐÒ

ÄÈÇÀÉÍ-ÑÒÓÄÈß

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1. Îôèñíîå çäàíèå êîëëåêöèÿ ìåáåëè > Inno Interior

2. Êîíôåðåíö-çàë

êîëëåêöèÿ ìåáåëè > Erik Jorgensen

3. Îôèñíîå çäàíèå êîëëåêöèÿ ìåáåëè > Erik Jorgensen

1. Office Building

furniture collection > Inno Interior

2. Conference Hall furniture collection > Erik Jorgensen

3. Office Building

furniture collection > Erik Jorgensen

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DESIGN STUDIO

BOGART

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JETZT

ÑÒÓÄÈß ÈÍÒÅÐÜÅÐÍÛÕ ÐÅØÅÍÈÉ STUDIO OF INTERIOR SOLUTIONS

Ñòóäèÿ èíòåðüåðíûõ ðåøåíèé Jetzt îáðàçîâàíà â 2004 ãîäó. Îíà ïðåäîñòàâëÿåò ïîëíûé ñïåêòð ïðîôåññèîíàëüíûõ óñëóã ïî äåêîðèðîâàíèþ èíòåðüåðà – êîëëåêöèè íàñòåííûõ ïîêðûòèé, èíòåðüåðíûõ òêàíåé, äåêîðàòèâíûõ êàðíèçîâ, ëåïíîãî äåêîðà îò âåäóùèõ ìèðîâûõ ïðîèçâîäèòåëåé. Êîëëåêöèè îáíîâëÿþòñÿ êàæäûå òðè ìåñÿöà. Ñòóäèÿ Jetzt ÿâëÿåòñÿ îôèöèàëüíûì ïðåäñòàâèòåëåì ôàáðèêè Marburg, êîòîðàÿ ïðî÷íî çàâîåâàëà ïîçèöèè ëèäåðà íà ðûíêå íàñòåííûõ ïîêðûòèé. Ñîþç ôàáðèêè è âñåìèðíî èçâåñòíûõ äèçàéíåðîâ, òàêèõ êàê Ulf Moritz, Luigi Colani, Karim Rashid, êàæäûé ãîä ïîðàæàþò âîîáðàæåíèå èñêóøåííûõ ýñòåòîâ.

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Studio of interior solutions Jetzt was founded in 2004. It offers the whole spectrum of professional services on interior design – collections of wall coverings, interior textiles, decorative cornices, stucco mouldings from leading world producers. The collections are renewed every three months. The studio Jetzt is an official representative of the factory Marburg, which is the leader in the world market of wall coverings. Marburg together with world-known designers as Ulf Moritz, Luigi Colani, Karim Rashid excite the imagination of experienced aesthetes every year.

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JETZT

ÑÒÓÄÈß ÈÍÒÅÐÜÅÐÍÛÕ ÐÅØÅÍÈÉ

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1–2. Íàñòåííûå ïîêðûòèÿ. Ôàáðèêà Marburg Colani 3–4. Íàñòåííûå ïîêðûòèÿ. Ôàáðèêà Marburg Pearl 5. Ñàëîí ìåáåëè 6. ×àñòíûé èíòåðüåð 7. Èíòåðüåð ðåñòîðàíà

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1–2. Wall coverings. Factory Marburg Colani 3–4. Wall coverings. Factory Marburg Pearl 5. Furniture salon 6. Private interior 7. Restaurant interior

STUDIO INTERIOR SOLUTIONS

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ÌÈÐÅËËÀ MIRELLA

ÄÈÇÀÉÍ-ÑÒÓÄÈß DESIGN STUDIO

Ñåòü ñàëîíîâ «Ìèðåëëà» ñóùåñòâóåò íà ðûíêå ìåáåëè â ÑàíêòÏåòåðáóðãå ñ 1998 ãîäà. Çà ýòî âðåìÿ êîìïàíèåé ñîáðàíà áîëüøàÿ êîëëåêöèÿ êóõîííîé ìåáåëè ðàçëè÷íûõ èòàëüÿíñêèõ ôàáðèê. «Ìèðåëëà» ÿâëÿåòñÿ ýêñêëþçèâíûì ïðåäñòàâèòåëåì â Ñàíêò-Ïåòåðáóðãå êîíöåðíà “Corassin”, “Toskana Mobili” (Èòàëèÿ). Ïîñòîÿííîå îáíîâëåíèå ìîäåëüíîãî ðÿäà, ñëåäîâàíèå òåíäåíöèÿì è íàïðàâëåíèÿì â ìèðå ìåáåëüíîé ìîäû, îòñëåæèâàíèå íîâèíîê â îáëàñòè äèçàéíà è òåõíîëîãèé – ýòî îñíîâà êîíöåïöèè êîìïàíèè. «Ìèðåëëà» îñóùåñòâëÿåò ðàçðàáîòêó äèçàéí ïðîåêòà, òåõíè÷åñêîå ñîïðîâîæäåíèå äèçàéí ïðîåêòà, ïðîôåññèîíàëüíûå êîíñóëüòàöèè, äîñòàâêó è ìîíòàæ ìåáåëè áåñïëàòíî.

The chain of salons «Mirella» exists in the furniture market of SaintPetersburg since 1998. During this period the company has collected a great number of suites of kitchen furniture from various Italian factories. «Mirella» is an exclusive representative in Saint-Petersburg of such concerns as “Corassin” and “Toskana Mobili” (Italy). The basic principles of the company are constant updating furniture models, following the trends of furniture fashion, being informed of all innovations in the sphere of design and technologies. «Mirella» works out design projects, technically maintains them, gives professional consultations, delivers and installs furniture free of charge.

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1. Èíòåðüåð çàãîðîäíîãî äîìà êóõíÿ > Äîëü÷å Âèòà ðåàëèçàöèÿ > 2007 2, 3. Èíòåðüåð çàãîðîäíîãî äîìà êóõíÿ > Ðåãèíà

1. Interior of a country house kitchen > Dolce Vita construction > 2007 2, 3. Interior of a country house kitchen > Regina

INTERIOR | ARCHITECTS. DESIGNERS 4

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MIRELLA

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ÄÅÊÎÐ DECOR


ÄÅÊ-ÀÐÒ DEC-ART

ÒÂÎÐ×ÅÑÊÀß ÌÀÑÒÅÐÑÊÀß CREATIVE WORKSHOP

Óæå áîëåå 8 ëåò ôèðìà «Äåê-Àðò» ïðîèçâîäèò ýêñêëþçèâíûå èíòåðüåðû è ìåáåëü, èñïîëüçóÿ êàê ñîáñòâåííûå ðàçðàáîòêè, òàê è êîïèðóÿ ëó÷øèå èñòîðè÷åñêèå îáðàçöû. Êàæäûé ïðåäìåò, âûïóùåííûé ôèðìîé, ïðåäñòàâëÿåò ñîáîé ïîëíîöåííîå ïðîèçâåäåíèå äåêîðàòèâíî-ïðèêëàäíîãî èñêóññòâà. Ìàòåðèàëüíàÿ ïðî÷íîñòü è äîëãîâå÷íîñòü èçäåëèé ïîëíîñòüþ ñîîòâåòñòâóåò îáðàçöàì êîíöà XIX – íà÷àëà XX âåêîâ.  êîìïàíèþ îáðàùàþòñÿ ëþäè, æåëàþùèå îêðóæèòü ñåáÿ ïðåäìåòàìè, âîññîçäàþùèìè àòìîñôåðó ðàñöâåòà ðóññêîé êóëüòóðû. Îñíîâíîé ñïåöèàëèçàöèåé ôèðìû ÿâëÿåòñÿ èçãîòîâëåíèå ðåçíîãî äåêîðà ëþáîé ñëîæíîñòè. Îñîáîå âíèìàíèå óäåëÿåòñÿ âûðàçèòåëüíîñòè ïëàñòè÷åñêèõ ôîðì. Àðõèòåêòîðû, äèçàéíåðû è ðåç÷èêè «Äåê-Àðò» èìåþò çà ïëå÷àìè áîãàòûé îïûò ðåñòàâðàöèè óáðàíñòâà äâîðöîâ Ñàíêò-Ïåòåðáóðãà. Ôèðìà ìîæåò îêàçàòü êâàëèôèöèðîâàííóþ ïîìîùü ïðè âîññîçäàíèè èíòåðüåðà, ïðîêîíñóëüòèðîâàòü ïðè ïîäáîðå äåòàëåé óáðàíñòâà, âîñïîëíèòü íåäîñòàþùèå ïðåäìåòû. Ôèðìà îòëè÷àåòñÿ íàëè÷èåì îòëàæåííîãî ñïåöèàëèçèðîâàííîãî ïðîèçâîäñòâà ñ ñîâðåìåííûìè òåõíè÷åñêèìè âîçìîæíîñòÿìè, äåéñòâèòåëüíî èíäèâèäóàëüíûì îòíîøåíèåì ê êàæäîìó îáúåêòó.

For more than 8 years creative workshop «Dec-Art» has been producing exclusive interiors and furniture using their own solutions and adopting the best historic examples. Every piece designed by «Dec-Art» is a valuable work of applied art. Material solidity and durability of their works correspond with those from the end of XIX century and the beginning of XX. «Dec-Art» offers its services to people, who would like to surround themselves with the objects recreating the atmosphere of the flourishing period in Russian culture. The workshop mainly specializes in producing carved décor of any difficulty. Special attention is paid to expressiveness of plastic forms. Architects, designers and carvers of «Dec-Art» have great experience in restoring the interiors of Saint-Petersburg palaces. The workshop can render qualified assistance in recreating interiors, advise on choosing interior details and fill the gaps. «Dec-Art» has well organized specialized production with up-to-date technical solutions and individual approach.

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ÄÅÊ-ÀÐÒ

ÒÂÎÐ×ÅÑÊÀß ÌÀÑÒÅÐÑÊÀß

ÄÅÊÎÐ | ÀÐÕÈÒÅÊÒÎÐÛ. ÄÈÇÀÉÍÅÐÛ 4


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DECOR | ARCHITECTS. DESIGNERS 4

CREATIVE WORKSHOP

DEC-ART

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ÈÍÄÅÊÑ INDEX


ATELIER BRUECKNER (116–119) Àðõèòåêòóðíàÿ ñòóäèÿ, äèçàéí-ñòóäèÿ. Ãîä îñíîâàíèÿ: 1997. Âèäû äåÿòåëüíîñòè: ðàçâèòèå àðõèòåêòóðû, îðèåíòèðîâàííîé íà ñîäåðæàíèå; îôîðìëåíèå âûñòàâîê â ìóçåÿõ è íà ÿðìàðêàõ, â òîì ÷èñëå òàêèõ ìàñøòàáíûõ êàê Âñåìèðíûå âûñòàâêè â Ãàííîâåðå, Øâåéöàðèè, Ñàðàãîñå.  êà÷åñòâå ãåíåðàëüíîãî ïîäðÿä÷èêà Atelier Bruckner ðàçðàáàòûâàåò êîíöåïöèþ, äèçàéí, ïëàí è êîíñòðóêöèþ âûñòàâî÷íîé àðõèòåêòóðû, ãðàôèêè, îñâåùåíèÿ è ñðåäñòâ èíôîðìàöèè. Ïðîåêòû: 1999 – Íàöèîíàëüíûé ìóçåé ñïîðòà German Sport & Olympia Museum (Êåëüí, Ãåðìàíèÿ); 2000 – Cyclebowl íà Ýêñïî 2000 (Ãàííîâåð, Ãåðìàíèÿ); 2001 – Èíôîðìàöèîííûé öåíòð, àýðîïîðò Ôðàíêôóðòà (Ãåðìàíèÿ); 2002 – ïðîåêò «Ëþäè ñêâîçü ïðîñòðàíñòâî è âðåìÿ», Martin-GropiusBau (Áåðëèí, Ãåðìàíèÿ); 2003 – Âåñòôàëüñêèé Ìóçåé àðõåîëîãèè (Õåðíå, Ãåðìàíèÿ); Panasonic – Blue Scape (Áåðëèí, Ãåðìàíèÿ); 2004 – Ìåìîðèàë Ìàòèàñà Ýðöáåðãåðà (Ìþíçèíãåí-Áóòòåíõàóçåí, Ãåðìàíèÿ); «Ãåðìàíèÿ è ÷åìïèîíàòû ìèðà ïî ôóòáîëó ñ 1954», Èñòîðè÷åñêèé ìóçåé ïôàëüöãðàôñòâà (Øïåéåð, Ãåðìàíèÿ); Kodak – Anytime. Anywhere (Êåëüí, Ãåðìàíèÿ); 2005 – èññëåäîâàòåëüñêàÿ ëàáîðàòîðèÿ Forscherlabor (Õåðíå, Ãåðìàíèÿ); 2007 – Øàíõàéñêèé ìóçåé àâòîìîáèëåé (Øàíõàé, Êèòàé); Ìóçåé Áàõà (Àéçåíàõ, Ãåðìàíèÿ); Áèðæåâîé çàë, Íåìåöêàÿ áèðæà (Ôðàíêôóðò, Ãåðìàíèÿ); 2008 – Ìóçåé BMW (Ìþíõåí, Ãåðìàíèÿ); âûñòàâêà Expo Zaragoza (Ñàðàãîñà, Èñïàíèÿ); 2009 – Ìóçåé òåêñòèëÿ è èíäóñòðèè (Àóãñáóðã, Ãåðìàíèÿ); Ìóçåé Scheepvaart (Àìñòåðäàì, Íèäåðëàíäû). Ðóêîâîäèòåëè: ïðîôåññîð Óâå Áðþêíåð, Øèðèí Ôðàíãîóëü-Áðþêíåð, Ýáåðõàðä Øëàã. Óïðàâëåíèå ïðîåêòîì: Ôåëèêñ Áýêåð, Ðàéìóíä Äîêìàê, Êàòðèí Ôðàíóà, ßíà Ôðåëèõ, Äîìèíèê Õåãåìàíí, Áèðãèò Êàäàö, Íàòàëè Êëååìàí, Âåíêå Ìåðêåëü, Áåðíä Ìåëëåð, Óëüðèêå Ìóìì, Áðèòòà Íàãåëü, Åâà Øðàäå, Ðåíå Âàëüêåíõîðñò. Îòäåë ñâÿçåé ñ îáùåñòâåííîñòüþ: Êëàóäèÿ Ëþêñáàõåð. Êîíòàêò: 70376 Stuttgart Germany, Krefelder Strasse 32; +49 711 5000 77-0; e-mail:kontakt@atelier-brueckner.de www.atelier-brueckner.de www.atelier-brueckner.com

BAUMRAUM (198–203) Àðõèòåêòóðíàÿ êîìïàíèÿ. Ãîä îñíîâàíèÿ: 2003. Âèä äåÿòåëüíîñòè: àðõèòåêòóðà. Ïðîåêòû: 2003 – «Treehouse Plendelhof» (Áàññóì, Ãåðìàíèÿ); 2004 – «Treehouse Wencke» (Áðåìåðõàâåí, Ãåðìàíèÿ); 2005 – «Lookout Cabin Austria» (Çååáîäåí, Àâñòðèÿ); 2006 – «Treehouse between alder and oak» (Îñíàáðþê, Ãåðìàíèÿ); 2006 – «Casa Girafa» (Êóðèòèáà, Áðàçèëèÿ); 2007 – «Treehouse Louisa» (Ôðàíêôóðò, Ãåðìàíèÿ); 2007 – «Scout Treehouse» (Âîëüôñáóðã, Ãåðìàíèÿ); 2007 – «Treehouse magnolia and pine» (Ìåëå, Ãåðìàíèÿ); 2007 – «Cliff Treehouse» (øòàò Íüþ-Éîðê, ÑØÀ); 2008 – CAPOREA ïàâèëüîí äëÿ âûñòàâêè äåòñêîé ìîäû Ïèòòè Áèìáî (Ôëîðåíöèÿ, Èòàëèÿ). Ðóêîâîäèòåëü: Àíäðåàñ Âåííèíã. Êîíòàêò: Roonstrasse 49 Bremen 28203 Germany; + 0049 (0) 421 70 51 22; e-mail:a.wenning@baumraum.de www.baumraum.de BOX 05 (244–245) Ñòóäèÿ àðõèòåêòóðíîãî äèçàéíà. Ãîä îñíîâàíèÿ: 2005. Âèäû äåÿòåëüíîñòè: ñîâðåìåííûé àðõèòåêòóðíûé äèçàéí æèëîé ñðåäû è ìàëûõ îáùåñòâåííûõ ïðîñòðàíñòâ, ñîâðåìåííàÿ èíäèâèäóàëüíàÿ àðõèòåêòóðà. Ïðîåêòû: èíòåðüåðû ÷àñòíûõ àïàð278

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òàìåíòîâ. Êîëëåêòèâ: Ìóäðîãåëåíêî Äìèòðèé Âëàäèìèðîâè÷ – ðóêîâîäèòåëü è àðõèòåêòîð, Áîíäàðèê Çëàòà Âëàäèìèðîâíà – àðõèòåêòîð. Êîíòàêò: 197371, ÑÏá, ïð. Êîðîëåâà, 43, êîðï. 1, ê. 292; +7 (812) 340-2149; e-mail:info@mudrogelenko.com www.mudrogelenko.com

CARAMEL (132–139) Àðõèòåêòóðíàÿ ñòóäèÿ. Ãîä îñíîâàíèÿ: 2000. Âèä äåÿòåëüíîñòè: àðõèòåêòóðà. Ïðîåêòû: 2004 – House H (Ëèíö, Àâñòðèÿ); 2004 – House Lina (Ëèíö, Àâñòðèÿ); 2002 – Wifi (Äîðíáèðí, Àâñòðèÿ); 2000 – ma 48 (Âåíà, Àâñòðèÿ). Âûñòàâêè: 2007 – «Ïîêîëåíèå 40+» (Ïðàãà, ×åõèÿ); «Àðõèòåêòóðà áóäóùåãî (AIP)» (Èíñáðóê, Àâñòðèÿ); 2006 – «Ñîâðåìåííûé Áàóõàóñ – çà è ïðîòèâ», èñêóññòâî Áàçåëÿ (Ìàéàìè, ÑØÀ); 2006 – «Àðõèòåêòóðà çåìëè Çàëüöáóðã» (Âèëüíþñ, Ëèòâà). Íàãðàäû: 2006 – «Bauherrenpreis» – ïðèç çàñòðîéùèêà çà House H; 2006 – «Hauser Award» çà Haus Lina. Êîëëåêòèâ: Ãþíòåð Êàòåðëü (1965 ã.ð., Ôåêëàáðóê, Âåðõíÿÿ Àâñòðèÿ), Ìàðòèí Õàëëåð (1966 ã.ð., Ìèòòåëüáåðã, Ôîðàðëüáåðã, Àâñòðèÿ), Óëüðèõ Àøïåòñáåðãåð (1967 ã.ð., Ëèíö, Âåðõíÿÿ Àâñòðèÿ). Êîíòàêò: Schottenfelgasse 60/36, 1070 Vienna, Austria; 0043-1-5963490; e-mail:kha@caramel.at www.caramel.at

CASABELLA Ñàëîí èíòåðüåðà. Ãîä îñíîâàíèÿ: 1993. Âèä äåÿòåëüíîñòè: ïðÿìûå ïîñòàâêè èç Èòàëèè ìåáåëè, äâåðåé, ìåæêîìíàòíûõ ïåðåãîðîäîê, àêñåññóàðîâ è ñâåòèëüíèêîâ äëÿ ÷àñòíûõ è îáùåñòâåííûõ èíòåðüåðîâ. Êîíòàêò: ÑÏá, Ñóâîðîâñêèé ïð., 17; +7 (812) 710-3991, 710-3995, 271-4492; e-mail:casabelladesign@sp.ru; www.casabella.ru

DAIGO ISHII FUTURE (206–211) Àðõèòåêòîð. 1960 ã.ð. (Òîêèî, ßïîíèÿ). Îáðàçîâàíèå: 1983 – Ôàêóëüòåò àðõèòåêòóðû, Óíèâåðñèòåò Âåñåäà (ßïîíèÿ); 1985 – áàêàëàâðèàò â îáëàñòè àðõèòåêòóðû, Óíèâåðñèòåò Âåñåäà (ßïîíèÿ). Ìåñòî ðàáîòû: 1999 – îñíîâàë êîìïàíèþ «Futurescape Architects» (Òîêèî, ßïîíèÿ). Ïðîåêòû: 2004 – Äîì â Íèãàòà; «Tendo Mokko PLY»; 2003 – äîì â Êîãàíåé; äîì â Ìåãóðî; âèëëà â Îêèíàâà; äîì â Êàðóèçàâà; 2002 – ðåñòîðàí «Suzakumon»; äîì â Àèõàðà; êèîñê â Îéòà (Betsu-Dai Basis); äîì â Êàøèâàçàêè; 2001 – îôèñ ðóêîâîäñòâà ôèðìû «House of Light»; êîòòåäæ â Ôóäæèìè; äîì â Øèáàòà; 2000 – çäàíèå ôèðìû «House of Light», ñîâìåñòíî ñ Äæåéìñîì Òóððåëëîì (Òîêèî, ßïîíèÿ); 1997 –«White Blue Black» (Òîêèî, ßïîíèÿ); 1994 – âõîä â òóííåëü «FARET Tachikawa» (Îòàêå-êàéãàí, ßïîíèÿ). Êîíòàêò: Yahagi Building 401. 1-19-14, Yoyogi, Sibuya-ku, Tokio-to, 151-0053, Japan; +81-3-5350-0855; ôàêñ: +81-3-5350-0854; e-mail:info@future-scape.co.jp www.future-scape.co.jp

ELLER + ELLER ARCHITEKTEN (170–177) Àðõèòåêòîðû. Ãîä îñíîâàíèÿ: 1964. Öåëü: áîëåå 40 ëåò êîìïàíèÿ ïðîåêòèðóåò è âûïîëíÿåò îáùåñòâåííûå è èíäèâèäóàëüíûå çàêàçû; ïðåäîñòàâëÿåò íå òîëüêî àðõèòåêòóðíûå óñëóãè, çà ïîñëåäíèå ãîäû îäíèì èç ïðèîðèòåòíûõ íàïðàâëåíèé êîìïàíèè ñòàëî ãåíåðàëüíîå ïëàíèðîâàíèå. Âèäû äåÿòåëüíîñòè: îôèñíûå è êîììåð÷åñêèå çäàíèÿ, ìàãàçèíû, ïðàâèòåëüñòâåííûå ó÷ðåæäåíèÿ, ìóçåè, îòåëè, æèëûå êîìïëåêñû, ðàçâèòèå èíôðàñòðóêòóðû, ãîðîäñêîå ïëàíèðîâàíèå, äèçàéí èíòåðüåðà. Ïðîåêòû: 2007–2010 – îòåëü | ÀÐÕÈÒÅÊÒÎÐÛ. ÄÈÇÀÉÍÅÐÛ 4


AR-DECO CREATIVE WORKSHOP OF ALISA RODIONOVA Founded in: 1999. Specializes: textile design of interiors; delivering collection textiles, wallpapers, carpets, accessories; designing textile collections. Projects: competed projects of country houses, private and public interiors in SPb and Moscow. Director: Alisa Rodionova. Contact: 190013, SPb, 19 Bronnitskaya St.; +7 (812) 316-0997; 942-2615; e-mail:ar-deko@yandex.ru; www.ar-deko.ru

ARCHITECTURAL BUREAU «TRADICIA» (148–149) Project-construction bureau. Founded in: 1990. Specializes: reconstruction of buildings and structures; new construction, interior design. Team: director general – Dmitry Murzin; technical director – Leonid Krichevsky; associate director – Marat Kurleutov; chief architects – Sergey Nefedov, Evegeny Okinin; chief constructor – Viktor Guzovsky. Contact: SPb, 5-10 Nevsky Pr.; +7 (812) 312-6136; e-mail:ab-tradicia@rambler.ru www.tradicia.pochta.ru

ARCHITECTURAL WORKSHOP OF M. KOPKOV (186–189) Architectural workshop. Founded in: 1989. Specializes: complex building design. Projects: «Nikola Na Putyakh», Gymnasium «Dinamika», Housing Estate «Amber Coast», Housing Estate «Prince Alexander Nevsky». Director: M. Kopkov. Team: Ì. Panfilov, V. Tsirkunov, Å. Gapyak, M. Melkov, Î.Udovikina. Contact: 198000, SPb, Voznesensky Pr., 34B; +7 (812) 571-0344; e-mail: arko100@mail.ru

ART-GLASS Project design and construction company. Founded in: 2003. Specializes: all-glass constructions, automatic doors: project, delivery, installation. Projects: Business Center «Senator», Shopping moll «Lenta», «Kastorama», «Kontinent», «Ramstor», «Vanityopera», «Vladimirskiy Passazh», «Apriori», Auto center «Olimp», hotels «Novotel», «Astoria» (SPb). Team: A. Rayter – general director, O. Andrianov – technical director. Contact: SPb, 23\1 Arsenalnaya St.; +7 (812) 334-0555; fax: +7 (812) 334-0556; e-mail: info@art-glass.ru; www.art-glass.ru

ATELIER BRUECKNER (116–119; 220–221) Architectural studio/Design studio. Founded in: 1997. Specializes: development of architecture, generated by content, exhibition design for muse-ums and trade fairs, as well as large events as the World Expos in Hanover, in Switzerland or in Zaragoza. As general contractor Atelier Brueckner deve-lops concepts, design, planning and construction of exhibition architecture, graphics, light and media. Projects: 1999 – German Sport & Olympia Museum (Cologne, Germany); 2000 – Cyclebowl at Expo 2000 (Hanover, Germany); 2001 – Airport Information Center, Frankfurt Airport (Germany); 2002 – People Through Space and Time, Martin-Gropius-Bau Berlin (Germany); 2003 – Westphalian Museum of Archaeology (Herne, Germany); Panasonic – Blue Scape (Berlin, Germany); 2004 – Memorial Matthias Erzberger (Munsingen-Buttenhausen, Germany); Germany and the Football World Championships since 1954, The historical museum of the Palatinate (Speyer, Germany); Kodak – Anytime. Anywhere. (Cologne, Germany); 2005 – Forscherlabor, Sience ARCHITECTS. DESIGNERS 4

Lab (Herne, Germany); 2007 – Shanghai Auto Museum (Shanghai, China); Bach Museum (Eisenach, Germany); Trading Floor, German Stock Exchange (Frankfurt, Germany); 2008 – BMW Museum (Munich, Germany); Expo Zaragoza (Zaragoza, Spain); 2009 – Museum for Textile and Industry (Augsburg, Germany); Scheepvaart Museum (Amsterdam, Netherlands). Director: Prof. Uwe R. Brueckner, Shirin Frangoul-Brueckner, Eberhard Schlag Project management: Felix Becker, Raimund Docmac, Catherine Franois, Jana Froehlich, Dominik Hegemann, Birgit Kadatz, Natalie Kleemann, Wenke Merkel, Bernd Moeller, Ulrike Mumm, Britta Nagel, Eva Schrade, Rene Walkenhorst, Public Relations: Claudia Luxbacher. Contact: 70376 Stuttgart Germany, Krefelder Strasse 32; +49 711 5000 77-0; e-mail:kontakt@atelier-brueckner.de www.atelier-brueckner.de www.atelier-brueckner.com

ATLAS-LUX Kitchen saloons. Founded in: 1993. Specializes: for already 15 years the company «Atlas-Lux» has been one of the leaders in the market of manufacturers of premium class kitchen furniture. Manufacturing Italian kitchens in Moscow. In the Factory collection there are 15 various models of classic and modern design. Facades from best Italian factories: Ilcam, Attimec, Diffa Paolo, Santini, Masetti, GFL, Santarossa. We work individually with every architect and designer. Contact: 199004 SPb, 27 Bolshoy Pr. of the Vasilyevsky Island; +7 (812) 323-3248, phone/fax: +7 (812) 323-3249; e-mail:atlas-lux.spb@lek.ru 191014 SPb, 4 Zhukovskogo St.; +7 (812) 273-6518, 273-7575; e-mail:atlas-spb@yandex.ru 194017 SPb, 33 Engelsa Pr.; +7 (812) 326-3897; e-mail:atlas-lux.spb.62@mail.ru 196128 SPb, 157 Moskovsky Pr.; +7 (812) 387-3655; e-mail:kuhni-atlas-m@lek.ru; www.atlas-lux

BAUMRAUM (198–203) Architecture suite. Founded in: 2003. Specializes: architecture. Director: Andreas Wenning. Projects: 2003 – «Treehouse Plendelhof» (Bassum, Germany); 2004 – «Treehouse Wencke» (Bremerhaven, Germany); 2005 – «lookout cabin austria» (Seeboden, Austria); 2006 – «Treehouse between alder and oak» (Osnabruck, Germany); 2006 – «Casa Girafa» (Curitiba, Brazil); 2007 – «Treehouse Louisa» (Frankfurt, Germany); 2007 – «Scout treehouse» ( Wolfsburg, Germany) 2007 – «Treehouse magnolia and pine» (Melle, Germany). 2007 – «Cliff treehouse»; (New York State, USA) 2008 – CAPOREA Pavilion for the children fashion exhibition Pitti Bimbo (Florence, Italy). Contact: Roonstrasse 49 Bremen 28203 Germany; + 0049 (0) 421 70 51 22; e-mail:a.wenning@baumraum.de www.baumraum.de BOGART (250–251) Founded in: 2002. Specializes: design of office and public interiors, distribution of professional furniture from leading European manufacturers. Projects: The company has already fulfilled hundreds of successful projects in equipping offices, public buildings, private apartments and country houses. General Director: Natalya Semenova. Contact: 195112 SPb, 68 Malookhtinsky Pr., room405; INDEX

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Íåëüñîíà Ìàíäåëû (Àáóéà, Íèãåðèÿ); âûñòàâî÷íûé è Êîíãðåññ-öåíòð (Àíãóëåì, Ôðàíöèÿ); ìóçåé Piaggio (Ïîíòåäåðà, Èòàëèÿ); çäàíèå àðõèâà Centre des Archives Nationales (Ôðàíöèÿ); Phave Building (Ïàðèæ, Ôðàíöèÿ), Ãàçïðîì (ÑÏá, Ðîññèÿ); Îòåëü «Morgans» (Ëàñ-Âåãàñ, ÑØÀ); Îòåëü «Terminal» (Ãàìáóðã, Ãåðìàíèÿ); 2003–2006 – Çåíèò (Ñòðàñáóðã, Ôðàíöèÿ); 1998–2006 – Porta Palazzo (Òîðèíî, Èòàëèÿ); 2001–2005 – Sankei Building (Îñàêà, ßïîíèÿ); ãîëîâíîé îôèñ ðåãèîíà Ïüåìîíò (Òîðèíî, Èòàëèÿ); èññëåäîâàòåëüñêèé öåíòð Ferrari (Ìàðàíåëëî, Èòàëèÿ); êîìïëåêñ San Giacomo Parish (Ôîëèíüî, Èòàëèÿ); 2002–2005 – íîâûé òîðãîâûé ïàâèëüîí (Ìèëàí, Èòàëèÿ); 2002–2004 – Grappa Nardini (Âè÷åíöà, Èòàëèÿ); 2003 – Canal + (Ïàðèæ, Ôðàíöèÿ); Êîíöåðòíûé çàë (Àñòàíà, Êàçàõñòàí); Çåíèò (Àìüåí, Ôðàíöèÿ); 2002 – Pole De Loisirs (Ëèîí, Ôðàíöèÿ); Êóëüòóðíûé êîìïëåêñ (Ìîíðåàëü, Êàíàäà); 1997–2002 – Alsterfleet (Ãàìáóðã, Ãåðìàíèÿ); 1996–2001 – áàøíè-áëèçíåöû (Âåíà, Àâñòðèÿ); 1992–1996 – Ilot Candie (Ïàðèæ, Ôðàíöèÿ); 1990–1996 – Immeuble Turgot (Ëèìîæ, Ôðàíöèÿ); 1995 – Ïëîùàäü Íàöèîíàëüíîñòåé (Æåíåâà, Øâåéöàðèÿ); 1992–1994 – ãîðîäñêîé Óíèâåðñèòåòñêèé öåíòð (Áðåñò, Ôðàíöèÿ); 1988–1993 – Ìóçåé ãðàôôèòè (Íüî, France); 1992 – Lujia Zui-Pudong (Øàíõàé, Êèòàé); 1990–1992 – Enib Isamor (Áðåñò, Ôðàíöèÿ); 1987–1991 – Ìåäèàòåêà (Ðåçå, Ôðàíöèÿ). Íàãðàäû: áîëåå 100 íàãðàä. Êîíòàêò: Piazza del Monte di Pieta, 30 00186 Roma; +39 06 68807871; ôàêñ: +39 06 68807872; e-mail:office@fuksas.it; www.fuksas.it

ÖÅÍÒÐ ÏÀÐÊÅÒÀ Ãîä îñíîâàíèÿ: 2007. Âèäû äåÿòåëüíîñòè: îïòîâî-ðîçíè÷íàÿ òîðãîâëÿ. Íàïîëüíûå ïîêðûòèÿ èç íàòóðàëüíîãî äåðåâà, ëàìèíàò. Óêëàäêà «ïîä êëþ÷» ëþáîé ñëîæíîñòè, âêëþ÷àÿ õóäîæåñòâåííûé ïàðêåò è ðåñòàâðàöèþ. Øèðîêèé âûáîð øòó÷íîãî ïàðêåòà, ìàññèâíîé ïàðêåòíîé ïîëîâîé äîñêè, ëàìèíàòà. Õóäîæåñòâåííûé ïàðêåò: ïàííî, ðîçåòêè, ìîäóëè ïî îáðàçöàì è èíäèâèäóàëüíûì ïðîåêòàì. Ïîëíûé ñïåêòð ïàðêåòíûõ ðàáîò. Ñîïóòñòâóþùèå òîâàðû. Ïàðêåòíàÿ õèìèÿ. Óþòíûé èíòåðüåð ñàëîíà ðàñïîëàãàåò ê äåòàëüíîìó îáñóæäåíèþ ïðîåêòîâ è äèçàéíà ïîëà. Ïðåäëàãàåì âûãîäíûå óñëîâèÿ ñîòðóäíè÷åñòâà äëÿ àðõèòåêòîðîâ, äèçàéíåðîâ, ïîñòîÿííûõ è êîðïîðàòèâíûõ êëèåíòîâ. Ðóêîâîäèòåëü: Ñåðæåíêî Àíäðåé Ñòàíèñëàâîâè÷ – ãåí. äèðåêòîð. Êîíòàêò: ÑÏá, ïð. Ýíãåëüñà, 40; òåë/ôàêñ: +7 (812) 293-1615; e-mail:parketcentr@mail.ru; www.bark-m.ru

×ÅÐÍÛØÅÂÛ ÂÈÒÀËÈÉ È ÌÀÐÈß (234–237) ×åðíûøåâ Âèòàëèé Âèêòîðîâè÷ (1967 ã.ð., Ëåíèíãðàä). Äèçàéíåð. Îáðàçîâàíèå: ËÂÕÏÓ èì. Â.È. Ìóõèíîé (ÑÏáÃÕÏÀ). Ïðîô. îðãàíèçàöèè: Ñîþç Õóäîæíèêîâ Ðîññèè. ×åðíûøåâà Ìàðèÿ Âëàäèìèðîâíà (1966 ã.ð., Ëåíèíãðàä). Äèçàéíåð. Îáðàçîâàíèå: ËÂÕÏÓ èì. Â.È. Ìóõèíîé (ÑÏáÃÕÏÀ). Ïðîô. îðãàíèçàöèè: Ñîþç Õóäîæíèêîâ Ðîññèè, Ñîþç Äèçàéíåðîâ Ðîññèè. Ñ 1992ã. çàíèìàþòñÿ ïðîåêòèðîâàíèåì ÷àñòíûõ è îáùåñòâåííûõ èíòåðüåðîâ. Âûñòàâêè: 1999, 2005, 2007 – «Ìîäóëîð»; FIDEXPO–2004; 2005 – «Âûñîêèé ñòèëü èíòåðüåðà». Êîíêóðñû: ìåæäóíàðîäíûé êîíêóðñ «Êîìïëåêñ 2000». Íàãðàäû: áðîíçîâûé äèïëîì «Ìîäóëîð – 2007».

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×ÓÌÈ ÁÅÐÍÀÐ (144–147) Àðõèòåêòîð. 1944 ã.ð. (Ëîçàííà, Øâåéöàðèÿ). Îáðàçîâàíèå: Ôåäåðàëüíûé èíñòèòóò òåõíîëîãèè, Öþðèõ, Øâåéöàðèÿ. Ïðîô. îðãàíèçàöèè: ÷ëåí Àìåðèêàíñêîãî èíñòèòóòà àðõèòåêòóðû (Íüþ-Éîðê, ÑØÀ); Ãèëüäèÿ àðõèòåêòîðîâ (Ïàðèæ, Ôðàíöèÿ). Âûñòàâêè: 1994 – ïåðñîíàëüíûå âûñòàâêè, MoMA (Íüþ-Éîðê, ÑØÀ). Òèòóëû, íàãðàäû: ÷ëåí ìåæäóíàðîäíîãî êîëëåäæà ôèëîñîôèè âî Ôðàíöèè, èìååò ìíîãî íàãðàä, â òîì ÷èñëå: îðäåí «Legion d’Honneur»; îðäåí «des Arts et Lettres»; ìåäàëü êîðîëåâû Âèêòîðèè. Àðõèòåêòîð ïîëó÷èë Ôðàíöóçñêóþ íàöèîíàëüíóþ ïðåìèþ ïî àðõèòåêòóðå è çîëîòóþ ìåäàëü îò Àìåðèêàíñêîãî èíñòèòóòà àðõèòåêòóðû â Íüþ-Éîðêå, ÿâëÿåòñÿ ÷ëåíîì Êîðîëåâñêîãî áðèòàíñêîãî èíñòèòóòà àðõèòåêòóðû. Êîíòàêò: 227 West 17th Street, New York, NY 10011 USA; +212 807 6340; e-mail:cspoelman@tschumi.com www.tschumi.com ×ÓÌÈ ÁÅÐÍÀÐ / BERNARD TSCHUMI ARCHITECTS (144–147) Àðõèòåêòóðíàÿ ôèðìà. Ãîä îñíîâàíèÿ: 1983. Âèäû äåÿòåëüíîñòè: àðõèòåêòóðà è äèçàéí. Ïðîåêòû: 1982–1997 – ãîðîäñêîé êóëüòóðíûé ïàðê «Parc de la Villette» (ñåâåðî-çàïàäíàÿ ÷àñòü Ïàðèæà, Ôðàíöèÿ); 1997 – íàöèîíàëüíàÿ ñòóäèÿ ñîâðåìåííîãî èñêóññòâà «Le Fresnoy» (Òóðêóàí, Ôðàíöèÿ); 1999 – ñòóäåí÷åñêèé öåíòð Êîëóìáèéñêîãî óíèâåðñèòåòà (Íüþ-Éîðê, ÑØÀ); 1999 – àðõèòåêòóðíàÿ øêîëà «Marne-La-Vallée» (Ïàðèæ, Ôðàíöèÿ); 2001 – ñòàíöèÿ äëÿ àâòîáóñîâ, ïîåçäîâ è ýëåêòðè÷åê ìåòðî «Interface Flon» è ìîñò (Ëîçàííà, Øâåéöàðèÿ); 2001 – Êîíöåðòíûé çàë è âûñòàâî÷íûé êîìïëåêñ íà 8,000 ÷åëîâåê (Ðóàí, Ôðàíöèÿ); 2003 – Øêîëà àðõèòåêòóðû Ìåæäóíàðîäíîãî óíèâåðñèòåòà Ôëîðèäû (Ìàéàìè, Ôëîðèäà); 2004 – ãëàâíûé îôèñ êîìïàíèè «Vacheron-Constantin» è ïðîèçâîäñòâåííûé êîìïëåêñ (Æåíåâà, Øâåéöàðèÿ); 2006 – ñïîðòèâíûé öåíòð Ðèøàðà Ëèíäåðà, Óíèâåðñèòåò â Öèíöèííàòå (ÑØÀ); 2007 – êîíöåðòíûé çàë íà 6,000 ÷åëîâåê (Ëèìîæ, Ôðàíöèÿ); 2007 – Õóäîæåñòâåííàÿ øêîëà ECAL (Ëîçàííà, Øâåéöàðèÿ); 17-ýòàæíàÿ æèëàÿ áàøíÿ «BLUE» (Íüþ-Éîðê, ÑØÀ). Ðóêîâîäèòåëü: Áåðíàð ×óìè. Êîíòàêò: USA, NY 11211 New York, 227 West 98th St.; +1 212 807 6340; fax: +1 212 242 6393; e-mail:cspoelman@tschumi.com; www.tschumi.com

ØÒÈÂÅÐ Ïðîèçâîäñòâåííàÿ êîìïàíèÿ. Ãîä îñíîâàíèÿ: 1995. Âèä äåÿòåëüíîñòè: èçãîòîâëåíèå èçäåëèé èç ñòåêëà äëÿ ñòðîèòåëüñòâà è îôîðìëåíèÿ èíòåðüåðîâ, âêëþ÷àÿ ìåæýòàæíûå ïåðåêðûòèÿ è ëåñòíèöû. Ñòåêëî çàùèòíîå, â òîì ÷èñëå ïóëåñòîéêîå, âçëîìîóñòîé÷èâîå, óäàðîñòîéêîå, òðèïëåêñ. Ãíóòîå ìíîãîñëîéíîå ñòåêëî. Êîíòàêò: ÑÏá, Ñâåòëàíîâñêèé ïð., 2, îô. 411; +7 (812) 380-1009; e-mail:shtiever@bk.ru

ßÍÒÖÅÍ ÌÀÉÊË (194–197) Äèçàéíåð, õóäîæíèê. 1948 ã.ð. (Öåíòðàëèÿ, Èëëèíîéñ, ÑØÀ). Îáðàçîâàíèå: óíèâåðñèòåò Þæíîãî Èëëèíîéñà (Ýäâàðäñâèëëü, ÑØÀ); Âàøèíãòîíñêèé óíèâåðñèòåò (Ñåíò-Ëóèñ, Ìèññóðè, ÑØÀ). Ïðîåêòû: Wind Shaped Pavilion; Wind Shade Roof; Wind Tunnel Footbridge, M-House, M-Velope, Sade-Scape. Êîíòàêò: +310 989 1897; e-mail:mjantzen@yahoo.com www.humanshelter.org

| ÀÐÕÈÒÅÊÒÎÐÛ. ÄÈÇÀÉÍÅÐÛ 4


МОДНЫЙ ВЫПУСК Каталог-справочник, «ДИЗАЙНЕРЫ КОСТЮМА». Выходит с 2006 года. Представляет портфолио работ дизайнеров костюма и авторских коллективов (дома мод, студии, ателье), конкурсные и промышленные образцы. Представляет интерес как для специалистов, так и для всех, кто хочет ориентироваться в разнообразии направлений и тенденций отечественной моды. << Автор: Погорецкая Лариса коллекция «Балет», 2004 фото: Бисинбаев Анатолий

По вопросам участия в каталоге и приобретения справочника обращаться в редакцию: Санкт-Петербург, Мытнинская ул, 7 тел.: (812) 320 10 72 моб. 8 901 308 68 07 008@artindex.spb.ru www.artindex.spb.ru. www.art-index.org

ARCHITECTS. DESIGNERS 4

INDEX

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ÀËÔÀÂÈÒÍÛÉ ÓÊÀÇÀÒÅËÜ

À Àëþõèí Àëåêñåé 229, 231, 233, 290 Àðõèïåíêî Åãîð 227 Àðõèïåíêî Ñàâåëèé 227 Àøïåòñáåðãåð Óëüðèõ 132, 134, 137, 278 Àôîøèí Íèêîëàé Àíòîíèíîâè÷ 58 Á Áàáåíêîâ Àíòîí 223 Áàáêèíà Íàòàëüÿ 296 Áàêñòîí Ãåíðè 282 Áàííèñòð Êðèñ 282 Áàðíåòò Ýíäðþ 69, 71, 75, 282 Áàðóíèí Êîíñòàíòèí 290 Áåëîâà Ìàðèíà Âàñèëüåâíà 49, 51, 59 Áåëîöåðêîâñêèé Èëüÿ 152-161, 280 âàí Áåðêåëü Áåí 126-131, 284 Áîãäàíîâè÷ Áîðèñ Ïåòðîâè÷ 61 Áîíäàðèê Çëàòà Âëàäèìèðîâíà 278 Áîðíìàíí Íèêî 240 Áîñ Êàðîëèí 131 Áðþêíåð Óâå 116-119, 220-221, 278 Áóõàíîâà Íàòàëèÿ Îëåãîâíà 178, 180, 296 Áóø Þëèàí 239 Áóøîð Íèêîëü 290 Áûñòðîâà Ñâåòëàíà Þðüåâíà 65, 67 Áýéò Ïàìåëà 71, 73, 75, 282 Áýêåð Ôåëèêñ 278  Âàëëèññåð Òîáèàñ 131 Âàëüêåíõîðñò Ðåíå 278 Âàñèëüåâ Ïàâåë Ìèõàéëîâè÷ 58 Âåáåð Íàòàëüÿ Àëåêñàíäðîâíà 54 Âåííèíã Àíäðåàñ 198-203, 278 Âåðåì÷óê Îëåã 288 Âåñåëîâà ßíà 229, 231, 233, 290 Âåòòøòàéí Ôåëèêñ 190-193, 280 Âåøòîðò Ìèõàèë Ýäâàðäîâè÷ 56, 62-64 Âèëëåìàéò Òîìàñ 238-241, 280 Âèëüÿìñ Ýäâàðä 282 Âèíüîëè Ðàôàýëü 36-47, 286 Âèòîâè÷ Ãåîðãèé Ôèëèïïîâè÷ 51 Âîçíþê Åëåíà Èëüèíè÷íà 52 Âîëèíà Ãàëèíà Ìèõàéëîâíà 63 Âîðîæöîâ Àëåêñàíäð 169 Âîðîíèíà Ãàëèíà Èâàíîâíà 51 Âîðîíöîâ Àëåêñåé 177 Âóðø Áðèãèòòà 83, 85 Âýäõåì Èàí 79 à Ãàâðèëè÷åâà Þëèÿ Âàäèìîâíà 243, 292 Ãàâðèëîâ Âàëåíòèí Àëåêñàíäðîâè÷ 178-181, 294 Ãàïÿê Åëåíà Íèêîëàåâíà 186, 284 Ãàôàðîâà Ãóëÿ 263 Ãìûðÿ Òàòüÿíà 169 Ãîëòåð Äæóëè 75, 282 Ãîëóáåâ Ñåðãåé Ôåäîðîâè÷ 61 Ãîëóáåâà Ñâåòëàíà Âèêòîðîâíà 263, 290 Ãîðîõ Åëåíà 265 Ãðàôåíøòàéíåð Ìèõàýëü 83, 85 Ãðèâç Äæåéìñ 71, 282 Ãðèãîðüåâ Ìàêñèì Èâàíîâè÷ 258-261, 288 Ãðèíâóä Áóðêå 240 Ãðîìûêî Ëèäèÿ Ãåííàäüåâíà 54 Ãðóçäåâ Þðèé Ïàâëîâè÷ 49, 290 Ãðóíè÷åâ Èãîðü Àíàòîëüåâè÷ 59 Ãóçîâñêèé Âèêòîð Âàñèëüåâè÷ 148, 149, 284 Ä Äàíèëîâà Èðèíà Àëåêñàíäðîâíà 49 Äåê Îäèëü 120-125, 216-219, 286 Äåðèïàïà Ìàðèÿ Ìèõàéëîâíà 55, 58, 61 Äåñøàðüåð Âåðîíèê 146 Äæèðàóäè Ñàíäðà 190-193, 280 Äæîíñ Ñòèâ 282 Äæîíñ-Ýâàíñ Äåéë 162-167, 288 Äçèâóëüñêè Ìàðê 100-107, 288 Äèëáåð Äåôíå 79 Äîáðûíèíà Ãàëèíà Àëåêñàíäðîâíà 65, 67 300

ÈÍÄÅÊÑ

Äîêìàê Ðàéìóíä 278 Äîëãîâà Òàìàðà Äìèòðèåâíà 63 Äîíêåð Áåðòèë 240 Å Åëèñååâà Òàòüÿíà Âèêòîðîâíà 49 Åìåëüÿíîâà Íàòàëüÿ Àëåêñàíäðîâíà 62 Æ Æåðäåð Ëþáîâü Èñààêîâíà 60 Æèãëî Íèêîëàé Âàñèëüåâè÷ 67 Æèòåíåâà Ìàðèíà Àëåêñàíäðîâíà 290 Æìàðåâ Âëàäèñëàâ Âÿ÷åñëàâîâè÷ 290 Æóðàâëåâ Àëåêñàíäð Åâãåíüåâè÷ 178-181, 296 Æóðàâëåâà Èíãà Ïåòðîâíà 58 Ç Çàðóáèíà Ñîôüÿ Íèêîëàåâíà 58 Çèìèíîâ Âèêòîð Âëàäèìèðîâè÷ 292 È Èâàíîâ Ãðèãîðèé Áîðèñîâè÷ 52, 58 Èâàíîâà Íàòàëüÿ Ìèõàéëîâíà 58 Èâàíîâà Òàòüÿíà Îëåãîâíà 58 Èëëî Àëåõàíäðî 239 Èòîí Êëåð 163 Èòîí Íýéë 282 Èñè Äàèãî 206-211, 278 Ê Êàäàö Áèðãèò 278 Êàìåíçèíä Ñòåôàí 80-85, 290 Êàïðàëîâà Åëåíà Âèêòîðîâíà 61 Êàðäèëëî Àíòîíèíî 150-151, 290 Êàðïîâà Òàòüÿíà Ìèõàéëîâíà 65, 67 Êàððàðà-Êàãíè Ëàóðà 282 Êàòåðëü Ãþíòåð 133, 134, 137, 278 Êèñåëåâ Ñåðãåé 173 Êèñåëüãîô Åêàòåðèíà Âëàäèñëàâîâíà 286 Êëååìàí Íàòàëè 278 Êëî÷êîâà Íàòàëüÿ Àíòîíîâíà 63 Êíîðð Ìîðèö 182-185, 284 Êíîðð Ñåáàñòüÿí 182-185, 284 Êîçëîâà Þëèÿ Ëåîíèäîâíà 67 Êîíã Ãåíðè 282 Êîíîâàëîâà Íàòàëüÿ Àëåêñååâíà 65, 67 Êîïêîâ Ìèõàèë Ïàâëîâè÷ 186-189, 284 Êîðíåò Áåíóà 121 Êîðÿãèíà Ìàðèíà Ðîìàíîâíà 55 Êðàéíîâà Ãàëèíà Ïàâëîâíà 286 Êðàíèí Àëåêñàíäð 229 Êðè÷åâöåâ Ëåîíèä Ýäóàðäîâè÷ 148-149, 284 Êðþêåáåðã Ëàðñ 238-241, 280 Êðþ÷êîâà Ãàëèíà Íèêîëàåâíà 49, 51, 59 Êóáåíñêèé Ýäóàðä Àëåêñàíäðîâè÷ 296 Êóãà Ãàëèíà Îëåãîâíà 54 Êóçíåöîâ Âëàäèìèð 229, 290 Êóðëåóòîâ Ìàðàò Ýäóàðäîâè÷ 148, 149, 284 Êóðîêàâà Êèñ¸ 86-93, 290 Êóöåáî Âàëåðèÿ Âàëåíòèíîâíà 1178-181, 294 Ë Ëàïøèíà Ìàðèÿ Èâàíîâíà 49, 51, 59 Ëèñàóñêàñ Ðèìàíòàñ 212-215, 282 Ëèñåíêîâñêàÿ Êèðà 229, 290 Ëóçåêóò Äæåðàðä 127 Ëóêüÿíîâ Ìàêñèì Àëåêñàíäðîâè÷ 288 Ëþêñáàõåð Êëàóäèÿ 278 Ì Ìàéåð Óðñ 81 Ìàéåðñ Ïîë 167 Ìàëêèíà Åëåíà 296 Ìàíäðåëëè Äîðèàíà O. 77, 79 Ìàíåâñêè Äæýðîä 167 Ìàðòèí Êàðìåí 83 Ìàð÷åíêî Åâãåíèé Èâàíîâè÷ 49, 51, 54 Ìàõàíîâ Àëåêñåé 169 Ìà÷åðåò Ìàðèíà Àëåêñàíäðîâíà 62 Ìåäâåäåâà Èðèíà 296 Ìåëëàíäåð Êýòðèí 167 | ÀÐÕÈÒÅÊÒÎÐÛ. ÄÈÇÀÉÍÅÐÛ 4


AUTORS A Afoshin Nikolay 58 Alyukhin Alexey 229, 231, 291 Arkhipenko, Egor 227 Arkhipenko, Saveliy 227 Aspetsberger, Ulrich 132-134, 137, 281 B Babenkov, Anton 223 Babkina Natalya 285 Bannister, Chris 289 Barnett, Andrew 69, 71, 75, 289 Barunin, Konstantin 291 Bate, Pamela 71, 73, 75, 289 Becker, Felix 279 Belotserkovski, Ilja 152-161, 285 Belova Marina 49, 51, 59 Benoit Cornette 121 van Berkel, Ben 126-131, 297 Bogdanovich Boris 61 Bondarik, Zlata 281 Bornmann, Nico 240 Bos Caroline 131 Brueckner, Uwe R. 116-119, 220-221, 279 Buhanova NNatalya 178, 180, 297 Busch, Julian 239 Buschor, Nicole 281 Buxton, Henry 289 Bystrova Svetlana 65, 67 C Camenzind, Stefan 80-85, 281 Cardillo, Antonino 150, 151, 281 Carrara-Cagni, Laura 289 Chan, Mathew 165 Chaplygina, Elena 287 Chistyakova Lilia 265 Chen, Ing-Tse 240 Chen, Michael 103 Chenery, Simon 289 Chernitskaya Tatiyana 60 Chernysheva Mariya 234-237, 281 Chernyshev Vitaliy 234-237, 281 Churina, Lubov 295 D Danilova Irina 49 Decq, Odile 120-125, 216-219, 283 Deripapa Maria 55, 58, 61 Descharrieres, Veronique 146 Dilber, Defne 79 Dobrynina Galina 65, 67 Docmac, Raimund 279 Dolgova Tamara 63 Donker, Bertil 240 Dziewulski Mark 100-107, 285 E Eaton, Claire 163 Eaton, Neil 289 Eller, Erasmus 170-177, 285 Eliseeva Tatiyana 49 Emelyanova Natalia 62 F Fadeeva Anna 291 Fasanya, Ernest 289 Fedototchkin Viktor 178, 180, 297 Frangoul-Brueckner, Shirin 279 Franois, Catherine 279 Fraser, Simon 73, 75, 289 Freyborg Tatyana 263 Froehlich, Jana 279 Fuchs, Sven 239 Fuksas, Massimiliano 76-79, 285 G Gafarova Gulya 263 Gapyak, Elena 186, 279 Gaulter, Julie 75, 289 Gavrilicheva, Yuliya 243, 295 Gavrilov Valentin 178-181, 297 Giraudi Sandra 190-193, 287

ARCHITECTS. DESIGNERS 4

Golubeva, Svetlana 263, 293 Golubev Sergei 61 Gorokh Elena 265 Gmyrya Tatyana 169 Grafensteiner, Michael 83, 85 Greaves, James 289 Greaves Jim 71 Greenwood, Burke 240 Grigoryev, Maxim 258, 261, 283 Gromyko Lidia 54 Grunichev Igor 59 Gruzdev Yuri 49, 291 Guzovsky, Viktor 148, 149, 279 H Haller, Martin 133, 134, 137, 281 Hegemann, Dominik 279 Hood, Ken 69, 71, 289 Hoheisel, Gregor 240 Hopkins, Michael 68-75, 289 Hopkins, Patty 289 Hoshino, Hiro 289 Hubert, Jean Jacques 146 Hukhlova Viktoria 179-181, 297 I Illo, Alejandra 239 Ishii, Daigo 206-211, 283 Ivanov Grigoriy 52, 58 Ivanova Natalia 58 Ivanova Tatiana 58 J Jantzen, Michael 194-197, 289 Jones, Steve 289 Jones-Evans, Dale 162-167, 283 Jantos, Christoph 239 K Kadatz, Birgit 279 Kapralova Elena 61 Karpova Tatiana 65-67 Katherl, G端nter 133, 134, 137, 281 Khachaturyan, Magdalina 265, 287 Khilchenko, Alexander 293 Kiselgof, Ekaterina 281 Kisselev, Sergej 173 Kleemann, Natalie 279 Klochkova Natalia 63 Knorr, Moritz 182-185, 295 Knorr, Sebastian 182-185, 295 Kong, Henry 289 Konovalova Natalia 65-67 Kopkov, Michail 186-189, 279 Koryagina Marina 55 Kozlova Yulia 67 Kranin Alexander 229 Kraynova, Galina 281 Krichevsky, Leonid 148, 149, 279 Kryuchkova Galina 49, 51, 59 Krueckeberg, Lars 238-241, 287 Kubensky, Eduard 295 Kucebo Valeria 178-181, 297 Kuga Galina 54 Kurleutov, Marat 148, 149, 279 Kurokawa, Kisho 86-93, 289 Kuznetsov Vladimir 229, 291 L Lapshina Maria 49, 51, 59 Lisauskas, Rimantas 212-215, 291 Lisenkovskaya Kira 229, 291 Loozekoot, Gerard 127 Lukyanov, Maxim 289 Luxbacher, Claudia 279 M Macheret Alexei 169 Malkina, Elena 287 Mandrelli, Doriana O. 77, 79 Manevski, Jarrod 167 Marchenko Evgeny 49, 51, 54 Martin, Carmen 83

INDEX

301


Ìåëëåð Áåðíä 278 Ìåðêåëü Âåíêå 278 Ìåõìóä Àðèô 282 Ìåõîíîøèíà Åêàòåðèíà 296 Ìóäðîãåëåíêî Äìèòðèé Âëàäèìèðîâè÷ 245, 278 Ìóìì Óëüðèêå 278 Ìóðçèí Äìèòðèé Àíàòîëüåâè÷ 248, 249, 284 Ìóõàíîâ Ñåðãåé Âëàäèìèðîâè÷ 286 Í Íàãåëü Áðèòòà 278 Íåêëþäîâ Êîíñòàíòèí 233 Íåêðàñîâà Âàëåðèÿ Ãåííàäüåâíà 65, 67 Íåôåäîâ Ñåðãåé Þðüåâè÷ 148, 149, 284 Íè Ïàòðèê 71, 282 Íèããåìàéåð Ãóõèëüä 239 Íèêîëåòòè Ëóêà 95, 97 Íèêîëåòòè Ìàíôðåäè 94-99, 290 Íèêîëüñêàÿ Ñâåòëàíà Âÿ÷åñëàâîâíà 110-112, 115, 292 Íîõ Ìàðêî 81 Î Îäíîâàëîâ Ñòàíèñëàâ Ïàâëîâè÷ 56, 64 Îêèíèí Åâãåíèé Íèêîëàåâè÷ 148, 149, 284 Îñòìàíí Õåéêî 284 Îòò Êàðèí 282 Ï Ïàí Þëèÿ 296 Ïàíôèëîâ Ìèõàèë Ïåòðîâè÷ 187, 188, 284 Ïåëèööà Ôðàíêî 83 Ïåòðîâ Âëàäèìèð 290 Ïåòðîâà Åêàòåðèíà Àíäðååâíà 296 Ïèíôîëüä Äæåéí Ìýäëèí 163, 165 Ïîíîìàðåíêî Ëþáîâü Àëåêñàíäðîâíà 288 Ïøåíè÷íèêîâà Ìàðèíà Âëàäèìèðîâíà 286 Ïóö, Âîëüôðàì 238-241, 280 Ð Ðàéêîíåí Àëëà Àëåêñàíäðîâíà 58 Ðàìîñ Áýí 101 Ðåéçèíà Åëåíà Âèëåíîâíà 51 Ðåéòàðîâà Âàëåðèÿ 296 ëÿ Ðèâüåð Ôðàíê 246-249, 292 Ðèäåëü Äîííà 240 Ðèäè Ëüþèñ 105, 107 Ðîäèîíîâà Àëèñà 284 Ðóêîâèøíèêîâà Çîÿ Íèêîëàåâíà 61 Ðóìÿíöåâ Âëàäèìèð Àëåêñàíäðîâè÷ 60 Ðþãã-Áàøåâà Òàíÿ 290 Ðþòòåí Æîýëü 146 Ñ Ñàâè÷åâ Ðîìàí 229, 231, 233, 290 Ñàäîâñêèé Ìèõàèë Àíàòîëüåâè÷ 61 Ñàíòüÿð Àíòóàí 146 Ñàòîðó ßìàøèðî 246-249 Ñåäèí Àëåêñåé Âëàäèìèðîâè÷ 292 Ñåìåíîâà Íàòàëüÿ Âëàäèìèðîâíà 284 Ñåðæåíêî Àíäðåé Ñòàíèñëàâîâè÷ 298 Ñèí÷åíêî Àëåêñàíäð Âèêòîðîâè÷ 286 Ñìèðíîâà Íàòàëèÿ Ãåííàäüåâíà 58 Ñîëäàòîâ Èãîðü Âàñèëüåâè÷ 290 Ñîðîêèíà Ìàðèÿ 224 Ñòàðûãèíà Íàäåæäà Ïàâëîâíà 55 Ñòîëôè Äàâèä 79 Ñóïîíèöêàÿ Òàòüÿíà 168, 169, 296 Ñýëáè Äýâèä 282 Ò Òàìàçîâà Ìàðãàðèòà Èâàíîâíà 49, 51 Òâîõèã Ñîôè 282 Òîäà Äçþíüÿ 140-143, 296 Òîéáåðò Êðèñòèàí 240 Òîìàøåíöåâà Åëåíà Àëåêñàíäðîâíà 296 Òóãàðèí Ëåîíèä 265 Òóðêèíà Îëüãà Ïàâëîâíà 54 Òýéëîð Áèëë 282 Òýéëîð Ìàéêë 69, 75, 282 Òýéëîð Óèëüÿì 71, 73, 75 Ó Óàéò Òîíè 282 Óäîâèêèíà Îëüãà Þðüåâíà 284

302

ÈÍÄÅÊÑ

Ô Ôàäååâà Àííà Âëàäèìèðîâíà 290 Ôàçàíüÿ Ýðíåñò 282 Ôåäîòî÷êèí Âèêòîð Ìàêñèìîâè÷ 178, 180, 296 Ôðàéáåðã Òàòüÿíà 263 Ôðàíãîóëü-Áðþêíåð Øèðèí 278 Ôðàíóà Êàòðèí 278 Ôðåëèõ ßíà 278 Ôðýéçåð Ñèìîí 73, 75, 282 Ôóêñ Ñâåí 239 Ôóêñàñ Ìàññèìèëèàíî 76-79, 296 Õ Õàëëåð Ìàðòèí 133, 134, 137, 278 Õà÷àòóðÿí Ìàãäàëèíà 265, 296 Õåãåìàíí Äîìèíèê 278 Õèëü÷åíêî Àëåêñàíäð Åôèìîâè÷ 292 Õîïêèíñ Ìàéêë 68-75, 282 Õîïêèíñ Ïàòòè 282 Õîõàéçåëü Ãðåãîð 240 Õîøèíî Õèðî 282 Õóä Êåí 69, 71, 282 Õóõëîâà Âèêòîðèÿ Ëåîíèäîâíà 179-181, 296 Ö Öåíêåð Ñþçàíí 81, 83 × ×àïëûãèíà Åëåíà Þðüåâíà 296 ×åí Èíã-Öå 240 ×åí Ìàéêë 103 ×åíåðè Ñèìîí 282 ×åðíèöêàÿ Òàòüÿíà Þðüåâíà 60 ×åðíûøåâ Âèòàëèé Âèêòîðîâè÷ 234-237, 298 ×åðíûøåâà Ìàðèÿ Âëàäèìèðîâíà 234-237, 298 ×óìè Áåðíàð 144-147, 298 ×óðêèíà Ëþáîâü Áîðèñîâíà 292 ×ýí Ìýòüþ 165 Ø Øàôåð Ìàéêë 79 Øåðèøåâñêèé Àëåêñàíäð Íèñîíîâè÷ 49, 52, 58 Øåôòåëü Àííà Ìàðêîâà 54 Øëàã Ýáåðõàðä 278 Øìàêîâ Ñåðãåé Ïàâëîâè÷ 56, 63, 64 Øìûòêèíà Ëèäèÿ Âåíèàìèíîâíà 49, 52 Øîíèíà Êñåíèÿ Àëåêñàíäðîâíà 178-180, 296 Øðàäå Åâà 278 Øðåäåð Ïàóëü 152-161, 280 Øðîì Àíàñòàñèÿ Þðüåâíà 180, 296 Øóâàëîâà Ëþäìèëà Èãîðåâíà 180, 296 Ý Ýëëåð Ýðàñìóñ 170-177, 280 Þ Þáåð Æàí Æàê 146 ß ßìíîâà Þëèÿ Àíàòîëüåâíà 65, 67 ßìàäçè Ìàêè 163, 167, 288 ßíòîñ Êðèñòîô 239 ßíòöåí Ìàéêë 194-197, 298

AIA – Àìåðèêàíñêèé èíñòèòóò àðõèòåêòîðîâ AIB – Àâñòðàëèéñêèé èíñòèòóò ñòðîèòåëüñòâà BHP – Broken Hill Proprietary Company CEI – Öåíòðàëüíîåâðîïåéñêàÿ èíèöèàòèâà MIT – Ìàññà÷óñåòñêèé òåõíîëîãè÷åñêèé Èíñòèòóò MoMA – Ìóçåé Ñîâðåìåííîãî Èñêóññòâà NSW – Íîâûé Þæíûé Óýëüñ RAIA – Êîðîëåâñêèé èíñòèòóò àâñòðàëèéñêèõ àðõèòåêòîðîâ RIBA – Êîðîëåâñêèé èíñòèòóò áðèòàíñêèõ àðõèòåêòîðîâ SIA – Øâåéöàðñêîå îáúåäèíåíèå èíæåíåðîâ è àðõèòåêòîðîâ SPb – Ñàíêò-Ïåòåðáóðã UIA – Ìåæäóíàðîäíûé Ñîþç Àðõèòåêòîðîâ

| ÀÐÕÈÒÅÊÒÎÐÛ. ÄÈÇÀÉÍÅÐÛ 4


Medvedeva, Irina 287 Mehmood, Arif 289 Mekhonoshina Ekaterina 285 Mellander, Kathryn 167 Merkel, Wenke 279 Meyer, Urs 81 Moeller, Bernd 279 Mudrogelenko, Dmitry 245, 281 Mukhanov, Sergei 281 Mumm, Ulrike 279 Murzin, Dmitry 148, 149, 279 Myers, Paul 167 N Nagel, Britta 279 Nee, Patrick 71, 289 Nefedov, Sergey 148, 149, 279 Neklyudov Konstantin 233 Nekrasova Valeria 65, 67 Nicoletti, Luca 95, 97 Nicoletti, Manfredi 94-99, 291 Niggemeier, Gunhild 239 Nikolskaya, Svetlana 110-112, 115, 295 Noch, Marco 81 O Odnovalov Stanislav 56, 64 Okinin, Evgeny 148, 149, 279 Ostmann, Heiko 182-185, 295 Ott, Karin 289 P Pan Yuliya 285 Panfilov, Michail 187, 188, 279 Pelizza, Franco 83 Petrov, Vladimir 293 Petrova Ekaterina 297 Pinfold, Jane Madelaine 163, 165 Ponomarenko, Lubov 283 Pshenichnikova, Marina 281 Putz,Wolfram 238-241, 287 R Ramos, Ben 101 Raykonen Alla 58 Reedy, Lewis 105, 107 Reizina Elena 51 Reytarova Valeriya 285 Riedel, Donna 240 la Riviere, Frank 246-249, 293 Rodionova Alisa 279 Ruegg – Basheva, Tanya 281 Rukovishnikova Zoya 61 Rumyantsev Vladimir 60 Rutten, Joel 146

Sheftel Anna 54 Shereshevskiy Alexander 49, 52, 58 Shmakov Sergey 56, 63, 64 Shmytkina Lidia 49, 52 Shonina Ksenia 178-180, 297 Shrom Anastasia 180, 297 Shuvalova Ludmila 180, 297 Sinchenko, Alexander 281 Smirnova Natalia 58 Soldatov, Igor 291 Sorokina, Maria 224 Stolfi, Davide 79 Starygina Nadezhda 55 Suponitskaya Tatyana 168, 169, 295 T Taeubert, Christian 240 Tamazova Margarita 49, 51 Taylor, Bill 289 Taylor, Michael 69, 75, 289 Taylor William 71, 73, 75 Toda, Junya 140-143, 295 Tomashentseva Elena 285 Tschumi, Bernard 144-147, 295 Tugarin Leonid 265 Turkina Olga 54 Twohig, Sophy 289 U Udovikina, Olga 279 V Vasilyev Pavel 58 Veber Natalia 54 Veremchuk Oleg 289 Veshtort Michail 56, 62-64 Veselova Yana 229, 231, 233, 291 Vinoly, Rafael 36-47, 297 Vitovich Grigoriy 51 Volina Galina 63 Voronina Galina 51 Vorontsov, Alexey 177 Vorozhtsov Alrxander 169 Voznyuk Elena 52 W Wadham, Iain 79 Walkenhorst, Rene 279 Wallisser Tobias 131 Wenning, Andreas 198-203, 279 Wettstein Felix 190-193, 287 White, Tony 289 Willemeit, Thomas 238-241, 287 Williams, Edward 289 Wursch, Brigitta 83, 85

S Sadovsky Michail 61 Santiard, Antoine 146 Satoru, Yamashiro 246, 249 Savichev Roman 229, 231, 233, 291 Schaffer, Michael 79 Schlag, Eberhard 279 Schrade, Eva 279 Schroder, Paul 152-161, 285 Sedin, Alexey 295 Selby, David 289 Semenova, Natalya 279 Serzhenko Andrey 297

Y Yamaji, Maki 163, 167, 283 Yamnova Yulia 65, 67

LIST OF ABBREVIATIONS

PHOTO CREDITS 36,37,40,41 (11,13,14), 42,43 (15,18) © Brad Feinknopf / 38,39(5-7,9) © Jeff Goldberg / 39 (8) © Paul Warchol / 40 (10) © Paul Fetters / 41 (12) Robert McGhee / 44,45 (19,21-23) © Raoul Suermondt / 46,47 (24,25,27) © Jeroen Musch / 68,69 (1,3) 70,71 (5-8) © Paul Tyagi / 69 (2) © Richard Davies / 72,73 (9,12,13) © Martine Hamilton Knight / 72(10) © Ian Lawson / 72 (11) © Dennis Gilbert / 74,75 (14,17) © Nicholas Guttridge / 74 (16) © Nick Kane-Arcaid / 74 (15) © Hayes Davidson / 76,77 (1-5) © archivio fuksas / 78,79 (6-8) © Maurizio Marcato / 100,101 (1-4) 104-107 (9-17) © Keith Cronin / 102,103 (5-8) © Su Chen / 120,121 (14) © Wogenski and S.Couturier / 131 (1-11) © Christian Richters / 132134 (1-5) 136,137 (9-12) © Hertha Hurnaus / 134,135 (6-8) © Caramel / 138,139 (13-15) © Dietmar Tollerian / 140,141 (1-5) © Miyoji Ueda / 142,143 (6-11) © Yoshiyuki Hirai, Miyoji Ueda / 144,145,147 (1,4,7) © Christian Richters / 145,146 (2,5) © Peter Mauss / 162,163 (1-5) © Paul Gosney / 164,165 (6-11) © Ashley Jones-Evans, Stephen Blakeney / 166,167 (12,14) © Paul Gosney, Trevor Mein / 184,185 (5-9) © Hisao Suzuki / 190,191 (1,2) © Alexandre Zveiger / 192,193 (3-6,8) © Gaston Wicky / 198,199 (1-3) © Nico Marziali / 200,201 (4-6) © Dirk Vogel / 202,203 (7-11) © Alasdair Jardine / 222-225 (1-6) © Åëåíà Áîÿðñêîâà / 226,227 (7-9) © Þðèé Ìîëîäêîâåö / 230-233 (4-10) © Àíäðåé Ñàìîéëîâ / 238,239 (1,2) © Christian Barz / 240,241 (3-8) © Yang Di / 244,245 (1-3) © Ïåòð Ëåáåäåâ, Salon-Press / 246-249 (1-7,9) © Riota Atarashi / 248 (8) © Michael Boland

AIA – American Institute of Architects AIB – Australian Institute of Building BHP – Broken Hill Proprietary Company CEI – Central European Initiative MIT – Massachusetts Institute of Technology MoMA – Museum of Modern Art NSW – New South Wales RAIA – Royal Australian Institute of Architects RIBA – Royal Institute of British Architect SIA – Schweizerischer Ingenieur und Architektenverein SPb – Saint-Petersburg UIA – International Union of Architects

ARCHITECTS. DESIGNERS 4

Z Zarubina Sofia 58 Zenker, Susanne 81, 83 Zhiglo Nikolai 67 Zherder Lubov 60 Zhmarev, Vladislav 293 Ziminov, Viktor 293 Zhuravlev Alexander 178-181, 297 Zhuravleva Inna 58

INDEX

303


ISB 978-5-903733-02-6

Ñáîðíèê

«Êàòàëîã-ñïðàâî÷íèê ARTINDEX/ Catalog-Directory ARTINDEX» ÀÐÕÈÒÅÊÒÎÐÛ, ÄÈÇÀÉÍÅÐÛ ÂÛÏÓÑÊ 4

Ñâèäåòåëüñòâî ¹ 013169 î ðåãèñòðàöèè ñðåäñòâà ìàññîâîé èíôîðìàöèè ÏÈ ¹ ÔÑ2-7504 îò 06 àïðåëÿ 2005 ã. Âûäàíî Ôåäåðàëüíîé ñëóæáîé ïî íàäçîðó çà ñîáëþäåíèåì çàêîíîäàòåëüñòâà â ñôåðå ìàññîâûõ êîììóíèêàöèé è îõðàíå êóëüòóðíîãî íàñëåäèÿ ïî Ñåâåðî-Çàïàäíîìó ôåäåðàëüíîìó îêðóãó (Ñàíêò-Ïåòåðáóðã) ãëàâíûé ðåäàêòîð Ôåäîòîâ Íèêîëàé Þðüåâè÷ ðóêîâîäèòåëü ïðîåêòà Ñåðãåé Êîâàëåâ êîîðäèíàòîð ïðîåêòà Ñâåòëàíà Êóäðÿâöåâà õóäîæåñòâåííûé ðåäàêòîð Äèàíà Çàõàðîâà äèçàéí, âåðñòêà Åëåíà Êîðîáåéíèêîâà ó÷ðåäèòåëü ÎÎÎ «ÀÐÒÈÍÄÅÊÑ» òåë./ô.: (812) 320 10 72 www.art-index.org èçäàòåëü «ÈÀ ÏÀÐÒÍÅл àäðåñ èçäàòåëüñòâà: 191144 Ðîññèÿ, Ñàíêò-Ïåòåðáóðã Ìûòíèíñêàÿ óë., 5 òåë (812) 320 10 70 ïå÷àòü Ïîäïèñàíî â ïå÷àòü: 28.11.2007 Çàêàç ¹467 Îòïå÷àòàíî ñ ãîòîâûõ äèàïîçèòèâîâ â òèïîãðàôèè ÎÎÎ «ÍÏ-ÏÐÈÍÒ» ÑÏá, íàá. Îáâîäíîãî êàí., ä. 14; òåë.: (812) 325-22-97 Òèðàæ 2 000 ýêç. Ñâîáîäíàÿ öåíà © «ÈÀ ÏÀÐÒÍÅл Âñå ïðàâà çàùèùåíû. Çà ñîäåðæàíèå ðåêëàìíûõ îáúÿâëåíèé ðåäàêöèÿ îòâåòñòâåííîñòè íå íåñåò.

«Catalog-Directory ARTINDEX» ARCHITECTS, DESIGNERS Edition 4 License #013169 (mass media registration) issued on April 6, 2005 by the Federal Agency monitoring compliance with laws in the area of mass communication in the Northwest region (SPb) chief editor Nikolai Fedotov project director Sergei Kovaliov project coordinator Svetlana Kudryavtseva art editor Diana Zakharova design and layout Elena Korobeynikova founder Artindex, Ltd. 7 Mytninskaya St., St. Petersburg, 191144 Russia tel./fax: (812) 320-10-72 www.art-index.org info@artindex.spb.ru print signed for printing: 28.11.2007 printed from slides by «NP-Print» SPb, 14 Obvodnyi Canal; tel.: (812) 325-22-97 2,000 copies

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