15 Issue WAM by amc-media

World Architecture Masters

ISSN 1313-177X

15/ 2010/ 015

YURI PLATONOV

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

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

Óïðàâèòåë Íàòàëèÿ Áîíäàðåíêî

General manager Natalia Bondarenko

Ãëàâåí ðåäàêòîð ïðîô. Ãåîðãè Ñòîèëîâ, àêàäåìèê íà ÌÀÀ

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

Îòãîâîðåí ðåäàêòîð Êðàñèìèðà ßâàøåâà

Editor Krassimira Yavasheva

Ãðàôè÷åí äèçàéíåð è ïðåäïå÷àòíà ïîäãîòîâêà Åëåîíîðà Ãåîðãèåâà - Åëåòî

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Ðàçïðîñòðàíåíèå Êðàñè Èâàíîâà

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Èçäàòåëè: Ìåæäóíàðîäíà Àêàäåìèÿ çà Àðõèòåêòóðà Àðõ ìåäèÿ EÎÎÄ

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

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

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

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

The editors of the magazine World Architecture Masters would like to thank arch. Yuri Platonov for his amiability submitting materials from theirs private archive at ours disposal for the fifteen issue of WAM. Ñïèñàíèå World Architecture Masters áëàãîäàðè íà àðõ. Þðè Ïëàòîíîâ çà ëþáåçíî ïðåäîñòàâåíèòå ìàòåðèàëè îò ëè÷íèÿ ìó àðõèâ çà ïåòíàñåñåòè áðîé íà WAM.

Ìàòåðèàëè è èëþñòðàöèè îò WAM ìîãàò äà ñå èçïîëçâàò ñàìî ñ ðàçðåøåíèå íà ðåäàêöèÿòà. Materals and illustrations of WAM can be used only with permission of the editor's office.

Yuri Platonov

CONTENTS Competitions project concepts small-scale projects

Scientific complexes, cities scientific centers, Urban

Manor Houses

104

ÕÐÀÌÎÂÅ È ÌÎÍÓÌÅÍÒÈ ÍÀ ÈÇ×ÅÇÍÀËÈ ÊÓËÒÎÂÅ Àðõèòåêòóðàòà å âåëèêî èçêóñòâî. Òÿ ïðèòåæàâà îãðîìåí äóõîâåí çàðÿä. Íàé-ñèëíî äóõîâíàòà åíåðãèÿ íà àðõèòåêòóðàòà ñå ïðîÿâÿâà â êóëòîâèòå ñãðàäè è ìîíóìåíòè. Îò êúäå èäâà äóõîâíàòà ñèëà íà òåçè òâîðáè íà àðõèòåêòóðàòà? Îò êóëòîâåòå ëè, îò ãåîãðàôñêîòî ìÿñòî ëè, îò ïîðú÷èòåëÿ ëè èëè îò ïîêëîííèöèòå? Äîêàòî å æèâ êóëòúò çà ïîêëîííèöèòå ìó, ñèëàòà íà õðàìîâåòå è ìîíóìåíòèòå å ñâúðçàíà ñ êóëòà, ñ ïîêëîíåíèÿ, îáðåäè è ðèòóàëè. Íî êóëòîâåòå óìèðàò è ìàãèÿòà èì èç÷åçâà, à àðõèòåêòóðíèòå òâîðáè ïðîäúëæàâàò äà æèâåÿò è äà âäúõíîâÿâàò õîðàòà îùå õèëÿäè ãîäèíè. Ïðè òîâà õîðà äàëå÷íè ïî âÿðà è åòíîñ îò ñúçäàòåëèòå èì. Êàêâî çíà÷è òîâà? Òîâà çíà÷è, ÷å èñòèíñêèÿ ôàêòîð çà äóõîâíàòà ñèëà íà àðõèòåêòóðíèòå òâîðáè å äóõúò íà èçêóñòâîòî, äóõúò íà òâîðåöà. Êîãàòî åäèí òâîðåö å ñúçäàë ïðîèçâåäåíèå íà èçêóñòâîòî, òî å áåçñìúðòíî, âå÷íî. Çàòîâà äà ñå ïîñÿãà è äà ñå óíèùîæàâà æèâà òâîðáà íà àðõèòåêòóðàòà, ñâúðçàíà è ñ æèâ è ñ ìúðòúâ êóëò, å ïðåñòúïëåíèå. Áåçáðîé ñà àðõèòåêòóðíèòå ïðîèçâåäåíèÿ ðàçðóøåíè îò îçëîáåí ïîëèòè÷åñêè, âåðñêè è ñïåêóëàòèâåí åêñòðåìèçúì. Ãðÿõ è ïîçîð å çàðàäè ïîëèòè÷åñêè è ðåëèãèîçíè ïðèçðàöè è çà ñïåêóëà äà ñå óáèâà âå÷íî æèâàòà äóøà íà èçêóñòâîòî. Òî å íîñèòåë íà âñåîáùèÿ âå÷åí äóõ íà ÷îâå÷åñòâîòî. Òàêèâà ñà îáåêòèòå íà Þ. Ïëàòîíîâ.

Aêàä. Ãåîðãè Ñòîèëîâ Ïðåçèäåíò íà ÌÀÀ

TEMPLES AND MONUMENTS OF MISSING CULTS The architecture is magnificent art. It has enormous spiritual charge. The power of architecture is most evident in the sacral buildings and monuments. Where does the spiritual power of these works of architecture come from? From the cults, from the geographical location, from the guarantor or from the pilgrims? Since the cult is alive for the pilgrims the power of the temples and the monuments is connected with the cult, the generations, the rites and rituals. But the cults disappear with all their magic while architecture continues living and inspire people for thousands of years. And these people are so far in their beliefs and ethnos from the initial creators. What does this mean? This means that the true factor for the spiritual power of the architecture works is the spirit of art, the spirit of the creator. When a creator has done a piece of art, it is timeless, eternal. That is why to destroy work of architecture connected with living or dead cult is a crime. The architectural works destroyed from bitter political, religious and speculative extremism are countless. It is a shame and a sin because of political and religious ghosts and speculation to kill the eternal living spirit of art. It is a holder of the universal spirit of humanity. These are the works of Yuri Platonov.

Acad. Georgi Stoilov President of IAA

Yuri Platonov Architect Yuri Pavlovitch Platonov has dedicated his entire life to architecture. His creative and professional activity is linked with the Design and research Institute of the Russian Academy of Sciences - GIPRONII RAS, where he continued the traditions laid down by the founder of the institute, great Russian architect, Academician A.V. Schusev. Under Yuri Platonov's supervision and with his direct participation dozens of complexes of scientific designation have been designed and constructed for the Academy of Sciences in Moscow and in the regions, among them the internationallyacclaimed complex of the New Building of the Presidium of the Academy of Sciences in Moscow, Institute Èíñòèòóò of Space Research, Institute of Biochemistry, Museum of Paleontology, specialized towns with large scientific zones outside Moscow, in Siberia, in the Far East. Today Academician Yuri Platonov is the Creative and Scientific supervisor of GIPRONII, lead architect of the Russian Academy of Sciences. Design projects implemented under Yuri Platonov's supervision were frequently represented at exhibitions and architecture congresses in the capitals and leading cities of Western and Eastern Europe, the USA, Latin America, Asia. In the last ten years a new direction has surfaced in Academician Yuri Platonov's work - reconstruction of architectural monuments by injecting them with new functional content. In his projects Yuri Platonov has been widely capitalizing on a synthesis of the arts, collaborating with outstanding Russian and foreign artists and sculptors. He is also the author of a series of monumental art works. Academician Y.P. Platonov is going strong, offering numerous creative ideas, the implementation of which in Moscow shall not only embellish the city with fresh and original complexes and constructions, but shall bring social boons: boosting development of city infrastructure, creating new jobs, attracting an influx of tourists. Some of Moscow's largest urban-development projects have been supervised by Y. Platonov, such as: the Project for the complex reconstruction of Gagarin square and adjacent areas, Project for the Museum of History of Moscow "The Provisions Storehouses" as part of the project for reconstruction of Krymskaya square, the project "Park of Arts" on Krymsky val. The project for a Pedestrian Tourist Route "Neskutchny Garden - Gagarin Square - Moscow-City" has been accepted for realization by the Moscow city Government as a multi-phase urban-development programme. The creative team of GIPRONII of the Russian Academy of Sciences, led by Academician Yuri Platonov, is developing, in the framework of a state programme, the lay-out for the largest new-type University on Russky Isle outside Vladivostok - the South-Pacific Scientific-Educational Centre accommodating 50000 students. Yuri Pavlovitch Platonov has earned a number of national prizes of the USSR and Russia, the "Order of Merit", the Russian national architecture prize "The Crystal Dedalos", Gold and Silver medals of the Academy of Arts of the USSR, the Moscow prize in the sphere of literature and the arts, special prize of the UNO development programme, a Silver medal and Honorary Diploma of the International Academy of Architecture. "Millennium Man" - the Honorary Medal of the Cambridge Biographical Society for the contribution to art and literature; People's Architect of the USSR, Honored Architect of Russia and Honorary Architect of Russia, Professor. Member of the Russian Academy of Architecture and Construction Sciences (RAACS), the Russian Academy of Arts, the International Academy of Architecture IAA, International Academy of Creative Art, Russian Society of Design Engineers (RONS), St.Petersburg Engineer Academy, American Institute of Architecture (AIA), Supreme Council of Spanish Architects Collegium, French Academy of Architecture (AAFR), Honorary member of Architecture associations of a number of countries. President of the USSR Union of Architects (1987-1992), President of the Moscow department of the International Academy of Architecture, IAA'M (2004 - to the present). Member of the Moscow Architecture Council, member of the expert Council attached to the mayor of Moscow, and holds the post of Counselor of the Mayor. Chief Architect of the Russian Academy of Sciences, Creative and Scientific Supervisor of the Design and research Institute of the Russian Academy of Sciences (GIPRONII RAS), Creative Supervisor of the architecture workshop "TPO-5 - Bureau Platonov".

Àðõèòåêò Þðè Ïàâëîâè÷ Ïëàòîíîâ å ïîñâåòèë öåëèÿ ñè æèâîò íà àðõèòåêòóðàòà. Íåãîâàòà êðåàòèâíà è ïðîôåñèîíàëíà äåéíîñò å ñâúðçàíà ñ ïðîåêòèðàíå è èçñëåäâàíèÿ â Èíñòèòóòà íà Ðóñêàòà àêàäåìèÿ íà íàóêèòå - GIPRONII RAN, êúäåòî òîé ïðîäúëæàâà òðàäèöèèòå, ïîëîæåíè îò îñíîâàòåëÿ íà èíñòèòóòà, ãîëåìèÿ ðóñêè àðõèòåêò - àêàäåìèê À. Â. Øóñåâ. Ïîä ðúêîâîäñòâîòî íà Þðè Ïëàòîíîâ è ñ íåãîâîòî ïðÿêî ó÷àñòèå ñà ïðîåêòèðàíè è êîíñòðóèðàíè çà Àêàäåìèÿòà íà íàóêèòå â Ìîñêâà è â ðåãèîíèòå äóçèíè êîìïëåêñè ñ íàó÷åí õàðàêòåð,. ñðåä êîèòî ñà ìåæäóíàðîäíî ïðèçíàòèòå êîìïëåêñè íà íîâèòå ñãðàäè íà ïðåçèäèóìà íà Àêàäåìèÿòà íà íàóêèòå â Ìîñêâà, Èíñòèòóòà çà èçñëåäâàíå íà êîñìîñà, Èíñòèòóòà ïî áèîõèìèÿ, Ìóçåÿ ïî ïàëåîíòîëîãèÿ, ñïåöèàëèçèðàíè ãðàäîâå ñ ãîëåìè íàó÷íî-èçñëåäîâàòåëñêè çîíè èçâúí Ìîñêâà, â Ñèáèð è â äàëå÷íèÿ Èçòîê. Äíåñ àêàäåìèê Þðè Ïëàòíîâ å êðåàòèâíèÿ è íàó÷åí ðúêîâîäèòåë íà GIPRONII, ãëàâåí àðõèòåêò íà Ðóñêàòà Àêàäåìèÿ íà íàóêèòå. Ïðîåêòè, èçïúëíåíè ïîä ðúêîâîäñòâîòî íà Þðè Ïëàòîíîâ, ÷åñòî ñå ïðåäñòàâÿò íà èçëîæáè è àðõèòåêòóðíè êîíãðåñè â ñòîëèöè è âîäåùè ãðàäîâå â Çàïàäíà è Èçòî÷íà Åâðîïà, ÑÀÙ, Ëàòèíñêà Àìåðèêà, Àçèÿ. Ïðåç ïîñëåäíèòå äåñåò ãîäèíè ñå íàáëþäàâà íîâà ïîñîêà â ðàáîòàòà íà Þðè Ïëàòîíîâ - ðåêîíñòðóêöèÿ íà àðõèòåêòóðíèòå ïàìåòíèöè ÷ðåç èíæåêòèðàíåòî èì ñ íîâî ôóíêöèîíàëíî ñúäúðæàíèå. Þðè Ïëàòîíîâ å øèðîêî èçâåñòåí çà ñèíòåçà íà èçêóñòâàòà è ñúòðóäíè÷åñòâîòî ñè ñ áåëåæèòè ðóñêè è ÷óæäè àðòèñòè è ñêóëïòîðè. Òîé å àâòîð íà ñåðèÿ îò ìîíóìåíòàëíè àðò òâîðáè. Àêàäåìèê Þ. Ïëàòîíîâ ïðåäëàãà ìíîãî êðåàòèâíè èäåè, ÷èåòî èçïúëíåíèå íå ñàìî áè ðàçêðàñèëî Ìîñêâà ñ íîâè è îðèãèíàëíè êîìïëåêñè è êîíñòðóêöèÿ, íî áè òðÿáâàëî äà äîâåäå äî íîâè ñîöèàëíè ïðèäîáèâêè: ðàçâèòèå íà èíôðàñòðóêòóðàòà, ñúçäàâàíå íà íîâè ðàáîòíè ìåñòà, ïðèâëè÷àéêè ïðèòîê îò òóðèñòè è äð. Íÿêîè îò íàé-ãîëåìèòå ìîñêîâñêè ãðàäñêè ïðîåêòè ñà ïîä ðúêîâîäñòâîòî íà Þ. Ïëàòîíîâ êàòî: ïðîåêòà çà ðåêîíñòðóêöèÿ íà ïëîùàäà íà Ãàãàðèí è ïðèëåæàùèòå ïëîùè, ïðîåêòà çà Ìóçåé íà èñòîðèÿòà íà Ìîñêâà "Ñêëàä çà ñúõðàíåíèå íà åêñïîíàòèòå" êàòî ÷àñò îò ïðîåêòà çà ðåêîíñòðóêöèÿ íà Êðåìúëñêèÿ ïëîùàä, ïðîåêòà "Ïàðê íà èçêóñòâàòà". Ïðîåêòúò çà ïåøåõîäåí òóðèñòè÷åñêè ìàðøðóò "Íåñêó÷íà ãðàäèíà - Ïëîùàäà íà Ãàãàðèí - Ìîñêâà ñèòè" å ïðèåò çà ðåàëèçèðàíå îò ïðàâèòåëñòâîòî êàòî ìíîãîåòàïíà ãðàäñêà ïðîãðàìà çà ðàçâèòèå. Êðåàòèâíèÿò åêèï íà GIPRONII íà Ðóñêàòà àêàäåìèÿ íà íàóêèòå, ðúêîâîäåíà îò àêàäåìèê Þðè Ïëàòîíîâ ðàçâèâà ðàìêà çà äúðæàâíà ïðîãðàìà, ïëàí çà íàé-ãîëåìèÿ óíèâåðñèòåò èçâúí Âëàäèâîñòîê çà 50 000 ñòóäåíòà.

Competitions project concepts small-scale projects

A project of the Revolution Museum, I and II stage, Moscow, 1969, competition, Loureat Project lieder Yu. Platonov Architects Yu. Platonov, A. Panfil, I. Korbut, A. Karpov, P. Pavlov, L. Yakovenko Structure A. Levenshtein Project team of the GIPRONII of RAS "The architecture of the Museum expresses a unity of the ideas and the performance. The walls imitate stone screens - the symbols of banners. They compose the main theme of the building's faรงades and form the active propylaea as the entrances that are leading to the main inner space, i.e. to the hall of celebrations. This celebration hall is opened through a light transparent stained-glass wall to the territory of the Museum, which is allotted for open expositions of the epoch. From this celebration hall one starts his way to the history, to the present and the future". Yuri Platonov

“Plateau Beaubourg” - a project of the “Centre of Modern Arts”, Paris, 1971, competition, Laureate

Project lieder Yu. Platonov Architects Yu. Platonov, A. Panfil, I. Korbut, A. Korneeva, V. Repin, L. Yakovenko Structure A. Levenshtein Project team of the GIPRONII of RAS ... ”The great City has opened its flat hand - the Plateau Beaubourg - in order to receive the ship of light, colors, of the epoque’s music. The enormous saucer eyes are opened to life, to art, to Paris. The twelve cubical volumes with a side of 34.2 m are placed at the township and they reintegrate the city’s texture in its entirety and the appropriate scale proportions. From the Eiffel Tower and other eminences a Man will discover with interest a trenchant alignment of a Temple of modern art which makes a contrast to the stone ligature of the City. For the second time the Man will meet the Centre when coming to it. Now they are seen - the chastity and harmony of the system, the peripteron, the dynamics of the interior spaces organization and these spaces are subordinated to the directions of the ascensional and falling triangular diagonals - An unexpected contrast of the geometrical drawing of the walls and flowing lines formed by the disks of ceilings, a fertility of air, of light and shade, an the general rhythmical alignment will provide an organic interrelation with the proximate urban surroundings”... Yuri Platonov

“The Palace of Science” of the Academy of Sciences, Uzbekistan, Tashkent, 1972 Project lieder Yu. Platonov Architects Yu. Platonov, V. Schusev, M. Krasnikov Project team of the GIPRONII of RAS

The International project of the Tourist Centre in Tangier, competition, 1972 Project lieder Yu. Platonov Architects Yu. Platonov, L. Bartch, B. Alexandrov, E. Antonov, A. Batireva, E. Grigopyan, S. Zaharov, A. Zvezdin, L. Kojaueva, E. Ovsepan Structure A. Levenshtein Project team of the GIPRONII of RAS

The International Project of the “La Villette Park”, Paris, 1983, competition Project lieder Yu. Platonov Architects Yu. Platonov, A. Karpov, A. Kiyan, A. Panfil, E. Sudarikov Project team of the GIPRONII of RAS Sculptor G. Frangulian

“La Villette Park - that is a park of a new type, both: for traditional and new functions. These are new Semiramis’s Gardens, an embodiment of the concept of the man dominating over nature. We create a poetic and plastic unity of the landscape, architecture and composition. The spatial framework of the Park is formed by a system of canals and new boulevards. The prospects of the boulevards are open to “gardens” of France the gardens of Normandy, Champagne, the Alps... La Villette thats the whole country of France, it is her image in Paris”. Yuri Platonov.

The Internstional Project of the Tete de la Defense Centre, Paris, Franse, competition,1983, Laureat Project lieder Yu. Platonov Architects Yu. Platonov, A.Andreev, V. Bogachkin, S. Bosin, S. Kisselev, Yu. Volkov Structure A. Levenshtein Project team of the GIPRONII of RAS

â&#x20AC;&#x153;La Defense is the idea of France, an international idea. That is a communication centre of the people of the whole world, which is open day and night. And the people has the keys from it. The complex will enter the XXI century as a munument to the idea, which the Future is belonging to the idea of humanity and peace. We suggest a project that makes a contrast by its structure to everything that is done for today in the Defense, but at the same time it is close to the context, because it operats with the tectonic notions of our century, which are used in the Defense bravely and freely. The Defense is ordinary and fantastic at the same time. It is an image of our time and simultaneously a prospection. Âť Yu.P.

The Russian Business Centre in Chicago. Studies of the project, Chicago, USA, 1986 Architects Yu. Platonov, A. Panfil

Project lieder Yu. Platonov Architects Yu. Platonov, A. Panfil, E. Diomin, D. Metaniev, V. Zarudko, G. Zocimov, A. Karpov, K. Sergeev, E. Sudarikov, N. Frezinskaya, V. Shimko, I. Dianova-Klokova Engineers A. Levenshtein, L. Barishnikov, V. Bovkun, D. Kihonin, V. Sidorov, P. Sebedash, L. Skotnikov

The Scientific Centre of the Academy of Sciences and the University of Sofia, Bulgaria, competition, 1988, Laureate

The complex for the Supreme Chemical Technological Institute, Sofia, Bulgaria, competition, 1988, Loureat

Project lieder Yu. Platonov Architects Yu. Platonov, A. Panfil, A. Karpov, D. Metaniev, N. Frezinskaya, I. Dianova-Klokova Project team of the GIPRONII of RAS

“Nauka-2000”, the experimental scientific complex of the USSA Academy of Sciences, 1989 Design conception Yu. Platonov Project lieder Yu. Platonov with the project team of the GIPRONII of RAS

“Sky-scrapers pipes” the conceptual project (1992)

Many times, while being on the higher floors of some buildings in American cities I examined the prospects and paid attention to the skyscrapers that were “steaming” to the chilly sky emitting heat. In my thoughts, I was carried away to Moscow: in its view there were some vertical lines that could be equal to the height of the skyscrapers those were the tubes of the Heat Power Plants. And they also emit steam into the sky. Architectural practice seems not to notice them, and - rather purposely - they are not compared to the context of urban structures, with the historical silhouettes that should be protected. Usually the Architectural Council and the Monuments Protection Department examine, quite thoroughly, all the urban projects intruding into the silhouette of the city. And here, a building 160 m high floats in the city skies, independently of it and lives with its own technogenic life (and will still live for a long time!). I imagined, that if these tubes were used as the central crenels of buildings encircled by the floors of business offices with elevators and communications, then it would be possible to get quite a new townplanning quality, reach some new architectural achievements and produce a new logical order of the new business centres in the city. By using the possibilities of the “Chameleon” type glass some new architectural and artistic features interesting for Moscow might be approached. So, thats the idea. Our first-rate specialists in thermal physics, professors Karpis and Tabunshchikov consider that it could be a good economic, architectural-constructional and ecological project. Yu. P.

A project of the â&#x20AC;&#x153;Eurostationâ&#x20AC;? railway station in Moskva-CITY, competition, 1998 Design conception Yu. Platonov Architects Yu. Platonov, D. Metaniev, I. Dianova-Klokova

“Moskwa-river in Moscow”, conceptual project, 1999

Today, in the centre of historical kernel, the Moskva-river is indifferent to the life of the city, estranged by gray granite blocks of embankments. We should give the river to the citizens and guests of the city ! The Moskva-river is the main line of the city, the embankments - are its facade ! This is where a great potential is hidden, the one that architects and builders can work on using all their creative power.

First of all the urban analysis of the Moskva-river panorama is needed: mainly - the analysis of embankments and new ensembles from the Kremlin to the Gagarin Square, Luzhniki, City and Krylatskiye Holmi (the Novospassky Monastery)... and then towards the new regions and territories. This will open the new opportunities and effects of town-planning of the adjoining territories. The silhouettes, the wider town planning impression; a life of the river and its embankments; the bridges and their life; transport, the recreational zones, ecology, maintaining and renewal ! The centre is such a gorgeousness! From the Krasnoholmsky bridge there are a high-rise building in Kotelniki, the Foundling hospital, the Moskvoretsky bridge, the Kremlin, Cathedral of Vasili the Blessed, the Red Square, the Borovitskaya Square, the Church of Christ, the Bolotnaya embankment and Tretyakovka, the spit and Peter‘s monument, the Art Park, the Krymsky bridge, the Krymskaya Square, the Central Park, the Andreevsky pedestrian bridge, Neskutchny Sad, the Gagarin Square (the “Kaluzhskaya zastava” complex), the new building of the Academy of Sciences, Vorob‘yevi Gory, the Moscow State University, Luzhniki, the Novodevitchy monastery, the reconstructed Krasnoluzhsky bridge complex, “sky-scrapers- pipes” on the Berezhkovskaya embankment, the new pedestrian bridge near the Kievsky railway station, the Europe Square with its “Rape of Europa” fountain and system of squares, lowered embankments and berths, the Borodinsky bridge, the White House, “Ukraina” hotel, the International Trade Centre, the “Bagration” pedestrian bridge, the City complex... How many things to do, how many discoveries are ahead! We need: to connect everything by water routes, to equip the embankment with multiple slopes and place romantic cafes there, as well as art galleries, children‘s flotillas, to create a special design for the river boats (“crystal” ships!)... These things will give life to the river in summer and winter, will change the character of relations between townspeople and the river the most ancient main line of Moscow... This project “the Moskva-river in Moscow” is necessary ! Yuri P. Platonov

A project of Mihail Bulgakovs monument on Patriarshiye Ponds, Moscow, 1999, competition, Laureate Design conception Yu.Platonov Architect Yu.Platonov with participation P.Gonntcharov, M. Lazarev Sculptor A.Balashov

â&#x20AC;&#x153;...The World of Bulgakov the light, colors, panes, shears, refraction, transformations... An unstable balance! A stable unbalance! The magic glass of Bulgakov: - Bulgakov sitting on the chair he has concentrated, he is a Magus!

- Bulgakov of five dimensions: Three spaces+ Time + Bulgakovs own one - The basement tetrahedron made of optical glass blocks - The evening light is white, at night its colored + water streaming down along the facetsâ&#x20AC;? Yu.P.

Sketches for the project of the â&#x20AC;&#x153;Academiaâ&#x20AC;? Hotel, 2000

Design conception Yu. Platonov Architects Yu. Platonov, S.Tkatchenko, D.Metaniev, O. Dubrovsky with participation E. Naschokina. Structures V.Travush, A.Nikiforov

Fountain complex â&#x20AC;&#x153;Eternal struggle of Good and Evilâ&#x20AC;?, project, 2004

Design conception architect L. Golubovsky Project lieder Yu. Platonov Arcitects Yu. Platonov, I. Voskresensky, D.Metaniev, I.DianjvaKlokova, D. Lebedeva, S. Stepanova

Fountain “Music of Glory: Pyramid of Memory + “Victory Fanfares”, Moscow. Dedicated to the 60th anniversary of Victory in WWII, 2004 Project lieder Yu. Platonov Architects Yu. Platonov, D.Metaniev, I.Dianjva-Klokova, with participation M. Lazarev, E.Emelianenko, S. Stepanova Engineer V.Ekimov Project teams GORMOST, PELISKER

Alternative project “Russian Avant-guard” complex as a part of the “Moscow Park of Arts” development project, 2006. Design conception Yu. Platonov Architects Yu.Platonov, A.Kuzmin Project by “Capital group” Studies and theses for the alternative version of spatial and art-graphic suggestions

“Following the “Capital group” ‘s idea and the Project made by architect E. Egeraat, the Complex is interpreted as a memorial to Russian avant-guard of the 20-s of the last century and its achievements that, in fact, have been assigning trends of architectural and artistic thought for almost 100 years. Studies made by architect E. Egeraat were intended for hyper-representation of famous graphic works and paintings by notable artists depicted in freely treated, solid decorative constructions, as the theme for spatial-color decision of the facades. All efforts to turn this idea into exact constructive forms faced insuperable technical obstacles, namely - difficulties in its reliable decoding and realization. Taking into account that suggested “Symbolism” of the Project has naturally determined its fundamental role within “The Park of Arts Ensemble”, “Capital group” as the ideologist and investor, has been forced to search for “alternative versions”, which, for their turn, could preserve the main figurative idea of the Project - dedication to Russian avant-guard - and allow to find a way of its hi-tech realization. The present suggestions are aimed at solving these tasks. They are based on the architectural-engineer studies made by American architect Kostas Kandilis and his bureau enlisted in design process and working with hi-tech, multi-colored one-way vision glass. It’s been outlined to place a stained-glass window (“dedication picture”) on each of five buildings. This picture, made in hyper-scale, will represent the original works of great avant-guard painters. All pictures will be oriented onesidedly towards the Moskva-river. My suggestions: - to turn down the method of “hinged” decorative devices made of solid dense materials - to accept the technology of multi-colored one-way vision glazing - to interpret the Complex as the one that requires circular perception, equivalent for all directions - to exclude complicated irregularity of planes and buildings” volumes in order to reach clear geometric contours (parallelepiped, cube, cylinder). Thus, following the “purity of constructivism” concept. - to cover buildings in glass shells, each shell is of local “basic color”. Thus, following the “ avant-guard color tectonics” concept. - to cut a glass of different color into the main color of facades (stainedglass window), using signs, symbols, inscriptions dedicated to the great avant-guard painters. (Finding exact suggestions must become careful developmental work on fasade shells). - to accept the world-famous canvas - “Black Square” by Malevitch - as a “Basic symbol” of the Complex, due to its expressive explanation of “Infinity of the Universe”. A building intended for this goal - is a parallelepiped, it has two square facades oriented towards the Moskva-river. Conclusion: as we are guided by the fundamental spatial composition of the Complex and its color suggestions, it “s essential to operate with such “memorial” categories of great Russian avant-guard as Purity of constructions, Purity of color, shape, symbols and, thus, - Purity of space!” Yuri Platonov.

Multi-functional Greek Centre “Hellas”, Moscow, 2007- till our time. Design conception Yu. Platonov, S. Kulish, V. Lipatov Architects Yu. Platonov, S. Kulish, V.Lipatov, D. Jukov, O. Lugovets Project team “Laboratory of Virtual Architecture”, Moscow Rendering “Laboratory of Virtual Architecture” Client “FARMELLINRUS” Total area - 270 000 sq. meters Functional component: business-administrative, hotel, trade and recreational-entertainment facilities.

Scientific complexes, cities scientific centers, Urban

The Scientific Centre of Biological Research, Puschino, Moscow region, 1961-1979

Project lieder Yu. Platonov Architects Yu. Platonov, A. Batalov, A. Barchina, D. Metaniev, S. Buritsky, N. Filippovskaua, V. Kogan, S. Voronezshky, E. Archipov, V. Nagih Engineers B. Saveliev, G. Gross, F. Grinev, V. Nikitin Project team of the GIPRONII of RAS General Constructor CENTRAKADEMSTROY Client the Academy of Sciences of USSR Total area about 2000 hectares.

The project of a town for 30000 residents, complete with scientific zone, residential areas, and a public centre situated on a high bank of the river Oka, has been implemented and is widely-known for over 25 years now as the Scientific Centre of Biological research â&#x20AC;&#x153;Puschinoâ&#x20AC;?.

The Institute of Electronics and Computer Engineering of the Latvian Academy of Sciences, Riga, 1964 Client the Latvian Academy of Sciences Project lieder Yu. Platonov Architect Yu. Platonov, V. Rannev Structural engineers V. Nikitin, G. Mittelmann Project team of the GIPRONII of RAS

Paleontology Museum of the Paleontology institute of the RAS, Moscow, 1978 The Russian Federation State Prize, 1993 The Silver Medal of the Arts Academy of Russia, 1986 Design conception Yu. Platonov Project lieder Yu. Platonov Architects Yu. Platonov, V.Kogan, V.Nagih, A. Yakovenko Project team of the GIPRONII of RAS Sculptors and Painters A. Belashov, V. Duvidov, M. Favorskaia, I. Kazansky, M. Mituritch, V. Maloletkov, Yu. Chernov Client USSE Academy of Sciences General constructor CENTRACADEMSTROY Total area about 20000 sq.m.

32 ... “We needed some special step that would let us breathe some poetry into those schemes , conceived by us, to revive the real romanticism of a discovery, cognition of the Creation and Earth. We needed some special stage direction for this spatial performance. So, something of my reminiscences saying me: the Museum building would be a peculiarly huge terracotta amphora. In the future a Man surprised and curious will enter it and be captivated by the sensation of a miracle. For a while, just for this visit, we must make him forget his every day life through the wonder of discovery, which must be sensed by everybody who comes to the Museum! The first tower was given the theme «The Tree of Life» a gigantic ceramic composition unfolding with a figurative artistic language, the eternal picture of the development of Life on Earth. Mirrors on floors and

ceilings soften the hard lines of the design. They repeat the picture to the infinite suggesting to the visitor a philosophical view of the eternity of development and inexhaustibility of Knowledge. We also set ourselves a task of creating a singular and exciting chronicle about the development of Life, its species on the Earth, thru a figurative artistic language on the walls surface in the halls. A scenario / plan had been developed for this huge architectural and artistic epopee. In order to make the walls available for the paintings and other types of artistic exhibits plus help visitors find their way thru the building, a comprehensive color code was conceived for the interior decoration. Red brick walls are always on the right hand side as you walk and they are covered with colorful ceramic reliefs and drawings of ancient plants and prehistoric animals. In the Dinosaurs Hall, where the light comes from two sides, is a huge fresco called ÂŤThe Prehistoric EarthÂť. On the left hand, the brick walls are covered with white-stone plates. These plates have been carved with a stone-cutter and show themes of the forms of life in prehistoric timesâ&#x20AC;?. Yuri Platonov.

The Institute of Space Research of the RAS, Moscow, 1979

Project lieder Yu. Platonov Architects Yu. Platonov, M. Markovsky, G. Zosimov, Yu. Lyamin, M. Shabanova Structural engineer N. Nikolaev Project team of the GIPRONII of RAS Client the Academy of Sciences of USSR Total area about 300000 sq.m.

“Nauka”, the RAS Publishing House, Moscow, 1979

Project lieder Yu. Platonov Architects Yu. Platonov, V. Nazarov, I. Shubin, I. Korbut Engineers Yu. Glaz irin, M. Kastrilevitch, Ya. Pshitikevitch, M. Shubin, M. Ratchek Project team of the GIPRONII of RAS Client the Academy of Sciences of USSR

New Building of the Presidium of the Russian Academy of Sciences, Moscow, 1968-1982

The Golden Medal of the Arts Academy of Russia, 1998 Design conception Yu. Platonov Project lieder Yu. Platonov Architects Yu. Platonov, A. Batireva, L. Bartch, S. Zaharov, A. Zvezdin Structural engineers A. Levenshtein (leader), A. Nikiforov Project team of the GIPRONII of RAS Engineering “Indusnry gragnya” ((Croatia), Sculptor G. Frangulian Painters A. Vasnetsov, B. Begedjanov General constructor CENTRAKADEMSTROY Installation “Indusnry gragnya” ((Croatia) Total area about 120000 sq.m.

“Order Sequence-Academy. Structural composition was the principle used in designing the complicated spatial ensemble of the Academy building. A spatial design was developed because of the imposed matrix of four squares on the area of about 4 hectares, intersected, by two pairs of perpendicular lines of determined proportions. These lines spread out in three dimensions forming a certain symbolic cubical volume drawn into space by a frame made of strings. I have always imagined this frame as a “Golden lattice”. Then, confined by the regularity of the architectural order, the “volumes” of the building were designed to provide a continuity of spaces and forms. These well-ordered volumes fulfill the Academy’s required functions and exercise also the combined role of expressing a language made of a full range of symbols, based on a square and diagonal. They represent a modular structure of spaces with a system of plastic and graphical elements. These modules of the “Golden lattice” were not used functionally so we thought that we could integrate them within the matrix of the base made of granite mosaic. When looking at the two towers from the ground they seem to blend with the sky as a background but also we managed to find a solution such when one is looking towards the Crowns, they fit perfectly into the matrix of the base, composed of marble squares. They are entrusted with a special figurative artistic role; an attempt to declare their connection to the Moscow tradition of crowning the churches. Just the same way they traditionally did with the bulb shapes of the bell towers, we now use other forms, with another tectonic composition in order to mix Light and Shade representing the eternal dialogue between Heaven and Earth”. Yu. Platonov

The building complexes for the laboratories of the Physical Institute of RAS, Troitsk, Moscow region. The USSR Council of Ministers Prize, 1980 Project leader Yu/ Platonov Architects Yu. Platonov, A. Tchusev, V. Banit, V. Lotov, Yu. Malov, V. Zarudko, V. Nazarov Engineers B. Saveliev, P. Kozirev, A. Yakovlev

The Scientific Centre of the Russian Academy of Agricultural Sciences, Novosibirsk. The USSA State Prize, 1985. Project lieder Yu. Platonov Architects Yu. Platonov, A. Panfil, G.Tyulenin, E. Sudarikov, A. Karpov, E. Diomin Structural engineers A. Levenshtein (leader), B. Saveliev, B. Shubin, V. Lisovoy Project team of the GIPRONII of RAS Client the Russian Academy of Agricultural Sciences General constructor SIBAKADEMSTROY Total area 6000 hectares Number of residents 30000-35000

The Scientific Centre of the Russian Academy of Agricultural Sciences project was an example of a more consistent and integral realization of the method of module-regulatory total-system planning, which became the key to solving not only architectural and urban-development issues, but, what is particularly important in conditions of Siberia - the problem of prefabricated industrial construction.

The Institute of Biochemistry (Chemyakin Institute) of the RAS, Moscow, 1985

Project lieder Yu. Platonov Architects Yu. Platonov, A. Panfil, L. Iltchik, O. Vaskova, I. Shulga Structural engineers A. Levenshtein (leader), S. Voron Project team of the GIPRONII of RAS Client the Academy of Sciences of USSR General constructor GLAVCPECSTROY Total area about 165 000 sq.m.

The Institute of Mathematics of the RAS, Moscow, 1995 Design conception A.Panfil, Yu. Platonov Project lieder V. Nikolaev Architects Yu. Platonov, M. Markovsky, V. Nikolaev, I. Andronova Engineers O. Nikritin, S. Voron Project team of the GIPRONII of RAS Client the Academy of Sciences of USSR General constructor “Indusnry gragnya” ((Croatia)

Project “Moscow St.Peterburgs: the Double-Headed Capital of Rassia: Roads and the Region”. A Concept for transport, urbanecological, economical and cultural development of the Region”, 1994-1998

Silver medal and the Honorary diploma of the “Interarch 2003” Design conception Yu. Platonov Project team Yu. Platonov, G. Kuleschova, K. Sergeev, N. Glazovsky, K. Norkin

The “Two-Headed Capital of Russia” is a romantic interpretation of the traditional Russian State Crest. It is about intended forming and development of a new economical, cultural and political centre of Russia, created under the brand new circumstances of life`s dynamics. That means creation of à megalopolis extended to 650 km, and high-speed magistrals - both à trunk road and an automobile road that -will seãve as its axes. Modern speed of life compresses this territory to a level of the real, tangible spaces appropriate to the rhythm of today`s life. The Project suggestions àrå based în the idea of the necessity of the State regulation for large territorial and space processes, which is confirmed bó international experience. It is suggested to develop an urban-ecological cadastre as the main instrument of the State regula-tion. The cadastre will demarcate the territories (the urbanized ones which àrå liable to further urbanization and those to bå preserved for future generations as especially favored lands) and will educe for preservation the multiple culture and historical monuments scattered between Moscow and St. Petersburg.

Project for the complex reconstruction of Gagarin square. Ensemble of Gagarin Square (mid-80 till our times)

53 In the middle of the 1980s the building of the Presidium of the Academy of Sciences took up its position on the high bank of the Moskva-river, and the appearance of such a large public building on the periphery of the Gagarin square requires the architectural content and form of all buildings in this area to be conceived anew. Under the Moscow General Plan, the Gagarin Square is a part of a system of important multifunctional nodes situated at intersections of the citys radial main roads and the Third Ring Road with the aim of diverting traffic away from the old centre of Moscow. In those days the Gagarin square and its primitive intersections occupied an area equivalent to three Red Squares. But it is perfectly possible, while providing a comprehensive solution to the areas transport problems (by, firstly, putting the railway lines and roads under an enormous panel and, secondly, sending traffic over bridges and directly into tunnels) to create an underground city and transport hub and, on the artificial land above it, about 15 hectares of public space, a centre for use by the whole city! We took this idea as our starting-point in sketching a number of different options for developing the square. The next important step forward came during the course of work on the project, when it occurred to us that the Gagarin Square would be a good site for a Centre for science, IT, and new technologies naturally, in conjunction with the New Building for the Academy of Sciences. By this time a similar centre was under construction at Tete Defence in Paris, incorporating all the best achievements to be found in existing systems of this kind all over the world. Supported by the Moscow Government, we made contact with the French team working on the La Defence project. On the French side, I had two firms of architects working with me: that of architect Jean-Paul Viguier, and that of Manulo Nunes Yanovsky. This collaboration bore fruit in designs that were displayed for public discussion at the Union of Architects in Moscow. We were lucky enough to have as consultants two of Frances leading architects Georges Candilis and Bernard Zehrfuss. By the middle of the 90s the

project had become the Town Planning Program for the â&#x20AC;&#x153;Complex Reconstruction of the Gagarin Square and adjoining territoriesâ&#x20AC;?. The Government of Moscow issued a directive allocating a specific area of land approximately 50 hectares in all for realization of the project. This was an important conceptual step forward: it allowed the authors to advance with a greater sense of purpose and a better idea of what they were doing. They already had the city as a partner, and this was absolutely essential since projects on this scale involving strategic urban main roads and their infrastructure

cannot be developed without the participation of the city. The Project envisages the construction of the International Center of Science, IT and New Technologies, as well as a number of administrative and office buildings, hotel complexes, trade, public, sports, cultural and exhibition centers. A housing program is a part of the Project. It includes both: the reconstruction of the existent houses and new development. At the end of the 90s the work on the project was given a fresh wind. Its future was now linked in the closest possible way with the construction of the Moscows Third Ring Road.

54 Today the platform, of which we once could only dream, is the basis used in development of all the various structures public buildings, offices, and entertainments facilities envisaged in the urban-development concept. This is the first time that such structures have been designed to be built on artificial platforms in Moscow. In accordance with a directive issued by the Mayor and Moscow City Government design and construction of buildings on the Gagarin Square have been carried out in close connection with work on structures for the Third Ring Road. At the intersection of the ring road and the metro line there is a transport hub. And under the Gagarin Square, in the sole of the Science, IT, and Technology building (the WINDOW House), there are plans to create, in addition to the intersection between Leninsky avenue and the Third Ring Road, a recreational space.

Design conception Yu. Platonov, A. Kuzmin, L. Bartch, S. Zaharov Supervisor of the project and author‘s group Yu. Platonov with A. Kuzmin Main organizations makers of the Project GIPRONII PAS, “TPO-5 Bureau Platonov” the Institute for the General Layout of Moscow, MOSINZHPROEKT, GIPROTRANSMOST, GIPROMOST (Sankt-Pitersburg) Architects Yu. Platonov, A. Kuzmin, L. Bartch, S. Zaharov, A.Panfil, A. Karpov with participation project teams of bureau Jean-Paul Viguier (Fr) and bureau Manulo Nunes Yanovsky (Fr). Consultants Georges Candilis (Fr), Bernard Zehrfuss (Fr) Structural engineers A. Levenshtein, A. Nikiforov, V. Travush Transport and junction lay-out M. Kristmain, T. Sigaeva, S. Baikov Environmental sustainability G. Kuleshova, S. Sergeev Developer “Semontec” group of companies Client Moscow Government, Total area about 49 hectares

The list of the Complex s units in the zone of the Third Transport Ring includes: HOTEL “METRO” (total area 29344 sq.m.); MULTIHALL CINEMA (total area 7920 sq.m); TRADE GALLERY “MELOTCHI” (total area 11400 sq.m.); TRADE PASSAGE “THE THIRD RING” (18860 sq.m.); BUSINESS CENTRE (total area 63310 sq.m.); GALLERY “FLOWERS” (total area 750 sq.m.); MULTIFUNCTIONAL EXHIBITION & PUBLIC CENTRE (total area 8100 sq.m.); RECREATIONAL & INFORMATION TRADE CENTRE “UPPER SQUARE” (total area 5700 sq.m.); CAFE “NESKUTCHNOYE” (total area 900 sq.m.); UNDERGROUND PARKING (parking area 22900 sq.m.), the INTERNATIONAL CENTRE of SCIENCE, IT & NEW TECHNOLOGIES known as “A House Window to the III rd Millennium” (184267 SQ.M.) and an underground “TRADE AND RECREATIONAL CENTRE” (total area 41300 sq.m.). A phased realization of the Project is planned. It includes more than 16 investment programs. The time of the Project to be realized is 10-12 years.

A HOUSE “WINDOW to the IIIrd MILLENNIUM” The International Centre îf Science, Informatics and New Technologies Design conception Yu. Platonov, Supervisor of the project and author‘s group Yu. Platonov Main organizations makers of the Project GIPRONII PAS, “TPO-5 Bureau Platonov”, the Institute for the General Layout of Moscow, MOSINZHPROEKT, GIPROTRANSMOST Architect Yu. Platonov Structural engineer V. Travush, Project team “TPO-5 Bureau Platonov”, architects S. Zaharov, D. Hrustalyev, V. Bogachkin, E. Anvaiyer, structural engineer A. Levenshtein Rendering E. Anvaiyer, D. Hrustalyev Urban planner Yu. Platonov, A. Kuzmin, L. Bartch, S. Zaharov Underground structure Yu. Samohvalov, Installation V. Kulik, Transport M. Kristmain, T. Sigaeva, S. Baikov Developer “Semontec” group of companies Total area including all construction elements 184 267 sq. m Total area 120000sq. m Underground area 10 000 sq. m Number of stores 50 Lantern parking 1 401 cars

58 À project corresponding to the époque of millennia changing. A unique building diaphragm is proposed for construction in a very complicated urban situation, at a crossing of the most important citys magistrals as a part of the International Centre îf Science, Informatics and New Technologies intended for banks and companies working in computer market and also for public and cultural spaces. The building seems to soar over the ground. It consists of two parallel membranes (160x160õ24 m) united into an organic whole. They have a gigantic circular aperture 90 m in diameter which symbolise an interconnection with the Universe. Between the membranes of the facades the discs of 40 storeys are elevated up to 25 meters above the stylobate. The skeleton of this unique construction connects and turns into entity cubic and cylindrical elements, each one of them is 6-7-storeyed high. The carcass bear on the mirror flats of its facades information tableaux, colour screens, glass rings of the elevators which by their “perpetual motion” unite all the elements of the Building. Twenty high-speed elevators connect the different levels of the building and they “fly” 60 metres in the fantastic space of the ring. These dynamic elements included into the architecture permit to pass through the eternal pictures of the unique beauty of Moscow and Moscow suburbs outlooks, to understand the conception and philosophy of the project, to believe in ones own might and feel oneself as a part of the Great Entire. This building as a mirage in fantastic ligature of its ironworks just on your way, both: day and night, fixes the urban East-West axis in the general system of the city. The scale of the building corresponds to the many-kilometres ray of the largest Moscow magistral starting in the Centre, from the Kremlin, and leading to the south-west confines of the city. This idea was conceived and further elaborated a long time ago and precisely for this site, the complex reconstruction of Gagarin Square. In their time internationally-acclaimed architects Bernard Zehrfuss and Georges Candilis gave a high assessment of this concept, but doubted the feasibility of its being ever implemented in Russia of those years, suggesting, instead, using a modification of this image for a competition for TeteDefense. This House is an out-and-outer sign and its character and image will forever join the image of Moscow and become a new magnificent feature of its portrait.

Business Centre Design conception Yu. Platonov Project leader Yu. Platonov Architects Yu. Platonov, S. Kisselev, D. Lorents, N. Sidorova, K. Hodnev Structural engineers V. Travush, A. Nikiforov Rendering D. Lorents, N. Sidorova, K. Hodnev Consultant G. Stoilov Total area 63310 sq.m. Total area of offices 53174 sq.m. Covered parking 221 cars Automatic parking 192 cars

A high-rise building of the Business Centre is clearly seen from the Third Ring Road and the territory of South West. A significant part of it is placed above the Gagarin tunnel constructions and the railroad junction. Due to a difficult transport situation a scheme of drives has been sug-gested in a special way. The Business Centre includes: the A-class offices, conferencehall, restaurant, cafe with 350 seats. Configuration and height of the office part is determined by firmness and safety factors of the underground transport constructions. The building consists of three parts: the main high-rise part; the 10-storeyed part (above the railroad junction); the 8-storeyed part ( above the auto-parking blocks). A single vestibule with entrances to Vavilova street and a metro station is located on the ground floor. The building will have several atriums and gardens, a covered parking is a structure whose height diminishes from 4th to 1 st floor as it approach-es a green part of the square. The roof is fully usable and will have greenery and paths, staircases and strut-walls. This original design willenlarge the square visually and provide an attractive view from the win-dows of nearby houses. In the glass dome above the parking there will be 2-storeyed restau-rants and cafes. The metro station is located at the basement of this building.

62 Design conception Yu. Platonov, Manulo Nunes Yanovsky (Fr), S.Zaharov Project leader Yu. Platonov Architects Yu. Platonov, L.Bartch, S. Zaharov, E. Vorontsova Structural engineer A. Nikiforov Project team of GIPRONII RAS and MOSPROMPROEKT General constructor UNIFORMSTROY Developer “Semontec” group of companies Territory of the district 1,1ãà Total area 26164 sq.m. Number of apartments 84

“The Residential and Administrative Complex on the Andreevskaya Embankment”, 2004

As a part of the Project for the complex reconstruction of the Gagarin Square and adjacent territories an investment project titled â&#x20AC;&#x153;The Residential and Administrative Complex on the Andreevskaya Embankmentâ&#x20AC;? was constructed.

New bridges of the Third Ring Road, 2003 Design conception Yu. Platonov Architects Yu. Platonov, S. Zaharov Project team of GIPROMOST (S.-Petersburg) General constructor “KORPORACYA TRANSSTROY” Client Moscow Government

The Pedestrian Tourist Route for the central part of Moscow, end-90- till our days. Grand medal of the Russian Academy of Architecture and Construction Sciences Now the Project is on the realization as the City program of Moscow City Government. Customer-Developer the Moscow City Government, Department of economic policy and development of Moscow, Committee for tourism City Moscow Design conception Yu. Platonov Supervisors of the project and author‘s groups Yu. Platonov and A. Kuzmin Main organizations makers of the Project the Project and Research Institute for the General Layout of Moscow and “TPO-5 Bureau Platonov” The basic authors are D. Metanyev, I. Dianova-Klokova, S. Stepanova (repre-

sent “TPO 5 Bureau Platonov”), Engineers V. Travush, Yu. Samokhvalov, Architects O. Baevsky, N. Chevashova, L. Burmistrova, L. Bekhtina, M. Pozdeeva (represent the Institute for the General Layout of Moscow). The Project work on urban design and landscape is carried on by “Igor Voskresensky Workshop”, the “VICH-Barenfeltz” architectural bureau (Austria, Vienna), Center of landscape and visual analysis, Center of historicarchitectural researches, Center for Konstantin Melnikov`s Legacy, Schusev Museum of architecture. The other notable sculptors of Europe and Russia, which take part, are O. Strebelle (Belgium) , D. Dzamonja (Croatia) , A. Burganov (Russia), V. Kosmathev (Austria) , G. Frangulyan (Russia). The big design institutes are also engaged in elaboration of objects: GIPRONII RAS (the Design and Research Institute of the Russian Academy of Sciences), MARHI ( the Moscow Architectural Institute), METROGIPROTRANS, MOSINZHPROEKT, GIPROTRANSMOST.

The New Pedestrian Tourist Route “Glass Streets”, Moscow, end 90th till our time The underlying idea for such a project as the Pedestrian Tourist Route a large urban-development project first began to take shape during work on the project of reconstruction of Gagarin and Krymskaya Squares. The vast expanses of these squares in effect simply transport intersections an area of environmental concern, hostile to pedestrians - required an architectural reappraisal to humanize them, render them more pedestrian-friendly, developing an infrastructure catering to citizens cultural-entertainment needs with the requisite pedestrian routes for achieving this. The ideas for the Pedestrian Route were augmented by concepts taken from Yuri Platonovs project “Moskva-river in Moscow”, aimed at upgrading and enhancing the embankments of this principal city artery, providing them with facilities catering to a broad spectrum of interests of Muscovites. Yuri Platonov, a muscovite born and bred, believes that Moscows tourist potential is enormous, but largely untapped! Huge expanses of the city are grossly overlooked, concealed from both tourists and city residents. The Pedestrian Tourist Route will highlight not

66 only individual historical and architectural monuments and complexes, which are traditionally found in guide-books, but will promote Moscows environment as a whole” old and new, listed buildings and streets, residential areas and utilities structures, bridges and parks everything that, taken together, conveys the spirit of Moscow, its unique charm and inimitable delight! These concepts for humanizing the city expanses have been moving ahead in projects for the complex reconstruction of Gagarin and Krymskaya Squares, respectively, and have been almost completely realized in the project for the Ensemble of Europe Square. And now the new big town-planning project suggested by academician Yu. Platonov Pedestrian Tourist Route “Gagarin square MoskvaÑity” called “Glass Streets” was approved by the Public Town-planning Council for further realization as an urban program. The construction of two pedestrian bridges - Andreevsky and Bogdan Khmelnitsky - provided the impulse for implementing the concept of the Route, that he had long dreamt of, and which he was developing since the end-80-ies of the past century. The planned route comprises the implemented transport corridor fragments, which were outlined in earlier general lay-outs of the Moscow. The corridor lost its relevance due to the construction of the Third Transport Ring Road. The route involves a unique potential of historic territories of this part of the city. The key route destinations: the Gagarin Square Andreevsky pedestrian bridge with a foot esplanade the “Red Pavillion” under reconstruction Bogdan Khmelnitsky pedestrian bridge the Square of Europe - Ukrainsky boulevard - “Amphitheatre” pedestrian bridge and further complex Moskva-CITY. The route area encompasses Novodevichiy monastery, the Park of Arts that is being designed on Krymskaya embankment, Museum of Moscow for the cultural and architecture monument “The Provisions Storehouses” by Great Russian architect V. Stasov, on Krymskaya square. The linear strips of streets, lanes, squares that connect these large centres will be enlivened by dozens of cultural, service, trading, and recreation points. All valuable historic landmarks covered by the route will be reconstructed and those destroyed or dilapidated will be restored. An illustrative example restoration of the great K. Melnikovs famous “Red Pavillion” at the World Exhibition in Paris in 1925. In this context Acad. Platonovs project team works in cooperation with the Centre of Study of Architect Melnikovs Art. The restored pavilion situated on a site near Andreevsky pedestrian bridge is planned to be transferred to MBIAA for public activities. The pavilions spacious show-cases and the glass gallery will accommodate architectural exhibitions. This will doubtless become a significant event in the cultural and architectural life. The proposal was supported by Moscows Mayor Mr. Yu.M. Luzhkov and the participants of the International Scientific Conference “Preservation of the XX century architecture and the worlds heritage” held in Moscow in 2006. One of the route centres will be represented of by the Square Europe in front of the Kievsky railway station. It is the location of Europes largest trade-and-recreation centre “European”. The architectural solution of its facades is associated with the long since attractive theme of “marquee shop windows”. A hotel-and-business complex “Triumphal Arc” is being designed to be situated down Ukrainsky boulevard, and underground levels of the square will accommodate a recreation-and-service centre with a public parking. To complete the route, an arcuate pedestrian bridge “Amphitheatre” will be stretched from the crossing of Ukrainsky boulevard and Taras Shevchenko embankment up to the international centre MoskvaCITY. It will afford impressive sights of Moskva-CITY complex and picturesque city prospects. An in hall the Route crosses the Moskva-river via footbridge three times, and in each instance this crossing imbues with fresh vigor the adjacent streets, squares, boulevards. Glass galleries of the bridges accommodate exhibitions and festive events. All modern infrastructure objects along the 5 km route shops, housing, hotels, galleries, museums, cafes, restaurants, cinemas etc. will satisfy high-standard architectural solutions and accomplishment, providing for a year-round comfortable pedestrian traffic and life. This concern

67 specially developed street furniture, street lamps, benches, chairs, lanterns, standard lamps, direction signs, umbrellas, tents, decorative sculpture, fountains and monumental compositions. The notable sculptors of Europe and Russia take part in this fascination project. Among them are Dushan Dzamonja with his composition “The Bells” and Vladimir Kosmatchev with a sculpturel representation of Malevichs famous “Black Square”. The new pedestrian tourist route, which has been named “Glass Streets”, - is the largest- scale systemic urboecological socially-oriented project, intended for Muscovites and guests of the capital.

New pedestrian bridges over the Moskva-river Russian National Architecture Prize “The Crystal Dedalos” Design conception Yu. Platonov

Making of these new bridges allowed us to start a project of the tourist route. An idea of moving these railroad bridges the architectural and engineering monuments - was suggested by me in order to turn them into pedestrian ones. It was fulfilled during the construction of the Third Ring Road. Usually, the monuments of such kind are not movable, and there was only alternative for them a blast furnace ! The Andreevsky bridge was moved as a whole structure: amazingly beautiful, hand riveted metal bridge spans with 1780 tons of total weight, 22 thousand granite elements and stones. The Andreevsky bridge became the main part of a pedestrian route of 1200 m. The bridge is covered with a glass pyramidal roof that harmonizes clearly with mighty piers. An ensemble of the lowered walking embankment, which is connected with the bridge, includes historical architectural motives. An architectural decision of the embankment provides special facilities for disabled persons, so they can now approach to a ship ladder or move down to the river. The skeleton of the Krasnoluzhsky railroad bridge became a basis for construction of the Bogdan Khmelnitsky bridge. The last one gave people of that large district an opportunity to reach Kievskaya metro station in a faster way. The interior of a bridge is marked with inner columns. The line-up of inner columns looks like peculiar metal “trees” whose “branches” are bearing the glass over the historical arches of the bridge without touching them. This architectural and constructive method turns the historical construction into the main “antique” curio. A floor made of special gigantic parquet of ochre and umber color makes the space of the bridge looking solemnly and at the same time it turns into a deck of a fantastic ship, which is flying over the water! The glass constructions create unrepeatable image in daylight, and in the nighttime too.

The Andreevsky pedestrian Bridge

with an esplanade and a lower embankment Project lieder Yu. Platonov - “TPO 5 Bureau Platonov” Architects Yu. Platonov, A. Kuzmin, D.Metaniev, Dianjva-Klokova, Engineers E. Gapontcev, B.Monov Project team GIPROTRANSMOST General constructor “KORPORASIYA TRANSSTROY” Developer “Organizator” Ltd

The Bogdan Khmelnitsky pedestrian bridge, 2001 Project lieder Yu. Platonov - “TPO 5 Bureau Platonov” Architects Yu. Platonov, A. Kuzmin, D.Metaniev, I.Dianjva-Klokova, A.Tasalov Engineers E. Gapontcev, D.Labuzov, A. Koltchin Project team GIPROTRANSMOST General constructor “KORPORASIYA TRANSSTROY” Developer “Organizator” Ltd

The “Rape of Europa” fountain, Europa Square, Moscow, 2002

Special UNO Prize of Development program and the Silver medal and the Honorary diploma of the “Interarch 2003” Desing conception Yu. Platonov Project leader Yu. Platonov - “TPO 5 Bureau Platonov” Architect Yu. Platonov, A. Kuzmin, D. Metaniev, I. Dianova-Klokova with participation M. Lazarev, E. Emelianenko, D. Lebedeva Engineers V. Travush, V. Ekimov, A.Tasalov Design of the fountain M. Cherniak Landscape I. Voskresensky, V. Sokolov Project team MOSINNJPROECT, GIPROTRANSMOST General Constructor MOSINJSTROY Installation GORMOST Client Moscow City Government

One of the route canters will be represented by the Square called Europe in front of Kievsky railway station. In the centre of Europe Square you can see an architectural complex with an amphitheatre and the fountain statue “The Rape of Europe”. Its a joint work with renowned Belgian Sculptor Olivier Strebelle. Its dedicated to the United Europe. An architectural idea of Europe Square is an alfresco hall, is a kind of open-air theatre showcasing the famous myth. Inside of the granite circle of the parapet a viewer faces an amazing show - the play of water and light in which everyone can find his own impression. We see undulation of forms, circles of the composition elements that gather in the centre: from the “Wreath of Europe” alley to the flat three-projection cup of the fountain that is washed by strong streams of water, through the round granite “Volna” parapet that embraces the broken granite footsteps of an amphitheatre. The sculpture of the fountain and cascades are eccentrically placed this is very dynamic and equal to the symbolism of the composition. The water streams seem to lengthen the lines and the forms into a misty fantasy. An elegantly bent silhouette of this shiny steel sculpture must be seen very clearly from the adjoining spaces.

The conception of Europe Square is an idea of unity. To be together that‘s the goal of consolidation, of unity! Through the united and peaceful world, through the united Europe lies the way to prosperity and harmony. A first stage of reconstruction has started. The flagpoles with the European flags and a café-rotunda “Evropa” are also placed in the compositional centre of the square. A project for construction of adjoining embankments, new berths and riverside walking areas has been developed. Thanks to development started, a Kievsky railway station territory has become an attractive place for investment and building activity. It has been suggested to build the series of new big objects here, each one of them means a new creative challenge for me. We ended in 2008 tne biggest Trade and Recreational Centre “Evropeisky”. A façade of this building will take almost 200 meters of Dorogomilovskaya street, one of the most important Moscow highways. Opposite “Evropeisky”, at the entrance to the Ukrainian Boulevard, a big Hotel and Business Centre “Triumph Arc” will be placed.

Moscow City Government Prize for the best realization in 2008 year Desing conception Yu. Platonov Project leader Yu. Platonov Architects Yu. Platonov, A. Kuzmin, V. Sheskin, I. Sheskin, M. Lazarev Engineers A. Shillaev, A. Shats General Designer «Kiyevskaya ploshad» ZAO Organizations makers of the Project “TPO 5 Bureau Platonov” - Urbanistic and architectural-planning solutions DA (France) formulation of ideology and interiors ÎÀÎ ESMUS «Stalmontazh» - metal frame Main Works Contractor Joint Stock company ESMUS «Stalmontazh» Contracting organizations ZAO «Okna Moskvy» - complex glazing ZAO «Astir Ì» - ventilated façade and façade works Investor-Developer «Kiyevskaya ploshad» ZAO Net space almost 200000 square meters. Attendance 150 thousand people daily.

The Trade and Entertainment Centre “Evropeysky” is situated in direct proximity to the historic building of the Kiev Railway station, in Europa Square. The town-planning environment here is extremely complicated, however the creation of the Center has dramatically improved it, easing the congested traffic junctions and pedestrian flows. Taking into consideration the extremely involved system of underground communications and metro, the project incorporates unique practical solutions with the bearing distance of 60 meters between constructions supporting the buildings levels. The general compositional concept and plastic solution of the façade of the Trade and Entertainment centre building appeal to the existing buildings of diverse epochs: the hotel “Radisson-Slavyanskaya” and the Kiev railway station an architectural monument. The principal façade of the “Evropeisky” Trade and Entertainment Center faces Europa Square, responding to the expressive, elegantly bent composition of the fountain “Rape of Europa” with an undulating curve of its powerful granite wall, shot with sun-awnings and parade portals. The design solutions pertaining to the inner content of the complex stemmed from the idea of recreating the long-lost historical network of lanes and alleys that once existed here, è and a detailed study of the traditional pedestrian routes. As a result, the complex and arresting special structure of the complex derives quite logically from the overall city development situation.

The architectural solution of the complex lends a most spectacular beginning to one of the largest highways of the city, accentuating the link between Ukrainsky Boulevard and Europa Square. The imagery of the construction inspires associations steeped in history and simultaneously embracing the present-day. With its complexity and diversity of architectural-dimensional and decorative impressions is equal to “a miniature town”, with its own streets and squares. The interiors are in shades of white, trimmed with metal. The expanse of the galleries is broken up by stunning stained glass panels, beyond which are hundreds of snugly situated shops, cafes and restaurants. Everything is permeated with an atmosphere of ease, elegance and festivity. Playing an important role in the interior architecture are swirling up to maximum height atriums, with escalators and speed panoramic elevators. The decorative elements of the atrium floor-space are based on characteristic signs and images of celebrated European capitals. All facades of the complex boast a uniquely individual plastic solution, with a common theme incorporated into them all: portal and sun-awning, also addressing the European town traditions. The glass consoles of the sun-awnings along B.Dorogomilovskaya Street gleam and wink festively, while the snug square under the huge marquee- tent above the metro entrance from the side of Kiev railway station has become a traditional rendezvous point. The rhythm of portals along the spread of facades is linked with the entrances to the “Evropeisky”, enabling the visitors to find their bearings with ease. The facades are fronted with ceramic granite and stone, the main showcases are of stained glass. Top galleries are fronted with glass and polished metal. All the levels have clearly-defined functional characteristics: the basement level a supermarket and household goods, 1 luxury items, 2 Clothes stores, 3 Sports goods and a fitness centre, 4- Goods for Children, a playground, 9-hall multiplex and restaurant patio, 5,6 technical facilities and parking space. Leading towards the parking lots situated on the last two levels is a ramp that blends dramatically with the overall composition of the complex. A striking feature of the “Eevropeysky” is Moscows one-of-a-kind yearround rooftop ice-rink, catering to the most exacting demands of both amateurs and professionals. The complex “Evropeysky” is one of the principal features of Europa square, which is one of the focal points of the Pedestrian Tourist Route “Neskuchny Garden Gagarin Square Moscow-City”.

The Trade&Entertainment centre «Evropeisky», Europa Square, Moscow, 2008

Project for the Hotel «Triumph Arc», Evropa Square, Moscow Desing conception Yu. Platonov Project leader Yu. Platonov, “TPO 5 Bureau Platonov” Architects Yu. Platonov, A. Kuzmin, V. Sheskin, D. Metaniev, I. DianovaKlokova, S. Stepanova with participation E. Emelianenko, D. Lebedeva Engineers A. Shillaev, A. Shats Rendering E. Emelianenko, A. Kuzmanina Model N. Kondratiev, G. Orlov, A. Kuzmanina General Designer «Kiyevskaya ploshad» ZAO Investor-Developer «Kiyevskaya ploshad» ZAO

One of the striking features of the future town-planning highlights of Europe Square is the hotel-business centre «Triumphal Arch», situated at the beginning of Ukrainsky boulevard. The theme of the Triumphal Arch in connection with this complex did not come up by accident: situated nearby, just overlooking Moskvariver, is the Borodinsky bridge a project masterminded by architect N.Klein in tribute to Russias heroic victory over Napoleons troops. The new building could be regarded as a memorial to the 200th anniversary of

that glorious page in Russian history, which shall be broadly marked in 2012. The architectural composition, based on the classical theme of the Triumphal Arch, has been injected with new dynamic modern elements: asymmetry of the façade, a diagonal vaulted passage, upsizing of form and plastic art shapes. The major space shall contain a hotel and business centre, the semi-subterranean and subterranean given over to public, technical, service facilities and parking space.

Design conception Yu. Platonov Project lieder Yu. Platonov - “TPO 5 Bureau Platonov” Architects Yu. Platonov, A. Kuzmin, D.Metaniev, I.Dianova-Klokova with participation M. Lazarev, E. Emelianenko, D. Lebedeva, S. Stepanova Structure V. Travush Model N. Kondratiev, G. Orlov, A. Kuzmanina

At the present stage of its development the New Pedestrian Route ends at the actively sprouting complex Moscow-city. Leading there is a remarkable, glittering with glass facets, multi-tiered “The Amphitheatre” pedestrian bridge. The bridge is incurved towards Moscow-city, the new building of the Moscow Mayors office, and this indented side shall accommodate numerous cafes, restaurants, observation platforms. The “Amphitheatre” bridge shall be directly connected with the top level of the two-tier embankments of Moskva-river. From this level those taking the Pedestrian Route along the pedestrian esplanade shall emerge right onto the new Square of the Mayors Office.

“Amphitheatre” pedestrian bridge project

The urban conception for the systematic reconstruction of Krymskaya square, Moscow, beg-90 till our time Desing conception Yu. Platonov Project leader Yu. Platonov Architects Yu. Platonov, L. Bartch, A. Karpov, B. Bode, A. Panfil

Due in part to my family traditions (my grandmother Evridika Marazli came from the Russian branch of a famous Greek family), but also due to the fact that as an architect I have always had a special feeling for Greece, I have always thought it very important for both our countries and capital cities to establish a Greek Cultural and Business Centre in Moscow. Greece has meant such a lot in the spiritual, religious, and cultural history of Russia. So one of my first ideas during perestroika, when our country opened up to the outside world, was the idea of creating a centre of this kind. At that time, with the support of a number of outstanding personalities of culture and the arts, I initiated a plan to create a modern exhibition and museum complex on the basis of the famous Provisions Stores designed by architect Stasov, a mighty work of Russian Classicism undeservedly abandoned to neglect and ruin. At the beginning of work on this project I started thinking, started drawing Krymskaya ploshchad, which over the last decades had become an austere transport hub devoid of all social and cultural content. Thus it was that two themes came together in the first proposals to locate the Greek Centre on Krymskaya ploshchad facing onto Krymskaya Embankment next to Khamovnicheskaya Church, a fine example of 17th-century church architecture; the museum and estate of Lev Tolstoy; and one of the most beautiful bridges in Moscow, Krymsky Bridge.

95 We dreamed of creating a Moscow acropolis spread throughout Moscows streets, an acropolis that would raise peripteral temples into the Moscow sky to chime with the domes of the citys churches and the spires of the ctiys high-rise buildings, adding new colours to the architectural palette of this ancient capital city. At the beginning of Komsomolsly prospekt there was to be a business and hotel centre (Acropolis House). Opposite, on the other side of the avenue: residential apartments, a cultural centre, and church. At the pier leading to Krymsky Bridge: a shopping centre. Next to Park kultury metro station: the centres administrative building. In Greece my idea was not merely accepted, but greeted with delight. And in general, the idea of a Greek Cultural and Business Centre found support with both the public and politicians and statesmen in both countries, including Yury Luzhkov, Mayor of Moscow; Melina Mercuri, Greek Minister of Culture; the outstanding contemporary architect

Georges Candilis, and Dmitry Likhachev, the patriarch of Russian culture. We secured the approval of the presidents of Greece and Russia, both prime-ministers, the Russian and Greek ministries of foreign affairs and culture, the ambassadors of both countries, and the leaders of the Russian and Greek Orthodox churches. Unfortunately, the idea of creating the centre, like many interesting projects of that time, was never brought to fruition. However, the plan for the Greek Centre was absorbed in the project for systematic reconstruction of Krymskaya ploshchad, during the course of which work has already begun on construction of the Business centre on Zubovsky bulvar and a Cultural centre on Komosomlsky prospekt. And, finally, a concept has been devised for development and reconstruction of the Provisions Stores as the basis for the Museum of Moscow. It is my hope that during realization of subsequent objectives it will be possible to return to the idea of a Greek Cultural Centre.

Cultural Centre, Komsomolsky avenue, Moscow, construction on beginning Desing conception Yu. Platonov Project leader Yu. Platonov Architects Yu. Platonov, V. Troshin (leader), L. Bartch, V. Chistyakov, E. Amelina Structural engineers A. Nikiforov, S. Dotsenko Rendering S. Dotsenko Model V. Chistyakov Project team GIPRONII RAS Developer “PARK KULTURI” ZAO Total area about 6000 sq.m. ½ part from this – underground parking

Desing conception Yu. Platonov Project leader Yu. Platonov Architects Yu. Platonov, N. Fomichova, L. Bartch, T. Volkova, M. Wais (Israel) Structural engineers A. Nikiforov, O. Montchakovsky Structural consultant V.Travush Project team GIPRONII of RAS Rendering Architectural Bureau of M. Wais (Israel) Structural audit “EKOPRO” Ltd Developer “AM-Building Centre” ZAO Investor “Engineering Company” Ltd General constructor “KONIP” Ltd Overall floor space 7790,0 square meters The underground space 818,0 On the 3rd-15th floors free office space

Business Center “PARK KULTURI”, Zubovsky boulevard, Krymskaya square, Moscow, construction on beginning

The project for a new Museum of Moscow complex, with the architectural monument “Provisions Storehouses” by the Great Russian architect Vasiliy Stasov incorporated into it, Krymskaya square, Moscow, end 90 till our time Desing conception Yu. Platonov Project leader Yu. Platonov Architect Yu. Platonov, A. Kuzmin, D. Metaniev, I. Dianova-Klokova, M. Lazarev, S. Stepanova, E. Emelianenko with participation D. Lebedeva Structural engineers V. Travush (leader), E. Timonin Model M. Lazarev, D. Lebedeva, N. Kondratiev, G. Orlov, A. Kuzmanina, Rendering E. Emelianenko, A. Kuzmanina

«Provisions Storehouses» by the outstanding Russian architect Vasiliy Stasov, a magnificent specimen of Russian Empire style, dedicated to Russias victory in the 1812 war with Napoleon, in perfection of architectural construction and plastic form of décor ranks alongside the very best samples of Russian and world architecture. The suggestion to create a large-scale contemporary museum-exhibition centre that would incorporate this architectural monument was initially conceived by me with the support of a number of outstanding personalities of culture and the arts, back in 1988. The “Provisions Storehouses” complex was incorporated into the project for the systematic reconstruction of Krymskaya square, initiated by my architectural design studio together with the Institute of Moscows General Plan over 10 years ago. For many consecutive years my team worked on this project without a contractor or any legal groundwork, on bare enthusiasm alone they refused to give up on this project! Our draft concept presupposed a scientific reconstruction of the architectural monument, with its subsequent adaptation for use as a museum-exhibition center, as well as the construction of new buildings on the reserve territories on the northern border of the inner courtyard. This required solution of the very thorny task of harmonizing the old architectural monument and the new construction work, and at this point we could select as the target for implementing our creative ambitions the inner courtyard of the Provisions Storehouses, the territory of which, with its small but elegant Corps de garde, would be cleared of all later structures. Here are three of the more discriminative architectural suggestions: a the new buildings face the inner courtyard with a cascade of levels that create the impression of embracing the Corps de garde; b the boundary of the courtyard a mirror-wall of the new building, which reflects the facades of the historical structures; c an amphitheatre behind the Corps de garde transfers the inner courtyard into a huge stage. These designs suggested methods of covering the created inner space. One of the principal variants was that of a cantilevered over cover for the historical courtyard which would eliminate the need for using the historical buildings for support - something that would satisfy the regulations for the protection of architectural and historical monuments. In 2004 the Urban Development Council under the Moscow Mayors office considered and approved the design variants of our project as a basis for further elaboration. By the end of 2008 the Moscow government was able to complete negotiations with the military agency for transferring the “Provisions Storehouses” complex to the city, and decided they would for the basis for the new Museum of Moscow. The approved at the time the draft concept presupposed a complete scientific restoration of the architectural monument, with the historical structure itself becoming, in effect, one of the pivotal exhibits of the museum. It houses permanent displays dedicated to the historical past of Moscow. The new building on the reserve territory, on the side of Kropotskinsky pereulok, seals the complete quadrangle of the complex and faces the inner space of the atrium with its imposing colonnade-exedra of its main facade. The suggested layout characteristic of the Empire style, shall ensure the associative link between “new” and “old”. The histrionic “sound” in this instance, I believe, is quite pertinent, since the museum complex shall be opened in 2012 timed to the 200th victory of Russian military valour. The order composition of the exedra is presently suggested in several variants, based on historical designs of different constructions made by Stasov himself, such as the very beautiful and festive Moscow Triumphal Gate in St.Petersburg. Complete reconstruction of the monument shall open up the impressive space of the interiors with two-tier arches. On sections of the streets that are directly adjacent to the historical buildings of the monument, the occupation layer is to be removed to form a paving-stone podium of sorts. This solution returns the monument its initial proportions and accentuates its role and place in the contemporary city environment. The suggestion of covering the inner Courtyard of this monument of world significance sparked a controversy similar to that in Paris, London, Washington. Besides our proposals, a number of other options were dis-

99 cussed, such as one involving complete covering of the entire inner space from roof ridge to roof ridge, with the inevitability of constructions resting for support on the walls of the historical monument. This wellknown method, pertinent in some cases, does not correspond to the architectural layout of separately standing structures of the monument and is in conflict with international regulations for preservation of historical monuments. For that reason it was rejected by us. Our principal suggestion is to create a completely independent transparent atrium, ruling out any contact with the monument buildings. Glass walls are erected directly along the perimeter of the courtyard, thus transforming it into a closed-in public space to be used for hosting concerts, exhibitions, city festivities. One of the variants of the atrium could be conditionally called the “Cube”. Glass walls are erected parallel to the historical walls, creating a passageway along the perimeter of the courtyard. A visitor can thus observe the historical facades in all their immediate authenticity. Another variant is the “Cylinder”. Here the open and the covered spaces of the courtyard are almost equal-sized. The functional utilization presupposes using the main historic buildings as exposition spaces, with the restoration and information departments housed in their two underground levels. The new buildings of the project shall accommodate exhibition halls, an exposition “Moscow of the Future”, an administrative zone with departments of scientific restoration, a conference hall zone; the underground levels of the new design and inner Courtyard shall serve as antechamber and recreation zone, the principal communication corridor, çîíû technical and service facilities, parking space. Entrances for visitors will be accessible from all adjacent streets. The main foyer, from which visitors can access all zones of the museum, has two levels: the 1st, situated on mark 0,00, on the plat of the inner courtyard and Atrium and the 2nd on mark -6,00connects the museum directly with the metro station platforms and pedestrian underground passes under the thoroughfare. The architectural design for the new buildings, sealing the northern side of the complex, “quotes”, albeit in modern technological materials (diverse finish, and the color “glass on glass”), details of the historic facades and architectural elements initially conceived by the great architect with such excellence.

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Desing conception Yu. Platonov Project leader Yu. Platonov Main organizations makers of the Project: “TPO-5 Bureau Platonov” and the Project and Research Institute for the General Layout of Moscow Architects Yu. Platonov, A. Kuzmin, O. Baevsky, D. Metaniev, I. DianovaKlokova, M. Lazarev, S. Stepanova, E. Emelianenko, D. Lebedeva Landscape I. Voskresensky Developer GUK MO “Museion”

“I`ve had to work on this theme for many years the Art Park in Moscow. After accumulation of all collected materials I carry on the existent project today. In my preliminary projects I`ve outlined an interesting direction in development of architectural idea of this park, the basis of which is a historical image of the Earthen settlement. The intention is to turn banks into terraces of one, two or three levels. Today we re-create Krymsky Val in an allegoric way: the plastic compositions of these new levels will increase a green surface up to 1520 per cent and form wonderful galleries and exhibition halls meant for Art school expositions, auctions and musical events. On the top of the “banks” there will be observation grounds for viewing a parterre of the park and a whole city panorama. The Art Park architecture is gonna be a natural part of that panorama of our amazing city, and for the Viewer there`s so much colour and history around ! And on both sides there is an amazing, everlasting mirror of the Moskva-river...” Yuri Platonov

The urban conception for the Art Park, Krimskaya embankment, Moscow, 2003 till our time

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Manor houses

105 “The task was not so simple, because my wife Katya was the main Client and Critic. According to her request, I had to “invent a House that will permit to look out to all the four sides and that the Sun would rise in the bed-room and set in the cabinet and the flecks of sunlight would walk around the House all day long, that each story would exist “per se”, that stylistically the House project would be solved with associations to the traditions of Russian architecture, and that it would correspond to a known formula “My House is My Fortress”, and a lot of other things… For myself, I consider that my most ingenious answer was the one I have suggested for the request “that all the rooms had terraces and that the entrance terraces would be rainproof” I had put the pyramid of the mansard story as a sort of diagonal to the main story and as a tangent to the configuration of the upsides. And just this turn-round of the roof-umbrella had alone solved all the problems! The reminiscences about our old Moscow houses are present in the images of the library in entresols, of the round cabinet with an unique bust of Pushkin by sculptor Mikhail Anikushin, of the central sitting room with a colonnade. Around this sitting room and over it the space of the whole House is shaped. The colored basement of the mansard pyramid is painted like a “drought-board”. It covers the main story and its colors is suggested by the fabulously beautiful painting of the domes of the St. Ivan-the-Warrior Church in Moscow, by which I go to my office on foot and by car for many years. The column-lamps at the center of each of the four facades of the House are connected with my childish ecstatic attitude towards the lantern light. And the upsides with the narrow mortises of the windows in the thick walls are associated histrionically with the forms of old churches”. Yuri Platonov

Country House in Gavrilkovo “House with the 4 outdoor column-luminaries” (Yury Platonov Family’s Country residence) Desing conception Yu. Platonov Architect Yu. Platonov Project team “TPO-5 Bureau Platonov” with participation engineer B. Ulyanov, architect T. Gvozdikova Constructor “ForStroy” (Ru)

106

107

108

109

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Country House in Novaya Derevnya “Villa-rotunda” Desing conception Yu. Platonov Architect Yu. Platonov Project team “TPO-5 Bureau Platonov” with participation engineer A. Shubin, architects M. Lazarev, P.Gontcharov

Playing an associative “game” with inner space of the Palladian villa, with modern re-understanding of its space: breaking the limits of square plan, the “round” square, the interior with entresols. In the center of interior there are - Atrium and the front suite of rooms. All the main rooms are located diagonally, namely, the dining room, the reception room, the nursery and the bedroom. There are more rooms between those ones the Host‘s suite, the sitting room for the Hostess and the music hall located crosswise according to the plan. Front rooms of the house are connected by high portals that “combine” all rooms and turn them into the single whole space during guest routs. All the places under entresols are bathrooms and toilets, dressing rooms, bars and fireplaces.

111

112

Villa «Stara kucha» (“The Old Hause”), Sutivan, isle of Brac, region of Split, Croatia, 2004-2008 Desing conception Yu. Platonov Project leader architect I. Nizhetic Architects Yu. Platonov, I. Nizhetic Engineer Yu. Nizhetic Project team Architectural Bureau I. Nizhetic, Split (Croatia) Constructor “Apollonia”, Sutivan (Croatia)

Sutivan is an enchanting medieval town on the Isle of Brac, which falls within the protected zone for UNESCO World Heritage Sites of history, culture and architecture. Within the historical outlines of the territory of the Villa “Staraya kucha” terraces leading down the slope to the sea have been preserved, ruins of the main building (30õ30ì, 3 floors, upper attic and basement), stables with roofed hayloft, a woodshed and tiny stone goat-house. All this required reconstruction and partial restoration. A particularly important aspect of the implementation of this project for me personally was the collaboration with local Masters, stone masons who have a profound knowledge and instinctive feeling for the famous Brac white dolomite rock. The Romans under Diocletian used it for building; a great many famous buildings in Europe are constructed out of it, while stone masons hailing from Brac used this stone to build the residence of the American President the White House. For the purpose of avoiding the prevalent feeling of a remake, an imitation, I invented for this particular project the austere test: «All that is new, is new; all that is old, is old!». All buildings are recreated in line with the genuine original boundaries and on initial foundations. The attic of the main house was turned into a mansard-studio, the stables hayloft into the 2nd floor of a parlor above the equestrian hall, transferred into a mantel hall, a pyramid marquee above the summer kitchen and dining room took the place of the woodshed. Lost elements of the facades were recreated as consistent with historical analogues.

113

114 I derived tremendous creative enjoyment working on the landscape architecture of the villa: supporting walls, split-level terraces, drinking fountain, terraced gardens. Work on the interiors required a great deal of attention to harmonize the Flemish tapestries on indigenous stone walls, metal, ceramic and stone items, artwork with contemporary elements of dĂŠcor and furnishings. The project has successfully passed a rigid expert appraisement by the Board of Monument protection of Central Dalmatia in Split. The designing and building were done in collaboration with architect, Professor Ivo Nizhetic from Split, a hereditary resident of Brac. The towers stone sun dial was executed at my suggestion, by well-known Dalmatian sculptor Pero Yakcic, residing and working on the Isle of Brac. For me this work was imbued with new revelations, pertaining to the famous Isle and its fabulous stone architecture, and it was received with gratifying appreciation by local residents, historical scientists and architects.

115

Villa “Parcella”, Sutivan, Isle of Brac, Split region, Croatia, 2006-2009 Desing conception Yu. Platonov Project leader E. Bilich (Croatia) Architects Yu. Platonov, E. Bilich (Croatia) Project team “Mediteran Project”, Trogir (Croatia) Constructor “Gospodnetich”, Sutivan (Croatia)

Upon completing work on the recreation of the historic villa “Staraya Kucha”, I received a fascinating opportunity for designing a small contemporary villa in a newly-developing area of the town of Sutivan, some 1,5 km from its historical centre. I had supposed that after working in quite taxing, but nonetheless just and valid conditions with strict regard for UNESCO regulations, this new project would be a stroll in the park”! The task set before me was intriguing, the site itself enchanting, and all that was required was an original concept!

116

117 However, upon receiving the geodesic survey passport of the site, we discovered that the dimensions of the future construction had been determined long before - 9õ16ì, as was its exact location on a rectangular site 20õ50ì. It was strictly forbidden to tamper with these cabalical lines! I felt cornered! And then I recalled that the wonderful architect Konstantin Melnikov (a friend of my Fathers, we used to live near one another) had already successfully solved a similar task in Moscow on Arbat street back in 1927. It was a project involving his own famous house, which I have known and loved since childhood. So I suggested a model by analogy with his concept: only an intersection of two circumferences in the plan was substituted by a geometric interplay of two octagons 9õ9ì. This enabled us to naturally accommodate the pre-conceived dimensions of 9õ16ì, and create on its basis, with respect for the purity of form of the two octagon cylinders, a new independent composition of a house complete with amphitheatre of open terraces to the sea. The first floor, with a spacious parlor-cumdining room is part of the warm contour of the house, while the second floor for two-thirds is occupied by bedroom and balcony, on the third floor the octagon of a studio under canopied roof, and a terrace with pergola above the second octagon, open to the seascape. When the design had finally taken shape and a booklet was ready for co-ordination with the architectural services of the Island of Brac, it transpired that for all territories facing the Adriatic sea, some 100 years ago a set of regulations had been fixed, in line with which the design and silhouette of buildings should be «quadratic», the presence of certain traditional elements of the façade is imperative, such as, corniceswaterspouts on stone prongs, with adjoining two- or four-hipped tiled roofs. This unification, indeed, serves to guarantee a certain traditional standard of general impressions white-cube houses and red roofs, indeed, preserve a traditional view of the landscape! In cooperation with the architecture bureau from Split that was overseeing my work, we successfully coped with the requirements of «quadrature» by supplementing corner balconies. I was forgiven the absence of serrated cornices… But a roof is imperative! So then I came up with an idea of a pyramid “chapeau-roof”, which I personally regard jocularly, as an elegant chapeau from wind and rain (the preferred white color was rejected strict regulations!), which is supported by 4 “braids” of red copper waterspouts descending to the ground. This “Chapeau Rouge” is a symbol of conformity with local rules, which, at will, the villa can remove on starry southern nights, saluting its neighboring brethren, while I, in my imagination, remove it in a gesture of profound gratitude towards the great Melnikov for his helpful hint.

118 Ïðîåêò "Ìóçåé íà ðåâîëþöèÿòà", êîíêóðñ, 1-âè è 2-ðè åòàï, Ìîñêâà, 1969 ã., ëàóðåàò

Àðõèòåêòóðàòà íà ìóçåÿ èçîáðàçÿâà åäèíñòâî íà èäåÿòà è îñúùåñòâÿâàíåòî. Ñòåíèòå - êàìåííè

åêðàíè ñà îñíîâíàòà òåìà âúâ ôàñàäàòà íà ñãðàäàòà è îáðàçóâàò àòðàêòèâíè ôîàéåòà êàòî

Öåíòúð Íà Ñúâðåìåííîòî Èçêóñòâî Â Ïàðèæ

âõîäîâå, êîèòî âîäÿò êúì ãëàâíîòî âúòðåøíî ïðîñòðàíñòâî - çàëàòà çà òúðæåñòâàòà

Êîíêóðñåí ïðîåêò "Öåíòúð íà ñúâðåìåííîòî èçêóñòâî - "Ïëàòî Áîáóð", Ïàðèæ, 1971ã. ïðîåêò - ëàóðåàò Öåíòúðúò íà ñúâðåìåííîòî èçêóñòâî â Ïàðèæ èìà êàòî îñíîâíà èäåÿ äåìîêðàòè÷íîñòòà..12 êóáè÷íè îáåìà ñ äúëæèíà 34,2 ì. ñà ñå

íàñòàíèëè íà îïðåäåëåí ó÷àñòúê, âúçñòàíîâÿâàéêè òúêàíòà íà ãðàäà è ïðèñúùèòå è ìàùàáíè ñúîòíîøåíèÿ. Îò Àéôåëîâàòà êóëà è

äðóãè âèñî÷èíè ÷îâåê ñ èíòåðåñ íàáëþäàâà õðàìà íà ñúâðåìåííîòî èçêóñòâî.

Ìåæäóíàðîäåí êîíêóðñ çà Ïàðêà Ëÿ Âèëåòò, Ïàðèæ, Ôðàíöèÿ, 1983

Òîâà å ïàðê îò íîâ òèï ñ òðàäèöèîííè è íîâè ôóíêöèè. Òîé å íîâàòà ãðàäèíà íà Ñåìèðàìèäà,

âúïëúùåíèå íà èäåÿòà çà îâëàäÿâàíå íà ïðèðîäàòà îò ÷îâåêà. Íèå ñúçäàâàìå ïîåòè÷åñêî è ïëàñòè÷-

íî åäèíñòâî íà ëàíäøàôòà, àðõèòåêòóðàòà è êîìïîçèöèÿòà.

Ìåæäóíàðîäåí êîíêóðñ Òåä-Äåôàíñ, Ïàðèæ, Ôðàíöèÿ, 1983 ã. Äåôàíñ - èäåÿòà íà Ôðàíöèÿ å èíòåðíàöèîíàëíà. Òîâà å öåíòúð çà îáùóâàíå ìåæäó õîðàòà îò öÿë ñâÿò, êîéòî äåíîíîùíî å îòêðèò. Íèå ïðåäëîæèõìå ïðîåêò, êîéòî å

êîíòðàñòåí íà âñè÷êî îíîâà, êîåòî áåøå ïðàâåíî â Äåôàíñ äî òîçè ìîìåíò. Íàøèÿò ïðîåêò çà ÒåäÄåôàíñ áå îáèêíîâåí è åäíîâðåìåííî ñ òîâà ôàíòàñòè÷åí, îáðàç íà

íàøåòî âðåìå, íî ñúùî òàêà è ïîãëåä â áúäåùåòî.

Ìóçåé íà ïàëåîíòîëîãè÷åñêèÿ èíñòèòóò íà ÐÀÑ, Ìîñêâà, 1978 ã.

Íàöèîíàëíà íàãðàäà íà Ðóñêàòà ôåäåðàöèÿ, 1993; Ñðåáúðåí ìåäàë íà Ðóñêàòà àêàäåìèÿ íà èçêóñòâàòà, 1986

…"Èìàõìå íóæäà îò íåùî ïîñïåöèàëíî, êîåòî ùå íè ïîçâîëè äà âäúõíåì ìàëêî ïîåçèÿ, çà äà ñå ðåâèòàëèçèðà èñòèíñêàòà ðîìàíòèêà íà îòêðèòèÿòà çà ñúçäàâàíåòî íà çåìÿòà. Èìàõìå íóæäà îò ñïåöèàëíà ñöåíà çà òîâà ïðåäñòàâëåíèå íà ïðîñòðàíñòâîòî.

Íåùî â ìåí ñÿêàø ìè êàçâàøå, ÷å:ñãðàäàòà íà ìóçåÿ òðÿáâà äà áúäå îñîáåíî ãîëÿìà òåðàêîòåíà àìôîðà. Òàêà õîðàòà ùå áúäàò ó÷óäåíè è ïðèâëå÷åíè äà âëÿçàò â íåÿ è äà çàáðàâÿò ñâîåòî åæåäíåâèå, èçïèòâàéêè ÷óäîòî íà îòêðèòèåòî.Ïúðâàòà êóëà íîñè èìåòî "Äúðâîòî íà æèâîòà" - ãèãàíòñêà êåðàìè÷íà êîìïîçèöèÿ, êîÿòî ðàçêðèâà ñ èçîáðàçèòåëåí àðòèñòè÷åí åçèê âå÷íàòà êàðòèíà íà ðàçâèòèåòî íà æèâîòà íà çåìÿòà. Îãëåäàëà ïî ïîäîâåòå è òà-

âàíèòå îìåêîòÿâàò òâúðäèòå ëèíèè â äèçàéíà. Òå ïîâòàðÿò êàðòèíàòà äî áåçêðàéíîñò, ïðåäëàãàéêè íà ïîñåòèòåëÿ ôèëîñîôñêè ïîãëåä êúì âå÷íîòî ðàçâèòèå è íåóìîðèìîñòòà íà ïîçíàíèåòî. Ñúùî òàêà íèå ïîñòàâÿìå ïðåä íàñ çàäà÷àòà çà ñúçäàâàíå íà åäèíñòâåíà è âúëíóâàùà õðîíèêà çà ðàçâèòèåòî íà æèâîòà ÷ðåç ôèãóðàòèâåí àðòèñòè÷åí åçèê ïî ïîâúðõíîñòèòå íà ñòåíèòå â çàëèòå. ×åðâåíèòå òóõëåíè ñòåíè ñà

âèíàãè íà äÿñíàòà ñòðàíà è ñà ïîêðèòè ñ öâåòíè êåðàìè÷íè ðåëåôè è ðèñóíêè íà äðåâíè ðàñòåíèÿ è ïðàèñòîðè÷åñêè æèâîòíè. Â çàëàòà íà äèíîçàâðèòå, êúäåòî ñâåòëèíàòà èäâà îò äâåòå ñòðàíè, èìà îãðîìíà ôðåñêà, íàðå÷åíà "Ïðàèñòîðè÷åñêà çåìÿ". Þðè Ïëàòîíîâ

Êîìïëåêñ íà íîâàòà ñãðàäà íà ïðåçèäèóìà íà ÐÀÍ ÇÇëàòåí ìåäàë íà Ðóñêàòà àêàäåìèÿ ïî èçêóñòâàòà

Ïðîñòðàíñòâåíàòà ñòðóêòóðà å ñúçäàäåíà íà îñíîâàòà íà ïðåäëîæåíà ìàòðèöà ñ êâàäðàòåí ïëàí ñ

ïëîù îò 4 õåêòàðà; ðàç÷åðòàí îò ïåðïåíäèêóëÿðíè ëèíèè ñ îïðåäåëåíè ìàòåìàòè÷åñêè ñúîòíîøåíèÿ.

Òåçè ëèíèè ñà îáúðíàòè â òðèòå èçìåðåíèÿ è îáðàçóâàò ñèìâîëè÷íè êóáè÷íè îáåìè.

119 Ïðîåêò çà ðåêîíñòðóêöèÿ íà ïëîùàä Ãàãàðèí è ïðèëåæàùàòà ìó òåðèòîðèÿ

Îáùàòà ïëîù íà ðåêîíñòðóèðàíàòà òåðèòîðèÿ å 46 õåêòàðà. Ó÷àñòúêúò å ðàçïîëîæåí íà 3 êì. îò Êðåìúë, ïðåñè÷àéêè åäèí îò íàé-

âàæíèòå ìàãèñòðàëè â ãðàäà. Ïðîåêòúò ïðåäâèæäà ñòðîèòåëñòâî íà öåíòúð çà íàóêè, èíôîðìàòèêà è íîâè òåõíîëîãèè, çàåäíî ñ àäìè-

íèñòðàòèâíè è îôèñ êîìïëåêñè, ìîëîâå, îáùåñòâåíè, ñïîðòíè, êóëòóðíè è èçëîæáåíè öåíòðîâå.

Ïðîåêò çà íîâ ïåøåõîäåí òóðèñòè÷åñêè ìàðøðóò "Ïëîùàä Ãàãàðèí Íåñêó÷íàòà ãðàäèíà - Ìîñêâà Ñèòè". Ãðàäîñòðîèòåëíà êîíöåïöèÿ. Ãîëåìèÿò ìåäàë íà ÐÀÀÑÍ

Íîâèÿò ìàùàáåí ãðàäîñòðîèòåëåí ïðîåêò çà ïåøåõîäåí òóðèñòè-

÷åñêè ìàðøðóò å ïðèåò îò ìîñêîâñêîòî ïðàâèòåëñòâî êàòî

Ñãðàäà - ïðîçîðåö â òðåòîòî õèëÿäîëåòèå

Ïðîåêòúò ñúîòâåòñòâà íà åïîõàòà íà ñìÿíàòà íà õèëÿäîëåòèÿòà. Óíèêàëíàòà ñãðàäà-äèàôðàãìà, ñå ðàçâèâà â ìíîãî ñëîæíà ãðàäîñòðîèòåëíà ñèòóàöèÿ íà ïðåñå÷êàòà íà ãëàâíè ãðàäñêè ìàãèñòðàëè â áèçíåñ è àäìèíèñò-

ðàòèâåí öåíòúð. Ñãðàäàòà, êîÿòî å èçäèãíàòà íàä çåìÿòà, å ñâúðçàíà â åäíî öÿëî ñ ïàðàëåëíî ïîñòàâåíè ìåìáðàíè 160Õ160ì., â êîèòî å îáðàçóâàí êðúãúë ïðîöåï ñ ãèãàíòñêè äèàìåòúð, ïî÷òè 90 ì., ñèìâîëèçèðàù âðúçêà-

54 ãðàäñêà ïðîãðàìà çà ñêîðîøíî îñúùåñòâÿâàíå.

òà ñ âñåëåíàòà. Òàçè ñãðàäà, åäèíñòâåíà ïî ñâîÿ ðîä, îáðàç è îáëèê, âèíàãè ùå ñå ñâúðçâà ñ îáðàçà íà Ìîñêâà è ùå ñòàíå íîâà âåëè÷åñòâåíà ÷åðòà îò íåéíèÿ ïîðòðåò.

Íîâè ïåøåõîäíè ìîñòîâå ïðåç ðåêà Ìîñêâà Íàöèîíàëíà íàãðàäà íà Ðóñèÿ â îáëàñòòà íà àðõèòåêòóðàòà "Êðèñòàëåí Äåäàë" Ïðåìèÿ íà Ìîñêâà â îáëàñòòà íà ëèòåðàòóðàòà è èçêóñòâîòî

Èäåÿòà íà Þ. Ïëàòîíîâ çà ðåêîíñòðóêöèÿòà íà æåëåçîïúòíè ìîñòîâå â ïàìåòíèöè íà àðõèòåêòóðàòà è èíæåíåðíîòî èçêóñòâî ãè ïðåâðúùà è â ïåøåõîäíè ìîñòîâå. Àíäðååâñêèÿò ìîñò å

íàïúëíî ïðåíåñåí çà ðåñòàâðàöèÿ, êîåòî ñàìî ïî ñåáå ñè å áèë èíòåðåñíà èíæåíåðíà çàäà÷à. Òîé ñå ïðåâðúùà âúâ âðúçêà ìåæäó äâà îò îñíîâíèòå ðàéîíè íà Ìîñêâà. Ìîñòúò å ïîêðèò ñ ìåòàëî-

ñòúêëåíà ïèðàìèäàëíà êîíñòðóêöèÿ. Ìîñòúò íà Áîãäàí Õìåëíèöêè å îñíîâíî îðèåíòèðàí êúì êóëàòà íà Êèåâñêàòà æåëåçîïúòíà ëèíèÿ è å ñ äîáðà âðúçêà ñ ìåòðîòî.

Àíñàìáúë ïëîùàä „Åâðîïà” è ãðóïà îò ôîíòàíè „Ïîõèùåíèåòî íà Åâðîïà“

78 Àðõèòåêòóðíàòà èäåÿ çàä ïëîùàä „Åâðîïà” å, òîé äà áúäå çàëà

ïîä îòêðèòî íåáå ñöåíà çà åäíà ñêóëïòîðà. Âñè÷êî å ïðîíèçàíî îò

âúëíîîáðàçíè ôîðìè, îêðúæíîñòè, êîèòî ñå ñúáèðàò â öåíòúðà íà ïëîùàäà.

Òúðãîâñêî-ðàçâëåêàòåëåí öåíòúð „Åâðîïåéñêè“

Íàé-ãîëåìèÿò â ñòîëèöàòà òúðãîâêè è êóëòóðåí ðàçâëåêàòåëåí öåíòúð, êîéòî ñå íàìèðà íà

ïëîùàä „Åâðîïà” ñ ïîâå÷å îò 180 000 êâ.ì. Êîìïëåêñúò âêëþ÷âà ìíîãî òúðãîâñêè ïàñàæè, íàé-ãî-

ëåìèÿò ôèòíåñ öåíòúð â Ìîñêâà ñ áàñåéí, êèíî öåíòúð, äåñåòêè êàôåòà è ðåñòîðàíòè.

120 Ïðîåêò çà ðåêîíñòðóêöèÿ íà Êîìïëåêñà íà Êðèìñêè ïëîùàä Òúðãîâêî-äåëîâè öåíòúð

Ñãðàäàòà íà öåíòúðà å 14-åòàæíà ñ ïîäçåìåí äâóåòàæåí ïàðêèíã.

Íà ãîðíè-òå åòàæè å íàïðàâåí ñïåöèàëåí àíàëèç íà ãëåäêèòå êúì

ãðàäà, îò êúäåòî ìîæå äà ñå íàáëþäàâà è õðàìà íà Õðèñòà Ñïàñèòåëÿ è Âîðîáüåâûõ ãîð.

Ìóçåé íà Ìîñêâà â ðåêîíñòðóêöèÿòà íà ñãðàäè- ñêëàäîâå ïî ïðîåêò íà Âàñèë Ñòàñîâ

Àðõèòåêòóðàòà íà òîçè ìóçåé ñàìà ïî ñåáå ñè å íàé-âàæíèÿò åêñïîíàò â ìó-çåÿ. Ïúëíàòà ðåñòàâðàöèÿ íà àðõèòåêòóðíèÿ ïàìåòíèê

å ïîçâîëèëà îòêðèâàíåòî íà âåëè÷åñòâåíè èíòåðèîðè. Îñíîâíîòî ïðåäëîæåíèå îò êîëåêòèâà íà Þðè Ïëàòîíîâ å äà ñå

ôîðìèðà íàïúëíî íåçàâèñèì îò ñòàðàòà êîíñòðóêöèÿ àòðèóì. Â íîâèÿ êîðïóñ ñå ðåäóâàò èç-ëîæáåíè çàëè, àäìèíèñòðàöèÿ è íàó÷åí îòäåë, êàêòî è êîíôåðåíòíè çàëè.

Ãðàäñêà êîíöåïöèÿ çà Àðò Ïàðê Êðèìñêè Âàë Ìîñêâà 2003- äî íàøè äíè Äèçàéí Þ. Ïëàòîíîâ Ðàáîòèë ñúì ïî ïðîåêòà çà Àðò ïàðê â Ìîñêâà ìíîãî ãîäèíè. Ñëåä ñúáèðàíåòî íà âñè÷êè íåîáõîäèìè ìàòåðèàëè, äíåñ ïðîäúëæàâàì ñ èçïúëíåíèåòî íà ñúùåñòâóâàùèÿ ïðîåêò. Â ïðåäâàðèòåëíèòå ìè ïðîåêòè áÿõ î÷åðòàë èíòåðåñíà íàñîêà â ðàçâèòèåòî íà àðõèòåêòóðíàòà èäåÿ íà òîçè ïàðê, âúç îñíîâà íà êîÿòî òîé äà áúäå èñòîðè÷åñêè îáðàç íà ãëèíåíî ñåëèùå. Öåëòà å äà ñå ïðåâúðíàò áðåãîâå-

òå â òåðàñè íà åäíî, äâå èëè òðè íèâà. Äíåñ íèå îòíîâî ñúçäàâàìå "Êðèìñêè Âàë" ïî åäèí ñèìâîëè÷åí íà÷èí: ãúâêàâàòà êîìïîçèöèÿ íà òåçè íîâè íèâà óâåëè÷àâà çåëåíàòà ïîâúðõíîñò äî 15-20 íà ñòî è ôîðìèðà ïðåêðàñíè ãàëåðèè è èçëîæáåíè çàëè, ïðåäíàçíà÷åíè çà èçëîæáè íà ó÷èëèùà ïî èçêóñòâî, òúðãîâå è ìóçèêàëíè ñúáèòèÿ. Íà âúðõà íà "áðåãîâåòå" ùå èìà íà-

áëþäàòåëíè ïëîùàäêè çà ðàçãëåæäàíå íà ïàðêà è ïàíîðàìàòà íà öåëèÿ ãðàä. Àðõèòåêòóðàòà íà Àðò ïàðêà ùå å åñòåñòâåíà ÷àñò îò ïàíîðàìàòà íà íàøèÿ íåâåðîÿòåí ãðàä, à çà íàáëþäàòåëÿ èìà òîëêîâà ìíîãî öâÿò è èñòîðèÿ íàîêîëî! È îò äâåòå ñòðàíè ùå áúäå óäèâèòåëíîòî, âå÷íî îãëåäàëî íà Ìîñêâà-ðåêà. Þðè Ïëàòîíîâ

103

Âèëàòà íà ñåìåéñòâî Ïëàòîíîâè Þðè Ïëàòîíîâ: "Çàäà÷àòà íå áåøå òîëêîâà ïðîñòà, òúé êàòî ïîðú÷èòåëÿò íà ïðîåêòà áåøå ñúïðóãàòà ìè Êàòÿ. Àç òðÿáâàøå ïî íåéíà ìîëáà äà "ïðîåêòèðàì äîì, îò êîéòî ìîæå äà ñå ãëåäà íà

âñè÷êè ÷åòèðè ñòðàíè, òàêà ÷å ñëúíöåòî äà èçãðÿâà â ñïàëíÿòà è äà çàëÿçâà â êàáèíåòà è ïðåç öåëèÿ äåí â äîìà äà èìà ñëúí÷åâè çàé÷åòà. Âñåêè åòàæ äà å ñàì çà ñåáå ñè, òàêà ÷å ñòèëèñòè÷åñêè

105

êúùàòà äà å ðåøåíà â òðàäèöèèòå íà ðóñêàòà àðõèòåêòóðà è äà îòãîâàðÿ íà ôîðìóëèðîâêàòà "Ìîÿò äîì å ìîÿòà êðåïîñò" è ò.í."

121

íûå ïðîïèëåè âõîäîâ â íåãî, âåäóùèå ê ãëàâíîìó âíóòðåííåìó ïðîñòðàíñòâó çàëó òîðæåñòâà. Çàë òîðæåñòâà îòêðûò âèòðàæîì ñâåòà â òåððèòîðèþ ìóçåÿ, îòäàí-

ñòâî, à Ïàðèæ. Ïàðèæ âîøåë â ýòè ãëàçà æèâûìè êàðòèíàìè âå÷íîãî ãîðîäà. Äâåíàäöàòü êóáè÷åñêèõ îáúåìîâ ñî ñòîðîíîé 34,2 ì ðàçìåñòèëèñü íà îòâåäåííîì ó÷àñòêå, ïîëíîñòüþ âîññòàíîâèâ òêàíü ãîðîäà, ìàñøòàáíûå ñîîòíîøåíèÿ, åé ïðèñóùèå. Ñ Ýéôåëåâîé áàøíè è äðóãèõ âûñîò ×åëîâåê ñ èíòåðåñîì îáíàðóæèò ÷åòêèé ñòðîé Õðàìà ñîâðåìåííîãî èñêóñ-

ñòâà, êîíòðàñòíûé êàìåííîé âÿçè òêàíè ãîðîäà. Âòîðîé ðàç ×åëîâåê âñòðåòèòñÿ ñ Öåíòðîì, êîãäà ïðèäåò ê íåìó - ñòðîãîñòü è ñòðîéíîñòü ñèñòåìû - ïåðèïòåð, äèíàìèêà îðãàíèçàöèè âíóòðåííèõ ïðîñòðàíñòâ, ïîä÷èíåííûõ íàïðàâëåíèÿì âîñõîäÿùèõ è ïàäàþùèõ òðåóãîëüíûõ äèàãîíàëåé... Íåîæèäàííûé êîíòðàñò ãåîìåòðè÷åñêîãî ðèñóíêà ñòåí è ìÿãêîñòü ëèíèé,

Ïðîåêò Ìóçåÿ Ðåâîëþöèè, êîíêóðñ, 1 è 2 ýòàïû, Ìîñêâà, 1969, ëàóðåàò Àðõèòåêòóðà ìóçåÿ âûðàæàåò åäèíñòâî èäåé è ñâåðøåíèé. Ñòåíû, êàìåííûå ýêðàíû ñèìâîëû çíàìåí, - ñîñòàâëÿþò ãëàâíóþ òåìó ôàñàäîâ çäàíèÿ è îáðàçóþò àêòèâ-

íóþ îòêðûòûì ýêñïîçèöèÿì ýïîõè. ×åðåç çàë òîðæåñòâà ÷åëîâåê íà÷èíàåò ñâîé ïóòü â èñòîðèþ, íàñòîÿùåå è áóäóùåå

Êîíêóðñíûé ïðîåêò "Öåíòð ñîâðåìåííîãî èñêóññòâà "Ïëàòî Áîáóð", Ïàðèæ, 1971 ãîä. Ïðîåêò - ëàóðåàò

Öåíòð ñîâðåìåííîãî èñêóññòâà â Ïàðèæå - äåìîêðàòèçì èäåè ñòàë èäååé ïðîåêòà. Âåëèêèé ãîðîä ðàñêðûë ëàäîíü - ïëàòî Áîáóð, ÷òîáû ïðèíÿòü êîðàáëü ñâåòà, êðàñîê, ìóçûêè ýïîõè. Îãðîìíûå êðóãëûå ãëàçà ðàñêðûòû â æèçíü, â èñêóñ-

îáðàçóåìûõ äèñêàìè ïåðåêðûòèé, áîãàòñòâî âîçäóõà, ñâåòà è òåíè, îáùèé ðèòìè÷åñêèé ñòðîé îáåñïå÷àò îðãàíè÷åñêóþ âçàèìîñâÿçü ñ íåïîñðåäñòâåííûì ãîðîäñêèì îêðóæåíèåì. Ïëàíèðîâî÷íîå è ïðîñòðàíñòâåííîå ðåøåíèå Öåíòðà îáåñïå÷èâàþò ïîëíîå âûïîëíåíèå ôóíêöèé, çàäàííûõ ïðîãðàììîé

Ìåæäóíàðîäíûé êîíêóðñ íà Ïàðê Ëÿ Âèëåòò, Ïàðèæ, Ôðàíöèÿ, 1983

Ýòî ïàðê íîâîãî òèïà, äëÿ òðàäèöèîííûõ è íîâûõ ôóíêöèé. Ýòî íîâûå Ñàäû Ñåìèðàìèäû, âîïëîùåíèå êîíöåïöèè îâëàäåíèÿ ÷åëîâåêîì ïðèðîäû. Ìû ñîçäàåì ïîýòè-

÷åñêîå è ïëàñòè÷åñêîå åäèíñòâî ëàíäøàôòà, àðõèòåêòóðû è êîìïîçèöèè. Ïðîñòðàíñòâåííûé êàðêàñ Ïàðêà - ñèñòåìà êàíàëîâ è íîâûõ áóëüâàðîâ. Ïåðñïåêòèâû

áóëüâàðîâ îòêðûâàþòñÿ â «ñàäû» Ôðàíöèè ñàäû Íîðìàíäèè, Àëüï, Øàìïàíè…Ëÿ Âèëåòò âñÿ Ôðàíöèÿ, ýòî åå îáðàç â Ïàðèæå.

Ìåæäóíàðîäíûé êîíêóðñ íà Òýä-Äåôàíñ, Ïàðèæ, Ôðàíöèÿ, 1983

Äåôàíñ èäåÿ Ôðàíöèè, èäåÿ èíòåðíàöèîíàëüíàÿ. Ýòî öåíòð îáùåíèÿ ëþäåé âñåãî ìèðà, îòêðûòûé äíåì è íî÷üþ, êëþ÷è îò êîòîðîãî ó íàðîäà. Êîìïëåêñ âîéäåò â ÕI âåê ìîíóìåíòîì èäåå, êîòîðîé

ïðèíàäëåæèò áóäóùåå èäåå ÷åëîâå÷íîñòè è ìèðà. Ìû ïðåäëàãàëè ïðîåêò, êîòîðûé êîíòðàñòåí ïî ñâîåìó ñòðîþ âñåìó, ÷òî áûëî ñäåëàíî òîãäà â Äåôàíñå, íî îäíîâðåìåííî è áëèçîê, ò.ê. îïåðèðóåò òåê-

òîíè÷åñêèìè ïðåäñòàâëåíèÿìè íàøåãî âåêà, êîòîðûå ñâîáîäíî è ñìåëî èñïîëüçîâàíû çäåñü. Òýä-Äåôàíñ îáûêíîâåííûé è ôàíòàñòè÷åñêèé. Ýòî îáðàç íàøåãî âðåìåíè è îäíîâðåìåííî âçãëÿä â áóäóùåå.

Ïàëåîíòîëîãè÷åñêèé ìóçåé Ïàëåîíòîëîãè÷åñêîãî èíñòèòóòà èì. Îðëîâà ÐÀÍ, Ìîñêâà Ãîñóäàðñòâåííàÿ ïðåìèÿ ÐÔ, Ñåðåáðÿíàÿ ìåäàëü ÀÕ ÑÑÑÐ

Ìû èñêàëè îñîáûé õîä, êîòîðûé áû ïîçâîëèë âäîõíóòü â ïëàíèðîâî÷íûå ñõåìû ïîýçèþ, âîçðîäèòü ïîä-

30 ëèííûé ðîìàíòèçì îòêðûòèé, ïîçíàíèÿ Ìèðîçäàíèÿ è Çåìëè. Íóæíà áûëà îñîáàÿ ðåæèññóðà äëÿ ïðîñòðàíñòâåííîãî ñïåêòàêëÿ. Ìû ïîñòàâèëè çàäà÷ó ñîçäàíèÿ ñâîåîáðàçíîé ëåòîïèñè ðàçâèòèÿ æèçíè õóäîæåñòâåííûì ÿçûêîì îáðàçîâ íà ïîâåðõíîñòè ñòåí çàëîâ. Áûë ðàçðàáîòàí ñöåíàðèé-ïëàí äëÿ ýòîé îãðîìíîé àðõèòåêòóðíîõóäîæåñòâåííîé ýïîïåè. Äëÿ òîãî, ÷òîáû ïðåäîñòàâèòü ñòåíû õóäîæíèêàì è ïîä÷èíèòü îñíîâíîìó àð-

õèòåêòóðíîìó çàìûñëó ìíîãîîáðàçèå õóäîæåñòâåííûõ ðåøåíèé, îãðîìíîãî íàó÷íîãî ìàòåðèàëà è îáåñïå÷èòü îðèåíòàöèþ ïîñåòèòåëÿì â çàëàõ, áûë ïðåäëîæåí àêòèâíûé öâåòîâîé ïðèåì: âñåãäà â çàëàõ ïî ïðàâóþ ðóêó äâèæåíèÿ êðàñíûå êèðïè÷íûå ñòåíû è öâåòíûå êåðàìè÷åñêèå ñêóëüïòóðíûå ðåëüåôû ñ èçîáðàæåíèÿìè äðåâíèõ ðàñòåíèé è æèâûõ ñóùåñòâ, à ïî ëåâóþ ðóêó - íà êèðïè÷íûå ñòåíû “ïîëîæåíû” áåëîêàìåííûå “ëèñòû”-ïëîñêî-

ñòè, îòäàííûå ðåç÷èêó ïî êàìíþ, âîññîçäàþùåìó îáðàçû äðåâíåé ïðèðîäû. Òåìà “Äðåâî Æèçíè” - ãèãàíòñêàÿ êåðàìè÷åñêàÿ êîìïîçèöèÿ, â õóäîæåñòâåííûõ îáðàçàõ ðàñêðûâàþùàÿ âå÷íóþ êàðòèíó ðàçâèòèÿ æèçíè íà Çåìëå. Çåðêàëüíûå ïîëû è ïîòîëêè ïîçâîëÿþò ñíÿòü æåñòêóþ ÷åðòó “íà÷àëà”, ïîâòîðÿþò áåñêîíå÷íî èçîáðàæåíèå, ôèëîñîôñêè ãîâîðÿ î âå÷íîñòè è íåèñ÷åðïàåìîñòè Ïîçíàíèÿ..

Êîìïëåêñ Íîâîãî çäàíèÿ Ïðåçèäèóìà ÐÀÍ, Çîëîòàÿ ìåäàëü Ðîññèéñêîé àêàäåìèè õóäîæåñòâ

Ñòðóêòóðíîñòü - ïðèíöèï ïîñòðîåíèÿ ñëîæíîãî ïðîñòðàíñòâåííîãî îðãàíèçìà êîìïëåêñà çäàíèÿ Àêàäåìèè. Ïðîñòðàíñòâåííàÿ ñòðóêòóðà, ñîçäàííàÿ íà îñíîâå ïðåäëîæåííîé ìàòðèöû íà êâàäðàòíîì ïëàíå, ïëîùàäüþ îêîëî 4 ãåêòàð, êîòîðûé

ðàñ÷åð÷åí ïàðíûìè ïåðïåíäèêóëÿðíûìè ëèíèÿìè ñ îïðåäåëåííûìè ìàòåìàòè÷åñêèìè îòíîøåíèÿìè. Ýòè ëèíèè, ðàçâåðíóòûå â òðåõ èçìåðåíèÿõ, îáðàçóþò íåêèé ñèìâîëè÷åñêèé êóáè÷åñêèé îáúåì, êàê áû íàðèñîâàííûé â ïðîñòðàíñòâå êàðêàñîì èç ñòðóí, ýòî - Çîëîòàÿ ïðîñòðàíñòâåííàÿ ðåøåòêà êàðêàñà. Â ýòîì “ïëåíó” ïîðÿäêà, “Îðäåðà”, è áûëè ïîñòðîåíû “îáúåìû” çäàíèÿ ñ öåëüþ îáåñïå÷èòü áåñêîíå÷íóþ öåëîñò-

íîñòü â ïîñòðîåíèè ïðîñòðàíñòâ è ôîðì, îñóùåñòâëÿÿ ðåæèññóðó è êîìáèíàöèîííóþ èãðó, îñíîâàííóþ íà ÿçûêå ðÿäà ïîäîáíûõ äðóã äðóãó ñèìâîëîâ íà áàçå êâàäðàòà è äèàãîíàëè, ÿâëÿþùèõñÿ âûðàçèòåëÿìè ìîäóëüíîé ñòðóêòóðíîñòè ñîçäàííûõ ïðîñòðàíñòâ è òðàêòîâàííûõ â ñèñòåìó ïëàòè÷åñêèõ è ãðàôè÷åñêèõ ýëåìåíòîâ. Îñòàâøèåñÿ “ñâîáîäíûìè”, íå çàïîëíåííûìè, ìîäóëè “Çîëîòîé êëåòêè” ìû êàê áû “ðàçîáðàëè”, íî èõ

ìîæíî çðèòåëüíî âîññîçäàòü íà áàçå “ìàòðèöû ïëàíà” ïðåâðàùåííîé â ðèñóíîê ãðàíèòíîé ìîçàèêè Ïëàòôîðìû. È òîãäà ýòè “çîëîòûå íèòè” íà ôîíå íåáà âïëåòóòñÿ â êîíñòðóêöèè Çîëîòûõ Êîðîí äâóõ âûñîêèõ áàøåí è áàøíè ×àñîçâîíüÿ, ò.ê. ýòè Âåí÷àíèÿ è åñòü õóäîæåñòâåííîå îñìûñëåíèå “îáíàæåííûõ”, íå çàêðûòûõ ìðàìîðîì ôðàãìåíòîâ òîãî ñàìîãî “Çîëîòîãî Êàðêàñà”.

122 Ïðîåêò êîìïëåêñíîé ðåêîíñòðóêöèè ïëîùàäè Ãàãàðèíà è ïðèëåãàþùèõ òåððèòîðèé “Öåíòð ÍÈÒ - Êàëóæñêàÿ çàñòàâà”.

Ïðîåêò êîìïëåêñíîé ðåêîíñòðóêöèè ïë. Ãàãàðèíà è ïðèëåãàþùèõ òåððèòîðèé “Öåíòð ÍÈÒ - Êàëóæñêàÿ çàñòàâà” îñóùåñòâëÿåòñÿ â ñîîòâåòñòâèè ñ Ãåíåðàëüíûì ïëàíîì ðàçâèòèÿ Ìîñêâû, íà îñíîâå Ãðàäîñòðîèòåëüíîé êîíöåïöèè, îäîáðåííîé Ãðàäîñòðîèòåëüíûì Ñîâåòîì, Ïðàâèòåëüñòâîì è Ìýðîì ãîðîäà Ìîñêâû. Îáùàÿ ïëîùàäü òåððèòîðèè ðå-

êîíñòðóêöèè ñîñòàâëÿåò 46 ãåêòàðîâ. Ó÷àñòîê ðàñïîëîæåí â òðåõ êèëîìåòðàõ îò Êðåìëÿ, íà ïåðåñå÷åíèè îäíîé èç îñíîâíûõ ðàäèàëüíûõ ìàãèñòðàëåé ãîðîäà, Ëåíèíñêîãî ïðîñïåêòà, ñ òðàññîé Òðåòüåãî òðàíñïîðòíîãî êîëüöà, ñâÿçûâàþùåé Êîìïëåêñ ñ âàæíûìè äåëîâûìè è êóëüòóðíûìè öåíòðàìè ãîðîäà Ñèòè, Ëóæíèêè. Ïëîùàäü Ãàãàðèíà ïðèìûêàåò ê ïàðêîâîé òåððèòîðèè Íåñêó÷íîãî ñàäà, âûõîäèò íà íàáåðåæíûå Ìîñêâû-ðåêè. Ïðîåêò ïðåäóñìàòðèâàåò ñòðîèòåëüñòâî Öåíòðà íàóêè, èíôîðìàòèêè è íîâûõ òåõíîëîãèé, ðÿäà àäìèíèñòðàòèâíî-îôèñíûõ è ãîñ-

òèíè÷íûõ êîìïëåêñîâ, òîðãîâûõ, îáùåñòâåííûõ, ñïîðòèâíûõ, êóëüòóðíûõ è âûñòàâî÷íûõ öåíòðîâ. Â ñîñòàâ Ïðîåêòà âõîäèò æèëèùíàÿ ïðîãðàììà, âêëþ÷àþùàÿ ðåêîíñòðóêöèþ æèëîãî ôîíäà è íîâîå ñòðîèòåëüñòâî. Öåëûé ðÿä îáúåêòîâ, âïåðâûå â Ìîñêâå, âîçâîäèòñÿ íà èñêóññòâåííûõ ïåðåêðûòèÿõ-ïëàòôîðìàõ ìàãèñòðàëè Òðåòüåãî òðàíñïîðòíîãî êîëüöà. Ïðîåêòèðîâàíèå è ñòðîèòåëüñòâî íóëåâîãî öèêëà îáúåêòîâ êîìïëåêñà âîøëî ñîñòàâíîé ÷àñòüþ â ñîîòâåòñòâóþùèå ðàçäåëû Òðåòüåãî òðàíñïîðòíîãî êîëüöà.

Êðîìå òîãî, â ñîñòàâ ïðîåêòà âõîäèò ÌÅÆÄÓÍÀÐÎÄÍÛÉ ÖÅÍÒÐ ÍÀÓÊÈ, ÈÍÔÎÐÌÀÒÈÊÈ, ÍÎÂÛÕ ÒÅÕÍÎËÎÃÈÉ, èçâåñòíûé êàê Äîì”ÎÊÍÎ â III òûñÿ÷åëåòèå”. Ñðîê ðåàëèçàöèè Ïðîåêòà - 7 ëåò. Ïðåäïîëàãàåòñÿ ïîýòàïíàÿ ðåàëèçàöèÿ Ïðîåêòà, âêëþ÷àþùàÿ ñâûøå 20 îòäåëüíûõ èíâåñòèöèîííûõ ïðîãðàìì. Â ñîñòàâå Ïðîåêòà êîìïëåêñíîé ðåêîíñòðóêöèè ïëîùàäè Ãàãàðèíà è ïðèëåãàþùèõ òåððèòîðèé ðåàëèçîâàí Èíâåñòèöèîííûé ïðîåêò “Æèëèùíî-àäìèíèñòðàòèâíûé êîìïëåêñ íà Àíäðååâñêîé íàáåðåæíîé”.

Ïðîåêò Íîâîãî ïåøåõîäíîãî òóðèñòè÷åñêîãî ìàðøðóòà «Ïëîùàäü Ãàãàðèíà Íåñêó÷íûé ñàä Ìîñêâà-Ñèòè». Ãðàäîñòðîèòåëüíàÿ êîíöåïöèÿ. Áîëüøàÿ ìåäàëü ÐÀÀÑÍ. Íîâûé êðóïíûé ãðàäîñòðîèòåëüíûé ïðîåêò Ïåøåõîäíûé òóðèñòè÷åñêèé ìàðøðóò «Ïëîùàäü Ãàãàðèíà Íåñêó÷íûé ñàä ÌîñêâàÑèòè» ïðèíÿò ìîñêîâñêèì ïðàâèòåëüñòâîì êàê ãîðîäñêàÿ ïðîãðàììà ê àêòèâíîìó îñóùåñòâëåíèþ. Êëþ÷åâûå îáúåêòû Ìàðøðóòà: ïëîùàäü Ãàãàðèíà è êîìïëåêñ Íîâîãî çäàíèÿ ÐÀÍ - áàøíÿ Øóõîâà íà Øàáîëîâêå Äîíñêîé ìîíàñòûðü - Ëåíèíñêèé ïðîñïåêò - Íåñêó÷íûé ñàä Àíäðååâñêèé ïåøåõîäíûé ìîñò ñ ïåøåõîäíîé ýñïëàíàäîé ìåæäó Ëåíèíñêèì è Êîìñîìîëüñêèì ïðîñïåêòà-

ìè âîññîçäàâàåìûé «Êðàñíûé ïàâèëüîí» è ðåêîíñòðóèðîâàííûé êëóá «Êàó÷óê» àðõèòåêòîðà Ê.Ìåëüíèêîâà - êîìïëåêñ çäàíèé Ãåíøòàáà - Êîìñîìîëüñêèé ïðîñïåêò - óñàäüáà Òðóáåöêèõ - ñêâåð Äåâè÷üåãî ïîëÿ - ïåøåõîäíûé ìîñò Áîãäàíà Õìåëüíèöêîãî - ïëîùàäü Åâðîïû - Óêðàèíñêèé áóëüâàð - ïåøåõîäíûé ìîñò «Àìôèòåàòð» è äàëåå êîìïëåêñ “Ýêñïîöåíòð”-Ìîñêâà-Ñèòè. Â àðåàë ìàðøðóòà âîâëå÷åíû Íîâîäåâè÷èé ìîíàñòûðü, ïðîåêòèðóåìûé Ïàðê èñêóññòâ íà Êðûìñêîé íàáåðåæíîé, Ìóçåéíî-âûñòàâî÷íûé öåíòð Ìîñê-

âû «Ïðîâèàíòñêèå ñêëàäû» íà Êðûìñêîé ïëîùàäè. Ñâÿçûâàþùèå ýòè êðóïíûå óçëû ëèíåéíûå ó÷àñòêè óëèö, ïåðåóëêîâ, ñêâåðîâ îæèâóò äåñÿòêàìè íîâûõ îáúåêòîâ êóëüòóðû, ñåðâèñà, òîðãîâëè, ðåêðåàöèè. Âñå öåííûå èñòîðè÷åñêèå ïàìÿòíèêè ïî ïóòè ìàðøðóòà íàìå÷åíî ðåêîíñòðóèðîâàòü, à óòðà÷åííûå âîññòàíîâèòü. Â êà÷åñòâå ÿðêîãî ïðèìåðà - âîññîçäàíèå çíàìåíèòîãî «Êðàñíîãî ïàâèëüîíà» íà Âñåìèðíîé âûñòàâêå 1925 ãîäà â Ïàðèæå âåëèêîãî Êîíñòàíòèíà Ìåëüíèêîâà. Âñå ñîâðåìåííûå îáúåêòû èíôðàñòðóêòó-

«ÄÎÌ-ÎÊÍÎ â III òûñÿ÷åëåòèå».

Ïðîåêò, êîòîðûé ñîîòâåòñòâóåò ýïîõå ñìåíû òûñÿ÷åëåòèé. Óíèêàëüíîå çäàíèå-äèàôðàãìà âîçâîäèòñÿ â ñëîæíåéøåé ãðàäîñòðîèòåëüíîé ñèòóàöèè, íà ïåðåñå÷åíèè âàæíåéøèõ ãîðîäñêèõ ìàãèñòðàëåé, â ñîñòàâå äåëîâîãî è àäìèíèñòðàòèâíîãî Öåíòðà, ãäå ðàçìåñòÿòñÿ àäìèíèñòðàòèâíûå è äåëîâûå ó÷-

ðåæäåíèÿ, áàíêè è êîìïàíèè, ðàáîòàþùèå íà ðûíêå èíôîðìàòèêè, îáùåñòâåííûå è êóëüòóðíûå ïðîñòðàíñòâà. Ìàñøòàá çäàíèÿ ñîîòâåòñòâóåò ìíîãîêèëîìåòðîâîìó ëó÷ó êðóïíåéøåé ìîñêîâñêîé ìàãèñòðàëè, íà÷èíàþùåéñÿ â öåíòðå, îò Êðåìëÿ, è óâîäÿùåé â þãî-çàïàäíûå ïðåäåëû. Çäàíèå, ïàðÿùåå íàä çåìëåé, ñîñòîèò èç äâóõ, ñâÿçàííûõ â öåëîå, ïàðàëëåëüíî ïîñòàâëåííûõ ìåìáðàí 160õ160ì, â êîòîðûõ îáðàçîâàí ãèãàíòñêèé, äèàìåòðîì ïî÷òè 90ì êðóãëûé ïðîåì, ñèìâîëèçèðóþùèé

ñâÿçü ñ Âñåëåííîé. Ìåæäó ìåìáðàíàìè ôàñàäîâ äèñêè 40 ýòàæåé ïîäíÿòû íà 20 ìåòðîâ íàä ñòèëîáàòîì. Íèæå óðîâíÿ Ëåíèíñêîãî ïðîñïåêòà ðàçìåñòÿòñÿ îáøèðíûå ñåðâèñíûå, êóëüòóðíûå, ðàçâëåêàòåëüíûå è òîðãîâûå ïðîñòðàíñòâà. Êàðêàñ íåñåò íà çåðêàëüíûõ ïëîñêîñòÿõ ñâîèõ ôàñàäîâ èíôîðìàöèîííûå òàáëî, öâåòíûå ýêðàíû, ñòåêëÿííûå êîëüöà ñêîðîñòíûõ ëèôòîâ, êîòîðûå ñâîèì «âå÷íûì äâèæåíèåì» îáúåäèíÿþò âñå ýëåìåíòû Çäàíèÿ. Ýòîò çàìûñåë ðîäèëñÿ è âûíàøè-

âàëñÿ äàâíî è èìåííî äëÿ ýòîãî ìåñòà. Â ñâîå âðåìÿ àðõèòåêòîðû ñ ìèðîâîé èçâåñòíîñòüþ Çåðôþññ è Êàíäèëèñ î÷åíü âûñîêî îöåíèëè ýòó èäåþ, íî âûñêàçàëè ñîìíåíèå â âîçìîæíîñòè åå îñóùåñòâëåíèÿ â Ðîññèè â òå ãîäû è ïðåäëîæèëè â èíòåðïðåòèðîâàííîì âèäå èñïîëüçîâàòü ýòîò îáðàç äëÿ êîíêóðñà íà Òýä-Äåôàíñ. Ýòîò Äîì - åäèíñòâåííûé â ñâîåì ðîäå çíàê, îáðàç è îáëèê êîòîðîãî íàâñåãäà ñîëüåòñÿ ñ îáðàçîì Ìîñêâû è ñòàíåò íîâîé âåëè÷åñòâåííîé ÷åðòîé åå ïîðòðåòà.

Íîâûå ïåøåõîäíûå ìîñòû ÷åðåç Ìîñêâó-ðåêó.

Àíäðååâñêèé ïåøåõîäíûé ìîñò ñ ýñïëàíàäîé. Ìîñò Áîãäàíà Õìåëüíèöêîãî. Èäåÿ àê.àðõ. Þ.Ï. Ïëàòîíîâà î ïåðåìåùåíèè æåëåçíîäîðîæíûõ ìîñòîâ-ïàìÿòíèêîâ àðõèòåêòóðû

ðû áóäóò ñîîòâåòñòâîâàòü âûñîêèì ñòàíäàðòàì àðõèòåêòóðíûõ ðåøåíèé è áëàãîóñòðîéñòâà, îáåñïå÷èâàþùèì óñëîâèÿ äëÿ êðóãëîãîäè÷íîãî êîìôîðòíîãî ïåøåõîäíîãî äâèæåíèÿ. Âäîëü òðàññû äîëæíû áûòü ðàñïîëîæåíû ìíîãîóðîâíåâûå ïîäçåìíûå è íàäçåìíûå àâòîñòîÿíêè, ñîçäàíû íà îòäåëüíûõ ó÷àñòêàõ íîâûå ïåðåõîäû, ëåñòíèöû, ýñêàëàòîðû ñî ñâåòîïðîçðà÷íûìè ïîêðûòèÿìè, îðãàíèçîâàíà ñèñòåìà ñîïóòñòâóþùèõ îáúåêòîâ ñåðâèñà, òîðãîâëè, ïèòàíèÿ, îòäûõà.

Ðîññèéñêàÿ íàöèîíàëüíàÿ ïðåìèÿ â îáëàñòè àðõèòåêòóðû «Õðóñòàëüíûé Äåäàë», Ïðåìèÿ Ìîñêâû â îáëàñòè ëèòåðàòóðû è èñêóññòâà. è èíæåíåðíîãî èñêóññòâà, - äëÿ ïðå- ãðàíèòíûõ ýëåìåíòîâ è êàìíåé. ìåòðîâ ìåæäó Ëåíèíñêèì è Êîìñîâðàùåíèÿ èõ â ïåøåõîäíûå ðåàëèçî- Ïðîöåññ ïåðåíîñà ìîñòà ñàì ïî ìîëüñêèì ïðîñïåêòàìè, ñâÿçàâ âàíà ïðè ñòðîèòåëüñòâå Òðåòüå- ñåáå ñòàë èíòåðåñíîé èíæåíåðíîé ìåæäó ñîáîé äâà êðóïíûõ ìîñêîâñãî òðàíñïîðòíîãî êîëüöà. çàäà÷åé, òðàíñïîðòèðîâêà èñòîðè- êèõ ðàéîíà. Ìîñò ïåðåêðûò ìåòàëÀíäðååâñêèé ìîñò ïåðåíåñåí ÷åñêèõ àðîê íà ñïåöèàëüíûõ ïàíòî- ëî-ñòåêëÿííîé ïèðàìèäàëüíîé êîíïîëíîñòüþ: ìåòàëëè÷åñêèå êëåïà- íàõ äëèëàñü áîëåå ïîëóòîðà ÷àñîâ. ñòðóêöèåé, âûðàçèòåëüíî ñî÷åòàíûå ïðîëåòíûå àðêè âåñîì 1780 Àíäðååâñêèé ìîñò ñòàë îñíîâîé þùåéñÿ ñ ìîùíûì ðóñòîì ãðàíèòòîíí, 22 òûñÿ÷è àðõèòåêòóðíûõ ïåøåõîäíîé ýñïëàíàäû äëèíîé 1200 íûõ èñòîðè÷åñêèõ îïîð. Ñïåöèàëü-

123 íî ñïðîåêòèðîâàííûå ïî âñåé äëèíå ãàëåðåè ñâåòèëüíèêè ïðåâðàùàþò åå â îäíó èç ñàìûõ äëèííûõ â Åâðîïå ëþñòð. Ñòâîð ïåøåõîäíîãî ìîñòà Áîãäàíà Õìåëüíèöêîãî îïðåäåëåí ãëàâíûì îðèåíòèðîì - áàøíåé Êèåâñêîãî âîêçàëà è îáåñïå÷åíèåì óäîá-

íûõ ñâÿçåé ñ ìåòðî êðóïíîãî æèëîãî ðàéîíà. Îñíîâà ìîñòà - äâå ìåòàëëè÷åñêèå ñåðïîâèäíûå äâóõøàðíèðíûå àðî÷íûå ôåðìû (ïðîëåò 135 ì), èñòîðè÷åñêèå ôðàãìåíòû Êðàñíîëóæñêîãî æåëåçíîäîðîæíîãî ìîñòà. Àðõèòåêòóðíî-ïðîñòðàíñòâåí-

íîå ðåøåíèå îïðåäåëåíî ìåòàëëîñòåêëÿííîé ñòðóêòóðîé, ÷óòêî ðåàãèðóþùåé ñâîèìè î÷åðòàíèÿìè íà îïîðíûå è íåñóùèå êîíñòðóêöèè. Ñòðîé âíóòðåííèõ êîëîíí - ñâîåîáðàçíûå ìåòàëëè÷åñêèå “äåðåâà”, ÷üè “âåòâè” íåñóò íàä èñòîðè÷åñêèìè àðêàìè ìîñòà ñòåêëî, íå ñîïðèêà-

ñàÿñü ñ íèìè, ïðåâðàùàÿ, òàêèì îáðàçîì, íåñóùèå ìîñò àðêè â ãëàâíóþ “àíòèêâàðíóþ” äîñòîïðèìå÷àòåëüíîñòü. Ïîëû - ïàðêåò èç íàáîðíûõ ãèãàíòñêèõ äåðåâÿííûõ “êëåïîê” öâåòà îõðû è óìáðû, - ñîçäàþò îáðàç ïàëóáû ëåòÿùåãî íàä âîäîé ôàíòàñòè÷åñêîãî êîðàáëÿ!

Àíñàìáëü Ïëîùàäè Åâðîïû ñ ôîíòàííîé ãðóïïîé «Ïîõèùåíèå Åâðîïû». Çîëîòàÿ ìåäàëü è Ñïåöèàëüíûé ïðèç Æþðè Õ Òðèåííàëå ÌÀÀ, Ñïåöèàëüíûé ïðèç Ïðîãðàììû ðàçâèòèÿ ÎÎÍ Àðõèòåêòóðíàÿ èäåÿ Ïëîùàäè Åâðîïû - çàë ïîä îòêðûòûì íåáîì, òåàòð îäíîé ñêóëüïòóðû. Âñå ïðîíèçûâàåò îáðàç âîëíû, îòñþäà - âîëíîîáðàçíîå äâèæåíèå ôîðì, êîíöåíòðè÷åñêèå îêðóæíîñòè êîìïîçèöèîííûõ ýëåìåíòîâ, ñõîäÿùèåñÿ ê öåíòðó: îò àëëåè «Âåíîê Åâðîïû» ÷åðåç êîëüöåâîé ãðàíèòíûé ïàðàïåò «Âîëíà», îáúåìëþùèé ëîìàíûå ãðàíèòíûå ñòóïåíè êðóãîâîãî àìôèòåàòðà, ê ïîëîãîé ÷àøå ôîíòàíà ñ òðåìÿ óñòóïàìè, ïî êîòîðûì óïðóãèìè ñòðóÿìè ñòåêàåò âîäà. Âíóòðè êîëüöà ãðàíèòíîãî ïàðàïåòà çðèòåëü îñòàåòñÿ îäèí íà îäèí ñ ïðåêðàñíûì äåéñòâèåì ñïåêòàêëåì âîäû, ñâåòà, â êîòîðîì êàæäûé ìîæåò íàéòè ñâîå âïå÷àòëåíèå.

Òîðãîâî-ðàçâëåêàòåëüíûé Öåíòð “Åâðîïåéñêèé”

Êðóïíåéøèé â ñòîëèöå òîðãîâî-äåëîâîé è êóëüòóðíî-ðàçâëåêàòåëüíûé öåíòð «Åâðîïåéñêèé» íà ïëîùàäè Åâðîïû ïëîùàäüþ áîëåå 180 òûñ êâ.ì., ïðîòÿæåííîñòü ôàñàäà âäîëü Áîëüøîé Äîðîãîìèëîâñêîé óëèöû îäíîé èç âàæíûõ ìîñêîâñêèõ ìàãèñòðàëåé, 200 ì. Ïî âñåì ôàñàäàì íàä âèòðàæàìè 6-òèìåòðîâàÿ êîíñîëü - ñîâðåìåííàÿ èíòåðïðåòàöèÿ òåìû «ìàðêèçû». Êîìïëåêñ âêëþ÷àåò ìíîãî÷èñëåííûå òîðãîâûå ïàññàæè, êðóïíåéøèé â ñòîëèöå ôèòíåñ-öåíòð ñ áàññåéíîì, 9-òèçàëüíûé êèíîòåàòð, äåñÿòêè êàôå è ðåñòîðàíîâ. Íà êðûøå áóäåò ðàñïîëîæåí ñïîðòèâíûé êîìïëåêñ, âêëþ÷àþùèé êðóãëîãîäè÷íûé êàòîê.

Ïðîåêò êîìïëåêñíîé ðåêîíñòðóêöèè Êðûìñêîé ïëîùàäè.

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Êàê àðõèòåêòîð ñ îñîáûì ÷óâñòâîì îòíîñÿñü ê Ãðåöèè, Þðèé Ïëàòîíîâ ïîëàãàë, ÷òî î÷åíü âàæíî äëÿ íàøèõ ñòðàí è ñòîëèö ñîçäàòü â Ìîñêâå Êóëüòóðíî-äåëîâîé Öåíòð ýòîé ñòðàíû, òàê ìíîãî çíà÷àùåé â

äóõîâíîé, ðåëèãèîçíîé è êóëüòóðíîé èñòîðèè Ðîññèè. Ïîýòîìó îäíîé èç ïåðâûõ åãî èäåé â ïåðèîä ïåðåñòðîéêè, êîãäà ñòðàíà îòêðûëàñü ìèðó, áûëà èäåÿ î ñîçäàíèè â Ìîñêâå òàêîãî Öåíòðà. Ýòî ñîâïàëî ïî âðåìåíè ñ ýñêèçàìè ñîçäàíèÿ ñîâðåìåííîãî âûñòàâî÷íî-ìóçåéíîãî êîìïëåêñà íà îñíîâå çíàìåíèòûõ ïðîâèàíòñêèõ ñêëàäîâ àðõèòåêòîðà Ñòàñîâà. Òàê ñîåäèíè-

ëèñü äâå òåìû, âîçíèêëè ïåðâûå ïðåäëîæåíèÿ ïî ðàçìåùåíèþ Ãðå÷åñêîãî öåíòðà - íà Êðûìñêîé ïëîùàäè ñ âûõîäîì íà Êðûìñêóþ íàáåðåæíóþ. Ìå÷òàëîñü, ÷òî íîâûé ìîñêîâñêèé Àêðîïîëü áóäåò âûíîñèòü ïåðèïòåðû õðàìîâ â ìîñêîâñêîå íåáî, ïåðåêëèêàÿñü ñ ãëàâàìè öåðêâåé è øïèëÿìè âûñîòíûõ çäàíèé Ñî âðåìåíåì ïðîåêò Öåíòðà âûëèëñÿ â Ïðîåêò êîìïëåêñíîé ðåêîí-

ñòðóêöèè Êðûìñêîé ïëîùàäè, â õîäå êîòîðîé óæå íà÷àòî ñòðîèòåëüñòâî Êîììåð÷åñêî-äåëîâîãî öåíòðà "Äîì - Ïàðê êóëüòóðû" íà Çóáîâñêîì áóëüâàðå, Êóëüòóðíîãî öåíòðà íà Êîìñîìîëüñêîì ïðîñïåêòå. È, íàêîíåö, ðàçðàáîòàíà êîíöåïöèÿ ðàçâèòèÿ è ðåêîíñòðóêöèè Ïðîâèàíòñêèõ ñêëàäîâ è ñîçäàíèè íà èõ îñíîâå Ìîñêîâñêîãî ìíîãîôóíêöèîíàëüíîãî ìóçåéíî-âûñòàâî÷íîãî öåíòðà.

Ïàðê èññêóñòâ íà Êðûìñêîì âàëó. Êîíöåïöèÿ ãðàäîñòðîèòåëüíîãî ðàçâèòèÿ.

Èäåÿ ïðîåêòà - àëëåãîðè÷åñêîå âîññîçäàíèå èñòîðè÷åñêèõ çåìëÿíûõ óêðåïëåíèé Êðûìñêîãî âàëà: ïëàñòè÷åñêèå êîìïîçèöèè íîâûõ óðîâíåé ïàðêà ïîçâîëÿò íà 15-20 ïðîöåíòîâ óâåëè÷èòü òåððèòîðèþ çåëåíûõ ïîêðûòèé, îðãàíèçîâàâ ïðè ýòîì âíóòðè óäèâèòåëüíûå ãàëåðåè è çàëû äëÿ âûñòàâîê, ýêñïîçèöèé õóäîæå-

ñòâåííûõ øêîë, õóäîæåñòâåííûõ àóêöèîíîâ, ìóçûêàëüíûõ çàëîâ. Íà âåðõíèõ êðîìêàõ “âàëîâ” âîçíèêíóò âèäîâûå ïëîùàäêè íà ïàðòåð ïàðêà è ïàíîðàìó ãîðîäà. Àðõèòåêòóðà Ïàðêà èñêóññòâ áóäåò åñòåñòâåííîé ÷àñòüþ ïàíîðàìû âèäîâ íàøåãî óäèâèòåëüíîãî ãîðîäà, è ñêîëüêî öâåòà è ñêîëüêî èñòîðèè âîêðóã: Èâàí-âîèí, ñîáîðû Êðåìëÿ, áåëî-çîëîòîé Õðàì Õðèñòà, ïàñòåëüíûå òîíà èñòîðè÷åñêîé çàñòðîéêè Êðåìëåâñêîé íàáåðåæíîé, áîëüøîé

ìàçîê «Äîìà íà íàáåðåæíîé» Èîôàíà, îñòðîâ è ñòðåëêà, êîòîðûå ïðåîáðàçóþòñÿ, ìîñòû Ìîñêâû-ðåêè, çåëåíûå ïåðñïåêòèâû ïàðêîâ... È â îáå ñòîðîíû óäèâèòåëüíîå, âå÷íî æèâîå çåðêàëî Ìîñêâû-ðåêè… Çäàíèå Öåíòðàëüíîãî äîìà õóäîæíèêà è çàïàñíèêà Òðåòüÿêîâêè. Çäåñü íàøà öåëü - íå ñîçäàíèå “íîâîé” àðõèòåêòóðû, à ðàçâèòèå âîçìîæíîñòåé, çàëîæåííûõ àâòîðàìè çäàíèÿ. Ïîýòîìó - âíåøíèå ïðåîáðàçîâàíèÿ: ïðåâðàùåíèå ñòåí êî-

ëîññàëüíîãî êîðïóñà òåõíè÷åñêèìè ñðåäñòâàìè 21 âåêà â ãèãàíòñêèé ôàíòàñòè÷åñêèé ïîëèýêðàí, îòäàííûé ñîâðåìåííîé ðåêëàìå âî âñåõ åå âèäàõ îò ôîòîïëàêàòà äî ìàòðè÷íûõ âèäåîïàíåëåé, îò òåêñòîâîé èíôîðìàöèè äî ãîëîãðàôè÷åñêèõ èçîáðàæåíèé - ïëàêàò, ñóïåðãðàôèêà, ìåãàôîòîãðàôèÿ. Ñîâåðøåííî íîâîå àðõèòåêòóðíîå, âèçóàëüíîå è êîëîðèñòè÷åñêîå ðåøåíèå îäíîãî èç ôðàãìåíòîâ ãëàâíîãî ôàñàäà Ìîñêâû - åå íàáåðåæíûõ!

Äîì ñ 4 ñâåòèëüíèêàìè - çàãîðîäíûé äîì ñåìüè Þ.Ïëàòîíîâà.

Þðèé Ïëàòîíîâ: “Çàäà÷à áûëà íåïðîñòà, òàê êàê ãëàâíûì çàêàç÷èêîì è êðèòèêîì áûëà æåíà Êàòÿ. ß äîëæåí áûë ïî åå ïðîñüáå “âûäóìàòü Äîì, èç êîòîðîãî ìîæíî ñìîòðåòü íà âñå ÷åòûðå ñòîðîíû, ÷òîáû ñîëíöå â ñïàëüíå âñõîäèëî è â êàáèíåòå çàõîäèëî, è âåñü äåíü ãóëÿëè ïî Äîìó ñîëíå÷íûå çàé÷èêè, ÷òîáû êàæäûé ýòàæ áûë “ñàì ïî ñåáå”, ÷òîáû

ñòèëèñòè÷åñêè Äîì áûë ðåøåí â àññîöèàöèÿõ ñ òðàäèöèÿìè ðóññêîé àðõèòåêòóðû, è ÷òîáû ñîîòâåòñòâîâàë èçâåñòíîé ôîðìóëå “ìîé Äîì - ìîÿ êðåïîñòü” è ìíîãîå åùå... Ñàì ÿ ñ÷èòàþ, ÷òî íàèáîëåå îñòðîóìíî ìíå óäàëîñü îòâåòèòü íà òðåáîâàíèå “÷òîáû âñå êîìíàòû èìåëè òåððàñû, è ÷òîáû òåððàñû è ëåñòíèöû âõîäîâ áûëè áû çàùèùåíû îò äîæäÿ”: ïèðàìèäó ìàíñàðäíîãî ýòàæà ÿ ïîñòàâèë íà îñíîâíîé ýòàæ êàê áû äèàãîíàëüíî, êàñàòåëüíî ê

î÷åðòàíèÿì àïñèä, è îäíèì ýòèì ïîâîðîòîì êðûøè-çîíòà áûëè ðåøåíû âñå ïðîáëåìû! Îòìå÷åíû âîñïîìèíàíèÿìè î ñòàðûõ ìîñêîâñêèõ äîìàõ îáðàçû áèáëèîòåêè íà àíòðåñîëÿõ, êðóãëîãî êàáèíåòà ñ óíèêàëüíûì áþñòîì Ïóøêèíà ðàáîòû ñêóëüïòîðà Ìèõàèëà Àíèêóøèíà, öåíòðàëüíîé ãîñòèíîé ñ êîëîííàäîé, âîêðóã è íàä êîòîðîé ñêëàäûâàåòñÿ ïðîñòðàíñòâî âñåãî Äîìà. Öâåòíîå, ðàñïèñàííîå “â øàøêó” îñíîâàíèå ìàíñàðäíîé ïèðàìèäû,

íàêðûâàþùåé îñíîâíîé ýòàæ, ïîäñêàçàíî ñêàçî÷íî êðàñèâîé ðîñïèñüþ ãëàâ ìîñêîâñêîé öåðêâè Èâàíà-âîèíà íà ßêèìàíêå, ìèìî êîòîðûõ ÿ ìíîãî ëåò õîæó è åçæó íà ðàáîòó. Ñâåòèëüíèêè-êîëîííû ïî öåíòðó êàæäîãî èç ÷åòûðåõ ôàñàäîâ Äîìà ñâÿçàíû ñ ìîèì ñ äåòñòâà ñîõðàíèâøèìñÿ âîñòîðæåííûì îòíîøåíèåì ê ñâåòó óëè÷íûõ ôîíàðåé. À àïñèäû ñ óçêèìè ïðîðåçÿìè îêîí â òîëùå ñòåí òåàòðàëüíî àññîöèèðîâàíû ñ ôîðìàìè äðåâíèõ õðàìîâ.

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In memoriam

In 2009 the business building "Hermitage Plasa", Moscow - project of arch. Sergei Kiseliov was given Building Awards 2009 Ïðåç 2009 ãîäèíà Áèçíåñ ñãðàäàòà „Hermitage Plasa”, Ìîñêâà, ïî ïðîåêò íà àðõèòåêò Ñåðãåé Êèñåëüîâ áå îòëè÷åíà ñ íàãðàäàòà Building Awards 2009.

Sergei Kisselov

Ñåðãåé Êèñåëüîâ

The International academy of Architecture learned with deep sorrow about the death of the distinguished Arch. Sergei Kisselov, IAA Professor. One of the symbol of the Russian contemporary architecture passed away. This is an important loss for the architectural society. He was perfect in his architecture. IAA would like to present its sincere condolences to his family, colleagues and friends. May his memory live forever.

Ìåæäóíàðîäíàòà àêàäåìèÿ ïî àðõèòåêòóðà íàó÷è ñ äúëáîêà ñêðúá çà ñìúðòòà íà ïðèçíàòèÿ àðõ. Ñåðãåé Êèñåëüîâ, ïðîôåñîð íà ÌÀÀ, Åäèí îò ñèìâîëèòå íà ðóñêàòà ñúâðåìåííà àðõèòåêòóðà ñå ñïîìèíà. Òîâà å âàæíà çàãóáà çà àðõèòåêòóðíàòà îáùíîñò. Òîé áåøå ïåðôåêòåí â ñâîÿòà àðõèòåêòóðà. ÌÀÀ áè èñêàëà äà èçðàçè èñêðåíèòå ñè ñúáîëåçíîâàíèÿ íà öÿëîòî ñåìåéñòâî, êîëåãè è ïðèÿòåëè. Íåêà ñïîìåíúò çà íåãî äà æèâåå âå÷íî!

In memoriam

Gunter Behnisch

Ãþíòåð Áåõíèø

The International Academy of Architecture learned with deep sorrow about the death of the distinguished German Architect Gunter Behnisch, IAA Academician.One of the symbols of the world contemporary architecture passed away. This is an important loss for the architectural society. He was perfect in his architecture.IAA would like to present its sincere condolences to his family, colleagues and friends.May his memory live forever.

Ìåæäóíàðîäíàòà àêàäåìèÿ ïî àðõèòåêòóðà íàó÷è ñ äúëáîêà ñêðúá çà ñìúðòòà íà óâàæàâàíèÿ íåìñêè àðõèòåêò Ãþíòåð Áåõíèø, àêàäåìèê íà ÌÀÀ. Åäèí îò ñèìâîëèòå íà ñâåòîâíàòà ñúâðåìåííà àðõèòåêòóðà ñå ñïîìèíà. Òîâà å îãðîìíà çàãóáà çà àðõèòåêòóðíàòà îáùíîñò. Òîé áåøå îòëè÷åí â àðõèòåêòóðàòà ñè. ÌÀÀ èçðàçÿâà ñâîèòå èñêðåíè ñúáîëåçíîâàíèÿ íà íåãîâîòî ñåìåéñòâî, êîëåãè è ïðèÿòåëè. Íåêà ñïîìåíúò çà íåãî äà æèâåå âå÷íî.

NEWS

In memoriam

DENNIS SHARP DENNIS SHARP, IAA Professor, internationally acclaimed author, pedagogue, critic and architect recently passed away at the age of 76. IAA Vice President RICHARD ENGLAND, who shared a close friendship and long association with Prof. Sharp, pays tribute to his memory. The death of Dennis Sharp on May 6th 2010 has robbed the IAA and the architectural world of one of the most eminent and prolific authors, critics and commentators of the 20th century architectural scene. Born in 1933 into a family of building contractors, architects and surveyors, he initiated his architectural studies at the AA in London and later at the University of Liverpool. Dennis Sharp’s writing was particularly impressive, not only for the scholarly approach he gave to his material, but also for the clear and erudite language with which he expressed his ideas in the many areas of his expertise. In contrast to much of contemporary journalistic and woolly archispeak writings, his contributions stood out for their lucid, articulate and clear vocabulary, constantly producing intelligible, coherent and comprehensible texts. Always, he approached his tasks with total dedication and commitment and his cultural baggage on the 20th century architectural scenario remains unsurpassed. His rich and vast bibliography demonstrates his scholarly command of the subject. His many books include Modern Architecture and Expressionism (1966), A visual history of 20th century architecture (1972, 1991, 2002); a sort of illustrated Bible of the new testament of architecture, and in conjunction with Sally Rendel, a comprehensive survey of the work of Connell, Ward and Lucas (2008), the Modernist British practice of the 1930s, a period on which, without doubt, he was the leading authority. Apart from other books such as The Picture Place (1967), Sources of Modern Architecture (1981) and The Bauhaus (1993), he also produced publications on the work of contemporary architects such as Manfredi Nicoletti, Kisho Kurokawa and Santiago Calatrava, all later IAA Academicians. With close to 50 published books to his credit, his bibliography also includes innumerable contributions to international and UK publications. The 1968-1982 AA Quarterly Journals which he founded and edited remain to this day an outstanding reference series with valid contributions from many architectural luminaries of the period. As executive editor of fifteen issues of World Architecture, The International Academy of Architecture Journal between 1990-1992, he introduced to an international audience the work of many outstanding practitioners such as Clorindo Testa, Giancarlo de Carlo, Gustav Peichl, Reima Pietila and others. He was always a much welcomed and appreciated participant and speaker at many of the IAA Conferences. For his qualitative writing,

he enjoyed a world-wide reputation which earned him many prizes including the Silver Medal of the French Academie d’Architecture and the UIA Jean Tschumi Award. One must also highlight his cognent contributions to CICA (The International Committee of Architectural Critics) and DoCoMoMo, and his valued input as Vice President to RIBA (1991-1993) and the AA (2007-2009). Sharp was also an outstanding lecturer. His commanding physical presence combined with the knowledge of his subjects made him a particularly impressive and imposing speaker. A never tiring and overenthusiastic workaholic, he leaves behind him a unique testament of architectural writings. Students and future architectural historians will surely benefit from his legacy and, for this, his place in the history of architectural literature is secure. He was without doubt, one of the leading evangelists of architecture of the 20th century. Dennis Sharp was also a successful practicing architect who, through his firm DSA produced a number of notable buildings. He was particularly proud of the conservation work carried out on the London Chandos House by Robert Adam and the restoration of a number of works by one of his favourite Modernist practices Connell, Ward and Lucas. DSA were also involved in many other projects, including the renovation of the listed buildings at Ascot in collaboration with HOK Sport. My own first encounter with Dennis took place in Malta in 1968 through our mutual friend Quentin Hughes, who at the time was running the architectural school at the University of Malta. Dennis had been invited as a visiting lecturer and it was then that I was first introduced to him. Soon, he became not only an invaluable mentor, but also a close and cherished friend. As a historian, critic, teacher and architect, and most of all as a friend, I am proud to have had the privilege of sharing time with him. Always, I emerged from our meetings, intellectually enriched and enlightened. One of the fondest memories which I particularly cherish was the time we spent together as visiting tutors for the IAA at the splendid Santo Kiriko Monastery in Plovdiv, Bulgaria in 1991. It was then that we were both elected full time Professors of the Academy. Dennis’ scholarly cognizance and pedagological expertise was highly appreciated by all who attended his lectures and seminars. At all other IAA meetings he attended, he was always an active, much valued and respected participant and often volunteered his services as a jury member for many of the IAA competitions. Among other personal recollections, particularly gratifying, remain the many literary and critical articles he devoted to my work, of specific significance, his BookART publication Richard England Architect as Artist (2007). On behalf of President Georgi Stoilov, Vice Presidents Manfredi Nicoletti and myself and all members of the Academic Council we shall always remain grateful for not only what Dennis, as an ever flowing font of knowledge has contributed to the world of architectural literature, but also for his long and fruitful association with the Academy. We also feel it is appropriate to express our gratitude to him for the information he passed on, during his presence at all IAA activities. I, personally, last saw Dennis in hospital only two days before his demise a touching and difficult occasion, yet immensely satisfying and rewarding. We also spoke of the role and future of the Academy and even though weak, he was still enthusiastically talking about his forthcoming publications, typical of his fervour and enthusiasm. To Yasmin Shariff, his wife and professional partner, and his family, the Academy offers sincere condolences. As a final goodbye Dennis, we pay tribute to your unique talents, and thank you. acad. Richard Egland

Äåíèñ Øàðï Äåíèñ Øàðï, ïðîôåñîð íà ÌÀÀ, ìåæäóíàðîäíî ïðèçíàò àâòîð, ïåäàãîã, êðèòèê è àðõèòåêò ñêîðî ñå ñïîìèíà íà 76 ãîäèíè. Âèöåïðåçèäåíòúò íà ÌÀÀ Ðè÷àðä Èíãëàíä, êîéòî èìà áëèçêî ïðèÿòåëñòâî è äàëå÷íà âðúçêà ñ ïðîô. Øàðï îòäàâà ïî÷èò íà ïàìåòòà ìó. Ñìúðòòà íà Äåíèñ Øàðï íà 6-òè ìàé 2010 ã. îòíå íà Àêàäåìèÿòà è íà àðõèòåêòóðíèÿ ñâÿò åäèí îò íàé-ïðèçíàòèòå è èçÿâåíè àâòîðè, êðèòèöè è êîìåíòàòîðè íà àðõèòåêòóðíàòà ñöåíà íà 20-òè âåê. Ðîäåí ïðåç 1933ã. â ñåìåéñòâî íà ïðåäïðèåìà÷è, àðõèòåêòè è èçñëåäîâàòåëè, òîé çàïî÷âà ñâîèòå àðõèòåêòóðíè ïðîó÷âàíèÿ â Àðõèòåêòóðíàòà àêàäåìèÿ â Ëîíäîí è ïî-êúñíî â Óíèâåðñèòåòà íà Ëèâúðïóë. Íàïèñàíîòî îò Äåíèñ Øàðï å îñîáåíî âïå÷àòëÿâàùî íå ñàìî çàðàäè ïåäàãîãè÷åñêèÿ àñïåêò, êîéòî òîé âëàãà, íî ñúùî è çàðàäè ÷èñòèÿ è åðóäèðàí åçèê, ñ êîéòî òîé èçðàçÿâà ñâîèòå èäåè â ìíîãî îáëàñòè îò íåãîâàòà ïðàêòèêà. Â êîíòðàñò ñ ìíîãî îò ñúâðåìåííàòà æóðíàëèñòèêà è íàïèñàíîòî îò archispeak, íåãîâàòà ðàáîòà ñå îòëè÷àâà ñ ÷èñò, ïðîçîðëèâ è ÿñåí ðå÷íèê, êîéòî ïîñòîÿííî ãåíåðèðà èíòåëèãåíòíè, ñìèñëåíè è ðàçáèðàåìè òåêñòîâå. Òîé âèíàãè å ïîäõîæäàë êúì çàäà÷èòå ñ ïúëíî ñåáåîòäàâàíå è íåãîâèòå çàñëóãè êúì êóëòóðàòà íà 20-òè âåê îñòàâàò íåíàäìèíàòè. Íåãîâàòà áîãàòà è ðàçíîîáðàçíà áèîãðàôèÿ äåìîíñòðèðà çàäúëáî÷åíàòà ìó àðõèòåêòóðíà ïîäãîòîâêà. Íàïèñàë å ìíîãî êíèãè, â êîèòî ñå âêëþ÷âàò Modern Architecture and Expressionism (1966), A visual history of 20th century architecture (1972, 1991, 2002); íåùî êàòî èëþñòðèðàíà áèáëèÿ íà íîâèÿ çàâåò â àðõèòåêòóðàòà è ñúâìåñòíî èçñëåäâàíå ñúñ Ñàëè Ðåíäåë íà ðàáîòàòà íà Êîíåë, Ward and Lucas (2008), the Modernist British practice of the 1930s. Îñâåí äðóãè êíèãè êàòî The Picture Place (1967), Sources of Modern Architecture (1981) è The Bauhaus (1993), òîé ñúùî å íàïèñàë ñòàòèè çà ðàáîòàòà íà ñúâðåìåííè àðõèòåêòè êàòî Ìàíôðåäè Íèêîëåòè, Êèøî Êóðîêàâà è Ñàíòèàãî Êàëàòðàâà, âñè÷êè àêàäåìèöè íà ÌÀÀ. Íåãîâàòà áèáëèîãðàôèÿ âêëþ÷âà îñâåí áëèçî 50 ïóáëèêóâàíè êíèãè è ðåäèöà ñúâìåñòíè ðàçðàáîòêè ñ èíòåðíàöèîíàëíè è áðèòàíñêè èçäàòåëè. Ïðåç 1968-1982ã. AA Quarterly Journals, êîèòî òîé å îñíîâàë è ðåäàêòèðàë îñòàâàò äî äåí äíåøåí çàáåëåæèòåëåí èçòî÷íè ñ ìíîãî èíôîðìàöèÿ çà öåííè àðõèòåêòóðíè ïðîáëÿñúöè îò òîçè ïåðèîä. Êàòî ðåäàêòîð íà ïåòíàäåñåò èçäàíèÿ íà World Architecture, ñïèñàíèå íà ÌÀÀ ïðåç 1990-1992, òîé ïðåäñòàâÿ ïðåä ïóáëèêàòà íà ìíîãî çàáåëåæèòåëíè àâòîðè êàòî Clorindo Testa, Giancarlo de Carlo, Gustav Peichl, Reima Pietila è äðóãè. Òîé âèíàãè å áèë òîïëî ïîñðåùàí è âèñîêî öåíåí ó÷àñòíèê è ëåêòîð íà ìíîãî îò êîíôåðåíöèèòå íà ÌÀÀ. Çàðàäè íåãîâîòî çàáåëåæèòåëíî ïåðî òîé ñå å ðàäâàë íà ñâåòîâíà ðåïóòàöèÿ, êîÿòî ìó å äîíåñëà ðåäèöà íàãðàäè - Silver Medal of the French Academie d'Architecture è the UIA Jean Tschumi Award. Òðÿáâà äà ïîä÷åðòàåì è íåãîâèòå çàñëóãè êúì CICA (The International Committee of Architectural Critics) è DoCoMoMo, è íåãîâàòà âèñîêî îöåíåíà ðàáîòà êàòî âèöå ïðåçèäåíò íà RIBA (1991-1993) è AA (2007-2009).

Øàðï áåøå è çàáåëåæèòåëåí ëåêòîð. Íåãîâîòî ðúêîâîäíî ôèçè÷åñêî ïðèñúñòâèå, êîìáèíèðàíî ñ ïîçíàíèÿ ïî ïðåäìåòà, ñà ãî íàïðàâèëè îñîáåíî ïðèçíàò è óòâúðäåí êàòî ãîâîðèòåë. Íåãîâèÿ íåñòèõâàù åíòóñèàçúì è ðàáîòîõîëèçúì îñòàâÿò ñëåä íåãî óíèêàëåí áðîé àðõèòåêòóðíè ïóëáèêàöèè. Ñòóäåíòè è áúäåùè àðõèòåêòóðíè èñòîðèöè ñúñ ñèãóðíîñò ùå ÷åðïÿò îò íåãîâàòà ëåãåíäà è çàòîâà íåãîâîòî ìÿñòî â èñòîðèÿòà íà àðõèòåêòóðíàòà ëèòåðàòóðà å ñèãóðíî. Òîé áåç ñúìíåíèå åäèí îò ãîëåìèòå åâàíãåëèñòè íà àðõèòåêòóðàòà îò 20-òè âåê. Äåíèñ Øàðï å áèë ñúùî óñïåøíî ïðàêòèêóâàù àðõèòåêò. Íåãîâàòà ôèðìà DSA å íàïðàâèëà ðåäèöà çàáåëåæèòåëíè ñãðàäè. Òîé å îñîáåíî ãîðä ñ ðàáîòàòà çà êîíñåðâàöèÿà íà London Chandos House îò Robert Adam è ðåñòàâðàöèÿòà íà ìíîãî îò ëþáèìèòå ìó ìîäåðíèñòè êàòî Êîíåë, Óàðä è Ëóêàñ. DSA ñà ó÷àñòâàëè â ìíîãî äðóãè ïðîåêòè, âêëþ÷âàùè ðåñòàâðàöèÿ íà ñïèñúêà ñúñ ñãðàäè Ascot â ñúòðóäíè÷åñòâî ñ HOK Sport. Ìîÿòà ïúðâà ñðåùà ñ Äåíèñ áåøå ïðåç 1968ã. â Ìàëòà ÷ðåç íàøèÿ îáù ïðèÿòåë Êóåíòèí Õþñ, êîéòî ïî îíîâà âðåìå áåøå îòãîâîðåí çà àðõèòåêòóðíîòî ó÷èëèùå â óíèâåðñèòåòà íà Ìàëòà. Äåíèñ áåøå ïîêàíåí çà ãîñò - ëåêòîð è òîãàâà ñå ñðåùíàõìå çà ïúðâè ïúò. Ñêîðî òîé ñòàíà çà ìåí íå ñàìî ìåíòîð, íî è áëèçúê ïðèÿòåë. Êàòî èñòîðèê, ó÷èòåë è êðèòèê è íàé-âå÷å êàòî ïðèÿòåë àç ñúì ãîðä, ÷å ñúì èìàë ïðèâèëåãèÿòà äà ñïîäåëÿì âðåìå ñ íåãî. Âèíàãè ñúì èçëèçàë îò íàøèòå îáùè ñðåùè èíòåëåêòóàëíî îáîãàòåí è ïðîñâåòëåí. Åäèí îò íàé-ñêúïèòå ñïîìåíè, êîéòî àç îñîáåíî öåíÿ, áåøå âðåìåòî, êîåòî ïðåêàðâàõìå çàåäíî ïðåç 1991ã,ïî âðåìå íà ñúáèòèå, îðãàíèçèðàíî îò ÌÀÀ â ïðåêðàñíèÿ ìàíàñòèð "Ñâåòè Êèðèê" â Áúëãàðèÿ. Òîãàâà áÿõìå èçáðàíè è äâàìàòà çà ïðîôåñîðè íà àêàäåìèÿòà. Ïîçíàíèÿòà íà Äåíèñ è ïåäàãîãè÷åñêàòà ìó ïðàêòèêà áÿõà âèñîêî îöåíåíè îò âñè÷êè, êîèòî ïîñåùàâàõà ëåêöèèòå è ñåìèíàðèòå. Âúâ âñè÷êè îñòàíàëè ñðåùè íà ÌÀÀ, êîèòî ïîñåùàâàõìå, òîé áåøå âèíàãè àêòèâåí, âèñîêî öåíåí è óâàæàâàí ó÷àñòíèê è ÷åñòî äîáðîâîëíî ïðåäëàãàøå óñëóãèòå ñè êàòî ó÷àñòíèê â æóðèòà íà ìíîãî îò êîíêóðñèòå íà ÌÀÀ. Ñðåä äðóãè ëè÷íè ñïîìåíè, îñîáåíî ïðèÿòíè çà ìåí ñà ìíîãîáðîéíèòå êðèòè÷íè ñòàòèè, êîèòî òîé å ïîñâåòèë íà ìîÿòà ðàáîòà, êàòî îò ñïåöèàëíî çíà÷åíèå çà ìåí å íåãîâàòà BookART ïóáëèêàöèÿ Ðè÷àðä Èíãëàíä - Architect as Artist (2007). Îò èìåòî íà ïðåçèäåíòà Ãåîðãè Ñòîèëîâ, âèöåïðåçèäåíòà Ìàíôðåäè Íèêîëåòè è îò ñâîå ñîáñòâåíî èìå è îò èìåòî íà âñè÷êè ÷ëåíîâå íà àêàäåìè÷íèÿ ñúâåò ùå îñòàíåì áëàãîäàðíè íå ñàìî çà òîâà, êîåòî Äåíèñ êàòî íåèç÷åðïàåì èçòî÷íèê íà çíàíèÿ å äîïðèíåñúë êúì àðõèòåêòóðíàòà ëèòåðàòóðà, íî ñúùî è çà äúëãîòî è ïîëçîòâîðíî ó÷àñòèå â àêàäåìèÿòà. Íèå ñúùî ÷óâñòâàìå, ÷å å ïîäõîäÿù ìîìåíò äà èçðàçèì áëàãîäàðíîñòòàñè çà öÿëàòà èíôîðìàöèÿ, êîÿòî ñïîäåëÿøå ñ íàñ ïî âðåìå íà ó÷àñòèåòî ñè â ðàçëè÷íè äåéíîñòè íà ÌÀÀ. Àç ëè÷íî çà ïîñëåäåí ïúò âèäÿõ Äåíèñ â áîëíèöàòà ñàìî äâà äíè ïðåäè äà ñå ñïîìèíå… åìîöèîíàëåí è òðóäåí ìîìåíò, íî â ñúùîòî âðåìå áåçêðàéíî öåíåí. Íèå óñïÿõìå äà ïîãîâîðèì çà ðîëÿòà è áúäåùåòî íà àêàäåìèÿòà è âúïðåêè ÷å áåøå ìíîãî îòñëàáíàë, òîé âñå îùå åíòóñèàçèðàíî îáñúæäàøå ñëåäâàùèòå ìó ñòàòèè. Íà ßñìèí Øàðèô, íåãîâàòà ñúïðóãà è ïðîôåñèîíàëåí ïàðòíüîð è íåãîâîòî ñåìåéñòâî, àêàäåìèÿòà èçðàçÿâà ñâîèòå íàé-ñúðäå÷íè ñúáîëåçíîâàíèÿ. Ïîñëåäíî ñáîãîì íà Äåíèñ, íèå îòäàâàìå ïî÷èò íà óíèêàëíèòå òè òàëàíòè è òè áëàãîäàðèì! àêàä. Ðè÷àðä Èíãëàíä

NEWS

Manfredi Nicoletti The 3500 state Auditorium . Astana, Kazakhstan International competition, first prize Total Area 50.000 sqm Architect Manfredi Nicoletti, Luca Nicoletti With Luca Nicoletti Coordination Giulia Falconi Project team B. Abbottoni, D. De Santis, A. Faro, P. Leone, L. Maugeri, A. Scardaoni, N. Siles, Studio Altieri Structures Ingegneri Associati, Rome Services ENETEC, Rome; Acoustics Y. Xu - Associates, Paris; Scenography Changement Ă Vue, Paris Q.S. and consultations Astanagorproekt, A. A. Kenzhetayev Renderings Res Fictae Model M. Sabatini

This auditorium - one of the largest in the world - was awarded to Studio Nicoletti as the result of an International restricted competition. Founded in the heart of the steppes only four years after the Independence of the Country, Astana is now a decade old new capital of Kazakhstan, the centre of a territory as vast as Western Europe, with around 16 million inhabitants. Astana.s administrative nucleus occupies a rectangular area of around 3.5 x 1.5 km whose organizational axis is based upon a system of three piazzas. In the largest of these, dominated by the Presidential Palace, the State Auditorium faces the Senate House. Although surrounded by a park, the river Ishim and some very high buildings, the vastness of the location conjures up an impression of the immensity of the territory. Flying over the arid vastness of the steppes, we felt that what is really missing were flowers. We decided to build the .Flower of the Steppe.

Amidst this monumental void, the structures of the Auditorium rise like the petals of a flower animated through music. They create an envelope which encloses an internal piazza housing shops, balconies, restaurants, exhibition halls, two cinemas and the 3500 seats Auditorium entirely clad in wood inside and outside. Its shape is similar to a .Dombra. the typical Kazak instrument. Such internal multi-levelled piazza integrates with Astana.s system of public squares, while providing a space protected from the harsh local climate: a temperature range from -40 to +40 and salty winds. The Auditorium interior space is also reflecting its suspended wood panelled ceiling like following a whirling motion, form a cavity above the orchestra to regulate acoustic absorption. To resist against the eroding effect of the salty winds coming from the steppe, the slanted surfaces of the outdoor sails are clad with glass panels reflecting the overchanging environment.

Äúðæàâíàòà çàëà â Àñòàíà, Êàçàõñòàí

Êîíêóðñúò çà ïðîåêòèðàíå íà äúðæàâíàòà çàëà â íîâàòà äåñåòãîäèøíà ñòîëèöà íà Êàçàõñòàí Àñòàíà, åäíà îò íàé-ãîëåìèòå â ñâåòà, å ñïå÷åëåí îò Ñòóäèî Íèêîëåòè íà ìåæäóíàðîäåí êîíêóðñ. Àñòàíà å îñíîâàíà â ñúðöåòî íà ñòåïèòå ñàìî ïåò ãîäèíè ñëåä îáÿâÿâàíå íåçàâèñèìîñòòà íà ñòðàíàòà. Öåíòðàëíîòî ÿäðî íà ãðàäà çàåìà ïðàâîúãàëíà ïëîù, ÷èÿòî îðãàíèçàöèîííà îñ ñå áàçèðà íà òðè ïëîùàäà. Äúðæàâíàòà çàëà ñå íàìèðà íà íàé-ãîëåìèÿ îò òÿõ, êúäåòî å ïðåçèäåíòñêèÿò äâîðåö, è å îáúðíàòà ñ ëèöå êúì ñåíàòñêèÿ äîì. Ëåòåéêè íàä èçñúõíàëàòà øèð íà ñòåïòà, íèå ïî÷óâñòâàõìå, ÷å òîâà, êîåòî íàèñòèíà ëèïñâà òóê, ñà öâåòÿòà è ðåøèõìå äà ïîñòðîèì öâåòåòî íà ñòåïòà êîìåíòèðàò ÷ëåíîâåòå íà ïðîåêòàíñêèÿ åêèï. È íàèñòèíà ñðåä ìîíóìåíòàëíàòà ïðàçíèíà íà ïëîùàäà ñãðàäèòå ñå èçäèãàò êàòî âåí÷åëèñò÷åòà íà öâåòå, îæèâåíè îò ìóçèêà. Òå ñúçäàâàò îáâèâêà,

êîÿòî îáãðúùà âúòðåøíàòà ÷àñò íà ïëîùàäà ñ ðàçïîëîæåíèòå òàì ìàãàçèíè, ðåñòîðàíòè, èçëîæáåíè çàëè, äâå êèíà è ñàìàòà çàëà , ñúäúðæàùà 3500 ìåñòà. Òÿ èçöÿëî å ïîêðèòà ñ äúðâî îòâúí è îòâúòðå. Ôîðìàòà è ïðèëè÷à íà äîìáðà, êàçàõñêè èíñòðóìåíò. Ãîëåìèÿò ïëîùàä, êîéòî å íà íÿêîëêî íèâà, ñå îáåäèíÿâà ñ äðóãèòå äâà ïëîùàäà è ñå ïðåâðúùà â ìÿñòî, ïðåäïàçåíî îò ñóðîâèÿ ìåñòåí êëèìàò: ñîëåíèòå âåòðîâå è òåìïåðàòóðàòà, êîÿòî âàðèðà îò -40 Ñ äî +40 Ñ. Èíòåðèîðíîòî ïðîñòðàíñòâî å ðåøåíî ïî îðèãèíàëåí íà÷èí. Îêà÷åíèÿò äúðâåí òàâàí â çàëàòà ñÿêàø ñëåäâà âúðòåëèâî äâèæåíèå è îáðàçóâà ïðàçíèíà íàä îðêåñòúðà, çà äà ðåãóëèðà àêóñòè÷íàòà àáñîðáöèÿ. Çà äà óñòîÿò íà ðàçÿæäàíåòî îò ñîëåíèòå âåòðîâå, èäâàùè îò ñòåïòà, íàêëîíåíèòå ïîâúðõíîñòè íà âúíøíèòå ïëàòíà íà âðàòèòå ñà ïîêðèòè ñúñ ñòúêëåíè ïàíåëè, îòðàçÿâàùè ïîñòîÿííî ïðîìåíÿùàòà ñå îáêðúæàâàùà ñðåäà.

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Architect Oscar Niemeyer, still showing a flair for dramatic design at the age of 102. Íîâ áëåñòÿù ïðàâèòåëñòâåí êîìïëåêñ The state of Minas Gerais in southeastern Brazil unveiled a glittering new government complex by legendary architect Oscar Niemeyer, still showing a flair for dramatic design at the age of 102. His latest creation covers an expanse of 804,000 square metres, including a 265,000-square-metre building housing the new seat of government. With the opening of the new complex, Belo Horizonte, the regional capital of Minas Gerais, becomes the city with the greatest number of buildings by Niemeyer 14. During his seven-decade career, Niemeyer has designed more than 600 projects around the world, and is famous for some of Brazil’s most distinctive buildings. His works include a suite of government buildings in the national capital city Brasilia and the headquarters for the United Nations in New York. Later this year he is to unveil the Aviles International Cultural Center in Spain. Niemeyer also is overseeing the renovation of the central avenue of the Sambodrome, where the most famous of Brazil’s glitz-and-flesh Carnival parades are held. The architect, who was born in 1907 in Rio de Janeiro, where he still lives, said in a recent interview that the curves and sweeping lines that typify his style were inspired by “the body of the Brazilian woman.” His numerous awards include the Pritzker, the Nobel Prize of architecture, which he won in 1988

Museum of Modern Art Niteroi, Brazil. Architect is Oscar Niemeyer.

Ïðàâèòåëñòâîòî íà Minas Gerais îòêðè â þãîèçòî÷íà Áðàçèëèÿ íîâ áëåñòÿù ïðàâèòåëñòâåí êîìïëåêñ íà ëåãåíäàðíèÿ àðõèòåêò Îñêàð Íèåìàéåð, êîéòî âúïðåêè 102ãîäèøíàòà ñè âúçðàñò îùå ïîêàçâà ïðåäïî÷èòàíèÿòà ñè êúì ðàç÷óïåí äèçàéí.. Ïîñëåäíàòà ìó ðàáîòà ïîêðèâà ïëîù îò 80400 êâ.ì è âêëþ÷âà 265 000 êâ.ì ñãðàäè çà íîâîòî ïðàâèòåëñòâî. Ñ îòêðèâàíåòî íà íîâèÿ êîìïëåêñ, Belo Horizonte, ìåñòíàòà ñòîëèöà íà Minas Gerais ñòàâà ãðàäà ñ íàé-ãîëÿì áðîé ñãðàäè îò Íèåìàéåð - 14. Ïî âðåìå íà ìíîãîãîäèøíàòà ñè êàðèåðà, Íèåìàéåð å ïðîåêòèðàë ïîâå÷å îò 600 ïðîåêòà ïî öåëèÿ ñâÿò è å èçâåñòåí ñ íÿêîè îò íàé-ÿðêèòå ñãðàäè â Áðàçèëèÿ. Íåãîâàòà ðàáîòà âêëþ÷âà êàêòî ïðàâèòåëñòâåíè ñãðàäè â ñòîëèöàòà íà Áðàçèëèÿ, òàêà è ñåäàëèùåòî íà Îáåäèíåíèòå íàöèè â Íþ Éîðê. Ïî-êúñíî òàçè ãîäèíà òîé ùå îòêðèå Aviles International Cultural Center â Èñïàíèÿ. Íèåìàéåð ñúùî òàêà ðàáîòè íàä ðåñòàâðàöèÿòà íà öåíòðàëíîòî àâåíî íà Sambodrome, êúäåòî âñÿêà ãîäèíà ñå ïðîâåæäà íàé-èçâåñòíèÿò ïàðàä â Áðàçèëèÿ. Àðõèòåêòúò, êîéòî å ðîäåí ïðåç 1907ã. â Ðèî äå Æàíåéðî, êúäåòî âñå îùå æèâåå, êàçâà â ñêîðîøíî èíòåðâþ, ÷å çàîáëåíèòå ëèíèè, êîèòî ñà òèïè÷íè çà íåãîâèÿ ñòèë, ñà âäúõíîâåíè îò "òÿëîòî íà áðàçèëêèòå". Íåãîâèòå ìíîãîáðîéíè íàãðàäè âêëþ÷âàò Pritzker è Íîáåëîâà íàãðàäà çà àðõèòåêòóðà ïðåç 1988 ã.

9 Location Abu Dhabi, UAE Design Tadao Ando Term of design 2006/06 Site area 61,000 sqM Buiding area 25,400 sqM Total floor area 33,300 sqM

Marine museum on the island Saadit Abdu Dhabi 2004-2012 arch. Tadao Ando

The nature of Abdu Dhabi the landscape and the marine traditions have inspired the author for this idea. It starts with unique space, designed by the force of the wind deep in a simple volume as a door above water yard, stressing on the ocean theme of the museum. The interior reminds corals with ramps and floating decks, which lead from the exhibition, creating dynamic gallery-like experience. The floating objects in the interior help to create strong visual appearance connecting the objects among each other to the museum architecture. Under the ground is another level, designed as huge aquarium. The traditional boat "Donga" floats over the aquarium and could be seen from different perspectives. To underline the simplicity with the powerful form of the volume of the building the surroundings are designed as net of trees that fill in the yard of the plot, creating an atmosphere of an oasis, which gives the possibility to the visitor to make an easy transition through the dynamics city and the contemplating space of the museum. The unique idea of Tadao Ando together with the other realizations of "cultural neighborhood" in Abdu Dhabi, work of Gheri, Hadid, Nouvel will be completed and open in 2012.

Ìîðñêè ìóçåé íà îñòîðîâ Ñààäèò Àáó Äàáè, 2004 - 2012 ãîäèíà, àðõèòåêò Òàäàî Àíäî Óíèêàëíàòà èäåÿ íà Òàäàî Àíäî, çàåäíî ñ äðóãèòå ðåàëèçàöèè íà "êóëòóðíèÿ êâàðòàë" íà Àáó Äàáè, äåëî íà Ãåðè, Õàäèä è Íóâåë, ùå áúäàò çàâúðøåíè è îòêðèòè ïðåç 2012 ãîäèíà.

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Santiago Calatrava The Caja Madrid Obelisk

The Caja Madrid Obelisk (Spanish: Obelisco de la Caja) is a monument designed by Santiago Calatrava located in the Plaza de Castilla in Madrid, Spain. It was donated by the bank Caja Madrid to the city. To mark the 300th anniversary of its foundation (1702-2002), Caja Madrid commissioned the architect and sculptor Santiago Calatrava to design a monument that would be donated to the Villa de Madrid. According to the initial project, the work would measure 120 meters tall. However, the complex network of underground tunnels that pass underneath the Plaza de Castilla made this original project unworkable, because of its weight. A decision was therefore made to lower the height to 92 metres. In early October 2007, the Caja contracted construction company Acciona to carry out the project, and in July of the following year building work began, having dismantled the fountain which existed previously at the selected spot. After several delays, the obelisk was officially opened on December 23, 2009 by his majesty Juan Carlos I. Caja Madrid decided to call the Obelisk construction of the Fund, although given the way pyramid of such a monument, not an obelisk itself. In fact, its design is inspired by the Column of Infinity, a work of 29.33 meters in height by Romanian sculptor Constantin Brâncuºi, built in 1938 in Târgu Jiu (Oltenia, Romania). The inner core of the work, 92 meters high, is a cylindrical metal shaft of equal length and 2 meters in diameter, which rests on three metal legs. These, which weigh 50 tons each, are based in turn on three concrete piles 80 inches in diameter and 26 meters long. Instead of supporting the mast directly above its long axis, it was decided to do it this way to not make extreme demands on pre-existing tunnel at the site. By fixing shaft through joints, 462 lamas ribs and 462 bronze 7.70 meters in length, lining the entire obelisk. These strips have a tilting movement transmitted through the ribs, giving the appearance of an outwardly moving wave of ascension along the spine This is the architects first project built in the Spanish capital and will be handed over by Caja Madrid to the City Council as a gift to the people of Madrid.

Obelisco de la Caja å ïàìåòíèê, ïðîåêòèðàí îò Ñàíòèàãî Êàëàòðàâà è ñå íàìèðà íà Plaza de Castilla â Ìàäðèä, Èñïàíèÿ. Òîé å äàðåíèå îò áàíêà Caja Madrid êúì ãðàäà. Ïî ïîâîä 300-òà ãîäèøíèíàòà îò îñíîâàâàíåòî é Caja Madrid âúçëàãà íà àðõèòåêòà è ñêóëïòîðà Ñàíòèàãî Êàëàòðàâà äà ïðîåêòèðà ïàìåòíèê, êîéòî äà áúäå äàðåí íà Villa de Madrid. Ïî ïúðâîíà÷àëåí ïðîåêò ñòðóêòóðàòà áè òðÿáâàëî äà áúäå 120 ì. âèñîêà. Âúïðåêè òîâà, ìðåæàòà íà êîìïëåêñà ñ ïîäçåìíè òóíåëè, êîèòî ìèíàâàò ïîä Plaza de Castilla íàïðàâè òîçè îðèãèíàëåí ïðîåêò íåîñúùåñòâèì, ïîðàäè ñâîÿòà òåæåñò. Âçåòî áå ðåøåíèåòî îáà÷å äà ñå íàìàëè âèñî÷èíàòà íà 92 ìåòðà. Ïðåç ðàííèÿ îêòîìâðè íà 2007ã., Caja íàåìà ñòðîèòåëíàòà ôèðìà Acciona äà äîâúðøè ïðîåêòà è ïðåç þëè ñëåäâàùàòà ãîäèíà ðàáîòàòà çàïî÷âà ñ äåìîíòèðàíåòî íà ôîíòàí, êîéòî å áèë íà ñúùîòî ìÿñòî ïðåäè òîâà. Ñëåä íÿêîëêî çàêúñíåíèÿ îáåëèñêúò å îôèöèàëíî îòêðèò íà 23 äåêåìâðè, 2009ã. îò íåãîâî âèñî÷åñòâî Juan Carlos I. Caja Madrid å íàðå÷åí îáåëèñê, âúïðåêè ÷å å ïî-ñêîðî ïèðàìà, îòêîëêîòî îáåëèñê. Âñúùíîñò äèçàéíúò å âäúõíîâåí îò Êîëîíàòà íà áåçêðàéíîñòòà, âèñîêàòà 29.33 ì. ðèìñêà ñêóëïòîðà îò Constantin Br?ncu?i, ïîñòðîåíà ïðåç 1938 ã. â T?rgu Jiu (Îëòàíèÿ, Ðóìúíèÿ). Îòâúòðå ñòðóêòóðàòà å 92 ì. âèñîêà ñ öèëèíäðè÷íà ìåòàëíà øàõòà, êîÿòî ëåæè íà òðè ìåòàëíè ñòúëáà. Òå òåæàò 50 òîíà âñåêè è ñà ïîñòàâåíè íà òðè öèìåíòîâè ïèëîíà ñ 80 èí÷îâè äèàìåòðè è 26-ìåòðîâè íà äúëæèíà. Âìåñòî äà ïîääúðæà ìà÷òàòà íåïîñðåäñòâåíî íàä íàäëúæíàòà ñè îñ, å ðåøåíî äà ñå íàïðàâè ïî íà÷èí, êîéòî íå èçèñêâà ìíîãî îò òóíåëà, êîéòî âå÷å å ñúùåñòâóâàë íà òîâà ìÿñòî. Òîâà å ïúðâèÿò ïðîåêò íà àðõèòåêòà, êîéòî å ïîñòðîåí â ñòîëèöàòà íà Èñïàíèÿ ñúñ ñúäåéñòâèåòî íà Caja Madrid è êìåòñòâîòî. Òîé å ïðåäîñòàâåí êàòî ïîäàðúê íà ãðàäà.

Scotlands biggest public artwork

Íàé-ãîëåìèÿ îáùåñòâåí ïàðê â Øîòëàíäèÿ Òîâà å áåëåã â ïåéçàæà, îãðîìíà äóïêà, ëèøåíà îò æèâîò è ÷àð, íî å òàçè, êîÿòî ùå ôîðìèðà îñíîâàòà íà íàé-ãîëåìèÿ îáùåñòâåí ïàðê íà èçêóñòâàòà â Øîòëàíäèÿ. Îòêðèòèÿòà íà ìèíàòà "Ñâ. Íèíÿí" ùå áúäàò òðàíñôîðìèðàíè â Fife Earth Project, 665-àêðîâ ïàðê, êîéòî å ïðîåêòèðàí îò ëàíäøàôòíèÿ àðõèòåêò ×àðëç Äæåíêñ. Ïàðêúò, êîéòî å ïîëó÷èë îäîáðåíèå îò ñúâåòà íà Ôàéâ, ùå èìà åçåðî ñ ôîðìàòà íà Øîòëàíäèÿ, êîåòî ùå áúäå îáãðàäåíî îò ÷åòèðè ãåîìåòðè÷íî îôîðìåíè ìîãèëè, êîèòî ïðåäñòàâëÿâàò êîíòèíåíòèòå, Øîòëàíäèÿ è õîðàòà è. Ìðåæà îò ïúòåêè ùå ïîçâîëè íà ïîñåòèòåëèòå äà ñå ðàçõîæäàò è äà êàðàò êîëåëî îêîëî ïàðêà, êîéòî ñå î÷àêâà äà ñå ïðåâúðíå â ðàé çà ðàçëè÷íè ïòèöè è äðóãè æèâîòíè. Scottish Coal, êîèòî ñà ïîðú÷èòåëè íà ìíîãîìèëèîííîòî ïðîèçâåäåíèå íà èçêóñòâàòà, ïúðâîíà÷àëíî èìà êàòî íàìåðåíèå äà ïðåâúðíå ðàçêðèòèåòî íà ìèíàòà â ïàñèùà, íî ñëåä òîâà äèðåêòîðúò å âèäÿë ïëàí, êîéòî å ñïå÷åëèë íàãðàäàòà íà Íàöèîíàëíàòà ãàëåðèÿ íà èçêóñòâàòà íà Øîòëàíäèÿ è å ïðîìåíèë ñòàíîâèùåòî ñè. Scottish Coal, êîèòî ñà èçâåñòíè îùå êàòî Resources Group, ñå íàäÿâàò, ÷å Fife Earth Project ùå ñå ïðåâúðíå â ãëàâíà àòðàêöèÿ. Theo Philip, ñòðàòåãè÷åñêè ìåíèäæúð íà êîìïàíèÿòà êàçâà: "Åäèí îò íàé-ãîëåìèòå ïëþñîâå íà áúäåùèÿ ïàðê å ðàçïîëîæåíèåòî ìó íà ãëàâåí êðúñòîïúò çà Øîòëàíäèÿ. Äðóãîòî å, ÷å å ïðîåêòèðàí îò ×àðëç Äæåíêñ, êîéòî å ìåæäóíàðîäíî ïðèçíàò. Èçêóñòâîòî ñúñ çåìíèòå ôîðìè ñòàâà âñå ïî-ïîïóëÿðíî â Îáåäèíåíîòî êðàëñòâî è ñìÿòàì, ÷å ïàðêúò ùå ñå ïðåâúðíå â çàáåëåæèòåëíîñò". Äæåíêñ êàçâà: " Îò âñè÷êè íåùà, êîèòî ñúì ïðàâèë äî ìîìåíòà, òîçè òðÿáâà äà å íàé-ãîëåìèÿò, èíòåðåñåí è êðåàòèâåí ïðîåêò. Èçêëþ÷èòåëíî ñå âúëíóâàì," Òîé êàçâà, ÷å å áèë âäúõíîâåí îò øîòëàíäñêîòî íàñëåäñòâî è íà÷èíà, ïî êîéòî øîòëàíäñêàòà äèàñïîðà å ïîìîãíàëà äà ñå ôîðìèðà ñâåòà. "Ìàéêà ìè å Ìàêäúðô è å îò Ôàéâ. Êàòî àìåðèêàíåö, êîéòî ñå å ïðåñåëèë òóê - òóê ñúì 45 ãîäèíè - èçïèòâàì îãðîìåí èíòåðåñ êúì íà÷èíà, ïî êîéòî øîòëàíäöèòå æèâåÿò è ïðåíàñÿò êóëòóðàòà ñè. Èìà 40 ìèëèîíà øîòëàíäöè, êîèòî ñà â ÷óæáèíà è åäâà 5 ìèëèîíà æèâåÿò òóê. " Ñòðîèòåëñòâîòî íà ïðîèçâåäåíèåòî íà èçêóñòâàòà ùå îòíåìå îêîëî äâå ãîäèíè è ùå îñèãóðè ðàáîòà íà 89 ðàáîòíèêà. Òîâà ùå ïîìîãíå äà ñå ðåãåíåðèðà ìåñòíàòà èêîíîìèêà ñúñ ñúçäàâàíåòî íà íîâ áèçíåñ. Àëåêñ Ðîóëè, ìåñòåí ñúâåòíèê, êàçâà ÷å ïàðêúò ùå èìà íàöèîíàëåí ñòàòóñ êàòî åäíî îò íàé-ãîëåìèòå ïðîèçâåäåíèÿ íà èçêóñòâîòî â Àíãëèÿ. "Ïðîôåñîð ×àðëç Äæåíêñ å ñâåòîâíî èçâåñòåí àðòèñò ñúñ çåìÿ è íåãîâèÿò äèçàéí ùå äîíåñå òàçè çåìÿ íà áðèòàíñêàòà òóðèñòè÷åñêà êàðòà" êàçâà òîé. "Àç âèíàãè ñúì âÿðâàë, ÷å òóðèçìúò âúâ Ôàéâ íå å íàïúëíî ðàçâèò è ÷å òîçè ïðîåêò ùå äîïðèíåñå çà ðàçâèòèåòî íà ìíîãî äðóãè ñúîðúæåíèÿ â çàïàäåí è öåíòðàëåí Ôàéâ, êîåòî îáà÷å íå áèâà äà áúäå ïðåêàëåíî." Ãðóïà îò ìåñòíè ïðåäñòàâèòåëè, òóðèñòè÷åñêè ìåíèäæúðè è the Scottish Resources Group ùå ñå îáåäèíÿò, çà äà ðåøàò êàê äà ðàçâèÿò ïàçàðà â òîçè ðåãèîí.

It is a scar on the landscape, a gaping hole devoid of any life or charm, but one that is to form the basis of Scotlands biggest public artwork. The opencast St Ninians mine is to be transformed into the Fife Earth Project, a 665-acre park designed by the landscape architect Charles Jencks. The park, which was given approval by Fife Council, will feature a loch in the shape of Scotland, surrounded by four geometrically shaped mounds representing the continents Scotland and its people has influenced. A network of paths will allow visitors to walk and cycle around the park, which is expected to become a haven for a diverse range of birds and other wildlife. Scottish Coal, which commissioned the multi-million-pound artwork, had originally intended to turn the opencast mine into grazing land but after one of its directors saw Jenckss awardwinning work Landform Ueda at the Scottish National Gallery of Modern Art an alternative plan was drawn up. Scottish Coal, which is now known as Scottish Resources Group, hopes that the Fife Earth Project will become a major tourist attraction. Theo Philip, planning manager for the group, said: “One of its prime assets is its location on a main route through Scotland, and there is also the fact that it is designed by Charles Jencks, who is internationally renowned. The land art movement is growing across the UK so we think this could become a significant attraction.” Although the concept for the mounds is similar to the Pyramids, a series of grass sculptures located just off the M8 in West Lothian, Mr Philip said that the Fife Earth Project would be much larger and more dramatic. “The principle is the same but in terms of scale it will dwarf the M8 Pyramids. Hopefully, in terms of impact, it will be more like the Angel of the North in Gateshead.” Jencks said: “Of all the things Ive done, it has to be the biggest. It’s a very inspiring project. Its extremely exciting,” He said that he had been inspired by his Scottish heritage and the way in which the Scottish diaspora has helped to shape the world. “My mother was a Macduff, from Fife. As an American who has resettled here Ive been here 45 years there is this immediate interest in the way Scots take their life and culture to new places. “There are 40 million people of Scots descent overseas and five million here. However you count a Scot, theyve punched above their weight. We knew there would water, so Scotland should be water. Scotloch is what everyone will look down at.” Construction of the artwork will take about two years and provide jobs for most of the 89 staff employed at present at the mine at Kelty. It could help to regenerate the local economy by bringing in new businesses. Alex Rowley, a local councillor, said that the scheme would have national status as one of the largest artworks in Britain. “Professor Charles Jencks is a world-renowned land artist and his design will put his area on the tourist map of Britain,” he said. “I have always believed that tourism in Fife has not been fully exploited and this project will bring a welcome addition to the many facilities in west and central Fife that we must now take full advantage of.” A steering group, consisting of local representatives, tourism managers and the Scottish Resources Group, will now be formed to decide how best to market the site and lure motorists to the site from the M90.

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