WAM Issue 11

World Architecture Masters

ISSN 1313-177X

11/ 2009/ 011

PAUL ANDREU

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

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

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

Óïðàâèòåë Íàòàëèÿ Áîíäàðåíêî

General manager Natalia Bondarenko

Ðåäàêöèîííà êîëåãèÿ Êðàñèìèðà ßâàøåâà

Editors team Krassimira Yavasheva

Ìåíèäæúð ïðåäïå÷àòíà ïîäãîòîâêà Ïåòúð ×óïåòëîâñêè

Pre-print manager Peter Chupetlovsky

Ãðàôè÷åí äèçàéíåð Åëåîíîðà Ãåîðãèåâà - Åëåòî

Graphic designer Eleonora Georgieva - Eleto

Ïðåäïå÷àòíà ïîäãîòîâêà Èíà Êàìáàðåâà

Pre-print preparation Ina Kambareva

Ðåêëàìåí åêèï: Äèàíà Ñòîÿíîâà Âàíÿ Åôðåìîâà Åìèëèàí Ìèëêîâ Ëóèçà Äàìÿíîâà

Advertising Team: Diana Stoyanova Vania Efremova Emilian Milkov Luiza Damqnova

PR Âåíåòà Êóöåâà

PR Veneta Kutseva

Ïðåâîäà÷ Ïîëèíà Õàäæèìèòîâà

Translator Polina Hadjimitova

îôèñ Ïëîâäèâ Âàëåíòèíà Âàíãåëîâà

offis Plovdiv Valentina Vangelova

Êîðåêòîð Ìàðèÿ Òîäîðîâà

Proof-reader Maria Todorova

Ðàçïðîñòðàíåíèå Åâãåíèÿ Éîðäàíîâà

Distribution Evguenya Yordanova

Èçäàòåëè: Ìåæäóíàðîäíà Àêàäåìèÿ çà Àðõèòåêòóðà Àðõ ìåäèÿ ÎÎÄ

Publishers: International Academy of Architecture Arhc Media Ltd.

Ðåäàêöèÿ: Ñîôèÿ 1407 óë. “Ãîëî áúðäî” ¹ 22 Óïðàâèòåë: 02/868 81 83 Ðåäàêòîðè: 02/868 83 50 Ðåêëàìåí ìåíèäæúð: 02/868 77 91 Ðåêëàìíè àãåíòè: 02/ 868 75 67, 868 75 53 Ïðåäïå÷àò: 02/868 78 47

Îffice: Sofia 1407 22 “Golo bardo” Str. General manager: +359 2 868 81 83 Editors: +359 2 868 83 50 Advertising manager: +359 2 868 77 91 Advertising Team: +359 2 868 75 67, 868 75 53 Pre-print: +359 2 868 78 47

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

Local office Plovdiv 4000 8 “Kniaz Bogoridi” Str. tel./fax: +359 32 63 32 16

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

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

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

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

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. Paul Andreu for his amiability submitting materials from theirs private archive at ours disposal for the eleventh issue of WAM. Ñïèñàíèå World Architecture Masters áëàãîäàðè íà àðõ. Ïîë Àíäðþ çà ëþáåçíî ïðåäîñòàâåíèòå ìàòåðèàëè îò ëè÷íèÿ ìó àðõèâ çà åäåíàäåñåòè 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.

Paul Andreu

CONTENTS

Terminal 2, Hall E Airoport Roissy Charles-de-Gaulle - France

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Terminal 2, Hall F Roissy Charles-de-Gaulle Airport France

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International Airport, Hall B Bordeaux - France

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Nice-Côte d’Azur Airport Extension of Terminal 2-Module 2 Nice - France

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Guangzhou Gymnasium - Republic of China

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Exchange module and TGV station Roissy Charles-de-Gaulle International Airport France

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

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Technology and Science Enterprising Centre Chengdu- China

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TOriental Arts Centre

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Osaka Maritime Museum - Japan

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Ski Jump - Winter Olympics Courchevel - France

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Ïðèðîäà - ÷îâåê - àðõèòåêòóðà

Nature-human-architecture

Homo sapiens å ñúçäàäåí îò ïðèðîäàòà è íîñè ìíîãîîáðàçèåòî è áîãàòñòâîòî íà íåéíîòî ñúùåñòâî. Àðõèòåêòúò ñúçäàâà èçêóñòâåíàòà ñðåäà íà ÷îâåêà. Òÿ ìîæå è ñëåäâà äà èìà öÿëîòî áîãàòñòâî íà ïðèðîäíàòà ñðåäà. Àðõèòåêòúò å ñïîñîáåí äà ÿ ñúçäàäå, çàùîòî êàòî ïðîäóêò íà ïðèðîäàòà, ÿ íîñè â ñîáñòâåíàòà ñè ïðèðîäà. Àðõèòåêòóðàòà å õóäîæåñòâåí îáðàç íà êóëòóðàòà íà åïîõàòà è íåéíàòà åòèêà.

XX âåê å âåê íà ðàöèîíàëèçìà, íà äåõóìàíèçèðàíàòà àðõèòåêòóðà. Òîé ïðåâðúùà ÷îâåêà â ìàðèîíåòêà íà òåõíîëîãèÿòà. Òîâà íàéîñòðî ñå ÷óâñòâà â íåáîñòúðãà÷à íà 20 âåê, â åñòåòèêàòà íà ìèíèìàëèçìà. ÕÕI âåê ñëåäâà äà âúçñòàíîâè âåëè÷èåòî íà äóõà, áîæåñòâåíàòà êðàñîòà è áîãàòñòâî íà ÷îâåêà è íà êóëòóðàòà. Òîâà å íîâîòî êâàíòîâî àðõèòåêòóðíî ìèñëåíå è òâîð÷åñòâî. Ïîë Àíäðüî ãî ïðèòåæàâà.

Homo sapiens are creation of the nature and have the diversity and richness of their existence.

The architect creates fake environment for the human. It could and it should have all the diversity of the natural environment. The architect is able to do this, because as product of the nature we bring it in our own nature.

The architecture is artistic view of the culture of the epoch and its ethics.

The twentieth century is the century of rationalism and dehumanized architecture. It makes the human become a marionette of the technology. And it could be felt intensely in the sky-scrapers of the twentieth century, in the aesthetics of the minimalism. ÕÕI Century shall recover the greatness of the spirit, the divine beauty and the richness of the human and the culture. This is the new quantum architectural thinking and creation.

Paul Andreu has it.

Aêàä. Ãåîðãè Ñòîèëîâ Ïðåçèäåíò íà ÌÀÀ

Acad. Georgi Stoilov President of IAA

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Paul Andreu Paul Andreu Paul Andreu, architect Date of birth: 10/07/1938 Place of birth: Bordeaux (Caudéran), in Gironde Ecole polytechnique - France (1961), Engineer Ecole Nationale des Ponts et Chaussées - France (1963), Civil Engineer Ecole Nationale Supérieure des Beaux-Arts - France (1968), Architect Member of the Academy of Arts and Letters Member of the Academy of Architecture Member of the Academy de l’Air et de l’Espace Member of the Academy des Technologies Officer of the Legion of Honour Commander of Arts and Letters 2006 Cristal Globe - Award from the International Academy of Architecture for his whole career 1995 “Japan Institute of Architecture Award (AIJ) 1955, for Osaka Kansaï International Airport, Japan, with Renzo Piano “Aga Khan architecture Award 1995” for Soekarno-Hatta International Airport landscape development at Jakarta-Cangareng 1990 Awarded Architect’s Diploma, First Category, Japan 1989 Was awarded the grand Prix Florence Gould, for his whole work 1977 First National Prize for Architecture 1976 Grande Médaille d’Argent - Prix J.F. Delarue - Award from the Academy of Architecture for the architectural quality of RoissyCharles-de-Gaulle

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Paul Andreu Paul Paul Andreu Andreu

EXPERIENCE RECORD 2007 Soulages Museum Competition Rodez, France Tai Yuan Archeology Museum Current studies Tai Yuan, China Sports Centre Competition Tai Yuan, China Olympic Ski Jump Current studies Almaty, Kazakhstan 2006 Urban studies Nanjing, China Concept design for the Paco Rabanne’s new shops in China Paris, France Pôle Casino Euralille, Hôtel Hilton Second competition Lille, France Urban concept design of the Delta site Brussels, Belgium Urban concept design of the Midi station district Brussels, Belgium Administrative complex in Chengdu Competition, winning project Current studies 2005 Chengu Law Court Competition Chengdu, China Macau Casino, China Studies « Cognac Ferrand » wine and spirits storehouse Studies 2004 Toulouse Casino Competition Toulouse, France Pôle Casino Euralille, Hilton Hotel Competition Lille, France Technology and Science Enterprising

Center New Administrative Center of Chengdu Municipality Winning project Start of studies : June 2004 Chengdu, China, 2004 Hotel for Oriental Art Centre in Shanghai Winning projectShanghai, China, 2004 Suzhou Science Art and Cultural Centre Studies Suzhou, China, 2004 2003 Beijing CBD Core Competition Pékin, China, 2003 2002 “Casa de Francia”, Mexico Studies International Airport, Terminal, Fort Lauderdale, USA Studies 2000 Shanghaï Oriental Art Centre, China Cultural complex Completed in 2004 Dubaï International Airport, UAE Extension Terminal 3 – Concourse 2 1999 Grand National Theatre of China, Beijing Opera, theatre, auditorium International competition, winning project Scheduled for 2007 Casablanca Stadium, Maroc Pilot study in association with Mohammed Fikri Benabdallah Winner 1998 Guangzhou New Stadium, China Completed in 2001 1997 Nice Côte d’Azur International Airport Extension of Terminal 2 Completed in 2002 Charles-de-Gaulle, International

Airport Terminal 2 E, Roissy Completed in 2003 New Shanghaï Pudong International Airport, China International competition, winner project Completed in 1999 1996 Charles-de-Gaulle International Airport, Roissy Aérogare 2 - Hall A, New Satellite Completed in 1999 Abu Dhabi International Airport, R.A.U Competition, winner project Module 2 Scheduled for 2005 1995 New Teheran International Airport Imam Khomeini, Iran Scheduled for 2003 1993 Osaka Maritime Museum, Japan Completed in 2000 1991 City of Europe, Commercial Complex, Calais - France Completed in 1995 Design, New Passenger Terminal, Santiago de Chile Airport Completed in 1994 1990 New Passenger Terminal of Pointeà-Pitre (French West Indies) Completed in 1996 Manila International Airport, Philippines Completed in 1999 1989 Charles-de-Gaulle International Airport, Terminal 2 F, Roissy Completed in 1997 Bordeaux Mérignac International Airport, Hall B Completed in 1996 Orly Airport, Terminal West Extension of terminal, hall 1 Completed in 1993

Sheraton Hotel, Charles-de-Gaulle International Airport, Roissy Completed in 1996 1988 Gare TGV - RER, Exchange modul, Roissy In association with Jean-Marie Duthilleul Completed in 1994 Ski Jump for the Winter Olympics1992 Saint-Bon Courchevel – France Completed in 1991 1987 Kansaï Airport, Osaka, Japan Concept pour le terminal Completed in 1994 1986 Design, Transmanche Link – French Terminal Building Completed in 1994 Soekarno-Hatta International Airport, Djakarta Concourse 2 Completed in 1991 1985 Charles-de-Gaulle International Airport, Roissy Aérogare 2, module D Completed in 1989 1984 Grande Arche de la Défense, In association with J. O. von Spreckelsen Completed in 1989 1983 - 1989 Customs in Saint-Louis - Basel Border France - Switzerland Completed in 1989 1975 Nuclear centre, Cruas, France Completed in 1980 1963-1984 Project Director and Architect for the following main airports : Abu Dhabi, Brunei, Conakry, Dar Es Salaam, Le Caire, MayaMaya, Nice Côte d’Azur, RoissyCharles-de-Gaulle 1.

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Paul Andreu, àðõèòåêò Ðîæäåíà äàòà : 10. VII. 1938 ã. Ìÿñòî íà ðàæäàíå : Bordeaux (Cauduran), in Gironde Ecole polytechnique - Ôðàíöèÿ (1961), èíæåíåð Ecole Nationale des Ponts et Chaussées - Ôðàíöèÿ (1963), öèâèëåí èíæåíåð Ecole Nationale Supérieure des Beaux-Arts - France (1968), àðõèòåêò ×ëåí íà Àêàäåìèÿòà çà èçêóñòâî è ëèòåðàòóðà ×ëåí íà Àêàäåìèÿòà ïî àðõèòåêòóðà ×ëåí íà Àêàäåìèÿòà çà âúçäóõ è ïðîñòðàíñòâî ×ëåí íà Àêàäåìèÿòà çà òåõíîëîãèè Ïî÷åòåí îôèöåð îò ëåãèîíà 2006 Êðèñòàëåí ãëîáóñ - íàãðàäà îò ÌÀÀ çà öÿëîñòíî òâîð÷åñòâî 1995 ßïîíñêà íàãðàäà çà àðõèòåêòóðà (AIJ) “Aga Khan - àðõèòåêòóðíà íàãðàäà 1995” - çà ìåæäóíàðîäíîòî ëåòèùå Soekarno-Hatta â Äæàêàðòà 1990 Äèïëîìà çà àðõèòåêòóðà, ïúðâà êàòåãîðèÿ, ßïîíèÿ 1989 Íàãðàäåí ñ Prix Florence Gould çà öÿëîñòíî òâîð÷åñòâî 1977 Ïúðâà íàöèîíàëíà íàãðàäà çà àðõèòåêòóðà 1976 Grande Médaille d’Argent - Prix J.F. Delarue - íàãðàäà îò Àêàäåìèÿòà ïî àðõèòåêòóðà çà àðõèòåêòóðíîòî êà÷åñòâî íà Roissy-Charlesde-Gaulle

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Terminal 2, Hall E Airoport Roissy Charles-de-Gaulle - France

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Rather than the modular, repetitive system used at Charles de Gaulle Airports by Andreu for the other structures, 2E has a continuous gen- tly curving doubled-shelled skin. Terminal 2 has been a steady pro- gression towards the light, and it is the travellers who benefit from this transition.

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Start of projet 1997 Completion 2003 first phase, 2005 second phase Designed byPaul Andreu Assistant Architects J-M Fourcade, J-P Back,A Brison, G Goix Client:ADP Area: 230 000 m2 Cost: 750 M EUR

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Completion 1998/1999 Designed by: Paul Andreu Assistant Architects J-M Fourcade, P-M Delpeuch,V Chavanne, H Langlais, G Goix Client ADP Area: 130 000 m2 Capacity 12 M passagers per year Cost: 335 M EUR

Terminal 2, Hall F Roissy Charles-de-Gaulle Airport France

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Coming after the Exchange Module in the composition of the Terminal 2 complex, the construction of Hall F modifies the size and internal organization of the whole and greatly increases its complexity without however betraying the system’s initial design. It constitutes a sort of dialectical synthesis of all that preceded it and a new step in the airport’s development. The design creates a balance between the main building in which concrete and opacity prevail - despite touches of light and transparency here and there - and the two perpendicular piers, “peninsulas”, 45 meters wide and 140 meters long, with glass roofs and facades supported by a light metal frame.

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International Airport, Hall B Bordeaux - France 1989 Put into service in 1996.

Architect: Paul Andreu Architects J.-M.Fourcade, J.-Back,V Chavanne Prime contractor Bordeaux Chamber of Commerce and Industry Surface 15.000 m²

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The undulating roof supported by very slender posts opens the perspective, forming a simple line that stands out against the setting sun. To keep the interior space open, transparent and readable, the roof is supported by only two rows of posts, joined to each other by large prestressed oval beams to which perpendicular metal beams are fixed.

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Nice-Côte d’Azur Airport Extension of Terminal 2-Module 2 Nice - France

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The Module 2 is a circular building, 100 meters in diameter, in the form of an inverted cone with the flared part at the top. Floor-to-ceiling glass walls are supported by metal stiffeners.

All of the building’s main functions are visible from the outside. Once inside the building, passengers have a 360 degree panorama of the sea, the mountains and the city of Nice.

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Construction 2000/2002 Completion 2002.

Designed by Paul Andreu, chief architect of ADP Assistant Architects P-M Delpeuch, J-M Fourcade, F Prestat,CJ Schmeltz Client: Chambre de Commerce et d’Industrie de Nice-Côte d’Azur Area 37 000 m2.

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Guangzhou Gymnasium - Republic of China

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The Guangzhou Gymnasium is one of the main facilities being used for the 9th National Games of the Republic of China in 2001.

The complex is sure to become one of the focal points of life in Guangzhou, attracting residents and non-residents alike in a city that is in the midst of a cultural and economic boom.

The sports center was designed to form a transition between the cityscape (including the new urban zone to be developed after the closure of the airport) and the surrounding protected landscape

of the Baiyun hills.

A provision for modular expansion has been built into the complex.

Each of the three dome-shaped structures is made of a concrete base and a lightweight steel structure clad in semi-transparent panels that afford a natural uniform lighting.

At night, the interior lighting illuminates the roof, which seen from outside creates an unreallooking silhouette that stands out against the background of the Baiyun Hills.

The main stadium for sports competitions is in the form of an

arena. Spectators walk down to the bleachers from the entrances situated at ground level. The base of the whole complex is set slightly below ground level.

The main public entrance is located opposite the entrance reserved for the athletes and the VIPs. The latter is directly connected to the sports village and the training centre. The complex is part of an 18 hectare park, where public facilities for outside activities are set amidst the greenery.urgent nowadays of the environment and natural resources respect.

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Guangzhou Gymnasium, which will be used for the first time for the Ninth China Athletic and Sports Competition, is equipped with all the facilities needed for the organization of a major sports competition. It has a covered multisport stadium seating up to 13,000, training and warm-up rooms, a pool, a smaller center for leisure sports, a restaurant, locker rooms, a press center, and a control laboratory. The site of the sports complex - big enough to form a real park - is situated at the foot of the Baiyun hills, a protected landscape where building is not permitted and which constitutes an open space in the otherwise very dense city of Canton.

We wanted the hills to remain the key element of this project, so we housed the different facilities in three buildings of different sizes but similar in shape, which are articulated with one another in an organic way to echo the curves of the hills. We positioned the outside ceremonial area, delimited by the buildings and the trees, at the spot which affords the loveliest view of one of the valleys that cuts through the hills.

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The Canton city government brought several improvements to the initial project after the competition phase in deciding to move a new planned road system elsewhere, not to build a hotel on the site and to study the possibility of a connecting road between the gymnasium park and a new park situated at the foot of the hills.

Each of the elements that constitutes the sports complex has a semitransparent roof designed to ensure during the day quality uniform lighting, perfect for television broadcasting, and to stand out at night like a great light signal, visible from the road and the hills. The supporting frames resemble the one in Hall F, Terminal 2 of Charles-de-Gaulle airport in Paris, but here the maximal span of 160 meters is much greater. Once again, the upper ridge serves as a technical space where the cross beams can be joined in such a way that the framework remains a lightweight structure which, together with the semi-transparent roof, forms the luminousmaterial which has been the object of so much of my work.

Paul Andreu

32 Location Guangzhou - China - North East to the International Airport and Natural Park.

Use One of the major equipments for the 9-th National Games of the Republic of China, those will take place in Guangzhou in 2001.

Program Three shell-shaped buildings with white-coloured roofs, with a strong link between each other containing all the equipments : The three buildings have the following functions The main covered stadium which can adopt a variety of configurations athletics (6,500 seats), gymnastics, team sports, tennis, pingpong (10,000 seat). It can also be used for different types of entertainment.

•The training hall which includes a big hall, an Olympic-size pool and a series of rooms designed for special sports.

•The public sports center.

In addition to this complex covering 100,000 sq. m, there are parking lots, an office building, a restaurant and an athlete’s village, designed by another group of architects.

Surface 100 000 square meters built on 8 hectares. The project ( athletic village, public park ...)is located in a 18 hectares natural park.

Opening date July 2001 CHINA Guangzhou Gymnasium ARCHITECTS•ENGINEERS•

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Start of project 1989 Completion 1995.

Designed by Paul Andreu Architecte in collaboration with Jean Marie Duthilleul and Peter Rice Client ADP and SNCF (French Railways) Architects P.-M.Delpeuch, A.Brison,H.Dutton.

The Exchange Module brings together, in the center of Terminal 2, TGV (high-speed train) station, a suburban RER station, two people mover lines linking the air terminals, and a number of facilities, including a business and conference center and an hotel.The Exchange Module is a highly efficient, interchange hub between rail and air, offering not only direct connections to the Parisian area and a good number of French cities but also to several European capitals, including Brussels, Amsterdam and London.

Exchange module and TGV station Roissy Charles-de-Gaulle International Airport France

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

The building is situated in the heart of Beijing on Chang An Avenue next to the Great Hall of the People and about 500 meters from Tian An Men Square and the Forbidden CityĂŤ

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40 It is a curved building, with a total surface area of 149,500 square meters, that emerges like an island at the center of a lake. The titanium shell is in the shape of a super ellipsoid with a maximum span of 213 meters, a minimum span of 144 meters and a height of 46 meters). It is divided in two by a curved glass covering, 100 meters wide at the base.

During the day, light flows through the glass roof into the building. At night, the movements within can be seen from outside. The building houses three performance auditoriums – a 2,416-seat opera house, a 2,017 seat concert hall and a 1,040 theatre – as well as art and exhibition spaces opened to a wide public and integrated into the city.

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

The areas inside that are open to the general public take the form of an urban district with its succession of different spaces: streets, plazas, shopping areas, restaurants, restful spaces and waiting lounges. This public area is highly developed in order to endow the building with its open, popular character. The complex is designed as an open forum not a place for elitist shows. The different performance auditoriums open onto this common concourse. Their entrances are positioned so as to ensure an even distribution of people, and a smooth, easy flow everywhere while giving each element in the project a distinctive character.

The opera house is at the center. It is the single most important element in the project, and by the art that is practiced there, it is the one that is

41 most dependent on convention; most mysterious too. The concert hall and the theatre are situated on either side of the opera house. Access to the performance halls must never be brutal. It has to be something gradual, something that requires time and space. The performance halls and public areas are built on a base that houses all operating and support facilities in a complex designed to be as efficiently and economically organized as an industrial production area.

At the same time, this technical utility area never mars the harmony of the public areas and the pleasure of visitors and theatre-goers.

The opera house is covered in a gilt metal mesh. It is opaque over the walls and when the areas behind it are unlit but it becomes partially transparent when there is light in such as way that it reveals what is there while creating a distance. The spectators enter the opera house through one of the two big doorways in the gilt ring wall. When they cross this threshold they penetrate into a world of vertical circulation that takes them even farther away from the outside world and draws them near the point in time and space when the show will begin. From the lobby, they are still visible in the distance created by the partial transparency.

The wall thus expresses closure and separation but also, and more significantly, the psychological and symbolic distance that has to be crossed to gain access to the world of theatrical conventions.

The whole project can be defined as a play on successive envelopes, passages and crossings, transparency and light.

A lounge on the highest level under the roof affords the general public and theatre-goers alike with a view of the city all around that varies at different times of the day. From here, the city can be rediscovered from a hitherto unseen perspective.

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The decision to build the Grand National Theatre in a place of such historical and symbolic import clearly testifies to the importance given to culture in its relationship with history and the contemporary world. In such a context, it was out of the question to make an obscure, less prominent building of lesser importance. But neither could it pretend to be an isolated structure onto itself. For this reason, we strove to create a building that shows respect for the buildings around it, each of which marks in varying degrees the history of architecture in China, but that demonstrates the vitality of modern architecture by being as bold as they were in their day.

We have sought to achieve this harmony through a combination of modesty and ambition, agreement and opposition, and have made improvements at every stage thanks to the valuable comments and suggestions we received. But we never lost sight of what we considered essential from the start: that the Beijing National Grand Theatre be part of the fabric of the city, a theatre in the city, a new district of spectacles and dreams open to one and all.

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What has been happening over the last 18 months?

Resumption of project June 2000 Project finalization in view of comments December 2000.

Maintenance of program and of development expenditures Elimination of surplus to requirements in the functional support areas (rehearsal hall, recording room, sets, etc.)

Reduction of technical utility areas Elimination of 400-seat modular hall (November 2000).

Modification of entrance to the Opera (August 2000).

These measures brought the project back in line with technical and financial requirements.

Surface area 149,520 sq. m Cost 2.688 billion RMB

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Discussion about specific technical arrangements with the competent national and municipal government bodies (earthquakes, highways, networks, security, parks, etc.)

• Feasibility study approval by the State Planning Commission: March 2001.

• Verification of functional and technical arrangements by committees of Chinese specialists; in particular in June 2001 by a committee of 30 experts in all fields of construction.

• Estimate check by a specialized Chinese body.

• Examination of project by the State Planning Commission followed by supplementary specifications.

• Preliminary site work: earthworks to the -23 line. Building of diaphragm wall: May to September 2001.

• Preliminary design approval by the State Planning Commission: November 26, 2001.

• Building permit approval by the State Planning Commission: December 6, 2001.

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What is the schedule for the future?

Following these approvals, work will now proceed on the definitive stuctures, starting with the foundations of the theatre followed by the general foundations in the spring.

Resumption of excavations December 13, 2001 Foundations of theatre January 2002 The building is scheduled to be finished by the end of 2004 Work deadlines have not been shortened.

The State Planning Commission has put as much if not more emphasis on quality as on deadlines.

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Technology and Science Enterprising Centre Chengdu- China

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The main difficulty of this project was to create a general unit between the different buildings in a big space separate by a road. Each public building gathered in this politic and administrative campus must be identifiable but at the same time must express complementarity and unit : continuity, enthusiasm and novelty although adaptability to the climate and the specific necessities of the city and the region. It was the question of combining in a modern original project the spirit of a very ancient and very deep tradition - the tradition of the buildings integrated in gardens - and the preoccupation more and more urgent nowadays of the environment and natural resources respect.

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Competition winner April 2004.

Completion 2007.

Client Chengdu Xingnan Investment Co. Ltd. Designed by Paul Andreu Assistant Architect M.Flory Design team Paul Andreu Architecte France & China Southwest Architectural Design and Research Institute Location West side of theextension of Tianfu Avenue, Chengdu, China Area 370.000 sqm, including 166.000 sqm of car park.

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Oriental Arts Centre Client Shanghaï Pudong new area culture broadcast television bureau Design Team Paul Andreu architecte, ADPi and ECADI French team Project Management Felipe Starling (ADPi) Architects Assistants Graciella Torre, Michel Adment, with Hervé Langlais Engineering ECADI, S. Baghery (Coyne et Bellier) - special structures, R. Peltier - façade engineering Scenography M. Rioualec, BSEDI Acoustics M. Vian (CSTB), M. Xu (Xu Acoustique) Ilustrations AXYZ, Antoine Buonomo, Bernard Dragon, Hervé Langlais Publications Manager Michèle Marsallon (ADP) Chinese team (ECADI), M. Jin - Project Manager, M. He - Chief Architect, M. Wang - Chief Structure Engineer

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The Oriental Arts Centre project is a first rank public cultural building, encompassing mainly three venues : a 1,979 seats Philharmonic Orchestra Hall, a 1,054 seats lyric Theatre, a 330 seats chamber Music Hall. It also features ancillary public facilities, such a Exhibition Hall, Music Shops, restaurant and Arts Exchange premises : arts Library, Multimedia and training Center. The project includes also all the suitable backstage facilities for the needs of the performance control areas, performances premises such as dressing rooms, rehearsal rooms and lounges.

With a 39,694 sq.m construction site area, the project will be built on 7 main levels.

The project architectural intend is based on the following basic principles : - The building has a base on which the public spaces will develop ; - The halls will emerge from the base as trees from the earth ; - The building should be covered and enclosed by one unique cantilevered roof, linked by curved glass walls to the base ; - Spaces inside the building are distributed around and from a central

circulation and meeting point. This should apply to the public as well as to the performers and the VIP’s ; - The public space should be open and adaptable in order to increase the potential of use of the building ; - The performers should be provided with an efficient and agreeable working space ; - The three performance halls should be different in form and use different materials ; - The outside walls of the three halls will use enamel ceramic as their main common material ; - The material of the façades will be a glass incorporating a perforated metal sheet of variable density ; - The façades design itself will express innovation, modernity and enhance the public areas ; - Although secondary in their functional importance, the public spaces will define the character of the building and its filting with the spirit of the time.

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Technical specifications Location Century Avenue, Shangha誰 Total surface area 39,694 sq. m Auditorium capacities Philarmonic Orchestra Hall 1,979 seats Lyric Theatre 1,054 seats Chamber Music Hall 330 seats Scheduled completion 2004

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Osaka Maritime Museum - Japan

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Paul Andreu Architecte Architects François Tamisier, Massa Bokura, MTN Corporation Coordination Tohata Architects and Engineers, Japanese Security and Bldg law advisors Foundation and Structure design Service Engineers, Ove Arup International, Dome steel Structure Engineers, Dome Services Engineers Advisors Specialist Structures Professor Nishikawa - Tokyo Metropolian University Specialist Security Approvals Professor Murosaki - Kobe University Sketches Paul Andreu Computer Drawings HervÊ Langlais Antoine Buonomo AREA 20 000 m2

The site The project is located inside the dike of Osaka port where hundreds of boats pass eachday. Already located on this site are such important buildings as the A.T.C. (Asian Trading Center) , the W.T.C. (World Trading Center) and the Birds Sanctuary.

In December 1997, a tunnel for metro and cars linking the city center and this area was inaugurated. The Maritime Museum is part of the final development plans for this zone situated on land reclaimed from the sea.

We will be digging about two meters underground in relation to average sea level, to create a 30,000-squaremeter pond, that will be part of the Pacific Ocean, and on which we will be building a glass sphere, 40 meters high, designed to look as if it were floating on the water.

Construction began in May 1997; it is scheduled to be open to the public in July 2000.

70 Project The museum is composed of three units: - the entrance building, 5,000 square meters, located on land - the museum itself, 14,000 square meters, located in the sea - the underwater tunnel, 1,000 square meters, connecting the two buildings The entrance building, with a ground floor and two lower levels, houses the entrance hall, offices, storage space for works and support facilities.

There will be a sculpture on the roof that will move gently with the wind and waves.

Visitors enter the building and proceed down into a dark space that is designed to call to mind the depths of the sea. Then they go through

71 the 60-meter underwater tunnel to reach the museum.

They take an escalator up to a space right beneath the keel of a fullsize reconstruction in wood of an Edo-period boat.

This is the ground floor level of the museum. Visitors are then taken up to the top floor (3rd) in transparent elevators that afford a spectacular view of both the boat and the sea.

From this floor they can begin their visit of the exhibitions taking the main stairway back down to the ground floor as they proceed.

Each level has spaces reserved for permanent and temporary exhibitions. They have disc-shaped flooring and three big cylinders each.

On the ground floor there will be two large rooms equipped with virtual reality games.

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Paul Andreu architecte The sphere’s steelwork and glass The museum is practically an offshore type of construction that requires special building techniques as compared to those used on land. Below, we will focus mainly on the sphere’s glass structure.

The structure One sphere construction techniques is a system known as “the lamella grid”. The sphere is made of flat diamond-shaped sections that get smaller and smaller as they near the top. Their shape and size varies with the height; the angles on the right and left are always the same (90°), but the top and bottom angles are constantly variable.

The structural glass system The glass is held together by a “ten point” system.

The use of this system on such a scale is extremely rare, not only in Japan, but in the whole world.

There is no metal frame between the glass sections, just silicone as a sealant to ensure tightness. This makes the whole sphere look like a crystal.

The glass Most of the glass sections consist of two 15-millimeter glass panes with a sheet of perforated galvanized steel in between. The perforation (10 % - > 100 %) varies in density as a function of the path described by the sun, in order to screen out direct sun rays and reduce airconditioning to a minimum.

This “lami metal” also works to create a rich pattern on the outside of the sphere: on sunny days the sphere will mirror the blue sky; in sultry weather, it will merge into the choppy gray sea.

The lighting Since the museum will be one of the icons of the Osaka port, we worked carefully with L.P.A., giving considerable attention to studying all aspects of the lighting. Below you will find L.P.A.’s detailed description of the innovative lighting plans.

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Ski Jump - Winter Olympics Courchevel - France

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“There are at least seven or eight geometrical constraints determining the settling and the form of the building: vertical and horizontal viewing angles, relative heights, etc. I grouped the judges tower for both jumps in the same construction. Afterwards, Idecided not to try to do anything more than describe the functional more than transcribe the functional exigencies, so that the close relationship between the judges’tower, the ski jumps and the surrounding landscape could be understood or felt.”

Paul Andreu

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Start of project 1988 Completion 1991 Architects Paul Andreu with P.PrangĂŠ, P.Bourgin,V.Latil, J.-M.Fourcade Lenghts of jumps 70m/ 90m Capacity 24.000 spectators

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78 Òåðìèíàë 2, Çàëà E Ëåòèùå Roissy Charles de Gaulle, Ôðàíöèÿ

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Âìåñòî ìîäóëíà ïîâòàðÿùà ñå ñèñòåìà, èçïîëçâàíà â ëåòèùàòà Charles de Gaulle îò Àíäðþ çà âúíøíèòå ñòðóêòóðè, 2Å èìà ïðîäúëæèòåëíà èçâèòà äâóïëàñòîâà îáâèâêà. Òåðìèíàë 2 å ïðîãðåñèÿ êúì ñâåòëèíàòà, íåùî, îò êîåòî ìîãàò äà îñòàíàò äîâîëíè ïúòíèöèòå.

Òåðìèíàë 2, Çàëà Ô Ëåòèùå Roissy Charles de Gaulle

Ñëåä ãúâêàâèÿ ìîäóë â êîìïîçèöèÿòà íà êîìïëåêñà íà òåðìèíàë 2 ñòðîèòåëñòâîòî íà çàëà Ô ïðîìåíÿ ðàçìåðà è âúòðåøíàòà îðãàíèçàöèÿ íà öåëîñòòà è óâåëè÷àâà ïëîùòà íà êîìïëåêñà, áåç äà ïðåäàâà ïúðâîíà÷àë-

íèÿ äèçàéí íà ñèñòåìàòà. Ïî äåëèêàòåí íà÷èí ñå ñèíòåçèðàò è ïðîìåíÿò ïðåäõîäíèòå ÷àñòè íà ëåòèùåòî. Äèçàéíúò ñúçäàâà áàëàíñ ìåæäó ãëàâíàòà ñãðàäà, â êîÿòî áåòîíúò è ïëúòíèòå ïîâúðõíîñòè ïðåîáëàäàâàò

âúïðåêè äîñåãà ñúñ ñâåòëèíàòà è ïðîçðà÷íîñòòà òóê è òàì, è äâàòà ïåðïåíäèêóëÿðíè ”ïîëóîñòðîâà” - 45 ì øèðîêè è 140 ì äúëãè, ñúñ ñòúêëåíè ïîêðèâè è ôàñàäè, ïîääúðæàíè îò ëåêà ìåòàëíà ðàìêà.

Ìåæäóíàðîäíî ëåòèùå, Çàëà Â â Bordeaux - Ôðàíöèÿ Âúëíîîáðàçíèÿò ïîêðèâ å ïîääúðæàí îò ìíîãî ïîäïîðè â ïåðñïåêòèâà, îáðàçóâàéêè ïðàâà ëèíèÿ, êîÿòî ñå âèæäà íà ôîíà íà ñëúíöåòî. Çà äà ñå

îñòàâè èíòåðèîðíîòî ïðîñòðàíñòâî îòâîðåíî, ïðîçðà÷íî è ÷åòèìî, ïîêðèâúò å ïîääúðæàí ñàìî îò äâå êîëîíè ñ ïîäïîðè, êîèòî ñà ñâúðçàíè ñ

ãîëåìè ïðåñîâàíè îâàëíè ãðåäè, ôèêñèðàíè ñ ïåðïåíäèêóëÿðíè íà òÿõ ìåòàëíè ãðåäè.

Ëåòèùå â Íèöà - Cote d’Azur Ðàçøèðåíèå íà Òåðìèíàë 2 - Ìîäóë 2 Íèöà, Ôðàíöèÿ Ìîäóë 2 å êðúãëà ñãðàäà ñúñ 100 ì äèàìåòúð, âúâ ôîðìàòà íà îáúðíàò êîíóñ. Ñòúêëåíèòå ñòåíè îò ïîäà äî òàâàíà ñå ïîä-

äúðæàò îò ìåòàëíè äðúæêè. Âñè÷êè îñíîâíè ôóíêöèè íà ñãðàäàòà ñå âèæäàò îòâúí. Âåäíúæ âëåçëè â íåÿ, ìèíóâà÷èòå ìîãàò äà ñå

íàñëàäÿò íà ïàíîðàìíè ãëåäêè íà 360 ãðàäóñà êúì ìîðåòî, ïëàíèíèòå è Íèöà.

Guangzhou - Êèòàé Ìåñòîïîëîæåíèå: Guangzhou - Êèòàé - ñåâåðîèçòî÷íî îò ìåæäóíàðîäíîòî ëåòèùå è ïðèðîäåí ïàðê Óïîòðåáà: Îñíîâíî ñúîðúæåíèå ïî âðå-

ìå íà 9-èòå íàöèîíàëíè èãðè íà Êèòàé ïðåç 2001 ã.

Program: Òðè ñãðàäè ñ áåëè ïîêðèâè ñúñ ñèëíà âðúçêà ïîìåæäó èì, ñ ïúëíî îáîðóäâàíå: - Ãëàâíèÿò çàêðèò ñòàäèîí ìîæå

äà ïîåìå ðàçëè÷íè êîíôèãóðàöèè: Àòëåòèêà - 6500 ìåñòà, ãèìíàñòèêà, òåíèñ, ïèíã-ïîíã - 10 000 ìåñòà. Ñúùî ìîæå äà áúäå èçïîëçâàí çà ðàçëè÷íè âèäîâå óâåñå-

79 ëåíèÿ.

- Ñåêòîðúò çà òðåíèðîâêè âêëþ÷âà ãîëÿìà çàëà, áàñåéí ñ îëèìïèéñêè ðàçìåð è ðåäèöà ïîìåùåíèÿ, ïðîåêòèðàíè çà ñïåöèôè÷íè ñïîðòîâå.

- Ïóáëè÷íèÿò ñïîðòåí öåíòúð, â äîáàâêà êúì òîçè êîìïëåêñ, ïîêðèâàù 100 000 êâ. ì, èìà è ïàðêèíã ìåñòà, îôèñ ñãðàäè, ðåñòîðàíò è æèëèùà çà ñïîðòèñòè, ïðîåêòèðàíè îò äðóãà ãðóïà àðõèòåêòè. Ïëîù: 100 000 êâ. ì, ïîñòðîåíè íà 8 õåêòàðà. Ïðîåêòúò (æèëèùà çà ñïîðòèñòè è ïóáëè÷åí ïàðê) å

ðàçïîëîæåí íà 18 õåêòàðà. Äàòà íà îòêðèâàíå: Þëè 2001 ã.

Guangzhou Gymnasium å åäíî îò îñíîâíèòå ñúîðúæåíèÿ, èçïîëçâàíè ïî âðåìå íà 9-èòå íàöèîíàëíè èãðè íà Êèòàé ïðåç 2001 ã. Êîìïëåêñúò ñúñ ñèãóðíîñò å íà ïúò äà ñòàíå îñíîâíà ÷àñò îò æèâîòà â Guangzhou, ïðèâëè÷àéêè ìåñòíè æèòåëè è òóðèñòè â óñëîâèÿòà íà êóëòóðåí è èêîíîìè÷åñêè áóì. Ñïîðòíèÿò öåíòúð å ïðîåêòèðàí òàêà, ÷å äà ôîðìèðà ïðåìèíàâàíå îò ãðàäà (âêëþ÷âàù ãðàäñêà çîíà, êîÿòî ùå áúäå ðàçâèòà

ñëåä çàòâàðÿíå íà ëåòèùå) êúì çàîáèêàëÿùèòå çàùèòåíè õúëìîâå íà Baiyun. Ïðåäâèäåíà å ìîäóëíà åêñïàíçèÿ íà êîìïëåêñà. Âñÿêà îò òðèòå êóïîëîâèäíè ôèãóðè å íàïðàâåíà îò áåòîííà îñíîâà ñ ëåêà ñòîìàíåíà ñòðóêòóðà, âíåäðåíà â ïîëóïðîçðà÷íèòå ïàíåëè, êîèòî îñèãóðÿâàò åñòåñòâåíà ñâåòëèíà. Ïðåç íîùòà âúòðåøíîòî îñâåòëåíèå îñâåòÿâà ïîêðèâà, êîåòî ìîæå äà áúäå âèäÿíî îòâúí, è ñå ñúçäàâà íåðåàëåí ñèëóåò íà ôîíà íà õúëìîâåòå. Ãëàâíèÿò ñòàäèîí çà ñïîðòíè

28 34

ñúñòåçàíèÿ èìà ôîðìà íà àðåíà. Çðèòåëèòå âëèçàò îò âõîäîâå, ðàçïîëîæåíè íà ïðèçåìíîòî íèâî. Îñíîâàòà íà öåëèÿ êîìïëåêñ å ëåêî íàä íèâîòî íà çåìÿòà. Öåíòðàëíèÿò âõîä çà ïóáëèêàòà å ðàçïîëîæåí ñðåùó âõîäà çà ñïîðòèñòèòå è ÂÈÏ ïîñåòèòåëèòå. Êîìïëåêñúò å ÷àñò îò 18 õåêòàðà ïàðê, êúäåòî èìà ïóáëè÷íè ñúîðúæåíèÿ çà äåéíîñòè íàâúí ñðåä ïðèðîäàòà, íåùî, êîåòî ñòàâà âñå ïî-íåîáõîäèìî â ñúâðåìåííîòî ðàçáèðàíå çà ïðèðîäíè ðåñóðñè.

Ìîäóë çà ïðåõâúðëÿíå è æåëåçîïúòíà ñòàíöèÿ íà ëåòèùåòî Roissy Charles de Gaulle International

Ìîäóëúò çà ïðåõâúðëÿíå ñúáèðà íà åäíî ìÿñòî â öåíòúðà íà Òåðìèíàë 2 âèñîêîñêîðîñòíà æåëåçîïúòíà ñòàíöèÿ, ïîäçåìíà

ñòàíöèÿ, äâà ïàñàæà çà ïúòíèöè, ñâúðçâàùè äâàòà òåðìèíàëà, êàêòî è áèçíåñ è êîíôåðåíòåí öåíòúð è õîòåë. Ìîäóëúò çà ïðå-

õâúðëÿíå å ìíîãî åôèêàñåí, òîé å ãúâêàâà âðúçêà ìåæäó ðåëñèòå è âúçäóõà, êîÿòî óëåñíÿâà ïúòóâàíåòî íå ñàìî äî Ïàðèæ, íî è

äî äðóãè ãðàäîâå âúâ Ôðàíöèÿ è äî íÿêîëêî åâðîïåéñêè ñòîëèöè - Áðþêñåë, Àìñòåðäàì è Ëîíäîí.

Íàöèîíàëåí ãðàíäòåàòúð íà Ïåêèí: îñòðîâ íà êóëòóðàòà ïî ñðåäàòà íà åçåðî Ñãðàäàòà å ðàçïîëîæåíà â ñúðöåòî íà Ïåêèí íà ×àíã Àí àâåíþ, â áëèçîñò äî ãîëÿìàòà çàëà íà íàðîäèòå è íà îêîëî 500 ì îò ïëîùàä “Òÿíàíìúí” è Çàáðàíåíèÿ ãðàä. Òîâà å çàîáëåíà ñãðàäà ñ ÐÇÏ 149 500 êâ. ì, êîÿòî èçïëóâà êàòî îñòðîâ â öåíòúðà íà åçåðî. Îáâèâêàòà îò òèòàí å âúâ ôîðìàòà íà åëèïñà ñ äúëæèíà 213 ì, øèðèíà 144 ì è âèñî÷èíà 46 ì. Ðàçäåëåíà å íà äâå îò èçâèòî ñòúêëåíî ïîêðèòèå, à øèðèíàòà íà îñíîâàòà å 100 ìåòðà. Ïðåç äåíÿ ñâåòëèíàòà ïðåìèíàâà ïðåç ñòúêëåíèÿ ïîêðèâ â ñãðàäàòà. Ïðåç íîùòà äâèæåíèÿòà âúòðå ìîãàò äà áúäàò âèäåíè îòâúí. Ñãðàäàòà ïîìåùàâà òðè àóäèòîðèóìà çà ïðåäñòàâëåíèÿ - îïåðà ñ 2416 ìåñòà, êîíöåðòíà çàëà ñ 2017 ìåñòà è òåàòúð ñ 1040 ìåñòà, êàêòî è èçëîæáåíè çàëè çà èçêóñòâî, îòâîðåíè çà øèðîêàòà ïóáëèêà è èíòåãðèðàíè â ãðàäà. Ñãðàäàòà å ñâúðçàíà ñ áðåãà ïîñðåäñòâîì 60-ìåòðîâ ïðîçðà÷åí ïàñàæ. Òîçè âõîä îñòàâÿ åêñòåðèîðà íà ñãðàäàòà íåïîêúò-

íàò, áåç îòâîðè è ìèñòåðèîçåí îáëèê, êàòî ñúçäàâà ïðåõîä îò âñåêèäíåâèåòî êúì ñâåòà íà îïåðàòà, ôèêöèÿòà è ìå÷òèòå. Ïðîñòðàíñòâàòà âúòðå ñà îòâîðåíè êúì ïóáëèêàòà ñ ôîðìàòà ñè íà ãðàäñêè êâàðòàë ñúñ ñâîèòå ïðîäúëæåíèÿ - óëèöè, ïëîùàäè, ìåñòà çà ïàçàðóâàíå,çà ïî÷èâêà, ðåñòîðàíòè. Òàçè îáùåñòâåíà çîíà å äîáðå ðàçâèòà, çà äà äàäå íà ñãðàäàòà äîñòúïåí è ïîïóëÿðåí õàðàêòåð. Êîìïëåêñúò å ïðîåêòèðàí êàòî îòâîðåí ôîðóì, íå êàòî åëèòàðíî ìÿñòî çà ïðåäñòàâëåíèÿ. Ðàçëè÷íèòå çàëè ñà îòêðèòè êúì îáùèòå ïðîñòðàíñòâà. Òåõíèòå âõîäîâå ñà ðàçïîëîæåíè ïî íà÷èí, êîéòî äà îñèãóðè äîáðîòî ïðåìèíàâàíå íà õîðà, äàâàéêè íà âñåêè åëåìåíò îò ïðîåêòà óíèêàëåí õàðàêòåð. Îïåðàòà å â öåíòúðà. Òÿ å íàéâàæíèÿò åëåìåíò â ïðîåêòà è ïîðàäè åñòåñòâîòî íà èçêóñòâîòî, êîåòî ñå èçïúëíÿâà òàì, òÿ å òàçè, êîÿòî å íàé-çàâèñèìà îò êîíâåíöèè è íàé-ìèñòåðèîçíà. Êîíöåðòíàòà çàëà è òåàòúðúò ñà ðàçïîëîæåíè íà ñúùàòà ñòðàíà, íà êîÿòî ñå íàìèðà è îïåðàòà. Äîñòúïúò äî çàëèòå íèêîãà íå áèâà

äà å áðóòàëåí. Òðÿáâà äà å íåùî ïîñòåïåííî, íåùî, êîåòî èçèñêâà âðåìå è ïðîñòðàíñòâî. Çàëèòå è îáùèòå ïðîñòðàíñòâà ñà ïîñòðîåíè íà îñíîâà, êîÿòî ïîìåùàâà âñè÷êè âàæíè è ñïîìàãàòåëíè ñúîðúæåíèÿ â êîìïëåêñ, ïðîåêòèðàí äà áúäå åôåêòèâåí è èêîíîìè÷åñêè îðãàíèçèðàí êàòî èíäóñòðèàëíî-ïðîèçâîäñòâåíà ÷àñò.  ñúùîòî âðåìå òåõíè÷åñêàòà óòèëèòàðíà çîíà íå ñå áúðêà ñ õàðìîíèÿòà íà îáùèòå ÷àñòè è óäîâîëñòâèåòî íà ïîñåòèòåëèòå è ëþáèòåëèòå íà èçêóñòâàòà. Îïåðàòà å ïîêðèòà ñ ìåòàëíà ìðåæà. Òÿ å ïëúòíà ïî ñòåíèòå, à êúäåòî ñòåíèòå ñà îòâîðåíè, ñòàâà ÷àñòè÷íî ïðîçðà÷íà, êàòî ïðîïóñêà ñâåòëèíà, ïî íà÷èí, êîéòî ïîçâîëÿâà äà ñå âèäè êàêâî èìà îòâúí è ñúçäàâà äèñòàíöèÿ. Ïîñåòèòåëèòå âëèçàò â îïåðàòà ïðåç äâà ãîëåìè âõîäà. Êîãàòî ïðåìèíàâàò ïðàãà, òå ïðîíèêâàò â ñâÿò íà âåðòèêàëíà öèðêóëàöèÿ, êîÿòî ãè îòâåæäà íàïðåä îò âúíøíèÿ ñâÿò è ãè íàñî÷âà êúì òî÷êàòà âúâ âðåìåòî è ïðîñòðàíñòâîòî, êîãàòî øîóòî çàïî÷âà. Îò ëîáè-áàðà òå ñå âèæäàò îò äèñ-

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òàíöèÿ, ñúçäàäåíà îò ÷àñòè÷íàòà ïðîçðà÷íîñò. Ñòåíàòà èçðàçÿâà çàòâîðåíîñò è ðàçäåëåíèå, íî ñúùî è ïî-äúëáîêî ïñèõîëîãè÷åñêî çíà÷åíèå íà ðàçñòîÿíèå, êîåòî òðÿáâà äà áúäå ïðåêîñåíî, çà äà ñå âëåçå â ñâåòà íà òåàòðàëíîòî èçïúëíåíèå. Öåëèÿò ïðîåêò ìîæå äà áúäå äåôèíèðàí êàòî èãðà íà ïðîäúëæåíèÿ îò îáâèâêè, ïàñàæè è êðúñòîïúòèùà, ïðîçðà÷íîñò è ñâåòëèíà. Ìÿñòî çà îòäèõ íà ïîñëåäíîòî íèâî ïîä ïîêðèâà ïîçâîëÿâà íà ïóáëèêàòà äà ñå íàñëàäè íà ãëåäêàòà íà ãðàäà â ðàçëè÷íî âðåìå îò äåíÿ. Îò òóê ãðàäúò ìîæå äà áúäå ïðåîòêðèò îò åäíà ñêðèòà íåïîçíàòà ïåðñïåêòèâà. Ðåøåíèåòî Íàöèîíàëíèÿò ãðàíä òåàòúð â Ïåêèí äà áúäå ïîñòðîåí íà ìÿñòî ñ òàêîâà èñòîðè÷åñêî è ñèìâîëè÷íî çíà÷åíèå ñâèäåòåëñòâà çà ìÿñòîòî íà êóëòóðàòà è âðúçêàòà é ñ èñòîðèÿòà è ñúâðåìåííèÿ ñâÿò.  òàêúâ êîíòåêñò å èçâúí äåáàò ïîñòðîÿâàíåòî íà ïîñðåäñòâåíà ñãðàäà ñ íèñêî çíà÷åíèå. Íî ñúùî òàêà ñãðàäàòà íå áè ìîãëà äà áúäå èçîëèðàíà ñòðóêòóðà ñàìà çà ñåáå ñè.

80 Öåíòúð çà ðàçâèòèå íà òåõíîëîãèèòå è íàóêàòà â ×åíãäó – Êèòàé Îñíîâíàòà òðóäíîñò ïðè èçãðàæäàíåòî íà òîçè ïðîåêò å ñúçäàâàíåòî íà îáùà âðúçêà ìåæäó ñãðàäèòå, ðàçïîëîæåíè íà ãîëåìè ðàçñòîÿíèÿ åäíà îò äðóãà è ðàçäåëåíè îò ïúòèùà.

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Âñÿêà ñãðàäà, íàìèðàùà ñå â òîçè ïîëèòè÷åñêè è àäìèíèñòðàòèâåí êàìïóñ, òðÿáâà äà áúäå èäåíòèôèöèðàíà êàòî ñàìîñòîÿòåëíà, íî â ñúùîòî âðåìå, äà èçðàçÿâà ïðèíàäëåæíîñò è öÿ-

ëîñò, ïðîäúëæåíèå, åíòóñèàçúì è àäàïòèâíîñò êúì êëèìàòà è ñïåöèôè÷íèòå íóæäè íà ãðàäà è ðåãèîíà. Òîâà å âúïðîñ íà êîìáèíàöèÿ â åäèí è ñúùè ïðîåêò - îðèãèíàëåí ìîäåðåí äóõ è äðåâíè

òðàäèöèè - òðàäèöèèòå çà èíòåãðèðàíå íà ñãðàäè â ãðàäèíè è ãîëåìèòå ñúâðåìåííè îïàñåíèÿ, ñâúðçàíè ñ ïðèðîäíèòå áîãàòñòâà.

Öåíòúð íà îðèåíòàëíîòî èçêóñòâî

Öåíòúðúò çà îðèåíòàëíî èçêóñòâî å îò ïúðâà êàòåãîðèÿ êóëòóðíà ñãðàäà, âêëþ÷âàùà òðè îñíîâíè êîìïîíåíòà: ôèëõàðìîíèÿ ñ 1979 ìåñòà, òåàòúð ñ 1054 ìåñòà è ìóçèêàëíà çàëà ñ 330 ìåñòà.  öåíòúðà èìà îùå èçëîæáåíà çàëà, ìóçèêàëåí ìàãàçèí, ðåñòîðàíò, áèáëèîòåêà íà èçêóñòâàòà, ìóëòèìåäèåí è ðåïåòèöèîíåí öåíòúð. Ïðîåêòúò âêëþ÷âà ñúùî âñè÷êè íåîáõîäèìè áåê-

ñòåéäæ ñúîðúæåíèÿ â ðàçëè÷íèòå çîíè. Ñïîðåä ïðîåêòà 39 694 êâ.ì ÐÇÏ öåíòúðúò ùå áúäàò èçãðàäåí íà 7 îñíîâíè íèâà. Àðõèòåêòóðíèÿò çàìèñúë å ôîðìèðàí íà ñëåäíèòå ïðèíöèïè: - Ñãðàäàòà èìà îñíîâà, íà êîÿòî îáùåñòâåíèòå ïðîñòðàíñòâà ùå ñå èçãðàæäàò.

- Çàëèòå ùå èçëèçàò îò îñíîâàòà êàòî äúðâî îò ïî÷âàòà.

- Ñãðàäèòå òðÿáâà äà ñà çàòâîðåíè ñ åäèíåí ïîêðèâ, ñâúðçàí ñ îñíîâàòà ñúñ çàîáëåíè ñòúêëåíè ñòåíè.

- Ïðîñòðàíñòâàòà âúòðå â ñãðàäàòà ñå ðàçâèâàò îò öåíòðàëíà ñðåäèùíà ÷àñò. Òîâà òðÿáâà äà ñå îòíàñÿ êàêòî çà ïóáëèêàòà, òàêà è çà îòäåëíèòå èçïúëíèòåëè è ÂÈÏ ïîñåòèòåëèòå.

- Îáùîòî ïðîñòðàíñòâî òðÿáâà äà áúäå îòâîðåíî è àäàïòèâíî â ñëó÷àé íà ïîâèøàâàíå ïîòåíöèàëà íà óïîòðåáà íà ñãðàäàòà.

- Èçïúëíèòåëèòå òðÿáâà äà èìàò óäîáíî è ïðèÿòíî ìÿñòî çà ðàáîòà.

- Òðèòå çàëè çà èçïúëíåíèÿ òðÿáâà äà ñà ðàçëè÷íè ïî ôîðìà è óïîòðåáà íà ðàçëè÷íè ìà-

òåðèàëè.

- Âúíøíèòå ñòåíè íà òðèòå çàëè èçïîëçâàò êåðàìèêà êàòî îñíîâåí ìàòåðèàë.

- Ìàòåðèàëúò íà ôàñàäàòà ùå áúäå ñòúêëî, âêëþ÷âàùî ëèñò îò ìåòàëíà ìðåæà ñ ðàçëè÷íà ïëúòíîñò.

- Äèçàéíúò íà ôàñàäàòà ùå èçðàçÿâà åäíîâðåìåííî èíîâàòèâíîñò, ìîäåðíîñò è ùå ïîä÷åðòàâà ïóáëè÷íèòå ïðîñòðàíñòâà.

- Âúïðåêè ÷å ñà âòîðè÷íè ïî ôóíêöèîíàëíà âàæíîñò, ïóáëè÷íèòå ïðîñòðàíñòâà ùå îïðåäåëÿò õàðàêòåðà íà ñãðàäàòà è ùå íîñÿò äóõà íà âðåìåòî.

ßïîíèÿ - Ìîðñêè Ìóçåé íà Îñàêà

Ïðîåêòúò ñå íàìèðà â äèãàòà, êúäåòî å ïðèñòàíèùåòî íà Îñàêà è êúäåòî ñòîòèöè ïëàâàòåëíè ñúäîâå ïðåìèíàâàò åæåäíåâíî. Íà òîâà ìÿñòî âå÷å ñå íàìèðàò âàæíè ñãðàäè êàòî ÀÒÖ (Àçèàòñêè òúðãîâñêè öåíòúð), Ñâåòîâíèÿ òúðãîâñêè öåíòúð è ñâåòèëèùåòî íà ïòèöèòå. Ïðåç äåêåìâðè 1997 ã. å èçãðàäåí òóíåë çà ìåòðî è êîëè, êîéòî

ñâúðçâà öåíòúðà è òàçè ÷àñò. Ìîðñêèÿò ìóçåé å ÷àñò îò ïîñëåäíèòå ïîñòðîéêè â ïëàíà çà ðàçâèòèå íà òàçè çîíà è å íà ìÿñòî, îáãðàäåíî îò âîäà. Ùå êîïàåì îêîëî äâà ìåòðà ïî-íàäîëó îò ìîðñêîòî ðàâíèùå, çà äà ñúçäàäåì åçåðî ñ 30 000 êâ.ì., êîåòî ùå å ÷àñò îò Òèõèÿ îêåàí è íàä êîåòî ùå ïîñòîèì ñôåðà îò ñòúêëî, âèñîêà 40 ìåòðà, êîÿòî ùå èçãëåæäà ñÿêàø ïëàâà íàä âîäàòà. Ìóçåÿò ñå ñúñòîè îò òðè ÷àñòè ñãðàäà ôîàéå 5000 êâ. ì., ñàìèÿò ìóçåé 14 000 êâ. ì., ïîäâîäåí òóíåë 1000 êâ. ì. Ìóçåÿò å èçèñêâàë ñïåöèàëíà

òåõíèêà çà èçãðàæäàíå íà êóïîëà. Ñòðóêòóðàòà íà ñôåðàòà å îò ñèñòåìà íàðå÷åíà -ìðåæà ëàìåëà”. Ñôåðàòà å íàïðàâåíà îò ïëîñêè ñåêöèè ñ ôîðìàòà íà äèàìàíò, êîèòî ñòàâàò ïî-ìàëêè è ïî-ìàëêè, êàòî ñå äîáëèæàâàò äî âúðõà. Òÿõíàòà ôîðìà è ãîëåìèíà å ðàçëè÷íà ñ âèñî÷èíàòà, úãëèòå îò ëÿâî è äÿñíî ñà âèíàãè åäíè è ñúùè (90°), íî úãëèòå íà âúðõà è òåçè îòäîëó ñå ïðîìåíÿò ïîñòîÿííî. Ñòúêëîòî ñå äúðæè ÷ðåç ñèñòåìàòà ”10 òî÷êè”. Óïîòðåáàòà íà òàçè ñèñòåìà íà òàêàâà ñêàëà å èçêëþ÷èòåëíî ðÿäêà íå ñàìî â ßïîíèÿ, íî ïî öåëèÿ ñâÿò.

Òàì íÿìà ìåòàëíà ðàìêà ìåæäó ñòúêëåíèòå ñåêöèè, ñàìî ñèëèêîí êàòî ñïîéêà, çà äà ïîäñèãóðè ïëúòíîñò. Ïî-ãîëÿìàòà ñòúêëåíà ñåêöèÿ ñå ñúñòîè îò äâå 15-ìèëèìåòðîâè ïëîñêîñòè ñ ëèñò ïîöèíêîâîíà ïåðôîðèðàíà ñòîìàíà ìåæäó òÿõ. Ïåðôîðàöèÿòà (10%-100%) âàðèðà êàêòî ïî ïëúòíîñò òàêà è ôóíêöèÿ ñïðÿìî ïúòÿ, êîéòî îïèñâà ñëúíöåòî, ñ öåë äà ñå èçáåãíå äèðåêòíàòà ñëúí÷åâà ñâåòëèíà è äà ñå íàìàëè âåíòèëàöèÿòà. Òàêà ïðåç ëÿòîòî îòâúí ñôåðàòà ùå îòðàçÿâà ñèíüîòî íåáå, à â ìðà÷íèòå äíè ùå ñå ñëèâà ñúñ ñèâîòî ìîðå.

Ñêè-ñêîê - Êóðøåâåë - Ôðàíöèÿ

Èìà ïîíå 7 èëè 8 ãåîìåòðè÷íè îãðàíè÷åíèÿ, êîèòî îïðåäåëÿò ðàçïîëîæåíèåòî è ôîðìàòà íà ñãðàäàòà: úãëèòå, îò êîèòî ñå íàáëþäàâà, íåîáõîäèìàòà âèñî÷è-

íà è ò. í. Ñúáðàõ íà åäíî ìÿñòî êóëàòà çà ñêà÷àíå è ñúäèèòå. Ñëåä êîåòî ðåøèõ äà íå ïðàâÿ íèùî ïî-ñëîæíî îò òîâà äà îïèøà ôóíêöèîíàëíèòå íóæäè, òàêà

÷å äà ìîæå äà áúäå ðàçáðàíà è óñåòåíà âðúçêàòà ìåæäó êóëàòà íà ñúäèèòå, ñêè-ñêîêîâåòå è çàîáèêàëÿùèÿ ïåéçàæ.

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EUROMED CENTER, MARSEILLE

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 ïðîöåñ íà èçãðàæäàíå å íåáîñòúðãà÷úò íà Àìåðèêàíñêàòà áàíêà â Íþ Éîðê Ïðîåêòàíòèòå íà áàíêàòà íåáîñòúðãà÷ The Cook + Fox Architects ñå íàäÿâàò äà ñå ñäîáèÿò ñ LEED Platinum ñåðòèôèêàò. Òîâà ùå âèäèì ñëåäâàùàòà ãîäèíà. Ñãðàäàòà èçïîëçâà äúæäîâíàòà âîäà è öÿëîñòíî îñòúêëÿâàíå çà åñòåñòâåíî îñâåòëåíèå, êàêòî è äðóãè óñòîé÷èâè òåõíîëîãèè. Êëåòêè ñ ãàç ñúçäàâàò åëåêòðè÷åñòâî, à ñâåòëèííî-÷óâñòâèòåëíèòå LED-ëàìïè óâåëè÷àâàò ìàêñèìàëíî åôåêòèâíîñòòà. Àìåðèêàíñêîòî ñäðóæåíèå çà åêîëîãè÷íà àðõèòåêòóðà (USGBC) èçäàâà ñåðòèôèêàòà LEED Platinum çà òúðãîâñêè è æèëèùíè ñãðàäè â Ñúåäèíåíèòå ùàòè. Çà äà óñïåå Àìåðèêàíñêàòà áàíêà äà ñå ñäîáèå ñ íåãî, ñãðàäàòà ùå òðÿáâà äà ïîëó÷è ïîíå 52 òî÷êè â øåñò ðàçëè÷íè åêîëîãè÷íè êàòåãîðèè. “Äî 2010 ã. îêîëî 10% îò òúðãîâñêèòå ñãðàäè ñå î÷àêâà äà áúäàò çåëåíè ñïðÿìî McGraw Hill Green Building Smart Market Report 2006.” Èçòî÷íèê: USGBC

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GREEN BUILDING Bank of America Tower, New York City The designers of Bank of America Tower, Cook + Fox Architects, are hoping to one-up the Hearst Tower by going for LEED Platinum certification. We’ll see if they pull it off next year, when the building is slated to cut the red ribbon. Like the Hearst, The BOA tower will also use rainwater capture and floorto-ceiling windows for natural lighting - but it will also employ even more EcoGeeky technologies.

Natural gas fuel cells will create on-site electricity, and sunlight-sensing LED lights will maximize efficiency.

The Bank of America Tower, located in Midtown Manhattan, broke ground in August 2004 and is the first skyscraper to be constructed from the ground up with a focus on obtaining LEED Platinum Certification. The skyscraper’s original completion date was this year but the date has been revised and it should be finished sometime in 2009.

Eco-Friendly Features The building will feature low-e and low iron insulating glass, a 5.1 megawatt co-generation plant, floor-specific heating and cooling systems, a gray water system with an estimated 10.3 million gallons of water saved annually, low-flow plumbing, extensive use of recyclable and renewable products and much more.

LEED Platinum The U.S. Green Building Council’s (USGBC) LEED Platinum Certification is the ultimate certification for both commercial and residential buildings in the United States. In order for the Bank of America tower to achieve its goal, the building will need to earn a minimum of 52 points spread across six environmental categories.

“By 2010, approximately 10% of commercial construction starts are expected to be green, according to McGraw Hill Green Building Smart Market Report 2006.” Source: USGBC Set to rise 54 stories above Manhattan, the crystalline Bank of America Tower at One Bryant Park will incorporate an unrivaled number of environmentally friendly technologies, from its windows to its toilets. The building will supply 70 percent of its own energy with an on-site naturalgas-burning power plant. For climate control, One Bryant Park will rely on excess thermal energy from the power plant, a groundwater heat exchanger that is the first of its type, and an air-conditioning system cooled by ice made with excess power during off-peak hours. The building will even have waterless urinals and use water collected from the roof to flush toilets. Together, these systems are designed to earn the building a Platinum ratingthe highest possible-from the U.S. Green Building Council when construction is completed in 2008 and, the builders hope, will also save the kind of green that matters to shareholders.

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Âîäåí öåíòúð â Ëîíäîí

Âîäåí öåíòúð â Ëîíäîí Ðàçïîëîæåíèå Ñòàðôîðä Äàòà íà çàâúðøâàíå 2011 ã. Àðõèòåêò Çàõà Õàäèä Ñòðóêòóðà Àðóï

Öåíòúðúò ñúäúðæà äâà 50-ìåòðîâè áàñåéíè è 25-ìåòðîâ áàñåéí çà ãìóðêàíå. Ïðåäâèæäà ñå òîé äà áúäå åäíî îò íàé-ïîñåùàâàíèòå ìåñòà ïî âðåìå íà ëåòíèòå îëèìïèéñêè èãðè â Ëîíäîí ïðåç 2012 ã. Òóê ùå ñå ïðîâåäàò ñúñòåçàíèÿòà ïî ïëóâàíå, ãìóðêàíå, ñèíõðîííî ïëóâàíå è âîäíî ïîëî. Ïî âðåìå íà èãðèòå öåíòúðúò ùå èìà êàïàöèòåò îò 17 500 ìåñòà, êîèòî ñëåä èãðèòå ùå ñå ðåäóöèðàò äî 2500. Èçãðàæäàíåòî íà îáåêòà å çàïî÷íàëî íà 17 þëè 2008 ã. - 2 ìåñåöà ïðåäè î÷àêâàíîòî, è çàòîâà ùå áúäå çàâúðøåíî ïðåç 2011 ã. Âúïðåêè óâåëè÷åíèåòî íà ïúðâîíà÷àëíî î÷àêâàíàòà öåíà ñòðîåæúò ùå ïðîäúëæè ñ áþäæåò îò íà £6.09 áèëèîíà.

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London Aquatics Centre

Zaha Hadid Location Stratford, London, England Built (Expected completion 2011) Operator Olympic Delivery Authority Surface Swimming and diving pools Construction cost £303m Architect Zaha Hadid Architects Structural engineer ARUP Services engineer ARUP Main contractors Balfour Beatty Capacity 17,500 (2,500 Post Olympics) Tenants London 2012

The London Aquatics Centre is an indoor facility with two 50 metre swimming pools and a 25 metre diving pool, which will be one of the main venues of the London 2012 Summer Olympics.

Designed by Pritzker Prize winning architect Zaha Hadid, the centre is located in the Olympic Park at Stratford in East London. Its distinctive architecture and curved roof will be the first venue visitors see upon entering the Olympic Park, and is close to the Olympic Stadium.

The centre will be used for the Olympic event of swimming, diving, synchronised swimming and water polo final. During the Games it will have a capacity of 17,500, which will be reduced to 2,500 after the Games. It is expected that the centre will leave a legacy of replacing the pools at the Crystal Palace National Sports Centre in South London as the UK’s leading facility for aquatic sports.

Construction began on the 17 July 2008, 2 months ahead of schedule and is due to be completed in 2011 by construction firm Balfour Beatty.[2] On 1 December 2005 Hadid was instructed to revise her designs after a specification change led to a doubling of the £75 million estimated cost.[1] The revised plans were unveiled on 27 November 2006. Although the same general design has been kept and will still be able to hold 17,500 spectators, the Aquatics Centre will now be much smaller and will cost much less than previously expected.

On 8 April 2008 it was reported that the centre will cost about three times as was originally estimated, totalling about £242m. Cost increases were attributed to construction inflation and VAT increases, and also includes the estimated cost of converting the facility for public use after the Olympics. The roof is stated to be 11,200 square feet (1,040 m2), a reduction from the previously stated 35,000 square feet (3,300 m2).

Despite the cost increases, the centre should stay within the total construction budget for the event, which is an estimated £6.09bn.[2] Currently the only Olympic sized swimming pools in England are at Ponds Forge in Sheffield, the John Charles Centre for Sport in Leeds and the Sunderland Aquatic Centre.

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ñëåä âîéíàòà. Íà 38 ãîäèíè òîé ïðàâè íÿêîëêî èçÿùíè êúùè, ñâúðçàíè ñ äâîð. Àíãëèéñêèÿò àðõèòåêò Äæàìåéìñ Òîìàñ ñè ñïîìíÿ âïå÷åòëåíèÿòà îò Óòöîí, êîãàòî å ðàáîòèë â íåãîâèÿ îôèñ ïðåç 1960 ã., êàòî ÷àðîâåí, êðàñèâ ìúæ, ñïîêîåí çà ñîáñòâåíîòî ñè ìÿñòî â ñâåòà íà àðõèòåêòóðàòà. Ðèñóíêèòå íà Óòöîí íà ðúêà ñà áèëè íåâåðîÿòíè è ÷åñòî ñà ïðàâåíè ïî âðåìå íà äèñêóñèè ñ åêèïà. Àðõèòåêòóðàòà íà Óòöîí å ñâúðçàíà ñúñ ñëúí÷åâàòà ñâåòëèíà è ïðåìèíàâàíåòî è, îòðàæåíèÿòà, êàêòî è ìàñèâíèòå îñíîâè è äîìèíèðàùè ïîêðèâè, êîèòî ïðîèçëèçàò îò èíòåðåñà ìó êúì èäåÿòà íà ìàèòå çà çåìÿòà êàòî ïëàòôîðìà è îòâîðåíîñòòà îòãîðå, äîìèíèðàíà îò íåáåòî è îáëàöèòå.  ñâîé òåêñò â èòàëèàíñêîòî àðõèòåêòóðíî ñïèñàíèå “Çîäèàê 14” ïðåç 1965 ã. òîé ïîä÷åðòàâà ìèòîëîãè÷íàòà, íî ôóíêöèîíàëíà àíàëîãèÿ: ”Íà âúðõà íà ïëàòôîðìàòà çðèòåëèòå ïîëó÷àâàò öÿëàòà òâîð÷åñêà ðàáîòà, à ïîíàäîëó íà ïëàòôîðìàòà âñÿêî ïðåìèíàâàíå çàåìà ñâîåòî ìÿñòî.” Ïúðâàòà ìó ðàáîòà ñëåä çàâðúùàíåòî ìó â Äàíèÿ å õóòåðàíñ-

êàòà öúðêâà â Áàãñâåðä.  íà÷àëîòî íà 70-òå òîé êóïóâà çåìÿ â Ìàéîðêà è ïîñòðîÿâà ñâîÿòà ïúðâà âèëà êðàé ìîðåòî. Ñëåä êîåòî ÿ íàðè÷à ”Êàí Ëèñ” íà èìåòî íà ñúïðóãàòà ñè. Ïî-êúñíî ñå óñòàíîâÿâà â Êîïåíõàãåí. Âúïðåêè ÷å íèêîãà íå ñå âðúùà â Àâñòðàëèÿ, òîé å ïîêàíåí äà ðàáîòè îòíîâî ïî ïðîåêòà íà îïåðàòà â Ñèäíè.  ñúòðóäíè÷åñòâî ñúñ ñâîÿ ñèí ßí è àðõèòåêòà Ðè÷àðä Éîíñîí ðàçðàáîòâà ñåðèÿ îò ïðîåêòàíòñêè ïðèíöèïè çà áúäåùè ïðîìåíè íà ñãðàäàòà è èíòåðèîðà, êàòî îáíîâÿâà ìåáåëèòå íà ðåöåïöèÿòà è ïðàâè ïðîåêò çà ãîáëåí âúâ ôîàéåòî. Óòöîí èìà ìíîãî ïî÷åòíè íàãðàäè, ìåæäó êîèòî çëàòåí ìåäàë îò Êðàëñêèÿ àâñòðàëèéñêè èíñòèòóò íà àðõèòåêòèòå è Êðàëñêèÿ àíãëèéñêè èíñòèòóò, à ïðåç 2007 ã. îïåðàòà â Ñèäíè ñòàâà ÷àñò îò ñâåòîâíîòî íàñëåäñòâî íà ÞÍÅÑÊÎ. Äåíèñ Øàðï Éîðí Óòöîí, àðõèòåêò, ðîäåí íà 9 àïðèë 1918 ã. â Êîïåíõàãåí, ïðåç 1942 ã. ñå æåíè çà Ëèñ Ôåíãåð, èìàò äâàìà ñèíîâå è åäíà äúùåðÿ, ïî÷èíàë íà 29 íîåìâðè 2008 ã. â Êîïåíõàãåí.

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Utzon’s freehand drawings were superb and often produced in discussions with his staff.

Utzon’s architecture was about light, sunlight and its penetrating, reflective qualities, as well as massive ground bases and dominating roofs that derived from his

was E. Gunnar Asplund, who changed the way architecture looked in Sweden through the Stockholm Exhibition of 1930. Utzon visited the fair with his parents; after seeing Asplund’s pavilion they all experienced a transformation of their ideas and ideals to a more frugal, functional lifestyle.

Echoes of many of these inspirational incentives for Utzon’s own ideas are to be found in buildings of great subtlety and originality that followed the Opera House, including the huge Kuwait National Assembly building (1972-82), which suffered untold damage during the First Gulf War but which brought out the idea of the narrow bazaar street and the patio courtyard plan entered through a huge, concrete tented form of lobby.

His first commission in Denmark after the Sydney débâcle was for the

interest in the Mayan idea (Monte Albán, Mexico)of the earth as a ground platform and the openness above dominated bysky and clouds. Writing in the Italian architectural journal Zodiac 14 in 1965 he emphasised this mythological but functional analogy: “On top of theplatform the spectators receive the completed work of art and beneaththe platform every preparation for it takes place”.

This was a simple idea, but in the translation to the design for the Opera House, it required a geometric solution for the intricate roofscape.

The segments of a sphere eventually proved to be the answer, replacing the original idea of the parabolic-shaped shells. Aided by the team of the engineer Ove Arup, with the pioneering use of computers, the technological advance that this gave provided a solution for the geometry of the roofs and the subsequent details for the roof beam lengths and the tiling.

There were other precedents that inform the basis of Utzon’s views. He had gained an insight into the work of articulate, regional and siteconscious designers such as Alvar Aalto, for whom he worked for a short period in Finland in 1945. Study tours with his friend the architect and writer Tobias Faber took him to see the work of Frank Lloyd Wright in the United States. Chinese influences abounded in his work as did the wood construction of the Japanese carpenter, and he was much inspired by the 1917 book On Growth and Form by D’Arcy Thompson, an almost biblical text for architects of the “organic” persuasion.

Utzon had worked with his friend Arne Korsmo in Stockholm, later a pioneer of post-war modernism in Norway, while his great Swedish hero

Lutheran church at Bagsvaerd (1976). Its industrial-looking exterior belies its sublime interior space, which was described by the church minister as a place where people are “gathered under clouds through which a heavenly light passes forth”. Unlike the dark, unlit Scandinavian churches of Lewerentz (which Utzon admired) he bathed the church and sacristy in a light with an undulating curved wave-like ceiling. Other internal spaces, in contrast, were as plain as a Japanese garden.

In the early 1970s Utzon acquired some land in Majorca and built his first “retirement” villa by the sea. “Can Lis” (named after his wife) was followed by another beautifully conceived house away from the coast.

Recently he had returned from the Spanish island to settle back in Copenhagen.

Although he never went back to Australia, in 1999 Utzon was invited to work again on the Sydney Opera House. In collaboration with his son Jan and the Sydney architect Richard Johnson, he developed a set of design principles for future changes to the building and worked on the interior, refurbishing the Reception Hall and designing a wall-length tapestry to hang in the foyer.

Utzon received many honours, including the Order of Australia and the Gold Medal Awards from the Royal Australian Institute of Architects (1973) and the Royal Institute of British Architects (1978). In 2007 Sydney Opera House was designated a Unesco World Heritage Site.

Dennis Sharp

Jorn Utzon, architect: born Copenhagen 9 April 1918; married 1942 Lis Fenger (two sons, one daughter); died Copenhagen 29

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Éîðí Óòöîí - àðõèòåêòúò ïîáåäèë â êîíêóðñà çà îïåðàòà â Ñèäíè Óòöîí å äàòñêè àðõèòåêò, ñïå÷åëèë ìåæäóíàðîäíèÿ êîíêóðñ çà îïåðà â Ñèäíè ïðåç 1957 ã. è ïîäïèñàë äîãîâîðà çà ïúðâàòà ôàçà ïðåç 1961ã. Ñúñ ñúçíàíèåòî, ÷å ùå èìà ôóíäàìåíòàëíè ïðîáëåìè ñúñ ñòðîèòåëñòâîòî çàðàäè çàîáëåíèòå ñòîìàíåíè îáâèâêè íà íåãîâèÿ ïðîåêò çà ïîêðèâ è ñëåä êàòî å ñòàíàëà ÿñíà âèñîêàòà öåíà íà ïðîåêòà, òîé ñå îòêàçâà îò íåãî ïðåç 1966 ã. Êîìïëåêñúò å çàâúðøåí îò äðóãè àðõèòåêòè è å îòêðèò îôèöèàëíî ïðåç 1973 ã. Óòöîí íå ïðèñúñòâà íà îòêðèâàíåòî. Êëþ÷îâèÿò îðèãèíàëåí åëåìåíò â ïðîåêòà å îãðîìíà îïåðíà çàëà, êîÿòî âïîñëåäñòâèå å áèëà ðåäóöèðàíà ìàêñèìàëíî îò ãëàâåí è ïî-ìàëúê àóäèòîðèóì. Êàòî öÿëî âñè÷êî å ñâåäåíî äî êîìïðîìèñ è òîâà å ïðè÷èíàòà Óòöîí íèêîãà äà íå ñå âúðíå, çà äà âèäè ðåçóëòàòà îò ñâîÿòà ðàáîòà. Ñëåä íÿêîëêî ãîäèíè ñãðàäàòà âå÷å å óòâúðäèëà ñâîÿòà ðåïóòàöèÿ è ïîñòàâÿ Ñèäíè â ñïèñúêà íà ñâåòîâíèòå ãðàäîâå, êàêòî è íà òóðèñòè÷åñêèòå êàðòè íà Àâñòðàëèÿ. Ðàçïîëîæåíèåòî íà ñãðàäàòà èãðàå ñúùåñòâåíà ðîëÿ çà öÿëîñòíèÿ é âúíøåí âèä, íÿêîè ñìÿòàò, ÷å ïðèëè÷à íà ãîëÿì êîðàá íà åäíî îò íàé-êðàñèâèòå ïðèñòàíèùà â ñâåòà. Âúïðîñúò çà ðàçìåðà - çà ïîäõîäÿùèÿ ðàçìåð - ñúùî å ðå-

øåí îïòèìàëíî. Òîâà âñúùíîñò å äîáðàòà ðàáîòà íà Óòöîí. Îáåêòúò å ñúçäàë ìÿñòîòî. Ñãðàäàòà å ðàìêèðàíà, íî íå ïðåòðóïàíà, îò åäíà ñòðàíà, îò ãîëåìèÿ ìîñò è, îò äðóãà, îò áúðçî ðàñòÿùèòå äúðâåòà. Îðèãèíàëíèòå êîíöåïòóàëíè ðèñóíêè, êîèòî ñà ïîäàäåíè â êîíêóðñà, ñà áèëè ìàêñèìàëíî îïðîñòåíè, íî âúïðåêè òîâà çàäúëáî÷åíè - íîñèòåëè íà íîâ âèä ìîäåðíèñòè÷íà àðõèòåêòóðà. Àìåðèêàíåöúò Ååðî Ñààðèíåí è Ëåñëè Ìàðòèí îò Àíãëèÿ ñà äâàìàòà àðõèòåêòè, êîèòî ñà âèäåëè íåùî îñîáåíî â ïðîåêòà íà Óòöîí. Ïî-êúñíî Ñààðèíåí ñå å îòíàñÿë êúì íåãî êàòî ñõåìà, êîÿòî ïîêàçâà ”êðàñèâî äâèæåíèå íà õîðà â åäíà àðõèòåêòóðà”. Âñè÷êè, çàïîçíàòè ñ ïðîåêòà, ñà õàðåñàëè - êëàñè÷åñêîòî” èíòåðïðåòèðàíå íà Bennelong Point, êîéòî å òðÿáâàëî äà áúäå îñíîâíîòî ìÿñòî çà äîñúï è êîéòî îáåäèíÿâà öÿëàòà ñòðóêòóðà. Ðîäåí â Êîïåíõàãåí ïðåç 1918 ã., ñèí íà Àãå Óòöîí - êîðàáåí êîíñòðóêòîð, îáðàçîâàí â Àíãëèÿ, Éîðí Óòöîí ó÷è â Êðàëñêàòà àêàäåìèÿ â Êîïåíõàãåí îò 1937 ã., ïðîäúëæàâàéêè îáðàçîâàíèåòî ñè ïî ñâåòà è ñëåä ñâîåòî äèïëîìèðàíå. Òîé íàïóñêà Äàíèÿ, êîÿòî å îêóïèðàíà îò íàöèñòèòå ïðåç 1942 ã., è îòèâà â Øâåöèÿ. Âðúùà ñå âêúùè

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Jorn Utzon: Award-winning architect who designed the Sydney Opera House Wednesday, 3 December 2008

At the time of the Australian Bicentennial celebrations in 1988, Sydney Opera House was voted one of “the wonders of the 20th century”.

However, during the building’s problematic construction period, from 1961 to 1973, it was nothing of the sort.

Jørn Utzon, its Danish architect, won the international competition for the project in 1957 and signed thecontract for the first stage of the scheme in 1961. Aware that there were fundamental problems with theconstruction of the parabolic concrete shells of his roof design and finding that budgetary and detailing issues were getting out of hand, he left the site in 1966. The complex was completed by others and the building opened officially in 1973. Utzon did not attend. The key original element was a large opera hall but this was reduced in a change to the brief from a major to a minor auditorium. Altogether thefollowing stages were an unholy compromise and Utzon was never persuaded to return to see the outcome of his work.

A few years later the political climate changed and the building’s distinctive profile was to put Sydney on the “World Cities” list, as well as the cultural tourist map and Australian postage stamps. Its dramatic position, on a shelf surrounded by water on three sides, gave it the appearance, some thought, of a great mother ship around which all other vessels revolved: a locus in one of the most breathtakingly beautiful harbours anywhere. The question of scale - of an appropriate scale was also beautifully achieved in the natural harbour. Here Utzon excelled.

The object creates the place. The building was to be framed, but not overwhelmed, in one direction by the great hanger bridge and in another by fast-growing trees and a civic renovation and development scheme that has done much to enhance the opera house’s site.

Sydneyites eventually came to terms with their own world-famous building, which overtook the somewhat overrated Bondi Beach and Sydney Harbour Bridge itself as an object of tourist desire. As an Australian colleague said over the weekend: “I really can not think of Sydney without it”. Despite the many vicissitudes that the structure and the plan underwent, the Opera House remains a powerful and comprehensive complex, indelibly tied to its dramatic site, a voluptuous, exciting, unique cultural flume sitting astride a bedrock of granite on Bennelong Point.

The original concept drawings submitted for the competition were simple and diagrammatic, yet profound - a portent of a new kind of modernist architecture. The American Eero Saarinen and Britain’s Leslie Martin were the two foreign architect assessors, and they saw something special in Utzon’s design. Later Saarinen referred to it as a scheme that showed a “beautiful movement of people within that architecture”. All the assessors admired the “Classical” treatment of the Bennelong Point site which was to accommodate the massive base and to be resurfaced by what the judges saw as a “magnificent ceremonial app-roach to buildings that provided a unity for structural expression”.

Utzon himself later explained his ideas: “I had to visualise five to six thousand people going out to that peninsula, which is perhaps 600 by 300 feet, so automatically I made this peninsula into a ‘rock’ and put everything to do with preparation (rehearsal rooms, workshops, etc) underneath the big 45ft high platform ... finished plays were presented to the audience on top of this ‘rock’ covered by the big sails... People were separated from daily life by this fantastic building.”

The forms of the original Opera House design were immensely daring and some saw them as unbuildable, which was partially true. However,

it was not an entirely novel design but a product of the current architectural Zeitgeist - a Modernist building of the romantically expressionist, organic sort, part of the same ethos that produced Le Corbusier’s wonderful Ronchamp Chapel, in eastern France - which, more than any other single building of the period 1950-55, revolutionised and changed the course of contemporary architecture – and Eero Saarinen’s expressive Yale Hockey stadium of 1956 as well as the riotously curved carapace of the TWA Terminal at New York’s main airport.

The Sydney Opera House proved to be a test bed for many of Utzon’s later architectural ideas and represented a moment of sheer design virtuosity but it was also a profoundly distressing and unhappy experience, although he remained unfazed as an architect.

Born in Copenhagen in 1918, the son of Aage Utzon , a naval architect who had trained in Britain, Jørn Utzon studied at the Royal Academy School, Copenhagen from 1937, taking an extensive world study tour after graduating. He left Nazi-occupied Denmark in 1942 for Sweden, returning home after the war. By the time he won the Sydney job, at the age of 38, he had produced a couple of exquisite estates of linked patio houses, the first in the port of Elsinore, some eight kilometres from his house and studio in Hellebaek, a village on the north coast of what he good-humouredly referred to as “Little Denmark”.

The English architect James Thomas recalled his impressions of Utzon, when he worked in his office in 1960, as “a charming, handsome man who cared about his appearance, someone who was relaxed about his positioning in the architectural world”. His smart suits came from Savile Row while his practical and mischievous sense of humour was typically Danish.

7

Ãóãåíõàéì ìóçåé â Àáó Äàáè “Ãóãåíõàéì ìóçåé” îáÿâè, ÷å å ïîäïèñàë ñïîðàçóìåíèå ñ ôîíäàöèÿòà “Ãóãåíõàéì” â Íþ Éîðê äà ïîñòðîè 30 000 êâ. ì ìóçåé â Àáó Äàáè - ñòîëèöàòà íà Îáåäèíåíèòå àðàáñêè åìèðñòâà. Òîâà ùå áúäå íàé-ãîëåìèÿò ìóçåé “Ãóãåíõàéì” â ñâåòà, êîéòî ùå áúäå ïðîåêòèðàí îò Ôðàíê Ãåðè è ùå áúäå çàâúðøåí 2011-2012 ã. Abu Dhabi’s Tourism Development & Investment Company ùå áúäå ñîáñòâåíèê è ùå óïðàâëÿâà êîìïëåêñà. Ìóçåÿò ùå å ðàçïîëîæåí íà Saadiyat Island, ìàëêî âñòðàíè îò ñòîëèöàòà Àáó Äàáè.

Êîíöåïöèÿ íà ïðîåêòà Ñïîðåä êîíöåïöèÿòà íà Ôðàíê Ãåðè ìóçåÿò â Àáó Äàáè, êîéòî ñúñ ñâîèòå 30 000 êâ. ì ùå áúäå íàé-ãîëåìèÿò ìóçåé “Ãóãåíõàéì”, ùå ñúäúðæà îêîëî 12 000 êâ. ì èçëîæáåíà ïëîù. Èíñòàëàöèèòå ùå áúäàò íà ÷åòèðè åòàæà ñ ìíîæåñòâî ãàëåðèè. Ìóçåÿò ùå èìà ñâîÿ îñíîâíà êîëåêöèÿ ñúâðåìåííî èçêóñòâî, íî ñúùî ùå áúäàò èçëàãàíè ïðîèçâåäåíèÿ íà èçêóñòâàòà îò ñâåòîâíàòà êîëåêöèÿ íà “Ãóãåíõàéì”. Âñè÷êè ïîêàçâàíè òâîðáè òðÿáâà äà ñà ñúîáðàçåíè è äà óâàæàâàò íàöèîíàëíîòî êóëòóðíî è èñëÿìñêî íàñëåäñòâî. “Öåëòà å íå äà ñå êîíôðîíòèðàò, à äà áúäå îñúùåñòâåí îáìåí ìåæäó ðàçëè÷íèòå êóëòóðè ñïîäåëÿ îòãîâîðíèêúò Òîìàñ Êðåíñ. ”Ãóãåíõàéì” ñå îòíàñÿ êúì âñè÷êè ñúâðåìåííè êóëòóðè è òåõíèòå òðàäèöèè êàòî ïîòåíöèàëíè ïàðòíüîðè â ïîëåòî íà åñòåòè÷íèÿ äèñêóðñ - íèå ïîäõîæäàìå ñ óâàæåíèå è â ñúùîòî âðåìå ñìå äîñòà ðàçâúëíóâàíè îò ðàçëè÷èÿòà êàçâà òîé. Ñúùî òàêà ñìÿòàìå, ÷å Áëèçêèÿò èçòîê å åäèí îò íàé-âàæíèòå ðàçâèâàùè ñå ðåãèîíè â êîíòåêñòà íà ñúâðåìåííàòà êóëòóðà.” Ñïðÿìî universes-in-universe.org, ìóçåÿò ùå âêëþ÷âà è ïîñòîÿííè êîëåêöèè, ãàëåðèè çà ñïåöèàëíè èçëîæáè, ôàêóëòåò ïî àðõèòåêòóðà è äèçàéí, öåíòúð çà èçêóñòâà è òåõíîëîãèè, äåòñêè îáðàçîâàòåëíè ñåêòîðè, àðõèâè, áèáëèîòåêà è èçñëåäîâàòåëñêè öåíòúð, êàêòî è ìîäåðíà ëàáîðàòîðèÿ çà ñúõðàíåíèå.

NEWS

6

The Guggenheim Abu Dhabi museum

Frank Gehry

The Guggenheim Abu Dhabi is a planned museum, to be located in Abu Dhabi, UAE. On July 8, 2006, the city of Abu Dhabi, capital of the United Arab Emirates, announced it had signed an agreement with the Guggenheim Foundation in New York to build a 30,000 square metres (320,000 sq ft) Guggenheim museum. It will be the world's largest Guggenheim. Frank Gehry is to design it, with completion expected between 2011 and 2012. "Abu Dhabi's Tourism Development & Investment Company...will own the museum", while " the Guggenheim Foundation will establish and manage" its program.

Location The museum will be located on Saadiyat Island, just offshore of the city of Abu Dhabi.Saadiyat Island's Cultural District will house the largest single cluster of world-class cultural assets in Abu Dhabi.These will include: the Sheikh Zayed National Museum, to be designed by United Kingdombased construction company Foster and Partners under the direction of Lord Norman Foster; the Louvre Abu Dhabi art museum; a performing arts centre designed by Zaha Hadid; a maritime museum with concept design by Tadao Ando and a number of arts pavilions.Guggenheim director Thomas Krens indicated that "The Middle East is one of the world's most important emerging regions in terms of contemporary culture.

Contract The Guggenheim press release notes that "Abu Dhabi's Tourism Development & Investment Company...will own the museum", while "[t]he Guggenheim Foundation will establish and manage" its program.

William Mack, Chair of the Guggenheim Foundation, said: "It is with a keen sense of historical precedent and with an abiding commitment to cultural exchange as a bridge to international understanding that the foundation enters into this agreement to establish a Guggenheim museum in Abu Dhabi.

Abu Dhabi's crown prince, Mohammed bin Zayed Al Nahyan, indicated that the "signing represents the determination of the Abu Dhabi Government to create a world-class cultural destination for its residents and visitors.

Design Frank Gehry’s concept for the Guggenheim Abu Dhabi Museum, which at 320,000 square feet (30,000 m2) will be the world’s largest Guggenheim museum, is designed to accommodate approximately 130,000 square feet (12,000 m2) of exhibition space. The installation will

be four stories tall with multiple galleries stacked atop each other.

Gehry was inspired by the location and the intent, noting, "The landscape, the opportunity, the requirement, to build something that people all over the world would come to and the possible resource to accomplish it opened tracks that were not likely to be considered anywhere else. The site itself, virtually on the water or close to the water on all sides, in a desert landscape with the beautiful sea and the light quality of the place suggested some of the direction." The crown prince said of Gehry's work that "Just as Bilbao established a new level of design and excellence, Gehry's Guggenheim Abu Dhabi design brief is to push the boundaries of his own architectural practice and set the benchmark for museums.

Dimensions The total area of the museum will be 30,000 square metres (320,000 sq ft), making it the largest Guggenheim in the world. The permanent artwork collection will occupy a total area of 9,474 square metres (101,980 sq ft). The special exhibitions will be allocated 3,395 square metres (36,540 sq ft), and the proposed education centre will have a total area of 513 square metres (5,520 sq ft). The rest of the museum will be over an area of 16,618 square metres (178,870 sq ft).

Artwork The museum will form its own major collection of contemporary art and will also exhibit masterworks from the Guggenheim Foundation’s global collections. All works to go on display at the museum will "respect Abu Dhabi's culture and national and Islamic heritage," the foundation said in a statement. "Our objective is not to be confrontational, but to be engaged in a cultural exchange," said Thomas Krens when asked how the boldness of contemporary art can be reconciled with conservative Muslim values. "The Guggenheim implicitly regards all contemporary cultures and their traditions as potential partners in the field of aesthetic discourse - we are both respectful of difference and excited by it," he said. "We also believe that the Middle East is one of the world's most important emerging regions in terms of contemporary culture."

Facilities According to universes-in-universe.org, the museum will include galleries for permanent collections, galleries for special exhibitions, a Department of Architecture and Design, a Center for Art and Technology, children’s education facilities, archives, library and research centre and a state-of-the-art conservation laboratory."

5 ÌÅÆÄÓÍÀÐÎÄÍÀ ÀÊÀÄÅÌÈß ÏÎ ÀÐÕÈÒÅÊÒÓÐÀ (ÌÀÀ) ÑÚÞÇ ÍÀ ÀÐÕÈÒÅÊÒÈÒÅ Â ÁÚËÃÀÐÈß (ÑÀÁ) ÓÍÈÂÅÐÑÈÒÅÒ ÏÎ ÀÐÕÈÒÅÊÒÓÐÀ, ÑÒÐÎÈÒÅËÑÒÂÎ È ÃÅÎÄÅÇÈß (ÓÀÑÃ), ÑÎÔÈß

ÄÂÀÍÀÄÅÑÅÒÎ ÑÂÅÒÎÂÍÎ ÀÐÕÈÒÅÊÒÓÐÍÎ ÒÐÈÅÍÀËÅ

INTERARCH’2009 ÏÎÄ ÏÀÒÐÎÍÀÆÀ ÍÀ ÏÐÅÇÈÄÅÍÒÀ ÍÀ ÐÅÏÓÁËÈÊÀ ÁÚËÃÀÐÈß, ÞÍÅÑÊÎ È ÌÀÀ

(èëè USD ñïðÿìî âàëóòíèÿ êóðñ çà äåíÿ)

ÏÐÎÃÐÀÌÀ 17 Ìàé, Íåäåëÿ 15:00-16:00 ÎÔÈÖÈÀËÍÎ ÎÒÊÐÈÂÀÍÅ ÍÀ ”ÈÍÒÅÐÀÐÕ’2009” 16:00-17:00 Îáÿâÿâàíå íà Ëàóðåàòèòå íà ”Èíòåðàðõ’2009” îò Ïðåäñåäàòåëèòå íà Æóðèòàòà; Íàãðàæäàâàíå íà íîâèòå Àêàäåìèöè è Ïðîôåñîðè íà Ìåæäóíàðîäíàòà Àêàäåìèÿ íà Àðõèòåêòóðàòà; 17:15-18:00 Daniel Libeskind 18:00- 18:45 Alvaro Siza 19:00- ÎÒÊÐÈÂÀÍÅ ÍÀ ÈÇËÎÆÁÈÒÅÊÎÍÊÓÐÑÈ ÊÎÊÒÅÉË

18 Ìàé, Ïîíåäåëíèê 10:00-11:00 Oòêðèâàíå íà ÔÎÐÓÌ: ”ÀÐÕÈÒÅÊÒÓÐÀÒÀ ÍÀ 21 ÂÅÊ”- Joseph Rykwert; 11:00-11:45 Paul Andreu; 12:00-12:45 Juhani Pallasmaa; 12:45-15:00 Îáÿä; 15:00-15:45 Teo. Gonzalez de Leon; 15:45-16:30-John Kay; 16:30-17:15- Kas Oosterhuis; 17:30-18:15- Dominique Perrault; 18:15- 19:00- Georgi Stoilov;

Ó÷àñòèå â INTERARCH`2009, ÊÐÀÅÍ ÑÐÎÊ ÇÀ ÐÅÃÈÑÒÐÀÖÈß: Ôîðìóëÿðèòå òðÿáâà äà ñå ïîäàäàò â Ñîôèÿ ïðåäè 5 Àïðèë 2009. Òàêñà çà ó÷àñòèÿ: Eur 100 çà àðõèòåêòè ïðåäè15 Ìàðò, 2009 Eur 120 çà àðõèòåêòè ñëåä 15 Ìàðò, 2009

19 Ìàé, Âòîðíèê

(èëè USD ñïðÿìî âàëóòíèÿ êóðñ çà äåíÿ)

10:00-10:45 Dennis Sharp; 10:45- 11:30 Richard England; 11:30- 12:15 Justus Dahinden; 12:15-15:00 Îáÿä; 15:00- 15:45 Steven Holl, ïðåäñòàâåí îò Juhani Pallasmaa; 15:45- 16:30 Kiyonori Kikutake; 16:30- 17:15 Mafredi Nicoletti; 17:30-18:15 Andrey Bokov; 18:15-19:00- Vakhtang Davitaia;

(èëè USD ñïðÿìî âàëóòíèÿ êóðñ çà äåíÿ)

20 Ìàé, Ñðÿäà 10:00-10:35 Qi Zhou; 10:35- 11:10 Lilo Popov; 11:10-11:40 Ahmet Vefik Alp; 11:40-12:10 Paolo Cucchi; 12:10-12:50 Jan Hoogstad; 12:50-15:00 Îáÿä; 15:00-15:45 Thomas Herzog; 15:45-16:30 Francoise-Helene Jourda; 16:45-17:30- Brian Spencer; 17:45-18:30- Yuri Platonov; 20:00- ÇÀÊÐÈÂÀÍÅ ÍÀ ”ÈÍÒÅÐÀÐÕ’2009” Íàãðàæäàâàíå íà Ëàóðåàòèòå îò èçëîæáèòå-êîíêóðñè; ÏÐÎËÅÒÍÀ ÔÈÅÑÒÀ ÍÀ ÀÐÕÈÒÅÊÒÓÐÀÒÀ;

Áåëåæêà: 1. Óìîëÿâàìå ó÷àñòíèöèòå äà ñå ïðèêà÷àò êúì ïàêåò ñ ïàíåëèòå ôàêòóðà-ïðîôîðìà, êîÿòî ñå èçèñêâà îò Áúëãàðñêèòå âëàñòè çà ñòîéíîñòè, êîèòî íå íàäâèøàâàò EUR 22 (30 USD).

2. Ïàíåëèòå, êíèãèòå è ñïèñàíèÿòà ñ àðõèòåêòóðíà òåìàòèêà òðÿáâà äà ñå äàäàò â ñåêðåòàðèàòà íà ÌÀÀ ïðåäè 15 Àïðèë 2009 (Àäðåñ: Îáîðèùå 35, 1504, Ñîôèÿ, Áúëãàðèÿ) Ìàòåðèàëèòå çà ñòóäåíòñêèòå äèïëîìíè ðàáîòè òðÿáâà äà áúäàò âíåñåíè â ÓÀÑà äî 15 Àïðèë 2009 (Àäðñ: Çàì. Ðåêòîð Áîÿí Ãåîðãèåâ: áóë. Õðèñòî Ñìèðíåíñêè 1, Ñîôèÿ, 1046, Áúëãàðèÿ) 3. Åêñïîíàòèòå íà èçëîæáèòå-êîíêóðñè îñòàâàò ñîáñòâåíîñò íà ìóçåÿ íà Interarch Áúëãàðèÿ 4. Îðãàíèçàòîðèòå ïðåäëàãàò ìàòåðèàëèòå äà áúäàò èçïðàòåíè ñ TNT, DHL èëè äðóãè êóðèåðñêè ôèðìè; 5. Ìîëÿ äà ñå ñâúðæåòå ñúñ ñåêðåòàðèàòà íà lnterarch'2009 çà ïîâå÷å èíôîðìàöèÿ: òåë.: +359 2 9434950, fax: +359 2 9434959, E-mail: iaarch@yahoo.com; Ìîáèëåí: +359 898255302;

Eur 50 fçà ñòóäåíòè ïðåäè 15 Ìàðò, 2009 Eur 60 çà ñòóäåíòè ñëåä 15 Ìàðò, 2009 (èëè USD ñïðÿìî âàëóòíèÿ êóðñ çà äåíÿ)

ÍÀ×ÈÍ ÍÀ ÏËÀÙÀÍÅ - ïîùåíñêè çàïèñ Áàíêîâî ïëàùàíå â ÅÂÐÎ: Ìåæäóíàðîäíà àêàäåìèÿ ïî àðõèòåêòóðà Ïúðâà èíâåñòèöèîííà áàíêà IBAN: BG17FINV91501003797530 BIC: FINVBGSF áóë. Âàñèë Ëåâñêè 95.

1000 Ñîôèÿ, Áúëãàðèÿ Â USD ÍÀ: Ìåæäóíàðîäíà àêàäåìèÿ ïî àðõèòåêòóðà Ïúðâà èíâåñòèöèîííà áàíêà IBAN: BGFINV91501003797527 BIC: FINVBGSF áóë. Âàñèë Ëåâñêè 95.

1000 Ñîôèÿ, Áúëãàðèÿ Òàêñàòà çà ó÷àñòèå ãàðàíòèðà íà âñè÷êè ó÷àñòíèöè ïðèñúñòâèå íà âñè÷êè èçëîæáè, ôîðóìà Interarch' 2009 è êîíôåðåíöèè (êàêòî è êîêòåéëà çà îòêðèâàíå è çàòâàðÿíå) Âñêè÷êè îñòàíàëè ðàçõîäè êàòî ïðåñòîé, òðàíñïîðò è ò.í. ñà çà ñìåòêà íà ó÷àñòíèöèòå. Ôîðìóëÿð çà ó÷àñòèå 1. Èñêàì äà ó÷àñòâàì â èçëîæáà-êîíêóðñ íà àðõèòåêòóðíè ïðîåêòè è ïîñòðîåíè ñãðàäè ñ .............. áðîèé íà ïðîåêòè, ñ............... áðîé ïàíåëè 2.Èñêàì äà ó÷àñòâàì â êîíêóðñ çà êèíãè è ñïèñàíèÿ ñ àðõèòåêòóðíà òåìàòèêà 3.Èñêàì äà ó÷àñòâàì â êîíêóðñà çà ñòóäåíòñêè äèïëîìíè ïðîåêòè 4.Èñêàì äà ïðèñúñòâàì íà lnterarch'2009 êàòî íàáëþäàòåë îò........... äî............. Ìàé 2009 ÈÌÅ Äëúæíîñò Àäðåñ Îôèñ: Äîìàøåí: îôèñ Òåëåôîíåí êîä: âêúùè Ôàêñ: E-MAIL

NEWS

4 INTERNATIONAL ACADEMY OFARCHITECTURE (IAA) UNION OF ARCHTECTS IN BULGARIA(UAB) UNIVERSITY OF ARCHITECTURE CIVIL ENGINEERING AND GEODESY (UACEG), SOFIA

TWELFTH WORLD TRIENNIAL OF ARCHITECTURE

INTERARCH’2009 UNDER THE AUSPICES OF THE PRESIDENT OF THE REPUBLIC OF BULGARIA, UNESCO AND UIA

PARTICIPATION IN INTERARCH`2009, DEADLINE FOR REGISTRATION: The entry forms should be received in Sofia before 5 April 2009.

PARTICIPATION FEE: Eur 100 for architects before March 15 th, 2009 (or in USD according to the currency rate of the day)

Eur 120 for architects after March 15th, 2009

Preliminary Program 17 May 2009- Sunday 10 a.m.-12 a.m. X-th Session of the IAA General Assembly; 12:30 p.m.-2:30 p.m. Lunch break 3 p.m.- 4 p.m. Official opening of the twelfth World Triennial of Architecture “ Interarch`2009”; 4 p.m.- 5 p.m. Announcement by the Jury` Presidents of “Interarch`2009” Laureates of the exhibitions-competitions Awarding of the new IAA Academicians and Professors; 5:15 p.m.- 6 p.m. Daniel Libeskind; 6 p.m.- 6:45 p.m. Alvaro Siza; 7 p.m. Opening of the exhibitions; Welcome cocktail; 18 May 2009- Monday 10 a.m.- 11 a.m. Opening of the Forum “Architecture of XXI century”Joseph Rykwert 11 a.m-11:45 a.m. Paul Andreu; 12 p.m.-12:45 p.m. Juhani Pallasmaa; 12:45 p.m.- 3 p.m. Lunch break; 3 p.m.- 3:45 p.m. T. Gonzalez de Leon; 3:45 p.m.- 4:30 p.m. John Kay; 4:30 p.m.- 5:15 p.m. Kas Oosterhuis; 5:30 p.m.- 6:15 p.m. Dominique Perrault;

6:15 p.m.- 7 p.m. Georgi Stoilov;

(or in USD according to the currency rate of the day)

19 May 2009- Tuesday

(or in USD according to the currency rate of the day)

10 a.m.- 10:45 a.m. Dennis Sharp; 10:45 a.m.- 11:30 a.m. R. England; 11:30 a.m. -12:15p.m. Justus Dahinden; 12:15 p.m.- 3 p.m. Lunch break 3 p.m.- 3:45 p.m. Steven Holl, presented by Juhani Pallasmaa; 3:45 p.m.- 4:30 p.m. Kiyonori Kikutake; 4:30 p.m.- 5:15 p.m. M. Nicoletti; 5:30 p.m.- 6:15 p.m. Andrey Bokov; 6:15 p.m.-7 p.m. Vakhtang Davitaia; 20 May- Wednesday 10 a.m.- 10:35 a.m. Qi Zhou; 10:35 a.m.- 11:10 a.m. Lilo Popov; 11:10 a.m.-11:40 a.m. Ahmet Vefik Alp; 11:40 a.m.-12:10 p.m. Paolo Cucchi; 12:10 p.m.- 12:50 p.m. Jan Hoogstad; 12:50 p.m.- 3 p.m. Lunch break; 3 p.m.- 3:45 p.m. Thomas Herzog; 3:45 p.m.- 4:30 p.m. Francoise-Helene Jourda; 4:45 p.m.- 5:30 p.m. Brian Spencer; 5:45 p.m.- 6:30 p.m. Yuri Platonov; 8 p.m. Closing Ceremony of “Interarch`2009”; Awarding of the Laureates of the exhibitions-competitions.

Spring Fiesta of Architecture;

NOTES: 1. THE PARTICIPANTS ARE KINDLY REQUESTED TO INCLUDE IN THE PACKAGE WITH THEIR PANELS A PROFORMA INVOICE, REQUESTED BY THE BULGARIAN CUSTOMS AUTHORITIES, BILLING FOR A VALUE NOT EXCEEDING EUR 22 (30 USD).

2. The panels, books and magazines on architecture should be received in the IAA Secretariat before April 15 th, 2009 (Address 35 Oborishte Street, 1504 Sofia, Bulgaria) The materials for the Students Diploma Projects should be received in the University of Architecture, Civil Engineering and Geodesy till 15 April 2009 (Address: Deputy Rector Boyan Georgiev : 1blv. Hristo Smirnenski, Sofia 1046, Bulgaria); 3. Exponents of the exhibitions-competitions will remain the property of the Interarch Museum in Bulgaria; 4. The organizers suggest the materials to be sent by TNT, DHL or other express dispatch company; 5. Please, don't hesitate to contact the lnterarch'2009 Secretariat for more information: tel.: +359 2 9434950, fax: +359 2 9434959, E-mail: iaarch@yahoo.com; Cell phone: +359 898255302;

Eur 50 for students before March 15 th, 2009 Eur 60 for students after March 15th, 2009 (or in USD according to the currency rate of the day)

WAY OF PAYMENT- cheque sent by registered post or BANK TRANSFER IN EURO TO: INTERNATIONAL ACADEMY OF ARCHITECTURE FIRST INVESTMENT BANK IBAN: BG17FINV91501003797530 BIC: FINVBGSF 95, Vassil Levski Blv. 1000 Sofia, Bulgaria IN USD TO: INTERNATIONAL ACADEMY OF ARCHITECTURE FIRST INVESTMENT BANK IBAN: BGFINV91501003797527 BIC: FINVBGSF 95, Vassil Levski Blv 1000 Sofia, Bulgaria The participation fee ensure the attendance to all exhibitions, the forum of Interarch' 2009 and the author`s conferences (as well as the welcome and the closing ceremony cocktails).

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

PARTICIPATION ENTRY FORM 1.I would like to participate in the exhibition-competition of architectural projects and built works, with ...... number of projects, with ...... number of panels 2.I would like to participate in the exhibition -competition of books & magazines on architecture 3.I would like to participate in the exhibition-competition of student’s diploma projects 4.I would like to attend the lnterarch'2009 as an observer from..... to.....May 2009 NAME OCCUPATION ADDRESS Office: Home: office TELEPHONE: CODE home FAX: E-MAIL:

3 COMMITTEE OF HONOUR (INVITED): Minister of the Culture - Bulgaria; Minister of the Regional Development and Public Works -Bulgaria; Mayor of Sofia Town; UIA President; UNESCO Representative; UN Resident Coordinator UNDP Resident in Bulgaria;

One of the most significant architectural events in 2009. Open international forum with professional participation of architects and theoreticians from all over the world, profiling a panorama of the tendencies and achievements of the world contemporary architecture.

Participants will discuss the “Architecture of XXI Century”, will be engaged in the exchange of ideas with leading masters of the world contemporary architecture and will take part in different sections of the Triennial.

INTERARCH '2009 ACTIVITIES 01. AUTHOR`S CONFERENCES BY WORLD MASTERS OF CONTEMPORARY ARCHITECTURE; 02. FORUM “ARCHITECTURE OF XXI-ST CENTURY”; 03. Exhibition - competition of Architectural Projects and Built Works. Sections: Architectural Structures of the Future; Innovations and Traditional Architecture; Architectural Identity; Architecture and Ecology; Sustainable Cities; 04. Exhibition-competition of Books and Magazines on Architecture; 05. Exhibition-competition of Student's Diploma Projects from Leading Architectural Schools; 06. Exhibition "Leading Masters of the World Contemporary Architecture - IAA Members"; 07. Exhibition-international competition “Sofia City`21”; 08. Expo of leading firms with production in the field of architecture and building; 01. AUTHOR’S CONFERENCES BY WORLD MASTERS OF CONTEMPORARY ARCHITECTURE. INVITED SPEAKERS: TADAO ANDO, PAUL ANDREU, ANDREY BOKOV, MARIO BOTTA, SANTIAGO CALATRAVA, JEAN MARIE CHARPENTIER, MASSIMILIANO FUKSAS, VITTORIO GREGOTTI, TEODORO GONZALEZ DE LEON, NICHOLAS GRIMSHAW, THOMAS HERZOG, STEVEN HOLL, TOYO ITO, HELMUT JAHN, FRANCOISE-HELENE JOURDA, JOHN KAY, KIYONORE KIKUTAKE, REM KOOLHAAS, DANIEL LIBESKIND, RICARDO LEGORRETA, WU LIANGYONG, THOM MAYNE, MANFREDI NICOLETTI, JEAN NOUVEL, FRANK O.GEHRY, KAS OOSTERHUIS, CESAR PELLI, FABIO PENTEADO, RENZO PIANO, AGUSTIN HERNANDEZ NAVARRO, RICHARD ROGERS, MOSHE SAFDIE, ALVARO SIZA, KENNETH YEANG. 02. FORUM “ARCHITECTURE OF XXI-ST CENTURY”. INVITED SPEAKERS: AHMET VEFIK ALP (TURKEY), JUSTUS DAHINDEN (SWITZERLAND), RICHARD ENGLAND (MALTA), KENNETH FRAMPTON (USA), JORGE GLUSBERG (ARGENTINA), JAN HOOGSTAD (THE NETHERLANDS), ALEXANDER KUDRJAVTZEV (RUSSIA), LOISE NOELLE MERELES (MEXICO), JUHANI PALLASMAA (FINLAND), MARIO PISANI (ITALY), LILO POPOV(BULGARIA), DENNIS SHARP (UK), BRIAN SPENCER (USA).

03. Exhibition - competition of Architectural Projects and Built Works. Sections: Architectural Structures of the Future; Innovations and Traditional Architecture; Architectural Identity; Architecture and Ecology; Sustainable Cities.

The participants should submit the panels profiling their architectural projects and/or built works with texts, drawings, sketches and color or black-white photos. The layout (to your choice: vertically or horizontally) should be made on solid panels up to 3 mm thick, format A1(84.2cm./59.4cm) Each author may participate with up to two projects, displayed on not more than two panels each. The text should be in English: 1. Title and locality of the project 2. Number of the panels if two panels per project are displayed 3. Name of the author (or team leader) 4. Year of the project and / or year of construction of the built work The panels will remain the property of the Interarch Museum in Bulgaria.

All presented projects and/or built works will be selected by a special professional team.

International Honorary Awards including: Grand Prix Interarch`2009.Three First Prizes. Awards by Bulgarian and Foreign municipalities and institutions, as well as Laureate` Diplomas will be presented to the laureates of the exhibitioncompetitions of architectural projects and built works by International jury of outstanding architects.

EXECUTIVE BOARD: Georgi Stoilov - President of the International Academy of Architecture(IAA), President of “Interarch-Sofia”; Spiridon Ganev - President of the Union of Architects in Bulgaria(UAB); Dobrin Denev- Rector of the University of Architecture, Civil Engineering and Geodesy, (UACEG), Sofia;

A CD ROM catalogue with the architectural projects and/or built works presented in the exhibition-competition will be produced if the participants send to the IAA Secretariat till 5 April 2009 (by E-mail or any express dispatch company): one color or black & white photo of the project -10 x 15 cm; short annotation in English, not more than 1 printed page; title of the project; author (team leader) - family name, given name; E - mail, full post address with street, p. code, town, state; date of the project or date of the construction.

International Jury: Georgi Stoilov (Bulgaria) - President, Pierre Andre Dufetel (France), Jan Hoogstad (The Netherlands), Kiyonori Kikutake (Japan), Teodoro Gonzalez de Leon (Mexico), Manfredi Nicoletti (Italy), Yuri Platonov (Russia), Secretary Lilo Popov(Bulgaria).

04. Exhibition-competition of Books and Magazines on Architecture. The exhibition will display books and magazines on architecture published after 2006.

Three Laureate` Diplomas will be awarded to the best presented books and magazines by the International Jury.

International Jury: Jeko Tilev (Bulgaria)- President; Paolo Cucchi (Malaysia), Richard England (Malta), Yury Gnedovskiy (Russia).Brian Spencer (USA); 05. Exhibition-competition of Student's Diploma Projects from Leading Architectural Schools. Architectural Schools are invited to present up to five diploma works of A1 size.

The best three presented student`s Diploma Projects will receive Laureate Diplomas.

International Jury: Nedialko Bonchev-President (Bulgaria), Ahmet Vefik Alp (Turkey), Boyan Georgiev (Bulgaria), Vakhtang Davitaia(Georgia), Mario Pisani (Italy); 06. Exhibition "Leading Masters of the World Contemporary Architecture - IAA Members". Presentation of the recent architectural works of (in alphabetical order): KURT ACKERMANN, AHMET VEFIK ALP, EMILIO AMBASZ, TADAO ANDO, PAUL ANDREU, RASEM BADRAN, ?NREY BOKOV, DOUGLAS J. CARDINAL, ALBERTO CAMPO BAEZA, GUNTER BEHNISCH, HELGE BOFINGER, ORIOL BOHIGAS, GOTTFRIED BOHM, MARIO BOTTA, MARIO BRUNATI, SANTIAGO CALATRAVA, JEAN-MARIE CHARPENTIER, CHARLES CORREA, JUSTUS DAHINDEN, VAKHTANG DAVITAIA, SARA TOPELSON DE GRINBERG, TEODORO GONZALEZ DE LEON, BALKRISHNA DOSHI, PIERRE-ANDRE DUFETEL, RICHARD ENGLAND, ARTHUR ERICKSON, ADRIEN FAINSILBER, NORMAN FOSTER, MASSIMILIANO FUKSAS, VITTORIO GREGOTTI, NICHOLAS GRIMSHAW, DONALD HACKL, ZAHA HADID, SHIZUO HARADA, ANDREAS GOTTLIEB HEMPEL, HERMAN HERTZBERGER, JAN HOOGSTAD, TOYO ITO, HELMUT JAHN, KIYONORI KIKUTAKE, KARLA KOWALSKI, VLADILEN KRASILNIKOV, ALEXANDER KUDRJAVTZEV, KISHO KUROKAWA, HENNING LARSEN, RICARDO LEGORRETA V., WU LIANGYONG, FUMIHIKO MAKI, IMRE MAKOVECZ, AL MANSFELD, RICHARD MEIER, LEONARD MOSCALEVICH, BENJAMIN MOUTON, AGUSTIN HERNANDEZ NAVARRO, ANDREY NEKRASOV, MANFREDI NICOLETTI, FRANK O.GEHRY, JUHANI PALLASMAA, MARIO PAREDES, GUSTAV PEICHL, CESAR PELLI, FABIO PENTEADO, MIGUEL PEREIRA, RENZO PIANO, YURI PLATONOV, BART PRINCE, ANTOINE PREDOCK, RICHARD ROGERS, MOSHE SAFDIE, JEAN PIERRE SAINTENOIS, HARRY SEIDLER, GEORGI STOILOV, VALENTIN STOLKO,PAOLO SOLERI, CLORINDO TESTA, JIM TOROSSIAN, ERIC VAN EGERAAT, PEDRO RAMIREZ VAZQUEZ, JEAN-PAUL VIGUIER, R. RANDALL VOSBECK, KENNETH YEANG, ABRAHAM ZABLUDOVSKY, AYMERIC ZUBLENA. 07. Exhibition-international competition “Sofia City`21” Projects: Lord Norman Foster, Zaha Hadid, Massimiliano Fuksas, Dominique Prerrault, G3 (G.Stoilov), ADAIS (G. Bakalov) 08. Expo of leading firms with production in the field of architecture and building.

NEWS

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

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

Working language: English

Îñíîâåí åçèê íà ðàáîòà: English

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

XII- ÒÎÒÎ ÑÂÅÒÎÂÍÎ ÒÐÈÅÍÀËÅ ÇÀ ÀÐÕÈÒÅÊÒÓÐÀINTERARCH ‘ 2009

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

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

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

June June June September June July June June May

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

Interarch`2003 Interarch`2006 INTERARCH`2009

May May May

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

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

35 Oborishte str.

1504 Sofia,Bulgaria, tel.: +359 2 9434950 fax: +359 2 9434959 GSM 0898255302 E-mail: iaarch@yahoo.com Lilo Popov -Deputy President of UAB. 11Krakra str.,1504 Sofia,Bulgaria. tel.: +359 2 9438272 fax: +359 2 9438349 E-mail: sab@ bgnet.bg Patar Penev - Deputy Rector of UASG. 1 Chr. Smirnenski str.

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

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

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

2

EUROMED CENTER, MARSEILLE

World Architectural Masters

International Academy Of Architecture