WAM issue 13

World Architecture Masters

ISSN 1313-177X

12/ 2009/ 013

JUSTUS DAHINDEN

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21

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

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

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

General manager Natalia Bondarenko

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

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

Ðåäàêöèîííà êîëåãèÿ Êðàñèìèðà ßâàøåâà Ðóìÿíà Ñòåôàíîâà

Editors team Krassimira Yavasheva Rumiana Stefanova

Ìåíèäæúð ïðåäïå÷àòíà ïîäãîòîâêà Ïåòúð ×óïåòëîâñêè

Print design manager Peter Chupetlovsky

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

IÀÀ, Bulgaria, 1202 Sofia 40 Maria Luiza bul., tel.: +359 2 944 62 97 iaarch@yahoo.com, www.iaa-ngo.org

Ãðàôè÷åí äèçàéíåð Åëåîíîðà Ãåîðãèåâà - Åëåòî

Graphic designer Eleonora Georgieva - Eleto

Ïðåäïå÷àòíà ïîäãîòîâêà Èíà Êàìáàðåâà Ïîëèíà Õàäæèìèòîâà

Print design Ina Kambareva Polina Hadjimitova

Ðåêëàìåí åêèï: Äèàíà Ñòîÿíîâà Âàíÿ Åôðåìîâà Åìèëèàí Ìèëêîâ Ëóèçà Äàìÿíîâà

Advertising Team: Diana Stoyanova Vania Efremova Emilian Milkov Luiza Damqnova

Ïðåâîäà÷ Ïîëèíà Õàäæèìèòîâà

Translator Polina Hadjimitova

îôèñ Ïëîâäèâ Âàëåíòèíà Âàíãåëîâà

offis Plovdiv Valentina Vangelova

Êîðåêòîð Ìàðèÿ Òîäîðîâà

Proof-reader Maria Todorova

Ðàçïðîñòðàíåíèå Åâãåíèÿ Éîðäàíîâà

Distribution Evgeniya Yordanova

Èçäàòåëè: Ìåæäóíàðîäíà Àêàäåìèÿ çà Àðõèòåêòóðà Àðõ ìåäèÿ EÎÎÄ

Publishers: International Academy of Architecture Arhc Media SLtd.

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

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

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

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

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

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

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

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

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

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

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

The editors of the magazine World Architecture Masters would like to thank arch. Justus Dahinden for his amiability submitting materials from theirs private archive at ours disposal for the twelfth issue of WAM. Ñïèñàíèå World Architecture Masters áëàãîäàðè íà àðõ. Þñòóñ Äàõèíäåí çà ëþáåçíî ïðåäîñòàâåíèòå ìàòåðèàëè îò ëè÷íèÿ ìó àðõèâ çà äâàíàäåñåòè 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.

Justus Dahinden

CONTENTS

BUILDINGS AND PROJECTS TOPICS: Africa

8

Iran

22

Kazakhstan

36

America

46

Europe

54

Pop Architecture

56

Gourmet Architecture

58

Church Architecture

60

Trigon Architecture

70

Pyramidal Architecture

74

Residential Architecture Leisure Architecture

78 82

Seaside

88

Pearl of the Sea

90

4

ÀÐÕÈÒÅÊÒÓÐÀ ÍÀ ÄÓÕÀ Âñÿêà òâîðáà íà ÷îâåêà íîñè îïðåäåëåíà èíôîðìàöèÿ. Ïî àðòåôàêòèòå àðõåîëîçèòå è èñòîðèöèòå âúçñòàíîâÿâàò êàðòèíàòà íà îòäàâíà èç÷åçíàëè öèâèëèçàöèè. Íîñèòåëè íà èíôîðìàöèÿ ñà âñÿêàêâè àðòåôàêòè: óòèëèòàðíè ïðåäìåòè- îðúäèÿ íà òðóäà, ïðåäìåòè íà áèòà è äð. Èìà îáà÷å àðòåôàêòè ñ íàé-âèñîê åíåðãèåí çàðÿä. Òîâà ñà òâîðáèòå íà èçêóñòâîòî. Ìåæäó òåçè òâîðáè îñîáåíà ñèëà ïðèòåæàâàò ïðîèçâåäåíèÿòà íà àðõèòåêòóðàòà. Àðõèòåêòóðàòà â íàé-ãîëÿìà ñòåïåí îòðàçÿâà ñîöèàëíèÿ, òåõíîëîãè÷åñêèÿ è äóõîâíèÿ ñòàòóñ íà åïîõàòà. Ãëàâíèÿò èçòî÷íèê íà äóõîâíàòà åíåðãèÿ íà àðõèòåêòóðàòà å àðõèòåêòúò-ñóáåêò è àâòîð íà àðõèòåêòóðíàòà òâîðáà. Ñèëàòà íà àðõèòåêòóðíàòà òâîðáà å íåãîâà ëè÷íà çàñëóãà è îòãîâîðíîñò. Ãîëåìèÿò âúïðîñ å ÊÀÊ ÑÅ ÏÎÑÒÈÃÀ ÀÐÕÈÒÅÊÒÓÐÀ Ñ ÂÈÑÎÊÀ ÄÓÕÎÂÍÀ ÅÍÅÐÃÈß- ãëàâíèÿò ôàêòîð, êîéòî ôîðìèðà ïîçèòèâíàòà ñðåäà çà ÷îâåêà. Ìíîæåñòâî àðõèòåêòóðíè øêîëè ïî ñâåòà ïîäãîòâÿò ìíîæåñòâî àðõèòåêòè. Òå ñà âå÷å íà ïëàíåòàòà 1,5 ìèëèîíà. Ìíîãî îò òÿõ ñà áëåñòÿùè ìàéñòîðè íà òåõíîëîãèèòå, äðóãè íà ôóíêöèèòå, òðåòè íà àðõèòåêòóðíèòå äåòàéëè. Íå ñà ìíîãî îáà÷å òåçè, êîèòî çíàÿò è ìîãàò äà ïîñòèãàò ãîëÿìà äóõîâíà ñèëà íà àðõèòåêòóðàòà. Òîâà ñà êîðèôåèòå. Âñåêè àðõèòåêò çà äà ìîæå äà ïðàâè àðõèòåêòóðà ñëåäâà äà ïîçíàâà è äà íîñè â ñåáå ñè ñèëàòà íà Ñòîóíõåíäæ, íà Àêðîïîëà, íà Ðèìñêèÿ ïàíòåîí, íà Ìîñêîâñêèÿ Êðåìúë- âóëêàíè íà äóõîâíà àðõèòåêòóðíà åíåðãèÿ - ÀÐÕÈÒÅÊÒÓÐÀ ÍÀ ÄÓÕÀ.

ARCHITECTURE OF THE SPIRIT Each creation of man brings certain information. Using artifacts the archeologists and the historians restore the picture of forgotten civilizations. Different artifacts bring this information: utilitarian objects instruments for labor, domestic objects etc.

There are artifacts with high energy charge. These are the pieces of art. Among them special power have the works of architecture.

The architecture reflects the social, technological and spiritual status of the epoch in the strongest way.

The main spring of spiritual energy in architecture is the architectsubject and author of the architectural work. The power of the architectural work is its personal achievement and responsibility. The big question is how to achieve architecture with high spiritual energy the main factor that forms the positive environment for the man. Many architectural schools in the world teach many architects. They are already 1,5 million on the planet.

Many of them are excellent masters of the technologies, some of the functionality, other of the details. There are not that many though who can achieve big spiritual force of the architecture. These are the greatest. To be able to make architecture each architect must have in himself the power of Stonehenge, of the Acropolis, of the Roman pantheon, of the Russian Kremal - volcanoes of the spiritual architectural energy - The architecture of spirit.

Aêàä. Ãåîðãè Ñòîèëîâ Ïðåçèäåíò íà ÌÀÀ Acad. Georgi Stoilov President of IAA

5

JUSTUS DAHINDEN By definition, architecture is a service for the whole human being. As such, architecture includes a material and an immaterial aspect; it has to meet rational and irrational requirements.

Function and purpose define architecture as a practical arrangement, while form defines architecture as a manifestation of apparition. The world of apparition that we cannot exist without, is a psychological issue related to form.

Form - as a pattern of perception - can motivate the use of architecture.

Architecture provides a complete service for its users, if function (practical purpose) coincides with use motivated by form.

The central issue of architecture is space: The small space ('cell') or the large space ('urban space'). Our relation to space is existential. The loss of space is also a loss of one's (individual or social) feeling of home.

The creation of space incorporates the debate about the dialogue between dream and reality. We must use the hidden surrealistic potential of our environment to awaken basic emotions.

Spaces that trigger emotions alter the behaviour of people.

Architecture aims at influencing human behaviour by space creations.

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JUSTUS DAHINDEN

Static balance : Lion Gate of Mycenae Dynamic balance : Villa Savoye by Le Corbusier

7 At the beginning of my phenomenological contemplations on architecture I would like to make the reader thinking about a certain duality of architectural design. I proceed from the assumption that ‘creative will’ forms the starting point for the design work of every architect. Basically, architectural history reveals two antipodal design principles, which repeat themselves more or less distinctly from culture to culture.

They follow the respective “zeitgeist” of an era and the generally accepted aesthetic ideals.

Primarily, the appeal of architecture lies in the exposure of its (real) structural components, of loads and load-bearing elements

following the laws of gravity. Architectural ‘style’ manifests itself in as much as these elements are exposed - or concealed; in other words- ‘style’ is concerned with fundamentally different approaches to the distribution of gravitational forces. In this phenomenological sense, architectural design is about the transformation of a system of supported and supporting elements, of load and load-bearing capacity, into a readable form. The interpretation of those structural elements determines the character of a building. The resulting appearance can be classified into original forms and derived forms.

Both design principles either manifest themselves in a clear and distinct way or they result in hybrid forms. In any event, they have an impact on the perception of the building.

The load-bearing elements play the active part in construction; the supported elements play the passive part. Both parts - active and passive - correlate with each other and may be expressed according to the preferred style or the creative will:

more recent example for a derived form. It stands for one of the most prominent themes in the dynamic architectural tradition: the ‘flying box’. Le Corbusier’s building appears like a stage scenery without top or bottom. The pylons have been de-materialised to a point that the entire building seems to float. The load of the ‘box’ lacks a (visual) supporting counterpart, leading to incredible dynamic tension. This dynamic design is the individual artistic expression of the architect.

a)

Static balance The passive structural elements are supported by the active, load-bearing elements. All forces (or vectors) are in visual balance. This perceived equilibrium of forces results in an expression of balance and calm, which represents the static character of the technical form. b)

Dynamic balance The visual balance of loads is disturbed if - a) the passive, supported element is over-sized without the respective compensation of the load-bearing element or b) if the active, load-bearing element is emphasized at the ‘expense’ of the passive element. The result is a felt imbalance of loads and supports that is ultimately within the discretion of the architect. In physical terms, the vectors of the loads would seem to point either upwards or downwards. The laws of gravity would be blurred.

The visual character of such a structure would be atectonic.

Structures consisting of load-bearing elements that are reduced to a minimum (following principle a)) tend to appear extremely lightweight and volatile. Physically speaking, the load-bearing activity of the structure does not manifest itself in visual terms, no ‘work’ is done.

The architectural goal of this reduction is “the tendency to take of the ground” (Sedlmayr).

The essence of this architectural attitude - the creation of an illusion - is opposed to the static / tectonic idea of architecture. The building and its elements move away from the static form (equilibrium of all forces) and towards the devided form. The load-bearing structure turns into a decorative playful system.

Prototypes Prototypes facilitate unambiguous perception of architectural qualities - forms and expressions. Furthermore, these prototypes are proof for the disputed existence of periodical cycles in architectural history.

Two representative examples (isolated from their original historical context) shall be discussed at this stage:

d)

Aspects related to space Absolute and derived form epitomise tow antagonistic thinking principles, which are related to the fundamental objectives of architectural design in simultaneous or successive order. The absolute form negates space; the derived form embraces form. The architectural negating and embracing of space follow historical cycles. In this context, I have developed a theory of these periodical cycles. The evolutionary cycles are typical for architecture and principally repeat themselves over time: Over time it becomes increasingly clear, whether one design principle or the other (absolute or derived form) is being pursued until one reaches a pure expression. This state is typical for sophisticated cultures.

Usually, the absolute form has to be fully developed for the derived form to flourish. The absolute form is the precursor of the derived form.

The beginning of an architectural cycle is marked by a phase of ‘searching’, of maturing and clarification. Out of this ‘search of truth’ objectivity and discipline of expression will arise. This denotes the striving for eternity and general truth, for ‘the absolute’. The result of this phase is the absolute form; it negates space.

c)

Within the Aegean art world of pre-Greek Hellas an archetypical form can be found, which epitomises an elementary building idea: the Lion Gate at Mycenae. In the best tradition of structural thinking, sculptural decoration is confined to no-load-bearing elements. The design of the load-bearing elements, on the other hand, follows functional and elementary principles. The sculpted triangular stone relief surmounted onto the lintel does not impose additional loads. The vertical load-bearing jambs and the tectonic character of the stone blocks is clearly readable.

Natural proportions characterise the heavy, static building.

Le Corbusier’s Villa Savoye (1929-1931) in Poissy is a convincing,

After a fair amount of time of analysis and functional thinking, the freshness of the original design principle will tend to show signs of ‘wear’ and sterility. At this point, a new mindset starts to put things into opposite to deconstructivism. The distortion of absolute building structures creates the derived form. It ‘embraces’ spade.

At the end of a cycle form as such disappears and forecasts the return to another absolute form. The change from deconstructive to ‘absolute design’ is a drawn-out, painful process (according to Wölflin, this marks the era of a new evolution of being).

Periodical cycles bear aspects of architectural ‘generations’.

The phase of an elementary brand new start usually takes the longest amount of time. The fully matured absolute form will ‘rule’ much longer than the derived form (which only emerges during the shorter ending phase). Conversely, the vitality of formal expressions of derived forms is enormous.

8

AFRICA

9

King’s tomb in Kampala

10

Mityana Pilgrims’ Shrine (Cathedral) The Mityana Pilgrims’ Cathedral, Uganda, commemorates the canonization of three African martyrs. The church is the focus of an urban complex with school, social center, Carmelite convent, presbytery, parish hall and health center. The church as a meeting place for the community can be opened to outer courts partially covered with tend like roofs. Access to the service can be gained from all sides. The significant element marking the main entry is a drum tower linking the inner and outer space of the church.

The design adapts to the climatic conditions, as well as to local culture, and in particular to the symbolic consciousness of African people. In this respect the image of this building is both rational and irrational. The three spherical segments symbolize the three honoured martyrs. They are arranged around the central common space which is covered by

a flat roof with skylight above the altar. These spherical segments express particular spatial qualities: baptistery with space for singers; chapel for the nuns with tabernacle; place for confession. These spherical segments are an ancient Bantu building symbol in which the religious dimension is very marked.

Last but not least the architecture relate to authentic African dwellings and one could say they are a biotectonic reflection of similar structures found in the vegetation of the country. Local building material such as hand-made bricks for walls and floors and mahogany for the ceilings have been used. The structure of the spherical segments was prefabricated on the site; afterwards they received an outside cover of red dyed waterproofing plaster, sprayed on. The unity of coloured architecture and earth reinforces the environmental integration of the building.

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Namugongo National Shrine (Cathedral)

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The pilgrimage and parish church of Namugongo in Uganda, East Africa, is a circular building of 42 m diameter, situated on the plateau adjoining the large natural depression of Namugongo. The church stands on the site of what was once a memorial chapel to the glory of the martyr saints of Uganda.

The main altar is on the exact spot where Saint Joseph Mukasa Balikuddembe died. The circular space is redivided in the interior into three segments: a multi-purpose volume for 1’500 people, a smaller room with 500 places housing the tabernacle and the confessionals which serves the parish as a permanent eucharistic space and the choir above the sacristy, which can also be used as a stage for sacred plays. (Large and small volumes can be joined together by the removal of a partition.)

In the main volume of the church the pilgrims come to visit the place where the saints were martyred.

Not only the great votive ceremonies but also conferences, plays, etc. can be held here. The round building has a roof in the form of a cone which is crowned at the top with al skylight that rises to a total height of 30 metres. The “roof light� which can be seen from afar helps the pilgrims to orientate the church; at night it is lit by floodlights, which at the same time illuminate the interior of the volume.

The steel skeleton frame on the exterior is left visible and the roof in the form of a cone is hung freely under this metal construction. It is covered by copper.

18

The Nations Palace at Abidjan

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In the capital of the Ivory Coast it is necessary to create, for a variety of social and cultural needs, a centre suitable for theatre, opera, concerts and congresses; it has also to accommodate exhibitions, receptions, shows and banquets. It requires a spatial combination that pays heed to requirements such as the integration of the stage into the functional public zone and the layout of the multi-purpose halls.

The foyer (1’200 m2) is in the form of an “S” around the main hall; it can also be used as an art gallery.

For certain important events, the foyer could be enlarged by the use of the space reserved for banquets.

The ramps and staircases, starting on the ground floor, lead to a gallery encircling the stage

which also serves as a foyer for the balcony of the theatre and the congress hall. The conference rooms are placed in the basement at garden level.

The theatre contains 1’200 seats with a volume of 5’300 m3 (4.2 m3 per person). The concave back wall to the foyer can be opened over its full length so that the foyer can be incorporated into this space. For the little theatre the orchestra pit has been planned with 36 seats so that an easy transformation can take place. By lowering certain segments of the ceiling to the edge of the balcony, one can create an intimate little theatre of 600 seats (experimental theatre, chamber orchestra, workshop session, etc.). The stage

is equipped with a variable proscenium arch. The height of its architrave can also be altered. If one removes the lateral walls of the proscenium, the main stage and the side stages can be joined to form a whole, integrating the auditorium (shows, musicals, ballets). The wings and the lighting galleries of the stage are hung from the dome structure of the roof. The area of the side stages which is organized in a circle around the main stage takes the place of a congress hall. Four segments of superimposable seating, mounted on pulleys and of an area of 200 m2 each can be used to form a section in the amphitheatre affording 180 table seatings for banquets or 360 places

for a concert . One gains access to this congress hall either from the front, or from the rear by crossing the foyer. Every other row of seats can be transformed into a work table by pivoting it by 180°. The section of ceiling which is situated over the congress area is equipped with adjustable accustic elements.

For symphony concert the theatre and the side stage area can be grouped in one spatial entity to make room for 2’600 people. The volume of the two buildings grouped together is 15’000 m3 (5.8 m3 per person), for shows and folkloristic performances and 18’000 m3 (7.0 m 3 per person) for concerts.

Movable accustic reflectors are above the orchestra.

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IRAN

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The Bubble System for building The Bubble System for housing is suitable for a dense layout. The 30 m2 cupola-form unit can be added to the 36 m2 tubular-form. The economy of the system lies in the fact that the space for movement for the inhabitants is larger than the actual floor area, since the walls curve outwards from bottom to top. All the units can be subdivided internally because there is not a single load-bearing wall.

The Bubble System is planned for southern countries. The heating effect of the sun is reduced to a minimum with a cupola shape because of all geometric forms it has the smallest surface area for a given space.

Each unit posses cross ventilation, for the summit of the cupola is pierced by skylight. The windows are shielded from the direct rays of the sun by projecting surrounds.

The Bubble System is designed to allow special concrete to be sprayed on to an air-cushion made of plastic membranes. The outer covering of the earthquake-resistant domes can be adapted in material and colouring to the local conditions, especially if using loam.

The Bubble System is very flexible, and in a dense layout of buildings the inner courtyards remain private and intimate. Between two dwellings a storage unit can be built which rises above the house and forms a distinctive feature of the design, at the same time serving as an air vent.

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32

ECOLE POLYTECHNIQUE FEDERALE DE LAUSANNE EPFL

INFORMATIQUE ET MECANIQUE APPLIQUEES A LA CONSTRUCTION – IMAC

A THREE DIMENSIONAL SEISMIC ANALYSIS OF A MODULAR BUBBLE SYSTEM OF HOUSING IN BAM CITY IN IRAN Authors : *Dr. Belmouden Y.,* Dr. Lestuzzi P., ** Dr. Sellami S. *Ecole Polytechnique Fédérale de Lausanne ENAC-IS-IMAC, EPFL, CH-1015 Lausanne, Switzerland **Segantinistrasse 36, CH-8049, Zurich, Switzerland

33 The new system of housing based on shell concept is presented. The system is developed for high seismic risk areas. A three dimensional finite element analysis was performed to assess the seismic performance to the concept subjected to earthquake actions. Both of the tubular and dome unit exhibit a very low period of vibration. Then, the type of soil has a less effect on the amplification of the seismic actions in the structure. Also, we can conclude after an examination of the modal spectrum response that: 1. For the tubular unit, it exhibits relatively uniform stresses distribution, however, a special attention is required for opening frame region. In these regions, highly membrane stresses are confined essentially in small zones.

2. For dome unit, it exhibits a uniform stresses distribution. Stress concentrations are observed exclusively in the opening frames. However, the dome unit exhibits a very good behavior with compression resisting mechanism.

The tension stresses are found very low.

In general we have observed that the bubble system can carry the external seismic actions exclusively by membrane mechanism. Globally, both tubular and unit can be considered as free of bending actions.

Membrane reinforcement is still sufficient. However, the bending and shear field were developed in some regions to satisfy the global equilibrium (monolithic behavior) and deformation requirements. The bending and shear field tend to be localized and confined is some regions to the vicinity of loading and geometrical discontinuities and deformation incompatibilities as opening constructions, units base regions. However, the calculated internal forces are found to be not higher.

Finally, a very satisfactory behavior under seismic actions is observed for the BUBBLE system of housing. We can conclude, that the proposed system for housing can be recommended as a housing system for regions with a high seismicity. This is due to the most profound and efficient structural performance of shell concept.

34

Moghan East Village The new East Village design for 15’000 inhabitants in the north-west of Iran belongs to the Moghan Agro-industrial & Livestock project of this country. Any similarity to western town planning was to be avoided.

Instead, a solution had to be found that would maintain the context of the regional character of family life as well as the traditional values of Islamic architecture by using modern technology.

This settlement maintains its human scale through a dense singlestory housing arrangement with small private courtyards between. Social interactions are effected by dense network of footways which do not cross the traffic roads outside. Between the boundary and the city core with its bazaar-street is the commercial center, at the other end the spiritual center with the big mosque and a “landmark�.

35 The Bubble System is suitable for low-cost housing. It adopts the dominant Islamic element in stone architecture, the vault, with its sense of proportion and symbolic relation to nomadic huts. These nomadic huts still exist in this region.

The architecture of the Bubble System for housing attempts to give this city the image of real acculturation. The construction process allows an extensive application of local labour and material. One uses clay which is specially treated against erosion and which is sprayed on to a thin concrete shell. The concrete shell is also produced on site using an air cushion system of plastic membranes.

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KAZAKHSTAN

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THE COVERED OLYMPIC ARENA IN ASTANA KAZAKHSTAN OCTOGON THE PROJECTS PHILOSOPHY The task is to present an arenalike design which will be adequate to the multioptionsociety of today. Following these demands we propose a multifunctional scheme which will be qualified for sportive events as well as for a variety of cultural activities: Indoor performance will be completed by outdoor spectacles. This scheme will enhance the importance of the project and its frequency as a focus of the City of Astana.

Our task leads us to the programmed covered arena type with a tentlike roof, which can be opened to its center part above the football field. The resulting expressiveness of the architecture gives evidence of the schemes complexity. It emphasizes the function of its OCTOGONAL SKYLIGHT SYSTEM. The shape will be different, attracting people by its outstanding identity.

OCOTOGON will quality itself as an urban symbol for the City. The formal approach of this architecture to create a new landmark for the whole region is the most important intention of our design.

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SPORTS FACILITIES According to the technical and functional parameter the covered arena complies with the IAAF, FIFA, ITC requirements. It incorporates the feasibility of the Olympic, Continental, Asian and National championships. Our project is officially advised by the FIFA directory at its headquarters in Z端rich, Switzerland.

The football field needs a natural grass covering, which can be warmed from below. Fresh air, rain and natural light, even sunshine, are indispensable for growing grass. Artificial grass cannot be installed, because FIFA does not yet accept such construction.

We propose eight triangular glazed roof elements which can be moved in different positions by a hydraulic system. The arenas roof can be opened in the center of the covered arena upon choice.

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CULTURAL FACILITIES Aside of football matches, track and field athletics competitions the Astana arena enables a number of cultural events and happenings.

This feasibility demands the grass area of the football field to be covered temporarily. Special plastic elements will be used for the protecting system. These elements keep permeability for light and air, they can be left on site during a maximum of 5 days without damage for the grass.

We imagine the following cultural events to happen in this arena: - shows and big scales presentations - dramatized acts and theatre - like performances - national festivals and ceremonies - concerts which take advantage of the adequate accustic - parades with popular participation - artistic performances and circus The Astana arena gains its extraordinary appearance and adequate expressiveness by the octagonal geometry of the tribunes design, in combination with the eight ripped structured skylight units of the roof.

They can be seen from far away. Special glass will produce the necessary dissemination of natural and artificial light. This kind of glass (THERMOLUX) prevents any glare for the people in the audience. This glass also offers the best qualification for insulation.

The aim of the projects lighting system is to create a high degree of festive character and a certain winged atmosphere people will be sense inside.

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INSIDE AND OUTSIDE USE One of the characteristics of the project consists in its doublefunction of inside and outside use. The stadiums sculptural formed façade produces lively controversy concave and convex space effects. Indoor space provides intimacy by its closed architecture enabling the audience attentiveness directed to the center of activities. This is introversion. On the other hand the stadium shape offers two big outside niches, one on the back of the tribunes West, the other on the back of the tribunes East.

This is extraversion.

The outside niche West acts as a large stage opened to the park area along the waterside, separated from the city and the traffic noise.

The outside niche East serves as a monumental reception area with drive up for VIP’s and important guests. The two walls flanking both sides of this niche are used as advertising screens. They are directed to the city transmitting a WELCOME for these who are to visit the OCTOGON. The duality of introversion of space and its opposite form makes the ensemble of the building unique because of the sculptural topography of the facades.

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AMERICA

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PIER - PILE - PROJECT

The “Pier-Pile-Project� was proposed as part of the international competition for the redevelopment of the New York waterfront. The project bypasses conventional high-rises schemes. On top of the derelict piers a leisure city is envisaged. The scheme includes stepped residential levels on the exterior and public amenity spaces on the inside (cultural, commercial and leisure zones). Both bridged piers are retained and remain freely accessible as a recreational space for the people of Manhattan.

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Function follows form

The emotional qualities of a space generate real value of use. Our architectural have to be generally based on this premise. Use of a space has to be motivated by its mood and appearance - this way the benefit of the space is optimised.

It is a nuisance, if the mood of a space interferes with the desired functionality or even hinders these functions. Traumatising spaces do not provide the right environment for living. Urban spaces must not become a source of psychological strain.

At Technical University of Vienna we introduced a simplified design code that enabled us to meet briefs and programmes more efficiently than measurements, area codes and numbers. A space triggering enthusiasm is always more innovative in architecture than abstract lists of standards.

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The Springs

THE IDEA To visualize the continuous dynamics of creativity in architecture and urban planning the WORLD ARCHITECTURE HABITAT QUADRIVIUM is planned which will address itself to the public exploring the transitions of renowned architects and planners, making obvious their eminent contribution to future developments. By displays of original plans, designs, models, slides and video shows in a lively presentation these architects and planners attest ideas and theories which can help to support human values in building for mankind.

This combination of personal architectural theories works and planning and the demonstrative presence of a continuous creative transformation in a clearly defined, permanently available area will be unique. Concise updated information will thus be available to students, young architects and historians interested in the development of eminent professionals. Additionally the projects on display will offer a firm three dimensional basis for research and international symposia addressing the aims and directions of contemporary architecture and future developments.

THE QUADRIVIUM WILL THEREFORE ENCOURAGE A NEW WAY OF COMMUNICATION AND INSPIRATION OFFERED BY THE CAREERS, STATEMENTS AND THE PRESENCE OF MASTER ARCHITECTS AND RELATED PROFESSIONALS.

51 LOCATION As a major showcase of architectural development the QUADRIVIUM will be located at a point roughly equidistant between Tierra del Fuego an Alaska, Europe and West Asia. The QUADRIVIUM will be built on a 600 acres of park like, ecologically protected rolling land in Lloyd, near the Capital City of Florida, Tallahassee, which lies forty miles North of the coast of the Gulf of Mexico, within easy to reach by plane from Atlanta and New Orleans. Settled by Spaniards in 1538, the area is blessed with 300 days of sun and an annual average temperature of 75 degrees Fahrenheit. Tallahassee attracted a decidedly young and intellectually vibrant population. It hosts two universities with 44’000 students. Florida State University FSU is oriented toward the humanities, while Florida Agricultural and Mechanical University FAMU stresses the sciences and includes a lively School of Architecture.

In contrast to facilities of other foundations in mega-cities the QUADRIVIUM is detached from the noise and pollution of the urban environment. Much like Black Mountain College in the hills of South Carolina at which W. Gropius, R. Buckminster Fuller, J. Albers and others taught the Bauhaus philosophy and thus pioneered the architectural design of the 1930’s and 40’s in the United States, the QUADRIVIUM is set within a glorious sweep of nature. This setting turns the minds of the participants inward and will thus encourage concentrated research and workshops focussing on essential concerns.

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QUADRIVIUM

53 BUILDING STRUCTURES The QUADRIVIUM building structures are based on neutral units of well known BUTLER Bins adapted to Museum requirements. This system allows a flexible use and unlimited growth. Each Bin with 42' diameter offers a two story space, that is a ground floor area of 1’388.00 squarefeet and a galery of 688.00 squarefeet covering half to the groundfloor.

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EUROPE

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POP ARCHITECTURE GOURMET ARCHITECTURE CHURCH ARHCITECTURE TRIGAON ARCHITECTURE PYRAMIDAL ARCHITECTURE REDIDENTIAL ARCHITECTURE LEISURE ARCHITECTURE

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POP ARCHITECTURE “Schwabylon at Munich” It is often said that in a few decades from now people living in cities will have more than half the day at their disposal. Schwabylon was an attempt to create integrated leisure facilities at the heart of the city to cater for this free time. A stepped down, pyramidal core structure containing variable areas for shopping, leisure activities, sports and recreation facilities was situated at the foot of a slab-like housing block with a doctor’s group practice. This city within a city was, as its name suggests, a “leisure city”.

So far as the location of the building was concerned, the conditions

for the success of the project were favourable. It was situated at the heart of a densely populated area on the Leopoldstrasse, which is the main traffic artery of Schwabing, the arts and entertainment district of Munich. Two thousand new dwellings were planed for an old, disused railway area to the rear of Schwabylon. A path and bridge led over the roof of Schwabylon, forming part of a pedestrian route from the Würm Valley and Nympenburg Park via the Olympic sports area and park to the Ungerer Swimming Pool and the “English Garden”. The 600-bed Holiday Inn Hotel is situated immediately next to Schwabylon.

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GOURMET ARCHITECTURE

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CURCH ARCHITECTURE

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THE DOMED CHURCH S.M.KOLBE IN VARESE / ITALY

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The church center in the Northern Italian Town Varese comprises spaces for religious and non-religious activities.

A semicircular church space with a capacity of 500 visitors is the focal point of the complex. It is covered by a hemispherical dome into which a freely shaped atrium has been cut. It opens up toward the street. The chapel for the christening ceremony is attached to this atrium. It was erected in memory of S. M.Kolbe. Above the chapel’s altarpiece is the belfry. The walls of the atrium create a resonating volume. The service offices and the vestry are located on one axis with the church space. This axis serves for the entry of the celebrants past the community and towards the altar. The rectory is attached to the vestry. The dome above the church encourages the community to make associations with the sky.

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The new church in LADCE, Slowaky, will be built in 2010.

It is a combination of parish church for the community with Pilgrim Shrine for the whole country.

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TRIGON ARCHITECTURE

The Trigon System is based on a 50 m2 triangular modular cell. By dividing it with lightweight, non-load-bearing partitions, the available volume can be transformed into a multi-purpose area, for living, working and sleeping which can at any time be altered and re-allocated. The three corner of the basic element can be sealed off so that an inscribed hexagon 32 m2 in area remains which can be again divided into two units. In the outer corners which each have an area of 6 m2, it is possible to install a complete sanitary block, a spiral staircase or a small kitchen.

The Trigon units can be set on pillars or be placed directly on the ground. The service conduits are found in the corners of the triangle.

There are two methodes of building, either with self-bearing solid walls and ceilings which can be put together quickly and simply, with dry construction, or the building can be articulated in a supporting shaketon that will subsequently be wrapped up in light building components.

According to the circumstances, the use required and the construction techniques and possibilities available, different materials can be envisaged such as lightweight concrete, wood, eternit, steel and sheet metal as well as plastic.

The whole system has been developed for prefabrication in flat building blocks. The Trigon cellules can be juxtaposed in manifold ways and can also be stacked one above the other. The facades of the elements are joined at an angle of 120째. This creates a lively outside space and even where there is a very dense arrangement of buildings each keeps its privacy and no unit overlooks another. With the appropriate combinations it is possible to satisfy practical unrestricted space requirements for living and working. The modular unit would prove suitable for schools, hotels and holyday towns. The pilot project is the Trigon Village of Doldertal in Z체rich.

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PYRAMIDAL ARCHITECTURE The Ferro House is situated in a public park with promenade bordering on the Lake of Zürich. This non-symmetrical pyramidal building contains offices in its lower part and two double story apartments on the top. The ground floor of the building is sunk into the ground emphasizing the close relationship of the structure to the earth.

Practically, the shape of the Ferro House is the result of the local building code which stipulates a set-back law for high buildings. Secondly the shape is related to the philosophy of “Diagonals in space”, developed

by Justus Dahinden. This philosophy means that oblique structures such as the Ferro House avoid any repellent verticalism found in conventional facades. All rooms of the building are turned towards the sky, and the public area around the building in turn becomes more open and spacious. As a result of the sloping form the height of the building seems visually reduced, further enhancing the house’s link with nature. In this sense the Ferro House is an attempt at a new understanding of better urban conditions.

The homogeneous appearance of the structure has to do with the choice of the materials. Using Cor-Ten steel for frames and outside coverings in combination with the reflecting Stop-Ray windows, the unity of colour and texture is obvious. The sculptural quality of the building is articulated by many broken edges, horizontal slits and projection as well as roof structures on various heights and balconies. All of them are derived from the interior functions.

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RESIDENTIAL ARCHITECTURE Habitat in Neu-Oerlikon, Zurich, Switzerland

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The Habitat Binzmühlenpark contains 150 flats as well as offices and shops. The complex is composed in its urban context of two parallel rows which run from North to South.

I between there is a noise protected “living valley”, from which arise like an ascending amphitheatre sixstoreyed covered walk like building types. The base is formed by two-storeyed maisonette-types with a conversatory and seats in the green which are put in the front of them.

The flats are orientated from East to West and benefit of ventilation and exposure. The covered walks are opened up from the side of the street by three flats. They are marked by prominent joints of bay-windows of the hall. In this way the residential habitat receives its cosy and lively face and character.

An elongated water basin is the centre of social contacts of the habitant; it is the meeting-point during leisure time with children and elderly. The half-round balconies are organized in direction to the “living valley” and placed in the sun; they can be shield by blinds against unwelcome insights.

In the South the double-row is completed by a three-angular office building. It protects the intimate yard from traffic noise of the Binzmühlenstrasse. Under this office- building there are shopping zones gathered on an arcade which is put up in front of them.

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LEISURE ARCHITECTURE

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RAURICA NOVA

85 EXTRAORDINARY LEISURE ENVIRONMENTS The “hall of water experiences” forms an attractive centre of polymorphic activity zones on different levels.

The roof contains a series of truncated cones with different slopes and stretches over the waterworldcomplex.

It culminates in an exciting light system on top of this cones - which in the same time is the center of the whole complex - and offers an exciting space.

The interior of the waterexperiencehall is to be continued into the two big open-spaces where different saunas, swim-channels and sprigs are integrated.

A ROUND BUILDING AND ITS MEANING The spatial arrangement of the variety and diversity of utilization of the whole complex is being integrated into a circular shape.

This concept benefits of short ways and gives an optimum of orientation.

It underlines the consequences of gathering and generates a sensation of public safety requirements.

Through this circular layout and the introverted character the multi purpose center offers an alternative to the everyday environments with their worn-out shapes. The togetherness is to be reflected.

The concentration of experiences in the inner spaces is to become obvious and gains an expectation of the visitor which differs from orthogonal buildings in the neighbourhood. The round building is a sign for social interaction.

The facades of this round building underline the introverted environment, and arouse dreaming and illusions.

LANDMARK The office tower as a landmark overlooks the circular complex, will be seen from distance and stimulates visitors’ curiosity.

It functions as an unalterable symbol of the whole multi-purpose center.

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87 1997 - 2010 (now under construction) Proprietor and investor Credit Suisse, Anlagenstiftung, Zürich Credit Suisse REF Property Plus, Zürich represented by Credit Suisse Real Estate Asset Management, Zürich Area building site : ca. 65’800 sqm Total gross area building :ca. 58’000 sqm Total gross area overground :ca. 33’000 sqm Area hotel :ca. 8’500 sqm Area shopping facilities : ca. 3’000 sqm Area wellness / spa :ca. 13’000 sqm Area office facilities : ca. 5’900 sqm Car parking : 500 cars underground car-park; 200 cars overground

Engineering project : Henauer Gugler AG, Zurich Engineering wood constructions : Pirmin Jung Ingenieure für Holzbau, Rain / Lucerne Technical consultant project : Energieatelier ag Tun and Zurich, with SSE Engineering AG, Thun and Zurich, and Grünig und Partner AG, Liebesfeld Technical Consultant for wellness / spa area : Kannewischer Ingenieurburo AG, Zug Acoustic consultant project : Zeugin Bauberatungen AG, Munsingen

General Contractor : MARAZZI GU AG / Losinger Construction SA, Bern and Zürich

Fire protection and security : Amstein + Walther AG, Zurich

Architect : Prof. Dr. Justus Dahinden Architektur, Zürich With Ivo Dahinden

Building site investigation, geology : Dr. Heinrich Jäckli AG, Baden

Project team : Rudolf Plech, Guido Krucker, Marc Rhomberg, Torsten Skoetz Executive architect : Urs Wettstein Architekturbüro und Generalunternehmung, Lucerne Tenant office facilities : GMF Gesellschaft for Entwicklung und Management Freizeitsystemen mbH & Co. KG, Neuried / Munich

Traffic and surroundings development and project : Glaser Saxer Keller, Bottmingen, Basle Landscape design development and project : Life Science AG, Basle Sewage and refuse disposal, waste management : Ökozentrum Langenbruck, Langenbruck Interior Design wellness area : Tännler Design, Regensberg

Tenant hotel : Courtyard by Marriott represented by SV (Schweiz AG), Dübendorf / Zurich

Interior design hotel : raum concept GmbH, Munich

Tenant office facilities : Henkel & Cie AG, Pratteln, Basle

Canteen kitchen planning : Hohl Hanspeter Gastroplanung, Wilderswil

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PEARL OF THE SEA

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PEARL OF THE SEA enables modern life style in exclusivity. The site on the sea generates a carefree feeling release from daily stress and hectic urban life. The site is characterized by independency from conventional building rules and infrastructure. No land is necessary for this building which can move to new positions if necessary. The connection to the shore works as floating bridge enabling entrance control.

Building costs are reduced because there is no investment for ground and foundation. An international concession for this floating structure allows anchorage at optional sites on the shore. The project satisfies the need of security against harasses. It symbolizes uniqueness and identifications. It effects also topmost comfort in the residential area with its big size sundeck on top which offers a grand panorama.

Hotel facilities are completed by a unique supply of health prevention and regeneration with the latest research acknowledgement . The approach means treatment through detoxification, revitalization and reactivation of the total metabolic system of man, which includes all body organs and functions. These methodes of clinical facilities provide success and combine modern life style with wellness in a holistic way.

ACCESS – PARKING FLOATING BRIDGE

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ENTRANCE AREA COMMON FACILITIES

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ROOMS DISPLAY RESIDENTIAL UNITS

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SUNDECK PLAYGROUND / SPORTS FESTIVE FACILITIES

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PEARL OF THE SEA

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World Architecture Masters NEWS

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Ieoh Ming Pei

On behalf of the IAA Academic Council I have the honor and the pleasure to express our sincere congratulations to the IAA Academician Ieoh Ming Pei, one of the leading masters of the XX-XXI century architecture, who has received the Gold Medal of RIBA for his world famous architectural master pieces and his fidelity to the architectural profession.

We would like to wish him health and new professional success.

Prof. Georgi Stoilov IAA President

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Ëåî Ìèíã Ïåé

Îò èìåòî íà Àêàäåìè÷íèÿ ñúâåò íà ÌÀÀ èìàì ÷åñòòà è óäîâîëñòâèåòî äà èçðàçÿ íàøèòå íàé-èñêðåíè ïîçäðàâëåíèÿ êúì àêàä. Éåî Ìèíã Ïåé, åäèí îò âîäåùèòå ìàéñòîðè íà àðõèòåêòóðàòà íà XX-XXI âåê, êîéòî å ïîëó÷èë çëàòåí ìåäàë RIBA çà íåãîâèòå ñâåòîâíî èçâåñòíè àðõèòåêòóðíè øåäüîâðè è âåðíîñòòà ñè êúì àðõèòåêòóðíàòà ïðîôåñèÿ. Áèõìå èñêàëè äà ìó ïîæåëàåì çäðàâå è íîâè ïðîôåñèîíàëíè óñïåõè.

Ïðîô. Ãåîðãè Ñòîèëîâ Ïðåçèäåíò íà ÌÀÀ

World Architecture Masters NEWS

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IV-th International conference on “Contemporary Architecture” The International Academy of ArchitectureIAA Interclub in Italy have organized the IV-th International Conference on “Contemporary Architecture” in Rome at 13 November 2009 in “Instituto Svizzero di Roma” with the participation of the President of the Instituto Svizzero di Roma, the President of IAA, representatives of the Rome Municipality, Presidente Ordine Architetti PPC di Roma.

The IAA Academicians Manfredi Nicoletti, Richard England, Rasem Badran; the IAA Professors Mario Pisani, Pietro Reali and the Italian Professors Massimo Pica Ciammara, Maria Grazia Turco presented their architectural works.

The IAA Academician Georgi Stoilov presented information about the XII-th World Triennial of Architecture “Interarch`2009” (1720 May 2009).

The IAA Academicians Pierre-Andre Dufetel presented an information about the history of the architectural organizations. Many Italian Architects took part in this event.

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IV-òà ìåæäóíàðîäíà êîíôåðåíöèÿ "Ñúâðåìåííà àðõèòåêòóðà"

Ìåæäóíàðîäíàòà àêàäåìèÿ ïî àðõèòåêòóðà-MAA Interclub â Èòàëèÿ îðãàíèçèðà IV-òà ìåæäóíàðîäíà êîíôåðåíöèÿ íà òåìà “Ñúâðåìåííà àðõèòåêòóðà” â Ðèì íà 13-òè íîåìâðè 2009 ã. â “Instituto Svizzero di Roma” ñ ó÷àñòèåòî íà ïðåäñåäàòåëÿ íà Instituto Svizzero di Roma”, ïðåçèäåíòà íà ÌÀÀ, ïðåäñòàâèòåëè íà îáùèíà Ðèì, ïðåçèäåíòà íà Êàìàðàòà íà àðõèòåêòèòå íà Ðèì.  ÌÀÀ àêàäåìèöèòå Ìàíôðåäè Íèêîëåòè, Ðè÷àðä Èíãëàíä, Ðàñåì Áàäðàí, ïðîôåñîðèòå íà ÌÀÀ Ìàðèî Ïèçàíè, Ïèåòðî Ðåàëè, èòàëèàíñêèÿ ïðîôåñîð Ìàñèìî Ïèêà ×àìàðà è Ìàðèÿ Ãðàöèÿ Òóðêî ïðåäñòàâèõà ñâîèòå àðõèòåêòóðíè ïðîèçâåäåíèÿ. Àêàäåìèêúò íà ÌÀÀ Ãåîðãè Ñòîèëîâ ïðåäñòàâè èíôîðìàöèÿ çà XII-òî Ñâåòîâíî òðèåíàëå íà àðõèòåêòóðàòà “Èíòåðàðõ” 2009 “(17-20 ìàé 2009 ã.). Àêàäåìèêúò íà ÌÀÀ Ïèåð-Àíäðå Äþôàòåë ïðåäñòàâè èíôîðìàöèÿ çà èñòîðèÿòà íà àðõèòåêòóðíàòà îðãàíèçàöèÿ. Ìíîãî èòàëèàíñêè àðõèòåêòè âçåõà ó÷àñòèå â òîâà ñúáèòèå.

World Architecture Masters NEWS

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Aeon II // Dubai // UAE // Reiser + Umemoto Architects Size: 58806 sq. m.

Type: Office Tower Structure: Concrete core, tilting columns, perforated layered facade

New York architectural firm Reiser + Umemoto have designed ‘Aeon II’ an office tower building located in Dubai, United Arab Emirates.

With ‘Aeon II’, the Dubai norm of slick curtain wall clad towers has been put aside in favor of a responsive cladding system in tune with the arid desert environment.

The folded plan-form of this 45-story building combines the inherent efficiency of parallel floor slabs with rich sculptural possibilities.

Project description from the architects: ‘With our Jumeriah Lake ‘Aeon’ project, the prominent L-shaped site and the background of closely spaced towers offer truly unique opportunity to develop something really different. The long site shape allows us to go horizontal rather then vertical.

This building will become the most prominent project in the development precisely because it is not yet another tower. In effect, the building will be seen as a sparkling and ever changing horizontal veil seen against a background of vertical towers.

Our concept is a 45-story folded plate building which combines the inherent efficiency of parallel floor slabs with the rich sculptural possibilities of folded form.

There are many benefits to this new configuration. While systematic and rational, each floor plate allows for unique office configurations, ranging from boutique to mid-size. Superlative views are created in the tips of the folds resulting in more corner offices.

Moreover, the folded form creates an inherently stiff outer surface, which frees the cores from the burden of lateral forces and radically reduces the roles of cores in shear capacity.

A new concept for the building skin is also being proposed. Rather then the typical curtain wall solution, we propose an economical floor to ceiling window-wall assembly which also allows for the economical creation of the buildings folded forms. The glazing steps rather then wraps and will be entirely standardized. The crowning glory of the building is the shimmering skin made of perforated metal panels. These will have a beneficial effect both aesthetically and environmentally, shading the building from glare and heat, yet allowing for directed views from within the offices.

As with the glazing, the skin panels and their fixings are standardized, only one type is used. The rich variation and quality of the outer fabric is created by following the folded building form. Thus while every built element is standard, the openings between are unique and continuously vary. ‘

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Aeon II // Äóáàé // UAE // Reiser + Umemoto Architects

Ïëîù: 58806 êâ.ì Òèï: Îôèñ Òàóúð Ñòðóêòóðà: Áåòîíîâî ÿäðî, âúðòÿùè ñå êîëîíè, ïåðôîðèðàíà ïëàñòîâà ôàñàäà

Àðõèòåêòóðíà ôèðìà Reiser + Umemoto Íþ Éîðê å ïðîåêòèðàëà “Aeon II” - áèçíåñ îôèñ êóëà, êîÿòî ñå íàìèðà â Äóáàé, Îáåäèíåíè àðàáñêè åìèðñòâà. Îïèñàíèå íà ïðîåêòà îò àðõèòåêòèòå: ”Ïî ïðîåêòà Aeon” íàøèòå Jumeriah åçåðî “, íà âèäíî Ã-îáðàçíî ìÿñòî è ôîíúò îò ãúñòî ðàçïîëîæåíè êóëè ïðåäëàãàò íàèñòèíà óíèêàëíà âúçìîæíîñò äà ñå ðàçâèâà íåùî íàèñòèíà ðàçëè÷íî. Ïðîäúëãîâàòà ôîðìà íà òåðåíà íè äàâà âúçìîæíîñò äà ñå ðàçâèåì õîðèçîíòàëíî, à ïîñëå è ïî âåðòèêàëàòà. Òàçè ñãðàäà ùå áúäå âàæåí ïðîåêò â ðàçâèòèå, çàùîòî íå å ïðîñòî îùå åäíà êóëà.  ñìèñúë, ñãðàäàòà ùå ñå ãëåäà êàòî íà ïåíëèâà è íåïðåêúñíàòî ïðîìåíÿùèòå ñå õîðèçîíòàëíî çàâåñà íà ôîíà íà âåðòèêàëíè êóëè. Èìà ìíîãî ïðåäèìñòâà èäâàùè îò êîíôèãóðàöèÿòà íà ñãðàäàòà. Ñèñòåìàòè÷íà è ðàöèîíàëíà, êàòî âñåêè åòàæ äàâà âúçìîæíîñò çà óíèêàëíè êîíôèãóðàöèè, îôèñè, âàðèðàùè îò áóòèê äî ñðåäíî ãîëåìè ïðîñòðàíñòâà.

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Steven holl architects: herning museum, denmark opens Herning museum of contemporary art, new york by steven holl architects

The herning museum of contemporary art in denmark designed by steven holl architects opened to the public yesterday, uniting three distinct cultural institutions: the herning center of the arts, the midwest ensemble and the socle du monde. The new center is intended to be an innovative forum combining visual art and music, providing a driving cultural force for the region of central jutland, denmark.

A fusion of landscape and architecture, the landscape of grass mounds and reflecting pools aligns with a geometry of curved roof sections in a new building that houses permanent and temporary exhibition galleries, a 150-seat auditorium, music rehearsal rooms, a restaurant, a media library, and administrative offices all on one level.

Fabric tarps were inserted into the formwork to yield a fabric texture to the building’s exterior walls of white concrete.

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Herning’s longstanding relationship with textiles and the textile industry, as well as the museum’s large collection of original works by piero manzoni (in total 46 works) forms the basis for the building’s design concept. The museum is sited near herning’s original angli shirt factory and the shirt collar-shaped plan of its 1960s building has inspired the shape of the new museum building. Viewed from above, heart’s roof geometry resembles a collection of shirt sleeves laid over the gallery spaces. The loose edges of the plan offer spaces for the café, auditorium, lobby, and offices.

The surrounding landscape is partially shaped in the reverse-curve of the geometry of the museum’s roof. in transforming the flat field around the site, a new 40,000sqm bermed landscape of grass mounds and pools conceals parking and service areas, while drawing the focus onto reflecting pools positioned in the south sun.

Herning museum of contemporary art - site plan

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Steven holl architects: Õåðíèíã ìóçåé â Äàíèÿ îòâàðÿ âðàòè Herning museum of contemporary art, new york by steven holl architects

Õåðíèíã ìóçåé çà ñúâðåìåííî èçêóñòâî â Äàíèÿ, ïðîåêòèðàí îò àðõèòåêòèòå Steven Holl áåøå îôèöèàëíî îòêðèò. Òîé îáåäèíÿâà òðè ðàçëè÷íè êóëòóðíè èíñòèòóöèè: herning center of the arts, the midwest ensemble è socle du monde. Íîâèÿò öåíòúð å ïðåäíàçíà÷åí çà íîâàòîðñêè ôîðóì, êîìáèíèðàù âèçóàëíî èçêóñòâî è ìóçèêà. Òîâà å åäèí ñèíòåç íà ëàíäøàôò è àðõèòåêòóðà. Äúëãîãîäèøíèòå îòíîøåíèÿ íà Õåðíèíã ñ òåêñòèëíàòà ïðîìèøëåíîñò, êàêòî è ãîëÿìàòà êîëåêöèÿ íà ìóçåÿ ñ îðèãèíàëíè ïðîèçâåäåíèÿ íà Ïèåðî Ìàíöîíè (îáùî 46 ðàáîòè) ôîðìèðàò îñíîâíàòà êîíöåïöèÿòà çà äèçàéí íà ñãðàäàòà. Ãàëåðèèòå ñà ïðàâîúãúëíè êàòî ðàçïðåäåëåíèå è ñ ïîäõîäÿùè ïðîïîðöèè, äîêàòî èçâèòèòå ïîêðèâè ïîçâîëÿâàò ïðîíèêâàíåòî íà ñâåòëèíà â ïðîñòðàíñòâàòà. Îêîëíèÿò ïåéçàæ å ÷àñòè÷íî îôîðìåí â îáðàòíàòà êðèâà íà ãåîìåòðèÿòà íà ïîêðèâà íà ìóçåÿ.  òðàíñôîðìèðàíîòî ðàâíî ïîëå îêîëî ìÿñòîòî, íîâè 40000 êâ. ì îò ïåéçàæà îáðàçóâàò ïàðêèíãè è îáñëóæâàùè ïëîùè.

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Globalisation and Values of Architecture Points for debate from Jan Hoogstad 1. Globalisation signifies the end of the idea of a society in which there is an answer to everything and, for thai reason, the end of its architectonic offspring, functional ism.

The age of Enlightenment was driven by (he idea of a society in which there was an answer to everything. !t was, and still is, to a certain extent, an age of fruitful collaboration between political policy and rationally-developed natural sciences. At times, the rationalisation of society was revolutionary. Modernisation had always had a linear perspective of time complemented with causal cognition, the product of logic. This did not fail to leave its stamp on works of arl.

Architecture embraced the functional ism of scientific thinking.

Rational archileclure developed Into one of the crown jewels of the Enlightenment. Many fine examples of architecture came to fruition in the part of the brain that controls rational thinking, the neocorlex.

We were living under the assumption that rational thinking led to objective discovery. Now, though, we have realised that truth is no more than an attractive construct, 2. Whether you experience architecture or appreciate it is a question of feeling.

The big themes within architecture, such as the effect and appearance of architecture, not forgetting security, safely and prestige, hand-in-hand with recognition and identity, are at home in the domain of the senses and emotions rather than that of rational thinking. They are of archetypal import. In that domain, proportions and associations reign supreme above logical relationships. In that domain, we think with wide sweeps of the brush on the canvas of the mind, while imagination is king. ‘Three-dimensional’ thinking conquers linear, logical thought. Imagination-driven thought frees up space.

Architecture becomes the context within which things happen. 11 gives our lives a sense of mood. sentiment and atmosphere Architects are creators of ambiance, atmosphere builders.

3. In today’s global village, emotions reign and decisions are more often than not based on feelings.

Decisions are based on feelings. No longer does the logical, linear structure of relationships of cerebral thought control the world. The breakdown of society is evident around us. We appear to be adrift In an ocean of occurrences governed primarily by emotions and feelings. That does not mean that there is no key to those processes, though. However, it »s not based on logic but on power struggles and hedonism to name but two. Also potentially at play are ‘higher’ principles such as purity, serenity and love. Architecture has been at home in those areas for a long time. We built temples, cathedrals, synagogues, mosques and palaces. after all. Perhaps we will do that again in ihe near future, 4. Globafisation is an opportunity for architecture to return to the place where it once found its rationale, where it found the need for identity and security.

That is where architectural sentiments could indeed be rediscovered.

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Ãëîáàëèçàöèÿ è öåííîñòè â àðõèòåêòóðàòà

Òî÷êè çà ðàçèñêâàíå îò ßí Õóãñòàä 1. Ãëîáàëèçàöèÿòà îçíà÷àâà êðàÿ íà èäåÿòà çà åäíî îáùåñòâî, â êîåòî èìà îòãîâîð çà âñè÷êî è ïîðàäè òàçè ïðè÷èíà, êðàÿò íà àðõèòåêòóðíîòî ïîòîìñòâî å ôóíêöèîíàëèçìúò. Åïîõàòà íà Ïðîñâåùåíèåòî ñå óïðàâëÿâà îò èäåÿòà çà îáùåñòâî, â êîåòî èìà îòãîâîð çà âñè÷êî! Òîâà áåøå è âñå îùå å äî èçâåñòíà ñòåïåí, âúçðàñòòà íà ïîëçîòâîðíî ñúòðóäíè÷åñòâî ìåæäó ïîëèòèêà è ðàöèîíàëíî ðàçðàáîòåíè ïðèðîäíè íàóêè. Íà ìîìåíòè ðàöèîíàëèçàöèÿòà íà îáùåñòâîòî å ðåâîëþöèîííà. Ìîäåðíèçàöèÿòà âèíàãè å ëèíåéíà ïåðñïåêòèâà íà âðåìåòî, äîïúëíåíà ñ ïðè÷èííî-ñëåäñòâåíè âðúçêè, ïðîäóêò íà ëîãèêàòà. Òîâà íå ïîäìèíàâà è ïðîèçâåäåíèÿòà íà èçêóñòâàòà. Àðõèòåêòóðàòà ïðåãúðíà ôóíêöèîíàëíîñòòà íà íàó÷íîòî ìèñëåíå . Ðàöèîíàëíî àðõèòåêòóðàòà ïðåðàñòíà â åäèí îò øåäüîâðèòå íà Ïðîñâåùåíèåòî. Æèâååõìå ñ ìèñúëòà, ÷å ðàöèîíàëíîòî ìèñëåíå âîäè äî îáåêòèâíè îòêðèòèÿ. Ñåãà, îáà÷å, íèå îñúçíàõìå, ÷å èñòèíàòà å íå ïîâå÷å îò àòðàêòèâíà êîíñòðóêöèÿ.

2. Íåçàâèñèìî äàëè ïðåæèâÿâàòå èëè îöåíÿâàòå àðõèòåêòóðàòà - òîâà å âúïðîñ íà óñåùàíå. Ãîëåìèòå òåìè â àðõèòåêòóðàòà, êàòî ñìèñúëúò è âúíøíèÿò âèä íå ñå çàáðàâÿò ñúñ ñèãóðíîñò, áåçîïàñíî è ïðåñòèæíî, ðúêà çà ðúêà ñ ïðèçíàíèå è ñàìîëè÷íîñò, ñà ó äîìà ñè â îáëàñòòà íà ñåòèâàòà è åìîöèèòå, à íå íà ðàöèîíàëíîòî ìèñëåíå . Òå ñà îò àðõåòèïíà âàæíîñò.  òîçè ñìèñúë ïðîïîðöèè è ñäðóæåíèÿ âëàñòâàò íàä ëîãè÷åñêèòå âðúçêè.  òàçè îáëàñò, íèå ìèñëèì, ñ øèðîòà âúðõó ïëàòíîòî íà óìà êúäåòî è âúîáðàæåíèåòî å öàð. “Òðèèçìåðíîòî” ìèñëåíå ïîáåäè ëèíåéíîòî è ëîãè÷åñêîòî ìèñëåíå. Âúîáðàæåíèåòî çàäâèæâà îñâîáîæäàâàíåòî íà ïðîñòðàíñòâîòî. Àðõèòåêòóðàòà ñòàâà êîíòåêñòà, â êîéòî íåùàòà äà ñå ñëó÷âàò.

3. Â äíåøíîòî ãëîáàëíî ñåëî, åìîöèèòå âëàñòâàò è ðåøåíèÿ ñå âçèìàò íà áàçàòà íà ÷óâñòâàòà.

4. Ãëîáàëèçàöèÿòà å âúçìîæíîñò çà àðõèòåêòóðàòà äà ñå âúðíå òàì, êúäåòî íÿêîãà å íàìåðèëà ðàöèîíàëíîñòòà, ñâîÿòà èäåíòè÷íîñò è ñèãóðíîñò. Òîâà å ìÿñòîòî, êúäåòî àðõèòåêòóðíèÿò ñàíòèìåíò ìîæå äà áúäå ïðåîòêðèò.

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Designed by Japanese architect Toyo Ito, the world games’ main stadium was unveiled.

The stadium consists of approximately 8 844 solar panels on a surface area of 14 155m2 integrated into the roof construction. the form which emulates that of a flowing river, depending on the sunshine, can cover 75 % of the energy needs. În days when no competitions will take place, the electricity generated is fed into the grid. with more than 40 000 seats it is surrounded by a vast new public park including palm trees and tropical plants.

Visitors arriving from downtown via public transportation walk down a broad boulevard before turning into the plaza. At the stadium’s narrowest section ticket windows and restaurants are housed concourses and upper level seating are supported by a ring of concrete structures.

For some of us, entering a vast sports stadium is always an anxious pleasure. Behind the electrifying anticipation of the game there’s the nagging feeling that every stadium contains the seeds of mass hysteria - that it can, in extreme times, become a place of terrifying intensity.

The new stadium in Kaohsiung features a flow from its outsize plaza to its indoor field. The site will hold this month’s World Games.

Designed by the Japanese architect Toyo Ito, the World Games’ main stadium is shaped by a sensitivity to those conflicting sensations. It is not only magnetic architecture, it is also a remarkably humane environment, something you rarely find in a structure of this size.

The World Games, which have international sports competitions not included in the Olympics, don’t attract as much attention as those more famous games, and there has been considerably less buzz about Mr. Ito’s stadium than there was about the Bird’s Nest, the lavish Olympic Stadium by Herzog & de Meuron that opened in Beijing last year. Nor does it have the same symbolic ambitions.

Yet for those who have been privileged enough to see Mr. Ito’s creation, the experience is just as intoxicating. Clad in a band of interwoven white pipes, the structure resembles a python just beginning to coil around its prey, its tail tapering off to frame one side of an entry plaza. Unlike the Bird’s Nest it unfolds slowly to the visitor and is as much about connecting - physically and metaphorically - with the public spaces around it as it is about the intensity of a self-contained event.

The stadium, with more than 40,000 seats, is surrounded by a vast new public park, its grounds sprinkled with palm trees and tropical plants. Most of the trees are young, but in a few years, when they are fully grown, they should create the impression that the structure is being swallowed by a dense tropical forest. In essence the coiled form becomes a tool for weaving together opposing energies: the concentrated intensity of the stadium on the one hand, the plaza’s chaotic social exchanges on the other, the unruly forest all around.

What brings the design to life is that Mr. Ito is able to convey this experience physically, not just visually.

Visitors arriving from downtown via public transportation, for example, walk down a broad boulevard before turning into the plaza. From there the stadium’s tail, which houses ticket windows and restaurants, guides them toward the entry gates. The plaza itself gently swells up to meet that area. Once inside, the surface

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Toyo Ito: world games stadium in kaohsiung taiwan opens

drops down suddenly, transforming into a sloping patch of lawn that looks over the field. Mr. Ito imagines that during many events the lawn will be open to the public, letting visitors drift in and out without buying a ticket.

As people move deeper into the stadium, the narrative becomes more focused. Concourses and upper-level seating are supported by a ring of concrete structures that vaguely resemble giant animal vertebrae - Mr. Ito calls them saddles - that seem to be straining under the weight above. The character of the canopy (formed by the same white pipes as on the exterior) changes depending on perspective.

Seen at an angle, the diagonal pipes create a powerful horizontal pull, whipping your eye around the stadium; seen from straight on, the vertical supports are more dominant, giving the structure a thrilling stillness.

At this exact moment - the moment when you are most in tune with the event about to take place - the outside world momentarily creeps back in. The tops of a few mountains are visible just above the canopy. So is the plaza, and just beyond it a distant view of the downtown skyline.

It is as if Mr. Ito wants to remind you, one last

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time, of other realities, to gently break down the sense that the world of the stadium is all there is.

He is not the first architect to experiment with degrees of openness and enclosure in a stadium. Herzog & de Meuron’s 2005 Munich soccer stadium, which looks like a gigantic padded inner tube, is almost suffocating in its sense of compression.

Eduardo Souto de Moura’s 2004 stadium in Braga, Portugal, is a masterly expression of extremes: embedded in a quarry at one end, its rectangular form opens onto a bucolic view of rolling hills on the other.

Like many who came to prominence in the past decade or

so, these architects have sought to create structures that explore the psychological extremes that late Modernism and postmodernism ignored. Their aim was to expand architecture’s emotional possibilities and, in doing so, to make room for a wider range of human experience.

Mr. Ito’s stadium is the next step on that evolutionary chain.

It reflects his longstanding belief that architecture, to be human, must somehow embrace seemingly contradictory values.

Instead of a self-contained utopia, he offers us multiple worlds, drifting in and out of focus like a dream.

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Òîéî Èòî: îòêðèò å ñâåòîâíèÿò îëèìïèéñêè ñòàäèîí â Òàéëàíä

Îëèìïèéñêèÿò ñòàäèîí â Òàéëàíä ïî ïðîåêò íà ÿïîíñêèÿ àðõèòåêò Òîéî Èòî áå îòêðèò. Ñòàäèîíúò èìà îò 8 844 ñëúí÷åâè ïàíåëè íà ïîâúðõíîñò îò 14 155 êâ.ì. èíòåãðèðàíè â ïîêðèâíàòà êîíñòðóêöèÿ. Ôîðìàòà, íàïîìíÿùà òå÷àùà ðåêà, ïîêðèòà îò ñëúí÷åâè êîëåêòîðè, ìîæå äà ïîêðèå 75% îò åíåðãèéíèòå ìó íóæäè.  äíèòå, êîãàòî íÿìà äà èìà ñúñòåçàíèÿ ñúçäàäåíîòî åëåêòðè÷åñòâî ùå ñå âêëþ÷âà êúì îáùàòà ìðåæà. Çà ìíîãî îò íàñ âëèçàíåòî â ñòàäèîí ñ øèðîê ñïåêòúð îò ïðàêòèêóâàíè ñïîðòîâå å ïðèÿòíî. Çàä íàåëåêòðèçèðàùîòî î÷àêâàíå íà èãðàòà ñå êðèå ÷óâñòâîòî, ÷å âñåêè ñòàäèîí ñúäúðæà ñåìåòî íà ìàñîâàòà èñòåðèÿ, êîåòî ìîæå â åêñòðåìíè ñèòóàöèè äà ïðåâúðíå ñòàäèîíà â ìÿñòî íà óæàñíî íàïðåæåíèå. Ñòàäèîíúò ñ ïîâå÷å îò 40 000 ìåñòà å îáêðúæåí îò øèðîê íîâ îáùåñòâåí ïàðê ñ ïàëìîâè äúðâåòà è òðîïè÷åñêè ðàñòåíèÿ. Ïîâå÷åòî äúðâåòà ñà ìëàäè, íî ñëåä íÿêîëêî ãîäèíè, êîãàòî èçðàñòíàò, ùå ñúçäàâàò ÷óâñòâîòî, ÷å ñòàäèîíúò å ïîòúíàë â ãúñòà òðîïè÷åñêà ãîðà.

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Jan Kleihues is building Africa’s tallest skyscraper According to the plans by the Berlin architect Jan Kleihues, formed in Libya an 277 meters high tower.

The "Tower 69" is Germany’s tallest building, the Commerzbank Tower in Frankfurt, rounded to exceed 18 meters. Kleihues also provided the design for the new BND headquarters in Berlin. The contrast between the two contracting the architect does not worry.

Kleihues the skyscrapers in the Libyan capital Tripoli will be ready by 2012 Berlin architects abroad, particularly in Asia or Africa, win contests, and often share a painful experience: they are built on the spot but with big words and honored more emphasis and by contrast, paid only in exceptional cases. For Jan Kleihues, it was therefore no reason for euphoria, the end of 2007 when he received the news he had won the international competition to build a high-rise complex in Libya’s capital Tripoli.

The greater was, therefore, the relief that was actually started after a year of planning phase at this time now to build the “Tower 69”. For the high-rise professed fan Jan Kleihues, the joy is doubled in size. Because the building’s completion in 2012 to be celebrated, will then be at a height of 277 meters, Africa’s highest skyscraper. So far this honor, the 220 meter Carlton Center in Johannesburg (South Africa).

By comparison, Germany’s tallest building, which was completed in 1997, Commerzbank Tower in Frankfurt, measuring 259 feet (including antenna, even nearly 300 meters).

Until 2003, the Bank Tower was the tallest building in Europe, had the title but then at the five meters high like Triumph Palace in Moscow.

"As it is, unfortunately, often the situation that you won a contest though, the project is not ultimately built, we just wanted to talk about it when the site is

handed over,“ says Jan Kleihues, yesterday to celebrate in his office at the Helmholtzstraße in Charlottenburg invited a former Müllverladestation. Around 500 million euros - that is about as much as it will cost the Humboldt Forum on the Schlossplatz in Mitte - stand for the pure construction costs are available. Owner is the LAP - Libya Africa Investment Portfolio . We are dealing with a very committed and interested developer to do, wants to build in accordance with German standards, - said the 47-year-old.

That Kleihues, which provides in Berlin, also designed the new headquarters of the Federal Intelligence Service (BND) to the turnpike road in the middle, is now calculated for a former "rogue state“ builds - the UN embargoes were lifted completely until September 2003 - caused him no remorse: "First of all is when, Tower 69 - not a state project to no Regierungsbau, but a hotel for a private developer,“ said Kleihues.

"Nevertheless, we have adjusted ourselves before entering the competition with the appropriate authorities.“ What details have been agreed upon, will not betray Kleihues.

On the outskirts of the town is on the plans of the Berlin office next to the hotel tower is 277 meters high caused a further, much smaller, with apartments and offices that are on a common base. In this restaurant, retail and conference areas are located. The facades are below a diamond lattice structure, which is reminiscent of the decorative wooden buildings of the Arab architectural tradition, which Mushrabije.

"Tripoli Greens" on ice Libya is no longer regarded as a state that supports anti-Israel and anti-American terrorist groups.

Nevertheless, the building is so far from being a simple matter. In the same year in which Kleihues competition for building the "Tower

69" won the Berlin office was Léon Wohlhage Wernik architects with a spectacular 1st prize for the construction of a whole new government immediately won the seat in Libya. The project "Tripoli Greens“ included government buildings with a total gross floor area of 740,000 square meters, including the Palace of the People’s Congress, government ministries, the headquarters of the prime minister and also a skyscraper, the 130-meter high tower of a VIP hotel with conference center. For a year has been a push to the master plan, including street grid and its own energy and logistics work. For the given time frame was tight.

"In two months, should actually already popping the champagne corks among the palm trees, The Quad, the central park between the ministries in Tripoli,“ said Siegfried Wernik. In September 2009, the building owner, the opening of - Tripoli Greens“, the new governmental district had set. The ambitious project was the 40th Anniversary of the Revolution Muammar al-Gaddafi on September 1st already be essentially finished.

"Is finished and a half years since the revision of the Master Plan, and since then the lines are silent,“ says architect Wernik. -Obviously we’re disappointed. Of course, we wanted to support the new parliament District Libya about putting into the project for their country a character.

The hope that this will be implemented indefinitely postponed plans for a mammoth day still has not given up Wernik, however: "We have presented a detailed and intensive planning, our lines are still open.“ Kleihues the skyscrapers in the Libyan capital Tripoli in 2012 will be ready simulation: Kleihues + Kleihues

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Jan Kleihues ñòðîè íàé-âèñîêàòà ñãðàäà â Àôðèêà

Íåáîñòúðãà÷èòå íà íåìñêèÿ àðõèòåêò Êëåéõþñ â ëèáèéñêàòà ñòîëèöà Òðèïîëè ùå áúäàò ãîòîâè äî 2012 ã. Áåðëèíñêèòå àðõèòåêòè ÷åñòî ïå÷åëÿò êîíêóðñè â ÷óæáèíà, îñîáåíî â Àçèÿ èëè Àôðèêà, íî çà æàëîñò ñïîäåëÿò áîëåçíåí îïèò: ãîëåìè äóìè è ãîëÿìî âíèìàíèå, íî ðÿäêî èçâúðøâàíàòà ðàáîòà ñå çàïëàùà. Çà ßí Êëåéõþñ íÿìà ïðè÷èíà çà åóôîðèÿ â êðàÿ íà 2007 ã., êîãàòî ïå÷åëè ìåæäóíàðîäåí êîíêóðñ çà èçãðàæäàíå íà ÅÏÊ êîìïëåêñ â ñòîëèöàòà íà Ëèáèÿ - Òðèïîëè. Ãîëÿìî å îáëåê÷åíèåòî, ÷å âñúùíîñò ñëåä ãîäèíà ïëàíèðàíå ñãðàäàòà “Tower 69” ùå áúäå â äåéñòâèòåëíîñò ïîñòðîåíà. Çà ßí Êëåéõþñ ðàäîñòòà åñòåñòâåíî å îãðîìíà. Î÷àêâà ñå ïðåç 2012 ã. äà áúäå çàâúðøåí öåëèÿò ïðîåêò. Âèñî÷èíàòà íà "Tower 69" å 277 ìåòðà è òîé ùå áúäå íàé-âèñîêèÿò íåáîñòúðãà÷ â Àôðèêà.

World Architectural Masters

International Academy Of Architecture