WAM magazine 08

World Architecture Masters

ISSN 1313-177X

8/ 2008/ 008

LEGORRETA + LEGORRETA

3

3

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

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

Ãëàâåí ðåäàêòîð Editor-in-chief 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 Íèêîëèíà Ñòîéêîâà

Editors team Krassimira Yavasheva Nikolina Stoykova

Îòãîâîðåí ðåäàêòîð NEWS - çà Èòàëèÿ àðõ. Àëôðåäî Êàìàðà

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

Ìåíèäæúð ïðåäïå÷àòíà ïîäãîòîâêà Ïåòúð ×óïåòëîâñêè

Pre-print manager Peter Chupetlovsky

Ãðàôè÷åí äèçàéíåð Åëåîíîðà Ãåîðãèåâà - Åëåòî

Graphic designer Eleonora Georgieva - Eleto

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

Ïðåäïå÷àòíà ïîäãîòîâêà Ìàÿ Ãåðàñèìîâà Èíà Êàìáàðåâà

Pre-print preparation Maya Gerasimova Ina Kambareva

Êîîðäèíàòîð ìàðêåòèíã è ðåêëàìà Ñèÿíà ×àëúêîâà

Marketing and advertisement coordinator Siana Chalakova

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

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

Ïðåâîäà÷ Ïîëèíà Õàäæèìèòîâà

Translator Polina Hadjimitova

îôèñ Ïëîâäèâ Äàíèåëà Àðíàóäîâà Âàëåíòèíà Âàíãåëîâà

offis Plovdiv Daniela Arnaudova Valentina Vangelova

Êîðåêòîð Ìàðèÿ Òîäîðîâà

Proof-reader Maria Todorova

Ðàçïðîñòðàíåíèå Åâãåíèÿ Éîðäàíîâà

Distribution Evguenya Yordanova

Èçäàòåëè: Ìåæäóíàðîäíà Àêàäåìèÿ çà Àðõèòåêòóðà Àðõ ìåäèÿ ÎÎÄ

Publishers: International Academy of Architecture Arhc Media Ltd.

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

Îffice: Sofia 1407 22 “Golo bardo” Str. General manager: +359 2 868 81 83 Editors: +359 2 868 83 50 Advertising manager: +359 2 868 77 91 Advertising Team: +359 2 868 75 67, 868 75 53 Pre-print: +359 2 868 78 47 Local office Plovdiv 4000 8 “Kniaz Bogoridi” Str. tel./fax: +359 32 63 32 16 Italy office - Torino 10128 Victtorio Emanuelle II Str. ¹ 63 tel.: +39011 54 21 41 tel./ fax: +39011 54 62 37 arch.cam@libero.it

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 Legorreta+Legorreta for theirs amiability submitting materials from theirs private archive at ours disposal for the eight issue of WAM. Ñïèñàíèå World Architecture Masters áëàãîäàðè íà Legorreta+Legorreta çà ëþáåçíî ïðåäîñòàâåíèòå ìàòåðèàëè îò ëè÷íèÿ èì àðõèâ çà îñìè 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.

Legorreta + Legorreta

CONTENTS

CAMINO REAL HOTEL MONTERREY

8

COLLEGE OF SANTA FE

22

KONA HOUSE

30

HOUSE IN MORUMBI

38

LA PURIFICADORA BOUTIQUE HOTEL

50

RESIDENTIAL COMPOUND ZOCALO

60

UCSF COMMUNITY CENTER

70

EDUCATION CITY

78

4

Architecture of existentialism

Àðõèòåêòóðà íà åêçèñòåíöèàëíîñòòà

In the garden of Eden, where the man, the beasts and the plants live in harmony, is a distant mystical dream.

For hundred thousand years from the coming of Homo sapiens the weakest of the biological species, but gifted with neocortex has become the dominant species which engulfs all the other species in the ecosystem.

We are already six milliards on the planet and our number is growing in geometrical progression. We destroy the nature on Earth; we destroy the nature in us God. Hyper-mercantilism, over-consumption, globalization, hyperurbanization these are the new cosmic powers.

The true human values are dead: moral, faith, honour, beauty, spirituality. Unspiritual and mercenary interests flood the society.

In this kingdom of dark blind power of degradation exists one powerful force of harmony, fruit of beauty and spirituality that is the architecture, “connection between the Earth and sky” Gaudi.

ÅÄÅÍ, â êîéòî ÷îâåêúò, çâåðîâåòå è ðàñòåíèÿòà æèâåÿò â ìèð è õàðìîíèÿ, å äàëå÷åí ìèñòè÷åí ñúí. Çà ñòî õèëÿäè ãîäèíè îò ïîÿâàòà ñè Homo sapience, íàé-ñëàáèÿò áèîëîãè÷åñêè âèä, íî íàäàðåí ñ ìîùåí íåîêîðòåêñ, ñòàíà äîìèíèðàù âèä, êîéòî ïîãëúùà âñè÷êè îñòàíàëè âèäîâå îò åêîñèñòåìèòå. Íèå ñìå âå÷å 6 ìèëèàðäà íà ïëàíåòàòà è ñå óâåëè÷àâàìå â ãåîìåòðè÷íà ïðîãðåñèÿ. Íèå óíèùîæàâàìå ïðèðîäàòà íà ïëàíåòàòà, íèå óíèùîæàâàìå ïðèðîäàòà-Áîã â ñåáå ñè. Õèïåðìåðêàíòèëíîñò, ñâðúõêîíñóìàöèÿ, ãëîáàëèçàöèÿ, ñâðúõóðáàíèçàöèÿ- åòî íîâèòå êîñìè÷åñêè ñèëè. Óáèòè ñà èñêîííè ÷îâåøêè öåííîñòè: ìîðàë, âÿðà, ÷åñò, êðàñîòà, äóõîâíà êóëòóðà. Áåçäóõîâíîñò è êîðèñòíè èíòåðåñè çàëèâàò îáùåñòâîòî. È â òîâà öàðñòâî íà òúìíèòå ñëåïè ñèëè íà äåãðàäàöèÿòà èìà åäíà ìîùíà ñèëà íà õàðìîíèÿòà, íà êðàñîòàòà è íà ÷îâåøêàòà äóøåâíîñò- ÀÐÕÈÒÅÊÒÓÐÀÒÀ, “âðúçêàòà ìåæäó çåìÿòà è íåáåòî” (Ãàóäè). Íå ñëó÷àéíî áîëøèíñòâîòî îò ïîñëàíèÿòà íà ñâåòîâíàòà ñðåùà çà îöåëÿâàíå è ðàçâèòèå Ðèî‘92 áÿõà îòïðàâåíè êúì óðáàíèçàöèÿòà. Òÿ å, êîÿòî áîðàâè ñ ãëàâíèòå ïëàíåòàðíè ðåñóðñè: åíåðãèÿ, ïðîñòðàíñòâî, âðåìå, êîëåêòèâíî ñúçíàíèå, êóëòóðà. Àðõèòåêòóðàòà å îïîðàòà íà ÷îâåêà çà ôèçè÷åñêàòà ìó è äóõîâíà åêçèñòåíöèîíàëíîñò, çà óñòîé÷èâîñò è õàðìîíèÿ íà ïëàíåòàòà. Àðõèòåêòà‘ 21 å ãëàâíèÿò àêòüîð â òîçè ñöåíàðèé.

It is not casually that the majority of messages sent on the world meeting for surviving and developing - Rio‘92 were directed towards the urbanization. Because it deals with the main natural resources as energy, space, time, collective conscious, culture.

The architecture is anchor for the human physical and spiritual existentialism for sustainability and harmony on the planet.

The architect‘21 is main actor in this scenario.

Prof. Georgi Stoilov Academician of IAA

Ïðîô. Ãåîðãè Ñòîèëîâ Àêàäåìèê íà ÌÀÀ

5

Firm History

Èñòîðèÿ íà ôèðìàòà

Legorreta + Legorreta Legorreta Arquitectos was founded more than 40 years ago by Ricardo Legorreta, Noe Castro and Carlos Vargas senior. Since then, the objective has been to achieve the best architecture inspired in human values.

During the 60's and 70's Legorreta Arquitectos was well known for its work such as the Camino Real Hotel in Mexico City, Cancun and Ixtapa, office buildings for Seguros America Banamex and IBM in Mexico, laboratories and factories for Kodak, Smith & Kline, Nissan and Renault, as well as low income housing projects for Infonavit and several residential works.

In the 80's, Legorreta Arquitectos began designing for other countries and have collaborated successfully with different local architects that have assisted with local codes, continuous contact with the client and for the elaboration of construction documents.

At the beginning of the 90's Victor Legorreta, son of Ricardo, joined the firm leading a group of young architects. Together with Ricardo Legorreta, he is involved in the design of all projects.

In 2000, the office name changed to Legorreta + Legorreta which represents more than a name, it represents the current organization.

The Legorreta + Legorreta team consists of three major components: the Design Team, which provide leadership and director on the design, the Management Team, which focuses on project development, and the Support Team, which consists of an internal resource group of junior architects, draftsmen, and model makers. During the past years we have worked with the Federal and State Government of Mexico on several projects, as well as with U.S. public institutions. During the design of these projects, we have done presentations for the design and urbanism review boards of the different cities.

Legorreta + Legorreta seeks to create an architecture that will serve society and contribute to build better cities. While achieving functionality, efficiency and cost, we shall be able to design an environment that is human and friendly, one that has an atmosphere of intimacy, peace and optimism. The use of color, light, water and mystery is more of an emotional response to our architecture than an intellectual one. Each architect has an Autocad station and is connected to an in- house network. This way we can transmit information to other parts of the world via Modem or through the E-mail system. In addition, we have an inhouse model shop, where we do all of our study and presentation models.

To complement our work, we have a photographic department that provides us with images and information for the projects and for several architectural publications.

Ôèðìàòà ”Ëåãîðåòà Àðõèòåêòîñ” å ñúçäàäåíà ïðåäè 40 ãîäèíè îò Ðèêàðäî Ëåãîðåòà, Íîå Êàñòðî è Êàðëîñ Âàðãàñ-ñòàðøè. Îñíîâíàòà é öåë å äà ñúçäàâà íàé-äîáðàòà àðõèòåêòóðà, èíñïèðèðàíà îò ÷îâåøêèòå öåííîñòè. Ïðåç 60-òå è 70-òå ãîäèíè ”Ëåãîðåòà Àðõèòåêòîñ” ñòàâà èçâåñòíà ñ èçãðàæäàíåòî íà âåðèãàòà õîòåëè ”Êàìèíî Ðèàë” â ãðàäîâåòå Ìåêñèêî, Êàíêàí è Èêñòàïà, îôèñ ñãðàäèòå çà ”Ñåãóðîñ Àìåðèêà Áàíàìåêñ” è IBM â Ìåêñèêî, ëàáîðàòîðèè è çàâîäè çà ”Êîäàê”, ”Ñìèò è Êëàéí”, ”Íèñàí”, è ”Ðåíî”, êàêòî è ïðîåêòè çà êúùè çà ”Èíôîíàâèò”. Ïðåç 80-òå ãîäèíè ”Ëåãîðåòà Àðõèòåêòîñ” çàïî÷âà ïðîåêòàíòñêà äåéíîñò çà äðóãè ñòðàíè è ñúòðóäíè÷è ñ óñïåøíè ìåñòíè àðõèòåêòè, êîèòî ñúäåéñòâàò ïðè èçãîòâÿíåòî íà äîêóìåíòèòå ïî ïîñòðîÿâàíåòî è ïðîâåæäàò ðàçãîâîðè ñ êëèåíòèòå.  íà÷àëîòî íà 90-òå ãîäèíè Âèêòîð Ëåãîðåòà, ñèí íà Ðèêàðäî Ëåãîðåòà, ñå ïðèñúåäèíÿâà êúì ôèðìàòà è ðúêîâîäè ãðóïà îò ìëàäè àðõèòåêòè. Èçðàáîòâà ïðîåêòè çàåäíî ñ Ðèêàðäî Ëåãîðåòà. Ïðåç 2000 ã. èìåòî íà ôèðìàòà å ïðîìåíåíî íà ”Ëåãîðåòà+Ëåãîðåòà”.  íåÿ ðàáîòÿò òðè åêèïà: ïðîåêòàíòñêè, êîéòî âêëþ÷âà ðúêîâîäèòåëèòå è äèðåêòîðèòå íà ïðîåêòà; óïðàâëåíñêè, êîéòî å ôîêóñèðàí âúðõó ðàçâèòèåòî íà ïðîåêòà è ïîìîùåí åêèï , â êîéòî ñà ìëàäèòå àðõèòåêòè, ÷åðòîæíèöèòå è òåçè , êîèòî èçðàáîòâàò ìàêåòè. Ïðåç ïîñëåäíèòå ãîäèíè ôèðìàòà ðàáîòè ñ ôåäåðàëíîòî è äúðæàâíîòî ïðàâèòåëñòâî íà Ìåêñèêî è ñ îáùåñòâåíè èíñòèòóöèè â ÑÀÙ ïî ðàçëè÷íè ïðîåêòè. Ïðàâè ïðåçåíòàöèè çà óðáàíèñòè÷íèòå ãðàíèöè íà ðàçëè÷íè ãðàäîâå. “Ëåãîðåòà+Ëåãîðåòà” ñúçäàâà àðõèòåêòóðà , êîÿòî ùå ñëóæè íà îáùåñòâîòî è ùå äîïðèíåñå çà ïîñòðîÿâàíåòî íà ïî-äîáðè ãðàäîâå. Ïîñòèãàéêè ôóíêöèîíàëíîñò, åôèêàñíîñò è ñòîéíîñò, ôèðìàòà ùå ìîæå äà ñúçäàäå ñðåäà, êîÿòî å äîáðîíàìåðåíà, íàñèòåíà ñ àòìîñôåðà íà èíòèìíîñò, ìèð è îïòèìèçúì. Èçïîëçâàíåòî íà öâåòà, ñâåòëèíàòà, âîäàòà è ìèñòåðèÿòà å ïîâå÷å åìîöèîíàëåí, îòêîëêîòî èíòåëåêòóàëåí îòãîâîð êúì àðõèòåêòóðàòà. Âñåêè àðõèòåêò å ñâúðçàí âúâ âúòðåøíàòà ìðåæà è ðàçïîëàãà ñ Autocad.

Design Philosophy

”Ëåãîðåòà+Ëåãîðåòà” ïðîåêòèðà çà õîðàòà, êîèòî ùå èçïîëçâàò ñãðàäèòå. Çàòîâà òÿ ñå ñòðåìè êúì àðõèòåêòóðà, êîÿòî ùå ãè ïðàâè ùàñòëèâè, à íå àðõèòåêòóðà çà àðõèòåêòè, êîèòî äà è ñå âúçõèùàâàò. Ôèðìàòà âÿðâà , ÷å äîáðà ñãðàäà å òàçè , êîÿòî îòãîâàðÿ íå ñàìî íà íóæäèòå íà ïîëçâàòåëèòå, íà ãðàäà, íà îêîëíàòà ñðåäà, íà ïëàíà è áþäæåòà, íî ñúùî òàêà è íà àðòèñòè÷íèòå è äóõîâíè íóæäè íà õîðàòà. Êàòî ìåêñèêàíñêà ôèðìà, òÿ ñå âëèÿå îò ìåñòíàòà àðõèòåêòóðà, êîÿòî îòðàçÿâà îáêðúæåíèåòî, êóëòóðàòà è èñòîðè÷åñêèòå öåííîñòè. Ôèðìàòà ñå ó÷è îò òîâà è ðàçðåøàâà ïðîáëåìèòå ïî åäèí äúðçúê è ñïîíòàíåí íà÷èí, îòãîâàðÿù íà ïðîãðàìàòà è áþäæåòà . Ôèðìàòà ñúùî òàêà âíóøàâà, ÷å ÷îâåøêèòå öåííîñòè èãðàÿò âàæíà ðîëÿ â àðõèòåêòóðàòà. Ñïîðåä íåÿ, ”Äîáðà ñãðàäà å òàçè, â êîÿòî è êðàëÿò è ñåëÿíèíúò ñå ÷óâñòâàò åäíàêâî óäîáíî.Íèå æèâååì â ñâÿò, êúäåòî äîìèíèðà òåõíîëîãèÿòà è èíôîðìàöèÿòà, íèå âÿðâàìå , ÷å àðõèòåêòóðàòà ùå èçâëå÷å ïîëçà è îò äâåòå, çà äà íàïðàâè ñãðàäèòå ïîäîáðè, êîèòî íà ñâîé ðåä ùå íè íàïðàâÿò ïî-äîáðè õîðà.” Êàòî çàêëþ÷åíèå ùå óïîìåíåì, ÷å àðõèòåêòóðàòà áè òðÿáâàëî äà å â óñëóãà íà îáùåñòâîòî è äà ñòîè íàä ëè÷íèòå èíòåðåñè è ôàëøèâè öåëè. Àðõèòåêòóðíèòå, èíæåíåðíèòå è ìàòåðèàëíèòå ðåøåíèÿ áè ñëåäâàëî äà îòãîâàðÿò íà ñãðàäàòà, êîÿòî êàðà ïîëçâàòåëèòå è êëèåíòèòå äà ñå ãîðäåÿò ñ íåÿ áåç äà å ïðåòåíöèîçíà è ñêúïà. Ñ äðóãè äóìè , òÿ òðÿáâà äà å ñðåä íàé-äîáðèòå.

At Legorreta + Legorreta we design for the people who use the buildings, therefore, we look for an architecture that makes people happy and not an architecture only for architects to admire. We believe that a good building is the one which responds not only to the needs of the users, to the city, to the environment, to a schedule and budget, but also to the artistic and spiritual needs of the people.

As a Mexican firm, Legorreta + Legorreta has been exposed and influenced by Mexican Vernacular architecture. Because of this we have learned to resolve problems in a fresh and spontaneous way, responding to program and budget issues with creative solutions. We have also learned the important role that human values play in architecture. ”A good building is one in which either a peasant or a king feels comfortable”.

We are living in a world dominated by technology and information; we believe architecture should take advantage of both to make buildings that make us better human beings. In summary, architecture should be at the service of society above personal interests or false objectives.

The architectural, engineering, and material solutions should respond to a building which makes the city, the users, and the clients proud, without being pretentious or expensive. In other words it has to be the best in quality of design and thinking.

Ôèëîñîôèÿ íà äèçàéíà

6 Most relevant projects: Santa Fe Visual Arts Center, Santa Fe, New Mexico; Chiron Life & Science Laboratories, San Francisco, California; The Tech Museum, San Jose, Schwab Residential Student Center in Stanford, California; San Antonio Library, Texas; National Center for the Arts, Mexico City; Managua Cathedral, Nicaragua; MARCO Museum and the Library of Monterrey, Mexico; Solana Master Plan and IBM Offices in Westlake-Southlake, Texas; Camino Real Hotels in Mexico City, Ixtapa, Cancun & Monterrey. His recent works include a residential Compound in Madrid; El Roble Offices, Salvador and Costa Rica; the Foreign Affairs Secretariat and the Upper Court of Justice in Mexico City; Multiplaza Center, San Salvador; the Texas A&M Engineering College and the College of Business & Computer Science, Qatar; Campus Center & Student Housing of the American University of Cairo Egypt; residential projects in the Mediterranean, Japan, Brazil, Salvador, USA (including Hawaii), and Mexico; a Residencial Complex in Playacar, Puerto Aventuras, The Tides and Viceroy Mayacoba Hotels in Playa del Carmen, Mexico and Margarita House, a Residential Compound in Guatemala.

Ricardo Legorreta

1931 Born in Mexico City on May 7th.

Education 1948-1952 100% English fluence / ability Professional Experience 1948-1955 Draftsman and Project 1955-1960 Manager with J. Villagran. Par tnership wi th Jose Villagran.

1961-1963 Free-lance activities.

1963 until Founder Lead Designer of Legorreta Arquitectos, now called Legorreta + Legorreta.

Teaching Experience 1959-1962 Professor at the Universidad Nacional Aut noma de Mexico.

1962-1964 Head of the Experimental Group at the Universidad Nacional Autonoma de Mexico (UNAM).

1964 The UNAM assigns his studio as an oficial place for students to practice their social service.

1985-1998 Teaches at the University of California, Los Angeles, USA, along with Charles Moore.

1969-2005 Lectured in the most important Universities of Mexico, Canada, Spain, Japan, Argentina, Chile, Uruguay, F r a n c e , C o l o mb i a

Honors and Awards 1988 Honorary member of the Mexican Academy of the Arts.

1990 Distinguished Member of the International Academy of Architecture, Sofia, Bulgaria. Chosen as one of the thirty leading architects for the Domino´s architectural program.

1991 Fine Arts National Award, Mexican Government, Mexico.

1992 “Architect of the Americas”, Montevideo, Uruguay.

1993 “Emeritus Creator of the Creators National System”, Mexico.

1999 UIA Gold Medal.

2000 Gold Medal from the American Institute of Architects.

Golden Plate of Academy of Achievement, Arizona, USA. 2001 Touristic Professional Merit Medal “Cesar Balsa”, Mexico City. “2001 CEMEX Works Award”, First Life and Work CEMEX Award, Mexico.

2002 Imposition of Isabela la Catolica from the spanish Government. Doctor of Humane Letters degree at The College of Santa Fe, New Mexico, USA. The Federation and Cancun Architects School recognition to Ricardo Legorreta for his contribution to the mexican architecture, Cancun, Quintana Roo, Mexico.

2003 Recognition from ARPAFIL ( Art, Architecture, Patrimony), Mexico.

2004 Honorary Degree: Doctor of the Fine Arts, Honoris Causa f r om t h e Ro g e r Wi l l i ams Un i v e r s i t y, Br i s t o l , Rhode Island, USA. Manuel Tolsa Medal, UNAM, Mexico city.

2005 Gold Medal from the Panamerican Association of Architects.

Juries of Architectural Prizes / Competitions 1983 - 1993 Jury of the Pritzker Prize Award of Architecture.

2001 Member of the 2001 cycle Master Jury of the Aga Khan Award for the Architecture at Geneve.

2002 Member of the Pebble Beach Elegance Concourse.

2003 AIA Design Prizes from Dallas, Texas, USA. 2005 New Public Library of the State of Jalisco, Mexico.

2006 Jury member of 2007 AIA Gold Medal & 2007 AIA Architecture Firm Award

Ðèêàðäî Ëåãîðåòà å ðîäåí íà 7 ìàé 1931 ã. â ãð. Ìåêñèêî. Îò 1959 ã. äî1962 ã. å ïðîôåñîð â Íàöèîíàëíèÿ àâòîíîìåí óíèâåðñèòåò â Ìåêñèêî. Îò 1962 ã. äî1964 ã. ðúêîâîäè åêñïåðèìåíòàëíà ãðóïà â Íàöèîíàëíèÿ àâòîíîìåí óíèâåðñèòåò â Ìåêñèêî. Ïðåç 1964 ã. Íàöèîíàëíèÿò óíèâåðñèòåò îïðåäåëÿ íåãîâîòî ñòóäèî çà ìÿñòî , êúäåòî ñòóäåíòèòå ìîãàò äà ïðàêòèêóâàò ñîöèàëíè óñëóãè. Îò 1985 ã. äî 1998 ã. ïðåïîäàâà â óíèâåðñèòåòà â Ëîñ Àíæåëåñ, Êàëèôîðíèÿ çàåäíî ñ ×àðëç Ìóð. Îò 1969 ã. äî 2005 ÷åòå ëåêöèè â íàé-âàæíèòå óíèâåðñèòåòè â Ìåêñèêî, Êàíàäà, Èñïàíèÿ, ßïîíèÿ, Àðæåíòèíà, ×èëè, Óðóãâàé, Ôðàíöèÿ, Êîëóìáèÿ. Ïðèòåæàâà áàêàëàâúðñêà ñòåïåí ïî àðõèòåêòóðà íà íàöèîíàëíèÿ àâòîíîìåí óíèâåðñèòåò â Ìåêñèêî. Ïàðòíèðà ñ Õîñå Âèëàãðàí ïðè ñúñòàâÿíåòî íà ïðîåêòè. Ãëàâåí äèçàéíåð íà ôèðìàòà “Ëåãîðåòà àðõèòåêòîñ”, âå÷å “Ëåãîðåòà + Ëåãîðåòà”. Ïðîåêòè ñ ãîëÿìî ïðàêòè÷åñêî çíà÷åíèå Öåíòúðúò ïî âèçóàëíè èçêóñòâà â Ñàíòà Ôå, Íþ Ìåêñèêî; ëàáîðàòîðèè “ Õèðîí ëàéô & ñàéíñ” â Ñàí Ôðàíöèñêî, Êàëèôîðíèÿ; Ìóçåÿò ïî òåõíîëîãèè â Ñàí Õîñå; Ñòóäåíòñêèÿò öåíòúð â Ñòàíôîðä, Êàëèôîðíèÿ; áèáëèîòåêàòà “Ñàí Àíòîíèî” â Òåêñàñ ; Íàöèîíàëíèÿò öåíòúð ïî èçêóñòâà â ãð. Ìåêñèêî , êàòåäðàëàòà “Ìàíàãóà“ â Íèêàðàãóà; ìóçåÿò “ MARCO” è áèáëèîòåêàòà â Ìîíòåðåé, Ìåêñèêî; ìàñòåð ïëàí íà Ñîëàíà è IBM îôèñè â Óåñòëåéê-ñàóòëåéê, Òåêñàñ; õîòåëèòå “Êàìèíî ðèúë” â ãð. Ìåêñèêî è Èêñòàïà, Êàíêàí è Ìîíòåðåé. Íàñòîÿùèòå ìó ðàáîòè âêëþ÷âàò æèëèùåí êîìïëåêñ â Ìàäðèä; îôèñè â Åë Ðîáëå , Ñàëâàäîð è Êîñòà Ðèêà; Ñåêðåòàðèÿòà íà Ìèíèñòåðñòâîòî íà âúíøíèòå ðàáîòè è ñãðàäàòà íà Âúðõîâíèÿ ñúä â ãð. Ìåêñèêî; Êîëåæúò “ A&M” â Òåêñàñ è Êîëåæúò ïî áèçíåñ è êîìïþòúðíè íàóêè â Êàòàð; ñòóäåíòñêèÿò öåíòúð íà Àìåðèêàíñêèÿ óíèâåðñèòåò â Êàéðî, Åãèïåò; æèëèùíè ïðîåêòè â ðàéîíà íà Ñðåäèçåìíîìîðèåòî, ßïîíèÿ, Áðàçèëèÿ, Ñàëâàäîð, ÑÀÙ è Ìåêñèêî; æèëèùåí êîìïëåêñ â Ïëåéàêàð, Ïóåðòî Àâåíòóðàñ; õîòåëè “ Ìåéàêîáà” â Ïëàéà äåë Êàðìåí â Ìåêñèêî è êúùàòà “Ìàðãàðèòà”, æèëèùåí êîìïëåêñ â Ãâàòåìàëà.

2007 ã.- ïîëó÷àâà íàãðàäàòà “Áåòîâåí” çà àðõèòåêòóðíî òâîð÷åñòâî â Ñåâåðíà è Þæíà Àìåðèêà, è ìåäàë “ Àíàõóàê” çà àðõèòåêòóðà íà óíèâåðñèòåòà “Àíàõóàê” â Ìåêñèêî. Ïî÷åòíè ãðàìîòè è íàãðàäè 1988 ã. - ïî÷åòåí ÷ëåí íà Ìåêñèêàíñêàòà àêàäåìèÿ ïî èçêóñòâàòà. 1990 ã. âèäåí ÷ëåí íà ÌÀÀ, Ñîôèÿ, Áúëãàðèÿ. Èçáðàí êàòî åäèí îò òðèäåñåòòå âîäåùè àðõèòåêòè çà àðõèòåêòóðíàòà ïðîãðàìà”Äîìèíî”. 1991 ã. - Íàöèîíàëíà íàãðàäà ïî èçÿùíè èçêóñòâà íà ìåêñèêàíñêîòî ïðàâèòåëñòâî, Ìåêñèêî. 1992 ã. - èçáðàí çà Àðõèòåêò íà Ñåâåðíà è Þæíà Àìåðèêà, â ãð. Ìîíòåâèäåî, Óðîãâàé. 1993 ã. ïîëó÷àâà íàãðàäà çà ñúçäàâàíå íà Íàöèîíàëíà ñèñòåìà íà îòòåãëèëè ñå àðõèòåêòè-òâîðöè. 1999 ã. ïîëó÷àâà çëàòåí ìåäàë íà Ìåæäóíàðîäíèÿ ñúþç íà àðõèòåêòèòå. 2000 ã. - çëàòåí ìåäàë îò Àìåðèêàíñêèÿ èíñòèòóò ïî àðõèòåêòóðà, çëàòåí ïëàêåò íà Àêàäåìèÿòà ïî ïîñòèæåíèÿòà, Àðèçîíà, ÑÀÙ. 2001 ã. - ìåäàë “Ñåçàð Áàëçà”, Ìåêñèêî ñèòè.

2001 ã. - íàãðàäà ” Ñåìåêñ óúðêñ”, Ìåêñèêî. 2002 ã. - äîêòîðñêà ñòåïåí íà êîëåæà â Ñàíòà Ôå, Íþ Ìåêñèêî, ÑÀÙ. Ïðèçíàíèå íà ó÷èëèùåòî ïî àðõèòåêòóðà â Êàíêàí çà ïðèíîñà íà Ðèêàðäî Ëåãîðåòà â ðàçâèòèåòî íà ìåêñèêàíñêàòà àðõèòåêòóðà. 2003 ã. - ïðèçíàíèå îò ARPAFIL 2004 ã. - ïî÷åòíà íàó÷íà ñòåïåí “Äîêòîð ïî èçÿùíèòå èçêóñòâà” íà óíèâåðñèòåòà “Ðîäæúð Óèëèÿìñ” â Áðèñòîë, Ðîóä Àéëåíä, ÑÀÙ. Ìåäàë” Ìàíóåë Òîëñà” îò íàöèîíàëíèÿ óíèâåðñèòåò â Ìåêñèêî. 2005 ã. - çëàòåí ìåäàë îò àñîöèàöèÿòà íà àðõèòåêòèòå “Ïàíàìåðèêàí”

7 Most Relevant Projects “El Papalote” Children’s Museum in Mexico City; the Tech Museum of Innovation, San Jose, California; Televisa Office Complex in Mexico City; San Antonio Main Library in Texas; The College of Santa Fe Visual Arts Center in Santa Fe, New Mexico; the Schwab Residential Center for Stanford University in California; Chiron Life & Science Laboratories, Emeryville, Ca; the Mexican Pavilion Expo-Hannover 2000, Germany; Max Palevsky Residence Hall, Chicago; EGADE School of Business in Monterrey; Some of his recent works include a residential Compound in Madrid; El Roble Offices in Salvador and Costa Rica; the Foreign Affairs Secretariat and the Upper Court of Justice in Mexico City; the Mexican Museum in San Francisco; Multiplaza Center in San Salvador; the Texas A&M Engineering College and the College of Business & Computer Science in Qatar; Campus Center & Student Housing of the American University of Cairo in Egypt, Residential Projects in the Mediterranean, Japan, Brazil, Salvador, USA (including Hawaii), and Mexico; Residencial Complex in Playacar, Puerto Aventuras, The Tides and Viceroy Mayacoba Hotels in Playa del Carmen, Mexico and Margarita House, a Residential Compound in Guatemala.

1966 Was born in Mexico City on December 10th.

Education 1986-1990 Bachelor in Architecture, g r a d u a t e d f r om t h e U n i v e r s i d a d lberoamericana Mexico City.

100% English fluence /ability Honors and Awards 2007 AIA Honorary Fellow Disctintion Architectural Awards Juror 1998 Member of the jury for the AIA, Las Vegas, Nevada, USA. 2000 Member of the AIA Orange County´s 25th Annual Design Awards Juror Symposium, Newport Beach, CA. 2002 Jury member of the AMDI (Mexican Association of Interior Design).

Professional Experience 1986 Works during summer with Leason Pomeroy and Associates. Irvine, Ca, USA. 1987 Works during summer with Martorell, Bohigas and Mackay, Barcelona, Spain.

1988 Works during summer with Fumihiko Maki, Tokyo, Japan.

1989-1991 Joins Legorreta Arquitectos as project director on projects as El Club de Banqueros and el Papalote Museo del Niño, both in Mexico City. Construction of different residential projects in Valle de Bravo, Mexico.

1991 until now Partner and lead designer in Legorreta Arquitectos, actually Legorreta + Legorreta.

Teaching Experience 1995 Pacific Design Center, West Weer, USA. UCLA Expresion Program, USA. Universidad Vasco de Quiroga, Michoacán, México.

1996 1st Cycle of Conferences about Mexican Architecture, Colegio de Arquitectos de Puebla. Instituto Superior de Arquitectura y diseño de Chihuahua, A.C., Chihuahua, Chihuahua, Mexico. ITESO de Guadalajara, Jalisco, Mexico. International Symposium of Architecture, Dos Escritorios High Tech, Sao Paulo, Brasil.

1997 4th International Encounter of Architecture, Universidad de las Americas. A Raiz de la Modernidad, Permanencia y Evolucion, Puebla, Mexico. Universidad del Valle de México, Campus Lomas Verdes, Tiempo, Espacio en la Arquitectura, Mexico City.

1998 1st Cycle about Mexican Contemporary Architecture, Bogotá, Colombia. Interdiscilplinary Architecture, Universidad del Valle de Mexico, Mexico.

2000 AIA Summit 2000, Western International Conference, Sun Valley, Idaho, USA. IX week of Design, Design Center of the Universidad Autonoma de Guadalajara, Mexico.

2002-2003 Professor of Project Design in Universidad lberoamericana of Mexico City.

2004 College of Architecture, Illinois Institute of Technology Expo Cihac, México. D.F. 2005 Architectural Congress, Mexico City.

Vertice Program, University of Mayab, Mexico. SCI-ARC (Southern California Institute of California), Los Angeles, CA, USA. 2006 New projects, Tecnologico de Monterrey. Campus Santa Fe. Mexico city.

Victor Legorreta 1966 ã. å ðîäåí íà 10 äåêåìâðè â ãð. Ìåêñèêî .

1986 ã. -1990ã. çàâúðøâà óíèâåðñèòåòà “ Ëèáåðîàìåðèêàíà” â ãð. Ìåêñèêî. Ãðàìîòè è íàãðàäè 2007 ã. - ïî÷åòåí ÷ëåí íà Àìåðèêàíñêèÿ èíñòèòóò íà àðõèòåêòèòå; îòëè÷íî âëàäå àíãëèéñêè åçèê. Ïðîåêòè ñ ãîëÿìî ïðàêòè÷åñêî çíà÷åíèå “Åë Ïàïàëîòå” Äåòñêè ìóçåé â ãð. Ìåêñèêî; Ìóçåé ïî òåõíîëîãèè è èíîâàöèè â Ñàí Õîñå, Êàëèôîðíèÿ; îôèñ êîìïëåêñ “ Òåëåâèçà” â ãð. Ìåêñèêî; áèáëèîòåêàòà “Ñàí Àíòîíèî” â Òåêñàñ; Öåíòúð çà âèçóàëíè èçêóñòâà êúì êîëåæà â Ñàíòà Ôå, Íþ Ìåêñèêî; æèëèùåí öåíòúð “Øâàá” êúì Ñòàíôîðäñêèÿ óíèâåðñèòåò â Êàëèôîðíèÿ; ëàáîðàòîðèè “ Õèðîí” â Åìåðèâèë, Êàëèôîðíèÿ; ìåêñèêàíñêèÿò ïàâèëèîí ” Åêñïî- Õàíîâåð 2000 ” â Ãåðìàíèÿ; áèçíåñ ó÷èëèùå “ EGADE” â Ìîíòåðåé; îôèñè “Åë Ðîáëå” â Ñàëâàäîð è Êîñòà Ðèêà; Ñåêðåòàðèÿòà íà Ìèíèñòåðñòâîòî íà âúíøíèòå ðàáîòè è ñãðàäàòà íà Âúðõîâíèÿ ñúä â ãð. Ìåêñèêî, Ìåêñèêàíñêèÿ ìóçåé â Ñàí Ôðàíöèñêî, öåíòúð â Ñàí Ñàëâàäîð; êîëåæ “ A&M” â Òåêñàñ è Êîëåæ ïî áèçíåñ è êîìïþòúðíè íàóêè â Êàòàð; Ñòóäåíòñêè öåíòúð íà Àìåðèêàíñêèÿ óíèâåðñèòåò â Êàéðî, Åãèïåò; æèëèùíè ïðîåêòè â ðàéîíà íà Ñðåäèçåìíîìîðèåòî, ßïîíèÿ, Áðàçèëèÿ, Ñàëâàäîð, ÑÀÙ è Ìåêñèêî; æèëèùåí êîìïëåêñ â Ïëåéàêàð, Ïóåðòî Àâåíòóðàñ; õîòåëè “ Ìåéàêîáà” â Ïëàéà äåë Êàðìåí â Ìåêñèêî è êúùàòà “Ìàðãàðèòà”, æèëèùåí êîìïëåêñ â Ãâàòåìàëà. Àðõèòåêòóðíè íàãðàäè è ó÷àñòèÿ â æóðè 1998 ã. - ÷ëåí íà æóðèòî íà Àìåðèêàíñêèÿ èíñòèòóò íà àðõèòåêòèòå â Ëàñ Âåãàñ, Íåâàäà, ÑÀÙ.

2000 ã. - ÷ëåí íà æóðèòî íà Àìåðèêàíñêèÿ èíñòèòóò íà àðõèòåêòèòå â Íþïîðò áèé÷, Êàëèôîðíèÿ.

2002 ã. - ÷ëåí íà æóðèòî íà Ìåêñèêàíñêàòà àñîöèàöèÿ çà âúòðåøåí äèçàéí Ïðîôåñèîíàëåí îïèò 1986 ã. - ðàáîòè ñ Ëèàçîí Ïîìåðîé ïðåç ëåòíèÿ ïåðèîä â Èðâèí, Êàëèôîðíèÿ.

1987 ã. - ðàáîòè ïðåç ëåòíèÿ ïåðèîä ñ Ìàðòîðåë, Áîõèãàñè Ìàêåé â Áàðñåëîíà, Èñïàíèÿ.

1988 ã. - ðàáîòè ïðåç ëåòíèÿ ïåðèîä ñ Ôóìèõèêî Ìàêè, Òîêèî, ßïîíèÿ.

1989-1991 ã. - ïðèñúåäèíÿâà ñå êúì “ Ëåãîðåòà àðõèòåêòîñ” êàòî äèðåêòîð ïðîåêòè è ðàáîòè âúðõó ïðîåêòèòå “ Åë Êëóá äå Áàíêóåðîñ” è “Ïàïàëîòå ìóçåî äåë Íèíüî” â ãð. Ìåêñèêî. Ðàáîòè âúðõó æèëèùíè ïðîåêòè âúâ Âàëå äå Áðàâî, Ìåêñèêî.

1991 ã. - ïàðòíüîð è ãëàâåí äèçàéíåð â “Ëåãîðåòà Àðõèòåêòîñ”, âå÷å ”Ëåãîðåòà+Ëåãîðåòà”.

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CAMINO REAL HOTEL MONTERREY Winner of the National Prize 2007 - Tourism Category, given by the Mexican Association of Interior Design

Client Camino Real Monterrey Location Monterrey, Nuevo Leon, Mexico Site Area 70,934 SqFt. Construction Area 365,972 SqFt. Date of Completion January 2007 Architecture LEGORRETA + LEGORRETA Ricardo Legorreta, Victor Legorreta, Noe Castro,Miguel Almaraz, Adriana Ciklik, Carlos Vargas Structural Design Izquierdo Ingenieros Y Asociados SC. Electric Design Piesa S. A. De C. V. Plumber Design Garza Maldonado Y Asociados S.C. Contractor Prodemex Photographer Lourdes Legorreta, Allen Vallejo

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10 The project intends to satisfy the need of accommodation of executives, in an area of high development like Monterrey, offering commodity and tranquility for any guest in a city hotel, whether he is a national citizen or a foreigner.

The architectural concept is set out to take advantage, in the best way, of the views and sunlight. Some holes were made on the facades which lessen its rigidity and the monotony of the buildings; they also work in order to have better views.

The lot designated for this project is located in the municipality of San Pedro Garza Garcia, in Nuevo Leon and inside the commercial micro zone of Valle Oriente. It is adjacent to a shopping mall and across the street from a hospital; the project intends to link the three buildings by bridges.

It has an area of 53,800 sqft. The main access to the hotel has a fountain which ends up at the motor lobby. In the inside, there is a lobby of 4 levels giving presence and solemnity to the reception area.

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15 This hotel has 202 rooms including single rooms, double rooms, suites and a presidential suite.

There are two levels of underground parking with a capacity of 218 cars of which 8 are sized for handicapped cars to go along with the requirements of the project.

It has two restaurants, one is part of the services of the hotel and the other is a concession which has an independent entrance.

Places to spread out and for activities are proposed for the comfort of the guests. A room for conventions which can be subdivided makes the space very flexible. There is a gym, a pool, and a business center, among the hotel amenities.

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CAMINO REAL HOTEL MONTERREY

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CLIENT The College of Santa Fe LOCATION Santa Fe, New Mexico SIZE 52,000 SqFt. Nature of the Work Master Planning, Architectural & Interiors DATE OF COMPLETION April 1999 DESIGN ARCHITECT LEGORRETA + LEGORRETA Ricardo Legorreta, Victor Legorreta, Noe Castro, Miguel Almaraz EXECUTIVE ARCHITECT Lloyd and Tryck INTERIOR DESIGN LEGORRETA + LEGORRETA Lloyd & Tryk GENERAL CONTRACTOR Bradbury & Stamm STRUCTURAL Red Mountain Engineers MECHANICAL Bridges and Paxton ELECTRICAL Bridges and Paxton LANDSCAPING Desing Workshop PHOTOGRAPHY Lourdes Legorreta

COLLEGE OF SANTA FE AWARDS 1999 AIA New Mexico Design Award 1999 The Chicago Athenaeum Architecture Award 1999 Grand Winner Exterior Award

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24 Over the past years the City of Santa Fe has rapidly become the third most important city regarding art in USA, increasing day to day the number of museums and art galleries. For this reason, the College of Santa Fe has set out to create a program to convert the College in one of the leading art schools worldwide. The goal is to attract the best students and recruit the best professors.

To achieve this, they recognize that a good arts program is not sufficient. It is necessary to have a world class building that will be a symbol of pride and academic excellence.

Before design started, we recommended the College to prepare a Master Plan for future development and take advantage that the Visual Arts Center was going to be built; this way they could set the tone for future development.

The reason for this is that the existing Campus has developed without Master Plan, collecting a diversity of buildings scattered everywhere.

The College intends to build the Visual Arts Center in two phases. The 52,000-square-foot center built as part of phase I, is a complex of five structures (The Marion Center for the Photographic Arts, The Art History Center, Tishman Hall, Tipton Lecture Hall and The Santa Fe Art Institute) connected by courtyards. Every department has a different personality, so instead of doing just one building, we built a town inspired by the concept of a little pueblo.

The concept is pretty much driven by the programmatic and philosophical needs of the College. The need of unity and individuality is very important. Each and every department need to be easily recognized, with open spaces for students to meet, interact and exhibit their work.

Located on the south side of the complex, The Art History Center houses the public uses for the College of Santa Fe Visual Arts Center. Faculty offices, classrooms, seminar rooms, conference room and the visual resource library, border and wrap around a courtyard. In the middle, the Art History library sits alone as a sculpture, bringing drama and excitement to the courtyard.

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29 Tishman Hall, the only structure in two levels has painting and drawing studios, the teachers lounge and faculty offices.

Tipton Lecture Hall is a small auditorium for 100 people that sits alone as an independent structure. Only connected by a portico, that's part of the general circulation, it is used not only by students of the Arts Center, but also by students of other schools. Different activities take place there such as: lectures, theater, movies and seminars.

The Santa Fe Art Institute has 12 bedrooms for students, 4 studios, conference room, a courtyard for eating outdoors and exhibiting art, library, living room and offices. During the school program, the Art Institute provides the opportunity for selected students to work in an atelier setting with internationally acclaimed masters of the stature of Larry Bell, Helen Frankenthaler and Fritz Scholder in a variety of visual arts disciplines.

Even though the Campus is outside the limits of the historical center, we were extremely careful not to offend the city or the landscapes, therefore we took a conscious decision of creating a horizontal building with a residential scale.

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Client N/A Location HA, USA Size 17,400 Sqft Date of Completion 2005 Architecture LEGORRETA + LEGORRETA Ricardo Legorreta, Victor Legorreta, Noe Castro, Miguel Almaraz, Adriana Ciklik, Carlos Vargas Associate Architect Marcela Cortina Executive Architect Shah Kawasaki Architects Contractor KKCC Keahou Kona Construction Company Photographer Lourdes Legorreta, Marcela Cortina, Richard Snyder

KONA HOUSE

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The house is located in the middle of a black lava desert on the northwest coast of an island called "Big Island" in Hawaii. From the site of the house, wonderful views of the Pacific Ocean can be enjoyed.

The clients, a couple of Americans in love with the Mexican contemporary architecture and the work of Legorreta + Legorreta since many years, contacted us to design their rest house.

In the design process, the views, the contact with the sea and the nature had great importance, as well as the relation between the interior and the exterior. For those reasons, the house is characterized by its simplicity, its patios, as well as the use of the water in pools and water mirrors.

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The water, in its different representations, water mirrors, pools and sea, is always included in the design.

For the interior of the house, several pieces were imported from Mexico: the stone for the floors, stone tables, washbasins, onix lamps, as well as other elements.

The process of design and construction was very stimulating.

Legorreta + Legorreta enjoyed working with a great team, American specialists of all the disciplines, achieving a house of an impressive quality.

One of the most valuable elements of this process was the great friendship that settled down with the clients.

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From the patio, because of the relation between the interior and exterior areas, the Pacific Ocean can be watched through the living room and a terrace.

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The house was mainly designed on one level to stay in close contact with the site. From the street, an access tower can be viewed which leads to an interior patio with a big water mirror and an inverted black lava pyramid. With this design, the patio becomes a sculptural space.

From here, you can go to the main space that is the social area, the living room and the dining room, or, can go to an apartment that consists of a living room, a dining room, a little kitchen, a bedroom and a bathroom, or to stairs that take you to one of the bedrooms of the upper floor.

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The living room is a space of great height that is characterized by its curved ceiling that seems to be floating. From there, you can enter, towards the left, to the master bedroom, an office and two guestrooms, one of them floating on a black lava water mirror and the other, in a second level, with a terrace that enjoys the views to the maximum.

Through a gallery you arrive to a pool with a bougainvillea colored vault.

38 The site is located on a hill side overlooking the city of Sao Paulo. The project takes advantage of the natural site grading, creating spectacular views and keeping a sense of privacy.

The project is divided in 3 levels. All services and car park are on the underground level; pedestrian access from the street is through an open courtyard with native landscape and art that connects with the car park for an everyday use.

Client NA Location Morumbi Sao Paulo, Brasil Date of Completion 2007 Built area 19,697 SqFt. Site area 21,635 Sqft.

Architecture Legorreta + Legorreta Ricardo Legorreta, Victor Legorreta, Noe Castro, Miguel Almaraz, Adriana Ciklik, Carlos Vargas Executive Architect Gui mattos Arquitectura Interior Design Legorreta + Legorreta Lanscape Bonsai Paisanismo Contractor Metodo Engenharia Photographer Cristiano Mascaro

HOUSE IN MORUMBI

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42 The main entry is through a double height gallery as a hall to the public areas on this level such as living room, library, dining room, music room, projection room and kitchen. The gallery's angle opens up to the terrace, exterior dining and pool area. Most of the year this will be the main gathering space of the house.

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The stair, towards the upper floor from the gallery, leads to the family room; it has an open terrace overlooking the pool. The roof on this area is an important element of the project as it covers the gallery below and the family room, extending over the terraces on both levels, giving solar protection to the large windows.

On the upper floor are placed private and more intimate areas; a bridge over the gallery leads to the master bedroom.

The children's bedrooms are distributed around a long vestibule with a glass roof, adjacent to the family room.

The house is broken into different volumes linked by the central higher roof. Special interest has been given to integrate indoor and outdoor spaces and views to the beautiful garden and courtyards.

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The pool separates the garden from the terrace. A pavilion located in the garden can be used as a den or a guest room. Water is an important element as fountains blend with the pool and link the main structure with the pavilion.

Views from the interior spaces on this level were studied to create different environments for each.

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Located in the city of Puebla and belonging to the Master Plan “Paseo San Francisco”, the Boutique Hotel has colonial heritage and is registered as historical patrimony, which must be respected and included as part of the new design project. The building used to be an ice factory where the water was bottled and purified.

Taking this into consideration, the Boutique hotel also called “Hotel La Purificadora” was designed with the following facilities: 26 guestrooms, reception-shop, restaurant-bar, kitchen, ballrooms for events, patio with a 4-floor-height, meeting rooms, offices and a cave.

The amenities include a pool, terrace for events, gym, jacuzzi, massage and a steam room.

The project consists of a large lateral patio which is surrounded by a L-shape building in each level: on the ground floor, working as a living room, it is a prolongation of the height of the restaurant-bar and the reception-shop; in 2nd and 3rd floor, it is an empty space that separate the circulations from the rooms and on the 4th floor limiting the amenities zone. The height of the patio is partially covered by a rooftop.

The facades have the same treatment as the old walls had, plaster and stone all the length of them.

LA PURIFICADORA BOUTIQUE HOTEL

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Client Plus Arrendamientos Location Puebla, Mexico Size 32,290 Sqft Date of Completion 2007 Architecture LEGORRETA + LEGORRETA Ricardo Legorreta, Victor Legorreta, Miguel Almaraz, Adriana Ciklik, Carlos Vargas Associate Architect Serrano Monjaraz Arquitectos Interior Design LEGORRETA + LEGORRETA Serrano Monjaraz Arquitectos Graphic Design CENTRO Art Laureana Toledo Structural Design Garcia Jarque Ingenieros, SC. Electrical, Hidro-sanitary, air conditioning and special systems Proyectos de Ingenieria Electrica y Sistemas Automatizados S.A. de CV. Photography Lourdes Legorreta, Undine Prohl

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RESIDENTIAL COMPOUND ZOCALO

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This residential compound is located at the North end of Santa Fe. It is formed by 350 units, a Club House, a Spa, retails and play areas. Small units with superior quality finishes and spaces are divided in town homes, executive town homes and condominiums.

The overall plan is very sensitive to the site's topography, respecting natural arroyos and ridges, giving the complex the feeling of an old “pueblo�, where you can walk through common spaces having always visual contact with nature. The main access is in the South side of the

site, where the Club House, retails and mailboxes are located.

Town homes are aligned along the roads. Even though they have spectacular views, they still keep their intimacy. Cloisters are formed by small groups of executive town homes, with a common patio giving privacy. Condominiums are concentrated on the North side of the site, surrounding a park. Common and private areas are specially landscaped, leaving the rest of the site with its native vegetation. The unit mix refers to the market demand in Santa Fe.

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Client Housing Solutions Location Santa Fe, NM, USA Size 492,534 Sqft Date of Completion Phase 1: 2002 Phase 2: 2005 Phase 3: under design Architecture LEGORRETA + LEGORRETA Ricardo Legorreta , Victor Legorreta ,Noe Castro, Miguel Almaraz , Adriana Ciklik, Carlos Vargas Executive Architect Dekker / Perich / Sabatini Land Planner Richard Gorman & Associates, Inc. Civil Engineer Tierra Engineering Consultants, Inc. Landscape Architecture In Situ Photographer Lourdes Legorreta

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Client University of California in San Francisco Location San Francisco, CA, USA Size 156,860 Sqft Date of Completion 2005 Architecture LEGORRETA + LEGORRETA Ricardo Legorreta, Victor Legorreta, Noe Castro, Miguel Almaraz, Adriana Ciklik, Carlos Vargas Executive Architect MBT Architecture Structural Engineer Forell/ Elsesser Electrical Design Glumac Landscape Peter Walker & Partners General Constractor Hensel-Phelps Photographer Lourdes Legorreta

UCSF COMMUNITY CENTER

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72 A high quality campus life promotes optimal learning and efficient work performance, enhances the recruitment and retention of faculty staff and students, and makes the campus a desirable place to work, learn and visit.

Located in one of the largest developments of San Francisco, the UCSF Mission Bay Campus Community Center has been conceived to be the heart of the campus, where students, faculty and community come together to enjoy, socialize and interact.

Projected to have about 2000 people in the first phase and about 9100 when completed, the four-stories 156,000 gross sqft building combine a variety of uses in a single structure.

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The diverse program combines such facilities as a fitness complex, a conference center with an auditorium for 400 people, a gymnasium with basketball and volleyball courts, swimming pools (one indoor and the others outdoors), dining and food facilities, offices and retail space, all of which are organized around an atrium.

Topped by a dramatic skylight that allow natural light into the building, the atrium serves as an orienting point, assembling the different spaces and helping the users to establish a visual connection within the building.

The first floor is formed by different program uses: the main food services which face directly towards the green, the fitness center which faces the tennis courts, the game room and the library; are all structured around the atrium.

Connected to the first floor by a grand stair, the second floor has an indoor pool with locker rooms for men and women, student services, office space and an auditorium which is capable of seating 400 people and sub-dividable if necessary into small break out rooms.

The third floor accommodates another part of the student services; this

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EDUCATION CITY Client Qatar Foundation and Qatar Petroleum Location Doha, Qatar Architecture LEGORRETA + LEGORRETA Ricardo Legorreta, Victor Legorreta, Noe Castro, Miguel Almaraz, Adriana Ciklik, Carlos Vargas

The Carnegie Mellon Business and Computer Science College is located on a site crossed by one of the main pedestrian promenade (Green Spine) of the Master Plan.

This situation called for a unique solution where the Green Spine had to pass through the building. The project has been developed as a rectangular building along the north side of the promenade and a semi-circular building on the south side that creates, in the center, an atrium connected to the Green Spine. Both part of the building are connected to each other by bridges on the upper levels over the Green Spine while the ground floor remains open for pedestrian traffic.

The rectangular part of the building as the circular one are designed as a series of volumes which house the classrooms, the laboratories and the lecture halls and are separated from each other by outdoor courtyards. This succession of indoor and outdoor spaces creates an environment where teachers and students can interact. Offices are located along the main circulations except for the administration area which is located around a private courtyard. Special areas like the food court, the library and the lounges are in direct relation with the central atrium. This space like the Green Spine and the courtyards is covered at roof level with pergolas. Instead of blocking out all sunlight, these elements of shading play with it differently according to the time of the day.

The Qatar Foundation Education City is an exciting and ambitious project spearheading by Sheika Mozah, the second wife of the Emir. It will be the keystone for future educational projects in the Middle East and other parts of the world. The Education City will be composed of various unique buildings designed by architects selected from around the world. At the moment most of them have yet to be built.

The Master plan, designed by Arata Isosaki, is a harmonious blend of architecture and exterior spaces. The main feature are the Green Spines crossing from north to south as well as from east to west.

Legorreta + Legorreta was selected to design the Texas A&M Engineering College (592,000 sqft), the Carnegie Mellon Business (430,550 sqft) and Computer Science College, the George Town School of Foreign Service (40,000 sqft) as well as the Student Centre (346,404.17 sqft). The design of the courtyards and public spaces enhances the interaction between students and faculty staff. Circulations stimulate movement around the building and informal meeting spaces are created.Traditional concepts of Islamic architecture such as arcades, courtyards and fountains are integrated in the project.

The Carnegie Mellon Business and Computer Science College

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EDUCATION CITY

Georgetown University's' Campus The Georgetown University's' Campus in Qatar of the Edmund A. Walsh School of Foreign Service, is integrated within the northern side of the Education City Campus. The adjacent building to the West will be the Central Library, to the Southwest the Student Center, south lies the Heritage Ruin and a Park with a strong visual and conceptual connection achieved by landscape design and orientation of the building.

The mayor design intent is to brake down the monumentally of the overall building to a more human scale to make the student feel comfortable and transmit an atmosphere like feeling at home.

The building is a composition of various smaller departments in order to give it a village-like character. All parts of the building are connected to the Common Space, the core of School of Foreign Service. One of the main accesses which leads directly to the Common Space. The entrance is connected by pleasant pedestrian walk-with sculptures - to the Green Spine on the South, operated by the People Mover.

Landscaped courtyards and atria spaces interspersed throughout the complex of the building are intended to bring a tranquil feeling to the day to day activities and promote a sense of intimacy within the spaces that are orientated towards look onto these richly landscaped oases.

Special attention is given to the outdoor environment. Water features refreshes and ventilate the spaces around them. A cactus garden will be located along the north facade and will mark the transition between the desert and formally designed areas. Courtyards compliments adjacent building functions and will be used for informal recreation and pleasant transition zones.

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EDUCATION CITY

Student Center The Student Center is a project that will provide a home away from home for all Education City students. It should provide a vibrant environment promoting social and cultural interaction. This multi functional building will offer diverse services to students in areas such as Student Health Care, Student Counseling Services, Financial Aid and Housing, as well as Recreational Spaces and ambitious integral complementary programs such as Culture and Sports. Projected to support more than 10,000 with 50% students targeted to be in place within the next 4 to 5 years. The main purpose of this urban node is to provide a familiar, relaxing and playful environment where the students enclosed under this university life and international oriented profile will be working together with people from all over the world under this unity sense of life.

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EDUCATION CITY

The Texas A&M Engineering College, consists of two main buildings, an Academic Quadrangle and a Research Octagon.

The Academic Quadrangle houses four engineering faculties (Chemistry, Mechanical, Electrical and Petroleum) and is designed around four courtyards. The common areas like the library and student facilities are located in a 82 feet high central tower. The central tower is connected by office arms with the Quadrangle.

The main entrance is announced by another 82 feet high monumental tower located on the east side of the Academic Quadrangle. Lecture Halls and Classrooms are designed as figurative elements connecting at the north and the south with the Academic Quadrangle.The Research building consists of four laboratory wings that are designed around a large open atrium. Offices are located around the perimeter of this atrium to allow easy interaction.Both buildings are connected by a link atrium featuring a series of bridges and vertical circulation. A lower floor houses all technical rooms.

Texas A&M Engineering College

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Õîòåëúò å ðàçïîëîæåí â äîáðå ðàçâèòà çîíà íà Ìîíòåðåé è ïðåäëàãà óñëóãè è ñïîêîéñòâèå çà âñåêè ãîñò, íåçàâèñèìî äàëè òîé å ìåñòåí æèòåë èëè ÷óæäåíåö.

Õîòåë Êàìèíî Ðèàë â Ìîíòåðåé

08

Àðõèòåêòóðíàòà êîíöåïöèÿ íà ïðîåêòà èìà çà öåë äà áúäàò èçïîëçâàíè ïî íàé-äîáðèÿ íà÷èí ìåñòíîñòòà, èçãëåäà è ñëúí÷åâàòà ñâåòëèíà. Ôàñàäàòà íà õîòåëà å ðàç÷óïåíà ñ äåêîðàòèâíè îòâîðè, êîèòî íàìàëÿâàò íåéíàòà ñòðîãîñò è ìîíîòîííîñò. Ïàðöåëúò ñ ïëîù 16398 êâ.ì, ïðåäíàçíà÷åí çà ïðîåêòà, ñå íàìèðà â îáùèíàòà Ñàí Ïåäðî Ãàðöà Ãàðñèà â Íóåâî Ëåîí, â òúðãîâñêàòà ìèêðîçîíà íà Âàëå

Îðèåíòå. Ðàçïîëîæåí å áëèçî äî òúðãîâñêè öåíòúð, à îò äðóãàòà ñòðàíà íà óëèöàòà èìà áîëíèöà. Ïðîåêòúò å ñâúðçàí ñ òðèòå ñãðàäè ÷ðåç ìîñòîâå. Íà âõîäà êúì õîòåëà å ðàçïîëîæåí êðàñèâ ôîíòàí. Ôîàéåòî å íà ÷åòèðè íèâà, êîåòî ïðèäàâà òúðæåñòâåíîñò â çîíàòà íà ðåöåïöèÿòà. Õîòåëúò ðàçïîëàãà ñ 202 ñòàè, êàòî âêëþ÷âà åäèíè÷íè è äâîéíè ñòàè, îáèêíîâåíè àïàðòàìåíòè è ïðåçèäåòñêè àïàðòàìåíò.

Ïîäçåìíèÿò ïàðêèíã å íà äâå íèâà ñ êàïàöèòåò çà 218 êîëè, 8 îò ïàðêèíã ìåñòàòà ñà ïðåäíàçíà÷åíè çà êîëè çà õîðà ñ óâðåæäàíèÿ. Õîòåëúò ðàçïîëàãà ñ äâà ðåñòîðàíòà, åäèíèÿò îò òÿõ èìà ñàìîñòîÿòåëåí âõîä. Çà óäîáñòâîòî íà ãîñòèòå ñå ïðåäëàãàò ðàçëè÷íè çàáàâëåíèÿ è äåéíîñòè: ãèìíàñòè÷åñêè ñàëîí, áàñåéí, áèçíåñöåíòúð.

Êîëåæ â Ñàíòà Ôå

Íàãðàäè 1999 AIA New Mexico Design Award 1999 The Chicago Athenaeum Architecture Award 1999 Grand Winner Exterior Award

Ïðåç ïîñëåäíèòå ãîäèíè Ñàíòà Ôå ñå óòâúðäè êàòî òðåòèÿ ïî âàæíîñò ãðàä çà èçêóñòâî â USA, óâåëè÷àâàù äåí ñëåä äåí áðîÿ íà ñâîèòå ìóçåè è ãàëåðèè. Ïî òàçè ïðè÷èíà êîëåæúò â Ñàíòà Ôå ñè å ïîñòàâèë çà çàäà÷à äà ñå ïðåâúðíå â åäíî îò âîäåùèòå ó÷åáíè çàâåäåíèÿ çà èçêóñòâà â ñâåòà. Öåëòà å äà ñå ïðèâëåêàò íàé-äîáðèòå ñòóäåíòè è äà ñå ïîäáåðàò íàé-äîáðèòå ïðîôåñîðè. Çà äà ñå ïîñòèãíå òîâà òå ïðèçíàâàò, ÷å äîáðà ïðîãðàìà íå å äîñòàòú÷íà. Íåîáõîäèìî å äà èìàò ñãðàäà íà ñâåòîâíî íèâî, êîÿòî äà áúäå ñèìâîë íà ãîðäîñò è àêàäåìè÷íî îòëè÷èå. Ïðåäè äà çàïî÷íå ïðîåêòèðàíåòî íèå ïîñúâåòâàõìå êîëåæà äà ïîäãîòâè ìàñòúð-ïëàí çà áúäåùî ðàçâèòèå è äà ñå âúçïîë-

çâà îò ïðåèìóùåñòâîòî, ÷å ùå ñå ñòðîè Visual Arts Center. Ïî òîçè íà÷èí ùå ñå äàäå òîí çà áúäåùîòî ðàçâèòèå. Ïðè÷èíàòà çà òîâà áåøå, ÷å ñúùåñòâóâàùèÿò êàìïóñ å ñòðîåí áåç ìàñòúð ïëàí, îáåäèíÿâàéêè ðàçíîîáðàçíè ñãðàäè, ðàçïðúñíàòè íàâñÿêúäå. Êîëåæúò èìà íàìåðåíèå äà ïîñòðîè Visual Arts Center â äâå ôàçè.

52 000 êâ.ôóòà öåíòúð êàòî ïúðâà ÷àñò îò ôàçà 1 å êîìïëåêñ îò ïåò ñòðóêòóðè (The Marion Center for the Photographic Arts, The Art History Center, Tishman Hall, Tipton Lecture Hall and The Santa Fe Art Institute), ñâúðçàíè ÷ðåç îáùè äâîðîâå. Âñåêè äåïàðòàìåíò èìà ðàçëè÷íà ëè÷íà õàðàêòåðèñòèêà, òàêà ÷å âìåñòî äà ñå íàïðàâè ñàìî åäíà ñãðàäà, íèå ïîñòðîèõìå ãðàä, âäúõíîâåí îò èäåÿòà çà ìàëêî èíäèàíñêî ñåëèùå. Êîíöåïöèÿòà å ìîòèâèðàíà îò ïðîãðàìíèòå è ôèëîñîôñêè íóæ-

îñíîâíàòà öèðêóëàöèÿ, òîé íå å ïîëçâàí ñàìî îò ñòóäåíòè íà Arts Center, íî è îò äðóãè ó÷åáíè çàâåäåíèÿ. Ðàçëè÷íè äåéíîñòè ñå îðãàíèçèðàò òàì - ëåêöèè, òåàòúð, ôèëìè è ñåìèíàðè.

The Santa Fe Art Institute ðàçïîëàãà ñ 12 ñïàëíè çà ñòóäåíòè, 4 ñòóäèÿ, êîíôåðåíòíà çàëà, äâîð, áèáëèîòåêà, õîë è îôèñè. Ïî âðåìå íà ó÷åáíàòà ïðîãðàìà Art Institute äàâà âúçìîæíîñòòà íà îïðåäåëåíè ñòóäåíòè äà ðàáîòÿò â àòåëèå íà ñâåòîâíîèçâåñòíè ìàéñòîðè îò ðàíãà íà Larry Bell, Helen Frankenthaler è Fritz Scholder â ðàçëè÷íè îáëàñòè íà âèçóàëíîòî èçêóñòâî. Ìàêàð ÷å êàìïóñúò å èçâúí ãðàíèöèòå íà èñòîðè÷åñêèÿ öåíòúð, íèå áÿõìå èçêëþ÷èòåëíî âíèìàòåëíè äà íå íàðàíèì ãðàäà èëè îêîëíàòà ñðåäà è çàòîâà âçåõìå ñúçíàòåëíîòî ðåøåíèå äà ïîñòðîèì õîðèçîíòàëíè ñãðàäè ñ ìàùàáèòå íà æèëèùíè ñãðàäè.

òàòà íà Legorreta + Legorreta îò ìíîãî ãîäèíè, ñå ñâúðçàõà ñ íàñ äà ïðîåêòèðàìå òÿõíàòà êúùà çà ïî÷èâêà.  ïðîöåñà íà ïðîåêòèðàíå, ãëåäêèòå, êîíòàêòúò ñ ìîðåòî è ïðèðîäàòà èìàõà îãðîìíî çíà÷åíèå, êàêòî è âðúçêàòà ìåæäó èíòåðèîð è

åêñòåðèîð. Ïî òåçè ïðè÷èíè êúùàòà å ñåìïëà ñ âúòðåøåí äâîð, ñ âîäíè áàñåéíè îãëåäàëà. Êúùàòà ñå ðàçâèâà ãëàâíî íà åäíî íèâî, çà äà îñòàíå â áëèçúê êîíòàêò ñ ìÿñòîòî. Âúâ âúòðåøåí äâîð èìà ãîëÿìî âîäíî îãëåäàëî è îáúðíà-

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KONA HOUSE

Êúùàòà å ðàçïîëîæåíà ñðåä ïóñòèíÿ, ôîðìèðàíà îò

äè íà êîëåæà. Íóæäàòà îò îáåäèíåíèå è èíäèâèäóàëíîñò å ìíîãî âàæíî. Âñåêè äåïàðòàìåíò èìà íóæäà äà áúäå ëåñíî ðàçïîçíàò, ñ îòâîðåíè ïðîñòðàíñòâà, ñ âúçìîæíîñò çà ñòóäåíòèòå äà ñå ñðåùíàò, ðàçâèâàò è äà ïðåäñòàâÿò ñâîÿòà ðàáîòà. Ðàçïîëîæåí íà þæíàòà ñòðàíà íà êîìïëåêñà, Art History Center ïðèþòÿâà ïóáëè÷íèòå íóæäè çà êîëåæà íà Ñàíòà Ôå Visual Arts Center, îôèñèòå, êëàñíèòå ñòàè, ñåìèíàðíèòå è êîíôåðåíòíèòå çàëè è áèáëèîòåêàòà çà âèçóàëíè ïðîó÷âàíèÿ.

Tishman Hall, å åäèíñòâåíàòà ñòðóêòóðà íà äâà åòàæà, â êîÿòî ñå íàìèðàò ñòóäèÿ çà ðèñóâàíå, ó÷èòåëñêàòà ñòàÿ çà îòäèõ è îôèñèòå íà ôàêóëòåò.

Tipton Lecture Hall å ìàëúê àóäèòîðèóì çà 100 ÷îâåêà, êîèòî å îòäåëåí êàòî ñàìîñòîÿòåëíà ñòðóêòóðà. Ñâúðçàí åäèíñòâåíî ñ ïîðòèê, êîéòî å ÷àñò îò

÷åðíà ëàâà íà Ñåâåðî-çàïàäíîòî êðàéáðåæèå, íàðå÷åíî Big Island â Hawaii. Îêîëî êúùàòà ìîãàò äà áúäàò íàáëþäàâàíè ïðåêðàñíè ãëåäêè êúì Òèõèÿ îêåàí. Êëèåíòèòå, äâîéêà âëþáåíè â ñúâðåìåííàòà ìåêñèêàíñêà àðõèòåêòóðà è ðàáî-

òà ïèðàìèäà îò ÷åðíà ëàâà. Ñ òîçè äèçàéí âúòðåøíèÿò äâîð ñòàâà ñêóëïòóðíî ïðîñòðàíñòâî. Îòòóê ìîæåòå äà îòèäåòå äî îñíîâíîòî ïðîñòðàíñòâî, - õîëúò è òðàïåçàðèÿòà èëè ìîæå äà ñå ñòèãíå äî àïàðòàìåíò, ñúñòîÿù ñå îò õîë, òðàïåçàðèÿ, ìàëêà êóõíÿ, ñïàëíÿ è áàíÿ, ñòúëáèùå âîäè äî åäíà îò ñïàëíèòå íà ãîðíèÿ åòàæ. Òèõèÿò îêåàí ìîæå äà áúäå

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íàáëþäàâàí îò õîëà è åäíà òåðàñà. Õîëúò å âèñîê ñúñ çàîáëåíè òàâàíè, êîèòî ñÿêàø ïëàâàò. Îòòàì ìîæå äà ñå âëåçå íàëÿâî êúì ãëàâíàòà ñïàëíÿ, îôèñúò è äâåòå ñòàè çà ãîñòè. Åäíàòà îò òÿõ å ïëàâàùà íà âîäíî îãëåäàëî íàä ÷åðíà ëàâà. Äðóãàòà íà âòîðî íèâî å ñ òåðàñà, êîÿòî äàâà ìàêñèìàëíà âúçìîæíîñò çà íàñëàæäàâàíå íà ãëåäêàòà.

Ïðåç êîðèäîð ñå ñòèãà äî áàñåéíà ñúñ ñâîä. Âîäàòà â ðàçëè÷íèòå ñè ôîðìè - âîäíè îãëåäàëà, áàñåéíè è ìîðåòî - å íåîòìåííà ÷àñò îò ïðîåêòèðàíåòî. Çà èíòåðèîðà íà êúùàòà, îòäåëíè åëåìåíòè ñà âíåñåíè îò Ìåêñèêî - êàìúêúò çà ïîäîâàòà íàñòèëêà, êàìåííè ìàñè, óìèâàëíèöè, ëàìïè è äð.

&% Ïðîöåñúò íà ïðîåêòèðàíå è ñòðîèòåëñòâî áåøå ìíîãî ñòèìóëèðàù.

Legorreta + Legorreta ðàáîòåøå ñ óäîâîëñòâèå ñúñ ñòðàõîòåí åêèï àìåðèêàíñêè ñïåöèàëèñòè îò âñè÷êè îáëàñòè, èçãðàæäàéêè êúùà ñ âïå÷àòëÿâàùî êà÷åñòâî. Åäèí îò íàé-öåííèòå åëåìåíòè îò òîçè ïðîöåñ å ïðèÿòåëñòâîòî, êîåòî ñå èçãðàäè ìåæäó êëèåíòèòå è åêèïà.

Êúùà â Ìîðóìáè Ïàðöåëúò å ðàçïîëîæåí íà õúëì ñ èçãëåä êúì ãðàä Ñàî Ïàîëî. Ïðîåêòúò å ñúîáðàçåí ñ åñòåñòâåíàòà êðàñîòàòà íà ìÿñòîòî è âúëíóâàùèòå ãëåäêè, êàòî çàïàçâà óñåùàíåòî çà óåäèíåíèå. Êúùàòà å ïðîåêòèðàíà íà òðè íèâà. Âñè÷êè óñëóãè è ïàðêèíãúò ñà ðàçïîëîæåíè íà ïîäçåìíî íèâî. Ïåøåõîäíèÿò äîñòúï êúì êúùàòà ñå îñúùåñòâÿâà îòêúì óëèöàòà ïîñðåäñòâîì îçåëåíåí

äâîð . Ïîäçåìíèÿò åòàæ å ñâúðçàí ñ ïðèçåìíèÿ ñúñ ñòúëáà. Îñíîâíèÿò âõîä ìèíàâà ïðåç êîðèäîð ñ äâîéíà âèñî÷èíà , êîéòî âîäè êúì äíåâíèòå çîíè íà òîâà íèâî- âñåêèäíåâíà, áèáëèîòåêà, òðàïåçàðèÿ, ñòàÿ çà ìóçèêà, ñòàÿ çà ïðîåêòèðàíå è êóõíÿ. Êîðèäîðúò âîäè êúì òåðàñà, âúíøíà òðàïåçàðèÿ è áàñåéí. Ïðåç ïîãîëÿìàòà ÷àñò îò ãîäèíàòà òîâà ùå áúäàò îñíîâíèòå ïðîñòðàíñòâà çà ñðåùà è îáùóâàíå. Áàñåéíúò ðàçäåëÿ ãðàäèíàòà îò òåðàñàòà. Ïàâèëèîíúò, ðàçïîëîæåí â ãðàäèíàòà, ìîæå äà áúäå

èçïîëçâàí êàòî ðàáîòíà ñòàÿ èëè ñòàÿ çà ãîñòè. Âîäàòà å îñíîâåí åëåìåíò òóê, ôîíòàíèòå ñà äîáðå ñú÷åòàíè ñ áàñåéíà è ñâúðçâàò îñíîâíàòà ñòðóêòóðà ñ ïàâèëèîíà. Ñòúëáèùåòî, êîåòî å ñâúðçàíî ñ êîðèäîðà, âîäè êúì ñåìåéíàòà ñïàëíÿ, êúì êîÿòî èìà îòêðèòà òåðàñà ñ èçãëåä êúì áàñåéíà. Ïîêðèâúò â òàçè ÷àñò íà êúùàòà å âàæåí åëåìåíò, òúé êàòî ïîêðèâà öåëèÿ êîðèäîð,ñåìåéíàòà ñòàÿ, ðàçøèðÿâà ñå êúì òåðàñèòå íà äâåòå íèâà è ïðåäïàçâà îò ñëúí÷åâèòå ëú÷è.Íà ãîðíèÿ åòàæ

ñà ðàçïîëîæåíè ïî óåäèíåíèòå çîíè, à ñïåöèàëåí ìîñò íàä ãàëåðèÿòà âîäè êúì ñåìåéíàòà ñïàëíÿ. Äåòñêèòå ñïàëíè ñà ðàçïðåäåëåíè îêîëî äúëãî ïðåääâåðèå ñúñ ñòúêëåí ïîêðèâ è ñà áëèçî äî ñïàëíÿòà íà ðîäèòåëèòå. Êúùàòà å ðàç÷óïåíà íà ðàçëè÷íè îáåìè, êîèòî ñå îáåäèíÿâàò â ïî-âèñîêèÿ öåíòðàëåí ïîêðèâ. Ñïåöèàëíî âíèìàíèå å îòäåëåíî, çà äà ñå èíòåãðèðàò âúòðåøíèòå è âúíøíèòå ïðîñòðàíñòâà è äà ñå ïîä÷åðòàÿò êðàñèâèòå ãëåäêè êúì ãðàäèíàòà è äâîðà.

Áóòèêîâ õîòåë Ïóðèôèêàäîðà

Õîòåëúò å ðàçïîëîæåí â ãðàä Ïóåáëà, êîéòî ïðèíàäëåæè íà ìàñòúð ïëàíà Paseo San

Francisco . Áóòèëêîâèÿò õîòåë å ÷àñò îò êîëîíèàëíîòî íàñëåäñòâî è å ðåãèñòðèðàí êàòî èñòîðè÷åñêè ïàìåòíèê, êîåòî å âçåòî ïîä âíèìàíèå ïðè íîâîòî ïðîåêòèðàíå. Íÿêîãà ñãðàäàòà å áèëà ôàáðèêà çà ïðîèçâîäñòâî íà ëåä, áóòèëèðàíå è ïðå÷èñòâàíå íà âîäà.

Õîòåëúò ðàçïîëàãà ñ 26 ñòàè çà ãîñòè, ðåöåïöèÿ, áàð-ðåñòîðàíò, êóõíÿ, çàëà çà ïðàçíåíñòâà, âúòðåøåí äâîð íà ÷åòèðè íèâà, çàëè çà ñðåùè, îôèñè, áàñåéí, òåðàñà, ïðåäíàçíà÷åíà çà ðàçëè÷íè ñúáèòèÿ, ãèìíàñòè÷åñêè ñàëîí, äæàêóçè, ïîìåùåíèå çà ìàñàæ è ïàðíà áàíÿ.

Ïðîåêòúò âêëþ÷âà ãîëÿì âúòðåøåí äâîð, çàîáèêîëåí îò ñãðàäà ñ L-îáðàçíà ôîðìà çà âñÿêî íèâî. Íà ïðèçåìíèÿ åòàæ ñà ðàçïîëîæåíè áàð-ðåñòîðàíòúò è ðåöåïöèÿòà, íà âòîðèÿ è òðåòèÿ åòàæ ñå íàìèðàò ñòàèòå, íà ÷åòâúðòèÿ åòàæ ñà çîíèòå çà ðåëàêñ. Âúòðåøíèÿò äâîð å ïîêðèò.

Æèëèùåí êîìïëåêñ Äçîêàëî

Ðàçïîëîæåí å â ñåâåðíàòà ÷àñò íà Ñàíòà Ôå . Îáåäèíÿâà 350 ñåêöèè, êëóá-êúùà, SPA öåíòúð, òúðãîâñêè öåíòúð è çîíè çà ðàçâëå÷åíèÿ. Ìàëêèòå ñåêöèè

ñà ðàçäåëåíè íà îòäåëíè äîìîâå è ãðóïè îò êúùè ñ îáùåñòâåíè çîíè ìåæäó òÿõ (êîíäîìèíèóìè). Öåëèÿò ïëàí íà êîìïëåêñà å ïîä÷èíåí íà òîïîãðàôèÿòà íà ìåñòíîñòòà, âçåòè ñà ïðåäâèä åñòåñòâåíèòå ïîòî÷åòà è ïëàíèíñêè âåðèãè, êîåòî ïðèäàâà íà êîìïëåêñà óñåùàíå çà èíäèàíñêî ñåëèùå (ïóåáëî), êúäåòî ñïîêîéíî ìîæå äà ñå ðàçõîæäàòå

ñðåä ïðèðîäàòà. Îñíîâíèÿò äîñòúï êúì êîìïëåêñà ñå îñúùåñòâÿâà îòêúì þæíàòà ÷àñò íà ìåñòíîñòòà, êúäåòî ñà ðàçïîëîæåíè êúùàòà-êëóá, òúðãîâñêèòå ìàãàçèíè è ïîùåíñêèòå êóòèè. Ãðàäñêèòå äîìîâå ñà ïîñòðîåíè ïî ïðîäúëæåíèå íà ïúòÿ. Ìàêàð è äà ïðèòåæàâàò ãðàíäèîçåí âèä, òå çàïàçâàò ñâîÿòà èíòèìíîñò. Ìåæäó ìàëêè ãðóïè îò

êúùè ñà ôîðìèðàíè ãàëåðèè ñ âúòðåøíè äâîðîâå, êîèòî ïðèäàâàò óåäèíåíèå. Êîíäîìèíèóìèòå ñà êîíöåíòðèðàíè â ñåâåðíàòà ÷àñò íà ìåñòíîñòòà îêîëî ïàðê. Îáùåñòâåíèòå è ÷àñòíè çîíè ñà ñïåöèàëíî îçåëåíåíè, îñòàíàëàòà ÷àñò îò ìåñòíîñòòà çàïàçâà åñòåñòâåíèÿ ñè âèä. Êîìïëåêñúò îòãîâàðÿ íà òúðñåíåòî íà ïàçàðà â Ñàíòà Ôå.

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Êàìïóñ îò âèñîê êëàñ ïðåäëàãà îïòèìàëíè âúçìîæíîñòè çà îáðàçîâàíèå è åôåêòèâíà ðàáîòà, óâåëè÷àâà ïðèâëè÷àíåòî è çàäúðæàíåòî íà ïåðñîíàë è ñòóäåíòè è ïðàâè êàìïóñà æåëàíî ìÿñòî çà ðàáîòà, ó÷åíå, ïîñåùåíèå. Ðàçïîëîæåí â åäèí îò íàéãîëåìèòå çàñòðîåíè ðàéîíè íà Ñàí Ôðàíöèñêî, UCSF Mission Bay Campus Community Center å âúçïðå-

UCSF COMMUNITY CENTER

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ìàí êàòî ñúðöåòî íà êàìïóñà, êúäåòî ñòóäåíòèòå, ôàêóëòåòà è îáùåñòâîòî ìîãàò äà ñå ñúáåðàò íà åäíî ìÿñòî è äà ñè âçàèìîäåéñòâàò. Ïðîåêòèðàí å äà ïîåìå 2000 ÷îâåêà íà ïúðâî âðåìå è îêîëî 9100, êîãàòî å çàâúðøåí, ÷åòèðè åòàæíèòå ñãðàäè ñ ïëîù 156 00 êâ. ôóòà êîìáèíèðàò ðàçíîîáðàçèå îò ôóíêöèè â åäíà ñòðóêòóðà - ñúîðúæåíèÿ çà ôèòíåñ, êîíôåðåíòåí öåíòúð ñ àóäèòîðèÿ îò 400 ÷îâåêà, ãèìíàñòè÷åñêè ñàëîí ñ áàñêåòáîëíè è âîëåéáîëíè ïîëåòà, áàñåéíè (âúíøåí è

âúòðåøåí), ìåñòà çà õðàíåíå, îôèñè è òúðãîâñêè ïëîùè, êîèòî ñà ðàçïîëîæåíè îêîëî àòðèóì. Íàé-îòãîðå èìà îòâîð ñ åñòåñòâåíà ñâåòëèíà, âëèçàùà â ñãðàäàòà, àòðèóìà ñëóæè êàòî òî÷êà çà îðèåíòàöèÿ, ñúáèðàùà ðàçëè÷íèòå ïðîñòðàíñòâà è ïîìàãàùà íà ïîòðåáèòåëèòå äà óñòàíîâÿò âèçóàëíà îðèåíòàöèÿ â ñãðàäàòà. Ïúðâèÿò åòàæ å ôîðìèðàí îò ðàçëè÷íè ïðîãðàìíè íóæäè: ìÿñòî çà õðàíåíå, êîåòî å îðèåíòèðàíî êúì çåëåíàòà ÷àñò, ôèòíåñ öåíòúð, êîèòî ãëåäà êúì

òåíèñ êîðòîâå, ñòàÿ çà èãðà è áèáëèîòåêà, ñà âñè÷êè ñòðóêòóðè îêîëî àòðèóìà. Ñâúðçàí ñ ïúðâèÿ åòàæ ÷ðåç ãîëÿìî ñòúëáèùå, âòîðèÿò åòàæ èìà âúòðåøåí áàñåéí ñúñ ñúáëåêàëíè çà ìúæå è æåíè, ñòóäåíòñêè óñëóãè, îôèñè ñ àóäèòîðèóì ñ 400 ìåñòà, êîéòî ñå ðàçáèâà íà ïî-ìàëêè ñòàè ïðè íåîáõîäèìîñò íà òðåòèÿ åòàæ å çäðàâíèÿò öåíòúð. Íà ÷åòâúðòèÿ åòàæ ñãðàäàòà êîìáèíèðà ðàçëè÷íè ïðîãðàìíè çîíè êàòî ãèìíàñòè÷åñêè ñàëîí, òåíèñ êîðòîâå, ñêóîø êîðòîâå.

Qatar Foundation ãðàä çà îáðàçîâàíèå å âúëíóâàù ïðîåêò íà Øåéêà Ìîçàõ, âòîðàòà æåíà íà åìèðà. Òîâà ùå å ïúðââèÿò îò ïîðåäèöàòàáúäåùè ïðîåêòè, ñâúðçàíè ñ îáðàçîâàíèå â Áëèçêèÿ èçòîê è äðóãè ÷àñòè íà ñâåòà. Ãðàä çà îáðàçîâàíèå ùå å èçãðàäåí îò ðàçëè÷íè óíèêàëíè ñãðàäè, ïðîåêòèðàíè îò èçáðàíè àðõèòåêòè îò öåëèÿ ñâÿò.  ìîìåíòà ïîâå÷åòî îò òÿõ ïðåäñòîÿò äà áúäàò ïîñòðîåíè.

Ãðàä çà îáðàçîâàíèå Ìàñòúð ïëàíúò, íàïðàâåí îò Arata Isosaki, å õàðìîíè÷íî ñú÷åòàíèå îò àðõèòåêòóðà è âúíøíè ïðîñòðàíñòâà. Îñíîâíèòå ÷åðòè ñà çåëåíèòå ãðúáíàöè îò ñåâåð íà þã, êàêòî îò èçòîê íà çàïàä.

Legorreta + Legorreta ñà èçáðàíè äà ïðîåêòèðàò Texas A&M Èíæåíåðåí Êîëåæ

(592,000êâ. ôóòà), Carnegie Mellon Business (430,550 êâ. ôóòà)) è Êîëåæ çà Êîìïþòúðíà íàóêà, George Town School çà Ìåæäóíàðîäíè âðúçêè (40,000 êâ. ôóòà) êàêòî è ñòóäåíòñêè öåíòúð (346,404.17êâ. ôóòà). Ïðîåêòèðàíåòî íà äâîðîâå è ïóáëè÷íè ïðîñòðàíñòâà ïîä÷åðòàâà âðúçêàòà

ìåæäó ñòóäåíòèòå è ïðåïîäàâàòåëñêèÿ åêèï íà ôàêóëòåòà. Îáèêîëêàòà ñòèìóëèðà äâèæåíèåòî îêîëî ñãðàäàòà è ïðîñòðàíñòâî çà íåôîðìàëíè ñðåùè. Òðàäèöèîííàòà êîíöåïöèÿ çà èñëÿìñêà àðõèòåêòóðà êàòî àðêàäè, âúòðåøíè äâîðîâå è ôîíòàíè, ñà çàëîæåíè â ïðîåêòà.

Carnegie Mellon Business è Computer Science College ñà ðàçïîëîæåíè íà ìÿñòî, ïðåñå÷åíî îò åäíà îò îñíîâíèòå ïåøåõîäíè óëèöè (Çåëåíèÿ ãðúáíàê) îò ìàñòúð ïëàíà. Ïðîåêòúò å ðàçðàáîòåí êàòî êâàäðàòíà ñãðàäà è ïîëóêðúãëà ñãðàäà, êîÿòî ñúçäàâà â öåíòúðà àòðèóì, ñâúðçàí ñúñ Çåëåíèÿ ãðúáíàê. È äâåòå ñòðàíè íà ñãðàäàòà ñà ñâúðçàíè ïîìåæäó ñè ñ ìîñòîâå íà ãîðíèòå åòàæè íàä Çåëåíèÿ ãðúáíàê, äîêàòî ïàðòåðíèÿò åòàæ îñòàâà îòâîðåí çà ïåøåõîäöèòå. Êâàäðàòíàòà ÷àñò îò ñãðàäàòà, êàêòî è êðúãëàòà, ñà ïðîåêòèðàíè êàòî ïîðåäèöà îò îáåìè, êîèòî ïîìåùàâàò êëàñíè ñòàè, ëàáîðàòîðèè è çàëè çà ëåêöèè è ñà ðàçäåëåíè åäíà îò äðóãà îò âúíøíè äâîðîâå. Ïîðåäèöàòà âúòðåøíè è âúíøíè ïðîñòðàíñòâà ñúçäàâàò ñðåäà, â êîÿòî ó÷èòåëèòå è ñòóäåíòèòå ìîãàò äà îáùóâàò.

Êàìïóñà íà Georgetown University â Qatar íà Edmund A. Walsh - ó÷åáíî çàâåäåíèå çà ìåæäóíàðîäíè îòíîøåíèÿ, ñå íàìèðà íà ñåâåðíàòà ñòðàíà íà ãðàäà çà îáðàçîâàíèå. Äîëåïåíàòà ñãðàäà íà çàïàä ùå áúäå öåíòðàëíàòà áèáëèîòåêà, íà þãîçàïàä å ñòóäåíòñêèÿò öåíòúð, íà þã ñà ðàçïîëîæåíè ðóèíè è ïàðê ñúñ ñèëíà êîíöåïòóàëíà è âèçóàëíà âðúçêà, ïîñòèãíàòà ÷ðåç ïåéçàæíîòî ïëàíèðàíå è îðèåíòàöèÿ íà ñãðàäèòå. Âúòðåøíèòå äâîðîâåòå è àòðèóìèòå, ðàçïðúñíàòè â êîìïëåêñà îò ñãðàäè, äîïðèíàñÿò çà ñïîêîéñòâèåòî è íîñÿò óñåùàíå çà èíòèìíîñò â ïðîñòðàíñòâàòà, îðèåíòèðàíè êúì òåçè ìàëêè îàçèñè. Ñïåöèàëíî âíèìàíèå å îòäåëåíî íà îêîëíàòà ñðåäà. Âîäàòà íàîêîëî îñâåæàâà âúçäóõà. Êàêòóñîâà ãðàäèíà ùå áúäå ðàçïîëîæåíà ïî ñåâåðíàòà ôàñàäà è ùå îòáåëåæè ïðåõîäà îò ïóñòèíÿòà.

Ñòóäåíòñêèÿ öåíòúð å ïðîåêò, êîéòî ïðåäëàãà äîì äàëå÷ îò äîìà çà âñè÷êè ñòóäåíòè â Ãðàäà çà îáðàçîâàíèå.Òðÿáâà äà ïðåäîñòàâè âèáðèðàùà ñðåäà, êîÿòî ñòèìóëèðà ñîöèàëåí è êóëòóðåí îáìåí. Òàçè ìíîãîôóíêöèîíàëíà ñãðàäà ùå ïðåäëîæè ðàçëè÷íè óñëóãè íà ñòóäåíòèòå â îáëàñòèòå íà çäðàâåîïàçâàíåòî, êîíñóëòàöèè, ôèíàíñèðàíå è æèëèùà, êàêòî è ïðîñòðàíñòâà çà ðàçëè÷íè ïðîãðàìè, ñâúðçàíè ñ êóëòóðà è ñïîðò. Ïðîåêòèðàí çà ïîâå÷å îò 10 000 ñòóäåíòà, îò êîèòî îêîëî 50% ùå ïðåêàðàò ñëåäâàùèòå 4-5 ãîäèíè íà ñúùîòî ìÿñòî. Ãëàâíàòà öåë íà òîçè ãðàäñêè âúçåë å äà ïðåäîñòàâè áëèçêà, ðåëàêñèðàùà è ñòèìóëèðàùà ñðåäà, êúäåòî ñòóäåíòèòå ùå ðàáîòÿò ñ õîðà îò öåëèÿ ñâÿò è ùå ñå ÷óâñòâàò êàòî åäíî öÿëî.

Texas A&M Engineering College ñå ñúñòîè îò äâå îñíîâíè ñãðàäè - àêàäåìè÷åí êâàäðàò è îñìîúãúëíèê çà èçñëåäâàíèÿ.  àêàäåìè÷íèÿ êâàäðàò ñå ïîìåùàâàò ÷åòèðè èíæåíåðíè ôàêóëòåòà (Õèìèÿ, Ìåõàíèêà, Åëåêòðîòåõíèêà è Ïåòðîë) ïðîåêòèðàíà å îêîëî äâîðîâå. Öåíòðàëíàòà êóëà å ñâúðçàíà ÷ðåç îôèñè ñ êâàäðàòà. Ãëàâíèÿò âõîä ïðåäñòàâëÿâà äðóãà 82 - ôóòîâà ìîíóìåíòàëíà êóëà, ðàçïîëîæåíà íà èçòî÷íàòà ñòðàíà íà àêàäåìè÷íèÿ êâàäðàò. Çàëèòå çà ëåêöèè è êëàñíèòå ñòàè ñà ïðîåêòèðàíè êàòî ñâúðçâàùè ñå ôèãóðàòèâíè åëåìåíòè. Ñãðàäàòà çà íàó÷íè èçñëåäâàíèÿ ñå ñúñòîè îò ÷åòèðè ëàáîðàòîðíè êðèëà, êîèòî ñà ïðîåêòèðàíè îêîëî îãðîìåí îòâîðåí àòðèóì. Îôèñèòå ñà ðàçïîëîæåíè îêîëî ïåðèìåòúðà íà àòðèóìà, çà äà ïîçâîëÿò ëåñíà âçàèìîâðúçêà.

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Ñãðàäàòà íà óíèâåðñèòåòà ïî áèîòåõíîëîãèÿ å íà äâå íèâà íàä çåìÿòà è åäíî ñóòåðåííî íèâî, êîåòî å îðãàíèçèðàíî êàòî ïîðåäèöà îò ìîäóëè. Êîìïëåêñúò, êîéòî âêëþ÷âà ÷åòèðè ìîäóëà ñ ðàçìåð 15/15 ì íà îñíîâíàòà ôàñàäà, å ðàçïîëîæåí îêîëî ÷åòèðè äâîðà, äâà îò êîèòî ñà îòâîðåíè íàïðàâî êúì óëèöàòà, à äðóãèòå äâà ñà îòäåëåíè îò ïúðâèÿ äâîð ñ ïðîäúëãîâàò îáåì, ÷àñòè÷íî èçäèãíàò îò çåìÿòà, îò ñâúðçâàùàòà ñãðàäà è îò ñúùåñòâóâàùàòà ñòîïàíñêà ñãðàäà, âúçñòàíîâåíà è èíòåãðèðàíà âúâ ôóíêöèîíàëíàòà ñèñòåìà íà ó÷èëèùåòî. Äîêàòî ïúðâèÿò äâîð, äîïèðàù ñå äî óëèöàòà, èìà ôîðìà íà òèïè÷åí ñðåäèçåìíîìîðñêè ïëîùàä, äðóãèÿò, çàãðàäåí îò äâåòå ñòðàíè ñ áëîêîâå, ïðåäíàçíà÷åíè çà ëåêöèîííè çàëè è ëàáîðàòîðèè, å òèï äâîð-ãðàäèíà è å ïîêðèò ñ ëåêà ñòðóêòóðà îò ñòúêëî è ñòîìàíà. Îò âõîäà íà òàçè ÷àñò èìà äîñòúï êúì âñè÷êè ôóíêöèîíàëíè ïðîñòðàíñòâà íà ó÷èëèùåòî - ëàáîðàòîðèèòå â çàäíàòà ÷àñò íà ñãðàäàòà, àäìèíèñòðàòèâíàòà ñãðàäà, ñòîïàíñêàòà ñãðàäà “Òîíåëè”, êúäåòî íà ãîðíèÿ åòàæ ñå íàìèðàò ó÷åáíèòå çàëè è êëàñíèòå ñòàè.

The overall 15000sqm of the School of Bio-technology is distributed on two levels above the ground and one basement level, organized as a full/empty modular sequence.

The complex, set on a 15x15m module repeated four times on the main elevation, is articulated around four courtyards: two of these open toward the street, the others are separated from the first by a linear volume that is partially lifted from the ground, the bridge building and an existing farmhouse, restored and integrated into the functional system of the school. While the first courtyard, tangent to the street, assumes the role of the typical Mediterranean “piazza”, the other, enclosed on the sides by the blocks of the lecture halls and of the laboratories, is a garden-courtyard dedicated to research and is covered with a light structure in glass and steel.

From the porch of this cloister access is given to all other functions of the school: to the laboratories -located in the buildings to the rear-, to the administration and to the Tonelli farmhouse, where one finds small study-halls and classrooms on the upper storey.

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The School of Bio-technology by the University of Turin Projector : arch. Luciano Pia

Ó÷èëèùåòî ïî áèîòåõíîëîãèÿ å ïúðâàòà çàâúðøåíà ÷àñò îò áúäåùèÿ “Ãðàä íà íàóêàòà”. Èíâåñòèöèèòå ïî ñãðàäàòà, êîÿòî å îòêðèòà ïðåç ñåïòåìâðè 2006 ã, âúçëèçàò íà 17.8 ìèëèîíà åâðî, ó÷àñòèåòî íà Óíèâåðñèòåòà â Òîðèíî å 7.5 ìèëèîíà åâðî. Ïëîùòà, âúðõó êîÿòî å èçãðàäåíà ñòðóêòóðàòà, å äúðæàâíà è å äàäåíà çà èçïîëçâàíå îò SdB SPA (ôèðìàòà, êîÿòî èçãðàæäà ñãðàäàòà), çà ïåðèîä îò 20 ãîäèíè.

The School of Bio-Technologies is the first complete piece of the future “Science City”. The building, opened in September 2006, was built in “project financing” with an overall investment of 17.8 million euro and a participation for the management start-up by the University of Turin amounting to 7.5 million euro. The area is state-owned and was granted a 20-year concession to the Promoter that built the building.

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Ó÷èëèùåòî ïî áèîòåõíîëîãèÿ êúì Óíèâåðñèòåòà â Òîðèíî, Èòàëèÿ Ïðîåêòàíò: àðõ. Ëó÷àíî Ïèà

Âúíøíàòà ôàñàäà íà Ó÷èëèùåòî ïî áèîòåõíîëîãèÿ êúì Óíèâåðñèòåòà â Òîðèíî å ñòðîãà, â êîíòðàñò ñ îáêðúæàâàùèòå ÿ ãðàäñêè ñãðàäè, êîèòî ñà îò 1800 ã. Òÿ ñå îòëè÷àâà ñ ãîëåìèòå ñè ïðîçîðöè, îòêðèâàùè ãëåäêè êúì èíòåíçèâíèÿ æèâîò îòâúí. Ñèñòåìà îò ïðàâîúãúëíè ñãðàäè çàåìà öÿëàòà äúëáî÷èíà íà ïàðöåëà. Íà ïðúâ ïîãëåä òÿ å îòâîðåíà ñàìî îòêúì ãëàâíàòà ôàñàäà, íÿêîè ÷àñòè îò íåÿ ñà ïîòðóäíî äîñòúïíè, ïî÷òè ñêðèòè, çàùîòî ñà ïðåäíàçíà÷åíè çà ïðîó÷âàíå èëè íàó÷íà ðàáîòà, çàíèìàíèÿ, êîèòî èçèñêâàò óñàìîòåíèå.  ïîâå÷åòî ñëó÷àè ïîìåùåíèÿòà ñå ðàçïîëàãàò íà ñóòåðåííî íèâî.

The building has a severe aspect, apparently in contrast with respect to the surrounding urban context belonging to the late 1800’s. This though is the reason for which it is immediately recognizable, with its use of concrete and for the presence of large windows that open unexpected views on the intense activity going on within and that is projected onto to the street elevation.

The system of orthogonal buildings occupies the entire depth of the plot, at first sight open only on the main facade; some parts of the building are purposely less accessible, almost hidden, holding these spaces for research that need more protection and privacy and thus are often also located on basement levels.

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Model of planned mixed-use tower designed by Frank O. Gehry for Forest City Rattner for Lower Manhattan near City Hall Park and the Brooklyn Bridge entrance One of the most eagerly anticipated and long awaited designs in the city’s history, the proposed, 74-story skyscraper planned by Forest City Rattner at 8 Spruce Street in Lower Manhattan was unveiled in late summer of 2006 and will have a shimmering titanium façade and hundreds of setbacks.

The tower, which is located one block south of the Manhattan entrance to the Brooklyn Bridge and half a block east of City Hall Park, will have five major “wedding cake” setbacks and the others are stepped within each section in an asymmetrical fashion. The “minor” setbacks are quite shallow, but will give the tower a very complex appearance.

Furthermore, the “major” setbacks will flare outwards slightly and the tower’s verticality is not sheer, but subtly curved with minimal asymmetrical undulations.

The 876-foot-high tower, which will be taller than the 792-foot-high Woolworth Building on the other side of City Hall Park, will contain 666 rental and condominium apartments. It promises to be the city’s most glistening tower, a serious rival to the Chrysler Building stainless-steel top and spire.

The design by Frank O. Gehry, who designed the Solomon R. Guggenheim Museum in Bilbao, Spain that was the most celebrated building on the last quarter century, was revealed in an article by Nicholas Ourossoff in an edition of the Arts & Leisure section of The New York Times.

Mr. Ouroussoff’s article, “Skyline for Sale,” noted that Mr. Gehry created more than 70 designs over a two-year-period for the tower, concluding that “The result is an unusually tough design.” “The massing is a response to the bulky McKim, Mead & White municipal building to the north and the 1913 Woolworth Building, its nearest competitor,” Mr. Ouroussoff remarked, added that “the titanium cladding will be rippled, as though etched by rivulets of water. As the light moves across the surface, the waves will seem to change form, giving the impression that the tower is quivering. Inside the apartments, those curves will be repeated.”

Mr. Gehry had recently unveiled his design for the huge Atlantic Yards project in Brooklyn for Forest City Rattner, a proposal that has encountered considerable community opposition because, in part, it is much bigger, though shorter. That project is focused on a new sports area and its tall tower resembles shifting glass shards and is not as graceful as Gehry’s Lower Manhattan tower.

Mr. Ouroussoff’s article included 12 photographs of models or renderings designed by Mr. Gehry for the Lower Manhattan project and although the article and caption did not specifically state that the model shown at the right is the “finalized” version it was only one of two large photographs and from the arrangement of the pictures it seemed to be the last chronologically.

One poster at WiredNewYork.com, Ablarc, commented about the designs shown in Mr. Ourossoff’s article that “they’re pretty much all good. Build them all; sprinkle them about the city.”

The overall plan of the building is not asymmetrical, but despite its nuanced irregularities it generally “reads” as a rectilinear tower “wrapped” in grids of punched windows with no indication of mechanical floors.

Mr. Gehry is the architect also of the ITC Corporation’s new mid-rise headquarters, now hearing completion on West Street near the Chelsea Piers and his white-glass-clad design there conjures a fleet of sailboats in a very close race and is one of the most beautiful in the city. It is a white-glassclad building whose facades resemble sails and it is very, very impressive and beautiful although only a medium-size building. Gehry’s design for the Bilbao museum has been the most acclaimed and influential design in recent years.

He designed a somewhat similar design for the same museum for a site south of the South Street Seaport along the East River a few years ago, but the museum unfortunately abandoned the project recently because of funding concerns.

The designs of three of the four towers that will accompany the Freedom

Tower at Ground Zero was finally unveiled a few weeks after the unveiling of this Gehry tower (see The City Review article) and it appears that this tower will outclass them even though it will be shorter.

Gehry’s tower will have a new elementary public school and some facilities and some facilities for the NYU Downtown Hospital, which is adjacent to the large vacant site.

The building will have a garage, a bicycle room, resident’s cellar storage and the first floor will contain two residential lobbies, a school lobby, a medical offices’ lobby, a cafeteria and retail space. The second through the fourth floors will contain classrooms, a library and a gymnasium for the school. The fifth floor will have medical offices as an accessory to the hospital.

The sixth floor will be mechanical and the seventh floor will have an accessory gym, an exterior pool, and two community rooms.

Floors 8 through 14 will have 19 apartments each. Floors 15 through 22 will have 18 apartments each. Floors 23 through 35 will have 14 apartments each. The 36th floor will be mechanical.

Floors 37 through 43 will have 8 apartments each. The 44th floor will have a few apartments, an accessory gym and a community room. Floors 45 through 48 will have 7 apartments each. Floors 49 through 70 will have five apartments each. Floors 71 and 72 will have two apartments and the lower third of a triplex the rest of which are on the 73rd and 74th floors.

If floors 23 through 43 are rental there would be a total of 505 rental units and if floors 45 through 74 are condominiums there would be 161 condominium apartments.

Earlier this year, some plans for the project were “disapproved” by the Buildings Department, but the application process was completed May 2, 2006. The building’s “block” number is 100. Its “lot” number is “1.”

The tower originally was also intended to contain expansion facilities for Pace University, which has buildings in the immediate vicinity, but that institution withdrew from the plan. Unlike Forest City Rattner’s Atlantic Yards project in Brooklyn, its Manhattan project has been far less controversial.

In an article in the Downtown Express, Ronda Kaysen noted that at a public meeting about the building held in September, 2006, some community activists voiced concerns over it. “‘I am absolutely appalled that a community board that was against a 12-story building in Tribeca has allowed a 75-story building on a narrow street,’ said Phylis Salom, a resident of nearby Southbridge Towers, referring to a recent fight by Community Board 1 to reduce the height on a waterfront development in North Tribeca. ‘Tribeca is a community of millionaires and we’re middle class people. We have been walked over and stepped on… it is immoral that this real estate company is destroying our neighborhood.’ Unlike the Tribeca development, which required public approval, the Beekman tower fits within the neighborhood’s zoning laws and involved no public review process....An 11,000 sq. ft. public plaza, designed by Gehry, separates the building’s Nassau St. facade from two residential buildings at 140 and 150 Nassau St. Gehry will also design a second, smaller plaza on William St., used mainly for school children headed to a new 630-seat public school in the lower levels of the tower.” The building will tbe topped off in winter 2008, after which point the curtain wall will envelope the steel-and-concrete structure. The tower is scheduled to be complete by mid-2009. The building will also have hospital-controlled, public parking in the building’s basement, and will have ground-floor retail spaces.

This new tower is almost conservative by Gehry’s standards and several of his earlier designs for the site involved twisted forms with more abrupt vertical breaks. This design, however, would appear to be the best and is a vast improvement over such ungainly Lower Manhattan skyline intrusions as 60 Wall Street and One Chase Manhattan Plaza. Its shimmering facade, moreover, will be a strong reminder of the shimmering and now lost twin towers of the World Trade Center.

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Íåáîñòúðãà÷ íà Ôðàíê Ãåðè â Ìàíõàòàí Frank O. Gehry’s Lower Manhattan Skyscraper Ìîäåë íà ïðîåêòèðàíàòà êóëà ñúñ ñìåñåíè ôóíêöèè ïî ïðîåêò íà Ôðàíê Ãåðè çà Forest City Rattner â ãðàäñêàòà ïàðêîâà çîíà è âõîäà êúì Brooklyn Bridge Àâòîð: Êàðòåð Á. Õîðñëåé

By Carter B. Horsley Åäèí îò íàé-î÷àêâàíèòå ïðîåêòè â ñâåòîâíàòà óðáàíèñòè÷íà èñòîðèÿ å ïðåäëîæåíèÿò 74-åòàæåí íåáîñòúðãà÷ ïî ïðîåêò íà Forest City Rattner â Lower Manhattanð, ïðåäñòàâåí ïðåç ëÿòîòî íà 2006, ñ áëåñòÿùà ôàñàäà îò òèòàí è õèëÿäè ñòúïàëà. Êóëàòà, ðàçïîëîæåíà íà åäèí áëîê ïî-þæíî îò âõîäà êúì Brooklyn Bridge è ïîëîâèí áëîê èçòî÷íî îò City Hall Park, ùå èìà ïåò ãîëåìè ñòúïàëà ïîäîáíî íà ”ñâàòáåí òîðòà” à îñòàíàëèòå ñå íàñòúïâàò â ðàçëè÷íè ìîìåíòè ñ àñèìåòðè÷åí ìàíèåð. Ïî-ìàëêèòå îòñòúïè ñà äîñòà íèñêè, íî ïðèäàâàò íà ñãðàäàòà êîìïëèöèðàí îáëèê. Îñâåí òîâà îñíîâíèòå îòñòúïè ñå ðàçøèðÿâàò ëåêî íàâúí è âåðòèêàëíî êóëàòà íå å ïëúòíà, à èçÿùíî îãúíàòà ñ ìèíèìàëíî àñèìåòðè÷íè âúëíîîáðàçíè ôîðìè.

876 ôóòà âèñîêàòà ñãðàäà, êîÿòî ùå áúäå ïî-âèñîêà îò 792 ôóòà âèñîêàòà Woolworth Building íà äðóãàòà ñòðàíà íà City Hall Park, ùå ñúäúðæà 666 àïàðòàìåíòà. Òÿ ùå áúäå íàé-áëåñòÿùàòà ñãðàäà â ãðàäà è ñåðèîçíî ùå íàïîìíÿ íà ñòèëà íà Chrysler Building îò íåðúæäàåìà ñòîìàíà. Ïðîåêòúò íà Ôðàíê Ãåðè, êîéòî å ïðîåêòèðàë Solomon R. Guggenheim Museum â Bilbao, êîÿòî å íàé-çàáåëåæèòåëíàòà ñãðàäà çà ïîñëåäíèòå äåñåòèëåòèÿ îò âåêà, áå ïðåäñòàâåí â ñòàòèÿ íà Nicholas Ourossoff â èçäàíèå çà Èçêóñòâî & Óäîâîëñòâèå íà The New York Times. Ñòàòèÿòà ãëàñè:”Õîðèçîíò çà ïðîäàí”, îòáåëÿçâà ñå ÷å ã-í Ãåðè å ñúçäàë íàä 70 ïðîåêòà çà äâå ãîäèíè çà íåáîñòúðãà÷, çàêëþ÷âàéêè ÷å ”ðåçóëòàòúò å íåîáè÷àéíî òåæúê äèçàéí”. ”Ìàñèâíîñòòà å â îòãîâîð íà îãðîìíàòà McKim, Mead & White ñãðàäà íà îáùèíàòà è êîíñòðóèðàíàòà íà ñåâåð ïðåç 1913ã.

Woolworth Building íàé-áëèçêèÿò é ñúïåðíèê” - Óðóñîô çàáåëÿçâà, ÷å ”òèòàíîâàòà îáâèâêà ùå å âúëíîîáðàçíà ñ ãðàâèðàíè âîäíè óëåè. Êîãàòî ñâåòëèíàòà ñå äâèæè ïî ïîâúðõíîñòòà, âúëíèòå ñÿêàø ùå ïðîìåíÿò ñâîÿòà ôîðìà, ñúçäàâàéêè âïå÷àòëåíèåòî ÷å êóëàòà ñå äâèæè. Âúòðå â àïàðòàìåíòèòå òåçè îáëè ôîðìè ùå áúäàò ïîâòîðåíè.” Ã-í Ãåðè ñêîðî ïðåäñòàâè ñâîÿ ïðîåêò Atlantic Yards â Áðóêëèí çà Forest City Rattner, ïðåäëîæåíèå êîåòî ñðåùíà ãîëÿìà îïîçèöèÿ â ëèöå íà îáùåñòâîòî çàðàäè ìàùàáíîñòòà ñè. Òîçè ïðîåêò ñå êîíöåíòðèðà â íîâàòà ñïîðòíà çîíà è âèñîêèÿ íåáîñòúðãà÷, ïðåäâèäåí çà ìÿñòîòî, íå å òàêà èçÿùåí êàòî òîçè â Ìàíõàòàí. Ñòàòèÿòà íà ã-í Óðóñîâ ñúäúðæà 12 ñíèìêè íà âèçóàëèçàöèè íà äèçàéíà íà ã-í Ãåðè çà íåáîñòúðãà÷à â Ìàíõàòàí è ìàêàð ÷å íå å ÿñíî ïîñî÷åíî êîå èçîáðàæåíèå ïðåäñòàâÿ ôèíàëíèÿ ïðîåêò, ïî ðåäà íà ëîãèêàòà ïîñëåäíèòå ñíèìêè áè òðÿáâàëî äà ñà îêîí÷àòåëíèÿò ïðîåêò. Êîìåíòàòîð â WiredNewYork.com ïèøå çà ïðîåêòèòå, ïðåäñòàâåíè â ñòàòèÿòà íà Óðóñîâ ”òå ñà äîñòà äîáðè. Ïîñòðîéòå ãè ðàçïðúñíàòè îêîëî ãðàäà.” Öÿëîñòíèÿò ïëàí íà ñãðàäàòà íå å àñèìåòðè÷åí è îñâåí íþàíñèðàíèòå íåïðàâèëíè ôîðìè êàòî öÿëî èçãëåæäà êàòî ïðàâîúãúëíà ñãðàäà ”óâèòà” â ìðåæè ñ ïåðôîðèðàíè ïðîçîðöè áåç ÿñíî ïîä÷åðòàíî ïîëîæåíèå íà åòàæèòå. Ã-í Ãåðè å àðõèòåêò íà íîâîòî ñåäàëèùå íà ITC Corporation, êîåòî ñêîðî ùå áúäå çàâúðøåíî íà West Street â áëèçîñò äî Chelsea Piers è íåãîâàòà áÿëà ñòúêëåíà îáâèâêà ùå ñå ñâúðçâà ñ ôëîòèëèÿòà îò ïëàòíîõîäêè â áëèçîñò è ùå áúäå åäíà îò íàé-êðàñèâèòå ñãðàäè â ãðàäà. Òàçè áÿëà, îñòúêëåíà ñãðàäà, ÷èÿòî ôàñàäà íàïîìíÿ íà êîðàáíî ïëàòíî, å èçêëþ÷èòåëíî âïå÷àòëÿâàùà, ìàêàð è å íå îëåìèÿ ñè ðàçìåð. Ïðîåêòúò íà Ãåðè çà ìóçåé â Áèëáàî îêàçà îãðîìíî âëèÿíèå íà àðõèòåêòóðàòà ïðåç ïîñëåäíèòå ãîäèíè. Ïðîåêòèðàë å ïðîäúëæåíèåòî íà ñúùèÿ ìóçåé íà þæíàòà ñòðàíà íà ïðèñòàíèùíàòà óëèöà ïîêðàé East River ïðåäè íÿêîëêî ãîäèíè, íî ïîðàäè ôèíàíñîâè çàòðóäíåíèÿ ïðîåêòúò íå å îñúùåñòâåí. Äèçàéíúò íà òðè îò ÷åòèðèòå ñãðàäè, êîèòî ùå àêîìïàíèðàò íåáîñòúðãà÷à íà ñâîáîäàòà áåøå ïðåäñòàâåí íÿêîëêî ñåäìèöè ñëåä ïðåäñòàâÿíåòî íà íåáîñòúðãà÷à íà Ãåðè è èçãëåæäà, ÷å íåãîâàòà ñãðàäà îáà÷å ùå ãè

çàñåí÷è, âúïðåêè ïî-íèñêàòà ñè âèñî÷èíà. Ñãðàäàòà íà Ãåðè ùå ïîìåùàâà íîâî îñíîâíî ó÷èëèùå è íÿêîè îò îòäåëåíèÿòà íà áîëíèöàòà NYU Downtown Hospital, êîÿòî å äîëåïåíà äî îãðîìíîòî ïðàçíî ïðîñòðàíñòâî îòñòðàíè. Ñúùî òàêà ñà ïðåäâèäåíè ãàðàæè, âåëîñèïåäíè ïðîñòðàíñòâà, ìàçåòà. Ïðèçåìíèÿò åòàæ ùå ðàçïîëàãà ñ äâå ôîàéåòà, ó÷èëèùåí âõîä, ìåäèöèíñêè îôèñ ïðèåìíà, êàôå è òúðãîâñêà ïëîù. Íà âòîðèÿò îò ÷åòèðèòå åòàæà ùå ñà êëàñíèòå ñòàè, áèáëèîòåêàòà è ãèìíàñòè÷åñêèÿò ñàëîí. Íà ïåòèÿ åòàæ ñà ìåäèöèíñêèòå îôèñè êàòî äîïúëíåíèå íà áîëíèöàòà. Ïåòèÿò åòàæ å ïðåäâèäåí çà òåõíèêà, à ñåäìèÿò çà ãèìíàñòè÷åñêè ñàëîí, âúíøåí áàñåéí è äâå îáùåñòâåíè çàëè. Îò îñìèÿ äî ÷åòèðèíàäåñåòèÿ åòàæ èìà ïî 19 àïàðòàìåíòà íà åòàæ. Îò ïåòíàäåñåòèÿ äî äâàäåñåò è âòîðèÿ èìà ïî 18 àïàðòàìåíòà íà åòàæ. Îò äâàäåñåò è òðåòèÿ äî òðèäåñåò è ïåòèÿ èìà ïî 14 àïàðòàìåíòà íà åòàæ. Òðèäåñåò è øåñòèÿò å ïðåäâèäåí çà òåõíèêà. Îò òðèäåñåò è ñåäìèÿ äî ÷åòèðèäåñåò è òðåòèÿ åòàæ ùå èìà ïî îñåì àïàðòàìåíòà íà åòàæ. ×åòèðèäåñåò è ÷åòâúðòèÿ èìà íÿêîëêî àïàðòàìåíòà, ãèìíàñòè÷åñêè ñàëîí è îáùåñòâåíà çàëà. Îò ïåòäåñåò è ïåòèÿ äî ÷åòèðèäåñåò è îñìèÿ ñà 7 àïàðòàìåíòà íà åòàæ. Îò ÷åòèðèäåñåò è äåâåòèÿ äî ñåäåìäåñåòèÿ åòàæ ñà 5 àïàðòàìåíòà íà åòàæ. Ñåäåìäåñåò è ïúðâèÿò è ñåäåìäåñåò è âòîðèÿò ñà ñ äâà àïàðòàìåíòà íà åòàæ è òðèçîíåò íà ïîñëåäíèòå åòàæè. Àêî åòàæèòå îò 23 äî 43 ñå äàâàò ïîä íàåì ùå áúäàò 505 àïàðòàìåíòà ïîä íàåì è àêî îò 45 äî 74 ñà ÷àñòíè æèëèùà òå ñà îáùî 161. Ïúðâîíà÷àëíî íÿêîè îò ïðîåêòèòå íå ñà áèëè îäîáðåíè îò Ñòðîèòåëíèÿ íàäçîð, íî ïðîöåäóðàòà çà îäîáðåíèå âå÷å å çàâúðøèëà. Áëîêúò å íîìåð 100, à íîìåðúò íà ïàðöåëà å 1. Ïúðâîíà÷àëíî ñå îáìèñëÿ ñãðàäàòà äà ïîìåùàâà è ðàçøèðåíèå íà Pace University, êîéòî èìà ñãðàäè â íåïîñðåäñòâåíà áëèçîñò, íî óíèâåðñèòåòúò ñå å îòêàçàë. Çà ðàçëèêà îò ïðîåêòà Forest City Rattner’s Atlantic Yards project in Brooklyn. ïðîåêòúò â Ìàíõàòåí íå å òàêà ïðîòèâîðå÷èâ.  ñòàòèÿ íà Downtown Express - Ronda Kaysen îòáåëÿçâà, ÷å íà îáùåñòâåíî ñúáðàíèå îòíîñíî ïîñòðîÿâàíåòî íà ñãðàäàòà, îáùåñòâîòî ãëàñóâà íåäîâåðèå â ïðîåêòà. ”Àç ñúì àáñîëþòíî óæàñåíà îò ôàêòà, ÷å îáùåñòâåíèÿò ñúâåò, ãëàñóâàë ïðîòèâ äâàíàäåñåòåòàæíà ñãðàäà â Òèáåðèêà, ùå ïîçâîëè ñòðîåæà íà 75-åòàæíà ñãðàäà íà òÿñíà óëè÷êà” êàçâà Phylis Salom, æèâóù â Southbridge Towers íà ïúðâèÿ îáùåñòâåí ñúâåò, çà äà áúäå íàìàëåíà âèñî÷èíàòà íà ñãðàäèòå â áëèçîñò äî âîäà â Ñåâåðíà Òèáåðèêà. ”Òèáåðèêà å îáùåñòâî íî ìèëèîíåðè, à íèå ñìå îò ñðåäíàòà êëàñà. Íèå ñìå ïîòúïêàíè” íåìîðàëíî å òàçè àãåíöèÿ çà íåäâèæèìè èìîòè äà ðàçðóøàâà êâàðòàëà íè.” Çà ðàçëèêà îò ïðîåêòà â Òèáåðèêà, êîéòî ñå íóæäàåøå îò ïóáëè÷íî îäîáðåíèå, íåáîñòúðãà÷úò Beekman ñå ñúîáðàçÿâà ñ ãðàäîóñòðîéñòâîòî è ñè âïèñâà â çàêîíèòå áåç íóæäà îò ïóáëè÷íî îäîáðåíèå. 11 000 êâ. ôóòà ïëîùàä, ïðîåêòèðàí îò Ãåðè ðàçäåëÿ ñãðàäàòà Nassau St. îò äâå æèëèùíè ñãðàäè, Ãåðè, ïðîåêòèðà è ïî-ìàëúê ïëîùàä íà William St., èçïîëçâàí îò ó÷åíèöèòå â íîâîòî îñíîâíî ó÷èëèùå íà äîëíèòå åòàæè íà íåáîñòúðãà÷à.” Ñãðàäàòà ùå äîñòèãíå ñâîÿ âðúõ ïðåç çèìàòà íà 2008 ã., ñëåä êîåòî ïðåãðàäíà ñòåíà ùå ïîêðèå ñòîìàíåíî-áåòîííàòà ñòðóêòóðà. Ïðåäâèäåíî å íåáîñòúðãà÷úò äà áúäå çàâúðøåí ïðåç 2009 ã.. Ñãðàäàòà ùå èìà ìåäèöèíñêè êàáèíåò, ïóáëè÷åí ïàðêèíã íà ïîäçåìíèòå íèâà è ïàðòåðíî òúðãîâñêî ïðîñòðàíñòâî. Òîçè íîâ íåáîñòúðãà÷ å ïî÷òè êîíñåðâàòèâåí çà ñòàíäàðòèòå íà Ãåðè è íÿêîè îò íåãîâèòå ïî-ðàííè ïðîåêòè çà òàçè ÷àñò ñà ñ èçâèòè ôîðìè ñ ìíîãî ïî-ðåçêè âåðòèêàëíè ïðåñè÷àíèÿ. Òîçè äèçàéí èçãëåæäà íàé-äîáúð è çíà÷èòåëíî ïîäîáðåíèå íà íåãðàöèîçíèÿ ñèëóåò íà Lower Manhattan êàòî 60 Wall Street è ïëîùàäà One Chase Manhattan Plaza. Íåãîâàòà áëåñòÿùà ôàñàäà ñèëíî ùå íàïîìíÿ íà áëåñòÿùèòå êóëè-áëèçíàöè íà íÿêîãàøíèÿ Ñâåòîâåí òúðãîâñêè öåíòúð.

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UNIVERSITY MUSEUM FOR CONTEMPORARY ART Centro Cultural Universitario UNAM 2005 - 08 Owner UNAM Architect Teodoro González de León Collaborator Antonio Rodríguez Structural design Diseño y Supervisión Air-condition design Ingeniería en Aire y Control Electric design Diseños Electricos Complejos Hydraulics and sanitary design Garza Maldonado y Asociados Lighting design LIGHTEAM Acoustic design Omar Saad Special installations LOGEN Construction Ingenieros Civiles Asociados Construction area 18,000 m2 Photograph Pedro Hiriart, Jorge del Olmo

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Ìóçåé íà Óíèâåðñèòåòà çà ñúâðåìåííî èçêóñòâî UNAM 2005 - 08 ã. Ìóçåÿò å ðàçïîëîæåí âúðõó ÷àñò îò íîâ ïëîùàä, êîéòî ñå èíòåãðèðà ñ óíèâåðñèòåòñêèÿ êóëòóðåí öåíòúð è òðè äðóãè ñúùåñòâóâàùè ñãðàäè. Íîâîòî ïðîñòðàíñòâî ñëóæè çà ïåøåõîäåí äîñòúï äî îñòàíàëàòà ÷àñò îò êóëòóðíèÿ êîìïëåêñ, ìÿñòî çà ñðåùà è âúíøíî èçëîæáåíî ïðîñòðàíñòâî, ïîäõîäÿùî çà ñúâðåìåííè ïîñòàíîâêè. Ñãðàäàòà ïðåäñòàâëÿâà äâóåòàæíà êðúãëà ñòðóêòóðà, êîÿòî ñå âïèñâà â äèàãîíàëíîòî ðàçïîëîæåíèå íà ïúòÿ è äèàãîíàëèòå ñ ìåêè ôîðìè íà çàîáèêàëÿùèòå ñãðàäè. Ôîðìàòà ÿ îòâàðÿ êúì ïåðñïåêòèâàòà íà ïëîùàäà è îêîëíàòà ñðåäà. Ïóáëè÷íîòî ïðîñòðàíñòâî âîäè äî ñãðàäàòà ñ äâîåí ïðîçðà÷åí êîðèäîð, êîéòî ðàçäåëÿ ìóçåÿ íà ðàçëè÷íè ñåêöèè: ïî-ãîëÿìàòà íà çàïàäíàòà ñòðàíà ïîìåùàâà èçëîæáåíèòå ñòàè è ñåðâèçíèòå, ïî-ìàëêàòà íà èçòî÷íàòà ñòðàíà - äîñòúïà äî îáùåñòâåíàòà ÷àñò. Âñè÷êè èçëîæáåíè ñòàè, ðàçïîëîæåíè íà åäèí åòàæ, íà ñúùîòî íèâî êàòî ïëîùàäà ñà ðàçãúðíàòè â øåñò ãðóïè ñ ðàçëè÷íè ðàçìåðè è âèñî÷èíà, ñ êîíòðîëèðàíà íàòóðàëíà ñâåòëèíà è ñâúðçàíè èíòåðèîðíè ïúòåêè, îñâåòåíè îò êðàèùàòà ñè - êàêòî è òðè âúòðåøíè äâîðà è äâå òåðàñè. Äâîðîâåòå è òåðàñèòå ñúùî ñëóæàò êàòî èçëîæáåíî ïðîñòðàíñòâî (åäèí îò âúòðåøíèòå äâîðîâå äàâà ñâåòëèíà íà ïî-íèñêèòå åòàæè). Òåçè ïðîñòðàíñòâà ñà â óíèñîí ñ íóæäèòå íà ñúâðåìåííîòî èçêóñòâî: äèðåêòåí ïóáëè÷åí äîñòúï äî ïðîèçâåäåíèÿòà íà èçêóñòâàòà è ïîäõîäÿùî îñâåòëåíèå ñà íàïðàâåíè çà àðòèñòèòå, ìóçåéíèòå åêñïîçèöèè è êóðàòîðèòå. ×åòèðè îò ñòàèòå ãëåäàò êúì ïëîùàäà, ïîçâîëÿâàéêè íà ìèíóâà÷èòå äà îöåíÿò êîìïëåêñà îùå îòâúí. Îãðàíè÷åíèòå ïëîùè íà äîëíîòî íèâî èìàò äîñòúï îò ñåâåðíàòà ÷àñò íà ñãðàäàòà, êúäåòî ñà ñåêöèèòå çà êîíòðîë è íàáëþäåíèå è âõîä çà ïåðñîíàëà.

The museum is located on one side of a new plaza which integrates it with the university’s cultural center three extant buildings. This new space serves as a pedestrian access to the rest of the cultural complex, a meeting place and an outdoor exhibition and contemporary art performance area.

The building consists in a two level circular structure which fits in naturally with the diagonal position of the access road and dialogues with the sharp forms of the surrounding buildings. Its very shape opens it up to the perspectives of both the plaza and the landscape.

The public space leads into the building by way of a transparent double height corridor, which divides the museum into two different sections: the larger one, on the western side, houses the exhibition rooms and service units, the smaller one, on the eastern side, the free access public areas.

All exhibition rooms, all located/situated on one floor, at the same level as the plaza, are distributed among 6 groups of different dimensions and heights, with controlled natural zenithal light, and interlinked by three interior paths lit through their extremities, as well as by three patios and two terraces. The patios and terraces also serve as exhibition spaces (one of the patios provides light to the public areas on the lower level).

These spaces are meant to meet the demands of contemporary art: direct public access to the works of art and dimensions and lightning geared to the needs of artists, museology, and curators. Four of the rooms give out onto the plaza, allowing for their contents to be appreciated by the public outside.

Restricted areas, located on the lower level, are accessed through the northern part of the building, where control and surveillance units, the staffs entrance and a double trailer dock are located.

The materials used are exposed white concrete and clear as well as white serigraphic tempered glass.

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IAA Annual Prize nominated by Alejandro Aragon At 4 June 2008, during the XXIII UIA Congress in Turin, the International Academy of Architecture has organized an author‘s conference on “World Contemporary Architecture” with the presentations of outstanding masters of architecture: Mario Botta, Richard England, Georgi Stoilov, Mario Pisani, Alfredo Cammara and Yuri Platonov.

On the occasion of his 70 Anniversary Richard England presents an exhibition of his architectural master pieces.

The XXXII IAA Academic Council Session was held at 4 June 2008 in Turin.

The Academic Council members review and discuss the received nominations for IAA “Annual Prize`2007”: Jean-Paul Viguier, IAA Professor (McNay Art Museum in San Antonio; Museum of Natural History in Toulouse; Vörösmarty Place in Budapest), Teodoro Gonzalez de Leon, IAA Academician (University Museum of Contemporary Art in the National Autonomous University, Mexico), Agustin Hernandez Navarro, IAA Academician (Orion Apartment Tower in Mexico), Emilio Ambasz, IAA Professor (New Hospital in Mestre), Renzo Piano, IAA Academician (New York Times Building), Kenneth Yeang, IAA Academician (Ecological Park in Istanbul).

They elected ex-equo: “Orion Apartment Tower” by Acad. Agustin Hernandez Navarro and “University Museum for Contemporary Art” by Acad. Teodoro Gonzalez de Leon.

Arch. Agustin Hernandez Navarro.

Arch. Alejandro Sanchez Aragon.

Mexico

Orion apartment tower 256 ft. high building, located in a rugged land in the west side of Mexico City. Shaped like a great tree, with 57 ft., cantilevered bodies, which envelopes the two floor apartments, vertically divided by the sky courts every six floors, was designed like a natural-mechanical organism created to explain the contemporaneous language of architecture.

It is trough a motor lobby that users arrive to the vertical complex.

First is placed the main interior lobby with a front desk to give information to visitors. A central nuclear structure, which contains the vertical communication as well as the garbage and utilities shots and emergency stairs working in group with another six structural elements giving the building its shape, developed in a hexagon module plan.

The motor lobby is a porch covered by the first body of apartments which is one of the great cantilevered structures added to the central beam that contains utilities, through the six great columns which are space-container structure.

The first floor contains front desk, toilettes, administration office, security cabinet, and public living room. The space was formed in a glass screen ambience that allows exterior penetrates to the interior, and creates the idea of light volumes.

An apartment contains two levels - the first is composed by living room, toilette, kitchen, deck, dinning room, laundry and general services.

On the second level is located the master rest room resolved in a two high space fronted by the window which is the continuity of that from the first level. It also contains a great library and studio.

Sky courts those were designed with the objective of giving building its plus, trough the bioclimatic characteristics. Sky courts contains vegetal material, so while air runs through it, this is cleaned in direction to the vertical beam to distribute this cleaned air into the totality of spaces of the building.

So this sky courts divides the complex into three vertical volumes, divided each one into three cantilevered sub-volumes shaping the self personality of the project.

Structure, form, function, unbreakable unity which is the back ground of design of great architecture; architecture grew to the feeling art.

NEWS

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Ãîäèøíà íàãðàäà íà ÌÀÀ, íîìèíèðàíà îò Àëåõàíäðî Àðàãîí

Àðõ. Àóãóñòèí Õåðíàíäåç Íàâàðî Àðõ. Àëåõàíäðà Ñàí÷åç Àðàãîí Ìåêñèêî

Îðèîí êóëà ñ àïàðòàìåíòè Òîâà å 256 ôóòà âèñîêà ñãðàäà, ðàçïîëîæåíà â õúëìèñòà çîíà çàïàäíî îò Ìåêñèêî ñèòè. Îôîðìåíà êàòî ãîëÿìî äúðâî ñ 57 - ôóòîâè êîíçîëíè êîðïóñè, êîèòî ñúäúðæàò äâóåòàæíè àïàðòàìåíòè, å ïðîåêòèðàíà êàòî ïðèðîäåí ñ ìåõàíè÷åí îðãàíèçúì, ñúçäàäåí äà ãîâîðè íà ñúâðåìåí àðõèòåêòóðåí åçèê.. Ïðåç ôîàéå îáèòàòåëèòå ñòèãàò äî âåðòèêàëíèÿ êîìïëåêñ. Ïúðâî ñå ìèíàâà ïðåç ãëàâíîòî âúòðåøíî ôîàéå ñ áþðî çà èíôîðìàöèÿ. Öåíòðàëíàòà ñòðóêòóðà ïîìåùàâà âåðòèêàëíèòå êîìóíèêàöèè, êàêòî è ñåðâèçíè ñúîðúæåíèÿ è ñòúëáèòå, ðàáîòåùè çàåäíî ñ äðóãè øåñò ñòðóêòóðíè åëåìåíòà, äàâàùè íà ñãðàäàòà ôîðìà, ðàçâèòà â øåñòîúãúëåí ïëàí íà ìîäóëè. Âõîäíîòî ôîàéå èìà ïîêðèò âõîä îò êîðïóñà ñ àïàðòàìåíòè, êîéòî å åäèí îò íàé-ãîëåìèòå êîíçîëíè ñòðóêòóðè, äîëåïåíè äî öåíòðàëíàòà êîëîíà, êúäåòî ñà îñíîâíèòå îáùåñòâåíè óñëóãè, çàîáèêîëåíè îò øåñò ãîëåìè êîëîíè. Íà ïúðâèÿ åòàæ ïîìåùàâàò êàáèíåò, òîàëåòíè, àäìèíèñòðàòèâåí îôèñ, ñåéô è ñâîáîäíî äíåâíî ïðîñòðàíñòâî. Ïðîñòðàíñòâîòî å ôîðìèðàíî îò ñòúêëåíè âèòðèíè, êîèòî ïîçâîëÿâàò íà åêñòåðèîðà äà ïðîíèêâà â èíòåðèîðà è äà ñúçäàâà óñåùàíå çà ëåêè è ñâåòëè îáåìè. Àïàðòàìåíòèòå ñà ñ äâå íèâà, ïúðâîòî îò êîèòî ñå ñúñòîè îò õîë, òîàëåòíè, êóõíÿ, áþðî, ñòîëîâà, ñåðâèçíè. Íà âòîðîòî íèâî å ðàçïîëîæåíà îñíîâíàòà çàëà çà ïî÷èâêà, ðåøåíà íà äâå âèñîêè ïðîñòðàíñòâà, êúäåòî ïðîäúëæàâà ïðîçîðåöúò îò ïúðâîòî íèâî. Òàì èìà ñúùî ãîëÿìà áèáëèîòåêà è ñòóäèî. Ìåæäóåòàæíèòå ãðàäèíè ñà ïðîåêòèðàíè ñ èäåÿòà äà äàäàò íà ñãðàäàòà áèîêëèìàòè÷íè õàðàêòåðèñòèêè. Âúçäóõúò, êîéòî ìèíàâà îòòàì, ñå ïðî÷èñòâà îò ðàñòåíèÿòà è ïðîäúëæàâà äà ñå äâèæè íàãîðå ïîêðàé âåðòèêàëíàòà êîëîíà, çà äà ñíàáäè îñòàíàëàòà ÷àñò îò ñãðàäàòà ñ ÷èñò âúçäóõ. Òàêà ìåæäóåòàæíèòå ãðàäèíè ðàçäåëÿò êîìïëåêñà íà òðè âåðòèêàëíè îáåìà, ðàçäåëåíè â òðè êîíçîëíè ïî-ìàëêè êîðïóñà, ôîðìèðàùè èäåíòè÷íîñòòà íà ïðîåêòà. Ñòðóêòóðà, ôîðìà, ôóíêöèÿ ñà â íåäåëèìî öÿëî, êîåòî å îñíîâàòà çà àðõèòåêòóðíèÿ äèçàéí. Òàêà àðõèòåêòóðàòà ñå èçäèãà äî íèâîòî íà èçêóñòâî.

Íà 4-òè Þíè 2008 ïî âðåìå íà XXIII UIA Êîíãðåñ â Òîðèíî, Ìåæäóíàðîäíàòà Àêàäåìèÿ ïî Àðõèòåêòóðà îðãàíèçèðà êîíôåðåíöèÿ „Ñâåòîâíàòà ñúâðåìåííà àðõèòåêðóðà” ñ ïðåçåíòàöèè íà èçòúêíàòè àðõèòåêòóðíè ìàéñòîðè: Ìàðèî Áîòà, Ðè÷àðä Èíãëàíä, Ãåîðãè Ñòîèëîâ, Ìàðèî Ïèçàíè, Àëôðåäî Êàìàðà è Þðè Ïëàòîíîâ. Ïî ñëó÷àé 70-òàòà ãîäèøíèíà íà Ðè÷àðä Èíãëàíä áå ïðåäñòàâåíà èçëîæáà ñ íåãîâè àðõèòåêòóðíè òâîðáè.

XXXII Àêàäåìè÷íà Êîíñóëñêà Ñåñèÿ íà ÌÀÀ ñå ïðîâåäå íà 4 Þíè â Òîðèíî. Àêàäåìè÷íèòå ÷ëåíîâå íà êîíñóëñòâîòî ðàçãëåäàõà è îáñúäèõà íîìèíàöèèòå íà ÌÀÀ „Ãîäèøíà íàãðàäà çà 2007”: Æàí Ïàóë Âèãî, Ïðîôåñîð íà ÌÀÀ (McNay ìóçåé çà èçêóñòâà â Ñàí Àíòîíèî; Ìóçåé çà Åñòåñòâåíà èñòîðèÿ â Òóëóçà, Vörösmarty äâîðåö â Áóäàïåùà), Òåîäîðî Ãîíçàëåç äå Ëåîí, àêàäåìèê íà ÌÀÀ (Óíèâåðñèòåòñêè ìóçåé çà ñúâðåìåííî èçêóñòâî â íàöèîíàëíèÿ ñâîáîäåí óíèâåðñèòåò, Ìåêñèêî), Àóãóñòèí Õåðíàíäåç Íàâàðî, àêàäåìèê íà ÌÀÀ (ñãðàäàòà íà New York Times), Êåíåò Èàíã, àêàäåìèê íà ÌÀÀ (Åêîëîãè÷åí ïàðê â Èñòàìáóë). Òå èçáðàõà ex-equo: „Îðèîí àïàðòàìåíò êóëà” íà Acad. Àóãóñòèí Õåðíàíäåç Íàâàðî è „Óíèâåðñèòåòñêèÿ ìóçåé çà ñúâðåìåííî èçêóñòâî” íà Acad, àðõ. Òåîäîðî Ãîíçàëåç äå Ëåîí.

3 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

The most important architectural event in 2009 for the world architectural society. Open international forum with professional participation of architects and theoreticians from all over the world, profiling a panorama of the tendencies and achievements of contemporary world architecture.

Participants will discuss the “Architecture of XXI century”, exchange of ideas with leading masters of the world contemporary architecture and will take part in the different sections of "Interarch `2009".

Íàé-âàæíîòî àðõèòåêòóðíî ñúáèòèå â ñâåòà ïðåç 2009 çà àðõèòåêòóðíàòà îáùíîñò. Îòâîðåí èíòåðíàöèîíàëåí ôîðóì ñ ïðîôåñèîíàëíî ó÷àñòèå íà àðõèòåêòè è òåîðåòèöè, èäâàùè îò öåëèÿ ñâÿò ñ ïðîôèë ïàíîðàìà íà òåíäåíöèèòå è ïîñòèæåíèÿòà íà ñâåòîâíàòà ñúâðåìåííà àðõèòåêòóðà. Ó÷àñòíèöèòå ùå îáñúæäàò ”Àðõèòåêòóðàòà íà XXI âåê”, ùå îáìåíÿò èäåè ñ âîäåùèòå ìàéñòîðè íà ñâåòîâíàòà ñúâðåìåííà àðõèòåêòóðà è ùå âçåìàò ó÷àñòèå â ðàçëè÷íè ñåêöèè íà “Interarch `2009”.

01. FORUM “ARCHITECTURE OF XXI 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 (FRANCE), LILO POPOV (BULGARIA), DENNIS SHARP (UK), BRIAN SPENCER (USA) 02. AUTHORS CONFERENCES BY LEADING MASTERS OF WORLD CONTEMPORARY ARCHITECTURE. INVITED: TEODORO GONZALEZ DE LEON TADAO ANDO, HELMUT JAHN, SANTIAGO CALATRAVA, JEAN MARIE CHARPENTIER, BALKRISHNA DOSHI, YURI GNEDOVSKI, ERICK VAN EGERAAT, MASSIMILIANO FUKSAS, VITTORIO GREGOTTI, NICHOLAS GRIMSHAW, THOMAS HERZOG, STEVEN HOLL, TOYO ITO, KIYONORE KIKUTAKE, REM KOOLHAAS, DANIEL LIBESKIND, RICARDO LEGORRETA, WU LIANGYONG, MOSHE SAFDIE, MANFREDI NICOLETTI, FRANK O.GEHRY, KAS OOSTERHUIS, FABIO PENTEADO, CESAR PELLI, RENZO PIANO, JEAN NOUVEL, PAUL ANDREU, JOHN KAY, KENNETH YEANG, AGUSTIN HERNANDEZ NAVARRO, MARIO BOTTA, RICHARD ROGERS, THOM MAYNE. 03. EXHIBITION-COMPETITION OF ARCHITECTURAL PROJECTS AND BUILT WORKS

01. ÔÎÐÓÌ “ÀÐÕÈÒÅÊÒÓÐÀÒÀ ÍÀ XXI ÂÅÊ”. ÏÎÊÀÍÅÍÈ ÃÎÂÎÐÈÒÅËÈ : AHMET VEFIK ALP (ÒÓÐÖÈß), JUSTUS DAHINDEN (ØÂÅÉÖÀÐÈß), RICHARD ENGLAND (ÌÀËÒÀ), KENNETH FRAMPTON (USA), JORGE GLUSBERG (ÀÐÆÅÍÒÈÍÀ), JAN HOOGSTAD (ÕÎËÀÍÄÈß), ALEXANDER KUDRJAVTZEV (ÐÓÑÈß), LOISE NOELLE MERELES (ÌÅÊÑÈÊÎ), JUHANI PALLASMAA (ÔÈÍËÀÍÄÈß), MARIO PISANI (ÔÐÀÍÖÈß), LILO POPOV (ÁÚËÃÀÐÈß), DENNIS SHARP (ÓÊ), BRIAN SPENCER (USA) 02. ÀÂÒÎÐÑÊÈ ÊÎÍÔÅÐÅÍÖÈÈ ÎÒ ÂÎÄÅÙÈ ÌÀÉÑÒÎÐÈ ÍÀ ÑÂÅÒÎÂÍÀÒÀ ÑÚÂÐÅÌÅÍÍÀ ÀÐÕÈÒÅÊÒÓÐÀ. ÏÎÊÀÍÅÍÈ: TEODORO GONZALEZ DE LEON TADAO ANDO, HELMUT JAHN, SANTIAGO CALATRAVA, JEAN MARIE CHARPENTIER, BALKRISHNA DOSHI, YURI GNEDOVSKI, ERICK VAN EGERAAT, MASSIMILIANO FUKSAS, VITTORIO GREGOTTI, NICHOLAS GRIMSHAW, THOMAS HERZOG, STEVEN HOLL, TOYO ITO, KIYONORE KIKUTAKE, REM KOOLHAAS, DANIEL LIBESKIND, RICARDO LEGORRETA, WU LIANGYONG, MOSHE SAFDIE, MANFREDI NICOLETTI, FRANK O.GEHRY, KAS OOSTERHUIS, FABIO PENTEADO, CESAR PELLI, RENZO PIANO, JEAN NOUVEL, PAUL ANDREU, JOHN KAY, KENNETH YEANG, AGUSTIN HERNANDEZ NAVARRO, MARIO BOTTA, RICHARD ROGERS, THOM MAYNE. 03. ÈÇËÎÆÁÀ - ÊÎÍÊÓÐÑ ÍÀ ÀÐÕÈÒÅÊÒÓÐÍÈ ÏÐÎÅÊÒÈ È ÐÅÀËÈÇÀÖÈÈ

SECTIONS: Architectural Structures of the Future; Innovations and Traditional Architecture; Architectural Identity; Architecture and Ecology; Sustainable Cities.

The participants should submit panels profiling their architectural projects and\or built works with texts, drawings, sketches and color or black & white photos.

International Honorary Awards, as well as Laureate Diplomas will be presented by an International Jury.

ÐÀÇÄÅËÈ: Àðõèòåêòóðíè ñòðóêòóðè îò áúäåùåòî; Èíîâàöèÿ è òðàäèöèÿ; Àðõèòåêòóðà; Àðõèòåêòóðíà èäåíòè÷íîñò; Àðõèòåêòóðà è Åêîëîãèÿ; Óñòîé÷èâè ãðàäîâå Ó÷àñòíèöèòå òðÿáâà äà ïîäàäàò ïðîôèë íà ñâîÿòÿ ðàáîòà è èëè ìàêåòè ñ òåêñò, ðèñóíêè, ãðàôèêè èëè ÷åðíî áåëè ñíèìêè. Ìåæäóíàðîäíè ïî÷åòíè íàãðàäè, êàêòî è ëàóðåàòñêè äèïëîìè ùå áúäàò îòðåäåíè îò ìåæäóíàðîäíî æóðè.

04. EXHIBITION-COMPETITION OF BOOKS AND MAGAZINES ON ARCHITECTURE (PUBLISHED AFTER 2006). AN INTERNATIONAL JURY WILL PRESENT HONORARY AWARDS.

04. Èçëîæáà-êîíêóðñ íà êíèãè è ñïèñàíèÿ çà àðõèòåêòóðà (ïóáëèêóâàíè ñëåä 2006). Èíòåðíàöèîíàëíî æóðè ùå îòñúäè ïî÷åòíè íàãðàäè.

05. EXHIBITION-COMPETITION OF STUDENT’S DIPLOMA PROJECTS FROM LEADING ARCHITECTURAL SCHOOLS. INTERNATIONAL JURY WILL PRESENT HONORARY AWARDS.

05. Èçëîæáà-êîíêóðñ ñòóäåíòñêà äèïëîìíà ðàáîòà îò âîäåùè ó÷åáíè çàâåäåíèÿ çà àðõèòåêòóðà. Èíòåðíàöèîíàëíî æóðè ùå îòñúäè ïî÷åòíè íàãðàäè.

06. EXHIBITION "LEADING MASTERS OF THE WORLD CONTEMPORARY ARCHITECTURE"-IAA MEMBERS.

06. Èçëîæáà ”Âîäåùè ìàéñòîðè â ñâåòîâíàòà ñúâðåìåííà àðõèòåêòóðà” ÷ëåíîâå íà ÌÀÀ

07. ARCHITECTURAL EXHIBITIONS FROM DIFFERENT COUNTRIES.

07. Àðõèòåêòóðíè èçëîæáè îò ðàçëè÷íè äúðæàâè

NEWS

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ÌÅÆÄÓÍÀÐÎÄÍÀÒÀ ÀÊÀÄÅÌÈß ÏÎ ÀÐÕÈÒÅÊÒÓÐÀ ÊÀÌÀÐÀÒÀ ÍÀ ÀÐÕÈÒÅÊÒÈÅ Â ÁÚËÃÀÐÈß ÓÍÈÂÅÐÑÈÒÅÒÀ ÏÎ ÀÐÕÈÒÅÊÒÓÐÀ, ÑÒÐÎÈÒÅËÑÒÂÎ È ÃÅÎÄÅÇÈß, ÑÎÔÈß ÎÐÃÀÍÈÇÈÐÀÒ XII- ÒÎÒÎ ÑÂÅÒÎÂÍÎ ÒÐÈÅÍÀËÅ ÇÀ ÀÐÕÈÒÅÊÒÓÐÀ INTERARCH ‘ 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 9438321 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.

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EUROMED CENTER, MARSEILLE

World Architectural Masters

International Academy Of Architecture