WAM - Massimiliano Fuksas by amc-media

Ñâåòîâíè ìàéñòîðè íà àðõèòåêòóðàòà Ìåæäóíàðîäíàòà àêàäåìèÿ ïî àðõèòåêòóðà, íåïðàâèòåëñòâåíà êóëòóðíà îðãàíèçàöèÿ ñúñ ñïåöèàëåí ñòàòóò êúì ÅÊÎÑÎÊ ÎÎÍ, çàïî÷âà èçäàâàíåòî íà íîâî ñïèñàíèå “Ñâåòîâíè ìàéñòîðè íà àðõèòåêòóðàòà”- WMA. Íàø àêòèâåí ïàðòíüîð å “Àòëàñ ñòèë”. Ïðåäè ãîäèíè ïî èíèàöèàòèâà íà ÌÀÀ â Ëîíäîí áåøå ñúçäàäåíî â ñúòðóäíè÷åñòâî ñ áðèòàíñêà ôèðìà ïîäîáíî èçäàíèå “Ñâåòîâíà àðõèòåêòóðà”- WA. Çà ñúæàëåíèå ïî-êúñíî èçäàòåëèòå ìó ïðåñòàíàõà äà èçðàçÿâàò êðèòåðèèòå è îöåíêèòå íà Àêàäåìèÿòà çà ðàçâèòèåòî íà ñâåòîâíàòà àðõèòåêòóðà è èìåòî íà ÌÀÀ áåøå ñâàëåíî îò êîðèöàòà íà “WA”. Ñåãà ìîìåíòúò å èñòîðè÷åñêè. Çàâúðøè XX â. è ñìå â íà÷àëîòî íà íîâ âåê, íîâî õèëÿäîëåòèå. XX â. èçâúðøè åïîõàëíà ðåâîëþöèÿ â àðõèòåêòóðàòà, êàòî î÷èñòè ïëàíåòàòà è ìîçúöèòå îò ïëåñåíòà íà åêëåêòè÷íè àðõèòåêòóðíè èìèòàöèè. Áåçïîùàäíèÿò ñêàëïåë íà ìîäåðíèñòèòå ðàöèîíàëèñòè îãîëèõà îðãàíèçìà íà àðõèòåêòóðàòà è èçÿâèõà íåéíàòà ñòðóêòóðíà ôóíöèîíàëíà ñúùíîñò. Òîâà áåøå ñúçäàâàíå íà íîâà ìàøèííà öèâèëèçàöèÿ, íà íîâà ìàøèííà åñòåòèêà. Íî îðãàíèçìúò èìà íå ñàìî ñêåëåò è ôèçèîëîãè÷íè ñèñòåìè, à íåùî ìíîãî ïî-âàæíî - èìà äóøåâíîñò, êîÿòî å ñóáñòàíöèÿòà íà èçêóñòâîòî. Òîâà å, âúðõó êîåòî ñå ôîðìèðà íîâàòà ðåëèãèÿ íà èçêóñòâîòî íà XXI â. Ðàöèîíàëíîòî ìèñëåíå áàçèðàíî íà íåîêîðòåêñà, äàâà âÿðíà èíôîðìàöèÿ çà èñòèíàòà íà âèäèìèÿ ñâÿò. Íî öÿëàòà èñòèíà ñå ïîñòèãà íå ñàìî ñ íåîêîðòåêñà, à ñ öÿëàòà íåðâíî-ìîçú÷íà ñèñòåìà íà èíòåëåêòà, ðàçâèòà îò ìíîãîâåêîâíàòà åâîëþöèÿ íà æèâîòà. XXI â. e âåê íà õoëèñòè÷íî ìèñëåíå, áàçèðàíî íà êâàíòîâèÿ ìîçúê. Àðõèòåêòóðàòà å åäíà îò ôîðìèòå íà êîëåêòèâíîòî ñúçíàíèå è ïîäñúçíàíèå íà îáùåñòâîòî. Àðõèòåêòóðàòà íà XXI â. ùå áúäå àðõèòåêòóðà íà õîëèñòè÷íîòî ìèñëåíå è íà êâàíòîâèÿ ìîçúê. Âîäåùèòå ìàéñòîðè íà ñâåòîâíàòà àðõèòåêòóðà âå÷å âëàäåÿò òàçè íîâà êðåàòèâíîñò. Íîâîòî ñïèñàíèå “WMA” ùå áúäå òðèáóíà íà òàçè íîâà êðåàòèâíîñò. Ïðîô. Ãåîðãè Ñòîèëîâ,

àêàäåìèê íà ÌÀÀ

World Masters of Architecture The International Academy of Architecture, a nongovernmental cultural organization with a special statute to the ECOSOC – UNO, begins the publishing of a new magazine “World Masters of Architecture” - WMA. Our active partner in this initiative is the Bulgarian publishing company “Atlas Style” Ltd. Years ago, on IAA initiative in collaboration with a British company a similar edition, “World Architecture” – WA, was created in London. Unfortunately, the publishers stopped expressing criteria and assessments of the IAA about the development of the architecture in the world and the name IAA was taken down from the cover page of “WA”. The moment now is of historical importance. The 20th century has just finished and we are at the beginning of the new century, the new millennium. The 20th century has done an epoch-making revolutionary in the architecture, clearing the planet and the brains from the must of eclectic architectural imitations. The merciless scalpel of the modernists-rationalists stripped the organism of the architecture and expressed its structural functional nature. This was the creation of a new machinery civilization, of new machinery aesthetics. But an organism has not only a skeleton and physiological systems, but also something much more important - it has a spirit, which is the substance of art. This is the new concept, on which the new religion of the art of the 21st century is being based. The rational thinking based on the neocortex gives correct information about the visual world truth. The complete truth can be achieved not only through the neocortex, but using the complete neurological system of our intellect, developed during the centuries-long evolution of life. The 21st century is the century of the holistic thinking, based on the quantum brain. The architecture is one of the forms of collective consciousness and sub-consciousness of the society. The architecture of the 21st century will be the architecture of the holistic thinking and the quantum brain. Leading masters of the world architecture are skilful at this new creativity already. The new magazine “WMA” will be the tribune of this new creativity. Prof. Georgi Stoilov, IAA Academician

5 MASSIMILIANO FUKSAS ARCHITECT Native ofLituania, Massimiliano Fuksas was born in Rome in 1944, where he graduated in Architecture at “La Sapienza University” in 1969. In 1967, 1989 and 1993 he established practices in Rome, Paris and Vienna respectively and since 2002 he opened a new studio in Frankfurt. From 1998 to 2000 he was Director of the VII Biennale Internazionale di Architettura di Venezia “Less Aesthetics, More Ethics”. 2006 Honorary Fellowship of the Royal Institute of British Architects 2006 Honorary Fellowship of Cavaliere di Gran Croce della Repubblica Italiana 2005 Member of the Architecture Academy in Paris. 2003 Academic of the International Academy of Architecture in Sofia. 2002 Honorary Fellowship of the American Institute of Architects. 2000 Academic of the Nazional Academy of San Luca, Italy 2000 Commandeur de 1’Ordre des Arts et des Lettres de la Republique Francaise. 1999 Grand Prix d’Architecture Francaise; 1998 He received an award in recognition of his professional career at “Vitruvio International a la Trayectoria”, in Buenos Aires.

Since January 2000 writes the architecture column of the weekly magazine “L’Espresso”. Since January 2000 writes the architecture column of the weekly magazine “L’Espresso”. He was Visiting Professor at several universities, such as the Ecole Speciale d’Architecture in Paris, the Akademie.der Bildenden Kunste in Vienna and the Columbia University in New York. For many years he has been devoting special attention to the study of the urban problems in large metropolitan areas. Presently lives and works in Rome, Paris and Frankfurt. He works with Doriana 0. Mandrelli since 1985. Among his latest projects we recall: Is Molas Golf Resort, Cagliari, Italy 2006/20 J 2, the New Trade Fair Milan, Italy 2002/2005, the New Ferrari Headquarters in Maranello, Modena, Italy 2001/2003; the Congress Hall in Rome-Eur, Italy 1998/2008; il Mall ed Entertainment Centre “ETNA-Polis”, Catania, Italy 2005; the Research and Multimedia Center - Grappa Nardini in Bassano del Grappa, Vicenza, Italy 2002/2003; the Exhibition Hall in Turin - Porta Palazzo, Turin, Italy 1'998/2002; the Skyscraper for the New Headquarters ofPiemont Region in Turin, Italy 2001/2003; the Archives Nationales Pierrefitte sur Seine at Saint Denis, Paris, France - (competition winning project) 2005; the Euromed Center, Marseille, France, (competition winning project), 2005; the Concert Halls in Strasbourg and Amiens, France. Îò ÿíóàðè 2000 ã. ñïèñâà êîëîíàòà çà àðõèòåêòóðà â ñåäìè÷íîòî ñïèñàíèå “L’Espresso”. Ðàáîòè êàòî ãîñò-ïðîôåñîð â íÿêîëêî óíèâåðñèòåòà êàòî Ecole Speciale d’Architecture â Ïàðèæ, Akademie der Bildenden Kunste âúâ Âèåíà è Columbia University â Íþ Éîðê. Â ïðîäúëæåíèå íà ìíîãî ãîäèíè òîé îòäåëÿ ñïåöèàëíî âíèìàíèå íà èçó÷àâàíåòî íà ãðàäîóñòðîéñòâåíèòå ïðîáëåìè â ãîëåìèòå ìåòðîïîëè ïî ñâåòà. Ïîíàñòîÿùåì æèâåå è ðàáîòè â Ðèì, Ïàðèæ è Ôðàíêôóðò. Ðàáîòè ñúâìåñòíî ñ Äîðÿíà Î. Ìàíäðåëè îò 1995 ã. Ñðåä ïîñëåäíèòå ìó ïðîåêòè ìîãàò äà ñå èçáðîÿò: êóðîðòà çà ãîëô “Is Molas” â Êàãëèàðè, Èòàëèÿ (2006), íîâèÿò òúðãîâñêè ïàíàèð â Ìèëàíî, Èòàëèÿ (2002 - 2005), íîâàòà öåíòðàëà íà "Ôåðàðè" â Ìàðàíåëî, Ìîäåíà, Èòàëèÿ (2001 - 2003), êîíãðåñíàòà çàëà â Ðèì, Èòàëèÿ (1998 - 2008), öåíòúðúò çà çàáàâëåíèÿ “Åòíàïîëèñ” â Êàòàíèÿ, Èòàëèÿ (2005), öåíòúðúò çà èçñëåäâàíèÿ è ìóëòèìåäèè “Ãðàïà Íàðäèíè â Áàñàíî äåë Ãðàïà, Âèñåíöà, Èòàëèÿ (2002 - 2003), èçëîæáåíà çàëà â Òóðèíî “Ïîðòà ïàëàöî”, Èòàëèÿ (1998 - 2002), íåáîñòúðãà÷ çà öåíòðàëàòà íà Ïèåìîíò â Òóðèíî, Èòàëèÿ (2001 - 2003), ñãðàäà çà íàöèîíàëíèÿ àðõèâ â Ïàðèæ, Ôðàíöèÿ - ïðîåêò, ñïå÷åëèë êîíêóðñà (2005), Åóðîìåä öåíòúð â Ìàðñèëèÿ, Ôðàíöèÿ - ïðîåêò, ñïå÷åëèë êîíêóðñà (2005), êîíöåðòíà çàëà â Ñòðàñáóðã è Àìèåí, Ôðàíöèÿ.

ÌÀÊÑÈÌÈËÈÀÍÎ ÔÓÊÑÀÑ àðõèòåêò Ðîäåí â Ðèì ïðåç 1944 ã., Ìàñèìèëèàíî Ôóêñàñ çàâúðøâà “La Sapienza University” ïðåç 1969 ã. Òîé îñíîâàâà íÿêîëêî ÷àñòíè ñòóäèà: â Ðèì ïðåç 1967 ã., â Ïàðèæ ïðåç 1989 ã. è âúâ Âèåíà ïðåç 1993 ã., à ïðåç 2002 ã. îòâàðÿ íîâî ñòóäèî âúâ Ôðàíêôóðò. Îò 1998 äî 2000 ã. òîé å äèðåêòîð íà VII Áèåíàëå çà ìåæäóíàðîäíà àðõèòåêòóðà âúâ Âåíåöèÿ “Ïî-ìàëêî åñòåòèêà, ïîâå÷å åòèêà”. 2006 ã. - ñòàâà ïî÷åòåí ÷ëåí íà Êðàëñêèÿ èíñòèòóò íà áðèòàíñêèòå àðõèòåêòèòå 2006 ã. - ñòàâà Êàâàëåð íà Ðåïóáëèêà Èòàëèÿ - Cavaliere di Gran Croce della Republica Italiana 2005 ã. - ñòàâà ÷ëåí íà Àêàäåìèÿòà ïî àðõèòåêòóðà â Ïàðèæ 2003 ã. - ïîëó÷àâà òèòëàòà Àêàäåìèê êúì Ìåæäóíàðîäíàòà àêàäåìèÿ ïî àðõèòåêòóðà â Ñîôèÿ 2002 ã. - ñòàâà ïî÷åòåí ÷ëåí íà Àìåðèêàíñêèÿ èíñòèòóò íà àðõèòåêòèòå 2000 ã. - ñòàâà íîñèòåë íà Îðäåíà çà èçêóñòâî íà Ðåïóáëèêà Ôðàíöèÿ 1999ã. - Ïîëó÷àâà ãîëÿìàòà íàãðàäà çà àðõèòåêòóðà íà Ôðàíöèÿ 1998 ã. - ïîëó÷àâà íàãðàäà â ïðèçíàíèå íà ïðîôåñèîíàëíàòà ìó êàðèåðà - Votruvio International a la Trayectoria â Áóåíîñ Àéðåñ.

Piazza del Monte di Pieta, 30 00186 Roma Tel: +39.06 68807871, Fax: +39.06 68807872, E-mail: office@fuksas.it

NEW MILAN TRADE FAIR

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Architects: Massimiliano Fuksas & Doriana O. Mandrelli Designer and art director: Doriana O. Mandrelli

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Total area: 2.000.000 sqm Building area: 1.000.000 sqm Reception: 8.000 sqm Offices: 35.000 sqm Exhibition area: more than 400.000 sqm Congress centre: 47.000 sqm Meeting rooms: 80 Restaurants: 20, of 1.100 sqm each Bar: 25, from 400 sqm each Visitors parking lots: 20.050 Tracks parking lots: 7.000 Exhibitors parking lot: 4.320 High of central pathway: 1.500 m Number of exhibition pavilions: 10 (two of them with 2 floors) Pavilions dimension: 164 x 224 mt External exhibition area: 60.000 sqm Building time: 27 months Budget: 750 millions euro u k s a s

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New Milan Trade Fair is a great architectural project for the territory. Its dimension renders it one of the major complex nowadays on building in Europe. It is part of the recovery of wide urban spaces, of the territory which goes beyond the borders of the city itself. Areas which aspire to become “geography”, landscape. The abandoned areas and suburbs call for important interventions. The critical mass of the intervention, more than 2 millions squared meters and more than half million of construction, are the starting point. I thought about a unitary complex, of simple geometry. The project of the New Milan Trade Fair is characterized by the great central axis: the great trans-

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parent coverage modifies spaces and represents the continuity of the vision. The service centre, the offices, the convention area, are the fulcrum of the entire system: transition from honour “entrance” to central axis. On the sides, the pavilions, with big facades made of reflecting metal (of more than 200 m. for the two-level pavilions), bring back the life and the images of the pathway. The entrances are signal and event. Architecture is “contaminated” art: she lives of other universes, she observes modifications and changes, she attempts to synthetically represent what happens. Architecture is not only inspired by architecture, but she

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tends to comprehend and to talk to everyone. In a moment of very few “visions” looking to the future, and the mere running of quotidian life and of existence, this project seems to be part of the European more dynamic scenery. It exists a demand and a desire of architecture, of emotions. This project is ambitious. It is addressed to future visitors, and, firstly, it tries to pay much attention to people who will work and spend their days inside the New Milan Trade Fair. Our country resumes a route which has been interrupted for more than 30 years, thus putting under construction one of the most important international trade fair complex.

NEW MILAN TRADE FAIR THE GREAT VEIL OF THE CENTRAL AXIS

The design of the New Milan Trade Fair chooses to make the longitudinal connection axis its main generator, becoming a spine which gives structure to the entire complex. This space, the “central axis,” represents the place of activities, the center of information, the place of crossing and at the same time of being. These concepts are developed through the positioning of a series of buildings alongside the main axis, having connections at level 0,00 and at footbridge level + 6.50. The buildings host various types of functions; restaurants, meeting rooms, office spaces, receptions to connect the exhibition halls. The pathway stretches between two areas, the one of the East entrance and that of the West entrance, being the main accesses to the Trade Fair. The buildings along the central axis are suspended above diversely treated landscaped areas; water, green areas and concrete. The flanking stainless steel and glass facades of the exhibition halls becomes the scenography. Above the whole of this space extends the vast roofcovering - an undulating lightweight structure like a veil. This veil, having a surface area exceeding 46000 sqm, is over 1300 m in length, has a width of approximately 32 m, and is bordered by the pavilion fasade-line for the entire length of the central axis. Constituted from a reticular rhomboidal mesh structure in pre-finished steel profiles, it is connected via spherical nodes and covered with laminated glass fixed through plates to the profiles below. The structural mesh utilises modules of 2.7m x 2.25m to obtain one constant width along the central axis of 31.57m and on the east and the west entrances a width of 40.59 m. Its height varies from +16 m. to around +23 m. There occur over 32000 nodes of the mesh structure, giving 38929 rhomboid frames. The veil is supported by 183 steel columns of 500m diameter which then split to smaller supporting arms above the 12 m height. The form of the veil is derived from constant altimetric variations just as they are found in the natural landscape such as “craters”, “waves”, “dunes”, “hills”. As a natural landscape the shape is never repetitive, giving the visitor an animating, continuously varying perspective.

Location Marsiglia, France Date 2005 - 2009 Object Hotel, Congress hall, Cinema multiplex, offices, restaurants, retail, car parking, urban park Competition organizer / Sponsor Euroméditerranée etablissement public Total area 75.000 mq plus 3,5 hectare parkings Cost 300.000.000 euros Architect Massimiliano Fuksas Landscape architect Michell Desvigne Developer Cogedim Investor Credit Agricole Immobilier Building Lease Holder & Management Hôtel : Mariotte Multiplexe : Euopacorp of Luc Besson Structural engineer and M&E OTH Start works on site 3rd quarter of 2006 Expected end of works 2009

EUROMED CENTER, MARSEILLE

It is necessary to provide a project with a poetic dimension beyond the reality and the constriction. We worked on the creation of a real urban signal, providing an answer to the silo volumes and respecting the surfaces and the limits of the buildings height imposed by P.L.U. In this emerging game of volumes eroded by water and wind. The buildings come out on the emerging area occupied by the vegetation and dotted by the waterÂť.

Marseille is an exciting and rich city... The stratification and the complexity of the life style produces the enchantment of the disharmonies. The city is thought as a world in continuous movement. The mobility of people, the continuity of the communication, the evolution of the environment perception are the moulding vectors of the city.

An architecture capable of giving emotions... In this eternal and complexity city with its tensions, its contradictions, its past and its future there is a wonderful material which can provide this place with a new geography and a new identity. Architecture is also emotion. It concerns human being and then its economy. The reality is the cohesion of the two. So, the answer cannot be the « design» or the urban «maquillage». The study of its

25 function, the position of its accesses, the urban placement, its morphological reading are important factors. So this district do not become the umpteenth solitary district but an ÂŤurbanity generatorÂť. It is essential to see the complicity and the complementarity between external and internal spaces. Green walks guide visitors and users towards different buildings and facilities. You can find offices, the lobby of the hotel and a Congress Center. The Multiplex hall links Dunkerque Boulevard to the avenue and to the Arenc GardenÂť.

Ferrari ProductDevelopment Center MASSIMILIANO FUKSAS ARCHITETTO Client Ferrari Spa Address Via Abetone Inferiore, 4, Maranello, Modena General Contractor COGEI Costruzioni Spa Architectural Project Massimiliano Fuksas Interior Design e Artistic Direction Doriana O. Mandrelli Project team: Project Leader Giorgio Martocchia, Defne Dilber Stolfi (assistent) 3D Fabio Cibinel. Model Makers Gianluca Brancaleone, Nicola Cabiati, Andrea Marazzi Structural Engineering Ing. Gilberto Sarti, Rimini Services Engineering AI Engineering, Turin Years: 2001-2004 DIMENSIONS TOTAL AREA MQ 17.000 PROJECT COST 14.000.000 Ă&#x17D;

FERRARI RESEARCH CENTRE The building site is right in the centre of the Ferrari complex (Maranello - Italy) which is undergoing major changes and developments. The location of the research center between the Wind Tunnel and the Mechanics Building reinforces its role in building the main image of Ferrari Spa. This building will host the offices of the Ferrari Technical Management. The project is born out of the desire to bring in the natural environment into this highly technological complex in order to create a comfortable working ambient. Light, water and bamboo are used in such a way that building becomes landscape.

This project represents the development of a new poetic of lightness. The overall image is dominated by an overhanging volume , detached from the rest of the building and suspended above the surface of the water which covers the lower volume, extending outwards over the entrance area by 7 meters. Brightly light crystal boxes and the minimum necessary structure are the only physical connections between these volumes. Above the surface of the water various walkways create a network of connections between two meeting rooms, marked by their respective colors, i.e. red and yellow. Water and light are the kinetic elements of the building, designating space with reflections that give the impression of a precious metal container to the upper volume.

In the middle of the building , a precisely ordered rectangular bamboo forest filters light and reflects it in a thousand different directions. The alchemy of these elements creates a micro-climate which is a perfect example of bio-climatic architecture. Therefore this building, dedicated to a car manufacturing company that has represented, for generations, the realization of a dream, becomes part of this poetry, magic and dream.

32 The intervention consists in the realization of a five floors building: two underground, the first for a car park and the second for technological spaces, and three outside for commercial activities and restaurants. The parking floor contains 109 cars on an area of 4.700 sqm on three levels. A wall separates the escavation for the recovery of the old couple of hypogeum iceboxes. The main entrance is situated at the ground level at the south-east side of the building near the cross road between Giulio Cesare and Regina Margherita. The commercial areas are developed along the perimeter of the building creating in the central part a space-square correspondent to the two iceboxes brought again to light. The walking area in the ground floor is partially around this pre-existing ice-boxes where is possible to look inside through he wall in the car park close to them at the same level. The first floor is organized like the scheme of the ground floor with commercial surfaces along the perimeter: shops, coffee shops and a service area for dealers in the south-west corner reachable trough an external accessway than runs along the building and trough flights than connect the building floors crossing the central empty space. The last floor is occupied by restaurants and service areas with a covered terrace on the south side. The metallic roof keeps the drawing of the floors than generated the space below where the light penetrates trough transparent vertical and horizontal layers of glass. The external faรงade of the building is realized with a system of layers in glass one on the others sustained by couples of upright with a C shape in steel. Between this faรงade and the one in masonry there is a space than wraps all the building and inside it there are the security steps for the different levels.

TORINO: EXHIBITION IN PORTA PALAZZO

pictures by archivio fuksas, Ramon Prat, Paolo Riolzi

Object Expo center Client City of Torino Total Area 061 mq, 5874 mq underground parking Cost 8.500.000 euro Architect: MASSIMILANO & DORIANA FUKSAS - AI ENGINEERING s.r.l. - Torino Interior design Doriana Fuksas Lighting Lampada Lavinia - iGuzzini, (design by Doriana & Massimiliano Fuksas) Project Responsable Adele Savino Project Team: Gianluca Brancaleone, Federica Caccavale, Andrea Fornello, Riccardo Gaggi, Cristina Gagliardi, Luca La Torre, Simona Martino. Consultans and partners: AI ENGINEERING s.r.l. - Torino: structural and services engineering Installation forecast Mimmo Palladino Start of works 1998 End of works 2005

36 Massimiliano Fuksas Architects has won the international design competition to design the first campus for The African Institute of Science and Techology (AIST) to be situated in Abuja, Nigeria. The budget for the campus is envisaged to be in the order of USD360 million, although design and construction will be phased over a number of years. The AIST will ultimately comprise several science and technology higher education campuses and smaller affiliated centres of excellence located throughout Sub-Saharan Africa (SSA). The AIST concept has been developed, nurtured and promoted by the Nelson Mandela Institution for Knowledge Building and the Advancement of Science and Technology in Sub-Saharan Africa (NMI). NMI and AIST is supported by the World Bank, African Development Bank, International Finance Corporation, and other world class financial and academic institutions. Massimiliano Fuksas Architects beat off strong competition from a prestigious field of international practices. The other five teams to participate in the design phase of the project and present their schemes to the assessment panel were - Allies and Morrison Architects (UK); Office for Metropolitan Architecture (Netherlands); Rafael Vinoly Architects PC (USA); Saucier + Perrotte Architects (Canada); and SeARCH b.v. (Netherlands). The panel was impressed by the high level of architectural design shown in all submitted work and the imaginative variation of attitudes underlying masterplanning concepts.

The African Institute of Science and Technology (AIST) New Campus Winner Announced

Location Abuja, Nigeria Date 2006 Object University Campus Client Nelson Mandela Institution Total Area 240.000 m² Cost 360.000.000 $US Architect MASSIMILANO e DORIANA FUKSAS Consultans and partners ARUP ITALIA Project Responsable Marta Suarez 3D Artist Fabio Cibinel Workshop responsible Nicola Cabiati Competition Design Team:Thomas Bernschein, Eleonora Calcaterra, Stefano Iacopini, Roberto Laurenti, Elina Theocharopoulou, Gianluca Pelizzi Competition Model maker Team Nicola Cabiati, Lucio Campanelli, Flor Olivares, Edyta Skowron Design Team: Thomas Bernschein, Gianluca Pelizzi, Grazia Patruno, Florencia Muñoz Model maker Team: Nicola Cabiati, Marzena Staron Start of works 2007

AIST new campus competition winner The establishment of AIST will bring significant and tangible benefits to the economies and societies of Africa. Its top-flight scientists and engineers - grounded in business and industry and with skills in leadership, entrepreneurship and the humanities - will help drive Africa’s development and contribute to solving the problems that afflict that continent. AIST will also lift Africa’s existing education system. Its development will, through competition, force the improvement of its peers in higher education. As students strive for admission into its prestigious programmes, better secondary and, eventually, primary schools will also be demanded. AIST will also help stem the brain drain currently afflicting Africa. The institute will encourage students and faculty to remain on the continent by providing an excellent environment for study, research, and teaching. It will also foster “brain recirculation” by encouraging Africa’s great diaspora to return, if only for short periods at a time, to their continent of birth. Finally, through its close cooperation with business and industry, AIST will help close Africa’s existing skills gap by ensuring that the globally competitive human capital it produces is equipped with the capabilities employersdemand. The presentation by the winning team revealed the architect’s serious personal commitment to Africa and the relaxed quality and modest plan expressed a generic character that members of the jury panel felt spoke meaningfully of Africa – in relation to its roots, but also with a sense of modernity. Massimiliano Fuksas quoted a Nelson Mandela text on the value and significance of education – a moving passage which, he proposed, would be carved into the stone paving of the Nelson Madela Square; an essential element of the water-landscaped open space. Karl Voltaire, CEO, Nelson Mandela Institute, was delighted with the outcome of the international architectural competition and the appointment of Massimiliano Fuksas Architetto. “The process allowed AIST to be physically conceived by six of the world’s best architects. It permitted us the luxury of being able to choose from these six. Two in particular stood out – that designed by Fuksas, of course, but also the design of Allies and Morrison. After extensive discussions with both, Fuksas was deemed to have the edge, but it was a difficult choice”. He added “We are indebted to the work of all competing architects and thank them for their efforts. But we especially look forward to working with Massimiliano Fuksas and his team to develop a world-class institution of learning for a new generation of Africans.”

Two “worlds”: The first “suspended”, formed by two ellipsoidal transparent bubbles that enclose the laboratories of the research center, and the other “submerged” ,a space carved in the earth like a natural canyon that accommodates an auditorium and a foyer. The ramp descending to the auditorium is the original matrix of the “canyon” space. It is utilizable as an open-air platform, creating one big auditorium space to host larger events. The audience is surrounded by a landscape generated by the arrhythmic configuration of the inclined walls. A stainless steel lake ,at ground level, atopped with roof lights like outsized water drops. The vast reflective surface of the steel creates reflections and brilliant repetitions of the entrance area under the belly of the two floating bubbles. The lean columns with varying inclinations ,together with the inclined volume of the lift, create a dynamic tension. The visitor is faced with a succession of shifting images created by the attuned asymmetry in the combination of diverse architectonical elements: The two juxtaposed ellipsoids, the inclined lift against the inclination of the staircase, the rotation of the entrance ramp. The glass cladding of the two ellipsoids is a double skin partly transparent and partly translucent, that provides the viewer with a 360° view of the splendid landscape of Monte Grappa mountain.

Nardini Performance Center - Grappa Nardini A glass distillation bulb dedicated to the celebrated Nardini distillery . Client Giuseppe e Cristina Nardini Location Bassano del Grappa (Vicenza), Italia Building Site Start January 2002 Building Site End October 2004 Project Massimiliano Fuksas Architetto Interior Design Arch. Doriana O. Mandrelli Project Leader Arch. Davide Stolfi Engineering Consultant Ing. Gilberto Sarti Services Consultant AI Studio - Torino Project Team: Arch. Iain Wadham, Arch. Defne Dilber , Arch. Michal Shaffer Model Makers Team: Arch. Gianluca Brancaleone, Arch. Andi Divizia, Arch. Andrea Fornello, Gilles Burst

VIENNA TWIN TOWER ”Top of the Town” Location Vienna, Austria Address Wienerbergstrasse A 1100 Wien Date 1996 - 2001 Object Realization of two towers for office use with entertainment center, cinema multiscreen, restaurants and 1.000 car parking in the underground Client Immofinanz Immobilien Anlagen AG, Vienna Wienerberger Baustoffindustrie AG, Vienna Total Area 139.500 mq Tower A: n. floors/hight 37/138m Tower B: n. floors/hight 34/127m Cost 2,1 mld. ATS - 152.612.703 euro Architect MASSIMILANO FUKSAS Studio Fuksas Roma: Project leader: Alessandro Casadei, Antoine Hahne Project team: Gianluca Brancaleone, Carmelo Baglivo, Nicola Cabiati, Federica Caccavale, Riccardo Crespi, Andrea fornello, Filippe Lozano Lalinde, Andrea Marazzi, Till Noske, Katja Onori, Christine Schenck, Matthias Schmidt-Rabenau Studio Fuksas Vienna: Project leader: Ralf Bock Project team: Johannes Behrens, Stefano Bruno, Eva-Ursula Faix, Marina Kavalirek, Zoltan Kiss, Jaqueline Mandl, Benedikt Schwering Consultans and partners: Structure project: Büro Thumberger + Kressmeier, Vienna (A) FACILITIES PROJECT Altherm, Baden (A) FACADES Götz GmbH, Ludwigsburg (D) Mero GmbH & Co. KG, Würzburg (D) CLADDING MCP Austria, Vienna (A) LIGHTING PROJECT Die Lichtplaner, Innsbruck LIGHTING Philips, ViennaELEVATORS Schindler, Vienna Start of works Apr-99 End of works Apr-01

From the beginning Fuksas research has been based on the desire to pinpoint a solution apt to enrich the skyline of the Austrian capital. In the first place contributing to its profoundness, but also to give shape to an area which, beyond completing the existing structures, sets itself as an element of identification for future users. Situated in an area of transition between the city and green areas, the project reunites and exalts already present thematic in previous works: the development of urban landscape; the connection-transition between urban density and green spaces; the researched confluence and contamination between art and architecture - the interventions of “Land Art”, in particular in the plaza to the south; the “ethics” dimension of the project on urban scale that “re-reads” the infrastructure system in keys of “accessibility” and “transparency” in the new area. From the great “trapezium-shaped base”, 25 meters of wich is buried underground, to the highest point, 150 meters up, the course is a journey through the constants that always exist in an architect’s work. The labyrinth prevails in the lower part. The “parts” never come into contact with each other as it is the void that generates “tension”. It is an unpredictable journey in which different heights and dimensions are discovered. The move from “small” to “big”, from ceilings that squash you to others that are far away, can be found in many of my projects. Seen from the walkways that connect them, the two towers are nonparallel monoliths that almost touch each other. The closest point between them is only six meters wide. The two bodies create an “interstice”. We move through different emotions in a series of tensions and releases. II went down thirty meters underground and gradually allocated parking areas, cinemas, restaurants, shops and offices. I tried to organize the greater part of the public and private life of many people in the same place. What is particularly special about this building is its maximum transparency. Another world, a mysterious world, exists underneath. The concept of a simple monolith, with a world above and a world beneath it and a “horizon”, a recurring key word with which I have replaced the concept of “scale” as I consider it too static. The horizon, moves with the human being. You look at it and change it by moving up and down, rather like in a movie. Articulated on a “landscaped” street in a sinuous course, the project utilizes varied architectural typology - towers and bars - avoiding monotony in the entire complex and at the same time permitting a clear recognition of the distributive elements of every organism made.

The skyline on the Wienerberg hill, the highest point in the south of Vienna, is changing. The key construction project is the Vienna Twin Tower which is 138 m high and has 37 storeys. The building opens up new perspectives for urban development in a new millennium. The architecture of the tower sends a signal of total openness and clarity, visible far beyond the city limits. Italian star architect Massimiliano Fuksas summed up his architectural creed as: â&#x20AC;&#x153;transition, communication and transparency, because cities are about energy and excitement.â&#x20AC;?

The Peres Peace Center, Jaffa (Israel) Client: The Peres House for Peace (Israel) and FIMAR COSTRUZIONI S.p.a (Italy) Site area: 7000 m2 Total floor area: 1780 m2 Total cost: 5.500.000 $ Schedule: 9.1999 - 07.2006 Program: Entrance hall, Bar, Auditorium, Library, Offices, Exhibition hall, Recreation area.

A home port for all sailors and a haven for the shipwrecked. To imagine a place that is not virtual, but real. To be dedicated to Peace, is an immensely taxing undertaking of profound ethical significance. Peace is a spiritual condition, an aspiration: tension and utopia. The projection of will into the future is also an expression of hope that our children and future generation will live in a better world. Peace cannot be enclosed in wrapping: it’s, rather, a sensation of fullness and serenity that can be communicated through a place, or through architecture. I have thought of a series of layers, a building that represents TIME and PATIENCE in strata of alternating materials representing places that have suffered heavily. Concrete composed of alternating and superimposed types of sand and aggregate. A stone basement to raise the building, a meeting place from which two long staircase lead to a place of “rest”, whose size and height, full of light from above, helps us to forget the troubles of the world, and fill us with the positive attitude that is needed for our meeting with other men and other women. The outside of the building has alternate layers of concrete and translucent glass.

The transparency of the glass will filter the light through to the inside during the day, and by night will send it back outside, entrusting this magical image with the spiritual and concrete message the site will inspire. Architecture today must set itself as an aid, a hand to help us cope with the difficulties of understanding. This project represents the venue of an encounter, a debate, reasoning and solutions. The Peres Centre for Peace is a parallelepiped. Obtained by irregularly shaped glass and concrete layers standing on a monolithic base: at one end of the building is the entrance to the car park, at the other the pedestrians entrance. At this point the basement becomes a large plaza, an empty space dissected lengthwise by two symmetrical ramps leading inside. This dark and low-ceilinged area leads to the inside of

the well of light that is open for the whole height of the building, where the reception area is situated. From here the alternating light and dark layers are visible; the former, in glass, lit from the outside and the latter, in concrete mixed with other materials and local earth. The rest of this floor (which totals 550 sqm) is designed to house the reception area and exhibition hall. The remaining six floors, each covering a space of 600 sqm and a height of 3,4 m. house on the first one, office facilities, a library and cafeteria; on the second floor there is an auditorium to seat 200 people (with a height of 7 m.), the press room and the press conference hall; the members and guest cafeteria is on the third floor with the library and the madiateque, the fourth and fifth floors offices and meeting rooms and the sixth contains ten apartments.

EUROMED CENTER, MARSEILLE

Parochial complex of San Giacomo, Foligno, Italia

Project: Massimiliano Fuksas Project architect: Giorgio Martocchia Design Team: Kentaro Kimizuka, Daniele Biondi Artist: Maurizio Nannucci Client: Episcopal conference Bishopric of Foligno Area: 2000 Sq.m. Duration: 2001-2005

The building consists of two parallelepipeds inserted in each other to create three isles. At first, the external structure is made of reinforced concrete, treated with wax, while the second one is made of cellular cement through which light is coming from different sources. The lateral isles are traversed vertically by a structure that upholds the inside box that emanates light and so in the poetry of the architecture they become chains. Therefore the light is materialized - structurally and poetically; the reinforced and monolithic concrete on the outside contrast to the light interior delineated by the light. The natural and the artificial lights accompany the installation of the artist Maurizio Nannucci, where quotations from the Bible are written by means of thin neon. The church can be entered on a footbridge in order to avoid the presence of stairs and to underline the role of the parvis. The present entrance consists in a vertical cut on the one side of the external parallelepiped, which creates a symbolic division and a point of contact with the inside.

ÏÀÍÀÈÐ Â ÌÈËÀÍÎ Íîâ òúðãîâñêè ïàíàèð â Ìèëàíî, Èòàëèÿ, 2002-2003 ã.

Ñãðàäàòà íà íîâèÿ òúðãîâñêè ïàíàèð å âàæåí ïðîåêò çà ðàéîíà íà Ìèëàíî. Íåéíèòå ðàçìåðè ÿ íàðåæäàò ñðåä íàé-ãîëåìèòå ñãðàäè â Åâðîïà. Òÿ å ÷àñò îò øèðîêàòà ïðîñòðàíñòâåíà ñòðóêòóðà íà ðàçïîëîæåíî â ïîêðàéíèíèòå íà ãðàäà ïðåäãðàäèå. Òîâà ïðîñòðàíñòâî òðÿáâàøå äà áúäå ïðåâúðíàòî â “ãåîãðàôèÿ”, òðÿáâàøå äà ñòàíå êðàñèâ “ïåéçàæ”. Ïðîåêòúò ñå õàðàêòåðèçèðà ñ öåíòðàëíà îñ. Ïðîçðà÷íîòî ïîêðèòèå íà îñòà ìîäèôèöèðà ïðîñòðàíñòâîòî è ïðåäñòàâÿ åäíî âèæäàíå çà íåïðåêúñíàòîñò. Öåíòúð çà óñëóãè, îôèñè è èçëîæáåíè ïëîùè ñà ðàçïðúñíàòè íà îáøèðíàòà ïëîù íà ïàðöåëà. Ïàâèëèîíèòå ñà ðàçïîëîæåíè îò äâåòå ñòðàíè íà îñòà. Îòðàçÿâàùèòå ôàñàäè, îáëèöîâàíè ñúñ ñòîìàíåíè ïàíåëè, îãëåæäàò â ñåáå ñè îáðàçà íà ìèíàâàùèòå õîðà. Ãëàâíèòå âõîäîâå êúì êîìïëåêñà ñà ñêóëïòóðíî îôîðìåíè â äâàòà êðàÿ íà ïúòåêàòà ïî îñòà. Àðõèòåêòóðàòà ìîæå äà áúäå îïèñàíà êàòî “íå÷èñò” òèï: òÿ îòñòîÿâà ïîçèöèèòå ñè, êàòî ðàç÷è-

òà íà äðóãà “ãëàâíà èäåÿ”- äà êîíòðîëèðà äâèæåíèåòî è ïðîìåíèòå, êàòî ñå îïèòâà äà ïðåäñòàâè êàêâî ñòàâà òàì. Àðõèòåêòóðàòà å íå ñàìî âäúõíîâåíà îò àðõèòåêòóðíèòå íîðìè, íî ïîêàçâà òåíäåíöèÿ íà ñâúðçâàíå ñ âñåêè îòäåëåí ÷îâåê. Â ïîëîæåíèå íà ìàëêî ïðîçðåíèå â áúäåùåòî, òîçè ïðîåêò èçãðàæäà äèíàìè÷íè äåêîðè. Î÷åâèäíî èìà òúðñåíå çà àðõèòåêòóðà, íóæäà îò åìîöèè. Ãîëåìèÿò âîàë íàä öåíòðàëíàòà îñ Àðõèòåêòóðíèÿò ïðîåêò íà ñãðàäàòà íà íîâèÿ òúðãîâñêè ïàíàèð â Ìèëàíî ïîñòàâÿ êàòî ãëàâåí ãåíåðàòîð íàäëúæíàòà ñâúðçâàùà îñ, êîÿòî ñòàâà ãðúáíàê è çàäàâà ñòðóêòóðàòà íà öåëèÿ êîìïëåêñ. Òîâà ïðîñòðàíñòâî, “öåíòðàëíàòà îñ”, å ìÿñòîòî çà ðàçëè÷íè äåéíîñòè, öåíòúð íà èíôîðìàöèÿ è ìÿñòî íà ïðåñè÷àíå â ñúùîòî âðåìå. Òåçè èäåè ñà ðàçðàáîòåíè ÷ðåç ðàçïîëàãàíå íà ñåðèÿ îò ñãðàäè ïî ïðîäúëæåíèå íà ãëàâíàòà îñ ñ âðúçêè íà êîòà 0,00 è íà íèâîòî íà òåñíèÿ ìîñò çà ïåøåõîäöè íà êîòà +6,50.

Ñãðàäèòå ïîìåùàâàò ðàçëè÷íè âèäîâå ôóíêöèè: ðåñòîðàíòè, ïîìåùåíèÿ çà ñðåùè, îôèñíè ïðîñòðàíñòâà, ðåöåïöèè çà âðúçêà ñ èçëîæáåíèòå çàëè. Ïúòåêàòà ñå ïðîñòèðà ìåæäó äâå çîíè: åäíàòà ïðè èçòî÷íèÿ âõîä è òàçè ïðè çàïàäíèÿ âõîä è ïðåäñòàâëÿâà ãëàâíèÿ ïîäõîä êúì òúðãîâñêèÿ ïàíàèð. Ñãðàäèòå ïî öåíòðàëíàòà îñ ñà îêà÷åíè íàä ðàçëè÷íî îôîðìåíè ïåéçàæíè òåðåíè: âîäà, çåëåíèíà è áåòîí. Ôàñàäèòå îò íåðúæäàåìà ñòîìàíà è ñòúêëî íà ôëàíãîâåòå íà èçëîæáåíèòå çàëè ñà ñöåíîãðàôñêè îôîðìåíè. Íàä öÿëîòî òîâà ïðîñòðàíñòâî ñå ïðîñòèðà îáøèðíî ïîêðèâíî ïîêðèòèå âúëíîîáðàçíà ëåêà ñòóêòóðà ïðèëè÷íà íà âîàë. Òîçè âîàë èìà ïëîù, ïðåâèøàâàùà 46 000 êâ. ì è äúëæèíà íàä 1300 ì, ïðèáëèçèòåëíà øèðèíà 32 ì è å îãðàíè÷åí îò ëèíèÿòà íà ôàñàäèòå íà ïàâèëèîíèòå ïî öÿëàòà äúëæèíà íà öåíòðàëíàòà îñ. Íîñåíà îò ìíîãîêëåòú÷íà ðîìáîèäíà ìðåæåñòà ñòðóêòóðà ñ ïðåäâàðèòåëíî èçãîòâåíè ñòîìà-

íåíè ïðîôèëè, ïîêðèâíàòà êîíñòðóêöèÿ å ñâúðçàíà ÷ðåç ñôåðè÷íè âúçëè è å ïîêðèòà ñ ëàìèíèðàíî ñòúêëî, ôèêñèðàíî ÷ðåç ïëî÷è êúì ïðîôèëèòå ïîä òÿõ. Ñòðóêòóðíàòà ìðåæà èçïîëçâà ìîäóëè ñ ãîëåìèíà 2,7 õ 2,25 ì çà ïîëó÷àâàíåòî íà ïîñòîÿííà øèðèíà ïî öåíòðàëíàòà îñ îò 31,57 ì è ïðè èçòî÷íèÿ è çàïàäíèÿ âõîä - øèðèíà îò 40,59 ì. Âèñî÷èíàòà âàðèðà ìåæäó + 16 ì è îêîëî + 23 ì. Âúçëèòå íà ìðåæåñòàòà ñòðóêòóðà ñà íàä 32 000, êàòî ñ òÿõ ñà îáðàçóâàíè 38 929 ðîìáîèäíè ðàìêè. Âîàëúò ñå êðåïè íà 183 ñòîìàíåíè êîëîíè â äèàìåòúð 500 ì, êîèòî ïîñëå ñå ðàçöåïâàò íà ïîìàëêè ïîäïèðàùè ðàìåíå ñ âèñî÷èíà îêîëî 12 ì. Ôîðìàòà íà âîàëà å ïîëó÷åíà îò ïîñòîÿííè àðòèìåòðè÷íè âàðèàöèè, òî÷íî òàêèâà, êàêâèòî ñå ñðåùàò â ïðèðîäíàòà ñðåäà, êàòî ïðè “êðàòåðè”, “âúëíè”, “äþíè”, “õúëìîâå”. Êàêòî â ïðèðîäàòà, òàêà è òóê ôîðìàòà íèêîãà íå ñå ïîâòàðÿ, ïðåäëàãàéêè íà ïîñåòèòåëÿ çàáàâíà, ïîñòîÿííî ïðîìåíÿùà ñå ïåðñïåêòèâà.

ÖÅÍÒÚÐ ÅÓÐÎÌÅÄ Â ÌÀÐÑÈËÈßŸ

“Íåîáõîäèìî áå äà ñå ñúçäàäå ïðîåêò ñ ïîåòè÷íî èçìåðåíèå èçâúí ðåàëíîñòòà è îãðàíè÷åíèÿòà. Íèå ðàáîòèõìå ïî ñúçäàâàíåòî íà åäèí ðåàëåí ãðàäñêè çíàê, äàâàéêè îòãîâîð ñ îáåìèòå, ïîäîáíè íà ñèëàæíè êóëè, è ñúîáðàçÿâàéêè ñå ñ ïîâúðõíîñòèòå, ãðàíèöèòå è âèñî÷èíèòå íà ñãðàäèòå, íàëîæåíè îò ìåñòíèÿ ãðàäîóñòðîéñòâåí ïëàí, â òàçè î÷åðòàâàùà ñå èãðà íà îáåìè åðîçèðàëè îò âîäàòà è âÿòúðà. Ñãðàäèòå èçíèêâàò îò ðàç÷èñòåíàòà ïëîù, ïîêðèòà ñ ðàñòèòåëíîñò è ïðåñå÷åíà ñ âîäíè áàñåé-

íè.”“Ìàðñèëèÿ å âúëíóâàù è áîãàò ãðàä...” Íàïëàñòÿâàíåòî è êîìïëåêñíîñòòà íà ñòèëà íà æèâîò ïðèäàâàò î÷àðîâàíèå íà äèñõàðìîíèèòå. Ãðàäúò å çàìèñëåí êàòî ñâÿò íà íåïðåêúñíàòî äâèæåíèå. Ìîáèëíîñòòà íà õîðàòà, íåïðåêúñíàòîñòòà íà êîìóíèêàöèèòå, åâîëþöèÿòà íà âúçïðèåìàíåòî íà îêîëíàòà ñðåäà, ñà ìîäåëèðàùèòå âåêòîðè íà ãðàäà. Àðõèòåêòóðà, êîÿòî å ñïîñîáíà äà ïðåäèçâèêà åìîöèè... “Â òîçè áåçêîíå÷åí è êîìïëåêñåí ãðàä ñúñ ñâîè íàïðåæåíèÿ,

ñòðîåæè, ïðîòèâîðå÷èÿ, ìèíàëî è áúäåùå èìà åäèí ÷óäåñåí ìàòåðèàë, êîéòî ìîæå äà äàäå íà òîâà ìÿñòî íîâà ãåîãðàôèÿ è íîâà èäåíòè÷íîñò. Àðõèòåêòóðàòà ñúùî å åìîöèÿ. Òÿ çàñÿãà ÷îâåøêèòå ñúùåñòâà è îòòàì - èêîíîìèêàòà èì. Ðåàëíîñòòà å åäèíñòâî îò ÷óâñòâà è èêîíîìè÷åñêà èçãîäà. Òàêà ÷å îòãîâîðúò íå ìîæå äà áúäå “äèçàéíúò” èëè ãðàäñêà “ïëúòíîñò”. Èçó÷àâàíåòî íà ôóíêöèèòå íà ó÷èëèùåòî çà èêîíîìèêà, ðàçïîëîæåíèåòî íà äîñòúïèòå ìó, ãðàäñêîòî ìó ðàçïîëîæåíèå, ìîðôîëîãè÷íîòî ìó ïðî÷è-

òàíå ñà âàæíè ôàêòîðè. Òàêà òîçè êâàðòàë íàèñòèíà íå ñòàâà èçîëèðàí, à “ãåíåðàòîð íà íîâ íà÷èí íà æèâîò â ãðàäà”. Ñúùåñòâåíîòî å äà ñå âèäè ñëîæíîñòòà è äîïúëâàíåòî ìåæäó âúíøíè è âúòðåøíè ïðîñòðàíñòâà. Çåëåíè ïúòåêè âîäÿò ïîñåòèòåëèòå êúì ðàçëè÷íèòå ñãðàäè è ñúîðúæåíèÿ. Ïî òÿõ ìîæåòå äà íàìåðèòå îôèñèòå, ôîàéåòî íà õîòåëà è êîíãðåñíèÿ öåíòúð, ìóëòèïëåêñ çàëèòå âëÿâî îò Dunkerque Boulevard êúì óëèöàòà è êúì Arenc Garden.

ÔÅÐÀÐÈ ÖÅÍÒÚÐ

Ïàðöåëúò çà ñãðàäàòà ñå íàìèðà òî÷íî â öåíòúðà íà êîìïëåêñà "ÔÅÐÀÐÈ" â Ìàðàíåëî, Èòàëèÿ, êîéòî ïîäëåæè íà ãîëåìè ïðîìåíè è ðàçâèòèå. Ðàçïîëîæåíèåòî íà èçñëåäîâàòåëñêèÿ öåíòúð ìåæäó ñãðàäàòà íà âúçäóøíèÿ òóíåë è ñãðàäàòà íà ìåõàíè÷íàòà ðàáîòèëíèöà ïîäñèëâà ðîëÿòà íà íîâàòà ñãðàäà â èçãðàæäàíåòî íà ãëàâíèÿ îáëèê íà ôèðìàòà "Ôåðàðè". Ñãðàäàòà ùå ïîìåùàâà îôèñè íà Òåõíè÷åñêîòî óïðàâëåíèå íà "Ôåðàðè".

Íàñòîÿùèÿò ïðîåêò ñå ðîäè îò æåëàíèåòî äà ñå âíåñå ïðèðîäíà ñðåäà â òîçè âèñîêîòåõíîëîãè÷åí êîìïëåêñ, ñ öåë äà ñå ñúçäàäå óäîáíà ðàáîòíà ñðåäà. Ñâåòëèíà, âîäà è áàìáóê ñà èçïîëçâàíè ïî òàêúâ íà÷èí, ÷å ñãðàäàòà äà ñòàíå ÷àñò îò ïåéçàæà. Òîçè ïðîåêò ïðåäñòàâÿ ðàçðàáîòêàòà íà åäíà íîâà ïîåçèÿ îò ñâåòëèíà. Â öÿëîñòíèÿ îáðàç ïðåîáëàäàâàò âèñÿùèòå îáåìè, îòäåëåíè îò îñòàíàëàòà ñãðàäà è îêà÷åíè íàä ïîâúðõíîñòòà íà âîäàòà, êîÿòî ïîêðèâà äîëíèÿ

îáåì, ïðîñòèðàéêè ñå 7 ì íàâúí íàä âõîäíàòà ïëîù. ßðêî îñâåòåíè êðèñòàëíè êóòèè è ìèíèìàëíî íåîáõîäèìàòà ñòðóêòóðà ñà åäèíñòâåíèòå ôèçè÷åñêè âðúçêè ìåæäó äâå ñòàè çà ñðåùè, ìàðêèðàíè ñúñ ñúîòâåòíèòå èì öâåòîâå, ò.å. ÷åðâåíî è æúëòî. Âîäàòà è ñâåòëèíàòà ñà êèíåòè÷íèòå åëåìåíòè íà ñãðàäàòà, íàñèùàùè ïðîñòðàíñòâîòî ñ îòðàæåíèÿ, êîèòî ñúçäàâàò âïå÷àòëåíèå çà ïðåöèçåí ìåòàëåí êîíòåéíåð íà ãîðíèÿ îáåì. Â ñðå-

äàòà íà ñãðàäàòà ïðåöèçíî ïîäðåäåíà ïðàâîúãúëíà áàìáóêîâà ãîðè÷êà ôèëòðèðà ñâåòëèíàòà è ñå îòðàçÿâà â ñòîòèöè ðàçëè÷íè íàïðàâëåíèÿ. Àëõèìèÿòà íà òåçè åëåìåíòè ñúçäàâà ìèêðîêëèìàò, êîéòî å ÷óäåñåí ïðèìåð çà áèîêëèìàòè÷íà àðõèòåêòóðà. Åòî çàùî òàçè ñãðàäà, ïîñâåòåíà íà åäíà ïðîèçâåæäàùà êîëè ôèðìà, êîÿòî ïðåäñòàâÿ âå÷å íÿêîëêî ãåíåðàöèè ðåàëèçàöèè íà ÷îâåøêèòå ìå÷òè, ñòàâà ÷àñò îò òàçè ïîåçèÿ, ìàãèÿ è ìå÷òà.

Òîðèíî: èçëîæáåíà çàëà â Ïîðòà Ïàëàöî Èíòåðâåíöèÿòà ñå ñúñòîè â ðåàëèçàöèÿòà íà åäíà ïåòåòàæíà ñãðàäà: äâà ïîäçåìíè åòàæà, ïúðâèÿò çà ïàðêèíã çà êîëè, à âòîðèÿò çà òåõíîëîãè÷íè ïðîñòðàíñòâà, è òðè íàäçåìíè åòàæà çà òúðãîâñêà äåéíîñò è ðåñòîðàíòè. Åòàæúò ñ ãàðàæ çà êîëè ïðåäëàãà ìåñòà çà 109 êîëè íà ïëîù îò 4700 êâ. ì íà òðè íèâà. Åäíà ñòåíà ðàçäåëÿ èçêîïèòå çà ðåñòàâðàöèÿòà íà äâå äðåâíè èçñå÷åíè â ñêàëèòå õëàäèëíè êàìåðè îò íåîëèòà. Ãëàâíèÿò âõîä å ðàçïîëîæåí íà ïðèçåìíîòî íèâî îò þãî-èçòî÷íàòà ñòðàíà íà

ñãðàäàòà, áëèçî äî êðúñòîâèùåòî íà óëèöèòå Giulio Cesare è Regina Margherita. Òúðãîâñêèòå ïëîùè ñà ðàçðàáîòåíè ïî ïðîäúëæåíèå íà ïåðèôåðèÿòà íà ñãðàäàòà, ñúçäàâàéêè öåíòðàëíà ÷àñò, êâàäðàòíî ïðîñòðàíñòâî, ñúçäàäåíî çà äâåòå èçâàäåíè îòíîâî íà ñâåòëèíà õëàäèëíè êàìåðè. Ïåøåõîäíàòà ïëîù â ïðèçåìíèÿ åòàæ å îò÷àñòè îêîëî òåçè ðàçêðèòè ïðåäè ïðîåêòà õëàäèëíè êàìåðè, â êîèòî å âúçìîæíî äà ñå ïîãëåäíå âúòðå ïðåç ñòåíàòà íà ãàðàæà, â ñúñåäñòâî ñ òÿõ íà ñúùîòî íèâî.

Ïúðâèÿò åòàæ å îðãàíèçèðàí ïî ñõåìàòà íà ïðèçåìíèÿ åòàæ ñ òúðãîâñêè ïëîùè ïî ïåðèôåðèÿòà: ìàãàçèíè, êàôåíåòà è ñåðâèçíè ïîìåùåíèÿ çà òúðãîâöèòå â þãîçàïàäíèÿ úãúë, äî êîèòî ìîæå äà ñå äîñòèãíå ïðåç âúíøåí äîñòúï, âìåñòî äà ñå òè÷à ïî ïåðèôåðèÿòà íà ñãðàäàòà è ïî ñòúïàëà, êîèòî ñâúðçâàò åòàæèòå íà ñãðàäàòà, ïðåñè÷àéêè öåíòðàëíîòî ïðàçíî ïðîñòðàíñòâî.

32 36

Ïîñëåäíèÿò åòàæ ñå çàåìà îò ðåñòîðàíòè è ñåðâèçíè ïîìåùåíèÿ ñ ïîêðèòà òåðàñà íà þæíàòà ñòðàíà.

Ìåòàëíèÿò ïîêðèâ çàïàçâà êîìïîçèöèÿòà íà åòàæèòå, êàòî ñúçäàâà ïðîñòðàíñòâî îòäîëó, â êîåòî ñâåòëèíàòà ïðîíèêâà ïðåç ïðîçðà÷íè âåðòèêàëíè è õîðèçîíòàëíè ñëîåâå ñòúêëî. Âúíøíàòà ôàñàäà íà ñãðàäàòà å ðåàëèçèðàíà ñúñ ñèñòåìà îò ñëîåâå ñòúêëî, îêà÷åíè åäèí âúðõó äðóã ÷ðåç íàïðå÷íèöè îò èçïðàâåíè ñòîìàíåíè ïðîôèëè ñúñ Ñ-îáðàçíà ôîðìà. Ìåæäó òàçè ôàñàäà è ïëúòíèÿ ãðàäåæ èìà ïðîñòðàíñòâî, êîåòî îáãðúùà öÿëàòà ñãðàäà è â íåãî èìà åâàêóàöèîííè ñòúëáè çà ðàçëè÷íèòå íèâà.

Êðàéíî ðåøåíèå íà æóðèòî íà RIBA (Êðàëñêè èíñòèòóò íà áðèòàíñêèòå àðõèòåêòè) ×ëåíîâåòå íà æóðèòî íà RIBA (The Royal Institute of British Architects) çà êîíêóðñà íà AIST (The African Institute of Science and Technology, Àôðèêàíñêè èíñòèòóò çà íàóêà è òåõíîëîãèè) çàÿâèõà ñëåäíîòî: “Âîäåù â òîâà ïðåäñòàâÿíå

áåøå Ìàñèìèëèàíî Ôóêñàñ, à ÷ëåíîâåòå íà æóðèòî áÿõà âïå÷àòëåíè îò íà÷èíà, ïî êîéòî òîé è íåãîâèòå ïðîåêòàíòè ñè ðàçïðåäåëèõà îïèñàíèåòî íà èäåèòå. Èìàøå ÿñíî èçëîæåíèå çà òîâà, êàêâî çíà÷åíèå èìà ïîëîæåíèåòî íà ïàðöåëà çà êàìïóñà ïî îò-

íîøåíèå íà ãðàäà, çà àðõèòåêòà. Òåçè ìèñëè (íàðåä ñ äðóãè) ïðåäèçâèêàõà äèñêóñèÿ çà ïîëîæåíèåòî íà îñèòå íà ãðàäîóñòðîéñòâåíèÿ ïëàí. Òåõíèÿò ÿñåí ïëàí, â íÿêîè îòíîøåíèÿ äîñòà ñäúðæàí, èìà êà÷åñòâîòî äà îòïóñêà, òúé êàòî âñÿêà îò çîíèòå å

ïðîñòî îïðåäåëåíà è èçðàçåíà. Êðàñèâî, íî ïàê ñäúðæàíî, èçðàâíÿâàíåòî äî òå÷åíèåòî íà âîäàòà áåøå ðàçðàáîòåíî êàòî äîëèíà-ãðàäèíà è, çàáåëåæåòå, ìóçåé íà îòêðèòî çà íàðîäíî èçêóñòâî - åäíî òèõî, íåçàâèñèìî ìÿñòî çà ïîñåùåíèå è íàñëàäà,

64 íå äèðåêòíî àíãàæèðàíî ñúñ çàñòðîåíàòà ñðåäà. Åäíà çàáåëåæèòåëíà èäåÿ, êîÿòî áåøå ïðèåòà ìíîãî äîáðå. Ìàñèìèëèàíî Ôóêñàñ öèòèðà äóìèòå íà Íåëñîí Ìàíäåëà çà ñòîéíîñòòà è çíà÷åíèåòî íà îáðàçîâàíèåòî, êàòî ïðåäëîæè åäèí âïå÷àòëÿâàù ïàñàæ îò òÿõ äà áúäå èçäúëáàí â êàìåííàòà íàñòèëêà íà ïëîùàä “Íåëñîí

Ìàíäåëà”; ñúùåñòâåí åëåìåíò îò îòêðèòîòî ïðîñòðàíñòâî ñ ðåêàòà. Áåøå äàäåíî âðåìå è çà îïèñàíèå íà ðàçïîëîæåíèåòî è õàðàêòåðà íà ïðîåêòèðàíèòå ñäàíèÿ çà ïðåïîäàâàíå. Áèâàéêè ñðàâíèòåëíî íèñêè, ïðîåêòèòå íà òåçè ñãðàäè åêñïëîàòèðàò è èçðàçÿâàò åäèí ðîäîâ õàðàêòåð, êîéòî êàòî ÷å ëè ãîâîðåøå ìíîãîçíà÷èòåëíî íà

÷ëåíîâåòå íà æóðèòî çà Àôðèêà - ïðîåêòèòå èìàõà âðúçêà ñ êîðåíèòå íà Àôðèêà è â ñúùîòî âðåìå ïîêàçâàõà ïîäõîäÿù óñåò çà ìîäåðíî. Îæèâåíà è ïîëçîòâîðíà äèñêóñèÿ ðàçêðè îòãîâîðíîñòòà íà àðõèòåêòèòå êúì Àôðèêà è â ÷àñòíîñò êúì ðàçâèòèåòî íà òîçè êàìïóñ êàòî çíà÷èìà âúçìîæíîñò.

Ìíîãî àñïåêòè íà ïðåäëîæåíèÿ àðõèòåêòóðåí äèçàéí è òîâà, êîåòî òîé èñêàøå äà âíåñå â ïðîåêòà, ñúáóäè ÷óâñòâà ó ÷ëåíîâåòå íà æóðèòî. Òîâà ïðåäñòàâÿíå áåøå ïúðâèÿò èçáîð íà æóðèòî è ïðîåêòúò ñòàíà ïðåäìåò íà ðåçîëþöèÿòà íà æóðèòî çà âúçëàãàíå íà äîãîâîðíè óñëîâèÿ.

Ðàçøèðÿâàíå íà ãðóïà Bortolo Nardini Äåñòèëèðàíå íà âîäà Bassano del Grappa

Èäåÿ íà ïðîåêòà Ñòúêëåíà êîëáà çà äåñòèëèðàíå, ïîñâåòåíà íà âúçõâàëàòà íà äèñòèëàöèîííàòà ôèðìà “Íàðäèíè” Äâà “ñâÿòà”. Ïúðâèÿò “îêà÷åí”, îáðàçóâàí îò äâà åëèïñîâèäíè ïðîçðà÷íè áàëîíà, êîèòî îáõâàùàò ëàáîðàòîðèèòå íà èçñëåäîâàòåëñêèÿ öåíòúð, è äðóãèÿò - “ïîòîïåí”, èçäúëáàí â çåìÿòà êàòî åñòåñòâåí êàíüîí, êîéòî ïîäñëîíÿâà åäíà àóäèòîðèÿ è

ôîàéå. Íàêëîíåíàòà ïúòåêà, ñïóñêàùà ñå êúì àóäèòîðèÿòà, å îðèãèíàëíàòà ìàòðèöà íà ïðîñòðàíñòâîòî íà “êàíüîíà”. Òîé å èçïîëçâàåì è êàòî ïëàòôîðìà íà îòêðèòî, ñúçäàâàéêè îãðîìíî ïðîñòðàíñòâî çà àóäèòîðèÿòà, çà äà ïîìåñòè â ñåáå ñè ìàùàáíè ìåðîïðèÿòèÿ. Ïóáëèêàòà å çàîáèêîëåíà îò ïåéçàæ, ïîðîäåí îò íåðèòìè÷íà êîíôèãóðàöèÿ îò íàêëîíåíè ñòåíè. Åçåðî îò íåðúæäàåìà ñòîìàíà íà ïðèçåìíîòî íèâî áëåñòè ñúñ ñâåò-

ëèíà, èäâàùà îò ïîêðèâà, íàïîäîáÿâàéêè âîäíè êàïêè íà îòêðèòî. Îáøèðíàòà îòðàçÿâàùà ïîâúðõíîñò íà ñòîìàíàòà ñúçäàâà îòðàæåíèÿ è áëåñòÿùè ïîâòîðåíèÿ íà âõîäíàòà ïëîù ïîä òúðáóñèòå íà äâàòà ïëóâàùè áàëîíà. Òúíêèòå êîëîíè ñ ðàçíîîáðàçíè íàêëîíè çàåäíî ñ íàêëîíåíèÿ îáåì íà àñàíñüîðà, ñúçäàâàò äèíàìè÷íî íàïðåæåíèå. Ïîñåòèòåëÿò å êîíôðîíòèðàí ñ ïîñëåäîâàòåëíîñò îò ïðîìåíëèâè îáðàçè, ñúçäàäåíè îò

ñúçâó÷íà àñèìåòðèÿ â êîìáèíàöèÿ ñ ðàçíîîáðàçíè àðõèòåêòóðíè åëåìåíòè: äâàòà ïîñòàâåíè åäèí äî äðóã åëèïñîèäà, íàêëîíåíèÿò àñàíñüîð ñðåùó íàêëîíåíîòî ñòúëáèùå, çàâúðòàíåòî íà âõîäíàòà ðàìïà. Ïîêðèâàíåòî ñúñ ñòúêëî íà äâàòà åëèïñîèäà å äâóñëîéíî, íà ìåñòà ïðîçðà÷íî, íà ìåñòà ïîëóïðîçðà÷íî, òàêà ÷å äà ïðåäëàãà íà íàáëþäàòåëÿ 3600 øèðîê õîðèçîíò êúì ÷óäåñíèÿ ïåéçàæ íà ïëàíèíàòà Ìîíòå Ãðàïà.

Âèåíñêèòå êóëè áëèçíàöè "Âðúõ íà ãðàäà"

Îò ñàìîòî íà÷àëî ïðîó÷âàíåòî íà Ôóêñàñ áèëî îñíîâàíî íà æåëàíèåòî äà ñå ñúçäàäå ïîäõîäÿùî ðåøåíèå, ïîäõîäÿùî çà îáîãàòÿâàíå íà âúçäóøíèÿ õîðèçîíò íàä àâñòðèéñêàòà ñòîëèöà. Íà ïúðâî ìÿñòî, òîâà ðåøåíèå òðÿáâàëî äà äîïðèíåñå çà äúëáî÷èííîñòòà íà âúçäóøíîòî ïðîñòðàíñòâî, íî ñúùåâðåìåííî è äà ïðèäàäå ôîðìà íà ïëîùòà, êîÿòî ñå íàìèðà îòâúä ñúùåñòâóâàùèòå ñòðóêòóðè, äà ñòàíå åäíî îòëè÷àâàùî ñå ðåøåíèå, êîåòî äà ñëóæè êàòî èäåíòèôèöèðàù åëåìåíò çà áúäåùèòå ïîë-

çâàòåëè íà ñãðàäèòå. Ïðîåêòúò çàåìà ïëîù, êîÿòî å ïðåõîäíà ìåæäó ãðàäà è çåëåíèòå ìó îêîëíîñòè. Òîé îáåäèíÿâà ãðàäà è ïðèðîäàòà è ïîäñèëâà åôåêòà íà âå÷å ñúùåñòâóâàùàòà òåìàòèêà â ïîñòðîåíèòå ïðåäè òîâà ñãðàäè: ðàçðàáàòâàíå íà ãðàäñêèÿ ïåéçàæ; âðúçêà-ïðåõîä ìåæäó ãðàäñêàòà ïëúòíîñò è çåëåíèòå ïðîñòðàíñòâà; ïðîó÷âàíàòà ïðåõîäíà òî÷êà òðÿáâàëî äà áúäå ñìåñ îò èçêóñòâî è àðõèòåêòóðà - èíòåðâåíöèÿ íà "èçêóñòâîòî, èçïîëçâàùî ïðèðîäíèòå äàäåíîñòè", â ÷àñòíîñò â êîì-

ïëåêñà îò þæíàòà ñòðàíà; êàêòî è äà ïîä÷èíè "åòè÷åñêèÿ" ðàçìåð íà ïðîåêòà íà ãðàäñêàòà ñêàëà, êîÿòî "ïðåïðî÷èòà" èíôðàñòðóêòóðíàòà ñèñòåìà â êëþ÷îâè äóìè êàòî "äîñòúïíîñò" è "ïðîçðà÷íîñò" âúðõó íîâîçàâîþâàíàòà ãðàäñêà ïëîù. Îò ãîëÿìàòà "òðàïåöîâèäíà îñíîâà", 25 ì îò êîÿòî ñà çàðîâåíè â çåìÿòà, äî íàé-âèñîêàòà òî÷êà íà 150 ì íàä ïîâúðõíîñòòà ïúòÿò íàãîðå å ïúòåøåñòâèå ïðåç êîíñòàíòè, êîèòî âèíàãè ïðèñúñòâàò â ðàáîòàòà íà àðõèòåêòà. Ëàáèðèíòúò ïðåîáëàäàâà

â äîëíàòà ÷àñò. Îòäåëíèòå "÷àñòè" íå ñòèãàò äî êîíòàêò åäíà ñ äðóãà, òúé êàòî ïðàçíîòî ïðîñòðàíñòâî ñúçäàâà "íàïðåæåíèå". Òîâà å åäíî íåïðåäñêàçóåìî ïúòåøåñòâèå, â êîåòî ñå ðàçêðèâàò ðàçëè÷íè âèñî÷èíè è ðàçìåðè. Äâèæåíèåòî îò "ìàëêî" êúì "ãîëÿìî", îò ïðèòèñêàùè òàâàíè äî äðóãè, êîèòî ñà òâúðäå äàëå÷, òîâà äâèæåíèå ìîæå äà áúäå íàìåðåíî â ìíîãî ìîè ïðîåêòè. Ïîãëåäíàòè îò ñúåäèíÿâàùèòå ãè ïúòåêè, äâåòå êóëè íå ñà óñïîðåäíè ìîíîëèòè, à êàòî ÷å ëè ïî÷òè ñå äîêîñâàò åäíà äðó-

65 ãà. Íàé-áëèçêîòî ðàçñòîÿíèå ìåæäó òÿõ å øèðîêî ñàìî øåñò ìåòðà. Äâåòå òåëà ñúçäàâàò "êóõèíà". Íèå ñå äâèæèì ïðåç ðàçëè÷íè åìîöèè ïðåç ñåðèÿ îò íàïðÿãàíèÿ è îòïóñêàíèÿ. Ñëèçàéêè 30 ì íàäîëó ïîä çåìÿòà, äîñòèãàìå ðàçïîëîæåíè íà ðàçëè÷íè íèâà ïàðêèíãè, êèíà, ðåñòîðàíòè, ìàãàçèíè è îôèñè. Îïèòàõ ñå äà îðãàíèçèðàì ïî-ãîëÿìàòà ÷àñò îò îáùåñòâåíèÿ è ÷àñòíèÿ æèâîò íà ìíîãî õîðà íà åäíî è ñúùî ìÿñòî. Òîâà, êîåòî å îñîáåíîòî è â ÷àñòíîñò çà òàçè ñãðà-

äà, å íåéíàòà ìàêñèìàëíà ïðîçðà÷íîñò. Åäèí äðóã ñâÿò, åäèí ìèñòåðèîçåí ñâÿò ñúùåñòâóâà âúòðå â íåÿ. Èäåÿòà çà ïðîñò ìîíîëèò, ñúñ ñâîé ñâÿò îòãîðå è ñâîé ñâÿò îòäîëó è "õîðèçîíò", ïîâòàðÿùà ñå êëþ÷îâà äóìà, ñ êîÿòî ñúì çàìåñòèë èäåÿòà çà "îòïðàâíà òî÷êà", êîÿòî ñ÷èòàì çà ìíîãî ñòàòè÷íà. À õîðèçîíòúò ñå äâèæè ñ ÷îâåøêîòî ñúùåñòâî. Âèå ãî ãëåäàòå è ãî ïðîìåíÿòå, äâèæåéêè ñå íàãîðå è íàäîëó, ñúâñåì êàòî íà ôèëì. Ðàçäâèæåí ïî "ïåéçàæíà" óëè-

öà â ñèíóñîâà êðèâà, ïðîåêòúò èçïîëçâà ðàçíîîáðàçíè àðõèòåêòóðíè òåõíîëîãèè - êóëè è êîëîíè - èçáÿãâàéêè ìîíîòîííîñòòà â öÿëîñòíèÿ êîìïëåêñ è â ñúùîòî âðåìå ïîçâîëÿâàéêè åäíî ÿñíî ðàçïîçíàâàíå íà ðàçäåëèòåëíèòå åëåìåíòè íà âñÿêî îò íàïðàâåíèòå òåëà. Ëèíèÿòà íà íåáîñêëîíà íàä õúëìà Âèíåðáåðã, íàé-âèñîêàòà òî÷êà â þæíàòà ÷àñò íà Âèåíà, ñå ïðîìåíÿ. Êëþ÷îâèÿò ñòðîèòåëåí ïðîåêò å Âèåíñêàòà êóëà áëèçíàê, êîÿòî å âèñîêà 138 ì è

èìà 37 åòàæà. Ñãðàäàòà îòêðèâà íîâè ïåðñïåêòèâè çà óðáàíèçàöèÿ íà ðàéîíà ïðåç íîâîòî ñòîëåòèå. Àðõèòåêòóðàòà íà êóëàòà èçïðàùà ñèãíàë íà öÿëîñòíî îòâàðÿíå è ÿñíîòà, âèäèìà äàëå÷ çàä ãðàíèöèòå íà ãðàäà. Çíàìåíèòèÿò èòàëèàíñêè àðõèòåêò Ìàñèìèëèàíî Ôóêñàñ ñóìèðà ñâîåòî àðõèòåêòóðíî êðåäî êàòî "ïðåõîä, êîìóíèêàöèÿ è ïðîçðà÷íîñò, çàùîòî ãðàäîâåòå çàðåæäàò ñ åíåðãèÿ è ñèëíè óñåùàíèÿ" .

Öåíòúð çà ìèð “Ïåðåñ”, ßôà, Èçðàåë Öåíòúðúò çà ìèð “Ïåðåñ”, ïðîåêòèðàí îò Ìàñèìèëèàíî Ôóêñàñ, ïîåìà ñâîÿ ïúò

Îôèöèàëíàòà öåðåìîíèÿ çà ïúðâàòà êîïêà çà îñíîâèòå íà Öåíòúðà çà ìèð “Ïåðåñ” ùå ñå ñúñòîè â ßôà, Èçðàåë, íà 21 ñåïòåìâðè. ×ëåíîâåòå íà Ìåæäóíàðîäíèÿ àäìèíèñòðàòèâåí ñúâåò è ïðèÿòåëè íà öåíòúðà ùå ñå ñúáåðàò íà òîâà ìÿñòî ïî ïîâîä ÷åñòâàíåòî íà 80-òèÿ ðîæäåí äåí íà Øèìîí Ïåðåñ. Öåíòúðúò, îðãàíèçèðàí ïîä ðúêîâîäñòâîòî íà Øèìîí Ïåðåñ è ïðîåêòèðàí îò Ìàñèìèëèàíî Ôóñêàñ ïðåç 1997 ã., áåøå ïðåäñòàâåí çà ïúðâè ïúò ïðåä ïóáëèêà ïðåç 2000 ã. íà Áèåíàëåòî âúâ Âåíåöèÿ, êúäåòî áåøå èçëîæåí ìîäåë, äúëúã ñåäåì ìåòðà â ïðèåìíîòî ôîàéå çà ïîñåòèòåëè. “Ïðåäñòàâåòå ñè ìÿñòî, êîåòî íå å âèðòóàëíî, à ðåàëíî. Äà ãî ïîñâåòèø íà ìèðà å îãðîìíî è òðóäíî íà÷èíàíèå ñ äúëáîêî åòè÷åñêî çíà÷åíèå - îáÿñíÿâà Ôóñêàñ - Ìèðúò å ñúñòîÿíèå íà äóõà, ñòðåìåæ: íàïðåæåíèå è óòîïèÿ. Èìàõ èäåÿòà çà ìíîãî ñëîåâå, åäíà ñãðàäà, êîÿòî äà ïðåäñòàâÿ ÂÐÅÌÅÒÎ è ÒÚÐÏÅÍÈÅÒÎ â ïëàñòîâå îò ñìåíÿùè ñå ìàòåðèàëè, ïðåäñòàâÿùè ìåñòà, êîèòî ñà ïðåæèâåëè òåæêè âðåìåíà. Öåíòúðúò çà ìèð “Ïåðåñ” å ïàðàëåëåïèïåä, ïîëó÷åí îò íåðàâíîìåðíî îôîðìåíè ñëîåâå îò ñòúêëî è áåòîí, èçäèãíàòè íà ìîíîëèòíà îñíîâà: â åäèíèÿ êðàé íà ñãðàäàòà å âõîäúò êúì ïàðêà, â äðóãèÿò å ïåøåõîäíèÿò âõîä. Òàçè òúìíà ïëîù ñ íèñúê òàâàí âîäè êúì îñâåòåíà çàëà, êîÿòî å

îòâîðåíà â öÿëàòà âèñî÷èíà íà ñãðàäàòà. Òîâà å ïðèåìíàòà çàëà ñ ãëåäêà êúì ðåäóâàùè ñå ñëîåâå îò ñâåòëèíà è òúìíèíà è äîñòúï äî ðàçëè÷íè èçëîæáåíè çàëè. Îñòàíàëèòå øåñò åòàæà, âñåêè ðàçïîëàãàù ñ ïëîù îò 600 êâ ì è ñ âèñî÷èíà 3,4 ì ùå ïîìåùàâàò îôèñíèòå ïîìåùåíèÿ íà ôîíäàöèÿòà íà Ïåðåñ, áèáëèîòåêà, ìåäèéíà áèáëèîòåêà, àóäèòîðèÿ ñ ìåñòà çà 200 äóøè (ñ âèñî÷èíà 7 ì), çàëà çà ïðåñ êîíôåðåíöèè è ñåðâèçíè ïîìåùåíèÿ, êàôåòåðèÿòà çà ÷ëåíîâå è ãîñòè å íà òðåòèÿ åòàæ ñ áèáëèîòåêà è ìåäèàòåêà; ÷åòâúðòèÿò è ïåòèÿò åòàæè ñúäúðæàò îôèñè è ñòàè çà ñðåùè; íà øåñòèÿ åòàæ ñà ðàçïîëîæåíè øåñò àïàðòàìåíòà.” Âúíøíàòà ñòðàíà íà ñãðàäàòà èìà ðåäóâàùè ñå ñëîåâå îò áåòîí è ïîëóïðîçðà÷íî ñòúêëî. Ïðîçðà÷íîñòòà íà ñòúêëîòî ùå ôèëòðèðà ñâåòëèíàòà, êîÿòî âëèçà âúòðå ïðåç äåíÿ, à ïðåç íîùòà ùå ÿ èçïðàùà îáðàòíî íàâúí, ïîâåðÿâàéêè íà ñâåòà îáðàçúò ñ äóõîâíî è ðåàëíî ïîñëàíèå, êîéòî âíóøàâà òîâà ìÿñòî.” Ïîâúðõíîñòòà íà òåðåíà ïðåìèíàâà â ãîëÿìî ñòúëáèùå êúì ïëîùàäà è òåðåíà å îôîðìåí íà êàñêàäè íàäîëó êúì ìîðñêèÿ áðÿã, ïðåñå÷åí îò èçòîê íà çàïàä. Âúðõó òîçè òåðåí å ðàçïîëîæåíà ñãðàäàòà êàòî åäèí îáåêò, çàåäíî ñ íàñå÷åíàòà ïëàòôîðìà, êàêòî è åäíà ãåîìåòðè÷íà ãðàäèíà. Îò âõîäà, åäíà ïðèåìíà çàëà ñ äâîéíà âèñî÷èíà âîäè êúì

òúìíà è íèñêà èçëîæáåíà ïëîù. Çàä íåÿ ñå îòâàðÿ ñâåòëà çàëà îò ïàðòåðà äî îñòúêëåíèÿ ïîêðèâ, êîÿòî ñúäúðæà áèáëèîòåêà, ïîñâåòåíà íà ÷àñòíàòà êîëåêöèÿ íà ã-í Øèìîí Ïåðåñ. Îñòàíàëèòå åòàæè ñúäúðæàò àóäèòîðèÿ, îôèñè, ñòàè çà ñðåùè è ìÿñòî çà îòäèõ çà äåöàòà, êîèòî ñà äîñòúïíè îò öåíòðàëíîòî ÿäðî. Ïðåç 2003 ã. “ïðåäñòàâàòà” è “ìå÷òàòà” íà Øèìîí Ïåðåñ ùå ñå ìàòåðèàëèçèðà ÷ðåç ïðîåêòà íà Ìàñèìèëèàíî Ôóêñàñ. Òîçè ïðîåêò ùå ñëóæè çà ñðåùà íà ìíåíèÿ è äåáàòè, äèñêóñèè è ðåøåíèÿ. Òîé ñå ÿâÿâà â ðîëÿòà íà ïîìàãàëî, íà ïðîòåãíàòà ðúêà çà ñúòðóäíè÷åñòâî, çà îòñòðàíÿâàíå íà òðóäíîñòèòå â ðàçáèðàòåëñòâîòî ìåæäó ñòðàíèòå, êàòî åäèí äîì çà âñè÷êè áåçäîìíè. Ðîäíî ïðèñòàíèùå çà âñè÷êè ìîðÿöè è ïðèñòàí çà êîðàáîêðóøåíöèòå. Ïðåäñòàâåòå ñè ìÿñòî, êîåòî íå å âèðòóàëíî, à ðåàëíî. Äà ñå ïîñâåòè íà ìèðà å îãðîìíî è òðóäíî íà÷èíàíèå ñ äúëáîêî åòè÷åñêî çíà÷åíèå. Ìèðúò å ñúñòîÿíèå íà äóõà, ñòðåìåæ: íàïðåæåíèå è óòîïèÿ. Òîâà å ïðîåêöèÿ íà âîëÿòà çà äîáðî áúäåùå, èçðàç íà íàäåæäàòà íàøèòå äåöà è áúäåùè ïîêîëåíèÿ äà æèâåÿò â ïî-äîáúð ñâÿò. Ìèðúò íå ìîæå äà áúäå çàòâîðåí â îïàêîâêà: òîé å ïî-ñêîðî óñåùàíå çà ïúëíîòà è óñïîêîåíèå, êîåòî ìîæå äà áúäå ñïîäå-

ëåíî ÷ðåç åäíî ìÿñòî èëè ÷ðåç àðõèòåêòóðà. Èìàõ èäåÿòà çà ìíîãî ñëîåâå, åäíà ñãðàäà, êîÿòî äà ïðåäñòàâÿ ÂÐÅÌÅÒÎ è ÒÚÐÏÅÍÈÅÒÎ â ïëàñòîâå îò ñìåíÿùè ñå ìàòåðèàëè, ïðåäñòàâÿùè ìåñòà, êîèòî ñà ïðåæèâåëè òåæêè âðåìåíà. Áåòîí, èçãðàäåí îò ðåäóâàùè ñå è íàëîæåíè åäèí âúðõó äðóã ñëîåâå ñ ðàçëè÷íè âèäîâå ïÿñúê è àãðåãàòè. Êàìåííà îñíîâà, âúðõó êîÿòà ñå èçäèãà ñãðàäàòà; ìÿñòî çà ñðåùà, îò êîåòî äâóñòðàííà ñòúëáà âîäè äî ìÿñòî çà “ïî÷èâêà”, ÷èéòî ðàçìåð è âèñî÷èíà ñà èçïúëíåíè ñúñ ñâåòëèíà îòãîðå. Òî íè ïîìàãà äà çàáðàâèì òðåâîãèòå íà ñâåòà è äà ñå ïî÷óâñòâàìå èçïúëíåíè ñ ïîëîæèòåëíî îòíîøåíèå, êîåòî å íåîáõîäèìî çà ñðåùèòå íè ñ äðóãè ìúæå è äðóãè æåíè. Âúíøíàòà ñòðàíà íà ñãðàäàòà èìà ðåäóâàùè ñå ñëîåâå îò áåòîí è ïîëóïðîçðà÷íî ñòúêëî. Ïðîçðà÷íîñòòà íà ñòúêëîòî ôèëòðèðà ñâåòëèíàòà, êîÿòî âëèçà âúòðå ïðåç äåíÿ, à ïðåç íîùòà ÿ èçïðàùà îáðàòíî íàâúí, ïîâåðÿâàéêè íà ñâåòà îáðàçúò ñ äóõîâíî è ðåàëíî ïîñëàíèå, êîéòî âíóøàâà òîâà ìÿñòî. Àðõèòåêòóðàòà äíåñ òðÿáâà äà ñëóæè êàòî ïîìàãàëî, êàòî ïðîòåãíàòà ðúêà çà ñúòðóäíè÷åñòâî, çà îòñòðàíÿâàíå íà òðóäíîñòèòå â ðàçáèðàòåëñòâîòî ìåæäó ñòðàíèòå. Òîçè ïðîåêò ñëóæè êàòî ìÿñòî çà ñðåùà íà ìíåíèÿ è äåáàòè, äèñêóñèè è ðåøåíèÿ.

Åíîðèéñêè êîìïëåêñ â Ñàí Äæèàêîìî, Ôîëèíüî, Èòàëèÿ Ñãðàäàòà ñå ñúñòîè îò äâà âìúêíàòè åäèí â äðóã ïàðàëåëåïèïåäà, ñúçäàâàùè òðè îñòðîâà. Ïúðâèÿò, âúíøíàòà ñòðóêòóðà å íàïðàâåíà îò ñòîìàíîáåòîí, îáðàáîòåí ñ âîñúê, äîêàòî âòîðèÿò å íàïðàâåí îò ôàñåòè îò öèìåíò, ïðåç êîèòî âëèçà ñâåòëèíà îò ðàçëè÷íè èçòî÷íèöè. Ñòðàíè÷íè-

òå îñòðîâè ñà çàâúðòÿíè âåòðèêàëíî ÷ðåç ñòðóêòóðà, êîÿòî ïîääúðæà âúòðåøíîñòòà íà èçëú÷âàùîòî ñâåòëèíà îòäåëåíèå è ïî òîçè íà÷èí òå îáðàçóâàò âåðèãà ñ ïîìîùòà íà àðõèòåêòóðà ñ ïîåòè÷íî âíóøåíèå. Çàòîâà ñâåòëèíàòà å ìàòåðèàëèçèðàíà - ñòðóêòóðíî è ïîåòè÷íî; ñòîìàíîáå-

òîíúò è ìîíîëèòíèÿò áåòîí íà âúíøíàòà ñòðàíà êîíòðàñòèðàò íà ëåêèÿ èíòåðèîð, î÷åðòàí îò ñâåòëèíàòà. Â èíñòàëàöèÿòà íà õóäîæíèêà Ìàóðèöèî Íàíó÷è ñà âêëþ÷åíè åñòåñòâåíà è èçêóñòâåíà ñâåòëèíà, êàòî â íåÿ ñà âêëþ÷åíè öèòàòè îò Áèáëèÿòà, íàïèñàíè ñ íåîíîâà ñâåòëèíà.

Â öúðêâàòà ìîæå äà ñå âëåçå ïî ïåøåõîäåí ìîñò, çà äà ñå èçáåãíàò ñòúëáèòå è äà ñå ïîä÷åðòàå ðîëÿòà íà ïðåääâåðèåòî íà öúðêâàòà. Âõîäúò ñå ñúñòîè âúâ âåðòèêàëåí ñðåç íà åäíàòà ñòðàíà íà ïàðàëåëåïèïåäà, êîéòî ñúçäàâà ñèìâîëè÷íî ðàçäåëÿíå è òî÷êà íà êîíòàêò ñ âúòðåøíîñòòà.

Êîíöåðòíà çàëà â íîâàòà ñòîëèöà íà Ðåïóáëèêà Êàçàõñòàí - Àñòàíà Äà ñå ïðîåêòèðà åäèí îò íàéâàæíèòå ñãðàäíè êîìïëåêñè â ñòîëèöàòà íà Êàçàõñòàí å âúçõèòèòåëíà çàäà÷à. Áëàãîäàðåíèå íà îïèòà íà íàøåòî ìåæäóíàðîäíî àðõèòåêòóðíî ñòóäèî è êîëåêòèâíàòà íè ðàáîòà ñúñ ñïåöèàëèñòè ïî àêóñòèêà, òåàòðàëíà ðàáîòà, êàêòî è ñïåöèàëèñòè ïî òåõíèêàòà è ñòðóêòóðíè èíæèíåðè, íèå îðãàíèçèðàõìå èçïúëíåíèåòî íà âñè÷êè èçèñêâàíèÿ çà êîìïëåêñà. Îðèåíòàöèÿòà íà ñãðàäàòà ïîñòàâÿ ãîëÿì ãðàäîóñòðîéñòâåí áåëåã; ïàðêúò â êðàÿ íà îñòà è ïúòíàòà ìðåæà îêîëî íåÿ ïîä÷åðòàâàò âàæíîñòòà íà ñãðàäàòà. Ãëàâíèÿò âõîä å îðèåíòèðàí êúì ïàðêà, íî êîìïëåêñúò îñòàâà äîñòúïåí îòêúì ñúñåäíèòå æèëèùíè ñãðàäè è å îáðúíàò êúì ïðåçèäåíòñêàòà ðåçèäåíöèÿ. Ñúùî èãðàòà ñ âèñî÷èíèòå íà ñãðàäèòå íà íîâî-ðàçðàáîòâàíàòà ãðàäñêà ïëîù â ìåòðîïîëà Àñòàíà îïðåäåëè ñèòóèðàíåòî íà êîìïëåêñà â ãðàäñêàòà ìðåæà. Êîìïëåêñúò ñúäúðæà ÷åòèðè ìîíîëèòíè åëåìåíòà, êîèòî ñà îáåäèíåíè îò íàïðåæåíèåòî â òåõíèòå ïîâúðõíîñòè è îáòåêàåìîñòòà èì îò ñèëíèÿ âÿòúð â Êàçàõñòàí, âçåìàéêè ïðåäâèä ñòðóêòóðíîòî âëèÿíèå íà ãðàä Àñòàíà. Ãëàäêàòà êîæà å ñúçäàäåíà êàòî ÷å ëè îò èçëúñêâàùîòî âúçäåéñòâèå íà âÿòúðà ìåæäó îáåìèòå. Íåáåòî è ñëúí÷åâàòà ñâåòëèíà ñå äðóãèòå ïðèðîäíè åëåìåíòè,

êîèòî ïîâëèÿõà íàøåòî àðõèòåêòóðíî ðåøåíèå. Íåáåòî ìîæå äà ñå âèäè ïðåç ïðîçðà÷íèòå ñðåçîâå âúâ ôîðìàòà, à ñëúíöåòî ñå îòðàçÿâà îò âñè÷êè ñòðàíè âúðõó çëàòèñòàòà ïîâúðõíîñò. “Â ñâîÿòà èçêëþ÷èòåëíà ÷èñòîòà,” ïèøå Ãüîòå, “çëàòèñòî-æúëòîòî âèíàãè ïðèòåæàâà ïðèâëåêàòåëíîñòòà íà åñòåñòâåíàòà ñâåòëèíà è ñå îòëè÷àâà ñ ÿñíîòà, ïðàçíè÷íîñò è ìåê ÷àð. Íåãîâàòà öâåòíà è ìàòîâà ïîâúðõíîñò ñúçäàâà âïå÷àòëåíèå çà ñêðèòà ñëúí÷åâà ñâåòëèíà.” Ïúòåêèòå çà ðàçõîäêà ïîêðàé âîäàòà ñà íàøåòî ïðåäëîæåíèå çà çàñèëâàíå íà îòâîðåíèÿ äèàëîã ìåæäó ïðèðîäàòà è ãðàäà Àñòàíà. Òå èìàò ïðàâîëèíåéíà ãåîìåòðèÿ, êîÿòî å ÷óäåñíî èíòåãðèðàíà â îêîëíîñòèòå, íî â ñúùîòî âðåìå òå ðåàãèðàò íà äíåâíàòà ñâåòëèíà è çëàòèñòàòà ñâåòëèíà, ðàçëèâàùà ñå íàä êîíöåðòíàòà çàëà ñ îãëåäàëíè îáðàçè è çàáàâíè ïîâòîðíè îòðàæåíèÿ. Ðàçäåëÿíåòî íà îáùåñòâåíàòà ÷àñò îò ÷àñòòà çà àäìèíèñòðàöèÿòà è àðòèñòèòå å îñíîâíîòî ñõâàùàíå ïðè ïðîåêòèðàíå íà ñãðàäíèÿ êîìïëåêñ. Äîêàòî âñè÷êè îáùåñòâåíè ïîìåùåíèÿ ñà îðèåíòèðàíè êúì ïàðêà, àäìèíèñòðàòèâíàòà ÷àñò å îáúðíàòà íà äðóãàòà ñòðàíà. Âäÿñíî îò âõîäíèÿ êîìïëåêñ, ïîñåòèòåëÿò áèâà ïîñðåùíàò ïúðâî îò âïå÷àòëÿâàùîòî ïðîñòðàíñòâî íà ïðåäâåðèåòî. Ïî ïúòÿ îò ôîàé-

åòî íà âõîäíèÿ êîìïëåêñ êúì ïðåäâåðèåòî ïîñåòèòåëÿò ìîæå äà îáõâàíå öÿëîòî ïóáëè÷íî ïðîñòðàíñòâî, ìàêàð ÷å êîìïëåêñíîñòòà íà âðúçêèòå íà îáåìèòå íå å íàïðàâåíà î÷åâèäíà. Íà âõîäíîòî íèâî â ïðåäâåðèåòî èìà âõîä êúì ãîëÿìàòà òåàòðàëíà çàëà çà 2500 äóøè, êàêòî è âõîä êúì ñðåäíàòà çàëà çà 700 äóøè. Òðèòå áàëêîííè íèâà íàãîðå ñëóæàò çà äîñòúï äî ðàçëè÷íèòå áàëêîíè âúòðå â çàëèòå. Â òðèòå ïðåäâåðèÿ çà áàëêîíèòå èìà ñåðâèçíè ïîìåùåíèÿ è áàð÷åòà. Âðúçêàòà ìåæäó åòàæèòå ñòàâà ÷ðåç äâå ãðóïè åñêàëàòîðè, êîèòî îáñëóæâàò è ñêàé-ðåñòîðàíòà, ðàçïîëîæåí òî÷íî íàä ìàëêàòà çàëà. Âõîäúò çà àðòèñòèòå å ñúñåäåí íà ïëàòôîðìàòà çà ðàçòîâàðâàíå â çàäíàòà ÷àñò íà ñãðàäàòà. Òóê ñå ðàçïîëàãà àäìèíèñòðàòèâíàòà ÷àñò. Äî ïëàòôîðìàòà çà ðàçòîâàðâàíå èìà ðàáîòèëíèöè çà ãîëåìèòå ÷àñòè íà äåêîðèòåë Òàì ñå íàìèðà è êîìïëåêñúò çà çàäêóëèñíàòà ÷àñò íà ñöåíèòå íà ãîëÿìàòà è ñðåäíàòà çàëè è ñêëàäîâå çà ãîëåìè èíñòðóìåíòè. Òàçè ÷àñò, çàäêóëèñíàòà, ïîçâîëÿâà ìíîãî ãîëÿìà ãúâêàâîñò è îñúùåñòâÿâà âðúçêàòà ìåæäó äâåòå òåàòðàëíè çàëè. Âúòðåøíàòà âèñî÷èíà å 12.00 ì. Íà ãîðíîòî íèâî èìà ðàáîòíè ïîìåùåíèÿ è ãëóõè åòàæè, êàêòî è ñòàè çà àðòèñòèòå è àäìèíèñòðàöèÿòà. Òå ñà ñâúðçàíè ñ áëîê ñ ãðèìüîðíè è ñúáëå-

êàëíè êúì ñöåíàòà íà äâåäå ïîãîëåìè çàëè, êàêòî è êúì ìàëêàòà äèñêî-çàëà ñ ïëîù 200 êâ.ì. Íà êîòà +16.00 ñå íàìèðàò ñòàè çà àäìèíèñòðàöèÿòà è àêòüîðè. Âúðõó ñðåäíàòà çàëà, íà êîòà +12.00 ì, èìà ìàëêà çàëà, ãúâêàâî ïëîñêî ïðîñòðàíñòâî îò 200 êâ.ì. è âèñî÷èíà 8 ì. Äî íåãî ìîæå äà ñå ñòèãíå ÷ðåç íÿêîè îò åñêàëàòîðèòå, êîèòî ñëóæàò è çà ñêàé-ðåñòîðàíòà, êîéòî å ðàçïîëîæåí íàä òàçè ìàëêà çàëà. Ðàçäåëÿíåòî íà îáùåñòâåíàòà ÷àñò è ÷àñòòà çà ñúñòàâà íà òåàòúðà ñòàâà îò áëîê ñúñ ñåðâèçíè ïîìåùåíèÿ â ïúëíà âèñî÷èíà. Òàì èìà âåðòèêàëíà âðúçêà, êîÿòî ïîçâîëÿâà äîñòúï äî âñè÷êè ôóíêöèîíàëíè ÷àñòè íà âñÿêà îò ÷àñòèòå. Îðãàíèçàöèÿòà è ðàçìåðèòå íà çàëàòà ïîçâîëÿâàò ãîëÿìà ãúâêàâîñò ïðè èçïîëçâàíåòî è äîáðà àêóñòèêà. Áëàãîäàðåíèå íà ïîäâèæíàòà ñöåíà è çàäêóëèñíîòî ïðîñòðàíñòâî òóê å âúçìîæíî äà áúäàò ïðåäñòàâÿíè âñè÷êè âèäîâå òåàòúð, îïåðà, ñèìôîíè÷íè êîíöåðòè è äîðè êèíîïðîæåêöèè, êàêòî è òàíöîâè ïðåäñòàâëåíèÿ è áàëåò. Âñè÷êî å ïîä÷èíåíî íà èäåÿòà çà íàé-äîáðà âèäèìîñò è àêóñòèêà. Èçèñêâàíèÿòà çà äîáðà àêóñòèêà íàëàãàò ãúâêàâîñò çà ðàçëè÷íè òåõíè÷åñêè ðåøåíèÿ, ïðîìåíÿùè ðàçìåðèòå íà âúçäóøíèÿ îáåì. Åòî çàùî ÷àñòè îò çàëàòà ìîãàò äà áúäàò îòðÿçàíè (âèæ ñõåìàòà íà ïëàí 8).

NEWS

2 How Gehry, Hadid, Nouvel, and Ando envision their cultural venues on Saadiyat Island. By ArchNewsNow - February 2, 2007 Architecture and art pundits are already chiming in (see below) with optimistic/pessimistic takes on the recently introduced plans for a multibillion-dollar, 670-acre (271-hectare) cultural district in Abu Dhabi, capital city of the United Arab Emirates (UAE).

In Their Own Words: Abu Dhabi Cultural District

In 2004, the Abu Dhabi Tourism Authority (ADTA) tapped Gensler to create a master plan for Saadiyat Island (Island of Happiness), a 10.5square mile (27-square-kilometer) natural island, into a world-class, environmentally sensitive tourist destination. The centerpiece is the cultural district, master planned by Skidmore, Owings & Merrill (SOM), scheduled to open under a phased program starting in 2012. Other elements, scheduled for completion by 2018, include 29 hotels, marinas, civic and leisure facilities, golf courses, and housing for about 150,000 residents. On January 31, Abu Dhabi’s Tourism Development & Investment Company (TDIC) introduced plans for the cultural district. The design of four major venues is being undertaken by four very familiar names: Guggenheim Abu Dhabi by Frank Gehry; Performing Arts Center by Zaha Hadid; Museum of Classical Art by Jean Nouvel; and Maritime Museum by Tadao Ando. Other international names slated to add their signature designs to the district include: Khalid Al Najjar/[dxb] LAB (UAE); Yuri Avvakumov (Russia); Greg Lynn and Hani Rashid (USA); David Adjaye (UK); Pei-Zhu (China); and Seung H-Sang (Korea). Rather than add to the punditry (links to reviews below), we offer the four starchitects’ own design statements - and numerous images.

Frank Gehry: Guggenheim Abu Dhabi Approaching the design of the museum for Abu Dhabi made it possible to consider options for the design of a building that would not be possible in the United States or in Europe. It was clear from the beginning that this had to be a new invention, and in my discussions with Tom Krens, the director of the Guggenheim, we explored what those inventions might be. We did not have a pre-conceived plan or an idea for a building, a museum of contemporary art, in place like Abu Dhabi. The landscape, the opportunity, the requirement to build something that people all over the world would come to, and the possible resources to accomplish it, opened tracks that were not likely to be considered anywhere else. The site itself, virtually on the water or close to the water on all sides, in a desert landscape with the beautiful sea, and the light quality of the place suggested some of the direction. We started with very basic plan organization. The center core galleries are laid out forming a courtyard. Those galleries, of various height and sizes, are placed one on top of another to create four floors. These will be the more classical contemporary galleries, completely air conditioned with skylights where possible and a sophisticated lighting system. The next ring of galleries surrounding the core then radiating out of the center will be larger galleries in a variety of shapes and less formally constructed. The third ring of larger galleries would be less finished and more like raw industrial space with exposed lighting and systems. These galleries would be spawning homes for a new scale of contemporary art – art that would be, perhaps, made on site and of a scale that could not be achieved in other museums around the world. This idea is based on the experience that Tom has had visiting artists’ studios in large industrial spaces. They have been able to create works

that are way beyond the experience any of us have within the normal museum spaces. So in the end you create a cluster of galleries that allows for a tremendous amount of flexibility in organizing a great variety of shows. The different heights, shapes, and character of the galleries are something that will be studied and refined as the progress of the design continues. We have been exploring with our consultants, TransSolar, a method of cooling outdoor spaces based on the very old idea of the open-top tepee that draws hot air out of the space. This led to a series of conical shaped tubes that becomes an element of focus for the surrounding galleries, creating an outdoor space. In some cases, the conical shapes are used as entry pavilions: a main entrance to the museum, a boat entry to the museum, and then as walkways out into the desert landscape. The use natural ventilation is inspired by its historical use in the region for many, many generations. Water walls in the main courtyard and other sustainable features now being explored have the intention of making an exemplary energy efficient building. The exterior walls of the building are now being considered in stone with some variety in color and texture to highlight a particular museum pavilion. The museum will house contemporary art from all over the world, not just Western culture. And as the design progresses, it will be necessary to identify with the architecture and character of the art being shown. Two large Biennale art galleries have been added and brought closer to the main building as an introduction of the future Biennale buildings along the canal. These buildings would form a courtyard entrance from the central transportation routes on Saadiyat Island.

3 Êàïàöèòåòèòå â îáëàñòòà íà àðõèòåêòóðàòà è èçêóñòâîòî âå÷å ñè ïðèãëàñÿò â õîð ñ îïòèìèñòè÷íè è ïåñèìèñòè÷íè ìíåíèÿ ïî ïðåäñòàâåíèòå íàïîñëåäúê ïëàíîâå çà êóëòóðíèÿ êâàðòàë íà Àáó Äàáè, ñòîëè÷íèÿò ãðàä íà Îáåäèíåíèòå àðàáñêè åìèðñòâà, çà êîéòî ñà ïðåäâèäåíè ìóëòèìèëèîí äîëàðà è ïëîù 670 àêðà (271 õåêòàðà). Ïðåç 2004 ã. âëàñòèòå íà Àáó Äàáè ïî âúïðîñèòå íà òóðèçìà óñïÿõà äà ïîëó÷àò ñðåäñòâà çà ñúçäàâàíåòî íà ãëàâåí ãðàäîóñòðîéñòâåí ïëàí çà îñòðîâ Ñààäèàò. (Îñòðîâúò íà ùàñòèåòî). Òîé å åñòåñòâåí îñòðîâ ñ äúëæèíà 10,5 ìèëè è ïëîù 27 êâ. êì, êîéòî ùå áúäå ïðåâúðíàò â òóðèñòè÷åñêà äåñòèíàöèÿ íà ñâåòîâíî íèâî. Â öåíòðàëíàòà ÷àñò íà îñòðîâà ùå ñå íàìèðà êóëòóðíèÿò êâàðòàë. Ãðàäîóñòðîéñòâåíèÿò ïëàí çà íåãî å íàïðàâåí îò "Skidmore", "Owings & Merril"l (SOM). Ïëàíèðà ñå èçãðàæäàíåòî ìó äà çàïî÷íå ïðåç 2012 ã. ïî ïðîãðàìà, ðàçäåëåíà íà íÿêîëêî ôàçè. Â íåÿ ñà âêëþ÷åíè è äðóãè åëåìåíòè, 29 õîòåëà, ÿõòêëóáîâå, îáùåñòâåíè è çàâåäåíèÿ çà çàáàâëåíèÿ, ãîëô èãðèùà è ñãðàäè çà íàñòàíÿâàíå íà îêîëî 150 000 æèòåëè, çà êîèòî ùå ñå ïðîâåäå êîíêóðñ äî 2018 ã, âêëþ÷èòåëíî. Íà 31 ÿíóàðè êîìïàíèÿòà çà ðàçâèòèå íà òóðèçìà è èíâåñòèöèèòå "Tourism Development & Investment Company" (TDIC) ïðåäñòàâè ïëàíîâå çà êóëòóðíèÿ êâàðòàë. Ñ ïðîåêòèòå çà ÷åòèðèòå íàé-âàæíè îáåêòà ñà ñå çàåëè ÷åòèðèìà ìíîãî èçâåñòíè àðõèòåêòè: Ôðàíê Ãåðè ñ "Ãóãåíõàéì ìóçåÿ" â Àáó Äàáè, Çàõà Õàäèä - ñ Öåíòúðà çà ñöåíè÷íè èçêóñòâà, Æàí Íóâåë - ñ Ìóçåÿ çà êëàñè÷åñêî èçêóñòâî è Òàäàî Àíäî ñ Ìîðñêèÿ ìóçåÿ. Äðóãè ìåæäóíàðîäíè èìåíà, êîèòî ñå âêëþ÷èõà ñúñ ñîáñòâåíè ïðîåêòè â îôîðìÿíåòî íà êâàðòàëà, ñà: Õàëèä Àë Íàäæàð (ÎÀÅ), Þðè Àâàêóìîâ (Ðóñèÿ), Ãðåã Ëèí è Õàíè Ðàøèä (ÑÀÙ), Äåéâèä Àäæàé (ÎÊ), Ïåé-Äçó (Êèòàé) è Ñåóíã Õ-Ñàíã (Êîðåÿ). Ïðåäñòàâÿìå âè ïðîåêòèòå íà ÷åòèðèìàòà àðõèòåêòè, çâåçäè íà ñúâðåìåííàòà àðõèòåêòóðà, ñ äîñòà èëþñòðàöèè.

Ôðàíê Ãåðè çà ïðîåêòà íà "Ãóãåíõàéì ìóçåé" â Àáó Äàáè Çàïî÷âàéêè ïðîåêòèðàíåòî íà ìóçåÿ çà Àáó Äàáè, ñòàíà âúçìîæíî îáñúæäàíåòî íà íÿêîè âåðñèè çà ïðîåêò íà ñãðàäà, êîÿòî å íåâúçìîæíî äà áúäå èçãðàäåíà â ÑÀÙ èëè â Åâðîïà. Îùå îò íà÷àëîòî áåøå ÿñíî, ÷å òîâà òðÿáâà äà å íîâî õðóìâàíå è â äèñêóñèèòå ìè ñ Òîì Êðåíñ, äèðåêòîð íà "Ãóãåíõàéì", íèå ïðîó÷âàõìå êàêâî ìîæå äà áúäå òîâà õðóìâàíå. Íÿìàõìå ïðåäâàðèòåëíî íàõâúðëåí ïëàí èëè èäåÿ çà ñãðàäà, êîÿòî äà áúäå ìóçåé çà ñúâðåìåííî èçêóñòâî â ìÿñòî êàòî Àáó Äàáè. Ïåéçàæúò, âúçìîæíîñòòà äà ñå óäîâëåòâîðè èçèñêâàíåòî äà ñå ïîñòðîè íåùî, êîåòî âñè÷êè õîðà ïî öÿë ñâÿò äà èñêàò äà âèäÿò è âúçìîæíèòå ðåñóðñè çà îñúùåñòâÿâàíåòî ìó, îòâîðèõà âúçìîæíîñòè, êîèòî íå ìîãàò äà áúäàò èçïîëçâàíè íà äðóãî ìÿñòî. Ïàðöåëúò, ôàêòè÷åñêè âúðõó âîäàòà èëè çàîáèêîëåí îò âîäàòà îò âñè÷êè ñòðàíè, â ïóñòèíåí ïåéçàæ ñ êðàñèâî ìîðå, èçîáèëèåòî îò ñâåòëèíà íà òîâà ìÿñòî íè ïîäñêàçàõà íÿêîè íàïðàâëåíèÿ çà ðàçìèñúë. Çàïî÷íàõìå ñ åäèí ñúâñåì îñíîâåí ïëàí íà îðãàíèçàöèÿ. Öåíòðàëíèòå ãàëåðèè â ÿäðîòî ñå èçíàñÿò íàâúí äî ïîëó÷àâàíåòî íà âúòðåøåí äâîð. Òåçè ãàëåðèè, ñ ðàçëè÷íà âèñî÷èíà è ðàçìåðè, ñå ïîñòàâÿò åäíà âúðõó äðóäà äî èçãðàæäàíåòî íà ÷åòèðè åòàæà. Òîâà ùå ñà ïî-êëàñè÷åñêèòå ñúâðåìåííè ãàëåðèè, íàïúëíî êëèìàòèçèðàíè è ñ äíåâíà ñâåòëèíà, êúäåòî å âúçìîæíî èçïîëçâàíåòî è íà åäíà óñúâúðøåíñòâàíà îñâåòèòåëíà ñèñòåìà. Ñëåäâàùèÿò êðúã îò ãàëåðèè, çàîáèêàëÿùè ÿäðîòî è ñëåä òîâà ïðîñòèðàéêè ñå êàòî ðàäèóñè îò öåíòúðà, ùå áúäàò ïî-ãîëåìè ãàëåðèè ñ ðàçëè÷íè ôîðìè è ïî-ìàëêî òúðæåñòâåíî ïîñòðîåíè. Òðåòèÿò êðúã îò ïî-ãîëåìè ãàëåðèè áè òðÿáâàëî äà áúäàò ïî-ìàëêî äîâúðøåíè èëè äà èçãëåæäàò ïîâå÷å êàòî ïî-íåäîâúðøåíî èíäóñòðèàëíî ïðîñòðàíñòâî ñ îòêðèòî îñâåòëåíèå è ñèñòåìè. Òåçè ãàëåðèè áè òðÿáâàëî äà áúäàò ðàçâúäíèê çà íîâî ïî âèä ñúâðåìåííî èçêóñòâî èçêóñòâî, êîåòî áè ìîãëî äà áúäå íàïðàâåíî ñàìî íà ìÿñòî è â ìàùàá, êîéòî íå áè ìîãúë äà áúäå ïîñòèãíàò â äðóã ìóçåé ïî ñâåòà.

Êàê ñâåòîâíîèçâåñòíèòå àðõèòåêòè Ôðàíê Ãåðè, Çàõà Õàäèä, Æàí Íóâåë è Òàäàî Àíäî, ïðîåêòèðàùè “êóëòóðíèÿò êâàðòàë” íà Àáó Äàáè, âèæäàò ñâîÿòà ðàáîòà íà îñòðîâ Ñààäèàò

Òàçè èäåÿ áå îñíîâàíà íà îïèòà íà Òîì, êîéòî å ïîñåùàâàë ñòóäèÿòà íà õóäîæíèöè â ãîëåìè èíäóñòðèàëíè ïîìåùåíèÿ. Òå ñà áèëè â ñúñòîÿíèå äà ñúçäàäàò òâîðáèòå ñè, êîèòî íàäõâúðëÿò îïèòà, êîéòî íÿêîè îò íàñ èìàò â íîðìàëíèòå ìóçåéíè ïîìåùåíèÿ. Òàêà, íàêðàÿ, ñå ñúçäàäå êëàñòåð îò ãàëåðèè, êîéòî ïîçâîëÿâà íåâåðîÿòíà ãúâêàâîñò â îðãàíèçèðàíåòî, åäíî ãîëÿìî ðàçíîîáðàçèå îò èçëîæáè. Ðàçëè÷íèòå âèñî÷èíè, ôîðìè è õàðàêòåð íà ãàëåðèèòå ñà íåùî, êîåòî ùå ñå èçó÷àâà è ïðåöèçèðà â ïðîöåñà íà ðàçðàáîòêà íà äèçàéíà. Ñúâìåñòíî ñ êîíñóëòàíòèòå íè îò "TransSolar" èçñëåäâàõìå ìåòîä çà îõëàæäàíå íà âúíøíèòå ïðîñòðàíñòâà, âúç îñíîâà íà åäíà ìíîãî ñòàðà èäåÿ íà îòâîðåíàòà îòãîðå øàòðà, êîÿòî èçòåãëÿ òîïúë âúçäóõ îò îêîëíîòî ïðîñòðàíñòâî. Òîâà äîâåäå äî ìíîæåñòâî òðúáè ñ êîíè÷íà ôîðìà, êîèòî ñòàíàõà åëåìåíò âúâ ôîêóñà íà çàîáèêàëÿùèòå ÿ ãàëåðèè, ñúçäàâàùè åäíî âúíøíî ïðîñòðàíñòâî. Â íÿêîè ñëó÷àè êîíè÷íèòå ôîðìè ìîãàò äà ñå èçïîëçâàò êàòî âõîäíè ïàâèëèîíè: ãëàâåí âõîä êúì ìóçåÿ, ïîíòîíåí âõîä êúì ìóçåÿ è íàêðàÿ êàòî ïåøåõîäåí ïúò íàâúí â ïóñòèííèÿ ïåéçàæ. Èçïîëçâàíåòî íà åñòåñòâåíà âåíòèëàöèÿ å âäúõíîâåíî îò èñòîðè÷åñêîòî é èçïîëçâàíå â ðàéîíà ïðåäè ìíîãî, ìíîãî ãåíåðàöèè. Âîäíè ñòåíè â ãëàâíèÿ âúòðåøåí äâîð è äðóãè ïîääúðæàùè ñïåöèàëíè óñòðîéñòâà, êîèòî ñåãà ñå èçïðîáâàò, èìàò çà öåë äà íàïðàâÿò åäíà îáðàçöîâà åíåðãèéíî åôèêàñíà ñãðàäà. Îáñúæäà ñå âúíøíèòå ñòåíè íà ñãðàäàòà äà áúäàò îò êàìúê ñ äîñòà ðàçëè÷íè öâåòîâå è ðåëåô, çà äà ïîä÷åðòàÿò åäèí ñïåöèàëåí ìóçååí ïàâèëèîí. Ìóçåÿò ùå ïðèþòè ñúâðåìåííî èçêóñòâî îò öÿë ñâÿò, íå ñàìî îò çàïàäíèòå êóëòóðè. È ñ ðàçðàáîòâàíåòî íà ïðîåêòà ùå ñå íàëîæè äà ñå èäåíòèôèöèðà àðõèòåêòóðàòà ñ õàðàêòåðà íà èçêóñòâîòî, êîåòî ùå áúäå èçëîæåíî. Äâå ãîëåìè ãàëåðèè çà èçêóñòâî, â êîèòî äà ñå ïðîâåæäàò áèåíàëåòà, áÿõà äîáàâåíè è áÿõà ïðèáëèæåíè äî ãëàâíàòà ñãðàäà êàòî óâåðòþðà êúì áúäåùèòå ñãðàäè çà áèåíàëåòî ïî ïðîäúëæåíèå íà êàíàëà. Òåçè ñãðàäè ùå îáðàçóâàò åäèí âõîä êúì âúòðåøíèÿ äâîð îòêúì öåíòðàëíàòà òðàíñïîðòíè àðòåðèè íà îñòðîâ Ñààäèàò.

NEWS

Zaha Hadid: Performing Arts Centre Analytical studies of organizational systems and growth in the natural world led to the set of topologies that are the framework of the Performing Art Centre’s distinct formal language. These natural scenarios are formed by energy being supplied to enclosed systems, and the subsequent decrease in energy caused by development of organized structures. The “energy” of the Performing Art Centre is symbolized by the predominant movements in the urban fabric along the pedestrian corridor and the cultural district’s seafront promenade – the site’s two intersecting primary elements. Branching algorithms and growth-simulation processes have been used to develop spatial representations into a set of basic geometries, and then superimposed with programmatic diagrams and architectonic interpretations in a series of iteration cycles. The primary components of this biological analogy (branches, stems, fruits, and leaves) are transformed from abstract diagrams into architectonic design. The central axis of Abu Dhabi’s cultural district is a pedestrian corridor that stretches from the Sheikh Zayed National Museum toward the sea. This central axis interacts with the seafront promenade to generate a branching geometry where islands are formed, isolated, and translated into distinct bodies within the structure to house the main spaces of the center. This diagram of the interacting paths becomes the primary organization system for the building, making the movement of the public through the structure an integral design feature.

The sculptural form of the Performing Arts Centre emerges from this linear movement, gradually developing into a growing organism that sprouts a network of successive branches. As it winds through the site, the architecture increases in complexity, building up height and depth and achieving multiple summits in the bodies housing the performance spaces, which spring from the structure like fruits on a vine and face westward, toward the water. The building, which reaches a height of 62 meters, becomes part of an inclining ensemble of structures that stretch from the Maritime Museum at its southern end to the Guggenheim Abu Dhabi at the northern tip. With its center of mass at the water’s edge, the Performing Arts Centre focuses its volume along the central axis of the site. This arrangement interrupts the block matrix at the Arterial Road, opening views to the sea and the skyline of Abu Dhabi. The concert hall is above the lower four theatres, allowing daylight into its interior and dramatic views of the sea and city skyline from the huge window behind the stage. Local lobbies for each theater are orientated towards the sea to give each visitor a constant visual contact with their surroundings. On the north side of the building, the restaurant offers a wide, shaded roof terrace, accessible through the adjacent conference center above the theater. The Academy for Performing Arts is housed above the experimental theater to the south, while in the eastern tail of the sculpture; the retail areas take advantage of pedestrian traffic using the bridge connecting the Performing Arts Centre with the central zone.

Çàõà Õàäèä ðàçêàçâà çà Öåíòúðà çà ñöåíè÷íè èçêóñòâà Àíàëèòè÷íè ïðîó÷âàíèÿ íà îðãàíèçèðàíè ñèñòåìè è òÿõíîòî ðàçðàñòâàíå â ñâåòà íà ïðèðîäàòà íè äîâåäîõà äî íàáîð îò òîïîëîãèè, êîèòî ñà ðàìêàòà íà ñïåöèàëíèÿ ôîðìàëåí åçèê íà Öåíòúðà çà ñöåíè÷íè èçêóñòâà. Òåçè ïðèðîäíè ñöåíèðèè ñå ôîðìèðàò áëàãîäàðåíèå íà åíåðãèÿòà, äîñòàâÿíà íà çàòâîðåíèòå ñèñòåìè è âïîñëåäñòâèå íàìàëÿâàíåòî íà òàçè åíåðãèÿ, ïðè÷èíåíî îò ðàçâèòèåòî íà îðãàíèçèðàíèòå ñòðóêòóðè. “Åíåðãèÿòà” íà Öåíòúðà çà ñöåíè÷íè èçêóñòâà å ñèìâîëèçèðàíà ÷ðåç äîìèíèðàùè äâèæåíèÿ â ãðàäñêàòà òúêàí ïî ïðîäúëæåíèå íà ïåøåõîäíèÿ êîðèäîð è êðàéìîðñêàòà ïðîìåíàäà íà êóëòóðíèÿ êâàðòàë, êîèòî ñà äâàòà èíòåðåñíè åëåìåíòà íà ïàðöåëà. Àëãîðèòìè íà ðàçêëîíÿâàíå è ïðîöåñè íà ñèìóëàöèÿ íà íàðàñòâàíåòî áÿõà èçïîëçâàíè çà ðàçðàáîòâàíå íà ïðîñòðàíñòâåíè ïðåäñòàâÿíèÿ â íàáîð îò îñíîâíè ãåîìåòðèè è ñëåä òîâà íàñëîæåíè â ïðîãðàìíè äèàãðàìè è àðõèòåêòóðíè èíòåðïðåòàöèè â ñåðèÿ îò öèêëè. Ïúðâè÷íèòå êîìïîíåíòè íà òàçè áèîëîãè÷íà àíàëîãèÿ (êëîíè, ñòâîëîâå, ïëîäîâå è ëèñòà) ñà òðàíñôîðìèðàíè îò àáñòðàêòíè äèàãðàìè â àðõèòåêòóðåí äèçàéí. Öåíòðàëíàòà îñ íà êóëòóðíèÿ êâàðòàë íà Àáó Äàáè å ïåøåõîäåí êîðèäîð, êîéòî ñå ïðîñòèðà îò íàöèîíàëíèÿ ìóçåé Øåê Çàéåä äî ìîðåòî. Òàçè öåíòðàëíà îñ âçàèìîäåéñòâà ñ êðàéìîðñêàòà ïðîìåíàäà, îáðàçóâàéêè ðàçêëîíÿâàùà ñå ãåîìåòðèÿ, ïðè êîåòî ñå ôîðìèðàò îñòðîâè, èçîëèðàíè è ïðåîáðàçåíè êàòî îòäåëíè òåëà âúòðå â ñòðóêòóðàòà, êîÿòî ùå ïðèþòè ãëàâíèòå ïðîñòðàíñòâà íà öåíòúðà. Äèàãðàìàòà íà âçàèìîäåéñòâàùèòå ïúòåêè ñòàâà ïúðâè÷íà îðãàíèçèðàíà ñèñòåìà çà ñãðàäàòà, ïðàâåéêè äâèæåíèåòî íà õîðàòà ïðåç ñòðóêòóðàòà èíòåãðèðàíà ÷àñò îò ïðîåêòà. Ñêóëïòóðíàòà ôîðìà íà Öåíòúðà çà ñöåíè÷íè èçêóñòâà ñå ïîÿâÿâà îò òîâà ëèíåàðíî äâèæåíèå, ïîñòåïåííî ðàçâèâàéêè ñå â íàðà-

ñòâàù îðãàíèçúì, êîéòî ñå ðàçðàñòâà â ìðåæà îò ïîñëåäîâàòåëíè êëîíè. Èçâèâàéêè ñå ïî ôîðìàòà íà ïàðöåëà, àðõèòåêòóðàòà óâåëè÷àâà ñëîæíîñòòà ñè, ñãðàäàòà íàðàñòâà âúâ âèñî÷èíà è â äúëáî÷èíà è äîñòèãà ìíîãîêðàòíè âðúõíè òî÷êè â òåëàòà, ïîáèðàùè ñöåíè÷íèòå ïðîñòðàíñòâà, êîèòî èçâèðàò îò ñòðóêòóðàòà êàòî ïëîäîâåòå íà ãðîçäåòî è ãëåäàò ñ ëèöå êúì âîäàòà. Ñãðàäàòà, êîÿòî äîñòèãà âèñî÷èíà 62 ì, ñòàâà ÷àñò îò íàêëîíåí àíñàìáúë îò ñòðóêòóðè, êîèòî ñå ïðîñòèðàò îò "Ìàðèòèì ìóçåÿ" â þæíèÿ é êðàé äî "Ãóãåíõàéì ìóçåÿ" íà Àáó Äàáè â ñåâåðíèÿ êðàé. Ñ öåíòúð íà òåæåñòòà íà ðúáà íà âîäàòà, Öåíòúðúò çà ñöåíè÷íî èçêóñòâî ôîêóñèðà îáåìèòå ñè ïî öåíòðàëíàòà îñ íà ïàðöåëà. Òîâà ïîäðåæäàíå ïðåêúñâà áëîêîâàòà ìàòðèöà ïðè ïúòíàòà àðòåðèÿ, îòâàðÿéêè ãëåäêè êúì ìîðåòî è ëèíèÿòà íà õîðèçîíòà íà Àáó Äàáè. Êîíöåðòíàòà çàëà å íàä ÷åòèðè ïî-íèñêî ðàçïîëîæåíè òåàòðè, êàòî ïî òîçè íà÷èí ïîçâîëÿâà íàâëèçàíåòî íà äíåâíà ñâåòëèíà â èíòåðèîðà è îñèãóðÿâà íåâåðîÿòíè ãëåäêè êúì ìîðåòî è ãðàäñêèÿ ïåéçàæ íà õîðèçîíòà ïðåç îãðîìåí ïðîçîðåö çàä ñöåíàòà. Îòäåëíèòå ôîàéåòà çà âñåêè òåàòúð ñà îðèåíòèðàíè êúì ìîðåòî, çà äà äàäàò íà ïîñåòèòåëÿ íåïðåêúñíàò âèçóàëåí êîíòàêò ñúñ çàîáèêàëÿùàòà ïðèðîäà. Íà ñåâåðíàòà ñòðàíà íà ñãðàäàòà ðåñòîðàíòúò ïðåäëàãà ïðîñòîðíà, çàñåí÷åíà ñ ïîêðèâ òåðàñà, äîñòúïíà ïðåç ñúñåäíèÿ êîíôåðåíòåí öåíòúð íà òåàòúðà. Àêàäåìèÿòà çà ñöåíè÷íè èçêóñòâà å íàñòàíåíà íàä åêñïåðèìåíòàëíèÿ òåàòúð íà þã, â ðàìêèòå íà èçòî÷íàòà ÷àñò íà ñêóëïòóðàòà; ïî-äðåáíèòå àðõèòåêòóðíè åäèíèöè ñå âúçïîëçâàò îò ïðåäèìñòâîòî íà ïåøåõîäíèÿ ïîòîê, ðàçïîëîæåíè òàêà ÷å äà èçïîëçâàò ìîñòà, ñâúðçâàù Öåíòúðà çà ñöåíè÷íè èçêóñòâà ñ öåíòðàëíàòà çîíà.

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Jean Nouvel: Classical Museum

Æàí Íóâåë çà Êëàñè÷åñêèÿ ìóçåé

Devoted to exhibiting works and artifacts from the past, the Museum of Classical Art is bound to features both remote and familiar, deriving naturally from the spirit of the place. The island offers a harsh landscape, tempered by its meeting with the inlet, a striking image of the aridity of the earth versus the fluidity of the waters. These fired the imagination towards unknown cities buried deep in the sands or sunk under water. These dreamy thoughts have merged into a simple plan of an archaeological field revived as a small city, a cluster of low-rise buildings placed along a leisurely promenade.

Ïîñâåòåí íà èçëàãàíåòî íà òâîðáè è øåäüîâðè îò ìèíàëîòî, Ìóçåÿò çà êëàñè÷åñêî èçêóñòâî å ñâúðçàí ñ äàëå÷íè çà íàñ è ïîçíàòè íè îñîáåíîñòè, ïðîèçòè÷àùè åñòåñòâåíî îò äóõà íà ìÿñòîòî. Îñòðîâúò ïðåäëàãà ñóðîâ ïåéçàæ, îìåêîòåí îò ñðåùàòà ñ òåñíèÿ ïðîòîê âîäà, åäèí âïå÷àòëÿâàù îáðàç íà áåçâîäèå íà çåìÿòà, ñúïîñòàâåí ñ òå÷åíèåòî íà âîäàòà. Òå çàïàëâàò âúîáðàæåíèåòî çà íåïîçíàòè ãðàäîâå, çàðîâåíè ñðåä ïÿñúöèòå èëè ïîòúíàëè â ìîðñêèòå äúëáèíè. Òåçè ìèñëè, ïîðîäåíè îò ìå÷òèòå, ñå îáåäèíÿâàò â ïðîñò ïëàí íà àðõåîëîãè÷íî ïîëå, âðúùàùî ñå êúì æèâîò êàòî ìàëúê ãðàä, åäèí êëàñòåð îò íèñêè ñãðàäè, ðàçïîëîæåíè ïî ïðîòåæåíèå íà ñïîêîéíàòà ïðîìåíàäà. Òîçè ìèêðîãðàä èçèñêâà ìèêðîêëèìàò, êîéòî áè äàë íà ïîñåòèòåëÿ ÷óâñòâîòî, ÷å âëèçà â äðóã ñâÿò. Ñãðàäàòà å ïîêðèòà ñ ãîëÿì êóïîë, ôîðìà - îáùà çà âñè÷êè öèâèëèçàöèè. Êóïîëúò å íàïðàâåí îò ìðåæà ñ ðàçëè÷íè ìîòèâè, ïðåïëåòåíè â ïîëóïðîçðà÷åí ïîêðèâ, ïîçâîëÿâàù ïðîíèêâàíåòî íà äèôóçíà ìàãè÷åñêà ñâåòëèíà ïðåç íåãî â ñúãëàñèå ñ äîáðèòå òðàäèöèè íà àðàáñêàòà àðõèòåêòóðà. Íà âîäàòà å âúçëîæåíà ðåøàâàùà ðîëÿ, îò åäíà ñòðàíà, òÿ îòðàçÿâà âñÿêà ÷àñò íà ñãðàäàòà, îò äðóãà - âúçäåéñòâà ïñèõè÷åñêè è ñúçäàâà åäèí ïðèÿòåí êëèìàò, ïîäïîìîãíàòà îò âÿòúðà. Îçåëåíÿâàíåòî å åäèí ìèêðîêîñìîñ îò ðàçëè÷íè òèïè÷íè çà ðåãèîíà óñëîâèÿ - îò îàçèñà â äþíèòå äî åçåðöåòî äî àðõèïåëàãà. Âñåêè ñëîé ïðåäñòàâÿ ñâîè ñïåöèôè÷íè ðàñòåíèÿ è ïîä÷åðòàâà õàðàêòåðà íà ïðîåêòà êàòî “îñòðîâ íà îñòðîâà”. Öÿëàòà òåðèòîðèÿ å ïðîåêòèðàíà íå òîëêîâà îò ãëåäíà òî÷êà íà íîñòàëãè÷íî æåëàíèå êúì åäèí äàëå÷åí ñâÿò, íÿêàêúâ çàãóáåí ðàé, êîëêîòî êàòî êëþ÷ êúì âúïðîñà çà ñìèñúëà íà âðåìåòî.

This micro-city requires a microclimate that would give the visitor a feeling of entering a different world. The building is covered with a large dome, a form common to all civilizations. The dome is made of a web of different patterns interlaced into a translucent ceiling, which lets a diffuse, magical light come through in the best tradition of great Arabian architecture. Water is given a crucial role, both in reflecting every part of the building and acting as a psyche, and in creating, with a little help from the wind, a comfortable microclimate. The landscaping is a microcosm of different conditions found in the region, from the oasis to the dune, from the pond to the archipelago, each layer exposing its own specific plants and enhancing the character of an “island on the island.” The whole territory is envisioned not so much as a nostalgic longing for some remote world, some lost paradise, but as a trigger to question a sense of time.

Tadao Ando: Maritime Museum

Òàäàî Àíäî çà ïðîåêòèðàíèÿ îò íåãî Ìîðñêè ìóçåé

Abu Dhabi’s nature, landscape, and maritime traditions served as the inspiration for the architectural concept of the Maritime Museum. The elegant architecture begins with a unique space carved out of a simple volume that is shaped by the force and fluidity of Abu Dhabi’s wind. The solitary form stands like a gate over a vast water court, defining a space of encounter between two important landscape elements of the city’s culture: the land and the sea. With its reflective surface, the water court visually merges site and sea, reinforcing the maritime theme of the museum.

Ïðèðîäàòà íà Àáó Äàáè, ïåéçàæúò è ìîðñêèòå òðàäèöèè ïîñëóæèõà êàòî âäúõíîâåíèå çà àðõèòåêòóðíàòà èäåÿ çà Ìîðñêèÿ ìóçåé. Åëåãàíòíàòà àðõèòåêòóðà çàïî÷âà ñ óíèêàëíî ïðîñòðàíñòâî, èçäúëáàíî îò ïðîñò îáåì, êîåòî å îôîðìåíî îò ñèëàòà è òå÷åíèåòî íà âÿòúðà íà Àáó Äàáè. Ñàìîòíàòà ôîðìà ñòîè êàòî âðàòà íàä ïðîñòîðåí âîäåí äâîð, îïðåäåëÿù ïðîñòðàíñòâî çà ñðåùà ìåæäó äâàòà âàæíè åëåìåíòà íà ïåéçàæà, íà ãðàäñêàòà êóëòóðà: çåìÿòà è ìîðåòî, ïîäñèëâàéêè ìîðñêàòà òåìà íà ìóçåÿ.

Within the ship-like interior, ramps and floating decks guide visitors fluidly through the exhibition, echoing the theme of the museum and creating dynamic gallery experience. Dhows float over the voids of the interior space and help create an intense visual experience by relating objects to one another and to the museum architecture as a whole. Below ground, there is a second space - a reception hall with an enormous aquarium. A traditional dhow floats over the aquarium and is seen from different perspectives.

Âúòðå, â íàïîäîáÿâàùèÿ êîðàá èíòåðèîð, ðàìïè è ïëóâàùè ïàëóáè âîäÿò ïîñåòèòåëèòå ïëàâíî ïðåç èçëîæáàòà, îòðàçÿâàéêè êàòî åõî òåìàòà íà ìóçåÿ è ñúçäàâàéêè äèíàìè÷íî ãàëåðèéíî ïðåæèâÿâàíå. Äîíãè (äúëãè è ïëîñêè ïëàâàòåëíè ñúäîâå) ïëóâàò íàä ïðàçíèíèòå â èíòåðèîðíîòî ïðîñòðàíñòâî è ïîìàãàò äà ñå ñúçäàäå èíòåíçèâíî âèçóàëíî ïðåæèâÿâàíå ÷ðåç ñâúðçâàíåòî íà îáåêòèòå åäèí ñ äðóã è êúì ìóçåéíàòà àðõèòåêòóðà êàòî öÿëî. Ïîä çåìÿòà èìà âòîðî ïðîñòðàíñòâî - ïðèåìíàòà çàëà ñ îãðîìåí àêâàðèóì. Òðàäèöèîííà äîíãà ïëóâà íàä àêâàðèóìà è ñå âèæäà îò ðàçëè÷íè ïåðñïåêòèâè.

To emphasis the simple but powerful shape of the building, the surrounding landscape is organized in the form of a grid. Rows of trees line the forecourt of the site, creating an oasis-like border that allows visitors to transition gradually between the dynamic city and the more serene and contemplative space of the museum. The concept of a simple volume with a unique carved-out space is intended to create, in a single gesture, a museum that is itself an architectural adventure.

Çà äà ñå ïîä÷åðòàå ïðîñòàòà, íî ìîùíà ôîðìà íà ñãðàäàòà, îêîëíèÿò ïåéçàæ å îðãàíèçèðàí ïîä ôîðìàòà íà ðåøåòêà. Ðåäèöè îò äúðâåòà èçïúëâàò ïðåäíèÿ äâîð íà ïàðöåëà, ñúçäàâàéêè ïîäîáíà íà îàçèñ ãðàíèöà, êîÿòî ïîçâîëÿâà íà ïîñåòèòåëèòå äà íàïðàâÿò ïîñòåïåíåí ïðåõîä ìåæäó äèíàìè÷íèÿ ãðàä è ïî-ñïîêîéíîòî è ñúçåðöàòåëíî ïðîñòðàíñòâî íà ìóçåÿ.

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Newly opened, Gehry Partners, LLP

Hotel Marques de Riscal Elciego, (Alava) Spain

Building area: 3,000 square meters Annex: 4,000 square meters Completed: September 2006 Architect: Gehry Partners, LLP

A series of rectilinear elements, clad in sandstone, combined with sweeping panels of gold and pink titanium, and mirror finish stainless steel. The winery of Vinos Herederos del Marques de Riscal is located in Elciego, in the Rioja region of Spain, and is one of the oldest wineries in the region. Traditionally the wineries in the region are not open to the public, but as a component of an overall plan to redefine and invigorate its public image, Marques de Riscal commissioned the design of a small building intended to provide a unique experience for visitors to the winery. The site for the building is approached along a road that leads through the vineyards and through existing wine production facilities that date primarily from the mid-nineteenth century. The building is lifted above the site on columns, creating a small entry plaza beneath the building itself and providing breathtaking views of the vineyards, the San Andres Church, and the surrounding town and region from each of the areas located in the upper levels of the building. The entry plaza leads to the reception area and to a bar, which are set along the edge of a small area of the vineyards. An outdoor terrace leads to a small pool, and a covered walkway extending from the building allows visitors the opportunity to overlook the vineyards and the surrounding region. Distributed throughout the three upper levels of the building are fourteen guest bedrooms, a wine tasting room, a 172-seat restaurant including a public dining room, a private dining room and outdoor dining terraces, and conference facilities. Offices and meeting rooms for administrative staff are located adjacent to the building and are linked both to the building and to existing winery offices and production facilities.

Photographed by Thomas Mayer.

Çàñòðîåíà ïëîù: 3000 êâ. ì Ïðèñòðîéêà: 4000 êâ. ì Çàâúðøåíè: ñåïòåìðè 2006 Àðõèòåêò: Gehry Partners, LLP

Ñåðèÿ îò ïðàâîúãúëíè åëåìåíòè, ïîêðèòè ñ êàìúê, êîìáèíèðàí ñ âìúêíàòè ïàíåëè îò çëàòèñò è ðîçîâ òèòàí è îãëåäàëíà íåðúæäàåìà ñòîìàíà. Âèíàðñêàòà èçáà íà Vinos Herederos del Marques de Riscal å ðàçïîëîæåíà â Åëñèåãî, â îáëàñòòà Ðèîõà â Èñïàíèÿ è å åäíà îò íàé-ñòàðèòå âèíàðíè â ðàéîíà. Òðàäèöèîííî âèíàðíèòå â ðàéîíà íå ñà îòêðèòè çà ïîñåùåíèå, íî êàòî ñúñòàâíà ÷àñò îò öÿëîñòíèÿ ïëàí çà ïðåîïðåäåëÿíå è óòâúðæäàâàíå íà îáùåñòâåíàòà ïðåäñòàâà, Marques de Riscal âúçëîæè ïðîåêòèðàíåòî íà ìàëêà ñãðàäà, ïðåäëàãàùà íåîáè÷àéíî ïðåæèâÿâàíå íà ïîñåòèòåëèòå íà âèíàðíàòà. Ïàðöåëúò çà ñãðàäàòà å ðàçïðîñòðÿí íàäëúæíî ïîêðàé ïúòÿ è âîäè ïðåç ëîçÿòà è ïðåç íàëè÷íèòå ñúîðúæåíèÿ çà ïðîèçâîäñòâî íà âèíî, êîèòî äàòèðàò ïúðâîíà÷àëíî îò ñðåäàòà íà äåâåòíàäåñåòè âåê. Ñãðàäàòà å ïîâäèãíàòà âúðõó êîëîíè íàä ïàðöåëà, ñúçäàâàéêè ìàëêî âõîäíî ïëîùàä÷å ïîä ñàìàòà ñãðàäà, îò êîåòî ñå îòêðèâàò âçåìàùè äúõà ãëåäêè êúì ëîçÿòà, öúðêâàòà "Ñàí Àíäðåàñ" è ãðàäà è îáëàñòòà, êîèòî ñå âèæäàò è îò âñÿêî ìÿñòî íà ãîðíèòå åòàæè íà êúùàòà. Âõîäíîòî ïëîùàä÷å âîäè äî ïðèåìíà ñ áàð, êîèòî ñà ðàçïîëîæåíè ïî äúëæèíà íà ðúáà íà ìàëêî ëîçå. Âúíøíà òåðàñà âîäè êúì ìàëúê áàñåéí, à ïîêðèòà ïúòåêà, òðúãâàùà îò ñãðàäàòà, ïîçâîëÿâà íà ïîñåòèòåëèòå äà ñå íàñëàäÿò íà ãëåäêàòà êúì ëîçÿòà è îêîëíîñòòà. Íà ãîðíèòå òðè åòàæà íà ñãðàäàòà ñà ðàçïðåäåëåíè ÷åòèðèíàäåñåò ñòàè çà ãîñòè, ñòàÿ çà äåãóñòàöèè íà âèíî, ðåñòîðàíò ñúñ 172 ìåñòà, âêëþ÷âàù îáùåñòâåíà ñòîëîâà, ñòàÿ çà ÷àñòíà ñòîëîâà è âúíøíà òåðàñà çà õðàíåíå è ïîìåùåíèÿ çà ïðîâåæäàíå íà êîíôåðåíöèè. Îôèñè è ñòàè çà ñðåùè çà àäìèíèñòðàöèÿòà ñà ðàçïîëîæåíè â ñúñåäñòâî ñúñ ñãðàäàòà è ñà ñâúðçàíè êúì íåÿ è êúì ñúùåñòâóâàùèòå îôèñè íà âèíàðíàòà è ïðîèçâîäñòâåíèòå ñúîðúæåíèÿ.

Íîâîîòêðèòèÿò ïî ïðîåêò íà “Ãåðè Ïàðòíåðñ”

õîòåë “Marques de Riscal” â Elciego, Alava, Èñïàíèÿ

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10 UpStarts: MAD office Nov 15, 2006 The one thing you will not find in school—or even on Architecture Registration Exams— is a course on how to get work, yet it is one of the most basic needs of any design practice. In fact, if you don’t have an equal ability to experiment in getting work as you do in doing work you would be fortunate to make it past the first five years.

UpStarts is a series of features on the foundations of contemporary practice. It will have a global reach in which practices from Europe, North America, Asia, and beyond will be asked to address the work behind getting the work, and the effect of cultural contexts. The focus will be on how a practice is initiated and maintained. In many ways, the critical years of a fledgling design partnership is within the initial five years, after the haze and daze of getting it off the ground. UpStarts will survey the first years of practice as a tool for tracking the tactics of the rapidly evolving methods for sustaining a practice.

Archinect’s chief editor John Jourden talks to Beijing-based MAD office “If you’re not in China, you’re not playing the game” Lester Thurow In 1997, while attending university as an undergrad I sat attentively in what was perhaps the biggest lecture on campus. Rem Koolhaas had come to give his seminal lecture on China. A lecture that would eventually become not only a radical book, but also a glimpse at the present and future condition of the now. As Koolhaas spoke of the unparalleled rate at which Chinese architects were building in comparison to their British counterparts - conjuring images of two Chinese architects designing a 50-story building in their mother’s kitchen - it left one to wonder if Chinese architects are the most productive will they also become the most prolific? In 2006, a group of young, mostly Chinese architects working in China accomplished a feat most young architects can only dream of: MAD office won an international design competition to design a 50-story residential tower in the edge-city of Mississauga, Ontario. But not only had they won the competition, they had become the first Chinese-based architects to ever win a competition outside of China - a feat which made them instant media darlings. Now with several other international projects under their belts, MAD is poised to become the first international and global Chinese practice: opening an office in Tokyo and beginning projects in South America and Denmark. In light of such dramatic strides and other recent developments in China’s global position, one is left to wonder what happens when the Chinese start playing the game back? I caught up with MAD office’s Yansong Ma, Yosuke Hayano and John Phoenix this past October at the Twisted Tower conference in Chicago. JOURDEN: Welcome to Chicago, have you had a good time at the conference so far? MA: Yes HAYANO: Quite interesting JOURDEN: Basically, I just wanted to start out by asking how the firm started. And then move on to more specific projects that you’ve been working on. How did the name MAD come about? Why are you guys MAD? And how does it inform your work if it does at all? MA: Before we met in London, I registered a company in the United States after my school. I wanted to start something, but at that time we didn’t have anything to do. So I registered MAD not even sure if we’d be doing architecture... (laughs) Later, when we met in London we managed to do some competitions in China. So we won a few competitions, and this company then became a real practice. Then we moved back to China in 2003””now we have a space and people to go forward with... JOURDEN: I see, so it started out in the States as a sort of idea toward the practice, and then you met in London where...

HAYANO: At that moment, we were still working for Zaha Hadid. After that we moved to China and became independent. JOURDEN: So was there a moment - cathartic moment or something that actually prompted you to decide that the moment was right to open an office. Was it what was happening in China at the time? MA: In China, it’s always a good moment to start - there are a lot of opportunities. Because the work we are doing is quite special - architecture - changing a lot in this context [China]. Like I said in the lecture, for the first two years we did many competition— sometimes we win, but these never got built. And these were proposals that we spent a lot of time and energy on - this is very rare in China, because every single architect is building a lot of square meters. But we still remained confident to develop our ideas. The Toronto Tower - the competition we won there, changed the whole situation, now we are quite famous in China and we have the right to speak - people now believe in us, and many important clients come to give us commissions. So this was a turning point. JOURDEN: You explained that you were working on competitions, but was that the main focus of the firm when you guys started up? Or was there already a work base you could tap into in China and then do these competitions on the side? How did it work? MA: I think for young offices there are just two choices. One is taking small commissions like small private houses, and the other is entering open competitions. But in China private property is not as prevalent like in Western countries. A lot of big developments come from competitions, so we do have choices to do competitions. After we did a lot of competitions people already knew us for our divergent imagination - they like to

11 show our proposals and not building them. (laughs) HAYANO: A lot of people talked about our projects, but never to build, they just come to ask you to design. MA: But after Toronto people think their image - the building rendering - can be turned into reality. Developers believe they can build them and make money, so it changed the pattern for us. HAYANO: We didn’t change, but people changed their minds - their attitudes in China. Once people started to believe in us we had a chance to make it. JOURDEN: So once you were able to cross that bridge there were many avenues you could choose. This sounds like a lot of young firms; once you make it over that first hurdle then it sort of ices the deal. HAYANO: Yes. MA: Actually, this one [story], is the first time a Chinese practice has won a competition outside of China in history - it became national news and not just architecture. PHOINEX: When I would go to China every month, and when I would go to a hotel - and they [MAD] didn’t even know it, there would be a magazine with a picture of Mississauga in it - magazine after magazine after magazine. They become incredibly well known very quickly. Now, I think if that building had been in China, they wouldn’t have gotten the same press.. They would have got press, but to compete against ninety other architecture firms globally and to win being the first Chinese firm to ever do so is amazing! Just to give you a scale of what’s going on in China, The Vice-Minister of Construction, the number of people coming under him is fifty-five million. So it’s quite something that he knows this firm. And I don’t know how many architects there are in China. How many are there? (collective pause as everyone attempts to decide - 1000s?!) JOURDEN: In terms of what is going on now with Chinese architects - you have Yung Ho Chang taking over at MIT and Qingyun Ma from MADA Spam is now the dean at USC, do you see this as sort of a full realization of Rem Koolhaas’ statement about how much Chinese architects were working in comparison to their Western counterparts? Is this the culmination of those efforts, or is there something more coming? For instance, Architectural Record is chiseling in to have their own issue there; there is this whole lean to look at China as sort of a panacea for capitalism. Now you actually have Chinese architects being “exported” out! What do you think about this new trend? MA: I think it’s not only the architecture field. Also, its economics, mathematics, and art... HAYANO: The art scene is very exciting there. MA: The art scene is so focused and many people are emerging. Maybe all of these American institutions want to have a larger international presence by including Chinese intellectuals. I think Yung Ho Chang is a very good educator. I think he is the first Chinese architect educated aboard in western modern architecture who came back to China to practice... JOURDEN: But his father was an architect too, right? MA: That is not contemporary architecture though. He [Chang] started contemporary architecture in China, which is also associated with modern architecture. It was quite new to China. But I think it’s a pity he didn’t continue, because he was a dean at Beijing University. The architecture program there is quite new and needs to develop more. Beijing University needs him more than MIT. I see it more as a personal choice - not as a China export... JOURDEN: At one point during your presentation, you talked about the latent subversive element in your work - the sort of conceptual underpinnings of your work - where you’re actually trying to question ideas about society and ideology. An example would be your 800-meter skyscraper project, just as that building literally flips on to itself, it also sort of takes branding and integrates it into the whole concept of the building. Is that what your after, this effect of torsioning these different forces of media, branding, and architecture into a concept that presents itself as fulfilled totality, so that people can extrapolate some meaning...Like the number 8 for instance. You use 8 greater than 1 (8 > 1 as descriptive diagram). The number 1 being the typical office tower typology and the number 8 is how your building actually functions. But the actual number 8 has symbolic meaning in China and Asia, as lucky number so was that intentional or is that a later additive? HAYANO: It’s a later additive. But I think the idea is the intent to communicate with a range of people, not only architects who can understand our proposal. It’s quite important to give [people] an idea of what the concept behind the building is. Now days a building is more for the people who don’t have any idea about concepts of space or form. It gives them a point of reference from which to launch into an understanding of these principles and gives them an opportunity to start to develop an interest in ideas of space and form. I think this is what we are actively pursuing when we engage in these types of tactics.

MA: I think in context to the West, people have already passed this social debate- about hierarchy and the social. They [the West] have already talked so much about technology and how to realize things, but in China it hasn’t reached that level yet. All our work uses the project more in the context of contemporary art - more critical - very critical to social issues. It’s very sensitive. We like to discuss these architectural concepts in terms of Chinese social issues. JOURDEN: When you say social issues though...some people might...China has a unique situation going on, right? Where it’s rapidly—obviously you know - rapidly changing and you’re [China] basically, arbitrarily, I would say, creating a middle-class structure in urban areas and people from the outlying rural areas are becoming a larger working-class. I don’t know, that is sort of interesting development that is occurring. Is that something you’re interested in attacking? Or is your work mainly focused on this emerging bourgeoisie class in China? MA: We put more emphasis in the context of an urban environment, which is both political and spatially dynamic. For instance, we designed not just tall buildings, but smaller urban structures like housing or landmarks. We also engaged in some purely urban projects; we designed a project for Beijing 2050. Chinese architects never designed for the future. In this proposal we change Tiananmen Square from the vast open public space and change it into a forest. Basically questioning open space public space. We like to propose this type of question. For example, this 800-meter tower is just trying to be critical. And when we are showing the project to the public, they will ask, “this is for the tallest building! Why did you choose this?” - But then in the presentation they see that being tall is not so important in the context of the city. This in turn creates a discussion. From the very start we didn’t enter that competition to win... JOURDEN: I like that explanation. It’s a good way to get at other issues through architecture. One of the things I really like about your work in comparison to other Chinese architects working today - we already talked about Yung Ho Chang and hinted at Chinese contemporary art leaving China and having a global emphasis - but I think there is an interesting thing that happens with that. There

NEWS

12 Ñòàðò íàãîðå - êèòàéñêàòà ôèðìà MAD Èíòåðâþ: 15 íîåìâðè 2006 ã. Åäíî îò íåùàòà, êîèòî íÿìà äà íàìåðèòå â ó÷èëèùå è äîðè íà èçïèòèòå çà ðåãèñòðèðàíå êàòî àðõèòåêò, å êóðñ “Êàê äà ïîëó÷à ðàáîòà?”, à òîâà å åäíî îò íàé-âàæíèòå íåùà, êîèòî òðÿáâà äà ñå çíàÿò çà óñïåøíîòî ïðîñúùåñòâóâàíå íà âñÿêà ïðîåêòàíòñêà ôèðìà. Ôàêòè÷åñêè àêî íÿìàòå ñúîòâåòíàòà ñïîñîáíîñò äà åêñïåðèìåíòèðàòå â ïîëó÷àâàíåòî íà ðàáîòà êàêòî ñå ïðàâè, êîãàòî ñå ðàáîòè èñòèíñêè, òî áèõòå èìàëè êúñìåò, àêî óñïååòå ïðåç ïúðâèòå ïåò ãîäèíè. UpStarts (Ñòàðò íàãîðå) å ïåðèîäè÷íî èçäàíèå çà îñîáåíîñòèòå ïðè îñíîâàâàíåòî íà ñúâðåìåííà ñîáñòâåíà àðõèòåêòóðíà ôèðìà. Òî ùå îñèãóðè äîñòúï îò öÿë ñâÿò, çà äà ìîãàò ÷àñòíè ôèðìè îò Åâðîïà, Ñåâåðíà Àìåðèêà, Àçèÿ è äðóãàäå äà áúäàò çàïèòàíè äà îïèøàò òðóäíîñòèòå, êîèis sort of prescriptive expectation of what Asian and East means, where as your work doesn’t - like Yung Ho Chang for instance - his big thing at the Venice Biennale a few years ago... MA: Bamboo... JOURDEN: Yeah right, urban bamboo or something...and there was some real penetrating criticism about this, that questioned it - saying something like ‘are Chinese people always pandas?’ MA: You know a lot! [laughs] JOURDEN: Yeah? In terms of that how do you see yourselves as Asian architects working in China, but also, perhaps as the first global Chinese practice? MA: I think China has grown very fast. And China is facing very distinct challenges, which are not the same as what Western society faced. This gives China the opportunity to create a unique solution and do something categorically new for the future. In China, we describe the Chinese tradition - the older generations they understand this tradition as very symbolic bamboo, courtyard, et cetera. But our understanding is that maybe Chinese tradition is invention! Change the old conventions. The first man who tried to fly was a Chinese and he jumped from the wall with man-made wings...and this spirit doesn’t exist anymore in China. If you understand this story as part of the tradition then perhaps there is something for the future. If we continue the old thing maybe our grandmother and grandfather think we don’t respect them, because we are just repeating the past...I think there is a chance for us, the new generation. JOURDEN: In terms of your “Marilyn Monroe Building” or “Absolute World Tower” - in Toronto, where did you see the trajectory of that project going when you made the top six finalists? Did you think that you would take it? MA: When we saw the final six we were quite sure. [laughs] HAYANO: Yeah, yeah at that stage we were... MA: Some people from Canada they ask us, “How is this building Chinese? Because you are Chinese architects, and its not related to an Eastern tradition.” - But later we realized that this building has a feeling of an Asian sensibility, because it’s quite simple. And all the structure is hidden, unlike a western strategy, which when they are building higher they try to show the structure and challenge the structure. But with our project you can only see the lines and a change in form. HAYANO: It’s has a calming effect as well... MA: Very calm and simple. And I think that feeling gives people - it really touches their hearts... JOURDEN: I’m sure that it touched your engineer’s heart too! It has a complexity to it, but it also has simplicity in its function in terms of the structural system. I think this is a good approach. JOURDEN: Do you think working for - I hate to bring where you worked into this, because you seem to operate on your own terms, but there seem to be some elements from your pedagogical relationship to Zaha [Hadid]. How would you describe that relationship now that you’re on your own? Do you think her influence is clear in the way you work? MA: We don’t mind that people say we have a certain similarity to Zaha, because we are quite young and we are establishing our own style. During this last two years we have been trying to understand and create a way of working and thinking - this drives the need for developing our own unique language. Now I think we are pushing our designs much further than we did in Zaha’s office. Plus we will build a high-rise before Zaha will... [laughs] JOURDEN: I wonder if you guys are the first - you know how Koolhaas has like his sort of “children” , all these different people who worked for him and now have started their own offices - it seems as though you guys are the first children of Zaha? MA: What we learned from Zaha is that she hates young people who want to become her. She encourages young people to become their own self. What we learned from Zaha the most is that she was able to keep her interests live for a long time and didn’t care what other people thought. That is the most important thing we have taken from her.

Ãëàâåíèÿò ðåäàêòîð íà “Àðõèíåêò”, Äæîí Äæîðäàí, ãîâîðè ñ íàìèðàùèÿ ñå â Ïåêèí îôèñ íà ôèðìà MAD. “Àêî íå ñòå â Êèòàé, íå ñòå â èãðàòà” - Ëåñòåð Òóðîó Ïðåç 1977 ã., äîêàòî ïîñåùàâàõ óíèâåðñèòåòà êàòî ñòóäåíò, ñëóøàõ âíèìàòåëíî ìîæå áè íàé-ãîëåìèÿ ñåìèíàð îò ëåêöèè â êàìïóñà. Ðåì Êîîëõààñ áåøå äîøúë äà èçíåñå ñåìèíàðíè ëåêöèè çà Êèòàé. Åäíà ëåêöèÿ, êîÿòî ùå ñå ïðåâúðíå åâåíòóàëíî íå ñàìî â ðàäèêàëíà êíèãà, íî ñúùî ùå äàäå ïîãëåä â íàñòîÿùåòî è áúäåùåòî íà çàïî÷íàòîòî ñåãà. Êîîëõààñ ðàçêàçà çà ñúâñåì ðàçëè÷íàòà ñêîðîñò, ñ êîÿòî ñòðîÿò êèòàéñêèòå àðõèòåêòè â ñðàâíåíèå ñ òåõíèòå êîëåãè îò Àíãëèÿ, äàâàéêè ïðèìåð ñ äâàìà êèòàéöè, êîèòî ïðîåêòèðàò 50-åòàæåí íåáîñòúðãà÷ â êóõíÿòà íà ìàéêà ñè, êîåòî íàêàðà ïóáëèêàòà äà ñå ÷óäè äàëè êèòàéñêèòå àðõèòåêòè ñà íàéïðîäóêòèâíèòå è äàëè òå ùå ñòàíàò è íàé-óñïåøíèòå. Ïðåç 2006 ã. ãðóïà ìëàäè, ïðåäèìíî êèòàéñêè àðõèòåêòè, ðàáîòåùè â Êèòàé, èçâúðøèõà ïîäâèã, çà êîéòî íà÷èíàåùèòå àðõèòåêòè ìîãàò ñàìî äà ìå÷òàÿò: “MAD office” ñïå÷åëè ìåæäóíàðîäíèÿ àðõèòåêòóðåí êîíêóðñ çà ïðîåêòèðàíåòî íà 50-åòàæíà æèëèùíà êóëà â ïîêðàéíèíèòå íà ãðàä Ìèñèàóãà, Îíòàðèî. Òå íå ñàìî ñïå÷åëèõà êîíêóðñà, íî ñòàíàõà ïúðâèòå àðõèòåêòè îò Êèòàé, ñïå÷åëèëè êîíêóðñ èçâúí Êèòàé, ïîäâèã, êîéòî ãè íàïðàâè ïîñòîÿííè ëþáèìöè íà ìåäèèòå. Ñåãà, íàðåä ñ îùå íÿêîëêî äðóãè ìåæäóíàðîäíè ïðîåêòà ïîä òÿõíà ãðèæà, MAD ïðåäñòîè äà ñòàíå ïúðâîòî Êèòàéñêî ìåæäóíàðîäíî è ãëîáàëíî àðõèòåêòóðíî ñòóäèî: îòâàðÿùî îôèñ â Òîêèî è çàïî÷âàùî ïðîåêòè çà Þæíà Àìåðèêà è Äàíèÿ. Â ñâåòëèíàòà íà òåçè ãîëåìè êðà÷êè è îñòàíàëîòî ðàçâèòèå íà Êèòàé êàòî ãëîáàëåí ïàðòíüîð, ÷îâåê ñå ÷óäè êàêâî ùå ñòàíå, êîãàòî Êèòàé âïðåãíå â èãðàòà âñè÷êè ñèëè? Ïðåç îêòîìâðè, íà êîíôåðåíöèÿòà â “Òóèñòèä Òàóåð” â ×èêàãî óñïÿõ äà õâàíà çà ðàçãîâîð ïðåäñòàâèòåëèòå íà MAD OFFICE: Yansong Ma, Yosuke Hayano è John Phoenix. JOURDEN: Äîáðå äîøëè â ×èêàãî. Ïðåêàðâàòå ëè äîáðå íà êîíôåðåíöèÿòà äîñåãà? MA: Äà. HAYANO: Äîñòà èíòåðåñíî. JOURDEN: Âñúùíîñò èñêàõ äà çàïî÷íà ñ âúïðîñà êàê îñíîâàõòå ôèðìàòà, à ñëåä òîâà äà ñå íàñî÷à êúì ïî-êîíêðåòíè ïðîåêòè, ïî êîèòî ñòå ðàáîòèëè. Êàê ñòèãíàõòå äî èäåÿòà çà èìåòî MAD? Çàùî âèå, ìîì÷åòà, ñòå MAD (ëóä)? È ñ êàêâè ÷óâñòâà âè èçïúëâà òîâà èìå, àêî èçîáùî ãî ïðàâè? MA: Ïðåäè äà ñå ñðåùíåì â Ëîíäîí, ðåãèñòðèðàõ ôèðìà â Ñúåäèíåíèòå ùàòè ñëåä çàâúðøâàíå íà ó÷èëèùå. Èñêàõ äà çàïî÷íà íåùî, íî ïî òîâà âðåìå íÿìàõìå êàêâî äà ðàáîòèì. Òàêà ÷å ðåãèñòðèðàõ MAD äîðè áåç äà ñúì ñèãóðåí, ÷å ùå ñå çàíèìàâàìå ñ àðõèòåêòóðà... (ñìåå ñå) Ïî-êúñíî, êîãàòî ñå ñðåùíàõìå â Ëîíäîí, óñïÿõìå äà ñå ñïðàâèì ñ íÿêîëêî ïðîåêòà çà êîíêóðñè â Êèòàé. Òàêà ñïå÷åëèõìå íÿêîëêî êîíêóðñà è òàçè ôèðìà ñòàíà èñòèíñêî ñòóäèî. Ñëåä òîâà ñå ïðåìåñòèõìå îáðàòíî â Êèòàé ïðåç 2003 ã. è ñåãà èìàìå è ïðîñòðàíñòâî è õîðà, çà äà âúðâèì íàïðåä ñ.... JOURDEN: ßñíî, çíà÷è çàïî÷íàõòå â Ùàòèòå ñ íåùî êàòî èäåÿ çà àðõèòåêòóðíî ñòóäèî, à ñëåä òîâà ñå ñðåùíàõòå â Ëîíäîí, êúäåòî... HAYANO: Â ìîìåíòà íèå âñå îùå ðàáîòåõìå ñ Çàõà Õàäèä. Ñëåä òîâà ñå ïðåìåñòèõìå â Êèòàé è ñòàíàõìå íåçàâèñèìè. JOURDEN: Èçëèçà, ÷å å èìàëî ìîìåíò, ïðå÷èñòâàù ìîìåíò èëè íåùî ïîäîáíî, êîéòî âè ïîäòèêíà äà ðåøèòå, ÷å å äîøúë ïðàâèëíèÿò ìîìåíò äà îòâîðèòå ñâîé îôèñ. Òîâà â Êèòàé ëè ñå ñëó÷è òîãàâà? MA: Â Êèòàé áåøå ïîñòîÿííî äîáúð ìîìåíò çà çàïî÷âàíå, òàì èìà ìíîãî âúçìîæíîñòè. Òúé êàòî ðàáîòàòà, êîÿòî âúðøèì, å ìíîãî ñïåöèôè÷íà àðõèòåêòóðà - ìíîãî íåùà ñå ïðîìåíÿò â òàçè îáëàñò (â Êèòàé). Êàêòî êàçàõ â ëåêöèÿòà (íà êîíôåðåíöèÿòà), ïðåç ïúðâèòå äâå ãîäèíè ó÷àñòâàõìå â ìíîãî êîíêóðñè, ïîíÿêîãà ïå÷åëåõìå, íî òåçè íåùà íèêîãà íå áÿõà ïîñòðîåíè. È òîâà áÿõà ïðåäëîæåíèÿ, íà êîèòî ïîñâåòèõìå ìíîãî âðåìå è åíåðãèÿ, à òîâà å ìíîãî ðÿäêî â Êèòàé, çàùîòî âñåêè îòäåëåí àðõèòåêò ñòðîè ìíîãî êâàäðàòíè ìåòðè. Íî íèå ñå óáåäèõìå, ÷å òðÿáâà äà ðàçðà-

13 òî ñòîÿò çàä ïîëó÷àâàíåòî íà ðàáîòà è åôåêòà îò ñúîòâåòíàòà êóëòóðà. Âñè÷êî ùå áúäå íàñî÷åíî êúì íà÷èíà íà ñúçäàâàíå è ïîääúðæàíå íà ÷àñòíî ñòóäèî. Â ïðîäúëæåíèå íà ãîäèíè å óñòàíîâåíî, ÷å êðèòè÷íèòå ãîäèíè çà íàïóñêàíå èëè ïðîâàëÿíå íà ïðîåêòàíòñêè ñäðóæåíèÿ ñà ïúðâèòå ïåò ãîäèíè, ñëåä íåÿñíîòèòå è øåìåòà â îïèòà äà ñå âäèãíå ñäðóæåíèåòî íà êðàêà. UpStarts ùå íàïðàâè ïðåãëåä íà ïúðâèòå ãîäèíè îò ðàáîòàòà íà åäíî ñäðóæåíèå êàòî ñðåäñòâî çà îïèñàíèå íà òàêòèêèòå çà áúðçî ñúçäàâàíå íà ìåòîäè çà ïîääúðæàíå íà ôèðìàòà.

áîòâàìå èäåèòå ñè. Êóëàòà â Òîðîíòî, êîíêóðñúò, êîéòî ñïå÷åëèõìå òàì, ïðîìåíè öÿëîòî ïîëîæåíèå, ñåãà íèå ñìå äîñòà èçâåñòíè â Êèòàé è èìàìå ïðàâîòî äà ãîâîðèì, ÷å õîðàòà âÿðâàò â íàñ è ìíîãî âàæíè êëèåíòè èäâàò äà íè âúçëàãàò ïðîåêòè. Òàêà ÷å òîâà áåøå ïîâðàòíàòà òî÷êà. JOURDEN: Âèå îáÿñíèõòå, ÷å ñòå ðàáîòèëè çà êîíêóðñè, íî áåøå ëè òîâà ãëàâíàòà öåë íà ôèðìàòà, êîãàòî âèå, ìîì÷åòà, çàïî÷íàõòå? Èëè âå÷å èìàøå ðàáîòíà áàçà, ñ êîÿòî ìîæåõòå äà ñòúïèòå â Êèòàé, à ïîñëå äà ó÷àñòâàòå â êîíêóðñè îòòàòúê? Êàê ñå ïîëó÷è? MA: Ìèñëÿ, ÷å çà ìëàäèòå îôèñè èìà äâå âúçìîæíîñòè. Åäíàòà å äà ñå âçåìàò ìàëêè ïîðú÷êè êàòî íàïðèìåð ìàëêè ÷àñòíè êúùè, à äðóãàòà å äà ñå ó÷àñòâà â îòêðèòèòå êîíêóðñè. Íî â Êèòàé ÷àñòíàòà ñîáñòâåíîñò íå å ïðåîáëàäàâàùà, êàêòî â çàïàäíèòå ñòðàíè. Ìíîãî ãîëåìè ðàçðàáîòêè èäâàò îò êîíêóðñè, òàêà ÷å íèå íàïðàâèõìå èçáîðà äà ó÷àñòâàìå â êîíêóðñè. Ñëåä êàòî ó÷àñòâàõìå â ìíîãî êîíêóðñè, õîðàòà âå÷å íè ïîçíàâàõà çàðàäè íàøåòî îòêëîíÿâàùî ñå îò îáè÷àéíîòî âúîáðàæåíèå, òå õàðåñâàõà äà ïîêàçâàò íàøèòå ïðåäëîæåíèÿ è äà íå ãè ïîñòðîÿâàò. (ñìåå ñå) HAYANO: Ìíîãî õîðà ãîâîðåõà çà íàøèòå ïðîåêòè, íî íèêîãà íå ïîñòðîèõà íèùî, òå ïðîñòî èäâàõà è íè êàðàõà äà ïðîåêòèðàìå. MA: Íî ñëåä Òîðîíòî, õîðàòà ïðîìåíèõà ìèñëåíåòî ñè, ñãðàäèòå íè ïðîáèõà è ìîæåõà äà áúäàò ðåàëèçèðàíè. Èíâåñòèòîðèòå ïîâÿðâàõà, ÷å ìîãàò äà ãè ïîñòðîÿò è äà íàïðàâÿò ïàðè ñ òÿõ, òàêà íåùàòà äîáèõà äðóã õàðàêòåð. HAYANO: Íèå íå ñìå ñå ïðîìåíÿëè, ïðîìåíè ñå ìèñëåíåòî íà õîðàòà, òÿõíîòî îòíîøåíèå â Êèòàé. Êîãàòî õîðàòà ïîâÿðâàò â íàñ, èìàìå øàíñà äà óñïååì. JOURDEN: È òàêà, ùîì óñïÿõòå äà ïðåêîñèòå òîçè ìîñò, çà âàñ ñå îòêðèõà ìíîãî ïúòèùà. Òîâà çâó÷è êàêòî ïðè ìíîãî ìëàäè ôèðìè; âåäíúæ äà óñïååòå äà ïðåñêî÷èòå îãðàäàòà è òðúãâà êàòî ïî âîäà. HAYANO: Äà. MA: Äåéñòâèòåëíî, òîâà áåøå (èñòîðèÿòà), çà ïðúâ ïúò â èñòîðèÿòà êèòàéñêà ôèðìà ïå÷åëè êîíêóðñ èçâúí Êèòàé, òîâà ñòàíà íàöèîíàëíà íîâèíà è íå ñàìî çà àðõèòåêòóðàòà. PHOINEX: Êîãàòî è äà îòèäåõ â Êèòàé, à àç õîäåõ âñåêè ìåñåö è â êîéòî è õîòåë äà îòñåäíåõ, à òå (MAD) äîðè íå ãî çíàåõà, âèíàãè èìàøå ñïèñàíèå ñúñ ñíèìêà îò Ìèñèñàóãà â íåãî, ñïèñàíèå ñëåä ñïèñàíèå. Òå ñòàíàõà ìíîãî áúðçî íåâåðîÿòíî èçâåñòíè. Ñåãà ñè ìèñëÿ, ÷å àêî òàçè ñãðàäà áåøå â Êèòàé, òå íÿìàøå äà áúäàò óäîñòîåíè ñúñ ñúùîòî âíèìàíèå îò ïðåñàòà. Ùÿõà äà áúäàò îòðàçåíè â ïðåñàòà, íî äà ñå ñúñòåçàâàø ñ äåâåòäåñåò äðóãè àðõèòåêòóðíè ôèðìè îò öÿë ñâÿò è äà ïîáåäèø, áèäåéêè ïúðâàòà êèòàéñêà ôèðìà, êîÿòî ãî ïðàâè, òîâà å çàáåëåæèòåëíî! Ñàìî çà äà ïîëó÷èòå ïðåäñòàâà êàê ñòîÿò íåùàòà â Êèòàé, çàìåñòíèêìèíèñòúðúò íà ñòðîèòåëñòâîòî, áðîÿò íà õîðàòà, êîèòî çàâèñÿò îò íåãî å ïåòäåñåò è ïåò ìèëèíîíà. Òàêà ÷å òîâà, ÷å òîé ïîçíàâà òàçè ôèðìà, îçíà÷àâà ìíîãî. Íå çíàì êîëêî àðõèòåêòè èìà â Êèòàé. Êîëêî ñà? (Êîëåêòèâíà ïàóçà, äîêàòî âñåêè ñå ìú÷è äà ïðåöåíè, õèëÿäè?!). JOURDEN: Âúâ âðúçêà ñ òîâà, êàêâî ñòàâà ñåãà ñ êèòàéñêèòå àðõèòåêòè, èìàòå íàïðèìåð Yung Ho Chang, êîéòî ïîå óïðàâëåíèåòî íà MIT, èëè Qingyun Ma îò MADA Spam, êîéòî ñòàíà ðåêòîð â USC, íàìèðàòå ëè, ÷å òîâà å ïúëíà ðåàëèçàöèÿ íà êàçàíîòî îò Rem Koolhaas çà òîâà êîëêî ïîâå÷å ðàáîòÿò êèòàéñêèòå àðõèòåêòè â ñðàâíåíèå ñ êîíêóðåíòèòå èì â çàïàäíèòå ñòðàíè? Òîâà ëè å êóëìèíàöèÿòà íà òåçè óñèëèÿ èëè èìà îùå íåùî, êîåòî ïðåäñòîè? Íàïðèìåð Architectural Record ñå èçõèòðè äà èìà ñâîå ñîáñòâåíî èçäàíèå òàì; èìà ãîëÿìî æåëàíèå äà ñå âèäè Êèòàé êàòî íÿêàêúâ òèï ïàíàöåÿ íà êàïèòàëèçìà. Ñåãà íàèñòèíà èìàòå êèòàéñêè àðõèòåêòè “åêñïîðòèðàíè” íàâúí! Êàêâî ìèñëèòå çà òàçè íîâà òåíäåíöèÿ? MA: Àç ìèñëÿ, ÷å òîâà ñå ñëó÷âà íå ñàìî â îáëàñòòà íà àðõèòåêòóðàòà. Ñúùîòî âàæè çà èêîíîìèêàòà, ìàòåìàòèêàòà è èçêóñòâîòî... HAYANO: Ñöåíàòà íà èçêóñòâîòî å ìíîãî âúëíóâàùà òàì. MA: Ñöåíàòà íà èçêóñòâîòî å òîëêîâà èçÿâåíà è ìíîãî íîâè õîðà ñå ïîÿâÿâàò íà íåÿ. Ìîæå áè âñè÷êè òåçè àìåðèêàíñêè èíñòèòóöèè èñêàò äà èìàò

ïî-ãîëÿìî ìåæäóíàðîäíî ïðèñúñòâèå, âêëþ÷èòåëíî íà êèòàéñêè èíòåëåêòóàëöè. Ìèñëÿ, ÷å Yung Ho Chang å ìíîãî äîáúð ïðåïîäàâàòåë. Ìèñëÿ, ÷å òîé å ïúðâèÿò êèòàéñêè àðõèòåêò, ïîëó÷èë îáðàçîâàíèå â ÷óæáèíà â îáëàñòòà íà ìîäåðíàòà çàïàäíà àðõèòåêòóðà, êîéòî ñå å âúðíàë, çà äà ðàáîòè â Êèòàé... JOURDEN: Íî áàùà ìó ñúùî áåøå àðõèòåêò, íàëè? MA: Òîâà îáà÷å íå å ñúâðåìåííà àðõèòåêòóðà. Òîé (Chang) çàïî÷íà äà ïðàâè ñúâðåìåííà àðõèòåêòóðà â Êèòàé, êîÿòî ñå ñâúðçâà ñúùî ñ ìîäåðíàòà àðõèòåêòóðà. Òîâà áåøå äîñòà íîâî çà Êèòàé. Íî ìèñëÿ, ÷å å æàëêî, ÷å òîé íå ïðîäúëæè, çàùîòî ñòàíà ðåêòîð íà Ïåíêèíñêèÿ óíèâåðñèòåò. Ïðîãðàìàòà ïî àðõèòåêòóðà òàì å äîñòà íîâà è èìà íóæäà îò îñúâúðøåíñòâàíå. Ïåêèíñêèÿò óíèâåðñèòåò èìà ïîâå÷å íóæäà îò íåãî îò MIT. Âèæäàì ãî ïîâå÷å êàòî ëè÷åí èçáîð, íå êàòî åêñïîðò îò Êèòàé... JOURDEN: Â åäèí ìîìåíò îò âàøàòà ïðåçåíòàöèÿ ãîâîðåõòå çà ñêðèò ïîäìîëåí åëåìåíò âúâ âàøàòà ðàáîòà, åäèí âèä èäåéíà ïîäêðåïà âúâ âàøàòà ðàáîòà, êúäåòî âèå íàèñòèíà ñå îïèòâàòå äà ïîñòàâèòå ïîä âúïðîñ èäåèòå çà îáùåñòâîòî è èäåîëîãèÿòà. Åäèí ïðèìåð áè áèë âàøèÿò âèñîê 800 ì ïðîåêò çà íåáîñòúðãà÷, òî÷íî êàêòî òàçè ñãðàäà áóêâàëíî ñå ðàçãðúùà îò ñàìî ñåáå ñè, à âúçäåéñòâèåòî é êàòî ÷å ëè ñå âðÿçâà â ïàìåòòà è ñå èíòåãðèðà â öÿëîñòíîòî ñõâàùàíå çà ñãðàäàòà. Òîâà ëè öåëèòå, òîçè òîðñèîíåí åôåêò, òåçè ðàçëè÷íè ñèëè íà ñðåäàòà, íà âðÿçâàíå â ïàìåòòà, à àðõèòåêòóðàòà âúâ åäíî ñõâàùàíå, êîåòî ïðåäñòàâëÿâà ñåáå ñè êàòî èçïúëíåíî öÿëî, òàêà ÷å õîðàòà ìîãàò äà åêñòðàïîëèðàò íÿêàêâî çíà÷åíèå... êàòî ÷èñëîòî 8 íàïðèìåð. Âèå èçïîëçâàòå 8 êàòî ïî-ãîëÿìî îò 1 (8 > 1 êàòî äèñêðèïòèâíà äèàãðàìà). ×èñëîòî 1, áèâàéêè òèïè÷íàòà òîïîëîãèÿ çà îôèñíà ñãðàäà, è ÷èñëîòî 8 å êàê ñãðàäàòà äåéñòâèòåëíî ôóíêöèîíèðà. Íî â äåéñòâèòåëíîñò ÷èñëîòî 8 èìà ñèìâîëè÷íî çíà÷åíèå â Êèòàé è Àçèÿ êàòî ùàñòëèâî ÷èñëî, òàêà ÷å, áåøå ëè òîâà íàðî÷íî èëè ñå ïîÿâè äîïúëíèòåëíî êàòî ñúîáðàæåíèå? HAYANO: Ïîÿâè ñå âïîñëåäñòâèå. Íî àç ìèñëÿ, ÷å èäåÿòà å äà ñå êîìóíèöèðà ñ ìíîãî õîðà, íå ñàìî àðõèòåêòè, êîèòî ìîãàò äà ðàçáåðàò íàøåòî ïðåäëîæåíèå. Äîñòà å âàæíî äà èì ñå äàäå (íà õîðàòà) èäåÿ çà òîâà, êàêâî å ñõâàùàíåòî, êîåòî ñòîè çàä òàçè ñãðàäà. Äíåñ åäíà ñãðàäà å ïîâå÷å çà õîðàòà, êîèòî íÿìàò ïðåäñòàâà çà êîíöåïöèÿ çà ïðîñòðàíñòâî è ôîðìà. Òîâà èì äàâà îòïðàâíà òî÷êà, îò êîÿòî äà ñå íàñî÷àò êúì ðàçáèðàíå íà òåçè ïðèíöèïè è èì äàâà âúçìîæíîñò äà çàïî÷íàò äà ðàçâèâàò èíòåðåñ êúì èäåèòå çà ïðîñòðàíñòâîòî è ôîðìàòà. Ìèñëÿ, ÷å òî÷íî òîâà å, êîåòî, ïðåñëåäâàìå êîãàòî ñå àíãàæèðàìå â òîçè ðîä òàêòèêà. MA: Â òîçè ñìèñúë ìèñëÿ, ÷å íà Çàïàä õîðàòà ñà âå÷å ìèíàëè òîçè ñîöèàëåí äåáàò çà éåðàðõèÿòà è îáùåñòâîòî. Òå (Çàïàäúò) ñà ãîâîðèëè âå÷å òîëêîâà ìíîãî çà òåõíîëîãèè è êàê äà ñå ðåàëèçèðàò íåùàòà, íî â Êèòàé âñå îùå íå å äîñòèãíàòî òîâà íèâî. Öÿëàòà íè ðàáîòà èçïîëçâà ïðîåêòà ïîâå÷å êàòî êîíòåêñò íà ñúâðåìåííîòî èçêóñòâî, ïî-êðèòè÷íî, ìíîãî êðèòè÷íî êúì ñîöèàëíèòå ðàçíîãëàñèÿ. Òåìàòà å ìíîãî ÷óâñòâèòåëíà. Íèå îáè÷àìå äà äèñêóòèðàìå òåçè àðõèòåêòóðíè êîíöåïöèè ïî îòíîøåíèå íà êèòàéñêèòå ñîöèàëíè ðàçíîãëàñèÿ. JOURDEN: Êîãàòî êàçâàòå ñîöèàëíè ðàçíîãëàñèÿ... ìàêàð ÷å íÿêîè õîðà áèõà ìîãëè... Êèòàé èìà óíèêàëíî ðàçâèòèå, íàëè? Òîâà ðàçâèòèå ñå ïðîìåíÿ î÷åâèäíî ìíîãî ñêîðîñòíî è âèå (Êèòàé) ñòå îñíîâíî, óñëîâíî áèõ êàçàë, ñúçäàâàùè åäíà ñòðóêòóðà çà ñðåäíàòà êëàñà â ãðàäñêèòå ðàéîíè è õîðàòà îò ëåæàùèòå èçâúí òÿõ ñåëñêè ðàéîíè ñòàâàò ìíîãîáðîéíà ðàáîòíè÷åñêà êëàñà. Íå çíàì, òîâà å åäèí âèä èíòåðåñíî ðàçâèòèå, êîåòî ñå ñëó÷âà. Äàëè òîâà å íåùî èíòåðåñíî çà àòàêóâàíå îò âàøà ñòðàíà? Èëè âàøàòà ðàáîòà å íàñî÷åíà ïðåäèìíî êúì ïîÿâàòà íà áóðæîàçíà êëàñà â Êèòàé? MA: Íèå ñëàãàìå óäàðåíèå íà êîíòåêñòà íà ãðàäñêàòà ñðåäà, êîÿòî å è ïîëèòè÷åñêà è ïðîñòðàíñòâåíî äèíàìè÷íà. Íàïðèìåð íèå ïðîåêòèðàõìå íå ñàìî âèñîêè ñãðàäè, íî è ïî-ìàëêè ãðàäñêè ñòðóêòóðè, êàòî æèëèùíî ñòðîèòåëñòâî èëè âàæíè îðèåíòèðè. Íèå ñìå àíãàæèðàíè â íÿêîëêî ÷èñòî

NEWS

14 ãðàäñêè ïðîåêòà; ïðîåêòèðàõìå åäèí ïðîåêò çà Ïåêèí çà 2050 ã. Êèòàéñêèòå àðõèòåêòè íèêîãà íå ñà ïðîåêòèðàëè çà áúäåùåòî. Â òîâà ïðåäëîæåíèå íèå ïðîìåíèõìå Tiananmen Square îò îãðîìíî îòêðèòî ïóáëè÷íî ïðîñòðàíñòâî è ãî ïðåâúðíàõìå â ãîðà. Â îñíîâàòà ñè çàäàäîõìå âúïðîñà äàëè îòêðèòîòî ïðîñòðàíñòâî å ïóáëè÷íî ïðîñòðàíñòâî. Îáè÷àìå äà ïðåäëàãàìå ðåøåíèÿ, çàäàâàùè òîçè òèï âúïðîñè. Íàïðèìåð òàçè 800 ì âèñîêà êóëà ñå îïèòâà äà å êðèòè÷íà. È êîãàòî íèå ïîêàçâàìå ïðîåêòà ïðåç ïóáëèêà, òå âèíàãè ïèòàò “Òîâà ëè å íàé-âèñîêàòà ñãðàäà! Çàùî èçáðàõòå òîâà?” Íî ñëåä òîâà â ïðåçåíòàöèÿòà òå âèæäàò, ÷å äà áúäåø âèñîê, íå å íàé-âàæíîòî â êîíòåêñòà íà ãðàäà. Òîâà íà ñâîé ðåä ïðåäèçâèêâà äèñêóñèÿ. Îùå îò ñàìîòî íà÷àëî íèå íå ñå ÿâèõìå íà êîíêóðñà, çà äà ñïå÷åëèì... JOURDEN: Õàðåñâà ìè òîâà îáÿñíåíèå. Òîâà å äîáúð íà÷èí äà ñå ñïå÷åëè ðàçíîãëàñèå ÷ðåç àðõèòåêòóðàòà. Åäíî îò íåùàòà, êîèòî íàèñòèíà ìè õàðåñâàò âúâ âàøàòà ðàáîòà â ñðàâíåíèå ñ äðóãèòå êèòàéñêè àðõèòåêòè, ðàáîòåùè äíåñ, íèå âå÷å ãîâîðèõìå çà Yung Ho Chang è íàìåêíàõìå çà òâîðöèòå íà ñúâðåìåíåí Êèòàé, êîèòî íàïóñêàò ñòðàíàòà ñè, çà äà ïîëó÷àò ãëîáàëíî ïðèçíàíèå, íî ìèñëÿ, ÷å èìà íåùî èíòåðåñíî, êîåòî ñå ñëó÷âà óñïîðåäíî ñ òîâà. Èìà åäèí âèä ïåðñïåêòèâíî î÷àêâàíå çà çíà÷åíèåòî íà Àçèÿ è Èçòîêà, ïðè êîåòî âàøàòà ðàáîòà, çà ðàçëèêà îò Yung Ho Chang íàïðèìåð, íåãîâàòà ãîëÿìà òâîðáà íà Áèåíàëåòî âúâ Âåíåöèÿ ïðåäè íÿêîëêî ãîäèíè... MA: Áàìáóê... JOURDEN: Òî÷íî òàêà, ãðàäñêè áàìáóê èëè íåùî ïîäîáíî...è èìàøå èçâåñòíà äîçà ðåàëíî ïðîíèêâàùà êðèòè÷íîñò â ðàçãîâîðèòå çà íåãî, íåùî, êîåòî êàòî ÷å ëè ïèòàøå, “Êèòàéöèòå âèíàãè ëè ñà êàòî ïàíäè?” MA: Äîñòà çíàåòå! (ñìåå ñå) JOURDEN: Íàëè? Îò ãëåäíà òî÷êà íà òîâà, êàê âèå ñå âèæäàòå êàòî àçèàòñêè àðõèòåêòè, ðàáîòåùè â Êèòàé, íî ñúùî ìîæå áè è êàòî ïúðâàòà ãëîáàëíî ïðèçíàòà êèòàéñêà ôèðìà? MA: Ìèñëÿ, ÷å Êèòàé èçðàñíà ìíîãî áúðçî. È çàòîâà Êèòàé ñå èçïðàâÿ ïðåä ìíîãî íåîáè÷àéíè ïðåäèçâèêàòåëñòâà, êîèòî ñà ðàçëè÷íè îò òåçè, ñ êîèòî ñå ñáëúñêâà çàïàäíîòî îáùåñòâî. Òîâà äàâà íà Êèòàé âúçìîæíîñòòà äà ñúçäàäå îðèãèíàëíî ðåøåíèå è äà íàïðàâè íåùî êàòåãîðè÷íî íîâî çà áúäåùåòî. Â Êèòàé íèå îïèñâàìå êèòàéñêàòà òðàäèöèÿ, ïî-ñòàðèòå ãåíåðàöèè ðàçáèðàò òàçè òðàäèöèÿ êàòî ìíîãî ñèìâîëè÷íà - áàìáóê, âúòðåøåí äâîð è ò. í. Íî íàøåòî ñõâàùàíå å, ÷å ìîæå áè êèòàéñêàòà òðàäèöèÿ å èçìèñëèöà! Äà ñå ïðîìåíÿò ñòàðèòå îáè÷àè. Ïúðâèÿò ÷îâåê, êîéòî îïèòàë äà ëåòè, å áèë êèòàåö è òîé ñêî÷èë îò ñòåíàòà ñ íàïðàâåíè îò ÷îâåê êðèëà... íî òîçè äóõ íå ñúùåñòâóâà âå÷å â Êèòàé. Àêî ðàçáåðåòå òàçè èñòîðèÿ êàòî ÷àñò îò òðàäèöèÿòà, òî ìîæå áè èìà íåùî çà áúäåùåòî. Àêî íèå ïðîäúëæàâàìå âñå ñòàðèòå íåùà, ìîæå áè íàøèòå áàáè è äÿäîâöè ùå ñè ïîìèñëÿò, ÷å íå ãè óâàæàâàìå, çàùîòî ïðîñòî ïîâòàðÿìå ìèíàëîòî... Ìèñëÿ, ÷å èìà øàíñ çà íàñ, íîâàòà ãåíåðàöèÿ. JOURDEN: Âúâ âðúçêà ñ âàøàòà “Ñãðàäà Ìåðëèí Ìîíðî” èëè “Àáñîëþòíàòà êóëà íà ñâåòà” â Òîðîíòî íàêúäå âèæäàòå äà âúðâè òðàåêòîðèÿòà íà òîçè ïðîåêò, êîãàòî íàïðàâèòå íàé-äîáðèòå øåñò ôèíàëèñòè? Ìèñëèòå ëè, ÷å áèõòå ìîãëè äà ñå çàåìåòå? MA: Êîãàòî âèäÿõìå øåñòòå ôèíàëèñòè, áÿõìå äîñòà ñèãóðíè. (ñìåå ñå) HAYANO: Äà, äà, íèå ñìå íà òîçè åòàï... MA: Íÿêîè õîðà îò Êàíàäà íè ïèòàò “Êàê ìîæå òàçè ñãðàäà äà å êèòàéñêà? Çàùîòî âèå ñòå êèòàéñêè àðõèòåêòè, à òÿ íå å ñâúðçàíà ñ èçòî÷íàòà òðàäèöèÿ.” Íî ïî-êúñíî óñòàíîâèõìå, ÷å òàçè ñãðàäà èìà îòíîøåíèå êúì àçèàòñêàòà ÷óâñòâèòåëíîñò ïîðàäè ñâîÿòà ïðîñòîòà. Öÿëàòà ñòðóêòóðà å ñêðèòà è ïî òîâà ñå ðàçëè÷àâà îò çàïàäíàòà ñòðàòåãèÿ, ñïîðåä êîÿòî êîãàòî ñãðàäàòà å âèñîêà, ñå îïèòâàò äà ïîêàæàò ñòðóêòóðàòà é è ïîñòàâÿò ïîä ñúìíåíèå ñòðóêòóðàòà. Íî ñ íàøèÿ ïðîåêò ìîæåòå äà âèäèòå ñàìî ëèíèèòå è ïðîìÿíà âúâ ôîðìàòà. HAYANO: Èìà è óñïîêîÿâàù åôåêò ñúùî òàêà... MA: Ìíîãî ñïîêîéíà è ïðîñòà. È àç ìèñëÿ, ÷å ÷óâñòâîòî, êîåòî ñúáóæäà ó õîðàòà, íàèñòèíà äîêîñâà ñúðöàòà èì... JOURDEN: Ñèãóðåí ñúì, ÷å å äîêîñíàëà âàøèòå èíæåíåðíè ñúðöà ñúùî! Òÿ ñúäúðæà ìíîãî êîìïëåêñíîñò, íî ñúùåâðåìåííî è ïðîñòîòà âúâ ôóíêöèèòå é, îò ãëåäíà òî÷êà íà ñòðóêòóðíàòà ñèñòåìà. Ìèñëÿ, ÷å òîâà å äîáúð ïîäõîä. JOURDEN: Ìèñëèòå ëè, ðàáîòåéêè çà... Ìðàçÿ äà ñå áúðêàì â ðàáîòàòà âè, çàùîòî èçãëåæäà, ÷å äåéñòâàòå ïî ñâîé ñîáñòâåí íà÷èí, íî èçãëåæäà, ÷å èìà íÿêàêâè åëåìåíòè îò âàøàòà ïåäàãîãè÷åñêà âðúçêà ñ Çàõà (Õàäèä). Êàê áèõòå îïèñàëè òàçè âðúçêà ñåãà, êîãàòî ñòå ñàìîñòîÿòåëíè? Ìèñëèòå, ëè, ÷å íåéíîòî âëèÿíèå ïðîëè÷àâà â íà÷èíà, ïî êîéòî ðàáîòèòå? MA: Íèå íå ñå çàñÿãàìå, êîãàòî õîðàòà êàçâàò, ÷å èìà èçâåñòíî ïîäîáèå ñúñ Çàõà, çàùîòî íèå ñìå äîñòà ìëàäè è èçãðàæäàìå âñå îùå íàøèÿ ñîáñòâåí ñòèë. Ïðåç òåçè ïîñëåäíè äâå ãîäèíè íèå ñå îïèòâàõìå äà ðàçáåðåì è äà ñúçäàäåì íà÷èí íà ðàáîòà è ìèñëåíå, òîâà èçèñêâà ðàçâèòèåòî íà íàøèÿ îðèãèíàëåí åçèê. Ñåãà ìèñëÿ, ÷å èçáóòâàìå íàøèòå ïðîåêòè ìíîãî ïî-íàäàëå÷, îòêîëêîòî ãî ïðàâåõìå â îôèñà íà Çàõà. Îñâåí òîâà

íèå ùå ïîñòðîèì åäèí ãèãàíò, ïðåäè Çàõà äà óñïåå... (ñìåå ñå). JOURDEN: ×óäÿ ñå äàëè âèå, ìîì÷åòà, ñòå ïúðâèòå, âèå çíàåòå êàê Êîîëõààñ îáè÷àøå ñâîèòå òàêà íàðå÷åíè “äåöà", âñè÷êè òåçè ðàçëè÷íè õîðà, êîèòî ðàáîòÿò çà íåãî è ñåãà ñà çàïî÷íàëè ñâîé áèçíåñ, èçãëåæäà, ÷å âèå, ìîì÷åòà ñòå ïúðâèòå äåöà íà Çàõà? MA: Òîâà, êîåòî íàó÷èõìå îò Çàõà, å, ÷å òÿ ìðàçè ìëàäèòå õîðà, êîèòî èñêàò äà ïðèëè÷àò íà íåÿ. Òÿ îêóðàæàâàøå ìëàäèòå õîðà äà áúäàò ñàìèòå ñåáå ñè. Òîâà, êîåòî íàó÷èõìå îò Çàõà íàé-âå÷å, å, ÷å òÿ áåøå â ñúñòîÿíèå äà çàïàçè èíòåðåñà ñè æèâ çà äúëãî âðåìå è íå ÿ áåøå ãðèæà êàêâî ìèñëÿò äðóãèòå çà òîâà. Òîâà å íàé-âàæíîòî íåùî, êîåòî âçåõìå îò íåÿ.