Zaha Hadid WAM magazine

World Architecture Masters

2/ 2007/ 002 - EURO 5, 00 Bulgaria Only

ZAHA HADID

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Óïðàâèòåë Íàòàëèÿ Áîíäàðåíêî

General manager Natalia Bondarenko

Ðåäàêöèîííà êîëåãèÿ Êðàñèìèðà ßâàøåâà Íèêîëèíà Ñòîéêîâà Ðåäàêòîðè

Editors team Krassimira Yavasheva Nikolina Stoykova Editors

Ìåíèäæúð ïðåäïå÷àòíà ïîäãîòîâêà Ïåòúð ×óïåòëîâñêè

Pre-print manager Peter Chupetlovsky

Ãðàôè÷åí äèçàéíåð Åëåîíîðà Ãåîðãèåâà

Graphic designer Eleonora Georgieva

Ïðåäïå÷àòíà ïîäãîòîâêà Ìàÿ Ãåðàñèìîâà Ëèëèÿ Êàðàêîëåâà Ëîðà Äèìîâà

Pre-print preparation Maya Gerasimova Liliya Karakoleva Lora Dimova

Êîîðäèíàòîð ìàðêåòèíã è ðåêëàìà Ñèÿíà ×àëúêîâà

Êîîðäèíàòîð ìàðêåòèíã è ðåêëàìà Ñèÿíà ×àëúêîâà

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

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

ïðåâîäà÷ Íåâåíà Ïîïêèðîâà

Translator Nevena Popkirova

îôèñ Ïëîâäèâ Äàíèåëà Àðíàóäîâà Âàëåíòèíà Âàíãåëîâà Ñâåòëàíà Ïîïîâà

offis Plovdiv Daniela Arnaudova Valentina Vangelova Svetlana Popova

Êîðåêòîð Ìàðèÿ Òîäîðîâà

Proof-reader Maria Todorova

Ðàçïðîñòðàíåíèå Åâãåíèÿ Éîðäàíîâà

Distribution Evguenya Yordanova

Èçäàòåëè: Ìåæäóíàðîäíà Àêàäåìèÿ çà Àðõèòåêòóðà Àðõ ìåäèÿ ÎÎÄ

Publishers: International Academy of Architecture Arhc Media Ltd.

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

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

Ãëàâåí ðåäàêòîð ïðîô. Ãåîðãè Ñòîèëîâ, àêàäåìèê íà ÌÀÀ

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

Îòãîâîðåí ðåäàêòîð NEWS àðõ. Ãåîðãè Ñòàíèøåâ

Editor-in-chief NEWS arch. Georgi Stanishev

The editors of the magazine World Architecture Masters would like to thank Arch. Zaha Hadid for her amiability submitting materials from her private archive at ours disposal for the second issue of WAM. Ñïèñàíèå World Architecture Masters áëàãîäàðè íà àðõ. Çàõà õàäèä çà ëþáåçíî ïðåäîñòàâåíèòå ìàòåðèàëè îò ëè÷íèÿ é àðõèâ çà âòîðè áðîé íà WAM

photos by: Helene Binet, Roland Halbe, Werner Huthmacher, Chris Casgoin, Klemens Ðåäàêöèÿ: Ñîôèÿ 1407 óë. “Ãîëî áúðäî” ¹ 22 Óïðàâèòåë: 02/868 81 83 Ðåäàêòîðè: 02/868 83 50 Ðåêëàìåí ìåíèäæúð: 02/868 77 91 Ðåêëàìíè àãåíòè: 02/ 868 75 67, 868 75 53 Ïðåäïå÷àò: 02/868 78 47 Ðåãèîíàëåí îôèñ: Ïëîâäèâ 4000 óë. “Êíÿç Áîãîðèäè” ¹ 8 òåë./ôàêñ: 032/63 32 16

Ortmeyer, Richard Bryant and Bruno Klomfar

Îffice: Sofia 1407 22 “Golo bardo” Str. General manager: +359 2 868 81 83 Editors: +359 2 868 83 50 Advertising manager: +359 2 868 77 91 Advertising Team: +359 2 868 75 67, 868 75 53 Pre-print: +359 2 868 78 47 Local office Plovdiv 4000 8 “Kniaz Bogoridi” Str. tel./fax: +359 32 63 32 16

ZAHA HADID

BUILDINGS 8

BMW CENTRAL BUILDING - Leipzig

14 ROSENTHAL CENTER FOR CONTEMPORARY ART - Cincinnati 18 MAGGIE’S CENTRE FIFE - Kircaldy 28 ORDRUPGAARD MUSEUM EXTENSION - Copenhagen 32 PHAENO SCIENCE CENTER - Wolfsburg 40 SPITTELAU VIADUCTS HOSTING - Vienna 44 HOTEL PUERTA AMERICA - HOTELS SILKEN - Madrid

MASTERPLANS 48 KARTAL - PENDIK MASTERPLAN 49 OLEBEAGA MASTERPLAN BILBAO 50 ONE NORTH MASTERPLAN SINGAPORE 52 ZORROZAURRE MASTER PLAN, BILBAO

PROJECTS 54 ABU DHABI Performing Arts Centre 58 BUSINESS BAY TOWERS - Dubai 60 NURAGIC AND CONTEMPORARY ART MUSEUM - Calgari 64 CMA CGM HEAD OFFICE - Marseille 66 E.ON ENERGY RESEARCH DEPARTMENTRWTH AACHEN - Aachen

CONTENTS

70 NEW EUSKO TREN CENTRAL HEADQUARTERS AND URBAN PLANNING - Durango 72 GUANGZHOU OPERA HOUSE - Guangzhou 76 LONDON AQUATICS CENTRE - London 78 MAXXI: NATIONAL CENTRE OF CONTEMPORARY ARTS - Rome 80 NEUES STADAT-CASINO - Basel 82 NORDPARK CABLE RAILWAY - Innsbruck 86 PIERRS VIVES - Herault, Montpellier 88 SEVILLE UNIVERSITY LIBRARY - Sevilla 90 SHEIK ZAYET BRIDGE - Abu Dhabi 92 Z.CAR

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Çà íîâèÿ åçèê íà àðõèòåêòóðàòà

About the new architectural language

Íà÷àëîòî íà XX âåê ñúçäàäå àðõèòåêòóðåí àâàíãàðä, âäúõíîâåí îò ïðèíöèïèòå íà ðàöèîíàëèçìà. Òåçè ïðèíöèïè ðîäèõà è íîâè òåõíîëîãèè, è íîâà ðàöèîíàëíà åñòåòèêà. Íà òàçè áàçà áåøå íàïðàâåí ãèãàíòñêè ñêîê â èêîíîìèêàòà, êóëòóðàòà è ñòàíäàðòà íà ïëàíåòàòà. Òîâà âå÷å å èñòîðèÿ. Íîâèÿò ÕXI âåê íîñè íîâè öåííîñòè. Èíòåëåêòúò ñòàâà íîâàòà âåëèêà ïðîèçâîäèòåëíà ñèëà. Ëè÷íîñòòà íà òâîðåöà è íåãîâîòî äóõîâíî áîãàòñòâî, ôîðìèðàíî ìèëèîíè ãîäèíè îò åâîëþöèÿòà, ñà áîãàòñòâîòî è êðàñîòàòà íà íîâîòî èçêóñòâî. Äèðåêòíèÿò ïîòîê íà ñúçíàíèå è èíòóèöèÿ ñà æèâèòåëíèÿò èçâîð íà òîâà èçêóñòâî.Òîâà å äðóãî, õîëèñòè÷íî ðàçáèðàíå çà Âñåëåíàòà è íåãîâîòî ïðèëîæåíèå â èçêóñòâîòî íà àðõèòåêòóðàòà.Òîâà å êðàÿò íà ñòèëîâèòå äîãìè è êàíîíè. Íîâèÿò àâàíãàðä â àðõèòåêòóðàòà âå÷å ñúçäàäå ÿðêè îáðàçöè íà ñëèâàíå “ëè÷íîñò - âñåëåíà”.  ïúðâèÿ áðîé íà ñï. WAM áå ïðåäñòàâåíî òâîð÷åñòâîòî íà Ìàêñèìèëèàíî Ôóêñàñ è ôðàãìåíòè îò òâîð÷åñòâîòî íà Ôðàíê Ãåðè, Çàõà Õàäèä, Òàäàî Àíäî, Æàí Íóâåë è íîâèòå êèòàéñêè àðõèòåêòè. Òîâà å íîâ àâàíãàðä è â ñóáñòàíöèÿòà íà àðõèòåêòóðàòà, è â àðõèòåêòóðíàòà ìîðôîëîãèÿ.Ôîðìèðà ñå íîâà åìîöèîíàëíà åñòåòèêà íà ñâîáîäíèÿ äóõ. Åäèí îò ñúçäàòåëèòå íà íîâèÿ àâàíãàðä å Çàõà Õàäèä. Òîçè áðîé íà WAM å ïîñâåòåí íà òíåéíîòî òâîð÷åñòâî. Ïðîô. Ãåîðãè Ñòîèëîâ,

àêàäåìèê íà ÌÀÀ

The beginning of the XXth century has created an architectural vanguard, inspired by the principles of Rationalism. These principles generated new technologies as well as a new rational aesthetics.

A giant jump in economics, culture and standard all over the planet was made on this basis of these principles.

The new XXIst is bringing new values. The intellect becomes the new Great productive power. The personality of the creator and his spiritual wealth, shaped during the million years evolution, is the fortune and the beauty of the New art. The direct flow of consciousness and intuition is the vivid spring of this art. Another, holistic understanding of Universe is founding its reflection in the art of architecture. This means the end of stylish dogmas and canons.

The new vanguard in the architecture has already created bright samples of the fusion “Personality-Universe”. In the first issue of the magazine WAM the work of Massimiliano Fuksas and some fragments of the work of Frank Gehry, Zaha Hadid, Tadao Ando, Jean Nouvel and new China architects was presented.

This is a new vanguard in the architectural substance as well as in the architectural morphology. A new emotional aesthetics of the free human spirit is going to take shape.

One of the creators of the new Vanguard is Zaha Hadid. This issue of the magazine WAM is devoted to the presentation of her work.

Prof. Georgi Stoilov, IAA Academician

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ZAHA HADID

Zaha Hadid is an architect who consistently pushes the boundaries of architecture and urban design. Her work experiments with new spatial concepts intensifying existing urban landscapes in the pursuit of a visionary aesthetic that encompasses all fields of design, ranging from urban scale through to products, interiors and furniture. Best known for her seminal built works (Vitra Fire Station, Land Formation-One, Bergisel Ski-Jump, Strasbourg Tram Station, the Rosenthal Centre for Contemporary Art in Cincinnati, the BMW Central Building in Leipzig, the Hotel Puerta America (interior) in Madrid, the Ordrupgaard Museum Extension in Copenhagen, and the Phaeno Science Center in Wolfsburg, her central concerns involve a simultaneous engagement in practice, teaching and research.

Hadid studied architecture at the Architectural Association from 1972 and was awarded the Diploma Prize in 1977. She then became a partner of the Office for Metropolitan Architecture, taught at the AA with OMA collaborators Rem Koolhaas and Elia Zenghelis, and later led her own studio at the AA until 1987. Since then she held the Kenzo Tange Chair at the Graduate School of Design, Harvard University; the Sullivan Chair at the University of Illinois, School of Architecture, Chicago; guest professorships at the Hochschule für Bildende Künste in Hamburg; the Knolton School of Architecture, Ohio and the Masters Studio at Columbia University, New York. In addition, she was made Honorary Member of the American Academy of Arts and Letters, Fellow of the American Institute of Architecture and Commander of the British Empire, 2002. She is currently Professor at the University of Applied Arts in Vienna, Austria and was the Eero Saarinen Visiting Professor of Architectural Design at Yale University, New Haven, Connecticut.

COMPETITIONS Hadid has been testing the boundaries of architectural design in a series of research-based competitions. Winning designs include The Peak, Hong Kong (1983); Kurfürstendamm, Berlin (1986); Düsseldorf Art and Media Centre (1992/93); Cardiff Bay Opera House, Wales (1994); Thames Water/Royal Academy Habitable Bridge, London (1996); Rosenthal Centre for Contemporary Art, Cincinnati (1998); University of North London Holloway Road Bridge (1998); The National Centre of Contemporary Arts, Rome (1999); Bergisel Ski-jump, Innsbruck (1999); The Wolfsburg Science Centre (2000); the Maritime Ferry Terminal in Salerno, (2000); Placa de las Arts in Barcelona (2001); One-north Masterplan for Singapore’s Science Hub (2001); the Ordrupgaard Museum Extension in Copenhagen (2001); the BMW Central Plant Building in Leipzig (2002); the Price Tower Art Center, Bartlesville (2002); the Departement de l’Herault Culture Sport Building, Montpellier (2003); the new High Speed Rail Station Napoli-Afragola, Naples (2003); the Guangzhou Opera House, China (2003); a masterplan for Beijing’s Soho City, China (2003); the New EuskoTren Headquarters in Durango (2004), (2004); an office tower and residential housing complex in Milan “Milano Fiera CityLife” (2004), the Memorial Walk “Boulevard der Stars” for the Berlin Film Academy, Berlin (2004), the new Riverside Transport Museum in Glasgow (2004), the new CMA CGM Headquarters in Marseille (2004), In 2005, Zaha Hadid Architects won competitions for the Neues StadtCasino Basel, the Architecture Foundation’s London Centre for Architecture, the London 2012 Olympic Aquatics Centre, the redesign of Eleftheria Square in Cyprus, the Nanjing Memorial Wall in China, the Zaragoza 2008 Expo Bridge and the Olebeaga Masterplan in Bilbao.

Recently in 2006, the practice has won competitions for the Issam Fares Institute at the American University of Beirut, the Seville University Library , the Kartal-Pendik Masterplan in Istanbul, the Edifici Campus Tower in Barcelona, The Opera House and Business Bay Towers in Dubai, The E.On Energy Research Centre in Aachen, Germany and The Nuragic and Contemporary Art Museum in Cagliari, Italy.

Other competition entries include large scale urban studies for Hamburg, Madrid, Bordeaux and Cologne; museum buildings in Bad Deutsch Altenburg, Austria, Madrid (Prado, Reina Sofia, Royal Palace), the Victoria & Albert Museum’s Boilerhouse Gallery, London and a Museum of Islamic Arts in Doha, Qatar, and the Asian and Oriental Gallery for the Louvre, Paris; concert halls for Copenhagen and Luxembourg; a theatre for the Hackney Empire, London and large scale

multi-functional buildings for 42nd street, New York as well as for the IIT Campus in Chicago, and third prize for an event and delivery centre for BMW in Munich.

PROJECTS Zaha Hadid’s built work has won her much academic and public acclaim. Her best known projects to date are the Vitra Fire Station and the LFone pavilion in Weil am Rhein, Germany (1993/1999), a housing project for IBA-Block 2 in Berlin, Germany (1993), the Mind Zone at the Millennium Dome, Greenwich, London, UK (1999), a Tram Station and Car Park in Strasbourg, France (2001), a Ski-Jump in Innsbruck, Austria (2002), the Contemporary Arts Centre, Cincinnati, US (2003), the BMW Central Building (2005) in Leipzig, Germany, the Hotel Puerta America interior in Madrid, Spain (2005) and the Ordrupgaard Museum Extension in Copenhagen, Denmark (2005), the Phaeno Science Center, Wolfsburg, Germany (2005), Lopez de Heredia Winery, Spain (2006) and the Maggie’s Centre, Fife, Scotland (2006). She has also completed furniture and interiors: Bitar, London (1985); Monsoon Restaurant, Sapporo (1990); ZPlay (2002) and Z-Scape (2000) furniture manufactured by Sawaya and Moroni; and the Tea and Coffee Towers for Alessi (2003), the Aqua Table (2005) for Established & Sons and the Vortexx Chandelier (2005) for Sawaya & Moroni. In 2006, Zaha Hadid has created the Crevasse Vase for Alessi, the Mallow Bench for ROVE, the Swarm Chandelier and the Seamless Collection for Established & Sons. Her temporary structures include: Folly in Osaka (1990); Music Video Pavilion in Groningen, Netherlands (1990); a Pavilion for Blueprint Magazine at Interbuild, Birmingham (1995); the installation Meshworks at the Villa Medici, Rome, Italy (2000) the summer pavilion for the Serpentine Gallery, London, UK (2000); and the R. Lopez de Heredia Vina Tondonia Pavilion, Barcelona, Spain (2001); and a snow and ice installation at the Snow Show, Lapland (2004). Zaha Hadid has also worked on a number of stage sets: Pet Shop Boys World Tour (1999/2000); Metapolis, for Charleroi Dance production company, Belgium (2000); and Beat Furrer’s opera, Desire, commissioned by the Steirischer Herbst, Graz (2003).

PUBLICATIONS Hadid’s work is widely published in periodicals and monographs which include “Zaha Hadid: Planetary Architecture Two” (no.11, 1983); “Zaha Hadid”, AA files (no.5, 1986); “Zaha Hadid 19831991”, El Croquis (no.52, 1991, Madrid); “Zaha Hadid 1992-1995”, El Croquis (no. 73, 1995, Madrid); “Zaha Hadid 1996-2001”, El Croquis (no.103, 2001, Madrid); “Zaha Hadid: The Complete Buildings and Projects” (Thames & Hudson, 1998); “Zaha Hadid -LF One” (Birkhäuser, 1999); “Architecture of Zaha Hadid in photographs by Helene Binet” (Lars Muller Publishers,

6 2000); “Zaha Hadid, Opere e Progetti” (Italy, 2002); “Zaha Hadid Architektur”, (MAK, Vienna, 2003); GA Document (nos. 65 and 66. Japan, 200, “Zaha Hadid Space for Art” (Lars Muller Publishers, 2004); “Zaha Hadid 19832004”, El Croquis (2004, Madrid); “Digital Hadid” (Birkhauser, 2004); “Car Park and Terminus Strasbourg” (Lars Muller Publishers, 2004); “Zaha Hadid Complete Works” (Thames and Hudson, 2004). “BMW Central Building” (Princeton Architectural Press, 2006); “Zaha Hadid” (Catalogue for the Solomon R. Guggenheim Museum, 2006).

EXHIBITIONS Hadid’s paintings and drawings have always been an important testing field, and a medium for the exploration of her design.

Major exhibitions include a retrospective at the Architectural Association, London (1983), the Guggenheim Museum, New York (1978), the GA Gallery, Tokyo (1985), “Deconstructivist Architecture” at MoMA, New York (1988), the Graduate School of Design at Harvard University (1995), Grand Central Station New York (1995), the San Francisco MoMA (1997/98), The Venice Architecture Biennale (2000), “Zaha Hadid Lounge” at the Kunstmuseum, Wolfsburg (2001), The Venice Architecture Biennale (2002), “Zaha Hadid” MAXXI in Rome (2002), “Zaha Hadid Laboratory” in Yale (2002) -the National Building Museum, Washington (2002) - Price Tower Arts Centre Gallery (2002) -and the Artists Space in New York (2003), “Zaha Hadid Architecture” MAK Exhibition Hall in Vienna (2003), The Venice Architecture Biennale (2004), “Zaha Hadid’s paintings” at the Somerset House in London (2004), the Deutsche Bank Collection at the Deutsche Guggenheim Berlin (2005), ‘Silver Paintings’ at the ROVE Gallery, London (2005), ‘Zaha Hadid’ Guggenheim New York (2006) and The Singapore Art Museum, Singapore (2006). Hadid’s work also forms part of the permanent collections of various institutions such as MoMA New York, MoMA San Francisco and the Deutsches Architektur Museum, Frankfurt, Germany. Exhibition designs are :’The Great Utopia’, Guggenheim Museum, New York (1992); ‘WishMachine’ at the Vienna Kunsthalle (1996); ‘Addressing the Century’ at the Hayward Gallery, London (1998); Paper Art at the Leopold-Hoesch Museum, Düren (1996); Jewellery Exhibition, Zurich (2000); ‘Borderline Exhibition’ Palais des Beaux Arts, Brussels (2000) and in the Salieri Suille Tracce di Mozart and the Palazzo Reale, Milan for the Da Ponte Institute (2005); 25 Years of Deutsche Bank Art at the Deutsche Guggenheim, Berlin (2005); ‘Elastika’ for Design 05, Art Basel, Miami (2005); Tokyo Blossoms at The Haro Museum Installation, Tokyo (2006); The Wallpaper Magazine 10th Anniversary Exhibition, Milan (2006); Ideal House, IMM Cologne Fair (2007).

AWARDS 59 Eaton Place, London -Gold Medal Architectural Design, British Architecture, 1982 Honourable Member of the Bund Deutsches Architekten, 1998 Honourable Member of the American Academy of Arts and Letters, 2000 Honorary Fellowship of the American Institute of Architects, 2000 Mind Zone, Millennium Dome, London - RIBA Awards 2000 Car Park and Terminus Hoenheim North, Strasbourg - Equerre d’Argent special mention, 2001 Car Park and Terminus Hoenheim North, Strasbourg - AIA UK Chapter Award, 2002 One-north Master Plan, Singapore - AIA UK Chapter Honourable Mention, 2002 Car Park and Terminus Hoenheim North, Strasbourg - Red Dot Award, 2002 Bergisel Ski-Jump, Innsbruck Austrian State Architecture Prize, 2002 Bergisel Ski-Jump, Innsbruck -Tyrolean Architecture Award, 2002 Commander of the British Empire, CBE, 2002 Car Park and Terminus Hoenheim North, Strasbourg -Mies van der Rohe Award 2003 Architect of the year 2004, Blueprint Award Rosenthal Centre for Contemporary Art, Cincinnati - RIBA Worldwide Award 2004 Zaha Hadid, Laureate of the Pritzker Architecture Prize 2004 London Architect of the year, London Architectural Biennale 2004 Honorary Fellow of Columbia University, New York City 2005 Member of the Royal Academy of Arts, London 2005 RIBA Medal, European Commercial Building of the Year (BMW Central Building) 2005 Deutsche Architektur Prize, Building of the Year (BMW Central Building) 2005 Finalist for the RIBA Stirling Prize (BMW Central Building) 2005 Gold Medal for Design, International Olympic Committee (Bergisel Ski Jump) 2005 Austrian Decoration of Science and Art, Commissions of Science and Art, Austria, 2005 Designer of the Year, Design 05 Art Basel Miami, 2005 AIA UK Chapter Award (Phaeno Science Center) 2006 Honorary Doctorate, Yale University, USA 2006 RIBA Medal, European Cultural Building of the Year (Phaeno Science Center) 2006 Honorary Doctorate, American University of Beirut 2006 Finalist for the RIBA Stirling Prize (Phaeno Science Center) 2006 RIBA Jencks Award 2006 Leading European Architects Forum (LEAF) Award (Phaeno Science Center) 2006 AIA UK Chapter Award (Maggie’s Centre Fife) 2007

ZAHA HADID ARCHITECTS - STUDIO 9 - 10 BOWLING GREEN LANE - LONDON EC1R OBQ - UK tel+44(0)207 253 5147 www.zaha-hadid.com, e-mail:press@zaha-hadid.com

Áèîãðàôè÷íè äàííè è òâîð÷åñêà áèîãðàôèÿ çà Çàõà Õàäèä Çàõà Õàäèä å àðõèòåêò, êîéòî ñ ïîñëåäîâàòåëíîñò ïîäáóòâà íàïðåä ãðàíèöèòå íà âúçìîæíîòî â àðõèòåêòóðàòà è ãðàäîóñòðîñòâåíèÿ äèçàéí. Íåéíîòî òâîð÷åñòâî åêñïåðèìåíòèðà ñ íîâè ïðîñòðàíñòâåíè ñõâàùàíèÿ, èçïîëçâàéêè èíòåíçèâíî ãðàäîóñòðîéñòâåíèÿ ïåéçàæ â ïðåñëåäâàíå íà âèçóàëíà åñòåòèêà, êîÿòî âêëþ÷âà âñè÷êè ñôåðè íà äèçàéíà, çàïî÷âàéêè îò ãðàäñêèÿ ìàùàá è ñòèãàéêè äî îòäåëíè ïðîäóêòè, èíòåðèîðè è ìåáåëè. Äîáèëà íàé-øèðîêà èçâåñòíîñò áëàãîäàðåíèå íà íåéíèòå àðõèòåêòóðíè òâîðáè (ïîæàðíàòà ñòàíöèÿ íà ôèðìà - "Âèòðà", îðãàíèçàöèÿòà íà ìåñòíîñòòà One â Ñèíãàïóð, ñòàíöèèòå çà ñêè ñêîêîâå â Àâñòðèÿ, òðàìâàéíàòà ñïèðêà â Ñòðàñáóðã, Öåíòúðúò "Ðîçåíòàë" çà ñúâðåìåííî èçêóñòâî â Ñèíñèíàòè, Öåíòðàëíàòà ñãðàäà íà BMW â Ëàéïöèã, èíòåðèîðúò íà õîòåë "Ïóåðòà Àìåðèêà" â Ìàäðèä, ðàçøèðåíèåòî íà ìóçåÿ "Îðäðóïãàðä" â Êîïåíõàãåí è íàó÷íèÿ öåíòúð "Ôåíî" âúâ Âîëôáóðã), íåéíàòà äåéíîñò îáõâàùà åäíîâðåìåííè àíãàæèìåíòè â ïðàêòèêàòà íà ïðîåêòèðàíåòî, îáó÷åíèåòî íà ñòóäåíòè è èçñëåäîâàòåëñêàòà äåéíîñò. Îáðàçîâàíèå è ïðåïîäàâàòåëñêà äåéíîñò Õàäèä èçó÷àâà àðõèòåêòóðà â Àðõèòåêòóðíàòà àñîöèàöèÿ (Architectural Association) îò 1972 ã. è ïîëó÷àâà íàãðàäà çà äèïëîìíàòà ñè ðàáîòà ïðåç 1977 ã. Ñëåä òîâà ñòàâà ïàðòíüîð â îôèñà çà àðõèòåêòóðà íà ìåòðîïîëè, ïðåïîäàâà â ÀÀ ñ ÎÌÀ ñúäðóæíèöè Ðåì Êîëõàñ (Rem Koolhaas) è Åëèà Çåíãåëèñ (Elia Zenghelis), à ïî-êúñíî îòâàðÿ ñâîå ñîáñòâåíî ñòóäèî êúì ÀÀ äî 1987 ã. Îòòîãàâà òÿ ïîåìà êàòåäðàòà íà Êåíçî Òàíãå (Kenzo Tange) âúâ Âèñøåòî ó÷èëèùå çà äèçàéí (Graduate School of Design) êúì Õàðâàðäñêèÿ óíèâåðñèòåò; Êàòåäðàòà Ñúëèâàí êúì óíèâåðñèòåòà â Èëèíîèñ, Ó÷èëèùåòî çà àðõèòåêòóðà â ×èêàãî; ðàáîòè êàòî ãîñò-ïðîôåñîð âúâ âèñøåòî ó÷èëèùå çà èçîáðàçèòåëíî èçêóñòâî (Hochschule für Bildende Künste) â Õàìáóðã, ó÷èëèùåòî çà àðõèòåêòóðà "Êíîëòúí" (Knolton School of Architecture) â Îõàéî è ìàéñòîðñêîòî ñòóäèî êúì Êîëóìáèéñêèÿ óíèâåðñèòåò â Íþ Éîðê. Îñâåí òîâà òÿ å ïî÷åòåí ÷ëåí íà Àìåðèêàíñêàòà àêàäåìèÿ çà èçêóñòâà, ÷ëåí å íà Àìèðåêàíñêèÿ èíñòèòóò çà àðõèòåêòóðà è íîñè òèòëàòà Êîìàíäúð íà Áðèòàñêòà èìïåðèÿ (Commander of the British Empire), 2002 ã. Ïîíàñòîÿùåì òÿ å ïðîôåñîð â Óíèâåðñèòåòà çà ïðèëîæíî èçêóñòâî âúâ Âèåíà, Àâñòðèÿ, è áåøå Ååðî Ñààðèíåí ãîñò-ïðîôåñîð ïî àðõèòåêòóðåí äèçàéí â Éåëñêèÿ óíèâåðñèòåò, Íþ Õåâúí, Êîíåêòèêúò. Çàõà Õàäèä å âçåëà ó÷àñòèå â ìíîæåñòâî êîíêóðñè, èçïðîáâàéêè ãðàíèöè-

7 òå íà âúçìîæíîòî â àðõèòåêòóðíèÿ äèçàéí âúç îñíîâà íà ñåðèîçíè ïðîó÷âàíèÿ. Ñðåä ñïå÷åëåíèòå êîíêóðñè ñà: The Peak, Õîíãêîíã (1983); Kurfürstendamm, Áåðëèí (1986); Düsseldorf Art and Media Centre (1992/93); Cardiff Bay Opera House, Óåéëñ (1994); Thames Water/Royal Academy Habitable Bridge, Ëîíäîí (1996); Rosenthal Centre for Contemporary Art, Ñèíñèíàòè (1998); University of North London Holloway Road Bridge (1998); The National Centre of Contemporary Arts, Ðèì (1999); Bergisel Ski-jump, Èíñáðóê (1999); The Wolfsburg Science Centre (2000); the Maritime Ferry Terminal â Ñàëåðíî, (2000); Placa de las Arts â Áàðöåëîíà (2001); One-north Masterplan for Singapore’s Science Hub (2001); the Ordrupgaard Museum Extension â Êîïåíõàãåí (2001); the BMW Central Plant Building â Ëàéïöèã (2002); the Price Tower Art Center, Bartlesville (2002); the Departement de l’Herault Culture Sport Building, Ìîíïåëèå (2003); íîâàòà âèñîêî-ñêîðîñòíà æ.ï. ãàðà Napoli-Afragola, Íåàïîë (2003); îïåðàòà Guangzhou Opera House, Êèòàé (2003); ãðàäîóñòðîéñòâåí ïëàí çà Beijing’s Soho City, Êèòàé (2003); íîâàòà îôèñ ñãðàäà EuskoTren Headquarters â Durango (2004), (2004); îôèñíà êóëà è æèëèùåí êîìïëåêñ â Ìèëàíî “Milano Fiera CityLife” (2004), ïàìåòíà ïúòåêà “Boulevard der Stars” çà Áåðëèíñêàòà ôèëìîâà àêàäåìèÿ, Áåðëèí (2004), íîâèÿ ìóçåé Riverside Transport Museum â Ãëàñãîó (2004), íîâàòà CMA CGM Headquarters â Ìàðñèëèÿ (2004). Ïðåç 2005 ã., àðõèòåêòóðíîòî ñòóäèî “Çàõà Õàäèä Àðõèòåêòñ” (Zaha Hadid Architects) ñïå÷åëè êîíêóðñà çà íîâîòî ãðàäñêî êàçèíî â Áàçåë Neues Stadt-Casino Basel, the Architecture Foundation’s London Centre for Architecture, öåíòúðà çà âîäåí ñïîðò çà Îëèìïèéñêèòå èãðè ïðåç 2012 ã. (the London 2012 Olympic Aquatics Centre), ïðåóñòðîéñòâîòî íà ïëîùàä Eleftheria Square â Êèïúð, the Nanjing Memorial Wall â Êèòàé, ìîñòúò the Zaragoza 2008 Expo Bridge è ãðàäîóñòðîéñòâåíèÿ ïëàí çà Olebeaga Masterplan â Áèëáàî. Íàïîñëåäúê, ïðåç 2006 ã., ñòóäèîòî ñïå÷åëè êîíêóðñèòå çà èíñòèòóòà the Issam Fares Institute êúì Àìåðèêàíñêèÿ óíèâåðñèòåò â Áåéðóò, áèáëèîòåêàòà êúì Ñåâèëñêèÿ óíèâåðñèòåò, ãðàäîóñòðîéñòâåí ïëàí çà êâàðòàëèòå Kartal-Pendik â Èñòàíáóë, êóëàòà the Edifici Campus Tower â Áàðñåëîíà, îïåðàòà è Business Bay Towers â Äóáàé, èçñëåäîâàòåëñêèÿ öåíòúð The E. On Energy Research Centre â Ààõåí, Ãåðìàíèÿ è ìóçåÿò The Nuragic and Contemporary Art Museum â Cagliari, Èòàëèÿ. Äðóãè êîíêóðñíè ó÷àñòèÿ âêëþ÷âàò ãîëÿìîìàùàáíè ãðàäîóñòðîéñòâåíè ïðîó÷âàíèÿ çà Õàìáóðã, Ìàäðèä, Áîðäî è Êüîëí; ìóçåéíè ñãðàäè â Áàä Àëòåíáóðã, Àâñòðèÿ, Ìàäðèä (Ïðàäî, Ðàéíà Ñîôèÿ, Ðîÿë Ïàëàñ), ìóçåÿ Victoria & Albert Museum’s Boilerhouse Gallery â Ëîíäîí è ìóçåÿ çà èñëÿìñêî èçêóñòâî â Äîõà, Êàòàð, ñúùî è ãàëåðèÿòà íà Àçèÿ è Îðèåíòà â Ëóâúðà â Ïàðèæ; êîíöåðòíè çàëè â Êîïåíõàãåí è Ëþêñåìáóðã; òåàòúð çà Õàêíè Åìïàéúð (Hackney Empire) â Ëîíäîí è ãîëÿìîìàùàáíè ìíîãîôóíêöèîíàëíè ñãðàäè çà 42-ðà óëèöà â Íþ Éîðê, êàêòî è ÈÈÒ (IIT) êàìïóñ â ×åêàãî è òðåòà íàãðàäà çà Öåíòúðà çà èçëîæáè è äîñòàâêè íà ÁÌ â Ìþíõåí. Àðõèòåêòóðíîòî òâîð÷åñòâî íà Çàõà Õàäèä é å ñïå÷åëèëî ìíîæåñòâî àêàäåìè÷íè íàãðàäè è ïóáëè÷íî ïðèçíàíèå. Íåéíèòå íàé-èçâåñòíè òâîðáè çàñåãà ñà: Ïîæàðíàòà çà ôèðìà "Âèòðà" è ïàâèëèîíúò LFone pavilion âúâ Âàéë àì Ðàéí, Ãåðìàíèÿ (1993/1999), ïðîåêò çà æèëèùà çà IBA-Block 2 â Áåðëèí, Ãåðìàíèÿ (1993), the Mind Zone at the Millennium Dome, Ãðèíóè÷, Ëîíäîí, ÎÊ (1999), òðàìâàéíà ñïèðêà è ïàðêèíã â Ñòðàñáóðã, Ôðàíöèÿ (2001), ñòàíöèè çà ñêèñêîêîâå â Èíñáðóê, Àâñòðèÿ (2002), Öåíòúðúò çà ñúâðåìåííî èçêóñòâî, Ñèíñèíàòè, ÑÀÙ (2003), Öåíòðàëíàòà ñãðàäà íà BMW â Ëàéïöèã, Ãåðìàíèÿ (2005), èíòåðèîð â õîòåë Puerta America â Ìàäðèä, Èñïàíèÿ, (2005) è ðàçøèðåíèåòî íà ìóçåÿ Ordrupgaard â Êîïåíõàãåí, Äàíèÿ (2005), Íàó÷íèÿ öåíòúð "Ôåíî" âúâ Âîëôáóðã, Ãåðìàíèÿ (2005), âèíàðíàòà Lopez de Heredia, Èñïàíèÿ (2006) è áîëíè÷íàòà ñãðàäà Maggie’s Centre, Fife, Øîòëàíäèÿ (2006). Òÿ å îêîìïëåêòîâàëà ìåáåëèòå è èíòåðèîðíèÿ äèçàéí íà: Bitar, Ëîíäîí (1985); ðåñòîðàíòà Monsoon, Ñàïîðî (1990); Z-Play (2002) è Z-Scape (2000) ìåáåëè, ïðîèçâåäåíè îò Sawaya è Moroni; è Tea and Coffee Towers çàAlessi (2003), the Aqua Table (2005) çà Established & Sons è Vortexx Chandelier (2005) çà Sawaya & Moroni. Ïðåç 2006, Zaha Hadid ñúçäàäå âàçàòà Crevasse çà Alessi, ïåéêàòà Mallow Bench çà ROVE, ïîëèëåÿ Swarm Chandelier è êîëåêöèÿòà Seamless Collection çà Established & Sons. Íåéíèòå âðåìåííè ñòðóêòóðè âêëþ÷âàò: Folly â Îñàêà (1990); ïàâèëèîíúò çà ìóçèêà è âèäåî â Groningen, Õîëàíäèÿ (1990); ïàâèëèîíúò çà Blueprint Magazine â Interbuild, Áèðìèíãàì (1995); èíñòàëàöèÿòà Meshworks (ìðåæè) âúâ âèëà Villa Medici, Ðèì, Èòàëèÿ (2000), ëåòíèÿ ïàâèëèîí çà Serpentine Gallery, Ëîíäîí, ÎÊ (2000); è ïàâèëèîíúò R. Lopez de Heredia Vina Tondonia â Áàðñåëîíà, Èñïàíèÿ (2001); èíñòàëàöèÿòà îò ñíÿã è ëåä â èçëîæåíèåòî Snow Show, Ëàïëàíäèÿ (2004). Çàõà Õàäèä ñúùî å ðàáîòèëà ïî ìíîæåñòâî ñöåíè÷íè äåêîðè: Pet Shop Boys World Tour (1999/2000); Metapolis, çà Charleroi Dance production company, Áåëãèÿ (2000); è Beat Furrer’s opera, Desire, âúçëîæåí îò Steirischer Herbst, Ãðàö (2003). Òâîð÷åñòâîòî íà àðõèòåêò Çàõà Õàäèä å ïóáëèêóâàíî øèðîêî â ïåðèîäè÷íè

èçäàíèÿ è ìîíîãðàôèè, êîèòî âêëþ÷âàò: “Zaha Hadid: Planetary Architecture Two” (no.11, 1983); “Zaha Hadid”, AA files (no.5, 1986); “Zaha Hadid 1983-1991”, El Croquis (no.52, 1991, Madrid); “Zaha Hadid 1992-1995”, El Croquis (no. 73, 1995, Madrid); “Zaha Hadid 1996-2001”, El Croquis (no.103, 2001, Madrid); “Zaha Hadid: The Complete Buildings and Projects” (Thames & Hudson, 1998); “Zaha Hadid -LF One” (Birkhäuser, 1999); “Architecture of Zaha Hadid in photographs

by Helene Binet” (Lars Muller Publishers, 2000); “Zaha Hadid, Opere e Progetti” (Italy, 2002); “Zaha Hadid Architektur”, (MAK, Vienna, 2003); GA Document (nos. 65 and 66. Japan, 200, “Zaha Hadid Space for Art” (Lars Muller Publishers, 2004); “Zaha Hadid 1983- 2004”, El Croquis (2004, Madrid); “Digital Hadid” (Birkhauser, 2004); “Car Park and Terminus Strasbourg” (Lars Muller Publishers, 2004); “Zaha Hadid Complete Works” (Thames and Hudson, 2004). “BMW Central Building” (Princeton Architectural Press, 2006); “Zaha Hadid” (Êàòàëîã çà Ãóãåíõàéì ìóçåÿ Solomon R. Guggenheim Museum, 2006). Èçëîæáè: Êàðòèíèòå è ñêèöèòå íà Çàõà Õàäèä âèíàãè ñà áèëè âàæíî ïîëå çà åêñïåðèìåíòè è ñðåäà çà ïðîó÷âàíå íà ñúçäàâàíèÿ îò íåÿ äèçàéí. Ãëàâíèòå é èçëîæáè âêëþ÷âàò ðåñòðîñïåêöèÿ íà Architectural Association, Ëîíäîí (1983), the Guggenheim Museum, New York (1978), the GA Gallery, Tokyo (1985), “Deconstructivist Architecture” â MoMA, New York (1988), the Graduate School of Design â Harvard University (1995), Grand Central Station New York (1995), the San Francisco MoMA (1997/98), The Venice Architecture Biennale (2000), “Zaha Hadid Lounge” â Kunstmuseum, Wolfsburg (2001), The Venice Architecture Biennale (2002), “Zaha Hadid” MAXXI â Ðèì (2002), “Zaha Hadid Laboratory” â Éåèë (2002) - the National Building Museum, Washington (2002) Price Tower Arts Centre Gallery (2002) -and the Artists Space in New York (2003), “Zaha Hadid Architecture” MAK Exhibition Hall âúâ Âèåíà (2003), The Venice Architecture Biennale (2004), “Zaha Hadid’s paintings” â Somerset House â Ëîíäîí (2004), the Deutsche Bank Collection â Deutsche Guggenheim Berlin (2005), ‘Silver Paintings’ â ROVE Gallery, Ëîíäîí (2005), ‘Zaha Hadid’ Guggenheim New York (2006) è The Singapore Art Museum, Ñèíãàïóð (2006). Ðàáîòèòå íà Õàäèä îôîðìÿò ÷àñò îò ïîñòîÿííàòà êîëåêöèÿ íà ðàçëè÷íè èíñòèòóöèè êàòî MoMA New York, MoMA San Francisco è the Deutsches Architektur Museum, Ôðàíêôóðò, Ãåðìàíèÿ. Äèçàéí çà èçëîæáè ñà :’The Great Utopia’, Guggenheim Museum, New York (1992); ‘WishMachine’ at the Vienna Kunsthalle (1996); ‘Addressing the Century’ â Hayward Gallery, Ëîíäîí (1998); Paper Art at the Leopold-Hoesch Museum, Düren (1996); Èçëîæåíèå çà áèæóòà, Öþðèõ (2000); ‘Borderline Exhibition’ Palais des Beaux Arts, Áðþêñåë (2000) è â Salieri Suille Tracce di Mozart è Palazzo Reale, Ìèëàíî çà Da Ponte Institute (2005); 25 ãîäèíè èçêóñòâî â Deutsche Bank â Deutsche Guggenheim, Áåðëèí (2005); ‘Elastika’ çà Design 05, Art Basel, Miami (2005); Tokyo Blossoms â The Haro Museum Installation, Òîêèî (2006); The Wallpaper Magazine 10th Anniversary Exhibition, Milan (2006); Ideal House, IMM ïàíàèðà â Êüîëí (2007). ÍÀÃÐÀÄÈ: 59 Eaton Place, London -Gold Medal Architectural Design, British Architecture, 1982, Ïî÷åòåí ÷ëåí íà Bund Deutsches Architekten, 1998, Ïî÷åòåí ÷ëåí íà American Academy of Arts and Letters, 2000, Ïî÷åòåí ÷ëåí íà American Institute of Architects, 2000, Mind Zone, Millennium Dome, London RIBA íàãðàäè çà 2000, Car Park and Terminus Hoenheim North, Ñòðàñáóðã Equerre d’Argent special mention, 2001, Car Park and Terminus Hoenheim North, Ñòðàñáóðã - íàãðàäàòà AIA UK Chapter, 2002, One-north Master Plan, Singapore - AIA UK Chapter Honourable Mention, 2002, Car Park and Terminus, Hoenheim North, Strasbourg - Red Dot Award, 2002, Bergisel Ski-Jump, Innsbruck - Austrian State Architecture Prize, 2002, Bergisel Ski-Jump, Innsbruck -Tyrolean Architecture Award, 2002, Commander of the British Empire, CBE, 2002, Car Park and Terminus Hoenheim North, Strasbourg -Mies van der Rohe Award 2003, Architect of the year 2004, Blueprint Award, Rosenthal Centre for Contemporary Art, Cincinnati - RIBA Worldwide Award 2004, Zaha Hadid, Laureate of the Pritzker Architecture Prize 2004, London Architect of the year, London Architectural Biennale 2004, Honorary Fellow of Columbia University, New York City 2005, Member of the Royal Academy of Arts, London 2005, RIBA Medal, European Commercial Building of the Year (BMW Central Building) 2005, Deutsche Architektur Prize, Building of the Year (BMW Central Building) 2005, Finalist for the RIBA Stirling Prize (BMW Central Building) 2005, Gold Medal for Design, International Olympic Committee (Bergisel Ski Jump) 2005, Austrian Decoration of Science and Art, Commissions of Science and Art, Austria, 2005, Designer of the Year, Design 05 Art Basel Miami, 2005, AIA UK Chapter Award (Phaeno Science Center) 2006, Honorary Doctorate, Yale University, USA 2006, RIBA Medal, European Cultural Building of the Year (Phaeno Science Center) 2006, Honorary Doctorate, American University of Beirut 2006, Finalist for the RIBA Stirling Prize (Phaeno Science Center) 2006, RIBA Jencks Award 2006, Leading European Architects Forum (LEAF) Award (Phaeno Science Center) 2006 AIA UK Chapter, Award (Maggie’s Centre Fife) 2007

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PROGRAM: Offices and technical spaces for car manufacturing plant CLIENT: BMW AG Triebstrasse 14, 80993 M端nchen, Germany ARCHITECTS: Design Zaha Hadid with Patrik Schumacher Project Architect Jim Heverin/Lars Teichmann [Zaha Hadid] Design Team Lars Teichmann, Eva Pfannes, Kenneth Bostock, Stephane Hof, Djordje Stojanovic, Leyre Villoria, Liam Young, Christiane Fashek, Manuela Gatto, Tina Gregoric Cesare Griffa, Yasha Jacob Grobman, Filippo Innocenti, Zetta Kotsioni, Debora Laub, Sarah Manning, Maurizio Meossi, Robert Sedlak, Niki Neerpasch, Eric Tong Project Team Lars Teichmann, Jim Heverin, Jan Huebener, Matthias Frei, Cornelius Schlotthauer, Fabian Hecker, Wolfgang Sunder, Manuela Gatto, Anette Bresinsky, Anneka Wegener, Achim Gergen, Robert Neumayr, Christina Beaumont, Caroline Anderson CONSULTANTS: Landscape Acrhitects: Gross. Max [Edinburgh, UK] Structural Engineering IFB Dr. Braschel AG [Stuttgart, Germany] Anthony Hunt Associates [London, UK] Costing IFB Dr. Braschel AG [Stuttgart, Germany] Lighting Design Equation Lighting [London, UK] SIZE/AREA : Building 25,000 m2

BMW CENTRAL BUILDING LEIPZIG, GERMANY 2002-2005

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The Central Building is the active nerve- centre or brain of the whole factory complex. All threads of the building’s activities gather together and branch out again from here.This planning strategy applies to the cycles and trajectories of people - workers (arriving in the morning and returning for lunch) and visitors - as well as for the cycle and progress of the production line which traverses this central point - departing and returning again. This dynamic focal point of the enterprise is made visually evident in the proposed dynamic spatial system that encompasses the whole northern front of the factory and articulates the central building as the point of confluence and culmination of the various converging flows. It seems as if the whole expanse of this side of the factory is oriented and animated by a force field emanating from the central building. All movement converging on the site is funnelled through this compression chamber squeezed inbetween the three main segments of production: Body in White, Paint Shop and Assembly. The organisation of the building exploits the obvious sequence of front to back for the phasing of public/ busy to more withdrawn/quiet activities. The faùade envelope is pulled in under a large diagonally projecting top floor. Here the car drop-off swoops underneath letting off visitors into the glazed public lobby. The primary organising strategy is the scissor-section that connects groundfloor and first floor into a continuous field. Two sequences of terraced plates - like giant staircases - step up from north to south and from south to north. One commences close to the public lobby

10 passing by/overlooking the forum to reach the first floor in the middle of the building. The other cascade starts with the cafeteria at the south end moving up to meet the first cascade then moving all the way up to the space projecting over the entrance.

The two cascading sequences capture a long connective void between them. At the bottom of this void is the auditing area as a central focus of everybody’s attention. Above the void the halffinished cars are moving along their tracks between the various surrounding production units open to view. The close integration of all workers is facilitated by the overall transparency of the internal

organisation. The mixing of functions avoids the traditional segregation into status groups that is no longer conducive for a modern workplace.

A whole series of engineering and administrative functions is located within the trajectory of the manual workforce coming in to work or moving in and out of their lunch break. White collar functions are located both on ground and first floor. Equally some of the Blue Collar spaces (lockers and social spaces) are located on the first floor. Especially those internal reserve spaces that are waiting for full use in Phase 2 are allocated as social communication spaces to mix blue and white collar workers. This way the establishment of exclusive domain is prevented.

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PROGRAM: Temporary exhibition space, performance space, education facility, offices, art preparation areas, and museum store CLIENT: The Contemporary Arts Center 44 East Sixth Street Cincinnati, Ohio 45202 USA ARCHITECT: Design Zaha Hadid Architects [London, UK] Local Firm KZF incorporated [Cincinnati, USA] Project Architect [Zaha Hadid] Markus Dochantschi Assistant Project Architect [Zaha Hadid] Ed Gaskin CONSULTANTS: Construction Manager Turner Construction Company [Cincinnati, Ohio] Structural Engineers THP Limited [Cincinnati, Ohio] Jane Wernick [London, UK] Acoustics Ove Arup & Partners [London, New York] Services Heapy Engineering [Dayton, Ohio] Security Steven R. Keller & Associates [Florida, USA] Theatre Charles Cosler Theatre Design Inc. [New York] Lighting Office for Visual Interaction Inc. [New York] SIZE/AREA : 8500 m2

ROSENTHAL CENTER FOR CONTEMPORARY ART, CINCINNATI, USA1997-2003 The first freestanding building for The Contemporary Arts Center, founded in Cincinnati in 1939 as one of the first institutions in the United States dedicated to the contemporary visual arts. The new CAC building will provide spaces for temporary exhibitions, site-specific installations, and performances, but not for a permanent collection. Other program elements include an education facility, offices, art preparation areas, a museum store, a cafe and public areas.

To draw in pedestrian movement from the surrounding areas and create a sense of dynamic public space, the entrance, lobby and lead-in to the circulation system are organized as an “Urban Carpet.”

Starting at the corner of Sixth and Walnut, the ground curves slowly upward as it enters the building, rising to become the back wall. As it rises and turns, this Urban Carpet leads visitors up a suspended mezzanine ramp through the full length of the lobby, which during the day functions as an open, day-lit, “landscaped” expanse that reads as an artificial park. The mezzanine ramp continues to rise until it penetrates the back wall, on the other side of which it becomes a landing at the entrance to the galleries.

Jigsaw Puzzle: In contrast to the Urban Carpet, which is a series of polished, undulating surfaces, the galleries are expressed as if they had been carved from a single block of concrete and were floating over the lobby space.

Exhibition spaces vary in size and shape, to accommodate the great range of scales and materials in contemporary art. Views into the galleries from the circulation system are unpredictable, as the stair-ramp zigzags upward through a narrow slit at the back of the building. Together, these varying galleries interlock like a three-dimensional jigsaw puzzle, made up of solids and voids. Skin/Sculpture: The building’s corner situation led to the development of facade, along Sixth Street, forms an undulating, translucent skin, through which passers-by see into the life of the Centre. The east facade, along Walnut, is expressed as a sculptural relief. It provides an imprint, in negative, of the gallery interiors.

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PROGRAM: Drop in cancer care centre CLIENT: Maggie’s Centre ARCHITECT: Design Zaha Hadid Project Architects Jim Heverin & Tiago Correia [Zaha Hadid] Project Team Zaha Hadid, Jim Heverin, Tiago Correia CONSULTANTS: Structural Engineers Jane Wernick Associates Services Engineers K J Tait Engineers Underground Drainage SKM Anthony Hunts Quantity Surveyors CBA Surveyors Planning Supervisors Reiach & Hall Landscape Architect Gross Max Building Surveyors GLM Ltd. SIZE/AREA: 250m2

MAGGIE’S CENTRE FIFE, KIRCALDY,SCOTLAND 2001-2006

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The Maggie’s Centre Fife is within the grounds of Victoria Hospital orin people with cancer, Maggie’s Fife is domestic in scale but unique in Maggie’s Centre Fife is located on the edge of a hollow adjacent to the in combination with the natural foliage and trees creates a very distinctive protected environment in stark contrast to the other facilities of Victoria Hospital. As a single storey construction, Maggie’s t surrounds this natural hollow. The centre has been designed as a transition between the two different types of spaces - the natural landscape and the hospital. By using various study models, Zaha Hadid Architects explored how an edge to the hollow could be developed which transforms itself into a building envelope - becoming a gateway to the natural landscape.

20 Externally the form of the Centre derives from a folding surface and a connecting ground slab. The folding surface articulates a directional emphasis of moving the visitor into a different space from the rest of the hospital grounds. By cladding the visible roof and two opposing walls with the same material and making the remaining elevations a mix of translucent and clear glass, the directional nature of this form is reinforced.

Large overhangs of the roof are used to extend the building into the landscape on both sides. These overhangs protect the entrance doors on the north side whilst on the south side they provide solar shading to the glass elevation and partially cover the terrace.The centre sits on a concrete plinth which connects it to the landscape.

21 On the north side, this outlines the car parking before rising to the same level as the public entrance.

The strong directional language and material contrast of the centre’s plinth with the tarmac tor.of the The plinth continues along the eastern side to separate the centre from the car park with a wall that gradually rises to separate the public space of the entrance from the private spaces of the terrace.

It terminates by wrapping around the southern tip of the centre as a south-facing terrace that cantilevers off the sloping ground to the north.

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Internally the arrangement of rooms is centered on an open plan kitchen with of ces on the north elevation adjacent to the entrance. To offer privacy, the rooms to the east have a semi opaque facade.

Visitors to Maggie’sed view through the centre to the south facing glass elevation to the hidden natural landscape of the hollow. The internal central space is kept as open and column free as possible. A ramp connects the main space to a lower platform containing the exi-hall. A system of shutters and sliding doors allows this space to be separated from the rest of the centre. The southern facing facade is oor-to-ceiling glazing with windows and doors allowing direct access to the terrace.

The extension of the roof beyond the glazing and terrace gives a continuity between the inside / outside spaces. Triangular roof and wall skylights are scattered over the building to allow views, light and continuity of form into the space.

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PROGRAM: Exhibition space for permanent and temporary collections, cafe CLIENT: Danish Ministry of Culture, Ordrupgaard Museum, Vilvordevej 100 Charlottenlund, Copenhagen, Denmark Architect Zaha Hadid Directors Zaha Hadid & Patrik Schumacher Project Architect [Zaha Hadid] Ken Bostock Project Team [Zaha Hadid] Caroline Krogh Andersen Modelmaker [Zaha Hadid] Riann Steenkamp Competition Team [Zaha Hadid] Ken Bostock, Patrik Schumacher, Adriano de Gioannis, Sara de Araujo, Lars Teichmann, Tiago Correia, Vivek Shankar, Cedric Libert Associates Architects PLH Arkitekter [Denmark] CONSULTANTS: Structural Engineers Jane Wernick Assoc [UK] Birch&Krogboe [Denmark] Service Engineers Ove Arup [UK] Birch&Krogboe [Denmark] Lighting Arup Lighting [London, UK] Acoustic Birch&Krogboe [Denmark]

ORDRUPGAARD MUSEUM EXTENSION COPENHAGEN, DENMARK 2001 - 2005

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The growth of the institution presents an opportunity to explore new formal relationships between the components of the museum and the garden that frames it, in so far that the ensemble constitutes a kind of topography in itself. The new extension seeks to establish a new landscape within the territory of its architecture, at the same time allowing new relations with the existing conditions. The logic of the existing landscape is abstracted in the geometry; new contours extend into the collection developing an alternate ground where occupancy and use are extended.

The buildings separate two distinct conditions of the garden and responds to them with a gradation of use that is represented by a change in transparency and access possibilities. The contour lines, which form the basis of the morphology, are explored in a two-fold manner: they conform the overall enclosure at the same time they lay down the basis for the

arrangement of the interior space. Variation on the existing topography can be read as a progression through the interior spaces, and thus a signal for transition between uses. An interior landscape presents the visitor with a layered experience where the museum’s space relates to the garden.

The edge of the building is altered by the topography and presents the opportunity of blurring traditional conditions of use and occupancy in museum projects. The art galleries are nested within an outer public route that links the different compartments through openings on the structural shell. The visitor’s it houses should be read already from the different approaches it offers. The critique of the edge is thus replaced by a notion of fluid interaction between the garden and the interior programme, and it acts a constant instrument of gradation that allows for different conditions to appear without necessary breaking the volume up.

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Camouflage and transparency are resources that complement the topographical shift that the new envelope describes without neglecting the condition that exemplifies the tranquil garden. The relationship with the landscape is not only present as a formal device but determines also the material possibilities. Opacity is achieved by an in-situ concrete skin that acts as a counterpoint for the various glazed elements that reflect the landscape and allow a glimpse of the interior.

Material continuity is represented by a series of folds on the membrane, that meet the ground at the same time that allow for openings on the facade, dictating public areas. The perimeter of the building contains circulation ramps following the formal logic of the assembly of the new building and the old. This condition allows for compensation in height that achieves a smooth transition between the existing and the new galleries.

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PHAENO SCIENCE CENTER WOLFSBURG WOLFSBURG, GERMANY 2000 - 2005

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PROGRAM: Science Center, restaurant, cafe, shop, auditorium, underground car park CLIENT: Neuland Wohnbaugesellschaft mbH, Erfurter Ring 15, 38444 Wolfsburg, On behalf of the City of Wolfsburg ARCHITECT: Design Zaha Hadid Architects [London, UK] Architects Zaha Hadid Architects + Mayer Baehrle Freie Architekten BDA [Loerrach, Germany] Project Architect [Zaha Hadid] Christos Passas Asst. Project Architect [Zaha Hadid] Sara Klomps, Competition Team Christos Passas, Janne Westermann, Chris Dopheide, Stanley Lau, Eddie Can, Yoash Oster, Jan Hubener, Caroline Voet Special Contributor [Zaha Hadid] Patrik Schumacher (Director) Contributors [Zaha Hadid Architects] Silvia Forlati, Guenter Barczik, Lida Charsouli, Marcus Liermann, Kenneth Bostock, Enrico Kleinke, Constanze Stinnes, Liam Young, Chris Dopheide, Barbara Kuit, Niki Neerpasch, Markus Dochantschi Project Architects [Mayer Baehrle] Rene Keuter, Tim Oldenburg Project Team [Mayer Baehrle] Sylvia Chiarappa, Stefan Hoppe, Andreas Gaiser, Roman Bockemuhl, Annette Finke, Stefanie Lippardt, Marcus Liermann, Jens Hecht, Christoph Volkmar CONSULTANTS: Structural Engineers Adams Kara Taylor [London, UK] Tokarz Freirichs Leipold [Hanover, Germany] Services Engineers NEK [Braunschweig, Germany] Buro Happold [London, UK] Lighting Consultants Fahlke & Dettmer [Hanover, Germany] Office for Visual Interaction [New York, USA] SIZE/AREA : Science Center 12.000 m2 Underground Car Park 15.000 m2

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36 The Science Center, the first of its kind in Germany, appears as a mysterious object, giving rise to curiosity and dis-covery. The visitor is faced with a degree of complexity and strangeness, which is ruled however by a very specific system of structural organization. Located on a very special site in the City of Wolfsburg it is set both as the endpoint of a chain of important cultural buildings (by Aalto, Scharoun and Schweger) as well as being a connecting link to the north bank of the Mittelland Kanal Volkswagen’s Car Town. are pulled through the site both on an artificial ground landscape and inside and through the building, effectively composing an interface of movement-paths. Volumetrically, the building is structured in such a way that it maintains a large degree of transparent and porosity on the ground, since the main volume -the Exhibition- is raised thus covering an outdoor public plaza with a variety of commercial and cultural functions which reside in the structural concrete cones. An artificial crater-like landscape is developed inside the open exhibition space allowing diagonal views to the different levels of the exhibitionscape, while volumes, which protrude, accommodate other functions of the science center. A glazed public wormhole-like extension of the existing bridge flows through the building allowing views to and from the exhibition space.

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40 Project Spittelau viaducts Address Spittelauer Lände, 1090 Wien Client SEG - Stadterneuerungs- und Eigentumswohnungsges.m.b.H Address client SEG Gasometer, Guglgasse 6, 1110 Wien Buildung contractor Bilfinger-Berger, Architekten Schulz oder Schulz Planning Zaha Hadid Architects Project manager Patrik Schumacher, Woody K.T.Yao; Gunther Koppelhuber Assistance Anne Beaurecueil, Paul Brislin, Markus Dochantschi, Edgar Gonzales, Douglas Grieco, Wassim Halabi, Peter Ho, James Geiger, David Gomersall, Clarissa Mathews, Garin O’Aivazan, Paola Sanguietti; Christina Beaumont, Adriano Gionnis, Markus Planteu Structural consultant Schindelar Ingenieurbüro Site 2.720 m2 Floor area 3.300 m2 Built-up area 1.590 m2 Cubage 17.980m3 Start of planning 1994 Start of construction Jan. 2004 Completion Dec. 2005 Building costs 9,5 mio. total project costs Contractors-subcontractors (products) Fañade VWS - Verbundsystem (Fa. Maler net) Roof begehbares Flachdach (Fa. DWH) Masonry Beton (Bilfinger-Berger) Windows Holz-Alu (Actual) Doors Holzinnentüren (Tür & Tür) Metallkonstruktion (Fa. Stalever) Services Electrical services Griessenberger & Partner Plumbing Fa. Dietrich Luft& Klima Heating-ventilation Fa. Dietrich Luft& Klima Elevators Schindler Fittings Lighting Siteco Flooring Kunstharz / Erfurth, Fa. Pötzl

SPITTELAU VIADUCTS HOSTING - Vienna The project is part of a revitalisation initiative undertaken by the City of Vienna for the Wiener Gürtel, an over-dimensioned, ring-formed slice through the urban fabric. Historically, the Gürtel has divided the Viennese from the hinterland and its waves of immigrants.

The site is formed via the culmination of densely overlapping infrastructural elements: the “Spittelauer Lände“ is one of Vienna’s most highly traveled roadways; the Danube Canal connecting Germany to Hungary, with a busy bike path running along its banks; and the physical manifestation of three historical steps in the development of the Viennese railway system, from Otto Wagner’s viaducts to the first underground and unused railway to today’s subway network.

A waterfront area is revitalized by linking the water’s edge to the city fabric, and the project acts as both an attractor and initiator for further interventions along the Danube Canal.

A series of apartments, offices and artist’s studios weave like a ribbon

through, around and over the arched bays of the viaduct, designed by Otto Wagner. The viaduct itself is a protected structure, and may not be interfered with. The three-part structure playfully interacts with the viaduct, generating a multitude of different outdoor and indoor spatial relationships.

The perception of these is intensifed by the response of the architectural language to the different speeds of the infrastructural elements.

Public outdoor spaces are enlivened via the infill of bars and restaurants under the arches of the viaduct. The related service zone flows through the remaining openings of the viaduct and melts into the banks of the canal, creating a lively platform for public life. The rooftops are planned as private retreats and add to the visual activity along the canal. An additional challenge is posed to the project, as the program consists mainly of social housing, though studios and offices are mixed in. Later, the project should be connected to the University of Business and Northern Train Station via a pedestrian and cycle bridge.

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The Client allowed us full autonomy, the brief - to design a oor of a hotel comprising 30 rooms and all common parts. The objective, to ensure a dynamic and customized project.

We took the opportunity to create a new domestic language of architecture, driven by new developments in digital design and enhanced manufacturing capabilities. This new dialogue emphasises the complex and continuous nature of the design and the merging of disparate forms and texture. In the rooms oor, wall and furniture are all one continuous surface or skin, making them pieces of art. Every single element - the walls, bedroom door with its LED signs, sliding door to the bathroom, bathtub and vanity unit, bed, shelves, chair and a cantilevered bench by the window which doubles up as a table - is rounded in a single curved sweep.

HOTEL PUERTA AMERICA HOTELS SILKEN MADRID, SPAIN 2003 - 2005

PROGRAM: Interior for one oor of the hotel (28 standard rooms, 2 suites and common area) CLIENT: Grupo Urvasco, Madrid, Spain ARCHITECT: Design Zaha Hadid Project Architect Woody Yao Project Design Thomas Vietzke, Yael Brosilovski, Patrik Schumacher Design Team Ken Bostock, Mirco Becker SIZE: 1,200 square metres

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KARTAL – PENDIK MASTERPLAN Total Project Area: 555 Hectares / 6 million square meters construction area Client: Greater Istanbul Municipality Project Team: Design: Zaha Hadid with Patrik Schumacher Project Architects: DaeWha Kang and Saffet Bekiroglu Project Team: Sevil Yazici, Daniel Widrig, Melike Altinisik, Elif Erdine, Miya Ushida

The Kartal-Pendik masterplan is a winning competition proposal for a new city centre on the east bank of Istanbul. It is the redevelopment of an abandoned industrial site into a new sub-centre of Istanbul, complete with a central business district, high-end residential development, cultural facilities such as concert halls, museums, and theatres, and leisure programs including a marina and tourist hotels. The site lies at the confluence of several important infrastructural links, including the major highway connecting Istanbul to Europe and Asia, the coastal highway, sea bus terminals, and heavy and light rail links to the greater metropolitan area.

The project begins by tying together the basic infrastructural and urban context of the surrounding site. Lateral lines stitch together the major road connections emerging from Kartal in the west and Pendik in the east. The integration of these lateral connections with the main longitudinal axis creates a soft grid that forms the underlying framework for the project.

Locally, this net can be bundled to form areas of higher programmatic intensity as well as a vertical buildup of the city fabric. In certain areas the net rises up to form a network of towers in an open landscape, while in other areas it is inverted to become a denser fabric cut through by streets, and at other times may completely fade away to generate parks and open spaces. Some areas extend out into the water, creating a matrix of floating marinas, shops, and restaurants.

The fabric is further articulated by an urban script that generates different typologies of buildings that respond to the different demands of each district. This calligraphic script creates open conditions that can transform from detached buildings to perimeter blocks, and ultimately into hybrid systems that can create a porous, interconnected network of open spaces that meanders throughout the city. Through subtle transformations and gradations from one part of the site to the other, the scripted fabric can create a smooth transition from the surrounding context to the new, higher density development on the site.

The soft grid also incorporates possibilities of growth, as in the case where a network of high-rise towers might emerge from an area that was previously allocated to low-rise fabric buildings or faded into open park space. The masterplan is thus a dynamic system that generates an adaptable framework for urban form, balancing the need for a recognizable image and a new environment with a sensitive integration of the new city with the existing surrounds.

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PROGRAM: Urban regeneration project including rehabilitation of local neighbourhoods, rail realignment, and new mixed-use development, in addition to scenarios testing for the relocation of the local football stadium and integration of a highway slip road.

CLIENT: Bilbao City Council ARCHITECT: Design Zaha Hadid with Patrik Schumacher Project Architect Manuela Gatto [Zaha Hadid] Project Team Atrey Chhaya, Fabian Hecker, Dipal Kotari, FernandoPerez, Diego Rosales CONSULTANTS: Engineer Ove Arup Partners (UK) Urban Strategy Larry Barth (UK)] SIZE/AREA: Total Area 341.500 square metres

OLEBEAGA MASTERPLAN BILBAO, SPAIN 2005

The planning of Olabeaga and San Mames presents a unique challenge for Bilbao and the surrounding region of Bizkaia. While the area’s steepth topography -century grid, it now occupies the key left- made it the natural limit to the central bank position for the expanding core of metropolitan Bilbao. The city’s stream communities redevelop for the 21st Century, and the area now finds itself at the intersection of exciting new trends and axes of urban development. The area will need to find its unique identity amidst the multiple lines of transport infrastructure and intersecting patterns of urban growth.

A series of workshops with a broad range of stakeholders aimed to identify the resources for a compelling, three-dimensional approach to a new urban morphology for the area. Existing patterns within the fabric of the waterfront community on the lower slope of the hillside could be extended into a criss-crossing network of streets and paths to negotiate between the steep terrain and central city above. Natural fissures in the fabric suggest a language of local paths connecting distinct plateaus. A fracturing of the down-slope faces of buildings show how a future architecture may respond to the slope while accommodating both movement and a sequence of pocket-sized open spaces. The sweeping curve of the hillside and river offer a dramatic potential for promoting a range of panoramic views, and modelling showed how this potential could be conserved both through the pattern of streets and through a building morphology. In addition, this fabric could be shown to accommodate major infrastructural change, facilitate large-scale redevelopment, and promote the effective inclusion of the area’ses into a continuous local pattern.

The planning for Olabeaga and San Mames has highlighted what formal investigation offers to urbanism. Previous efforts at two-dimensional planning of the area offered urban intensification only at the expense of destroying both the existing community and the area’s natural and historical qualities. Three-dimensional os for accommodating infrastructural change, promoting urban intensification, and defining a rich local identity that offers continuity with its history and natural character. This has allowed political decision-makers and stakeholders a way of making informed choices among a range of developmental scenarios that hold the potential for consensus.

Rather than the either-or pattern of urban stasis or destructive redevelopment, an attention to the formal potential of both site and architecture has generated a set of spatial guidelines for a forward-looking urbanization in keeping with the richness of the existing character.

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ONE NORTH MASTERPLAN

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SINGAPORE 2001 - 2021 PROGRAM: Urban Masterplan CLIENT: Science Hub Development Group (SHDG) Jurong Town Corporation (JTC) 08-00 The JTC Summit, 8 Jurong Town Hall Road SINGAPORE 609434 URBAN PLANNER: Design Zaha Hadid Architects, Zaha Hadid with Patrik Schumacher Project Architects David Gerber, Dillon Lin, Gunther Koppelhuber Project Team Kim Thornton, Hon Kong Chee, Yael Brosilovski, Fernando Perez, Markus Dochantschi CONSULTANTS: Transport MVA[Singapore] Infrastructure Ove Arup and Partners [London, UK] Infrastructure audit JTC Consultants Private Limited [Singapore] Lighting Lighting Planners Associates Inc. [Japon] Landscape Architect Cicada Private Limited [Singapore] Urban Strategy Lawrence Barth [London, UK] Planning Tool B Consultants SIZE/AREA: 200 Hectares, 5 million m2 building Estimated population:138000 Habitants

The possibility of an urban architecture that exploits the spatial repertoire and morphology of natural landscape formations has been a consistent theme within the creative career of Zaha Hadid Architects for nearly 20 years. Indeed the very first moment of international recognition was already informed by a productive analogy with landscape conditions, here with geological form: The wining competition entry for the Hong Kong Peak in 1982.

The proposal for the Vista master plan - for the first time - applies the concept of artificial landscape formation to the articulation of the whole urban quarter. The advantages of such a bold move are striking: Strong sense of identity - The scheme offers an original urban skyline and identifiable panorama visible from without as well as from the park in the heart of the new urban quarter. The rich diversity of squares and alleys engenders a unique sense of place within the various microenvironments.

Unity in difference - The concept of the gently undulating, dunelike urban mega-form gives a sense of spatial coherence that has become rare in the modern metropolis. The regulation of the building heights is normal planning procedure and easily instituted. The powerful aesthetic potential that lies dormant in this ordinary planning tool has never been exploited before. An unusual degree of aesthetic cohesion and unity is achieved by allowing the roof surfaces to join in the creation of softly modulated surface. At the same time a huge variety of built volumes - tall, low, wide, small - is brought under the spell of a unifying force.

Integrating heterogeneity - The softly swaying pattern of lines that defines the streets, paths as well as the built fabric allows the mediation and integration of the various heterogeneous urban grids of the adjacent areas. The curvilinear pattern is able to absorb and harmonize all the divergent contextual orientations.

Flexibility without chaos - The proposed morphological system allows for infinite variation within the bounds of a strong formal coherence and lawfulness. This is a great advantage of working with a “natural” geometry rather than with a strict Platonic geometry.

The form is “free” and therefore malleable at any stage of its development while traditional interpretations of Platonic figures (squares, circles, strict axes etc.) are too exacting and therefore vulnerable to corruption and degradation by later adaptations.

The proposed natural morphology is no less lawful and cohesive than the Platonic system; but it is much more pliant and resilient, always able to absorb adaptations into its system of natural beauty.

The idea of an artificial landscape formation occurs not only on the level of the overall urban form. Not only the mega-form but also some of the micro-environments could benefit from the landscape analogy. In particular in hub areas where one of the possibilities of developing could be to introduce a raised plaza level about 5 meter above the street level. Since these areas would need to be well serviced by street access, parking and deliveries, while at the same time aspiring to a lively pedestrian scene, it seems opportune to double the ground surface in these areas. This would allow to bring the elevated APMS system onto the same level with the plane of pedestrian communication. These raised plazas would not be vast, flat and vacant fields but would be articulated through terraces and gentle slopes. These raised grounds will be connected to the ground proper through the interiors of the buildings as well as by means of broad staircases and shallow ramps on the exterior.

Within Zaha Hadid’s oeuvre there is a long series of urban schemes, which explore various artificial landscapes as a means to sculpt public space and to impregnate it with public programme. These schemes manipulate and multiply the ground surface by means of sloping, warping, peeling or terracing the ground. Three important advantages may be achieved by such manipulation: The visual orientation within the public realm is enhanced by means of tilting the plane into view and allowing for vistas overlooking the scene from above.By means of a gentle differentiation of slopes, ridges, terraces etc. the ground plane can be used to choreograph and channel movements across the plane in an unobtrusive and suggestive manner. The landscaped surface is rich with latent places. Articulations like shallow valleys or hills might give a foothold to gatherings and become receptacles for outdoor events without otherwise predetermining or obstructing the field.

Vista Xchange contains one of the three epicentres initiating the urban technopole at one-north, defined by the broad range of producer services associated with the new economy industries. Thus, Vista Xchange’s identity will not stem from a single-industry synergy; the plan for Vista Xchange highlights the balanced interweaving of contrasts between local heritage and new economy to articulate an alternative, strong identity.

Mobility The initial plan for one-north establishes the street and park as active resources for the pursuit of economic vitality, and side streets and crossing streets promote a complex urban ecology with layered patterns of movement and a diversity of social and economic life. The mobility

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plan for Vista Xchange draws the grid of one-north into the area, and establishes a three-dimensional system. The plan balances a range of different kinds of movement in the service of overall spatial quality, and offers instruments to tie the heritage, hilltops, and park into the transport system and to Buona Vista Centre, effectively multiplying the range of activities and destinations. As the long-term urban and economic goals of one-north depend upon social vibrancy, the mobility plan focuses upon the publicly accessible ground. Pedestrian movement is given a subtle, but definitive priority over car traffic, and public transport is emphasized. Urban Lobby When Buona Vista Centre comes to be built in the 3rd phase of Vista Xchange’s development, it will be the heart of this urban district. The analogy with the heart is an appropriate one, for it is compact and powerful, and yet also open and fluid. It is constructed to effectively manage multi-directional movement, and also to demonstratively accommodate an intense concentration of one-north’s corporate and business-services activity. One might see it as composed of three spatial propositions: firstly, Buona Vista Centre is a multi-nodal transport interchange, and the interrelation of these transport

elements should be open and legible, avoiding wherever possible the reliance upon signage to navigate tortuous, hidden connections.

Secondly, Buona Vista Centre is a dense, compact set of four office towers set on top of this interchange so as to articulate the new economy technopole with the wider Singaporean business community. Thirdly, Buona Vista Centre is a multi-level public-access volume organizing and integrating the transport and business elements.

This three-dimensional urban lobby orients the buildings to all four sides, accommodating flows of people and projecting a strong corporate address. Alobby is a welcoming space of transition rather than a final destination, providing a place to relax while awaiting redirection. Buona Vista Centre aims to achieve this on the urban scale, and is a space of collective relaxation and engagement, rather than a shopping hotspot. The retail, leisure, food and beverage quanta are intended to serve, rather than to attract. The three-dimensionality of the urban lobby is continued below ground level. Visual and pedestrian continuity are encouraged through a system of cuts and ramps that link the parking and ground levels, encouraging a sense of orientation.

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ZORROZAURRE MASTER PLAN, BILBAO

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BILBAO, SPAIN 2003 - Urban Development

PROGRAM: Refurbishment and construction of housing, new industries, tertiary uses, urban and recreational spaces and new connections linking the peninsular, city and surrounding areas.

CLIENT: Management Committee for the urban development of the peninsula of Zorrozaurre Bilbao SPAIN ARCHITECT: Design Zaha Hadid with Patrik Schumacher Competition and Phase A Project Architect / Project Manager Gunther Koppelhuber / Kim Thornton Phases B/C/D Project Architect / Project Manager Manuela Gatto Local Firm Arkitektura Eta Hirigintza Bulegoa S.A. [Spain] CONSULTANTS Engineer Ove Arup Partners [UK] Traffic Engineer Leber Planificacion e Ingeniera S.A. [Spain] Landscsape Archtect Gross Max [UK] Urban Strategy Larry Barth [UK] SIZE/AREA: 60 hectare

Zaha Hadid has completed the conceptual masterplan for Zorrozaurre in Bilbao, a 60 hectare area cradled in a long curve of the Nervion River just across from the city’s centre. This former port and industrial area will become home to nearly 15,000 new residents and will provide workshops, labs, studios, and offices for nearly 6,000 working people. Zorrozaurre has been nearly separated from its neighbouring communities by a canal opened to enlarge the port during its heyday, and this canal is destined to be extended for flood-control purposes in future years. This will make Zorrozaurre an island occupying a strategically key position in the future expansion of the city and integration of the region. Zaha Hadid Architects have responded to this challenge by defining a dramatic urban fabric and bold approach to infrastructure and the waterfront that will highlight the great significance of its natural and strategic position.

The plan permits the dramatic character of Zorrozaurre’s surrounding topography and the broad curve of the Nervion to subtly influence Bilbao’s well-defined urban grid. The resulting building alignment generates a finely textured ground sweeping the length of the site, contracting to conform to the small scale of existing fabric and expanding in response to more open spaces. In this way the plan accommodates both historic buildings and major new investment, while linking both to a generous public waterfront. Zorrozaurre’s future skyline presents a jagged profile with fine gaps, reminiscent of densely built waterfronts around the world. Zorrozaurre will be well integrated with its neighbours on both banks of the Nervion by an exciting sequence of bridges. These will allow the river itself to become a meaningful part of the daily life of local communities along the banks. Equally important to the transport system, Bilbao’s existing tram system will be extended the length of Zorrozaurre and beyond, establishing a central spine of activity running through the island and linking the region’s downstream communities to the city’s centre. The plan aims to set the trend for a

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regionally integrated city, defining new patterns of living and working within the context of a distinctively strong local identity.

At the heart of the plan for Zorrozaurre, an elegant system of building blocks enables the achievement of both skyline and collective ground.

These building blocks are like a set of “tiles,” each over 1000 m2, and they allow the ground formation to respond to the curving spine of the river, the street grid, and the shifting orientation of buildings from upstream to downstream. In this way, the tiles give the plan an overall unity while allowing the differentiation of districts and clusters. The platform level of the tiles establishes the critical level of defence against floods while also creating space for underground parking. By linking this critical level to the development of building clusters, the waterside promenade can dip closer to the normal level of the river, allowing the people of Bilbao a closer engagement with the water’s edge. Meanwhile, above the platforms, the buildings are turned perpendicular to the long axes of the river, opening the building fabric so that pathways and views may be enjoyed by all. The rich pattern of public and private spaces we see in the plan can be achieved through the subtle differentiation of levels, promoting an easy balance between the needs of privacy and the pleasures of community life. The overall structure organizing the tiles permits a densely built environment to accompany the fabric’s strong feel of porosity, with future residents and workers all enjoying a rich tapestry of outdoor places. Waterside promenades, parks, the tree-lined central avenue, small squares, and public gardens-all link together to create a textured setting for urban social life.

The plan promotes the development of three loosely-defined districts that effectively integrate with their neighbours across the water, establishing together with them larger and more complex urban areas that will be able to meet the challenges of regional economic change in evidence across Europe. Upstream, Zorrozaurre lends itself to a natural

urban intensification. Just across the river from the Bilbao’s 19th-century core and conveniently located among centres of learning, medicine, business, and engineering make this area an ideal knowledge-economy district. The built fabric here will be sharper and tighter than in the two downstream districts, integrating the existing historic waterfront into a compelling fabric of offices and residential buildings. Courtyards and public passages create a porous and intricate environment linking old and new. The middle district mirrors the openness of Sarriko Park across the canal, drawing upon the strength of the landscape to establish a strong coherence among historic buildings of very different character.

There is an enticingly grand scale to be preserved in the more interesting industrial buildings, with these potentially providing workshops, studios, and classrooms for the further development of local arts-based industries.

Meanwhile, the small-scale existing neighbourhood that gathers close around the local church retains its intimacy amongst the trees of an adjoining park where a small amphitheatre provides a venue for outdoor performances. The district offers itself as a centre for arts, sports, and environmental science, connecting via a “green bridge” to the university and Sarriko Park. The openness of the site creates an opportunity for the development of sports facilities with a wider regional appeal, while the waterside park establishes an important local amenity for surrounding communities. Downstream, Zorrozaurre will establish a concentrated urban node within the long-term regional development of the Ria, with a set of new bridges creating an essential urban link between across the banks of the Nervion. The district is defined by its close integration with the water, with local docks to moor small private boats, ponds, boardwalks, and waterside bars to encourage a relaxed leisure culture along the canal. Together, the districts, the ground formation generated by the tiles, and the skyline present an overall picture of a differentiated unity.

54 Thomas Krens, Director of the Guggenheim Foundation said, “In Abu Dhabi we have had the good fortune to discover a partner that not only shares our point of view, but expands upon it. The plans for Saadiyat Island and the cultural district, envisioned and developed by the Abu Dhabi Government, are, quite simply, extraordinary. When this comprehensive and inclusive vision is realised, it will set a standard for global culture that will resonate for decades to come.”

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Abu Dhabi Performing Arts Centre - Design Concept The Abu Dhabi Performing Arts Centre’s distinct formal language is derived from a set of typologies evident in organizational systems and growth in the natural world. These natural scenarios are formed by energy being supplied to enclosed systems, and the subsequent decrease in energy caused when organized structures develop in nature.

The ‘energy’ of the Performing Arts Centre is symbolized by the predominant movements in the urban fabric along the central axis of the pedestrian corridor and the cultural centre’s seafront promenade the site’s two intersecting primary elements.

Growth-simulation processes have been used to develop spatial representations into a set of basic geometries and then superimposed with programmatic diagrams into a series of repeated cycles. The primary components of this biological analogy (branches, stems, fruits and leaves) are then transformed from these abstract diagrams into architectonic design.

The building, with panoramic views to the sea and the skyline of Abu Dhabi, will be part of an inclining ensemble of institutions of the cultural district on Saadiyat Island that stretch from the Maritime Museum at its southern end to Contemporary Art Museum at the northern tip.

ABU DHABI Performing Arts Centre Zaha Hadid Architects announce the design of the Abu Dhabi Performing Arts Centre - a new cultural institution for the Foundation Solomon R Guggenheim on behalf of Tourism Development and Investment Company of Abu Dhabi (TDIC).

Zaha Hadid unveiled the design of the new Performing Arts Centre at a press conference in Abu Dhabi, UAE today.

Hadid’s Performing Arts Centre concept, a 62 metre high building “The Abu Dhabi Performing Arts Centre is a continuation of the long-standing relationship we have with the Emirate. We are very honoured to be a part of the project,” states Hadid. “We’ve also been working in Abu Dhabi for many years, the Sheikh Zayed Bridge was a seminal project for the office and its construction is well underway”.

The Abu Dhabi Cultural District on Saadiyat Island The Solomon R Guggenheim Foundation has been working with Skidmore Owings and Merrill to develop the masterplan of Saadiyat Island for the Tourism Development and Investment Company of Abu Dhabi (TDIC).

The five institutions of the Abu Dhabi Cultural District on Saadiyat Island: 1. Abu Dhabi Performing Arts Centre by Zaha Hadid Architects 2. Contemporary Arts Museum (Guggenheim Abu Dhabi) by Frank Gehry Partners 3. Classical Art Museum by Jean Nouvel Studios 4. Maritime Museum by Tadao Ando 5. Sheikh Zayed National Museum: (Architect to be confirmed)

55 Abu Dhabi Performing Arts Centre - Spatial Arrangement 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 axis interacts with the seafront promenade to generate a branching geometry where islands are formed, isolated, and translated into distinct bodies within the Performing Arts Centre to house the main concert halls.

The proposed Abu Dhabi Performing Arts Centre contains five major performance halls. 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 theatre are orientated towards the sea to give visitors 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 Centre above the Lyric Theatre.

The Academy for Performing Arts is housed above the Experimental Theatre in the southern side of the Centre, whilst in the eastern ‘tail’ of the building, retail areas take advantage of pedestrian traffic using the bridge connecting the centre with the main pedestrian corridor of the Abu Dhabi cultural district on Saadiyat Island.

Zaha Hadid consistently pushes the boundaries of architecture and urban design. Her work experiments with new spatial concepts and technologies, ranging widely from urban masterplanning to interiors and furniture. Her seminal built works: the Vitra Fire Station in Weil-amRhein, Germany (1993); the Hoenheim Nord Terminus in Strasbourg (2001); the Bergisel Ski Jump in Innsbruck (2002); the Rosenthal Center for Contemporary Art in Cincinnati (2003); the BMW Central Building in Leipzig; the Phaeno Science Center in Wolfsburg; the Hotel Puerta America interiors in Madrid; the Ordrupgaard Museum extension in Copenhagen (all 2005), and the Maggie’s Centre in Kirkcaldy, Scotland (2006).

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PROGRAM: Mixed-Use Development Competition; Offices, Hotel, Residential, Retail, Bridge, WaterfrontPark and Promenade CLIENT: Dubai Properties, Dubai, United Arab Emirates ARCHITECT: Design Zaha Hadid with Patrik Schumacher Project Architect Tiago Correia Project Team Ana Cajiao, Saleem Abdel-Jalil, Sophie Le Bienvenu, Hooman Talebi, Mathias Reisigl, Diego Rosales, Tyen Masten, Daewha Kang, Renos Constantino and Graham Modlen SIZE/ TOTAL AREA: 560,000 m2

BUSINESS BAY TOWERS Dubai, UAE 2006-ongoing Zaha Hadid’s design for the Dancing Towers confirms the Dubai’s rapidly changing future. The three towers rise surrounding developments and for the gulf region. The tower’s tures the skyline with a powerful recognizable silhouette. The fluid character of the towers is generated through an intrinsically dynamic composition of volumes. The towers are inter-twined to share programmatic elements and rotate to maximize the views from the site towards the creek and neighbouring developments. The design quality of the towers to act as a symbol and icon extends beyond their scale and location. These qualities are derived from the boldness of the architectural concept, from the ‘choreographed’ one overall gesture and ‘weaves’ with a series of public beyond.

Context There will, in the future, be a silhouette of towers, whose pinnacles will represent the hearts of the new districts within the greater metropolitan area of Dubai. On the ground, the Business Bay development site will become stitched into the proposed extended road and infrastructure network of the enlarged metropolitan area.

The new pedestrian routes and roads passing under and around the Towers’ bringing people directly from Sheikh Zayed Road via a grid of major and minor thoroughfares and boulevards.

Connectivity and Public Space The site is composed by 4 different parts: (A) central circular plot, (B) an elongated park plot, (C) the surface of the creek on axis of plot A and (D) a rectangular plot across the creek at the west margin. Connectivity between these parts becomes therefore central to the project; in order to produce an articulated design

that encompasses both the scale and the different qualities of each of the parts, transforming them into a coherent scheme. The circular shape of the plot and attached vehicular circulation layout creates a barrier of vehicular traf c around the site, generating an island that detaches the plot from the waterfront promenade. By incorporating the design of two new link bridges and a new ground the project effectively multiplies the potential and connectivity of the site, linking the park at the East via the towers with the water’s edge at the West margin of the creek.

Programme Programming of public and private life is an active tool to inject life into the space, integrating new layers of activity and landscape, creating a network of synergetic uses that can develop a new urban ecology.

The programme was addressed as a whole with the three towers corresponding directly to the three main functions: of ces, hotel and residential. Together, the towers generate a critical mass of sustainable programmatic relationships. The towers share a common base / podium, designed as a materialized shadow of the towers and programmed with retail, restaurants and amenities that support the demand from the towers are conjoined two by two, the Of ces and the Hotel at the base and the Hotel and the Residential at the top. Through these adjacencies, the towers are strategically organized in a symbiotic relation, sharing certain segments of the programme. The advantage of joining the three towers in one organism, allows the development to be lived in a full day cycle: anchored in it’s residential population, mutates through the diversity of the ever-changing population of the hotel. The heterogeneous population mix creates a cosmopolitan urban , environment, constantly energized and renovated through it s own life.

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NURAGIC AND CONTEMPORARY ART MUSEUM CAGLIARI, ITALY 2006

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CLIENT Regione Autonoma della Sardegna Assessorato Pubblica Istruzione, Viale Trieste 186, 09123 Cagliari, Italy PROJECT: Contemporary art museum, Nuragic art museum, library, congress hall, offi ces and retail space ARCHITECT: Design Zaha Hadid with Patrik Schumacher Project Architect Paola Cattarin Design Team Paolo Matteuzzi, Federico Bistolfi Support Team Michele Salvi, Serena Pietrantonj, Vincenzo Barilari, Samuele Sordi Local Architect Luca Peralta CONSULTANTS: Nuragic Art Consultant Elisabetta Alba Environmental sustainability Neil Smith [MAX FORDHAM LLP, UK] Mechanical & electrical Neil Smith [MAX FORDHAM LLP, UK] Structure Hanif Kara [ADAMS KARA TAYLOR, UK] Quanity Surveyors Pasquale Miele SIZE: 12.000 m square

Urban strategy The aim of the project is to create a node of cultural exchanges that simultaneously serve as a landmark announcing the arrival to Cagliari from the sea, and answer the fi ve challenges proposed by the brief.

Through the interconnection of the inner circulation with the public paths and the alternation of open spaces and cavities, the building shares its public dimension with the city. Moreover, it geometrically aligns along the axis of the sea, and extends its arms towards the quarter and the stadium of S. Elia, connecting and assimilating itself to the site.

Architectural concept The new museum is like a coralline concretion, empty inside, hard and porous on the external surface, able to accommodate, in a continuous osmotic exchange with the external atmosphere, cultural activities in a

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lively and changing environment. At times it assimilates to the ground, creating a new landscape, while at others it acquires a strong mass defi ning the new skyline. The open and dynamic quality of the shape is also pursued inside the building, where the circulation of the visitors through the exhibition, information and commercial paths determine the geometry of the spaces.

The erosion that forms a great cavity inside the building articulates the volume in a succession of open spaces for exhibition, places of aggregation and occasions for installation of contemporary art. Such spaces, visible from a variety of viewpoints, satisfy the perceptive and the aesthetic dialogue between the contemporary and the Nuragic art. The inner cavity allows the genesis of two continuous skins, one contained within the other. The museum program is placed between

the “external skin” of the facade system, and the “inner skin”, equipped with a fl exible serial system of anchorage and electrifi cation, that allows multiple uses of surfaces/ walls for installations or video projections.

Paths The communication, contemporary and Nuragic exhibitions, and the public paths crossing the building and intercepting each other, create the fl uid structure of the building, allowing a variety of uses and confi gurations. The vertical and oblique elements of circulation create zones of interference and turbulence creating a visual continuity between the different parts of the building.

The public path The public commercial path allows visitors to cross the building in parrallel with the path along the sea. It offers in sequenced areas a

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62 store, bookshop, bars, restaurants, and the systems of logge where outdoor pieces of art could be accommodated.

The exhibition paths The path of the communication area is articulated along the “loggiato” of the ground fl oor in continuous dialogue with the courts/external cavity.

The contemporary art exhibition path starts from the ground fl oor, crossing the building until the open “logge” of the top fl oor. The Nuragic art exhibition path from the ground fl oor slides between the two skins of the building allowing a more intimate vision of the works of art without sacrifi cing the view on the great central space.

Phasing - morphology and strategy The vital metaphor governing the museum proposal becomes clear within the phasing plans: as with living organisms, the growth of the museum will be self-regulated. It will happen naturally when the conditions of a mature balance between the economic atmosphere and philanthropic and cultural environment are reached.

Phase 1 - This phase constitutes approximately 50% of the new cultural centre and includes the realization of: all the spaces to high profi t • wide spaces of aggregation to the indoor and outdoor: the event space situated in the central cavity, the external cave and the vault used for installations, to correct the chronic lack of visibility of the contemporary art and young artists. • all activities related to communication apart from the large conference hall. • all offi ces, with the aim to start all the necessary activities of management and marketing of the various departments of the museum a small but signifi cant part of the exhibition spaces to generate further interest to create a place for the dialogue between the arts over time.

Phase 2 - The consolidation of the museum complex in every new phase transforms the landscape. The second phase is constituted by the completion of the exhibition spaces with other related spaces, including the library and conference hall. This construction, in adhesion with the building of phase one, takes advantage of the existing distributive system, completing it and supplying a new facade on the entrance court.

Phase 3 - Phase 3 comprises the extension of phase 2 towards the city of Cagliari. It is an isolated building that accommodates the Research Laboratories. It will be connected to the rest of the museum through a “connecting carpet”, in order to offer a privileged site by the sea for performance and the production of the adjacent research laboratories.

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CMA CGM HEAD OFFICE MARSEILLE, FRANCE 2004 - 2008 PROGRAM: Offices and parking CLIENT: CMA CGM4 Quai d’Arenc, 3235 Marseille, France ARCHITECT: Design Zaha Hadid Project Team [Zaha Hadid] Jim Heverin, Simon Kim, Michele Di Magiano, Vivianna Muscettola, Patrik Schumacher CONSULTANTS: Structural Design Ove Arup & Partners [London, UK] M&E Design Ove Arup & Partners [London, UK] SIZE/AREA: 55,000 m² HEIGHT: 125m STAGES: 33 Floors

Project Description The new tower for CMA CGM in Marseille, France rises from the site in a metallic curving arc that slowly lifts from the ground and accelerates to a straight vertical line. The volumes of the tower are generated from a number of gradual, or measured, centripetal vectors that emerge from within the ground datum, gently converge towards each other, and then curve away towards its ultimate co-ordinate 100 metres above the ground. These vectors trace the structural columns that define, and are enclosed within, a double fañade system. The Tower is a tectonic interplay between a fixed structural core and this peripheral array of columns that results in a dynamic symbiosis.

Master Plan Marseille, the second largest city in France, is a historic Provençale city centred around a centuries-old port, with a rich past of several ancient cultures: Phoenician, Greek and Roman. Because of the city’s naval history, there is an opportunity to provide a highly visible landmark building. This new tower will exist as a vertical icon and interact with the vertical landmarks of La Major, the Basilica Notre Dame de la Garde, the Fort St. Jean, and the Chateau d’If in the urban city fabric of Marseille.

Urban Strategy The immediate vicinity of the Mirabeau site reveals a field of indeterminate medium to low-rise post-war buildings. At an urban scale, flowing past the site on both sides is an elevated viaduct that bifurcates at the western edge of the parcel. A new off-ramp proposed where the viaduct splits would provide direct vehicular access to the project site. At a smaller scale of surface streets and pedestrian routes, a multi-modal transport exchange allows pedestrian and mass transit connectivity. Furthermore, the quai and its waterways lie adjacent to the project site. Directly at the confluence of this dynamic urban movement, the new Tower would accentuate its verticality and create a signature feature that would set a commanding new presence.

Taxonomy In offi ce towers, the standard design protocol creates a uniform plate that is replicated a number of times to minimize construction time and cost. The design focus therefore becomes marginalized to the building envelope and perhaps a scuptural interior atrium/ entry. The programme of the CMA CGM Tower building has an inherent division that supports this ‘morph’ : the upper fl oors are similar offi ce spaces while the lower fl oors contain spaces that call for a continuous, horizontal arrangement. The lower portion then becomes shaped to allow for more generous accommodation.

The columns are also placed on the exterior to minimize disruption while the curving profi les act together with the core to provide a rigid frame and give a sense of movement and freedom to a new typology of tower.

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PROGRAM: E.ON Energy Research Department RWTH Aachen, 5 Faculties, Laboratories, Exhibitionhall CLIENT: Building and Real Estate NRW, Aachen ARCHITECT: Design Zaha Hadid Architects Zaha Hadid with Patrik Schumacher Project Architect Gernot Finselbach Assistant Project Architect Philipp Vogt Competition Team Britta Knobel, Arnoldo Rabago, Margarita Yordanova Valova, Graham Modlen, Nils Fischer, Sara Klomps, Helmut Kinzler CONSULTANTS: Structure Buro Happold Consulting Engineers (London, UK / Berlin, GER) Services, M&E Transsolar Energietechnik GmbH (Stuttgart, GER) SIZE / AREA: Program 5.000 sqm Parking 2.000 sqm COST: 13 million Euro CONSTRUCTION: Autumn 2007 - Spring 2008

E.ON ENERGY RESEARCH DEPARTMENT-RWTH AACHEN AACHEN, GERMANY 2006

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The new E.ON Energy Research Department building at RWTH University in Aachen emerges from between existing rail tracks, grass and tree slopes and a 4-lane arterial road. Our concept translates the direction and contours of the site as a primary form generator for the building and connects the two arms of the university campus into a larger spacial gesture.

There is a close correlation between the structure and form of the proposal to movement within the building and around it; the natural day light and air fl ow across the site. The structural and aerodynamic fi ns along the length of the roofscape allow for the modulation both of daylight and wind stream air fl ow over the roof, maximising the provision of natural light and ventilation to all parts of the building interior.

A long integrated landscaped path guides people to the main entrance. From here a central corridor continues inside and becomes a circulation passage. A separate drive running parallel to the path descends to a parking garage beneath.

The internal passage divides the programme into two clear bands, one practical with laboratories and exhibition space on a raised upper level, orientated towards an open garden.

On the lower level, the academic band with 5 departments including a library and meeting rooms facing the train tracks.

At the far northerly corner of the building, the roof envelope rises, marking a turning point of the internal passage. The 2 storey open gallery, with staircases at each end and a middle ramp that form a circulation loop, generating a constant fl uency of movement between the practical and academic volumes.

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Concept The challenge of the Eusko Tren was integrating a new underground station, the corporate HQ and commercial space to create a new civic landmark for Durango, Spain. The new building provides more than the company’s and image, physical needs; sym-bolising its economic growth and expansion across the region and Europe. The new building is thus a new symbol not only for the company but the citizens of Durango too. It is anticipitated the structure will be a catalyst and focus for the transformation of the town centre.

Urban Strategy The overall concept is one of a conjoined design of buildings emerging at the head of the site from the reformed land.

Existing rail tracks at ground level are to be removed and replaced with a new network of underground tracks across Durango allowing the land to return to public use. Foot paths are to be re-established across the site forming a connective urban tissue with a network of open public spaces each graded by topography and enclosure.

The paths connect the park directly to the station and commercial space.

The subterranean car park is to provide permanent parking for nearby residents and visitors with access and egress to the building provided at key points along its length. Vertical access routes are then generated where higher levels of pedestrian and car circulation flow across the car premises.

Important to the planning of the site was how public and private spaces were first anticipated and then realised. Our architectural proposal accentuates these areas with a frequency of circulation strips including the public areas with their converging circulation and the private domains adjacent to the planned residential areas.

Topographic differentiations and ground level changes are then employed to create self-separation and allow programmatic connections across the site to both the car park, buildings and adjacent streets.

NEW EUSKO TREN CENTRAL HEADQUARTERS AND URBAN PLANNING DURANGO, SPAIN 2004-TBC

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PROGRAM: New Central Headquarters, Railway Station, Commercial and Leisure Centre and Urban Park Development CLIENT: Public Company Eusko Tren Department of Transport and Public Works of the Basque Government Bilbao Spain ARCHITECT: Design Zaha Hadid with Patrik Schumacher Project Architect Juan I. Aranguren [Zaha Hadid] Competition Team Alvin Huang, Yang Jingwen, Simon Kim, Graham Modlen, Sujit Nair, Annabelle Perdomo, Makakrai Suthadarat, Philipp Vogt Design Team Alex Diaz, Deawah Kang, Sophie le Bienvenu, Markus Nonn CONSULTANTS: Structural Engineer Adams Kara Taylor [London, UK] M&E Engineer/ Costing Idom UK Ltd [London, UK] Acoustics Arup Acoustics [London, UK] Landscape DesignGross Max [Edinburgh, UK] SIZE/AREA: Central Headquarters Eusko Tren: 7,291.35 sqm Commercial & Leisure Centre: 9,575.95 sqm Total Built Surface: 26,403.20 sqm Total Public Park Area: 25,192.05 sqm

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72 PROGRAM: 1,800 seats Grand theatre, entrance lobby & lounge Multifunction hall, other auxiliary facilities & support premises CLIENT: Guangzhou Municipal Government ARCHITECT: Design Zaha Hadid Architects [London, UK] Project Director Woody K.T.Yao, Patrik Schumacher Project Architect Simon Yu Design Team Jason Guo, Yi-Ching Liu, Ta-Kang Hsu, Yang Jingwen, Christine Chow, Zhi Wang, Long Jiang, Cyril Shing, YanSong Ma, Yosuke Hayano, Filippo Innocenti, Lourdes Sanchez, Adriano De Gioannis, Barbara Pfenningstorff, Matias Musacchio, Jenny Huang, Hon Kong Chee, Markus Planteu SIZE/AREA: 70,000 m2

GUANGZHOU OPERA HOUSE GUANGZHOU, CHINA 2003-

73 Conceptual Interpretation Located down stream of Pearl River, the Guangzhou Opera House with it tantalising contours will resonate the high notes of Chinese Opera, in harmony with the tenor of its western brother.

It will stand alongside its global family as a testament to state of the art architecture, and as a lasting monument to the New Millennium.

Its unique twin boulder design will enhance urban function with open access to the riverside and dock areas and at the same time will create a new dialogue with the emerging new town.

It is from here we hope to see the story of the Guangzhou city continue in its evolutionary journey.

Urban Strategy/Landscape Undulating structures rise and fall at the foot of Zhujiang Boulevard. New structures, a built rock-like imprint, bring together the two adjacent Opera House and future Museum Sites and Metropolitan Activities. As an adjunct to the Haixinsha Tourist Park Island, the dual sites present a contoured profile to form a larger riverside focus to Opera House visitors.

When viewed from the park at the centre of the Zhujiang Boulevard, the Opera House buildings create a visual prelude to the Tourist Park Island beyond. Standing on the new landscape at the foot of the central boulevard with the Opera House behind and alongside, there is a unified vision of civic and cultural buildings in a riverside setting with the skyscrapers and tall buildings of Zhujiang New Town to provide a dramatic back-drop to the Opera House.

An internal street is cut into the sand/land-forms from the direction of the proposed future Museum at the opposite side of the landscape central boulevard.

Cafe, bar, restaurant and retail facilities which are embedded shell-like into these landforms are located to one side of this Opera House approach promenade. Visitors arriving by car or bus are deposited at a “drop-off� on the north side of the site on Huajiu Road. Service vehicles access the Opera House and Theatre Buildings at either end of the Huajiu Road. VIP visitors access the Opera House form the western boundary facing Huaxia Road.

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LONDON AQUATICS CENTRE LONDON, UNITED KINGDOM 2005-2008 PROGRAM: Aquatics Centre for 2012 Summer Olympics and future use CLIENT: London 2012 Olympics London Development Agency ARCHITECT: Design Zaha Hadid with Patrik Schumacher Project Architect Jim Heverin Project Team Sara Klomps, Hannes Schafelner Competition Team Saffet Bekiroglu, Mariana Ibanez, Marco Vanucci, Karim Muallem, Kakakrai Suthadarat, Sujit Nair, Feng Chen, Agnes Koltay, Gemma Douglas SIZE/AREA: 24 000m2

Design Concept The architectural concept of the London Aquatic Centre is inspired by the uid geometry of water in motion, creating spaces and a surrounding environment in sympathy with the river landscape of the Olympic Park. An undulating roof sweeps up from the ground as a wave - enclosing the pools of the Centre with its unifying gesture of uidity, whilst also describing the volume of the swimming and diving pools. The London Aquatic Centre is designed to have the exibility to accommodate the size and capacity of the London 2012 Olympic Games whilst also providing the optimum size and capacity for use in Legacy mode after the 2012 Games.

Site Context The London Aquatic Centre is situated within the Olympic Park Masterplan. The site is positioned on the south eastern edge of the Olympic Park with direct proximities to Stratford.

The new pedestrian access from the east-west bridge called the Stratford City Bridge which links the Stratford City development with the Olympic Park will cross over the LAC. This will provide a very visible frontage for the LAC along the bridge. Several smaller pedestrian bridges will connect the site to the Olympic Park over the existing canal.

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The Aquatic Centre addresses within its design the main public realm spaces implicit within the Olympic Park and Stratford City planning.

These are primarily the east-west connection of the Stratford City Bridge and continuation of the Olympic Park space alongside the canal.

Layout The Aquatic Centre is planned on an orthogonal axis perpendicular to the Stratford City Bridge. Along this axis are laid out the three pools. The training pool is located under the bridge whilst the competition and diving pools are within a large volumetric pool hall. The overall strategy is to frame the base of the pool hall as a podium by surrounding it and connecting it into the bridge.

This podium element allows for the containment of a variety of differentiated and cellular programmatic elements into a single architectural volume which is seen to be completely assimilated with the bridge and the landscape. From the bridge level the podium emerges from underneath the bridge to cascades around the pool hall to the lower level of the canal side level The pool hall is expressed above the podium level by a large roof which is arching along the same axis as the pools. Its form is generated by the sightlines for the spectators during the Olympic mode. Doublecurvature geometry has been used to create a structure of parabolic arches that create the unique characteristics of the roof. The roof undulates to differentiate an internal visual separation inside the pool hall between the competition pool volume and the diving pool volume.

The roof projects beyond the base legacy pool hall envelope to extend the roof covering to the external areas of the cascades and the bridge entrance. The roof projection over the bridge entrance announces the London Aquatic Centre’s presence from the approach from either Stratford City or the ary positions.Olympic Park. Otherwise the opening between the roof and the podium is in- lled with a glass facade.

MAXXI: NATIONAL CENTRE OF CONTEMPORARY ARTS ROME, ITALY 1997-2007 [under construction]

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The Contemporary Art and Architecture Centre for Rome is the first national museum for contemporary art in Italy.

The new Institution has been established by act of parliament and the design of the building is the first concrete step in the creation of the institution. A large urban site in the Flaminia district on the northern edge of the historic centre has been allocated for the building. The centre comprises spaces for permanent, temporary and commercial galleries, an architecture centre, a conference centre as well as a library.

The concept for the project is based on the idea of ‘irrigating’ the large urban field with linear display surfaces, weaving a dense texture of interior and exterior spaces. The institution is thus rendered porous for the casual visitor, either providing en passe delight or enticing entry. Our design for the Contemporary Art Centre in Rome was awarded the 1st Prize in an International Design Competition in February 1999. We have been awarded the full contract for all architectural and engineering services. Construction begins in 2003, and the project is scheduled for completion in 2007.

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PROGRAM: Contemporary art and architecture centre, temporary exhibition spaces CLIENT: Italian Ministry of Culture, Rome, Italy ARCHITECT: Design Zaha Hadid with Patrik Schumacher Project Architect Gianluca Racana [Zaha Hadid] Local Architect ABT srl [Rome, Italy] CONSULTANTS: Structure Anthony Hunt Associates [London, UK], OK Design Group [Rome, Italy] Lighting Equation Lighting [London, UK] Acoustic Paul Gilleron Acoustic [London, UK] SIZE/AREA: 30,000 m2

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New Casino in the center of Basel, Switzerland, 2004-2009

PROGRAM: Concerthall CLIENT: Casino-Gesellschaft, Steinenberg 14, CH-4051 Basel unter Mitwirkung des Baudepartementes des Kanton Basel-Stadt, Hochbau- und Planungsamt, Hauptabteilung Hochbau, Muensterplatz 11, Postfach, CH-4001 Basel und des Erziehungsdepartementes des Kantons Basel-Stadt, Ressort Kultur, Leimenstrasse 1 Postfach, CH-4001 Basel ARCHITECT: Project Directors Zaha Hadid, Patrik Schumacher Project Architect Jim Heverin Project Team [Zaha Hadid] Daniel Baerlecken, Matthias Frei, Naomi Fritz, Rebecca Haines-Gadd, Paul Peyrer-Heimstaett, Helmut Kinzler, Judith Reitz, Patrik Schumacher CONSULTANTS: Structural Design Adams Kara Taylor [London, UK] Mechanical Engineer Max Fordham [London, UK] Acoustic Engineer Ove Arup & Partners Ltd. [London, UK] Theatre Consultant Theatre Projects Consultants [London, UK] FacadeEngineer PPE Engineering [Riehen, CH] Partner Office Burkhardt+Partners AG [Basel, CH] SIZE/AREA: 13,723 m

81 Project description A new building with an L-shaped volume envelopes the available Music Hall and connects it to the Hans Huber Hall. In this way, we provide a new identity for the town-casino. The facade of the existing Music Hall, correspondingly the facade of the Hans Huber Hall, dominates the facade front along Steinenberg Street. The new building ends in the continuance of both buildings, connected through a uniting incision.

The new volume allows however enough distance to the surrounding historical buildings. The picture changes behind the corner to the Barfuesserplatz. Here, the body serving as a continuance of the available buildings along Steinenberg Street, becomes a pregnant figure itself.

The building body faces Barfuesserplatz with a dramatic bulge and provides in this way a distinctive urban landmark. We have managed to generate perspicuity and a new urban connection from the Barfuesserplatz to the Theaterplatz. There is the catching the eyes new main entrance of the Stadt-Casino.

The square surface flows under the swimming Volume of the new building and caves up over a ramp. The jump in the level of the square is in this way mastered by means of an artificial landscape element. The step-like modulated upper surface builds up an opulent foyer. The main principle, on which the design is based, is the idea of a homogenous, plastic mass, which will be differentiated and articulated by means of

bulges, inversions (over the new Concert Hall), inclusions of “external bodies” (the old Music Hall) and undercutting (the foyer).

The old Music Hall will be enveloped by an L-shaped new building body. However, the available historical buildings will be united through an embracing incision and in this way made to appear as a whole unit.

This incision forms a second entrance to the foyer and the Music Hall in Steinenberg Street. A dramatic corner bulge offers an architectonic landmark. The monotonically sculptured new building swims as if over the artificial topography of the square. By means of the architectural style of a large “inversion” on the main facade, a strong elevation between the indoor spaces and the public space of the Barfuesserplatz will be created. The stage of the new hall will be erased as a vast shop window with a view over the Barfuesserplatz. The look from outside to the festively illuminated hall will enrich the square and provokes a desire to go to a concert.

Under the concert hall, a vast foyer opens its space as a continuation of the square area. The building looks here as eroded and lifted. The articulated area of the foyer provides the different elevations of the context by means of a landscape-like floor modulation or terraces. Two large core arrays grow up from these modulated flowing areas and support the upper volumes.

NORDPARK CABLE RAILWAY, INNSBRUCK AUSTRIA 2005-2007

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PROGRAM: 4 Cable Railway Stations, 1 Bridge CLIENT: Strabag, City of Innsbruck ARCHITECT: Design Zaha Hadid with Patrik Schumacher Project Architect Thomas Vietzke Design Team: Jens Borstelmann, Markus Planteu Production Team: Caroline Andersen, Makakrai Suthadarat, Marcela Spadaro, Anneka Wagener, Adriano di Gionnis, PeterPichler, Susann Berggren PARTNER OFFICE (Austria): Malojer Baumanagement CONSULTANTS: Baumann & Obholzer (structural engineers) SIZE/AREA: 2750 square meters roof structure

83 Architectural concept for the Nordkettenbahn cable railway stations, Innsbruck, Austria The project contains the design of four stations along the cable railway tracks leading up to Innsbruck’s northern chain of mountains. Adaptation to the specifi c site conditions in various altitudes while articulating a coherent overall architectural language is critical to this design approach.

Two contrasting elements “Shell & Shadow” generate each station’s spatial quality. A lightweight organic roof structure fl oats on top of a concrete plinth. The artifi cial landscape functions as a relief in which various movements and circulations are inscribed. Looking at the Roof Shell’s fl uid shapes and soft contours, one might be reminded on natural phenomena such as glacier movements.

New production methods like CNC milling and thermoforming guarantee a very precise and automatic translation of the computer generated design into the built structure. The resulting aesthetics might be reminiscent of streamlined Industrial Design pieces (Car Bodies, Aeroplane Wings, Yachts etc.).

Each station has its context, its topography, its altitude, its movements.

The track’s inclination and ratios are dominant technical parameters. A high degree of fl exibility enables the shell structures to adjust to these various parameters while still being part of the same formal family. The concept of lightness is explored. Large cantilevers and small touch down areas underline a fl oating appearance of the shells.

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PIERRES VIVES HERAULT, MONTPELLIER, FRANCE 2002-2009

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PROGRAM: Archives , Library, Office CLIENT: Departement de l’Herault Herault Amenagement 1000, rue d’Alco 34087 Montpellier Cedex 4 France ARCHITECT: Design Zaha Hadid Architects, [London, UK], Local Firm Blue Tango, [Montpellier, France] Chef de projet [Zaha Hadid] Stephane Hof CONSULTANTS: Engineers Ove Arup & Partners, [London, UK] Services Engineers GEC Ingenierie, [Paris, France] Acoustic G. L. Rouch & N. Albaric, [Servian, France] Cost Consultant GEC-LR, [Montpellier, France] SIZE: Site 35 000 m2 , Building 28 500 m2

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The Pierres Vives building of the department de l’Herault is characterised by the unification of three institutions - the archive, the library and the sports department - within a single envelope. These various parts of this “cite administrative” combine into a strong figure visible far into the landscape. As one moves closer, the division into three parts becomes apparent. The building has been developed on the basis of a rigorous pursuit of functional and economic logic. However, the resultant figure is reminiscent of a large tree-trunk, laid horizontal. The archive is located at the solid base of the trunk, followed by the slightly more porous library with the sports department and its well-lit offices on top where the trunk bifurcates and becomes much lighter. The branches projecting off the main trunk are articulating the points of access and the entrances into the various institutions. On the western side all the public entrances are located, with the main entrance under an enormous cantilevering canopy; while on the eastern side all the service entrances, i.e. staff entrances and loading bays are located. In this way the tree-trunk analogy is exploited to organise and articulate the complexity of the overall “cite administrative”.

The main vehicular access road- both for public visitors as well as for staff and service vehicles, is coming off Rue Marius Petipa, and provides

access to either side of the building. The public access leads to the generous visitor car park right in front of the main entrance lobby. The service access is stretched along the opposite side. This longitudinal division of serviced and servicing spaces is maintained within the ground floor along the full length of the building. The front side contains all the public functions of each institution, linked by a linear lobby and an exhibition space in the centre. Above this connective ground level the three institutions remain strictly separated. Each has its own set of cores for internal vertical circulation. The lay-outs of each part follow their specific functional logic.

Upon arrival at the main entrance, one is directed from the lobby either to the educational spaces of the archives on ground level; or via lifts and escalators to the main public artery on level 1. This artery is articulated all along the facades as a recessed glass strip and here reading rooms of both archives and library are immediately accessible.

Central in this artery and therefore located at the heart of the building, are the main public facilities shared between the three institutions: auditorium and meeting rooms. These shared public functions also form the central volume that projects out from the trunk, providing a grand cantilevering canopy for arriving visitors.

The General Library and the Investigative Resources Centre is conceived as an extension of the adjacent park - ‘el Prado de San Sebastian’ , and as a continuous volume which emerges from itself, expanding longitudinally onto the site, progressively raising from a soft material into a strong surface.

Using a strategy to promote cultural and entertainment activities for the students of the University, the proposal performs as an attractor, not only for the users of ‘el Prado de San Sebastian’ but also for the 3,300 researchers using the facility; becoming a new Centre for the University and the City of Seville.

The concept for university libraries, particularly those which introduce technology in the process of research, have changed. Our design proposes a reading space hierarchically on top of the other spaces of the library, which become gradually more distinctive. The technological aspects are manifest in smaller spaces, where the user will be informed in an environment where the quality of this space is about communication and distribution of the information which they generate; in contrast with the reading space, which the user’s comfort is given in terms of reading concentration.

The given site for the General Library and the Investigative Resources Centre of the University of Seville, is laid out as the wrapping end of the Direction of the University and ‘el Prado de San Sebastian’. For that reason, the design arose as the spatial continuation of the park and its integration with the building.

The Avenue ‘Carlos V’ to the north is a busy thoroughfare, with cars, buses and the future Metro station ‘Prado de San Sebastian’. In contrast to the south, Diego Riano Street, Avenue Portugal, and the park, are considerably quieter. This allows for the south side of the building to be allocated for reading, while the northern side has been allocated for the spaces with more flow of activities.

The design scheme is based on a half-basement platform appearing over the level of the street. Parking, plant rooms and workshops ventilated

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Seville University Library Client: La Universidad de Sevilla (The University of Seville) Design: Zaha Hadid with Patrik Schumacher Project Architect: Sophie Le Bienvenu Competition team:Federico Dunkelberg, Mariagrazia Lanza, Tarek Shamma, Ebru Simsek, Miya Ushida, Fulvio Wirz.

Consultants: IDOM (for Structure, M&E, Environmental and Sustainability, Costs) Programme: General Library and the Investigative Resources Centre of the University of Seville Total surface: 8720 m2 Site surface: 3915 m2 Due for completion: 2008

and illuminated through tall windows are within this platform On top of the platform, the park is extended to form the public spaces which become transition areas between the park and the library located on the floors above. Users access the building through gardens and four nubs which contain the Common Zone: Reception, Conference Room, Exhibition Room and Cafeteria; all integrated to the adjacent context of ‘el Prado’ park. This transitory area creates an imposing space that attracts and invites users of the building.

Due to the linearity of the plot, the building is a longitudinal extension in which the cores/lifts have been distributed along the back façade allowing extensive views to ‘el Prado’ park for the communal and reading spaces. The design of the building is benefited by open areas with panoramic views.

The main reception hall distributes upwards to the next two levels: On the first floor the special service zone for the gathering of scientific and technical information. The main triple height space of the reception hall becomes the heart of the general library as well as the investigation resources centre distributing two wings on each level.

On the second floor, the zone for consultancy, study for students and a 600-seat lecture room are distributed accross three levels of terraces towards the central, triple-height space housing 20,000 books. This hall is illuminated by a skylight which runs along the north-south axis of the building and with distributed perforations along the facades.

The north-south orientation of the building is read formally, by means of the façade treatment and through a main skylight which crosses the building. The building is conceived mainly in concrete with some crystal perforations to generate a pleasant ambient temperature throughout the library.

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PROGRAM: 2 ways four lane highway bridge to Abu Dhabi island CLIENT: Sheik Sultan Bin Zayid Al Nahyan Chairman Public Works Department P O Box 3-88, Abu Dhabi EMIRATE OF ABU DHABI ARCHITECT: Design Zaha Hadid Architects [London, UK] CONSULTANTS: Structure Rendel Palmer Tritton [London, UK] Lighting Hollands Licht [Amsterdam, Netherlands] DIMENSIONS: 800m long, 64m high, 61m wide

SHEIK ZAYED BRIDGE ABU DHABI, EMIRATE OF ABU DHABI 1997-2005 [under construction]

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There is a highly mobile society, which requires a new route around the Gulf south shore, connecting the three Emirates together. In 1967 a steel arch bridge was built to connect the fledgling city of Abu Dhabi island to the mainland, followed by a second bridge built in the seventies, connecting downstream at the south side of Abu Dhabi Island. The location of the new (third) Gateway Crossing, close to the first bridge, is critical in the development and completion of the highway system.

Conceived in an open setting, the bridge has the prospect of becoming a destination in itself and potential catalyst in the future urban growth of Abu Dhabi.

A collection, or strands of structures, gathered on one shore, are lifted and ‘propelled’ over the length of the channel. A sinusoidal waveform provides the structural silhouette shape across the channel.

The mainland is the launch pad for the bridge structure emerging from the ground and approach road. The Road decks are cantilevered on each side of the spine structure. Steel arches rise and spring from mass concrete piers asymmetrically, in length, between the road decks to mark the mainland and the navigation channels. The spine splits and splays from one shore along the central void position, diverging under the road decks to the outside of the roadways at the other end of the bridge.

The main bridge arch structure rises to a height of 60 m above water level with the road crowning to a height of 20 metres above mean water level.

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Z.CAR DESIGNED IN LONDON, UK 2005-2006

Concept: The Z.CAR is a two-seater city car with a threewheel base. Using Hydrogen as a source of energy it is a very quiet zero-emission vehicle. The inclination of the passenger pod is speed adjusted. At low speeds it is in the upper position and gives the driver a better street vision. A shortened wheelbase then also requires less parking-space. At higher speeds the pod lowers on the hinged rear suspension, moving the car’s center of gravity closer to the road for safer ganic language of thehandling and of ce, the shape of the car is streamlined in order to generate a uid design with minimum wind friction.

The body consists of lightweight carbon- bre composite with a large asymmetric door hatch giving the passengers a panoramic vision.

The interior design is based on ergonomics embracing both driver and passenger that sit side by side. The steering wheel connects with “drive-bywire” technology to motors that operate the steering mechanism and it holds controls that manage other functions.

PROGRAM: Design of a concept car CLIENT: Kenny Schachter DESIGN: Zaha Hadid Architects, London,UK Zaha Hadid with Patrik Schumacher PROJECT DESIGNER: Jens Borstelmann SIZE: 3.80m length * 1.80m width * 1.70m height

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BMW AG, Îôèñ è òåõíè÷åñêè ïðîñòðàíñòâà çà çàâîä çà ïðîèçâîäñòâî íà êîëè

Öåíòðàëíàòà ñãðàäà å àêòèâíèÿò íåðâåí öåíòúð èëè ìîçúêúò íà öåëèÿ ôàáðè÷åí êîìïëåêñ. Âñè÷êè çâåíà íà äåéíîñòèòå â ñãðàäàòà ñå ñúáèðàò çàåäíî è ñå ðàçêëîíÿâàò îòíîâî îòòóê. Òàçè ñòðàòåãèÿ íà ïëàíèðàíå å ïðèëîæåíà êúì öèêëèòå è òðàåêòîðèèòå íà õîðàòà - ðàáîòíèöè (ïðèñòèãàùè ñóòðèí è èçëèçàùè çà îáÿä) è ïîñåòèòåëè, - êàêòî è çà öèêúëà è ïðîöåñà íà ïðîòè÷àíå íà ïðîèçâîäñòâåíàòà ëèíèÿ, êîÿòî ïðåñè÷à òàçè öåíòðàëíà òî÷êà - çàìèíàâàéêè è âðúùàéêè ñå îòíîâî. Òàçè äèíàìè÷íà ôîêóñíà òî÷êà íà ïðåäïðèÿòèåòî å íàïðàâåíà âèäèìî óáåäèòåëíî â ïðåäëîæåíàòà äèíàìè÷íà ïðîñòðàíñòâåíà ñèñòåìà, êîÿòî îáõâàùà öåëèÿ ñåâåðåí ôðîíò íà ôàáðèêàòà è ÿ ñúåäèíÿâà ñ öåíòðàëíàòà ñãðàäà êàòî ïðåñå÷íà òî÷êà è êóëìèíàöèÿ íà ðàçëè÷íè ñúáèðàùè

ñå òóê ïîòîöè. Èçãëåæäà êàòî ÷å ëè öÿëîòî ïðîòåæåíèå íà òàçè ñòðàíà íà ôàáðèêàòà å îðèåíòèðàíî è ðàçäâèæåíî îò ñèëîâîòî ïîëå, èçëú÷âàíî îò öåíòðàëíàòà ñãðàäà. Öÿëàòà äèíàìèêà, ñúáèðàùà ñå íà òîâà ìÿñòî ñå êîíöåíòðèðà êàòî âúâ ôóíèÿ ÷ðåç òàçè ñâèâàùà ñå êàìåðà, ïðèòèñíàòà ìåæäó òðèòå îñíîâíè ñåãìåíòà íà ïðîèçâîäñòâîòî: áÿëî òÿëî, ìàãàçèí çà áîè è ìîíòàæåí öåõ. Îðãàíèçàöèÿòà íà ñãðàäàòà åêñïëîàòèðà î÷åâèäíàòà ïîðåäèöà îò äâèæåíèÿ íàïðåä-íàçàä çà âúâåæäàíå íà ïîñåòèòåëè, îò çàáúðçàíîñòòà äî æåëàíèåòî çà ïîâå÷å óåäèíåíîñò è ñïîêîéíè äåéíîñòè. Ôàñàäíàòà îáâèâêà å âìúêíàòà ïîä ãîëÿì, äèàãîíàëíî ïëàíèðàí ãîðåí åòàæ. Òóê å ïúòÿò çà ñïóêàíåòî íà êîëèòå íàäîëó ïðè ïîñåòèòåëèòå â îñòúêëåíîòî ïóáëè÷íî ôîàéå. Íàé-ñúùåñòâåíàòà ñòðàòåãèÿ íà îðãàíèçàöèÿ å ñðÿçâàùàòà ñåêöèÿ, êîÿòî ñâúðçâà ïðèçåìíèÿ åòàæ è ïúðâèÿ åòàæ â íåïðåêúñíàòî ìÿñòî çà äâèæåíèå. Äâå ïîðåäèöè îò

òåðàñèðàíè ïëî÷è - êàòî îãðîìíè ñòúëáèùà - ñå èçêà÷âàò íàãîðå îò ñåâåð íà þã è îò þã íà ñåâåð. Åäíàòà çàïî÷âà áëèçî äî ïóáëè÷íîòî ôîàéå, ìèíàâàéêè ïðåç/èçäèãàéêè ñå íàä ôîðóìà, çà äà äîñòèãíå ïúðâèÿ åòàæ â ñðåäàòà íà ñãðàäàòà. Äðóãàòà êàñêàäà çàïî÷âà ñ ðåñòîðàíò íà ñàìîîáñëóæâàíå â þæíèÿ êðàé, äâèæåéêè ñå íàãîðå äî ñðåùàíå íà ïúðâàòà êàñêàäà è ñëåä òîâà äâèæåéêè ñå âñå íàãîðå äî ïðîñòðàíñòâîòî, ïðîåêòèðàíî íàä âõîäà. Äâåòå êàñêàäíè ïîðåäèöè îáõâàùàò äúëãî ñâúðçâàùî ïðàçíî ïðîñòðàíñòâî ïîìåæäó ñè.  äúíîòî íà òîâà ïðàçíî ïðîñòðàíñòâî å ôèíàíñîâèÿò îòäåë êàòî öåíòðàëåí ôîêóñ íà âíèìàíèåòî íà âñè÷êè. Íàä ïðàçíîòî ïðîñòðàíñòâî ïîëóçàâúðøåíèòå êîëè ñå äâèæàò ïî ïðîèçâîäñòâåíèòå ëåíòè ìåæäó ðàçëè÷íè, îòêðèòè çà íàáëþäåíèå ïðîèçâîäñòâåíè åäèíèöè. Áëèçêîòî èíòåãðèðàíå íà âñè÷êè ðàáîòíèöè å óëåñíåíî ÷ðåç ïîâñåìåñòíà ïðîçðà÷íîñò íà âúòðåø-

íàòà îðãàíèçàöèÿ. Ñìåñâàíåòî íà ôóíêöèèòå èçáÿãâà òðàäèöèîííîòî èçîëèðàíå â ãðóïè ïî ñëóæåáíî ïîëîæåíèå, êîåòî âå÷å íå å ðúêîâîäåí ïðèíöèï çà ìîäåðíèòå ðàáîòíè ìåñòà. Ñåðèÿ îò èíæåíåðíè è àäìèíèñòðàòèâíè ôóíêöèè ñà ñúñðåäîòî÷åíè ïî òðàåêòîðèÿòà íà ðàáîòíàòà ñèëà, èäâàùà íà ðàáîòà èëè ïðåäâèæâàùà ñå íàïðåä-íàçàä â îáåäíàòà ïî÷èâêà. Ôóíêöèèòå íà ïåðñîíàëà ñ áåëè ÿêè ñà ñúñðåäîòî÷åíè íà ïðèçåìíèÿ è íà ïúðâèÿ åòàæ. Ñúîòâåòíî, ïðîñòðàíñòâàòà çà ðàáîòíèöèòå ñúñ ñèíè ïðåñòèëêè (ïîìåùåíèåòî ñ ëè÷íèòå ãàðäåðîá÷åòà è ñîöèàëíèòå ïîìåùåíèÿ) ñà ðàçïîëîæåíè íà ïúðâèÿ åòàæ. Îñîáåíî îíåçè âúòðåøíè ðåçåðâèðàíè ïðîñòðàíñòâà, êîèòî î÷àêâàò äà áúäàò íàïúëíî èçïîëçâàíè âúâ ôàçà 2, ñà ðàçïîëîæåíè êàòî ïðîñòðàíñòâà çà ñîöèàëíè êîìóíèêàöèè çà ñìåñåíî ïîëçâàíå îò áåëèòå ÿêè è ñèíèòå ïðåñòèëêè. Ïî òîçè íà÷èí å èçáåãíàòî óñòàíîâÿâàíåòî íà ñïåöèàëíè òåðèòîðèè.

Öåíòúð çà ñúâðåìåííî èçêóñòâî "Ðîçåíòàë", Ñèíñèíàòè ñòâîòî, ìóçååí ñêëàä, êàôåíå è ïóáëè÷íè ïðîñòðàíñòâà.

Çàäàíèåòî å äà ñå ïðîåêòèðà ïúðâàòà ñàìîñòîÿòåëíà ñãðàäà çà Öåíòúðà çà ñúâðåìåííî èçêóñòâî. Öåíòúðúò å îñíîâàí â Ñèíñèíàòè ïðåç 1939 ã. è å åäíà îò ïúðâèòå èíñòèòóöèè â Ñúåäèíåíèòå ùàòè, ïîñâåòåíà íà ñúâðåìåííîòî âèçóàëíî èçêóñòâî. Íîâèÿò Öåíòúð çà ñúâðåìåííî èçêóñòâî ùå îñèãóðè ïðîñòðàíñòâà çà âðåìåííè èçëîæáè, ñïåöèôè÷íè çà ìÿñòîòî èíñòàëàöèè è ïðåäñòàâÿíèÿ, íî íå ïîñòîÿííà êîëåêöèÿ. Äðóãè åëåìåíòè íà çàäàíèåòî âêëþ÷âàò îáðàçîâàòåëíè ñúîðúæåíèÿ, îôèñè, ïëîùè çà ïîäãîòîâêà íà òâîðáèòå íà èçêó-

Çà äà ñå âïèøå ïåøåõîäíîòî äâèæåíèå îò îêîëíèòå ïëîùè è äà ñå ñúçäàäå óñåùàíå çà äèíàìè÷íî ïóáëè÷íî ïðîñòðàíñòâî, âõîäúò, ôîàéåòî è âúâåæäàíåòî â öèðêóëàöèîííàòà ñèñòåìà ñà îðãàíèçèðàíè êàòî åäèí “Ãðàäñêè êèëèì”. Çàïî÷âàéêè îò úãúëà íà Øåñòà è "Óîëíúò" óëèöà, êðèâèòå òðúãâàò îò çåìÿòà è ñå èçâèâàò áàâíî íàãîðå, äîêàòî âëÿçàò â ñãðàäàòà, èçäèãàéêè ñå ñëåä òîâà, çà äà ñòàíàò çàäíà ñòåíà. Òúé êàòî ñå èçäèãà è èçâèâà, òîçè ãðàäñêè êèëèì âîäè ïîñåòèòåëèòå íàãîðå ïî åäíà îêà÷åíà ðàìïà ïðåç ïúëíàòà äúëæèíà íà ôîàéåòî, êîåòî ôóíêöèîíèðà ïðåç äåíÿ êàòî îòâîðåíî, îñâåòåíî ñ äíåâíà ñâåòëèíà, “ïåéçàæíî” øèðîêî ïðîñòðàí-

ñòâî, êîåòî ìîæå äà ñå ðàçïîçíàå êàòî èçêóñòâåí ïàðê. Ðàìïàòà íà ìåöàíèíà ïðîäúëæàâà äà ñå èçêà÷âà, äîêàòî ïðîíèêíå â çàäíàòà ñòåíà, îò äðóãàòà ñòðàíà íà êîÿòî òÿ ñòàâà ìÿñòî çà ðàçòîâàðâàíå íà âõîäà êúì ãàëåðèèòå.

ðàìïà âúðâÿò íàãîðå ïðåç òåñåí ïðîöåï â çàäíàòà ÷àñò íà ñãðàäàòà. Çàåäíî ñ òîâà òåçè âàðèðàùè ãàëåðèè ñå çàöåïâàò åäíà â äðóãà êàòî òðèèçìåðåí ïúçåë çà ïîäðåæäàíå, íàïðàâåí îò òðèìåðíè ïëúòíè ôîðìè è ïðàçíèíè.

Ïúçåë çà ïîäðåæäàíå: Îáðàòíî íà Ãðàäñêèÿ êèëèì, êîéòî å ñåðèÿ îò ïîëèðàíè, âúëíîîáðàçíè ïîâúðõíîñòè, ãàëåðèèòå ñà íàïðàâåíè êàòî ÷å ëè èçäúëáàíè îò åäèí áëîê áåòîí è ïëóâàò íàä ïðîñòðàíñòâîòî íà ôîàéåòî. Èçëîæáåíèòå ïðîñòðàíñòâà âàðèðàò ïî ãîëåìèíà è ôîðìà, çà äà ïðèþòÿò ãîëÿì íàáîð îò ìàùàáè è ìàòåðèàëè íà ñúâðåìåííîòî èçêóñòâî. Ãëåäêèòå â ãàëåðèèòå îò öèðêóëàöèîííàòà ñèñòåìà ñà íåïðåäâèäèìè, òúé êàòî çèãçàãèòå íà ñòúëáèùíàòà

Êîæà/ñêóëïòóðà: Ðàçïîëîæåíèåòî íà úãëèòå íà ñãðàäàòà äîâåäå äî ðàçðàáîòâàíåòî íà ôàñàäà ïî ïðîòåæåíèå íà Øåñòà óëèöà, êîÿòî äà ïðèëè÷à íà íàãúíàòà ïðîçðà÷íà êîæà, ïðåç êîÿòî ìèíàâàùèòå ïîêðàé ñãðàäàòà ìîãàò äà âèæäàò êàêâî ñòàâà â Öåíòúðà. Èçòî÷íàòà ôàñàäà, ïî ïðîòåæåíèå íà óëèöà "Óîëíúò", å íàïðàâåíà êàòî ñêóëïòóðåí ðåëåô. Òîé ïðåñúçäàâà îòïå÷àòúê â íåãàòèâ íà èíòåðèîðà íà ãàëåðèÿòà.

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Öåíòúð “Ôëåéòàòà íà Ìeãè öåíòúð“, êúì áîëíèöà “Âèêòîðèÿ” Êèðêàëäè, Øîòëàíäèÿ

Öåíòúðúò “Ôëåéòàòà íà Ìeãè öåíòúð” å íà òåðèòîðèÿòà íà áîëíèöà “Âèêòîðèÿ” â ãðàä Êèðêàëäè. Ïîìåñòâàéêè öåíòúð çà õðàíè è êîíñóëòàöèè çà õîðà áîëíè îò ðàê, “Ôëåéòàòà íà Ìåãè” èìà îáè÷àåí äîìàøåí ìàùàá, íî å íåîáè÷àåí ïî èçïúëíåíèå. Öåíòúðúò “Ôëåéòàòà íà Ìåãè öåíòúð” å ðàçïîëîæåí íà ðúáà íà ñúñåäíà íà áîëíèöàòà ïàäèíà. Ïàäèíàòà èìà âúëíóâàùà òîïîãðàôèÿ, êîÿòî â êîìáèíàöèÿ ñ åñòåñòâåíàòà çåëåíèíà è äúðâåòàòà ñúçäàâà åäíà ìíîãî õàðàêòåðíà çàùèòåíà ñðåäà â ñèëåí êîíòðàñò êúì äðóãèòå ñúîðúæåíèÿ íà áîëíèöà “Âèêòîðèÿ”. Êàòî åäíîåòàæíà êîíñòðóêöèÿ, “Ôëåéòàòà íà Ìåãè öåíòúð” å ïðèñòðîéêà êúì ñúùåñòâóâàùèÿ òðèëåíòîâ ïúò, êîéòî îãðàæäà òàçè åñòåñòâåíà ïàäèíà. Öåíòúðúò å ïðîåêòèðàí êàòî

ïðåõîä ìåæäó äâà ðàçëè÷íè òèïà ïðîñòðàíñòâà - åñòåñòâåíèÿ ïåéçàæ è áîëíèöàòà. Èçïîëçâàéêè ðàçëè÷íè ó÷åáíè ìîäåëè, áþðîòî “Çàõà Õàäèä Àðõèòåêòñ” èçñëåäâà êàê ðúáúò íà ïàäèíàòà áè ìîãúë äà áúäå ðàçðàáîòåí òàêà, ÷å äà ñå òðàíñôîðìèðà â ñãðàäíà îáâèâêà - ñòàâàéêè âõîäíà âðàòà, ïúò êúì åñòåñòâåíèÿ ïåéçàæ. Âúíøíî ôîðìàòà íà öåíòúðà ïðîèçòè÷à îò íàãúíàòàòà ïîâúðõíîñò è åäíà ñâúðçâàùà ãî ñúñ çåìÿòà ïëî÷à. Íàãúíàòàòà ïîâúðõíîñò èçðàçÿâà äèðåêòíî íàáëÿãàíå íà äâèæåíèåòî íà ïîñåòèòåëÿ â åäíî ðàçëè÷íî îò îñòàíàëàòà ÷àñò íà áîëíèöàòà ïðîñòðàíñòâî. Ïîêðèâàéêè âèäèìèÿ ïîêðèâ è äâåòå ñðåùóïîëîæíè ñòåíè ñ åäèí è ñúùè ìàòåðèàë è ïðàâåéêè îñòàâàùèòå èçäèãàíèÿ â êîíñòðóêöèÿòà êàòî ñìåñ îò ïîëóïðîçðà÷íà è ÷èñòà îñòúêëåíà ôàñàäà, ñå ïîäñèëâà åôåêòúò îò ôîðìàòà íà åñòåñòâåíàòà ïðèðîäà â òîâà íàïðàâëåíèå. Ãîëåìèòå êîçèðêè íà ïîêðèâà ñà èçïîëçâàíè äà óäúëæàò ñãðàäàòà íàâúòðå â ïåéçàæà îò äâåòå ñòðàíè. Òåçè êîçèðêè ïàçÿò âõîäíèòå âðàòè îò ñåâåðíàòà

ñòðàíà, äîêàòî îò þæíàòà ñòðàíà ïðàâÿò ñÿíêà îò ñëúíöåòî íà èçäèãíàòèòå ñòúêëåíè ÷àñòè è ïîêðèâàò ÷àñòè÷íî òåðàñàòà. Öåíòúðúò ñòîè âúðõó áåòîíåí ïëèíò, êîéòî ãî ñâúðçâà ñ ïåéçàæà. Îò ñåâåðíàòà ñòðàíà òîé î÷åðòàâà ïàðêèíã çà êîëè, ïðåäè äà ñå èçäèãíå äî îáùåñòâåíî äîñòúïíèÿ âõîä. Ñèëíèÿò åçèê íà íàñî÷åíîñò è ìàòåðèàëíèÿò êîíòðàñò íà ïëèíòà íà öåíòúðà ñ íàñòèëêà âúðõó ïàðêèíãà çà êîëè îïðåäåëÿò âõîäà çà èäâàùèòå òóê çà ïðúâ ïúò. Ïëèíòúò ïðîäúëæàâà ïî ïðîòåæåíèå íà èçòî÷íàòà ñòðàíà, çà äà îòäåëè öåíòúðà îò ïàðêèíãà çà êîëè ñúñ ñòåíà, êîÿòî ïîñòåïåííî ñå èçäèãà, îòäåëÿéêè ïóáëè÷íîòî ïðîñòðàíñòâî íà âõîäà îò ëè÷íèòå ïðîñòðàíñòâà íà òåðàñàòà. Òîé ñâúðøâà ñúñ çàâîé îêîëî þæíèÿ îñòúð úãúë íà öåíòúðà êàòî åäíà îáúðíàòà íà þã òåðàñà, êîÿòî ñå ïîäïèðà ñ êîíçîëà íà íàêëîíåíàòà çåìÿ íà ñåâåð. Âúòðåøíîòî ïîäðåæäàíå íà ïîìåùåíèÿòà å öåíòðèðàíî â åäíà îòâîðåíà êóõíÿ ñ îôèñè íà ñåâåðíàòà ôàñàäà, â ñúñåäñòâî ñ âõîäà. Çà äà ñå îñèãóðè ëè÷íà ñôåðà, ïîìåùåíèÿòà íà èçòîê

èìàò ïîëóïðîçðà÷íà ôàñàäà. Ïîñåòèòåëèòå íà “Ôëåéòàòà íà Ìåãè öåíòúð” ùå èìàò áåçïðåïÿòñòâåíà ãëåäêà ïðåç öåíòúðà êúì ãëåäàùàòà íà þã èçäèãíàòà ñòúêëåíà ôàñàäà, êúì ñêðèòàòà åñòåñòâåíà ïðèðîäà íà ïàäèíàòà. Âúòðåøíîòî ïðîñòðàíñòâî íà öåíòúðà å çàïàçåíî êàòî îòâîðåíî è áåç êîëîíè, äîêîëêîòî å âúçìîæíî. Åäíà ðàìïà ñâúðçâà ãëàâíîòî ïðîñòðàíñòâî ñ ïî-íèñêàòà ïëàòôîðìà, ñúäúðæàùà ïîäâèæíà çàëà. Ñèñòåìà îò ñåííèöè è ïëúçãàùè ñå âðàòè ïîçâîëÿâà òîâà ïðîñòðàíñòâî äà áúäå îòäåëåíî îò îñòàíàëàòà ÷àñò íà öåíòúðà. Îáúðíàòàòà íà þã ôàñàäà å îñòúêëåíà îò ïîäà äî òàâàíà ñ ïðîçîðöè è âðàòè, ïîçâîëÿâàùè äèðåêòåí äîñòúï äî òåðàñàòà. Óäúëæåíèåòî íà ïîêðèâà çàä îñòúêëÿâàíåòî è òåðàñàòà ñïîñîáñòâà çà íåïðåêúñíàòîñòòà íà âúòðåøíîòî è âúíøíîòî ïðîñòðàíñòâî. Òðèúãúëíèÿò ïîêðèâ è ïðîçðà÷íèòå çà íåáåñíàòà ñâåòëèíà ñòåíè ñà ðàçïðúñíàòè ïî ñãðàäàòà òàêà, ÷å äà ïîçâîëÿâàò ãëåäêèòå, ñâåòëèíàòà è íåïðåêúñíàòîñòòà íà ôîðìèòå äà íàâëÿçàò âúâ âúòðåøíîòî ïðîñòðàíñòâî.

Ðàçøèðåíèå íà ìóçåÿ “Ordrupgaard” â Êîïåíõàãåí

Ðàçðàñòâàíåòî íà èíñòèòóöèÿòà äàäå âúçìîæíîñò äà ñå åêñïëîàòèðàò âçàèìîîòíîøåíèÿòà ìåæäó êîìïîíåíòèòå íà ìóçåÿ è ãðàäèíàòà, êîÿòî ãî çàîáèêàëÿ, â ñìèñúë ÷å àíñàìáúëúò ïðåäñòàâëÿâà òîïîãðàôèÿ íà ñàìèÿ ñåáå ñè. Íîâîòî ðàçøèðåíèå òúðñè äà óñòàíîâè íîâ ïåéçàæ íà òåðèòîðèÿòà íà ñâîÿòà àðõèòåêòóðà, â ñúùîòî âðåìå ïîçâîëÿâàéêè íîâè âðúçêè ñúñ ñúùåñòâóâàùèòå óñëîâèÿ. Ëîãèêàòà íà ñúùåñòâóâàùèÿ ïåéçàæ å èçâëå-

÷åíà îò ãåîìåòðèÿòà; íîâèòå êîíòóðè ïðîäúëæàâàò èçâúí ïîìåùåíèåòî íà èçëîæáàòà, ðàçðàáîòâàéêè íàëè÷íàòà çà òîâà îñíîâà, âúðõó êîÿòî å îñúùåñòâåíî ðàçøèðÿâàíåòî êàòî âëàäåíèå è èçïîëçâàíå. Ñãðàäèòå ðàçäåëÿò äâå ðàçëè÷íè ñúñòîÿíèÿ íà ãðàäèíàòà è èì îòãîâàðÿò ñ ãðàäàöèÿ íà èçïîëçâàíåòî, êîÿòî å ïðåäñòàâåíà ñ ïðîìÿíà â ïðîçðà÷íîñòòà è âúçìîæíîñòèòå çà äîñòúï. Ëèíèèòå íà êîíòóðà, êîèòî îôîðìÿò îñíîâàòà íà ìîðôîëîãèÿòà íà ðàçøèðåíèåòî, ñà åêñïëîàòèðàíè ïî äâóñòðàíåí íà÷èí: òå ñå

ïîä÷èíÿâàò íà îãðàæäàíåòî è â ñúùîòî âðåìå ïîñòàâÿò îñíîâàòà çà ïîäðåæäàíå íà èíòåðèîðíîòî ïðîñòðàíñòâî. Âàðèàöèè íà ñúùåñòâóâàùàòà òîïîãðàôèÿ ìîãàò äà áúäàò âèäÿíè âúâ âèä íà ïðîãðåñèÿ ïðåç èíòåðèîðíèòå ïðîñòðàíñòâà è ïî òîçè íà÷èí îçíà÷àâàò ïðåõîäà ìåæäó ðàçëè÷íèòå íà÷èíè íà ïîëçâàíå. Èíòåðèîðíèÿò ïåéçàæ çàïîçíàâà ïîñåòèòåëÿ ñ íàïëàñòÿâàíåòî íà ïðåæèâÿâàíåòî â ìÿñòîòî, êúäåòî ìóçåéíèòå ïðîñòðàíñòâà ñå ñâúðçâàò ñ ãðàäèíàòà. Ðúáúò íà ñãðàäàòà å ðàçíîîáðàçåí îò òîïîãðàôèÿ è ïðåäñòàâ-

ëÿâà âúçìîæíîñò äà ñå çàãóáÿò î÷åðòàíèÿòà íà òðàäèöèîííèòå óñëîâèÿ íà ïîëçâàíå è çàåìàíå â ïðîåêòèòå íà ìóçåè. Ãàëåðèèòå çà èçêóñòâî ñà âìåñòåíè âúâ âúíøíèÿ ïúò çà ïóáëèêàòà, êîéòî ñâúðçâà ðàçëè÷íèòå îòäåëè ÷ðåç îòâîðè â ñòóêòóðíàòà ÷åðóïêà. Ïðåæèâÿâàíåòî íà ïîñåòèòåëÿ íå å îãðàíè÷åíî â ñãðàäàòà, à ñúäúðæàíèåòî, ïîìåñòåíî â ñãðàäàòà, ìîæå äà áúäå âèäÿíî îò ðàçëè÷íèòå ïîäõîäè, êîèòî ñãðàäàòà ïðåäëàãà. Êðèòè÷íîñòòà íà ðúáà å ïî òîçè íà÷èí çàìåñòåíà ñ åäíà èäåÿ çà ôëóèäíîòî âçàèìîäåéñòâèå ìåæäó ãðà-

96 äèíàòà è èíòåðèîðíàòà ïðîãðàìà è òîé (ðúáúò) äåéñòâà êàòî ïîñòîÿíåí èíñòðóìåíò çà ãðàäàöèÿ, êîÿòî ïîçâîëÿâà ðàçëè÷íèòå óñëîâèÿ äà ñå ïîÿâÿâàò áåç íåïðåìåííî ïðåêúñâàíå íà îáåìèòå. Ìàñêèðîâêàòà è ïðîçðà÷íîñòòà ñà èçòî÷íèöè, êîèòî äîïúëâàò òîïîãðàôñêîòî ïðåìåñòâàíå,

îïèñàíî îò íîâàòà îáâèâêà, áåç ïðåíåáðåãâàíå íà ñúñòîÿíèåòî, êîåòî èëþñòðèðà ñïîêîéíàòà ãðàäèíà. Âðúçêàòà ñ ïåéçàæà ïðèñúñòâà íå ñàìî ôîðìàëíî, íî îïðåäåëÿ è ìàòåðèàëíèòå âúçìîæíîñòè. Íåïðîçðà÷íîñò å ïîñòèãíàòà ñ íåîáðàáîòåíà áåòîííà êîæà, êîÿòî äåéñòâà êàòî

êîíòðàïóíêò çà ðàçëè÷íèòå îñòúêëåíè åëåìåíòè, êîèòî îòðàçÿâàò ïåéçàæà è ïîçâîëÿâàò íàäíèêâàíå â èíòåðèîðà. Ìàòåðèàëíàòà íåïðåêúñíàòîñò å ïðåäñòàâåíà îò ñåðèÿ îò ãúíêè âúðõó ìåìáðàíà, êîÿòî ñòèãà äî çåìÿòà, è â ñúùîòî âðåìå ïîçâîëÿâà îòâàðÿíåòî íà ôàñàäàòà, îïðåäåëÿéêè

ïëîùèòå çà ìèíàâàíå. Ïåðèìåòúðúò íà ñãðàäàòà ñúäúðæà öèðêóëàöèîííè ðàìïè, ñëåäâàùè ôîðìàëíàòà ëîãèêà íà àíñàìáúëà íà íîâàòà è ñòàðàòà ñãðàäà. Òîâà óñëîâèå ïîçâîëÿâà êîìïåíñàöèÿ âúâ âèñî÷èíà, êîÿòî äîñòèãà ãëàäúê ïðåõîä ìåæäó ñúùåñòâóâàùèòå è íîâèòå ãàëåðèè.

Íàó÷åí öåíòúð ÔÅÍÎ âúâ Âîëôñáóðã, Ãåðìàíèÿ

Íàó÷íèÿò öåíòúð, ïúðâè ïî ðîäà ñè â Ãåðìàíèÿ, ñå ïîÿâÿâà êàòî ìèñòåðèîçåí îáåêò, ïîâèøàâàéêè ëþáîïèòñòâîòî è æåëàíèåòî çà ðàçêðèâàíå íà ñúùíîñòòà ìó. Ïîñåòèòåëÿò ñå ñðåùà ñúñ ñòåïåí íà êîìïëåêñíîñò è ñòðàííîñò, êîÿòî å ïðîäèêòóâàíà îáà÷å îò åäíà ìíîãî ñïåöèôè÷íà ñèñòåìà çà ñòðóêòóðíà îðãàíè-

çàöèÿ. Ðàçïîëîæåí íà ìíîãî ñïåöèàëíî ìÿñòî â ãðàä Âîëôñáóðã, òîé ñòîè è êàòî êðàéíà òî÷êà íà âåðèãà îò âàæíè êóëòóðíè ñãðàäè (òâîðåíèå íà Ààëòî, Øàðîí è Øâåãåð), êàêòî è êàòî ñâúðçâàùî çâåíî êúì ñåâåðíèÿ áðÿã íà Ìèòåëëåíä êàíàë - ãðàäúò íà êîëèòå "Ôîëêñâàãåí". Ìíîãîáðîéíè ïúòèùà çà ïåøåõîäíî è äâèæåíèå íà ïðåâîçíè ñðåäñòâà ñà ïðîêàðàíè ïðåç ìÿñòîòî êàêòî ïðåç èçêóñòâåíî ñúçäàäåíèÿ ïåéçàæ, òàêà è âúòðå è ïðåç ñãðàäà-

òà, åôåêòèâíî ñúñòàâÿéêè ìðåæà îò ïúòåêè çà äâèæåíèå. Îáåìíî ïîãëåäíàòî, ñãðàäàòà å ñòðóêòóðèðàíà ïî òàêúâ íà÷èí, ÷å îñòàâà â ãîëÿìà ñòåïåí ïðîçðà÷íà è ïîðüîçíà â ïðèçåìíàòà ñè ÷àñò, äîêàòî ãëàâíèÿ îáåì - Èçëîæáàòà - å ïîâäèãíàò, êàòî ïî òîçè íà÷èí ïîêðèâà åäèí âúíøåí çà ñãðàäàòà ïóáëè÷åí ïëîùàä ñ ðàçíîîáðàçèå îò òúðãîâñêè è êóëòóðíè ôóíêöèè, êîèòî ñà ïîìåñòåíè â ñòðóêòóðíè áåòîííè êîíóñè. Èçêóñòâåí, ïðèëè÷åí íà

êðàòåð ïåéçàæ å ðàçðàáîòåí âúòðå â îòâîðåíîòî èçëîæáåíî ïðîñòðàíñòâî, ïîçâîëÿâàù äèàãîíàëíè ãëåäêè êúì ðàçëè÷íè íèâà íà èçëîæáàòà, äîêàòî îáåìè, êîèòî ñå èçäàâàò íàïðåä, ïðèþòÿâàò ôóíêöèèòå íà íàó÷íèÿ öåíòúð. Åäíî ïóáëè÷íî, ïðèëè÷íî íà äóïêà íà ÷åðâåé, îñòúêëåíî ïðîäúëæåíèå íà ñúùåñòâóâàùèÿ ìîñò ïðîòè÷à ïðåç ñãðàäàòà, ïîçâîëÿâàéêè ãëåäêè êúì è îò èçëîæáåíîòî ïðîñòðàíñòâî.

Ñîöèàëíè æèëèùà îêîëî Âèàäóêòà íà ïúòÿ "Ñïèòåëàó" âúâ Âèåíà

Ïðîåêòúò å ÷àñò îò ñúæèâèòåëíàòà èíèöèàòèâà, ïðåäïðèåòà îò ãðàäà Âèåíà çà îêîëîâðúñòíèÿ ïúò Wiener Gürtel, ñâðúõ äèìåíñèîíàëåí, ïðúñòåíîâèäåí ñðåç ïðåç ãðàäñêàòà òúêàí. Èñòîðè÷åñêè ïúòÿò å îòäåëÿë âèåí÷àíè îò îêîëíèòå ñåëà è âúëíèòå îò èìèãðàíòè. Òåðåíúò ñå õàðàêòåðèçèðà ñ êóëìèíàöèÿ â ïëúòíîñòòà è ïðèïîêðèâàíå íà èíôðàñòðóêòóðíè åëåìåíòè: „Spittelauer Lände“ å

åäèí îò íàé-èíòåíçèâíî èçïîëçâàíèòå ïúòèùà íà Âèåíà; Êàíàëúò íà Äóíàâà, ñâúðçâàù Ãåðìàíèÿ ñ Óíãàðèÿ, ñ áúðçèòå âåëîñèïåäíè ïúòåêè ïî áðåãîâåòå ìó è ôèçè÷åñêîòî ïðèñúñòâèå íà òðè èñòîðè÷åñêè ñòúïêè â ðàçâèòèåòî íà Âèåíñêàòà æåëåçîïúòíà ñèñòåìà: îò âèàäóêòèòå íà Îòî Âàãíåð äî ïúðâàòà ïîäçåìíà è íåèçïîëçâàåìà æåëåçîïúòíà ëèíèÿ äî äíåøíàòà ìðåæà íà ìåòðîòî. Ïëîùòà äî âîäíèÿ ôðîíò å ñúæèâåíà ÷ðåç ñâúðçâàíåòî íà êðàéáðåæèåòî ñ òúêàíòà íà ãðàäà è ïðîåêòúò äåéñòâà ïðèâëåêàòåëíî è ñúùåâðåìåííî êàòî èíèöèàòîð çà ïî-íàòàòúøíè èíâåñòèöèè ïî ïðîòåæåíèå íà Êàíàëà íà Äóíàâà.

Ìíîæåñòâî àïàðòàìåíòè, îôèñè è àðòèñòè÷íè ñòóäèà ñå âèÿò êàòî ëåíòè ïðåç, îêîëî è íàä äúãîâèäíèòå îòâîðè ìåæäó äâå êîëîíè íà âèàäóêòà, ïðîåêòèðàí îò Îòî Âàãíåð. Ñàìèÿò âèàäóêò å çàùèòåíà êàòî ïàìåòíèê íà àðõèòåêòóðàòà ñòðóêòóðà è íå å ðàçðåøåíî äà ñå òðàíñôîðìèðà. Ñòðóêòóðàòà îò òðè ÷àñòè (ïðîåêòèðàíàòà îò Çàõà Õàäèä) èãðèâî âçàèìîäåéñòâà ñ âèàäóêòà, ïîðàæäàéêè ìíîæåñòâî ðàçëè÷íè âúíøíè è âúòðåøíè âðúçêè. Âúçïðèåìàíåòî íà òåçè âðúçêè å ïîäñèëåíî îò îòãîâîðà íà àðõèòåêòóðíèÿ åçèê êúì ðàçëè÷íèòå ñêîðîñòè íà èíôðàñòðóêòóðíèòå åëåìåíòè. Îáùåñòâåíèòå âúíøíè ïðîñòðàíñòâà ñà îæèâåíè ÷ðåç áà-

ðîâå è ðåñòîðàíòè ïîä àðêèòå íà âèàäóêòà. Ñâúðçàíèòå îáñëóæâàùè çîíè ïðåìèíàâàò ïðåç îñòàâàùèòå îòâîðè íà âèàäóêòà è ñå ñëèâàò ñ áðåãîâåòå íà êàíàëà, ñúçäàâàéêè îæèâåíà ïëàòôîðìà çà îáùåñòâåí æèâîò. Ïîêðèâèòå íà êúùèòå ñà ïëàíóâàíè çà ÷àñòíè òåðèòîðèè çà ïî÷èâêà è äîïðèíàñÿò çà âèçóàëíîòî âúçäåéñòâèå íà êàíàëà. Äîïúëíèòåëíî ïðåäèçâèêàòåëñòâî âúçíèêíà ïðåä èçïúëíåíèåòî íà ïðîåêòà, òúé êàòî çàäàíèåòî âêëþ÷âà ãëàâíî ñîöèàëíè êâàðòèðè, âúïðåêè ÷å ñà ñìåñåíè ñúñ ñòóäèà è îôèñè. Ïîíàòàòúê ïðîåêòúò ùå áúäå ñâúðçàí êúì Áèçíåñ óíèâåðñèòåòà è Ñåâåðíàòà âëàêîâà ãàðà ÷ðåç ïåøåõîäåí è öèêëè÷åí ìîñò.

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Õîòåë "Ïóåðòà Àìåðèêà" - Õîòåëè "Ñèëêåí Ìàäðèä", Èñïàíèÿ 2003-2005

Êëèåíòúò íè ïðåäîñòàâè ïúëíà ñàìîñòîÿòåëíîñò, à æåëàíèåòî ìó áå äà ñå ïðîåêòèðà äèçàéí çà åäèí åòàæ íà õîòåë ñ 30 ñòàè

è íóæíèòå îáùè ïîìåùåíèÿ. Èçèñêâàíåòî áå äà ñå îñèãóðè äèíàìè÷åí ïðîåêò ïî ïîðú÷êà. Íèå ñå âúçïîëçâàõìå îò âúçìîæíîñòòà äà ñúçäàäåì íîâ àðõèòåêòóðåí åçèê çà äîìàøíî îáçàâåæäàíå, ñúçäàäåí ñ íîâè ðàçðàáîòêè çà öèôðîâ äèçàéí è óâåëè÷åí êàïàöèòåò íà ïðîäóê-

òèâíîñò. Òîçè íîâ äèàëîã ïîä÷åðòàâà êîìïëåêñíàòà è íåïðåêúñíàòà ñúùíîñò íà äèçàéíà è îáåäèíÿâàíåòî íà êîðåííî ðàçëè÷íè ôîðìè è òåêñòóðè.  ñòàèòå íà åòàæà ñòåíà è ìåáåëè ñà ïðåäñòàâåíè êàòî åäíà íåïðåêúñíàòà ïîâúðõíîñò èëè êîæà, êîåòî ãè ïðåâðúùà â ïðîèçâåäåíèå íà

èçêóñòâîòî. Âñåêè îòäåëåí åëåìåíò - ñòåíè, âðàòà íà ñïàëíÿòà ñ íàäïèñè îò ñâåòîäèîäè, ïëúçãàùà âðàòà êúì áàíÿòà, âàíàòà è òîàëåòíàòà ìàñà, ëåãëî, ïîëèöè, ñòîë è êîíçîëíà ïåéêà ïðè ïðîçîðåöà, êîÿòî èçïúëíÿâà ðîëÿòà è íà ìàñà - å èçâàÿí ñ åäèí çàìàõ.

Ãðàäîóñòðîéñòâåí ïëàí íà êâàðòàëèòå Kartal è Pendik

Ãðàäîóñòðîéñòâåíèÿò ïëàí å ïðåäëîæåíèå, ñïå÷åëèëî êîíêóðñà çà íîâ öåíòúð íà ãðàäà íà èçòî÷íèÿ áðÿã íà Èñòàíáóë. Òîé ïðåâðúùà åäèí èçîñòàâåí èíäóñòðèàëåí òåðåí â íîâ ïîäöåíòúð íà Èñòàíáóë, äîïúëíåí ñ öåíòðàëåí áèçíåñ êâàðòàë, ðåíîìèðàí æèëèùåí êâàðòàë, ñãðàäè çà êóëòóðíè èçÿâè êàòî êîíöåðòíè çàëè, ìóçåè è òåàòðè è ðàçâëåêàòåëíà ïðîãðàìà, âêëþ÷âàùà ìîðñêè è òóðèñòè÷åñêè õîòåëè. Òåðåíúò ëåæè íà ìÿñòîòî íà ñëèâàíå íà ðàçëè÷íè âàæíè èíôðàñòðóêòóðíè âðúçêè, âêëþ÷èòåëíî ãëàâíàòà ìàãèñòðàëíà âðúçêà íà Èñòàíáóë ñ Åâðîïà è Àçèÿ, êðàéáðåæíàòà

ìàãèñòðàëà, êðàéìîðñêè òåðìèíàë çà îáùåñòâåí òðàíñïîðò è òåæêè è ëåêè æåëåçîïúòíè âðúçêè ñ ïî-ãîëÿìàòà ÷àñò îò ïëîùòà íà ìåòðîïîëà. Ïðîåêòúò çàïî÷âà ñúñ ñâúðçâàíå â åäíî íà èíôðàñòóêòóðíèÿ è ãðàäîóñòðîéñòâåíèÿ êîíòåêñò íà îêîëíèòå òåðåíè. Ñòðàíè÷íèòå ëèíèè ñå ñúøèâàò çàåäíî êàòî âðúçêè êúì ãëàâíèÿ ïúò, èçëèçàù íà ïîâúðõíîñòòà îò Êàðòàë íà çàïàä è Ïàíäèê íà èçòîê. Èíòåãðèðàíåòî íà òåçè ñòðàíè÷íè âðúçêè ñ ãëàâíàòà íàäëúæíà îñ ñúçäàâà ãúâêàâà ìðåæà, êîÿòî îôîðìÿ ñêðèòàòà ðàìêîâà ìðåæà çà ïðîåêòà. Íà ìåñòà òàçè ìðåæà ìîæå äà áúäå ñâúðçàíà äà îáðàçóâà ìåñòà ñ ïî-èíòåíçèâíî äâèæåíèå, êàêòî è âåðòèêàëíè ñúîðúæåíèÿ â ãðàäñêàòà òúêàí.  íÿêîè ìåñòà ìðåæàòà ñå èçäèãà, çà äà îôîðìè ìðåæà îò êóëè â îòêðèòèÿ îêîëåí ïåéçàæ, äîêàòî íà äðóãè, îá-

ðàòíî - ñëèçà íàäîëó, çà äà îáðàçóâà ïî-ïëúòíà òúêàí, áåç äà íàòîâàðâà óëèöèòå, à ïîíÿêîãà ìîæå ñúâñåì äà çàãëúõíå, äàâàéêè ìÿñòî çà ïàðêîâå è îòêðèòè ïðîñòðàíñòâà. Íÿêîè ïëîùè ñå ïðîñòèðàò íàâúòðå âúâ âîäàòà, ñúçäàâàéêè ìàòðèöà çà ôëîòàòà îò ÿõòè, ìàãàçèíè è ðåñòîðàíòè. Òúêàíòà ïî-íàòàòúê å ðàç÷ëåíåíà ÷ðåç ãðàäîóñòðîéñòâåí ñöåíàðèé, ïîðàæäàù ðàçëè÷íè òîïîëîãèè îò ñãðàäè, êîèòî îòãîâàðÿò íà ðàçëè÷íèòå íóæäè íà âñåêè îò êâàðòàëèòå. Òîçè êàëèãðàôñêè ñöåíàðèé ñúçäàâà îòâîðåíè ïðîñòðàíñòâà, êîèòî äà òðàíñôîðìèðàò îòäåëåíèòå åäíà îò äðóãà ñãðàäè â ïëúòíè ïåðèìåòðè íà áëîêîâåòå, îãðàíè÷åíè îò óëèöèòå, è â êðàÿ íà êðàèùàòà - â õèáðèäíè ñèñòåìè, êîèòî ìîãàò äà ñúçäàäàò ïîðèüîçíà, âçàèìîñâúðçàíà ìðåæà îò îòêðèòè ïðîñòðàíñòâà, êîèòî êðèâîëè÷àò èç

ãðàäà. ×ðåç óìåëè òðàíñôîðìàöèè è ãðàäàöèè îò åäíà ÷àñò íà òåðåíà êúì äðóãà ñöåíàðèÿò íà òúêàíòà ìîæå äà ñúçäàäå ãëàäúê ïðåõîä îò çàîáèêàëÿùèÿ êîíòåêñò êúì íîâîðàçðàáîòåíàòà ïî-ãîëÿìà ïëúòíîñò íà òåðåíà. Òàêà ãúâêàâàòà ìðåæà âêþ÷âà âúçìîæíîñòè çà ðàñòåæ, êàêòî â ñëó÷àèòå, â êîèòî ìðåæà îò âèñîêî èçäèãíàòè êóëè ìîæå äà èçíÿèêíå îò äàäåíî ìÿñòî, êîåòî å áèëî ïðåäè òîâà ïðåäâèäåíî çà òúêàí ñ íèñêî ñòðîèòåëñòâî èëè çàñòðîÿâàíåòî, èëè äà èç÷åçíå â îòâîðåíîòî çà ïàðê ïðîñòàíñòâî. Ãðàäîóñòðîéñòâåíèÿò ïëàí ïðåäñòàâëÿâà ïî òîçè íà÷èí åäíà äèíàìè÷íà ñèñòåìà, êîÿòî ïîðàæäà ïðèñïîñîáÿâàùà ñå ðàìêà çà ãðàäñêàòà ôîðìà, áàëàíñèðàéêè íóæäàòà îò õàðàêòåðåí îáðàç è íîâàòà ñðåäà ñ ÷óâñòâèòåëíà èíòåãðàöèÿ íà íîâèÿ ãðàäñêè ó÷àñòúê êúì ñúùåñòâóâàùèòå îêîëíîñòè.

Ãðàäîóñòðîéñòâåí ïëàí íà “Îëåáåàãà” Áèëáàî, Èñïàíèÿ, 2005

Ïðîåêò çà îáíîâÿâàíå íà ãðàäîóñòðîéñòâåí ïëàí, âêëþ÷âàù ïðåóñòðîéñòâîòî íà ìåñòíàòà îêîëíîñò, ïðåíàðåæäàíå íà æåëåçîïúòíèòå ëèíèè è íîâè ñúîðúæåíèÿ çà ñìåñåíî ïîëçâàíå, îñâåí òîâà ðàçðàáîòâàíå íà ïðîáåí ñöåíàðèé çà ïðåìåñòâàíå íà ôóòáîëåí ñòàäèîí è

âìúêâàíå íà ìàãèñòðàëåí ïúò. Ïëàíèðàíåòî íà Îëåáåàãà è Ñàí Ìàìåñ ïðåäñòàâëÿâà óíèêàëíî ïðåäèçâèêàòåëñòâî çà Áèëáàî è îêîëíàòà îáëàñò ïî Áèñêàéñêîòî êðàéáðåæèå. Äîêàòî ñòðúìíàòà òîïîãðàôèÿ ãî ïðàâåøå åñòåñòâåíà ãðàíèöà íà öåíòðàëíàòà ãðàäñêà ìðåæà îò 19-òè âåê íàñàì, ñåãà òîçè ðàéîí çàåìà êëþ÷îâà ïîçèöèÿ çà óãîëåìÿâàùîòî ñå ÿäðî íà ìåòðîïîëèòåíà Áèëáàî íà ëåâèÿ

áðÿã íà ðåêàòà. Öåíòúðúò íà òåæåñòòà íà öåíòðàëíàòà ãðàäñêà ÷àñò ñå îòìåñòâà êúì Ñàí Ìàìåñ ñ ïëàíóâàíîòî ðàçðàñòâàíå íà îáùèíèòå íàäîëó ïî òå÷åíèåòî ïðåç 21 âåê è òàçè ïëîù ñåãà ñå íàìèðà íà ïðåñå÷íàòà òî÷êà íà âúëíóâàùèòå íîâè òåíäåíöèè è îñèòå íà ðàçâèòèå íà ãðàäà. Ïëîùòà ùå òðÿáâà äà íàìåðè ñâîÿòà èäåíòè÷íîñò ñðåä ìíîãîáðîéíèòå ëèíèè íà òðàíñïîðòíàòà èíôðàñòðóêòóðà è êðúñòîñâà-

ùè ñå äèàãðàìè íà ðàçðàñòâàíå íà ãðàäà. Ñåðèÿ îò ðàáîòíè ñúâåùàíèÿ íà ìíîæåñòâî îðãàíèçàöèè öåëÿõà äà ñå èçÿñíÿò ðåñóðñèòå çà íåïðåîäîëèìèÿ, òðèèçìåðåí ïîäõîä ïðè ñúçäàâàíåòî íà íîâà ãðàäñêà ìîðôîëîãèÿ çà òàçè ïëîù. Ñúùåñòâóâàùèòå ñõåìè â ãðàäñêàòà òúêàí íà îáùèíèòå íà áðåãîâàòà ëèíèÿ íà ïî-íèñêèÿ ñêëîí íà õúëìèñòàòà ñòðàíà ìîãàò äà áúäàò ðàçïðîñòðÿíè â

98 ïðåñè÷àùà ñå ìðåæà îò óëèöè è ïúòåêè çà ïðåîäîëÿâàíå íà òðóäíîñòèòå ìåæäó ñòðúìíèÿ òåðåí è öåíòðàëíàòà ãðàäñêà ÷àñò íàä íåãî. Åñòåñòâåíè öåïíàòèíè â ãðàäñêàòà òúêàí ïðåäïîëàãàò ñâúðçâàíåòî íà îòäåëíèòå ïëàòà ïîñðåäñòâîì åçèêà íà ëîêàëíè ïúòåêè. Ðàç÷óïâàíåòî íà ëèöåâàòà ñòðàíà íà ñãðàäèòå íàäîëó ïî ñêëîíà ïîêàçâà êàê áúäåùàòà àðõèòåêòóðà ìîæå äà îòãîâîðè íà åñòåñòâîòî íà ñêëîíà, îñòàâÿêè ìÿñòî çà äâèæåíèåòî è ïîðåäèöà îò äæîáåí ôîðìàò îòâîðåíè ïðîñòðàíñòâà. Ïëàâíàòà êðèâà íà õúëìèñòàòà ñòðàíà è ðåêàòà ïðåäëàãàò çíà÷èòåëåí ïîòåíöèàë çà îâëàäÿâàíå íà

ìíîæåñòâî ïàíîðàìíè ãëåäêè è íàøèÿò ìîäåë ïîêàçà êàê òîçè ïîòåíöèàë ìîæå äà áúäå ñúõðàíåí è ÷ðåç ìðåæàòà îò óëèöè, è ÷ðåç ñãðàäíàòà ìîðôîëîãèÿ.  äîáàâêà, òàçè ãðàäñêà òúêàí ìîæå äà ïðèþòè ãëàâíàòà èíôðàñòðóêòóðíà ïðîìÿíà, äà íàïðàâè âúçìîæíî åäíî ïðåóñòðîéñòâî â ãîëÿì ìàùàá è äà ïîäïîìîãíå åôåêòèâíîòî âêëþ÷âàíå íà ãëàâíèòå èíñòèòóöèè è ñòðóêòóðè â ðàéîíà â åäíà íåïðåêúñíàòà ëîêàëíà ñõåìà. Ïëàíèðàíåòî íà Îëåáåàãà è Ñàí Ìàìåñ èçòúêíà êàêâî äîïðèíàñÿ åäíî èçñëåäâàíå ïî ñúùåñòâî êúì óðáàíèñòè÷íîòî ðàçâèòèå. Ïðåäèøíèòå óñèëèÿ çà

äâóìåðíî ïëàíèðàíå íà òàçè ïëîù ïðåäëàãàõà ðàçïðîñòèðàíå íà öåíòðàëíàòà ãðàäñêà ÷àñò ñàìî çà ñìåòêà íà ðàçðóøàâàíå íà ñúùåñòâóâàùèÿ êâàðòàë è ó÷àñòúöèòå åñòåñòâåíà ïðèðîäíà ñðåäà, êàêòî è íà èñòîðè÷åñêè öåííîñòè. Òðèìåðíîòî ïðîó÷âàíå íà ïàðöåëà ðàçêðè íàáîð îò ñöåíàðèè çà ïðèñïîñîáÿâàíå íà èíôðàñòðóêòóðíàòà ïðîìÿíà, ïîäêðåïÿéêè ñúçäàâàíåòî íà èíòåíçèâíà ãðàäñêà ñðåäà è äåôèíèðàéêè áîãàòà èäåíòè÷íîñò íà ìåñòíîñòòà, êîèòî ïðåäëàãàò íåïðåêúñíàòîñò â èñòîðè÷åñêîòî é ðàçâèòèå è çàïàçâàò ïðèðîäíèÿ é õàðàêòåð. Òîâà ïîçâîëè íà âçåìàùèòå ðåøåíèå ïîëè-

òèöè è íà ïðîó÷âàòåëíèòå îðãàíèçàöèè äà íàïðàâÿò äîáðå èíôîðìèðàí èçáîð èçìåæäó íàáîð îò ñöåíàðèè çà ðàçâèòèå, èìàùè ïîòåíöèàë çà êîíñåíñóñ. Âìåñòî äà îáñúæäà ìîäåë òèï çàïàçâàíå/çàãóáâàíå íà êà÷åñòâà, èçáèðàéêè çàñòîé â ðàçâèòèåòî íà ãðàäà èëè äåñòðóêòèâíî ïðåóñòðîéñòâî, âíèìàíèåòî áå íàñî÷åíî êúì ñúùåñòâåíèÿ ïîòåíöèàë íà ïàðöåëà è àðõèòåêòóðàòà, ñúçäàäîõà ñå íÿêîëêî ïðîñòðàíñòâåíè ðúêîâîäíè ëèíèè, õàðàêòåðíè çà åäíà ãëåäàùà íàïðåä óðáàíèçàöèÿ, çàïàçâàéêè ñúùåñòâóâàùîòî áîãàòñòâî íà õàðàêòåðà íà òîâà ìÿñòî.

Ãðàäîóñòðîéñòâåí ïëàí + çà ONE-NORTH, Ñèíãàïóð, 2001-2021

Âúçìîæíîñòòà çà ãðàäîóñòðîéñòâåíà àðõèòåêòóðà, êîÿòî ðàçðàáîòâà ïðîñòðàíñòâåí ðåïåðòîàð è ìîðôîëîãèÿ íà åñòåñòâåíè ïåéçàæíè ôîðìàöèè, å ïîñòîÿííà òåìà â òâîð÷åñêàòà êàðèåðà íà “Çàõà Õàäèä Àðõèòåêòñ” çà âå÷å áëèçî 20 ãîäèíè. Íàèñòèíà îùå â ïúðâèÿ ìîìåíò íà ìåæäóíàðîäíî ïðèçíàíèå îáùåñòâåíîñòòà áåøå âå÷å èíôîðìèðàíà çà åäíà ïðîäóêòèâíà àíàëîãèÿ ñ ïåéçàæíèòå îñîáåíîñòè, â òîçè ñëó÷àé ñ ãåîëîãè÷íà ôîðìà: ñïå÷åëèëàòà êîíêóðñà çàÿâêà çà íàé-âèñîêàòà òî÷êà íà Õîíã êîíã ïðåç 1982 ã. Òîâà ïðåäëîæåíèå çà ãðàäîóñòðîéñòâåí ïëàí ñ õóáàâè ãëåäêè ïðèëîæè çà ïúðâè ïúò ñõâàùàíåòî çà èçêóñòâåíà ïåéçàæíà ôîðìàöèÿ çà ðàç÷ëåíÿâàíåòî íà öÿë ãðàäñêè êâàðòàë. Ïðåäèìñòâàòà íà åäèí òàêúâ ñìåë õîä ñà ïîðàçÿâàùè: Ñèëíî óñåùàíå çà èäåíòè÷-

íîñò: Ñõåìàòà ïðåäëàãà îðèãèíàëåí ãðàäñêè ñèëóåò è õàðàêòåðíà ïàíîðàìà, âèäèìà è îòâúí - îò ïàðêà â ñúðöåòî íà íîâèÿ ãðàäñêè êâàðòàë. Ãîëÿìîòî ðàçíîîáðîçèå îò ïëîùàäè è àëåè ïîðàæäà óñåùàíå çà ïîâå÷å ìÿñòî â ðàçëè÷íèòå ìèêðîñðåäè. Åäèíñòâî â ðàçëè÷èÿòà: Ñõâàùàíåòî çà ëåêî, ïîäîáíî íà äþíè, íàãúâàíå íà ãðàäñêàòà ìåãàôîðìà äàâà óñåùàíå çà ïðîñòðàíñòâåíà ñúãëàñóâàíîñò, êîÿòî ñòàâà âñå ïî-ðÿäêî ÿâëåíèå â ìîäåðíèòå ìåãàïîëè. Ðåãóëèðàíåòî íà ñãðàäèòå ïî âèñî÷èíà å íîðìàëíà è ëåñíà çà âúâåæäàíå ïëàíîâà ïðîöåäóðà. Ìîùíèÿò åñòåòè÷åñêè ïîòåíöèàë, êîéòî ëåæè ñêðèò â òîâà îðèãèíàëíî ñðåäñòâî çà ïëàíèðàíå, íå å áèë íèêîãà åêñïëîàòèðàí ïðåäè òîâà. Íåîáè÷àéíàòà ñòåïåí íà åñòåòè÷åñêî ñöåïëåíèå è åäèíñòâî å ïîñòèãíàòà ÷ðåç ïîçâîëåíèåòî äà áúäàò ñúåäèíÿâàíè ïîâúðõíîñòèòå íà ïîêðèâèòå òàêà, ÷å äà îáðàçóâàò åäíà ìåêî ìîäóëèðàíà ïîâúðõíîñò.  ñúùîòî âðåìå îãðîìíî ðàçíîîáðàçèå îò ñãðàäíè îáåìè - âèñîêè, íèñêè, øèðîêè, ìàëêè - å âíåñåíî ñ î÷àðîâàíèåòî íà åäíà îáåäèíÿâàùà ñèëà. Èíòåãðèðàíà ðàçíîðîäíîñò: Íåæíî ëþëååùèÿò ñå ìîòèâ îò ëèíèè, êîèòî äåôèíèðàò óëèöè, ïúòåêè, êàêòî è ñãðàäíàòà òúêàí, ïîçâîëÿâà ïîñðåäíè÷åñòâîòî è èíòåãðèðàíåòî íà ðàçëè÷íè ðàçíîðîäíè ãðàäñêè ìðåæè íà ñúñåäíèòå ïëîùè. Ìîòèâúò ñ êðè-

âè ëèíèè ìîæå äà ïîåìå è õàðìîíèçèðà âñè÷êè îòêëîíÿâàùè ñå îò êîíòåêñòà îðèåíòàöèè. Ãúâêàâîñò áåç õàîñ: Ïðåäëàãàíàòà ìîðôîëîãè÷íà ñèñòåìà ïîçâîëÿâà áåçêðàéíî ìíîãî âàðèàöèè â ãðàíèöèòå íà ñèëíà ñâúðçàíîñò è çàêîíîìåðíîñò. Òîâà å ãîëÿìî ïðåäèìñòâî çà ðàáîòåùèÿ ñ “åñòåñòâåíà” ãåîìåòðèÿ, âìåñòî ñ íÿêàêâà ñòðèêòíà ïëàòîíè÷íà ãåîìåòðèÿ. Ôîðìàòà å “ñâîáîäíà” è ïîðàäè òîâà ïîäàòëèâà íà âñåêè åòàï îò ðàçâèòèåòî ñè, äîêàòî òðàäèöèîííèòå èíòåðïðåòàöèè íà ïëàòîíè÷íè ôèãóðè (êâàäðàòè, êðúãîâå, ñòðîãî ñïàçâàíè îñè è äð.) ñà òâúðäå òî÷íè è ïîðàäè òîâà å âàíäàëùèíà äà áúäàò èçîïà÷åíè è äà äåãðàäèðàò ñ ïî-êúñíèòå èì àäàïòàöèè. Ïðåäëîæåíàòà åñòåñòâåíà ìîðôîëîãèÿ å íå ïî-ìàëêî çàêîíîìåðíà è ñúãëàñóâàíà îò ïëàòîíè÷íèòå ñèñòåìè; íî òÿ å ìíîãî ïî-ãúâêàâà è ïúðãàâà, âèíàãè ñïîñîáíà äà ïðèåìå àäàïòàöèè â ñèñòåìàòà ñè îò åñòåñòâåíà êðàñîòà. Èäåÿòà íà åäíà èçêóñòâåíà ïåéçàæíà ôîðìàöèÿ ñå ïðîÿâÿâà íå ñàìî íà íèâî íà öÿëîñòíàòà ãðàäñêà ôîðìà. Íå ñàìî â ìåãàôîðìàòà, íî è â íÿêîè îò ìèêðîñðåäèòå áè ìîãëî äà ñå ñïå÷åëè îò àíàëîãèÿòà ñ ïåéçàæà.  ÷àñòíîñò, â öåíòðàëíèòå ïëîùè, êúäåòî åäíà îò âúçìîæíîñòèòå çà ðàçâèòèå áè ìîãëà äà áúäå äà ñå âúâåäå ïîâäèãíàòî ïëîùàäíî íèâî, îêîëî 5 ì íàä íèâîòî íà óëèöèòå. Òúé êàòî òåçè ïëîùè

áèõà èìàëè íóæäà äà áúäàò îáñëóæâàíè ñ äîñòúï ïî óëèöèòå çà ïàðêèíãèòå è äîñòàâ÷èöèòå, à â ñúùîòî âðåìå å íàëèöå ñòðåìåæ êúì îæèâåíà ïåøåõîäíà ñöåíà, èçãëåæäà ðàçóìíî äà ñå íàïðàâè äâîéíà ïîâúðõíîñòòà íà òåçè ïëîùè. Òîâà áè ïîçâîëèëî äà ñå äîâåäàò ïîâäèãíàòèòå èçêóñòâåíè ïåéçàæíè ñèñòåìè âúðõó åäíî è ñúùî íèâî ñ ðàâíèíàòà íà ïåøåõîäíàòà êîìóíèêàöèÿ. Òåçè ïîâäèãíàòè ïëîùàäè íå áè ìîãëî äà áúäàò îáøèðíè, ïëîñêè è ïðàçíè ïîëåòà, íî áèõà ìîãëè äà áúäàò ðàçäâèæåíè ÷ðåç òåðàñè è ëåêè íàêëîíè. Òåçè ïîâäèãíàòè çåìíè ïîâúðõíîñòè ùå áúäàò ñâúðçàíè ñ èñòèíñêîòî íèâî íà çåìíèÿ ðåëåô ÷ðåç èíòåðèîðèòå íà ñãðàäèòå, êàêòî è ïîñðåäñòâîì øèðîêè ñòúëáèùà è íåçíà÷èòåëíè ðàìïè â åêñòåðèîðà.  öÿëîñòíîòî òâîð÷åñòâî íà Çàõà Õàäèä èìà ñåðèÿ îò ãðàäîóñòðîéñòâåíè ñõåìè, êîèòî åêñïëîàòèðàò ðàçëè÷íè èçêóñòâåíè ïåéçàæè êàòî ñðåäñòâî äà ñå ñêóëïòóðèðà îáùåñòâåíîòî ïðîñòðàíñòâî è äà ñå íàñèòè òî ñ îáùåñòâåíà ïðîãðàìà. Òåçè ñõåìè ìàíèïóëèðàò è óìíîæàâàò çåìíèòå ïîâúðõíîñòè ÷ðåç íàêëîíè, äåôîðìèðàíå, îòíåìàíå íà çåìíè ìàñè èëè òåðàñèðàíå íà ïîâúðõíîñòòà íà çåìÿòà. Òðè âàæíè ïðåäèìñòâà ìîãàò äà áúäàò ïîñòèãíàòè ÷ðåç òàêàâà ìàíèïóëàöèÿ. Âèäèìàòà îðèåíòàöèÿ â îáùåñòâåíàòà ñôåðà å ïîä÷åðòàíà ïîñðåäñòâîì íàêëàíÿíå íà ðàâ-

99 íèíàòà çà îòêðèâàíå íà ãëåäêàòà è îñèãóðÿâàíå íà âúçìîæíîñò çà ïîãëåä îòãîðå íàä ãîëÿìà ïëîù îò íàëè÷íàòà ñöåíà. Ïîñðåäñòâîì âíèìàòåëíî äèôåðåíöèðàíå íà íàêëîíèòå, áèëàòà, òåðàñèòå è äð. çåìíàòà ðàâíèíà ìîæå äà áúäå èçïîëçâàíà çà õîðåîãðàôèÿ è äâèæåíèÿ ïî êàíàëè ïðåç ðàâíèíàòà ïî áåçïðåïÿòñòâåí è íàñî÷âàù íà÷èí. Ïîâúðõíîñòòà íà ïåéçàæà å áîãàòà íà ëàòåíòíè ìåñòà. Ðàçäâèæâàíèÿ êàòî ïëèòêè äîëèíè èëè õúëìîâå áèõà ìîãëè äà äàäàò ïîäõîäÿù òåðåí çà ñúáèðàíèÿ è äà ñòàíàò òðèáóíè çà ïðåäñòàâëåíèÿ íà îòêðèòî, áåç èíà÷å ïðåäîïðåäåëÿùè èëè ïðåïÿòñòâàùè ïîëåòà.

Vista Xchange (èãðà íà äóìè Vista Exchange, îçíà÷àâàùî Îáìåí íà ãëåäêè) ñúäúðæà åäèíèÿ îò òðèòå åïèöåíòúðà, ïîñòàâÿùè íà÷àëîòî íà ãðàäñêèÿ òåõíîïîë ONE-NORTH (çàäåëåíî ìÿñòî â þæíàòà ÷àñò íà Ñèíãàïóð ñ îòëè÷íè ãëåäêè, ïðåäâèäåíî çà ñúçäàâàíåòî íà íàó÷íîèçñëåäîâàòåëñêè è òåõíîëîãè÷åí ãðàäöåíòúð çà èêîíîìèêà, ñâúðçàíà ñ íîâèòå áèî-òåõíîëîãèè), îïðåäåëåí îò øèðîê íàáîð îò ïðîèçâîäñòâåíè óñëóãè è èíäóñòðèè, ñâúðçàíè ñ íîâàòà èêîíîìèêà. Òàêà èäåíòè÷íîñòòà íà Vista Xchange íÿìà äà áúäå âúçïèðàíà îò ñèíåðãåòèêàòà íà åäíà-

åäèíñòâåíà èíäóñòðèÿ; (ãðàäîóñòðîéñòâåíèÿò) ïëàí çà Vista Xchange êàðà äà èçïúêíå áàëàíñèðàíîòî ïðåïëèòàíå íà êîíòðàñòè ìåæäó ìåñòíîòî èñòîðè÷åñêî íàñëåäñòâî è íîâàòà èêîíîìèêà, ñ öåë äà ðàçäâèæè åäíà âúçìîæíîñò çà ñèëíà èäåíòè÷íîñò. Ïúðâîíà÷àëíèÿò ïëàí çà ONENORTH óòâúðæäàâà ãëàâíàòà óëèöà è ïàðêà êàòî àêòèâíè èçòî÷íèöè çà ïîääúðæàíå æèçíåíîñòòà íà èêîíîìèêàòà, à ñòðàíè÷íèòå óëèöè è ïðåñå÷êèòå ùå äîïðèíàñÿò çà ñëîæíàòà ãðàäñêà åêîëîãèÿ ñúñ ñëîåâè ìîäåëè íà äâèæåíèå è ðàçíîîáðàçåí ñîöèàëåí è èêîíîìè÷åñêè æèâîò. Äèíàìè÷íèÿò ïëàí çà Vista Xchange ÷åðòàå ìðåæàòà íà ONE-NORTH â ðàìêèòå íà ïëîùòà ìó è óñòàíîâÿâà åäíà òðèèçìåðíà ñèñòåìà. Ïëàíúò áàëàíñèðà íàáîð îò ðàçëè÷íè âèäîâå äâèæåíèÿ â óñëóãà íà êà÷åñòâîòî íà öÿëîñòíîòî ïðîñòðàíñòâî è ïðåäëàãà èíñòðóìåíòè çà ñâúðçâàíå íà ñãðàäíîòî íàñëåäñòâî, âúðõîâåòå íà õúëìîâåòå è ïàðêà â òðàíñïîðòíàòà ñèñòåìà è ñ Buona Vista Center, åôåêòèâíî óìíîæàâàéêè îáõâàòà íà äåéíîñòèòå è íàïðàâëåíèÿòà. Òúé êàòî äúëãîñðî÷íèòå ãðàäñêè è èêîíîìè÷åñêè öåëè íà ONE-NORTH çàâèñÿò îò ñîöèàëíèÿ îòçâóê, ïëàíúò çà äâèæåíèå-

òî ñå ôîêóñèðà âúðõó äîñòúïíèòå çà øèðîêàòà ïóáëèêà ìåñòà. Íà ïåøåõîäíîòî äâèæåíèå å äàäåíî òúíêî, íî îïðåäåëåíî ïðåäèìñòâî ïðåä òðàôèêà íà êîëèòå, ïîñòàâåíî å óäàðåíèå íà îáùåñòâåíèÿ òðàíñïîðò. Êîãàòî ñòðîåæúò íà Öåíòúðà Buona Vista áúäå çàâúðøåí â òðåòàòà ôàçà îò ðàçâèòèåòî íà Vista Xchange, òîé ùå áúäå ñúðöåòî íà òîçè ãðàäñêè êâàðòàë. Àíàëîãèÿòà ñúñ ñúðöå å ïîäõîäÿùà, çàùîòî òîé å êîìïàêòåí è ìîùåí, à îùå è îòâîðåí è ñ ãîëÿìà ïðîòåêàåìîñò. Òîé å êîíñòðóèðàí äà ìîæå åôåêòèâíî äà óïðàâëÿâà ìíîãîïîñî÷íîòî äâèæåíèå, à ñúùî è äà ïðèþòè äåìîíñòðàòèâíî ïëúòíàòà êîíöåíòðàöèÿ íà êîðïîðàòèâíè, áèçíåñ äåéíîñòè è óñëóãè íà ONE-NORTH. Êàêòî ìîæå äà ñå âèäè, òîé å ñúñòàâåí îò òðè ïðîñòðàíñòâåíè ïðåäëîæåíèÿ: ïúðâî Buona Vista Center å âúçåë, â êîéòî ñå ðàçêëîíÿâà òðàíñïîðòúò è âçàèìîâðúçêèòå çà òåçè òðàíñïîðòíè åëåìåíòè òðÿáâà äà áúäàò îòâîðåíè è îò÷åòëèâè, èçáÿãâàéêè äîêîëêîòî å âúçìîæíî âúçìîæíîñòòà äà ñå ðàç÷èòà íà îñòàðåëè çà ïðèäâèæâàíå, çàñóêàíè, ñêðèòè âðúçêè. Âòîðî, Buona Vista Center å ïëúòåí, êîìïàêòåí íàáîð îò ÷åòèðè îôèñ-ñãðàäè, ïîñòàâåíè îòãîðå âúðõó òîâà ìÿñòî çà ñìÿíà íà òðàíñïîðòà, êî-

èòî òðÿáâà äà ñâúðæàò íîâèÿ èêîíîìè÷åñêè òåõíîïîë ñ ïî-øèðîêàòà áèçíåñ îáùíîñò íà Ñèíãàïóð. Òðåòî, Buona Vista Center å îáåì ñ ïóáëè÷åí äîñòúï íà ìíîãî íèâà, îðãàíèçèðàù è èíòåãðèðàù òðàíñïîðòà íà áèçíåñ åëåìåíòè. Òîâà òðèìåðíî ãðàäñêî ïðåäâåðèå îðèåíòèðà ñãðàäèòå êúì âñè÷êèòå ÷åòèðè ñòðàíè, ïðèþòÿâàéêè ïîòîöè îò õîðà è ïðåäñòàâëÿâàéêè ñèëåí êîðïîðàòèâåí àäðåñ. Åäíî ïðåääâåðèå å ïîñêîðî ïðèâåòëèâî ìÿñòî, ïðåç êîåòî ñå ïðåìèíàâà, à íå êðàéíà öåë, îñèãóðÿâàéêè ñàìî ìÿñòî çà ïî÷èâêà, äîêàòî ñå ÷àêà ïðåâîçíîòî ñðåäñòâî çà íîâàòà ïîñîêà. Öåíòúðúò Buona Vista öåëè äà ïîñòèãíå òîâà â ãðàäñêè ìàùàá è å ïî-ñêîðî ìÿñòî çà êîëåêòèâíà ïî÷èâêà è àíãàæèìåíòè, íî íå å íàé-äîáðîòî ìÿñòî çà ïàçàðóâàíå. Êà÷åñòâîòî íà âñè÷êè ìàãàçèíè, óâåñåëèòåëíè è çàâåäåíèÿ çà õðàíåíå ñå âúçíàìåðÿâà äà áúäå îáñëóæâàùî, íî íå ïðèâëè÷àùî. Òðèìåðíîñòòà íà ãðàäñêîòî ïðåääâåðèå ïðîäúëæàâà ïîä íèâîòî íà çåìÿòà. Âèçóàëíàòà è ïåøåõîäíà âðúçêà ñà ïîîùðåíè ÷ðåç ñèñòåìà îò ïðåõîäè è ðàìïè, êîèòî ñâúðçâàò íèâîòî çà ïàðêèðàíå è ïðèçåìíîòî íèâî, îêóðàæàâàéêè óñåòà çà îðèåíòàöèÿ.

Ãðàäîóñòðîéñòâåí ïëàí íà ïîëóîñòðîâ Çîðîçàóðå, Áèëáàî, Èñïàíèÿ, 2003

Çàõà Õàäèä çàâúðøè èäåéíèÿ ãðàäîóñòðîéñòâåí ïëàí çà Çîðîçàóðå â Áèëáàî, ñ ïëîù îò 60 õåêòàðà. Ïîëóîñòðîâúò ñ ôîðìà íà ëþëêà ñå ïðîòî÷âà â äúëãà êðèâà ïî ðåêà Íåðâèîí òî÷íî ïðåç ñðåäàòà íà öåíòúðà íà ãðàäà. Òîâà áèâøî ïðèñòàíèùå è èíäóñòðèàëåí êâàðòàë ùå ñå ïðåâúðíå â äîì çà áëèçî 15 000 íîâè æèòåëè è ùå ïðåäëàãà ðàáîòèëíèöè, ëàáîðàòîðèè, ñòóäèà è îôèñè çà îêîëî 6000 ðàáîòíèöè. Çîðîçàóðå å áèë ïî÷òè îò-

êúñíàò îò ñúñåäíèòå îáùèíè ÷ðåç êàíàë, íàïðàâåí äà ðàçøèðè ïðèñòàíèùåòî ïî âðåìå íà ðàçöâåòà ìó è òîçè êàíàë å çàïëàíóâàíî äà áúäå ðàçøèðåí çà öåëèòå íà âîäíèÿ êîíòðîë ïðåç ñëåäâàùèòå ãîäèíè. Òîâà ùå íàïðàâè Çîðîçàóðå îñòðîâ, çàåìàù ñòðàòåãè÷åñêà êëþ÷îâà ïîçèöèÿ â áúäåùîòî ðàçøèðÿâàíå íà ãðàäà è èíòåãðàöèÿòà â ðàéîíà. Àðõèòåêòóðíîòî áþðî “Çàõà Õàäèä Àðõèòåêòñ” îòãîâîðè íà òîâà ïðåäèçâèêàòåëñòâî ÷ðåç åäíà ãðàíäèîçíà ãðàäñêà òúêàí è ñìåë ïîäõîä êúì èíôðàñòðóêòóðàòà è âîäíèÿ ôðîíò, êîåòî ùå èçòúêíå îãðîìíîòî çíà÷åíèå íà åñòåñòâåíîòî è ñòðàòåãè÷åñêî ïîëîæåíèå íà îñòðîâà.

Ïëàíúò ïîçâîëÿâà âúëíóâàùèÿò õàðàêòåð íà òîïîãðàôèÿòà íà îêîëíîñòèòå íà Çîðîçàóðå è øèðîêèÿò çàâîé íà ðåêà Íåðâèîí óìåëî äà ïîâëèÿÿò äîáðå äåôèíèðàíàòà ãðàäñêà ìðåæà íà Áèëáàî. Ïîëó÷åíîòî â ðåçóëòàò íà òîâà ïîäðåæäàíå ñúçäàâà ôèíî ñòðóêòóðèðàíà îñíîâà, çàåìàùà â øèðèíà è äúëæèíà îñòðîâà, ñâèâàùà ñå íà ìåñòà, çà äà ñå ïðèñïîñîáè êúì ìàëêèÿ ìàùàá íà ñúùåñòâóâàùàòà òúêàí èëè ðàçøèðÿâàùà ñå â îòãîâîð íà ïî-îòâîðåíèòå ïðîñòðàíñòâà. Ïî òîçè íà÷èí ãðàäîóñòðîéñòâåíèÿò ïëàí îáõâàùà è èñòîðè÷åñêè ñãðàä, è è ïî-âàæíèòå íîâè èíâåñòèöèè, êàòî ãè ñâúðçâà êúì ùåäðè îáùåñòâåíè

ïëîùè ïîêðàé âîäàòà. Çîðîçàóðå ùå áúäå äîáðå èíòåãðèðàí ñúñ ñúñåäèòå ñè ïî äâàòà áðÿãà íà ð. Íåðâèîí ÷ðåç óäèâèòåëíà ïîðåäèöà îò ìîñòîâå. Òå ùå ïîçâîëÿâàò ñàìàòà ðåêà äà ñòàíå çíà÷èìà ÷àñò îò åæåäíåâíèÿ æèâîò íà ìåñòíèòå îáùèíè ïî áðåãîâåòå íà ðåêàòà. Ðàâíîñòîéíàòà ïî âàæíîñò, ñúùåñòâóâàùà âå÷å â Áèëáàî òðàìâàéíà òðàíñïîðòíà ñèñòåìà ùå áúäå ðàçøèðåíà ïî äúëæèíàòà íà Çîðîçàóðå è èçâúí íåãî, óñòàíîâÿâàéêè öåíòðàëåí ãðúáíàê çà äåéíîñòèòå, èçâúðøâàíè íà îñòðîâà, è ñâúðçâàéêè îáùèíèòå íàäîëó ïî òå÷åíèåòî ñ öåíòúðà íà ãðàäà. Ïëàíúò èìà çà öåë äà ïîñòàâè íàñîêèòå çà ðåãèîíàë-

100 íî èíòåãðèðàí ãðàä, äåôèíèðàéêè íîâè ìîäåëè íà æèâîò è ðàáîòà â êîíòåêñòà íà çíà÷èòåëíî ïî-ñèëíà ëîêàëíà èäåíòè÷íîñò.  ñúðöåòî íà ãðàäîóñòðîéñòâåíèÿ ïëàí çà Çîðîçàóðå åäíà åëåãàíòíà ñèñòåìà îò áëîêîâå îò ñãðàäè ïðàâè âúçìîæíî ïîñòèãàíåòî íà ãëåäêà ñ øèðîê õîðèçîíò è êîëåêòèâíà çåìÿ. Òåçè áëîêîâå ñúñ ñãðàäè ñà êàòî íàáîð “ïëî÷è”, âñÿêà íàä 1000 ì2, êîèòî ïîçâîëÿâàò îôîðìÿíåòî íà çåìÿòà äà îòãîâàðÿ íà çàêðèâåíèÿ ãðúáíàê íà ðåêàòà, ìðåæàòà îò óëèöè è îòìåñòâàùàòà ñå îðèåíòàöèÿ íà ñãðàäèòå îò ãîðíàòà êúì äîëíàòà ÷àñò íà òå÷åíèåòî. Ïî òîçè íà÷èí ïëî÷èòå ïðèäàâàò íà ãðàäîóñòðîéñòâåíèÿ ïëàí öÿëîñòåí åäèíåí âèä, âúïðåêè ÷å ïîçâîëÿâàò ðàçäåëÿíåòî íà êâàðòàëè è êëàñòåðè. Íèâîòî íà ïëàòôîðìàòà, ïðåäâèäåíà çà ðàçïîëàãàíå íà òåçè “ïëî÷è”, áåëåæè êðèòè÷íîòî íèâî çà çàùèòà ïðîòèâ íàâîäíåíèÿ, êàòî â ñúùîòî âðåìå îñòàâÿ ïðîñòðàíñòâî çà ïîäçåìíè ïàðêèíãè. ×ðåç ñâúðçâàíå íà òîâà êðèòè÷íî íèâî ñ ðàçðàáîòâàíåòî íà êëàñòåðè îò ñãðàäè ïðîìåíàäàòà ïîêðàé âîäàòà ìîæå äà ñïàäíå áëèçî äî íîðìàëíîòî íèâî íà âîäàòà, ïîçâîëÿâàéêè íà õîðàòà îò Áèëáàî åäíî ïî-áëèçêî îáùóâàíå ñ ðúáà íà âîäàòà. Ìåæäóâðåìåííî íàä ïëàòôîðìèòå ñãðàäèòå ñà îáúðíàòè ïåðïåí-

äèêóëÿðíî íà íàäëúæíàòà îñ íà ðåêàòà, îòâàðÿéêè ñãðàäíàòà òúêàí òàêà, ÷å âñè÷êè äà ìîãàò äà ñå íàñëàæäàâàò íà ïúòåêèòå è ãëåäêèòå. Áîãàòèÿò ðèñóíúê îò îáùåñòâåíè è ÷àñòíè ïðîñòðàíñòâà, êîéòî âèæäàìå â ïëàíà, ìîæå äà áúäå ïîñòèãíàò ÷ðåç ôèíî äèôåðåíöèðàíå íà íèâàòà, óëåñíÿâàéêè áàëàíñà ìåæäó íóæäèòå îò ëè÷íà ñôåðà è óäîâîëñòâèåòî îò æèâîòà â îáùèíàòà. Öÿëîñòíàòà ñòðóêòóðíà îðãàíèçàöèÿ íà ïëî÷èòå ïîçâîëÿâà ïëúòíîòî çàñòðîÿâàíå íà ñðåäàòà äà ñå ïðèäðóæàâà îò ñèëíî ÷óâñòâî çà ïîðüîçíîñò íà ãðàäñêàòà òúêàí, â êîÿòî áúäåùèòå æèòåëè è ðàáîòåùè â òîçè ðàéîí ùå ñå íàñëàæäàâàò íà áîãàò ãîáëåí îò âúíøíè ïðîñòðàíñòâà. Ïðîìåíàäèòå ïîêðàé âîäàòà, ïàðêîâåòå, öåíòðàëíàòà óëèöà ñ òðè ïëàòíà, ìàëêèòå ïëîùàäè è îáùåñòâåíèòå ãðàäèíè - âñè÷êî òîâà ñå ñâúðçâà çàåäíî, çà äà ñúçäàäå íåîáõîäèìàòà ãðàäñêà ñðåäà çà ñîöèàëåí æèâîò. Ãðàäîóñòðîéñòâåíèÿò ïëàí ïîäïîìàãà ðàçâèòèåòî íà òðè ñâîáîäíî äåôèíèðàíè êâàðòàëà, êîèòî åôåêòèâíî ñå èíòåãðèðàò ñúñ ñúñåäèòå ñè íà äðóãèÿ áðÿã íà âîäàòà, îáðàçóâàéêè çàåäíî ñ òÿõ ïî-ãîëåìè è ïî-ñëîæíè êîìïëåêñíè ãðàäñêè ïëîùè, êîèòî ùå ìîãàò äà ïîñðåùíàò ïðåäèçâèêàòåëñòâàòà íà ðåãèîíàëíèòå èêîíîìè÷åñêè ïðîìå-

íè, íàëè÷íè â öÿëà Åâðîïà. Íàãîðå ïî òå÷åíèåòî ïîëóîñòðîâ Çîðîçàóðå ñå ïîääàâà íà åñòåñòâåíà ãðàäñêà èíòåíçèôèêàöèÿ. Îò äðóãàòà ñòðàíà íà ðåêàòà å ñòàðàòà 19-âåêîâíà ñúðöåâèíà íà Áèëáàî è òàçè ïëîù, ïîðàäè óäîáíîòî ñè ðàçïîëîæåíèå ìåæäó öåíòðîâåòå çà îáó÷åíèå, ìåäèöèíà, áèçíåñ è èíæèíåðèíã, ìîæå äà ñòàíå åäèí èäåàëåí êâàðòàë çà îáðàçîâàíèå è èêîíîìèêà. Çàñòðîåíàòà ãðàäñêà òúêàí òóê ùå áúäå ïî-ÿñíà è ñòåãíàòà, îòêîëêîòî â îñòàíàëèòå äâà êâàðòàëà íàäîëó ïî òå÷åíèåòî, èíòåãðèðàéêè ñúùåñòâóâàùèÿ èñòîðè÷åñêè ôðîíò íà âîäàòà â ñáîðíà òúêàí îò îôèñè è æèëèùíè ñãðàäè. Âúòðåøíè äâîðîâå è îáùåñòâåíè ïàñàæè ùå ñúçäàäàò ïîðüîçíà è çàïëåòåíà ñðåäà, ñâúðçâàùà ñòàðîòî è íîâîòî. Ñðåäíèÿò êâàðòàë îòðàçÿâà îòâîðåíîñòòà íà ïàðê "Ñàðèêî" ïðåç êàíàëà, íàáëÿãàéêè âúðõó ñèëàòà íà ïåéçàæà çà óñòàíîâÿâàíå íà ñèëíà êîõåðåíòíîñò ñðåä èñòîðè÷åñêèòå ñãðàäè îò ìíîãî ðàçëè÷åí õàðàêòåð. Òóê èìà åäèí ñúâñåì ãîëÿì ìàùàá, êîéòî òðÿáâà äà áúäå çàïàçåí â ïî-èíòåðåñíèòå èíäóñòðèàëíè ñãðàäè, òúé êàòî òå ïðåäëàãàò ðàáîòèëíèöè, ñòóäèà è êëàñíè ñòàè çà ïî-íàòàòúøíîòî ðàçâèòèå íà èíäóñòðèÿòà, ñâúðçàíà ñ ìåñòíèòå õóäîæåñòâåíè çàíàÿòè. Ìåæäóâðåìåííî ñúùåñòâóâàùèòå â ñúñåä-

ñòâî ñãðàäè îò ìàëúê ìàùàá, êîèòî ñå ñêóï÷âàò ïî-íàãúñòî îêîëî ìåñòíàòà öúðêâà, çàïàçâàò ñâîÿòà èíòèìíîñò ñðåä äúðâåòàòà íà ñúñåäíèÿ ïàðê, êúäåòî åäèí ìàëúê àìôèòåàòúð ïðåäëàãà ìÿñòî çà ïðåäñòàâëåíèÿ íà îòêðèòî. Êâàðòàëúò å ïîäõîäÿù êàòî öåíòúð çà èçêóñòâà, ñïîðòîâå è íàóêà, ñâúðçâàéêè ñå ÷ðåç åäèí “çåëåí ìîñò” êúì óíèâåðñèòåòà è ïàðê "Ñàðèêî". Îòâîðåíîñòòà íà ìÿñòîòî ñúçäàâà âúçìîæíîñò çà ðàçâèòèå íà ñïîðòíè ñúîðúæåíèÿ, ïðèâëåêàòåëíè çà õîðà îò ïî-øèðîêà îáëàñò, äîêàòî êðàéðå÷íèÿò ïàðê ìîæå äà ïðèþòè âàæíî ëîêàëíî ìÿñòî çà çàáàâëåíèÿ çà îêîëíèòå îáùèíè. Íàäîëó ïî òå÷åíèåòî, íà Çîðîçàóðå ùå èìà êîíöåíòðèðàí ãðàäñêè âúçåë â äúëãîñðî÷íàòà ðåãèîíàëíà ðàçðàáîòêà íà Ðèà, ñ íàáîð îò íîâè ìîñòîâå, ñúçäàâàùè ñúùåñòâåíà ãðàäñêà âðúçêà ìåæäó ñðåùóëåæàùèòå áðåãîâå íà ð. Íåðâèîí. Êâàðòàëúò ñå õàðàêòåðèçèðà ñ òÿñíàòà ñè èíòåãðàöèÿ ñ âîäàòà, ñ ìåñòíèòå äîêîâå çà àêóñòèðàíå íà ìàëêè ÷àñòíè ëîäêè, åçåðöà, êåéîâå è êðàéðå÷íè áàðîâå, êîèòî ùå ñòèìóëèðàò êóëòóðíèÿ îòäèõ çà ïî÷èâêà ïî äúëæèíàòà íà êàíàëà. Çàåäíî êâàðòàëèòå, îñíîâíàòà ôîðìàöèÿ, ïîðîäåíà îò ïëî÷èòå è õîðèçîíòà, ïðåäñòàâëÿâàò åäíà öÿëîñòíà êàðòèíà çà äèôåðåíöèðàíî öÿëî.

Öåíòúð çà èçïúëíèòåëñêî èçêóñòâî â Àáó Äàáè

Çàõà Õàäèä ðàçêàçà ïðåä îáùåñòâåíîñòòà çà ïðîåêòà íà Öåíòúðà çà èçïúëíèòåëñêî èçêóñòâî íà ïðåñêîíôåðåíöèÿ â Àáó Äàáè, ÎÀÅ äíåñ (31 ÿíóàðè 2007 ã.). Îáùàòà ïðåäñòàâà çà Öåíòúðà çà èçïúëíèòåëñêî èçêóñòâî å òîé äà ïðåäñòàâëÿâà åäíà ñãðàäà, âèñîêà 62 ì, â êîÿòî äà ñå ïîìåñòÿò ïåò òåàòðè - çàëà çà ìóçèêà, êîíöåðòíà çàëà, îïåðà, äðàìàòè÷åí òåàòúð è åäíà òåàòðàëíà çàëà çà ðàçíîîáðàçíè ïðåäñòàâ-

ëåíèÿ, êîèòî äà èìàò îáù êàïàöèòåò 6300 ìåñòà çà ñÿäàíå. Öåíòúðúò ìîæå äà ïðèþòè ñúùî è Àêàäåìèÿòà çà èçïúëíèòåëñêî èçêóñòâî. Öåíòúðúò çà èçïúëíèòåëñêî èçêóñòâî â Àáó Äàáè ùå áúäå åäíà îò ïåòòå ãëàâíè êóëòóðíè èíñòèòóöèè, ðàçïîëîæåíè íà ãîëåìèÿ 270 õåêòàðà êóëòóðåí êâàðòàë íà îñòðîâ Ñààäèÿò â Àáó Äàáè, èíâåñòèðàí îò ôèðìàòà çà ðàçâèòèå è èíâåñòèöèè â òóðèçìà â Àáó Äàáè (TDIC). Çàõà Õàäèä îïèñà ïðîåêòà çà Öåíòúðà çà èçïúëíèòåëñêî èçêóñòâî êàòî “åäíà ñêóëïòóðíà ôîðìà, êîÿòî èçíèêâà îò åäíî ëèíåéíîòî ïðåñè÷àíå íà ïåøåõîäíèòå ïúòåêèòå â êóëòóðíèÿ êâàðòàë, ïîñòåïåííî ñå ðàçâèâà â íàðà-

ñòâàù îðãàíèçúì, êîéòî ñå ðàçãðúùà â ìðåæà îò ïîñëåäîâàòåëíè ðàçêëîíåíèÿ. Òúé êàòî íà òîâà ìÿñòî âèíàãè äóõà, àðõèòåêòóðàòà ñå óñëîæíÿâà, ðàçâèâàéêè ñå ïîñòåïåííî âúâ âèñî÷èíà è äúëáî÷èíà, äîñòèãàéêè ìíîãîáðîéíèòå áèëà íà òåëàòà, ïîìåñòâàùè èçïúëíèòåëñêèòå çàëè, êîèòî èçñêà÷àò îò ñòðóêòóðàòà êàòî ïëîäîâåòå íà ãðîçäåòî è ñà íàñî÷åíè íà çàïàä, êúì âîäàòà”. “Öåíòúðúò çà èçïúëíèòåëñêî èçêóñòâî â Àáó Äàáè å åäíî ïðîäúëæåíèå íà äúëãîãîäèøíàòà âðúçêà, êîÿòî ïîääúðæàìå ñ Åìèðàòèòå. Çà íàñ å âèñîêà ÷åñò äà áúäåì ÷àñò îò òîçè ïðîåêò", çàÿâè Õàäèä. Íèå ðàáîòèì â Àáó Äàáè îò ìíîãî ãîäèíè, Ìîñòúò "Øåéõ Çàéåä" áåøå ïëîäîòâîðåí

ïðîåêò çà íàøåòî áþðî è íåãîâîòî ïîñòðîÿâàíå å âå÷å â õîä.” Êóëòóðíèÿò êâàðòàë íà Àáó Äàáè íà îñòðîâ Ñààäèÿò Ôîíäàöèÿòà Solomon R Guggenheim ðàáîòè ñúâìåñòíî ñ Skidmore Owings and Merrill çà ðàçðàáîòâàíåòî íà ãðàäîóñòðîéñòâåíèÿ ïëàí íà îñòðîâ Ñààäèÿò ïî ïîðú÷êà íà Äðóæåñòâîòî çà ðàçâèòèå è èíâåñòèöèè â òóðèçìà íà Àáó Äàáè (TDIC). Íà îñòðîâ Ñààäèÿò, íîâèÿò êóëòóðåí êâàðòàë íà Àáó Äàáè, ñå ïðåäâèæäà ïîñòðîÿâàíåòî íà ïåò èíñòèòóöèè: 1. “Öåíòúðúò çà èçïúëíèòåëñêî èçêóñòâî” ïî ïðîåêò íà àðõèòåêòóðíîòî áþðî “Çàõà Õàäèä Àðõèòåêòñ” 2. “Ìóçåÿò çà ñúâðåìåííî èçêó-

101 ñòâî” (Ãóãåíõàéì â Àáó Äàáè) ïî ïðîåêò íà “Ôðàíê Ãåðè è ïàðòíüîðè” 3. “Ìóçåÿò çà êëàñè÷åñêî èçêóñòâî” ïî ïðîåêò íà “Æàí Íóâåë Ñòóäèî” 4. “Ìîðñêèÿò ìóçåé” ïî ïðîåêò íà Òàäàî Àíäî 5. “Íàöèîíàëíèÿò ìóçåé Øåéõ Çàéåä” (ïðîåêòàíòúò îùå íå å îäîáðåí) Òîìàñ Êðåíñ, äèðåêòîð íà ôîíäàöèÿòà "Ãóãåíõàéì" êàçà ñëåäíîòî: “ Àáó Äàáè èìàõìå êúñìåòà äà îòêðèåì ïàðòíüîð, êîéòî íå ñàìî ñïîäåëÿ íàøèòå âúçãëåäè, íî è ãè äîðàçâèâà. Ïëàíîâåòå çà îñòðîâ Ñààäèÿò è êóëòóðíèÿ êâàðòàë, ïðåãëåäàíè è äîðàçâèòè îò ïðàâèòåëñòâîòî íà Àáó Äàáè, ñà äîñòà ïðîñòè è íåîáè÷àéíè. Êîãàòî òîâà îáøèðíî è âñåîáõâàòíî òâîðåíèå íà âúîáðàæåíèåòî áúäå ðåàëèçèðàíî, òî ùå ïîñòàâè íîâ ñòàíäàðò çà ãëîáàëíà êóëòóðà, êîéòî ùå ðåçîíèðà ïðåç èäâàùèòå äåñåòèëåòèÿ.” Öåíòúð çà èçïúëíèòåëñêî èçêóñòâî â Àáó Äàáè - îáùî ñõâàùàíå çà ïðîåêòà Ñïåöèôè÷íèÿò åçèê íà ôîðìèòå

íà Öåíòúðà çà èçïúëíèòåëñêî èçêóñòâî â Àáó Äàáè å èçâëå÷åí îò íàáîð òîïîëîãèè, ÷èåòî ñúùåñòâóâàíå å äîêàçàíî â îðãàíèçèðàíèòå ñèñòåìè è ðàñòåæà â ñâåòà íà ïðèðîäàòà. Òåçè åñòåñòâåíè ñöåíàðèè ñà ôîðìèðàíè îò åíåðãèÿòà, äîñòàâÿíà â çàòâîðåíè ñèñòåìè, è ïîñëåäâàùîòî é íàìàëÿâàíå, ïðåäèçâèêâàíî îò ðàçâèòèåòî íà îðãàíèçèðàíèòå ñòðóêòóðè â ïðèðîäàòà. “Åíåðãèÿòà” íà Öåíòúðà çà èçïúëíèòåëñêî èçêóñòâî å ñèìâîëèçèðàíà ÷ðåç ïðåîáëàäàâàùà äèíàìèêà â ãðàäñêàòà òúêàí ïî ïðîòåæåíèå íà öåíòðàëíàòà îñ íà ïåøåõîäíèÿ êîðèäîð è ðàçïîëàãàíå íà ïðåäíèÿ ôðîíò íà öåíòúðà ïî êðàéìîðñêà ïðîìåíàäàòà - äâàòà ïúðâè÷íè ïðåñè÷àùè ñå åëåìåíòà íà òîâà ìÿñòî. Çà ðàçðàáîòâàíå íà ïðîñòðàíñòâåíèòå îáðàçè ñà èçïîëçâàíè ïðîöåñèòå, ñèìóëèðàùè ðàñòåæà â íàáîð îò îñíîâíè ãåîìåòðèè è ñëåä òîâà ñà íàñëîæåíè ñ ïðîãðàìíè äèàãðàìè â ñåðèÿ îò ïîâòàðÿùè ñå öèêëè. Ïúðâè÷íèòå êîìïîíåíòè íà òàçè áèîëîãè÷íà àíàëîãèÿ (êëîíè, ñòåáëà, ïëîäîâå

è ëèñòà) ñà òðàíñôîðìèðàíè ñëåä òîâà îò òåçè àáñòðàêòíè äèàãðàìè â àðõèòåêòóðåí äèçàéí. Ñãðàäàòà ñ ïàíîðàìíè ãëåäêè êúì ìîðåòî è íåáåòî íà Àáó Äàáè ùå áúäå ÷àñò îò ïðåäâèæäàíèÿ àíñàìáúë îò èíñòèòóöèè â êóëòóðíèÿ êâàðòàë íà îñòðîâ Ñààäèÿò, êîéòî ñå ïðîñòèðà îò Ìîðñêèÿ ìóçåé â þæíèÿ êðàé è ñâúðøâà ïðè Ìóçåÿ çà ñúâðåìåííî èçêóñòâî íà ñåâåðíèÿ âðúõ íà îñòðîâà. Öåíòúð çà èçïúëíèòåëñêî èçêóñòâî â Àáó Äàáè - ïðîñòðàíñòâåíî ðàçïðåäåëåíèå Öåíòðàëíàòà îñ íà êóëòóðíèÿ êâàðòàë íà Àáó Äàáè å ïåøåõîäåí êîðèäîð, êîéòî ñå ïðîñòèðà îò Íàöèîíàëíèÿ ìóçåé "Øåéõ Çàéåä" êúì ìîðåòî. Òàçè îñ âçàèìîäåéñòâà ñ ïðîìåíàäàòà ïî êðàéáðåæèåòî, êàòî ãåíåðèðà åäíà ðàçêëîíåíà ãåîìåòðèÿ, îò êîÿòî ñå ôîðìèðàò îñòðîâè, èçîëèðàíè è ïðåîáðàçåíè â ñïåöèôè÷íè òåëà, èçãðàæäàùè Öåíòúðà çà èçïúëíèòåëñêî èçêóñòâî, çà äà ïîáèðàò ãëàâíèòå êîíöåíðòíè çàëè. Ïðåäëàãàíèÿò ïðîåêò íà Öåíòúðà çà èçïúëíèòåëñêî èçêóñòâî ñúäúðæà ïåò ãëàâíè èçïúëíèòåëñ-

êè çàëè. Êîíöåðòíàòà çàëà å íàä ïî-íèñêî ðàçïîëîæåíèòå ÷åòèðè òåàòúðà, ïîçâîëÿâàéêè íà äíåâíàòà ñâåòëèíà äà íàâëåçå â èíòåðèîðà è äà ðàçêðèå òåàòðàëíà ãëåäêà êúì ìîðåòî è ëèíèÿòà íà õîðèçîíòà ïðåç îãðîìíèòå ïðîçîðöè çàä ñöåíàòà. Ëîêàëíèòå ïðåääâåðèÿ çà âñåêè òåàòúð ñà îáúðíàòè êúì ìîðåòî è îñèãóðÿâàò çà ïîñåòèòåëèòå ïîñòîÿíåí âèçóàëåí êîíòàêò ñ îêîëíîñòèòå. Ðåñòîðàíòúò îò ñåâåðíàòà ñòðàíà íà ñãðàäàòà ïðåäëàãà øèðîêà, ïîêðèòà ïîêðèâíà òåðàñà, äîñòúïíà ïðåç ñúñåäíèÿ Öåíòúð çà êîíôåðåíöèè íàä ëèðè÷íèÿ òåàòúð. Àêàäåìèÿòà çà èçïúëíèòåëñêî èçêóñòâî å ïîìåñòåíà íàä Åêñïåðèìåíòàëíèÿ òåàòúð â þæíàòà ñòðàíà íà Öåíòúðà, äîêàòî â èçòî÷íàòà “îïàøêà” íà ñãðàäàòà ðàçäðîáåíè ïëîùè ñå âúçïîëçâàò îò ïåøåõîäíèÿ òðàôèê, èçïîëçâàù ìîñòà, ñâúðçâàù Öåíòúðà ñ ãëàâíèÿ ïåøåõîäåí êîðèäîð íà êóëòóðíèÿ êâàðòàë íà Àáó Äàáè íà îñòðîâ Ñààäèÿò.

Êóëè â Áèçíåñ çàëèâà íà Äóáàé

Äèçàéíúò íà Çàõà Õàäèä çà Òàíöóâàùèòå êóëè å îùå åäíî ïîòâúðæäåíèå çà áúðçî ïðîìåíÿùîòî ñå áúäåùå íà Äóáàé. Òðèòå êóëè äîïðèíàñÿò çà ïîêà÷âàíå íèâîòî íà ðàçâèòèå íà ðàéîíà íà çàëèâà. Êóëèòå íàñèùàò õîðèçîíòà ñ ìîùíè åìáëåìàòè÷íè ñèëóåòè. Îáòåêàåìèÿò õàðàêòåð íà êóëèòå å ñúçäàäåí ÷ðåç âúòðåøíî äèíàìè÷íî êîìïîçèðàíå íà îáåìèòå. Êóëèòå ñà ñâúðçàíè âúòðåøíî, çà äà ñïîäåëÿò îáùè åëåìåíòè îò çàäàíèåòî, è ñå çàâúðòàò, çà äà ïîñòèãíàò ìàêñèìàëíè ãëåäêè îò òîâà ìÿñòî ïðåç òÿñíîòî çàëèâ÷å è ñúñåäíèòå ñãðàäè. Êà÷åñòâîòî íà äèçàéíà íà êóëèòå âúçäåéñòâà êàòî ñèìâîë è èêîíà, íàäõâúðëÿùî òåõíèÿ ðàçìåð è ìåñòîïîëîæåíèå. Òåçè êà÷åñòâà ñà ïîëó÷åíè îò ïîä÷åð-

òàâàíåòî íà àðõèòåêòóðíîòî ñõâàùàíå, îò “õîðåîãðàôèðàíåòî” íà åäèí öÿëîñòåí æåñò è “ïðåïëèòàíåòî” ñ ìíîæåñòâîòî õîðà, êîèòî ñòîÿò çàä òÿõ. Îñíîâíàòà èäåÿ å äà ñå ïîÿâè â áúäåùå ñèëóåòúò íà êóëè, ÷èèòî îñòðè âúðõîâå ùå ïîñî÷âàò ñúðöàòà íà íîâèòå êâàðòàëè â ðàìêèòå íà áúäåùàòà ïî-ãîëÿìà ìåòðîïîëíà òåðèòîðèÿ íà Äóáàé. Ïðè ðàçðàáîòêàòà ñå èìà ïðåäâèä, ÷å ïàðöåëúò îò áèçíåñ çàëèâà ùå îñòàíå çàáîäåí â ïðîåêòèðàíîòî ðàçøèðåíèå íà ïúòÿ è èíôðàñòðóêòóðíàòà ìðåæà íà óãîëåìåíàòà ïëîù íà ìåòðîïîëà. Íîâèòå ïåøåõîäíè ïúòèùà è ïúòèùàòà çà ìèíàâàíå ïîä è îêîëî êóëèòå, ùå âîäÿò õîðàòà äèðåêòíî îò ïúòÿ "Øåéõ Çàéåä" ïðåç ìðåæà îò ãëàâíè è âòîðîñòåïåííè ïúòíè àðòåðèè è áóëåâàðäè. Ñâúðçàíîñò è ïóáëè÷íî ïðîñòðàíñòâî Ïàðöåëúò å ñúñòàâåí îò ÷åòèðè ðàçëè÷íè ÷àñòè: (À) öåíòðàëåí êðúãúë ó÷àñòúê; (Â) íàäëúæåí ïàðê; (Ñ) ïîâúðõíîñò âúðõó òåñíî çàëèâ÷å ïî îñòà îò ÷àñò (À) è (D) ïðàâîúãúëåí ó÷àñòúê ïðåç çàëèâ÷åòî íà çàïàäíèÿ áðÿã. Ñâúðçàíîñòòà

ìåæäó îòäåëíèòå ÷àñòè å îò ïúðâîñòåïåííà âàæíîñò â òîçè ïðîåêò; öåëòà å äà ñå ñúçäàäå ðàçäâèæåí äèçàéí, êîéòî äà îáõâàùà êàêòî ðàçìåðà, òàêà è ðàçëè÷íèòå êà÷åñòâà íà âñÿêà îò ÷àñòèòå, ïðåâðúùàéêè ãè â åäíà êîõåðåíòíà ñõåìà. Êðúãëàòà ôîðìà íà ïàðöåëà è ïðèêà÷åíèòå òðàíñïîðòíè öèðêóëÿðíè òðàñåòà ñúçäàâàò áàðèåðà çà òðàíñïîðòíèÿ òðàôèê îêîëî ïàðöåëà, ñúçäàâàéêè îñòðîâ, êîéòî îòäåëÿ ïàðöåëà îò ïðîìåíàäàòà ïî êðàéáðåæèåòî. ×ðåç âêëþ÷âàíå â äèçàéíà íà äâà íîâè ñâúðçâàùè ìîñòà è íîâà ÷àñò òâúðäà çåìÿ ïðîåêòúò åôåêòèâíî óâåëè÷àâà ïîòåíöèàëà è ñâúðçàíîñòòà íà òîâà ìÿñòî, ñâúðçâàéêè ïàðêà íà èçòîê ÷ðåç êóëèòå ñ áðåãà íà âîäàòà â çàïàäíèÿ êðàé íà çàëèâ÷åòî. Çàäàíèåòî çà îáùåñòâåí è ÷àñòåí æèâîò å àêòèâíî ñðåäñòâî çà âäúõâàíå íà æèâîò â ïðîñòðàíñòâîòî, îáåäèíÿâàéêè íîâè ñëîåâå àêòèâíîñò è ïåéçàæ, ñúçäàâàéêè ñèíåðãåòè÷íà ìðåæà, êîÿòî ìîæå äà áúäå èçïîëçâàíà çà ðàçðàáîòâàíåòî íà íîâà ãðàäñêà ñðåäà. Êàòî öÿëî, çàäàíèåòî áåøå àäðåñèðàíî äà èìà òðèòå êóëè, ñúîò-

âåòâàùè ïðÿêî íà òðèòå îñíîâíè ôóíêöèè: îôèñè, õîòåëè è æèëèùà. Çàåäíî, êóëèòå ïðåäñòàâëÿâàò êðèòè÷íà ìàñà çà âúçìîæíîòî ïîääúðæàíå íà âðúçêèòå, ïîñî÷åíè â çàäàíèåòî. Êóëèòå ñïîäåëÿò îáùà áàçà/ïîäèóì, ïðîåêòèðàíà êàòî ìàòåðèàëèçèðàíà ñÿíêà íà êóëèòå è âêëþ÷âàùà çàäàíèåòî çà òúðãîâñêà ÷àñò, ðåñòîðàíòèòå è ìåñòàòà çà îòäèõ è çàáàâëåíèå, êîåòî ïîäêðåïÿ èçèñêâàíåòî êóëèòå äà ñà ñâúðçàíè äâå ïî äâå, êóëàòà ñ îôèñèòå è êóëàòà ñ õîòåëà - â îñíîâàòà, à êóëàòà ñ õîòåëà è êóëàòà ñ æèëèùàòà - â ãîðíàòà ÷àñò. Âúïðåêè òîâà ñúñåäñòâî, êóëèòå ñà îðãàíèçèðàíè ñòðàòåãè÷åñêè â ñèìâîëè÷íà âðúçêà, ñïîäåëÿéêè íÿêîè ñåãìåíòè îò çàäàíèåòî. Ïðåäèìñòâîòî íà ñâúðçâàíåòî íà òðèòå êóëè â åäèí îðãàíèçúì ïîçâîëÿâà ðàçðàáîòêàòà äà áúäå îæèâåíà â öåëîäíåâåí öèêúë: çàêîòâåíè â æèâååùîòî òóê íàñåëåíèå, ìóòèðàéêè ïðåç ìíîãîîáðàçèåòî îò ïîñòîÿííî ñìåíÿùîòî ñå íàñåëåíèå íà õîòåëà. Õåòåðîãåííàòà ñìåñ íà íàñåëåíèåòî ñúçäàâà êîñìîïîëèòíà ãðàäñêà ñðåäà, ïîñòîÿííî çàðåæäàéêè ÿ ñ åíåðãèÿ è îáíîâÿâàéêè ÿ ÷ðåç ñâîÿ ñîáñòâåí æèâîò.

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Nuragic è ìóçåé çà ñúâðåìåííî èçêóñòâî, Êàãëèàðè, Èòàëèÿ, 2006

Ãðàäîóñòðîéñòâåíà ñòðàòåãèÿ Öåëòà íà ïðîåêòà å äà ñúçäàäå åäíà âúçëîâà òî÷êà çà êóëòóðåí îáìåí, êîÿòî ñúùåâðåìåííî äà ñëóæè êàòî çàáåëåæèòåëíîñò, îáÿâÿâàùà èçïëóâàíåòî íà Êàãëèàðè îò ìîðåòî, è äà îòãîâîðè íà ïåòòå èçèñêâàíèÿ, óêàçàíè â ïèñìîòî. ×ðåç âçàèìîâðúçêàòà ìåæäó âúòðåøíàòà öèðêóëàöèÿ è ïåøåõîäíèòå ïúòåêè è ðåäóâàíå íà îòâîðåíè ïðîñòðàíñòâà è êóõèíè, ñãðàäàòà ñïîäåëÿ ÷îâåøêèÿ ñè ìàùàá ñ ãðàäà. Íåùî ïîâå÷å, òÿ ñå ïîäðåæäà ïî îñ óñïîðåäíà íà ìîðåòî è ïðîñòèðà ðúêàâèòå ñè êúì êâàðòàëà è ñòàäèîíà Ñ. Åëèà, ñâúðçàíà è ñàìàòà òÿ àñèìèëèðàíà îò ìÿñòîòî. Àðõèòåêòóðíà èäåÿ Íîâèÿò ìóçåé å êàòî ïàð÷å êîðàë, ïðàçíî îòâúòðå, òâúðäî è ïîðèîçíî ïî âúíøíàòà ñè ïîâúðõíîñò, ñïîñîáíî äà ïðèþòÿâà êóëòóðíè äåéíîñòè â ïðåêðàñíà è ïðîìåíëèâà ñðåäà, ïðè åäèí íåïðåêúñíàò îñìîòè÷åí îáìåí ñ âúíøíàòà àòìîñôåðà. Ïîíÿêîãà ñãðàäàòà ñå äîáëèæàâà äî çåìÿòà, ñúçäàâàéêè íîâ ïåéçàæ, äîêàòî â äðóãè ìîìåíòè ïðèäîáèâà îãðîìíà ìàñà îïðåäåëÿéêè íîâ ñèëóåò íà õîðèçîíòà. Îòâîðåíîñòòà è äèíàìè÷íîñòòà íà ôîðìèòå ñà ïðîêàðàíè è âúòðå â ñãðàäàòà, êúäåòî öèðêóëàöèÿòà íà ïîñåòèòåëèòå ïðåç èçëîæáàòà, èíôîðìàöèîííèòå è òúðãîâñêè ïúòåêè, îïðåäåëÿò ãåîìåòðèÿòà íà ïðîñòðàíñòâîòî.

Åðîçèÿòà, êîÿòî îôîðìÿ îãðîìíà êóõèíà âúòðå â ñãðàäàòà ðàçäâèæâà îáåìà â ïîñëåäîâàòåëíîñò îò îòâîðåíè ïðîñòðàíñòâà çà èçëîæáàòà, ìåñòà çà ñúáèðàíå íà õîðà è ïëîùàäêè çà èíñòàëèðàíå íà ñúâðåìåííî èçêóñòâî. Òàêèâà ïðîñòðàíñòâà, âèäèìè îò ìíîæåñòâî ãëåäíè òî÷êè, çàäîâîëÿâàò ïåðñïåêòèâàòà è åñòåòè÷åñêèÿ äèàëîã ìåæäó ñúâðåìåííîòî èçêóñòâî è ïðåäìåòè îò åïîõàòà íà Íóðàäæèê (êóëè îò îãðîìíè êàìåííè áëîêîâå ïðåç 6 âåê ïðåäè íîâàòà åðà). Âúòðåøíàòà êóõèíà ïîçâîëÿâà âúçíèêâàíåòî íà äâå íåïðåêúñíàòè êîæè (ìåõîâå), êàòî åäíàòà ñå ñúäúðæà â äðóãàòà. Ìóçåéíàòà ñáèðêà å ðàçïîëîæåíà ìåæäó “âúíøíàòà êîæà” íà ôàñàäíàòà ñèñòåìà è “âúòðåøíàòà êîæà”, ñíàáäåíà ñ ãúâêàâà ñåðèéíà ñèñòåìà íà çàêðåïâàíå è åëåòðèôèêàöèÿ, êîÿòî ïîçâîëÿâà ìíîãîêðàòíî èçïîëçâàíå íà ïîâúðõíîñòèòå/ ñòåíèòå çà èíñòàëàöèè èëè âèäåî ïðîæåêöèè. Ïúòåêè Êîìóíèêàöèÿòà, ñúâðåìåííàòà è èçëîæáàòà Íóðàäæèê, çàåäíî ñ ïåøåõîäíèòå ïúòåêè, ïðåñè÷àùè ñãðàäàòà è ïðåñðåùàùè ñå åäíà äðóãà, ñúçäàâàò ôëóèäíàòà ñòðóêòóðà íà ñãðàäàòà, ïîçâîëÿâàéêè ðàçíîîáðàçíî èçïîëçâàíå è êîíôèãóðàöèè. Âåðòèêàëíèòå è íàêëîíåíè åëåìåíòè íà öèðêóëàöèÿòà ñúçäàâàò çîíè íà èíòåðôåðåíöèÿ è òóðáóëåíöèÿ, ñúçäàâàéêè âèçóàëíà íåïðåêúñíàòîñò ìåæäó ðàçëè÷íèòå ïúòåêè íà ñãðàäàòà. Îáùåñòâåíà ïúòåêà Ïåøåõîäíàòà òúðãîâñêà ïúòåêà ïîçâîëÿâà íà ïîñåòèòåëèòå äà ïðåñåêàò ñãðàäàòà óñïîðåäíî

íà ïúòåêàòà ïîêðàé ìîðåòî. Òÿ ïðåäëàãà â ïîñëåäîâàòåëíî ïîäðåäåíè ïëîùè ìàãàçèí, êíèæàðíèöà, áàðîâå, ðåñòîðàíòè è ñèñòåìè îò ëîæè, êúäåòî ìîãàò äà áúäàò íàñòàíåíè ïðîèçâåäåíèÿ íà èçêóñòâîòî íà îòêðèòî. Èçëîæáåíè ïúòåêè Ïúòåêàòà íà êîìóíèêàöèîííàòà ïëîù å ðàçíîîáðàçåíà ïî ïðîòåæåíèå íà “loggiato” íà ïðèçåìíèÿ åòàæ â íåïðåêúñíàò äèàëîã ñ âúòðåøíèÿ äâîð/ âúíøíàòà êóõèíà. Ïúòåêàòà çà ðàçãëåæäàíå íà èçëîæåíîòî ñúâðåìåííî èçêóñòâî çàïî÷âà îò ïðèçåìíèÿ åòàæ, è ïðåñè÷à ñãðàäàòà äîêàòî ñòèãíå îòâîðåíàòà ëîæà íà ãîðíèÿ åòàæ. Ïúòåêàòà çà ðàçãëåæäàíå íà èçêóñòâîòî Íóðàäæèê çàïî÷âà îò ïðèçåìíèÿ åòàæ, ïëúçãà ñå ìåæäó äâåòå êîæè íà ñãðàäàòà, ïîçâîëÿâàéêè ïî-èíòèìíî ðàçãëåæäàíå íà èçëîæåíèòå ïðåäìåòè áåç äà ñå æåðòâà ãëåäêàòà êúì îãðîìíàòà öåíòðàëíà ÷àñò. Ðàçäåëÿíå íà ôàçè – ìîðôîëîãèÿ è ñòðàòåãèÿ Âèòàëíàòà ìåòàôîðà îáóñëàâÿùà ïðîåêòà çà ìóçåÿ ñòàâà ÿñíà â ïëàíà íà ôàçèòå: êàêòî òîâà ñòàâà ïðè æèâèòå îðãàíèçìè, íàðàñòâàíåòî íà ìóçåÿ ùå ñå ñàìîðåãóëèðà. Òîâà ùå ñå ñëó÷è åñòåñòâåíî êîãàòî áúäàò ïîñòèãíàòè óñëîâèÿ çà âçàèìåí áàëàíñ ìåæäó èêîíîìè÷åñêàòà îáñòàíîâêà è ôèëàíòðîïíàòà è êóëòóðíà ñðåäà. Ôàçà 1 Ôàçàòà ñúñòàâëÿâà ïðèáëèçèòåëíî 50 % îò íîâèÿ êóëòóðåí öåíòúð è âêëþ÷âà ðåàëèçàöèÿòà íà: âñè÷êè ôèíàíñîâî èçãîäíè ïðîñòðàíñòâà; øèðîêè ñáîðíè ïðîñòðàíñòâà âúòðå è íà îòêðèòî: ïðîñòðàíñòâîòî çà îðãàíèçè-

ðàíå íà ðàçëè÷íè ñúáèòèÿ â öåíòðàëíàòà êóõèíà, âúíøíàòà êóõèíà è ñâîäúò èçïîëçâàí çà èíñòàëàöèèòå, çà äà ñå êîðèãèðà õðîíè÷íàòà ëèïñà íà âúçìîæíîñòè çà ñðåùè ñúñ ñúâðåìåííîòî èçêóñòâî è ìëàäè òâîðöè; âñè÷êè äåéíîñòè ñâúðçàíè ñ êîìóíèêàöèÿòà îòäåëíî îò ãîëÿìàòà êîíôåðåíòíà çàëà; âñè÷êè îôèñè, ñ öåë äà ñå çàïî÷íàò âñè÷êè íåîáõîäèìè äåéíîñòè íà ìåíèäæìúíò è ìàðêåòèíã íà ðàçëè÷íèòå îòäåëè íà ìóçåÿ, åäíà ìàëêà, íî âàæíà ÷àñò îò èçëîæáåíîòî ïðîñòðàíñòâî çà ïîðàæäàíå íà ïîíàòàòúøåí èíòåðåñ çà ñúçäàâàíå íà ìÿñòî çà äèàëîã ìåæäó èçêóñòâîòî îò ðàçëè÷íè åïîõè. Ôàçà 2 Óêðåïâàíåòî íà ìóçåéíèÿ êîìïëåêñ âúâ âñÿêÿ íîâà ôàçà òðàíñôîðìèðà ïåéçàæà. Âòîðàòà ôàçà å ñâúðçàíà ñúñ îêîìïëåêòîâàíåòî íà èçëîæáåíîòî ïðîñòðàíñòâî ñ äðóãè ñâúðçàíè ñ íåãî ïðîñòðàíñòâà, âêëþ÷èòåëíî áèáëèîòåêàòà è êîíôåðåíòíàòà çàëà. Òàçè êîíñòðóêöèÿ, ïðèëåïâàùà êúì ñãðàäàòà îò ïúðâà ôàçà, ñå âúçïîëçâà îò ïðåäèìñòâîòî íà ñúùåñòâóâàùàòà ðàçïðåäåëèòåëíà ñèñòåìà, çàâúðøâàéêè ÿ è äîñòàâÿéêè íîâà ôàñàäà íà âõîäíèÿ äâîð. Ôàçà 3 Ôàçà 3 ñúäúðæà ðàçøèðåíèåòî íà ôàçà 2 êúì ãðàäà Êàãëèàðè. Òîâà ùå å èçîëèðàíà ñãðàäà, êîÿòî ùå ïðèþòÿâà èçñëåäîâàòåëñêèòå ëàáîðàòîðèè. Òÿ ùå áúäå ñâúðçàíà êúì îñòàíàëàòà ÷àñò îò ìóçåÿ ÷ðåç “ñâúðçâàù êèëèì”, ñ öåë äà ñå ïðåäëîæè ïðåâèëèãèðîâàíî ìÿñòî êðàé ìîðåòî çà èçïúëíåíèÿ è çà ïðîäóêöèÿòà íà ñúñåäíèòå èçñëåäîâàòåëñêè ëàáîðàòîðèè.

Ãëàâíà êâàðòèðà íà CMA CGM (Ìàëñèëèÿ, Ôðàíöèÿ) 2004-2008 Íîâàòà êóëà íà CMA CGM â Ìàðñèëèÿ, Ôðàíöèÿ, ñå èçäèãà îò ïàðöåëà ïîä ôîðìàòà íà ìåòàëíà îãúíàòà äúãà, êîÿòî áàâíî ñå èçäèãà îò çåìÿòà è ñå óñêîðÿâà äî ïðàâà âåðòèêàëíà ëèíèÿ. Îáåìèòå íà êóëàòà ñà èçãðàäå-

íè îò íÿêîëêî ïîñòåïåííè èëè ðàâíîìåðíî ðàçïðåäåëåíè öåíòðîáåæíè âåêòîðè, êîèòî èçíèêâàò îò èçõîäíàòà òî÷êà â çåìÿòà, ëåêî ñå ïðèáëèæàâàò åäèí êúì äðóã è ñëåä òîâà ñå çàêðèâÿâàò íàñòðàíè êúì ïîñëåäíàòà ñè êî-

îðäèíàòà íà 100 ì íàä çåìÿòà. Òåçè âåêòîðè î÷åðòàâàò ñòðóêòóðíè êîëîíè, êîèòî îïðåäåëÿò è ñà âêëþ÷åíè â äâîéíàòà ôàñàäíà ñèñòåìà. Êóëàòà å àðõèòåêòóðíà èãðà ìåæäó ôèêñèðàíà ñòðóêòóðíà ñúðöåâèíà è òîçè ìàñèâ îò

103 êîëîíè, êîÿòî èãðà ñúçäàâà â ðåçóëòàò åäíà äèíàìè÷íà ñèìáèîçà. Ìàðñèëèÿ, âòîðèÿò ïî ãîëåìèíà ãðàä âúâ Ôðàíöèÿ, å èñòîðè÷åñêè ïðîâàíñàëñêè ãðàä, îðãàíèçèðàí îêîëî åäíà âåêîâíà ïîðòà, ãðàä ñ áîãàòî ìèíàëî îò ìíîãîâåêîâíè êóëòóðè: ôèíèêèéñêà, ãðúöêà è ðèìñêà. Ïîðàäè âîåííîìîðñêàòà èñòîðèÿ íà ãðàäà òàì èìà âúçìîæíîñò äà ñå íàïðàâè âèäèìà îòäàëå÷ åìáëåìàòè÷íà ñãðàäà. Òàçè íîâà êóëà ùå ñúùåñòâóâà êàòî âåðòèêàëíà èêîíà è ùå âçàèìîäåéñòâà ñ õàðàêòåðíèòå ñèëóåòè íà La Major, áàçèëèêàòà Notre Dame de la

Garde, ôîðò St. Jean, è Chateau d’If â ãðàäñêàòà òúêàí íà Ìàðñèëèÿ. Â íåïîñðåäñòâåíà áëèçîñò ñ ìåñòíîñòòà Ìèðàáî ñå ðàçêðèâà ïîëå ñ íåîïðåäåëèìà ñðåäà îò íèñêè ñëåäâîåííè ñãðàäè. Â ãðàäñêè ìàùàá, ïëóâàù îò äâåòå ñòðàíè íàä ìåñòíîñòòà, ñå íàìèðà âèñîê âèàäóêò, êîéòî ñå ðàçêëîíÿâà â çàïàäíèÿ êðàé íà ïàðöåëà. Íîâàòà ðàìïà çà ñëèçàíå, èçãðàäåíà òàì, êúäåòî âèàäóêòúò ñå ðàçöåïâà, ùå äàäå ïðÿê òðàíñïîðòåí äîñòúï äî ìÿñòîòî íà ïðîåêòà. Ðàçïîëîæåíà íåïîñðåäñòâåíî äî ñëèâàíåòî íà òîâà ãðàäñêî äâèæåíèå, íîâàòà

êóëà ùå ïðèâëè÷à âíèìàíèåòî ñ âåðòèêàëíîñòòà ñè è ùå ñúçäàâà õàðàêòåðíà ñïåöèôè÷íîñò, êîåòî ùå ïîñòàâè åäíî âíóøèòåëíî íîâî ïðèñúñòâèå.  îôèñíè êóëè ñòàíäàðòíèÿò àðõèòåêòóðåí ïðîòîêîë ñúçäàâà åäíàêâè ïëî÷è, êîèòî ñå ïîâòàðÿò ìíîãîêðàòíî, çà äà ñå ìèíèìèçèðà ñòðîèòåëñòâîòî è äà ñå ñïåñòÿò ðàçíîñêè. Åòî çàùî ïðèöåëúò íà äèçàéíà îñòàâà îãðàíè÷åí â îáâèâêàòà íà ñãðàäàòà è åâåíòóàëíî â ñêóëïòóðèðàíèÿ âúòðåøåí àòðèóì/ôîàéå.  çàäàíèåòî çà çäàíèåòî íà Êóëàòà íà CMA CGM èìà ñúùåñòâåíî ïîäðàçäåëÿíå, êîåòî ïîäêðå-

ïÿ òàçè “ìîðôîëîãèÿ”: ãîðíèòå åòàæè ñà ïîäîáíè åäíî íà äðóãî îôèñíè ïðîñò-ðàíñòâà, äîãàòî äîëíèòå åòàæè ñúäúðæàò ïðîñòðàíñòâà, êîèòî ïðèêàíâàò êúì íåïðåêúñíàòî õîðèçîíòàëíî ïîäðåæäàíå. Äîëíàòà ÷àñò å îôîðìåíà òàêà, ÷å äà ïîçâîëÿâà ïî-ùåäðî íàñòàíÿâàíå. Êîëîíèòå ñà ðàçïîëîæåíè â åêñòåðèîðà, çà äà ñå ñâåäå äî ìèíèìóì íàðóøàâàíåòî íà îáè÷àéíèÿ ðåä, à çàêðèâåíèòå ïðîôèëè çàåäíî ñúñ ñúðöåâèíàòà ñúçäàâàò òâúðäà ðàìêà è óñåùàíå çà äâèæåíèå è ñâîáîäà, çà åäíà íîâà òîïîëîãèÿ íà êóëàòà.

Ñãðàäàòà íà íîâèÿ Èçñëåäîâàòåëñêè èíñòèòóò çà åíåðãèÿ, ôèíàíñèðàí îò ôèðìà E.ON êúì Òåõíè÷åñêèÿ óíèâåðñèòåò â Ààõåí, Ãåðìàíèÿ, 2006

Ñãðàäàòà íà íîâèÿò ôàêóëòåò çà åíåðãèéíè ïðîó÷âàíèÿ êúì Òåõíè÷åñêèÿ óíèâåðñèòåò íà Ðàéí-Âåñòôàëèÿ â Ààõåí ùå ñå ïîÿâè ìåæäó ñúùåñòâóâàùè æåëåçîïúòíè ëèíèè, ïîêðèòè ñ òðåâà è äúðâåòà ñêëîíîâå è 4-ëåíòîâà ïúòíà àðòåðèÿ. Íàøàòà èäåÿ ðàçãëåæäà íàïðàâëåíèåòî è î÷åðòàíèÿòà íà ïàðöåëà êàòî ãåíåðàòîð çà ïúðâè÷íàòà ôîðìà íà ñãðàäàòà è ñâúðçâà äâàòà ðúêàâà íà óíèâåðñèòåòñêèÿ

êàìïóñ â ïî-ãîëÿì ïðîñòðàíñòâåí çàìàõ. Ñúùåñòâóâà òÿñíà âðúçêà ìåæäó ñòðóêòóðàòà è ôîðìàòà íà íàøåòî ïðåäëîæåíèå çà äâèæåíèå âúòðå â ñãðàäàòà è îêîëî íåÿ, êàêòî è çà äîñòúïà â ñãðàäàòà íà åñòåñòâåíà äíåâíà ñâåòëèíà è âúçäóøíèòå ïîòîöè, îáè÷àéíè çà òîâà ìÿñòî. Ñòðóêòóðíèòå àåðîäèíàìè÷íè âåðòèêàëíè ñòàáèëèçàòîðè (ðåáðà) ïî äúëæèíàòà íà ïîêðèâíîòî òÿëî ïîçâîëÿâàò ìîäóëèðàíåòî íà äíåâíàòà ñâåòëèíà è âúçäóøíèÿ âÿòúðåí ïîòîê íàä ïîêðèâà, òàêà ÷å äà ñå ïîëó÷è ìàê-

ñèìàëíî îñâåòÿâàíå ñ äíåâíà ñâåòëèíà è ïðîâåòðÿâàíå íà âñè÷êè ÷àñòè íà âúòðåøíîñòòà íà ñãðàäàòà. Åäíà äúëãà ïúòåêà âîäè ïîñåòèòåëèòå ñðåä îêîëíèÿ ïåéçàæ äî ãëàâíèÿ âõîä. Îòòóê åäèí ãëàâåí êîðèäîð ïðîäúëæàâà íàâúòðå è ñòàâà öèðêóëàöèîíåí ïàñàæ. Îòäåëåí ïúò, óñïîðåäåí íà ïúòåêàòà ñå ñïóñêà äî ãàðàæà çà ïàðêèðàíå ïî-äîëó. Âúòðåøíèÿò ïàñàæ ðàçäåëÿ ïðîåêòà íà äâà ÿñíî î÷åðòàíè ñåêòîðà, åäèíèÿò å ïðàêòè÷åñêè, ñ ëàáîðàòîðèè è èçëîæáåíî ïðîñòðàíñòâî íà ïîâäèãíàòîòî ïî-ãîðíî íèâî,

îðèåíòèðàíî êúì îòêðèòà ãðàäèíà. Íà ïî-íèñêîòî íèâî å àêàäåìè÷íèÿò ñåêòîð ñ ïåò îòäåëà âêëþ÷èòåëíî åäíà áèáëèîòåêà è ñòàè çà ñðåùè ñ ëèöå êúì æåëåçîïúòíèòå ëèíèè.  äàëå÷íèÿ ñåâåðåí úãúë íà ñãðàäàòà ïîêðèâíàòà îáâèâêà ñå ïîâäèãà, îòáåëÿçâàéêè ïîâðàòíàòà òî÷êà âúâ âúòðåøíèÿ ïàñàæ. Îòâîðåíà ãàëåðèÿ íà äâà åòàæà, ñúñ ñòúëáèùå íà âñåêè êðàé è ðàìïà â ñðåäàòà îôîðìÿò öèðêóëàöèîíåí êîíòóð, ñúçäàâàéêè ïîñòîÿííà ïëàâíîñò íà äâèæåíèåòî ìåæäó ïðàêòè÷åñêèÿ è àêàäåìè÷íèÿ îáåì.

Íîâàòà ãëàâíà êâàðòèðà íà ôèðìà Eusko Tren è ãðàäîóñòðîéñòâåíî ïëàíèðàíå, Äóðàíãî, Èñïàíèÿ, 2004

Ïðåäèçâèêàòåëñòâîòî çà ãëàâíèÿ êîðïîðàòèâåí îôèñ íà ôèðìà "Åóñêî Òðåí" áåøå ñú÷åòàíî ñ íîâà ïîäçåìíà ãàðà è òúðãîâñêî ïðîñòðàíñòâî çà ñúçäàâàíå íà íîâà ãðàäñêà çàáåëåæèòåëíîñò â Äóðàíãî, Èñïàíèÿ. Íîâà-

òà ñãðàäà ïðåäñòàâëÿâà íåùî ïîâå÷å îò çàäîâîëÿâàíå íà ôèçè÷åñêèòå íóæäè íà ôèðìàòà; òÿ ðàçðàáîòâà òåìàòà çà íîâàòà èäåíòè÷íîñò íà ôèðìàòà "Åóñêî Òðåí" è íåéíèÿ èìèäæ, ñèìâîëèçèðàéêè íàðàñòâàíåòî íà èêîíîìè÷åñêèÿ é ïîòåíöèàë è ðàçïðîñòèðàíå íà ïîçèöèèòå é â ðàéîíà è â Åâðîïà. Íîâàòà ñãðàäà ñòàíà ïî òîçè íà÷èí íîâ ñèì-

âîë íå ñàìî çà ôèðìàòà, íî è çà ãðàæäàíèòå íà Äóðàíãî. Ïðåäâèæäà ñå ñòðóêòóðàòà é äà áúäå êàòàëèçàòîð è ôîêóñ çà ïðåîáðàçóâàíå íà ãðàäñêèÿ öåíòúð. Öÿëîñòíîòî ñõâàùàíå å äà ñå ñúçäàäå ñâúðçàí äèçàéí çà ñãðàäè, èçíèêâàùè îò ïðåîáðàçåíàòà çåìíà ïîâúðõíîñò â íà÷àëîòî íà ïàðöåëà. Ñúùåñòâóâàùèòå æåëåçîïúòíè ðåëñè íà íè-

âîòî íà çåìÿòà òðÿáâà äà áúäàò ïðåìåñòåíè è çàìåñòåíè ñ íîâà ìðåæà îò ïîäçåìíè ëèíèè ïðåç Äóðàíãî, ïîçâîëÿâàùà ïîâúðõíîñòòà äà áúäå èçïîëçâàíà çà îáùåñòâåíè òåðåíè. Òðÿáâàøå äà áúäàò âúçñòàíîâåíè ïåøåõîäíè ïúòåêè, êîèòî äà ïðåñè÷àò ïàðöåëà, îáðàçóâàéêè ñâúðçàíà ãðàäñêà òúêàí ñ ìðåæà îò îòêðèòè ïóáëè÷íè ïðîñòðàíñòâà

104 ãðàäèðàíè, ïî òîïîãðàôèÿ è çàñåëâàíå. Ïúòåêèòå ñâúðçâàò ïàðêà äèðåêòíî ñ ãàðàòà è òúðãîâñêèòå ïðîñòðàíñòâà. Ðàçðàáîòåí å ïîäçåìåí ïàðêèíã, êîéòî äà îñèãóðè ïîñòîÿííè ìåñòà çà ïàðêèðàíå çà áëèçêî æèâååùèòå è ïîñåòèòåëèòå ñ äîñòúïè è èçëàçè êúì ñãðàäàòà,

íàïðàâåíè â êëþ÷îâè òî÷êè ïî íåéíàòà äúëæèíà. Âåðòèêàëíèòå ïúòèùà çà äîñòúï ñà ñúçäàäåíè òàì, êúäåòî ïî-âèñîêèòå íèâà íà öèðêóëàöèÿ íà ïåøåõîäöè è êîëè ìèíàâàò îòãîðå íàä ñãðàäàòà íà ïàðêèíãà. Âàæíî ïðè ïëàíèðàíåòî íà ïàðöåëà áåøå êàê äà ñå ïëàíè-

ðàò è ñëåä òîâà ðåàëèçèðàò ïóáëè÷íèòå è ÷àñòíè ïðîñòðàíñòâà. Íàøåòî àðõèòåêòóðíî ïðåäëîæåíèå àêöåíòèðà òåçè ïëîùè ñ ìíîæåñòâî öèðêóëàöèîííè ëåíòè, çàêëþ÷âàùè â ñåáå ñè îáùåñòâåíè ïëîùè ñúñ ñúñðåäîòî÷åíà â òÿõ öèðêóëàöèÿ, è ÷àñòíè ó÷àñòúöè, ñúñåäíè íà ïëàíèðà-

íèòå ïåòíà çà çàñåëâàíå. Òîïîãðàôñêàòà äèôåðåíöèàöèÿ è ïðîìåíèòå â íàäçåìíîòî íèâî ñà ïðèëîæåíè çà ñúçäàâàíåòî íà åñòåñòâåíî ðàçäåëÿíå è ïîçâîëÿâàò îòãîâàðÿùè íà çàäàíèåòî âðúçêè ïðåç ïàðöåëà äî ïàðêèíãà, ñãðàäèòå è ñúñåäíèòå óëèöè.

Ñãðàäà íà Îïåðàòà â Ãóàíãçîó, Êèòàé 2003 -

Ðàçïîëîæåíà ïî äîëíîòî òå÷åíèå íà ðåêà Ïúðë, Îïåðàòà â Ãóàíãçîó ñúñ ñúáóæäàùè íàäåæäè î÷åðòàíèÿ ùå ðåçîíèðà íà âèñîêèòå òîíîâå íà Êèòàéñêàòà îïåðà, â õàðìîíèÿ ñ òåíîðà íà çàïàäíèÿ é ñúáðàò. Òÿ ùå ñòîè ðàìî äî ðàìî ñ ãëîáàëíîòî ñåìåéñòâî íà îïåðèòå îò öÿë ñâÿò êàòî èçðàç íà åäèí çàâåò íà èçêóñòâîòî íà àðõèòåêòóðàòà è êàòî òðàåí ïàìåòíèê íà íîâèÿ ìèëåíèóì. Òîçè óíèêàëåí äèçàéí, èçîáðà-

çÿâàù äâà ãîëåìè ñêàëíè áëîêàáëèçíàöè, ùå ïîä÷åðòàå ãðàäñêàòà ôóíêöèÿ íà îïåðàòà ñ îòâîðåí äîñòúï êúì áðåãà íà ðåêàòà è äîêîâåòå è â ñúùîòî âðåìå ùå ñúçäàäå íîâ äèàëîã ñ ïîÿâÿâàùèÿ ñå íîâ ãðàä. Îòòóê èìåííî ñå íàäÿâàìå äà âèäèì èñòîðèÿòà íà ãðàä Ãóàíãçîó äà ïðîäúëæè ïî ñâîÿ åâîëþöèîíåí ïúò. Ðàçëþëÿíè ñòðóêòóðè ñå èçäèãàò è ïàäàò â ïîäíîæèåòî íà áóë. "Çóÿíã". Íîâè ñòðóêòóðè, ïðèëè÷àùè íà çàïå÷àòàíè â ñúçíàíèåòî îáðàçè íà ñêàëà, îáåäèíÿâàò ñúñåäíè èíñòèòóöèè - ñãðàäàòà íà Îïåðàòà è áúäåùè ìóçåéíè ïëîùè è ïàðöåëè çà ðàçëè÷íè äåéíîñòè â ìåòðîïîëà. Êàòî ïðèäàòúê êúì òóðèñòè÷åñêèÿ ïàðê

íà îñòðîâ Õàéêñèíøà, äâîéíèÿò ñòðîèòåëåí îáåêò ïðåäñòàâëÿâà êîíòóðåí ïðîôèë, ôîðìèðàù ãîëÿì êðàéðå÷åí ôîêóñ çà âíèìàíèåòî íà ïîñåòèòåëèòå íà Îïåðàòà. Ïîãëåäíàòà îòêúì ïàðêà â öåíòúðà íà áóë. "Çóÿíã", ñãðàäàòà íà Îïåðàòà ñúçäàâà âèçóàëíà ïðåëþäèÿ êúì îñòðîâà íà òóðèñòè÷åñêèÿ ïàðê çàä íåÿ. Ñòîåéêè ñðåä íîâèÿ ïåéçàæ â ïîäíîæèåòî íà öåíòðàëíèÿ áóëåâàðä çàä ñãðàäàòà íà Îïåðàòà èëè óñïîðåäíî íà íåÿ, ãëåäêàòà îáõâàùà êàêòî ãðàäñêè, òàêà è êóëòóðíè ñãðàäè â áëèçîñò äî áðåãà íà ðåêàòà, çàåäíî ñ íåáîñòúðãà÷èòå è âèñîêèòå ñãðàäè íà íîâèÿ ãðàä Çóÿíã, ñúçäàâàéêè òåàòðàëåí äåêîð çà ñãðàäà-

òà íà Îïåðàòà. Åäíà âúòðåøíà óëèöà å èçêîïàíà â ïÿñú÷íèòå/ çåìíèòå ôîðìè ïî ïîñîêàòà íà ïðåäëàãàíèÿ áúäåù ìóçåé äî äðóãàòà ñòðàíà íà ïåéçàæíèÿ öåíòðàëåí áóëåâàðä. Êàôåíå, áàð, ðåñòîðàíò è ìàãàçèíè, êîèòî ñà âëîæåíè êàòî ÷åðóïêè â òåçè çåìíè ôîðìè, ñà ðàçïîëîæåíè îò åäíàòà ñòðàíà íà òàçè ïðîìåíàäà çà äîñòúï äî ñãðàäàòà íà Îïåðàòà. Ïîñåòèòåëè, ïðèñòèãàùè ñ êîëà èëè àâòîáóñ, ñòèãàò äî “ñòðúìåí íàêëîí” îò ñåâåðíàòà ñòðàíà íà ìÿñòîòî, íà ïúòÿ "Õóàþ". Îáñëóæâàùèòå îïåðàòà ïðåâîçíè ñðåäñòâà äîñòèãàò ñãðàäàòà íà Îïåðàòà è Òåàòúðà îò äâåòå ñòðàíè íà ïúòÿ "Õóàêñèÿ".

Öåíòúð çà âîäåí ñïîðò â Ëîíäîí, Îáåäèíåíî êðàëñòâî 2005-2008

Àðõèòåêòóðíàòà èäåÿ çà Öåíòúð çà âîäåí ñïîðò â Ëîíäîí å âäúõíîâåíà îò ôëóèäíàòà ãåîìåòðèÿ íà äâèæåùà ñå âîäà, ñúçäàâàùà ïðîñòðàíñòâà è îêîëíà ñðåäà â óíèñîí ñ ïåéçàæà îêîëî ðåêàòà â Îëèìïèéñêèÿ ïàðê. Íàãúíàò ïîêðèâ ñå ïîíàñÿ òúðæåñòâåíî íàãîðå îò çåìÿòà êàòî âúëíà, çàòâàðÿùà â ñåáå ñè ïëóâíèòå áàñåéíè íà öåíòúðà ñ îáåäèíÿâàùèÿ æåñò íà ôëóèäíîñò, êàòî â ñúùîòî âðåìå îïèñâà îáåìà íà áàñåéíèòå çà ïëóâàíå è çà ñêîêîâå âúâ âîäà. Öåíòúðúò çà âîäåí ñïîðò â Ëîíäîí å ïðîåêòèðàí òàêà, ÷å äà èìà ãúâêàâîñòòà äà ïðèþòè ðàç-

ìåðà è êàïàöèòåòà çà Îëèìïèéñêèòå èãðè â Ëîíäîí ïðåç 2012 ã. è â ñúùîòî âðåìå äà îñèãóðÿâà îïòèìàëåí ðàçìåð è êàïàöèòåò çà ïîëçâàíå ñëåä Èãðèòå ïðåç 2012 ã. Öåíòúðúò çà âîäåí ñïîðò â Ëîíäîí å ðàçïîëîæåí â ãðàäîóñòðîéñòâåíèÿ ïëàí çà Îëèìïèéñêèÿ ïàðê. Ìåñòîïîëîæåíèåòî íà ïàðöåëà å â þãîèçòî÷íèÿ êðàé íà Îëèìïèéñêèÿ ïàðê, â íåïîñðåäñòâåíà áëèçîñò äî Ñòðàòôîðä. Íîâèÿò äîñòúï çà ïåøåõîäöè å ïî ìîñòà, îðèåíòèðàí èçòîêçàïàä è íàðå÷åí “Ñòðàòôîðä Ñèòè”, êîéòî ñâúðçâà çàñòðîåíîòî ñåëèùå Ñòðàòôîðä Ñèòè ñ Îëèìïèéñêèÿ ïàðê, ùå ïðåñè÷à íàä Öåíòúðà çà âîäåí ñïîðò â Ëîíäîí. Òîâà ùå îñèãóðè ìíîãî äîáðà âèäèìîñò çà ëèöåâàòà ñòðàíà íà Öåíòúð çà âîäåí

ñïîðò â Ëîíäîí îò öÿëàòà äúëæèíà íà ìîñòà. Íÿêîëêî ïî-ìàëêè ïåøåõîäíè ìîñòà øå ñâúðçâàò ïàðöåëà ñ Îëèìïèéñêèÿ ïàðê íàä ñúùåñòâóâàùèÿ èçêóñòâåí êàíàë. Öåíòúðúò çà âîäåí ñïîðò â Ëîíäîí àäðåñèðà â äèçàéíà ñè ãëàâíèòå ïðîñòðàíñòâà çà ïóáëèêàòà íà èãðèòå â Îëèìïèéñêèÿ ïàðê è ïëàíèðàíåòî íà Ñòðàòôîðä Ñèòè. Òîâà ñà èçòî÷íî-çàïàäíàòà âðúçêà ÷ðåç ìîñò Ñòðàòôîðä Ñèòè è ïðîäúëæåíèåòî íà Îëèìïèéñêèÿ ïàðê ïî ïðîòåæåíèå íà êàíàëà. Öåíòúðúò çà âîäåí ñïîðò â Ëîíäîí å ïðîåêòèðàí âúðõó îðòîãîíàëíà îñ, ïåðïåíäèêóëÿðíà íà ìîñòà Ñòðàòôîðä Ñèòè. Ïî ïðîòåæåíèå íà òàçè îñ ñà ðàçïîëîæåíè òðè áàñåéíà. Áàñåéíúò çà òðåíèðîâêè å ðàçïîëîæåí ïîä

ìîñòà, äîêàòî ñúñòåçàòåëíèÿò è áàñåéíúò çà ñêîêîâå âúâ âîäà ñà â ïëóâíàòà çàëà ñ îãðîìåí îáåì. Öÿëîñòíàòà ñòðàòåãèÿ òðÿáâà äà îáõâàíå îñíîâàòà íà ïëóâíàòà çàëà êàòî ïîäèóì â ñðàâíåíèå ñ îêîëíîñòèòå è äà ñå âêëþ÷è â ìîñòà. Òîçè ïîäèóì ïîçâîëÿâà äà ñå ïîáåðàò ðàçíîîáðàçíè è îòäåëíè ïðîãðàìíè åëåìåíòè â åäèíåäèíñòâåí àðõèòåêòóðåí îáåì, êîéòî èçãëåæäà ïî÷òè èçöÿëî àñèìèëèðàí ñ ìîñòà è ïåéçàæà. Îò íèâîòî íà ìîñòà ïîäèóìúò ñå ïîÿâÿâà èçïîä ìîñòà è ñëèçà êàòî êàñêàäà îêîëî çàëàòà ñ áàñåéíèòå êúì ïî-äîëíîòî íèâî, íèâîòî íà áðåãà íà êàíàëà. Çàëàòà ñ áàñåéíèòå å ïðîåêòèðàíà íàä ïîäèóìíîòî íèâî ÷ðåç ãîëÿì ïîêðèâ, êîéòî ñå îãúâà êàòî äúãà ïî ïðîäúëæåíèå íà

105 ñúùàòà îñ êàòî áàñåéíèòå. Èçïîëçâàíà å äâîéíîèçâèòà ãåîìåòðèÿ çà ñúçäàâàíåòî íà ñòðóêòóðà íà ïàðàáîëîèäíà äúãà, êîÿòî ïðåäñòàâëÿâà õàðàêòåðíàòà îñîáåíîñò íà ïîêðèâà. Ïîêðèâúò å íàãúíàò, çà äà ðàçäåëè

âúòðåøíî âèçóàëíî çàëàòà ñ áàñåéíèòå è äà ñúçäàäå âèçóàëíà ãðàíèöà ìåæäó îáåìèòå íà ïëóâíèÿ áàñåéí è áàñåéíà çà ñêîêîâå âúâ âîäà. Ïðîåêòúò çà ïîêðèâ, çàä îñíîâíàòà ïëóâíà çàëà, îáõâàùà äî

èçâåñòíà ñòåïåí ïîêðèâíîòî ïîêðèòèå íà âúíøíèòå ïëîùè íà êàñêàäèòå è âõîäà íà ìîñòà. Ðàçïðîñòèðàíåòî íà ïîêðèâà âúðõó âõîäà íà ìîñòà îáÿâÿâà ïðèñúñòâèåòî íà Ëîíäîíñêèÿò öåíòúð çà âîäåí ñïîðò, êîãàòî ñå

èäâà îòêúì ïîäñòúïèòå îò Ñòðàòôîðä Ñèòè èëè Îëèìïèéñêèÿ ïàðê. Ñòðóêòóðíî, ïîêðèâúò å ïîäïðÿí íà 3 ãëàâíè ìåñòà. Èíà÷å îòâîðèòå ìåæäó ïîêðèâà è ïëàòôîðìàòà ñà èçïúëíåíè ñúñ ñòúêëåíè ôàñàäè.

MAXXI - Íàöèîíàëåí öåíòúð çà ñúâðåìåííî èçêóñòâî, Ðèì, Èòàëèÿ, 1997-2007 (â ñòðîåæ) Öåíòúðúò çà ñúâðåìåííî èçêóñòâî è àðõèòåêòóðà â Ðèì å ïúðâèÿò íàöèîíàëåí ìóçåé çà ñúâðàìåííî èçêóñòâî â Èòàëèÿ. Íîâàòà èíñòèòóöèÿ å îñíîâàíà ñ ïîñòàíîâëåíèå íà ïàðëàìåíòà, à äèçàéíúò íà ñãðàäàòà å ïúðâàòà êîíêðåòíà ñòúïêà çà ñúçäàâàíåòî íà èíñòèòóöèÿòà.

Åäèí îãðîìåí ãðàäñêè ïàðöåë â êâàðòàë "Ôëàìèíèà" â ñåâåðíèÿ êðàé íà èñòîðè÷åñêèÿ öåíòúð áåøå îïðåäåëåí çà ðàçïîëàãàíå íà ñãðàäàòà. Öåíòúðúò ùå ñúäúðæà ïðîñòðàíñòâà çà ïîñòîÿííè, âðåìåííè èçëîæáè è òúðãîâñêè ãàëåðèè, àðõèòåêòóðåí öåíòúð, öåíòúð çà êîíôåðåíöèè, à ñúùî è áèáëèîòåêà. Ñõâàùàíåòî çà ïðîåêòà ñå îñ-

íîâàâà íà èäåÿòà çà "íàïîÿâàíå" íà ãîëÿì ãðàäñêè ó÷àñòúê ñ ëèíåéíè èçëîæáåíè çäàíèÿ, èçïëèòàéêè ïëúòíà ìðåæà îò ëèíåéíè èíòåðèîðíè è åêñòåðèîíè ïðîñòðàíñòâà. Ïî òîçè íà÷èí èíñòèòóöèÿòà ñå ïðàâè ïîðåñòà (ïðîçðà÷íà) çà ñëó÷àéíèÿ ïîñåòèòåë, ñúçäàâàéêè íàñëàäà çà ìèíóâà÷à è ïðèâëè÷àéêè ãî äà âëåçå.

Íàøèÿò äèçàéí çà Öåíòúðà çà ñúâðåìåííî èçêóñòâî â Ðèì áåøå íàãðàäåí ñ ïúðâà íàãðàäà íà Ìåæäóíàðîäíèÿ êîíêóðñ çà äèçàéí ïðåç ôåâðóàðè 1999 ã. Áÿõìå íàãðàäåíè çà öÿëîñòíîòî àðõèòåêòóðíî è èíæèíåðíî îáñëóæâàíå. Ñòðîåæúò çàïî÷âà ïðåç 2003 ã., à çàâúðøâàíåòî íà ïðîåêòà ñå ïðåäâèæäà çà 2007 ã.

Íîâî ãðàäñêî êàçèíî â Áàçåë, Øâåéöàðèÿ, 2004-2009

Åäèí íîâ Ã-îáðàçåí îáåì îáõâàùà ñúùåñòâóâàùàòà Ìóçèêàëíà çàëà è ñå ñâúðçâà ñúñ çàëà "Õàíñ Õóáåð". Ïî òîçè íà÷èí ïðèäàâàìå íà ãðàäñêîòî êàçèíî åäíà íîâà èäåíòè÷íîñò. Ôàñàäàòà íà ñúùåñòâóâàùàòà Ìóçèêàëíà çàëà, ñúîòâåòíî çàëàòà "Õàíñ Õóáåð", äîìèíèðà ôàñàäíèÿ ôðîíò ïî ïðîòåæåíèå íà óë. "Ùàéíåíáåðã".  ïðîäúëæåíèåòî íà äâåòå ñãðàäè, ñúåäèíåíè ÷ðåç ñúðçâàùà öåçóðà, çàâúðøâà íîâèÿò ñòðîåæ. Íîâèÿò îáåì ïîçâîëÿâà îáà÷å äîñòàòú÷íî îòñòîÿíèå îò îêîëíèòå èñòîðè÷åñêè ñãðàäè. Çàä úãúëà êúì ïåøåõîäíèÿ ïëîùàä êàðòèíàòà ñå ïðîìåíÿ. Òóê òîâà, êîåòî ñëóæè êàòî ïðîäúëæåíèå íà ñúùåñòâóâàùèòå ñãðàäè ïî óë. "Ùàéíåíáåðã", ñå îôîðìÿ ñàìîñòîÿòåëíî êàòî âïå÷àòëÿâàùà ôèãóðà. Ñãðàäíîòî òÿëî ñå ïðåäñòàâÿ êúì ïåøåõîäíèÿ ïëîùàä ñ åäíî äðàìàòè÷íî ðàçãðúùàíå è

ïîñòàâÿ íåçàáðàâèì çíàê â ãðàäñêàòà ñðåäà. Ñ ùåäðà ïðîçðà÷íîñò ïîä ðàçãúðíàòîòî òÿëî íà ñãðàäàòà íèå óñïÿâàìå äà ñúçäàäåì îáîçðèìîñò è åäíà íîâà âðúçêà â òàçè ÷àñò íà ãðàäà îò ïåøåõîäíèÿ ïëîùàä äî Òåàòðàëíèÿ ïëîùàä. Òóê ñå íàìèðà õâúðëÿùèÿò ñå â î÷è íîâ ãëàâåí âõîä íà ãðàäñêîòî êàçèíî. Ïîâúðõíîñòòà íà ïëîùàäà ïðåëèâà ïîä ïëóâàùèÿ îáåì íà íîâàòà ñãðàäà è ñå îãúâà íàä åäíà ðàìïà íàãîðå. Ñêîêúò â íèâîòî íà ïëîùàäà ùå áúäå ïî òîçè íà÷èí îâëàäÿí ïîñëåäîâàòåëíî ÷ðåç åäèí èçêóñòâåí ïåéçàæåí åëåìåíò. Ñòúïàëîâèäíî ìîäóëèðàíàòà ãîðíà ïîâúðõíîñò èçãðàæäà ùåäðî ôîàéå. Ïðèíöèïúò íà îôîðìëåíèå, ëåæàù â îñíîâàòà íà ïðîåêòà, å èäåÿòà çà åäíà õîìîãåííà ïëàñòè÷íà ìàñà, êîÿòî ñå äèôåðåíöèðà è ðàçäâèæâà ÷ðåç îãúâàíèÿ, çàõëóïâàíå (íîâàòà êîíöåð-

òíà çàëà), âêëþ÷âàíèÿ íà “÷óæäè òåëà” (ñòàðàòà ìóçèêàëíà çàëà) è îñòàâåíè ïîä òÿõ êóõèíè (ôîàéå). Ñòàðàòà Ìóçèêàëíà çàëà ùå áúäå îáõâàíàòà Ã-îáðàçíî îò íîâîòî ñãðàäíî òÿëî. Ïðè òîâà ñúùåñòâóâàùèòå èñòîðè÷åñêè ñãðàäè ùå áúäàò îòäåëåíè ÷ðåç åäíà îáèêàëÿùà öåçóðà è ïî òîçè íà÷èí òÿëîòî ùå ñòàíå åäèííî êàòî îáðàç. Òàçè öåçóðà ôîðìèðà ñúùî åäèí âòîðè âõîä êúì ôîàéåòî è Ìóçèêàëíàòà çàëà êúì óë. "Ùàéíåðáåðã". Äðàìàòè÷íîòî ðàçãðúùàíå íà úãúëà ïðåäëàãà îùå åäíà àðõèòåêòóðíà çàáåëåæèòåëíîñò. Ìîíîòîííî ñêóëïòóðèðàíàòà íîâà ñãðàäà ïëóâà ñÿêàø íàä èçêóñòâåíàòà òîïîãðàôèÿ íà ïëîùàäà. Ïîñðåäñòâîì ñðåäñòâàòà íà àðõèòåêòóðíèÿ ñòèë åäíî ãîëÿìî “íàäâèñâàíå” â ãëàâíàòà ôàñàäà ùå áúäå ñúçäàäåíà åäèí ñèëíà îáâèâêà, ðàçäåëÿùà âúòðåøíîòî

ïðîñòðàíñòâî è îáùåñòâåíîòî ïðîñòðàíñòâî íà ïåøåõîäíèÿ ïëîùàä. Ñöåíàòà íà íîâàòà çàëà ùå áúäå èçãðàäåíà êàòî ãîëÿìà âèòðèíà ñ ïîãëåä êúì ïåøåõîäíèÿ ïëîùàä. Ïîãëåäúò îòâúí êúì ïðàçíè÷íî îñâåòåíàòà çàëà ùå îáîãàòÿâà ïëîùàäà è ùå ñúáóæäà æåëàíèå äà ñå ïîñåòè êîíöåðòà. Ïîä çàëàòà ñå îòâàðÿ ãîëÿìîòî ôîàéå êàòî íåïîñðåäñòâåíî ïðîäúëæåíèå íà ïîâúðõíîñòòà íà ïëîùàäà. Ñãðàäàòà âúçäåéñòâà êàòî ÷å ëè çàõëóïâàéêè è ïîâäèãàéêè ëåêî íèâîòî íà ïëîùàäà. Ðàçäâèæåíèòå ïëîùè íà ôîàéåòî ïðåäàâàò ðàçëè÷íèòå íèâà íà êîíòåêñòà ïîñðåäñòâîì åäíà ïîäîáíà íà ïåéçàæåí ðåëåô ìîäóëàöèÿ íà ïîäà, ñúîòâ. òåðàñèðàíå. Îò òåçè ìîäóëèðàíè, òå÷àùè ïîâúðõíîñòè ïðîèçòè÷àò è èçðàñòâàò äâå ãîëåìè ñúðöåâèííè îáëàñòè, êîèòî ïîâäèãàò ëåæàùèòå îòãîðå îáåìè.

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Pierres Vives, Ìîíòïåëèå, Ôðàíöèÿ, 2002-2009

Ñãðàäàòà Pierres Vives íà äåïàðòàìåíò de I’Herault ñå õàðàêòåðèçèðà ñ îáåäèíÿâàíåòî íà òðè èíñòèòóöèè - àðõèâ, áèáëèîòåêà è ñïîðòåí êîìïëåêñ â åäíà îáùà ðàìêà. Òåçè ðàçëè÷íè ÷àñòè íà "àäìèíèñòðàòèâíèÿ öåíòúð" ñà êîìáèíèðàíè â åäíà ñèëíà ôèãóðà, âèäèìà îòäàëå÷ â îêîëíîñòòà. Àêî ñå äîáëèæèì äî ñãðàäàòà, ðàçäåëÿíåòî íà òðè ÷àñòè ñòàâà âèäèìî. Ñãðàäàòà å ðàçðàáîòåíà âúç îñíîâà íà ùàòåëíî ïðîó÷âàíå íà ôóíêöèîíàëíàòà è èêîíîìè÷åñêà ëîãèêà. Ïîëó÷åíàòà â ðåçóëòàò ôèãóðà íàïîäîáÿâà ãîëÿì ñòâîë íà äúðâî, ïîñòàâåí õîðèçîíòàëíî. Àðõèâúò å ðàçïîëîæåí â ñîëèäíàòà îñíîâà íà ñòâîëà, ïîñëåäâàí îò ëåêî ïî-ïîðüîçíà ÷àñò íà

áèáëèîòåêàòà, à îòãîðå ñà ðàçïîëîæåíè ñïîðòíèÿò îòäåë è äîáðå îñâåòåíèòå îôèñè, íà ìÿñòîòî, êúäåòî ñòâîëúò ñå ðàçêëîíÿâà è ñòàâà äîñòà ïî-ëåê. Êëîíîâåòå, ïðîåêòèðàíè âúðõó ãëàâíîòî ñòúáëî, ðàçäâèæâàò òî÷êèòå íà äîñòúï è âõîäîâåòå íà ðàçëè÷íèòå èíñòèòóöèè. Âñè÷êè îáùåñòâåíè âõîäîâå çà ðàçïîëîæåíè íà çàïàäíàòà ñòðàíà, êàòî ãëàâíèÿò âõîä å ïîä îãðîìåí êîíçîëåí íàâåñ; äîêàòî íà èçòî÷íàòà ñòðàíà ñà âñè÷êè ñëóæåáíè âõîäîâå, ò. å. âõîäîâåòå çà ïåðñîíàëà è ðàìïèòå çà òîâàðåíå. Ïî òîçè íà÷èí àíàëîãèÿòà ñúñ ñòâîë íà äúðâî å èçïîëâàíà, çà äà ñå îðãàíèçèðà è ðàçäâèæè êîìïëåêñíîñòòà íà öÿëîñòíîòî “àäìèíèñòðàòèâíî ãðàä÷å”. Ãëàâíèÿò ïúò çà äîñòúï íà ïðåâîçíè ñðåäñòâà - êàêòî çà ïîñåòèòåëè, òàêà è çà ñëóæèòåëè è îáñëóæâàùè ïðåâîçíè ñðåä-

ñòâà, èäâà ïî óë. "Ìàðèóñ Ïåòèïà" è îñèãóðÿâà äîñòúï îò äâåòå ñòðàíè íà ñãðàäàòà. Äîñòúïúò çà ïîñåòèòåëè âîäè äî îáùåñòâåíèÿ ïàðêèíã çà ïîñåòèòåëè ïðåä ãëàâíèÿ âõîä çà ïîñåòèòåëè è ãëàâíîòî ôîàéå. Äîñòúïúò çà îáñëóæâàíå å ðàçïðîñòðÿí ïî äúëæèíà íà îáðàòíàòà ñòðàíà. Òîâà íàäëúæíî ðàçäåëÿíå íà îáñëóæâàíè è îáñëóæâàùè å ïðîêàðàíî è âúòðå â ïðèçåìíèÿ åòàæ ïî öÿëàòà äúëæèíà íà ñãðàäàòà. Ïðåäíàòà ñòðàíà ñúäúðæà âñè÷êè îáñëóæâàùè ôóíêöèè íà òðèòå èíñòèòóöèè, ñâúðçàíè ñ ëèíåéíî ðàçïîëîæåíî âõîäíî ïðîñòðàíñòâî è èçëîæáåíî ïðîñòðàíñòâî â öåíòúðà. Íàä òîâà îáåäèíÿâàùî ïðèçåìíî íèâî òðèòå èíñòèòóöèè ñà ñòðîãî ðàçäåëåíè. Âñÿêà îò òÿõ èìà ñâîé íàáîð îò êîìóíèêàöèè çà âúòðåøíà âåðòèêàëíà öèðêóëàöèÿ. Î÷åðòàíèÿòà íà âñÿêà ÷àñò

ñëåäâàò ñïåöèôè÷íàòà ôóíêöèîíàëíà ëîãèêà íà èíñòèòóöèÿòà. Ïðè ïðèñòèãàíå íà ãëàâíèÿ âõîä ïîñåòèòåëÿò ñà íàñî÷âà îò âõîäíîòî ïðîñòðàíñòâî èëè êúì îáðàçîâàòåëíèòå ïîìåùåíèÿ íà àðõèâèòå íà ïðèçåìíî íèâî, èëè ÷ðåç àñàíñüîðà è åñêàëàòîðèòå - êúì ãëàâíàòà ïóáëè÷íà àðòåðèÿ íà ïúðâî íèâî. Òàçè àðòåðèÿ å ïðîêàðàíà ïî ïðîòåæåíèå íà ôàñàäèòå êàòî ïðåêúñíàòà ñòúêëåíà ëåíòà è ïî íåÿ ñå äîñòèãà äèðåêòíî äî äâåòå ÷èòàëíè íà àðõèâà è áèáëèîòåêàòà. Öåíòðàëíè ïî òàçè àðòåðèÿ è ïîðàäè òîâà ðàçïîëîæåíè â ñúðöåòî íà ñãðàäàòà, ñà ñúîðúæåíèÿòà, êîèòî ñà îáùè çà òðèòå èíñòèòóöèè: àóäèòîðèÿ è ñòàè çà ñðåùè. Òåçè ñïîäåëåíè îáùåñòâåíè ôóíêöèè îôîðìÿò öåíòðàëíèÿ îáåì, êîéòî èçñêà÷à èçâúí ñòâîëà, ñúçäàâàéêè ãîëÿì êîíçîëåí íàâåñ çà ïðèñòèãàùèòå ïîñåòèòåëè.

Áèáëèîòåêà íà Óíèâåðñèòåòà â Ñåâèëÿ

Îáùàòà áèáëèîòåêà è Èçñëåäîâàòåëñêèÿò öåíòúð çà ðåñóðñè ñà çàìèñëåíè êàòî ïðîäúëæåíèå íà ñúñåäíèÿ ïàðê "el Prado de San Sebastian" è êàòî íåïðåêúñíàò îáåì, êîéòî ñå ïîÿâÿâà îò ñàìî ñåáå ñè, ïðîäúëæàâàéêè íàäëúæíî âúðõó òåðåíà, ïðîãðåñèâíî èçäèãàéêè ñå îò ìåê ìàòåðèàë â çäðàâà ïîâúðõíîñò. Ïîëçâàéêè ñòðàòåãèÿ çà ïîäïîìàãàíå íà êóëòóðíè è ðàçâëåêàòåëíè äåéíîñòè çà ñòóäåíòèòå â óíèâåðñèòåòà, íàøåòî ïðåäëîæåíèå òðÿáâà äà ñå õàðåñà íå ñàìî íà ïîñåòèòåëèòå íà "el Prado de San Sebastian", íî è íà 3300 èçñëåäîâàòåëè, ïîëçâàùè ñãðàäàòà, è äà ñòàíå íîâ öåíòúð

çà óíèâåðñèòåòà è çà ãðàäà Ñåâèëÿ. Ñõâàùàíåòî çà óíèâåðñèòåòñêèòå áèáëèîòåêè, îñîáåíî òåçè, êîèòî âíàñÿò íîâà òåõíîëîãèÿ â ïðîöåñà íà èçñëåäâàíå, áåøå ïðîìåíåíî. Íàøèÿò ïðîåêò ïðåäëàãà ÷èòàëíèòå äà ñà ðàçïðåäåëåíè éåðàðõè÷åñêè âúðõó äðóãèòå ïîìåùåíèÿ íà áèáëèîòåêàòà, êîèòî ñòàâàò ïîñòåïåííî ïîÿñíî îòëè÷èìè. Òåõíîëîãè÷íèòå àñïåêòè ñà èçðàçåíè â ïî-ìàëêè ïðîñòðàíñòâà, êúäåòî ïîëçâàòåëÿò ùå áúäå èíôîðìèðàí â åäíà îáñòàíîâêà, â êîÿòî êà÷åñòâîòî íà ïðîñòðàíñòâîòî ñå ñúñòîè â êîìóíèêàöèÿ è ðàçïðåäåëåíèå íà èíôîðìàöèÿòà, êîÿòî òå ãåíå-

ðèðàò; çà ðàçëèêà îò ïðîñòðàíñòâîòî íà ÷èòàëíÿòà, êúäåòî óäîáñòâîòî çà ïîëçâàòåëÿ å îñèãóðåíî îò ãëåäíà òî÷êà íà êîíöåíòðèðàíîòî ÷åòåíå. Ìåñòîïîëîæåíèå Äàäåíèÿò ïàðöåë çà Îáùàòà áèáëèîòåêà è Öåíòúðà çà ïðîó÷âàíå íà ðåñóðñè êúì Óíèâåðñèòåòà â Ñåâèëÿ å ðàçïîëîæåí êàòî îáãðúùàù êðàé íà Óïðàâëåíèåòî íà óíèâåðñèòåòà è ïàðêà "el Prado de San Sebastian". Ïî òàçè ïðè÷èíà ïðîåêòúò âúçíèêíà êàòî ïðîñòðàíñòâåíî ïðîäúëæåíèå íà ïàðêà è íåãîâîòî èíòåãðèðàíå ñúñ ñãðàäàòà. Áóëåâàðä "Carlos V" îò ñåâåðíàòà ñòðàíà íà ïàðöåëà å ìíîãî îæèâåí ñ

êîëè, àâòîáóñè è áúäåùàòà ñòàíöèÿ íà ìåòðîòî "Prado de San Sebastian". Îáðàòíî, îò þæíàòà ñòðàíà óëèöà "Diego Riano", áóëåâàðä "Avenue Portugal" è ïàðêúò, ñà ñðàâíèòåëíî ïî-ñïîêîéíè. Òîâà ïîçâîëÿâà þæíàòà ñòðàíà íà ñãðàäàòà äà áúäå ïðåäîñòàâåíà çà ÷åòåíå, à ñåâåðíàòà - çà ïðîñòðàíñòâà ñ ïîèíòåíçèâåí ïîòîê îò äåéíîñòè. Ïðîåêò Ïðîåêòíàòà ñõåìà å îñíîâàíà íà ïîëóñóòåðåííà ïëàòôîðìà, ïîÿâÿâàùà ñå íàä íèâîòî íà óëèöàòà. Ãàðàæè, ïîìåùåíèÿ ñ ðàñòèòåëíîñò è ðàáîòèëíèöè, ñ âåíòèëàöèÿ è îñâåòëåíèå ÷ðåç âèñîêè ïðîçîðöè ñà ïîìåñòåíè

107 â òàçè ïëàòôîðìà. Îòãîðå âúðõó ïëàòôîðìàòà, ïàðêúò å ïðîäúëæåí äî îáðàçóâàíåòî íà ïóáëè÷íè ïðîñòðàíñòâà, êîèòî ñòàâàò ïðåõîäíè ïëîùè ìåæäó ïàðêà è áèáëèîòåêàòà, ðàçïîëîæåíà íà ãîðíèòå åòàæè. Äîñòúïúò çà ïîëçâàòåëè íà ñãðàäàòà å ïðåç ãðàäèíèòå è ÷åòèðè èçðàñòúêà, êîèòî ñúäúðæàò îáùàòà çîíà, ðåöåïöèÿòà, êîíôåðåíòíàòà çàëà, èçëîæáåíîòî ïîìåùåíèå è êàôåíåòî; âñè÷êè ñà èíòåãðèðàíè ñúñ ñúñåäíèÿ êîíòåêñò íà ïàðêà ‘el Prado’. Òàçè ïðåõîäíà ïëîù

ñúçäàâà âíóøèòåëíî ïðîñòðàíñòâî, êîåòî ïðèâëè÷à è ïðèêàíâà ïîëçâàòåëèòå íà ñãðàäàòà. Ïîðàäè ëèíåéíîñòòà íà ïàðöåëà ñãðàäàòà ñå ïðîñòèðà íàäëúæíî, ïðè êîåòî ÿäðàòà/àñàíñüîðèòå ñà ðàçïðåäåëåíè ïî çàäíàòà ôàñàäà, ïîçâîëÿâàéêè ïðîñòîðíè ãëåäêè êúì ïàðêà "el Prado" çà îáùèòå ïîìåùåíèÿ è ÷èòàëíèòå. Äèçàéíúò íà ñãðàäàòà å îáëàãîäåòåëñòâàí ñ îòâîðåíè ïðîñòðàíñòâà ñ ïàíîðàìíè ãëåäêè. Ãëàâíàòà çàëà íà ðåöåïöèÿ ñå ïðîñòèðà íàãîðå äî ñëåäâàùè-

òå äâå íèâà. Íà ïúðâèÿ åòàæ å ðàçïîëîæåíà ñïåöèàëíàòà îáñëóæâàùà çîíà çà ñúáèðàíå íà íàó÷íà è òåõíè÷åñêà èíôîðìàöèÿ. Ãëàâíèÿò àòðèóì íà òðè åòàæà íà çàëàòà íà ðåöåïöèÿòà ñòàâà ñúðöåòî íà îáùàòà áèáëèîòåêà, êàêòî è íà öåíòúðà çà ïðîó÷âàíå íà ðåñóðñè, ðàçïðåäåëåí â äâåòå êðèëà íà âñåêè åòàæ. Íà âòîðèÿ åòàæ å çîíàòà çà êîíñóëòàöèè, çàëè çà îáó÷åíèå íà ñòóäåíòè è àóäèòîðèÿ çà ëåêöèè ñ 600 ìåñòà, ðàçïîëîæåíà íà òðè íèâà îò òåðàñè êúì öåíò-

ðàëíèÿ àòðèóì, ïîìåñòâàù 20 000 êíèãè. Òàçè çàëà å îñâåòåíà îò äíåâíà ñâåòëèíà, êîÿòî âëèçà ïî îñòà ñåâåð-þã è ïðåç ðàçïðåäåëåíè ïî ôàñàäàòà ïåðôîðàöèè. Îðèåíòàöèÿòà ñåâåð-þã íà ñãðàäàòà å ïðî÷åòåíà ôîðìàëíî ÷ðåç ôàñàäíà îáðàáîòêà è ÷ðåç ãëàâíèÿ îòâîð íà ïîêðèâà, êîéòî ïðåñè÷à ñãðàäàòà. Ñãðàäàòà å èçïúëíåíà ãëàâíî îò áåòîí ñ íÿêîëêî êðèñòàëíè ïåðôîðàöèè, çà äà ñúçäàäå ïðèÿòíà àòìîñôåðíà òåìïåðàòóðà â öÿëàòà áèáëèîòåêà.

Ìîñò "Øåéõ Çàéåä", Àáó Äàáè, Åìèðàò Àáó Äàáè, 1997-2005, â ñòðîåæ

Íàëè÷èåòî íà èçêëþ÷èòåëíî ìîáèëíî îáùåñòâî èçèñêâà íîâ ïúò îêîëî þæíèÿ áðÿã íà çàëèâà, ñâúðçâàù çàåäíî òðèòå åìèðàòñòâà. Ïðåç 1967 ã. áåøå ïîñòðîåí ìîñò ñúñ ñòîìàíåíà äúãà, êîéòî äà ñâúðçâà íîâèÿ ãðàä íà îñòðîâ Àáó Äàáè ñúñ ñóøàòà, ïîñëåäâàí îò âòîðè ìîñò, ïîñòðîåí ïðåç 70-òå ãîäèíè, ñâúðçâàù íàäîëó ïî òå÷åíèåòî þæíàòà ñòðàíà íà îñòðîâ Àáó

Äàáè. Ðàçïîëîæåíèåòî íà íîâîòî (òðåòî) ñëóæåùî çà âõîäíà âðàòà íà îñòðîâà ïðåñè÷àíå, áëèçî äî ïúðâèÿ ìîñò, å êðèòè÷íî çà ðàçâèòèåòî è çàâúðøâàíåòî íà ñèñòåìàòà îò ìàãèñòðàëè. Çàïî÷íàò íà îòêðèòî, ìîñòúò èìà èçãëåäè äà ñòàíå çàáåëåæèòåëíîñò ñàì ïî ñåáå ñè è äà ïîäïîìîãíå áúäåùîòî íàðàñòâàíå íà ãðàä Àáó Äàáè. Ìíîæåñòâî ñúñòàâíè ÷àñòè íà êîíñòðóêöèÿòà ñå íàòðóïâàò íà áðåãà, ïîâäèãàò ñå è ñå “ïðå-

õâúðëÿò” ïðåç äúëæèíàòà íà êàíàëà. Ñòðóêòóðíèÿò ñèëóåò íà ìîñòà ïðåç êàíàëà ÷åðòàå ñèíóñîèäàëíà âúëíîîáðàçíà ôîðìà. Ñóøàòà å ïëîùàäêàòà, êúäåòî ñå ïîÿâÿâàò ñòðóêòóðíèòå åëåìåíòè îò çåìÿòà è êúäåòî ñå äîáëèæàâà ïúòÿ. Ïúòíèòå ïëàòíà ñà ïîäïðÿíè êîíçîëíî îò âñÿêà ñòðàíà íà ãðúáíà÷íàòà ñòðóêòóðà. Ñòîìàíåíè äúãè ñå èçäèãàò àñèìåòðè÷íî ïî äúëæèíà íà ìîñòà, èçñêà÷àéêè îò ìàñèâíè áåòîíåíè êåéîâå, ðàçïîëîæåíè

ìåæäó äâåòå ïúòíè ïëàòíà, çà äà ìàðêèðàò ñóøàòà è íàâèãàöèîííèòå êàíàëè. Ãðúáíàêúò ñå ðàçöåïâà è íàêëàíÿ îò åäèíèÿ áðÿã ïî öåíòðàëíàòà ïðàçíèíà, ðàçêëîíÿâàéêè ñå ïîä ïëàòíàòà íà ïúòÿ äî èçâúí ðàçìåðèòå íà ïúòíèòå ëåíòè çà äâåòå ïîñîêè íà äðóãèÿ êðàé íà ìîñòà. Ñòðóêòóðàòà íà ãëàâíàòà äúãà íà ìîñòà ñå èçäèãà íà âèñî÷èíà 60 ì íàä íèâîòî íà âîäàòà ñ ïúò, èçäèãàù ñå íà âèñî÷èíà 20 ì íàä ñðåäíîòî íèâî íà âîäàòà.

Êîëàòà Z.CAR, ïðîåêòèðàíà â Ëîíäîí, ÎÊ, 2005-2006

Êîëàòà Z.CAR å äâóìåñòíà êîëà çà ãðàäà ñ îñíîâà íà òðè êîëåëà. Èçïîëçâàéêè âîäîðîä êàòî

èçòî÷íèê íà åíåðãèÿ, òÿ å ìíîãî òèõî ïðåâîçíî ñðåäñòâî áåç åìèñèÿ íà îòðîâíè ãàçîâå. Íàêëîíúò íà ïúòíè÷åñêîòî êóïå ñå ïðîìåíÿ ñúñ ñêîðîñòòà. Ïðè ìàëêè ñêîðîñòè êóïåòî å â ãîðíî ïîëîæåíèå è îñèãóðÿâà íà øîôüîðà ïî-äîáðà âèäèìîñò. Ïî-ìàëêîòî ìåæäóîñíî ðàçñòîÿíèå èçèñêâà ïî-ìàëêî ìÿñòî çà ïàðêèðàíå. Ïðè ïî-âèñîêè ñêîðîñòè çàäíàòà ÷àñò íà êóïåòî ñå ïîíèæàâà,

ïðåìåñòâàéêè öåíòúðà íà òåæåñòòà ïî-áëèçî äî ïúòÿ çà ïî-ñèãóðíî óïðàâëåíèå è ïîäîáðåíà àåðîäèíàìèêà. Îòðàæåíèå íà îðãàíè÷íèÿ åçèê íà îôèñà (íà Çàõà Õàäèä), ôîðìàòà íà êîëàòà å îáòåêàåìà, çà äà ñúçäàâà ôëóèäåí äèçàéí ñ ìèíèìàëíî ñúïðîòèâëåíèå íà âúçäóõà. Êóïåòî å íàïðàâåíî îò ëåê êîìïîçèöèîíåí ìàòåðèàë íà áàçàòà íà âúãëåðîäíè ôèáðè è å ñ ãîëÿìà

àñèìåòðè÷íà âðàòà è ñòúêëî, äàâàùî íà ïúòíèöèòå ïàíîðàìåí èçãëåä. Èíòåðèîðíèÿò äèçàéí å îñíîâàí íà åðãîíîìè÷íî îáãðúùàíå íà øîôüîðà è ïúòíèêà, êîèòî ñåäÿò åäèí äî äðóã. Êîðìèëîòî å ñâúðçàíî ÷ðåç òåõíîëîãèÿ çà “åëåêòðîííî óïðàâëåíèå ïî æèöà” êúì ìîòîðè, êîèòî çàäåéñòâàò êàêòî óïðàâëÿâàùèÿ ìåõàíèçúì, òàêà è äðóãè ôóíêöèè.

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Ñåäìèöè íà åâðîïåéñêàòà àðõèòåêòóðà â Áúëãàðèÿ

Ñ èçëîæáà è ïðåäñòàâÿíå òâîð÷åñòâîòî íà Çàõà Õàäèä, åäíà îò íàé-òàëàíòëèâèòå ëè÷íîñòè â ñúâðåìåííàòà àðõèòåêòóðà, íà 28 ìàé â Ñîôèÿ áÿõà îòêðèòè Ñåäìèöèòå íà åâðîïåéñêàòà àðõèòåêòóðà â Áúëãàðèÿ, îðãàíèçèðàíè îò Ìèíèñòåðñòâîòî íà ðåãèîíàëíîòî ðàçâèòèå è áëàãîóñòðîéñòâîòî, MAA, Ñúþçà íà àðõèòåêòèòå â Áúëãàðèÿ, Ìèíèñòåðñòâîòî íà êóëòóðàòà è Óíèâåðñèòåòà ïî àðõèòåêòóðà, ñòðîèòåëñòâî è ãåîäåçèÿ. Èíèöèàòîð íà ïðîÿâàòà å ôîíäàöèÿ “ßêîâ ×åðíèõîâ”, ÷èéòî âèöåïðåçèäåíò å àðõ. Ãåîðãè Ñòàíèøåâ. Ñåäìèöèòå íà åâðîïåéñêàòà àðõèòåêòóðà â Áúëãàðèÿ âêëþ÷âàò ñåðèÿ îò ñúáèòèÿ è èçëîæáè íà åäíè îò íàé-ãîëåìèòå ñâåòîâíè ñúâðåìåííè àðõèòåêòè, êîèòî ñà ïîêàíåíè äà ãîñòóâàò â ñòðàíàòà íè. Äúëãîñðî÷íàòà èì öåë å äà äîïðèíåñàò çà ïîäîáðÿâàíåòî íà êà÷åñòâîòî íà àðõèòåêòóðíèòå ïðîåêòè â Áúëãàðèÿ è äà âäúõíîâÿò åäíà ïî-êîíöåïòóàëíà è òâîð÷åñêà àðõèòåêòóðíà ñðåäà ó íàñ. Åäíà îò èäåèòå íà îðãàíèçàòîðèòå ñúùî òàêà å äà ïðèâëå÷å ñâåòèëàòà íà ñúâðåìåííàòà àðõèòåêòóðà äà ðåàëèçèðàò ñâîè ïðîåêòè â Áúëãàðèÿ, êîåòî ùå ïîâëèÿå áëàãîïðèÿòíî âúðõó àðõèòåêòóðíàòà ñðåäà.Íÿêîè îò íàé-èçâåñòíèòå ñúâðåìåííè àðõèòåêòè êàòî Íîðìàí Ôîñòúð è Ðóäè Ðè÷èîòè ñà(áÿõà) ïîêàíåíè äà èçíåñàò ëåêöèè çà òåíäåíöèèòå â ðàçâèòèåòî íà àðõèòåêòóðàòà ïðåä áúëãàðñêà àóäèòîðèÿ. Âñåêè îò òÿõ ùå ïðåäñòàâè è åêñïîçèöèÿ ñúñ ñâîè ïðîåêòè â Ãàëåðèÿòà çà ÷óæäåñòðàííî èçêóñòâî â Ñîôèÿ. Ñåäìèöèòå íà åâðîïåéñêàòà àðõèòåêòóðà â Áúëãàðèÿ çàïî÷íàõà ñ ëåêöèÿòà íà ä-ð Ïàòðèê Øóìàõåð, êîéòî ïðåäñòàâè òâîð÷åñòâîòî íà Çàõà Õàäèä â àóëà “Ìàêñèìà” íà Óíèâåðñèòåòà ïî àðõèòåêòóðà, ñòðîèòåëñòâî è ãåîäåçèÿ. Íåîòëîæíè àíãàæèìåíòè âúçïðåïÿòñòâàõà ïðèñúñòâèåòî íà ñàìàòà Çàõà Õàäèä â Áúëãàðèÿ. Ä-ð Øóìàõåð å äèðåêòîð íà àðõèòåêòóðíîòî áþðî íà Çàõà Õàäèä, ñúäðóæíèê íà ïðî÷óòàòà àðõèòåêòêà. Äîêòîð å íà ôèëîñîôñêèòå íàóêè, äèïëîìèðàí èíæåíåð, ÷ëåí íà ARB (Architects Registration Board, Êîìèòåò çà ðåãèñòðàöèÿ íà àðõèòåêòèòå) è ÷ëåí íà RIBA (Royal Institute of British Architects). Ñëåäâàë å àðõèòåêòóðà â Óíèâåðñèòåòà â Ùóòãàðä è â óíèâåðñèòåòà Southbank University â Ëîíäîí. Ïîëó÷àâà ñòåïåí äèïëîìèðàí èíæèíåð â Ùóòãàðä ïðåç 1990 ã. Èçó÷àâàë å ñúùî ôèëîñîôèÿ â Óíèâåðñèòåòà â Áîí è â Ëîíäîíñêèÿ óíèâåðñèòåò. Ïðåç 1999 ã. ïîëó÷àâà äîêòîðñêà òèòëà ïî ôèëîñîôèÿ â Èíñòèòóòà çà êóëòóðíè íàóêè êúì Óíèâåðñèòåòà â Êëàãåíôóðò. Îò 1992 ã. å ïðåïîäàâàë â ìíîãî àðõèòåêòóðíè ó÷èëèùà â Àíãëèÿ, Åâðîïà è ÑÀÙ. Êîäèðåêòîð å íà Äèçàéíåðñêàòà èçñëåäîâàòåëñêà ëàáîðàòîðèÿ êúì Ó÷èëèùåòî ïî àðõèòåêòóðà êúì Àñîöèàöèÿòà íà àðõèòåêòèòå â Àíãëèÿ îò 1996 ã.

3 ùîòî 95 % îò ðàçðàáîòêèòå é ñå îñúùåñòâÿâàò ïî öÿë ñâÿò è ñàìî 5% - â Àíãëèÿ. Çàòîâà òÿ å ìíîãî ïîäõîäÿùà çà îæèâÿâàíå íà äèàëîãà íà áúëãàðñêàòà àðõèòåêòóðà ñúñ ñâåòîâíèÿ àðõèòåêòóðåí ïðîöåñ. Àêàäåìè÷íàòà ëåêöèÿ â àóëà “Ìàêñèìà” íà ÓÀÑÃ, èçíåñåíà îò àðõ. Ïàòðèê Øóìàõåð ñ ïðåäñòàâÿíåòî íà ïðîåêòè è ðåàëèçàöèè íà àðõèòåêòóðíàòà ôèðìà “Çàõà Õàäèä àðõèòåêòñ”, ïðåäèçâèêà ãîëÿì èíòåðåñ.  Íàöèîíàëíàòà ãàëåðèÿ çà ÷óæäåñòðàííî èçêóñòâî â Ñîôèÿ â òðè çàëè ñ îáùà ïëîù îò íàä 1000 êâ. ì çà ïúðâè ïúò ïðåä áúëãàðñêà ïóáëèêà áåøå ïðåäñòàâåíà èçëîæáà îò ïàíà ñ âèñî÷èíà 2,8 ì íà íÿêîè îò íàé-åìáëåìàòè÷íèòå ïðîåêòè íà Çàõà Õàäèä â îáëàñòòà íà àðõèòåêòóðàòà è ãðàäîóñòðîéñòâîòî. Âíóøèòåëåí ñúñ ñâîèòå ðàçìåðè áå ìàêåòúò íà åäíî îò íàé-çàáåëåæèòåëíèòå è òâîðåíèÿ - ñúâðåìåííà ñãðàäà, â êîÿòî ñå ïîìåùàâà Öåíòúðúò çà êóëòóðà è ñïîðò íà äåïàðòàìåíòà Åðî, Ôðàíöèÿ. Íà îòêðèâàíåòî íà èçëîæáàòà ïðèñúñòâàõà ïðåìèåðúò Ñåðãåé Ñòàíèøåâ, ìèíèñòúðúò íà ÌÐÐÁ Àñåí Ãàãàóçîâ, ìíîãî îôèöèàëíè ãîñòè, àðõèòåêòè, ñòóäåíòè. Ïðåçèäåíòúò íà ÌÀÀ àêàäåìèê Ãåîðãè Ñòîèëîâ âðú÷è íà ïðåäñòàâèòåëÿ íà Çàõà Õàäèä, àðõ. Øóìàõåð, ìåäàëà è äèïëîìàòà çà àêàäåìèê íà íàé-ìëàäèÿ ÷ëåí íà àêàäåìèÿòà Çàõà Õàäèä, ïðèåòà íà Àñàìáëèÿòà íà ÌÀÀ îò 14 ìàé 2006 ã., ïðîâåäåíà â Ñîôèÿ.

Weeks of the European Architecture in Bulgaria The work of the world-known womanarchitect Zaha Hadid was presented in Sofia

Íà ïðåñêîíôåðåíöèÿòà ïðè îòêðèâàíåòî íà Ñåäìèöèòå íà åâðîïåéñêàòà àðõèòåêòóðà àðõ. Ãåîðãè Ñòàíèøåâ ïîä÷åðòà çíà÷åíèåòî íà îáìåíà íà àðõèòåêòóðíè èäåè è ðåàëèçàöèÿòà íà ïðîåêòè íà ñâåòîâíî èçâåñòíè àðõèòåêòè â Áúëãàðèÿ. Òîçè äèàëîã è ÷óæäî àðõèòåêòóðíî ïðèñúñòâèå ùå ñå îòðàçè ìíîãî ïîëîæèòåëíî íà áúëãàðñêàòà àðõèòåêòóðíà ñðåäà. Òîé ïîÿñíè, ÷å çà îòêðèâàíåòî íà Ñåäìèöèòå íà åâðîïåéñêàòà àðõèòåêòóðà â Ñîôèÿ ñå ïðåäñòàâÿ åäíà îò íàé-äîáðèòå àðõèòåêòóðíè êîìïàíèè “Çàõà Õàäèä àðõèòåêòñ”, çà-

The start of the Weeks of the European Architecture in Bulgaria was given by a presentation of the work of Zaha Hadid and an exhibition of her designs on the 28th of May in Sofia. The Weeks of the European Architecture in Bulgaria are organized by the Ministry of Regional Development and Public Utilities, in cooperation with the Union of Architects in Bulgaria, the Ministry of Culture and the University of Architecture, Construction and Geodesy. The initiator of this event is the “Yakov Chernikhov” Foundation with Vice-President Arch. Georgi Stanishev.

The Weeks of the European Architecture in Bulgaria encompass several events and exhibitions of the works of some of the greatest contemporary world architects, which were invited to visit our country. The long-term goal of these weeks is to contribute to the improvement of the quality of the architectural design in Bulgaria and to inspire a better adapted to the surrounding urban environment architecture in our country. One of the organizers’ ideas was to attract prominent contemporary architects to realize their designs in Bulgaria, which will have its positive influence on the architectural environment. Some of the famous today architects like Norman Foster and Rudy Ricciotti were invited to read lectures about the tendencies in the development of the architecture to the Bulgarian auditorium. Each of them represents as well an exposition with his designs in the National Gallery for Foreign Art in Sofia.

The Weeks of the European Architecture in Bulgaria have begun with a lecture by Arch. Patrik Schumacher, presenting the work of Zaha Hadid in Maxima Hall of the University of Architecture, Construction and Geodesy. Arch. Zaha Hadid was hindered from coming to Bulgaria.

Dr.Phil, Dipl.Ing. Patrik Schumacher is director of the architectural studio “Zaha Hadid Architects”, a project partner and co-author of the well known woman architect. He is member of Architects Registration Board and RIBA. Patrik Schumacher studied architecture at the University of Stuttgart and at the Southbank University in London. He had received his degree

4 Dipl. Ing. from the Stuttgart University in 1990. He also studied philosophy at Bonn University and London University. In 1999, he received his doctoral degree Dr.Phil. at the institute for Cultural Sciences at the University of Klagenfurt. Patrik Schumacher has been teaching at various architectural schools in Britain, Continental Europe and the USA since 1992. He is co-director of the Design Research Laboratory at the Architectural Association School of Architecture, London since 1996.

During the press conference at the opening of the Weeks of the European Architecture in Bulgaria, Arch. Georgi Stanishev underlined the importance of the exchange of architectural ideas and the realisation of projects of world-known architects in Bulgaria. Such a dialogue and foreign architectural presence will influence very positively the Bulgarian architectural environment. He explained that on the occasion of the opening of the Weeks in Sofia, one of the world best architectural bureaus Zaha Hadid Architects is presented. Some 95 % of the design developments of this studio find their realisation all over the world and only about 5 % - in the United Kingdom. Therefore, this is the most appropriate way of coming back to life of a dialogue between the Bulgarian architecture and the world architectural process.

The academic lecture, read by Arch. Patrik Schumacher in the Maxima Hall at the UACG and presenting designs and realizations of Zaha Hadid Architects provoked a great interest.

The Bulgarian public was acquainted for a first time with an exhibition of 2,8 m high posters showing some of the emblematic designs of Zaha Hadid in the field of architecture and urban master-plan development, accomodated in three of the halls of the National Gallery for Foreign Art in Sofia. The visitors were impressed by a large-scale model of the ‘’Pierres Vives building’’ (Centre for culture and sport) of the Department of Herault in Montpellier. The opening of the exhibition was attended by the Prime-minister Sergej Stanishev, the Minister of MRDPU Mr. Asen Gagauzov, many official guests, architects and students. The President of the IAA, Acad. Georgi Stoilov bestowed a Medal and Diploma for the degree Academician to the youngest member of the Academy, Zaha Hadid (admitted to membership in IAA during the last Assembly of IAA, which took place on the 14th May 2006 in Sofia). The Diploma was received by her project partner Arch. Schumacher.

NEWS Íà÷àëîòî íà Ñåäìèöèòå íà åâðîïåéñêàòà àðõèòåêòóðà â Áúëãàðèÿ ñúâïàäíà ñ ãðàíäèîçíèÿ ìåãà-ñïåêòàêúë íà Äæîäæ Ìàéêúë â Ñîôèÿ. Êàòî ëþáåçíè äîìàêèíè, îðãàíèçàòîðèòå íà àðõèòåêòóðíèÿ ôîðóì îñèãóðèõà íà Ä-ð Øóìàõåð âúçìîæíîñòòà äà ïðèñúñòâà íà êîíöåðòà íà ñâåòîâíî èçâåñòíèÿ ïîï èçïúëíèòåë, íà êîãîòî å ãîëÿì ôåí.

The beginning of the Weeks of the European Architecture in Bulgaria coincided with the imposing mega-spectacle of George Michael in Sofia. As kind hosts, the organisers of the architectural forum have ensured for their guest Dr Patrik Schumacher the possibility to attend the concert of the world known pop singer.

Ñ ãîëÿì èíòåðåñ ìèíèñòúð ïðåäñåäàòåëÿò íà Áúëãàðèÿ Ñåðãåé Ñòàíèøåâ, ïðèäðóæåí îò ä-ð Øóìàõåð, ðàçãëåäà èçëîæáàòà íà Çàõà Õàäèä .

The prime-minister of Bulgaria Sergey Stanishev, accompanied by doc. Shumaher go over the exhibition of Zaha Hadid. They were very interested in.

5 Íîâè ÷ëåíîâå íà ÌÀÀ, èçáðàíè íà IÕ ãåíåðàëíà àñàìáëåÿ íà àêàäåìèÿòà, ïðîâåäåíà íà 14 ìàé 2006 ã. â Ñîôèÿ

NEWS New members of IAA, elected on the IX. General Assembly of IAA, which took place on the 14th of May 2006 in Sofia.

• During all international IAA events, IAA President underlines once again the UN goals and the Decade of the Education for sustainable development (2005-2014) officially launched by the United Nations at 1 March 2005 in New York.

The International Academy of Architecture, fully support the activity of UN agencies and propagate information for their resolutions, declarations and programs.

• The XXX IAA Academic Council approved the following IAA Professors -Alexandros Tombazis - Greece

• Ïî âðåìå íà ìåæäóíàðîäíèòå ìåðîïðèÿòèÿ, îðãàíèçèðàíè îò Ìåæäóíàðîäíàòà àêàäåìèÿ ïî àðõèòåêòóðà (IAA), Ïðåçèäåíòúò íà àêàäåìèÿòà ïîä÷åðòà îùå âåäíúæ öåëèòå íà ÎÍ è äåêàäàòà çà Îáðàçîâàíèå â ïîäêðåïà íà óñòîé÷èâîòî ðàçâèòèå (2005-2014), îôèöèàëíî ïðåäïðèåòà îò Îáåäèíåíèòå íàöèè íà 1 ìàðò 2005 ã. â Íþ Éîðê. Ìåæäóíàðîäíàòà àêàäåìèÿ ïî àðõèòåêòóðà ïîäêðåïÿ íàïúëíî äåéíîñòòà íà àãåíöèèòå íà ÎÍ è ðàçïðîñòðàíÿâà èíôîðìàöèÿ çà òåõíèòå ðåøåíèÿ, äåêëàðàöèè è ïðîãðàìè.

• Òðèäåñåòîòî ñúâåùàíèå íà Àêàäåìè÷íèÿ ñúâåò íà Ìåæäóíàðîäíàòà àêàäåìèÿ ïî àðõèòåêòóðà îäîáðè èçáèðàíåòî íà ñëåäíèòå àðõèòåêòè çà ïðîôåñîðè â Ìåæäóíàðîäíàòà àêàäåìèÿ ïî àðõèòåêòóðà: -Alexandros Tombazis - Ãúðöèÿ -Andrey Nekrasov - Ðóñèÿ -Bart Prince - ÑÀÙ -Benjamin Mouton - Ôðàíöèÿ -Thom Mayne - ÑÀÙ • Äåâåòàòà ãåíåðàëíà àñàìáëåÿ íà ÌÀÀ èçáðà øåñò íîâè àêàäåìèöè íà ÌÀÀ: Zaha Hadid - Îáåäèíåíîòî Êðàëñòâî Paolo Soleri - ÑÀÙ Douglas Cardinal - Êàíàäà Rem Koolhaas- Õîëàíäèÿ Daniel Libeskind - Ãåðìàíèÿ Jim Torossian - Àðìåíèÿ • Äåâåòàòà ãåíåðàëíà àñàìáëåÿ íà ÌÀÀ èçáðà àêàäåìèê Paul Andreu îò Ôðàíöèÿ çà íîñèòåë íà ãîëÿìàòà íàãðàäà “Ãðàíä Ïðè Êðèñòàëíèÿ ãëîáóñ” íà ÌÀÀ çà 2006 ã. çà öÿëîñòíî òâîð÷åñòâî.

• Äåâåòàòà ãåíåðàëíà àñàìáëåÿ íà ÌÀÀ èçáðà àêàäåìèê Mario Botta îò Øâåéöàðèÿ çà íîñèòåë íà “Ãîäèøíàòà íàãðàäà” íà ÌÀÀ çà 2005 ã.

NEWS

-Andrey Nekrasov- Russia -Bart Prince -USA -Benjamin Mouton-France -Thom Mayne- USA • The IX. General Assembly of IAA elected six new IAA Academicians Zaha Hadid UK Paolo Soleri -USA Douglas Cardinal - Canada Rem Koolhaas- The Netherlands Daniel Libeskind - Germany Jim Torossian Armenia • The IX. General Assembly of IAA elected academician Paul Andreu - France, for prize winner of the IAA Grand Prix Crystal Globe ‘2006, for his total work.

• The IX. General Assembly of IAA elected academician Mario Botta - Switzerland for prize winner of the IAA “Annual Prix `2005”.

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Íàãðàäè çà ôðåíñêèòå àðõèòåêòè îò Èíòåðàðõ 2006

Prizes for French Architects from “Interarch 2006” Íà 12 äåêåìâðè 2006 ã. â Palais Royal - French Ministry of culture, àêàäåìèê Pierre Andre Dufetel-President of the Åuropean Academy of Architecture of the IAA Center in Paris - îðãàíèçèðà òúðæåñòâåíî âðú÷âàíå íà íàãðàäèòå íà âèäíè ôðåíñêè àðõèòåêòè, ëàóðåàòè îò “Èíòåðàðõ’2006” - Ñîôèÿ, êàêòî è íà IAA Grand Prix`2006 íà àêàäåìèê Paul Andrew, çà íåãîâîòî öÿëîñòíî òâîð÷åñòâî è ïðèíîñ â ñúâðåìåííàòà ñâåòîâíà àðõèòåêòóðà. Íåãîâî ïðåâúçõîäèòåëñòâî ôðåíñêèÿò ìèíèñòúð íà êóëòóðàòà è êîìóíèêàöèèòå Mr. Renaud Donnedieu de Vabres óâàæè ñúáèòèåòî è ïðîèçíåñå ïîçäðàâèòåëåí àäðåñ, â êîéòî ïîä÷åðòà ïîëçîòâîðíàòà äåéíîñò íà IAA. Ñúáèòèåòî áå îòðàçåíî îò ïå÷àòà. Íà 15 ôåâðóàðè 2007 ã. âúâ Ôðåíñêàòà àêàäåìèÿ íà àðõèòåêòóðàòà â Ïàðèæ ôðåíñêèòå àðõèòåêòè, ïîëó÷èëè íàãðàäè è ïî÷åòíè äèïëîìè íà “Èíòåðàðõ’2006”, ïðåäñòàâèõà ñâîèòå àðõèòåêòóðíè ïðîåêòè, êîèòî áÿõà èçëîæåíè â êîíôåðåíòíàòà çàëà íà àêàäåìèÿòà.

On the 12th of December 2006 in Palas Royal - the French Ministry of culture, academician Pierre Andre Dufetel, President of the Åuropean Academy of Architecture of the IAA Center in Paris, has organized the official prizes bestowing to French architects of distinction, laureates of Interarch 2006 in Sofia, as well as the IAA Grand Prix‘2006 to academician Paul Andrew for his entire work and contribution to the contemporary world architecture.

His Excellency the French Minister of culture and communications, Mr. Renaud Donnedieu de Vabres has honored the event and has read a congratulatory letter, in which he has underlined the favourable activity of IAA. The event found reflection in the press.

On the 15th of February 2007, in the French Academy of Architecture in Paris, the French architects, who have received prizes and honoured diplomas of Interarch 2006, have presented their architectural designs, exposed in the conference hall of the Academy.

7 Ìåæäóíàðîäíà êîíôåðåíöèÿ íà ÌÀÀ â Ðèì Ìåæäóíàðîäíàòà àêàäåìèÿ ïî àðõèòåêòóðà ïðîâåäå óñïåøíî (28 è 29 íîåìâðè 2006 ã.) ìåæäóíàðîäíà êîíôåðåíöèÿ íà òåìà “Ñúâðåìåííà àðõèòåêòóðà”, îðãàíèâèðàíà îò öåíòúðà è èíòåðêëóáà íà ÌÀÀ â Èòàëèÿ ñ àêòèâíîòî ó÷àñòèå íà àêàäåìèöèòå íà ÌÀÀ: Kiyonory Kikutake, Pierre -Andre Dufetel, Manfredi Nicoletti, Jan Hoogstad, Ãåîðãè Ñòîèëîâ è Mario Botta. Àêàäåìèêúò íà ÌÀÀ Ìàðèî Áîòà ïîëó÷è îôèöèàëíî íàãðàäàòà ñè «Ãîäèøíà íàãðàäà çà 2005» íà ÌÀÀ. Ïðåäñòàâèòåë íà àêàäåìèê Agustin Hernandes ïîëó÷è îò íåãîâî èìå íàãðàäàòà ìó “Ïúðâà íàãðàäà íà Èíòåðàðõ 2006”. Àêàäåìè÷íèÿò ñúâåò íà ÌÀÀ îäîáðè àðõèòåêòèòå Francoise-Helene Jourda îò Ôðàíöèÿ è Pietro Reali îò Èòàëèÿ çà ïðîôåñîðè íà ÌÀÀ, èìàéêè ïðåäâèä òÿõíîòî óñïåøíî àðõèòåêòóðíî òâîð÷åñòâî.

International Conference of IAA in Rome The IAA has held successfully in Rome (28 and 29 November 2006) an international conference on “Contemporary Architecture”, organized by the IAA center and IAA Interclub in Italy, with the active participation of the IAA Academicians: Kiyonory Kikutake, Pierre -Andre Dufetel, Manfredi Nicoletti, Jan Hoogstad, Georgi Stoilov, Mario Botta.

The IAA Academician Mario Botta has received officially his IAA Annual Prize‘2005.A representative of the academician Agustin Hernandes has received his “Interarch‘2006 First Prize.

IAA Academic Council has approved arch. Francoise-Helene Jourda, France and arch. Pietro Reali for IAA Professors, having in mind their successful architectural work.

 Ñîôèÿ íîâ ôàêóëòåò ïî àðõèòåêòóðà  Ñîôèÿ ïðåäè òðè ãîäèíè áåøå ñúçäàäåí ïîä åãèäàòà íà Ìåæäóíàðîäíàòà àêàäåìèÿ ïî àðõèòåêòóðà íîâ ôàêóëòåò. Àìáèöèÿòà å, çà ðàçëèêà îò ìíîãî áþðîêðàòè÷íè óíèâåðñèòåòè, äà ñå ñúçäàäå ó÷åáíà ñòðóêòóðà ïî íîâà ôîðìóëà: “Ñâîáîäà è Êîíêóðåíòíîñò”. Îñíîâà íà ó÷åáíàòà ñòðóêòóðà ñà àòåëèåòà ïî àðõèòåêòóðà, ðúêîâîäåíè îò óòâúðäåíè àðõèòåêòè. Ñòóäåíòèòå, ñåëåêòèðàíè ñëåä êîíêóðñ, ìîãàò ñâîáîäíî äà èçáèðàò ñâîÿ ìàéñòîð-ïðîôåñîð. Ïðîôåñîðúò, êîéòî íå å èçáðàí îò ñòóäåíòèòå, ìîæå äà ñè îòèâà. Ñèñòåìàòà ðàáîòè àêòèâíî è ïîêàçâà âèñîêè ðåçóëòàòè. Òîâà ìîæå äà ñå âèäè â ïîêàçàíèòå òóê ðàáîòè.

In Sofia A New Faculty in Architecture A new faculty in architecture was founded three years ago under the auspices of the International Academy of Architecture.

The primary ambition was to establish a new educational structure under the formula “Freedom and competitive power”, opposite to many bureaucratic universities.

The educational structure was to be based on the work of architectural studios of established architects. Students, selected in a competition, have the right to choose freely his master-professor.

A professor, who has not been chosen for such activity, could be considered as free of duty.

The system is working actively and shows high achievements. This could be seen in the presented here works.

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Õðàìúò íà áàíÿòà Temple of Bathrooms

NEWS

Òàêà ëàêîíè÷íî Êàðëîñ Âåëàñêåñ, èçïúëíèòåëåí äèðåêòîð íà “Ðîêà - Áúëãàðèÿ” ÀÄ, íàðå÷å ïúðâèÿ ó íàñ Êîðïîðàòèâåí èçëîæáåí öåíòúð íà “Ðîêà ãðóï”. Áúëãàðñêèÿò "Åêñïî áàíÿ “Ñîôèÿ” å ÷àñò îò ñâåòîâíàòà âåðèãà èçëîæáåíè öåíòðîâå íà êîìïàíèÿòà, êîèòî ñà âäúõíîâåíè îò èäåèòå çà ïðèåìñòâåíîñò è ðàçâèòèå, çà òðàäèöèÿ è èíîâàöèîííîñò. Öåíòúðúò ñå íàìèðà â åäíà îò íàé-ïîñåùàâàíèòå â ìèíàëîòî ñãðàäè â ñòîëèöàòà - ìàãàçèí “Ñîôèÿ”. Èçáîðúò íà òîâà ìÿñòî íå å ñëó÷àåí, òîé å ÷àñò îò öÿëîñòíàòà êîíöåïöèÿ íà ôèðìàòà çà èçãðàæäàíå íà èçëîæáåíè öåíòðîâå - íàâñÿêúäå òå ñå ïîìåùàâàò â ðåíîâèðàíè ñãðàäè íà ìàãàçèíè, òèïè÷íè çà ãðàäà è ñòðàíàòà, êúäåòî ñå íàìèðàò. Ïðåç 2006 ã. “Ðîêà ãðóï”, íàé-ãîëåìèÿò èñïàíñêè èíâåñòèòîð ó íàñ, êóïóâà çàòâîðåíèÿ îò äúëãî âðåìå ìàãàçèí “Ñîôèÿ” è çàïî÷âà ìàùàáíî ïðåóñòðîéñòâî. Îáùèÿò ðàçìåð íà èíâåñòèöèÿòà å 4 ìëí. åâðî, à ðåçóëòàòúò - íîâî ñðåäèùå íà äèçàéíà, àðõèòåêòóðàòà è êîìóíèêàöèÿòà ìåæäó êëèåíòà è õîðàòà, ñúçäàâàùè íîâàòà êóëòóðà íà áàíÿòà.  êðàÿ íà þíè íà ñòèëíî ïàðòè èçëîæáåíèÿò öåíòúð áåøå îòêðèò îôèöèàëíî. Óíèêàëíîòî çà Åêñïî áàíÿ “Ñîôèÿ” å, ÷å òóê íå ñå òúðãóâà, èäåÿòà å âñåêè äà ñå ÷óâñòâà ñâîáîäåí äà âëåçå è äà ñå çàïîçíàå ñ ïðîäóêòèòå è òåõíîëîãèèòå, ñúçäàäåíè îò “Ðîêà”, äà íàìåðè íàé-ïîäõîäÿùîòî çà íåãî ðåøåíèå è ñëåä òîâà, àêî æåëàå, äà ïîëó÷è èíôîðìàöèÿ çà äèñòðèáóòîðèòå íà “Ðîêà” â öÿëàòà ñòðàíà. Èçëîæáåíèÿò öåíòúð äàâà âúçìîæíîñò çà êîíñóëòàöèè ñ âîäåùè àðõèòåêòè è ñïåöèàëíî îáó÷åíè êîíñóëòàíòè, òàì ïîñåòèòåëÿò ìîæå äà ðàçãëåäà äèçàéíåðñêè êàòàëîçè è äà ñúçäàäå ñâîé ñîáñòâåí ïðîåêò.  Åêñïî áàíÿ “Ñîôèÿ” çà ïúðâè ïúò íà åäíî ìÿñòî ñå ïðåäñòàâÿ ïúëíàòà ïðîäóêòîâà ãàìà íà òðèòå ìàðêè íà “Ðîêà - Áúëãàðèÿ” ÀÄ Fayans, Roca è Laufen.  ìîìåíòà â öåíòúðà ñà àðàíæèðàíè äâàäåñåò ðåøåíèÿ çà áàíè, ïîêàçàíè ñà è ðàçëè÷íè ìîäåëè ìèâêè, âàíè, äóø-êàáèíè, ãîëÿìî ðàçíîîáðàçèå îò ñìåñèòåëíè áàòåðèè è àêñåñîàðè, êîèòî ìîãàò äà áúäàò êîìáèíèðàíè â ðàçëè÷íè âàðèàíòè. Èçëîæáåíàòà åêñïîçèöèÿ ùå ñå ïðîìåíÿ ïàðàëåëíî ñ êàòàëîãà íà ôèðìàòà è ïî òîçè íà÷èí ùå ïðåäîñòàâÿ àêòóàëíà èíôîðìàöèÿ íà ïîñåòèòåëèòå çà òåíäåíöèèòå è íîâîñòèòå â îáçàâåæäàíåòî íà áàíÿòà. “Ðîêà - Áúëãàðèÿ” ïðåäëàãà èíòåãðèðàíè ðåøåíèÿ çà áàíÿ â ðàçíîîáðàçíè ñòèëîâå, ïîä÷èíåíè íà òðè îñíîâíè èçèñêâàíèÿ - ôóíêöèîíàëíîñò, òåõíîëîãè÷íîñò è óâàæåíèå êúì îêîëíàòà ñðåäà. Ðóìÿíà Ñòåôàíîâà

This laconic name was given by Carlos Velazquez, Executive Director of “Roca Bulgaria”, to the first in our country Corporative Exhibition Centre of “Roca Group”. The Bulgarian Bathroom Expo Sofia is a part of the international chain of exhibition centers of the company, which arrangement is inspired by the ideas of continuity and development, traditions and innovations. The Center is located in the capital, in one of the most visited buildings in the past – the shop “Sofia”. The choice of this place is not occasional. It is a result of the common concept of the company by the creating of exhibition centers – to accommodate them in renovated buildings of shops, typical for the concerned town or the country.

In 2006, Roca Group, the largest Spanish investor in our country, has bought the closed for a long time shop “Sofia” and has begun a largescale reconstruction. The total investment amounts 4 million euros and the result of it is a new centre of design, architecture and communication between customers and the people creating new bath culture. The new Exhibition Center was opened officially in the end of June with a stylish party.

A unique feature of the Bathroom Expo Sofia is the possibility for trading activity here. Everybody can enter the exhibition, can get acquainted with the created by ROCA products and technologies, can make his choose for the best solution for himself and after that he can receive information about the distributors of ROCA over the whole country. The Exhibition Center offers the possibility for consultations with leading architects and specially educated consultants. The visitor can have a look in the designer’s catalogues and generate his own design. The Bathroom Expo Sofia presents for the first time at one place the full range of products of the three trade marks of “Roca Bulgaria”: Fayans, Roca and Laufen. Now, twenty bathroom design solutions have been arranged in the Center: different models of washing basins, bath-tubs, shower-cabins, have been presented; a big variety of taps and accessories, which can be included in different combinations, have been exposed. The exhibition exponents will be changed parallel to the changes in the company catalogue and in this way visitors will be able to see actual information about the tendencies in the bathroom furnishing.

The company “Roca Group” is a world leader in the production of bathroom furnishings. Therefore, it is quite natural that it influences new tendencies in the bathroom culture. The company offers designers’ solutions, which not only present contemporary aesthetical concepts about shapes, styles and fashion, but realize the idea of improving the standard of life in the bathroom.

Some of the presented compositions reflect the striving to achieve unification and harmony between space and minimalist shapes. The arrangement of parallel lines and simple geometrical details is typical for these designs. Other series have modules with non standard massive appearance, simple at the same time, which makes them quite different from the traditional bathroom furniture. The idea of some new compositions consists in the fusion between ceramic elements and the wall, in combination with accessories from the past like towel holders, soap holders, etc. Other components have shapes similar to natural forms, which have been situated in a new context.

“Roca Bulgaria” offers integrated solutions for the bathroom in variety of styles, subordinated to three basic requirements - functionality, up-todate technologies and respect to the surrounding environment.

Rumjana Stefanova

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 ñúâðåìåííèÿ ñâÿò ôàìèëíèòå àñàíñüîðè home lifts ñúñ ñâîèòå ñòúêëåíè êàáèíè ñà ñå ïðåâúðíàëè â íåðàçäåëíà ÷àñò îò èíòåðèîðà íà êúùèòå, äîáàâÿéêè åëåãàíñòíîñò è ñòèë. Ïîðàäè íèñêàòà öåíà - ïîâå÷å îò äâà ïúòè ïî-åâòèíè îò òðàäèöèîííèÿ àñàíñüîð, òå âñå ïîâå÷å ñå òúðñÿò íà ïàçàðà. Âúçìîæíîñòòà äà ñå ìîíòèðàò íàïðàâî â ñàìèÿ äîì áåç èçèñêâàíèÿ çà äúíî è ïîâèñîê òàâàí ïðèâëè÷à âñå ïîâå÷å êëèåíòè. Ôàìèëíèòå àñàíñüîðè çàìåíÿò çàòâîðåíàòà êàáèíà íà òðàäèöèîííèÿ àñàíñüîð ñúñ ñòúêëåíà, îñèãóðÿâàùà ïðîñòîð è èçáÿãâàùà êëàóñòðîôîáíèÿ åôåêò.

Íèå ïðàâèì íàøèòå àñàíñüîðè ñ â÷åðàøíèÿ åíòóñèàçúì è óòðåøíèòå òåõíîëîãèè!

Ñîôèÿ áóë. “Âèòîøà” 168 òåë.: 02/951 5952 òåë./ôàêñ: 02/951 5791, 9523881 Ïðîèçâîäñòâåíà áàçà: Àñàíñüîðåí çàâîäãàðà Èñêúð óë. "Íåäåë÷î Áîí÷åâ" 3 Öåíòðàëà: 02/973 2626 Êîíñòðóêòîðè: 02/973 2684 Ïëàñìåíò: 02/973 2789 maritzam@techno-link.com

www.maritza-m.com

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World Architectural Masters

International Academy Of Architecture