WAM Issue 03 by amc-media

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. Erick Van Egeraat for his amiability submitting materials from her private archive at ours disposal for the third issue of WAM. Ñïèñàíèå World Architecture Masters áëàãîäàðè íà àðõ. Åðèê âàí Åãåðààò çà ëþáåçíî ïðåäîñòàâåíèòå ìàòåðèàëè îò ëè÷íèÿ ìó àðõèâ çà òðåòè áðîé íà WAM

Óïðàâèòåë Íàòàëèÿ Áîíäàðåíêî

General manager Natalia Bondarenko

Ðåäàêöèîííà êîëåãèÿ Êðàñèìèðà ßâàøåâà Íèêîëèíà Ñòîéêîâà

Editors team Krassimira Yavasheva Nikolina Stoykova

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 Èíà Êàìáàðåâà

Pre-print preparation Maya Gerasimova Liliya Karakoleva Ina Kambareva

Êîîðäèíàòîð ìàðêåòèíã è ðåêëàìà Ñèÿíà ×àëúêîâà

Marketing and advertisement coordinator Siana Chalakova

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

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

Ïðåâîäà÷ Þëèàíà Áîí÷åâà

Translator Juliana Boncheva

îôèñ Ïëîâäèâ Äàíèåëà Àðíàóäîâà Âàëåíòèíà Âàíãåëîâà

offis Plovdiv Daniela Arnaudova Valentina Vangelova

Êîðåêòîð Ìàðèÿ Òîäîðîâà

Proof-reader Maria Todorova

Ðàçïðîñòðàíåíèå Åâãåíèÿ Éîðäàíîâà

Distribution Evguenya Yordanova

Èçäàòåëè: Ìåæäóíàðîäíà Àêàäåìèÿ çà Àðõèòåêòóðà Àðõ ìåäèÿ ÎÎÄ

Publishers: International Academy of Architecture Arhc Media Ltd.

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

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

photos by: Christian Richters

ERICK VAN EGERAAT

CONTENTS

BUILDINGS Popstage Mezz, Breda Art Gallery Cork, Ireland Tropenpunt, Mauritskade Amsterdam Inholland University, Rotterdam City Hall Alphen Aan Den Rijn Royal Netherlands Embassy, Warsaw ING Head offices Budapest, Hungary Metzo College Doetinchem, The Netherlands MIMA Middlesbrough, United Kingdom University of UTRECHT The Netherlands

6 14 22 26 34 42 52 60 68 76

PROJECTS Mixed-use building Hamburg, Germany Groninger Forum, The Netherlands The Tatarstan National Library

88 92 96

MASTERPLANS Oosterdoks Island Amsterdam, The Netherlands

100

FREESTYLE

Åñòåòèêàòà íà àðõèòåêòóðàòà - XXI âåê

The Aesthetics of Architecture - 21st Century

XXI âåê íàñòúïè ñ ðàäèêàëíè èçìåíåíèÿ â òåõíîëîãèèòå, ñîöèàëíàòà è äóõîâíàòà ñòðóêòóðà íà îáùåñòâîòî. Ãëîáàëèçàöèÿòà å óíèâåðñàëåí ôàêòîð, êîéòî ïðîíèêâà âúâ âñè÷êè êëåòêè íà ÷îâå÷åñòâîòî. Ðàäèêàëíî ñå ïðîìåíÿò îáùåñòâåíîòî ñúçíàíèå, êóëòóðàòà è èçêóñòâàòà. Âñè÷êî òîâà íàìèðà äúëáîêî îòðàæåíèå è â àðõèòåêòóðàòà. Ðåøàâàùî çíà÷åíèå çà àðõèòåêòóðàòà êàòî åäíî îò âåëèêèòå èçêóñòâà èìà åñòåòèêàòà. À òÿ âèíàãè ñå å èçðàçÿâàëà â îïðåäåëåí àðõèòåêòóðåí ñòèë. Ñòèëúò íå êàñàå ñàìî äåêîðàöèÿòà íà ñãðàäàòà, à ïëàñòèêàòà íà îáåìèòå, ñòðóêòóðàòà íà ïðîñòðàíñòâàòà è õàðàêòåðà - “ìóçèêàòà” íà öÿëàòà êîìïîçèöèÿ. Ñòèëúò â àðõèòåêòóðàòà âèíàãè ñå å ïðîÿâÿâàë êàòî åñòåòè÷åñêà íîðìà. Òîé å íåùî êàòî èäåîëîãèÿ â èçêóñòâîòî è å îðãàíè÷íî ñâúðçàí ñ èäåîëîãèÿòà íà îáùåñòâîòî. Íåùî ïîâå÷å, ÷ðåç åñòåòèêàòà èçêóñòâîòî å îêàçâàëî ñèëíî âúçäåéñòâèå âúðõó ñúçíàíèåòî íà îáùåñòâîòî. Êàêâà å íîâàòà èäåîëîãèÿ íà îáùåñòâîòî? Çà ðàçëèêà îò âñè÷êè èäåîëîãèè â äîñåãàøíàòà èñòîðèÿ, îðèåíòèðàíè êúì ãðóïîâè è êîëåêòèâíè öåííîñòè, ãëàâíàòà öåííîñò â íîâèÿ âåê å ëè÷íîñòòà è íåéíèòå êà÷åñòâà, óñïåõè, ùàñòèå è áëàãîäåíñòâèå è ÷ðåç òîâà ïîñòèãàíå íà óñïåõè, ùàñòèå è áëàãîäåíñòâèå íà öÿëîòî îáùåñòâî. Ôàíòàñòè÷íèòå âúçìîæíîñòè íà åëåêòðîííèòå òåõíîëîãèè äàâàò íà ëè÷íîñòòà íåîãðàíè÷åíè âúçìîæíîñòè çà èíôîðìàöèÿ è ðàçâèòèå. Åæåäíåâíî, åæå÷àñíî ñå ðàæäàò íîâè èäåè, êîèòî â ìèíàëîòî ñà ñå ðàæäàëè â òå÷åíèå íà âåêîâå. Òàêàâà å êàðòèíàòà è â èçêóñòâàòà, åñòåòèêàòà è ñòèëîâåòå. Ñòèëúò, êàòî îáùà åñòåòè÷åñêà íîðìà èëè äîãìà âå÷å å ìúðòúâ. Äîéäå âåêúò íà ëè÷íîòî àâòîðñêî òâîð÷åñòâî, íà ëè÷íèòå ñòèëîâå, âåê íà ñâîáîäíèÿ ñòèë - FREESTYLE. Íî òîâà âå÷å íå å STYLE, ò.å. íå å âñåîáùà åñòåòè÷åñêà íîðìà èëè äîãìà. Òîâà âå÷å å ANTISTYLE. È òîâà å íàé-òåæêàòà çàäà÷à çà òâîðåöà - äà ñúçäàâàø ãîëåìè, èñòèíñêè åñòåòè÷åñêè öåííîñòè ñúñ ñâîé ñîáñòâåí ñòèë è èäåíòè÷íîñò, áèäåéêè ñâîáîäåí îò ñòèëîâèòå äîãìè íà íàïðàâåíîòî ïðåäè òåáå. Çàùîòî âñÿêî ïîäðàæàíèå íå å òâîð÷åñòâî, à èìèòàöèÿ. È òîâà å ïðîòèâîîòðîâàòà ñðåùó ìîíîïîëèçìà è ãëîáàëèçàöèÿòà â èçêóñòâîòî.

Ïðîô. Ãåîðãè Ñòîèëîâ,

àêàäåìèê íà ÌÀÀ

The 21st century came with radical changes in technologies, the social and spiritual structure of society. Globalization is a universal factor, which penetrates all cells of society. Radical changes occur in the public consciousness, culture and the arts. All of the above is deeply reflected in architecture as well. Aesthetics is of crucial significance for architecture as one of the great arts. As a result, aesthetics has always found expression in architectural style. The style has to do not only with the buildings decoration, but also with the sculpting of volumes, the structure of spaces and the character “the music” of the whole composition. Style in architecture has always appeared as an aesthetic standard. It is something like ideology in art and is organically related to the ideology of society. Furthermore, art, through aesthetics, has had a profound effect on public consciousness. What is the new ideology of society? Unlike all of the ideologies in history so far, directed at group or common values, the main value of the new century is the person with his/her qualities, successes, happiness, and well-being that lead to the successes, happiness and well-being of the entire society. The incredible opportunities offered by information technologies provide the person with unlimited possibilities to acquire information and develop. Every day and every hour new ideas are born which in the past took centuries to develop. The same is true of the arts, aesthetics, and styles. The style as a common aesthetic standard or dogma is already dead. The 21st century is one of the personal individual art, private styles, a century of the FREESTYLE. This, however, is no longer STYLE, i.e. it is no longer a common aesthetic standard or dogma. It is ANTISTYLE. This is the most difficult task for the artist to create grand and real aesthetic values with a style and identity of his/her own, being free of the style dogmas of what came before. Since all emulation is not art, but imitation. And this is the antidote against the monopoly and globalization in art.

Prof. Georgi Stoilov, IAA Academician

ERICK VAN EGERAAT

Erick van Egeraat (1956, Amsterdam) graduated from the Technical University of Delft Department of Architecture in 1984 where he received his diploma with honourable mention. In 1983 he co-founded Mecanoo architects and served as partner in this office until 1995. In 1995 Erick van Egeraat founded (EEA) Erick van Egeraat associated architects with offices in Rotterdam and Budapest. In 1998 he extended his practice to London, in 1999 EEA Prague was opened and in 2004, EEA started operations in Moscow. Today there are more than 120 permanent members of staff in all offices. Erick van Egeraat is considered one of the leading and most productive architects of this time. He has been involved in the realisation of more than 100 projects in over 8 countries during 25 years of practice. Erick van Egeraat has presented architectural lectures and performed as a guest critic throughout the world. He has received many awards for his work, such as the Life in Architecture Award for the Royal Netherlands Embassy in Warsaw, the Maaskant Award for Young Architects, and the MIPIM Award and National Renovation Award for the ING building at Andàssy àt Budapest. He was honoured with the IAA Professorship of the International Academy of Architecture in Sofia, Bulgaria, the Honorary Fellowship of the Royal Institute of British Architects and the Honorary Membership of the Bund Deutscher Architekten. He has won numerous international competitions and participated in national and international architectural juries. (EEA) Erick van Egeraat associated architects (EEA) Erick van Egeraat associated architects is a highly acclaimed international architectural practice and has realised a wide range of projects all over Europe. EEA is presently working on the design and realisation of projects in the Netherlands, United Kingdom, Hungary and Czech Republic as well as in Germany, Italy, Denmark, Slovak Republic and Russia. Recent projects include the new Middlesbrough Institute of Modern Art (mima, UK) and the Metzo College Doetinchem (NL), (see www.eea-architects.com). EEA has exhibited internationally with shows in Moscow, Bratislava, Warsaw, Berlin and the Netherlands. EEA publications include the new monograph “10 Years Erick van Egeraat”, part of The Master Architects Series from Images Publishing, “Six Ideas about Architecture”, and exhibition catalogues “Cool Medium Hot” and “For Russia with Love”. EEA’s approach to architecture is to be specific and different, appropriate and open-minded and above all different; to create an architecture, rich and articulated, which establishes a dialogue with the historical and cultural context while interacting with the most heterogeneous aspects of contemporary life. ‘The aim is not to state but to relate - not to consider but to seduce - not to irritate but to persuade and surprise’. Erick van Egeraat

Åðèê âàí Åãåðààò (ðîäåí ïðåç 1956 ã. â Àìñòåðäàì) çàâúðøâà ñ îòëè÷èå Òåõíè÷åñêèÿ óíèâåðñèòåò â Äåëôò, ñïåöèàëíîñò "Äðõèòåêòóðà" ïðåç 1984 ã. Ïðåç 1983 ã. òîé ñòàâà ñúîñíîâàòåë íà "Ìåêàíóó àðêèòåêòñ” (Mecanoo architects) è å ïàðòíüîð âúâ ôèðìàòà äî 1995 ã. Ïðåç 1995 ã. Åðèê âàí Åãåðààò îñíîâàâà ñúäðóæèå íà ñâîå èìå (EEA - Erick van Egeraat associated architects) ñ ïðåäñòàâèòåëñòâà â Ðîòåðäàì è Áóäàïåùà. Ïðåç 1998 ã. òîé ðàçøèðÿâà ïðàêòèêàòà ñè â Ëîíäîí, ïðåç 1999 ã. îòâàðÿ âðàòè â Ïðàãà, à ïðåç 2004 ã. çàïî÷âà äåéíîñò è â Ìîñêâà. Êúì äíåøíà äàòà ïîñòîÿííèòå ñëóæèòåëè íà ôèðìàòà âúâ âñè÷êè ïðåäñòàâèòåëñòâà íàáðîÿâàò 120. Åðèê âàí Åãåðààò å ñ÷èòàí çà åäèí îò âîäåùèòå è íàé-ïðîäóêòèâíè àðõèòåêòè íà ñâîåòî âðåìå. Ó÷àñòâàë å â ðåàëèçàöèÿòà íà ïîâå÷å îò 100 ïðîåêòà â íàä 8 ñòðàíè ïðåç 25-òå ãîäèíè íà ïðàêòèêàòà ñè. Åðèê âàí Åãåðààò ïðåäñòàâÿ ëåêöèè ïî àðõèòåêòóðà è å êàíåí êàòî êðèòèê â öåëèÿ ñâÿò. Ïîëó÷èë å ìíîãî íàãðàäè çà ðàáîòàòà ñè, êàòî íàïðèìåð íàãðàäàòà "Life in Architecture” ("æèâàòà” àðõèòåêòóðà) çà ïîñîëñòâîòî íà Êðàëñòâî Õîëàíäèÿ âúâ Âàðøàâà, íàãðàäàòà çà ìëàäè àðõèòåêòè "Ìààñêàíò” (Maaskant), íàãðàäàòà íà åäíî îò íàé-ãîëåìèòå ìåæäóíàðîäíè èçëîæåíèÿ çà ñäåëêè ñ íåäâèæèìè èìîòè (MIPIM) è Íàöèîíàëíàòà íàãðàäà çà ðåíîâàöèè çà ñãðàäàòà íà õîëàíäñêàòà ìåæäóíàðîäíà ôèíàíñîâà ãðóïà "ÈÍÃ” (ING) â Áóäàïåùà. Åãåðààò å íàãðàäåí è ñ ïî÷åòíà ïðîôåñóðà íà Ìåæäóíàðîäíàòà àêàäåìèÿ ïî àðõèòåêòóðà â Ñîôèÿ, Áúëãàðèÿ, ïî÷åòíà ñòèïåíäèÿ íà Êðàëñêèÿ èíñòèòóò íà áðèòàíñêèòå àðõèòåêòè, êàêòî è ïî÷åòíî ÷ëåíñòâî â Ñúþçà íà íåìñêèòå àðõèòåêòè. Ñïå÷åëèë å ìíîãîáðîéíè ìåæäóíàðîäíè êîíêóðñè è å ó÷àñòâàë â íàöèîíàëíè è ìåæäóíàðîäíè àðõèòåêòóðíè æóðèòà. Åðèê âàí Åãåðààò è ñúäðóæèå (ÅÅÑ) Ïðàêòèêàòà íà Åðèê âàí Åãåðààò (ÅÅÑ) èìà øèðîêî ìåæäóíàðîäíî ïðèçíàíèå è å ðåàëèçèðàëà ìíîãî ïðîåêòè â öÿëà Åâðîïà. ÅÅÑ ïîíàñòîÿùåì ðàáîòè âúðõó äèçàéíà è ðåàëèçàöèÿòà íà ïðîåêòè â Õîëàíäèÿ, Îáåäèíåíîòî êðàëñòâî, Óíãàðèÿ è Ðåïóáëèêà ×åõèÿ, êàêòî è â Ãåðìàíèÿ, Èòàëèÿ, Äàíèÿ, Ñëîâàøêàòà Ðåïóáëèêà è Ðóñèÿ. Íàé-ïîñëåäíèòå ïðîåêòè âêëþ÷âàò íîâèÿ Èíñòèòóò ïî ìîäåðíî èçêóñòâî â Ìèäúëñáðî (Middlesbrough Institute of Modern Art - mima) è êîëåæúò "Ìåöî” (Metzo College) â Õîëàíäèÿ. Çà ïîâå÷å èíôîðìàöèÿ îòèäåòå íà èíòåðíåò àäðåñ www.eea-architects.com. ÅÅÑ å îðãàíèçèðàëà ìåæäóíàðîäíè èçëîæåíèÿ â Ìîñêâà, Áðàòèñëàâà, Âàðøàâà, Áåðëèí è Õîëàíäèÿ. Ïóáëèêàöèèòå íà ÅÅÑ âêëþ÷âàò íîâàòà ìîíîãðàôèÿ "10 ãîäèíè Åðèê âàí Åãåðààò”, ÷àñò îò ñåðèÿòà çà âåëèêèòå àðõèòåêòè (The Master Architects) íà èçäàòåëñòâî "Èìèäæèñ Ïúáëèøèíã” (Images Publishing), "Øåñò èäåè çà àðõèòåêòóðàòà”, êàêòî è èçëîæáåíèòå êàòàëîçè "Ñòóäåíî Ñðåäíî Ãîðåùî” è "Íà Ðóñèÿ ñ ëþáîâ”. "Ïîäõîäúò íà ÅÅÑ êúì àðõèòåêòóðàòà å ñïåöèôè÷åí è ðàçëè÷åí, ïîäõîæäàù è ëèáåðàëåí, íî íàé-âå÷å ðàçëè÷åí, ñúçäàâàéêè àðõèòåêòóðà, áîãàòà è èçðàçèòåëíà, êîÿòî âëèçà â äèàëîã ñ èñòîðè÷åñêèÿ è êóëòóðåí êîíòåêñò, êàòî â ñúùîòî âðåìå âçàèìîäåéñòâà ñ íàé-ðàçëè÷íè àñïåêòè íà ñúâðåìåííèÿ æèâîò. Öåëòà å íå äà ñå íàëàãàìå, à äà íàìèðàìå âðúçêàòà, íå äà îöåíÿâàìå, à äà ñúáëàçíÿâàìå, íå äà äðàçíèì, à äà óáåæäàâàìå è äà èçíåíàäâàìå.” Åðèê âàí Åãåðààò

north

facade

POPSTAGE MEZZ, BREDA As part of the urban development scheme for the abandoned military campus ‘Chassée’ in Breda, designed by the Office of Metropolitan Architecture, the former officers’

7 Popstage MeZZ, Breda Concert hall for 650 people and café in an existing officers’ canteen for 150 people Client Gemeente Breda Gross floor area 1.600 m2 (incl. 720 m2 new building) Gross volume 6.530 m3 (incl. 4260 m3 new building) Start design 1996 Start demolishing September 2000 Start construction November 2000 Realization August 2002 First usage October 2002 Address Keizerstraat 101 (Chassée-terrein), 4811HL in Breda

east

facade

situatie

west

facade

ground floor 1 entrance 2 lobby 3 auditorium 4 cafe 5 bar 6 kitchen 7 wardrobe 8 services 9 practice room 10 loading dock 11 terras 12 bicicle parking 13 podium

Mess hall will be converted into a venue for Bredaâ&#x20AC;&#x2122;s many lovers of pop music. Located at the southwest corner of the site, the quality of this building, dating from 1899, is centered on the inner area of the former barracks grounds. The extension, placed on the other side of the old mess hall, accommodates the concert hall and foyer. The extension is shaped like a voluptuous seashell adjoining the existing structure. Where the old and new buildings join, an opening is created. Here a connection is provided between the foyer of the auditorium and the cafe inside the old building.

The shell shape leaves the independence of the old building unaffected yet makes the new music hall clearly visible from the ‘entertainment zone’ of Breda. Seen from the future residential complex on the military campus, the presence of the new building is only seen slumbering behind the pitched roof of the old officers’ mess. In order to meet the strict acoustic requirements for pop concerts, the shell is formed as a complete double dome with, as in many old churches, an air gap of one meter between the two shells. The inner shell is designed to narrow the auditorium in perspective towards the stage. This shell is, for acoustical reasons, completely closed and is made of

plywood and insulation material. The entire structure is hung onto the outer shell. The outer shell is contoured relative to the inner shell; it’s shape being determined by the inner shell and the volumes that are required for the dock shelter and plant room. The skeleton of the outer shell is a hybrid structure of steel and concrete that for acoustic reasons is covered by 100 mm of poured concrete and a pre-oxidized copper skin. All entrances in the new extension are hidden in the skin of the outer shell. Only when the entrances are open to the public does the shell reveal its accessibility. The 3 by 4meter steel frame door of the dock shelter will open in a dramatic way like a ferryboat.

14 situatie

Art Gallery Cork, Ireland Architects Erick van Egeraat, Maartje Lammers Project team Michael Rushe, Marylse van Bijleveld, Astrid Huwald, Claire Booth, Patrick Creedon, Aylin Jorgensen-Dahl, Stefan Frommer, Folkert van Hagen, Perry Klootwijk, Gerwen van der Linden

selection

1 gallery 2 sculpture gallery 3 auditorium 4 shop 5 entrance 6 office 7 plant room 8 restaurant 9 kitchen 10 library 11 storage

selection

Structural engineer Horgan Lynch & Partners, Cork Mechanical services engineer Ove Arup & Partners, Cork Electrical services engineer Ove Arup & Partners, Cork Quanity surveyor Bruce Shaw, Cork Visualisation Models det Rijk situa i e & Parthesius, Rotterdam

1 gallery 2 sculpture gallery 3 auditorium 4 shop 5 entrance 6 office 7 plant room 8 restaurant 9 kitchen 10 library 11 storage

18 Crawford Municipal Art Gallery Cork Extension of the Crawford Municipal Art Gallery Cork Uitbreiding van de Crawford Municipal Art Gallery Cork Client City of Cork Vocational Education Committee Gross floor area 830 m2 Start design 1996 Design phase 00 months Realisation june 2000 Development time 48 months Construction time 00 months Contract design- workingdrawings, site supervision during construction Current project statusrealised Project address Emmet Place, Cork, Ireland

The Crawford Art Gallery occupies a prominent location in the heart of Cork, a small city in the south of Ireland. As a result of numerous extensions, since its construction in 1724, the building had developed into an amalgamation of various sculptural forms and spaces, none of them however suitable for contemporary or large scale exhibits. The objective was to add two new exhibition spaces and improve the public circulation route within the gallery. The extension is within the existing courtyard and resolves former dead end circulation spaces by connecting the existing floor levels with a new suspended stair. The two exhibition spaces are created with extremely different atmospheres. The upper gallery’s dramatically shaped roofs create an architectural space with natural daylight from the roof whilst the lower gallery is more silent with a glazed wall facing Half Moon Street that can be partially or fully closed by a series of wooden shutters depending on the demands of each exhibition. The new extension façade articulates the contrast, yet also the harmony, between the old and the new. The gallery has a harmonious external appearance as the previous extensions have a consistent use of brickwork throughout. The floating curved planes of the new façade are also made out of bricks that are glued together to form monolithic shells. Connected through materialisation, but distinctive in form and shape, the intervention is a contemporary addition to an existing cultural landmark that adds another layer of history to the gallery complex.

ground

floor

1 gallery 2 sculpture gallery 3 auditorium 4 shop 5 entrance 6 office 7 plant room 8 restaurant 9 kitchen 10 library 11 storage

first

floor

1 gallery 2 sculpture gallery 3 auditorium 4 shop 5 entrance 6 office 7 plant room 8 restaurant 9 kitchen 10 library 11 storage

Client De Principaal, Amsterdam Gross floor area 2.670 m2 Start design 1996 Realisation 2002 Construction time 18 months

TROPENPUNT, Mauritskade Amsterdam 12 LUXURY APARTMENTS AND COMMERCIAL SPACE, MAURITSKADE Architects Erick van Egeraat, Harry Kurzhals Project team Monica Adams, Cock Peterse, Gerwen van der Linden, Rita Abreu, Bas de Haan, Mika Lunberg, Colette Niemeijer, Sabrina Friedl, Marina Rupprechter, Matthias Frei, Anke Schiemann, Renderings Peter Heavens

The new building, on a prominent site opposite the Tropenmuseum, completes the corner of a 19th century city block in the Dapperbuurt-area in Amsterdam. It contains commercial space and a automatic parking system on the ground floor and twelve luxury apartments on four floors above. The site is a triangular shape as is the volume of the new building. A mix of vertical and horizontal lines were chosen for the elevations both to match the existing 19th century buildings and to allow panoramic horizontal windows on the corner. The elevation changes from having a vertical character, on Mauritskade, to a more horizontal expression on the rounded corner, and then back again to a

more vertical character on Von Zesenstraat. In this way the contemporary intervention pays respect to the existing neighbourhood. In plan, the floors at the corner are slightly overlap each other creating an interesting play of volumes and shadows. The elevation is dominated by two kinds of different dark coloured natural stones with broken and sand blasted surfaces. Painted timber window frames are combined with a coated metal sheet in aluminium colour, which due to the bend at the corner reflects the sunlight in different ways. Each apartment is reached through itâ&#x20AC;&#x2122;s light loggia which prevents long corridors and allows orientation to the outside as well as to the apartment itself.

INHOLLAND University, Rotterdam New building of INHOLLAND University, Rotterdam Client Hogeschool INHOLLAND Rotterdam Gross floor area 20.000 m2 Start design 1996 Realisation 2000 Construction time 25 months

LONGITUDINOL SECTION A-A 1 entrance hall • 2 parking garage • 3 shops • 4 stepped floor area • 5 study area • 6 offices and flexible work spaces • 7 suspended study area • 8 administration tower • 9 atrium •10 suspended bridge

Architects Erick van Egeraat, Monica Adams, Maartje Lammers Project team Luc Reyn, Cock Peterse, Jeroen ter Haar, Kerstin Hahn, Paul Blonk, Colette Niemeijer, Nienke Booy, Aude de Broissia, Ezra BuenrostroHoogwater, Ard Buijsen, Joep van Etten, Pavel Fomenko, Matthias Frei, Bas de Haan, Folkert van Hagen, Sara Hampe, Julia Hausmann, Sabrina Kers, Perry Klootwijk, Ramon Knoester, Harry Kurzhals, Paul-Martin Lied, Mika Lundberg, Lisette Magis, Jos Overmars, Karolien de Pauw, Claudia Radinger, Stefanie Schleich, Ole Schmidt, Ronald Ubels, Rowan van Wely, Boris Zeisser Renderings Folkert van Hagen, Peter Heavens

CROSS SECTION B-B 1 parking garage • 2 student common room • 3 lecture hall • 4 auditorium • 5 practice room • 6 roofterrace • 7 class room • 8 flexible work space •9 office

The Inholland University, (former Ichthus University of professional education) is situated at the Kop van Zuid in Rotterdam, the Netherlands. The adjacent harbor area houses much nineteenth and early twentieth century industrial architecture. The building refers to this harbor area, in urban scale as well as in typology.The client’s objectives were to create a flexible twenty first century building, radiating transparency yet fitting into the nineteenth century brick building concept of the Municipality’s urban plan. The concept allows for the school to be partially rented out eventually, or even to be converted into an office building. Consisting of two extracted wings enclosing a central atrium space, the concept maximizes the usage of the plot. Specific and public spaces are placed on the first three floors with the classrooms on the upper six floors. The atrium space along the south façade develops over the full height of the building, creating the heart of the building. Materials are predominantly cobalt blue screen-processed glass and clear glass to allow the maximum of flexibility and remarkable views, and creating an expression of the open character which is the school’s trade mark.

ALPHEN AAN DEN RIJN CITY HALL ALPHEN AAN DEN RIJN The city hall of Alphen aan den Rijn is the first project realised in the new redevelopment plan for the centre of this expanding city in the middle of the Netherlands, and sets the tone for the ambition of the future developments. City Hall Alphen aan den Rijn Architects Erick van Egeraat, Monica Adams, Massimo Bertolano, Ralph van Mameren Project team Harry Pasterkamp, Rowan van Wely, Jeroen ter Haar, Colette Niemeyer, Ilse Castermans, Matthieu Brutsaert, Ezra Buenrostro Hoogwater, Jasper JĂ¤gers, Anke Schieman, Oliver von Spreckelsen, Ronald Ubels, Jerry van Veldhuizen Contributors Aude de Broissia, Cock Peterse, Brian de Bruijn, Sabrina Friedl, Sonja Gallo, Rolf van Gils, Katrin Grubert, Frank Huibers, Filipa Tomaz, Gerben Vos, Bora Ilhan, Gerwen van der Linden, Christian Nicolas, Luc Reyn, Steven Simons Client Municipality of Alphen aan den Rijn Contractor HBG Utiliteitsbouw regio west Capelle a/d IJssel Constructor/ Structural engineers ABT-C, Delft Mechanical services Engineers Sweegers en de Bruijn, â&#x20AC;&#x2DC;s Herthogenbosch Interior Designer EEA / Merkx + Girod architecten

south facade

roof Gross floor area 25.000 m2 (incl. 7056 m2 parking) Start design 1997 Design phase 28 months Realisation 2002 (December) Development time 62 months Construction time 34 months Height of building 21m Height of atrium 18m Number of levels atrium 5 Number of above ground stories 5,5 Use of building city hall, municipal offices and public functions Area of site 25.000 m2 Principal structural materials steel and curtain wall Other material used stone, glass, steel and concrete

The council sought to define its communication to the local people as being transparent, open and inviting. The building’s open appearance relates directly to this directive and is expressed through the transparent glass facade. The choice of light and natural materials internally also reinforces the building’s public function and encourages visitors. All the public facilities are located on the ground floor with the upper floor council hall projecting over the entrance, expressing its accessibility to the public. The council made the choice for a free form and curving exterior in one of the first stages of the design process, thereby opting for an innovative statement. The overall shape was defined in such a way that it relates and reunites the existing scale differences of the surroundings. On one side the building is higher to respond to the city scale of the Raoul Wallenberg Square, while on the other sides the building is more modest in scale, facing the lower heights of the residential area. The elevation is treated as a continuous but layered skin, wrapped around and thus connecting the three parts of the building (city hall, service department and offices). The various layers slide over each other, revealing the layer appropriate and allowing the different parts of the complex to express their own individuality. The main volume (city hall) has a transparent elevation with an enclosed atrium behind. The lower volume (service department and offices) is, although partly transparent as well, predominantly stony and substantial. By changing its appearance the design responds to the programmatic and spatial requirements of the complex as well as sensitively react to the urban nuances of the location. Without losing itself in monumentality, it refers to the iconic function that the ‘House of the City’ historically has. Open, inviting and accessible for all citizens it can be seen as a contemporary beacon, reflecting the growing community’s image.

west facade

north facade

east facade

ROYAL NETHERLANDS EMBASSY, WARSAW Project architects Erick van Egeraat, Monica Adams, Massimo Bertolano, Michiel Raaphorst Projectteam Bert van der Schaft, Paul Blonk, Luc Reyn, Erik Workel, Jan Bouchal, Aude de Broissia, Ilse Castermans, Peter Fรถldi, Barbara Frei, Katrin Grubert, Julia Hausmann, Stephan Jentsch, Michel van der Kar, Agnieszka Krawczyk, Ruben Kuipers Client Ministry of Foreign Affairs, Real Estate Abroad Department Gross floor area 3.500 m2 (chancery 2750 m2, residence 750 m2) Start design 1999 Realization August 2004

The site for the new Dutch embassy in Poland is situated near the Lazienski Park in Warsaw. The project, commissioned by the Dutch Ministry of Foreign Affairs, sought a design for the combined chancery and ambassadorâ&#x20AC;&#x2122;s residence that reflected the Dutch influential tradition of transparency and openness.

1 chancellery 2 residence 3 main entrance 4 public courtyard 5 patio 6 sloping garden 7 water

The site is situated to the north of the park, an area with a residential and rural character that also has other embassy buildings. The green environment is an important asset for the project, however walls individually enclose the other embassies, threatening the open and leisurely atmosphere of the park. There are a few historic buildings in the surrounding area including a building by a Dutch Baroque architect, Tylman van Gameren, who had great influence on Polish architecture during the 17th century. The proposed design is inspired by the Baroque though modest style of van Gameren and retains most of the existing trees, promoting the park quality and adding value to the green landscape. The chancery and the residence are related to each other and their surroundings in an individual way. The chancery, following the objectives of the brief, is designed in a light and translucent manner to reflect the scenery whilst the residence is located as a villa in the park, with the stone appearance reinforcing the concept of an independent element in the environment. Between the two buildings a public courtyard is created with views out of the surrounding landscape. The façade of the complex also comprises a gate with an organic design that is both part of the buildings and an independent element. To the street side the gate, together with a glazed screen , creates a second layer to the chancery. The connection between this ‘open’ outer wall and the building’s external wall is made by loggias. These closed elements, made of natural stone, are a spatial transition between the street and the new embassy. As a result the Dutch embassy is not only part of, but also enclosed by its surroundings. The integration of the surrounding area into the design not only emphasises the individuality of its components but also expresses their coherence, creating a complex that clearly radiates the Dutch tradition of transparency and openness.

section chancellery

46 1 enterance chancellery 2 enterance consular section 3 consular sectin 4 main lobby 5 offices

ground floor chancellery

47 1 offices 2 multipurpose area 3 pantry

first floor chancellery

ROYAL NETHERLANDS EMBASSY, WARSAW

Contributors Alejandra Guerra Navarro, Akos Ginder Alasdair Graham, Bronwen Kerr Gerwen van der Linden, Nuno Pais, Henrike Patt, Anita Stallinger Renderings Peter Heavens, Steven Simons Artwork ceiling main hall Erwin Olaf Photography & Film Cooperating persons /engineers Ove Arup&Partners, Poland Floor covering Parquet (Doussie), Natural Stone (Kotah) Walls Natural Stone (Mucharz), Fair Faced Concrete, Plasterwork, Wood Panels Ceiling systems Tailor made suspended system for natural stone Lighting Modular/ Erco/Iguzzini Furniture Fixed furniture by EEA. Fit out done by Ministry of Foreign Affairs, Den Haag Partition systems Lindner glass wall system Ironwork Tailor made fenze, Designed by EEA, Production by INWEST Sanitary equipment Duravit Sanitary installations Duravit

section residence

50 1 2 3 4

representative entrance representative area private court public court

ground floor residence

ING Head offices Budapest, Hungary Architects Erick van Egeraat, János Tiba, Judit Z. Halmágyi, Eszter Bódi Project team Zita Balajti, Zsófia Bálint, Balázs Beczner, Ágnes Benkö, Gabriella Grand, Zsófia Gutvill, Zoltán Gyüre, Sándor Kogan-Szabó, Darko Kovacev, Áron Láncos, Michael Rushe Contributors Claire Booth, Péter Földi, Ákos Ginder, Michael Guzy, Zoltán Király, Bettina Molnár, Pablo Urango, Gaston Zahr, Rachel Flint-Suliman, Fabien Leblanc, Napsugár Linnert, Sandra Mena Suso, Taly Wolfling Renderings DPI Design, Budapest Tamás Pintér, Miklós Dombi, Tamás Kéner, Péter Kovács Authorising architect Dr. Attila Komjáthy Interior Zoltán Gyüre, Zsófia Gutvill, Zsófia Bálint, Balázs Beczner PA Eszter Bódi

Gross floor area 41.000 m 2, incl. 16.000 m 2 underground Start design 1999 November Design phase 24 months Realisation 2004 April Development time 50 months Construction time 25 months Contract preliminary design-site supervision voorlopig ontwerp t/m directievoering incl. terreininrichting Current project status realised Project address H - 1068 Budapest, Dózsa György út 84/b

NE facade

SE facade

NW facade

SW facade

54 1 banking hall 2 - 6 offices 7 board rooms 8 - 9 offices 10 -14 offices 15 machinery 16 - 18 car park

section A

Height of building 25m Height of atrium 24m Number of levels atrium 8 Number of above ground stories 8 Use of building Offices, bank Area of site 25.000 m2 Principal structural materials steel and glass underground levels 55.024m3 B1block 20.023m3 A1atrium 4.079m3 B2 block 20.618m3 A2 atrium 4.938m3 B3-4 block 54.420m3 alltogether 159.102m3

The new ING Hungarian headoffices are situated at a prominent location in the city of Budapest. The ambitious philosophy of the client, ING Real Estate Hungary Development (part of the Dutch ING Group), is to offer additional value by creating distinctive yet functional architecture. The brief was to design a high quality office building, with an internal layout and specification that conforms to commercial market standards. Located on the Dózsa Gyargy Street along from the Heros’ square and facing the Vi+rosliget City Park, the concept of the total 41,000 m 2 development including 25,000 m 2 office space, derives from its urban context. The overall mass is expressed as three volumes, linked by fully glazed atrium spaces and connected by glossy stainless steel lines. It creates a 21 st century transition between the orthogonal volume of the adjacent modernist building of the 1950’s, previously renovated by EEA,

55 1 foyer 2 foyer 3 cafe 4 banking hall 5 meeting rooms 6 - 10 offices 11 board rooms 12 - 22 offices 23 - 25 machinery 26 - 27 storage 28 - 29 car park 30 roof terrace

and the late 19 th century period eclectic style villas that are typical of the area. The facade, in succession to the adjacent modernist building, is free from the traditional placement of openings. Composition, detailing and treatment of materials, -as well as the craftmanship quality-, are truly contemporary yet recall the richness and complexity of the historic facade detailing evident in the city. Undulating slightly, the facades become an instrument of light, giving an always-changing composition of visual effects: contrasts of brightness, reflection and transparency. The dynamics of the exterior find their continuation when entering the building through one of the atria. Connecting all office floors, this communal space with slightly inclined, semi-transparent surfaces is surprisingly bright, yet without being overwhelming. The use of glass and steel drapery creates a layered effect, arousing a feel of intimacy and solace.

section B

1 - 7 offices 8 - 10 car park

section C

The detailing again seeks relation to the traditional architecture. In contrast to this emotional space, the overall office layout reveals a strict functional arrangement with underground parking on three floors, public functions on the ground floor, six office floors and an executive meeting area on the 7 th floor. Following a rigid architectural and mechanical grid, cellular offices can be created along the main faรงade or in the middle of the back wing. The rationality of the floor plans is softened by the variety of windows, as well as the visual connection of the office floors to the atria. Through this spatial set-up the building successfully marries the commercial demands of the client with the architectonic and historic context of Budapest and contributes to a sensitive metamorphosis of the contemporary city.

Metzo College Doetinchem, The Netherlands Architects Erick van Egeraat, Michiel Raaphorst Project team Rowan van Wely , Ann-Christin Hillebrand, Paul Blonk, Marie Prunault, Tanya Albertoe, Marlies Quack, Ronald Ubels, Suzanne Lüthi, Gertjan Nijhoff, Léon Wielaard, Ard Hoksbergen, Peter Toering, Ellen van Genechten Contributors Jacob Haagerup, Jerry van Veldhuizen, Kristjan Kaltenbach, Christoph Michael, Robert Chamski, Jesse Treurniet, Bart Steenwegen, Niels Verheyen Renderings Peter Heavens, Stevens Simons

Client Stichting CoVoa, Doetinchem User Metzo College, DoetinchemGross floor area 16.400 m 2 (incl. public sports facilities) Of which: 8.922 m 2 learning, 529 m 2 offices, 1.955 m 2 gym, 300 m 2 canteen, other: public space, installations Start design 2002 Design phase 18 months Development time 36 months Construction 26 months Realisation End 2006

The new Metzo College, located in Doetinchem, a City in the East of the Netherlands, houses a school for vocational education as well as public sport facilities. The new building replaces three existing school buildings. On a total gross floor area of 16.000 m2 the school accommodates 1.300 students between ages 12 to 16. The school offers a range of technical and theoretical courses, including health and welfare education. The project has been initiated in order realise a building which offers space for education and provides for better social cohesion between the different student groups that exist within the vocational education system. The integration of the publicly accessible sports facilities increases the social character of the school and makes it an educational building with an unusually public character. The building is located in an open green area. The main design objective was to preserve the existing open surroundings as much as possible. This resulted in a compact pyramid shaped building, which integrates into, and respects the surrounding landscape. In addition, the compact building mass also optimises the internal planning and orientation within the building and it enhances the social aspect of this type of education.

The concept comprises a compact volume of 6 storeys. The landscape has been raised to allow for the main entrance to be located on the third level. This central location optimises the students circulation within the building. From this entrance visitors have access to other public functions such as the restaurant and the gym. A large patio, placed above the entrance level, cuts the floor. The placement of the patio, which is hanging from the roof, allows daylight to enter into the building. It furthermore allows for clear orientation within the building. The gym, which is designed as a “black box”, is located on the lower levels with the entrance beneath the raised landscape. On the typical floor plans, open study areas, individual study corners and workstations for teachers are located along the patio. Classrooms are located along the façade of the building. This results in a flexible layout in which real life situations can be simulated. The goal was to offer identifiable workspaces for students and teachers and to allow for efficient use of space with a maximum of flexibility. The result is a compact building with a strong identity within the landscape. The building is inviting on the one hand and provides a sense of security on the other.

1 main entrance 2 benches (concrete) 3 ramp (concrete) 4 delivery entrance 5 parking 6 bike shelter 7 motorbikes

63 1 plant room 2 class room 3 individual working places 4 mediatheque 5 kitchen 6 offices 7 meeting rooms 8 bakery 9 pantry 10 workshop 11 dressing room 12 gym

1 class room 2 individual working places 3 offices 4 kitchen 5 canteen 6 bkery 7 gym hall 8 workshop

1 workshop 2 class room 3 science lab 4 kitchen

Metzo College Doetinchem New school building for vocational education, incl. sports facilities Project address Zaagmolenpad 22 7008 AJ Doetinchem Structural engineer ABT-C, Delft Mechanical services engineer ABT-I, Velp Electrical services engineer ABT-I, Velp Acoustical engineer Peutz, Molenhoek Quantity surveyor IGG, Wassenaar Landscape consultant Poldergast, Polsbroek Contractor Schutte Bouwbedrijf, Zwolle Contractor mechanical services W.A. Kemkens, Zieuwent Contractor electrical services Unica Installatietechniek, Arnhem Contractor faรงade engineering Alkondor, Hengelo

The school building Prize 2006: My school is unique because: The Ministry of Education organised the School Building Prize – the main prize for new building and rebuilding projects in the primary and secondary education sector – for the eighth time this year. The Ministry awards this prize to stimulate commissioners to build new schools and rebuild or renovate existing schools in a visionary, creative and professional manner. The aim is to facilitate the education process as well as possible. The theme of the School Building Prize 2006 was ‘My school is unique because: The theme was chosen because ever more schools are developing their own concepts to reshape the educational process in close co-operation with municipal councils, architects and other parties. For example, the development of the ‘broad school’, multifunctional buildings, new concepts within the VMBO and HAVO/VWO, the attention being paid to practical education and facilitating new study-work environments: these trends are all leading to ever more unique and appealing buildings. The Ministry wants the School Building Prize to link up with these. The School Building Prize 2006 started off with a record number of entrants: 230 schools from the primary and secondary

education sectors registered. There was an interesting distribution among the 230 projects: 152 in the primary and 78 in the secondary education sector. More than 75 % of the cases concerned new building projects. In the end, 160 participants registered for the first selection round: the digital provision of a treasure trove of information about the education and the building. At the beginning of June, the jury chose 25 projects from the 160 completed application and it eventually nominated 8 projects for the final round. Also noteworthy is that the number of ‘broad schools’ and multifunctional accommodations increased further with respect to previous years. Nowadays, the relationship between indoor and outdoor space is regularly used in a creative manner where this is appropriate or to offer users something special. Outside space on a different level than the ground level is no longer an exception. The members of the jury also noticed that the interior no longer stands by itself but is often integrated in the total concept. The experience of the interior influences the atmosphere and image of the building. Sometimes, it hardly has a ‘school-like’ character any longer. The members of the jury were also impressed by several renovation projects in which monuments were completely rebuilt and turned into school buildings while retaining their

own character. These projects show that numerous societal goals can be realised simultaneously: the preservation and efficient use of a monument and the creation of a special school. The jury assessed the applications on several criteria: - the vision of the commissioner - the quality of education - the architectonic and urban development quality - the degree of multifunctionality - the degree of flexibility and accessibility - the quality of material use - sustainability, environment and energy - finacing and utilisation The secondary education sector winner is the Metzo College, Doetinchem The eye-catching building of the Metzo College was chosen unanimously by the jury. The jury was impressed by the role and vision of the commissioner, which has worked in functionally and technically obsolete buildings for many years. At the same time, the management and teachers have worked on designing a new, coordinated

educational vision for the VMBO (vocational education). This vision was the starting point for the design and style of the building. The jury found the way in which the building has been designed in the landscape, thereby incorporating the environment in the architecture, both daring and very finely worked out. The building is both very expressive and absolutely impressive in its elaboration of the education process. The commissioner has optimised the study rooms by integrating theory and practice to the full and letting the passageway be a part of the primary process. The promary education winner PC primary school Prinsehaghe, Den Haag Perspectiveprize OBS De Globe/Johannesschool (De Kikker), Amsterdam OBS Het Zand & Montessori School Arcade, Utrecht Nominated projects Lyceum Ypenburg, Den Haag Sprot Campus Leidsche Rijn, Utrecht Hervormd Lyceum West, Amsterdam Het Spectrum, Den Haag

MIMA Middlesbrough, United Kingdom The new Middlesbrough Institute of Modern Art gallery building and adjoining Public Square are part of the redevelopment of the town centre in Middlesbrough, a community of approximately 150,000 inhabitants in the North East of England, serving as commercial and cultural centre for an area of about 650,000 people. With the aim to create ‘economic success and cultural diversity’ Middlesbrough’s redevelopment focused on the attraction of leisure and retail facilities, the redesign of major streets and, as a key project, the redevelopment of Middlesbrough’s central Victoria Square, including the new art gallery. The project was won in 2002 by (EEA) Erick van Egeraat associated architects through an international competition, the public square has been designed in conjunction with Dutch landscape architects West 8. The winning design presents an ideas and architectural approach to the master plan of a central site, including the location of the gallery

69 and its relationship to the proposed square and other existing civic buildings. The project is defined by a single public open space, clearly identifiable with distinct areas, that encourages active use, strengthens connections with the surrounding streets and supports pedestrian movement throughout the town centre. The new art gallery is located on the south side of the Square and represents the first phase of implementing a coherent and vibrant new cultural quarter with public activities. The new gallery houses Middlesbrough’s collection of modern arts and crafts as well as temporary exhibitions on approximately 4.000 m 2 of gallery space, furthermore a café, restaurant, shop and education spaces. The building itself is separated into two distinct building parts reflecting the public and support functions inside, with the exhibition space overlapping the two and the public foyer linking them together. The form and materials of the building express this duality of the concept, while respecting the scale and material of the surrounding buildings. The public spaces directly face the square with the education and entertainment areas taking advantage of the views. This public side of the building, including main entrance to foyer, café and shop is spacious, open and inviting and enables easy access to the gallery. The creation of a layered, transparent façade enhances the openness and the visual connections between the square, the town and the gallery’s interior thus optimising the relationship between MIMA and the revitalised public and cultural quarter of Middlesbrough.

1 education • 2 refuge • 3 staircase • 4 plant • 5 community gallery • 6 staff • 7 director • 8 cafe • 9 kitchen •10 lobby • 11 shop

MIMA & Urban Regeneration 1. Our key consideration was to find an urban solution for regeneration which included a gallery and a public space - not just to do a gallery and hope it will attract people. 2. In this way the gallery was sited to allow for a large public space (much larger than intended in the original brief) which created opportunities for future development along the edges of the square. (note: the next development - mixed use / student housing is now already planned) 3. The gallery was also sited in a way that people would be drawn across the public space toward it. The gallery activates the square and the square provides a grand setting for the gallery. 4. The public space is primarily a civic space - it is edged by the Town Hall / Library / court houses / Offices and Gallery. We worked closely with the Council events planners to make sure the space

was appropriate for major events. Planned events include markets, outdoor films, ice skating, and pop concerts. 5. It was important that retail was not used as a primary generator of activity in the public space as this would have competed with the existing retail centre. The space is very much a counterpoint to the retail centre of Middlesbrough. 6. At a detailed design level, it was important that the elements of the square had a grand civic quality to them. We used oversized 1.8 x 1m precast concrete kerb units to frame the grassed areas and a single dark grey clay paving unit throughout the entire space (5.000 m2). 7. In creating such a large space in a relatively small city there was always the risk that too much hard surfacing would create too harsh an environment. The use of large grassed areas framed by concrete kerbs creates an urban park which softens the space and brings it down to human scale.

8. Within the â&#x20AC;&#x2DC;framesâ&#x20AC;&#x2122; there are only a few clearly defined elements. The water feature and the latticed network of Corten pathways - which are functional paths, decorative, and playful - allowing people to engage with the grassed areas. 9. The design of the gallery itself creates a highly legible building in which public spaces and back of house are clearly defined by the form and materials. 10. The foyer is designed as a giant shop window - the colour of the stone tiles matches that of the square and the space feels continuous with the square. This draws people in and the clear legibility from the outside makes the art almost part of the square itself. 11. The key to the success of the square + gallery as a regenerative tool is that both were conceived together - and I think we can pay credit here to the vision of the client to commission the work in such a way that truly allowed the design to work in synergy.

ground floor 1 lobby 2 shop 3 foyer 4 exhibition 5 toilets 6 cafe 7 kitchen 8 storage 9 staircase

10 corridor 11 loading bay 12 workshop 13 lv room 14 transformer 15 tank 16 cleaners 17 refuse 18 kitchen storage 19 gas meter

first floor 1 office 2 staff 3 refuge 4 staircase 5 direktor 6 community gallery

7 void 8 storage 9 toilets 10 corridor 11 lift motor room 12 plant

second floor 1 education 2 storage 3 refuge 4 staircase 5 plant 6 community gallery 7 collection

8 void 9 exhibition 10 lobby 11 toilets 12 conservation 13 corridor 14 cleaners 15 IT room

third floor 1 terrace 2 void 3 staircase 4 refuge 5 collection 6 auditorium 7 toilets

8 cloak room 9 corridor 10 cleaners 11 storage 12 plant 13 chillers 14 roof room

UNIVERSITY of UTRECHT The Netherlands Architects Erick van Egeraat, Ulf Hackauf, Joris LĂźchinger Project leader Cock Peterse Associates Monica Adams, Massimo Bertolano Project team Rowan van Wely, Taro Yoshikawa, Ann-Christin Hillebrand, Kristjan Kaltenbach, Julia Hausmann, Paul Blonk, Jesse Treurniet, Ronald Ubels, LĂŠon Wielaard Contributors Alex Axinte, Brian Bozo, Rudolph Eilander, Bas de Haan, Ruben Kuipers, Roman Kristesiashvily, Marcella Parra, Marlies Quack, Milena Zaklanovic

77 1 AZU HOSPITSL 2 ABC BUILDING

The University of Utrecht in the Netherlands commissioned an urban masterplan by O.M.A. (Art Zaayer) in 1995, and has since invited several well known Dutch architects to contribute to the University campus ‘De Uithof’. For the latest extension the University sought a more modest building to make optimal use of the deep site available. Facing south, but wanting the minimum of direct sunlight, the assignment requires an intelligent and sustainable solution. The new faculty building of the biomedical cluster (ABC) forms the corner to the existing Academic Hospital of Utrecht. Due to the chaotic nature of the current urban plan, the new building volume seeks to strengthen the existing entrance area of the hospital complex. In addition it needs to retain an independent building identity within the complex and also to form part of the University campus. On a gross floor area of approximately 14.500 m 2 , the building consists of three parts: office

space, classrooms with individual workspaces (‘study landscape’) and a restaurant. In both the office and education areas, flexible work environments are provided where different teaching scenarios can occur such as classical lectures, group work and individual research. Situated in the centre of the building are three cone shaped glass voids, which allow indirect sunlight into the deep building plan. They connect the more public areas in the building with the educaton floors and are visible from all spaces in the building. The cones integrate the loadbearing structure and serve as large ventilation shafts. The crystal glass shapes thus form a technical backbone as well as the atmospherical heart of the building. Combining a rationalised and orthogonal structure with specific shapes and open areas, the proposal meets the client’s expectation of a modest, though enriched environment with an inspiring identity.

79 Client Universiteit Utrecht afdeling bouw Programme & surface area Programme classrooms, offices, restaurant,individual study spaces (study landscapes) Gross floor area 14.500 m 2 Start design 2002 Design phase 18 months Development time 24 months Realisation September 2005 Scope of work full assignment incl. landscape and interior Current project status completed

1 study landscape 2 restaurant

The design consists of a five-story building, measuring approximately 76 x 45 meter per floor. The grid system for the building measures 7,20 x 7,20 square meters. The floors have been cut in three specific locations to make room for three voids that are shaped like tubes. These tubes are structural and can carry vertical loads. On the first two floors, the old building, with several lecture rooms, is incorporated within the rectangular volume of the new building. These two floors create a structural platform for the new floors that are placed on top. There is no basement in the building, only a crawl space located underneath the ground floor. The ground floor is a poured in place, concrete slab. The elevated concrete floors are made with “bubbledeck” and are supported on round columns. The stability of the building structure is achieved by inserting two concrete cores that house the emergency staircases. The cores are constructed with prefabricated concrete panels. For the elevated concrete floors, 230 mm thick prefabri cated concrete planks are used. The planks are placed on 280 mm thick column drop heads measuring 2.40 x 2.40 square meters. Along the edges of the voids, the floors are supported on freestanding steel columns. To reduce the weight of the concrete floor planks, pvc balls are incorporated into the concrete floor planks. This system is called “bubbledeck-floor”. Furthermore, unlike regular “kanaalplaatvloeren” which span only in one direction, the span of “bubbledeck-floor” is in two directions. Due to this system, additional steel beams were not required and damage to the polyethylene water-filled tubing, which was placed on top of the bubbledeck-floors could be avoided. Along the south-east side of the building at the 3 rd level, the new construction is built over the existing building. The new building does not cantilever over the existing building but is supported on a column that pierces through the existing building structure down to the foundation. A large footing supported by 6 concrete piles was required to support this column. For the large spans, 5 trusses along axis C, D, E, F and G are supported on a two-story truss along axis 12 in the façade. On the third floor, the trusses and the concrete floors received a concrete pressure layer, allowing for the elimination of the temporary bracing of the concrete floors during construction.

The first floor is a 300 mm thick, poured-in-place concrete slab. The slab is placed on rigid insulation, which is placed on a layer of sand. Pouring the slab on grade facilitates the incorporation of all the level changes, ramps and stairs that are placed on this floor level. The second floor, with several level changes, was also constructed using bubbledeckfloors. In this area, additional columns were placed at locations where the concrete planks did not correspond with the gridlines. Steel tubes are placed behind the sloping façade. These columns distributed the windloads on the façade, to the concrete floors and the stabilising/structural cores within the building. The steel columns that are placed inside the voids help support the edges of the cantilevering concrete floors. The columns are placed along the inside and away from the edges of the concrete floors to allow for the glass enclosure to pass. In order to maintain slender and elegant sized steel columns, specially designed hinging devices called “hooks” were introduced to connect the steel columns to the concrete floors. The hooks are made of 100 mm thick steel plates which are anchored to the concrete floors with steel arms. These arms are welded to the hooks and the steel rebars in the concrete floors. Due to the nature of this hinging connection, deflection of the floors will not take place because the connection between the steel columns and the concrete floors is not a moment connection but a hinged connection. The kink in the steel columns in the voids required that the horizontal forces, as a result of the vertical loads in the steel columns, had to be transferred to the concrete floors. Therefore, great care was taken during the placement of the steel hooks along the concrete floor edges.

Project team - Project manager Universiteit Utrecht, Mr. Aryan Sikkema, Mr. Wim Bouwhuizen Structural engineer ABT-C Adviesbureau voor Bouwtechniek, Delft, Mr. Walter Spangenberg, Mr. Wiljan Houweling Mechanical services engineer Halmos B.V., Den Haag, Mr. Ron van der Plas Electrical services engineer Halmos B.V., Den Haag, Mr. Ron van der Plas Quanity surveyor Dukers & de Cock, Eindhoven, Mr. Wim de Cock Special consultants Building physics/acoustical engineer Peutz & Associes, Molenhoek, Mr. Martijn Vercammen Fire protection engineer European Fire Protection Consultants B.V. (EFPC), Bilthoven, Ms. Kitty Haas Urban planner EEA Landscape architect EEA Interior architect EEA Chandelier designer Cerith Wyn Evans, London Renderings/Visualisations EEA

mechanical ventilation

Hybrid Climate Concept Utrecht, The Netherlands

A special hybrid-heating concept was developed for the ABCEducation Facility in Utrecht, the Netherlands, in which the architectural layout of the building was fully utilised to develop the heating concept. To establish a baseline temperature within the building, polyethylene pex tubing filled with water was placed 6 cm above the bottom of all the structural concrete floors. The tubes either cool or heat the floors. The temperature of the concrete floor is maintained at 22 degrees Celsius during winter and 18 degrees Celsius during summer. Additional radiators are placed in each room in order to control the individual heating demands. Natural ventilation is used throughout the building. Outside air enters the building through the exterior skin. The air is then forced into the large open central areas within the building. The air is extracted from the building via three large glass enclosed atriums. Special hydraulic roof lights allow

natural ventilation

for the air to be extracted from the three glass enclosed atriums. Sensors are placed at strategic locations within the building to monitor the temperature and the levels of CO2. If the air quality is insufficient, mechanical exhaust vents are activated. If the quality of the air is still below standards after the mechanical vents are activated; fresh airsupply vents are mechanically activated to supply the building with air. If the outside air is either too hot or too cold for natural ventilation to take place, the entire heating and cooling system is changed to a mechanical ventilation system only. During this second scenario, the air is still extracted thought the roofs of the three glass enclosed atriums. Ductwork is used for the distribution of air throughout the building and heat exchangers are used to regain either cold or hot air depending on the heating and cooling demands within the building.

The cones pass through the building. On top of the largest cone, a glass roof enclosure with steel supports was placed. The other two smaller cones received a steel roof enclosure. Part of the new structure of the building reaches over the existing structure. This is made possible with trusses that are two stories high. In order to allow for individual movement of these structural components, dilatation joints are incorporated on the fourth floor and the roof level. Due to the size of the building, it was not necessary to incorporate additional dilatation joints. Since the building is used for offices and education facilities, building codes required that all common areas 5.00 meter above ground level had to have a 90 minute fire rating. According to building code it was allowed to deduct 30 minutes based on the use of non-combustible materials. Furthermore, it was allowed to reduce the fire rating of the structure with an additional 30 minutes due to the installation of a fire suppression system throughout the building.This meant that the overall structure of the building should have a 30-minute fire rating. The following measurements were taken to achieve the 30-minute rating: • The concrete floor planks and all the walls have a standard rating of 30 minutes • The steel columns are larger than necessary to obtain a rating of 30 minutes • The steel columns in the cones are also larger than necessary to obtain a 30-minute rating • The anchoring plate between the columns and the concrete structure in the cones received tumescent paint. • The trusses are oversized to obtain a 30-minute fire rating. In certain places where this was not possible fire rated cladding was placed around the truss • The columns in the existing building are clad with 120 minutes fire rated materials

Mixed-use building Hamburg, Germany The mixed-use building (SPV 1-4) designed by (EEA) Erick van Egeraat associated architects is part of the Überseequartier and the larger plan of the ‘HafenCity’ waterfront redevelopment in Hamburg. The new building SPV 1-4 comprises spaces for retail, offices and housing on a gross floor area of 37.000 m2. Within the Masterplan of the Überseequartier, this building acts as urban attraction point through offering retail areas on the ground floor as well as hosting offices and apartments alongside the main Überseeboulevard that connects the inner city with the river. The building forms a clear urban block built around an inner courtyard, which is open towards the main boulevard. This arrangement creates a semi-public space that offers a retreat for the building’s residents but is accessible for outsiders at the same time. Aesthetically, the new building refers to the red-brick harbour aesthetics of the historic Speicherstadt on the one hand and the traditional white plaster façades of the inner city on the other. Mixed with glass and aluminium, the outer façades facing the streets are predominantly

composed of natural brick stone. In contrast, all façades towards the courtyard are white. The folded elevation emphasises the vertical structure and defines a unique statement within the entire plan of the Überseequartier. An atrium in the southwestern corner of the ensemble accentuates the possibility of individual access for each of the office units. The office spaces maximise a variety of use with a flexible structure offering units from 400 m2 up to 4.000 m2. The housing types can be reached from the boulevard through a generous staircase leading to the inner court on the first floor and flanked by bars and cafés to its left and right. On an urban scale, the building’s shape allows for a semi-public space and facilitates social interaction within the Überseequartier, while its architectonic appearance strongly relates to the character of Hamburg. With this concept, the building as a single element supports the leading theme of the Überseequartier development: connecting the inner city with the revitalised waterfront and making the Überseequartier an integral part of 21st century Hamburg.

The berseequartier is the centrepiece of the larger waterfront redevelopment area ‘Hafencity Hamburg’. It unites a mix of uses such as culture, leisure, retail, restaurants, hotels, services, housing, offices, a Cruise Ship Terminal, Science Center with Aquarium and Science Theatre on a total area of 275.000 m2. The location of the Überseequartier within the 155 hectare area of the Hafencity is crucial, as it connects the inner city with the river Elbe. In this position it plays a central role in revitalising the former harbour area in the city centre of Hamburg. The urban scheme combines buildings and landscape, with the Überseeboulevard as outstanding element. As connecting passage from and to the existing city centre, the boulevard meanders through the area and culminates in the main square of the quarter, the ‘Überseeplatz’. Situated alongside the waterfront, the square is point of arrival as well as central viewpoint. Enclosing the Überseeplatz adjacent to the river are two Waterfront Towers, designed by EEA. The towers are positioned to define the urban space towards the water. They utilise the urban landscape and integrate it in the public functions of cafés, restaurants and commercial facilities located on the ground and first floor. This concept creates the basis for lively social interaction and benefits both, buildings and square.

The towers are composed of two main elements: plinth and tower. The plinths form a clear visual end point of the Überseeboulevard and offer magnificent views of the river and the cruise ships. The towers emerge from the plinths like two rocks from the water. They frame the views to and from the Überseequartier and become landmarks for the entire area. The facades relate in their use of variations of glass and natural stone to the diversity of material prevailing in Hamburg’s Speicherstadt. The integration of buildings and square provides an exceptional inner-city quality within the Überseequartier and establishes interaction with the surrounding water. The masterplan scheme was designed by internationally most renowned Dutch architects Erick van Egeraat and Rem Koolhaas, the German architectsNetzwerkarchitekten and NPS Tchoban Voss, BDP architects from the UK and theGerman landscape architects Wes & Partner. The overall urban concept for the Überseequartier has been awarded first prizein a competition in 2005. Based on this concept, 10 internationally operating architects will fill in the different plots. EEA’s projects within the development include the Waterfront Towers and the mixed-use SPV 1-4 building. The northern part of Überseequartier will be completed by the end of 2009; the whole area is scheduled for completion in 2011.

Groninger Forum, The Netherlands EUROMED CENTER, MARSEILLE Architects Erick van Egeraat, Michiel Raaphorst, Mette Rasmussen Project team Itziar Lamy Pecina, Alda Jesus, Michele Stramezzi, Michiel Verkroost, Silvio Carta, Claudia Valadinhas Renderings Peter Heavens, Steven Simons

Erick van Egeraatâ&#x20AC;&#x2122;s Groninger Forum is a series of dialectic plays between robust mass and transparency, weight and weightlessness, the Human and nature. Its shape makes it a self-possessed and self-confident icon, which both surmounts and cradles the surrounding city structure. The building appears tectonic and impenetrable at a distance, but open, accessible and inviting from nearby.

The sensual choice of materials and the play of light reflect the city’s desire for openness, lightness and transparency, represented through both cuts in the façade and cone and the manifold terraces which open out into the city. The Forum’s softly notched shape infers a soft sculpted rock, part natural, part by human hand. It narrows towards the top and peaks with the transparent roof of the central cone. Like a canyon, the central cone transects all levels of the building. Its reddish, earthly skin promotes a sense of nurture and warmth and yet the cuts breathe vitality and energy throughout the building by allowing shimmering natural light to penetrate deep into the core. The building’s translucent alabaster façade contributes to this inherent play of diffuse light and shadows. At night, the building stands out as an illuminated beacon in the centre of the city. Standing on five feet, the Erick van Egeraat Groninger Forum hovers one level above the ground and faces the Grote Markt via a decentralised passage in the south-western corner of the transformed area. The ground level almost seamlessly unites with the surrounding public square. Glass walls at the ground level can be opened to create

a continuous space in and outside the building allowing visitors to wander freely. The organically shaped ground floor ceiling is clad in red brick stone. It opens up towards the central cone. The main body of the building is accessed via an escalator through the cone. On the first floor, a quick routing system of escalators allows visitors to shortcut through the building and reach all domains directly. Visitors who want to explore the building can wind their way upwards around the cone via the central staircase. A flexible zoning system empowers utilisation of the building to the user’sadvantage. Different zones house different domains. Transition between alldomains is fluent. All facilities can seamlessly be accessed throughout thebuilding. Various parts can be opened and closed without affecting the use of other zones. Especially the cinema, the exhibition area and the roof-top café canremain open late at night or on Sundays. All active zones can be accessed via the quick routing system. The building comprises 21.064 m2 across 11 levels. It houses various domains and facilities, from cinema, auditorium, library and information domains to exhibition space, panoramic lounge, roof terrace café and a kid’s domain.

The Tatarstan National Library is no not merely the home to Tatarstanâ&#x20AC;&#x2122;s most comprehensive collection of books. Unlike traditional state libraries, the building stands out through its openness to the public. The library is situated on a hill adjacent to a large square. Resembling an open book, the libraryâ&#x20AC;&#x2122;s two main towers give a face to the previously undefined space. In between the towers, the main entrance hall acts as an interface between city and library. The light and spacious entrance hall forms the heart of the design. A loop elevated in the roomy lobby attracts the attention of visitors. It can be used for events, exhibitions and lectures. The loop is also a metaphorical bridge between the outside and the inside, the city and the library, the lively public domain and the calm retreat of knowledge.

The Tatarstan National Library, Kazan, Republic of Tatarstan, Russian Federation

97 This metaphor is also reflected in the contrast between atmosphere and substantiation of the design. While all rooms feel open and inviting, the use of natural stone and wood give the building a solid and trustworthy appearance. Behind the towers and the entrance hall, two rows of building volumes continue the slope of the landscape. In between the rows, a park-like path is slowly ascending on the roof of the building. Parts of the library are entirely embedded into the hill, others are provided with daylight via courtyards. The building does not only distinguish itself through the accessibility of its architecture, but also by facilitating access to knowledge. Besides offering all traditional library facilities, the building also acts as a centre for digital information in all its current and future forms. The Tartarstan National Library allows to access information factually and at the same time invites citizens to explore and experience knowledge in many ways. This design for the National Library of Tatarstan goes beyond efficient storing and making available of information. Many thoughts were put into adding value to the building. The building is an extension of the city centre, a new part of the public domain offering a rich experience of space. The building connects with its environment in many ways. The entrance to the library is not a mere entrance; it is the libraryâ&#x20AC;&#x2122;s portal to the city and a continuation of the new sguare into the building. Inside, the 18 meter high atrium creates a light and airy atmosphere. Situated between the actual library and the city, the entrance hall is a universe on its own, a place where the collective and cultural qualities of downtown spaces are combined. The entrance space can be gallery, living room, park, boulevard, meeting point, education room or garden at the same time. The park on the roof of the library continues the shape of the hill by embedding all parts of the building into the landscape. But even though the library is built into the surrounding hill to make it less obtrusive, its design allows views deep into almost every part of the building. The park is not only a retreat for recreation, but facilitates the libraryâ&#x20AC;&#x2122;s natural openness and transparency. While respecting the structure of the city, the building offers a new quality space to the citizens of Kazan.

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Oosterdoks Island Amsterdam, The Netherlands Urban redevelopment of Oosterdoks Island, urban studies (and architectonic design) concerning housing, offices, hotel- and congress facilities, public library, academy of music. Client Oosterdokseiland Ontwikkeling Amsterdam (O.O.A. C.V.) Gross floor area 210.000 m 2 Start design 1998 Design phase 24 months Realisation 2010 Development time 144 months Construction time planned 5 years/ 5 jaar gepland

Masterplan 1998-2001, 36 months Design 2001-2003 Design phase 24 months Supervision 2003-2010 construction time 84 months waarvan onderwijs 16.000 m2 (education) waarvan kantoren 72.000 m 2 (offices) waarvan overige 122.000 m 2 (other)

101

The Oosterdoks Island is a key area of the redevelopment of the southern bank of the IJ river in Amsterdam in the Netherlands. The area connects the inner city with the newly developed living and working areas on the old harbour piers along the IJ. In order to assess the feasibility of the proposed brief and site the client (Amsterdam City Council and the developer MAB) commissioned EEA to produce a masterplan for the area. The objectives of this now endorsed plan were to provide a framework for the spatial and programmatic possibilities of the redevelopment. A unique urban model for the southern part of the island, that faces the inner harbour, has been developed creating an inner city environment with a vibrant character that maintains the identity and atmosphere of this distinctive place in the city. The building plots are defined by a series of radiating streets, a

characteristic theme of Amsterdam, and contain a diverse and dense mix of functions. The new public spaces play an important role in the development of the urban plan by connecting to the various building programme and activities as well as to a waterfront quay that optimises the harbour views. As a result of the high density and varied mix of functions, the spatial masterplan strategy has created a distinct urban architecture solution. The design aims to combine building and public space in such a way that creates a lasting urban structure as an extension of the city. For the architectural development of the individual plots twelve international architects, including EEA, have been selected to progress the design of the largest site to date of downtown Amsterdam.

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Áðåäà ïîïñöåíà „MEZZ”

Êàòî ÷àñò îò ñõåìàòà çà ãðàäîóñòðîéñòâåíîòî ðàçâèòèå íà èçîñòàâåíàòà âîåííà áàçà ”Øàñé” â ãðàä Áðåäà, èçãîòâåíà îò Ñëóæáàòà çà ãðàäñêà àðõèòåêòóðà, ñòàðàòà îôèöåðñêà çàëà ùå áúäå ïðåâúðíàòà â öåíòúð çà ìíîæåñòâîòî ïî÷èòàòåëè íà ïîïìóçèêàòà â Áðåäà. Ðàçïîëîæåíà â þãîçàïàäíèÿ úãúë íà òåðåíà, êà÷åñòâîòî íà òàçè ñãðàäà, äàòèðàùà îò 1899 ã., å êîíöåíòðèðàíî âúâ âúòðåøíàòà ÷àñò íà áèâøèòå êàçàðìè. Â ðàçøèðåíèåòî, íàìèðàùî ñå îò äðóãàòà ñòðàíà íà ñòàðàòà çàëà, ñå ïîìåùàâàò êîíöåðòíàòà çàëà è ôîàéåòî. Ðàçøèðåíè-

åòî èìà ôîðìàòà íà ïèùíà ìîðñêà ìèäà, çàëåïåíà çà ñòàðàòà ñòðóêòóðà. Òàì, êúäåòî ñå ñúåäèíÿâàò ñòàðàòà è íîâàòà ñãðàäà, èìà îòâîð, êîéòî îñèãóðÿâà âðúçêà ìåæäó ôîàéåòî íà çàëàòà è êàôåíåòî â ñòàðàòà ñãðàäà. Ìèäîîáðàçíàòà ôîðìà íå ïðå÷è íà íåçàâèñèìîñòòà íà ñòàðàòà ñãðàäà, êàòî â ñúùîòî âðåìå îòêðèâà äîáúð èçãëåä êúì ìóçèêàëíàòà çàëà îòêúì ”çîíàòà çà çàáàâëåíèÿ” íà Áðåäà. Ïðè ïîãëåä îòêúì áúäåùèÿ æèëèùåí êîìïëåêñ, êîéòî ùå áúäå èçãðàäåí íà òåðèòîðèÿòà íà áèâøèòå êàçàðìè, ñå âèæäà ñàìî ñèëóåòúò íà íîâàòà ñãðàäà, ñïóñêàù ñå çàä ïîêðèâà íà ñòàðàòà îôè-

öåðñêà çàëà. Çà äà îòãîâîðè íà âèñîêèòå àêóñòè÷íè èçèñêâàíèÿ çà ïîïêîíöåðòèòå, ”ìèäàòà” å èçãðàäåíà êàòî çàâúðøåí äâîåí êóïîë ñ âúçäóøíà âúçãëàâíèöà îò åäèí ìåòúð ìåæäó äâåòå ÷àñòè, ïî ïîäîáèå íà àðõèòåêòóðàòà íà ìíîãî ñòàðè öúðêâè. Âúòðåøíàòà ”ìèäà” å ïðîåêòèðàíà òàêà, ÷å äà ñòåñíÿâà çàëàòà â ïåðñïåêòèâà êúì ñöåíàòà. Ïîðàäè àêóñòè÷íèòå èçèñêâàíèÿ òàçè ”ìèäà” å íàïúëíî çàòâîðåíà è å èçðàáîòåíà îò øïåðïëàò è èçîëàöèîíåí ìàòåðèàë. Öÿëàòà é ñòðóêòóðà å îêà÷åíà íà âúíøíàòà ”ìèäà”, êîÿòî ñëåäâà êîíòóðà íà âúòðåøíàòà; ôîðìàòà íà âúíøíàòà

6 14 22

”ìèäà” ñå îïðåäåëÿ îò âúòðåøíàòà è îò ïðîñòðàíñòâîòî, íåîáõîäèìî çà ñêëàäà çà äåêîðè è ïîìåùåíèåòî ñ òåõíè÷åñêàòà èíñòàëàöèÿ. Ñêåëåòúò íà âúíøíàòà ”ìèäà” å õèáðèäíà ñòðóêòóðà îò ñòîìàíà è áåòîí, êîÿòî, çàðàäè àêóñòèêàòà, å ïîêðèòà ñúñ 100 ìì èçëÿò áåòîí è îêñèäèðàíî ìåäíî ïîêðèòèå. Âñè÷êè âõîäîâå êúì íîâîòî ðàçøèðåíèå ñà ñêðèòè â òÿëîòî íà âúíøíàòà ”ìèäà”. Äîñòúïúò äî ”ìèäàòà” å âèäåí åäèíñòâåíî êîãàòî âõîäîâåòå çà ïóáëèêàòà ñà îòâîðåíè. Âðàòàòà êúì ñêëàäà çà äåêîðè å 3 íà 4 ì., ñ ìåòàëíà êàñà è ñå îòâàðÿ ïî îðèãèíàëåí è âïå÷àòëÿâàù íà÷èí êàòî ôåðèáîò.

Êîðê, Èðëàíäèÿ

Õóäîæåñòâåíàòà ãàëåðèÿ ”Êðîôúðä” çàåìà âèäíî ìÿñòî â ñúðöåòî íà Êîðê, ìàëúê ãðàä â Þæíà Èðëàíäèÿ. Â ðåçóëòàò íà

ìíîãîáðîéíè ðàçøèðåíèÿ îò ïîñòðîÿâàíåòî é ïðåç 1724 ã. ñãðàäàòà ñå å ïðåâúðíàëà â ñáîð îò ðàçëè÷íè ñêóëïòóðíè ôîðìè è ïðîñòðàíñòâà, íèêîå îò êîåòî îáà÷å íå å ïîäõîäÿùî çà ãîëåìè ñúâðåìåííè èçëîæáè. Öåëòà áå äà ñå äîáàâÿò äâå íîâè èçëîæáåíè ïîìåùåíèÿ è äà ñå ïîäîáðè öèðêóëàöèÿòà íà ïîñåòèòåëèòå â ãàëåðèÿòà. Ðàçøèðåíèåòî ñå íàìèðà â äâîðà íà ãàëåðèÿòà è ðåøàâà ïðîáëåìà ñ äîòîãàâà ñúùåñòâóâàùèòå òî÷êè áåç èçõîä, êàòî ñâúðçâà åòàæíèòå íèâà ÷ðåç íîâà îêà÷å-

íà ñòúëáà. Äâåòå èçëîæáåíè çàëè èìàò êîðåííî ðàçëè÷íà àòìîñôåðà. Äðàìàòè÷íî îôîðìåíèÿòà ïîêðèâ íà ãîðíàòà ãàëåðèÿ ñúçäàâà àðõèòåêòóðíî ïðîñòðàíñòâî ñ åñòåñòâåíà ñâåòëèíà, äîêàòî äîëíàòà ãàëåðèÿ å ïîóåäèíåíà, ñúñ ñòåíà, ãëåäàùà êúì ”Õàëô Ìóóí Ñòðèéò”, êîÿòî ìîæå äà áúäå ÷àñòè÷íî èëè èçöÿëî çàòâîðåíà ñúñ ñåðèÿ îò äúðâåíè êàïàöè íà ïðîçîðöèòå, â çàâèñèìîñò îò èçèñêâàíèÿòà íà èçëîæáàòà. Ôàñàäàòà íà íîâîòî ðàçøèðåíèå îòðàçÿâà êîíòðàñòà, êàêòî è õàðìîíèÿòà ìåæ-

äó íîâàòà è ñòàðàòà ÷àñò. Ãàëåðèÿòà èìà õàðìîíè÷åí âúíøåí âèä, òúé êàòî çà âñè÷êè ïðåäèøíè ðàçøèðåíèÿ ñà èçïîëçâàíè òóõëè. Ðàçäâèæåíèòå ëèíèè íà íîâàòà ôàñàäà ñúùî ñà èçãðàäåíè îò òóõëè, êîèòî ñà ñïîåíè çàåäíî, çà äà îôîðìÿò ìîíîëèòíèÿ êîðïóñ íà ñãðàäàòà. Ñúâðåìåííàòà íàìåñà íà íîâîòî ðàçøèðåíèå, îáåäèíåíî ñúñ ñòàðàòà ÷àñò íà ñãðàäàòà ÷ðåç èçïîëçâàíèòå ìàòåðèàëè, íî ðàçëè÷íî ïî ôîðìà, äîáàâÿ îùå åäèí ñëîé â èñòîðèÿòà íà òàçè êóëòóðíà çàáåëåæèòåëíîñò.

úãúëà íà ñãðàäàòà. Ôàñàäàòà ïðîìåíÿ âèçèÿòà ñè îò âåðòèêàëíà íà óë. ”Ìàóðèòñêàäå” êúì õîðèçîíòàëíà íà çàîáëåíèÿ úãúë è îáðàòíî íà âåðòèêàëíà îòêúì ”Ôîí Çåñåíùòðààò”. Ïî òîçè íà÷èí ñúâðåìåííàòà íàìåñà îòäàâà äúëæèìîòî íà ñòàðèÿ êâàðòàë. Ïî ïëàí íà úãúëà åòàæèòå ëåêî ñå ïðèïîêðèâàò, êàòî òàêà ñúçäàâàò èíòåðåñíà èãðà íà îáåìè è ñåíêè. Ôàñàäàòà å õàðàêòåðíà ñ äâàòà âèäà òúìíè åñòåñòâåíè êàìåííè áëîêîâå ñ íåðàâíè è îá-

ðàáîòåíè ñ ïåñúêîñòðóéêà ïîâúðõíîñòè. Áîÿäèñàíèòå äúðâåíè ðàìêè íà ïðîçîðöèòå ñà ñú÷åòàíè ñ ìåòàëíè ëèñòîâå ñ ïîêðèòèå â àëóìèíèåâ öâÿò, êîèòî òúé êàòî ñëåäâàò úãúëà íà ñãðàäàòà, îòðàçÿâàò ñëúí÷åâàòà ñâåòëèíà ïî íàé-ðàçëè÷íè íà÷èíè. Äî âñåêè àïàðòàìåíò ñå äîñòèãà ïðåç îëåêîòåíîòî ìó ïðåääâåðèå, êàòî ñà èçáåãíàòè äúëãèòå êîðèäîðè è îðèåíòàöèÿòà íàâúòðå â àïàðòàìåíòà, à è èçâúí íåãî å óëåñíåíà.

Àìñòåðäàì

Íîâàòà ñãðàäà, ðàçïîëîæåíà íà âèäíî ìÿñòî ñðåùó Òðîïåíìóçåóì, çàâúðøâà úãúëà íà áëîê îò

XIX â. â êâàðòàëà "Äàïåðáóóðò" â Àìñòåðäàì. Òÿ ïðåäâèæäà ïðîñòðàíñòâî çà òúðãîâñêè öåëè, àâòîìàòè÷íà ïàðêèíã ñèñòåìà íà ïðèçåìíèÿ åòàæ è äâàíàäåñåò ëóêñîçíè àïàðòàìåíòà íà ÷åòèðèòå åòàæà ïî-íàãîðå. Òåðåíúò èìà òðèúãúëíà ôîðìà, êàêòî è îáåìúò íà íîâàòà ñãðàäà. Êîìáèíàöèÿ îò âåðòèêàëíè è õîðèçîíòàëíè ëèíèè å ïîäáðàíà çà ôàñàäàòà êàêòî çà äà ñúîòâåòñòâà íà ñúùåñòâóâàùèòå ñãðàäè îò XIX â., òàêà è çà äà ïîçâîëè ïîñòàâÿíåòî íà ïàíîðàìíè õîðèçîíòàëíè ïðîçîðöè ïî

103

Óíèâåðñèòåò ”Èíõîëàíä”, Ðîòåðäàì (Áèâø óíèâåðñèòåò ”Èõòóñ” çà ïðîôåñèîíàëíî îáðàçîâàíèå)

Óíèâåðñèòåòúò ”Èíõîëàíä” (áèâøèÿò Óíèâåðñèòåò çà ïðîôåñèîíàëíî îáðàçîâàíèå ”Èõòóñ”) å ðàçïîëîæåí íà ”Êîï âàí Çþä” â Ðîòåðäàì, Õîëàíäèÿ.

Â ñúñåäíèÿ íà íåãî ïðèñòàíèùåí ðàéîí èìà ìíîãî ïðèìåðè çà èíäóñòðèàëíàòà àðõèòåêòóðà îò XIX è ðàííèÿ XX âåê. Ñãðàäàòà å ñðîäíà ñ òîçè ïðèñòàíèùåí ðàéîí ïî ìàùàáà ñè, êàêòî è ïî òèï. Öåëèòå íà êëèåíòà áÿõà äà ñå ñúçäàäå ãúâêàâà ñãðàäà, òèïè÷íà çà XXI âåê, êîÿòî èçëú÷âà ïðîçðà÷íîñò, íî è åäíîâðåìåííî ñ òîâà ñå âïèñâà â êîíöåïöèÿòà íà ãðàäîóñòðîéñòâåíèÿ ïëàí íà îáùèíàòà çà òóõëåíà àðõèòåêòóðà îò XIX

âåê. Êîíöåïöèÿòà äàâà âúçìîæíîñò íà ó÷åáíîòî çàâåäåíèå äà îòäàâà ñãðàäàòà ÷àñòè÷íî ïîä íàåì èëè äîðè äà ñå ïðåâúðíå â îôèñ ñãðàäà. Ñúñòîÿùà ñå îò äâå èçíåñåíè êðèëà, êîèòî çàêëþ÷âàò ïîìåæäó ñè öåíòðàëíî ðàçïîëîæåí àòðèóì, êîíöåïöèÿòà îïòèìèçèðà èçïîëçâàíåòî íà òåðåíà. Ñïåöèàëèçèðàíèòå è îáùåñòâåíèòå ïðîñòðàíñòâà ñà ðàçïîëîæåíè íà ïúðâèòå òðè åòàæà, à àóäèòîðèèòå ñå íàìèðàò íà ãîðíèòå

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øåñò åòàæà. Àòðèóìúò ïî þæíàòà ôàñàäà ñå ðàçãðúùà ïî ïúëíàòà âèñî÷èíà íà ñãðàäàòà, òàêà èçãðàæäàéêè íåéíàòà ñúðöåâèíà. Ìàòåðèàëèòå ñà ïðåäèìíî êîáàëòîâîñèíüî, îáðàáîòåíî ñòúêëî è ïðîçðà÷íî ñòúêëî, çà äà ñïîñîáñòâàò çà ìàêñèìàëíà ãúâêàâîñò, äà ðàçêðèâàò çàáåëåæèòåëíè ãëåäêè è äà ñúçäàâàò óñåùàíå çà îòâîðåí õàðàêòåð, êîåòî å îòëè÷èòåëåí çíàê íà óíèâåðñèòåòà.

Êìåòñòâîòî Àëôåí Ààí äåí Ðåéí

Êìåòñòâîòî íà Àëôåí Ààí äåí Ðåéí å ïúðâèÿò ðåàëèçèðàí ïðîåêò îò íîâèÿ ãðàäîóñòðîéñòâåí ïëàí çà öåíòúðà íà òîçè ðàçâèâàù ñå ãðàä â Öåíòðàëíà Õîëàíäèÿ, êîéòî äàâà òîí çà àìáèöèîçíè áúäåùè ïðîåêòè. Îáùèíñêèÿò ñúâåò èçÿâè æåëàíèå äà î÷åðòàå ÿñíî êîìóíèêàöèÿòà ñè ñ ìåñòíîòî íàñåëåíèå êàòî ïðîçðà÷íà, îòêðèòà è íàñúð÷èòåëíà. Îòêðèòîòî èçëú÷âàíå íà ñãðàäàòà å ñâúðçà-

íî ïðÿêî ñ òàçè öåë è ñå èçðàçÿâà ÷ðåç ïðîçðà÷íàòà ñòúêëåíà ôàñàäà. Èçáîðúò íà ñâåòëè è åñòåñòâåíè ìàòåðèàëè çà èíòåðèîðà ñúùî óòâúðæäàâà îáùåñòâåíàòà ôóíêöèÿ íà ñãðàäàòà è îêóðàæàâà ïîñåòèòåëèòå. Âñè÷êè ïîìåùåíèÿ çà îáñëóæâàíå íà ãðàæäàíèòå ñå íàìèðàò íà ïðèçåìíèÿ åòàæ, êàòî ïîìåùåíèÿòà íà Îáùèíñêèÿ ñúâåò íà ãîðíèÿ åòàæ ãëåäàò êúì âõîäà íà ñãðàäàòà, èçðàçÿâàéêè òàêà áëèçîñòòà ñè äî îáùåñòâîòî. Ñúâåòúò ïðåäïî÷åòå ñâîáîäíèòå ëèíèè è äèíàìè÷íà ôàñàäà íà åäèí îò ïúðâèòå åòàïè îò èçãîòâÿíåòî íà äèçàéíà, çàåìàéêè ïî òîçè íà÷èí íîâàòîðñêà ïîçèöèÿ. Öÿëîñòíàòà ôîðìà íà çäàíèåòî å òàêà ïîäáðàíà, ÷å ñå ñâúðçâà è îáåäè-

íÿâà ðàçëè÷èÿòà â ìàùàáà íà çàîáèêàëÿùèòå ãî ñãðàäè. Îò åäíàòà ñòðàíà ñãðàäàòà å âèñîêà, çà äà êîðåñïîíäèðà ñ óðáàíèñòè÷íèòå ìàùàáè íà ïë. "Ðàóë Âàëåíáåðã”, äîêàòî îò äðóãàòà å ïî-ñêðîìíà â ðàçìåðèòå ñè, òúé êàòî ãðàíè÷è ñ ïî-íèñêîòî ñòðîèòåëñòâî íà æèëèùåí êîìïëåêñ. Ôàñàäàòà å ñ íåïðåêúñíàòà, íî íàïëàñòåíà ïîâúðõíîñò, ñúáèðàùà òðèòå ÷àñòè íà ñãðàäàòà (êìåòñòâî, óñëóãè çà ãðàæäàíèòå è îôèñè). Ðàçëè÷íèòå ïëàñòîâå ñå ïðèïëúçâàò åäèí íàä äðóã, êàòî ïî òîçè íà÷èí âèçèÿòà ïîä÷åðòàâà èíäèâèäóàëíîñòòà íà îòäåëíèòå ÷àñòè îò êîìïëåêñà. Îñíîâíàòà ÷àñò îò ñãðàäàòà (ñàìîòî êìåòñòâî) èìà ïðîçðà÷íà ôàñàäà ñ àòðèóì â çàäíàòà

÷àñò. Â ïî-íèñêàòà ÷àñò îò ñãðàäàòà (óñëóãèòå çà ãðàæäàíè è îôèñèòå), âúïðåêè ÷å ñúùî å ÷àñòè÷íî ïðîçðà÷íà, ïðåîáëàäàâà êàìúêúò è ñîëèäíèòå ìàòåðèàëè. Ñ äèíàìèêàòà âúâ âèçèÿòà ñè äèçàéíà ñúîòâåòñòâà íà ïðîãðàìàòà çà ðàçâèòèå è ïðîñòðàíñòâåíèòå èçèñêâàíèÿ íà êîìïëåêñà, à ñúùî òàêà âçåìà ïðåäâèä è ãðàäñêèòå íþàíñè íà òåðåíà. Áåç äà ïðåìèíàâà â ìîíóìåíòàëåí ñòèë, ñãðàäàòà âúïëúùàâà çíàêîâîòî çíà÷åíèå íà "Êìåòñòâîòî” â èñòîðè÷åñêè ïëàí. Îòâîðåíà, ïîäêàíâàùà è äîñòúïíà çà âñè÷êè ãðàæäàíè, íà íåÿ ìîæå äà ñå ãëåäà êàòî íà ñúâðåìåííà ïúòåâîäíà ñâåòëèíà, îòðàçÿâàùà îáðàçà íà íàðàñòâàùàòà ìåñòíà îáùíîñò.

Âàðøàâà - ïîñîëñòâîòî íà êðàëñòâî Õîëàíäèÿ

Òåðåíúò íà íîâîòî õîëàíäñêî ïîñîëñòâî â Ïîëøà ñå íàìèðà áëèçî äî ïàðêà ”Ëàçéåíñêè” âúâ Âàðøàâà. Ïðîåêòúò, âúçëîæåí îò

Ìèíèñòåðñòâîòî íà âúíøíèòå ðàáîòè íà Êðàëñòâî Õîëàíäèÿ, òúðñåøå äèçàéí çà ñúâìåñòåíèòå êîíñóëñòâî è ïîñëàíè÷åñêà ðåçèäåíöèÿ, êîèòî äà îòðàçÿâàò âëèÿòåëíàòà õîëàíäñêà òðàäèöèÿ íà ïðîçðà÷íîñò è îòêðèòîñò. Òåðåíúò ñå íàìèðà â ñåâåðíàòà ÷àñò íà ïàðêà, ìÿñòî ñ æèëèùíî ñòðîèòåëñòâî è ïðîâèíöèàëåí îáëèê, êúäåòî ñå ïîìåùàâàò è äðóãè ïîñîëñòâà. Çåëåíàòà ñðåäà å âàæíà ÷àñò îò ïðîåêòà, ìàêàð ÷å äðóãèòå ïîñîëñòâà ñà îáãðàäåíè îò ñòåíè, êîèòî ñà çàïëàõà çà îòâîðåíàòà è ñïîêîéíà àòìîñôåðà íà ïàðêà. Â ðàéîíà èìà íÿêîëêî èñòîðè-

÷åñêè ñãðàäè, âêëþ÷èòåëíî è ñãðàäà íà õîëàíäñêèÿ áàðîêîâ àðõèòåêò Òèëìàí âàí Ãàìåðåí, êîéòî å îêàçàë ãîëÿìî âëèÿíèå âúðõó ïîëñêàòà àðõèòåêòóðà ïðåç XVII â. Ïðåäëîæåíèÿò äèçàéí å âäúõíîâåí îò áàðîêîâèÿ, ìàêàð è íå òîëêîâà ïèùåí ñòèë íà Âàí Ãàìåðåí è çàïàçâà ïîâå÷åòî îò ñúùåñòâóâàùèòå äúðâåòà, êàòî ïîääúðæà êà÷åñòâîòî íà ïàðêà è äîáàâÿ ñòîéíîñò êúì çåëåíèÿ ïåéçàæ. Êîíñóëñòâîòî è ïîñëàíè÷åñêàòà ðåçèäåíöèÿ ñà ñâúðçàíè ïîìåæäó ñè è ñ çàîáèêàëÿùàòà ãè ñðåäà ïî èíäèâèäóàëåí íà÷èí. Êîíñóëñòâîòî,

ñëåäâàéêè èíñòðóêöèèòå, å ïðîåêòèðàíî òàêà, ÷å ïî îëåêîòåí è ïðîçðà÷åí íà÷èí äà îòðàçÿâà ëàíäøàôòà, äîêàòî ðåçèäåíöèÿòà ñå íàìèðà âúâ âèëà â ïàðêà, èçãðàäåíà îò êàìúê, êîéòî ïîä÷åðòàâà íåçàâèñèìîñòòà íà åëåìåíòà â ñðåäàòà. Ìåæäó äâåòå ñãðàäè èìà îáùåñòâåíî äîñòúïåí äâîð ñ èçãëåä êúì çàîáèêàëÿùèÿ ïåéçàæ. Ôàñàäàòà íà êîìïëåêñà ñúùî ñúâìåñòÿâà ïîðòàë ñ îðãàíè÷åí äèçàéí, êîéòî íå ñàìî å ÷àñò îò ñãðàäàòà, íî å è íåçàâèñèì åëåìåíò. Îòêúì óëèöàòà ïîðòàòà, çàåäíî ñ îñòúêëåíàòà ÷àñò, ñúçäàâà

104 âòîðî èçìåðåíèå íà êîíñóëñòâîòî. Âðúçêàòà ìåæäó òàçè ”îòâîðåíà” âúíøíà ñòåíà è âúíøíàòà ñòåíà íà ñãðàäàòà ñå îñúùåñòâÿâà ñ àðêàäè. Òåçè åëåìåí-

òè, èçðàáîòåíè îò åñòåñòâåí êàìúê, ñà ïðîñòðàíñòâåí ïðåõîä ìåæäó óëèöàòà è ïîñîëñòâîòî. Â ðåçóëòàò íà òîâà õîëàíäñêîòî ïîñîëñòâî å íå ñàìî ÷àñò

îò, íî å è îáãðàäåíî îò ñðåäàòà ñè. Èíòåãðèðàíåòî íà çàîáèêàëÿùàòà ñðåäà â äèçàéíà íå ñàìî ïîä÷åðòàâà èíäèâèäóàëíîñòòà íà îòäåëíèòå êîìïîíåí-

òè, íî è èçðàçÿâà òÿõíîòî åäèíñòâî, êàòî ñúçäàâà êîìïëåêñ, êîéòî ÿñíî äåìîíñòðèðà õîëàíäñêàòà òðàäèöèÿ íà ïðîçðà÷íîñò è îòêðèòîñò.

Öåíòðàëåí îôèñ íà „ÈÍÃ” (ING) â Áóäàïåùà, Óíãàðèÿ

Íîâèÿò óíãàðñêè öåíòðàëåí îôèñ íà ”ÈÍÃ” ñå íàìèðà íà âèäíî ìÿñòî â Áóäàïåùà. Àìáèöèîçíàòà ôèëîñîôèÿ íà êëèåíòà, ”ÈÍÃ” - Óíãàðèÿ (÷àñò îò õîëàíäñêà ìåæäóíàðîäíà ôèíàíñîâà ãðóïà) å äà ñúçäàäå äîáàâåíà ñòîéíîñò ÷ðåç îðèãèíàëíà, íî ñúùåâðåìåííî ôóíêöèîíàëíà àðõèòåêòóðà. Ïîðú÷êàòà áå çà äèçàéí íà âèñîêîêà÷åñòâåíà îôèñ ñãðàäà, ñ èíòåðèîð è ñïåöèôèêàöèè, êîèòî îòãîâàðÿò íà ñòàíäàðòèòå íà ïàçàðà. Ðàçïîëîæåíà íà óë. ”Äîæà Ãüîðãè” ïîêðàé ïëîùàä ”Õåðîñ” è ñðåùó ïàðê ”Âàðîñèãëåò”,

ñãðàäàòà íà îáùî 41 000 êâ. ì, îò êîèòî 25 000 êâ. ì îôèñè å ðåçóëòàò îò êîíöåïöèÿ, îñíîâàíà íà ãðàäñêàòà ñðåäà. Îáùàòà ìàñà ñå ðàçïðåäåëÿ â òðè ÷àñòè, ñâúðçàíè ñ íàïúëíî îñòúêëåíè àòðèóìè è ëúñêàâè ëèíèè îò íåðúæäàåìà ñòîìàíà. Ñãðàäàòà å ïðåõîä âúâ âðåìåòî ”XXI âåê” ìåæäó ïðàâîúãúëíàòà ìàñà íà ñúñåäíàòà ìîäåðíèñòè÷íà ñãðàäà îò 50-òå ãîäèíè íà XX âåê, ïîðàíî âúçñòàíîâåíà îò Åðèê âàí Åãåðààò, è ðàçíîñòðàííèÿ ñòèë íà âèëèòå îò êúñíèÿ XIX âåê, òèïè÷íè çà ðàéîíà. Ôàñàäàòà, ñëåäâàéêè ñúñåäíàòà ìîäåðíèñòè÷íà ñãðàäà, íå ñå õàðàêòåðèçèðà ñ ïîñòàâÿíåòî íà òðàäèöèîííèòå îòâîðè. Ñúñòàâúò, äåòàéëèòå è îáðàáîòêàòà íà ìàòåðèàëèòå, êàêòî è êà÷åñòâîòî íà èçðàáîòêàòà ñà ñúâñåì ñúâðåìåííè, íî íàïîìíÿò

çà áîãàòèòå è ñëîæíè èñòîðè÷åñêè ôàñàäè â ãðàäà. Ëåêî âúëíîîáðàçíàòà ôîðìà íà ôàñàäàòà å èíñòðóìåíò íà ñâåòëèíàòà, ïðåäëàãàéêè âèíàãè ïðîìåíÿùà ñå êîìïîçèöèÿ îò âèçóàëíè åôåêòè: êîíòðàñòè íà ÿðêîñò, îòðàæåíèå è ïðîçðà÷íîñò. Äèíàìèêàòà íà åêñòåðèîðà íàìèðà ïðîäúëæåíèå ïðè âëèçàíåòî â ñãðàäàòà ïðåç åäèí îò àòðèóìèòå. Òîâà îáùî ïðîñòðàíñòâî - ñ ëåêî íàêëîíåíè, ïîëóïðîçðà÷íè ïîâúðõíîñòè, å ó÷óäâàùî ÿðêî, íî áåç äà ñå íàòðàïâà - ñâúðçâà âñè÷êè îôèñ åòàæè. Èçïîëçâàíåòî íà ñòúêëî è ñòîìàíåíà äðàïåðèÿ ñúçäàâà åôåêò íà íàïëàñòÿâàíå, êàòî òàêà ïðåäèçâèêâà óñåùàíå çà áëèçîñò è ñïîêîéñòâèå. Êîíñòðóêöèÿòà îòíîâî òúðñè âðúçêàòà ñ òðàäèöèîííàòà àðõèòåêòóðà. Çà ðàçëèêà îò òîâà åìîöèîíàëíî ïðîñòðàíñòâî öÿëîñòíèÿò äèçàéí

íà îôèñèòå ðàçêðèâà ñòðîãà ôóíêöèîíàëíà ïîäðåäáà ñ ïîäçåìåí ïàðêèíã íà òðè åòàæà, îáùåñòâåíè ôóíêöèè íà ïúðâèÿ åòàæ, øåñò îôèñ åòàæà è êîíôåðåíòíà çàëà çà ñðåùèòå íà ðúêîâîäñòâîòî íà ñåäìèÿ åòàæ. Êàòî ñå ñëåäâà ñòðîãàòà àðõèòåêòóðíà è ìåõàíè÷íà ðåøåòú÷íà ñòðóêòóðà, ìîãàò äà ñå ñúçäàäàò îôèñ êëåòêè ïî ãëàâíàòà ôàñàäà èëè ïî ñðåäàòà íà çàäíîòî êðèëî. Ðàöèîíàëíîñòòà íà åòàæíèòå ïëàíîâå ñå ñìåê÷àâà îò âàðèðàùèòå ïðîçîðöè, êàêòî è âèçóàëíàòà âðúçêà íà îôèñ åòàæèòå ñ àòðèóìèòå. ×ðåç òîâà ïðîñòðàíñòâåíî ðåøåíèå ñãðàäàòà óñïåøíî ñú÷åòàâà òúðãîâñêèòå èçèñêâàíèÿ íà êëèåíòà ñ àðõèòåêòóðíèÿ è èñòîðè÷åñêè êîíòåêñò íà Áóäàïåùà è äîïðèíàñÿ çà äåëèêàòíàòà ìåòàìîðôîçà íà ñúâðåìåííèÿ ãðàä.

Êîëåæ „Ìåöî”, Äîåòèíõåì, Õîëàíäèÿ

Íîâèÿò êîëåæ ”Ìåöî”, ðàçïîëîæåí â Äîåòèíõåì, ãðàä â Èçòî÷íà Õîëàíäèÿ, å äîì íà ó÷èëèùå çà ïðîôåñèîíàëíî îáðàçîâàíèå è íà ñïîðòíè ñúîðúæåíèÿ. Íîâàòà ñãðàäà å íà ìÿñòîòî íà òðè äðóãè ó÷èëèùíè ñãðàäè. Íà îáùà åòàæíà ïëîù îò 16 000 êâ. ì ó÷èëèùåòî ïîäñëîíÿâà 1300 ó÷åíèêà íà âúçðàñò îò 12 äî 16 ãîäèíè. Ó÷èëèùåòî ïðåäëàãà èçáîð îò òåõíè-

÷åñêè è òåîðåòè÷íè êóðñîâå, âêëþ÷èòåëíî îáðàçîâàíèå â îáëàñòòà íà çäðàâåîïàçâàíåòî è ñîöèàëíèòå ãðèæè. Ïðîåêòúò å èíèöèàòèâà, öåëÿùà äà ñúçäàäå ñãðàäà, êîÿòî ïðåäëàãà ìÿñòî çà îáðàçîâàòåëíè íóæäè è ñúùî òàêà ïî-äîáðî ñîöèàëíî ñöåïëåíèå ìåæäó ðàçëè÷íèòå ãðóïè ó÷åíèöè â ðàìêèòå íà ïðîôåñèîíàëíàòà îáðàçîâàòåëíà ñèñòåìà. Èíòåãðàöèÿòà íà îáùåñòâåíî äîñòúïíèòå ñïîðòíè ñúîðúæåíèÿ óâåëè÷àâà ñîöèàëíèÿ õàðàêòåð íà ó÷èëèùåòî è ãî ïðàâè ñãðàäà çà îáó÷åíèå ñ îáùåñòâåí îáëèê. Ñãðàäàòà ñå íàìèðà â îòêðèòà çåëåíà ìåñòíîñò. Îñíîâíàòà öåë íà äèçàéíà å äà ñå çàïàçè îòêðèòîñòòà íà çàîáèêàëÿùàòà ñðåäà äîêîëêîòî å âúçìîæíî. Ðåçóëòàòúò å êîìïàêòíà ñãðàäà ñ ïèðàìèäàëíà ôîðìà, êîÿòî ñå èíòåãðèðà âúâ è çà÷èòà ñòîéíîñòòà íà ëàíäøàôòà. Â äîïúëíåíèå, êîìïàêòíàòà ìàñà íà ñãðàäàòà

ñúùî îïòèìèçèðà âúòðåøíîòî ïëàíèðàíå è îðèåíòàöèÿ, à è ïîäñèëâà ñîöèàëíèÿ åôåêò íà ïîäîáåí òèï îáðàçîâàíèå. Êîíöåïöèÿòà ñå ñúñòîè îò êîìïàêòåí îáåì íà 6 åòàæà. Ëàíäøàôòúò å ïîâäèãíàò, çà äà ìîæå ãëàâíèÿò âõîä äà å íà òðåòîòî íèâî. Òîâà öåíòðàëíî ðàçïîëîæåíèå îïòèìèçèðà öèðêóëàöèÿòà îò ñòóäåíòè â ñãðàäàòà. Îò òîçè âõîä ïîñåòèòåëèòå èìàò äîñòúï äî äðóãè îáùåñòâåíè ôóíêöèè íà ñãðàäàòà, êàòî íàïðèìåð ðåñòîðàíò è çàëà çà òðåíèðîâêè. Ãîëÿì âúòðåøåí äâîð, íàìèðàù ñå íàä âõîäíîòî íèâî, ”ñðÿçâà” åòàæà. Ðàçïîëàãàíåòî íà âúòðåøíèÿ äâîð, ÷èÿòî êîíñòðóêöèÿ ñå êðåïè íà ïîêðèâà, ïîçâîëÿâà åñòåñòâåíàòà ñâåòëèíà äà âëèçà â ñãðàäàòà. Îùå ïîâå÷å, ÷å òîâà óëåñíÿâà è îðèåíòàöèÿòà âúòðå â ñãðàäàòà. Çàëàòà çà òðåíèðîâêè, ïðîåêòèðàíà êàòî ”÷åðíà êóòèÿ”, ñå

íàìèðà íà åäíî îò ïî-íèñêèòå íèâà ñ âõîä ïîä èçäèãíàòèòå íèâà. Òèïè÷íî ïðîåêòúò çà åòàæ âêëþ÷âà îòêðèòè ìåñòà çà îáó÷åíèå, ìåñòà çà ñàìîïîäãîòîâêà è ðàáîòíè ìåñòà çà ó÷èòåëè ïî ïåðèôåðèÿòà íà âúòðåøíèÿ äâîð. Êëàñíèòå ñòàè ñå íàìèðàò ïîêðàé ôàñàäàòà íà ñãðàäàòà. Ðåçóëòàòúò å ãúâêàâî ïëàíèðàíå, â ðàìêèòå íà êîåòî ìîãàò äà ñå ñèìóëèðàò ñèòóàöèè îò ðåàëíèÿ æèâîò. Öåëòà áåøå äà ñå ïðåäëîæàò îòëè÷àâàùè ñå ðàáîòíè ìåñòà çà ó÷åíèöè è ó÷èòåëè è äà ñå äàäå âúçìîæíîñò çà åôèêàñíîòî èçïîëçâàíå íà ïðîñòðàíñòâîòî ñ ìàêñèìóì ãúâêàâîñò. Ðåàëèçèðàíèÿò ïðîåêò å êîìïàêòíà ñãðàäà ñúñ ñèëíî ïðèñúñòâèå â ëàíäøàôòà. Îò åäíà ñòðàíà, òÿ ïîäêàíâà, à îò äðóãà, äàâà óñåùàíå çà ñèãóðíîñò. Íàãðàäà çà ó÷èëèùíà ñãðàäà çà 2006 ã.

105

Èíñòèòóò ïî ìîäåðíî èçêóñòâî â Ìèäúëñáðî (MIMA) - Îáåäèíåíî êðàëñòâî

Ñãðàäàòà, êúäåòî ñå ïîìåùàâà ãàëåðèÿòà íà íîâèÿ Èíñòèòóò ïî ìîäåðíî èçêóñòâî â Ìèäúëñáðî, êàêòî è ïðèëåæàùèÿò ïëîùàä, ñà ÷àñò îò ïðåóñòðîéñòâîòî íà öåíòúðà íà ãðàäà ñ íåãîâèòå îêîëî 150 000 æèòåëè. Ñ öåë äà ïîñòèãíå ”èêîíîìè÷åñêè óñïåõè è êóëòóðíî ðàçíîîáðàçèå” ïðåóñòðîéñòâîòî íà ãðàä Ìèäúëñáðî ñå êîíöåíòðèðà âúðõó ñúçäàâàíåòî íà ñúîðúæåíèÿ çà ñâîáîäíîòî âðåìå è çà òúðãîâèÿ íà äðåáíî, êàòî íàïðèìåð ïðåóñòðîéñòâîòî íà ãëàâíè óëèöè è êëþ÷îâèÿ ïðîåêò çà ïðîìåíè â öåíòðàëíèÿ ïëîùàä íà ãðàäà ”Âèêòîðèÿ Ñêóåúð” è íîâàòà õóäîæåñòâåíà ãàëåðèÿ. Ïðîåêòúò å ñïå÷åëåí ïðåç 2002 ã. îò Åðèê âàí Åãåðààò (EEC) íà ìåæäóíàðîäåí êîíêóðñ, à äèçàéíúò íà ïëîùàäà å ðàçðàáîòåí ñúâìåñòíî ñ õîëàíäñêèòå ëàíäøàôòíè àðõèòåêòè îò ”Óåñò 8” (West 8). Ïå÷åëèâøèÿò ïðîåêò ïðåäñòàâÿ èäåè è àðõèòåêòóðåí ïîäõîä êúì óñòðîéñòâåíèÿ ïëàí íà òàêúâ öåíòðàëåí òåðåí, âêëþ÷âàù ãàëåðèÿòà è âðúçêàòà é ñ ïëîùàäà è äðóãèòå ãðàæäàíñêè ñãðàäè. Ïðîåêòúò ñå õàðàêòåðèçèðà ñ åäíî-åäèíñòâåíî îáùåñòâåíî ïðîñòðàíñòâî, ÿñíî ðàçãðàíè÷åíî ñ îòäåëíèòå ñè åëåìåíòè, êîèòî íàñúð÷àâàò àêòèâíà óïîòðå-

áà, çàñèëâàò âðúçêèòå ñúñ ñúñåäíèòå óëèöè è óëåñíÿâàò äâèæåíèåòî íà ïåøåõîäöèòå â öåíòúðà. Íîâàòà õóäîæåñòâåíà ãàëåðèÿ å ðàçïîëîæåíà îò þæíàòà ñòðàíà íà ïëîùàäà è å ñàìî ïúðâàòà ÷àñò îò ðåàëèçàöèÿòà íà âíèìàòåëíî ïëàíèðàí è ïðèòåãàòåëåí íîâ êóëòóðåí êâàðòàë ñ âúçìîæíîñò çà ìíîæåñòâî îáùåñòâåíè äåéíîñòè. Íîâàòà ãàëåðèÿ å äîì çà êîëåêöèÿòà îò ïðåäìåòè íà ìîäåðíîòî èçêóñòâî è çàíàÿòèòå íà Ìèäúëñáðî, êàêòî è çà âðåìåííè èçëîæáè, âúðõó ïëîù îò 4000 êâ. ì, âêëþ÷èòåëíî è êàôåíå, ðåñòîðàíò, ìàãàçèí è ìÿñòî çà îáó÷åíèå. Ñàìàòà ñãðàäà å ðàçäåëåíà íà äâå îòäåëíè ÷àñòè, êîèòî ñà èçãðàäåíè ñïðÿìî ôóíêöèèòå é, îò åäíà ñòðàíà, îáùåñòâåíèòå, îò äðóãà, ñëóæåáíèòå, êàòî èçëîæáåíîòî ïðîñòðàíñòâî äîíÿêúäå ñå ïðèïîêðèâà ñ òÿõ, à ôîàéåòî ãè ñâúðçâà. Ôîðìàòà è ìàòåðèàëèòå íà ñãðàäàòà îòðàçÿâàò äâîéñòâåíîñòòà íà êîíöåïöèÿòà, êàòî ñå ñúîáðàçÿâàò ñ ìàùàáà è ìàòåðèàëèòå, îò êîèòî ñà èçðàáîòåíè ñúñåäíèòå çäàíèÿ. Ìåñòàòà ñ îáùåñòâåíà ôóíêöèÿ ãëåäàò íàïðàâî êúì ïëîùàäà, êàòî ïîìåùåíèÿòà çà îáó÷åíèå è çàáàâëåíèå ñå ïîëçâàò îò îòêðèâàùàòà ñå ãëåäêà. Îáùåñòâåíàòà ñòðàíà íà ñãðàäàòà, âêëþ÷âàùà ãëàâíèÿ âõîä êúì ôîàéåòî, êàôåíåòî è ìàãàçèíà å îáøèðíà, îòêðèòà è ïîäêàíâàùà, êàòî äàâà âúçìîæíîñò çà ëåñåí äîñòúï äî ãàëåðèÿòà. Ñúçäàâàíåòî íà ìíîãîïëàñòîâà, ïðîçðà÷íà ôàñàäà ïîä÷åðòàâà îòêðèòîñòòà íà ñãðàäàòà è âèçóàëíèòå âðúçêè ìåæäó MIMA è ñúæèâåíèÿ îáùåñòâåí è êóëòóðåí êâàðòàë íà Ìèäúëñáðî.

MIMA è ãðàäîóñòðîéñòâåíîòî îáíîâëåíèå 1. Íàøåòî ãëàâíî âíèìàíèå áåøå íàñî÷åíî êúì íàìèðàíåòî íà ðåøåíèå çà îáíîâëåíèå, êîåòî âêëþ÷âà ãàëåðèÿ è îáùåñòâåíî ïðîñòðàíñòâî íå ñàìî äà ñå ïîñòðîè ãàëåðèÿ è äà ñå î÷àêâà, ÷å òÿ ùå ïðèâëè÷à õîðàòà. 2. Ïî òîçè íà÷èí ãàëåðèÿòà å ðàçïîëîæåíà âúðõó òåðåí, êîéòî äàâà âúçìîæíîñò è çà ãîëÿìî îáùåñòâåíî ïðîñòðàíñòâî , ñ ïîòåíöèàë çà áúäåùî ðàçâèòèå ïî ïåðèôåðèÿòà íà ïëîùàäà. 3. Ãàëåðèÿòà å ðàçïîëîæåíà è ïî íà÷èí, êîéòî ùå ïðèâëè÷à õîðàòà ïðåç îáùåñòâåíîòî ïðîñòðàíñòâî êúì ñåáå ñè. Òÿ äàâà æèâîò íà ïëîùàäà, à òîé ïðåäîñòàâÿ íåâåðîÿòåí òåðåí íà ãàëåðèÿòà. 4. Îáùåñòâåíîòî ïðîñòðàíñòâî å ïðåäèìíî çàåòî ñ àäìèíèñòðàòèâíè ñãðàäè ïî ïåðèôåðèÿòà ìó. Òàì ñå íàìèðàò Êìåòñòâîòî, Áèáëèîòåêàòà, ñãðàäèòå íà ñúäà, îôèñè è ãàëåðèè. Ðàáîòèõìå â òÿñíî ñúòðóäíè÷åñòâî ñ Îáùèíñêèÿ ñúâåò è íåãîâèòå îðãàíèçàòîðè, çà äà ñìå ñèãóðíè, ÷å ìÿñòîòî å ïîäõîäÿùî çà ãîëåìè ñúáèòèÿ. Ïî ïðîãðàìà òàêèâà ñúáèòèÿ âêëþ÷âàò òúðæèùà, êèíî íà îòêðèòî, ëåäåíè ïúðçàëêè è ïîïêîíöåðòè. 5. Áåøå âàæíî òúðãîâèÿòà íà äðåáíî äà íå áúäå îñíîâíèÿò äâèãàòåë íà äåéíîñòèòå â îáùåñòâåíîòî ïðîñòðàíñòâî, òúé êàòî òàêà áè âúçíèêíàëà êîíêóðåíöèÿ ñúñ ñúùåñòâóâàùèÿ òúðãîâñêè öåíòúð. 6. Ñ íàïðåäâàíåòî íà äèçàéíà áåøå îò çíà÷åíèå åëåìåíòèòå â ïëîùàäà äà ñà áëèçî äî ãðàæ-

äàíèòå. Èçïîëçâàõìå èçâúíðåäíî ãîëåìè ïðåäâàðèòåëíî èçëÿòè áåòîííè áîðäþðè (1,8 ì íà 1 ì) çà ðàìêèðàíå íà òðåâíèòå ïëîùè è åäíàêúâ òúìíîñèâ ïàâàæ çà öÿëîòî ïðîñòðàíñòâî (5000 êâ. ì). 7. Ïðè ñúçäàâàíåòî íà òàêîâà ãîëÿìî ïðîñòðàíñòâî â ñðàâíèòåëíî ìàëúê ãðàä âèíàãè å ñúùåñòâóâàë ðèñêúò îò ïðåêàëåíî òåæêè ïîâúðõíîñòè, êîèòî äà ïðèäàäàò ãðóáîñò íà ñðåäàòà. Èçïîëçâàíåòî íà ãîëåìè òðåâíè ïëîùè, ðàìêèðàíè ñ áåòîííè áîðäþðè, ñúçäàâà ïàðê îò ãðàäñêè òèï, êîéòî ñìåê÷àâà îáåìà è ãî ñâåæäà äî ÷îâåøêè ìàùàá. 8. Â ”ðàìêèòå” èìà ñàìî íÿêîëêî ÿñíî èçðàçåíè åëåìåíòà. Âîäíîòî ïðîñòðàíñòâî è ìðåæàòà îò ïúòåêè, èçãðàäåíà ñ åëåìåíòè îò ñïåöèàëíà åñòåñòâåíî îêñèäèðàùà ñòîìàíà, ñà ôóíêöèîíàëíè, äåêîðàòèâíè è èãðèâè, êàòî äàâàò âúçìîæíîñò íà õîðàòà äà ïî÷óâñòâàò àòìîñôåðàòà íà òðåâíèòå ïëîùè. 9. Äèçàéíúò íà ñàìàòà ãàëåðèÿ ñúçäàâà ìíîãî îò÷åòëèâà ñãðàäà, êúäåòî îáùåñòâåíèòå ìåñòà è ãúðáúò íà ñãðàäàòà ñà ÿñíî ïîä÷åðòàíè îò ôîðìàòà è ìàòåðèàëèòå. 10. Ôîàéåòî å êîíñòðóèðàíî êàòî îãðîìíà âèòðèíà; öâåòúò íà êàìåííèòå ïëî÷êè å â òîí ñ òîçè íà ïëîùàäà è ïðîñòðàíñòâîòî ñÿêàø ïðîñòî ïðåëèâà îò åäíî â äðóãî. Òîâà ïðèâëè÷à õîðàòà êúì ñãðàäàòà è ÿñíàòà âèçèÿ îòâúí ïðåâðúùà èçêóñòâîòî ïî÷òè â ÷àñò îò ïëîùàäà. 11. Êëþ÷úò íà óñïåõà íà êîìáèíàöèÿòà îò ïëîùàä è ãàëåðèÿ êàòî ñðåäñòâî çà àðõèòåêòóðíî îáíîâëåíèå å, ÷å äèçàéíúò èì å ðàçðàáîòåí åäíîâðåìåííî.

Óíèâåðñèòåòúò „Óòðåõò” - Õîëàíäèÿ

Óíèâåðñèòåòúò ”Óòðåõò” â Õîëàíäèÿ âúçëàãà èçãîòâÿíåòî íà óñòðîéñòâåí ïëàí íà Ñëóæáàòà çà ãðàäñêà àðõèòåêòóðà (â ëèöåòî íà àðõèòåêòà Àðò Çààéåð) ïðåç 1995 ã. è îòòîãàâà íàñàì å ïîêàíèë íÿêîëêî äîáðå èçâåñòíè õîëàíäñêè àðõèòåêòè äà äàäàò ñâîÿ ïðèíîñ êúì óíèâåðñèòåòñêèÿ êîìïëåêñ ”Äå Óèòõîô”. Çà íàé-íîâîòî ñè ðàçøèðåíèå Óíèâåðñèòåòúò òúðñè

ïî-ñêðîìíà ñãðàäà ñ öåë îïòèìàëíî äà ñå îïîëçîòâîðè äúëáî÷èíàòà íà íàëè÷íîòî ïðîñòðàíñòâî. Ïðåäâèä þæíîòî èçëîæåíèå íà ìÿñòîòî, âúïðåêè êîåòî ëèïñâà êàêâàòî è äà áèëî ñëúí÷åâà ñâåòëèíà, çàäàíèåòî èçèñêâà èíòåëèãåíòíî è óñòîé÷èâî ðåøåíèå. Íîâàòà óíèâåðñèòåòñêà ñãðàäà, ÷àñò îò Öåíòúðà çà åñòåñòåíè íàóêè, îáðàçóâà úãúë äî Óíèâåð-

ñèòåòñêàòà áîëíèöà ”Óòðåõò”. Ïîðàäè õàîòè÷íîñòòà íà íàñòîÿùèÿ óñòðîéñòâåí ïëàí íîâàòà ñãðàäà öåëè äà ïîäñèëè ñåãà ñúùåñòâóâàùèÿ âõîä êúì áîëíè÷íèÿ êîìïëåêñ. Â äîïúëíåíèå, ñãðàäàòà òðÿáâà åäíîâðåìåííî äà çàïàçè èíäèâèäóàëíèÿ ñè õàðàêòåð, íî è äà ñå âïèøå â öÿëîñòíèÿ óíèâåðñèòåòñêè êîìïëåêñ. Íà îáùà åòàæíà ïëîù îò îêîëî 14 500 êâ. ì ñà

106 ðàçïîëîæåíè òðèòå ÷àñòè íà ñãðàäàòà: îôèñ ïîìåùåíèÿ, àóäèòîðèè ñ èíäèâèäóàëíè ðàáîòíè ìåñòà (”àêàäåìè÷íèÿ ëàíäøàôò”) è ðåñòîðàíò. Êàêòî â îôèñ ïîìåùåíèÿòà, òàêà è â àóäèòîðèèòå ðàáîòíàòà ñðåäà ëåñíî ñå ïðèñïîñîáÿâà êúì ðàçëè÷íè ñöåíàðèè çà îáó÷åíèå, êàòî êëàñè÷åñêèòå ëåêöèè, ðàáîòà â ãðóïè è èíäèâèäóàëíà èçñëåäîâàòåëñêà ðàáîòà. Òðè êîíóñîâèäíè ñòúêëåíè ôóíèè ñà ðàçïîëîæåíè â öåíòúðà íà ñãðàäàòà è äîïóñêàò äúëáîêî íàâúòðå íåïðÿêà ñëúí÷åâà ñâåòëèíà. Òå ñâúðçâàò îáùåñòâåíî äîñòúïíèòå ìåñòà ñ åòàæèòå çà àêàäåìè÷íà ðàáîòà è ñå âèæäàò îò âñè÷êè òî÷êè â ñãðàäàòà. Êîíóñîâèäíèòå ôîðìè èíòåãðèðàò íîñåùàòà ñòðóêòóðà è ñëóæàò çà âåíòèëàöèîííè øàõòè. Ïî òîçè íà÷èí êðèñòàëíèòå ñòúêëåíè êîíóñè ôîðìèðàò òåõíè÷åñêèÿ ñêåëåò íà ñãðàäàòà, êàêòî è ñúðöåòî íà íåéíàòà àòìîñôåðà. Êàòî ñúâìåñòÿâà ìîäåðíèçèðàíàòà è ïðàâîúãúëíàòà ñòðóêòóða ñúñ ñïåöèôè÷íè ôîðìè è îòêðèòè ïðîñòðàíñòâà, ïðåäëîæåíèåòî îòãîâàðÿ íà î÷àêâàíèÿòà íà êëèåíòà çà ñêðîìíà, íî îáîãàòåíà ñðåäà ñ âäúõíîâÿâàùà èäåíòè÷íîñò. Ïðîåêòúò å çà ïåòåòàæíà ñãðàäà, ñ ðàçìåðè 76 íà 45 ì íà åòàæ. Ðåøåòú÷íàòà ñòðóêòóðà íà ñãðàäàòà å ñ ðàçìåðè 7,20 íà 7,20 êâ. ì. Åòàæèòå ñà ðàçïîëîæåíè â òðè ñïåöèôè÷íè òî÷êè, òàêà ÷å äà ñå îòâîðè ìÿñòî çà òðè ñâîáîäíè ïðîñòðàíñòâà ñ ôîðìà, íàïîäîáÿâàùà òðúáà. Òåçè ”òðúáè” ñà ÷àñò îò ñêåëåòà íà ñãðàäàòà è ìîãàò äà èçäúðæàò íà âåðòèêàëíî íàòîâàðâàíå. Íà ïúðâèòå äâà åòàæà ñòàðàòà ñãðàäà, ñ íÿêîëêî ëåêöèîííè çàëè, å âãðàäåíà â ïðàâîúãúëíîòî ïðîñòðàíñòâî íà íîâàòà. Òåçè äâà åòàæà ñúçäàâàò ñòðóêòóðíàòà ïëàòôîðìà çà íîâèòå åòàæè íàãîðå. Ñãðàäàòà íÿìà ïîäçåìèå, à åäèíñòâåíî ìèíèìàëíî ïðîñòðàíñòâî ïîä ïðèçåìíèÿ åòàæ. Ïðèçåìíèÿò åòàæ ïðåäñòàâëÿâà áåòîííà ïëî÷à, èçëÿòà íà ìÿñòî. Áåòîííèòå ïëî÷è íà ïî-ãîðíèòå åòàæè ñà èçðàáîòåíè ïî òåõíî-ëîãèÿòà ”Áúáúëäåê” (Bubble-deck) è ñòîÿò âúðõó êðúãëè êîëîíè. Ñòàáèëíîñòòà íà ñòðóêòóðàòà íà ñãðàäàòà å ïîñòèãíàòà ÷ðåç ïîñòàâÿíåòî íà äâå áåòîííè êîíñòðóêöèè, êúäåòî ñå ïîìåùàâàò àâàðèéíèòå ñòúëáèùà. Êîíñòðóêöèèòå ñà èçãðàäåíè îò ãîòîâè áåòîííè ïàíåëè. Çà áåòîííèòå ïëî÷è íà ïî-ãîðíèòå åòàæè ñà èçïîëçâàíè ãîòîâè æåëåçî-

áåòîííè ïëîñêîñòè. Ïëîñêîñòèòå ñà ðàçïîëîæåíè âúðõó 280 ìì øèðîêè êîëîíè ñ ”ïàäàùè” ãëàâè ñ ðàçìåðè 2,40 íà 2,40 êâ. ì. Ïî ïåðèôåðèÿòà íà êîíóñèòå ïëî÷èòå ñå ïîäïèðàò íà ñâîáîäíî ñòîÿùè ñòîìàíåíè êîëîíè. Çà äà ñå íàìàëè òåæåñòòà íà æåëåçîáåòîííèòå ïëîñêîñòè, â òÿõ ñà âãðàäåíè PVC òîïêè. Òàçè òåõíîëîãèÿ ñå íàðè÷à ”Áúáúë-äåê” (Bubbledeck). Îùå ïîâå÷å, ÷å çà ðàçëèêà îò ñòàíäàðòíèòå ïëî÷è (“kanaalpla-atvloeren”), êîèòî ñå ðàçãðúùàò ñàìî â åäíà ïîñîêà, ïëî÷àòà ”Áúáúëäåê” ñå ðàçãðúùà â äâå ïîñîêè. Áëàãîäàðåíèå íà òàçè òåõíîëîãèÿ íå ñà èçïîëçâàíè äîïúëíèòåëíè ñòîìàíåíè òðåãåðè è ñà èçáåãíàòè ùåòèòå âúðõó èíñòàëàöèÿòà îò ïîëèåòèëåíîâè òðúáè, ïúëíè ñ âîäà, íàìèðàùè ñå âúðõó ïëî÷èòå. Ïî þãîèçòî÷íàòà ñòðàíà íà ñãðàäàòà, íà òðåòî íèâî, íîâàòà êîíñòðóêöèÿ å ïîñòðîåíà âúðõó ñúùåñòâóâàùàòà âå÷å ñãðàäà. Ñòàðàòà ñãðàäà íå å íîñåùà êîíñòðóêöèÿ çà íîâàòà, à ñå ïîäïèðà íà êîëîíà, êîÿòî ïðåìèíàâà ïðåç ñòàðàòà ñòðóêòóðà è ñòèãà äî îñíîâàòà. Êîëîíàòà ñå íîñè îò ãîëÿì ôóíäàìåíò, ïîäïèðàí îò 6 áåòîííè ñòúëáà. Òàì, êúäåòî ðàçñòîÿíèÿòà ìåæäó äâå ïîäïîðè ñà ãîëåìè, ïåòòå êîíñòðóêöèè ôåðìè ïî îñ C, D, E, F è G ñå íîñÿò îò äâóåòàæíà êîíñòðóêöèÿ-ôåðìà ïî îñ 12-òà âúâ ôàñàäàòà. Íà òðåòèÿ åòàæ êîíñòðóêöèèòå ôåðìè è áåòîííèòå ïëî÷è èìàò ñëîé ïîä íàëÿãàíå, êîéòî ïîçâîëÿâà ñâàëÿíåòî íà âðåìåííèÿ êîôðàæ, ïîëîæåí ïî âðåìå íà èçãðàæäàíåòî. Ïúðâèÿò åòàæ ïðåäñòàâëÿâà 300 ìì äåáåëà, èçëÿòà íà ìÿñòî áåòîííà ïëî÷à. Ïëî÷àòà å ðàçïîëîæåíà âúðõó ãðóáà èçîëàöèÿ, êîÿòî îò ñâîÿ ñòðàíà ñå íàìèðà âúðõó ñëîé îò ïÿñúê. Ïîñòåïåííîòî èçëèâàíå íà ïëî÷àòà óëåñíÿâà âãðàæäàíåòî íà âñè÷êè ïðîìåíè â íèâîòî, ðàìïè è ñòúëáèùà, êîèòî ñà íà åòàæà. Âòîðèÿò åòàæ, ñ íÿêîëêî ïðîìåíè â íèâîòî, ñúùî å èçãðàäåí ñ èçïîëçâàíåòî íà ïëî÷è ïî òåõíîëîãèÿòà ”Áúáúëäåê”. Íà òîçè åòàæ ñà ðàçïîëîæåíè è äîïúëíèòåëíè êîëîíè íà ìåñòàòà, êúäåòî áåòîííèòå ïëîñêîñòè íå ñúîòâåòñòâàò íà ðåøåòú÷íàòà êîíñòðóêöèÿ. Çàä íàêëîíåíàòà ôàñàäà ñà ðàçïîëîæåíè ñòîìàíåíè òðúáè. Òåçè êîëîíè ðàçïðåäåëÿò òåæåñòòà âúðõó ôàñàäàòà êúì áåòîííèòå ïëî÷è è ñòàáèëèçèðàùèòå êîíñòðóêöèè âúòðå â ñãðàäàòà. Ñòîìàíåíèòå êîëîíè, êîèòî ñà ïîñòàâå-

íè â êîíóñèòå îò ñòúêëî, îñèãóðÿâàò ïîäïîðà çà ïåðèôåðèÿòà íà íîñåùèòå áåòîííè ïëî÷è. Êîëîíèòå ñà ðàçïîëîæåíè âúâ âúòðåøíîñòòà è íà ðàçñòîÿíèå îò ïåðèôåðèÿòà íà áåòîííèòå ïëî÷è, çà äà îñèãóðÿò ïðîñòðàíñòâî çà ñòúêëåíàòà êîíñòðóêöèÿ. Çà äà áúäå ðàçìåðúò íà ñòîìàíåíèòå êîëîíè ôèí è åëåãàíòåí, ñà ïîñòàâåíè ñïåöèàëíî èçðàáîòåíè çà öåëòà øàðíèðíè óñòðîéñòâà, íàðå÷åíè ”êóêè”, êîèòî ñâúðçâàò êîëîíèòå ñ áåòîííèòå ïëî÷è. Êóêèòå ñà íàïðàâåíè îò 100 ìì äåáåëè ñòîìàíåíè ïëàñòèíè, ïðèêà÷åíè êúì áåòîííèòå ïëî÷è ÷ðåç ñòîìàíåíè êîíçîëè. Òåçè êîíçîëè ñà ñïîåíè êúì êóêèòå è ñòîìàíåíèòå åëåìåíòè â áåòîííèòå ïëî÷è. Ïîðàäè åñòåñòâîòî íà øàðíèðíàòà âðúçêà íå áè ìîãëî äà ñå íàáëþäàâà îòêëîíåíèå íà ïëî÷èòå, çàùîòî âðúçêàòà ìåæäó ñòîìàíåíèòå êîëîíè è áåòîííèòå ïëî÷è íå å ñ ìîìåíò íà óñóêâàíå. Èçâèâêàòà íà ñòîìàíåíèòå êîëîíè â ñòúêëåíèòå êîíóñè íàëîæè õîðèçîíòàëíèÿ íàòèñê, â ðåçóëòàò íà âåðòèêàëíàòà òåæåñò âúðõó êîëîíèòå, äà áúäå ïðåõâúðëåí âúðõó áåòîííèòå ïëî÷è. Çàòîâà è ñòîìàíåíèòå êóêè ñà ïðèêà÷åíè ìíîãî âíèìàòåëíî êúì áåòîííèòå ïëî÷è. Êîíóñèòå ïðåìèíàâàò ïðåç öÿëàòà ñãðàäà. Âúðõó íàéãîëåìèÿ êîíóñ å ðàçïîëîæåíà ïîêðèâíà êîíñòðóêöèÿ îò ñòúêëî ñúñ ñòîìàíåíè ïîäïîðè. Äðóãèòå äâà ïî-ìàëêè êîíóñà èìàò ñòîìàíåíè ïîêðèâíè êîíñòðóêöèè. ×àñò îò íîâàòà ñòðóêòóðà íà ñãðàäàòà ñå ïðîñòèðà íàä ñòàðàòà. Òîâà å âúçìîæíî áëàãîäàðåíèå íà ïîäïîðíà êîíñòðóêöèÿ ñ âèñî÷èíà äâà åòàæà. Çà äà ñå îñèãóðè èíäèâèäóàëíî äâèæåíèå íà òåçè ñòðóêòóðíè êîìïîíåíòè, ñà ìîíòèðàíè ñâðúçêè (øåâîâå çà òåìïåðàòóðíî ðàçøèðåíèå) íà ÷åòâúðòèÿ åòàæ è íà íèâîòî íà ïîêðèâà. Ïîðàäè ðàçìåðà íà ñãðàäàòà íå ñå íàëîæè ìîíòèðàíåòî íà äîïúëíèòåëíè ñâðúçêè. Òúé êàòî ñãðàäàòà ñå ïîëçâà çà îôèñè è çà îáó÷åíèå, èçèñêâàíåòî å âñè÷êè íàé-ïîñåùàåìè ìåñòà, íàìèðàùè ñå íà 5 ì îò çåìÿòà è íàãîðå, äà áúäàò ïîäñèãóðåíè ñúñ ñòåïåí íà ïîæàðíà áåçîïàñíîñò îò 90 ìèíóòè. Ñïîðåä çàêîíîâèòå èçèñêâàíèÿ çà ñòðîèòåëñòâî å ðàçðåøåíî äà ñå ïðèñïàäíàò 30 ìèíóòè íà îñíîâàòà íà èçïîëçâàíåòî íà íåçàïàëèìè ìàòåðèàëè. Â äîïúëíåíèå áåøå ïîëó÷åíî ðàçðåøåíèå çà íàìàëåíèå ñ îùå 30

ìèíóòè áëàãîäàðåíèå íà èíñòàëèðàíåòî íà ïðîòèâîïîæàðíà ñèñòåìà â öÿëàòà ñãðàäà. Êðàéíèÿò ðåçóëòàò å 30-ìèíóòíà ñòåïåí íà ïîæàðíà áåçîïàñíîñò çà öÿëàòà ñãðàäà. Õèáðèäíà êîíöåïöèÿ çà âúòðåøåí êëèìàò Ðàçðàáîòåíà å ñïåöèàëíà õèáðèäíà ñèñòåìà çà îòîïëåíèå íà Öåíòúðà ïî åñòåñòâåíè íàóêè â Óòðåõò, Õîëàíäèÿ, êúäåòî àðõèòåêòóðíèòå äàäåíîñòè íà ñãðàäàòà ñà ïúëíîöåííî îïîëçîòâîðåíè çà îñèãóðÿâàíåòî íà îòîïëåíèå. Çà äà ñå ïîääúðæà îïðåäåëåíà ìèíèìàëíà òåìïåðàòóðà â ñãðàäàòà, íà 6 ñì îò äúíîòî íà âñè÷êè íîñåùè áåòîííè ïëî÷è ñà ðàçïîëîæåíè ïîëèåòèëåíîâè òðúáè, ïúëíè ñ âîäà. Òðúáèòå ñëóæàò êàêòî çà îõëàæäàíå, òàêà è çà íàãðÿâàíå íà ïëî÷èòå. Ïîääúðæà ñå òåìïåðàòóðà íà áåòîííàòà ïëî÷à îò 22 ãðàäóñà ïî Öåëçèé ïðåç çèìàòà è 18 ãðàäóñà ïî Öåëçèé ïðåç ëÿòîòî. Äîïúëíèòåëíè ðàäèàòîðè ñà ïîñòàâåíè âúâ âñÿêà ñòàÿ çà èíäèâèäóàëíèòå íóæäè îò îòîïëåíèå. Â öÿëàòà ñãðàäà èìà åñòåñòâåíà âåíòèëàöèÿ. Âúçäóõúò âëèçà â ñãðàäàòà ïðåç âúíøíîòî ïîêðèòèå, ñëåä êîåòî ñå íàñî÷âà êúì ãîëåìèòå îòâîðåíè ïðîñòðàíñòâà â èíòåðèîðà. Âúçäóõúò ñå èçâåæäà îò ñãðàäàòà ÷ðåç òðè ãîëåìè îñòúêëåíè àòðèóìè. Ñïåöèàëíî õèäðàâëè÷íî ïîêðèâíî îñâåòëåíèå ïîçâîëÿâà íà âúçäóõà äà èçëåçå ïðåç òðèòå îñòúêëåíè àòðèóìà. Íà ñòðàòåãè÷åñêè ìåñòà â ñãðàäàòà ñà ïîñòàâåíè ñåíçîðè, çà äà ñëåäÿò òåìïåðàòóðàòà è íèâàòà íà êèñëîðîäà. Àêî êà÷åñòâîòî íà âúçäóõà å íåäîñòàòú÷íî, ñå àêòèâèðàò ìåõàíè÷íè îòäóøíèöè. Àêî è ñëåä âêëþ÷âàíå íà ìåõàíè÷íèòå îòäóøíèöè êà÷åñòâîòî íà âúçäóõà å ïîä ñòàíäàðòà, ñå àêòèâèðàò äðóãè óñòðîéñòâà, êîèòî ñíàáäÿâàò ñãðàäàòà ñúñ ñâåæ âúçäóõ. Àêî âúçäóõúò íàâúí å èëè ïðåêàëåíî ãîðåù, èëè ïðåêàëåíî ñòóäåí, çà äà ñå îñúùåñòâè åñòåñòâåíà âåíòèëàöèÿ, öÿëàòà ñèñòåìà çà îòîïëåíèå è îõëàæäàíå ñå âêëþ÷âà íà ìåõàíè÷íà âåíòèëàöèÿ. Ïðè òîçè âòîðè ñöåíàðèé âúçäóõúò âñå îùå ñå èçâåæäà ïðåç ïîêðèâèòå íà òðèòå îñòúêëåíè àòðèóìà. Âúçäóõúò ñå ðàçïðîñòðàíÿâà â ñãðàäàòà ñ ïîìîùòà íà ñèñòåìà îò òðúáè, à óñòðîéñòâà çà òîïëîîáìåí ñå èçïîëçâàò çà íàáàâÿíåòî íà ñòóäåí èëè ãîðåù âúçäóõ â çàâèñèìîñò îò íóæäèòå çà îòîïëåíèå èëè îõëàæäàíå.

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Ñãðàäà ñúñ ñìåñåíè ôóíêöèè - Õàìáóðã

Ñãðàäàòà ñúñ ñìåñåíè ôóíêöèè (”ÑÏÂ 1-4”/ SPV 1-4), ïðîåêòèðàíà îò Åðèê âàí Åãåðààò (ÅÅÑ), å ÷àñò îò êâàðòàëà ”Þáåðçååêàðòèå” è öÿëîñòíèÿ ïëàí íà ”Õàôåí Ñèòè” ïëàí çà ïðåóñòðîéñòâîòî íà ïðèñòàíèùåí ðàéîí â Õàìáóðã. Íîâàòà ñãðàäà ñå ñúñòîè îò ïðîñòðàíñòâà çà òúðãîâèÿ íà äðåáíî, îôèñè è æèëèùà íà îáùà åòàæíà ïëîù îò 37000 êâ.ì. Â ðàìêèòå íà Îáùèÿ óñòðîéñòâåí ïëàí íà ”Þáåðçååêàðòèå” òàçè ñãðàäà èãðàå ðîëÿòà íà öåíòúð, êîéòî ïðèâëè÷à ÷ðåç òúðãîâñêèòå ïëîùè íà ïðèçåìíèÿ åòàæ è îôèñ è æèëèùíèòå ïîìåùåíèÿ, ãëåäàùè êúì ãëàâíèÿ ”Þáåðçååáóëåâàðä”, êîéòî ñâúðçâà öåíòúðà íà ãðàäà ñ ðåêàòà. Ñãðàäàòà ñå èçäèãà êàòî áëîê, ïîñòðîåí îêîëî âúòðåøåí äâîð, êîéòî å îòâîðåí êúì ãëàâíèÿ áóëåâàðä. Òàçè ïîäðåäáà ñúçäàâà ïîëóîáùåñòâåíî ìÿñòî, êîåòî ïðåäëàãà îòäèõ çà æèòåëèòå íà ñãðàäàòà, íî å äîñòúïíî è çà

âúíøíè õîðà. Îò åñòåòè÷íà ãëåäíà òî÷êà íîâàòà ñãðàäà êîðåñïîíäèðà ñúñ ñòèëà íà ïðèñòàíèùåòî, èçðàçåí â ÷åðâåíèòå òóõëè íà èñòîðè÷åñêèÿ ”Øïàéõåðùòàäò”, îò åäíà ñòðàíà, è òðàäèöèîííèòå áåëîñàíè ôàñàäè íà öåíòúðà, îò äðóãà. Ñìåñåíè ñúñ ñòúêëî è àëóìèíèé, âúíøíèòå ôàñàäè îòêúì óëèöàòà ñå ïðåäèìíî èçãðàäåíè îò åñòåñòâåíè ÷åðâåíè áëîê÷åòà. Â ïúëåí êîíòðàñò âñè÷êè ôàñàäè îòêúì äâîðà ñà áåëè. Íàïëàñòåíàòà ôàñàäà ïîä÷åðòàâà âåðòèêàëíàòà ñòðóêòóðà è çàåìà öåíòðàëíî ìÿñòî â öåëèÿ ïëàí íà ”Þáåðçååêàðòèå”. Àòðèóì â þãîçàïàäíèÿ úãúë íà àíñàìáúëà àêöåíòèðà âúðõó âúçìîæíîñòòà çà èíäèâèäóàëåí äîñòúï äî âñÿêà ÷àñò îò ñãðàäàòà, êúäåòî èìà îôèñè. Îôèñ ïðîñòðàíñòâàòà îïòèìàëíî ñú÷åòàâàò ðàçëè÷íè ôóíêöèè ñ ãúâêàâà ñòðóêòóðà, êàòî ïðåäëàãàò êîìïëåêñè îò 400 äî 4000 êâ. ì. Ðàçëè÷íèòå òèïîâå æèëèùà ñà äîñòúïíè îòêúì áóëåâàðäà ñúñ ñòúëáèùå êúì âúòðåøíîñòòà íà ïúðâèÿ åòàæ è çàîáèêîëåíî îò áàðîâå è êàôåíåòà îò äâåòå ìó ñòðàíè. Â ãðàäîóñòðîéñòâåí ìàùàá ñãðàäàòà ïîçâîëÿâà ñúùåñòâóâàíåòî íà ïîëóîáùåñòâåíî ïðîñòðàíñòâî è ïîäïîìàãà ñîöèàë-

íîòî âçàèìîäåéñòâèå ñ "Þáåðçååêàðòèå”, äîêàòî àðõèòåêòóðíèÿò é îáëèê ñèëíî ñè êîðåñïîíäèðà ñ õàðàêòåðà íà Õàìáóðã. Ïî òîçè íà÷èí ñãðàäàòà êàòî åäèíè÷åí åëåìåíò äåìîíñòðèðà âîäåùàòà òåìà íà ïëàíà çà ïðåóñòðîéñòâî íà ”Þáåðçååêàðòèå”: ñâúðçâàíåòî íà öåíòúðà íà ãðàäà ñúñ ñúæèâåíàòà áðåãîâà ëèíèÿ íà Õàìáóðã è ïðåâðúùàíåòî íà ”Þáåðçååêàðòèå” â íåäåëèìà ÷àñò îò Õàìáóðã íà XXI âåê. ”Þáåðçååêàðòèå” å ”ñúðöåòî” íà ïî-ãîëÿìà ïëîù ïî áðåãîâàòà ëèíèÿ, ïðåäâèäåíà çà ïðåóñòðîéñòâî ”Õàôåí Ñèòè Õàìáóðã”. Òÿ îáõâàùà ðåäèöà âúçìîæíîñòè çà óïîòðåáà êàòî êóëòóðà, ñâîáîäíî âðåìå, òúðãîâèÿ íà äðåáíî, ðåñòîðàíòè, õîòåëè, óñëóãè, æèëèùà, îôèñè, êðóèçåí òåðìèíàë íà ïðèñòàíèùåòî, Íàó÷åí öåíòúð ñ àêâàðèóì è òåàòúð íà íàóêèòå âúðõó îáùà ïëîù îò 275 000 êâ. ì. Ðàçïîëîæåíèåòî íà ”Þáåðçååêàðòèå” â ðàìêèòå íà 155-òå õåêòàðà íà ”Õàôåí Ñèòè” å îò êëþ÷îâî çíà÷åíèå, òúé êàòî òîé ñâúðçâà öåíòúðà íà ãðàäà ñ ðåêà Åëáà. Íåïîñðåäñòâåíî äî ðåêàòà äâå êóëè, ïðîåêòèðàíè îò Åðèê âàí Åãåðààò (ÅÅÑ), îáãðúùàò ”Þáåðçååïëàö”. Êóëèòå ñà ïîçèöèîíèðàíè òàêà, ÷å äà î÷åðòàÿò ãðàäñêîòî

ïðîñòðàíñòâî ñïðÿìî âîäàòà. Òå èçïîëçâàò ãðàäñêèÿ ëàíäøàôò è ãî èíòåãðèðàò â îáùåñòâåíèòå ôóíêöèè íà êàôåíåòàòà, ðåñòîðàíòèòå è òúðãîâñêèòå îáåêòè, íàìèðàùè ñå íà ïðèçåìíèÿ è ïúðâèÿ åòàæ. Êóëèòå ñà èçãðàäåíè îò äâà îñíîâíè åëåìåíòà: ïëèíò è êóëà. Ïëèíòîâåòå îáðàçóâàò ÿñåí âèçóàëåí çàâúðøåê íà ”Þáåðçååáóëåâàðä” è ïðåäëàãàò ïðåêðàñíè ãëåäêè êúì ðåêàòà è êðóèçíèòå êîðàáè. Êóëèòå èçëèçàò îò ïëèíòîâåòå êàòî äâå ñêàëè îò âîäàòà. Ôàñàäèòå ñå ñâúðçâàò ÷ðåç óïîòðåáàòà íà ðàçëè÷íè âèäîâå ñòúêëî è åñòåñòâåí êàìúê, â êîíòðàñò ñ ìàòåðèàëèòå, ïðåîáëàäàâàùè â õàìáóðãñêèÿ ”Øïàéõåðùòàäò”. Èíòåãðàöèÿòà íà ñãðàäèòå è ïëîùàäà ãàðàíòèðà èçêëþ÷èòåëíà ãðàäñêà ñðåäà â ”Þáåðçååêàðòèå”è óñòàíîâÿâà âðúçêà ñúñ çàîáèêàëÿùîòî ãè âîäíî ïðîñòðàíñòâî. Öÿëîñòíàòà ãðàäîóñòðîéñòâåíà êîíöåïöèÿ çà ”Þáåðçååêàðòèå” å íàãðàäåíà ñ ïúðâà íàãðàäà íà êîíêóðñà ïðåç 2005 ã. Ñåâåðíàòà ÷àñò îò ”Þáåðçååêàðòèå” ùå áúäå çàâúðøåíà äî êðàÿ íà 2009 ã., êàòî ïî ïëàí öåëèÿò ðàéîí òðÿáâà äà áúäå çàâúðøåí ïðåç 2011 ã.

Ôîðóì „Ãðîíèíãåð”, Õîëàíäèÿ

Ôîðóìúò ”Ãðîíèíãåð” íà Åðèê âàí Åãåðààò å ñåðèÿ îò äèàëåêòè÷íè èãðè èçìåæäó òåæêà ìàñà è ïðîçðà÷íîñò, òåæåñò è áåçòåãëîâíîñò, ×îâåêúò è ïðèðîäàòà. Ôîðìàòà ìó ãî ïðåâðúùà â íåïîêëàòèìà è ñàìîóâåðåíà èêîíà, êîÿòî åäíîâðåìåííî ñå èçäèãà íàä è ïðèþòÿâà çàîáèêàëÿùàòà ãî ãðàäñêà ñðåäà. Ñãðàäàòà èçãëåæäà ñîëèäíà è íåïðîáèâàåìà îò ðàçñòîÿíèå, íî îòêðèòà, äîñòúïíà è ïîäêàíâàùà îòáëèçî. ×óâñòâåíèÿò èçáîð íà ìàòåðèà-

ëèòå è èãðàòà íà ñâåòëèíàòà îòðàçÿâàò æåëàíèåòî íà ãðàäà çà îòêðèòîñò, ëåêîòà è ïðîçðà÷íîñò, ñèìâîëèçèðàíè ÷ðåç ðàçðåçè, êàêòî âúâ ôàñàäàòà, òàêà è â êîíóñà è ìíîãîáðîéíèòå òåðàñè, êîèòî ãëåäàò êúì ãðàäà. Ëåêî íàáðàçäåíàòà ôîðìà íà ôîðóìà çàãàòâà çà ìåêî îôîðìåíà ñêàëà, äîíÿêúäå åñòåñòâåíà, äîíÿêúäå îáðàáîòåíà îò ÷îâåøêà ðúêà. Ôîðìàòà ñå ñòåñíÿâà êúì âúðõà è çàâúðøâà ñ ïðîçðà÷íèÿ ïîêðèâ íà öåíòðàëíèÿ êîíóñ. Êàòî êàíüîí, öåíòðàëíèÿò êîíóñ ïðåñè÷à âñè÷êè íèâà íà ñãðàäàòà. Íåãîâàòà ÷åðâåíèêàâà, çåìíà íà öâÿò ïîâúðõíîñò ñúçäàâà ÷óâñòâî çà ñèãóðíîñò è òîïëîòà, êàòî â ñúùîòî âðåìå ðàçðåçèòå âäúõâàò æèâîò è åíåðãèÿ íà öÿëàòà ñãðàäà, äîïóñêàéêè òðåïòÿùà åñòåñòâåíà

ñâåòëèíà äà ïðîíèêâà äúëáîêî â ñãðàäàòà. Ôàñàäàòà íà ñãðàäàòà, íàïðàâåíà îò ïîëóïðîçðà÷åí ìàòåðèàë, äîïðèíàñÿ çà òèïè÷íàòà èãðà íà ðàçñåÿíà ñâåòëèíà è ñåíêè. Ïðåç íîùòà ñãðàäàòà ñå îòêðîÿâà êàòî ñâåòåù ôàð â öåíòúðà íà ãðàäà. Ïîäïðÿí íà ïåò îïîðè, Ôîðóìúò ”Ãðîíèíãåð” íà Åðèê âàí Åãåðààò ñòîè íà åäíî íèâî íàä çåìÿòà è ãëåäà êúì ”Ãðîòå Ìàðêò” ïðåç ãàëåðèÿ â þãîçàïàäíèÿ êðàé íà ïðåóñòðîåíèÿ ðàéîí. Ïðèçåìíîòî íèâî ïî÷òè íåçàáåëåæèìî ñå ñâúðçâà ñ îáêðúæàâàùèÿ ãî ïëîùàä. Ñòåíèòå îò ñòúêëî íà ïðèçåìíîòî íèâî ìîãàò äà ñå îòâàðÿò è òàêà äà ñúçäàâàò åäíî íåïðåêúñíàòî ïðîñòðàíñòâî íàâúòðå è èçâúí ñãðàäàòà. Îðãàíè÷íèÿò ïî ôîðìà òàâàí íà

ïðèçåìíèÿ åòàæ å îáëèöîâàí ñ ìàòåðèàë îò ÷åðâåíà òóõëà è ñå îòâàðÿ êúì öåíòðàëíèÿ êîíóñ. Îñíîâíàòà ÷àñò îò ñãðàäàòà å äîñòúïíà ÷ðåç åñêàëàòîð ïðåç êîíóñà. Íà ïúðâèÿ åòàæ áúðçà ñèñòåìà îò åñêàëàòîðè ïîçâîëÿâà íà ïîñåòèòåëèòå äà ñúêðàòÿò ïúòÿ ñè ïðåç ñãðàäàòà è äà ñòèãíàò äèðåêòíî íàâñÿêúäå. Êèíîòî, èçëîæáåíàòà çàëà è êàôåíåòî íà ïîêðèâà îñòàâàò îòâîðåíè äî êúñíî ïðåç íîùòà èëè â íåäåëÿ. Äî âñè÷êè àêòèâíè çîíè èìà äîñòúï ñ áúðçà îðèåíòàöèÿ. Ñãðàäàòà îáõâàùà ïëîù îò 21064 êâ. ì íà 11 íèâà. Âêëþ÷âà ðàçëè÷íè çîíè è ñúîðúæåíèÿ, îò êèíîçàëà, áèáëèîòåêà, èíôîðìàöèÿ äî èçëîæáåíî ïðîñòðàíñòâî, ïàíîðàìíî ôîàéå, êàôåíå ñ òåðàñà íà ïîêðèâà è äåòñêè êúò.

108

Íàöèîíàëíà áèáëèîòåêà íà Òàòàðñêàòà ðåïóáëèêà Êàçàí, Ðóñêà Ôåäåðàöèÿ

Íàöèîíàëíàòà áèáëèîòåêà íà Òàòàðñêàòà ðåïóáëèêà å íå ñàìî äîì íà íàé-ãîëÿìàòà êîëåêöèÿ îò êíèãè â ðåïóáëèêàòà. Çà ðàçëèêà îò òðàäèöèîííèòå äúðæàâíè áèáëèîòåêè òàçè ñãðàäà ñå îòêðîÿâà ñ îáùåñòâåíàòà ñè îòêðèòîñò. Áèáëèîòåêàòà ñå íàìèðà íà õúëì íåïîñðåäñòâåíî äî ãîëÿì ïëîùàä. Íàïîäîáÿâàùè îòâîðåíà êíèãà, äâåòå îñíîâíè êóëè íà áèáëèîòåêàòà äàâàò õàðàêòåð íà åäíî äîñêîðî íåçàáåëåæèòåëíî ìÿñòî. Ãëàâíèÿò âõîä-ôîàéå ìåæäó äâåòå êóëè å êàòî ñâúðçâàùî çâåíî ìåæäó ãðàäà è áèáëèîòåêàòà. Ïðîñòîðíàòà è îñâåòåíà çàëàôîàéå å îñíîâíèÿò åëåìåíò â äèçàéíà. Ñâîåîáðàçíî "óõî” ñå èçäèãà â ïðîñòîðíîòî ôîàéå è ïðèâëè÷à âíèìàíèåòî íà ïîñåòèòåëèòå. Òî ìîæå äà ñå èçïîëçâà çà îðãàíèçèðàíå íà ñúáèòèÿ, èçëîæ-

áè è ëåêöèè. ”Óõîòî” å åäèí âèä ìåòàôîðè÷åí ìîñò ìåæäó âúíøíàòà ñðåäà è âúòðåøíàòà, ãðàäà è áèáëèîòåêàòà, îæèâåíèÿ îáùåñòâåí öåíòúð è ñïîêîéíîòî óåäèíåíèå íà ïîçíàíèåòî. Òàçè ìåòàôîðà ñå îãëåæäà è â êîíòðàñòà ìåæäó àòìîñôåðàòà è ðåàëèçàöèÿòà íà äèçàéíà. Äîêàòî âñè÷êè ñòàè äàâàò óñåùàíå çà îòêðèòîñò è âè ïîäêàíâàò, èçïîëçâàíåòî íà åñòåñòâåíè ìàòåðèàëè, êàòî êàìúê è äúðâî ïðèäàâàò íà ñãðàäàòà ñîëèäåí è ñèãóðåí âèä. Çàä êóëèòå è ôîàéåòî äâå ðåäèöè îò àðõèòåêòóðíè åëåìåíòè ñúçäàâàò ïðîäúëæåíèå íà ëàíäøàôòà. Ìåæäó òåçè ðåäèöè ãðàäèíñêà ïúòå÷êà áàâíî ñå èçêà÷âà äî ïîêðèâà íà ñãðàäàòà. ×àñòè îò áèáëèîòåêàòà ñà èçöÿëî âãðàäåíè â õúëìà, à äðóãè ïîëó÷àâàò åñòåñòâåíà ñâåòëèíà ïðåä äâîðîâåòå. Ñãðàäàòà íå ñàìî ñå îòëè÷àâà ñ äîñòúïíîñòòà íà àðõèòåêòóðàòà ñè, íî è ñ óëåñíåíèÿ äîñòúï äî çíàíèåòî. Íàðåä ñ âñè÷êè òðàäèöèîííè ñúîðúæåíèÿ çà

åäíà áèáëèîòåêà ñãðàäàòà ôóíêöèîíèðà è êàòî öåíòúð çà äèãèòàëíà èíôîðìàöèÿ âúâ âñè÷êèòå é íàñòîÿùè è áúäåùè ôîðìè. Íàöèîíàëíàòà áèáëèîòåêà íà Òàòàðñêàòà ðåïóáëèêà äàâà äîñòúï äî èíôîðìàöèÿòà êàòî ôàêòè, íî ñúùåâðåìåííî ïîäêàíâà ãðàæäàíèòå äà èçñëåäâàò è èçæèâåÿò çíàíèåòî ïî ìíîãî íà÷èíè. Äèçàéíúò íà Íàöèîíàëíàòà áèáëèîòåêà íà Òàòàðñêàòà Ðåïóáëèêà íàäìèíàâà çíà÷èòåëíî öåëèòå íà åôåêòèâíîòî ñúõðàíåíèå íà èíôîðìàöèÿòà è îñèãóðÿâàíåòî íà äîñòúï äî íåÿ. Ìíîãî èäåè ñà âëîæåíè ïðè ñúçäàâàíåòî íà äîáàâåíàòà ñòîéíîñò íà ñãðàäàòà. Òÿ å ïðîäúëæåíèå íà öåíòúðà íà ãðàäà, íîâà ÷àñò îò îáùåñòâåíèÿ æèâîò, ïðåäëàãàùà íàñèòåíè óñåùàíèÿ çà ïðîñòðàíñòâîòî. Ñãðàäàòà ñå ñâúðçâà ñúñ ñðåäàòà ñè ïî ìíîãî íà÷èíè. Âõîäúò íà áèáëèîòåêàòà íå å ïðîñòî âõîä, à íåéíèÿò ïîðòàë êúì ãðàäà è ïðîäúëæåíèå íà ïëîùàäà â ñãðàäàòà. Âúòðå àò-

ðèóìúò, âèñîê 18 ì, ñúçäàâà àòìîñôåðà íà ñâåòëèíà è ëåêîòà. Ðàçïîëîæåíî ìåæäó ñàìàòà áèáëèîòåêà è ãðàäà, ôîàéåòî å åäíà ìàëêà âñåëåíà ñàìî ïî ñåáå ñè, ìÿñòî, êúäåòî ñå ñëèâàò êîëåêòèâíèòå è êóëòóðíè êà÷åñòâà íà ïðîñòðàíñòâàòà â öåíòúðà íà ãðàäà. Âõîäúò ìîæå åäíîâðåìåííî äà áúäå ãàëåðèÿ, äíåâíà, ïàðê, áóëåâàðä, ìÿñòî çà ñðåùè è îáó÷åíèå èëè ãðàäèíà. Ïàðêúò íà ïîêðèâà íà áèáëèîòåêàòà ïðîäúëæàâà ôîðìàòà íà õúëìà, êàòî âïèñâà âñè÷êè ÷àñòè íà ñãðàäàòà â ëàíäøàôòà. Íî âúïðåêè ÷å áèáëèîòåêàòà å âãðàäåíà â õúëìà, çà äà ñìåê÷è ïðèñúñòâèåòî ìó, íåéíèÿò äèçàéí ðàçêðèâà ïîãëåä êúì ïî÷òè âñÿêà ÷àñò îò ñãðàäàòà. Ïàðêúò å íå ñàìî óåäèíåíî ìÿñòî çà îòäèõ, íî è äîïúëíåíèå êúì åñòåñòâåíàòà îòêðèòîñò è ïðîçðà÷íîñò íà áèáëèîòåêàòà. Äîêàòî ñå ñúîáðàçÿâà ñúñ ñòðóêòóðàòà íà ãðàäà, ñãðàäàòà ïðåäëàãà ïðîñòðàíñòâî ñ íîâî êà÷åñòâî íà ãðàæäàíèòå íà Êàçàí.

Îñòðîâ Îîñòåðäîêñ Àìñòåðäàì, Õîëàíäèÿ

Ïðåóñòðîéñòâî íà îñòðîâà Îîñòåðäîêñ, ïðîó÷âàíèÿ çà òåðåíà (è àðõèòåêòóðíèÿ äèçàéí) íà æèëèùíèòå ñãðàäè, îôèñè, õîòåëè è êîíãðåñíè ñúîðúæåíèÿ, îáùåñòâåíàòà áèáëèîòåêà, ìóçèêàëíàòà àêàäåìèÿ. Îñòðîâúò Îîñòåðäîêñ å êëþ÷îâà çîíà çà ïðåóñòðîéñòâîòî íà þæíèÿ áðÿã íà ðåêà Åé â Àìñòåðäàì, Õîëàíäèÿ. Çîíàòà ñâúðçâà âúòðåøíîñòòà íà ãðàäà ñ íîâîèçãðàäåíèòå àäìèíèñòðàòèâíè è æèëèùíè ðàéîíè ïî ñòàðèòå êåéîâå íà ïðèñòàíèùåòî ïî ðåêà Åé. Ñ öåë äà ñå îöåíè èçïúëíèìîñòòà

íà ïðåäëîæåíèåòî çà ïðîåêòà è òåðåíà, êëèåíòúò (Îáùèíñêèÿò ñúâåò íà Àìñòåðäàì è ñòðîèòåëíàòà êîìïàíèÿ ”ÌÀÁ”/MAB/) âúçëîæèõà íà Åðèê âàí Åãåðààò è íåãîâàòà êîìïàíèÿ äà èçãîòâÿò îáù óñòðîéñòâåí ïëàí íà ðàéîíà. Öåëèòå íà òîçè âå÷å îäîáðåí ïëàí ñà äà îñèãóðè ñòðóêòóðà çà âúçìîæíîòî ïðîñòðàíñòâåíî è ïðîãðàìíî ïðåóñòðîéñòâî. Ñúçäàäåí å óíèêàëåí ìîäåë íà þæíàòà ÷àñò íà îñòðîâà, êîÿòî ãëåäà êúì âúòðåøíîòî ïðèñòàíèùå, ñúçäàâàù îæèâåíà ãðàäñêà ñðåäà, êîÿòî çàïàçâà èäåíòè÷íî-

ñòòà è àòìîñôåðàòà íà òîâà òèïè÷íî çà ãðàäà ìÿñòî. Ñòðîèòåëíèòå òåðåíè, íàñèòåíè ñ ðåäèöà ðàçíîîáðàçíè ôóíêöèè, ñà îòêðîåíè îò ñåðèÿ ëú÷åîáðàçíè óëèöè, êîåòî å õàðàêòåðíî çà Àìñòåðäàì. Íîâèòå îáùåñòâåíè ìåñòà èãðàÿò âàæíà ðîëÿ â ðàçðàáîòêàòà íà óñòðîéñòâåíèÿ ïëàí ïîñðåäñòâîì âðúçêàòà èì ñ ðàçëè÷íèòå ñòðîèòåëíè ïðîãðàìè è äåéíîñòè, êàêòî è ñ êåÿ, êîåòî ïîäîáðÿâà ãëåäêàòà îò ïðèñòàíèùåòî. Â ðåçóëòàò íà âèñîêàòà ãúñòîòà è ðàçíîîáðàçèåòî íà ôóíêöè-

100

èòå ñòðàòåãèÿòà íà ïðîñòðàíñòâåíèÿ óñòðîéñòâåí ïëàí ïðåäëàãà ñïåöèôè÷íî àðõèòåêòóðíî ðåøåíèå. Äèçàéíúò öåëè äà ñú÷åòàå ñãðàäà è îáùåñòâåíî ïðîñòðàíñòâî òàêà, ÷å äà ñúçäàäå óñòîé÷èâà ñòðóêòóðà êàòî ïðîäúëæåíèå íà ãðàäà. Äâàíàäåñåò ìåæäóíàðîäíè àðõèòåêòè, âêëþ÷èòåëíî è Åðèê âàí Åãåðààò (ÅÅÑ), ñà èçáðàíè äà ðåàëèçèðàò äèçàéíà çà àðõèòåêòóðíîòî ïðåóñòðîéñòâî íà èíäèâèäóàëíèòå ÷àñòè íà íàé-ãîëåìèÿ äîñåãà ñòðîèòåëåí òåðåí â öåíòúðà íà Àìñòåðäàì.

15 Mirror walls reflect the forest. One unexpected consequence of the mirrors is that bear and deer have come up to the glass to see their reflections; the family just inches away from them. All my buildings are visually linked to the land.

ÊÚÙÀÒÀ Ñ ÎÃËÅÄÀËÀÒÀ

HOUSE OF MIRRORS

Îãëåäàëíè ñòåíè îòðàçÿâàò ãîðàòà. Åäíî íåî÷àêâàíî ïîñëåäñòâèå îò îãëåäàëàòà e, ÷å ìå÷êè è åëåíè èäâàò äî ñòúêëîòî, çà äà âèäÿò îòðàæåíèåòî ñè, ñúñ ñåìåéñòâîòî ñàìî íà íÿêîëêî ñàíòèìåòðà îò òÿõ. Âñè÷êè ìîè ñãðàäè ñà âèçóàëíî ñâúðçàíè ñ ëàíäøàôòà.

NEWS

The interior is an art gallery, all walls painted monolithic white. This neutrality establishes a suitable background for the brilliant colours of the art.

Èíòåðèîðúò ïðåäñòàâëÿâà õóäîæåñòâåíà ãàëåðèÿ, êàòî âñè÷êè ñòåíè ñà áîÿäèñàíè â ìîíîëèòíî áÿëî. Òàçè íåóòðàëíîñò äàâà ïîäõîäÿù ôîí çà ÿðêèòå öâåòîâå íà èçêóñòâîòî.

Ôîðìèòå íå ñà íåñâúðçàíè ãåíèàëíè õðóìâàíèÿ. Òå ñà ñèíòåç, ïðè êîéòî âñåêè åëåìåíò ñå ñâúðçâà ñ îñòàíàëèòå, êàòî òàêà öÿëîòî ñå ïðåâðúùà â ïîâå÷å îò ñóìàòà íà îòäåëíèòå ìó ÷àñòè. Ñúçäàâàíå íà äèçàéíà: Ñêàëàòà å åðîçèðàëà ñ âðåìåòî è îò àòìîñôåðíèòå âëèÿíèÿ: ñèâà, ñîëèäíà, òâúðäà, ïîêðèòà ñ âäëúáíàòèíè è ïóêíàòèíè, èçïúëíåíà ñúñ ñåíêè. Ïðàçíèíèòå ñà êàòî "äæîáîâå îò ìðàê ñÿêàø èçòðúãíàò îò îãðåíèòå îò ñëúíöåòî ïîâúðõíîñòè. Öåëòà å äà ñå óñòàíîâè âèçóàëíà âðúçêà ìåæäó ëàíäøàôòà è ñãðàäàòà. Òåðåíúò ñå ðàçãëåæäà êàòî åñòåòè÷åí ïúðâîîáðàç, ïðåäàâàù õàðàêòåðèñòèêèòå ñè, ïðè êîåòî ñãðàäàòà ïðèåìà ôîðìàòà íà êîíñòðóèðàí åêâèâàëåíò íà ñðåäàòà ñè. Çà÷èòàíåòî íà ñðåäàòà ðàçêðèâà åñòåñòâåíèÿ äèçàéí â äåéñòâèå. Ïðèðîäàòà íå ñúçäàâà íåóëîâèìàòà ñè àòìîñôåðà â ñúîòâåòñòâèå ñ êàêâèòî è äà å ôîðìàëíè ãåîìåòðè÷íè ñèñòåìè, à âúðøè ÷óäåñàòà ñè ïðîèçâîëíî. Ïðèðîäàòà å ïðîèçâîëíà, à íå ïðàâîëèíåéíà: Ïëàíèíèòå ñà ðåçóëòàò îò äâèæåíèåòî íà êîíòèíåíòàëíèòå ïëî÷è è âóëêàíè÷íàòà àêòèâíîñò Ñåìåíöàòà ñå íîñÿò îò âÿòúðà Ñêàëèòå åðîçèðàò è áèâàò èçäúëáàíè îò ëåäîâåòå è òå÷àùàòà âîäà Ïî ñâîÿòà ôîðìà, ìàòåðèàëè, ñòðóêòóðà è öâÿò äèçàéíúò ïðàâè îïèò äà ïîäðàæàâà íà åñòåñòâåíàòà ñðåäà, â êîÿòî å âãðàäåí, ÷ðåç íåñèìåòðè÷íîñò, ðàçíîîáðàçíè ãåîìåòðè÷íè ôîðìè, "æèâ ñèëóåò, ïðîìåíè â íèâîòî, çà äà ñúîòâåòñòâà íà íàêëîíà, êàòî âñè÷êî å ñâúðçàíî ñ íåîáõîäèìîñòòà îò ïîñëåäîâàòåëíîñò è ñìèñúë. Êîìïîçèöèÿòà ñå îáåäèíÿâà îò èçïîëçâàíåòî íà ìîíîëèòåí ìàòåðèàë è öâÿò. ×ðåç íåïðåêúñíàòîòî ìíîãîîáðàçèå íà õîðèçîíòàëíè ïîâúðõíîñòè ñãðàäàòà ñå "âêîðåíÿâà â ëàíäøàôòà. Âõîäúò å ðàçïîëîæåí äúëáîêî ìåæäó êóëèòå. Òå ñà ïðàâîúãúëíè, êàòî òàêà ñå âúçïîëçâàò îò ñâúðçâàùèÿ òèï íà òàçè ãåîìåòðè÷íà ôîðìà. Ñòúïàëîâèäíèÿò åëåìåíò å íàâñÿêúäå. Âõîäúò å àêñèàëåí, äúëáîêî ïîñòàâåí è íèñúê, çà äà ïîäñèëè åôåêòà îò äâóåòàæíîòî íà âèñî÷èíà ôîàéå âúòðå. Ñîëèäíîñòòà ïðèäàâà óñåùàíå çà íåïðîìåíëèâîñò, íî ñãðàäàòà ãî îïðîâåðãàâà ñ ìíîæåñòâîòî íåæíè öâåòÿ, êîèòî ÿ ïîêðèâàò.

District Design Award

Published in: The Architects Journal, England International Design Journal, Korea Chinese Lifestyles Award Magazine

Ðåãèîíàëíà íàãðàäà çà äèçàéí Ïóáëèêóâàíî â: Ñïèñàíèå íà àðõèòåêòèòå, Àíãëèÿ Ñïèñàíèå çà ìåæäóíàðîäåí äèçàéí, Êîðåÿ Êèòàé - íà÷èí íà æèâîò - ñòèëîâå Ñïèñàíèå çà íàãðàäè

The forms are not disconnected bits of wonder. They are a synthesis in which each component relates to the other, thus the whole is greater than the sun of its parts. Genisis of the design: The rock is eroded by time and weather: grey, solid, hard, pitted and cracked, full of shadows. Voids are pockets of darkness extracted from sunlit surfaces. The intention is to establish a visual bond between the land and the building. The site is regarded as an aesthetic progenitor, handing on its characteristics, with the building taking the form of a constructed equivalent of its setting. Consideration of the land reveals a natural design process at work. Nature does not produce its elusive ambiance in concordance with any formal geometric systems, but works its wonders haphazardly. Nature is random, not regular: Mountains are the result of continental drift and volcanism Seeds blow in the wind Rocks are ground and carved by ice ages and running water In its forms, materials, textures and colours the design attempts to emulate the natural context into which it is set by introducing irregularity, variation of geometry, vigorous outline, changes of level to suit the slope, all bridled by the necessity of keeping it cohesive and making sense. The composition is held together by the application of monolithic material and colour. Through the insistent multiplicity of its horizontal surfaces, the building locks into its site. The entrance is deeply inset between the towers. The towers remain rectangular, exploiting the inter loking type geometry of this form. The stepping characteristics runs throughout plan and section. The entrance is axial, deeply recessed and low, to enhance the effect of the two storey high entrance hall within. A sense of permanence is conveyed through solidity but, as a counterpoint, the building is adorned with a profusion of fragile flowers.

NEWS

12 The house rises from the rocks, responding to their monolithic character and colour.

Waterfront hose

Ñèëíîòî ïðèñúñòâèå íà êàíàäñêèÿ ïåéçàæ ñå óñåùà öÿëîñòíî â ïîäõîäà êúì àðõèòåêòóðàòà. Ìîðñêèòå ñêàëè, èçäúëáàíè îò åñòåñòâåíèòå ïðèðîäíè ñèëè ïðåç âåêîâåòå, ñà ñ ãåîìåòðè÷íî ñëîæíè ôîðìè. Ïîä ñâåòëèíàòà íà ñëúíöåòî òåõíèòå ìíîãîñòåííè ïîâúðõíîñòè ïðèëè÷àò íà êúñîâå îò ñâåòëîñåíêè. Ôîðìèòå íà êúùàòà ñà ñúçíàòåëíî ñìåñåíè - çàîáëåíè, úãëîâàòè è ïðàâèëíè, - òàêà ÷å ïîâúðõíîñòèòå è òåõíèòå ñåíêè äà ñå ñëèâàò ñ àòìîñôåðàòà íà ñêàëèòå. Ñ÷èòàéêè ñåáå ñè çà ó÷åíèê íà Ðàéò, óáåæäåíèÿòà ìè ñà ñâúðçàíè ñ öåíòðàëíîòî çíà÷åíèå íà óñåùàíåòî çà ìÿñòî, ñïîäåëåíàòà àòìîñôåðà ìåæäó àðõèòåêòóðàòà è ïðèðîäàòà. Ôîðìà, ñòðóêòóðà, öâÿò, ìàòåðèàë, ìàùàá, ñèëóåò, ïðîçðà÷íîñò, ñîëèäíîñò, ñâåòëèíà è ñåíêè - âñè÷êèòå òå ïðåäëàãàò áåçêðàéíè âàðèàíòè.

I suppose we all have an idea of Canada and mine came early. If ever was a country in which the land could find expression in its buildings it is surely Canada. The immensity, far horizons, mystique, dense dark forests, calm waters, jagged mountains, grey rocks, sharp shadows, glittering transparency of ice - all to be found in an architecture of Canadian origin. This is what I am attempting. John Kay

Residential architecture of John Kay Æèëèùíî ñòðîèòåëñòâî íà Äæîí Êåé

Waterfront hose

Êúùà íà áðåãà

The powerful presence of the B.C. landscape is felt in all the work in this presentstion. Seashore rocks, sculpted by natural forces over aeons are geometrically complex. Seen in sun, their faceted surfaces are irregular patches of light and shade. The forms of the house are intentionally mixed rounded, angular and linear so that the surfaces and their shadows blend into the ambience of the rocks. Raised on Wright my convictions centre on a sense of site, a shared ambience between architecture and nature. Form, texture, colour, material, scale, outline, transparency, solidity, sun, shadows all capable of endless variation.

Ïðåäïîëàãàì, ÷å âñè÷êè èìàìå íÿêàêâà ïðåäñòàâà çà Êàíàäà, à ìîÿòà ñå îôîðìè íàèñòèíà ðàíî. Àêî íÿêîãà å ñúùåñòâóâàëà ñòðàíà, êúäåòî ëàíäøàôòúò å óñïÿë äà íàìåðè îòðàæåíèå â àðõèòåêòóðàòà, òîâà å Êàíàäà. Ìàùàáúò, äàëå÷íèòå õîðèçîíòè, ìèñòèêàòà, ãúñòèòå òúìíè ãîðè, ñïîêîéíèòå âîäè, íàçúáåíèòå ïëàíèíñêè âåðèãè, ñèâèòå ñêàëè, ïîä÷åðòàíèòå ñåíêè, áëÿñúêúò íà ïðîçðà÷íèÿ ëåä - âñè÷êè òå èìàò ìÿñòî â àðõèòåêòóðàòà ñ êàíàäñêè ïðîèçõîä. Òîâà ñå îïèòâàì äà ïîñòèãíà è àç. Äæîí Êåé

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New IAA Professor, elected by Academic Council - John Kay - Canada Íîâîèçáðàíèÿò ïðîôåñîð íà Ìåæäóíàðîäíàòà àêàäåìèÿ çà àðõèòåêòóðà Äæîí Êàé (Êàíàäà)

9 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 centreÂ&#x2019;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. 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 MaggieÂ&#x2019;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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8 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.

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.

WAM will publish all the projects, nominated for the IAA Awnual Prix' 2006.

Nomination for: MAGGIE S CENTRE FIFE, KIRCALDY,SCOTLAND 2001-2006 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: 250 m2

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WAM ùå ïóáëèêóâà âñè÷êè íîìèíèðàíè ïðîåêòè çà ãîäèøíàòà íàãðàäà íà Àêàäåìè÷íèÿ ñúâåò íà Ìåæäóíàðîäíàòà àêàäåìèÿ çà àðõèòåêòóðà çà 2006 ã.

Íîìèíàöèÿ çà: ÌÀÃÈÑ ÑÅÍÒÚÐ ÔÀÉÔ , ÊÚÐÊÀËÄÈ, ØÎÒËÀÍÄÈß, 2001 2006 ã. ÏÐÎÃÐÀÌÀ: Îòâîðåí öåíòúð çà ðàêîâî áîëíè ÊËÈÅÍÒ: Ìàãèñ Ñåíòúð (Maggie s Centre) Äèçàéí: Çàõà Õàäèä Àðõèòåêòè íà ïðîåêòà: Äæèì Õåâåðèí è Òÿãî Êîðåéà [Çàõà Õàäèä] Åêèï íà ïðîåêòà: Çàõà Õàäèä, Äæèì Õåâåðèí, Òÿãî Êîðåéà ÊÎÍÑÓËÒÀÍÒÈ: Ñòðîèòåëíè èíæåíåðè: Äæåéí Óåðíèê è ñúäðóæíèöè Òåõíè÷åñêè èíæåíåðè: Êåé Äæåé Åíäæèíèúðñ (K J Tait Engineers) Ïîäçåìíà êàíàëèçàöèÿ: ÑÊÌ Àíòúíè Õúíòñ (SKM Anthony Hunts) Êîíòðîë íà èçïúëíåíèåòî: ÖÁÀ Ñúðâåéúðñ (CBA Surveyors) Ðúêîâîäèòåëè ïî ïðîåêòèðàíåòî: Ðàéàõ & Õîë (Reiach & Hall) Ëàíäøàôòåí àðõèòåêò: Ãðîñ Ìàêñ (Gross Max) Êîíòðîë íà ñòðîåæà: ÃËÌ Ëèìèòåä (GLM Ltd.) ÐÀÇÌÅÐ/ÏËÎÙ: 250 êâ. ì

Ìàãèñ Ñåíòúð Ôàéô ñå íàìèðà íà òåðèòîðèÿòà íà áîëíèöà çà ðàêîâî áîëíè Âèêòîðèÿ - ìàùàáúò íà öåíòúðà å ìàëúê, íî ïðåäëàãà óíèêàëíè óñëîâèÿ. Öåíòúðúò å ðàçïîëîæåí ïî ïåðèôåðèÿòà íà ïàäèíà íåïîñðåäñòâåíî äî åñòåñòâåíà çåëåíèíà è äúðâåòà, êîåòî ñúçäàâà óñåùàíå çà ñèãóðíîñò â ðÿçúê êîíòðàñò ñúñ ñúîðúæåíèÿòà íà áîëíèöà Âèêòîðèÿ . Êàòî åäíîåòàæíà ñãðàäà, öåíòúðúò ñëåäâà åñòåñòâåíàòà ïàäèíà. Ñãðàäàòà ïðåäñòàâëÿâà ïðåõîä ìåæäó äâà ðàçëè÷íè òèïà ïðîñòðàíñòâî - åñòåñòâåíèÿ ëàíäøàôò è áîëíèöàòà. Ïîñðåäñòâîì ðàçëè÷íè ìîäåëè êîìïàíèÿòà íà Çàõà Õàäèä èçñëåäâà êàê ïåðèôåðèÿòà íà ïàäèíàòà ìîæå äà ñå èçïîëçâà, çà äà ñå ïðåâúðíå â ïîêðèâ íà ñãðàäàòà, êîéòî âîäè êúì åñòåñòâåíèÿ ëàíäøàôò. Âúíøíî ôîðìàòà íà Öåíòúðà ñå îáðàçóâà îò íàãúíàòà ïîâúðõíîñò è ñâúðçâàùà ïðèçåìíà ïëî÷à. Íàãúíàòàòà ïîâúðõíîñò äàâà ïîñîêà íà äâèæåíèå íà ïîñåòèòåëÿ â ïðîñòðàíñòâî ðàçëè÷íî îò îñòàíàëèòå áîëíè÷íè ïîìåùåíèÿ. Îáëèöîâàéêè âèäèìàòà ÷àñò îò ïîêðèâà è äâå ïðîòèâîïîëîæíè ñòåíè ñ åäèí è ñúùè ìàòåðèàë è èçãðàæäàéêè îñòàíàëàòà ÷àñò îò ôàñàäàòà îò ñìåñèöà îò ïîëóïðîçðà÷íî è ïðîçðà÷íî ñòúêëî, ôîðìàòà íà ñãðàäàòà ñå ïîä÷åðòàâà. Ãîëåìèòå êîçèðêè íà ïîêðèâà ñà èçïîëçâàíè äà èçíåñàò ñãðàäàòà íàâúí â ëàíäøàôòà è îò äâåòå ñòðàíè. Òåçè êîçèðêè çàùèòàâàò âõîäà îò ñåâåðíàòà ñòðàíà, äîêàòî îò þæíàòà îñòúêëåíèòå ïðîñòðàíñòâà ïàçÿò îò ñëúíöåòî è ÷àñòè÷íî ïîêðèâàò òåðàñàòà. Öåíòúðúò å ðàçïîëîæåí íà áåòîíåí ïëèíò, êîéòî ãî ñâúðçâà ñ ëàíäøàôòà. Îòêúì ñåâåðíàòà ñòðàíà ïëèíòúò íà ñãðàäàòà ñëóæè çà ãðàíèöà íà ïàðêèíãà, ïðåäè äà ñå èçäèãíå äî íèâîòî íà ãëàâíèÿ âõîä. Ïëèíòúò ñå îòêðîÿâà ÷ðåç ïîäáðàíèÿ ìàòåðèàë è íàñî÷âàùàòà ñèìâîëèêà. Îò èçòî÷íàòà ñòðàíà òîé ïðîäúëæàâà, ðàçäåëÿéêè öåíòúðà îò ïàðêèíãà ñúñ ñòåíà, êîÿòî ïëàâíî ñå èçäèãà, êàòî òàêà ðàçãðàíè÷àâà îáùåñòâåíîòî ïðîñòðàíñòâî íà âõîäà îò óåäèíåíèåòî íà òåðàñàòà. Ïëèíòúò çàâúðøâà, êàòî ñúáèðà þæíèÿ úãúë íà öåíòúðà â òåðàñà ñ þæíî èçëîæåíèå, êîÿòî ïîåìà òåæåñòòà îò ñêëîíà íà ñåâåð. Èíòåðèîðúò ñå õàðàêòåðèçèðà ñúñ ñòàè, íàñî÷åíè êúì îòâîðåíî êóõíåíñêî ïîìåùåíèå îò ñåâåðíàòà ñòðàíà, íåïîñðåäñòâåíî äî âõîäà. Ñ öåë óåäèíåíèå ñòàèòå ñ èçòî÷íî èçëîæåíèå èìàò ïî÷òè íåïðîçðà÷íà ôàñàäà. Îò þæíàòà ñòðàíà ñòúêëåíàòà ôàñàäà ðàçêðèâà ïðåä ïîñåòèòåëèòå íà öåíòúðà åñòåñòâåíèÿ ïåéçàæ íà ïàäèíàòà. Ïðîñòðàíñòâîòî â öåíòúðà íà ñãðàäàòà å ìàêñèìàëíî îòâîðåíî è ñ ìèíèìàëåí áðîé êîëîíè. Ðàìïà ñâúðçâà îñíîâíàòà ñãðàäà ñ íèñêà ïëàòôîðìà, êúäåòî ñå íàìèðà èçõîäúò. Ñèñòåìà îò êàïàöè è ïëúçãàùè ñå âðàòè ïîçâîëÿâàò íà òîâà ïðîñòðàíñòâî äà ñå îòäåëè îò îñòàíàëàòà ÷àñò îò öåíòúðà. Þæíàòà ôàñàäà å èçöÿëî îñòúêëåíà ñ ïðîçîðöè è âðàòè ñ äèðåêòåí äîñòúï äî òåðàñàòà. Èçòåãëÿíåòî íà ïîêðèâà íàâúí äàæå èçâúí òåðàñàòà ñúçäàâà åôåêò íà íåïðåêúñíàòîñò íà ïðîñòðàíñòâîòî îòâúòðå íàâúí. Òðèúãúëíèÿò ïîêðèâ è ïðîçîð÷åòàòà, ñ êîèòî å îáñèïàí, ðàçêðèâàò ãëåäêàòà, îñèãóðÿâàò ñâåòëèíà è ñúçäàâàò íåïðåêúñíàòîñò íà ôîðìàòà â ïðîñòðàíñòâîòî.

The IAA Secretariat in Sofia has received letters of congratulation for the excellent publication of WAM magazine from: Simeon II-Leader of NDSV- Bulgaria; Jai Rattan Bhalla; Miguel Pereira; Jan Hoogstad; Manfredi Nicoletti; Richard England; Kiyonori Kikutake; Tadao Ando; Richard Meier; Teodoro Gonzalez De Leon; Renzo Piano etc. Ñåêðåòàðèàòúò íà Ìåæäóíàðîäíàòà àêàäåìèÿ çà àðõèòåêòóðà â Ñîôèÿ å ïîëó÷èë ïîçäðàâèòåëíè ïèñìà çà îòëè÷íàòà ïóáëèêàöèÿ íà ñïèñàíèåòî - WAM (World Architecture Masters) îò Ñèìåîí Ñàêñêîáóðãîòñêè - ëèäåð íà ÍÄÑÂ - Áúëãàðèÿ, Æàé Ðàòòàí Áàëëà, Ìèãåë Ïåðåéðà, ßí Õîîãñòàä, Ìàíôðåäè Íèêîëåòè, Ðè÷àðä Èíãëàíä, Êéîíîðè Êèêóòàêå, Òàäàî Àíäî, Ðè÷àðä Ìàéåð, Òåîäîðî Ãîíçàëåñ Äå Ëåîí, Ðåíöî Ïèàíî è äð.

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4 Acad Toyo Ito has received his IAA Annual Prix 2004 and Honorary Diploma from his Excellency the Bulgarian Ambassador in Tokyo. Àêàä. Òîéî Èòî ïîëó÷àâà ãîäèøíàòà íàãðàäà íà Ìåæäóíàðîäíàòà àêàäåìèÿ çà àðõèòåêòóðà çà 2004 ã. è Ïî÷åòåí äèïëîì îò Íåãîâî Ïðåâúçõîäèòåëñòâî áúëãàðñêèÿ ïîñëàíèê â Òîêèî.

The Annual session of the IAA Academic Council has been held in Moscow 8. 08. 2007

Ãîäèøíèÿò ñåìèíàð íà Àêàäåìè÷íèÿ ñúâåò íà Ìåæäóíàðîäíàòà àêàäåìèÿ çà àðõèòåêòóðà ñå ñúñòîÿ â Ìîñêâà - 8.08.2007ã.

The members of the Academic Council ×ëåíîâåòå íà Àêàäåìè÷íèÿ ñúâåò îáhave discussed the received nominations ñúäèõà ïîëó÷åíèòå íîìèíàöèè çà Ãîäèøfor the IAA Annual Prix 2006: íàòà íàãðàäà çà 2006 ã.: Guthrie Theatre in Minneapolis (USA) and Musee du Qai Branly- Paris (France) by Jean Nouvel, IAA Acad. Brain and Cognitive Sciences Complex, at MIT, Cambridge by Charles Correa, IAA Acad. Hearst Tower in New York by Norman Foster, IAA Acad. Theater Casa da Musica in Porto (Portugal) by Rem Koolhaas, IAA Acad. Banca Lombarda Headquaters (Brescia) by Vittorio Gregotti, IAA Acad. Maggie s Centre Fife (Kirkcaldy) by Zaha Hadid, IAA Acad.

Òåàòúð Ãúòðè â Ìèíåàïîëèñ (ÑÀÙ) è Ìþçå äþ Êå Áðàíëè - Ïàðèæ (Ôðàíöèÿ) íà Æàí Íóâåë, ÷ëåí íà Àêàäåìèÿòà Êîìïëåêñ çà êîãíèòèâíè íàóêè è èçñëåäâàíå íà ìîçúêà, Òåõíîëîãè÷åñêè èíñòèòóò - Ìàñà÷óçåòñ, Êåéìáðèäæ, íà ×àðëñ Êîðèà, ÷ëåí íà Àêàäåìèÿòà Êóëàòà Õúðñò â Íþ Éîðê íà Íîðìàí Ôîñòúð, ÷ëåí íà Àêàäåìèÿòà . Òåàòúð Êàñà äå Ìóçèêà â Ïîðòî (Ïîðòóãàëèÿ) íà Ðåì Êîîëõààñ, ÷ëåí íà Àêàäåìèÿòà Öåíòðàëåí îôèñ íà Áàíêà Ëîìáàðäà (Áðåøà) íà Âèòîðèî Ãðåãîòè, ÷ëåí íà Àêàäåìèÿòà Ìàãèñ Ñåíòúð Ôàéô (Êúðêàëäè) íà Çàõà Õàäèä, ÷ëåí íà Àêàäåìèÿòà

The members of the IAA Academic Council have elected the following outstanding architects as new

×ëåíîâåòå íà Àêàäåìè÷íèÿ ñúâåò íà Ìåæäóíàðîäíàòà àêàäåìèÿ çà àðõèòåêòóðà èçáðàõà ñëåäíèòå áåëåæèòè àðõèòåêòè çà íîâè ïðîôåñîðè íà Àêàäåìèÿòà:

IAA Professors: 1. Alexander Asadov- Russia 2. Prof. arch. Paolo Cucchi-Malaysia 3. Arch. John Kay- Canada 4. Prof. arch. Mario Pisani- Italy 5. Arch.Vladimir Plotkin- Russia 6. Arch. Jeko Tilev- Bulgaria

1. Àëåêñàíäúð Àñàäîâ - Ðóñèÿ 2. Ïðîô. àðõ. Ïàîëî Êó÷è - Ìàëàéçèÿ 3. Àðõ. Äæîí Êåé - Êàíàäà 4. Ïðîô. àðõ. Ìàðèî Ïèñàíè - Èòàëèÿ 5. Àðõ. Âëàäèìèð Ïëîòêèí - Ðóñèÿ 6. Àðõ. Æåêî Òèëåâ - Áúëãàðèÿ

The Academic Council has approved the IAA working Program for 2007-2008.

Àêàäåìè÷íèÿò ñúâåò å îäîáðèë Ðàáîòíàòà ïðîãðàìà íà Àêàäåìèÿòà çà 2007-2008 ã.

Íîâ ïðîåêò íà Ñàíòÿãî Êàëàòðàâà - Îïåðàòà âúâ Âàëåíñèÿ Îñíîâíè õàðàêòåðèñòèêè íà äèçàéíà Îïåðàòà èìà õàðàêòåðà íà ìîíóìåíòàëíà ñêóëïòóðà. Ïî ôîðìàòà ñè ñãðàäàòà ïðåäñòàâëÿâà ñåðèÿ îò î÷åâèäíî ïðîèçâîëíè îáåìè, êîèòî ñå îáåäèíÿâàò ÷ðåç çàòâàðÿíåòî èì â äâà ñèìåòðè÷íè, îòäåëåíè áåòîíåíè êîðïóñà. Òåçè ôîðìè ñà óâåí÷àíè ñ ãëàâîçàìàéâàùà ñòîìàíåíà îáøèâêà, êîÿòî ñå èçâèâà îò âõîäíàòà çàëà êúì íàé-ãîðíàòà ÷àñò îò ïåðèôåðèÿòà íà êðèâîëèíåéíàòà êîíñòðóêöèÿ. Ðåçóëòàòúò å ñòðóêòóðà, êîÿòî äàâà

è ãðàäèíèòå. Òúé êàòî áèëåò ñå èçèñêâà ñàìî ïðåäè âëèçàíåòî â çàëà, ïóáëèêàòà ìîæå äà ñå äâèæè ñâîáîäíî èç ñãðàäàòà, êîåòî ïðèäàâà íà Îïåðàòà ïðèâåòëèâ õàðàêòåð íà ìÿñòî, êúäåòî õîðàòà ñå ñúáèðàò è ñúùî òàêà ïðàâè ìóçèêàòà ïî-äîñòúïíà. Ñàíòÿãî Êàëàòðàâà å ïðîåêòèðàë ïîñòîÿííè õóäîæåñòâåíè èíñòàëàöèè çà âàæíèòå ìåñòà â ñãðàäàòà. Çà ãëàâíàòà çàëà è ãîëåìèÿ ðåñòîðàíò Êàëàòðàâà å ñúçäàë äâà

èäåíòè÷íîñò íà Îïåðàòà, êàòî äðàìàòè÷íî óâåëè÷àâà ñèìâîëè÷íîòî é è äèíàìè÷íî âëèÿíèå âúðõó ëàíäøàôòà, ìåæäóâðåìåííî îñèãóðÿâàéêè ïîäïîðà çà òåðàñèòå è ñúîðúæåíèÿòà ïîä íåÿ. Ðàçëè÷íèòå ÷àñòè íà ñãðàäàòà ñà ñòðóïàíè ïîìåæäó õîðèçîíòàëíè òåðàñè, êîèòî ïîåìàò îò òåæåñòòà íà ñòðóêòóðàòà. Öåíòðàëíàòà ÷àñò å çàåòà îò ãëàâíàòà çàëà, ðàçïîëîæåíà â ïîäâèæåí, àêóñòè÷íî ñúîáðàçåí êîðïóñ, âãðàäåí â êîíñòðóêöèÿòà. Â öåíòðàëíàòà ÷àñò ñúùî òàêà ñå íàìèðàò ñöåíè÷íèÿò ìîäóë è ïîâäèãàùèòå ìåõàíèçìè çà ãëàâíàòà çàëà, ÷èÿòî ñöåíà å ñ ïëîù 480 êâ. ì. Ïðè îòêðèòèòå ñöåíè ïîêðèâúò è ñòåíèòå, çàòâàðÿùè êîìïëåêñà, èìàò àêóñòè÷íà ôóíêöèÿ, äîêàòî îñòúêëåíàòà è èçîëèðàíà ðåïåòèöèîííà çàëà ñå íàìèðà íàä çàëàòà çà êàìåðíà ìóçèêà. Êîðïóñúò îêîëî ñãðàäàòà ïðàâè âúçìîæíà ïåðèôåðíà âúíøíà öèðêóëàöèÿ êúì îòäåëíèòå çàëè, ãðàäèíñêè òåðàñè, êàôåíåòà è ðåñòîðàíò. Òåçè ïðîñòðàíñòâà ñà ñâúðçàíè ïîñðåäñòâîì áàëêîíè, ñòúëáè è âúíøíè àñàíñüîðè, îò êîèòî ñå îòêðèâàò ãëåäêè êúì ãðàäà

ãîëåìè ñòåíîïèñà, ïúðâèÿò ñ ðàçìåðè 20 íà 2,4 ì, à âòîðèÿò - 31 íà 3,6 ì. Êàëàòðàâà å ñúçäàë è äâå áàðåëåôíè ñêóëïòóðè îò êåðàìèêà, âñÿêà ñ ðàçìåðè 2,4 ì íà 1,2 ì, à ñúùî òàêà å ïðîåêòèðàë è âúíøíè òåðàêîòåíè äðúæêè çà âðàòè çà âñÿêà çàëà. Îïåðàòà äàâà íà Âàëåíñèÿ åäíî çíà÷èòåëíî ñúîðúæåíèå çà ñöåíè÷íî èçêóñòâî, êîåòî â ñúùîòî âðåìå å è äèíàìè÷íà, ìîíóìåíòàëíà çàáåëåæèòåëíîñò. Îñíîâíèòå êîìïîíåíòè ñà çàëà ñ 1706 ìåñòà, ïîäõîäÿùà çà îïåðíè ïðîäóêöèè, êîíöåðòè è áàëåò, êàìåðíà çàëà ñ 380 ìåñòà çà àíñàìáëîâè è òåàòðàëíè èçïúëíåíèÿ, êàêòî è äðóãè ñúáèòèÿ (ëåêöèè, ñðåùè è äð.), è çàëà ñ 1520 ìåñòà, îáîðóäâàíà ñ íàé-ñúâðåìåííà ôèëìîâà è ïðîæåêöèîííà òåõíèêà, êîÿòî äàâà âúçìîæíîñò äà ñå ãëåäàò ïðîäóêöèè íà ñïåöèàëíè âèäåîåêðàíè. Íåïîñðåäñòâåíî äî ãëàâíàòà ñãðàäà ñå íàìèðà è çàëà ñ 400 ìåñòà çà åêñïåðèìåíòàëåí òåàòúð è òàíöîâî èçêóñòâî, ñ èçëîæáåíî ïðîñòðàíñòâî çà èçÿùíèòå è äåêîðàòèâíè èçêóñòâà.

NEWS

New project of Santiago Calatrava the Opera in Valencia.

Start of Construction December 1997 Date of First Concert October 8, Opening Date 2005 October 25, 2006 Cost 373 million Euros ($454 million) Site Area Opera House 3.3 hectares (8 acies) Building Footprint 180 m x 90m(590f x 295ft) Building Height 75 m to (246 ft) Total Building Area 44,100m2 (475,000 sf) Principal Materials Exterior White concrete, structural steel, glass, granite, broken ceramic dies Principal Materials Interior Platinum blue granite, marble, beech wood

Principal Design Features The Opera House has been given the iconographic character of a monumental sculpture. In form, the building is a series of apparently random volumes, which become unified through their enclosure within two symmetrical, cut-away concrete shells. These forms are crowned by a sweeping steel sheath, which projects axially from the entrance concourse out over the uppermost contours of the curvilinear envelope. The structure that results defines the identity of the Opera House, dramatically enhancing its symbolic and dynamic effect within the landscape, while offering protection to the terraces and facilities beneath. The different volumes of the building are stacked between horizontal promenade decks, which cantilever off the side of the structure. The central core is occupied by the main auditorium, which is set within a movable, acoustically shaped shell embedded within the cluster. Also housed in the central core are the scenery module and lifting mechanisms for the main auditorium, whose stage measures 480 m2 (5,166 sf). For the open performance areas, the roof and defining walls enclosing the complex have an acoustical function, while a glass-covered, insulated rehearsal area is provided above the chamber music hall.

photos by: Alan Karchmer

The shell surrounding the building permits peripheral exterior circulation to the different auditoriums, garden terraces, cafeterias and restaurant. These areas are linked by promenade balconies, stairs and exterior elevators, offering beautiful views of the city and the gardens. Because a ticket is required only upon entering an auditorium, the public may move freely throughout the building, giving the Opera House a welcoming character as a gathering place, and making, music more accessible to the people. Santiago Calatrava has designed permanent art installations for significant spaces, within the building. For the main auditorium and the principal restaurant, Calatrava has created two large murals, the first measuring 20m x 2.4m (65.6 ft x 7.9 ft), and the second 31m x 3.6m (101.7ftxll.8ft).

Calatrava also has created two bas relief sculptures in ceramic, each measuring 2.4m x 1.2m (7.9 ft x 3.9 ft), and has designed exterior door handles in terracotta for each auditorium. The Opera House provides Valencia with a major performing arts facility and a dynamic, monumental landmark. The buildingÂ&#x2019;s main components are an auditorium seating 1,706, suitable for opera productions as well as concerts and balle4 a 380-seat chamber music hall for ensemble performances, drama and other events (lectures, meetings, etc.); and an auditorium seating up to 1,520 people, equipped with advanced film and video projection systems, offering the possibility of viewing performances on special video screens. Located adjacent to the main building is a 400-seat auditorium for experimental theater and dance, with gallery space for exhibitions of fine arts and decorative arts.

Â 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 ïî-âèñîê 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