Wam magazine Issue 7

World Architecture Masters

ISSN 1313-177X

7/ 2008/ 007

RENZO PIANO

3

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

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

Ãëàâåí ðåäàêòîð ïðîô. Ãåîðãè Ñòîèëîâ, àêàäåìèê íà ÌÀÀ

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

Óïðàâèòåë Íàòàëèÿ Áîíäàðåíêî

General manager Natalia Bondarenko

Îòãîâîðåí ðåäàêòîð NEWS àðõ. Ãåîðãè Ñòàíèøåâ, ïðîôåñîð íà ÌÀÀ

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

Ðåäàêöèîííà êîëåãèÿ Êðàñèìèðà ßâàøåâà Íèêîëèíà Ñòîéêîâà

Editors team Krassimira Yavasheva Nikolina Stoykova

Îòãîâîðåí ðåäàêòîð NEWS - çà Èòàëèÿ àðõ. Àëôðåäî Êàìàðà

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

Ìåíèäæúð ïðåäïå÷àòíà ïîäãîòîâêà Ïåòúð ×óïåòëîâñêè

Pre-print manager Peter Chupetlovsky

Ãðàôè÷åí äèçàéíåð Åëåîíîðà Ãåîðãèåâà

Graphic designer Eleonora Georgieva

ÌÀÀ, 1504 Ñîôèÿ, óë. Îáîðèùå 35 ï. ê. 56, Ñîôèÿ òåë.: 02 944 62 97 0882@mail.bol.org, www.iaa-ngo.org

IÀÀ, Bulgaria, 1504 Sofia 35 Oborishte str., P.O. Box 56 tel.: +359 2 944 62 97 0882@mail.bol.org, www.iaa-ngo.org

Ïðåäïå÷àòíà ïîäãîòîâêà Ìàÿ Ãåðàñèìîâà Èíà Êàìáàðåâà

Pre-print preparation Maya Gerasimova Ina Kambareva

Êîîðäèíàòîð ìàðêåòèíã è ðåêëàìà Ñèÿíà ×àëúêîâà

Marketing and advertisement coordinator Siana Chalakova

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

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

Ïðåâîäà÷ Ìàðèàíà Êîëàðñêà

Translator Mariana Kolarska

îôèñ Ïëîâäèâ Äàíèåëà Àðíàóäîâà Âàëåíòèíà Âàíãåëîâà

offis Plovdiv Daniela Arnaudova Valentina Vangelova

Êîðåêòîð Ìàðèÿ Òîäîðîâà

Proof-reader Maria Todorova

Ðàçïðîñòðàíåíèå Åâãåíèÿ Éîðäàíîâà

Distribution Evguenya Yordanova

Èçäàòåëè: Ìåæäóíàðîäíà Àêàäåìèÿ çà Àðõèòåêòóðà Àðõ ìåäèÿ ÎÎÄ

Publishers: International Academy of Architecture Arhc Media Ltd.

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

Îffice: Sofia 1407 22 “Golo bardo” Str. General manager: +359 2 868 81 83 Editors: +359 2 868 83 50 Advertising manager: +359 2 868 77 91 Advertising Team: +359 2 868 75 67, 868 75 53 Pre-print: +359 2 868 78 47 Ìàòåðèàëè è èëþñòðàöèè îò WAM ìîãàò äà ñå èçïîëçâàò ñàìî ñ ðàçðåøåíèå íà ðåäàêöèÿòà.

Local office Plovdiv 4000 Materals and illustrations of WAM can be used only with permission of the editor's office.

8 “Kniaz Bogoridi” Str. tel./fax: +359 32 63 32 16 Italy office - Torino 10128 Victtorio Emanuelle II Str. ¹ 63 tel.: +39011 54 21 41 tel./ fax: +39011 54 62 37 arch.cam@libero.it

The editors of the magazine World Architecture Masters would like to thank Arch. Renzo Piano for his amiability submitting materials from his private archive at ours disposal for the seventh issue of WAM. Ñïèñàíèå World Architecture Masters áëàãîäàðè íà àðõ. Ðåíöî Ïèàíî çà ëþáåçíî ïðåäîñòàâåíèòå ìàòåðèàëè îò ëè÷íèÿ ìó àðõèâ çà ñåäìè áðîé íà WAM.

RENZO PIANO

CONTENTS High Museum of Art Expansion Atlanta (Georgia), USA - 1999-2005

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Renovation and expansion of the Morgan Library New York, USA - 2000-2006

20

The New York Times Building New York, USA - 2000-2007

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P&C department store Cologne, Germany - 1999-2005

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Hall for congresses, cocktails and concerts, Turin

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Auditorium Parco della Musica, 1994-2002

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La Cite Internationale, Lion

64

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“TRANSMITTING ARCHITECTURE” Çàäà÷àòà íà âñÿêà íàó÷íà òåîðèÿ å äà ðàçêðèå íÿêàêâà èñòèíà, êîÿòî äà äàäå âúçìîæíîñòè çà ðúêîâîäñòâî è êîíòðîë â òâîð÷åñêèòå ïðîöåñè. Èçáðàíàòà òåìà çà Êîíãðåñà íà ÌÑÀ â Òîðèíî`08 ïðè ïîâå÷å ìîçú÷íè óñèëèÿ ìîæå äà äîâåäå äî íÿêàêâî ïðèáëèæàâàíå äî ðåàëíèòå öåëè è ñúäúðæàíèÿ íà àðõèòåêòóðíîòî òâîð÷åñòâî. Ïîíÿòèåòî “òðàíñìèòíà àðõèòåêòóðà” ìàêàð è åêñòðàâàãàíòíî èìà ðåàëíî ñúäúðæàíèå. Àðõèòåêòóðíèÿò åçèê êàòî âñåêè äðóã èìà è ñåìàíòè÷íî, èíôîðìàöèîííî ñúäúðæàíèå. Àðõèòåêòóðàòà å ñîöèîêóëòóðåí ìîäåë íà ñâîåòî îáùåñòâî. Òÿ å íàé-ïúëíàòà è íàé-áîãàòà êàðòèíà íà îáùåñòâîòî, íà íåãîâèÿ íà÷èí íà æèâîò è íà íåãîâàòà åïîõà. Âåëèêèÿò ðóñêè ïèñàòåë Ãîãîë íàé-òî÷íî å èçðàçèë òîâà ñ äóìèòå: “Àðõèòåêòóðàòà å êàìåííà ëåòîïèñ íà ñâåòà. Òÿ ãîâîðè òîãàâà êîãàòî ìúë÷àò è ïåñíèòå, è ïðåäàíèÿòà”. Ñúçäàâàéêè àðõèòåêòóðåí îáðàç íà äàäåí îáåêò, àðõèòåêòà èçïúëíÿâà è çàäà÷àòà çà ñúçäàâàíå íà èíôîðìàöèîíåí ëåòîïèñåí ïàìåòíèê.  òâúðäå àáñòðàêòíîòî ïîíÿòèå “transmitting” å çàêîäèðàíî åäíî âàæíî êà÷åñòâî íà àðõèòåêòóðàòà êàòî ïîñëàíèå, êîåòî àðõèòåêòà âãðàæäà â ñâîåòî ïðîèçâåäåíèå. Òîâà ïîñëàíèå êàêòî è ñàìàòà àðõèòåêòóðà èìà äâà ñëîÿ. Ïúðâèÿò å ñâúðçàí ñ ðåøàâàíå íà ðàöèîíàëíè çàäà÷è: ôóíêöèè, êîíñòðóêöèè, åêîëîãèÿ, êîìôîðò è ïð. Òîâà å ïúðâè ñëîé è íà ïîñëàíèåòî íà àðõèòåêòà êúì îáùåñòâîòî. Íî âòîðèÿò ñëîé å ìíîãî ïî-ñëîæåí è áîãàò. Òîé å ñâúðçàí ñ èðàöèîíàëíèÿ òâîð÷åñêè ïðîöåñ íà ñúçäàâàíå íà äóõîâíè ñòîéíîñòè íà àðõèòåêòóðàòà. À òâîð÷åñêèÿò ïðîöåñ èçâèðà îò ëè÷íîòî ïîäñúçíàíèå (èíòóèöèÿ) íà àðõèòåêòà, êàòî ÷àñò îò êîëåêòèâíîòî ïîäñúçíàíèå íà îáùåñòâîòî. Ïî òîçè íà÷èí àðõèòåêòóðíàòà òâîðáà îòðàçÿâà è “òðàíñìèòèðà” íå ñàìî âúíøíèòå ïðîÿâè íà îáùåñòâîòî, íî äúëáîêî õàðàêòåðà è ñïåöèôèêàòà íà äóõîâíèòå ìó êà÷åñòâà.

Taka àðõèòåêòóðàòà ñå ïðåâðúùà äåéñòâèòåëíî â “êàìåííà ïîåìà” íà ñâîåòî îáùåñòâî, êîÿòî èìà íå ñàìî èíôîðìàöèîííà, íî è ãîëÿìà åñòåòè÷åñêà ñòîéíîñò. Òÿ èãðàå îãðîìíà ðîëÿ çà ôîðìèðàíåòî íà îáùåñòâåíîòî ñúçíàíèå, íà òðàäèöèÿòà è íàöèîíàëíàòà èäåíòè÷íîñò. Ïîðàäè òîâà òÿ å “transmitting”, íî ïðåäè òîâà “emitting” architecture. Àðõ.Ãåîðãè Ñòîèëîâ Àêàäåìèê íà ÌÀÀ

The task of every scientific theory is to reveal some truth that could give opportunity for guidance and control of the creative process.

The theme of the congress of the international unit of architects in Turin in 2008 can lead to some accession to real aims and contents of the architectural work.

The notion transmitting architecture is a little extravagant but it has real contents.

The architectural language as every other language has semantic and informational contents. Architecture is a social and cultural model of its society. It is the fullest and richest picture of society, of its way of life and its epoch. The great Russian writer Nikolai Gogol expressed this with words:” Architecture is a stone chronicle of world. It speaks even when songs and sagas keep silent.”

Creating an architectural image of an object, the architecture performs the task for making an informational and chronicle monument.

In this abstract notion “transmitting” a very important message of architecture is encoded and the architecture builds in its work.

This message and the architecture itself have two layers. The first is connected with solving of rational tasks: functions, constructions, ecology, and comfort. This is the first layer of the architect’s message to the society. The second layer is more complex and rich. It is connected with irrational creative process of making intellectual values of architecture.

The creative process springs up from the personal subconscious (intuition) of the architect as a part of the collective subconscious of the society. In this way the architectural work reflects and transmits not only the outside acts of the society but the character and specification of its intellectual features.

Thus the architecture is really transformed into a stone poem of its society that has not only informational but esthetical value. It plays a great role for forming social consciousness, traditions and national identity.

That is why it is transmitting, but before that it is emitting architecture.

Architect Georgi Stoilov IAA Academic

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Renzo Piano Renzo Piano was born in Genoa (Italy) on September 14,1937.

He raduated in 1964 from the school of Architecture of the Milan Polytechnic. As a student, he was wrking under the design guidance of Franco Albini, while also regularly attending his father's building sites where he got a valuable practical experience.

Beween 1965 and 1970, he completed his formation and work experiments with study travels in Briain and America. It was at that dme he met Jean Prouve: their friendship would have a deep influence on his professional life.

In 1971, he founded the "Piano & Rogers" agency with Richard Rogers, his partner on the Centre Pompidou project in Paris. In 1977, he founded the "Atelier Piano & Rice" along with the engineer Peter Rice, a professional personality who would work with him on many projects, undl his death in1992.

He then founded Renzo Piano Building Workshop, with offices in Paris and Genoa. Some 100 people work with him (among which architects, engineers, specialists...) in close collaboration with some associated architects, linked to him by years of experience.

Main Completed Projects 1964 - Lightweight Structures 1969 - Italian Industry Pavilion at the 1970 Osaka Expo, Japan 1973 - Office building for B&B, Como, Italy 1974 - One-family homes, Cusago, Milan, Italy 1977- Centre Georges Pompidou, Paris, France (with Richard Rogers) IRCAM, Institute for acoustic research, Paris, France 1979 - Participation project for the rehabilitation of historical centers, Otranto, Italy 1980 - VSS Experimental vehicle for FIAT, Turin, Italy 1982 - Housing in Rigo district, Perugia, Italy A. Calder retrospective exhibition, Turin, Italy 1984 - Schlumberger factories rehabilitation, Paris, France Prometeo Musical Space Venice and Milan, Italy Office building for Olivetti, Naples, Italy 1985 - Office building for Lowara factory, Vicenza, Italy 1986 - IBM Travelling Exhibition in Europe 1987 - The Menil Collection Museum, Houston, Texas, U.S.A. ISML, Institute for Research into Light Metals, Novara, Italy 1990 - S.Nicola Football stadium, Bari, Italy Bercy 2 Shopping Center, Charenton Le Pont, Paris, France IRCAM Extension, Paris, France 1991 - "Crown Princess" and "Regal Princess" cruise ships, Monfalcone, Gorizia, Italy, Rue de Meaux Housing, Paris, France, Thomson Optronics factories. Saint Quentin-en-Yvelines, Paris, France, Subway stations "Brin" and "Dinegro", Genoa, Italy, Renzo Piano Building Workshop, Punta Nave, Genoa, Italy 1992 - Headquarters for the Credito Industriale Sardo, Cagliari, Italy Columbus International Exposition 1992, Aquarium and Congress Hall, Genoa, Italy 1994 - Kansai International Airport Terminal, Osaka, Japan 1995 - Cy Twombly Pavilion, Houston, Texas, U.S.A. Headquarters Harbour Authorities, Genoa, Italy 1996 - Ushibuka Bridge, Kumamoto, Japan 1997 - Atelier Brancusi, Paris, France NEMO, National Center for Science and Technology, Amsterdam, The

Building Workshop Building Workshop

Netherlands, Beyeler Foundation Museum, Riehen, Basel, Switzerland 1998 Ferrari Wind tunnel, Maranello, Modena, Italy Cultural Center Jean-Marie Tjibaou, Noumea, New Caledonia Mercedes Benz Design Center, Sindelfingen, Stuttgart, Germany Banca Popolare di Lodi, Lodi, Italy 1999 - Completion open spaces. Old Harbour, Genoa, Italy 2000 - Restructuring and Extension of the Pompidou Center, Paris, France Potsdamer Platz, Berlin, Germany, KPN Telecom office tower, Rotterdam, The Netherlands, Aurora Place, office and residential buildings, Sydney, Australia 2001 - Auditorium of the Banca Popolare di Lodi, Lodi, Italy "Niccolo5 Paganini" Auditorium, Parma,Italy, "La Bolla", Genoa, Italy 2002 - Auditorium "Parco della Musica", Rome, Italy The Giovanni and Marella Agnelli Art Gallery at Lingotto, Turin, Italy 2003 - The Nasher Sculpture Centre, Dallas, Texas, U.S.A. Lingotto Factory Conversion, Turin, Italy, Subway stations "Principe", "Darsena" and "San Giorgio", Genoa, Italy 2004 - Padre Pio Pilgrimage Church, Foggia, Italy 2005 - "II Sole 24 Ore" headquarters, Milan, Italy, "EMI Music France" headquarters, Paris, France, Zentrum Paul Klee, Bern, Switzerland Peek and Cloppenburg department store, Cologne, Germany High Museum of Art Expansion, Atlanta, Georgia, U.S.A. 2006, Renovation and expansion of the Morgan Library, NY, U.S.A. "Cite Internationale", Lyon, France, Maison Hermes, Tokyo, Japan 2007, "How Genoa could be", Genoa, Italy, "La Rocca Winery", Grosseto, Italy Projects in Progress 1995 - Commercial Leisure and Service Centre, Nola, Naples, Italy 1999 - Chicago Art Institute Expansion, Chicago, Illinois, U.S.A. Bra9o de Prata, housing complex, Lisbon, Portugal 2000 - California Academy of Sciences, San Francisco, California, U.S.A. The London Bridge Tower, London, U.K., The New York Times building, NY, U.S.A. 2001 - Saint Giles Court mixed-use development, London, U.K. 2002 - Development plan for the ex-Michelin area Trento, Italy Columbia University, Campus Plan, New York, U.S.A. 2003 - Los Angeles County Museum of Art Expansion, Los Angeles, California, U.S.A. 2004 - The Whitney Museum, New York, U.S.A., New London Bridge House, London, U.K. 2005 - Isabella Stewart Gardner Museum renovation and expansion, Boston, Massachusetts, U.S.A. Masterplan for the ex-FaIck area, Sesto San Giovanni (Milan), Italy EUR Housing complex, Rome, Italy CityTech Building, New York, U.S.A. 2006 - Tjuvholmen - Icon Complex, Oslo, Norway, Poor Clare Monastery, Ronchamp, France, Sanpaolo IMI Headquarters, Turin, Italy, Private residence. Aspen, Colorado, U.S.A., Private residence Milan, Italy Novartis science building, Basel, Switzerland, Pathe Foundation, Paris, France, First & Mission Street, San Francisco, California, U.S.A. 32 Quincy Street expansion and renovation, Cambridge, Massachusetts, U.S.A 2007, Penn University, School of Design, Philadelphia, Pennsylvania, U.S.A

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Ðåíöî Ïèàíî å ðîäåí â Ãåíóà (Èòàëèÿ) íà 14 Ñåïòåìâðè 1937/ Òîé ñå äèïëîìèðà ïðåç 1964 â Ìèëàíñêàòà ïîëèòåõíèêà. Êàòî ñòóäåíò å ðàáîòèë ïîä ðúêîâîäñòâîòî íà Ôðàíêî Àëáèíè, äîêàòî ðåäîâíî å ïîñåùàâàë ñòðîèòåëíèòå îáåêòè íà áàùà ñè, êúäåòî å ïðèäîáèë çíà÷èòåëåí ïðåêòè÷åñêè îïèò. Ìåæäó 1965 è 1970 òîé çàâúðøâà ñâîåòî îáðàçîâàíèå è åêñïåðèìåíòè ñ ó÷åáíè ïúòóâàíèÿ äî Àíãëèÿ è Àìåðèêà. Òîé ñå ñðåùà ñ Æàí Ïðóâå è òÿõíîòî ïðèÿòåëñòâî îêàçâà ñèëíî âëèÿíèå íà ïðîôåñèîíàëíîòî ìó ðàçâèòèå. Ïðåç 1971 îñíîâàâà "Piano & Rogers" àãåíöèÿ ñ Ðè÷àðä Ðîäæåðñ, íåãîâ ïàðòíüîð â ïðîåêòà íà öåíòúð Ïîìïèäó â Ïàðèæ. Ïðåç 1977 îñíîâàâà "Atelier Piano & Rice" çàåäíî ñ èíæèíåð Ïèòúð Ðàéñ, ñ êîãîòî ðàáîòÿò ïî ìíîãî ïðîåêòè ïðåäè äà ïî÷èíå ïðåç 1992. Ïîñëå îñíîâàâà Renzo Piano Building Workshop ñ îôèñè â Ïàðèæ è Ãåíîà. Îêîëî 100 ÷îâåêà ðàáîòÿò òàì ñ íåãî ( ñðåä êîèòî àðõèòåêòè, èíæèíåðè, ñïåöèàëèñòè...) â òÿñíî ñúòðóäíè÷åñòâî ñ äðóãè àðõèòåêòè, îáâúðçàíè ñ íåãî ñ ãîäèøåí îïèò. Îñíîâíè ðåàëèçèðàíè ïðîåêòè: 1964 - Ëåêè Ñòðóêòóðè 1969 - Èòàëèÿíñêèÿ òúðãîâñêè ïàâèëèîí ïðåç 1970 íà èçëîâåíèåòî â Îñàêà, ßïîíèÿ 1973 - Îôèñ ñãðàäà çà B&B, Êîìî, Èòàëèÿ 1974 - Åäíîôàìèëíè êúùè, Êóñàãî, Ìèëàíî, Èòàëèÿ 1977 - Öåíòúð Ïîìïèäó, Ïàðèæ, Ôðàíöèÿ (çàåäíî ñ Ðè÷àðä Ðîäæåðñ), IRCAM, Èíñòèòóò ïî àêóñòè÷íè èçñëåäâàíèÿ, Ïàðèæ, Ôðàíöèÿ 1979 - Ó÷àñòèå â ïðîåêò çà âúñòàíîâÿâàíå íà èñòîðè÷åñêè öåíòúð, Îòðàíòî, Èòàëèÿ 1980 - VSS Åêñïåðèìåíòàëíî ïðåâîçíî ñðåäñòâî çà FIAT, Òîðèíî, Èòàëèÿ 1982 - Æèëèùà â Ðèãî, Ïåðóäæà, Èòàëèÿ, A. Calder ðåòðîñïåêòèâíà èçëîæáà, Òîðèíî, Èòàëèÿ 1984 - Schlumberger ôàáðèêè - âúçîáíîâÿâàíå, Ïàðèæ, Ôðàíöèÿ Prometeo ìóçèêàëíè çàëè â Ìèëàíî è Âåíåöèÿ, Îôèñ íà Olivetti, Íåïàë, Èòàëèÿ 1985 - Îôèñ ñãðàäà çà ôàáðèêà Lowara, Âè÷åíöà, Èòàëèÿ 1986 - IBM ïúòóâàùà èçëîæáà â Åâðîïà 1987 - The Menil Collection Museum, Houston, Texas, U.S.A. ISML, Èíñòèòóò çà èçñëåäâàíå íà ëåêè ìåòàëè, Íîâàðà, Èòàëèÿ 1990 - Ñâ. Íèêîëà ôóòáîëåí ñòàäèîí, Áàðè, Èòàëèÿ Bercy 2 Shopping Center, Charenton Le Pont, Ïàðèæ IRCAM Ðàçøèðåíèå, Ïàðèæ, Ôðàíöèÿ 1991 - "Crown Princess" è "Regal Princess" êðóèçíè êîðàáè, Monfalcone, Gorizia, Èòàëèÿ, Rue de Meaux Æèëèùà, Ïàðèæ, Ôðàíöèÿ, Thomson Optronics ôàáðèêè. Saint Quentin-en-Yvelines, Ïàðèæ, Ôðàíöèÿ, Ìåòðî ñòàíöèè "Brin" è "Dinegro", Ãåíîà, Èòàëèÿ, Renzo Piano Building Workshop, Punta Nave, Ãåíîà, Èòàëèÿ 1992 - Ñåäàëèùå íå Credito Industriale Sardo, Êàëèãàðè, Èòàëèÿ, Columbus International Exposition 1992, Àêâàðèóì è Êîíãðåñíà çàëà, Ãåíîà, Èòàëèÿ 1994 - Kansai Èíòåðíàöèîíàëåí ëåòèùåí òåðìèíàë, Îñàêà, ßïîíèÿ 1995 - Cy Twombly Pavilion, Houston, Texas, U.S.A., Ñåäàëèùå íà ïðèñòàíèùíèòå âëàñòè, Ãåíîà, Èòàëèÿ 1996 - Ushibuka ìîñò, Êóìàìîòî, ßïîíèÿ 1997 - Àòåëèå Brancusi, Ïàðèæ, Ôðàíöèÿ, NEMO, Íàöèîíàëåí öåíòúð

çà íàóêà è òåõíîëîãèè, Àìñòåðäàì, Õîëàíäèÿ, Beyeler Foundation Museum, Ðåéí, Áàçåë, Øâåéöàðèÿ 1998 - Ferrari Wind tunnel, Maranello, Ìîäåíà, Èòàëèÿ , Êóëòóðåí öåíòúð Jean-Marie Tjibaou, Noumea, New Caledonia, Mercedes Benz Design Center, Sindelfingen, Ùóòãàðä, Ãåðìàíèÿ, Banca Popolare di Lodi, Ëîäè, Èòàëèÿ 1999 - Äîâúðøâàíå íà îòâîðåíî ïðîñòâàíñòâî. Ñòàðî ïðèñòàíèùå, Ãåíîà, Èòàëèÿ 2000 - Ðåêîíñòðóêöèÿ è äîñòðîÿâàíå íà Pompidou Center, Ïàðèæ, Ôðàíöèÿ, Ïëîùàä Potsdamer Platz, Áåðëèí, Ãåðìàíèå, KPN Telecom îôèñ íåáîñòúðãà÷, Ðîòåðäàì, Õîëàíäèÿ, Aurora Place, îôèñíà è æèëèùíà ñãðàäà, Ñèäíè, Àâñòðàëèÿ 2001 - Àóäèòîðèóì íà Banca Popolare di Lodi, Ëîäè, Èòàëèÿ, "Niccolo5 Paganini" Àóäèòîðèóì, Ïàðìà, Èòàëèÿ, "La Bolla", Ãåíîà, Èòàëèÿ 2002 - Àóäèòîðèóì "Parco della Musica", Ðèì, Èòàëèÿ, The Giovanni è Marella Agnelli Art Gallery â Lingotto, Òîðèíî,Èòàëèÿ 2003 - Nasher Sculpture Centre, Dallas, Texas, U.S.A., Ðåêîíñòðóêöèÿ íà ôàáðèêà Lingotto, Òîðèíî, Èòàëèÿ, Ìåòðî ñòàíöèè "Principe", "Darsena" è "San Giorgio", Ãåíîà, Èòàëèÿ 2004 - Padre Pio Pilgrimage öúðêâà, Ôîäæà, Èòàëèÿ 2005 - "II Sole 24 Ore" ñåäàëèùå, Ìèëàíî, Èòëèÿ, "EMI Music France" ñåäàëèùå, Ïàðèæ, Ôðàíöèÿ, Zentrum Paul Klee, Áåðí, Øâåéöàðèÿ Peek è Cloppenburg ìàãàçèí, Êüîëí, Ãåðìàíèÿ, High Museum of Art Expansion, Atlanta, Georgia, U.S.A. 2006 - Ðåíîâèðàíå è ðàçøèðÿâàíå íà Morgan Library, NY, U.S.A., "Cite Internationale", Ëèîí, Ôðàíöèÿ, Maison Hermes, Òîêèî, ßïîíèÿ 2007 - "How Genoa could be" - Êàê ìîæå äà áúäå Ãåíîà, Ãåíîà, Èòàëèÿ, "La Rocca Winery" âèíàðíà, Ãðîñåòî, Èòàëèÿ Ïðîåêòè â ïðîöåñ íà ðåàëèçàöèÿ 1995 - Êîìåðñèàëåí öåíòúð, Íîëà, Íåïàë, Èòàëèÿ 1999 - Ðàçøèðÿâàíå íà Chicago Art Institute Expansion, Chicago, Illinois, U.S.A., Æèëèùåí êîìïëåêñ, Lisbon, Portugal 2000 - Êàëèôîðíèéñêà àêàäåìèÿ çà íàóêèòå, San Francisco, California, U.S.A., The London Bridge Tower, London, U.K., The New York Times ñãðàäà, NY, U.S.A. 2001 - Saint Giles Court mixed-use development, London, U.K. 2002 - Ïëàí çà ðàçâèòèå íà ex-Michelin, Òðåíòî, Èòàëèÿ, Columbia University, Ïëàí íà êàìïóñ, New York, U.S.A. 2003 - Los Angeles County Museum of Art Expansion, Los Angeles, California, U.S.A. 2004 - The Whitney Museum, New York, U.S.A., New London Bridge House, London, U.K. 2005 - Isabella Stewart Gardner Museum ðåíîâàöèÿ è ðàçøèðåíèå, Boston, Massachusetts, U.S.A., Ïëàí çà ex-FaIck ðàüîí, Sesto San Giovanni, Ìèëàíî, Èòàëèÿ, EUR Æèëèùåí êîìïëåêñ, Ðèì Èòàëèÿ, CityTech Ñãðàäà, New York, U.S.A. 2006 - Tjuvholmen - Êîìïëåêñ ñ èêîíè, Oslo, Norway, Poor Clare Ìàíàñòèð, Ðîíøàìï, Ôðàíöèÿ, Sanpaolo IMI Ñåäàëèùå, Òîðèíî, Èòàëèÿ, ×àñòíà ðåçèäåíöèÿ, Aspen, Colorado, U.S.A., ×àñòíà ðåçèäåíöèÿ, Ìèëàíî, Èòàëèÿ, Novartis íàó÷íà ñãðàäà, Áàçåë, Øâåéöàðèÿ, Pathe Ôîíäàöèÿ, Ïàðèæ, Ôðàíöèÿ, First & Mission Street, San Francisco, California, U.S.A., 32 Quincy óëèöà ðàçøèðÿâàíå è ðåíîâèðàíå, Cambridge, Massachusetts, U.S.A 2007 - Penn University, ó÷èëèùå çà äèçàéí, Philadelphia, Pennsylvania, U.S

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Renzo Piano

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High Museum of Art Expansion Atlanta (Georgia), USA - 1999-2005 Envisioning a “village for the arts,� the Renzo Piano Building Workshop (RPBW) crafted a master plan for the Woodruff Arts Center campus in 2000. The concept included a residence hall for the Atlanta College of Art, an expanded parking garage, a restaurant, and three Museum buildings-the Susan and John Wieland Pavilion, the Anne Cox Chambers Wing, and an administrative center.

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10 Distinctive architectural features in the Museum’s new buildings include 1,000 skylights that admit natural light to the top-level galleries of the Wieland Pavilion and Anne Cox Chambers Wing; coffered ceilings molded with glass fiber reinforced gypsum; walls 17 feet tall that accommodate over-sized artwork; white oak floors; and customdesigned light fixtures and furnishings. Painted enamel facade panels with sculpted transition elements at the roofline of the Wieland Pavilion and Anne Cox Chambers Wing complement the existing porcelainclad steel panels of the Stent Family Wing’s exterior. The new buildings have floor-to-ceiling windows on that provide views to all directions.

11 A piazza centers the campus with multiple entries bringing visitors from surrounding streets. On the piazza’s south side, Athena elms pruned to form a box-like canopy shade patrons enjoying outside dining at the new Arts Center restaurant, Table 1280. Other campus plantings include crab apples, Deodar cedars, Kousa dogwoods, Sweetbay magnolias, and Yoshino cherries.

The Museum’s Grand Opening of the Wieland Pavilion and Anne Cox Chambers Wing was celebrated November 12-13, 2005. With completion of its new buildings, the High is now the Southeast’s largest art museum.

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High Museum of Art Expansion - Atlanta

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20 In order to welcome more visitors, and searchers, to present them a broader range of the collection, and to reinforce ultimately its characterizing campus atmosphere, the Morgan Library decided to reorganize its space thoroughly, while preserving its architectural legacy.

Both a museum and a library, the Morgan Library is the New York home of the financier JP Morgan’s collection, one of the world’s biggest and finest of rare Medieval and Renaissance literary and musical manuscripts, books, prints and drawings.

Installed in a building designed by New York architects Mc Kim, Mead & White in 1906, the Morgan Library later extended in the “Morgan library Annex Building” (built 1928), and subsequently in a series of other extensions, included the former Mansion of the Morgan Family (1853), forming a kind of village.

A delicate intervention was made first to bring a solution to interior public circulation, now inadequate, consequence of various extensions, and also because Manhattan’s urban density did not allow the building of yet another wing.

A very important aspect of the design is that much of the new space has been created underground. This made possible to expand the Morgan by about one third, without exceeding the height of historical structures or compromising the neighbourhood’s scale.

Renovation and expansion of the Morgan Library New York, USA - 2000-2006

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In fact, part of the area of the new building (total gross area 136,000 square feet of which 76,000 new+60,000 existing), was gained underground where now takes place a 299-seat auditorium, as well as the three level safe vault space and the mechanical room.

Above ground, three new functional pavilions insert themselves between the historical buildings, without touching them, in a space made available by the demolition of the different and not Landmark extensions. To create a scale unity and a global sense of balance, this expansion respects the proportions of the three original buildings.

At the heart of the new complex, a “piazza” distributes the space, facilitating circulation between the six different wings of the Morgan Library. Covered by a glazed, transparent roof (flying carpet), the “piazza” is the focus of the project, where all activities meet.

This kind of “flying carpet” covers also the three new pavilions and generates the connection with the existing buildings.

In addition to the new public entrance leading to the piazza, the first,

three-storey pavilion on Madison Avenue shelters a new exhibition space and the new reading room, which occupies a naturally lit space crowning the new building.

The cube pavilion is a special cubic space of 20ft x 20ft especially intended to show the Morgan’s masterpieces. This small pavilion has also the important function of a connecting piece between the Mc Kim and the Annex buildings.

On the north side, a new four-storey building directly connected with the Morgan Mansion, contains new offices spaces facing both on the “piazza and the 37th Street.

The old buildings have been restored: the Annex Building has become the main gallery space, and the Mc Kim building is directly connected with the “piazza” and is one the masterpiece of the institution. A new book shop, a cafe, and a small restaurant also integrate into the plan for the new Morgan.

The Morgan Library has been opened to the public on April the 29th 2006

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The New York Times Building New York, USA - 2000-2007

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Located in Times Square, the New York Times Building will house the new headquarters of the newspaper. Transparent and permeable to people’s circulation, this 52-storey building expresses the intrinsic link between the newspaper and the city.

The building’s basic shape is simple and primary, similarly to the Manhattan grid. It is slender, and does not use mirrored or tinted glass which render towers mysterious and hermetic subjects. On the contrary, the use of clear glass combined with a pattern of ceramic allows the building to adapt to the colours of the atmosphere. Blueish after a shower, shimmering red after a sunset The building speaks to the street. When people circulate between its floors, they will often take the stairs located on the facades and their movement will be visible from outside. This is, after all, appropriate, as newspapers, at least metaphorically, gather information from the street.

In accordance with the spirit of the project, the lobby of the building is very open, transparent and permeable. At ground level, a large internal garden will be publicly accessible and visible from the street, thereby creating multiple transparencies through the block from 40th to 41st streets. The lobby at the street level will also include a semi-public auditorium, restaurants and shops that are intended to be a part of the street environment. The base of the building (2nd, 3rd and 4th floors) will house the headquarters of the New York Times.

For vertical circulation in addition to 28 elevators, people will use stairs located on the side facades whose flow will be visible from outside.

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P&C department store Cologne, Germany - 1999-2005 Set on the central Cologne’s Schildergasse, the city’s shopping area, this new Peek & Cloppenburg flagship store is a savant blend of glass, steel, stone and wood: classic materials to dress a modern building, entirely dedicated to fashion.

Quite massive, but sculpted within a curvy shape, this 5-storey building covers an area of 23,0000 square metres, of which 15,000 square metres are open to public.

66 vertical wooden arches, each positioned 2,5 metres apart, compose the main structure of the building. Their curves meet to form a transparent dome overlooking the bell towers of the nearby Cologne’s cathedral. Between each arch strips of metal support the glass facettes which amount to 3800. The roof of the glass structure is lower at the center of the building to avoid rivalling the neighbouring St Antoniter church. This curvature also carves out enough space to create a public square just in front of the church.

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Hall for congresses, cocktails and concerts, Turin The volume of the auditorium and its color should have underlined presence for the city of Turin, for the public. Escalators and elevators connect the city with the atrium and all the other functions of the skyscraper. The auditorium is, above all, a congress hall with 392 places with natural acoustics and possibility to increase its volume. By the use of a movable floor and variable acoustics is possible to transform the congress hall in a hall for concerts for classical music and theatre spectacles.

At the moment it is a small theater with cubic form and peripheral galleries accessible to the public. The lateral panels would be simple doors “a battente”, which will be open in two directions, on one side covered with soundproofing material and on the other side with polished wooden covering for the concert version.

Between the auditorium and the office space is foreseen a whole floor with halls dedicated to education. The location of the education space would make possible to amplify the congress hall in case of need.

Offices - floors - double fasade The office space now is a square 33X33 meters, connected with offices on the higher and on the lower floors, because of the stairs from the winter garden to the south façade.

The height between the floors would be 3, 74 and 2, 40 meters in the two central corridors.

Elevated floors would be placed upon a structure of double cement surfaces, naturally ventilated from east to west. Many air-cameras will be opened during the night on the double façade, in order to cool the surface on the ceiling of the offices. During the night the double surfaces will absorb the coolness of the air, keeping it for the day. We are talking about a passive-ecological system, which does not need the consummation of electricity.

The east and west façade of this new generation double façade are entirely glazed.

The façade will live by a simple regulation, has been tested for 12 years. The movable surfaces on the external part are opening and closing thanks to quite and simple helical mechanism, controlled by GTC. A thermometer, an anemometer and a pluviometer will define the moment of opening and closing of the moveable surfaces. The internal luminosity will be regulated depending on the hour and the season and by tends and perfect regulation of the indirect light.

Long the south façade will be placed two lines with photovoltaic panels.

Under the double surfaces in the offices will be installed radiant panels with circulating hot and cold water depending on the season.

The night - restaurant, exhibition, panoramic terrace It is all about one inexistent night in the phase of the contest, containing series of actions inside, accessible to the public, which will be developed on continuous terracing.

It will welcome the public on three floors - One restaurant with big closed terraces - Exhibition spaces with small closed terraces

- On the last floor one big panoramic terrace with the view of Turin The three floors show the willingness of the bank to remain open and its possibility to have a dialogue with the public.

These places should become a “must” for meetings in the city of Turin.

59 The lightning of the skyscraper Intesa SanPaolo The presence of the skyscraper should be perceived as discrete, sensible, almost immaterial.

The project won‘t be lightened aggressively, but will shine with soft variations of the light in the different hours of the day and night and many light points will make it appear vibrating. After 21:00 the skyscraper Intesa SanPaolo will reduce the intensity of its lightning.

The lamps will enlighten the atrium, the canopy, the inside garden, the congress hall, which may be covered with many colors, the main spine of the building for sure will vibrate, the winter gardens with its hanging plants and of course the night garden, the restaurant and the terrace.

At midnight the lightning will be reduced more so only a soft glimmering will remain.

It is clear that every project evolves in time as it passes by the contest and the realization. The most important is to leave the main elements, which should mature and develop clearly… step by step. The project SanPaolo Intesa is an example for bioclimatic project, open towards the public with perfect conditions for work and coziness.

• The environmental aspect is even more amplified with the new avant-garde researches about natural ventilation, double ventilated façade and surfaces, winter gardens and the new bioclimatic night in the upper part of the building.

• Accessibility to the public is much stronger, becoming essential for the project • The work and comfort conditions are improved One project for the city - new configuration of the garden Nicola Grosa The project Intesa SanPaolo is, above all, an urban project - having the form of a pleasant town planning, which is looking for a way to connect to the city of Turin, its habitants and the park Nicola Grosa.

Michel Corajoud and Frank Giorgetta, town-planners have foreseen the liveliness of the park, its transformation into a lively place open to the neighborhood - It will become a big playing spot with numerous hills on the south and more flat land on the north. Closed passage will ensure the direct connection between the Palace of Justice and Intesa SanPaolo. An open bar for the public would be attached to the south side connected with the passage. The terrace will look in the inside yard and the bar would create a playful connection with the road.

The whole picture shall be cozy, transparent - the opposite of the classical skyscraper with offices, which is usually unrelated to the area in which is placed.

The transparency of the atrium of the skyscraper SanPaolo Intesa and the inside yard-garden.

The visitors should “feel” the park still from the street. The beautiful plants of the new park and the inside garden, lightened during the night distinguishing the transparency long the atrium.

This transparency, this possibility for coziness for the public were present still during the contest, but Renzo Piano and Intesa SanPaolo have decided to develop it even more clearly.

And so was created a gallery in the center of the atrium.

The garden, real external semi-covered garden will assure the natural lightning and big terraces with different functions… with a bar on the south part, a restaurant, fitness and of course a children garden with park.

The project for the contest has become more functional without a south garden, which turns to be too deep.

The plants will be the same as the ones in the park so that is created a feeling for continuing of the park.

The water came from the roof of canopy will be collected on the parking level and will be used for the automatic watering of the inside garden and the park.

One vibrating tower.

The skyscraper is placed on a lower level than the inside garden, giving the feeling of hanging in the air. It has been necessary to make better the proportions and the functionality.

The length is slightly reduced, the width is slightly amplified and the

height looks bigger, because is added the night for the public. The main change after the contest is clear presence of two equal of space areas, totally different from the operative functions: • Down - the new colorful congress hall, having strong presence • Upwards - the new glazed bioclimatic Night, dedicated to the citizens These new public space will make higher the skyscraper.

The inclined roof is also eliminated, because of the Night for the public.

The office part of the building is on height 120 meters. The rest is occupied by the atrium, technical storages and of course the two new public spaces of the auditorium and the Night upstairs.

The main spine, including the elevators will also take part in this effect of mutual connection of the whole. The elevators in the glassed part will underline the openness towards the public on the contrary of the traditional skyscraper where they move only in the closed internal part.

After the contest was necessary to add emergency stairs and elevators to enter the new public areas. The volume of the halls on the north and the stairs / winter gardens naturally ventilated from the south are continuous. The last will be connected in a series of 8 floors, becoming places for communication between the floors. The space in fort of the elevators as small terraces will become spots where the people can have a coffee and a small brake. The hanging plants will filtrate the light backwards the glazed façade that will be opened depending on the internal temperature.

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Auditorium Parco della Musica, 1994-2002 The Parco della Musica is a large multi-function public music complex to the north of Rome--in the area where the 1960 Olympics had been staged.

Three large concert halls are structurally separated to insure soundproofing, though joined at the base by a continuous lobby. A fourth concert hall is the open air theater recalling Greco-Roman theaters. The fan shaped layout is formed around the central piazza. The blobs, beetles, scarabs, turtles, insect carapaces, computer mice - all are names given to these structures with thin red Roman brick and weighty dramatic lead roofs.

This Roman-inspired theater connects the three "music boxes" in a fan shape. It can seat an audience of about 3000 people.

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The Roman ruins Although Piano won the competition for the design of the concert halls in the early 1990s, construction was halted once archaeological remains of a 4th century Roman villa were discovered. The original project was altered so that the ruins could be viewed on site and a small glass-enclosed museum with the unearthed artifacts was located between two of the halls.

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La Cite Internationale, Lion La Cite Internationale - project of Renzo Piano in Lion extends on 20 hectares marked by the presence of two main natural elements which limit it: Rhone and the parc Te te d’Or. Although the close location of the nearby city this area has broad georaphical context whose settlers history has given the foundations of the project.

It has been overrun region by the middle of the 19th century when it starts its recovering with the realization of the dike Grand Camp and the park, later with the organizing of a fair in 1916 on the space between

the park and the river. These events have marked its character and the transformation form an unfavorable geographical environment in commercial and exhibition complex, open in the beginning of the 20th century and remained so during the great part of the century. The displacement of the fair around 1980 predetermines the dismissal of all the buildings, remaining for the city as emptiness. The international attitude of the city directs the decisions taken for the area and underlines two necessities:

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Preservation of the central territory through setting of new functions (new congress center and commercial center), but in the same time giving to this part of the city the character of a neighborhood with residential buildings, services and infrastructure. With this double task in 1985 the communal administration organizes international contest with the intention to confide on one architect the whole coordination and realization of the project. Renzo Piano is the winner; he sets as in the requirements of the contest renovation of a big part of the exhibition halls, embracing new congress center and building of a new tower with commercial functions.

Still in 1985 the natural element becomes a factor inevitably connected with the artificial being in the same time the context and a support as shaping of the earth and extending the “design� of the geographical situation of the river and the park.

The presence of the already existing installations is one precondition, remained in the later phases: the tower has been eliminated and almost

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all of the exhibition pavilions without the entrance of the atrium have been demolished, the final proposal of Piano is directed towards a system of blocks with the same height, which offers better orientation to the river and better connection with the park. The taken project is on the edge between the already existing and the innovation which supposes a creative process of montage and reediting.

This connected system is settled on 800 meters along the river and a road following its shape. La CitĂŠ Internationale is built as a structure and infrastructure, closely related to the flow of vehicles.

Eight hundred meters length are enough to mark a part of one city, a distance that still could be crossed on foot and which could have different functions and occasions for meetings in the public space: this humanitarian

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idea for a city, which Renzo Piano grows for years and which seems to concentrate on the street the main part of public functions (offices, congress center, hotel, casino, cinema, contemporary art museum except the residential buildings) giving the feeling for shared urban environment.

Michael Corajoud is the architect landscapist, who works with Renzo Piano from the beginning of the project in 1990. For a landscapist is extremely important to work with the clear conscious of every single detail and its location in the whole picture; the size of every single bolt is of importance, every metal profile, the intensity of the light in certain moment. The quality architecture as urban project is expressed through the details: this is a sign for a person that realizes what Peter Rice (engineer and poet) calls “the traces of the hand.�

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The relation with the nature is a present motive in the architecture of Renzo Piano, dominating and in the project in Lion, where is perceived as building material of the project, used with its “technical” characteristics. Big part of the buildings of Cité, high nearly 30 meters have double-glazed covering that regulates the natural light and heat; in the evening the presence of the park is felt stronger and so has been researched by an agronomist in order to preserve the microclimate.

The buildings are covered with modular elements of terracota tha has been tested in different situations like the residential Rue de Meaux in Paris.

Project for an amphitheater added in 2000 was recently finished. Its configuration is a hemicircle like the model of gallic-roman amphiteather of Fourvière, the new complex congress machine (one of the biggest in Europe with 3200 places) with up-to-date technologies.

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The process of realisation of La Cite Internationale has accomplished its 28th year in 2008 with the finishing of a gangway around Rhone. The chronology of this project puts in line many institutions, entrepreneur, four mayors, design team, which includes at least 20 architects and engineers, many technicians, three hundred construction companies and the constant presence of 250-350 workers.

Incredible is the fact that one architect has managed the building of a whole part of a city.

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76 Ðàçøèðåíèå êúì Ìóçåÿ ïî èçêóñòâàòà â Àòëàíòà, Äæîðäæèÿ, ÑÀÙ, 1999-2005 ã.

Àðõèòåêòóðíîòî ñòóäèî íà Ðåíöî Ïèàíî å ðàçðàáîòèëî ïðåç 2000 ã. ìàñòåð ïëàíà çà Öåíòúðà ïî èçêóñòâà “Óäðàô” â ðàéîíà íà êîëåæà â Àòëàíòà. Êîíöåïöèÿòà ìó âêëþ÷âà ïðèåìíà çàëà çà êîëåæà ïî èçêóñòâà, ðàçøèðåíèå íà ïàðêèíãà, ðåñòîðàíò, òðè ìóçåéíè ñãðàäè - ïàâèëèîí, ìóçåéíè çàëè è àäìèíèñòðàòèâåí öåíòúð. Íîâèòå ñãðàäè íà ìóçåÿ ñà ñ ïðîçîðöè íà ïîêðèâà, êîèòî ïîç-

âîëÿâàò ïðîíèêâàíåòî íà ñâåòëèíà êúì ãàëåðèèòå â ïàâèëèîíà è çàëèòå, ðàçïîëîæåíè â êðèëîòî. Òàâàíèòå ñà ñ êàñåòêè ñúñ ñòúêëîôèáúðíî ïîêðèòèå. Ñòåíèòå ñà ñ âèñî÷èíà 5,20ì , êîåòî ñïîñîáñòâà çà óäîáíîòî ðàçïîëàãàíå íà ïî-ãîëåìèòå õóäîæåñòâåíè ïëàòíà. Âïå÷àòëÿâàùè ñà äúáîâèÿò ïîä è íàïðàâåíèòå ïî ïîðú÷êà ëåêè ïðåäìåòè è ìåáåëè. Áîÿäèñàíèòå ôàñàäíè ïàíåëè ñ èçâàÿíè ïðåõîäíè åëåìåí-

òè íà ëèíèÿòà íà ïîêðèâà íà ïàâèëèîíà è êðèëîòî ñúñ çàëèòå äîïúëâàò ñúùåñòâóâàùèòå ïàíåëè â åêñòåðèðîðà íà êðèëîòî “Ñòåíò Ôàìèëè”. Íîâàòà ñãðàäà ðàçïîëàãà ñ ïðîçîðöè ñ èçãëåä êúì âñè÷êè ïîñîêè.  öåíòúðà íà êîìïëåêñà å ðàçïîëîæåí ïëîùàä ñ äîñòúï îò âñè÷êè ñòðàíè è îáêðúæàâàùèòå óëèöè.  þæíàòà ÷àñò íà ïëîùàäà êðàñèâ áðÿñò îôîðìÿ áàëäàõèíîâà ñÿíêà íàä íîâèÿ ðåñ-

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òîðàíò. Áîãàòîòî îçåëåíÿâàíå â ðàéîíà íà êîëåæà âêëþ÷âà äèâà ÿáúëêà, êåäúð, äðÿí, àìåðèêàíñêà ìàãíîëèÿ è ÿïîíñêà âèøíà. Òúðæåñòâåíîòî îòêðèâàíå íà íîâîòî êðèëî è ïàâèëèîíà áå îòïðàçíóâàíî íà 12-13 íîåìâðè 2005 ã. Ñúñ çàâúðøâàíåòî íà íîâèòå ñãðàäè ìóçåÿò ñòàâà åäèí îò íàé-ãîëåìèòå ìóçåè ïî èçêóñòâà â þãîèçòî÷íàòà ÷àñò íà ÑÀÙ.

Îáíîâëåíèå è ðàøèðåíèå íà áèáëèîòåêàòà “Ìîðãàí”

Ðúêîâîäñòâîòî íà áèáëèîòåêàòà “Ìîðãàí” ðåøè äà ðåîðãàíèçèðà ïðîñòðàíñòâîòî ñ öåë äà ïðèâëå÷å ïîâå÷å ïîñåòèòåëè è èçñëåäîâàòåëè, äà ïðåäîñòàâè ïî-áîãàò èçáîð îò êîëåêöèè è äà ïîäñèëè õàðàêòåðíàòà àòìîñôåðà â ðàéîíà, êàòî çàïàçè àðõèòåêòóðíîòî íàñëåäñòâî. Áèáëèîòåêàòà å åäíîâðåìåííî ìóçåé è áèáëèîòåêà è å äîì íà êîëåêöèÿòà íà ôèíàíñèñòà Äæ. Ï. Ìîðãàí â Íþ Éîðê. Òÿ å åäíà îò íàé-áîãàòèòå â ñâåòà è ïðèòåæàâà ðåäêè ñðåäíîâåêîâíè è ðåíåñàíñîâè ëèòåðàòóðíè è ìóçèêàëíè ðúêîïèñè, êíèãè, ãðàâþðè è ðèñóíêè. Ñãðàäàòà å ïðîåêòèðàíà îò àðõèòåòóðíî áþðî “Mc Kim, Mead & White“ ïðåç 1906 ã., ïîêúñíî å ïîñòðîåíî ðàçøèðåíèåòî “Morgan Library Annex Building” ïðåç 1928 ã., ïîñëåäâà-

íî îò ñåðèÿ äðóãè, è å âêëþ÷åíà áèâøàòà êúùà íà ñåìåéñòâî Ìîðãàí, ïîñòðîåíà ïðåç 1853 ã., ñ êîåòî ñå îáðàçóâà åäíî ìàëêî ñåëî. Äåëèêàòíà èíòåðâåíöèÿ å íàïàðàâåíà ñ öåë óëåñíÿâàíå ïîòîêà îò õîðà â áèáëèîòåêàòà, òúé êàòî ïîñòðîåíèòå ðàçøèðåíèÿ è ãúñòîòàòà íà ñãðàäèòå â Ìàíõàòúí íå ïîçâîëÿâàò ñòðîåæà íà íîâî êðèëî. Ãîëÿìà ÷àñò îò íîâîòî çàñòðîåíî ïðîñòðàíñòâî ñå íàìèðà ïîä çåìÿòà, êîåòî ïîçâîëÿâà áèáëèîòåêàòà äà áúäå ðàçøèðåíà ñ 1/3, áåç äà ñå íàäâèøàâàò âèñîêèòå èñòîðè÷åñêè ñòðóêòóðè èëè äà ñå êîìïðîìåòèðàò ñúñåäíèòå ñãðàäè. ×àñò îò ïëîùòà íà íîâàòà ñãðàäà (41 453 êâ.ì, îò êîèòî 23 168 êâ.ì å íîâàòà ÷àñò è 18 285 êâ. ì ñúùåñòâóâàùàòà ÷àñò) å ïîä çåìÿòà è ïðåäëàãà àóäèòîðèÿ

çà 299 ìåñòà, áåçîïàñíà àðêà íà òðè íèâà è òåõíè÷åñêà ñòàÿ. Òðè íîâè ôóíêöèîíàëíè ïàâèëèîíà ñà ïîìåñòåíè ìåæäó èñòîðè÷åñêèòå ñãðàäè. Çà äà ñå ñúçäàäå ìàùàáíà åäèíèöà è áàëàíñ, òîâà ðàçøèðåíèå å ñúîáðàçåíî ñ ïðîïîðöèèòå íà ñúùåñòâóâàùèòå òðè ñãðàäè.  ñúðöåòî íà íîâèÿ êîìïëåêñ å ðàçïîëîæåí ïëîùàä, êîéòî îñèãóðÿâà äîñòúïà ìåæäó øåñòå êðèëà íà áèáëèîòåêàòà. Òîé å ïîêðèò ñ îñòúêëåí, ïðîçðà÷åí ïîêðèâ ( ëåòÿù êèëèì) è å ôîêóñúò íà ïðîåêòà, êúäåòî âñè÷êè äåéíîñòè ñå ñðåùàò. “ Ëåòÿùèÿò êèëèì” ïîêðèâà è òðèòå íîâè ïàâèëèîíà è ñúçäàâà âðúçêà ñúñ ñúùåñòâóâàùèòå ñãðàäè. Ïúðâèÿò òðèåòàæåí ïàâèëèîí íà Ìåäèñúí àâåíþ ïîäñëîíÿâà íîâàòà èçëîæáåíà çàëà è íîâàòà ÷èòàëíÿ, êîÿòî çàåìà äîáðå îñâåòåíî ïðîñòðàíñòâî è óâåí-

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÷àâà íîâàòà ñãðàäà. Êóáè÷íèÿò ïàâèëèîí å ñïåöèàëíî êóáè÷íî ïðîñòðàíñòâî ñ ðàçìåðè 6.1 Õ 6.1 ì , êúäåòî ñà èçëîæåíè øåäüîâðèòå íà Ìîðãàí. Òîçè ìàëúê ïàâèëèîí èãðàå âàæíà ðîëÿ ïðè ñâúðçâàíåòî íà ñãðàäèòå íà Mc Kim è Annex Buildings. Íà ñåâåð å ðàçïîëîæåíà íîâàòà ÷åòèðèåòàæíà ñãðàäà, êîÿòî å äèðåêòíî ñâúðçàíà ñ êúùàòà íà Ìîðãàí è ñúäúðæà îôèñ ïðîñòðàíñòâà. Ñòàðèòå ñãðàäè ñà âúçñòàíîâåíè, Annex Building ñå ïðåâðúùà â ãëàâíàòà ãàëåðèÿ, à ñãðàäàòà íà Mc Kim å äèðåêòíî ñâúðçàíà ñ ïëîùàäà è å åäèí îò øåäüîâðèòå íà èíñòèòóöèÿòà. Ìàëêà êíèæàðíèöà, êàôå- ñëàäêàðíèöà è ìàëúê ðåñòîðàíò ñà èíòåãðèðàíè â ïëàíà íà íîâàòà áèáëèîòåêà “Ìîðãàí”. Îòêðèâàíåòî ñå ñúñòîÿ íà 29 àïðèë 2006 ã.

77 Ñãðàäàòà íà “Íþ Éîðê òàéìñ” Íþ Éîðê, ÑÀÙ, 2000-2007 ã.

 íîâàòà ñãðàäà íà “Íþ Éîðê òàéìñ”, ðàçïîëîæåíà íà “Òàéìñ ñêóåúð”, ñå ïîìåùàâà öåíòðàëíîòî óïðàâëåíèå íà âåñòíèêà. Òàçè ïðîçðà÷íà 52-åòàæíà ñãðàäà èçðàçÿâà âðúçêàòà ìåæäó âåñòíèêà è ãðàäà. Îñíîâíàòà è ôîðìà å îáèêíîâåíà è íàïîäîáÿâà ìðåæàòà íà Ìàíõàòúí. Òÿ å ñòðîéíà, íå ñà èçïîëçâàíè îãëåäàëà èëè áîÿäèñàíè ñòúêëà, êîèòî äà ïðèäàâàò ìèñòåðèîçíîñò è õåðìåòè÷íîñò. Íàïðîòèâ, èçïîëçâàíåòî íà ñòúêëî, êîìáèíèðàíî ñ êåðàìèêà, ïî-

çâîëÿâà àäàïòàöèÿòà íà ñãðàäàòà êúì öâåòîâåòå íà àòìîñôåðàòà - ñèíüî ñëåä äúæä è áëÿñêàâî ÷åðâåíî ïðè çàëåç. Ñãðàäàòà ñè êîìóíèêèðà ÷óäåñíî ñ óëèöèòå. Êîãàòî õîðàòà êðúæàò ìåæäó åòàæèòå ïî ñòúëáèòå íà ôàñàäàòà, òÿõíîòî äâèæåíèå ùå ñå âèæäà îòâúí. Òóê å óìåñòíî äà âìåòíåì ìåòàôîðè÷íî, ÷å âåñòíèöèòå âèíàãè ñúáèðàò èíôîðìàöèÿ îò óëèöàòà. Âúâ âðúçêà ñ äóõà íà îáåêòà ôîàéåòî å ìíîãî îòêðèòî, ïðîçðà÷íî è ïðîíèöàåìî. Íà ïðèçåìíî íèâî

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ãîëÿìàòà âúòðåøíà ãðàäèíà, âèäèìà îò óëèöàòà, å äîñòúïíà çà îáùåñòâåíîñòòà. Ôîàéåòî íà íèâî óëèöà ùå âêëþ÷âà ïîëóïóáëè÷íà àóäèòîðèÿ, ðåñòîðàíòè è ìàãàçèíè, êîèòî ñÿêàø ñà ÷àñò îò óëè÷íîòî îáêðúæåíèå.  îñíîâàòà íà ñãðàäàòà (2. 3. 4 åòàæà) ñå ïîìåùàâà óïðàâëåíèåòî íà âåñòíèêà. Çà âåðòèêàëíîòî äâèæåíèå îñâåí 28 àñàíñüîðà õîðàòà ùå èçïîëçâàò ñòúëáèùà, ðàçïîëîæåíè íà ñòðàíè÷íèòå ôàñàäè, ÷èéòî ïîòîê ùå áúäå âèäèì îòâúí.

Óíèâåðñàëåí ìàãàçèí â Êîëîí, Ãåðìàíèÿ, 1999-2005 ã. Ðàçïîëîæåí íà öåíòðàëíàòà óëèöà “Øèëäåðãàñå” â òúðãîâñêàòà çîíà íà ãðàä Êîëîí, òîçè óíèâåðñàëåí ìàãàçèí å ñú÷åòàíèå îò ñòúêëî, ñòîìàíà, êàìúê è äúðâî - êëàñè÷åñêè ìàòåðèàëè, êîèòî ñúçäàâàò åäíà ñúâðåìåííà ñãðàäà. Òÿ å ìàñèâíà, ñ ðàç÷óïåíè ôîðìè, ïåòåòàæíà, ñ

ïëîù îò 230 000 êâ. ì, îò êîèòî 15 000 êâ. ì ñà òúðãîâñêè. Îñíîâíàòà ñòðóêòóðà å êîìïîçèðàíà îò 66 âåðòèêàëíè àðêè, ðàçïîëîæåíè íà 2.5 ì åäíà îò äðóãà. Àðêèòå îáðàçóâàò ïðîçðà÷íî êóáå ñ èçãëåä êúì êàòåäðàëàòà â Êîëîí. Ìåòàëíè èâèöè ïîääúðæàò ñòúêëåíèòå

ôàñåòè ìåæäó àðêèòå. Ïîêðèâúò íà ñòúêëåíàòà ñòðóêòóðà å ïî-íèñúê â öåíòúðà íà ñãðàäàòà, çà äà ñå èçáåãíå ñúïåðíè÷åñòâî ñ êàòåäðàëàòà “Ñâåòè Àíòîíèòåð”. Òîâà èçêðèâÿâàíå ïîçâîëÿâà äà ñå ñúçäàäå äîñòàòú÷íî ìÿñòî çà îáùåñòâåí ïëîùàä ïðåä êàòåäðàëàòà.

Çàëà çà êîíãðåñè, ïðèåìè è êîíöåðòè, Òîðèíî, Èòàëèÿ Îáåìúò íà àóäèòîðèóìà è íåãîâèÿò öâÿò òðÿáâà äà áúäàò ñ ïîä÷åðòàíî ïðèñúñòâèå çà ãðàäà Òîðèíî è ïóáëèêàòà ìó. Åñêàëàòîðè è àñàíñüîðè ñâúðçâàò äèðåêòíî àòðèóìà ñ ãðàäà è âñè÷êè ôóíêöèè â íåáîñòúðãà÷à. Àóäèòîðèóìúò å ïðåäè âñè÷êî êîíãðåñíà çàëà ñ 392 ìåñòà ñ åñòåñòâåíà àêóñòèêà è âúçìîæíîñò çà óâåëè÷àâàíå íà çâóêà. Áëàãîäàðåíèå íà ïîäâèæåí ïîä è ïðîìåíëèâà àêóñòèêà å âúçìîæíî êîíãðåñíàòà çàëà äà ñå òðàíñôîðìèðà â çàëà çà êîíöåðòè çà êëàñè÷åñêà ìóçèêà è ñïåêòàêëè.  ìîìåíòà

ïðåäñòàâëÿâà ìàëúê òåàòúð ñ ôîðìàòà íà êóá è ïåðèôåðíè ãàëåðèè, äîñòúïíè çà ïóáëèêàòà. Ñòðàíè÷íèòå ïàíåëè ùå áúäàò ïðîñòè âðàòè, êîèòî ñå îòâàðÿò â äâå ïîñîêè, îò åäíàòà ñòðàíà ïîêðèòè ñúñ çâóêîàáñîðáèðàùà ìàòåðèÿ, îò äðóãàòà - ñ ïîëèðàíî äúðâåíî ïîêðèòèå çà êîíöåðòíàòà âåðñèÿ. Ìåæäó àóäèòîðèóìà è îôèñíîòî ïðîñòðàíñòâî å ïðåäâèäåí öÿë åòàæ îò çàëè, ïîñâåòåíè íà îáó÷åíèå. Òîâà ðàçïîëîæåíèå íà îáðàçîâàòåëíîòî ïðîñòðàíñòâî ùå ïîçâîëÿâà ðàçøèðÿâàíåòî íà çàëàòà çà êîíã-

ðåñè â ñëó÷àé íà íóæäà. Îôèñíîòî ïðîñòðàíñòâî å êâàäðàò 33 Õ 33 ìåòðà, ñâúðçàíî ñ îôèñèòå, íàìèðàùè ñå íà ïîäîëíèòå è ãîðíè åòàæè áëàãîäàðåíèå íà ñòúëáèòå îò çèìíèòå ãðàäèíè êúì þæíàòà ôàñàäà. Âèñî÷èíàòà ìåæäó åòàæèòå ùå áúäå 3,74 è 2,40 ì â äâàòà öåíòðàëíè êîðèäîðà. Ïîäèãíàò ïîä ùå áúäå ïîñòàâåí âúðõó ñòðóêòóðà îò äâîéíè öèìåíòîâè ïëîñêîñòè, åñòåñòâåíî ïðîâåòðÿâàíè îò çàïàä íà èçòîê. Ìíîæåñòâî âúçäóøíè êàìåðè ùå ñå îòâàðÿò ïðåç íîùòà íà ôàñà-

78 ñðåùà â Òîðèíî. Îñâåòëåíèåòî íà êóëàòà "Èíòåñà Ñàí Ïàîëî"

äàòà ñ äâîéíî ïîêðèòèå, çà äà ðàçõëàæäàò ïëîñêîñòèòå íà òàâàíèòå íà îôèñèòå. Ïðåç íîùòà äâîéíèòå ïëîñêîñòè ùå àáñîðáèðàò õëàäà íà âúçäóõà, êîéòî ùå ïðåìèíàâà ïðåç òÿõ, çàïàçâàéêè ãî è ïðåç äåíÿ. Ñòàâà âúïðîñ çà åäíà ïàñèâíà åêëîãè÷íà ñèñòåìà, êîÿòî íå ñå íóæäàå îò êîíñóìèðàíå íà åëåêòðè÷åñòâî. Èçòî÷íàòà è çàïàäíàòà ôàñàäà íà òîâà íîâî ïîêîëåíèå äâîéíè ïîêðèòèÿ ñà íàïúëíî îñòúêëåíè. Ôàñàäàòà ùå æèâåå áëàãîäàðåíèå íà åäíî ïðîñòî ðåãóëèðàíå, åêñïåðèìåíòèðàíî îò âå÷å 12 ãîäèíè. Ïîäâèæíèòå ïëîñêîñòè íà âúíøíàòà ÷àñò ñå îòâàðÿò è çàòâàðÿò áëàãîäàðåíèå íà ïðîñòè è òèõè âèíòîâè ìåõàíèçìè, êîíòðîëèðàíè îò GTC. Ñîíäè çà òåìïåðàòóðà, åäèí âåòðîìåòúð è åäèí äúæäîìåòúð îïðåäåëÿò ìîìåíòà íà îòâàðÿíå è çàòâàðÿíå íà ïîäâèæíèòå ìåõàíèçìè. Þæíàòà ôàñàäà èìà äâå ëèíèè ïî öÿëàòà ñè äúëæèíà ñ ôîòîâîëòàè÷íè ïàíåëè. Ïîä äâîéíèòå ïëîñêîñòè íà îôèñèòå ùå áúäàò îêà÷åíè èçëú÷âàùè ïàíåëè ñ öèðêóëèðàùà òîïëà èëè ñòóäåíà âîäà ñïðÿìî ñåçîíà.  ñãðàäàòà ùå ñå îñúùåñòâÿâàò ðàçëè÷íè äåéíîñòè, äîñòúïíè çà ïóáëèêàòà, êîèòî ùå ñå ðàçâèâàò íà òåðàñèðàíè ïðîäúëæåíèÿ. Ïóáëèêàòà ùå áúäå ïîäñëîíåíà íà òðè åòàæà: • Åäèí ðåñòîðàíò ñ ãîëåìè ïîêðèòè òåðàñè • Èçëîæáåíè ïðîñòðàíñòâà ñ ìàëêè ïîêðèòè òåðàñè • Íà ïîñëåäíèÿ åòàæ åäíà ãîëÿìà ïàíîðàìíà òåðàñà ñ ãëåäêàòà íà Òîðèíî Òðèòå íèâà ïîêàçâàò æåëàíèåòî çà îòâîðåíîñò íà áàíêàòà è íåéíàòà âúçìîæíîñò çà äèàëîã ñ ïóáëèêàòà. Òåçè ìåñòà "òðÿáâà” äà ñå ïðåâúðíàò â åäèíñòâåíî ìÿñòî çà

Íåáîñòúðãà÷úò òðÿáâà äà áúäå óñåòåí êàòî äèñêðåòíî, ÷óâñòâèòåëíî, ïî÷òè íåìàòåðèàëíî ïðèñúñòâèå. Ïðîåêòúò íÿìà äà áúäå îñâåòåí àãðåñèâíî, à ñàìî ùå áëåñòè ñ ìåêè âàðèàöèè íà ñâåòëèíà â ðàçëè÷íèòå ÷àñîâå íà äåíÿ è íîùòà è ìíîæåñòâî ñâåòëè òî÷èöè, êîèòî ùå ãî êàðàò äà âèáðèðà. Ñëåä 21:00 ÷àñà íåáîñòúðãà÷úò "Èíòåñà Ñàí Ïàîëî" ùå îãðàíè÷àâà ñâîåòî îñâåòëåíèå. Îñâåòëåíèåòî ùå ïîêðèå àòðèóìà, íàâåñèòå, âúòðåøíàòà ãðàäèíà, çàëàòà çà êîíãðåñè, êîÿòî íàé-âåðîÿòíî ùå å îáëÿíà ñ ìíîãî öâåòîâå, îñíîâíèÿò ãðúáíàê íà ñãðàäàòà ñúñ ñèãóðíîñò - âèáðèðàù, çèìíèòå ãðàäèíè ñúñ ñâîèòå âèñÿùè ðàñòåíèÿ è, ðàçáèðà ñå, âå÷åðíàòà ãðàäèíà, ðåñòîðàíòà è òåðàñàòà.  ïîëóíîù îñâåòëåíèåòî ùå ñå íàìàëè îùå ïîâå÷å, çà äà îñòàíå ñàìî ëåêî áëåùóêàíå. Çíàå ñå, ÷å ïðîåêòúò ñå ðàçâèâà íåèçìåííî âúâ âðåìåòî, êàòî ñå ïðåïëèòà ìåæäó êîíêóðñà è ðåàëèçàöèÿòà. Âàæíîòî å äà íå ñå ðàçìèÿò ïî ïúòÿ êàðäèíàëíèòå åëåìåíòè, êîèòî òðÿáâà äà îçðåÿò è äà ñå ðàçâèÿò ñ ÿñíîòà... ëåêà - ïî ëåêà ïî ïúòÿ. Ïðîåêòúò "Ñàí Ïàîëî Èíòåñà" å ÿñåí áèîêëèìàòè÷åí ïðîåêò, îòâîðåí êúì ïóáëèêàòà, êîéòî ïîäñèãóðÿâà îòëè÷íè óñëîâèÿ çà ðàáîòà è óþò.

• Åêîëîãè÷íèÿò àñïåêò å äîïúëíèòåëíî ðàçøèðåí áëàãîäàðåíèå ðàçâèòèåòî íà àâàíãàðäíè ïðîó÷âàíèÿ, êàñàåùè íàòóðàëíàòà âåíòèëàöèÿ, ðàçâèòèåòî íà äâîéíè âåíòèëèðóåìè ïëîñêîñòè, äâîéíè ôàñàäè, çèìíè ãðàäèíè è íîâàòà áèîêëèìàòè÷íà íîù â ãîðíàòà ÷àñò íà êóëàòà • Îòâîðåíîñòòà êúì ïóáëèêàòà ñåãà å ìíîãî ïî-ñèëíà, ïðåâðúùàéêè ñå â åñåíöèàëíà çà ñàìèÿ ïðîåêò • Óñëîâèÿòà çà ðàáîòà è êîìôîðò ñà ïîäîáðåíè Åäèí ïðîåêò çà ãðàäà - íîâà êîíôèãóðàöèÿ íà ãðàäèíàòà Íèêîëà Ãðîñà Ïðîåêòúò "Èíòåñà Ñàí Ïàîëî" å ïðåäè âñè÷êî óðáàíèñòè÷åí ïðîåêò... ñ ôîðìàòà íà ïðèÿòíà óðáàíèñòèêà, êîÿòî òúðñè äà ñå

ñâúðæå ñ ãðàäà Òîðèíî, íåãîâèòå æèòåëè, ïàðêà "Íèêîëà Ãðîñà". Ìèêåë Êîðàæó è Ôðàíêî Äæîðäæåòà, ïåéçàæèñòè, ñà ïðåäâèäèëè îæèâëåíèåòî íà ïàðêà, òðàíñôîðìèðàíåòî ìó â ìÿñòî çà, æèâîò îòâîðåíî êúì êâàðòàëà... Åäíî ãîëÿìî èãðàëíî ïðîñòðàíñòâî, ïîñèïàíî ñ õúëìîâå íà þã è ïî-ñèëíî çàðàâíåíî íà ñåâåð. Çàòâîðåí ïàñàæ ùå ïîäñèãóðè äèðåêòíàòà âðúçêà ìåæäó Äâîðåöà íà ïðàâîñúäèåòî è íåáîñòúðãà÷à "Ñàí Ïàîëî Èíòåñà". Îòêðèò áàð çà ïîñåòèòåëèòå ùå áúäå äîáàâåí îò þæíàòà ñòðàíà ñ âðúçêà ñ ïàñàæà. Òåðàñàòà ùå ãëåäà êúì âúòðåøíèÿ äâîð, à áàðúò ùå ñúçäàäå åäíà èãðèâà âðúçêà ñ ïúòÿ. Öÿëàòà êàðòèíà ùå å óþòíà, ïðîçðà÷íà... ïðîòèâîïîëîæíà íà êëàñè÷åñêèÿ íåáîñòúðãà÷ ñ îôèñè, êîéòî ïî ïðèíöèï å îòêúñíàò îò ðàüîíà, â êîéòî ñå íàìèðà. Ïðîçðà÷íîñòòà íà àòðèóìà íà êóëàòà "Ñàí Ïàîëî Èíòåñà" è íà âúòðåøíèÿ äâîð-ãðàäèíà Ïîñåòèòåëèòå òðÿáâà äà ïî÷óâñòâàò ïàðêà îùå îò óëèöàòà. Êðàñèâèòå âåãåòàëíè åñåíöèè íà íîâèÿ ïàðê è íà âúòðåøíèÿ äâîð, îñâåòëåíè âå÷åð, ðàçëè÷àâàò òàçè ïðîçðà÷íîñò ïî ïðîäúëæåíèå íà àòðèóìà. Òàçè òðàíñïàðåíòíîñò, òàçè âúçìîæíîñò çà óþò êúì ïóáëèêàòà ñà ïðåäñòàâåíè îùå ïî âðåìå íà êîíêóðñà, íî Ðåíöî Ïèàíî è "Èíòåñà Ñàí Ïàîëî" ñà ðåøèëè äàÿ ðàçâèÿò îùå ïîâå÷å. Òàêà å ñúçäàäåíà åäíà ãàëåðèÿ â öåíòúðà íà àòðèóìà. Äâîðúò, èñòèíñêà âúíøíà ïîëóïîêðèòà ãðàäèíà, ùå ïîäñèãóðè íàòóðàëíàòà ñâåòëèíà è ãîëåìè òåðàñè ñ ðàçëè÷íè ôóíêöèè... ñ áàðà íà þã, ðåñòîðàíòà, ôèòíåñà è åñòåñòâåíî, äåòñêà ãðàäèíà ñúñ ñâîÿ ïàðê. Ïðîåêòúò çà êîíêóðñà å ñòàíàë ïî-ôóíêöèîíàëåí ñ ïðåìàõâàíåòî íà þæíàòà ãðàäèíà, êîÿòî å ïðåêàëåíî äúëáîêà. Ðàñòåíèÿòà ùå áúäàò ñúùèòå êàòî òåçè â ïàðêà, çà äà ñå ñúçäàäå óñåùàíå çà ïðîäúëæåíèå íà ïàðêà. Âîäàòà, äîøëà îò íàâåñèòå íà ïîêðèâà, ñåãà ùå ñå ñúáèðà íà ïàðêèíãà è ùå áúäå èçïîëçâàíà çà àâòîìàòè÷íîòî ïîëèâàíå íà âúòðåøíàòà ãðàäèíà è ïàðêà.

Åäíà ëåêà, âèáðèðàùà êóëà Íåáîñòúðãà÷úò å ðàçïîëîæåí ïî-íèñêî îò íèâîòî íà âúòðåøíàòà ãðàäèíà, äàâàéêè óñåùàíåòî çà âèñåíå âúâ âúçäóõà. Íåîáõîäèìî å áèëî ïîäîáðåíèåòî íà ïðîïîðöèèòå è ôóíêöèîíàëíîñòòà. Äúëæèíàòà å ëåêî íàìàëåíà, øèðî÷èíàòà å ìàëêî óâåëè÷åíà è âèñî÷èíàòà èçãëåæäà ïî-ãîëÿìà çàðàäè äîáàâåíàòà âå÷åð íà ïóáëèêàòà. Îñíîâíàòà ïðîìÿíà ñëåä êîíêóðñà å ñëåäîâàòåëíî îò÷åòëèâîòî ïðèñúñòâèå íà äâå ïðîñòðàíñòâà ñ åäíàêâà ïëîù, àáñîëþòíî îòêúñíàòè îò îïåðàòèâíèòå ôóíêöèè: • Ïî-íàäîëó å íîâàòà êîíãðåñíà çàëà, öâåòíà è ñ ïî-ñèëíî ïðèñúñòâèå • Ïî-íàãîðå íîâàòà îñòúêëåíà âå÷åðíà áèîêëèìàòè÷íà ïëîù, ïîñâåòåíà íà ãðàæäàíèòå Òåçè íîâè ïóáëè÷íè ïðîñòðàíñòâà ëåêî ïîäèãàò âèñî÷èíàòà íà íåáîñòúðãà÷à. Íàêëîíåíèÿò ïîêðèâ å îòñòðàíåí, çà äà óâåëè÷è ïðîñòðàíñòâîòî íà Âå÷åðòà íà ïóáëèêàòà. Îôèñíàòà ÷àñò å íà âèñî÷èíà 120 ì. Îñòàíàëîòî å çàåòî îò àòðèóì, òåõíè÷åñêè ïîìåùåíèÿ è åñòåñòâåíî, äâåòå íîâè ïóáëè÷íè ïðîñòðàíñòâà íà àóäèòîðèóìà íàäîëó è Âå÷åðòà ïî-íàãîðå. Îñíîâíèÿò ãðúáíàê, âêëþ÷âàù àñàíñüîðèòå, ñúùî ùå ó÷àñòâà â òîçè åôåêò íà âçàèìîâðúçêà íà öÿëîòî. Àñàíñüîðèòå â îñòúêëåíàòà ÷àñò ùå ïîä÷åðòàâàò îòâîðåíîñòòà êúì ïóáëèêàòà, çà ðàçëèêà îò òðàäèöèîííèòå íåáîñòúðãà÷è, êúäåòî ñå äâèæàò â çàòâîðåíè âúòðåøíè ÷àñòè. Ñëåä êîíêóðñà å íåîáõîäèìî äîáàâÿíå íà äîïúëíèòåëíè ñòúëáè è àñàíñüîðè, êîèòî äà ñâúðçâàò íîâèòå ïóáëè÷íè ïðîñòðàíñòâà. Çàëèòå çà ñúáðàíèÿ íà ñåâåð è ñòúëáèòå/çèìíèòå ãðàäèíè åñòåñòâåíî ïðîâåòðÿâàíè îò þã ñà ïðîäúëæåíè. Ïîñëåäíèòå ùå ñà ñâúðçàíè íà ñåðèè îò 8 åòàæà, êúäåòî ùå ñà ìåñòàòà çà êîìóíèêàöèÿ ìåæäó ðàçëè÷íèòå åòàæè. Ïðîñòðàíñòâàòà ïðåä àñàíñüîðèòå, ôîðìèðàùè ìàëêè âúòðåøíè òåðàñè, ùå ñà êàòî ìàëêè ïëîùàäêè çà ðàçãîâîð. Âèñÿùè ðàñòåíèÿ ùå ôèëòðèðàò ñâåòëèíàòà çàä îñòúêëåíàòà ôàñàäà, ïðåäâèäåíè äà ñå îòâàðÿò àâòîìàòè÷íî â çàâèñèìîñò îò âúòðåøíàòà òåìïåðàòóðà.

79 Àóäèòîðèóì Parco della Musica, 1994-2002 ã.

Parco della Musica å ãîëÿì ìíîãîôóíêöèîíàëåí ìóçèêàëåí êîìïëåêñ ñåâåðíî îò Ðèì, êúäåòî ïðåç 1960 ã. ñå ïðîâåæäàò Îëèìïèéñêèòå èãðè.

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Òðè ãîëåìè êîíöåðòíè çàëè ñà ñòðóêòóðíî ðàçäåëåíè, çà äà ïîäñèãóðÿò çâóêîèçîëîàöèÿ, êàòî ñà îáåäèíåíè â ñâîÿòà áàçà ñ èçäúëæåí ëîáè - áàð. ×åòâúðòàòà êîíöåðòíà çàëà å open air òåàòúð, íàïîìíÿù àíòè÷íèòå òåàòðè. Âåòðèëîîáðàçíàòà ïîñòàíîâêà ñå ðàçïîëàãà ïîêðàé öåíòðàëíèÿ ïëîùàä. Ïåòíà, áðúìáàðè, ñêàðàáåè, êîñòåíóðêè, ðà-

êîâèíè, êîìïþòúðíè ìèøêè - âñå èìåíà, äàäåíè íà òåçè ñòðóêòóðè ñ òúíêè ÷åðâåíè ðèìñêè òóõëè è òåæêè äðàìàòè÷íè îëîâíè ïîêðèâè. Òîçè òåàòúð ñâúðçâà òðè "ìóçèêàëíè êóòèè”. Òîé ìîæå äà ïîåìå ïóáëèêà îò 3000 ÷îâåêà. Ðèìñêè ðóèíè Ìàêàð ÷å Ïèàíî ïå÷åëè

ñúñòåçàíèåòî çà äèçàéíà íà êîíöåðòíèòå çàëè â íà÷àëîòî íà 90òå ãîäèíè ñòðîåæúò å ïðåêúñíàò, ñëåä êàòî ñà îòêðèòè àðõåëîãè÷åñêè íàõîäêè îò ðèìñêà âèëà îò IV-òè âåê. Îðèãèíàëíèÿò ïðîåêò å ïðîìåíåí, òàêà ÷å îñòàíêèòå ìîãàò äà ñå âèäÿò îòñòðàíè è ìàëúê ñòúêëåí ìóçåé ïîçâîëÿâà äà ñå ðàçãëåäàò ïðåäìåòèòå, ðàçïîëîæåí ìåæäó äâå îò çàëèòå.

La Citå Internationale â Ëèîí

La Citå Internationale íà Ðåíöî Ïèàíî â Ëèîí ñå ïðîñòèðà íà ïëîù îò îêîëî 20 õåêòàðà - ñèëíî áåëÿçàíà îò äâà îñíîâíè ïðèðîäíè åëåìåíòà, êîÿòî ÿ îãðàíè÷âàò: Ðîäàí è ïàðêúòTåte d’Or. Âúïðåêè ÷å áëèçêèÿò ãðàä íå å äàëå÷, òîâà ìÿñòî ïðèíàäëåæè íà øèðîê ãåîãðàôñêè êîíòåêñò, ÷èÿòî çàñåëíè÷åñêà èñòîðèÿ, ìàêàð è êðàòêà, å äàëà îñíîâèòå íà ïðîåêòà. Ñòàâà âúïðîñ çà åäíà îïóñòîøàâàíà ìåñòíîñò äî ñðåäàòà íà XIX âåê, êîÿòî âèæäà ñâîåòî âúçðàæäàíå ñ ðåàëèçàöèÿòà íà äèãàòà Grand Camp è ïàðêà, ïîñëå ñ îðãàíèçèðàíåòî íà ïàíàèð ïðåç 1916 ã. íà ïðîñòðàíñòâîòî ìåæäó ïàðêà è ðåêàòà. Òåçè ñúáèòèÿ ñà áåëÿçàëè íåãîâèÿ õàðàêòåð è ïðåõîäà îò åäíà íåáëàãîïðèÿòíà ãåîãðàôñêà ñèòóàöèÿ êúì ñâåòîâåí êîìåðñèàëåí è èçëîæáåí êîìïëåêñ, îòâîðåí â íà÷àëîòî íà XX âåê è îñòàíàë òàêúâ ïðåç ïî-ãîëÿìàòà ÷àñò îò âåêà. Ïðåìåñòâàíåòî íà èçëîæåíèåòî îêîëî 1980 ã. ïðåäîïðåäåëÿ èçîñòàâÿíåòî íà âñè÷êè ïîñòðîéêè, îñòàâÿéêè çà ãðàäà åäíà ïðàçíîòà. Èíòåðíàöèîíàëíîòî îòíîøåíèå íà ãðàäà îðèåíòèðà óðáàíèñòè÷íèòå ðåøåíèÿ êúì äâå íåîáõîäèìîñòè: Çàïàçâàíåòî íà öåíòðàëíàòà òåðèòîðèÿ ÷ðåç ïîñòàâÿíåòî íà îñíîâíè ôóíêöèè (íîâ êîíãðåñåí öåíòúð è êîìåðñèàëåí öåíòúð), íî â ñúùîòî âðåìå äà ñå äàäå íà òàçè ÷àñò íà ãðàäà

õàðàêòåðà íà êâàðòàë ñ ïðåäâèäåíè æèëèùíè ïîñòðîéêè, ñåðâèç è èíôðàñòðóêòóðà. È ñ òàçè äâîéíà çàäà÷à ïðåç 1985 ã. îáùèíñêàòà àäìèíèñòðàöèÿ îðãàíèçèðà èíòåðíàöèîíàëåí êîíêóðñ ñ íàìåðåíèåòî äà äîâåðè íà åäèí àðõèòåêò êîîðäèíàöèÿòà è ðåàëèçàöèÿòà íà öåëèÿ ïðîåêò. Ðåíöî Ïèàíî å ïîáåäèòåë, ïðåäâèæäà ñïðÿìî óñëîâèÿòà íà êîíêóðñà âúçñòàíîâÿâàíåòî íà ãîëÿìà ÷àñò îò èçëîæáåíèòå çàëè, âêëþ÷âà íîâ êîíãðåñåí öåíòúð, ïîñòðîÿâàíåòî íà íåáîñòúðãà÷ ñ ôóíêöèÿòà íà õîòåë è êîìåðñèàëíåí öåíòúð. Îùå ïðåç 1985 ã. ïðèðîäíèÿò åëåìåíò ñå ïðåâðúùà âúâ ôàêòîð, íåìèíóåìî ñâúðçàí ñ èçêóñòâåíèòå åëåìåíòè â ñòðîèòåëñòâîòî êàòî ïîäêðåïà è êîíòåêñò åäíîâðåìåííî, êàòî îôîðìÿíå íà ïî÷âàòà è èçäúëæàâàíå "ïðîåêòèðàíî” îò ðåëåôà íà ðåêàòà è ïàðêà. Âðúçêàòà ñ âå÷å ñúùåñòâóâàùèòå èíñòàëàöèè å åäíà îò ïðåäïîñòàâêèòå, îñòàíàëè è â ïî-íàòàòú÷íèòå ïðîìåíè: îòñòðàíÿâàíåòî íà íåáîñòúðãà÷à è ðàçðóøàâàíåòî íà ïî÷òè âñè÷êè ïàâèëèîíè ñ èçêëþ÷åíèå íà àòðèóìà íà âõîäà, îêîí÷àòåëíîòî ïðåäëîæåíèå íà Ïèàíî å îðèåíòèðàíî êúì ñèñòåìà, ñâúðçàíà îò áëîêîâå ñ åäíàêâà âèñî÷èíà, êîèòî ïðåäëàãàò ïî-äîáðà ãëåäêà êúì ðåêàòà è ïî-äîáðà âðúçêà ñ ïàðêà. Ñòàâà âúïðîñ çà åäíî âçåòî ðåøåíèå íà ðúáà ìåæäó âå÷å ñúùåñòâóâàùî è èíîâàòèâíîñò, êîåòî ïðåäïîëàãà åäèí êðåàòèâåí ïðîöåñ íà ìîíòàæ è ðåäàêòèðàíå. Òàçè ñâúðçàíà ñèñòåìà ñå ðàçïðîñòèðà íà 800 ì ïîêðàé ðåêàòà.

La Cité Internationale ñå èç-

ãðàæäà ïî äúëæèíàòà íà òàçè ïðàçíîòà è ñå ïðåâðúùà â ñòðóêòóðà è èíôðàñòðóêòóðà, òÿñíî îáâúðçàíà ñ ïîòîêà îò àâòîìîáèëè. Îñåìñòîòèí ìåòðà äúëæèíà ñòèãàò, çà äà ñå îòöåïè åäíî ïàð÷å îò ãðàäà, åäíî ðàçñòîÿíèå, êîåòî âñå îùå ìîæå äà áúäå ïðåêîñåíî ïåø è êîåòî ìîæå äà ïðèåìà ðàçëè÷íè ôóíêöèè è ïîâîäè çà ñðåùà â ïóáëè÷íîòî ïðîñòðàíñòâî: òîâà å õóìàíèòàðíàòà èäåÿ çà ãðàä, êîÿòî Ðåíöî Ïèàíî êóëòèâèðà îò ãîäèíè è êîÿòî èçãëåæäà, ÷å êîíöåíòðèðà íà óëèöàòà ïî-ãîëÿìàòà ÷àñò îò ïóáëè÷íè ôóíêöèè (îôèñè, êîíãðåñåí öåíòúð, õîòåë, êàçèíî, êèíî è ìóçåé íà ñúâðåìåííîòî èçêóñòâî îñâåí æèëèùíèòå ñãðàäè), ïðèäàâàéêè ÷óâñòâîòî çà åäíà ñïîäåëåíà ãðàäñêà ñðåäà. Ìèøåë Êîðàæó å àðõèòåêòúò óðáàíèñò, êîéòî ðàáîòè ñ Ðåíöî Ïèàíî îò 1990 ã. îò íà÷àëîòî íà ïðîåêòà. Çà åäèí óðáàíèñò å èçêëþ÷èòåëíî âàæíî äà ñå ðàáîòè ñúñ ñúçíàíèåòî íà âñåêè ìèíèìàëåí äåòàéë è ðàçïîëîæåíèåòî ìó â öÿëîñòíàòà êàðòèíà; âàæíî å äà ñå çíàå ðàçìåðúò íà âñÿêà ãàéêà, íà âñåêè ìåòàëåí ïðîôèë, èíòåíçèòåòúò íà ñâåòëèíàòà â äàäåí ìîìåíò è äà ñå äúðæè âñè÷êî - îñîáåíîòî è îáùîòî, â åäíà è ñúùà ôðàçà, êîÿòî íèêîãà íå ãóáè ñâîÿ ñìèñúë. Êà÷åñòâåíàòà àðõèòåêòóðà êàòî óðáàíèñòè÷åí ïðîåêò ñå èçðàçÿâà ÷ðåç äåòàéëèòå: òîâà å çíàê çà ÷îâåê, êîéòî ðåàëèçèðà, òîâà, êîåòî Ïèòúð Ðàéñ, èíæåíåð è ïîåò, íàðè÷à "ñëåäàòà îò ðúêàòà”. Îáâúðçàíîñòòà ñ ïðèðîäàòà å ïðèñúñòâàù ìîòèâ â àðõèòåêòóðàòà íà Ðåíöî Ïèàíî, äîìèíèðàù è â ïðîåêòà çà Ëèîí, êúäåòî ñå ïðèåìà êàòî èçãðàæäàù ìà-

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òåðèàë íà ñàìèÿ ïðîåêò, èçïîëçâàí ñúñ ñâîèòå "òåõíè÷åñêè” õàðàêòåðèñòèêè íà çàïàçâàíå áèîêëèìàòà è åêîëîãè÷íè òåõíîëîãèè. Ãîëÿìà ÷àñò îò ñãðàäèòå íà Cité, âèñîêè áëèçî 30 ìåòðà, èìàò âòîðà ñòúêëåíà îáâèâêà, çàîáëåíà â ïîêðèòèåòî, çà ðåãóëèðàíå íà åñòåñòâåíàòà ñâåòëèíà è òîïëèíà: âðúçêàòà âå÷åðòà ñ áëèçêèÿ ïàðê å ïî-ÿñíî îñåçàåìà è å èçñëåäâàíà îò àãðîíîì ñ öåë äà ñå çàïàçè ìèêðîêëèìàòúò. Ñãðàäèòå ñà ïîêðèòè ñ ìîäóëíè åëåìåíòè îò òåðàêîòà, âå÷å åêñïåðèìåíòèðàíè â ðàçëè÷íè ñèòóàöèè (íàïðèìåð æèëèùíèÿ êâàðòàë Rue de Meaux â Ïàðèæ), èìàò ìíîãî ôèíè óíèêàëíè åëåìåíòè. Ïðîåêò çà àíôèòåàòúð, äîáàâåí ïðåç 2000 ã. ñêîðî å ïðèêëþ÷åí. Êîíôèãóðàöèÿòà ìó å íà ïîëóêðúã ñïðÿìî ìîäåëà íà ãàëîðèìñêèÿ àìôèòåàòúð íà Fourvière, íîâèÿò êîíãðåñåí öåíòúð å ìíîãîôóíêöèîíàëíà ïîñòðîéêà, åäíà êîìïëåêñíà êîíãðåñíà ìàøèíà (ñïðåä íàé-ãîëåìèòå â Åâðîïà ñúñ ñâîèòå 3200 ìåñòà) ñ èçêëþ÷èòåëíà òåõíèêà. Ïðîöåñúò íà ðåàëèçàöèÿ íà La Cité Internationale å äîñòèãíàë ñâîÿòà äâàäåñåò è îñìà ãîäèíà ïðåç 2008 ñ èçðàáîòâàíåòî íà ïåøåõîäíà çîíà ïîêðàé Ðîäàí. Õðîíîëîãèÿòà íà òîçè ïðîåêò ïîñòàâÿ â ðåäèöà ìíîæåñòâî èíñòèòóöèè è èçïúëíèòåëè, ÷åòèðè êìåòà, ïðîåêòàíòñêè åêèï, êîéòî âêëþ÷âà ïîíå äâàäåñåò àðõèòåêòà è èíæåíåðè, ìíîãî òåõíèöè, òðèñòà ñòðîèòåëíè ôèðìè è ïîñòîÿíîòî ïðèñúñòâèå íà 250-350 îáùè ðàáîòíèöè. Èçêëþ÷èòåëíî å, ÷å åäèí àðõèòåêò ñå å îêàçàë â ïîçèöèÿòà äà ðúêîâîäè èçãðàæäàíåòî íà ÷àñò îò öÿë ãðàä.

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Big urban transformations in Turin

Enironmental center in Turin

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Big urban transformations in Turin photos by Polina Hadjimitova Due to the transformation of the railway (that will be under the ground) and the requalification of the industrial dismissed areas Torino will gain more than 2 million Sq.m. The main project Spine will be divided in 4 small areas (Spine 1, 2, 3, 4) and a big boulevard that will be over the underground railway which will cross the whole city from the east periphery in the direction of Milan to the heart of the city.

Spine 1 On the area of Spine 1, located on the extreme south of Viale della Spina are constructing big residential complexes and an important mall. The heart of this urban system is a new big square designed by Jean Nouvel.

Absolutely underground will be the new railway station Zappata, one of the seven that will determine the urban railway.

Spine 2 Placed along the line of the Spine, between corso Ferrucci and corso Vittorio Emanuele 2, the area of Spine 2 is a project that has concentrated on more than 340 thousand Sq.m. on the border with the historical centre - a system of new infrastructures dedicated to the higher education, culture, technical services, administration and residential buildings. Here are already some new residential buildings and is in a process of construction the extension of the Polytechnic of Turin. The idea of this extension is to place next to the classes the offices of the biggest companies where the students could approach directly their future working possibilities.

Another big project is a library with big theater hall, project of Mario Bellin and a new urban centre.

Spine 3 It the most extensive area of the central Spine: about 1 million and 200 thousand Sq.m.

The big dimensions and the crossing river Dora have directed the landscapers to design an area of 450 thousand Sq.m. for a new big urban park.

On Spine 3 have been already built new residential buildings and commercial centers for services and leisure time. The heart of the area is the Environmental Park, where are placed the offices of international companies and small local companies in the branch. There are projects for an Information & Communication technology center in a Multimedia park, new cathedral and finally the new railway station Dora.

Spine 4 On the extreme north of Viale della Spina is the area of Spina 4. There will be placed the railway station Rebaudengo - the project predicts revival of the peripheral zone as restructure of the plan and the functions. In this zone many of the traditional industrial zones are restructured: many innovative companies, bars and restaurants have transformed the face of the place and the rhythm of this part of the city.

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22 and the Bertone and Farina factories, and the Vignale, Ghia and Frua workshops. Full-spectrum designers and engineers like Mario Revelli di Beaumont and Dante Giacosa stand out. The badges of Bertone, Pininfarina, Ghia and the freelance design community appeared on the bodywork of Ferrari and Maserati, the envy of the world, while the style centres of manufacturers, bodywork companies and independent service firms such as Italdesign of Giugiaro and Mantovani, Coggiola and Fioravanti, grew with authoritative professionals: Giovanni Michelotti above all, Mario Boano, Aldo Sessano, Filippo Sapino, Tom Tjaarda, Franco Scaglione, Pio Manzù, Marcello Gandini, Paolo Martin, Lorenzo Ramaciotti, Walter De Silva. From the mid 1970s, the car design centres initiated more practical research to tackle critical automotive issues, to adapt cars to needs for safety, reduction in pollution, eco-sustainability, and emancipation from petrol. This has led to research into electric vehicles, hybrid engines and ones driven by sources applicable in a plausible economic context.

The Dream continues to look to the future but has matured and been translated into concept; the proposals by creative designers should be read with closer attention as bearers of concrete signals, able to offer a perspective of continuity. The well-lit arcades of the Giovanni Agnelli pavilion of Torino Esposizioni, the home of the prestigious motor shows of the past, bring out the quality, force and physical presence of these dreams expressed in lines, masses and steel. Over 40 models have been chosen to bear witness to 50 years of research, presented in the frame of the masterpieces of production of a century, the heritage of the Museo Nazionale dell’Automobile Carlo Biscaretti di Ruffia.

International Design Casa A city-wide showcase of design stories from around the world Torino, 6th-16th November Thinking around other ways of understanding, practising and developing design, “International Design Casa” opens up a comparison between the design culture of Torino and Italy with that of other cities and countries around the world. Some of the most prestigious bodies linked to design will temporarily find a “home” in Torino and open the doors to the public to make themselves known, to present their own national design situation, the policies adopted to promote it, and future prospects. A swathe of exhibitions scattered throughout the city bring to Torino an original and simultaneous vision on how the culture of design is expressed in other parts of the world, ranging from the lively European panorama to the rapidly developing countries of the Far East. Illustrious “neo-neighbours” with corresponding and sometimes unusual homes, spaces often fitted out as exhibition areas for the first time, come to live in Torino, from the standpoint of opening new perspectives and grafting new influences onto the city’s urban fabric. The review of the main realities of international design is further enriched by the histories of many countries that - even if not re-creating a closed space to welcome the public - make themselves known over the city’s streets, corners and crossroads, in the framework of a project that involves the existing road information systems. “International Design Casa” is an appointment that looks in depth at the understanding of design as an instrument for communicating identity and values, and as a strategy for drawing up new economic development paths. Moving together and beyond mere objects, the various experiences of other cities and nations enable Torino to bring out into the open the flexibility of design as an instrument and strategy, but also as an approach to a sustainable lifestyle. Shaping the Global design agenda.

An international conference on national design strategies for prosperity and well-being Design policies, although invisible to the great majority of citizens, play a key role in the economic success of developing countries just as in industrialised ones, and are applicable at the local, regional, national and transnational level. Design is seen today as a leading strategic methodology, aimed at promoting the creation of prosperity and social and environmental well-being. The need emerges to identify policies which manage to guide the creativity and imagination of a city, a region or a city towards sustainable economic activity, orientated towards a better quality of life and conscious growth of society. In this perspective, the aperture towards other areas of the world is the harbinger of stimuli and responses. For this reason, a major international conference will be held alongside “International Design Casa” on emerging design policies, dedicated to designers, experts in the field, institutions and city. The conference confirms the role of Torino as a meeting point between the culture of design, seen as a method to orientate creativity, and the local institutions engaged in drafting their own development policies.

Ligotto Fiat Factory New Olimpic Arch of Turin

Car track on the top of Lingotto

21 explore design processes applied to Torino; (26/27 giugno) a debate open to the general public to analyse and discuss some of the projects developed by the designers for the exhibition as well as some specific aspects of Flexibility.

The debate is chaired by the curator of the exhibition and by Alice Rawsthorn, design critic and journalist of the International Herald Tribune.

Designing connected places - International Summer School Students and professors coming from the best international Universities meet in Pollenzo Università di Scienze Gastronomiche (Pollenzo), 13rd-29th July Designing Connected Places is an education event dedicated to young people from the best international design schools. For fourteen days, teachers and students share their experiences and live together in the splendid Università di Scienze Gastronomiche of Pollenzo (Cuneo), the university founded by the international association Slow Food and considered one of the best private institutes in Italy. 180 students take part, divided in 6 classes, each one dedicated to in-depth study of a specific theme through workshops, seminars and lessons by designers and experts of international renown. The International Summer School offers six themes: six topics of great value that respond, at the same time, to specific design needs expressed in Piemonte in this historical period of profound and open change. A valuable occasion to bring together ‘high-brow thinking’ on major themes of change and real, possible and perceivable transformations.

A great challenge for the design of today: listening to local needs, understanding the requests for change that can be expressed through the institutions that govern the region, the companies that produce there, the communities that live there and the values that have accumulated over time. The local area becomes a “patron”, putting the most significant local needs in the limelight and opening up to outside contributions. Starting from the specific requirements expressed, the workshops offer multiple interpretations of the questions raised, through a series of different approaches (design components, rapid prototyping, participatory strategies, industrial ecology etc.), giving life to a matrix of many combinations.

ACTIVE WELFARE - Design for health and well-being MULTI-MOBILITY - Design for efficient urban mobility OPEN AND SAFE PLACES - Design for social life and security FOOD NETWORKS - Design for sustainable food systems COMPLEXITY MAPS - Design for the representation of places and communities SYMBIOTIC PRODUCTION - System design and production networks PROTOTYPING THE CITY DESIGN STUDIO - “Border line” research between design and architecture Dream The idea of ‘future’ in Torinese car design Torino Esposizioni, 19th September- 23rd November 2008 The history of cars in Torino has developed along two lines that in many cases have intersected, creating sparks and beneficial interactions that have brought the city and Piemonte unrivalled fame on the world stage.

While our region has been producing cars for a century, it has also fuelled hotbeds of creativity, craftsmanship and technology expressed in one-off vehicles and prototypes, first as a customised response to private customers and then as an instrument to certify the competency of studios and draw contracts from national and international manufacturers. There are many powerful car districts in the world, in the United States, Japan, Korea, Germany or France but never has there been an entrepreneurial and socio-economic phenomenon as in Torino, so extensive, and complex, with a blend of skills that integrate and form consortia, generating creative proposals and production methods of great quality and competitiveness.

The analysis of Dream starts from the 1950s, that particular period for the Italian car industry which, recovering from the wounds of war, followed Ford’s objective of cars for all, but remained strongly attracted by the appeal of unique models, the Dream Car as an explicit sign of optimism, a vision of a bright future, a sometimes naive concession to provocation and escapism. All the brands and the great masters of the era, some who have disappeared, some forgotten, most not known to the younger public, offered their vision of pure beauty, free of the restrictive standards demanded by the production chain, seeking the style of the future. Legendary models were built by Fiat, by Lancia (in Milan by Alfa Romeo, Touring and Zagato)

Eataly commercial center

Olympic Palavela Skating hall

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20 international luxury production and meets precise needs linked to immediate survival or to lifestyles under constant change. The project Torino Geodesign revolves around the collaboration between 40 communities in the area and a similar number of international designers and Italian companies. Focusing attention on people instead of objects, Torino Geodesign aims to trigger off new forms of business enterprise in various local communities by setting up an intricate network of relations in which there is a blurring of the distinctions between customers and users, manufacturers and beneficiaries of design. In a dynamic system, a far cry from the idea of free aid or support, the designer becomes the catalyst of all kinds of experiments and reactions deriving from new forms of interaction.

The challenge behind this complex mechanism, where the traditional division of roles between the commissioning client, the designer and the consumer are tested, subverted and recomposed, is of an obviously political and social nature. The project aims in fact to seek out new energy for the world of design and new models for the relationship between city dwellers and city administration based on activating collective energy. The designers, artists and architects, chosen through an international idea-seeking competition, work together with the communities in a series of design workshops on varying themes identified through a flexible, experimental process (magazines, packaging, brand images, objects for large-scale production such as clothes horses for council housing, the reorganisation of public areas). The prototypes - together with sketches, designs, film and photos of the entire process - flow into a majorshow, the evidence of a new systematic way of organising design.

Flexibility Design in a fast-changing society Ex Carceri “Le Nuove”, 29th June - 12nd October Labyrinths of roads, agglomerations of buildings, mazes of relations. In 2050 over 90% of the world’s population will live in cities, places that already today are characterised by growing complexity. The urban panorama is a system of close-knit connections between material objects and immaterial factors produced by man. An often chaotic space, that conditions, restrains and sometimes paralyses movement, considerably reducing the space for manoeuvre of individuals. Too often, in fact, the structure and products used every day are characterised by rigidity and poor adaptability. In this scenario, flexibility becomes a need and a response at the same time.

Flexibility as a need to break down walls, to leave well-trodden paths, to step away from pre-packaged solutions. Flexibility as a response: an attitude that allows individuals to react to a context that changes at everincreasing speed and produces unexpected results, sometimes with an explosive impact. The exhibition “Flexibility - design in a fast-changing society” poses questions about bonds between flexibility and design, where flexibility is intended as the ease with which a system or components of it can be modified and adapted for use in different applications or settings to the ones for which they were originally designed. A narrative and experiential path explores the diverse ways of designing the world and society starting from a concept of adaptability, from the perspective of transforming town and city environments into more elastic places, durable but also welcoming and changeable spaces. At the “Ex-Carceri, Le Nuove” former prison, the show stretches out along the corridors flanked by the cells, creating a route in three stages, with the sound track from the musical research of three sound designers. The effect is strident and of great impact: the defence of flexibility and the constriction of the place interact, giving life to a particular conceptual oxymoron. In the circular space of the panopticum, from which the prison wings reach out, the exhibition introduces visitors to the multitude of meanings attributed to the concept of flexibility. After this, in the men’s wing, examples are proposed of effective design objects and solutions in terms of adaptability and versatility and that can be applied in our houses, workplaces and cities. At the end, the exhibition route finishes in the women’s wing where ten installations created specially by ten rising designers on the international stage are on show. A multi-faceted voyage proposes and supports flexibility as a design approach, as well as a process to learn and practise so as to exploit unpredictable opportunities and refine the capacity for individual adaptation, and therefore survival. A workshop and a debate enrich the exhibition: a workshop conducted by the designers invited to the exhibition to foster discussion and debate questions posed by “Flexibility - Design in a Fast-Changing Society”, where students and professionals have the chance to participate, divided in two different sessions, and to

Politecnico di Torino

Torino main square - Piazza Castello

19 ADI per il Design Italiano, has joined Torino in the great cultural challenge of promoting the values, the grand traditions and new challenges of design.

The Historical Italian Design Collection and the XXI Compasso d’Oro Prize are not therefore two isolated events, but ones in constant dialogue: the first fuelled by the second, in a process of progressive enrichment. The Historical Italian Design Collection, a link between the past, present and possible futures, tells the story of Italian design and production through the unique nature of a path always open to rewarding new trends and recognising the positive values of innovation: a growing legacy that constitutes a scientific and historical overview of unrivalled value, and is one of the world’s most important industrial design collections. The works reflect the concepts that have given substance to Italian design. Multi-disciplinary and cutting across all fields, the Collection’s archive includes several thousand items (some very rare or unique) differing in their types of use, materials, technologies and sizes, and bears witness from the outset to the wealth and variety of design in the various trade sectors, in research and in the sustainable innovation of products, processes, services and materials. Many of the most beautiful objects that have accompanied and changed our everyday life are designed by great ‘masters’, demonstrating the complex interactions that have made Italian design unique. The Historical Italian Design Collection will be enriched with the imminent awards of the XXI Compasso d’Oro by new protagonists: the pieces selected by the International Prize Jury for the “Compasso d’Oro” award, with the right to be included in the Historical Collection, the first and only contemporary design collection recognised by a ministerial decree as part of ‘Italian cultural heritage’, a collection dedicated to the excellence of concepts, production and criticism in Italian design, enriched by the successful trends that have emerged in the last three years.

Olivetti Una bella Società (a fine company/a better society) Promotrice Delle Belle Arti, 16th May - 27th July 2008 will mark the centenary of Olivetti’s foundation, and the company’s history not only mirrors the vicissitudes of industrialization, it is also emblematic of the rise and fall of a dream nurtured for over a hundred years, the dream that industry would be more than just a rational, efficient approach to producing things, that it would act as the driving force behind and inspiration for the growth and development of society as a whole.No other company, anywhere in the world, succeeded in making its own the forward-thinking optimism of this ambition to the extent Olivetti did. And it is this quintessential uniqueness that the exhibition aims to highlight, starting with the title: una bella Società (a fine company/a better society). Olivetti’s many facets make for a kaleidoscope of enquiry, for example, exploring the company’s ethical choices, its civic morality, design, industrial organization, communication strategies, political outlook, the role of intellectuals, the acknowledged value of art, research, the elaboration of new languages, the ultimate goal of society. Each of these approaches would deserve a complete exhibition of its own, the product of thorough research. What strikes us as being once more topical, however, is Olivetti’s ability to fashion a total vision, a veritable landscape of modernity. The exhibition showcases a selection of emblematic innovations from across the range of the company’s activity, collocating at the heart of the exhibition a kind of encyclopedic compilation of all the experiences that marked the output of a firm that was certainly not limited to office machinery. Graphic art and architecture, design and town planning, advertising and communication and literature, shops and typography will all be explored not so much within the confines of their individual disciplines but as a multitude of inter-connected facets of a modern form of culture based on image.

Torino Geodesign Designers and communities meet in Torino Palafuksas 24th May - 13rd June A project and competition, Torino Geodesign is first and foremost an idea which defines an extraordinarily large and productive field of action: selfdetermined design, produced in limited series by communities inside huge globalised metropolises. Design arising from a community of users organising restricted mass production to rapidly meet specific sorts of limited demand destined for instantaneous diffusion. Vital, energetic and deeply experimental design, produced using poor materials and technology deriving from informal economies, and often full of symbolic content. Highly creative design, which moves beyond the restrictive boundaries of

Fiat 500 Olympic Palasport

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Torino 2008 World Design Capital photos by Polina Hadjimitova The nomination In 2005, ICSID (International Council of Societies of Industrial Design) launched the World Design Capital project: an international, biyearly competition to identify cities and regions that have proven to put great emphasis on design, project research and innovation as factors encouraging economic, social and cultural development. By nominating Torino the first “World Design Capital” for the year 2008, ICSID has recognized the city’s, and the entire Piemonte Region’s, success in the on-going process of major transformation, which was achieved by combining the area’s strong industrial tradition with its vocation for innovation and research. Torino’s experience will become the reference model for future nominations and will be carefully followed by candidate cities in the next competition, that will be held in 2010.

How the year will be structured World Design Capitals are cities in transformation; they use design as an instrument to help establish new equilibriums, collaborating in redesigning a more sustainable and shared future. Starting with this premise, the Leitmotiv of the initiative will be Flexibility - one of contemporary design’s major themes of reflection. The Torino 2008 World Design Capital year of activities will include over 250 events in a Calendar that revolves around four major themes - Public Design, Economy and Design, Education and Design, Design Policies - four ways of viewing design, with the intent of addressing four specific target groups. Each group represents a cardinal point in the life cycle of contemporary design. This cross section will involve the various actors that interrelate within the city and help delineate its aspect: the citizens, businesses, the world of education, and the institutions.

An important opportunity Torino 2008 World Design Capital represents a surprising opportunity: for the area’s development, for giving visibility to Italian design, and as a concrete possibility to interlace and cultivate national and international relations. As a World Design Capital, Torino has been called upon to represent the entire country in its culture of the project and its tradition of design, promoting the values of “Made in Italy” production on an international level. The ultimate objective is to leave Piemonte a cultural inheritance at the end of 2008 and, at the same time, encourage the growth of competition in the local system through the creation of an international network that can bring to Piemonte not just a specific know-how concerning design, that will join the region’s other excellences, but also an attitude toward the project, a “project mentality” that can be applied in every circumstance, from businesses to the Public Administration.

Main events: “L’Oro del Design Italiano” Compasso d’Oro Collection Reggia di Venaria, Scuderia Juvarriana, 24th April - 31st August 2008 The Compasso d’Oro Prize, for over fifty years and twenty editions the most coveted recognition of design, products, research and merit is the centre of events that communicate to the general public, the worlds of culture, research, finance, business and voluntary work the understanding of the contents and purposes of design, its perception and dissemination as a ‘value’ and as an ‘innovation driver’ to be extended to all spheres of everyday life, and developed with respect for diversity. For the XXI edition of the Prize, Torino 2008 World Design Capital will present, in the Reggia of Venaria, the priceless value of the Compasso d’Oro Historical Collection, recently protected as part of Italy’s historical artistic heritage. More than 400 pieces that made the history of Italian design will be shown in the Scuderia Juvarriana, opening for the first time to the public. The Collection, that has grown over the years with the editions of the Prize and its international juries, is an anthology in progress of the excellence of Italian design and products.

This is exactly the tale illustrated on the covers of 24 million copies of the Italian yellow pages with which SEAT, in collaboration with the Fondazione

Headquarter of Torino Design Capital

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Àêàäåìèÿ íà èçêóñòâàòà - Ìîñêâà Ãëàâåí ïðîåêòàíò: Ïðîô. Ãåîðãè Ñòîèëîâ è àñèñòåíò Àðõ. Ì. Êåðåìèä÷èåâ

Ïðîãðàìàòà íà òîçè ïðîåêò å ìíîãî áîãàòà è âäúõíîâÿâàùà. Òîâà å àêàäåìèÿ íà èçêóñòâà çà ìëàäè òàëàíòè ïî ìóçèêà, òåàòúð, áàëåò, æèâîïèñ, ñêóëïòóðà è äèçàéí. Ïðåäâèäåíè ñà ó÷åáíè êàáèíåòè è ïåðñîíàëíè àòåëèåòà çà ëè÷íî îáó÷åíèå, çàëè çà ðåïåòèöèè íà áàëåò, õîð è îðêåñòúð, ãîëÿìà êîíöåðòíà çàëà çà 1000 ìåñòà, òåàòðàëíà çàëà çà 600 ìåñòà, îòêðèò àìôèòåàòúð çà ôåñòèâàëè è êàáèíåòè çà îáó÷åíèå ïî òåõíîëîãèè, òåîðèÿ è èñòîðèÿ íà êóëòóðàòà. Ïðåäâèäåíè ñà ñïîðòíà çàëà è çàêðèò ïëóâåí áàñåéí, ðåñòîðàíò, êàôå-áþôåòè è äð. Òåðåíúò çà Àêàäåìèÿòà å êðàé Ìîñêâà â êðàñèâà ãîðà, íà áðåãà íà ãîëÿìî ÷èñòî åçåðî. Àðõèòåêòóðàòà å âäúõíîâåíà îò áîãàòàòà àðòèñòè÷íà ïðîãðàìà íà ñãðàäàòà. Òÿ å ïëàñè÷íà, ñúâðåìåííà, ñúñ ñèëíî èçðàçåíà èäåíòè÷íîñò.

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Arts Academy in Moscow Main designer: Professor Georgi Stoilov and assistant architect M. Keremidchiev.

The program of this project is very inspiring. This is an art academy for young talents of music, theatre, ballet, painting, sculpture and design.

Studies and personal studios, halls for ballet, choir and orchestra rehearsals, a concert hall with 1000 seats, a theatre hall for 600 seats, an open amphitheatre for festivals and different studies of technology theory and history of culture are stipulated.

There will be also a sport hall and a swimming pool, a restaurant and a cafe.

The Academy terrain is located not far from Moscow in a beautiful forest on a shore of big pure lake.

The architecture has been inspired by the rich artistic program of the building. It is plastic, modern with well expressed identity.

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Ìåæäóíàðîäåí ïëåíåð çà ìëàäè àðõèòåêòè

International Seminar for Young Architects Young architects from Italy, Russia, Poland, Czech Republic and Bulgaria took part in a seminar under the heading Effective Architecture and Intelligent Buildings, which was held in Sofia in the building of the Union of Architects in Bulgaria. Sponsor of the event was the International Youth Forum to IAA. The participants developed four projects: a control tower at the airport complex in Sofia, logistics and office centre near the airport Sofia, a sports hall with 20000 seats and a business building with show rooms in the capital. An additional motive for the young architects was the fact that many investors are interested in the projects.

This kind of seminars for young architects, sponsored by the Youth Forum to IAA in different European countries, has been traditional for the last few years. Some of the issues have been translated in Bulgaria in the centre Saints Kirik and Julita near Assenovgrad. The host of the event this year is the Central House of Architects in Sofia as all of the projects are connected with the capital. Luca Nicoletti, the son of the well known architect Manfredi Nicoletti , took part in the Russian-Italian group under the guidance of architect Sasha Ryabski. The Russian-CzechPolish team was led by the Polish architect Mateush Manetski. The Bulgarian team was under the gaudiness of architect Bozhidar Hinkov, general secretary of the International Youth Forum.

A competent jury, presiding by professor architect Georgi Stoilov chairman of the IAA, professor architect Stefan Popov, professor architect Zheko Tilev, professor architect Atanas Kovachev and professor architect Yuri Belokon from the Ukraine rated the results. The chairman of the jury professor Georgi Stoilov shares that the originality of the developments is obvious. Professor architect Yuri Belokon says that the seminar in Sofia is devoted to one of the main lines in the modern European architecture and what the young architects showed is impressive. Many of the projects were awarded : the project for the National Sports Hall - architect Bozhidar Hinkov’s group , the project for logistics and office centre and the business building with show rooms under the guidance of Mateush Manetski and the project of the Russian-Italian group, led by Sasha Ryabski for the control tower at the airport complex Sofia. .

The projects will be presented at the XXIII Congress of the International Union of Architects, which will be held in Turin, Italy from 27 June to 6 July this year.

Ìëàäè àðõèòåêòè îò Èòàëèÿ, Ðóñèÿ, Ïîëøà, ×åõèÿ è Áúëãàðèÿ ó÷àñòâàõà â ïðîåêòíèÿ ñåìèíàð ïîä íàñëîâ “Åíåðãîåôåêòèâíà àðõèòåêòóðà è èíòåëèãåíòíè ñãðàäè”, êîéòî ñå ïðîâåäå â ñãðàäàòà íà ÑÀÁ â Ñîôèÿ. Îðãàíèçàòîð íà ñúáèòèåòî áå Ìåæäóíàðîäíèÿ ìëàäåæêè ôîðóì êúì êúì ÌÀÀ. Ðàçïðåäåëåíè â òðè ãðóïè, ó÷àñòíèöèòå ðàçðàáîòâàõà ÷åòèðè ïðîåêòà: êîíòðîëíà êóëà â ëåòèùíèÿ êîìïëåêñ â Ñîôèÿ, ëîãèñòè÷åí è îôèñ öåíòúð äî Àåðîãààðà Ñîôèÿ, ñïîðòíà ñãðàäà ñ 20 000 ìåñòà è áèçíåñ ñãðàäà ñ øîóðóìè â ñòîëèöàòà. Äîïúëíèòåëåí ñòèìóë çà ìëàäèòå àðõèòåêòè áå ôàêòúò, ÷å çà âñåêè îò îáåêòèòå âå÷å èìà ïðîÿâåí èíâåñòèòîðñêè èíòåðåñ. Ïîäîáíè ïðîåêòíè ñåìèíàðè çà ìëàäè àðõèòåêòè, îðãàíèçèðàíè îò Ìëàäåæêèÿ ôîðóì êúì ÌÀÀ â ðàçëè÷íè åâðîïåéñêè äúðæàâè ñà òðàäèöèîííè ïðîÿâè ïðåç ïîñëåäíèòå ãîäèíè. Íÿêîëêî èçäàíèÿ ñà ïðîâåæäàíè è â Áúëãàðèÿ â òâîð÷åñêàòà áàçà íà ÑÀÁ â “Ñâ. Ñâ. Êèðèê è Þëèòà” íàä Àñåíîâãðàä. Òàçè ãîäèíà äîìàêèí íà ñúáèòèåòî áå Öåíòðàëíèÿò äîì íà àðõèòåêòèòå â Ñîôèÿ, ïîíåæå âñè÷êè ðàçðàáîòâàíè òåìè áÿõà ñâúðçàíè ñúñ ñòîëèöàòà.  ðóñêî-èòàëèàíñêàòà ãðóïà íà ìëàäè àðõèòåêòè ñ ðúêîâîäèòåë àðõ. Ñàøà Ðÿáñêè îò Ìîñêâà ó÷àñòâà è Ëóêà Íèêîëåòè, ñèí íà ñâåòîâíîèçâåñòíèÿ àðõ. Ìàíôðåäè Íèêîëåòè. Ðóñêî-÷åøêî-ïîëñêèÿò åêèï áå ïðåäâîæäàí îò ïîëñêèÿ àðõèòåêò Ìàòåóø Ìàíåöêè. Áúëãàðñêèÿò åêèï áå âîäåí îò àðõ. Áîæèäàð Õèíêîâ, ãåíåðàëåí ñåêðåòàð íà Ìåæäóíàðîäíèÿ ìëàäåæêè ôîðóì. Êîìïåòåíòíî æóðè, ïðåäñåäàòåëñòâàíî îò ïðîô. àðõ. Ãåîðãè Ñòîèëîâ, ïðåäñåäàòåë íà ÌÀÀ è ÷ëåíîâå ïðîô. àðõ. Ñòåôàí Ïîïîâ, ïðîô. àðõ. Æåêî Òèëåâ, ïðîô. àðõ. Àòàíàñ Êîâà÷åâ è ïðîô. àðõ. Þðèé Áåëîêîí îò Óêðàéíà îöåíè ðåçóëòàòèòå. Ïðåäñåäàòåëÿò íà æóðèòî ïðîô. àðõ. Ñòîèëîâ ñïîäåëè ïðè çàêðèâàíåòî íà ïëåíåðà, ÷å çðåëîñòòà è îðèãèíàëíîñòòà íà ðàçðàáîòêèòå ñà î÷åâèäíè. Îò âñè÷êè òÿõ ëúõà ìëàäåæêè åíòóñèàçúì è òâîð÷åñêà åíåðãèÿ. Ïî äóìèòå íà äðóã ÷ëåí íà æóðèòî ïðîô. àðõ. Þðèé Áåëîêîí ïðîåêòíèÿò ñåìèíàð â Ñîôèÿ òåìàòè÷íî å áèë ïîñâåòåí íà åäíè îò íàé-ãëàâíèòå íàñîêè â ñúâðåìåííàòà åâðîïåéñêà àðõèòåêòóðà, à ïîêàçàíîòî îò ìëàäèòå ïëåíåðèñòè å âïå÷àòëÿâàùî. Ñ íàãðàäè áÿõà îòëè÷åíè ïðîåêòèòå çà Íàöèîíàëíà ñïîðòíà çàëà íà êîëåêòèâèòå íà àðõ. Áîæèäàð Õèíêîâ, íà àðõ. Ñàøà Ðÿáñêè, ïðîåêòúò çà ëîãèñòè÷åí è îôèñ öåíòúð è çà áèçíåñ ñãðàäà ñ øîóðóìè íà åêèï ñ ðúêîâîäèòåë àðõ. Ìàòåóø Ìàíåöêè è ïðîåêòúò íà ðóñêî-èòàëèàíñêàòà ãðóïà ñ ðúêîâîäèòåë àðõ. Ñàøà Ðÿáñêè çà êîíòðîëíà êóëà â ëåòèùíèÿ êîìïëåêñ â Ñîôèÿ. Âñè÷êè ïðîåêòè ùå áúäàò ïðåäñòàâåíè íà XXIII êîíãðåñ íà Ìåæäóíàðîäíèÿ ñúþç íà àðõèòåêòèòå, êîéòî ùå ñå ïðîâåäå îò 27 þíè äî 6 þëè ò.ã. â Òîðèíî, Èòàëèÿ.

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ONL TO BUILD SIGNATURE ONL ñòðîè âåëè÷åñòâåHIGH RISE IN ABU DHABI íà ñãðàäà â Àáó Äàáè After winning the design competition for the Al Nasser Group headquarters in the Capital Centre Development close to the Abu Dhabi National Exhibition Centre (ADNEC) ONLs bold design for high rise office on top of a 10m podium has been approved for building by the Master Planners RMJM from Dubai. The Development and Project Manager North croft Middle East have scheduled completion for early 2010 for the future user and client the Al Nasser Group.

This building is designed along the automotive principles of kinetic styling. Gently curved upward moving lines describe the dynamic contours of the tower. Due to the smooth transformation of the shape in vertical direction all floors are unique and vary in dimensions. Earlier realized non standard and kinetic designs of ONL are the Cockpit and the Acoustic Barrier along the A2 highway in Utrecht, the Netherlands.

The tower is among the first towers in Abu Dhabi to use steel for both the core and a structural façade. The majority of existing towers in Abu Dhabi are currently constructed in concrete. The non standard design approach of ONL allows the efficient file to factory production process which facilitates the customization of all steel, aluminum and glass building components of the façade to have unique dimensions and shapes.

The aluminum skin of the Al Nasser Headquarters tower is being in collaboration with Dutch shipbuilders Centraalstaal. The smooth aluminum skin is composed of a seaworthy alloy, with a soft copper coating brilliance. LED lights in the windows frames will give the building an intriguing evening glow.

Ñëåä ñïå÷åëâàíåòî íà êîíêóðñà çà ñãðàäàòà íà “Àë Íàñåð Ãðóï” â öåíòðàëíàòà ÷àñò íà ãðàäà, áëèçî äî èçëîæáåíèÿ öåíòúð Àáó Äàáè, äðúçêèÿò ïðîåêò íà ONL çà ïîñòðîÿâàíå íà âèñîêà ñãðàäà âúðõó 10 ì ïîäèóì å îäîáðåí îò ìàñòåð ïëàíà íà Äóáàé. “Íîðòêðîôò ìèäúë èñò” ïëàíèðàò çàâúðøâàíåòî è â íà÷àëîòî íà 2010 ã. Òÿ å ïðîåêòèðàíà ïî ñàìîäâèæåùèòå ñå ïðèíöèïè íà êèíåòè÷íîòî îôîðìëåíèå. Ëåêî èçâèòè, äâèæåùè ñå íàãîðå ëèíèè îïèñâàò äèíàìè÷íèòå êîíòóðè íà êóëàòà. Ïîðàäè ãëàäêîòî ïðåîáðàçóâàíå íà ôîðìàòà âúâ âåðòèêàëíî íàïðàâëåíèå, âñè÷êè åòàæè ñà óíèêàëíè ïî ðàçìåð è ðàçíîîáðàçèå. Ïî-ðàííè, âå÷å ðåàëèçèðàíè îáåêòè íà ONL ñà ñãðàäèòå “ Êîêïèò” è “ Àêóñòèê Áåðèúð”, ðàçïîëîæåíè ïî ìàãèñòðàëà À2 â Óòðåõò, Õîëàíäèÿ. Ñãðàäàòà â Àáó Äàáè å ñðåä ïúðâèòå, â êîèòî ñòîìàíàòà ñå èçïîëçâà çà ñúðöåâèíàòà è ñòðóêòóðíàòà ôàñàäà. Ïîâå÷åòî îò ñúùåñòâóâàùèòå êóëè â Àáó Äàáè ñà áåòîííè êîíñòðóêöèè. Íåñòàíäàðòíèÿò ïîäõîä íà ONL ïîçâîëÿâà åôèêàñíîòî èçïîëçâàíå íà ìàòåðèàëèòå, êîåòî óëåñíÿâà èçðàáîòâàíåòî íà âñè÷êè ñòîìàíåíè, àëóìèíèåâè è ñòúêëåíè êîìïîíåíòè, èçïîëçâàíè íà ôàñàäàòà, äà ïðèäîáèÿò óíèêàëíè ðàçìåðè è ôîðìè. Àëóìèíèåâàòà ïîâúðõíîñò íà êóëàòà ñå ðàçðàáîòâà â ñúòðóäíè÷åñòâî ñ õîëàäñêèòå êîðàáîñòðîèòåëè “ Ñåíòàëñòààë”. Àëóìèíèåâàòà ïîâúðõíîñò ïðåäñòàâëÿâà èçäðúæëèâà ñïëàâ, ãîäíà çà êîðàáè, ñ ìåêî áàêúðåíî è ÿðêî ïîêðèòèå.Ñâåòëèíèòå, èçëú÷âàíè îò LED ñèñòåìèòå âúðõó ðàìêèòå íà ïðîçîðöèòå, ùå ïðèäàäàò íà ñãðàäàòà èíòðèãóâàù âå÷åðåí áëÿñúê.

Architect ONL (Oosterhuis-Lenard)Bv, Rotterdam Client Al Nasser Investments, Abu Dhabi UAE Development and Project Managers Northcroft Middle East, Abu Dhabi UAE Location ADNEC Capital Centre Development, Abu Dhabi Completion 2010 Size 26 000 sq. m Budget Undisclosed

Àðõèòåêò ONL, Ðîòåðäàì Êëèåíò “Àë Íàñåð èíâåñòìúíò”, Àáó Äàáè Ìåíèäæúðè ïî ïðîåêòà “Íîðòêðîôò ìèäúë èñò”, Àáó Äàáè Ìåñòîïîëîæåíèå ÀÄÍÅÑ, öåíòðàëíà ÷àñò â Àáó Äàáè Çàâúðøâàíå íà ñòðîåæà 2010 ã. Ïëîù 26 000 êâ. ì

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Ïðîåêò “Ìàðèíà áåé ñåíäñ” Ìåñòîïîëîæåíèå Ñèíãàïóð Êëèåíò “Ëàñ Âåãàñ ñåíäñ êîðïîðåéøúí” Íà÷àëî íà ïðîåêòà 06.04.2006 ã. Çàâúðøâàíå íà ïðîåêòà 01.01.2009 ã. Ïëîù 6 000 000 êâ.ôóòà Ñòîéíîñò 3.6 ìèëèàðäà äîëàðà Ñòàòóò ïîëó÷åíà íàãðàäà íà 26.05.2006 ã. Ïðîåêòàíòñêè åêèï “Ìîøå Ñàôäè è ñúòðóäíèöè”, ”Äèçàéí àðõèòåêòñ àåäàñ”, “Àðõèòåêò Ïèòúð Óîëêúð è ñúòðóäíèöè”, “Àðõèòåêò Ðà Âàíäåðâåéë îçåëåíÿâàíå, “Ìåêåíèêúë åíä èëåêòðèêúë èíäæèíèúðñ Àðúï”- ñòðîèòåëåí èíæåíåð, “ÅÑ Õàðèñ”- êà÷åñòâåí íàäçîð.

“Ìàðèíà áåé ñåíäñ” å íîâ òèï ãðàäñêî ìÿñòî, êîåòî èíòåãðèðà êðàéáðåæíèÿ áóëåâàðä ñ ãîëÿì ìíîãîåòàæåí ïàñàæ ñ ìàãàçèíè, îáåäèíÿâà ãðàäñêèòå ïðîñòðàíñòâà, îñèãóðÿâà èçãëåä êúì ãðàäà è ðàñòèòåëíîòî öàðñòâî, ïðåäëàãà èçîáèëèå è ðàçíîîáðàçèå îò äåéíîñòè. Èçïúëíåíî ñ æèâîò è äèíàìèêà, òîâà ìÿñòî ñå ïðåîáðàçÿâà íåïðåêúñíàòî. Èìåííî òóê ïðåäñòàâèòå çà ãëîáàëíèÿ ãðàä ñòàâàò ðåàëíîñò. “Ìàðèíà áåé ñåíäñ” ùå áúäå îòêðèò ïðåç 2009 ã. è ñå ñúñòîè îò òðè ïåòäåñåòåòàæíè õîòåëñêè êóëè, â êîèòî ñà ðàçïîëîæåíè ïî 1000 ñòàè çà âñÿêà îò òÿõ. Êóëèòå ñà óâåí÷àíè ñ ìîñò, êîéòî ïðåäëàãà 360- ãðàäóñîâà ãëåäêà êúì ãðàäà è ìîðåòî. Êîìïëåêñúò ðàçïîëàãà ñ âúíøíè õîòåëñêè óäîáñòâà êàòî ïúòå÷êà çà äæîãèíã, áàñåéíè, SPA öåíòðîâå è ãðàäèíè, ìóçåé çà èçîáðàçèòåëíî èçêóñòâî è íàóêà, ïàñàæ ñ ìàãàçèíè, êîíãðåñåí öåíòúð, äâà òåàòúðà, âñåêè îò êîèòî ðàçïîëàãà ñ ìåñòà çà 2000 çðèòåëÿ, êàçèíî è ïàðêèíã çà 4000 ïðåâîçíè ñðåäñòâà.

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“Ìàðèíà áåé ñåíäñ” òðè ïåòäåñåòåòàæíè õîòåëñêè êóëè â Ñèíãàïóð

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Project Name MARINA BAY SANDS Project Location SINGAPORE Client Las Vegas Sands Corp.

Inception Date 2006-04-06 Completion Date 2009-01-01 Total Area 6 million square feet Project Cost US $3.6 billion Status Awarded 2006-5-26 Design Team Moshe Safdie and Associates - Design Architects Aedas - Architect Peter Walker and Associates - Landscape Architect RG Vanderweil - Mechanical and Electrical Engineers Arup - Structural Engineers EC Harris - Quantity Surveyors

Marina Bay Sands, Singapore Marina Bay Sands is a new type of urban place that integrates the Waterfront Promenade with a grand, multi-leveled retail arcade combining civic space, shopping, indoor and outdoor spaces endowed with city skyline views, daylight and plant life, providing an abundance and variety of activities. It is a place that is vibrant and dynamic, a place that transforms from hour to hour, from day to night, and is evocative of the great urban places.

It is here that the imaginings of a global city become a reality. Marina Bay Sands, to be open in 2009, will feature three 50-story hotel towers containing 1,000 rooms each, crowned by a two acre Sky Garden bridging across the towers, offering 360-degree views of the city and the sea, outdoor amenities for the hotel such as jogging paths, swimming pools, spas, and gardens; an iconic Arts and Sciences Museum on the promontory; one-million square feet of integrated waterside promenade and shopping arcade; a state-of-the art one-million square foot convention center; two 2,000-seat theaters; a casino; and a 4,000 car garage.

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Lilium Tower in Warsaw

by Zaha Hadid Zaha Hadid Architects are having a busy day: the second project the office has announced today is Lilium Tower, a 250m tower for Warsaw in Poland.

The project follows the Eli and Edythe Broad Art Museum at Michigan State University, which was unveiled a few hours ago.

Here s a bit of text: The Lilium Tower, the winning design for a proposed addition to the Warsaw skyline has been announced by the client. The design is a light, transparent structure with a strong sense of identity and character.

Rising to a height of 250 meters, the towers slender form complements the Palace of Culture and other towers nearby, creating its own distinctive profile within an emerging cluster of tall buildings. The tower has a gross area of 130 000m2 consisting of luxury residential apartments and an apartment hotel.

Êóëàòà “Ëèëèóì” âúâ Âàðøàâà, Çàõà Õàäèä Çàõà Õàäèä è àðõèòåêòèòå îò íåéíîòî ñòóäèî îáÿâèõà íà 15 ÿíóàðè 2008 ã. âòîðèÿ ïðîåêò, êîéòî å 250-ìåòðîâàòà êóëà “Ëèëèóì” âúâ Âàðøàâà, Ïîëøà. Ïðîåêòúò áå îïîâåñòåí â äåíÿ, â êîéòî áåøå îòêðèò ìóçåÿò ïî èçêóñòâà êúì Ìè÷èãàíñêèÿ äúðæàâåí óíèâåðñèòåò. Êóëàòà “Ëèëèóì” å âîäåù ïðîåêò, êîéòî ùå îáîãàòè ñèëóåòà íà Âàðøàâà. Êîíñòðóêöèÿòà, êîÿòî ñå èçâèñÿâà íà îêîëî 250 ì âèñî÷èíà, å ëåêà, ïðîçðà÷íà è èçðàçÿâà èäåíòè÷íîñò è õàðàêòåð. Ñòðîéíàòà ôîðìà íà êóëàòà äîïúëâà êóëòóðíèÿ äâîðåö è äðóãèòå ñãðàäè â îêîëíîñòòà ñúñ ñîáñòâåíèÿ ñè ïðîôèë ñðåä èçäèãàùèÿ ñå ãðîçä îò âèñîêè ñãðàäè. Òÿ çàåìà ïëîù îò 130 000 êâ. ì è ñå ñúñòîè îò ëóêñîçíè æèëèùíè è õîòåëñêè àïàðòàìåíòè.

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2 The IAA members express their sincere congratulations to the Academician Jean Nouvel, one of the world Masters of contemporary architecture, about the “Pritzker Prize `2008” that he has been awarded with.

Ïîçäðàâëåíèå îò ÌÀÀ êúì àêàäåìèê Æàí Íóâåë ïî ñëó÷àé íàãðàæäàâàíåòî ìó ñ “Ïðèöêúð” 2008 ã. ×ëåíîâåòå íà Ìåæäóíàðîäíàòà àêàäåìèÿ ïî àðõèòåêòóðà ïîäíàñÿò ñâîèòå èñêðåíè ïîçäðàâëåíèÿ íà àêàäåìèê Æàí Íóâåë, åäèí îò ñâåòîâíèòå ìàéñòîðè íà ñúâðåìåííàòà àðõèòåêòóðà, ïî ñëó÷àé íàãðàæäàâàíåòî ìó ñ “Ïðèöêúð” 2008 ã.

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EUROMED CENTER, MARSEILLE

World Architectural Masters

International Academy Of Architecture