WAM Issue 14 by amc-media

World Architecture Masters

ISSN 1313-177X

14/ 2010/ 014

TEODORO GONZALEZ DE LEON

NEWS

Àêàäåìè÷åí ñúâåò Àêàäåìèöè íà MAA ïðîô. Ïèåð Àíäðå Äþôåòåë - Ôðàíöèÿ ïðîô. Ðè÷àðä Èíãëàíä - Ìàëòà ïðîô. Êèîíîðè Êèêóòàêå - ßïîíèÿ ïðîô. Ìàíôðåäè Íèêîëåòè - Èòàëèÿ ïðîô. Þðèé Ïëàòîíîâ - Ðóñèÿ ïðîô. Áðàéúí Ñïåíñúð - ÑÀÙ ïðîô. Ãåîðãè Ñòîèëîâ - Áúëãàðèÿ Äæîçåâ Ðèêóåðò - ïðåçèäåíò íà CICA

Academic council IAA Academicians prof. Pierre Andre Dufetel - France prof. Richard England - Malta prof. Kiyonori Kikutake - Japan prof. Manfredi Nicoletti - Italy prof. Juri Platonov - Russia prof. Brian Spencer - USA prof. Georgi Stoilov - Bulgaria Joseph Rykwert - president of CICA

Óïðàâèòåë Íàòàëèÿ Áîíäàðåíêî

General manager Natalia Bondarenko

Ãëàâåí ðåäàêòîð ïðîô. Ãåîðãè Ñòîèëîâ, àêàäåìèê íà ÌÀÀ

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

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IAA Academicians Kurt Ackermann Ahmet Vefik Alp Tadao Ando Paul Andreu Rasem Badran Gunter Behnisch Jai Rattan Bhalla Bogdan Bogdanovic Gottfried Bohm Mario Botta Santiago Calatrava Douglas J. Cardinal VitautasI Chekanauskas Peter Cook Charles Correa Justus Dahinden Vakhtang Davitaia Balkrisha Doshi Pierre-Andre Dufetel Richard England Arthur Erickson Ralph Erskine Adrien Fainsilber

Norman Foster Massimiliano Fuksas Frank O. Gehry YuryURY Gnedovski Teodoro Gonzalez De Leon VittorioI Gregotti Nicholas Grimshaw Zaha Hadid Agustin Hernandez Navarro Thomas Herzog Jan Hoogstad Toyo Ito Helmut Jahn Kiyonori Kikutake Rem Koolhaas Vladilen Krasilnikov Lucien Kroll Alexander Kudrjavtzev Henning Larsen Ricardo Legorreta V. Wu Liangyong Daniel Libeskind Fumihiko Maki Imre Makovecz

Richard Meier Manfredi Nicoletti Oscar Niemeyer Jean Nouvel Frei Otto Ieoh Ming Pei Gustav Peichl Cesar Pelli Renzo Piano Yuri Platonov Pedro Ramirez Vazquez Kevin Roche Richard Rogers Moshe Safdie Brian Spencer Georgi Stoilov Paolo Soleri Clorindo Testa Sara Topelson De Grinberg Jim Torossian Jorn Utzon R. Randall Vosbeck Kenneth Yeang Aymeric Zublena

The editors of the magazine World Architecture Masters would like to thank arch. Teodoro Gonzalez de Leon for his amiability submitting materials from theirs private archive at ours disposal for the fourteenth issue of WAM. Ñïèñàíèå World Architecture Masters áëàãîäàðè íà àðõ. Òåîäîðî Ãîíçàëåñ äå Ëåîí çà ëþáåçíî ïðåäîñòàâåíèòå ìàòåðèàëè îò ëè÷íèÿ ìó àðõèâ çà ÷åòèðèíàéñòè áðîé íà WAM. Copyright: Sketches; Renders, Plans, Schemes; Model photographs; Photographs: Julius Shulman, Pedro Hiriart, Werner Huthmacher, Timothy Soar, Bernhard Kroll, Reinhard, Luís Gordoa, Jaime Navarro, Jorge del Olmo

Ìàòåðèàëè è èëþñòðàöèè îò WAM ìîãàò äà ñå èçïîëçâàò ñàìî ñ ðàçðåøåíèå íà ðåäàêöèÿòà. Materals and illustrations of WAM can be used only with permission of the editor's office.

Teodoro Gonzalez De Leon

CONTENTS EL COLEGIO DE MEXICO

RUFINO TAMAYO MUSEUM

FONDO DE CULTURA ECONOMICA

MUSIC SCOOL OF THE CNA

MEXICAN GALLERY IN THE BRITISH MUSEUM

MEXICAN EMBASSY IN GUATEMALA

MEXICAN EMBASSY IN BERLIN

HOUSE AMSTERDAM

BELLA EPOCA CULTURAL CENTER

ARCOS BOSQUES CORPORATIVE

URBAN COMPLEX -REFORMA 222

UNIVERSITY MUSEUM OF CONTEMPORARY ART

Çà ïðåõîäíèòå è âå÷íèòå öåííîñòè â àðõèòåêòóðàòà

For the temporal and eternal values in architecture

Àðõèòåêòóðàòà å íàé-äúëãîâå÷íîòî èçêóñòâî. „Àõèòåêòóðàòà ãîâîðè è òîãàâà, êîãàòî ìúë÷àò è ïåñíè è ïðåäàíèÿ”- Ãîãîë. Íî íå ñàìî çäàâèÿ êàìúê è áåòîíà, îò êîèòî ñà èçãðàäåíè ïðîèçâåäåíèÿòà íà àðõèòåêòóðàòà, òÿ å âðúñòíèê è ñèìâîë íà âåêîâåòå. Ìíîãî ïîçäðàâè è äúëãîòðàéíè ñà äóõîâíèòå öåííîñòè íà àðõèòåêòóðàòà, êîèòî ñà íåéíàòà ñóáñòàíöèÿ. Ðåëèãèè è âëàäåòåëè èç÷åçâàò, íî îñòàâàò äà æèâåÿò õðàìîâåòå è äâîðöèòå êàòî íîñèòåëè íà õàðìîíèÿ è íà äóõà íà òåõíèòå îçàðåíè òâîðöè. Íî èìà è ïðîäóêòè íà âðåìåííàòà ìîäà íà ñòèëîâå, êàíîíè è äîãìè. Òîâà ñà åïèãîíè-èìèòàöèè íà òâîðáèòå íà Ãîëåìèòå. Îò êúäå ñå ðàæäàò åïèãîíèòå? Îò ñúùèòå òåçè àðõèòåêòóðíè øêîëè è ïðîôåñîðè-äîêòðèíåðè, êîèòî âèæäàò ïðåõîäíîòî- ôîðìèòå è ñòðóêòóðèòå íà àðõèòåêòóðàòà, íî íå ñà ñïîñîáíè äà ïî÷óâòâàò íåéíèÿ áåçñìúðòåí äóõ, ìàãèÿ è âåëè÷èå. Íà ìëàäèòå áèõìå êàçàëè: ó÷åòå ñå îò ïðèðîäàòà è îò äóõà íà Ãîëåìèòå. Ìåæäó òÿõ å è Òåîäîðî Ãîíñàëåñ äå Ëåîí.

Architecture is the most secular art. “The architecture speaks even when songs and stories are mute”- Gogol. But not only the stiff stone and the concrete from which are build up the works of architecture make architecture symbol of time. Much stronger and longlasting are the spiritual values of it, which are actually its substance. Religions and gubernators disappear, but they remain to live in temples and castles. There are though temporal products of fashion, style, canons and dogmas. These are the epigones – imitations of the work of the BIG masters. Where do the epigons come from? They come from the same architectural schools and professors – doctrines, who see the temporal – the forms and the structure of architecture, but are not capable to feel its eternal spirit, magic and greatness. To the young we would say: learn from the nature and the spirit of the Big names. Among them is also the name of Teodoro Gonzalez de Leon.

Aêàä. Ãåîðãè Ñòîèëîâ Ïðåçèäåíò íà ÌÀÀ

Acad. Georgi Stoilov President of IAA

Teodoro Gonzalez de Leon Mr. Gonzalez de León was born in Mexico City, on May 29, 1926. From 1942- 1947, he studied in the old Academia de San Carlos (UNAM). The French Government granted him a scholarship and he worked during 18 months at the Le Corbusier’s studio (1947-48). There, he was involved in making the blueprints for several works and as a supervisor of two large constructions: the “Unite d’ Habitation Marseille” and the “Manufactures St. Dié”, France (1948-49). Since the early fifties, when Mr. Gonzalez de León came back to Mexico, he has been continuously active. First, in the urban and public housing field, and afterwards, in developing large public and private buildings. Mr. Gonzalez de León is the author, in collaboration with Abraham Zabludovsky, of the building for the “Infonavit”; “El Colegio de México”; the “Museo Rufino Tamayo” (Rufino Tamayo Museum); the “Universidad Pedagógica Nacional” (National Pedagogic University); the extension of the headquarters of Banamex; and the renovation of the “Auditorio Nacional” (National Auditorium). He is also the creator, in collaboration with Abraham Zabludovsky and Francisco Serrano, of the Mexican Embassy in Brazil. Later, with Francisco Serrano, of the Public Library and the Administrative Center for the government of the State of Tabasco; the new building for Hewlett Packard; the Mexican Embassies in Germany and Guatemala. In collaboration with Francisco Serrano and Carlos Tejeda, he built the Federal Court of Justice and the corporate center “Corporativo Arcos Bosques”. Among his works as individual creator are: the new headquarters of the “Fondo de Cultura Económica” (a publishing company); the “Site Museum in Tajin; the renovation of the “El Colegio Nacional” (The National College); the School of Music, at the National Center for the Arts; the Mexican Gallery at the British Museum in London; the National Folk Arts Museum and the Cultural Center “Bella Epoca”. At present, he works in the urban complex “Reforma 222” , and the building “North D” and “Arco 2”, of the Bosques Corporate Center, in Mexico City. He is also developing the projects for a sanctuary, “María Siempre Virgen”, in Montemorelos, Nuevo León, and for the New Museum of Contemporary Art, at the National Autonomous University of Mexico. He has been awarded with the following honors: Emeritus Academician of the Mexican National Academy of Architecture; National Prize of Sciences and Arts (Mexico); Honorary Member of the American Institute of Architects; Member of the Mexican Academy for the Arts; Member of the International Academy of Architecture; Member of “El Colegio Nacional” (The National College, Mexico); and Doctor Honoris Causa, by the National Autonomous University of Mexico. · He also received several prizes such as: “El Gran Premio Latinoamericano” (the Latin American Grand Prix) in the Biennial of Architecture in Buenos Aires (1989). Twice, the Grand Prix of the International Academy of Architecture, in the Biennials of Architecture in Sophia, Bulgary (1989 and 1994); the Grand Prix at the II International Biennial of Architecture of Brazil (1994); the Grand Prix Gold Medal in the V Biennial of Mexican Architecture (1998); Gold and Silver Medals at the Miami Beach Biennial (2002); the “Mario Pani Darqui” Prize, awarded by the Universidad Latinoamericana (Mexico, 2004); the Ludwig van Beethoven Award for Architectonic Creativity, assigned by the Philharmonic Society of Mexico (2004); and the “Life and Work Award”, given by CEMEX (2005). Golden Medal given by the International Union of Arquitects UIA. 2008

Ã-í Ãîíçàëåç äå Ëåîí å ðîäåí â Ìåêñèêî ñèòè íà 29-òè Ìàé 1926ã. 1942-1947 òîé ó÷è â ñòàðàòà àêàäåìèÿ äå Ñàí Êàðëîñ (UNAM). Ôðåíñêîòî ïðàâèòåëñòâî ìó äàâà ñòèïåíäèÿ, çà äà ðàáîòè 18 ìåñåöà â ñòóäèîòî íà Ëüî Êîðáóçèå (1947-48). Íà÷àëîòî íà 50 òå êîãàòî àðõ. Ãîíçàëåç äå Ëåîí ñå âðúùà â Ìåêñèêî, òîé å äîñòà àêòèâåí. Ïúðâîíà÷àëíî â ãðàäñêîòî è îáùåñòâåíî ñòðîèòåëñòâî è ïîñëå â ðàçâèâàíåòî íà ïî-ãîëåìè îáùåñòâåíè è ÷àñòíè ñãðàäè. Ã-í Ãîíçàëåç äå Ëåîí å àâòîð â ñúñòðóäíè÷åñòâî ñ Àáðàõàì Çàáëóäîæñêè íà ñãðàäàòà çà “Infonavit”; “El Colegio de México”; “Museo Rufino Tamayo” (Rufino Tamayo Museum); “Universidad Pedagógica Nacional” (National Pedagogic University); ðàçøèðÿâàíåòî íà öåíòðàëàòà íà Banamex; è ðåíîâàöèÿòà íà “Auditorio Nacional” (National Auditorium). Òîé ñúùî å ñúçäàòåë çàåäíî ñ Àáðàõàì Çàáëóäîâñêè è Ôðàíöèñêî Ñåðàíî íà Ìåêñèêàíñêîòî ïîñîëñòâî â Áðàçèëèÿ. Ïî-êúñíî Ôàíöèñêî Ñåðàíî ìó ñúòðóäíè÷è â ïðîåêòèòå çà Îáùåñòâåíà áèáëèîòåêà è àäìèíèñòðàòèâåí öåíòúð íà ïðàâèòåëñòâîòî íà äúðæàâàòà Òàáàñêî, íîâàòà ñãðàäà íà Hewlett Packard; ìåêñèêàíñêèòå ïîñîëñòâà â Ãåðìàíèÿ è Ãóàòåìàëà. Â ñúòðóäíè÷åñòâî ñ Ôðàíöèñêî Ñåðàíî è Êàðëîñ Òåõàäà òîé å èçãðàäèë ïðîåêòà çà íàöèîíàëíà ïàëàòà íà ïðàâîñúäèåòî è îôèñ öåíòúðà “Corporativo Arcos Bosques”. Èç íåãîâèòå èíäèâèäóàëíè ïðîåêòè ñà: ñåäàëèùåòî íà “Fondo de Cultura Económica”; “Site Museum in Tajin; ðåíîâàöèÿòà íà “El Colegio Nacional”; ó÷èëèùåòî çà ìóçèêà â Íàöèîíàëíèÿ Öåíòúð çà èçêóñòâàòà; Ìåêñèêàíñêàòà ãàëåðèÿ â British Museum â Ëîíäîí; Íàöèîíàëíèÿ ìóçåé çà ôîëêëîðíî èçêóñòâî è êóëòóðíèÿ öåíòúð “Bella Epoca”. Â ìîìåíòà òîé ðàáîòè â ãðàäñêèÿ êîìïëåêñ “Reforma 222” , è ñãðàäàòà “North D” è “Arco 2” îò Bosques Corporate Center, â Mexico City. Òîé ñúùî ðàçðàáîòâà ïðîåêò çà ïàðàêëèñ “María Siempre Virgen”â Montemorelos, Nuevo León, è çà íîâ ìóçåé íà ñúâðåìåííîòî èçêóñòâî â Íàöèîíàëíèÿ Ñâîáîäåí óíèâåðñèòåò íà Ìåêñèêî. Òîé å íàãðàäåí ñúñ ñëåäíèòå íàãðàäè: Ïî÷åòåí àêàäåìèê íà Ìåêñèêàíñêàòà Àêàäåìèÿ ïî Àðõèòåêòóðà, Íàöèîíàëíà íàãðàäà çà íàóêà è èçêóñòâà (Ìåêñèêî); Ïî÷åòåí ÷ëåí íà Àìåðèêàíñêèÿ èíñòèòóò íà àðõèòåêòèòå; ×ëåí íà Ìåêñèêàíñêàòà Àêàäåìèÿ çà Èçêóñòâàòà; ×ëåí íà Ìåæäóíàðîäíàòà Àêàäåìèÿ ïî Àðõèòåêòóðà; ×ëåí íà “El Colegio Nacional” (The National College, Mexico); è Doctor Honoris Causa, íà Íàöèîíàëíèÿ Ñâîáîäåí Óíèâåðñèòåò â Ìåêñèêî Òîé ñúùî å ïîëó÷èë íÿêîëêî íàãðàäè êàòî: El Gran Premio Latinoamericano, Grand Prix íà Ìåæäóíàðîäíàòà Àêàäåìèÿ ïî Àðõèòåêòóðà, Grand Prix Gold Medal íà Vòîòî áèåíàëå íà Ìåêñèêàíñêàòà àðõèòåêòóðà; Çëàòåí è Ñðåáúðåí ìåäàë íà Miami Beach Biennial; Íàãðàäàòà “Mario Pani Darqui”; Íàãðàäàòà Ludwig van Beethoven çà àðõèòåêòóðíà êðåàòèâíîñò è “Life and Work Award”; Çëàòåí ìåäàë îò International Union of Arquitects UIA 2008.

Architects Teodoro Gonzalez de Leon, Abraham Zabludovsky Interior design ack Winer/ Manuel Villazon Collaborator Arq. Adolfo Baez, Arq. Ernesto Romero, Arq. Jorge Zambrano Structural design DICSA Ing. Carlos Monzon Air-condition design SIMSA Ing. Luis Vilchis Electric, hyidraulics and sanitary design CID Instalaciones, S.A. Ing. Juan Manuel Zapiain Construction supervision Ing. Jose Luis Castillo, Ing. Gabriel Redondo Construction area 25,000 m2

11 This building occupies a 2.8-hectare lot with a 13-meter inclination in the Pedregal, an expanse of volcanic rock to the south of Mexico City. In the tradition of Colonial colleges and monasteries, the construction is articulated around a central patio, a distributing element through which users must necessarily pass when entering or moving about the building. Trapezoidal in shape, with its long side open toward the main entrance, this central space is configured by three platforms on different levels. The entrance platform offers access to the library (730,000 volumes), to the classrooms and seminar rooms (half a level up) and to the auditorium and library (half a level down). The lower platform houses the cafeteria and a common area for students. The upper platform leads to the rectorâ&#x20AC;&#x2122;s offices, the ten study centers and the researchers cubicles. A single material was used: exposed concrete chiseled to bring out its marble grain.

Architects Teodoro Gonzalez de Leon, Abraham Zabludovsky Collaborator Arq. Francisco Lopez Structural design DICSA Construction area 5, 100 m2 Construction GUTSA Construcciones, S.A. de C.V.

13 The building is located some 150 meters off the Paseo de la Reforma, in Chapultepec Park. The exterior represents an exercise in integration to the site, with its blank volumes-graded parallelepipeds-that allude to the form of a pre-Hispanic pyramid. On three sides there are banks of earth covered in ivy that reduce the height of the museum walls and establish a certain continuity with the wooded park surroundings. The museum is organized around a central patio, which serves for multiple uses and where sculpture can be exhibited. It is roofed with a series of graded beams and skylights, placed at 45 degree angles. The two bodies that house the exhibition halls are on either side of the patio. The lobby forms a balcony over the central patio. Circulation follows a descending circuit, but a ramp over the patio allows the circulation to be interrupted at the middle and gives direct access to the patio. The technical and administrative areas are located on a bridge overlooking the patio. An auditorium, with its own entrance, and the warehouse and service spaces occupy the semi-basement.

Owner Fondo de Cultura Economica Architect Teodoro Gonzalez de Leon Collaborator Arq. Ernesto Betancourt Interior design Arq. Luis A. de Regil Structural design Ing. Hector Margain Ancira Air-condition design Calefaccion y Ventilacion, S.A. Electric design COESA Ingenieria, S.A. Hydraulics and sanitary design GHA y Asociados Construction area 8,000 m2

The new office building for the Fondo de Cultura Economica (one of the most important publishing houses in Mexico) is located between El Colegio de Moxico and Universidad Pedag贸gica Nacional, both of which were designed by Teodoro Gonzalez de Leon (in collaboration with Abraham Zabludovsky) in 1974 and 1979 .

20 The building consists of a small tower of 8 levels with two triangular low volumes at the base that form the outer entrance plaza and establish a relationship with the horizontal volumes of the adjacent buildings. The floor plan has a triangular scheme with two curved sides. Another volume with sinuous shape is attached to one of these curved sides and contains the service area. The principal facade has two walls rotated in a 45o angle, forming a conic cavity where the entrance is. A metallic bridge pierces the whole composition from side to side, creating a great portico 40 m high. The N-E facade has square openings along the curved surface, whith â&#x20AC;&#x153;brise-soleilâ&#x20AC;? closing toward the west. A great portion of the volcanic stones with the original vegetation has been preserved on the background, the parking area was built there and was hidden with a slope of grass.

Owner Consejo Nacional para la Cultura y las Artes Architect Teodoro Gonzelez de León Collaborator Arq. Ernesto Betancourt Acoustics Jaffe Holden Scarbrough, Acoustics Inc. Structural design Diseno y Supervision “DYS” S.C. Air-condition, electric, Hydraulics and sanitary design Tecnoproyectos, S.C. Construction area 7,800 m2

The new Music School of the CNA is a combination of four distinct volumes; a curved body, a vault, a cube and a cylinder. The triple-height curved volume unfolds along the blank wall of the facade, closed off from the noise and activity of the entrance side, and open to views of the trees bordering the site toward the southeast. It houses studio rooms, classrooms and offices. The cylindrical vault that penetrates the curved volume signals the entrance and contains the lobby and the mediatheque. The auditorium is a slightly inclined cube, with capacity for 700 persons and designed with the minimum dimensions, in acoustic terms, to accommodate a symphony orchestra. A cylindrical volume houses the practice rooms. The group is articulated around two focal points: the lobby and the great outdoor patio.

White concrete chiseled to expose its marble aggregates was used for the entire complex. The interior floors are of wood, as are the walls of the practice rooms and auditorium.

Architect Teodoro Gonzalez de Le贸n Collaborator Arq. Ernesto Betancourt Designer Miguel Cervantes Structural engineer F.J. Samuely and Partners Services engineer Hoare Lea and Partners Lightning Fisher Marantz, Rentro Stone Inc. Project management British Museum Architecture and Building Services, British Museum Design Office Quantity surveyor William C. Inman and Partners Construction area 187 m2

1 XIUHCOATL 2 TEXTO INTRODUCTORIO 3 CULTURA OLMECA 4 CULTURA DE LA COSTA DEL GOLFO 5 ESCULTURA HUASTECA 6 CULTURA DEL OESTE 7 CULTURA MAYA

LONGITUDINAL SECTION

8 DINTELES MAYAS 9 CULTURA TEOTIHUACANA 10 CULTURA ZAPOTECA I 1 CULTURA MIXTECA 12 CULTURA CHOLULA Y MIXTECA 13 ESCULTURA AZTECA 14 MOSAICOS AZTECAS DE TURQUESA 15 CULTURA AZTECA

TRANSVERSAL SECTION

The Mexican Room puts on permanent display a part of the British Museumâ&#x20AC;&#x2122;s collection of Olmec, Teotihuacano, Huasteco and Aztec pieces. The relatively small space (187 square meters) is divided into two parts: a central section and a gallery separated by a portico, where the magnificent Mayan friezes from YaxchilĂĄn are exhibited. The central section displays the large pieces of the collection on two platformscylindrical and pyramidal-, while an Aztec serpent mounted on a stele receives the visiting public before the entrance. One side of this central section is enclosed by a semi-suspended glass display case containing ritual objects covered in turquoise mosaics. The other three sides are lined with floor-to-ceiling display cases for pieces requiring special security. The room was conceived as a stone precinct evoking the spirit of ancient Mesoamerican architecture.

Owner Secretaria de Relaciones Exteriores Architects Teodoro Gonzalez de Le贸n, Francisco Serrano Collaborator Arq. Antonio Rodr铆guez Estructural design Diseno y Supervision, S. C. (DYS) Lighting design Starco Construction area 5,077 m2 Construction Grupo Mirsa construcciones, S.A. de C.V.

A central patio (measuring 24 meters, in diameter) with its great 30meter.high trees articulates the two volumes of the building: the Embassy proper and the Consulate. The Embassy, whose main entrance gives onto the center of the patio, has two floors of offices with plenty of natural light. The

ambassadorâ&#x20AC;&#x2122;s office is marked by the upper-floor balcony. The Consulate and Cultural Institute have independent entrances from the street. The composition is closed for security reasons, and the forms used recall the Mayan culture common to both countries.

Owner Secretaria de Relaciones Exteriores Architects Teodoro Gonzalez de Leon, J. Francisco Serrano Collaborators Jose Arce Gargollo, Oscar A. Rodriguez Castaneda German associate firm Assmann Contractor Groth Gruppe Construction Hochtief Construction area 3,300 m2

The Mexican Embassy in Berlin is the winning design for a competition held in 1997 in which eight groups of architects participated. The new embassy building enjoys a privileged location in the center of Berlin, on Klingelhöfer Avenue, one of the capital’s most important thoroughfares, just a hundred meters from the Tiergarten. The building occupies a 1,100-square-meter block at the corner of Rauchstrasse. It is bordered by two pedestrian streets that lead to a small park in the heart of the area known as the Klingelhöfer triangle. Like other buildings in the area, the embassy is 18 meters high and its facades are aligned with those of its neighbors.

The idea was to create a building with an unmistakable image, one that would assume a lasting place in the urban memory. Also a distinct form that would represent Mexico, and that, needless to say, would meet the urban standards of this privileged site. The main facade is a portico 18 meters high that frames two planes of vertical brise-soleils, one slanted and one cambered. Together they configure a bay that signals the entrance. On the lateral facade along Rauchstrasse, there is a second, narrower portico with vertical brise-soleils. These allow complete transparency form inside: a dynamic effect that depends on the position of the observer. The interplay of porticoes and planes creates an effect of monumentality, lightness and transparency that expresses the complex reality of Mexico: a young country heir to millenarian traditions.

Architect Teodoro Gonzalez de Leon Collaborator Miguel Barbachano Osorio Structural design Diseño o Supervision, S.C. “DYS, S.C.” Electric design Constructora de Obras Electricas, “COESA” Hydraulics and sanitary design Garza Maldonado y Asociados, S.C. Construction area 650 m2

Located on an almost square lot in the central Hipodromo-Condesa neighborhood of Mexico City, the house is surrounded by tall buildings. Placed atop a platform 1.2 meters up from street level, the house is organized around a patio. Each element of the program adopts a different form; a tunnel vault contains the vestibule, the living room and the library; a cube contains the painterâ&#x20AC;&#x2122;s studio; a rectangular prism, placed on the graded platform that conceals the garage, houses the bedrooms, and a cylinder that cuts a cross the vault contains the services. The whole constitutes a careful combination of different volumes, with slight rotations that optimize views of the patio. Exposed white concrete and Hermosa stone was used for the interior floors and the patio.

Owner Fondo de Cultura Económica Architect Teodoro Gonzalez de Leon Collaborator Jose Arce Gargollo Estructural design Colinas de Buen Air-condition design Ingeniería en Aire o Control Electrical design Ingeniería A. G. S.A. Hydraulics and sanitary designs Garza Maldonado o Asociados Lighting design STARCO Soffit of an Architrave Art work Jan Hendrix Interior design Luis de Regil Construction Tradeco Infraestructura, Compania Contratista Nacional Renewed area 2,945 m2 New construction area 281 m2 Parking area 1,310 m2 Total 4,536 m2

The “Bella Epoca” Cultural Center occupies the former “Lido” movie theater, which was conceived by the American architect Charles Lee in 1942. Its design is simple and efficient: the circular canopy overhanging the entrance is heralded by a tower rising to 35m, and flanked by commercial premises on the avenues on its Northeast and North sides. A false tiled roof hides the volume of the theater, located at the back of the lot. The metal structure of the canopy was salvaged in its entirety, and its roof replaced by a glass cover. The foyer, to which 3 circular skylights were added, was transformed into an exhibition area. The former commercial premises on the Northeast side were turned into offices and storage rooms. A conference room and a movie theater seating 135 were built on top of these. An underground parking space for 55 cars was added on the North side. The bookstore occupies the former theater and the commercial premises on the North. The latter were opened up so as to provide

complete transparence towards and from the street. The store comprises two areas on different levels, connected by a set of steps -interrupted by a sloped garden-, and a trapezoidal skylight. The larger room has a ceiling height of 6m. Its double height book case on the southern and eastern walls is accessed by means of an elevated glass-floored walkway (2,20m wide). This space also accommodates informal reading areas, with tall palm trees, and a coffee shop. The lower level is given over to the children’s bookstore and the cash registers. The ceiling, consisting of 256 translucent laminated glass plates, serigraphic with art work by Jan Hendrix, distributes uniform light across the whole room. Two large skylights opened into it stream natural daylight throughout the reading areas. The renovation has preserved the integrity of the façades, their moldings and details, as well as the tiled roofs. None of the added elements, such as the trapezoidal skylight and the conference room, can be seen from the street.

58 Architects Teodoro Gonzalez de Leon, J. Francisco Serrano, Carlos Tejeda Collaborators Jose Arce Gargollo, Antonio Rodriguez Cruz, Juan Espinoza Campoverde, Jose Maria Larios Perez, Carlos Gutierrez Juarez, Miguel Barbachano Osorio Structural Design Diseno y Supervision Hydraulic, sanitary and fire prevention design Garza Maldonado y Asociados, MC Ingenieros, GHA y Asociados Electrical design Guillermo Aguilar Campuzano, Tecno Proyectos, S.C., Ignacio Gonzalez Castillo, Gonzalez Karg y Asociados, Ingenieria en Instalaciones Integrales, Proyectos de Ingenieria Electrica y Sistemas Automatizados Air-conditioning design DIPRO, Calefaccion y Ventilacion, GARVEL, Hubard y Bourlon Security and special installations Grupo Marpe Lighting STARCO, LUZ + FORMA Constructors Grupo CAABSA, ICA, GUTZA, CONSTRUCABI, COREY

The Arcos Bosques office complex in western Mexico City is the result of a winning project for a 1990 competition. It is a high-density real estate development, the largest ever undertaken in Mexico City with an extremely complex program, to be completed in eight stages. The central idea of the complex is to create an urban precinct, a space visually isolated from its surroundings. It consists of two tall volumestwo 160-meter-high towers in the form of a doorframe, rising form a slope covered in vegetation-and three low volumes-six-story buildings distributed on the northern, eastern and western sides of the lot and conceived as urban walls that enclose the complex and at the same time block out views of the surroundings. The facades of all the buildings are of concrete chiseled to expose its white marble grain.

Owner Grupo DANHOS Architect Teodoro Gonzalez de Leon Collaborator Antonio Rodriguez, Juan Espinoza Campoverde, Carlos Gutierrez Estructural design Ing. Enrique Martinez Romero S.A Air-condition design I. A. C. S. A. Electrical design Ing. Abel Garcia, ETRA Hydraulics and sanitary design Garza Maldonado y Asociados SC Lighting design Starco, Construlita Special installations SOLCI, DAT Construction IDEURBAN Construction area 173, 000 m2

The project aims at introducing commercial and recreational activities into the public space of the Paseo de la Reforma. A treed space protected from the rain by a glass roof is flanked by two svelte 25-story towers-125 meters highthat open their curved facades towards Reforma. The two curved forms configure an entrance to the pedestrian street and incorporate the public space into the complex. All entrances are from the pedestrian street.

Owner UNAM Architect Teodoro Gonzalez de Leon Collaborator Antonio Rodriguez Structural design Dise単o y Supervision Air-condition design Ingenieria en Aire y Control Electric design Disenos Electricos Complejos Hydraulics and sanitary design Garza Maldonado y Asociados Lighting design LIGHTEAM Acoustic design Omar Saad Special installations LOGEN Construction Ingenieros Civiles Asociados Construction area 18,000 m2

The museum is located on one side of a new plaza which integrates it with the universityâ&#x20AC;&#x2122;s cultural center three extant buildings. This new space serves as a pedestrian access to the rest of the cultural complex, a meeting place and an outdoor exhibition and contemporary art performance area. The building consists in a two level circular structure which fits in naturally with the diagonal position of the access road and dialogues with the sharp forms of the surrounding buildings. Its very shape opens it up to the perspectives of both the plaza and the landscape. The public space leads into the building by way of a transparent double height corridor, which divides the museum into two different sections: the larger one, on the western side, houses the exhibition rooms and service units, the smaller one, on the eastern side, the free access public areas. All exhibition rooms, all located/situated on one floor, at the same level as the plaza, are distributed among 6 groups of different dimensions and heights, with controlled natural zenithal light, and interlinked by three interior paths lit through their extremities, as well as by three patios and two terraces. The patios and terraces also serve as exhibition spaces (one of the patios provides light to the public areas on the lower level). These spaces are meant to meet the demands of contemporary art: direct public access to the works of art and dimensions and lightning geared to the needs of artists, museology, and curators. Four of the rooms give out onto the plaza, allowing for their contents to be appreciated by the public outside. Restricted areas, located on the lower level, are accessed through the northern part of the building, where control and surveillance units, the staffâ&#x20AC;&#x2122;s entrance and a double trailer dock are located. The materials used are exposed white concrete and clear as well as white serigraphic tempered glass.

EL COLEGIO DE MEXICO Ìåêñèêî ñèòè, 1974-1976 Ñãðàäàòà çàåìà ïàðöåë îò 2,8 õåêòàðà ñ 13-ìåòðîâ íàêëîí â Pedregal, âóëêàíè÷íà ñêàëà â þæíàòà ÷àñò íà Ìåêñèêî ñèòè.

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Â òðàäèöèîííèòå êîëîíèàëíè êîëåæè è ìàíàñòèðè, êîíñòðóêöèÿòà ñå ðàçâèâà îêîëêî öåíòðàëåí âúòðåøåí äâîð, ìÿñòî ïðåç êîåòî âñè÷êè òðÿáâà äà ïðåìèíàâàò, êîãàòî âëèçàò è ñå äâèæàò â ñãðàäàòà. Òÿ å òðàïåöîâèäíà ïî ôîð-

ìà ñ èçäúëæåíà ÷àñò íà ãëàâíèÿ âõîä. Òîâà öåíòðàëíî ïðîñòðàíñòâî å êîíôèãóðèðàíî îò òðè ïëàòôîðìè íà ðàçëè÷íè íèâà. Âõîäíàòà ïëàòôîðìà îñèãóðÿâà äîñòúï êúì áèáëèîòåêàòà (730000 òîìà), êëàñíèòå ñòàè è

òåçè çà ñåìèíàðè è äîñòèãà äî àóäèòîðèóìà. Ïî-äîëíàòà ïëàòôîðìà ïîìåùàâà êàôåòåðèÿ è ïîìåùåíèÿ çà ñòóäåíòèòå. Ãîðíàòà ïëàòôîðìà âîäè äî îôèñèòå íà ðåêòîðà, 10 îáðàçîâàòåëíè ëàáîðàòîðèè è êàáèíåòè.

RUFINO TAMAYO MUSEUM

Ìåêñèêî ñèòè, 1981 Ñãðàäàòà å ðàçïîëîæåíà íà 150 ì. îò Paseo de la Reforma, â Chapultepec Park. Åêñòåðèîðúò ïðåäñòàâëÿâà óïðàæíåíèå ïî èíòåãðèðàíå ñúñ ñâîèòå ïðàçíè îáå-

ìè - ñòúïàëîâèäíè ïàðàëåïèïåäè, êîèòî íàïîìíÿò ôîðìàòà íà ïðåäèñïàíñêèòå ïèðàìèäè. Îò òðèòå ñòðàíè èìà áðàøëÿí, êîéòî íàìàëÿâàò âèñî÷èíàòà íà ìóçåÿ è å ñâîåîáðàçíî ïðîäúëæåíèå íà ïàðêà â áëèçîñò. Ìóçåÿò å îðãàíèçèðàí îêîëî öåíòðàëåí âõîä, êúäåòî ñå èçëàãàò ñêóëïòîðè. Íà

ïîêðèâà èìà ïîðåäèöà ãðåäè è ïðîçîðöè ñ úãëè îò 45 ãðàäóñà. Äâåòå òåëà, êîèòî ïîìåùàâàò èçëîæáåíèòå çàëè, ñà ðàçïîëîæåíè íà äâåòå ñòðàíè íà äâîðà. Ëîáè áàð ôîðìèðà áàëêîí â öåíòðàëíèÿ äâîð. Ïîòîêúò îò õîðà ñëåäâà íèçõîäÿùà îáèêîëêà, íî ðàìïà íàä äâîðà ïîçâîëÿâà äà áúäå

ïðåêúñíàòà ïî ñðåäàòà è îñèãóðÿâà äèðåêòåí äîñòúï äî äâîðà. Òåõíè÷åñêèòå è àäìèíèñòðàòèíè ïëîùè ñå íàìèðàò íà ìîñò íàä äâîðà. Àóäèòîðèóì ñúñ ñîáñòâåí âõîä è ñêëàä ñúñ ñåðâèçíè ïîìåùåíèÿ ñå íàìèðàò â ñóòåðåíà.

FONDO DE CULTURA ECONOMICA

Ìåêñèêî ñèòè, 1990-1992 Íîâàòà îôèñ ñãðàäà íà Fondo de Cultura Económica (åäíà îò íàé-âàæíèòå èçäàòåëñêè êúùè â Ìåêñèêî) ñå íàìèðà ìåæäó El Colegio de

Mexico è Universidad Pedagógica Nacional, äâå ñãðàäè ïðîåêòèðàíè îò Teodoro González de León (â ñúòðóäíè÷åñòâî ñ Abraham Zabludovsky) ïðåç 1974 è 1979 . Ñãðàäàòà ñå ñúñòîè îò ìàëêà êóëà íà 8 íèâà ñ äâà òðèúãúëíè ïî-íèñêè îáåìà êàòî áàçà, êîèòî ôîðìèðàò âõîäíàòà ïëàçà è ñúçäàâàò âðúçêà ñ õîðèçîíòàëíèòå îáåìè è ïðèëåæàùè ñãðàäè. Ïëàíúò èìà òðèúãúëíà ñõåìà ñ äâå çàîáëåíè ñòðàíè.

Äðóãèÿò îáåì, ñ âèåùà ñå ôîðìà, å äîëåïåí êúì òåçè ñúñ çàîáëåíèòå ñòðàíè è ñúäúðæà ñåðâèçíèòå ïîìåùåíèÿ. Ãëàâíàòà ôàñàäà èìà äâå ñòåíè, êîèòî ôîðìèðàò úãúë îò 45o - êîíóñíà êóõèíà, êúäåòî å âõîäüò. Ìåòàëåí ìîñò ïðîáèâà öÿëàòà êîìïîçèöèÿ îò åäíàòà äî äðóãàòà ñòðàíà, ñúçäàâàéêè ïîðòèê ñ âèñî÷èíà 40ì. Ñåâåðîèçòî÷íàòà ôàñàäà èìà êâàäðàòíè îòâîðè íà çàîáëåíàòà ïîâúðõíîñò ñ “brise-

soleil”. Ãîëÿìà ÷àñò îò âóëêàíè÷íè êàìúíè ñ íàòóðàëíàòà âåãåòàöèÿ å çàïàçåíà îòçàä. Ïàðêèíãúò ñúùî å èçãðàäåí òàì è å ñêðèò ñ òðåâèñò íàêëîí. Íà êðàÿ íà ïàðöåëà å íàó÷íî îáðàçîâàòåëíèÿò öåíòúð (Unidad de Seminarios) íà åäíî íèâî. Òàì èìà ëåêòîðíà çàëà, êàáèíåòè è ïëîùè çà ñîöèàëíè è êóëòóðíè ñúáèòèÿ ñ ìàëêè òåðàñè, èíòåãðèðàíè â çàîáèêàëÿùèòå ãî ãðàäèíè.

MUSIC SCOOL OF THE CNA

Mexico City, 1993-1994 Íîâîòî ó÷èëèùå çà ìóçèêà íà CNA å êîìáèíàöèÿ îò ÷åòèðè ðàçëè÷íè îáåìà - çàîáëåíî òÿëî, ñâîä, êóá è öèëèíäúð. Òðîéíî ïî-âèñîêèÿò

çàîáëåí îáåì ñå îòêðèâà ïî áÿëàòà ñòåíà íà ôàñàäàòà, çàòâàðÿùà øóìà è âñè÷êè äåéíîñòè íà âõîäíàòà ñòðàíà è îòâàðÿ ïîãëåä êúì äúðâåòàòà â ñúñåäñòâî íà ïàðöåëà íà þãîèçòîê. Â íåãî ñå ïîìåùàâàò ñòóäèÿ, êëàñíè ñòàè è

îôèñè. Öèëèíäðè÷íèÿò ñâîä, êîéòî ïðîíèêâà â çàîáëåíîòî ïðîñòðàíñòâî, ôîðìèðà âõîäà è ñúäúðæà ëîáè áàð è ìåäèÿòåêà. Àóäèòîðèóìúò å ëåêî íàêëîíåí êóá ñ êàïàöèòåò äà ïîìåñòè 700 ÷îâåêà è ïðîåêòèðàí ñ ìèíèìàëíè-

òå âúçìîæíè ðàçìåðè â àêóñòè÷íèòå óñëîâèÿ, çà äà ïîìåñòè ñèìôîíè÷åí îðêåñòúð. Öèëèíäðè÷íèÿò îáåì ïîìåùàâà ñòàè çà óïðàæíåíèÿ. Ãðóïàòà å àðòèêóëèðàíà îêîëî äâå ôîêóñíè òî÷êè: ëîáè áàð è ãîëÿì âúíøåí äâîð.

MEXICAN GALLERY IN THE BRITISH MUSEUM Ëîíäîí, Àíãëèÿ, 1993-1994 Ìåêñèêàíñêàòà ñòàÿ èçëàãà íà ïîñòîÿíåí ïîêàç ÷àñò îò êîëåêöèÿòà íà Áðèòàíñêèÿ ìóçåé îò

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îëìåê, òåîòèõóàêàíî, õóàñòåêî è àöòåêñêè ïðîèçâåäåíèÿ. Îòíîñèòåëíî ìàëêîòî ïðîñòðàíñòâî (187 êâ.ì.) å ðàçäåëåíî íà äâå ÷àñòè - öåíòðàëíà ñåêöèÿ ñ ãàëå-

ðèÿ å ðàçäåëåíà îò ïîðòèê, êúäåòî ñà âåëè÷åñòâåíèòå ôðèçîâå íà ìàèòå. Öåíòðàëàíàòà ñåêöèÿ ïîêàçâà ïî-ãîëåìèòå åêñïîíàòè îò êîëåêöèÿòà íà äâå ïëàòôîð-

ìè - öèëèíäðè÷íà è ïèðàìèäíà, äîêàòî àöòåêñêà çìèÿ ïîñðåùà ïîñåòèòåëèòå îùå íà âëèçàíå.

MEXICAN EMBASSY IN GUATEMALA

Ìåêñèêàíñêîòî ïîñîëñòâî â Ãâàòåìàëà Ãâàòåìàëà 1998-2003 Ïîñîëñòâîòî, ÷èéòî ãëàâåí âõîä å â öåíòúðà íà äâîðà, èìà äâå íèâà îò îôèñè ñ ìíîãî åñòåñòâå-

íà ñâåòëèíà. Îôèñúò íà ïîñëàíèêà å ïîä÷åðòàí ñ áàëêîí íà ãîðíèÿ åòàæ. Êîíñóëñòâîòî è Êóëòóðíè-

ÿò èíñòèòóò èìàò íåçàâèñèìè âõîäîâå îò óëèöàòà. Êîìïîçèöèÿòà å çàòâîðåíà, ïîðàäè ìåðêè çà

ñèãóðíîñò è èçïîëçâàíèòå ôîðìè íàïîìíÿò êóëòóðàòà íà ìàèòå, ñõîäíà è çà äâåòå ñòðàíè.

MEXICAN EMBASSY IN BERLIN

Ìåêñèêàíñêîòî ïîñîëñòâî â Áåðëèí Áåðëèí, Ãåðìàíèÿ 1997 - 2000 Ïðîåêòúò çà ìåêñèêàíñêî ïîñîëñòâî â Áåðëèí å ñïå÷åëèë êîíêóðñ

çà äèçàéí ïðåç 1997ã. ìåæäó 8 ó÷àñòíèöè. Íîâàòà ñãðàäà íà ïîñîëñòâîòî å ñ ïðèâèëåãèÿòà íà äîáðà ëîêàöèÿ â öåíòúðà íà Áåðëèí - íà Klingelhöfer Avenue, íà 100 ì., îò çîîëîãè÷åñêàòà ãðàäèíà. Ñãðàäàòà å ñ ïëîù 1100 êâ.ì. - úãúëà íà

Rauchstrasse. Òÿ å â ñúñåäñòâî íà äâå ïåøåõîäíè óëèöè, êîèòî âîäÿò äî ìàëàê ïàðê â ñúðöåòî íà ìÿñòî, íàðå÷åíî òðèúãúëíèêà íà Klingelhöfer. Êàòî äðóãè ñãðàäè â ðàéîíà òÿ å 18ì. âèñîêà è ôàñàäàòà è å ïîäðàâíåíà ñ òåçè íà ñúñåäíèòå ñãðàäè.

Èäåÿòà íà ïðîåêòà å äà ñå ñúçäàäå íåïîãðåøèì èìèäæ, êîéòî äà îñòàíå çà äúëãî âðåìå â ãðàäñêàòà ïàìåò è îñâåí òîâà äà ïðåäñòàâÿ Ìåêñèêî è äà îòãîâàðÿ íà ãðàäñêèòå ñòàíäàðòè íà òàçè ïðèâèëèãèðîâàíà ÷àñò íà ãðàäà.

HOUSE AMSTERDAM

Ìåêñèêî ñèòè, Ìåêñèêî 1996-1998 Ðàçïîëîæåíà íà ïî÷òè êâàäðàòåí ïàðöåë â öåíòúðà íà êâàðòàëà Hipódromo-Condesa â Ìåêñèêî ñèòè, êúùàòà å îáãðàäåíà îò âèñîêè ñãðàäè. Ïîñòàâåíà íà âúðõà

íà 1,2 -ìåòðîâà ïëàòôîðìà îò íèâîòî íà óëèöàòà, ñãðàäàòà å îðãàíèçèðàíà îêîëî âúòðåøåí äâîð. Âñåêè åëåìåíò îò ñãðàäàòà èìà ðàçëè÷íà ôîðìà, òóíåë ñúñ ñâîä å ïðåääâåðèåòî, äíåâíàòà è áèáëèî-

òåêàòà, êóá ïîìåùàâà ñòóäèî íà õóäîæíèê; êâàäðàòíà ïðèçìà, ðàçïîëîæåíà íà ñòúïàëîâèäíà ïëàòôîðìà, ñúäúðæà ãàðàæè, ñïàëíèòå. Öèëèíäúð, êîéòî ðàçäåëÿ ñâîäà è ïîìåùàâà ñåðâèçíèòå ïîìå-

ùåíèÿ. Öÿëîòî å êîìáèíàöèÿ îò îòäåëíè îáåìè ñ ðàçëè÷íà îðèåíòàöèÿ. Áÿë öèìåíò è êàìúêà Hermosa ñà èçïîëçâàíè â äâîðà è âúòðåøíèòå íàñòèëêè.

BELLA EPOCA CULTURAL CENTER êóëòóðåí öåíòúð (Ðåíîâàöèÿ) Ìåêñèêî ñèòè, 2004-2006 Êóëòóðíèÿò öåíòúð “Bella Época” ñå íàìèðà íà ìÿñòîòî íà áèâøèÿ êèíîòåàòúð “Lido”, êîéòî å ïðîåêòèðàí îò àìåðèêàíñêèÿ àðõèòåêò ×àðëç Ëèé ïðåç 1942ã. Äèçàéíúò å ïðîñò è åôåêòèâåí: êðúãëèÿò ïîðòàë íà âõîäà å ñúïðîâîäåí ñ 35-

ìåòðîâà êóëà è çàîáèêîëåí îò òúðãîâñêè îáåêòè íà àâåíþòàòà îò ñåâåðîèçòî÷íàòà è ñåâåðíàòà ñòðàíà. Ïîêðèâúò å ñ ìåòàëíà êîíñòðóêöèÿ, ïîêðèò ñúñ ñòúêëî. Ôîàéåòî êúì, êîåòî ñà äîáàâåíè 3 ïðîçîðåöà íà òàâàíà, å ïðåâúðíàòî â èçëîæáåíà çàëà. Ïðåäèøíèòå êîìåðñèàëíè îáåêòè íà ñåâåðîèçòî÷íàòà ñòðàíà ñà ïðåâúðíàòè â îôèñè è ñêëàäîâå. Êîíôåðåíòíà çàëà è êèíî òåàòúð ñ 135 ìåñòà

ñà íàäñòðîåíè. Ïàðêèíã ñ 55 ïàðêî ìåñòà å äîáàâåí íà ñåâåðíàòà ñòðàíà. Êíèæàðíèöà å ðàçïîëîæåíà íà ìÿñòîòî íà íÿêîãàøíèÿ òåàòúð è òúðãîâñêèòå îáåêòè íà ñåâåð. Ïîñëåäíèòå ñà îñòàâåíè îòâîðåíè, çà äà îñèãóðÿò ïúëíà âèäèìîñò îò è êúì óëèöàòà. Ìàãàçèíúò ñå ñúñòîè îò äâå ïëîùè íà ðàçëè÷íè íèâà, ñâúðçàíè ñúñ ñåðèÿ ñòúïàëà, ïðåêúñíàòè îò íàêëîíåíà ãðàäèíà è òðàïåöîâèäíè ïðîçîðöè íà

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òàâàíà. Ãîëÿìàòà ñòàÿ èìà òàâàí ñ âèñî÷èíà 6ì. Òîâà ïðîñòðàíñòâî ïîìåùàâà ñúùî íåôîðìàëíèòå ïëîùè çà ÷åòåíå ñ âèñîêè ïàëìîâè äúðâåòà è êàôå. Ïî-äîëíîòî íèâî å îòäåëåíî çà äåòñêà êíèæàðíèöà è êàñè. Ðåíîâàöèÿòà å çàïàçèëà öåëîñòòà íà ôàñàäèòå. Íèòî åäèí îò ïîêúñíî äîáàâåíèòå åëåìåíòè êàòî òðàïåöîâèäíèòå ïðîçîðöè èëè êîíôåðåíòíàòà çàëà íåìîãàò äà áúäàò âèäåíè îò óëèöàòà.

ARCOS BOSQUES CORPORATIVE Ìåêñèêî ñèòè, 1990-2008 Arcos Bosques å îôèñ êîìïëåêñ â çàïàäíàòà ÷àñò íà Ìåêñèêî ñèòè, ðåçóëòàò îò ñïå÷åëåí êîíêóðñ ïðåç 1990ã. Òîâà å íàé-ãîëÿìàòà è ñëîæíà ãðàäñêà ïðîãðàìà â ãúñòî íàñåëåí ðàéîí, êîÿòî òðÿáâà äà

áúäå èçãðàäåíà íà 8 åòàïà. Îñíîâíàòà èäåÿ íà êîìïëåêñà å äà ñå ñúçäàäå ðàéîí, êîéòî âèçóàëíî äà ñå îòêðîÿâà îò îêîëíàòà ñðåäà. Òîé ñå ñúñòîè îò äâå 160-ìåòðîâè êóëè âúâ ôîðìàòà íà ðàìêà çà âðàòà, êîèòî ñå èçäèãàò íàä ïàðê è òðè ïî-íèñêè øåñò åòàæíè ñãðà-

äè, êîèòî ñå íàìèðàò íà ñåâåðíàòà, èçòî÷íàòà è çàïàäíàòà ñòðàíà. Òå ñå âúçïðèåìàò êàòî ãðàäñêè îãðàäè, êîèòî îáãðúùàò êîìïëåêñà è ãî èçîëèðàò îò çàîáèêàëÿùàòà ãî ñðåäà.

URBAN COMPLEX -REFORMA 222 Ãðàäñêè êîìïëåêñ “REFORMA 222” Ìåêñèêî ñèòè, 2001-2008 Ïðîåêòúò èìà ïðîãðàìà ñ äåéíîñòè çà òúðãîâèÿ è îòäèõ â ïóáëè÷-

íîòî ïðîñòðàíñòâà íà Paseo de la Reforma. Ïðîñòðàíñòâî, çàùèòåíî îò äúæäà îò ñòúêëåí ïîêðèâ å ïðèäðóæåí îò äâå èçÿùíè 25åòàæíè êóëè îò 125 ì., êîèòî îòâàðÿò ñâîèòå çàêðúãëåíè ôàñàäè

UNIVERSITY MUSEUM OF CONTEMPORARY ART Óíèâåðñèòåòñêè ìóçåé çà ñúâðåìåííî èçêóñòâî Centro Cultural Universitario UNAM 2005 - 08 Ìóçåÿò å ðàçïîëîæåí íà åäíàòà ñòðàíà íà íîâ ïëîùàä, êúäåòî ñå èíòåãðèðà óíèâåðñèòåòñêèÿò êóëòóðåí öåíòúð â ñúùåñòâóâàùàòà ñãðàäà. Íîâîòî ïðîñòðàíñòâî ñëóæè çà ïåøåõîäåí äîñòúï êúì îñòàíàëàòà ÷àñò îò êóëòóðíèÿ êîìïëåêñ, ìÿñòî çà ñðåùè è

îòêðèòè èçëîæáè çà ñúâðåìåííî èçêóñòâî è ïåðôîðìàíñè. Ñãðàäàòà ñå ñúñòîè îò öèëèíäðè÷íà ñòðóêòóðà íà äâå íèâà, êîÿòî åñòåñòâåíî ñå âïèñâà â äèàãîíàëíàòà ïîçèöèÿ íà ïúòÿ è êîðåñïîíäèðà ñ îñòðèòå ôîðìè íà çàîáèêàëÿùèòå ñãðàäè. Ñàìàòà ôîðìà å îòâîðåíà åäíîâðåìåííî êúì ïëîùàäà è îêîëíàòà ñðåäà. Ïðîçðà÷åí êîðèäîð ïî ñðåäàòà íà ñãðàäàòà ðàçäåëÿ ìóçåÿ íà äâå ÷àñòè: ïî-ãîëÿìàòà, çàïàäíàòà ñòðàíà, êîÿòî ïîìåùàâà èçëîæáå-

íèòå ñòàè è ñåðâèçè è ïî-ìàëêà èçòî÷íà ÷àñò, êîÿòî å ñúñ ñâîáîäåí äîñòúï çà ïîñåòèòåëèòå. Âñè÷êè èçëîæáåíè çàëè ñà ðàçïîëîæåíè íà íèâîòîíà ïëîùàäà è ñà ðàçäåëåíè íà 6 ãðóïè ñ ðàçëè÷íè ðàçìåðè è âèñî÷èíè ñ êîíòðîëèðàíà äíåâíà ñâåòëèíà. Ñâúðçàíè ñà ÷ðåç 3 èíòåðèîðíè ïúòåêè, îñâåòåíè â êðàèùàòà, êàêòî è òðè âúòðåøíè äâîðà è äâå òåðàñè. Äâîðîâåòå è òåðàñèòå ñëóæàò ñúùî êàòî èçëîæáåíè ïðîñòðàíñòâà (åäèí îò äâîðîâåòå îñèãó-

êúì Reforma. Äâåòå çàîáëåíè ôîðìè êîíôèãóðèðàò âõîä êúì ïåøåõîäíàòà óëèöà è âíåäðÿâàò ïóáëè÷íîòî ïðîñòðàíñòâî â êîìïëåêñà. Âñè÷êè âõîäîâå ñà îò ïåøåõîäíàòà óëèöà.

ðÿâà ñâåòëèíà äî ïóáëè÷íèòå ïðîñòðàíñòâà íà ïî-äîëíèòå íèâà). Òåçè ïðîñòðàíñòâà ñà ïðîåêòèðàíè, çà íóæäèòå íà ñúâðåìåííîòî èçêóñòâî: äèðåêòåí ïóáëè÷åí äîñòúï äî ïðîèçâåäåíèÿòà íà èçêóñòâîòî ñ ðàçìåðè è îñâåòëåíèå, êîåòî äà çàäîâîëè íóæäèòå íà àðòèñòèòå è êóðàòîðèòå. ×åòèðè ñòàè ñà èçëîæåíè êúì ïëîùàäà, ïîçâîëÿâàéêè íà ïóáëèêàòà îòâúí äà íàäíèêíå â òÿõ. Îãðàíè÷åíèòå çà äîñòúï ïðîñòðàíñòâà íà ïî-äîëíîòî íèâî ñà äîñòúïíè îò ñåâåðíàòà ÷àñò íà ñãðàäàòà, êúäåòî å êîíòðîëíèÿò ïóíêò, âõîäúò çà ïåðñîíàëà è òðàíñïîðòíèÿ èçõîä.

NEWS

ARBUTUS HOUSE The architectural interpretation of nature - the need for adaption of natural form into constructed form - becomes more urgent as progress pulls us further into the artificialities of our time.

ARBUTUS ÊÚÙÀ Àðõèòåêòóðíàòà èíòåðïðåòàöèÿ íà ïðèðîäàòà íóæäàòà îò àäàïòèðàíå íà ïðèðîäíèòå ôîðìè â ñòðîèòåëíè ôîðìè ñå ïðåâðúùà ïîâå÷å íåîáõîäèìîñò ñ ïðîãðåñà, êîéòî íè äúðïà âñå ïîâå÷å êúì èçêóñòâåíàòà ñðåäà íà íàøåòî âðåìå.

NEWS

In memoriam Boris I. Tkhor

The International Academy of Architecture learned with deep sorrow about the death of the distinguished Arch. Boris I. Tkhor, IAA Professor. One of the symbol of the Russian contemporary architecture passed away. This is an important loss for the architectural society. He was perfect in his architecture, in his lectures, in his publications. IAA would like to present its sincere condolences to his family, colleagues and friends. May his memory live forever.

Ìåæäóíàðîäíàòà Àêàäåìèÿ ïî Àðõèòåêòóðà ñ äúëáîêà ñêðúá óçíà çà ñìúðòòà íà óâàæàâàíèÿ àðõ. Áîðèñ È. Òêõîð - ïðîôåñîð íà ÌÀÀ. Ñïîìèíà ñå åäèí îò ñèìâîëèòå íà ðóñêàòà ñúâðåìåííà àðõèòåêòóðà. Òîâà å òåæêà çàãóáà çà öÿëîòî àðõèòåêòóðíî îáùåñòâî. Òîé áåøå ïåðôåêòåí â ñâîÿòà àðõèòåêòóðà, ëåêöèè è ïóáëèêàöèè. ÌÀÀ áè èñêàëà äà èçðàçè ñâîèòå èñêðåíè ñúáîëåçíîâàíèÿ íà íåãîâîòî ñåìåéñòâî, êîëåãè è ïðèÿòåëè. Íåêà ïàìåòòà çà íåãî äà æèâåå âå÷íî.

In memoriam John Kay- Professor of the International Academy of Architecture (29 March 1929- 9 April 2009), a famous Canadian architect.

John Kay grew up in Leeds, Yorkshire England. He developed a passion early on for architecture and immigrated to Canada at the age of 21 to pursue his goal of becoming an architect. All his buildings follow a pattern of harmony integrating into nature, his colors and shapes bear witness to the BC landscape. He used wood, rock faces, mountains, water and sun rays to inspire him. He created Tangram shapes to develop earthquake resistant and low costing housing. He was very musical. He sang, played bongo drums and enjoyed a range of music from Jazz to Classical. John Kay wrote lovely poems to his family, he invented various practical items, and he was deeply interested in sciences particularly astronomy. He took part successfully in architectural competitions. He designed also lamps, furniture, water weights etc. He was a brilliant lecturer, presented many exhibitions, publications and television appearances. He received many outstanding distinguished awards. He wanted so much to present his outstanding architectural works at the Xll-th World Triennial of Architecture “lnterarchx2009” (17-20 May 2009) in Sofia., but unfortunately at 9 April 2009, we lost him. On behalf of the IAA Academic Council I am pleased to present his various works and I hope that the architectural society will be interested of this publication.

Georgi Stoilov President of IAA

Äæîí Êåé ïðîôåñîð íà Ìåæäóíàðîäíàòà àêàäåìèÿ ïî àðõèòåêòóðà (29 ìàðò 1929 àïðèë 2009 ã.), å èçâåñòåí êàíàäñêè àðõèòåêò. Äæîí Êåé å èçðàñíàë â Ëèéäñ, Éîðêøèð, Àíãëèÿ. Òîé ðàíî å ðàçâèë ñâîÿòà ñòðàñò êúì àðõèòåêòóðàòà è åìèãðèðà â Êàíàäà íà 21 ã., çà äà ïðåñëåäâà öåëòà ñè äà ñòàíå àðõèòåêò. Âñè÷êèòå ìó ñãðàäè ñà ñëåäâàëè ìîäåëà íà õàðìîíèÿòà è ñå èíòåãðèðàò ñ õàðàêòåðíè öâåòîâå è ôîðìè â ëàíäøàôòà. Èçïîëçâàë å äúðâîòî, êàìåííèòå ñòåíè, ïëàíèíèòå, âîäàòà è ñëúí÷åâèòå ëú÷è êàòî âäúõíîâåíèå. Ñúçäàë å òàíãðàì ôîðìè çà ðàçðàáîòâàíå íà ñåèçìè÷íîóñòîé÷èâè è äîñòúïíè æèëèùà. Áèë å ìíîãî ìóçèêàëåí ïÿë, ñâèðèë íà áîíãî áàðàáàíè è å ñëóøàë ðàçíîîáðàçíà ìóçèêà - îò äæàç äî êëàñè÷åñêà. Äæîí Êåé å íàïèñàë ïðåêðàñíè ñòèõîòâîðåíèÿ çà ñâîåòî ñåìåéñòâî, èçîáðåòèë å ðàçëè÷íè ïðàêòè÷íè ïðåäìåòè è å áèë ñèëíî çàèíòåðåñîâàí îò íàóêàòà, ïî - ñïåöèàëíî îò àñòðîíîìèÿòà. Ó÷àñòâàë å óñïåøíî â àðõèòåêòóðíè êîíêóðñè. Ïðîåêòèðàë å ëàìïè, ìåáåëè, âîäíè òåæåñòè è äð. Òîé å áèë áëåñòÿù ïðåïîäàâàòåë, èìàë å ìíîæåñòâî èçëîæáè, ïóáëèêàöèè è òåëåâèçèîííè èçÿâè. Ïîëó÷èë å ìíîãî îòëè÷èÿ çà àðõèòåêòóðà. Äæîí Êåé ñèëíî èñêàøå äà ïðåäñòàâè ñâîèòå èçêëþ÷èòåëíè àðõèòåêòóðíè òâîðáè íà Xll-òîòî Ñâåòîâíî òðèåíàëå íà àðõèòåêòóðàòà “lnterarch - 2009” (17-20 ìàé 2009 ã.) â Ñîôèÿ. Íî çà ñúæàëåíèå íà 9-òè àïðèë 2009 ã. ãî çàãóáèõìå. Îò èìåòî íà Àêàäåìè÷íèÿ ñúâåò íà ÌÀÀ èìàì óäîâîëñòâèåòî äà âè ïðåäñòàâÿ íåãîâèòå ðàçëè÷íè ðàáîòè è ñå íàäÿâàì, ÷å àðõèòåêòóðíîòî îáùåñòâî ùå ñå çàèíòåðåñóâà îò òàçè ïóáëèêàöèÿ.

Ãåîðãè Ñòîèëîâ ïðåçèäåíò íà ÌÀÀ

NEWS

A BIOGRAPHY John Kay John Kay was born in Sheffield in 1929. His family then moved to Leeds where he was educated first at Roundhay and then Pocklington School. Upon leaving school he began working as a draughtsman at a local architectural practice, his inspiration for this decision lay with his grandfather, John P. Kay who had been an architect based in Park Square, Leeds between 1848 and 1931. Whilst working for G. Allen Burnett in 1948, John first discovered the architecture of Frank Lloyd Wright. Wright’s work was illustrated in the January 1938 edition of, “The Architectural Forum,” an issue entirely devoted to his buildings and ideas. Wright chose this journal to re-launch his career after ten to twelve years of relative inactivity during the Great Depression. The highlight to the publication was a photograph of Fallingwater accompanied by a quotation from Walt Witman: “Beware the advancing mortal ripening of nature. Beware what precedes the decay of the ruggedness of states and man. Beware of civilization.” The images and words had a profound effect on John; he decided that the future of his architectural career lay in North America. Two years later he waved good-bye to a smog bound Liverpool and on the 10th November 1950 sailed into Montreal along the St. Lawrence River. The next day he took a train to Toronto and found a job in the first architectural practice he came upon. After a harsh winter there, John left for the more temperate climate of British Columbia on Canada’s Pacific Coast. The next twelve years saw John criss-cross Canada on a voyage of discovery. Along the way he met his first wife and returned with her and newly born son to Vancouver, in the spring of 1962. By now over thirty his life had reached another turning point: he felt he no longer wished to remain a draughtsman but instead needed to become an architect. He wrote to the R.I.B.A. in London and entered upon a part-time programme, eventually leading to his qualification as an architect. John now describes that turning point as the realisation of a chance of a lifetime. He became an Associate of the R.I.BA. on the 2nd February 1967 and three months later passed his Architectural Institute of British Columbia’s examinations. John began practising immediately and a year later won a, “Canadian Architect” Yearbook Award for the Penland Residence. After establishing himself and winning other architectural awards, he went into partnership with another local architect, Terry Tanner, in 1970. Although the practice won several awards during this time, it was not a commercial success and was dissolved three years later. The experience though provided John with a valuable lesson, for he realised that his real strengths lay in design rather than business. For the next twenty years John remained a sole practitioner, free from the anxieties in having to provide employment for others and instead able to devote himself entirely to his work and architectural goals. He has worked almost exclusively in and around Vancouver and in particular West Vancouver, with its wonderful views over Stanley Park, the ocean and the rest of the city. During this time John has established an excellent working relationship with a developer, together they have built twenty-seven houses to date. They met after one of the houses John had designed, the Kadlec Residence, appeared on local television following his receipt of another national architectural award. The arrangement has worked out particularly well for the architect; the developer was able to provide him with a reasonably steady workload without the need for an essentially shy man to have to chase work. The developer also provided his own construction team that have built John’s designs true to the drawings without the need for him to make regular site visits, a blessing for a chronic asthma sufferer. Recessionary forces over the last couple of years saw John accept an associate position in a local, commercially based practice. There he was able to see his designs explored using computer modelling techniques for the first time. However as John readily accepts, his rather insular personality is more suited to designing alone and he has returned to working as a single practitioner.

Äæîí Êåé å ðîäåí â Øåôèëä ïðåç 1929 ã. Íåãîâîòî ñåìåéñòâî ñå ìåñòè â Ëèéäñ, êúäåòî ïúðâî ó÷è â Ðàóíäõåé è ïîñëå â Ïîêëèíãòîí. Ñëåä çàâúðøâàíå íà ó÷èëèùå òîé çàïî÷âà äà ðàáîòè êàòî ÷åðòîæíèê â ìåñòíî ñòóäèî, êàòî å âäúõíîâåí äà ïîåìå ïî òîçè ïúò îò ñâîÿ äÿäî, êîéòî å áèë àðõèòåêò â Ïàðê Ñêóåúð, Ëèéäñ ìåæäó 1848 è 1931ã. Äîêàòî ðàáîòè çà Àëúí Áðþíåò ïðåç 1948 ã. Äæîí ïúðâî îòêðèâà àðõèòåêòóðàòà íà Ôðàíê Ëîéä Ðàéò. Òâîðáèòå íà Ðàéò ñà ïîêàçàíè ïðåç ÿíóàðè 1938 ã. â èçäàíèåòî "Àðõèòåêòóðåí ôîðóì”, ïîñâåòåíî íà ñãðàäè è èäåè. Ðàéò å èçáðàë òîâà ñïèñàíèå, çà äà çàïî÷íå îòíîâî ñâîÿòà êàðèåðà ñëåä 10 12 ãîäèíè íà íåàêòèâíîñò ïî âðåìå íà ãîäèíèòå íà Ãîëÿìàòà äåïðåñèÿ. Ïóáëèêàöèÿòà å ïîä÷åðòàíà îò ñíèìêà íà âîäîïàäà, ïðèäðóæåíà ñ öèòàò îò Óîëò Óèòìàí:"Ïàçåòå ñå îò íàçðÿâàùàòà ñìúðò íà ïðèðîäàòà. Ïàçåòå ñå îò ðàçïàäà íà èçäúðæëèâîñòòà íà äúðæàâèòå è ÷îâåêà. Ïàçåòå ñå îò öèâèëèçàöèÿòà.”Ñíèìêèòå è íàïèñàíèòå äóìè ñà èìàëè îãðîìíî âúçäåéñòâèå íàä Äæîí è òîé ðåøàâà, ÷å áúäåùåòî ìó íà àðõèòåêò å â Ñåâåðíà Àìåðèêà. Äâå ãîäèíè ïî-êúñíî òîé ñå ñáîãóâà ñ Ëèâúðïóë è íà 10-òè íîåìâðè 1950 ã.îòïëàâà çà Ìîíðåàë ïî ðåêà Ñàí Ëàóðåíñ. Íà ñëåäâàùèÿ äåí âçèìà âëàêà çà Òîðîíòî è íàìèðà ðàáîòà â ïúðâîòî áþðî, â êîåòî âëèçà. Ñëåä òåæêà çèìà òàì, Äæîí îòïúòóâà êúì ïî-óìåðåíèÿ êëèìàò íà Áðèòàíñêà Êîëóìáèÿ íà áðåãà íà Òèõèÿ îêåàí. Ïðåç ñëåäâàùèòå 12 ãîäèíè Äæîí ïðåêîñÿâà Êàíàäà ñ èäåÿòà çà íîâè îòêðèòèÿ. Ïî ïúòÿ ñðåùà ïúðâàòà ñè ñúïðóãà è ñå âðúùà ñ íåÿ è íîâîðîäåíèÿ ñè ñèí âúâ Âàíêóâúð ïðåç ïðîëåòòà íà 1962 ã. Ñëåä 30òàòà ñè ãîäèøíèíà äîñòèãà äî ñëåäâàùèÿ îáðàò â ñâîÿ æèâîò è ðåøàâà, ÷å íå èñêà ïîâå÷å äà å ÷åðòîæíèê, à àðõèòåêò. Ïèøå äî R.I.B.A. â Ëîíäîí è êàíäèäàòñòâà çà ïðîãðàìàòà çàäî÷íî, êîåòî ïî-êúñíî ìó äîíàñÿ è êâàëèôèêàöèÿòà íà àðõèòåêò. Äæîí îïèñâà òîâà ðåøåíèå êàòî ðåàëèçèðàíå íà øàíñà â ñâîÿ æèâîò. Äæîí Êåé ñòàâà ÷ëåí íà R.I.B.A. íà 2-ðè ôåâðóàðè 1967 ã. è òðè ìåñåöà ïî-êúñíî ìèíàâà èçïèòèòå íà Àðõèòåêòóðíèÿ èíñòèòóò íà Áðèòàíñêà Êîëóìáèÿ. Çàïî÷âà äà ïðàêòèêóâà âåäíàãà è ãîäèíà ïîêúñíî ïå÷åëè ãîäèøíàòà íàãðàäà “Àðõèòåêò íà Êàíàäà”. Ïðåç 1970 ã. âëèçà â ñúäðóæèå ñ äðóã ìåñòåí àðõèòåêò - Òåðè Òàíåð. Çà Äæîí Êåé òîçè ïåðèîä å áåëÿçàí ñ íÿêîëêî àðõèòåêòóðíè íàãðàäè, íî è ñ ëèïñà íà ôèíàíñîâ óñïåõ. Òðè ãîäèíè ïî-êúñíî òîé å ðàçî÷àðîâàí. Îïèòúò îáà÷å ìó å äàë öåííèÿ óðîê, ÷å íåãîâàòà èñòèíñêà ñèëà íå å â áèçíåñà, à â äèçàéíà. Ïðåç ñëåäâàùèòå 20 ãîäèíè Äæîí ðàáîòè ñàì íà ñâîáîäíà ïðàêòèêà ïî÷òè èçöÿëî âúâ Âàíêóâúð, ïî-òî÷íî â Çàïàäåí Âàíêóâúð ñ ïðåêðàñíèòå ñè ãëåäêè êúì Ñàòëè ïðàê, îêåàíà è îñòàíàëàòà ÷àñò îò ãðàäà. Óñïÿâà èçöÿëî äà ñå ïîñâåòè íà ðàáîòàòà è íà öåëèòå, êîèòî ñè ïîñòàâÿ. Ïðåç òîâà âðåìå óñòàíîâÿâà îòëè÷íè ðàáîòíè îòíîøåíèÿ ñ åäèí èíâåñòèòîð, ñ êîãîòî ïîñòðîÿâàò 27 êúùè. Ïîêúñíî åäíà îò êúùèòå, ïðîåêòèðàíè îò íåãî „Êàäëåê ðåçèäåíöèÿ”, ïå÷åëè àðõèòåêòóðíà íàãðàäà. Òàçè êîíôèãóðàöèÿ ðàáîòè èçêëþ÷èòåëíî äîáðå çà àðõèòåêòà, çàùîòî ñòðîèòåëÿò ìó îñèãóðÿâà ñòàáèëíà ðàáîòà áåç íåîáõîäèìîñòòà òîé ñàì äà íàìèðà ïðîåêòè. Ïðåäïðèåìà÷úò ñúùî å èìàë åêèï, êîéòî äà ðåàëèçèðà èçöÿëî ïðîåêòèòå íà Äæîí áåç äà èìà íóæäà àðõèòåêòúò, ñòðàäàù îò õðîíè÷íà àñòìà, äà ïîñåùàâà ñòðîèòåëíèòå ïëîùàäêè. Ïîðàäè ðåöåñèÿòà, Äæîí å ïðèíóäåí äà ïðèåìå ñúòðóäíè÷åñòâî ñ ìåñòíà êîìåðñèàëíî îðèåíòèðàíà ôèðìà. Òàì çà ïúðâè ïúò âèæäà ñîáñòâåíèòå ñè ïðîåêòè, ðåàëèçèðàíè ñ ïîìîùòà íà êîìïþòúðíîòî ìîäåëèðàíå. Âúïðåêè ÷å òîâà ìó äîïàäà, íåãîâèÿò õàðàêòåð ãî êàðà äà ñå âúðíå êúì ñàìîñòîÿòåëíîòî ïðàêòèêóâàíå íà ïðîôåñèÿòà.

WORK COMPETITIONS

ÊÎÍÊÓÐÑÈ

• XI òí WORLD TRIENNIEL OF ARCHITECTURE - INTERARCH 2006 Silver Medal International Academy of Architecture Competition / Exhibition, for the Lowe residence Special Prize of the Mayor of Charleroi, Belgium, “L’Architecture Durable Contemporaine” • Canadian Architect Annual Awards Housing Project for G.R.I. Developments Penland Residence Tangram Series Housing Units, Tanner / Kay Associates Miller Residence Reid Residence, Tanner / Kay Associates • Canadian Housing Design Council Solloway Residence Baadsvig Residence Grant Residence Variety Club Children’s Villa • West Vancouver Inaugural Design Competition 1985 District Design Award

• XI-òî Ñâåòîâíî Òðèåíàëå çà Àðõèòåêòóðà - Interarch 2006 Ñðåáúðåí Ìåäàë íà ÌÀÀ / Exhibition, for the Lowe residence Ñïåöèàëíà Íàãðàäà îò êìåòà íà Øàëåðî, Áåëãèÿ “LArchitecture Durable Contemporaine” • Êàíäàñêè ãîäèøíè íàãðàäè çà àðõèòåêòóðà Ïðîåêò çà æèëèùíè ñãðàäè G.R.I. Developments Penland Residence Tangram Series Housing Units, Tanner / Kay Associates Miller Residence Reid Residence, Tanner / Kay Associates • Êàíàäñêîòî êîíñóëñòâî çà æèëèùíî ïðîåêòèðàíå Solloway Residence Baadsvig Residence Grant Residence Variety Club Childrens Villa • Äèçàéí Êîíêóðñ íà Çàïàäåí Âàíêóâúð 1985

EXHIBITIONS and LECTURES

• 2006 Èçáðàíè àâòîðè, I.A.A. Ñâåòîâíî Òðèåíàëå çà Àðõèòåêòóðà, Simmons residence • 2003 Èçáðàíè àâòîðè, I.A.A. Ñâåòîâíî Òðèåíàëå çà Àðõèòåêòóðà • 2003 Óíèâåðñèòåòúò íà Áðèòàíñêà Êîëóìáèÿ • 2002 Auburn University Àëàáàìà, ÑÀÙ • Õàëèôàêñ - Àíãëèÿ • 2000 Ïðèÿòåëè íà Kebyar Architectural Society ×èêàãî, ÑÀÙ • Royal Institute of British Architects: 150-òà Ãîäèøíèíà íà èçëîæáàòà íà Overseas Architects Work - Guildhall, Ëîíäîí • Ìåæäóíàðîäíà êîíôåðåíöèÿ íà æèëèùíî ñòðîèòåëñòâî - Âàíêóâúð • Àðõèòåêòóðåí èíñòèòóò íà Áðèòàíñêà Êîëóìáèÿ

• 2006 Selected Exhibitor, I.A.A. World Trienniel of Architecture, Simmons residence • 2003 Selected Exhibitor, I.A.A. World Trienniel of Architecture • 2003 University of British Columbia • 2002 Auburn University - ALABAMA, U.S.A. • Halifax - ENGLAND • 2000 Friends of Kebyar Architectural Society - CHICAGO, U.S.A. • Royal Institute of British Architects: 150th Anniversary Exhibition of Overseas Architects’ Work - GUILDHALL, LONDON • International Conference on Housing - VANCOUVER, B.C. • Architectural Institute of British Columbia

PUBLICATIONS • 2004 Tasarim - ISTANBUL, TURKEY • 2000 Friends of Kebyar Journal: “The Architecture of John Kay” • Leeds University - ENGLAND - Student Thesis: “Architecture of John Kay” • House Beautiful - U.S.A. • Journal do Brasil - BRAZIL • Ike Gabouwen - BELGIUM • Los Angeles Times - U.S.A. • Architecture - CANADA • The Canadian Architect • Western Living • The Architect’s Journal - ENGLAND • Wood World • Practical Homeowner - U.S.A.

PUBLICATIONS - Continued • International Design Journal, SEOUL, KOREA • House Beautiful, U.S.A. • Journal do Brasil, BRAZIL • Ike Gabouwen, BELGIUM • Los Angeles Times, U.S.A. • Architecture Canada • The Canadian Architect • Western Living • Skyward • Easy Living • Vancouver Province • Vancouver Sun • Journal of Commerce • Select Homes - Wood World • Practical Homeowner, U.S.A. • Chinese Lifestyles • Award Magazine • Exploring Vancouver • Vancouver Tomorrow • The Architect’s Journal, ENGLAND

ÈÇËÎÆÁÈ È ËÅÊÖÈÈ

ÏÓÁËÈÊÀÖÈÈ • 2004 Tasarim Èñòàíáóë, Òóðöèÿ • 2000 Ïðèÿòåëèòå íà Kebyar Journal: “Àðõèòåêòóðàòà íà Äæîí Êåé” • Leeds University - Àíãëèÿ Ñòóäåíòñêà äèñåðòàöèÿ: “Àðõèòåêòóðàòà íà Äæîí Êåé” • House Beautiful - ÑÀÙ • Journal do Brasil - Áðàçèëèÿ • Ike Gabouwen - Áåëãèÿ • Los Angeles Times - ÑÀÙ • Architecture - Êàíàäà • The Canadian Architect • Western Living • The Architects Journal - Àíãëèÿ • Wood World • Practical Homeowner - ÑÀÙ • International Design Journal, Ñåóë, Êîðåÿ • House Beautiful, ÑÀØ • Journal do Brasil, Áðàçèëèÿ • Ike Gabouwen, Áåëãèÿ • Los Angeles Times, ÑÀÙ • Architecture Canada • The Canadian Architect • Western Living • Skyward • Easy Living • Vancouver Province • Vancouver Sun • Journal of Commerce • Select Homes - Wood World • Practical Homeowner, ÑÀÙ • Chinese Lifestyles • Award Magazine • Exploring Vancouver • Vancouver Tomorrow •The Architects Journal, Àíãëèÿ

NEWS

ARCHITECTURAL PHILOSOPHY

Architecture and Nature “The study of Architecture is for me, a lifetime quest to comprehend order in Nature.” John Kay This statement provides a good starting point towards forming an understanding of John KayVOrganic Architecture. Although it is possible and even tempting to identify other architects that have influenced him, Nature and in particular the British Columbian landscape have inspired him above all else. For John there are two factors that he considers equally in his approach to design. Firstly the client’s accommodation requirements and secondly the proposed site’s potential. In forming a brief with prospective clients, his approach varies little from that taken by architects the world over but his response to site conditions is distinct. John believes that, “An architect should know the land and it should shape the building.” He regards the site as a parent space, passing on its characteristics to the building as, “An aesthetic, generic inheritance.” He has demonstrated through his designs that this idea can, in part, be achieved through the construction of geometric equivalents of the naturally occurring features of the site. The landscape of British Columbia has been shaped over the millennia by glaciation and the movement of the Continental Plates. Today the natural landscape is dominated by four elements; water, rock, trees and mountains. John Kay creates architectural equivalents of these elements within his buildings: houses have been massed as geometric approximations to mountpin ranges, sun louvres mimic the branches of surrounding trees, forms are shaped and stained to match rock outcropping and roofs have been flooded to provide reflecting pools. Through such metaphors the architect is able to integrate his buildings with the natural landscape. John maintains that this is the only conceivable way in which buildings should be designed. The architectural means for Organic Architects are endlessly variable but the architectural objective remains unchangeable. The B.C. landscape is prolific in its composition and elaborate in its contour, to integrate the buildings must follow suit.” John Kay

Àðõèòåêòóðàòà è ïðèðîäàòà "Èçó÷àâàíåòî íà àðõèòåêòóðàòà çà ìåí å çàäà÷à çà öÿë æèâîò, çà äà ðàçáåðà ðåäà â ïðèðîäàòà”, èçïîâÿäâà Äæîí Êåé. Òîâà òâúðäåíèå ïîòâúðæäàâà äîáðîòî íà÷àëî ïðè ôîðìèðàíå íà ðàçáèðàíåòî ìó çà îðãàíè÷íà àðõèòåêòóðà. Âúïðåêè ÷å å âúçìîæíî, è äîðè å èíòåðåñíî äà èäåíòèôèöèðàìå äðóãè àðõèòåêòè, êîèòî ñà ìó ïîâëèÿëè, çà íåãî ïðèðîäàòà, è ïî-ñïåöèàëíî, ïåéçàæèòå íà Áðèòàíñêà Êîëóìáèÿ, ñà îñíîâíîòî âäúõíîâåíèå. Çà Äæîí èìà äâà ðàâíîñòîéíè îñíîâíè ôàêòîðà, êîèòî òîé âçåìà ïîä âíèìàíèå â ïîäõîäà ñè êúì äèçàéíà. Íà ïúðâî ìÿñòî ñà èçèñêâàíèÿòà íà êëèåíòèòå, à íà âòîðî - ïîòåíöèàëúò íà äàäåíîòî ìÿñòî. Äæîí âÿðâà, ÷å „àðõèòåêòúò òðÿáâà äà ïîçíàâà çåìÿòà è òÿ òðÿáâà äà îôîðìè ñãðàäàòà”. Òîé ñìÿòà, ÷å çåìÿòà ïðåäàâà íà ñãðàäàòà ñâîèòå õàðàêòåðíè ÷åðòè êàòî „åñòåòè÷åñêî íàñëåäñòâî”. Ñúñ ñâîèòå ïðîåêòè òîé äåìîíñòðèðà èäåÿòà, ÷å ÷àñòè÷íî ñòðóêòóðèòå ñà ãåîìåòðè÷íè åêâèâàëåíòè íà ïðèðîäíèòå ôîðìè íà ìÿñòîòî. Ïåéçàæúò íà Áðèòàíñêà Êîëóìáèÿ ñå å îôîðìÿë ïðåç õèëÿäîëåòèÿòà íà ëåäíèêîâèÿ ïåðèîä. Âëèÿíèå âúðõó íåãî å îêàçàëî è äâèæåíèåòî íà êîíòèíåíòàëíèòå ïîâúðõíîñòè. Ïðèðîäàòà òóê å äîìèíèðàíà îò ÷åòèðè åëåìåíòà: âîäà, ñêàëè, äúðâåòà è ïëàíèíè. Äæîí Êåé ñúçäàâà àðõèòåêòóðíè åêâèâàëåíòè íà òåçè åëåìåíòè â ñâîèòå ñãðàäè: êúùèòå ñà ñòðóïàíè êàòî ãåîìåòðè÷íè ìåòàôîðè íà ïëàíèíñêèÿ ðåëåô, ñëúí÷åâè æàëóçè èìèòèðàò êëîíèòå íà çàîáèêàëÿùèòå äúðâåòà, ôîðìèòå ñà íàïðàâåíè è îöâåòåíè òàêà, ÷å äà óïîäîáÿâàò ñêàëèòå. Ñ ïîäîáíè ìåòàôîðè àðõèòåêòúò å ñïîñîáåí äà èíòåãðèðà ñâîèòå ñãðàäè â ïðèðîäíèÿ ïåéçàæ. Äæîí å óáåäåí, ÷å òîâà å íà÷èíúò, ïî êîéòî òðÿáâà äà áúäàò ïðîåêòèðàíè ñãðàäèòå. „Àðõèòåêòóðíèòå ñðåäñòâà íà îðãàíè÷íèòå àðõèòåêòè ñà áåçêðàéíî ðàçíîîáðàçíè, íî àðõèòåêòóðíèòå öåëè ñà âèíàãè åäíè. Ïåéçàæúò îùå îò ïðåäè íîâàòà åðà å áîãàò â ñâîÿòà êîìïîçèöèÿ è ðàçâèâà â ñâîèòå êîíòóðè ñãðàäè, êîèòî ñëåäâàò ðåëåôà.” Äæîí Êåé.

The rocks are abstract sculptures. Beautifully eroded by wind, rain and ice over the millenia. Their forms, voids, surfaces, textures and colours can be translated into building designs.

Ñêàëèòå ñà àáñòðàêòíè ñêóëïòóðè. Êðàñèâî åðîçèðàíè îò âÿòúðà, äúæäà è ëåäà ïðåç õèëÿäîëåòèÿòà. Òåõíèòå ôîðìè, êóõèíè, ïîâúðõíîñòè, òåêñòóðè è öâåòîâå ìîãàò äà áúäàò ïðåâúðíàòè â àðõèòåêòóðåí äèçàéí. The property is a very steep slope with several large conifers. In one of them is an eagles nest. The architectural response is 2 “eagle nest” sundecks high above the forest floor. Èìîòúò å ìíîãî ñòðúìåí ñêëîí ñ íÿêîëêî ãîëåìè èãëîëèñòíè äúðâåòà. Â åäíî îò òÿõ èìà ãíåçäî íà îðëè. Àðõèòåêòóðíèÿò îòãîâîð ñà 2 “îðëîâè” ïèëîíà èçäèãàùè ñå âèñîêî íàä ãîðàòà.

Forest form introduced to the interior. Vertical striations of the tree trunks find expression in the building. Ãîðñêèòå ôîðìè ïðèñúñòâàò è â èíòåðèîðà. Âåðòèêàëåíèòå áðàçäè íà ñòâîëîâå íà äúðâåòà ñà íàìåðèëè èçðàç è â ñãðàäàòà.

NEWS

Nature’s Design System John traces such use of a design system back to Nature. He quotes Darwinian theory, of all living things being created using a set of standardised components, able to be modified to suit climatic and terrain conditions. Trees for example have six basic elements: roots, trunk, branches, leaves, bark and colour. Mammals and most reptiles also have six: head, trunk, four limbs, tail, surface characteristic and colour. John states that as a result of evolution there is a sense of absolute conviction in the designs of Nature, “Design rigour in Nature forces extinction.” The use of a limited palette also occurs in music, a finite number of notes can be combined in an “infinite” variety of compositions. Wagner described this system as his Leit Motif, it gave cohesion, co-ordination and unification to musical compositions. John believes that an architectural equivalent of Wagner’s Leit Motif is a singularity of colour and materials to unite a variety of forms. For the architect, standardisation of building components does not impose restraint upon design but provides a basis for the distribution of parts whilst maintaining unity and a capacity for endless expansion. John Kay’s evolving design system employs seven standard elements, translated from both Nature and castles: wall planes, the cylinder, sun louvre, water, glass, cedar siding and colour.

Materials Only two basic materials are incorporated in the construction of John’s houses, timber and glass. Minimal steel sections are used to provide structural support where the use of timber would be impractical. John Kay adopts the Organic ideal of incorporating local building materials. British Columbia is one of the world’s great forest zones; timber framed construction has been the mainstay of domestic building throughout man’s existence in this Province. John has found timber to be a wonderfully adaptable building material and as characterised in the work of the Greene Brothers in California, is inherently safer under earth tremor conditions than masonary construction: British Columbia lies on a continental plate fault line. John’s timber framed houses are invariably clad with cedar which has excellent weathering properties. The cedar strips are sealed and stained to suit the site’s particular terrain conditions. All contrasting trim has been eliminated, emphasis is therefore placed on form rather than decoration.

Contemporary Architecture. As we near the beginning of a new century John sees the need for the present wider interest in environmental concerns to be translated by architects into buildings: “Architects should be ahead of the game not bringing up the rear.” As has been demonstrated, John’s approach in this respect is to minimise the impact of his designs on the natural landscape through the use of sympathetic building forms and local materials. However it is only in the design of his own family home that he has taken Organic principles to their logical conclusion: Green Architecture. Here he has incorporated energy saving measures hinted at in the designs for his clients. Green Architecture requires an undertaking from both client and architect, it is surely one of the profession’s duties to educate clients as to why and how this can be achieved.

Ïðèðîäíàòà äèçàéí ñèñòåìà Äæîí ïðîñëåäÿâà ïîäîáíà äèçàéí ñèñòåìà â ïðèðîäàòà. Òîé öèòèðà òåîðèÿòà íà Äàðâèí, ñïîðåä êîÿòî âñè÷êè æèâè ñúùåñòâà ñà ñúçäàäåíè îò ñòàíäàðòíè êîìïîíåíòè, êîèòî îòãîâàðÿò íà êëèìàòè÷íèòå è ãåîëîãè÷íèòå óñëîâèÿ. Äúðâåòàòà, íàïðèìåð, èìàò øåñò îñíîâíè åëåìåíòà: êîðåíè, ñòåáëî, êëîíè, ëèñòà, êîðà è öâÿò. Áîçàéíèöèòå è ïîâå÷åòî âëå÷óãè ñúùî èìàò øåñò: ãëàâà, òÿëî, ÷åòèðè êðàéíèêà, îïàøêà, õàðàêòåðíà ïîâúðõíîñò è öâÿò. Äæîí òâúðäè, ÷å â ðåçóëòàò íà åâîëþöèÿòà, èìà óñåùàíåòî çà àáñîëþòíà êîíâåíöèîíàëíîñò íà äèçàéíà â ïðèðîäàòà, „Ñòðîãîñòòà íà äèçàéíà â ïðèðîäàòà å ïðè÷èíà çà èç÷åçâàíåòî íà íÿêîè âèäîâå”, êàçâà òîé. Óïîòðåáàòà íà îãðàíè÷åíà ïàëèòðà ñå ñðåùà è â ìóçèêàòà, êúäåòî îãðàíè÷åí áðîé îò íîòè ìîãàò äà áúäàò êîìáèíèðàíè â „íåîãðàíè÷åíî” ðàçíîîáðàçèå îò êîìïîçèöèè. Âàãíåð îïèñâà òàçè ñèñòåìà êàòî ñâîÿ ëàéòìîòèâ, êîéòî äîïðèíàñÿ çà ñáëèæàâàíåòî, êîîðäèíàöèÿòà è îáåäèíÿâàíåòî íà ìóçèêàëíèòå êîìïîçèöèè. Äæîí âÿðâà, ÷å àðõèòåêòóðíèÿò åêâèâàëåíò íà âàãíåðîâèÿ ëàéòìîòèâ å èíäèâèäóàëíîñòòà íà öâåòîâåòå è ìàòåðèàëèòå, êîèòî ñå îáåäèíÿâàò, çà äà ñúçäàäàò ðàçíîîáðàçèåòî íà ôîðìèòå. Çà àðõèòåêòà ñòàíäàðòèçèðàíåòî íà ñòðîèòåëíèòå êîìïîíåíòè íå íàëàãà îãðàíè÷àâàíå â äèçàéíà, à îñèãóðÿâà áàçà çà òÿõíàòà ïîäðåäáà, êàòî çàïàçâà åäèíñòâîòî è ñïîñîáíîñòòà èì çà áåçêðàéíî ðàçøèðÿâàíå. Çà àðõèòåêòà ñòàíäàðòèçèðàíåòî íà ñòðîèòåëíèòå êîìïîíåíòè íå íàëàãà îãðàíè÷àâàíå â äèçàéíà, à îñèãóðÿâà áàçà çà òÿõíàòà ïîäðåäáà, êàòî çàïàçâà åäèíñòâîòî è ñïîñîáíîñòòà èì çà áåçêðàéíî ðàçøèðÿâàíå. Åâîëþèðàùèòå äèçàéí ñèñòåìè íà Äæîí Êåé èçïîëçâàò ñåäåì ñòàíäàðòíè åëåìåíòà, ïðåíåñåíè åäíîâðåìåííî îò ïðèðîäàòà è çàìúöèòå: çèäîâå, öèëèíäðè, ñëúí÷åâè æàëóçè, âîäà, ñòúêëî, îáøèâêè îò êåäúð è öâåòîâå.

Ìàòåðèàëèòå Ñàìî äâà îñíîâíè ìàòåðèàëà ñà èíêîðïîðèðàíè â êîíñòðóêöèÿòà íà êúùèòå íà Äæîí - äúðâî è ñòúêëî. Èçïîëçâàíè ñà è ìèíèìàëíî êîëè÷åñòâî ñòîìàíåíè åëåìåíòè, çà äà îñèãóðÿò ñòðóêòóðíàòà ñòàáèëíîñò, êîãàòî èçïîëçâàíåòî íà äúðâîòî áè áèëî íåïðàêòè÷íî. Çà óñòîé÷èâîñòòà íà ñãðàäèòå Äæîí Êåé èçïîëçâà ìàòåðèàëè, êîèòî ñà õàðàêòåðíè çà ìåñòíîñòòà. Áðèòàíñêà Êîëóìáèÿ å åäíà îò íàé-ãîëåìèòå çàëåñåíè çîíè â ñâåòà è äúðâåíèòå êîíñòðóêöèè ñà ïðåäïî÷èòàíè çà æèëèùíèòå ïîñòðîéêè. Äæîí å ðàçáðàë, ÷å äúðâîòî å ñòðîèòåëåí ìàòåðèàë, êîéòî ÷óäåñíî ñå àäàïòèðà êúì ðàçëè÷íè ïðîåêòè è å ñåèçìè÷íî óñòîé÷èâ. Äúðâåíèòå êúùè íà Äæîí âèíàãè ñà îáëèöîâàíè ñ êåäúð, êîéòî èìà îòëè÷íè èçîëàöèîííè êà÷åñòâà. Êåäðîâèòå äúñêè ñà çàëåïåíè è îöâåòåíè òàêà, ÷å äà îòãîâàðÿò íà óñëîâèòà, êîèòî ïðåäîñòàâÿ òåðåíúò. Âñè÷êè êîíòðàñòè ñà åëèìèíèðàíè, à óäàðåíèåòî å ïîñòàâåíî íà ôîðìàòà, âìåñòî íà äåêîðàöèÿòà.

Ñúâðåìåííàòà àðõèòåêòóðà Òúé êàòî â íà÷àëîòî íà íîâèÿ âåê Äæîí âèæäà íóæäàòà îò íàñòîÿùå, êîåòî å ïî-êîíöåíòðèðàíî íàä ïðîáëåìèòå íà îêîëíàòà ñðåäà, òîé ïðåíàñÿ òîâà â ñâîèòå ñãðàäè: „Àðõèòåêòúò òðÿáâà äà å åäíà êðà÷êà íàïðåä, à íå íàçàä”. ×ðåç óïîòðåáàòà íà óìåðåíè ôîðìè è ìåñòíè ìàòåðèàëè Äæîí Êåé äåìîíñòðèðà ïîäõîäà ñè â òàçè íàñîêà - äà ñå íàìàëè âúçäåéñòâèåòî íà ñãðàäèòå âúðõó ïðèðîäíèÿ ïåéçàæ. Âúïðåêè ÷å òîâà å ñàìî â ïðîåêòèòå íà íåãîâèòå ñåìåéíè êúùè, êúäåòî å óñïÿë äà ïðèëîæè ïðèíöèïèòå íà îðãàíè÷íîñòòà è äà ñòèãíå äî óáåæäåíèåòî, ÷å áúäåùåòî å íà çåëåíòà àðõèòåêòóðà. Òóê òîé å ñú÷åòàë è åíåðãîñïåñòÿâàùè ìåðêè. Çåëåíàòà àðõèòåêòóðà èçèñêâà åäíîâðåìåííî óñèëèå è îò êëèåíòà, è îò ïðîåêòàíòà. Ñúñ ñèãóðíîñò åäíî îò çàäúëæåíèÿòà íà ïðîôåñèÿòà íà àðõèòåêòà å äà îáðàçîâà êëèåíòèòå, äà ãè íàó÷è çàùî è êàê òðÿáâà äà áúäå ïîñòèãíàòî òîâà.

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

ÊÚÙÀ ÍÀ ÂÎÄÎÏÀÄÀ Ìîðñêè ñêàëè, îôîðìåíè ïðåç åîíèòå, ñà ãåîìåòðè÷íî êîìïëèöèðàíè. Íà ñëúíöå òåõíèòå ðàçíîîáðàçíè ïîâúðõíîñòè ñà íåïðàâèëíè ïåòíà îò ñâåòëèíè è ñåíêè. Ôîðìèòå íà êúùàòà ñà óìèøëåíî ñìåñåíè - çàîáëåíè, úãëîâè è ëèíåéíè, òàêà ÷å ïîâúðõíîñòèòå è òåõíèòå ñåíêè ñå ñìåñÿò ñ òåçè íà ñêàëèòå. Íàñëåäåíî îò Ô.Ë. Ðàéò, ìîåòî óñåùàíå çà îêîëíàòà ñðåäà å, ÷å òðÿáâà äà èìà áàëàíñèðàíî ïðèñúñòâèå íà àðõèòåêðóðàòà è ïðèðîäàòà. Ôîðìà, ñòðóêòóðà, öâÿò, ìàòåðèàë, ìàùàá, êîíòóð, ïðîçðà÷íîñò, çäðàâèíà, ñëúíöå, ñåíêè - âñè÷êî èìà áåçêðàéíè âàðèàöèè.

NEWS

HOUSE OF COLUMNS Landscape integrated buildings for those who want to live in harmony with nature. Any building is a manmade intervention on the land. Whether it will be a cherished new arrival or a plundering invader is for its creator to decide.

ÊÚÙÀ ÍÀ ÊÎËÎÍÈ Èíòåðãðèðàíà â îêîëíàòà ñðåäà, òàçè êúùà å çà òåçè, êîèòî îáè÷àò äà æèâåÿò â õàðìîíèÿ ñ ïðèðîäàòà. Âñÿêà ñãðàäà å ÷îâåøêà èíòåðâåíöèÿ íà çåìÿòà. Íî òîâà, äàëè ùå áúäå ïëîäîòâîðíî íîâî ïðèñúñòâèå èëè îñàêàòÿâàù íàøåñòâåíèê, çàâèñè îò ñúçäàòåëÿ.

NEWS

THE TREE HOUSE The architects role is that of interpreter, translating natural form characteristics into geometrical equivalents. Trees are natures cylinders and the cylindrical towers of the houses illustrated, fit form for form with the immense conifer of the Pacific coast. There is thus a visual dialogue between the natural and the man made. In fact the intention is for the building to become an architectural abstraction of the site. Since the land is too steep to use as a garden it has been left in its natural state and the idea of an "eagles nest" has been borrowed from nature. 2 eagle nest sundecks are supported by 6 foot diameter columns and are accessed via bridges.

ÊÚÙÀ ÍÀ ÄÚÐÂÎ Ðîëÿòà íà àðõèòåêòà å ðîëÿ íà ïîñðåäíèê, ïðåâåæäàù õàðàêòåðíèòå ïðèðîäíè ôîðìè â òåõíèòå ãåîìåòðè÷íè åêâèâàëåíòè. Äúðâåòàòà ñà ïðèðîäíèòå öèëèíäðè è öèëèíäðè÷íèòå êóëè íà èëþñòðèðàíàòà êúùà, çàìåíÿéêè ôîðìà ñ ôîðìàòà íà îãðîìíèòå èãëîëèñòíè íà Òèõîîêåàíñêîòî êðàéáðåæèå.Òàêà ñå ñúçäàâà âèçóàëåí äèàëîã ìåæäó ïðèðîäàòà è ÷îâåøêîòî òâîðåíèå. Âñúùíîñò íàìåðåíèåòî â ñëó÷àÿ å äà ñå ñúçäàäå ñãðàäà, êîÿòî äà áúäå àðõèòåêòóðíà àáñòðàêöèÿ íà ìÿñòîòî. Òúé êàòî òåðåíúò å ïðåêàëåíî ñòðúìåí, çà äà áúäå èçïîëçâàí êàòî ãðàäèíà å îñòàâåí â åñòåñòâåíîòî ñè ïîëîæåíèå, à èäåÿòà çà „îðëîâî ãíåçäî” å çàåòà îò ïðèðîäàòà. Äâå ïàëóáè ñ îðëîâè ãíåçäà ñà âäèãíàòè íà âèñî÷èíà 6 ôóòà ñ ïîìîùòà íà êîëîíè è ñà äîñòúïíè ÷ðåç ìîñòîâå.

NEWS

THE LEAVES HOUSE The trees and the building are woven together. Beams embrace the trees, which become an integral part of the composition.

ÊÚÙÀÒÀ ÍÀ ËÈÑÒÀÒÀ Äúðâåòàòà è ñãðàäàòà ñà âïëåòåíè. Ãðåäè îáãðàæäàò äúðâåòàòà, êîèòî ñòàâàò îñíîâíà ÷àñò îò êîìîçèöèÿòà.

A house in the forest Since conifers are our most abundant visual resource in British Columbia and visual matching is a main organic objective - it is necessary to consider them in some detail. Conifers are vertically cantilevered out of the ground to great height. The trunk is a tapered column supported and sustained by its extensive root system. Main branches radiate from the column,cantilevering spectacularly, proliferating in a cascade of smaller cantilevers culminating in cones, twigs and rich green needles. The whole entity is a giant pump, sucking water up and out through the system. As a counterpoint to our exhaling carbon dioxide trees absorb it. Together with the oceans, forests are the lungs of the earth, a vital component of life.

Êúùà â ãîðàòà Òúé êàòî èãëîëèñòíèòå ñà íàøåòî íàé-ãîëÿìî âèçóàëíî îáêðúæåíèå â Áðèòàíñêà Êîóáèÿ , à âèçóàëíîòî âïèñâàíå å îñíîâíà öåë, å íåîáõîäèìî äà ãè ðàçãëåäàìå â äåòàéë. Èãëîëèñòíèòå ñà íàáðàçäåíè îò çåìÿòà äî âúðõà. Ñòâîëúò å çàîñòðåíà êîëîíà, ïîääúðæàíà îò øèðîêà ñèñòåìà îò êîðåíè. Ãîëåìè êëîíè ñå ðàçêëîíÿâàò îò êîëîíàòà êàòî ïðåêðàñíè êîíçîëè, ðàçïðîñòèðàéêè ñå â êàñêàäè îò ïî-ìàëêè êîíçîëè, çàâúðøâàùè â øèøàðêè, êëîíêè è çåëåíè èãëè÷êè. Öÿëîòî å åäíà ãèãàíòñêà ïîìïà, èçñìóêâàùà âîäàòà íàãîðå è ïðåç ñèñòåìàòà.

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THE SKY HOUSE The energy of the forms tranquilized by consistency of colour. This house: 1 of 3 selected by televisions Life Network series “ Homes by design “ future homes program

ÊÚÙÀ ÊÚÌ ÍÅÁÅÒÎ Åíåðãèÿòà íà ôîðìèòå å áàëàíñèðàíà îò êîíñèñòåíöèÿòà íà öâåòà.

Co-ordination of colour extends throughout. Variations of warm grey-brown express the total composition as a monolithic whole.

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FLOATING RESIDENSE Mandated constraints and client preferences require the zoning envelope to be fully filled. At the same time no projections beyond the envelope were permitted - no overhangs. The inevitable result was a compact, vertically oriented cubic volume, relying on minimal intrusions and interplay of solids and voids.

ÏËÀÂÀÙ ÄÎÌ Ðåãóëàòèâíè îãðàíè÷åíèÿ è ïðåäïî÷èòàíèÿ íà êëèåíòà èçèñêâàò î÷åðòàíèÿòà íà äîïóñòèìîòî çàñòðîÿâàíå äà áúäå èçïúëíåíî èçöÿëî. Â ñúùîòî âðåìå íå ñà ïîçâîëåíè íèêàêâè äîïúëíèòåëíè íàâåñè èëè èçäúëæåíèÿ. Íåèçáåæíèÿò ðåçóëòàòà å êîìïàêòåí, âåðòèêàëíî îðèåíòèðàí êóáè÷åí îáåì, ðàç÷èòàù íà ìèíèìàëíè ðàçìèíàâàíèÿ è èãðà íà îáåìè è êóõèíè.

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GREEN VILLAGE 40 family units arranged around a village green”. 38 townhouses and 2 bungalows. Many of the houses are on a ravine type site condition, with full ground access from the basement level. The property is beautifully landscaped and maintained. Rainwater bridges, monolithic colour, natural materials, shadows, voids, a sense of shelter: all contribute to the organic design method utilized on this project. The houses are straightforward and low key, coloured monolithically to blend with the ambiance of the land. There is no applied decoration, but they are adorned with the efflourescense of living growth.

ÇÅËÅÍÎ ÑÅËÈÙÅ 40 ñåìåéíè êîìïîíåíòà ñà âêëþ÷åíè â çåëåíîòî ñåëèùå. 38 ãðàäñêè êúùè è 2 áóíãàëà. Ìîñòîâå, ìîíîëèòíè öâåòîâå, åñòåñòâåíè ìàòåðèàëè, ñåíêè, ïðàçíèíè, ÷óâñòâî çà ïîäñëîí: âñè÷êî ñïîìàãà çà ìåòîäèòå íà îðãàíè÷íèÿ äèçàéí, èçïîëçâàí å òîçè ïðîåêò.

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THE CANTILEVER HOUSE The cantilever lifts up and the land plunges down, an inverse complimentary relationship.

ÊÎÍÇÎËÍÀ ÊÚÙÀ Êîíçîëàòà ñå èçäèãà íàãîðå, à çåìÿòà ñå ñïóñêà íàäîëó, ïðîòèâîïîëîæíà âçàèìíî äîïúëâàùà ñå âðúçêà.

HOUSE OF MIRRORS Mirror walls reflect the forest. One unexpected consequence of the mirrors is that bear and deer have come up to the glass to see their reflections; the family just inches away from them.

ÊÚÙÀ Ñ ÎÃËÅÄÀËÀ Îãëåäàëíè ñòåíè îòðàçÿâàò ãîðàòà. Åäíî íåî÷àêâàíî ïîñëåäñòâèå îò îãëåäàëàòà å, ÷å ìå÷êè è åëåíè èäâàò äî ñòúêëîòî, çà äà âèäÿò ñîáñòâåíèòå ñè îòðàæåíèÿ; ñîáñòâåíèöèòå ïðîñòî ïàçÿò äèñòàíöèÿ.

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World Architecture Masters