WAM Libeskind

World Architecture Masters

ISSN 1313-177X

17/ 2011/ 017

www.wamjournal.com

DANIEL LIBESKIND

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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

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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

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General manager Natalia Bondarenko

Ãëàâåí ðåäàêòîð ïðîô. Ãåîðãè Ñòîèëîâ, àêàäåìèê íà ÌÀÀ

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

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Editor Krassimira Yavasheva

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Local office Varna 12 “Peter Raichev” Str., office 9 tel.: +359 52/ 97 94 83; mob.: 0897 77 80 80

IAA Academicians Kurt Ackermann Ahmet Vefik ALP Tadao Ando Paul Andreu Rasem Badran Jai Rattan Bhalla Bogdan Bogdanovic Gottfried Bohm Andrey Bokov Mario Botta Santiago Calatrava Douglas J. Cardinal Vitautas Chekanauskas Peter Cook Charles Correa Justus Dahinden Vakhtang Davitaia Balkrishna Doshi Pierre-andre Dufetel Peter Eisenman Richard England Adrien Fainsilber

Norman Foster Massimiliano Fuksas Fran O.gehry Yury Gnedovskiy Teodoro Gonzalez De Leon Vittorio Gregotti Nicholas Grimshaw Zaha Hadid Augustin Hernandes Navarro Thomas Herzog Steven Holl Jan Hoogstad Toyo Ito Helmut Jahn Kiyonori Kikutake Rem Koolhaas Vladilen Krasilnikov Lucien Kroll Alexander Kudryavtsev Henning Larsen Ricardo Legorreta V. Wu Liangyong Daniel Libeskind Fumihiko Maki Imre Makovecz

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

The editors of the magazine World Architecture Masters would like to thank arch. Daniel Libeskind for his amiability submitting materials from theirs private archive at ours disposal for the seventeen issue of WAM. Ñïèñàíèå World Architecture Masters áëàãîäàðè íà àðõ. Äàíèåë Ëèáåñêèíä çà ëþáåçíî ïðåäîñòàâåíèòå ìàòåðèàëè îò ëè÷íèÿ ìó àðõèâ çà ñåäåìíàäåñåòè áðîé íà WAM.

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.

JEWISH MUSEUM BERLIN

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THE AS CENT AT ROEBLINGS BRIDGE 16 CONTEMPORARY JEWISH MUSEUM SAN FRANCISCO

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EXTENSION TO THE DENVER ART MUSEUM

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GRANDCANALSQUARETHEATRE

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THE IMPERIAL WAR MUSEUM

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CRYSTALS AT CITYCENTER

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EXTENSION TO THE ROYAL ONTARIO MUSEUM

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WESTSIDE SHOPPING AND LEISURE CENTRE

CONTENTS

80

DANIEL LIBESKIND

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XXI âåê å âåê íà õîëèñòè÷íîòî ìèñëåíå, áàçèðàíî íà êâàíòîâèÿ ìîçúê. Ëè÷íîñòòà íà òâîðåöà è íåãîâîòî äóõîâíî áîãàòñòâî, ôîðìèðàíî ìèëèîíè ãîäèíè îò åâîëþöèÿòà, ñà áîãàòñòâîòî è êðàñîòàòà íà íîâîòî èçêóñòâî. Äèðåêòíèÿ ïîòîê íà ñúçíàíèå è èíòóèöèÿ ñà æèâèòåëíèÿ èçâîð íà òîâà èçêóñòâî. Òîâà å êðàÿò íà ñòèëîâèòå äîãìè è êàíîíè. Ôîðìèðà ñå íîâà åìîöèîíàëíà åñòåòèêà íà ñâîáîäíèÿ äóõ. Çà ðàçëèêà îò âñè÷êè èäåîëîãèè â äîñåãàøíàòà èñòîðèÿ, îðèåíòèðàíè êúì êîëåêòèâíè öåííîñòè, ãëàâíàòà öåííîñò â Íîâèÿ âåê å ëè÷íîñòòà è íåéíèòå êà÷åñòâà è ÷ðåç òîâà ïîñòèãàíå íà ïðîãðåñ íà öÿëîòî îáùåñòâî. Ôàíòàñòè÷íèòå âúçìîæíîñòè íà ëè÷íîñòòà åæåäíåâíî, åæå÷àñíî ðàæäàò íîâè èäåè, êîèòî â ìèíàëîòî ñà ñå ðàæäàëè â òå÷åíèå íà âåêîâå. Ñòèëúò êàòî åñòåòè÷åñêà íîðìà âå÷å å ìúðòúâ. Äîéäå âåêúò íà ëè÷íîòî òâîð÷åñòâî, íà ñâîáîäíèÿ ñòèë. È òîâà å íàé-òåæêàòà çàäà÷à íà òâîðåöà- äà ñúçäàâàø ãîëåìè åñòåòè÷åñêè öåííîñòè ñúñ ñâîé ñîáñòâåí ñòèë è èäåíòè÷íîñò, áèäåéêè ñâîáîäåí îò ñòèëîâèòå äîãìè íà íàïðàâåíîòî ïðåäè òåá. Âñè÷êî òîâà å Äàíèåë Ëèáåñêèíä.

Aêàä. Ãåîðãè Ñòîèëîâ Ïðåçèäåíò íà ÌÀÀ

XXI-st century is the century of holistic thinking, based on quantum brain. The personality of the artist and his spiritual wealth, formed millions of years of evolution, are the wealth and beauty of the new art.

The direct stream of consciousness and intuition are the lifeblood source of this art. This is the end of the stylistic dogmas and canons. New emotional aesthetics of the free spirit is formed.

Unlike all the previous ideologies in history, oriented to collective values, the main value in the New Century is the individual and the individual qualities and through them achievement and progress of the whole society.

Fantastic opportunities for the individuals daily, hourly bring forth new ideas, which were taking centuries to get born.

The style as aesthetic norm is already dead. The age of personal creativity and free-style has come.

And this is the hardest task of the artist to create greataesthetic values with their own style and identity, being free from the dogmas and of the style made before you.

This is all Daniel Libeskind.

Acad. Georgi Stoilov President of IAA

DANIEL LIBESKIND

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DANIEL LIBESKIND, B.ARCH. M.A. BDA AIA is an international figure in architectural practice and urban design. He is well known for introducing a new critical discourse into architecture and for his multidisciplinary approach.

His practice extends from building major cultural and commercial institutions - including museums and concert halls - to convention centers, universities, housing, hotels, shopping centers and residential work. He also designs opera sets and maintains an object design studio.

EDUCATION 1970-1971 University of Essex, School of Comparative Studies Essex, Great Britain M.A. History and Theory of Architecture 1965-1970 The Cooper Union School of Architecture New York, New York, USA B.Arch Summa Cum Laude Born in postwar Poland in 1946, Mr. Libeskind became an American citizen in 1965. He studied music in Israel (on the America-Israel Cultural Foundation Scholarship) and in New York, and became a virtuoso performer. He left music to study architecture, receiving his professional architectural degree in 1970 from the Cooper Union for the Advancement of Science and Art in New York City. He received a postgraduate degree in History and Theory of Architecture at the School of Comparative Studies at Essex University (England) in 1972.

With over forty projects worldwide, Daniel Libeskind has designed such world-renowned projects as the master plan for the World Trade Center in New York and the Jewish Museum Berlin.

Most recently, Studio Daniel Libeskind completed the Grand Canal Theatre project, a major addition to Dublins docklands and cultural core in March 2010, just a few months after opening Crystals at CityCenter, a 500,000 square foot retail complex that serves as the centerpiece to MGM Mirages signature development on the Las Vegas Strip, in December 2009. The Studio currently has several projects under construction, including the Military History Museum in Dresden, soon to be Germanys largest museum and cultural landmark, Creative Media Centre at the City University of Hong Kong, and Reflections at

Keppel Bay, Singapore, a two-million-square-foot residential development including six curving towers that reshape the horizon. Studio Daniel Libeskind is also in the process of designing several exciting projects, such as Fiera Milano, the redevelopment of the historic Fiera Milano Fairgrounds in Milan, Italy and Archipelago 21, the Master Site Plan for the Yongsan International Business District in Seoul, Korea.

Mr. Libeskind has taught and lectured at many universities worldwide, and held such positions as the Frank O. Gehry Chair at the University of Toronto and the Louis Kahn Chair at Yale University. He has received numerous awards, including the 2001 Hiroshima Art Prize, an award given to an artist whose work promotes international understanding and peace, never before given to an architect, and in 2010 Daniel was the first architect to receive the Buber-Rosenzweig Medal from DKR, the German Coordinating Council of Societies for ChristianJewish Cooperation. In 2009 Daniel received an Honorary Degree, Doctor of Fine Art, from University of Ulster, Belfast and in 2010 an Honorary Doctorate, Doctor of Fine Arts, from the Pratt Institute.

Mr. Libeskinds ideas have influenced a new generation of architects and those interested in the future development of cities and culture. In September, 2004, Riverhead Books (Penguin Group) published his memoir, Breaking Ground. The foreign language editions were published in January/February of 2005, encompassing more than 90 countries. In November, 2008, Monacelli Press (Random House, INC.) published an extensive monograph of his work, Counterpoint, in conversation with Paul Goldberger.

Äàíèåë Ëèáåñêèíä å ìåæäóíàðîäíà ôèãóðà â àðõèòåêòóðíàòà ïðàêòèêà è ãðàäîóñòðîéñòâî. Òîé å äîáðå ïîçíàò ñ íîâèÿ êðèòè÷åí äèñêóðñ, êîéòî âíàñÿ â àðõèòåêòóðàòà è ñ ìóëòèäèñöèïëèíàðíèÿ ñè ïîäõîä. Íåãîâàòà ïðàêòèêà îáõâàùà øèðîê äèàïàçîí - îò ñòðîèòåëñòâî íà ãîëåìè êóëòóðíè è êîìåðñèàëíè èíñòèòóöèè êàòî ìóçåè, êîíöåðòíè çàëè, êîíãðåñíè öåíòðîâå, óíèâåðñèòåòè, õîòåëè, êîìåðñèàëíè öåíòðîâå, äî æèëèùíè êîìïëåêñè è êúùè,. Òîé ñúùî òàêà ïðîåêòèðà ñöåíîãðàôèÿòà íà îïåðíè ïîñòàíîâêè è ïîäúðæà ñòóäèî. Ðîäåí â ñëåäâîåííà Ïîëøà ïðåç 1946ã., Ëèáåñêèíä ñòàâà àìåðèêàíñêè æèòåë ïðåç 1965ã. Ó÷è ìóçèêà â Èçðàåë ñ àìåðèêàíñêî-èçðàåëñêà ñòèïåíäèÿ, îñèãóðåíà îò êóëòóðíà ôîíäàöèÿ è â Íþ Éîðê è ñòàâà âèðòóîçåí èçïúëíèòåë. Íî ñå îòêàçâà îò ìóçèêàòà, çà äà ó÷è àðõèòåêòóðà è ïðåç 1970 ïîëó÷àâà ïðîôåñèîíàëíàòà ñè äèïëîìà îò Ñúþçà íà Êóïúð çà Îòëè÷èå â Íàóêàòà è Èçêóñòâîòî â Íþ Éîðê, ÑÀÙ. Ïðåç 1972ã. ïîëó÷àâà ìàãèñòúðñêà ñòåïåí ïî "Èñòîðèÿ è òåîðèÿ íà àðõèòåêòóðàòà" â Ó÷èëèùåòî çà ñðàâíèòåëíè èçñëåäâàíèÿ â Åñåêñ (Âåëèêîáðèòàíèÿ). Äàíèåë Ëèáåñêèíä èìà ïîâå÷å îò ÷åòèðèäåñåò ïðîåêòà ïî öåëèÿ ñâÿò. Ïðîåêòèðàë å ñâåòîâíî èçâåñòíè ñãðàäè êàòî ãðàäîóñòðîéñòâåíèÿ ïëàí íà Ñâåòîâíèÿ òúðãîâñêè öåíòúð â Íþ Éîðê è Åâðåéñêèÿ ìóçåé â Áåðëèí. Íàñêîðî ñòóäèîòî

íà Ëèáåñêèíä äîâúðøè ïðîåêòà çà òåàòúð íà "Êàíàëå Ãðàíäå", îñíîâíî ðàçøèðåíèå íà ïðèñòàíèùåòî â Äúáëèí è êóëòóðíî ñðåäèùå ïðåç 2010ã.Òîâà ñòàâà íÿêîëêî ìåñåöà ñëåä îòêðèâàíåòî íà "Êðèñòàëñ" â Ñèòè Öåíòúðà ïðåç 2009ã, êîéòî èìà 500 000 êâ. ôóòà òúðãîâñêè ïëîùè, è ñëóæè çà öåíòúð íà êîìïëåêñà "Ìèðàæ" â Ëàñ Âåãàñ. Ñòóäèîòî èìà íÿêîëêî ïðîåêòà, êîèòî ñå ñòðîÿò, âêëþ÷âàùè âîåííèÿ èñòîðè÷åñêè ìóçåé â Äðåçäåí, êîéòî ñêîðî ùå áúäå íàé-ãîëåìèÿ ìóçåé â Ãåðìàíèÿ è êóëòóðíà çàáåëåæèòåëíîñò, Êðåàòèâåí ìåäèÿ öåíòúð â óíèâåðñèòåòà íà Õîíã Êîíã, "Îòðàæåíèÿ" â Êåïåë Áåé, Ñèíãàïóð, äâà ìèëèîíà êâàäðàòíè ôóòà æèëèùíà ïëîù, âêëþ÷âàùà øåñò çàîáëåíè êóëè, êîèòî òðàíñôîðìèðàò õîðèçîíòà. Ñòóäèîòî íà Ëèáåñêèíä å ñúùî â ïðîöåñ íà ïðîåêòèðàíå íà íÿêîëêî âúëíóâàùè ïðîåêòà êàòî "Ôèåðà äè Ìèëàíî", òðàíñôîðìàöèÿ íà èñòîðè÷åñêèòå òúðãîâñêè ïëîùàäè â Ìèëàíî, Èòàëèÿ è "Àðõèïåëàã 21", ãðàäîóñòðîéñòâåí ïëàí çà ìåæäóíàðîäíèÿ áèçíåñ öåíòúð "Éîíãñàí" â Ñåóë, Êîðåà. Àðõ. Ëèáåñêèíä å ïðåïîäàâàë â ìíîãî óíèâåðñèòåòè ïî ñâåòà è å äúðæàë ïîçèöèè êàòî òàçè íà Ôðàíê Î. Ãåðè â Óíèâåðñèòåòà â Òîðîíòî è òàçè íà Ëóèç Êàí â Óíèâåðñèòåòà â Éåèë. Òîé å ïîëó÷èë ìíîãî íàãðàäè, âêëþ÷èòåëíî íàãðàäàòà "Õèðîøèìà" çà èçêóñòâî ïðåç 2001ã., êîÿòî ñå äàâà íà àðòèñòè, êîèòî äîïðèíàñÿò çà ñâåòîâíî ðàçáèðàòåëñòâî è ìèð. Íèêîãà äî ñåãà òàçè íàãðàäà íå å äàâàíà íà àðõèòåêò. Ïðåç 2010ã. Äàíèåë Ëèáåñêèíä îòíîâî å ïúðâèÿò àðõèòåêò, êîéòî ïîëó÷àâà Áóáåð-Ðîçåíöâàéã ìåäàë îò ÄÊÐ, íåìñêîòî êîíñóëñòâî çà îáùåñòâà çà õðèñòèÿíñêî-åâðåéñêà êîîïåðàöèÿ. Ïðåç 2009ã. òîé ïîëó÷àâà ñòåïåíòà äîêòîð õîíîðèñ êàóçà - äîêòîð ïî èçÿùíè èçêóñòâà îò Èíñòèòóòà Ïðàò. Èäåèòå íà Äàíèåë Ëèáåñêèíä èìàò âëèÿíèå âúðõó íîâîòî ïîêîëåíèå àðõèòåêòè è âúðõó òåçè, êîèòî ñå èíòåðåñóâàò îò áúäåùåòî ðàçâèòèå íà ãðàäîâåòå è êóëòóðèòå. Ïðåç ñåïòåìâðè 2004ã. èçäàòåëñòâî "Ðèâúðõåä" (Ïåíãóèí Ãðóï) ïóáëèêóâà íåãîâèÿ ìåìîàð Breaking Ground. ×óæäîåçè÷íèòå èçäàíèÿ ñà ïóáëèêóâàíè ïðåç ÿíóàðè/ôåâðóàðè 2005ã. â ïîâå÷å îò 90 ñòðàíè. Ïðåç íîåìâðè 2008ã. "Ìîíà÷åëèïðåñ" (Random House, INC.) èçäàäå ìîíîãðàôèÿ íà íåãîâàòà ðàáîòà â ðàçãîâîð ñ Ïàóë Ãîëäáåðãåð.

6

Design Philosophy

Architecture is a Language Studio Background Daniel Libeskind, B.Arch. M.A. BDA AIA, is an international figure in architectural practice and urban design.

With over forty projects worldwide, his practice extends from museums and concert halls to convention centers, universities, hotels, shopping centers, and residential projects. Born in £ód´z, Poland in 1946, Libeskind was a virtuoso musician at a young age before giving up music to become an architect. Today he is universally known for introducing a new critical discourse into architecture and for his multidisciplinary approach.

He has received numerous awards and designed world-renowned projects including the master plan for the World Trade Center in New York and the Jewish Museum in Berlin among others. Daniel teaches and lectures at universities across the world. He resides in New York City with his wife and business partner, Nina Libeskind.

Studio Bio Daniel Libeskind established his architectural studio in Berlin, Germany in 1989. Upon winning the World Trade Center design competition in February 2003, Studio Daniel Libeskind (SDL) moved its headquarters to its current location in New York City two blocks south of the original World Trade Center site in lower Manhattan.

Since 1990, the office has been fortunate to be involved in a diverse array of urban, architectural, and cultural projects. The office has won commissions for major cultural buildings and significant urban projects in Germany, Switzerland, Denmark, the Netherlands, the United Kingdom, Ireland, Italy, Canada, the United States, Japan, Spain, Israel, Mexico, Korea, and Singapore.

The New York office has an average permanent staffing of 70 people. SDL has European partner offices based in Zürich, Switzerland and Milan, Italy. Additionally, SDL maintains site offices around the world, including San Francisco, Denver, Bern, Toronto and Hong Kong. At present, the total number of worldwide employees is roughly 140.

Daniel Libeskinds Architectural Philosophy “I have found that people, whether here or there or now and then, always expect more of the spaces that they have been given. Tomorrows citizens will no longer be amenable to receiving in reality what they can simulate in their dreams. We live in an age when economic globalization, the market economy, and technological advances make it possible for architecture to consume the immemorial.

“Ever since I began architecture, Ive had an abhorrence of conventional architecture offices. There was something about the atmosphere of redundancy, routine, and production that made me allergic to all forms of specialization.

Twenty years ago we founded our office in Berlin as a result of a decision, an accident, and began an unimaginable journey down a path on which we are still fortunate to be traveling.

“The work has developed in unexpected directions through a practice that does not mimic existing procedures, but instead attempts to break through into the excitement, adventure, and mystery of architecture. By dropping the designations “form,” “function,” and “program,” and engaging in the public and political realm, which is synonymous with architecture, the dynamics of building take on a new dimension. The celebrations of taking drawing into building, the pathos of production, the dreamlike routines, configure into a substance that is not identifiable on any drawing board. This “substance” that sometimes appears totally opaque and inscrutable often glimmers with belief and offers a reality of the deepest hope.

“The magic of architecture cannot be appropriated by any singular operation because it is always already floating, progressing, rising, flying, breathing. Whatever the problems political, tectonic, and linguistic that architecture exposes, one thing I know is that engaging in architecture is exciting only because of the intensity and passion of its call.”

Daniel Libeskind is an architect who believes that architecture itself is communicative. Each of his buildings tells a unique and particular story reflecting both the programmatic content and singularity of the site. He believes that architectural boldness, spatial inventiveness, and functional ingenuity can be fused together to create an unprecedented experience for the public. It is the firm belief of Daniel Libeskind and his studio that architecture is a public art, responsive to the client, the community, and the city-at-large.

Daniel Libeskinds architecture continues to reflect his profound interest and involvement in philosophy, art, music, literature, theater and film, and a continuing commitment to expanding the horizons of architecture and urbanism. It is fundamental to Daniel Libeskinds thinking and motivation that buildings and urban projects are crafted with perceptible human energy and that they speak to the larger cultural community in which they are built.

As an architect of both public cultural projects and private commercial projects, Daniel Libeskind believes strongly in the interaction between the client and the architect, believing that the closer the collaboration, the better the building. The strong and collaborative architect client relationship is important to create a design that is not only responsive to the program, but is creatively innovative and distinctive.

The buildings themselves become destinations and generators of new culture.

Studio Daniel Libeskind is committed to creating buildings in close dialogue with their surroundings, considering precise histories, the local environs, and the integration of adjacent buildings. Environmental studies, materials testing, optional cost studies, circulation studies, and light studies are just some of the investigations made in order to fully accomplish the Clients aims.

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Ñòóäèî Background Äàíèåë Ëèáåñêèíä å ìåæäóíàðîäíà ôèãóðà â àðõèòåêòóðíàòà ïðàêòèêà è ãðàäîóñòðîéñòâî. Ñ íàä ÷åòèðèäåñåò ïðîåêòà â ñâåòîâåí ìàùàá, ïðàêòèêàòà ìó ñå ïðîñòèðà îò ìóçåè è êîíöåðòíè çàëè, êîíãðåñíè è òúðãîâñêè öåíòðîâå, óíèâåðñèòåòè, õîòåëè è æèëèùíè ñãðàäè. Ðîäåí â Ëîäç, Ïîëøà ïðåç 1946 ã., Ëèáåñêèíä å âèðòóîçåí ìóçèêàíò â ðàííà âúçðàñò, ïðåäè äà îñòàâè ìóçèêàòà, çà äà ñòàíå àðõèòåêò. Äíåñ òîé å âñåîáùî èçâåñòåí ñ âúâåæäàíåòî íà íîâ êðèòè÷åí äèñêóðñ â àðõèòåêòóðàòà è ñúñ ñâîÿ ìóëòèäèñöèïëèíàðåí ïîäõîä. Ñïå÷åëèë å ìíîæåñòâî íàãðàäè çà ñâåòîâíî èçâåñòíè ïðîåêòè, âêëþ÷èòåëíî ãðàäîóñòðîéñòâåíèÿ ïëàí çà Ñâåòîâíèÿ òúðãîâñêè öåíòúð â Íþ Éîðê è Åâðåéñêèÿ ìóçåé â Áåðëèí. Äàíèåë Ëèáåñêèíä ïðåïîäàâà è ÷åòå ëåêöèè â óíèâåðñèòåòè ïî öÿë ñâÿò. Òîé æèâåå â Íþ Éîðê ñúñ ñúïðóãàòà ñè Íèíà Ëèáåñêèíä, êîÿòî å è íåãîâ áèçíåñ ïàðòíüîð. Ñòóäèî SDL Äàíèåë Ëèáåñêèíä îòâàðÿ ñâîå àðõèòåêòóðíî ñòóäèî â Áåðëèí, Ãåðìàíèÿ ïðåç 1989 ã. Ñëåä êàòî ïå÷åëè êîíêóðñà çà Ñâåòîâíèÿ òúðãîâñêè öåíòúð â Íþ Éîðê ïðåç ôåâðóàðè 2003 ã., ñòóäèî „Äàíèåë Ëèáåñêèíä” (SDL) ïðåìåñòâà ñåäàëèùåòî ñè â Íþ Éîðê - äâà áëîêà íà Carla Swickerath

Yama Karim

þã îò îðèãèíàëíîòî ìÿñòî íà Ñâåòîâíèÿ òúðãîâñêè öåíòúð â Äîëåí Ìàíõàòúí. Îò 1990 ã. ñòóäèî SDL ó÷àñòâà â êîíêóðñè çà ðàçíîîáðàçíè ãðàäñêè, àðõèòåêòóðíè è êóëòóðíè ïðîåêòè. Ïå÷åëè êîíêóðñè çà ãîëåìè ñãðàäè ñ êóëòóðíî ïðåäíàçíà÷åíèå è çíà÷èòåëíè ãðàäñêè ïðîåêòè â Ãåðìàíèÿ, Øâåéöàðèÿ, Äàíèÿ, Õîëàíäèÿ, Îáåäèíåíîòî êðàëñòâî, Èðëàíäèÿ, Èòàëèÿ, Êàíàäà, ÑÀÙ, ßïîíèÿ, Èñïàíèÿ, Èçðàåë, Ìåêñèêî, Êîðåÿ è Ñèíãàïóð. Îôèñúò â Íþ Éîðê å ñ ïîñòîÿíåí ïåðñîíàë îò 70 äóøè. SDL èìà åâðîïåéñêè ïàðòíüîðè ñúñ ñåäàëèùå â Öþðèõ, Øâåéöàðèÿ è Ìèëàíî, Èòàëèÿ. Îñâåí òîâà, SDL ïîääúðæà îôèñè ïî öåëèÿ ñâÿò, âêëþ÷èòåëíî â Ñàí Ôðàíöèñêî, Äåíâúð, Áåðí, Òîðîíòî è Õîíêîíã.  ìîìåíòà îáùèÿò áðîé íà ñëóæèòåëèòå íà Äàíèåë Ëèáåñêèíä â ñâåòîâåí ìàùàá å îêîëî 140 äóøè. Äèçàéíåðñêàòà ôèëîñîôèÿ ”Àç îòêðèõ, ÷å õîðàòà, íåçàâèñèìî äàëè òóê èëè òàì, èëè ñåãà è òîãàâà, âèíàãè î÷àêâàò ïîâå÷å îò ïðîñòðàíñòâàòà, êîèòî èìàò. Õîðàòà óòðå íÿìà äà áúäàò òîëêîâà ñêëîííè äà ðåàëèçèðàò â æèâîòà òîâà, êîåòî âèæäàò â ìå÷òèòå ñè. Íèå æèâååì â åïîõà, êîãàòî èêîíîìè÷åñêàòà ãëîáàëèçàöèÿ, ïàçàðíàòà èêîíîìèêà è òåõíîëîãè÷íèÿò ïðîãðåñ ïðàâÿò âúçìîæíî àðõèòåêNina Libeskind

òóðàòà äà êîíñóìèðà íå÷óâàíî”. ”Îòêàêòî çàïî÷íàõ äà ñå çàíèìàâàì ñ àðõèòåêòóðà, àç ñúì îòâðàòåí îò êîíâåíöèîíàëíèÿ àðõèòåêò. Èìàøå íåùî â àòìîñôåðàòà - ðóòèíà è ïðîèçâîäñòâî, êîåòî ìå íàêàðà äà ñúì àëåðãè÷åí êúì âñè÷êè ôîðìè íà ñïåöèàëèçàöèÿ. Ïðåäè äâàäåñåò ãîäèíè íèå îñíîâàõìå íàøèÿ îôèñ â Áåðëèí êàòî ðåçóëòàò îò ðåøåíèå, èíöèäåíò è çàïî÷íà åäíî íåâúîáðàçèìî ïúòóâàíå ïî ïúòÿ, ïî êîéòî íèå âñå îùå èìàìå ùàñòèåòî äà âúðâèì”. ”Ðàáîòàòà ñå ðàçâèâà â íåî÷àêâàíè ïîñîêè ÷ðåç ïðàêòèêà, êîÿòî íå èìèòèðà ñúùåñòâóâàùèòå ïðîöåäóðè, íî âìåñòî òîâà ñå îïèòâà äà ïðåìèíå âúâ âúëíåíèå, ïðèêëþ÷åíèå è ìèñòåðèÿ. Ñ îòïàäàíåòî íà íàèìåíîâàíèÿòà “ôîðìà”, “ôóíêöèÿ” è “ïðîãðàìà” è ó÷àñòèå â îáùåñòâåíàòà è ïîëèòè÷åñêà ñôåðà, êîèòî ñà ñèíîíèì íà àðõèòåêòóðà, äèíàìèêàòà íà èçãðàæäàíå íà ñãðàäè ïðåìèíàâà â åäíî íîâî èçìåðåíèå. Îòïðàçíóâàíåòî íà ðèñóíêàòà íà ñãðàäàòà, ïàòîñà íà ïðîèçâîäñòâî, ñúíóâàíàòà ðóòèíà ñå êîíôèãóðèðàò â åäíà ñóáñòàíöèÿ, êîÿòî íå ïîäëåæè íà èäåíòèôèêàöèÿ íà íèòî åäíà ÷åðòîæíàòà äúñêà. Òîâà “âåùåñòâî”, êîåòî ïîíÿêîãà ñå ïîÿâÿâà íàïúëíî íåïðîçðà÷íî è íåîáÿñíèìî, ÷åñòî äàâà ïðîáëÿñúöè ñ âÿðà è ïðåäëàãà âðúçêà ñ ðåàëíîñòòà íà íàé-äúëáîêàòà íàäåæäà. ”Ìàãèÿòà íà àðõèòåêòóðàòà íå ìîæå äà áúäå çàäåíà îò åäíî äåéñòâèå, çàùîòî å âèíàãè ïëàâàùà, íàïðåäâà, íàðàñòâà, ëåòè, äèøà. Êàêâèòî è äà ñà ïðîáëåìèòå - ïîëèòè÷åñêè, òåêòîíñêè èëè åçèêîâè - òîâà ðàçêðèâà åäíî íåùî, êîåòî çíàì è òî å, ÷å àíãàæèðàíåòî â îáëàñòòà íà àðõèòåêòóðàòà, å âúëíóâàùî, ñàìî çàðàäè èíòåíçèâíîñòòà è ñòðàñòòà íà ïðèçèâà ñè“. Äàíèåë Ëèáåñêèíä å àðõèòåêò, êîéòî âÿðâà, ÷å ñàìàòà àðõèòåêòóðà å êîìóíèêàòèâíà. Âñåêè îò íåãîâèòå ñãðàäè ðàçêàçâà óíèêàëíà è êîíêðåòíà èñòîðèÿ, îòðàçÿâàStefan Blach

ùà ïðîãðàìíî ñúäúðæàíèå è óíèêàëíîñòòà íà ìÿñòîòî. Òîé âÿðâà, ÷å àðõèòåêòóðíàòà äúðçîñò, ïðîñòðàíñòâåíàòà èçîáðåòàòåëíîñò è ôóíêöèîíàëíà ãåíèàëíîñò ìîãàò äà áúäàò ðàçòîïåíè â åäíî, çà äà ñå ñúçäàäå áåçïðåöåäåíòåí îïèò. Òîâà å òâúðäîòî óáåæäåíèå íà Äàíèåë Ëèáåñêèíä è ñòóäèîòî ìó, ÷å àðõèòåêòóðàòà å îáùåñòâåíî èçêóñòâî, îòãîâàðÿùî íà êëèåíòà, îáùíîñòòà, ãðàäà. Äàíèåë Ëèáåñêèíä ïðîäúëæàâà äà îòðàçÿâà äúëáîêèÿ ñè èíòåðåñ è ó÷àñòèå âúâ ôèëîñîôèÿ, èçêóñòâî, ìóçèêà, ëèòåðàòóðà, òåàòúð è êèíî, êàêòî è ïðîäúëæàâà àíãàæèìåíòà çà ðàçøèðÿâàíå íà õîðèçîíòèòå íà àðõèòåêòóðàòà è óðáàíèçìà. Òîâà å îò ôóíäàìåíòàëíî çíà÷åíèå çà ìèñëåíåòî è ìîòèâàöèÿòà íà Äàíèåë Ëèáåñêèíä, ïðîåêòèòå äà ñà èçðàáîòåíè ñ äîëîâèìà ÷îâåøêà åíåðãèÿ è äà ãîâîðÿò íà ïî-ãîëÿìàòà êóëòóðíà îáùíîñò, â êîÿòî ñà ïîñòðîåíè. Êàòî àðõèòåêò êàêòî íà îáùåñòâåíè ïðîåêòè â îáëàñòòà íà êóëòóðàòà òàêà è íà ÷àñòíè òúðãîâñêè ïðîåêòè, Äàíèåë Ëèáåñêèíä âÿðâà ñèëíî âúâ âçàèìîäåéñòâèåòî ìåæäó êëèåíò è àðõèòåêò, âÿðâàéêè, ÷å ïî-òÿñíîòî ñúòðóäíè÷åñòâî å ïî-äîáðå àà ñãðàäàòà. Ñèëíèòå è ñúâìåñòíè îòíîøåíèÿ ìåæäó àðõèòåêò è êëèåíò ñà âàæíè, çà äà ñå ñúçäàäå äèçàéí, êîéòî íå ñàìî äà îòãîâàðÿ íà ïðîãðàìàòà, íî è å òâîð÷åñêè, èíîâàòèâåí è óíèêàëåí ïðîöåñ.. Ñàìèòå ñãðàäè ñòàâàò äåñòèíàöèè è ãåíåðàòîðè íà íîâà êóëòóðà. Ñòóäèî Äàíèåë Ëèáåñêèíä ñå àíãàæèðà ñúñ ñúçäàâàíåòî íà ñãðàäè â òåñåí äèàëîã ñúñ çàîáèêàëÿùàòà ñðåäà, êàòî ñå èìà ïðåäâèä èñòîðèÿòà, îêîëíîñòèòå, êàêòî è èíòåãðàöèÿ íà ñúñåäíèòå ñãðàäè. Åêîëîãè÷íè ïðîó÷âàíèÿ, èçïèòâàíå íà ìàòåðèàëè, ïðåäâàðèòåëåí áþäæåò, ïðîó÷âàíèÿ çà ïîääðúæêàòà è ñâåòëèíàòà ñà ñàìî íÿêîè îò àíàëèçèòå, íàïðàâåíè ñ öåë äà ñå èçïúëíè èçöÿëî æåëàíèåòî íà Êëèåíòà.

Eric Sutherland

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ROKKO HOUSING

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Jewish Museum Berlin Berlin, Germany

The Jewish Museum Berlin, which opened to the public in 2001, exhibits the social, political and cultural history of the Jews in Germany from the 4th century to the present.

The museum explicitly presents and integrates, for the first time in postwar Germany, the repercussions of the Holocaust.

The new extension is housed on the site of the original Prussian Court of Justice building which was completed in 1735 and renovated in the 1960s to become a museum for the city of Berlin.

The new design, which was created a year before the Berlin Wall came down, started with the identification of a common feature that bound together both East and West Berlin: the relationship of Germans to Jews.

This connection was used to plot an irrational matrix that makes reference to the image of a compressed and distorted star the yellow star that had historically been worn by Jews on the same site.

A void reaches from the roof of the Baroque building to the underground and housing stairs which descend beneath the original foundation and connect to the new building above. The descent leads to three underground axial routes, each of which tells a different story. The first, and longest, traces a path leading to the Stair of Continuity, then up to and through the exhibition spaces of the museum, emphasizing the continuum of history. The second leads out of the building and into the Garden of Exile and Emigration, remembering those who were forced to leave Berlin. The third leads to a dead end the Holocaust Void.

The Holocaust Void cuts through the zigzagging plan of the new building and creates a space that embodies absence. It is a straight line whose impenetrability becomes the central focus around which exhibitions are organized. In order to move from one side of the museum to the other, visitors must cross one of the 60 bridges that open onto this void.

In 2004, the Jewish Museum Berlin commissioned SDL to design a multifunctional space that would provide additional room for the museums restaurant and extend the lobby to provide event space for lectures, concerts, and dinners. The glass courtyard which was completed in 2007 creates an adaptable space which can be used throughout the year while preserving the open courtyard qualities of the baroque building.

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Project Data Services Provided Complete architectural Building Area 150,000 sq. ft.

Construction Cost $51 million (under budget) Completed 1999 Client Jewish Museum Berlin Cost and Site Supervision Lubic & Woehrlin Structural Engineer GSE Tragwerkplaner, IGW Ingenieurgruppe Wiese Mechanical/Electrical/ Klimasystemtechnik Plumbing Engineer Civil Engineer Cziesielski & Partner Landscape Architect M端ller, Knippschild, Wehberg Lighting Designer Studio Dinnebier Raw Construction Fischer Bau Windows Trube & Kings Facade Werner & Sohn Mechanical Systems Klimabau, Voigt Bode, Nordbau Electrical Systems Alpha Contractor Lubic & Woehrlin Gmbh Awards Deutsche Architektur Preis, 1999 Artforum International, The Best of 1998

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The As cent at Roeblings Bridge Covington, Kentucky, USA Project Data Services Provided Complete architectural Building Area 310,000 sq. ft.

Construction Cost $40 million Completed 2008 Architect of Record GBBN Architects Client Corporex Structural Engineer THP Limited Mechanical/Electrical/ KLH Engineering Plumbing Engineer Contractor Dugan & Meyers Construction Awards CNBC Americas Property Awards Best High-Rise Development 2008

17 The Ascent at Roeblings Bridge in Covington, Kentucky, is a 20-story residential tower that was completed in 2008.

Reaching 300 feet at its pinnacle, the 300,000-square-foot building includes 70 residential units, a swimming pool, garden facilities, large public event space, and a restaurant on the plaza level. The Ascent at Roeblings Bridge was awarded a CNBC Americas Property Award for Best High- Rise Development in 2008.

Its curving crescent form and sloping roof line are designed to maximize views, resulting in unobstructed visibility of the Cincinnati skyline from every unit.

The ascending height of the building mimics the suspension cables of the nearby Roeblings Bridge, a central feature of Covingtons waterfront. It also links the low horizon of residential structures to the east with the more modern commercial buildings to the west.

Through the vertical, non-repeating articulation of the facade, the building breaks from the conventional, horizontal orientation of typical high-rise buildings.

Its multiple layers blur the distinction between interior and exterior, both visually and experientially. The resulting texture also provides shade to all units from the eastern sun.

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Contemporary Jewish Museum San Francisco San Francisco, California, USA

Project Data Services Provided Complete architectural Building Area 63,000 sq. ft.

Construction Cost $26.6 million Completed 2008 Association with Architect of Record WRNS Studio Client The Contemporary Jewish Museum San Francisco Project Management KPM Consulting Structural Engineer ARUP (Los Angeles) OLMM Consulting Engineers Mechanical and Plumbing Engineer Ajmani & Pamidi, Inc Electrical Engineer Silverman & Light, Inc Lighting Designer Auerbach Glasow French IT Consultant Telecom Design Group Historic Preservation Consultant Architectural Resources Group Contractor Plant Construction Facade Contractor A. Zahner Company Awards 2009 ASCE Outstanding Project Award

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The Contemporary Jewish Museum is a 63,000-squarefoot facility, located on Mission Street in downtown San Francisco.

Since opening in June 2008, the Museum has provided space for temporary exhibitions as well as public and educational programs, and is itself a symbol dedicated to the history and revitalization of Jewish life in San Francisco.

Housed in the abandoned late 19thcentury Jessie Street Power Substation, updated in the first decade of the 20th century by Willis Polk, and landmarked in 1976, the museum literally makes visible relationships between new and old, between tradition and innovation, between the past, present and future, bringing together 19th, 20th and 21st century architecture into one building.

The CJMs design is based on the Hebrew expression “LChaim,” which means “To Life.” Following the Jewish tradition, according to which letters are not mere signs, but substantial participants in the story they create, the two Hebrew letters of the chai chet and yud with all their symbolic, mathematical, and emblematic nuance, are literally the life source that determined the form of the new museum. The building is based on unprecedented spaces created by the two letters of the chai: the chet provides an overall continuity for the exhibition and educational spaces, and the yud, with its 36 windows, provides a pedestrian connector.

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Extension to the Denver Art Museum Denver, Colorado, USA

The Extension to the Denver Art Museum, The Frederic C. Hamilton Building, is an expansion and addition to the existing museum, designed by the Italian Architect Gio Ponti. The 146,000-squarefoot extension, which opened in October 2006, currently houses the Modern and Contemporary art collections as well as the collections of Oceanic and African Art. The Hamilton Buildings design recalls the peaks of the Rocky Mountains and geometric rock crystals found in the foothills near Denver. The materials of the building closely relate to the existing context as well as introducing innovative new materials, such as the 9,000 titanium panels which cover the buildings surface and reflect the brilliant Colorado sunlight.

Nexus is achieved through close connection with the function and aesthetic of the existing Ponti museum, as well as the Civic Center and public library. The new building is a kind of city hub, tying together downtown, the Civic Center, and forming a strong connection to the golden triangle neighborhood. The project is not designed as a stand-alone building, but as part of a composition of public spaces, monuments and gateways in this developing part of the city, contributing to the synergy amongst both large and intimate neighboring spaces.

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38 Project Data Services Provided Complete architectural Building Area 180,000 sq. ft.

Construction Cost $46 million Completed 2006 Joint Venture Partner Davis Partnership Client City of Denver and the Denver Art Museum Structural Engineer ARUP (Los Angeles) Mechanical/Electrical Engineer MKK Engineers Structural Connection Design Structural Consultants Mechanical Air ARUP Civil Engineer J.F. Sato and Associates Landscape Architect Studio Daniel Libeskind with Davis Partnership Facade Consultant ARUP Lighting Consultant George Sexton and Associates Theater Consultant Auerbach Pollack Friedlander Contractor M.A. Mortensen Co.

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Project data Services Provided Complete architectural Building Area 733,753 sq. ft.

Scheduled Completion 2010 Joint Venture Partner Architekt Daniel Libeskind Architect of Record McCauley Daye OConnell Architects Client Ramford Limited Project Management Lafferty Project Management Structural Engineer ARUP (Dublin) Mechanical/Electrical/ ARUP (Dublin)Plumbing Engineer Venue and Acoustic Consultant ARUP Acoustics, UK Facade Consultant Billings Design Associates Fire Protection Consultant Michael Slattery & Associates Lighting Designer Pritchard Themis Fasade Sub-Contractor Permasteelisa Central Europe (Theatre) Permasteelisa S.p.A (Commercial Buildings) Health and Safety Bruce Shaw Partnership Theatre Planner/Consultant Arts Team (part of RHWL Architects) Quantity Surveyor Davis Langdon_PKS

GRANDCANALSQUARETHEATRE Dublin, Ireland

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The Grand Canal Square Theatre and Com-mercial Development in Dublin features a 2,000-seat performing arts centre which is integrated into a commercial area via two office blocks that include 375,000square-foot of leasable office and retail space. This is located at the heart of the Grand Canal Harbour development and creates a focal point for Grand Canal Square. The project is currently under construction.

The 117,000-square-foot Grand Ca-nal Square Theatre is at the heart of the Grand Canal Harbour development. The building is based on the concept of stages the stage of the theatre itself, the stage of the piazza, and the stage of the theatre lobby above the piazza, illuminated at night. The theatre becomes the main faรงade of a large public piazza that has a five star hotel and residences on one side and an office building on the other. The piazza acts as a grand outdoor lobby for the theatre. With the dramatic theatre elevation as a back-drop and platforms for viewing, the piazza itself becomes a stage for civic gathering.

With their twin facades, glazed courtyards and landscaped roofs, the two office blocks which make up the Commercial Development provide sustainable, state of the art work environments. By designing multi-story glazed atriums, the commercial buildings integrate with the adjacent retail, residential, cultural and public space components.

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The Imperial War Museum Manchester, England

Project Data Services Provided Complete architectural Building Area 90,000 sq. ft.

Construction Cost $39 million Completed 2001 Association with Architect of Record Leach Rhodes Walker Client Imperial War Museum North in partnership with the Imperial War Museum London Project Management Gardiner & Theobald Structural Engineer ARUP (London/Manchester) Mechanical Engineer Mott MacDonald Planning Supervisor Gleeds Exhibition Designer Event, Real Studios Cost Estimation Turner & Townsend Contractor Sir Robert McAlpine, Andy Robinson, Tel. Awards RIBA Award, 2004 Shortlisted for Stirling Prize, 2004 Building of the Year, British Construction Industry, 2003 Visitor Attraction of the Year, North West Tourist Board, 2003

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The Imperial War Museum North (IWMN) in Manchester, England, tells the story of how war has affected the lives of British and Commonwealth citizens since 1914.

The building was completed in 2001 and since that time was named one of the top 10 buildings of the last century (The Rough Guide to England, 2008) and one of the top 3 Large Visitor Attractions in England (Silver Award at VisitBritains Excellence in England

Awards- 2007).

The design concept is that of a globe which has been shattered into fragments and then reassembled. The buildings form is the interlocking of three of these fragments which represent earth, air, and water. These three shards together concretize the Twentieth century conflicts which have never taken place on an abstract piece of paper, but rather have been fought by men and women by land, sky and sea.

The IWMN is a constellation composed of three interlocking shards of space.

The Earth Shard forms the generous and flexible museum space, signifying the open, earthly realm of conflict and war. The Air Shard serves as a dramatic entry into the Museum, with its projected images, observatoriesand education spaces. The Water Shard forms the platform for viewing the Canal, complete with a restaurant, cafe, deck and performance space.

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Project Data Services Provided Complete architectural Building Area 500,000 sq. ft.

Completed 2009 Architect of Record Adamson Associates Architects Client MGM Mirage Structural Engineer Halcrow Yolles Mechanical/Electrical/ Flack + Kurtz

Plumbing Engineer Facade Consultant Israel Berger & Associates Interior Designer Rockwell Group Lighting Designer Focus Lighting Collaborating Architects Foster and Partners, Gensler, Murphy Jahn Architects, KPF, Pelli Clarke Pelli Architects, HKS, Leo A. Daly, RV Architecture Contractor Perini Building Company

Crystals at CityCenter Las Vegas, Nevada, USA

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62 Located in the heart of Las Vegas Boulevard, Crystals is the 500,000-square-foot retail and entertainment space, which is the connective center of the MGM MIRAGE City- Center project. Opened in 2009, CityCenter is a vertical city within a city which includes 2,400 private residences, two boutique hotels, and a 61-story resort casino.

The crystalline and metal-clad facade signals to visitors well in advance of arrival that Crystals is not a traditional retail environment.

An entryway into the retail area from the Strip draws pedestrians

into the public arcade, covered by a spiraling roof structure. From the interior, the roofs dramatic angles and skylights become a backdrop for the luxury retail and dining it houses which include Louis Vuitton, TIFFANY & CO., and Bulgari as well as concept restaurants from Wolfgang Puck and Todd English. The public spaces allow for a variety of urban experiences: a water feature at the entry, cafes and a grand staircase leading to Casino Square at the end of the arcade, animating the entire space.

The design and construction of Crystals employs the most environ-

mentally conscious practices and materials. In November 2009 it was announced that Crystals achieved LEEDR Gold Core & Shell certification from the U.S. Green Building Council (USGBC), making it the worlds largest retail district to receive this level of recognition.

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68 The Extension to the Royal Ontario Museum (RO M), now called the Michael Lee-Chin Crystal is situated at one of the most prominent intersections in downtown Toronto.

Opened in June 2007, the Extension provides 100,000 square feet of new exhibition space, a new entrance and lobby, a street level retail shop and three new restaurants.

SDL also renovated ten galleries in the existing historical building as part of this project.

The Michael Lee-Chin Crystal derives its name from the buildings five intersecting volumes, which are reminiscent of crystals.

The intersection of two of the crystals, both dedicated to new galleries, creates a void, known as the Spirit House. A large atrium rising from below ground level to the fourth floor, and criss-crossed by bridges at various levels, the Spirit House is intended to be a place of reflections for visitors.

A fourth crystal, known as the Stair of Wonders, is dedicated to vertical circulation but also features exhibition vitrines at the landings. A fifth crystal houses the major new restaurant.

The intersecting spaces of the Michael Lee-Chin Crystal create a variety of atriums at different levels, affording views into galleries and other spaces within the Museum. One large atrium, known as the Gloria Hyacinth Chen Court, separates the new construction from the ROM s existing heritage building and provides a nearly complete view of the restored heritage facades.

Extension to the Royal Ontario Museum Toronto, Ontario, Canada

Project Data Services Provided Complete architectural Building Area 186,000 sq. ft.

Construction Cost $94 million Completed 2007 Joint Venture Partner Bregman + Hamann Architects Client Royal Ontario Museum Structural Engineer ARUP (London), Halsall Associates Mechanical Engineer ARUP, TMP Consulting Engineers Electrical Engineer ARUP, MBII Landscape Architect Quinn Design Associates Acoustic Consultant Valcoustics Life Safety Consultant Leber/Rubes Rain, Water, and RWDI Snow Management Consultant Heritage Consultant ERA Contractor Vanbots Construction Awards 2007 Award of Merit for Innovative Steel Design

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Westside Shopping and Leisure Centre Bern, Switzerland

81 Project Data Services Provided Complete architectural Building Area 1.5 million sq. ft.

Construction Cost $275 million Completed 2008 Joint Venture Partners Architekt Daniel Libeskind with Burckhardt + Partner Client NBAG Nueue Brunnen AG with Developer MIGROS AARE Project Management Sulzer + Buzzi Baumanagement Structural Engineer B+S Ingenieur, Bächtold & Moor Mechanical/Electrical Engineer Kannewischer Ingenieurbüro Mechanical Engineer Enerconom, Kannewischer Ingenieurbüro Electrical/Lighting Engineer Hefti. Hess. Martignoni. Elektro Landscape Architect 4d Landschaftsarchitekten, Weber + Brönnimann Facade Consultant Emmer Pfenninger Partner, SJB.Kempter.Fitze Fire Protection Consultant Christian Wälchli Building Physics Zeugin Bauberatungen Contractor ARGE TU-Westside: Rhombergbau AG and Strabag AG

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Westside Shopping and Leisure Centre in Bern-Brunnen, Switzerland, is an urban scale architectural project totaling 5 million square feet.

In addition to the 55 shops, 10 restaurants and bars, hotel, multiplex cinema, indoor water park with wellness center and housing, this mixed-use program radically reinvents the concept of shopping, entertainment and living. With its impressive location above Berns A1 highway and its direct connection to the train and transport network, Westside is a meeting place for the whole greater region of Bern.

The concept of Westside was to create a public space with day and night facilities, a self-enclosed district offering endless amenities and services, almost like a city within a city. Westside is not only a landmark, but an urban organism which attracts the surrounding region, becoming a place of excursions, meetings, seminars, entertainment and leisure activities.

The building design integrates the landscape and the different directions of the site while providing a unique look to the external areas. Extensive window cuts in varying designs open up the facade. This has the effect of creating either a panoramic window for the food court and spa area or a web of natural light for the circulation areas. Furthermore, the views allow you to see the highway, gateway to the living area, the railway tracks and the widespread landscape to the south.

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Åâðåéñêèÿò ìóçåé â Áåðëèí

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Áåðëèí, Ãåðìàíèÿ

Åâðåéñêèÿò ìóçåé â Áåðëèí, êîéòî áå îòêðèò çà îáùåñòâåíîñòòà ïðåç 2001 ã., ïîêàçâà ñîöèàëíàòà, ïîëèòè÷åñêàòà è êóëòóðíàòà èñòîðèÿ íà åâðåèòå â Ãåðìàíèÿ îò 4-òè âåê äî íàøè äíè. Ìóçåÿò ïðåäñòàâÿ è èíòåãðèðà çà ïúðâè ïúò â ñëåäâîåííà Ãåðìàíèÿ îòðàæåíèåòî íà Õîëîêîñòà. Íîâîòî ðàçøèðåíèå ñå ïîìåùàâà â îðèãèíàëíèÿ ïðóñêè ñúä, êîéòî å áèë çàâúðøåí ïðåç 1735ã. è ðåíîâèðàí ïðåç 1960ã., çà äà ñå ïðåâúðíå â ìóçåé íà ãðàä Áåðëèí.

Ñêëîíà íà ìîñò Ðîáëèíã "Ñêëîíúò" íà ìîñò "Ðîáëèíã" â Êîâèíãòîí, Êåíòúêè å 20-åòàæíà æèëèùíà ñãðàäà, êîÿòî å çàâúðøåíà ïðåç 2008ã. Äîñòèãàùà 300 ôóòà íà âèñî÷èíà, 300 000- êâ. ôóòîâà ñãðàäà âêëþ÷âà 70 æèëèùà, áàñåéí, ãðàäèíà, îãðîìíî îáùåñòâåíî ïðîñòðàíñòâî è ðåñòîðàíò íà ïàðòåðíîòî íèâî. Ñãðàäàòà å íàãðàäåíà ñ CNBC Americas Property Award çà íàé-äîáðà êóëà ïðåç 2008ã.

Ñúâðåìåíåí åâðåéñêè ìóçåé

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Ñàí Ôðàíöèñêî, Êàëèôîðíèÿ, ÑÀÙ Ñúâðåìåííèÿò åâðåéñêè ìóçåé å 63 000 êâàäðàòíè ôóòà ñúîðúæåíèå, ðàçïîëîæåíî íà óëèöà Mission Street â öåíòúðà íà Ñàí Ôðàíöèñêî. Îò îòêðèâàíåòî ñè ïðåç þíè 2008 ã., ìóçåÿò å ìÿñòî çà âðåìåííè èçëîæáè, êàêòî è îáùåñòâåíè è îáðàçîâàòåëíè ïðîãðàìè, è å ñèìâîë, ïîñâåòåí íà èñòîðèÿòà è ðåâèòàëèçèðàíåòî íà åâðåéñêèÿ æèâîò â Ñàí Ôðàíöèñêî.

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Ðàçøèðåíèå íà Äåíâúð Àðò ìóçåé Äåíâúð, Êîëîðàäî, ÑÀÙ

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Óäúëæàâàíåòî íà Äåíâúð Àðò ìóçåé, ñãðàäà íà Ôðåäåðèê C. Õàìèëòúí, å ðàçøèðÿâàíå è äîïúëíåíèå íà ñúùåñòâóâàùèÿ ìóçåé, ïðîåêòèðàíà îò èòàëèàíñêèÿ àðõèòåêò Äæî Ïîíòè. Ðàçøèðåíèåòî îò 146 õèëÿäè êâàäðàòíè ôóòà îòâîðè âðàòè ïðåç îêòîìâðè 2006 ã.  ìîìåíòà òàì ñå ïîìåùàâàò ìîäåðíè è ñúâðåìåííè àðò êîëåêöèè, êàêòî è êîëåêöèèòå íà îêåàíñêîòî è àôðèêàíñêîòî èçêóñòâî. Äèçàéíúò íà ñãðàäàòà íà Õàìèëòúí íàïîìíÿ âúðõîâåòå íà ñêàëèñòèòå ïëàíèíè è ãåîìåòðè÷íè ñêàëíè êðèñòàëè, íàìèðàùè ñå â ïîäíîæèåòî íà Äåíâúð.

Ãðàíä êàíàë ïëîùàä è òåàòúð

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Äúáëèí, Èðëàíäèÿ

Ïëîùàä "Êàíàëå Ãðàíäå" -Òåàòúð è Commercial Development in Dublin, ñå ñúñòîè îò ñöåíà ñ 2000 ìåñòà, êîéòî å èíòåãðèðàí â òúðãîâñêà çîíà ÷ðåç äâà îôèñ áëîêà, êîèòî âêëþ÷âàò 375 õèëÿäè êâàäðàòíè ìåòðà îôèñ è òúðãîâñêè ïëîùè. Òîâà ñå íàìèðà â ñúðöåòî íà ïðèñòàíèùåòî "Êàíàëå Ãðàíäå" è ñúçäàâà ôîêóñíà òî÷êà çà ïëîùàä "Êàíàëå Ãðàíäå". Ïðîåêòúò â ìîìåíòà å â ïðîöåñ íà èçãðàæäàíå.

Âîåíåí ìóçåé Ìàí÷åñòúð, Àíãëèÿ

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The Imperial War Museum Ñåâåð (IWMN) â Ìàí÷åñòúð, Àíãëèÿ ðàçêàçâà êàê âîéíèòå îò 1914 ã. äî Âòîðàòà ñâåòîâíà ñà çàñåãíàëè æèâîòà íà áðèòàíñêîòî îáùåñòâî. Ñãðàäàòà å çàâúðøåí ïðåç 2001 ã. è å åäíà îò òîï äåñåòòå ñãðàäè íà ìèíàëèÿ âåê (The Rough Guide Àíãëèÿ, 2008) è åäíà îò òîï òðèòå ãîëåìè àòðàêöèè â Àíãëèÿ (SilverAward at VisitBritain's Excellence in EnglandAwards™ 2007ã.).

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"Êðèñòàëè" â City Center

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Ëàñ Âåãàñ, Íåâàäà, ÑÀÙ

Ðàçïîëîæåí â ñúðöåòî íà áóëåâàðä "Ëàñ Âåãàñ", "Êðèñòàëè" å 500 000 êâàäðàòíè ôóòà òúðãîâñêî è óâåñåëèòåëíî ïðîñòðàíñòâî, êîåòî å ñúåäèíèòåëíàòà íà öåíòúðà íà MGMMIRAGE City Center. Îòâîðåí å ïðåç 2009 ã. City Center å âåðòèêàëåí ãðàä â ãðàäà, êîéòî âêëþ÷âà 2400 ÷àñòíè æèëèùà, äâà áóòèêîâè õîòåëè è 61-åòàæíî êóðîðòíî êàçèíî.

Ðàçøèðåíèå íà Royal Ontario Museum Òîðîíòî, Îíòàðèî, Êàíàäà

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Ðàçøèðÿâàíåòî íà Royal Ontario Museum (RO M), êîéòî ñåãà ñå íàðè÷à "Ìàéêúë Ëèé-×èí Êðèñòàë", å ðàçïîëîæåíî íà åäíî îò íàé-èçâåñòíèòå êðúñòîâèùà â öåíòúðà íà Òîðîíòî. Îòêðèòî ïðåç þíè 2007 ã., ðàçøèðåíèåòî îñèãóðÿâà 100 000 êâàäðàòíè ìåòðà íîâà èçëîæáåíà ïëîù, íîâ âõîä è ëîáè, ìàãàçèí è òðè íîâè ðåñòîðàíòè.SDL ñúùî å ñ 10 îáíîâåíè ãàëåðèè â ñúùåñòâóâàùàòà èñòîðè÷åñêà ñãðàäà, êàòî ÷àñò îò ñúùèÿ ïðîåêò.

Òúðãîâñêè è óâåñåëèòåëåí öåíòúð Áåðí, Øâåéöàðèÿ

Westside Öåíòúð çà ïàçàðóâàíå è ñâîáîäíî âðåìå â Brunnen - Áåðí, Øâåéöàðèÿ, å ãðàäñêè àðõèòåêòóðåí ïðîåêò îò 5 ìèëèîíà êâàäðàòíè ìåòðà.  íåãî ñà ðàçïîëîæåíè 55 ìàãàçèíà, 10 ðåñòîðàíòà, áàðîâå, õîòåë, ìóëòèïëåêñ êèíî, çàêðèò âîäåí ïàðê ñ óåëíåñ öåíòúð è æèëèùà. Òîâà ñìåñåíî ïðåäíàçíà÷åíèå íà ïðîñòðàíñòâàòà ðàäèêàëíî ïðåîòêðèâà êîíöåïöèÿòà çà ïàçàðóâàíå, ðàçâëå÷åíèÿ è íîâ æèâîò.

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Ricardo Fumihiko Maki Legorreta

On behalf of the International Academy of Architecture (non governmental organization in special status with ECOSOC-United Nations), I have the honor and the pleasure to express our warm congratulations about the AIA Gold Medal `2011 that you have been awarded.

Please, accept our sincere wishes for health, personal happiness and new professional success.

Acad. Georgi Stoilov, HFAIA IAA President Past UIA President Îò èìåòî íà Ìåæäóíàðîäíàòà àêàäåìèÿ íà àðõèòåêòóðàòà (íåïðàâèòåëñòâåíà îðãàíèçàöèÿ â ñïåöèàëåí ñòàòóò ECOSOC-United Nations), èìàì ÷åñòòà è óäîâîëñòâèåòî äà èçðàçÿ íàøèòå òîïëè ïîçäðàâëåíèÿ çà AIA Çëàòåí ìåäàë 2011, êîéòî ñòå ïîëó÷èëè. Ìîëÿ, ïðèåìåòå èñêðåíèòå íè ïîæåëàíèÿ çà çäðàâå, ëè÷íî ùàñòèå è íîâè ïðîôåñèîíàëíè óñïåõè. Àêàä. Ãåîðãè Ñòîèëîâ, HFAIA ÌAA ïðåçèäåíò Ìèíàë UIA ïðåçèäåíò

On behalf of the Academic Council of the International Academy of Architecture I am honored and pleased to inform that Arch. Ricardo Legorreta, IAA Academician, has been awarded with the very prestigious Japanese award "Premium Imperiale" for architecture.

One of the leading masters of the world contemporary architecture, his architectural master pieces deserve this high prize. Congratulations.

The International Academy of Architecture wish him new professional success.

Georgi Stoilov, HFAIA IAA President Past UIA President Îò èìåòî íà Àêàäåìè÷íèÿ ñúâåò íà Ìåæäóíàðîäíàòà àêàäåìèÿ íà àðõèòåêòóðàòà èìàìå ÷åñòòà è óäîâîëñòâèåòî äà Âè èíôîðìèðàìå, ÷å àðõ. Ðèêàðäî Ëåãîðåòà, àêàäåìèê íà ÌAA, å îòëè÷åí ñ ïðåñòèæíàòà ÿïîíñêà íàãðàäà " Premium Imperiale " çà àðõèòåêòóðà. Òîé å åäèí îò âîäåùèòå ìàéñòîðè íà ñúâðåìåííàòà àðõèòåêòóðà â ñâåòà è àðõèòåêòóðíèòå ìó òâîðáè çàñëóæàâàò òàçè âèñîêà íàãðàäà. Ïîçäðàâëåíèÿ! Ìåæäóíàðîäíàòà àêàäåìèÿ íà àðõèòåêòóðàòà ìó ïîæåëàâàìå íîâè ïðîôåñèîíàëíè óñïåõè! Ãåîðãè Ñòîèëîâ, HFAIA IAA ïðåçèäåíò Ìèíàë UIA ïðåçèäåíò

NEWS

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In memoriam

Selim KhanMagomedov The International Academy of Architecture would like to express their sincere condolences to the family, colleagues and friends of architect Selim Khan-Magomedov, IAA Professor.

He was one of the leading specialists of architectural history and theory.

Selim Khan-Magomedov is the author of many books and articles dedicated to the vanguard of the Russian architects.

His famous books on the constructivism and rationalism are published in Italy, United Kingdom, France, Germany, Bulgaria, Japan, Spain etc.

His works were highly appreciated by the world society of architecture.

International Academy of Architecture

Ìåæäóíàðîäíàòà àêàäåìèÿ ïî àðõèòåêòóðà áè èñêàëà äà èçðàçè ñâîèòå èñêðåíè ñúáîëåçíîâàíèÿ íà ñåìåéñòâîòî, êîëåãèòå è ïðèÿòåëèòå íà àðõèòåêò Ñåëèì õàí-Ìàãîìåäîâ, ïðîôåñîð íà ÌÀÀ.Òîé å åäèí îò âîäåùèòå ñïåöèàëèñòè íà àðõèòåêòóðíàòà èñòîðèÿ è òåîðèÿ. Ñåëèì õàí-Ìàãîìåäîâ å àâòîð íà ìíîãî êíèãè è ñòàòèè, ïîñâåòåíè íà ðóñêèòå àâàíãàðäíè àðõèòåêòè. Íåãîâèòå èçâåñòíè êíèãè çà êîíñòðóêòèâèçìà è ðàöèîíàëèçìà ñà ïóáëèêóâàíè â Èòàëèÿ, Âåëèêîáðèòàíèÿ, Ôðàíöèÿ, Ãåðìàíèÿ, Áúëãàðèÿ, ßïîíèÿ, Èñïàíèÿ è äð. Íåãîâèòå òâîðáè ñà âèñîêî îöåíåíè îò îáùåñòâîòî â àðõèòåêòóðíèÿ ñâÿò. Ìåæäóíàðîäíàòà àêàäåìèÿ ïî àðõèòåêòóðà

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Jean-Marie Charpentier The International Academy of Architecture learned with deep sorrow that one of the leading masters of the world contemporary architecture passed away.

Jean-Marie Charpentier, IAA Professor, is the author of many architectural master pieces in different countries of the world.

The world architectural society has lost one of its famous members.

The International Academy of Architecture extends its sincere condolences to his family, friends and associates.

Acad. Georgi Stoilov, HFAIA IAA President Past UIA President

Ìåæäóíàðîäíàòà àêàäåìèÿ ïî àðõèòåêòóðà íàó÷è ñ äúëáîêà ñêðúá, ÷å åäèí îò âîäåùèòå ìàéñòîðè íà ñúâðåìåííàòà àðõèòåêòóðà â ñâåòà Æàí-Ìàðè Øàðïåíòèå ïî÷èíà. Æàí-Ìàðè Øàðïåíòèå e ïðîôåñîð íà ÌÀÀ, àâòîð íà ìíîãî àðõèòåêòóðíè òâîðáè â ðàçëè÷íè ñòðàíè íà ñâåòà. Àðõèòåêòóðíîòî îáùåñòâî çàãóáè åäèí îò èçâåñòíèòå ñè ÷ëåíîâå. Ìåæäóíàðîäíàòà àêàäåìèÿ ïî àðõèòåêòóðà èçïðàùà ñâîèòå èñêðåíè ñúáîëåçíîâàíèÿ íà ñåìåéñòâîòî ìó, ïðèÿòåëèòå è ñúìèøëåíèöèòå. Àêàä. Ãåîðãè Ñòîèëîâ, Ïðåçèäåíò íà ÌÀÀ

NEWS

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New York by Gehry

At 870 feet tall, “New York by Gehry” is the tallest residential tower in the Western Hemisphere and a singular addition to the iconic Manhattan skyline. For his first residential commission in New York City, master architect Frank Gehry has reinterpreted the design language of the classic Manhattan high-rise with undulating waves of stainless steel that reflect the changing light, transforming the appearance of the building throughout the day. Gehry’s distinctive aesthetic is carried across the interior residential and amenity spaces with custom furnishings and installations.Gehry’s innovative incorporation of bay windows creates the tower’s dynamic silhouette as well as an exceptional variety of panoramic views from within the residences. By shifting the bay windows from floor to floor and tailoring their configuration for each residence, Gehry has given residents the opportunity to, as he puts it, “step into space.”

Íà 870 ôóòà âèñî÷èíà, "Íþ Éîðê îò Ãåðè" å íàé-âèñîêàòà æèëèùíà êóëà â Çàïàäíîòî ïîëóêúëáî è å åäèíñòâåíîòî äîïúëíåíèå êúì òèïè÷íèÿ ñèëóåò çà Ìàíõàòúí. Çà ïúðâàòà ñè ïîðú÷êà â Íþ Éîðê, àðõèòåêòóðíèÿò ìàéñòîð Ôðàíê Ãåðè å èíòåðïðåòèðàë äèçàéíåðñêèÿ åçèê íà êëàñè÷åñêè âèñîêèÿ Ìàíõàòúí ñ âúëíè îò íåðúæäàåìà ñòîìàíà, êîèòî îòðàçÿâàò ïðîìåíÿùàòà ñå ñâåòëèíà, òðàíñôîðìèðàéêè âúíøíèÿ âèä íà ñãðàäàòà ïðåç öåëèÿ äåí. Îòëè÷èòåëíàòà åñòåòèêà íà Ãåðè å ïðåíåñåíà â öåëèÿ èíòåðèîð íà æèëèùíèòå ïðîñòðàíñòâà è òåçè çà îòäèõ ñ ìåáåëè ïî ïîðú÷êà è èíñòàëàöèè. Èíîâàòèâíèÿò ïîäõîä íà Ãåðè çà âêëþ÷âàíåòî íà åðêåðíè ïðîçîðöè ñúçäàâà äèíàìè÷åí ñèëóåò íà êóëàòà, êàêòî è èçêëþ÷èòåëíî ðàçíîîáðàçèå îò ïàíîðàìíè ãëåäêè îò æèëèùàòà. ×ðåç èçìåñòâàíå íà åðêåðíèòå ïðîçîðöè îò åòàæ íà åòàæ è çàïàçâàíå íà òÿõíàòà êîíôèãóðàöèÿ çà âñÿêî îòäåëíî æèëèùå, Ãåðè å äàë âúçìîæíîñò íà æèòåëèòå "äà ñòúïÿò â êîñìîñà", êàêòî ñàìèÿò òîé ñå èçðàçÿâà.

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International Architectural Forum Turkey The IAA Center in Istanbul with President Prof.Dr. Ahmet Vefik Alp, in cooperation with the Lord Mayor of Kusadasi (Turkey) organized an international Architectural Forum for the development of the famous resort Kusadasibeautiful town with rich historic heritage.

The IAA Academicians Georgi Stoilov (Bulgaria), Richard England (Malta), Brian Spencer (USA) and Ahmet Vefik Alp (Turkey), as well as Marie-No¸l Tournoux (Representative of UNESCO), presented their ideas and conceptions for the future of Kusadasi.

The participants from the Municipality of Kusadasi, the International Academy of Architecture, and UNESCO (World Heritage Center) elaborated a special Declaration against the devastating effect of unplanned large scale rapid urbanization and urban sprawl over the past 40 years.

The participants and the authorities expressed their satisfaction and gratitude for the professional suggestion of the IAA and UNESCO representatives. Öåíòúðúò íà ÌÀÀ â Èñòàíáóë ñ ïðåçèäåíòà ïðîô. ä-ð Àõìåò Àëï Âåôèê, â ñúòðóäíè÷åñòâî ñ êìåòà íà Êóøàäàñú (Òóðöèÿ) îðãàíèçèðà ìåæäóíàðîäåí àðõèòåêòóðåí ôîðóì çà ðàçâèòèåòî íà èçâåñòíèÿ êóðîðò Êóøàäàñú-êðàñèâ ãðàä ñ áîãàòî èñòîðè÷åñêî íàñëåäñòâî. Àêàäåìèöèòå íà ÌÀÀ - Ãåîðãè Ñòîèëîâ (Áúëãàðèÿ), Ðè÷àðä Èíãëàíä (Ìàëòà), Áðàéúí Ñïåíñúð (ÑÀÙ) è Àõìåò Âåôèê Àëï (Òóðöèÿ), êàêòî è Ìàðè-Íþåë Òîðíüî (ïðåäñòàâèòåë íà ÞÍÅÑÊÎ), ïðåäñòàâèõà ñâîèòå èäåè è êîíöåïöèè çà áúäåùåòî íà Êóøàäàñú. Ó÷àñòíèöèòå îò îáùèíàòà íà Êóøàäàñú, íà Ìåæäóíàðîäíàòà àêàäåìèÿ íà àðõèòåêòóðàòà è ÞÍÅÑÊÎ (World Heritage Center) ðàçðàáîòèõà ñïåöèàëíà äåêëàðàöèÿ ñðåùó óíèùîæèòåëíèÿ åôåêò îò íåïëàíèðàíàòà ìàùàáíà è áúðçà óðáàíèçàöèÿ è ðàçðàñòâàíåòî íà ãðàäîâåòå ïðåç ïîñëåäíèòå 40 ãîäèíè. Ó÷àñòíèöèòå è âëàñòèòå èçðàçèõà ñâîåòî çàäîâîëñòâî è áëàãîäàðíîñò çà ïðîôåñèîíàëíèòå ïðåäëîæåíèÿ íà ÌÀA è ïðåäñòàâèòåëèòå íà ÞÍÅÑÊÎ.

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Museum of Second World War Winner Announced For Museum Of The Second World War In Gdañsk, Poland A jury consisting of Daniel Libeskind and others recently has announced their decision for the competition for the Museum of the Second World War in Poland, Gdañsk.

Studio Architektoniczne Kwadrat received 1st Prize and will design the new museum in Gdañsk, the city where the war broke out. 2nd Prize was awarded to Polish architects Piotr P³askowicki & partnerzy Architekci and 3rd Prize to Greece-based BETAPLAN S.A. The Jury is of the opinion that the design selected in the Architectural Competition has every chance of becoming one of the most important features of the Gdañsk City Centre from the very beginning. In our belief it meets all conditions of joining in the sophisticated symbols in the future alongside the Armoury, St Mary’s Church, or the Crane.

The huge building tactfully merges in the neighbourhood sharing the chance of becoming an icon of Gdañsk with the major historic elements around. The minimalist means of architectural expression proposed by the authors gracefully blend the modern idea of the building with the historic background. In its Design, the innovative, hugescale project makes use of the unique air of the city and transforms it in a modern manner. The colour and texture proposed in the design smoothly blend with the colours of Gdañsk giving the museum the power to pass the test of the 21.c century.

The design embraces an immense building, which serves varied purposes. Dynamic, huge in scale, the building carries an air of a sculpture created by the visitors. It rises symbolically from the ground, led by light, bold, Simple, and naked, symbolically placed in the geometry of the shipyard. It links the ground – its gloom, chill, and imprint of the Past, with the skies – hope, freshness, and Future. In this ingenious design, a rational vision of a public facility meets the wealth of history. It rings full sound, telling a story hard to chew for any generation, the story we must never forget. The attractive body of the building cumulates emotions, portrays the terror of war without depriving us of hope. It does not leave its interpreters buried in the gloom of the difficult topic.

The elegant pavilion, together with the obelisk nearby, squeezes into the ground and strikes the viewer with light, creating a symbol of catastrophe and the surviving hope. Phoenix-like, the building rises from Mother Earth, its ashes, towards the sky. The building will easily imprint itself on the visitors minds, conveying and being an unforgettable experience, both due to its interior and exterior. It will become a major feature on the plan of Gdañsk, perfectly composed in space.

The well-organised and modern building combines an immense range of functions . It offers huge space for permanent exhibitions, while remaining open for any displays in the future. The visitors to and the residents of the Tri-City will love it as an attraction.

The designed tower will play a major role in gaining an image of the entire city, offering a fresh perspective view of Gdañsk, which will enhance the Museum’s valuable function of a viewing point.

As a public space, the Museum Has the potential of a meeting place for families, tourists, and acquaintances, of taking in dozens of cars. It incorporates an ingenious concept with functionality.

This exceptionally designed Museum of the Second World War will become a major attraction, telling the story of paramount importance for the humanity. It will grow to become a timeless symbol inscribed in the hearts of the people of Gdañsk, Poland, and Europe.

ÎÁßÂÅÍ Å ÏÎÁÅÄÈÒÅËßÒ Â ÊÎÍÊÓÐÑÀ ÇÀ ÌÓÇÅÉ ÍÀ ÂÒÎÐÀÒÀ ÑÂÅÒÎÂÍÀ ÂÎÉÍÀ  ÃÄÀÍÑÊ Ñòóäèî Architektoniczne Kwadrat ñïå÷åëè ïúðâà íàãðàäà Æóðè ñ ó÷àñòèåòî íà Äàíèåë Ëèáåñêèíä è äðóãè èçâåñòíè àðõèòåêòè íàñêîðî îáÿâè ðåøåíèåòî ñè çà êëàñèðàíåòî íà ó÷àñòíèöèòå â êîíêóðñà çà Ìóçåé íà Âòîðàòà ñâåòîâíà âîéíà â ãðàä Ãäàíñê, Ïîëøà.

Ïúðâà íàãðàäà ïîëó÷è ñòóäèî Architektoniczne Kwadrat . Òî ùå ïðîåêòèðà íîâèÿ ìóçåé â ãðàäà, îò êîéòî çàïî÷íà Âòîðàòà ñâåòîâíà âîéíà. Âòîðà íàãðàäà áå ïðèñúäåíà íà ïîëñêèòå àðõèòåêòè îò ñòóäèî Piotr P?askowicki & partnerzy Architekci. Òðåòàòà íàãðàäà çàñëóæèõà ãðúöêèòå àðõèòåêòè îò BETAPLANS.A. Æóðèòî å íà ìíåíèå, ÷å ïðîåêòúò, ïîëó÷èë ïúðâà íàãðàäà, èìà âñè÷êè øàíñîâå äà ñå ïðåâúðíå â åäíà îò íàé-âàæíèòå õàðàêòåðèñòèêè çà öåíòúðà íà Ãäàíñê. Îãðîìíàòà ñãðàäà ñ íàé-ãîëåìèòå èñòîðè÷åñêè åëåìåíòè îêîëî íåÿ, ìîæå äà ñòàíå èêîíè÷íà çà ãðàäà. Ìèíèìàëèñòè÷íèÿò ïîäõîä íà àðõèòåêòóðíèÿ èçðàç, èçáðàí îò àâòîðèòå, ãðàöèîçíî ñú÷åòàâà ìîäåðíàòà èäåÿ íà ñãðàäàòà ñ èñòîðè÷åñêèÿ êîíòåêñò. Öâåòîâåòå è òåêñòóðèòå, ïðåäëîæåíè â ïðîåêòà, ñå ñëèâàò ñ öâåòîâåòå íà Ãäàíñê è ïðåìèíàâàò óñïåøíî â 21-âè âåê. Äèíàìè÷íà, îãðîìíà ïî ìàùàá, ñãðàäàòà íàïîäîáÿâà ñêóëïòóðà, êîÿòî ñå èçäèãà ñèìâîëè÷íî îò çåìÿòà, ñìåëî óñòðåìåíà êúì ñâåòëèíàòà. Òÿ ñÿêàø ñâúðçâà çåìÿòà / ìðàê, õëàä è îòïå÷àòúê îò ìèíàëîòî/ ñ íåáåòî /íàäåæäà, ñâåæåñò è áúäåùå/.  òîçè ÷óäåñåí äèçàéí ðàöèîíàëíàòà âèçèÿ íà ïóáëè÷íî ñúîðúæåíèå ñðåùà áîãàòñòâîòî íà èñòîðèÿòà. Ñãðàäàòà ðàçêàçâà çà òðàãåäèÿòà íà âîéíàòà, êîÿòî å òðóäíî äà ñå ïðåãëúòíå, òðàãåäèÿ, êîÿòî ïîêîëåíèÿòà íèêîãà íå òðÿáâà äà çàáðàâÿò. Àòðàêòèâíèÿò îáåì ïðåäèçâèêâà åìîöèè, çàùîòî îïèñâà óæàñà íà âîéíàòà, áåç äà íè ëèøàâà îò íàäåæäà. Ìóçåÿò íå îñòàâÿ ñâîèòå èíòåðïðåòàòîðè ïîãðåáàíè â ìðàêà íà òðóäíàòà òåìà. Åëåãàíòíèÿò ïàâèëèîí, çàåäíî ñ îáåëèñêà äî íåãî, ñÿêàø ñå èçòðúãâàò îò çåìÿòà è îáëèâàò çðèòåëÿ ñúñ ñâåòëèíà, ñèìâîëèçèðàéêè åäíîâðåìåííî êàòàñòðîôàòà è íàäåæäàòà. Òå ñÿêàø âúçêðúñâàò îò íåäðàòà íà Ìàéêàòà Çåìÿ, óñòðåìåíè êúì íåáåñàòà. Ìóçåÿò ùå ñå ïðåâúðíå â íåçàáðàâèìî ïðåæèâÿâàíå çà ïîñåòèòåëèòå ñúñ ñâîÿ óíèêàëåí èíòåðèîð è åêñòåðèîð. Òîé ìîæå äà ñòàíå îñíîâíà ôèãóðà â ñòðóêòóðàòà íà ãðàäà, ïåðôåêòíî êîìïîçèðàíà â ïðîñòðàíñòâîòî. Äîáðå îðãàíèçèðàíàòà è ìîäåðíà ñãðàäà ñú÷åòàâà íàáîð îò ôóíêöèè. Òÿ ïðåäëàãà ïðîñòðàíñòâî çà ïîñòîÿííè èçëîæáè è îñòàâà îòâîðåíà çà âñÿêàêâè äèñïëåè â áúäåùå. Ïîñåòèòåëèòå è æèòåëèòå íà TriCity ùå ÿ âúçïðèåìàò êàòî àòðàêöèÿ. Îò êóëàòà ùå ñå îòêðèâà ÷óäåñíà ãëåäêà êúì öåëèÿ ãðàä. Êàòî ïóáëè÷íî ïðîñòðàíñòâî, ìóçåÿò ùå ñå ïðåâúðíå è â ïîòåíöèàëíî ìÿñòî çà ñðåùè. Ñëåä ðåàëèçèðàíåòî íà òîçè èçêëþ÷èòåëåí ïðîåêò, Ìóçåÿò íà Âòîðàòà ñâåòîâíà âîéíà ùå ñå ïðåâúðíå âúâ âå÷åí ñèìâîë, âïèñàí â ñúðöàòà íà õîðàòà îò Ãäàíñê, Ïîëøà è öÿëà Åâðîïà, êîéòî ùå ðàçêàçâà èñòîðèÿ îò ïúðâîñòåïåííî çíà÷åíèå çà ÷îâå÷åñòâîòî.

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Museum of the Second World War by Dizarh Symbolic form

Project: Museum of the Second World War Location: Gdansk, Poland Designed by Dizarh Website: www.dizarh.com

Bulgaria based design studio Dizarh come with great architecture concept to symbolize the Second World War

by Dizarh, is one symbolist form with futuristic aspect, I thing this type of the project attract many people to discover the past, and to know the real feel in the past. explaining the concept is the following: “The idea for a Museum of the Second World War embodies the threads of life, occupation, war, wounds and death. The interweaving and clash of these key threads generates spaces and creates trends and focuses.

The spirit of oppression and decay is enclosed inside the Museum space, surrounded by thick walls a kind of a shield which holds attacks and repressions back. This flesh is at points symbolically cut through by a passing trench, by open wounds after enemy strikes, by the gashes that are in the limelight of surfaces.

The interweaving of the current exhibitions inside with the surrounding landscape and existing architecture underlies the main idea of this modern museum which will become a member of Gdansks special buildings, alongside the Church and the City Hall.” ÁÚËÃÀÐÑÊÎÒÎ ÄÈÇÀÉÍÅÐÑÊÎ ÑÒÓÄÈÎ "ÄÈÇÀÐÕ" Ó×ÀÑÒÂÀ  ÊÎÍÊÓÐÑÀ ÇÀ ÌÓÇÅÉ ÍÀ ÂÒÎÐÀÒÀ ÑÂÅÒÎÂÍÀ ÂÎÉÍÀ  ÃÄÀÍÑÊ Çàäàíèå: Ìóçåé íà Âòîðàòà ñâåòîâíà âîéíà Ìåñòîïîëîæåíèå: Ãäàíñê, Ïîëøà Ïðîåêò: "Äèçàðõ", Áúëãàðèÿ Ñàéò: www.dizarh.com Áúëãàðñêîòî äèçàéíåðñêî ñòóäèî"Äèçàðõ" ïðåäëîæè èçêëþ÷èòåëíà êîíöåïöèÿ çà àðõèòåêòóðà è ñèìâîë íà Âòîðàòà ñâåòîâíà âîéíà â ïðîåêòà, ñ êîéòî ó÷àñòâà â êîíêóðñà çà Ìóçåé íà Âòîðàòà ñâåòîâíà âîéíà â Ãäàíñê. Ñèìâîëè÷íàòà ôîðìà å ñ ôóòóðèñòè÷åí àñïåêò.Òîçè ïðîåêò êàðà ìíîãî õîðà äà îòêðèÿò ìèíàëîòî è äà óñåòÿò ðåàëíèòå ÷óâñòâà, êîèòî ñúáóæäàò â ÷îâåøêàòà äóøà óæàñèòå íà âîéíàòà. Êîíöåïöèÿòà å ñëåäíàòà: "Èäåÿòà çà Ìóçåé íà Âòîðàòà ñâåòîâíà âîéíà îëèöåòâîðÿâà íèøêèòå íà æèâîòà, îêóïàöèÿ, âîéíà, ðàíè è ñìúðò. Ïðåïëèòàíåòî è ñáëúñúêà íà òåçè êëþ÷îâè òåìè ãåíåðèðàò ïðîñòðàíñòâàòà è ñúçäàâàò òå÷åíèÿ è ôîêóñè. Äóõúò íà ïîòèñíè÷åñòâî è ãíèåíå å çàòâîðåí âúòðå â ïðîñòðàíñòâàòà íà ìóçåÿ - ïðîñòîð, çàîáèêîëåí ñ äåáåëè ñòåíè, åäèí âèä ùèò, êîéòî äúðæè àòàêèòå è ðåïðåñèèòå. Òàçè ìàòåðèÿ å ñèìâîëè÷íî ïðîðÿçàíà íà ìåñòà, ñÿêàø å ðàíåíà ñëåä óäàðèòå íà âðàãà. Ïðåïëèòàíåòî íà èçëîæáèòå âúòðå ñ îêîëíèÿ ïåéçàæ è ñúùåñòâóâàùàòà àðõèòåêòóðà ïîä÷åðòàâàò îñíîâíàòà èäåÿ íà òîçè ìîäåðåí ìóçåé - äà ñå ïðåâúðíå â ÷ëåí íà ñïåöèàëíèòå ñãðàäè â Ãäàíñê, çàåäíî ñ öúðêâàòà è êìåòñòâîòî.

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Mercedes-Benz Museum Arch. Ben van Berkel

Ìóçåé íà Ìåðöåäåñ Áåíö

Stuttgart, Germany, 2001-2006 The Museums sophisticated geometry synthesizes structural and programmatic organizations resulting in a new landmark building celebrating a legendary car.

The geometric model employed is based on the trefoil organization. The buildings program is distributed over the surfaces which ascend incrementally from ground level, spiraling around a central atrium. The Museum experience begins with visitors traveling up through the atrium to the top floor from where they follow the two main paths that unfold chronologically as they descend through the building.

The two main trajectories, one being the car and truck collection and the other consisting of historical displays called the Legend rooms, spiral downwards on the perimeter of the display platforms, intersecting with each other at several points allowing the visitor to change routes.

Client: DaimlerChrysler Immobilien, Berlin Location: Mercedes Strasse 100, Stuttgart, Germany Building area: 35.000 m2 Programme: Car museum, shop, restaurant, offices, auditorium Status/phase: Realized May 2006

Ñëîæíàòà ãåîìåòðèÿ íà ìóçåÿ ñèíòåçèðà ñòðóêòóðíà è ïðîãðàìíà îðãàíèçàöèÿ â íîâà çàáåëåæèòåëíîñò, îòáåëÿçâàùà ëåãåíäàðíèÿ àâòîìîáèë. Ãåîìåòðè÷íèÿò ìîäåë ñå îñíîâàâà íà òðèëèñòíà îðãàíèçàöèÿ. Ïðîñòðàíñòâàòà ñå ðàçïðîñòèðàò âúðõó ïîâúðõíîñòè, êîèòî ñå èçäèãàò ïîñòåïåííî îò íèâîòî íà çåìÿòà, ñïèðàëîâèäíî îêîëî öåíòðàëåí àòðèóì. Îãëåäúò íà ìóçåÿ çàïî÷âà çà ïîñåòèòåëèòå ñ ïðåìèíàâàíå ïðåç àòðèóìà äî ïîñëåäíèÿ åòàæ, îò êúäåòî òå ñëåäâàò äâåòå îñíîâíè ïúòåêè, êîèòî ñå ðàçòâàðÿò â õðîíîëîãè÷åí ðåä, äîêàòî ñå ñïóñêàò â ñãðàäàòà. Äâåòå îñíîâíè òðàåêòîðèè - åäíàòà çà ëåêè àâòîìîáèëè è êàìèîíè è äðóãàòà, ñúñòîÿùà ñå îò èñòîðè÷åñêà èçëîæáà, íàðå÷åíà „Ëåãåíäàðíè ñòàè”, ñëèçàò ñïèðàëîâèäíî íàäîëó ïî ïåðèìåòúðà íà èçëîæáåíèòå ïëàòôîðìè è ñå ïðåñè÷àò åäíà ñ äðóãà â íÿêîëêî òî÷êè. Òîâà ïîçâîëÿâà íà ïîñåòèòåëÿ äà ïðîìåíÿ ñâîÿ ìàðøðóò.

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The Index is judged best tall building in the Middle East and Africa by CTBUH The Index mixed-use tower in Dubai has won the Council on Tall Buildings and Urban Habitat Award, beating a record number of nominations to be judged the best new high-rise building in the Middle East and Africa.

The 80-storey tower is the first building designed

by Foster + Partners to be completed in Dubai and combines 520 luxury apartments with 25 floors of office space. The different functions are separated by a spectacular double-height, glazed sky lobby, with views over the city to the coast. At the towers base, a landscaped podium creates pedestrian routes through the site and incorporates a range of places to eat, shop and socialise.

Located on a prominent corner site within the Dubai International Finance Centre, the 326 metre-high tower, developed by Union Properties, is unusually offset against the urban grid, oriented east to west to maximise views of the desert and coastline. This orientation also reduces solar gain, as the buildings core mass absorbs heat and reduces its reliance on mechanical ventilation. A system of sunshades shelters the interiors on the exposed south elevation.

The towers distinctive form and slender profile follow a desire to reveal the buildings structural system and internal organisation. The floors are supported by four A-frame concrete fins that taper as they rise. This provides flexible, column-free office accommodation, which can be arranged to provide a headquarters for an international corporation or subdivided to support multiple tenancies.

At the base of the scheme is a landscaped plinth, with sculpted pools of water and an underground car park, and the tower is entered through a dramatic four-storey foyer. The main lift cores, which serve the office floors, are located at the eastern and western edges of the tower. A small central lift core, serving 40 levels of apartments, rises to the sky lobby and shops, restaurants, pool and health club; a local lift core then transports residents to individual apartments. The tower is crowned with 12 luxurious duplex and triplex penthouse apartments with spectacular views over Dubai.

Gerard Evenden, a design director at Foster + Partners, commented: “Our design for The Index had to fulfil many different needs: it had to be a great place to work, a great place to live, a landmark for the financial district and, perhaps most significantly, a sustainable high rise building that, despite Dubais hot climate, would consume less energy than a conventional tower. Im delighted that the resulting building has been recognised by our peers with this important award.”

Index å èçáðàíà çà íàé-äîáðàòà âèñîêà ñãðàäà â Áëèçêèÿ èçòîê è Àôðèêà îò CTBUH

Index å ñìåñåíà ïî ïðåäíàçíà÷åíèå êóëà â Äóáàé, êîÿòî å íîñèòåë íà íàãðàäèòå íà Ñúâåòà çà âèñîêè ñãðàäè è Urban Habitat Award, ïîáåæäàâàéêè ðåêîðäåí áðîé íîìèíàöèè çà íàé-äîáðèòå âèñîêè íîâè ñãðàäè â Áëèçêèÿ èçòîê è Àôðèêà.

80-åòàæíàòà êóëà å ïúðâàòà ñãðàäà, ïðîåêòèðàíà îò Foster + Partners â Äóáàé è îáåäèíÿâà 520 ëóêñîçíè àïàðòàìåíòà ñ 25 åòàæà îôèñ ïðîñòðàíñòâî. Ðàçëè÷íèòå ôóíêöèè ñà ðàçäåëåíè îò ãðàíäèîçíî îñòúêëåíî ëîáè ñ äâîéíà âèñî÷èíà, ñ ãëåäêà îò ãðàäà äî áðåãà.  îñíîâàòà íà êóëàòà, îçåëåíåí ïîäèóìà ñúçäàâà ïåøåõîäåí ìàðøðóò è ïðåäëàãà áîãàò èçáîð îò ìåñòà çà õðàíåíå, ìàãàçèí è ìåñòà çà ñîöèàëèçèðàíå. Íàìèðàùàòà ñå íà âèäíî ìÿñòî íà úãúëà íà International Finance Centre 326 ìåòðîâàòà êóëà, ïðîåêòèðàíà îò Union Properties, å íåîáè÷àéíî èçêëþ÷åíèå â ãðàäñêàòà ìðåæà, îðèåíòèðàíà îò èçòîê íà çàïàä, çà äà ñå ìàêñèìèçèðà èçãëåäà êúì ïóñòèíÿòà è áðåãîâàòà ëèíèÿ. Òàçè îðèåíòàöèÿ íàìàëÿâà è ïðåãðÿâàíåòî íà ñãðàäàòà, òúé êàòî îñíîâíàòà ìàñà íà ñãðàäàòà ïîãëúùà òîïëèíàòà è íàìàëÿâà çàâèñèìîñòòà ñè îò ìåõàíè÷íà âåíòèëàöèÿ. Ñèñòåìà îò ùîðè çàêðèâà þæíàòà ñòðàíà. Îòëè÷èòåëíàòà ôîðìà íà êóëàòà è ñòðîéíèÿò é ïðîôèë ñëåäâàò æåëàíèåòî äà ñå ðàçêðèå ñòðóêòóðíàòà ñèñòåìà íà ñãðàäàòà è âúòðåøíàòà îðãàíèçàöèÿ. Ïîäîâåòå ñå ïîääúðæàò îò ÷åòèðè À áåòîííè ðàìêè - "ïåðêè", êîèòî ñå èñòúíÿâàò êàòî ñå èçäèãàò. Òîâà îñèãóðÿâà ãúâêàâè, áåç êîëîíè îôèñ ïîìåùåíèÿ, êîèòî ìîãàò äà áúäàò èçïîëçâàíè, çà äà ñå îñèãóðè ñåäàëèùå íà ìåæäóíàðîäíà êîðïîðàöèÿ èëè äà ñå ðàçäåëè íà ïîâå÷å ïî-ìàëêè îôèñè.  îñíîâàòà íà ñõåìàòà å îçåëåíåí öîêúë, ñ îòâîäè çà âîäà è ïîäçåìåí ïàðêèíã . Êóëàòà èìà äðàìàòè÷íî ÷åòèðèåòàæíî ôîàéå. Îñíîâíàòèòå ÿäðà íà àñàíñüîðèòå, êîèòî îáñëóæâàò îôèñíèòå åòàæè, ñà ðàçïîëîæåíè â èçòî÷íèòå è çàïàäíèòå êðàèùà íà êóëàòà. Åäíî ìàëêî öåíòðàëíî ÿäðî ñ àñàíñüîðè, îáñëóæâàùî 40 íèâà îò àïàðòàìåíòè, ñå èçäèãà äî ñêàé ëîáèòî è ìàãàçèíè, ðåñòîðàíòè, áàñåéí è çäðàâåí êëóá. Ïîñëå äðóã àñàíñüîð òðàíñïîðòèðà æèòåëèòå äî îòäåëíèòå àïàðòàìåíòè. Êóëàòà å óâåí÷àíà ñ 12 ëóêñîçíè äóïëåêñ è òðèïëåêñ ìåçîíåòà ñ ïðåêðàñíà ãëåäêà êúì Äóáàé. Äæåðàðä Èâúíäåí, äèçàéí äèðåêòîð íà Foster + Partners, êîìåíòèðà: "Íàøèòå ïðîåêòè çà Index òðÿáâàøå äà îòãîâàðÿò íà ðàçëè÷íè íóæäè: òÿ òðÿáâàøå äà áúäå ÷óäåñíî ìÿñòî çà ðàáîòà, ÷óäåñíî ìÿñòî çà æèâååíå, ïîâðàòíà òî÷êà âúâ ôèíàíñîâàòà îáëàñò è, ìîæå áè íàéçíà÷èòåëíî, ïðèìåð çà óñòîé÷èâî ñòðîèòåëñòâî íà íåáîñòúðãà÷."

NEWS

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Pierre-Andre Dufetel The President of the French Republic awarded in Elysee (2 February 2011) our colleague Pierre-Andre Dufetel, IAA Academician and President of the European Academy of ArchitectureIAA Center in Paris, with the high distinction “Ofiicier dans l`Ordre National du Merite”.

The President Nicolas Sarkozy underlined his exceptional merits of services to France.

The IAA Academic Council wish him health and success in his enthusiastic activity.

Acad. Georgi Stoilov, HFAIA IAA President Past UIA President

Ïðåçèäåíòúò íà Ôðåíñêàòà ðåïóáëèêà Íèêîëà Ñàðêîçè íàãðàäè â Åëèñåéñêèÿ äâîðåö (2 ôåâðóàðè 2011 ã.) íàøèÿ êîëåãà Ïèåð-Àíäðå Äþôàòåë, àêàäåìèê íà ÌÀÀ è ïðåçèäåíò íà Åâðîïåéñêàòà àêàäåìèÿ íà Àðõèòåêòóðàòà - ÌAA öåíòúð â Ïàðèæ, ñ âèñîêîòî îòëè÷èå "Ofiicier dans l`Ordre National du Merite". Ïðåçèäåíò ïîä÷åðòà íåãîâèòå èçêëþ÷èòåëíè çàñëóãè â ñëóæáà íà Ôðàíöèÿ. Àêàäåìè÷íèÿò ñúâåò íà ÌAA ìó æåëàå çäðàâå è óñïåõ â åíòóñèàçèðàíàòà ìó äåéíîñò!

Àêàä. Ãåîðãè Ñòîèëîâ, HFAIA IAA ïðåçèäåíò Ìèíàë UIA ïðåçèäåíò

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Raffles City Hangzhou Hangzhou, China, 2008-2014 Ben van Berkel‘s (UNStudio) mixed-use Raffles City development is located near the Qiantang River in Hangzhou, the capital of Zhejiang province, located 180 kilometres southwest of Shanghai. Raffles City Hangzhou will be CapitaLands sixth Raffles City, following those in Singapore, Shanghai, Beijing, Chengdu and Bahrain. The project incorporates retail, offices, housing and hotel facilities and marks the site of a cultural landscape within the Quianjiang New Town Area.

Raffles City Hangzhou will reach a height of 60 stories, presenting views both to and from the Qiantang River and West Lake areas, with a total floor area of almost 400,000 square m..

Raffles city â Õàíãæó, Êèòàé, 2008-2014ã. Ìåñòîïîëîæåíèå: Hangzhou, Êèòàé Ïðîãðàìà: Ñìåñåíî ïðåäíàçíà÷åíèå, âêëþ÷âàùî òúðãîâñêè ñãðàäè: êëàñ À îôèñ ñãðàäè, ïåòçâåçäíè õîòåëè è âèñîê êëàñ æèëèùíè ñãðàäè Ñòàòóñ: Ïëàíèðàíà ðåàëèçàöèÿ 2012ã. Ïðîåêòúò íà ñòóäèîòî íà Áåí âàí Áåðêåë (UNStudio) Raffles City ñúñ ñìåñåíî ïðåäíàçíà÷åíèå ñå íàìèðà â áëèçîñò äî ðåêà Êèàíòàíã â Õàíãæó, ñòîëèöàòà íà ïðîâèíöèÿòà Zhejiang, íà 180 êì þãîçàïàäíî îò Øàíõàé. Raffles City Hangzhou ùå áúäå øåñòèÿ ïî ðåä Raffles City íà CapitaLand, ñëåä òåçè â Ñèíãàïóð, Øàíõàé, Ïåêèí, ×åíãäó è Áàõðåéí. Ïðîåêòúò âêëþ÷âà òúðãîâèÿ íà äðåáíî, îôèñè, æèëèùà è õîòåëñêè ñúîðúæåíèÿ è îòáåëÿçâà êóëòóðíàòà çîíà â íîâàòà ÷àñò íà ãðàäà.

Raffles City Hangzhou ùå äîñòèãíå âèñî÷èíà îò 60 åòàæà, ïðåäñòàâÿéêè ãëåäêà êúì ðåêà Qiantang è çàïàäíèòå åçåðà, ñ îáùà ïëîù îò ïî÷òè 400 000 êâ.ì.

Location: Hangzhou, China Building surface: 389,489 m2 Building site: 40,355 2 Programme: Mixed-use, incorporating commercial buildings: Class A office buildings, five-star hotels and high end residential buildings Status: Planned realisation 2012

NEWS

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The XXXV IAA Academic Council Session The XXXV IAA Academic Council Session was held at 19 May 2011 in Kusadasi (Turkey).

1. The Academic Council members, having in mind the famous architectural works of Arch. Roger Taillibert (France) and Arch. Riken Yamamoto (Japan), elected them for IAA Professors.

Arch. Roger Taillibert- Ensemble Immobilier de Laboratoires de Recherche et de Bureaux Toulouse Arch. Riken Yamamoto- Jian Wai Soho 2. The Academic Council members discussed in details the received nominations for IAA “Annual Prize`2010” winner: - Acad. Daniel Libeskind for “Grand Canal Square Theatre” in Dublin, Ireland.

- Acad. Vakhtang Davitaia for “Village Gavazi School”, Khvareli region, Georgia.

- Acad. Richard Meier for “ECM Tower” in Prague, Czech Republic.

- IAA Prof. Paolo Cucchi for “Master Plan of “The Garden” ” in Malaysia.

- Acad. Justus Dahinden for “Pearl of the Sea”, Middle East.

- Acad. Vittorio Gregotti for “Headquarters Pirelli RE 2” at Bicocca, Milan.

- Acad. Fumihiko Maki for “Massachusetts Institute of Technology, The Media Lab Complex” in USA. and elected IAA Academician Daniel Libeskind as IAA “Annual Prize`2010” winner for his “Grand Canal Square Theatre” in Dublin, Ireland.

XXXV Ñåñèÿ íà Àêàäåìè÷íèÿ ñúâåò íà ÌÀÀ XXXV-òàòà Ñåñèÿ íà Àêàäåìè÷íèÿ ñúâåò íà ÌÀÀ ñå ïðîâåäå íà 19 ìàé 2011ã. â Êóøàäàñú (Òóðöèÿ).

1. ×ëåíîâåòå íà Àêàäåìè÷íèÿ ñúâåò, èìàéêè ïðåäâèä èçâåñòíèòå àðõèòåêòóðíè ïðîèçâåäåíèÿ íà àðõ. Ðîäæúð Òàéëèáåðò (Ôðàíöèÿ) è àðõ. Ðèêåí ßìàìîòî (ßïîíèÿ), ãè èçáðàõà çà ïðîôåñîðè íà ÌÀÀ.

2. ×ëåíîâåòå íà Àêàäåìè÷íèÿ ñúâåò îáñúäèõà â äåòàéëè ïîëó÷èëèòå íîìèíàöèè îò ÌAA çà íîñòèòåëè íà "Ãîäèøíà íàãðàäà 2010 ": - Àêàä. Äàíèåë Ëèáåñêèíä çà " Grand Canal Square Theatre " â Äúáëèí, Èðëàíäèÿ.

- Àêàä. Âàõòàí Äàâèòàÿ çà " Village Gavazi School ", ðåãèîí Êâàðåëè, Ãðóçèÿ.

- Àêàä. Ðè÷àðä Ìàéåð çà "ECM Tower" â Ïðàãà, ×åøêà ðåïóáëèêà.

- Ïðîô. íà ÌÀÀ Ïàîëî Êóêè çà "Master Plan of "The Garden"" â Ìàëàéçèÿ.

- Àêàä. Þñòóñ Äàõèíäåí çà " Pearl of the Sea", Áëèçêèÿ Èçòîê.

- Àêàä. Âèòîðèî Ãðåãîòè çà "Ñåäàëèùå íà Pirelli RE 2" â Áèêîêà, Ìèëàíî.

- Àêàä. Fumihiko Ìàêè çà " Massachusetts Institute of Technology, The Media Lab Complex " â ÑÀÙ. Àêàäåìè÷íèÿò ñúâåò èçáðà àêàä. íà ÌÀÀ Äàíèåë Ëèáåñêèíä çà "Íîñèòåë íà ãîäèøíàòà íàãðàäà çà 2010", çàðàäè íåãîâèÿ ïðîåêò "Grand Canal Square Theatre "â Äúáëèí, Èðëàíäèÿ.

World Architecture Masters