WAM 18

World Architecture Masters

ISSN 1313-177X

18/ 2012/ 018

www.wamjournal.com

AHMET VEFIK ALP

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Óïðàâèòåë Íàòàëèÿ Áîíäàðåíêî

General manager Natalia Bondarenko

Îòãîâîðåí ðåäàêòîð Êðàñèìèðà ßâàøåâà

Editor Krassimira Yavasheva

Ãðàôè÷åí äèçàéíåð è ïðåäïå÷àòíà ïîäãîòîâêà Åëåîíîðà Ðàäåâà - Åëåòî

Graphic designer and Print design Eleonora Radeva - Eleto

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Ðåêëàìåí åêèï: Äèàíà Ñòîÿíîâà Åìèëèàí Ìèëêîâ

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Ïðåâîä îò àíãëèéñêè Ïîëèíà Õàäæèìèòîâà

Translator Polina Hadjimitova

Ðàçïðîñòðàíåíèå Êðàñè Èâàíîâà

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Èçäàòåëè: Ìåæäóíàðîäíà Àêàäåìèÿ çà Àðõèòåêòóðà Àðõ ìåäèÿ EÎÎÄ

Publishers: International Academy of Architecture Arhc Media SLtd.

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www.amc-aspects.com www.beautifulhouses.eu www.wamjournal.com www.atlas-style.com www.technostroi.com

www.amc-aspects.com www.beautifulhouses.eu www.wamjournal.com www.atlas-style.com www.technostroi.com

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

Àêàäåìè÷åí ñúâåò Àêàäåìèöè íà MAA ïðîô. Ïèåð Àíäðå Äþôåòåë - Ôðàíöèÿ ïðîô. Ðè÷àðä Èíãëàíä - Ìàëòà 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. Manfredi Nicoletti - Italy prof. Juri Platonov - Russia prof. Brian Spencer - USA prof. Georgi Stoilov - Bulgaria Joseph Rykwert - president of CICA

Ãëàâåí ðåäàêòîð ïðîô. Ãåîðãè Ñòîèëîâ, àêàäåìèê íà ÌÀÀ

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

ÌÀÀ, 1202 Ñîôèÿ, áóë. Ìàðèÿ Ëóèçà 40 òåë.: 02 944 62 97 iaarch@yahoo.com, www.iaa-ngo.com

IÀÀ, Bulgaria, 1202 Sofia 40 Maria Luiza bul., tel.: +359 2 944 62 97 iaarch@yahoo.com, www.iaa-ngo.com

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 Rem Koolhaas Vladilen Krasilnikov Lucien Kroll Alexander Kudryavtsev Henning Larsen Wu Liangyong Daniel Libeskind Fumihiko Maki 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. Ahmet Vefik Alp for his amiability submitting materials from theirs private archive at ours disposal for the eighteen issue of WAM. Ñïèñàíèå World Architecture Masters áëàãîäàðè íà àðõ. Àõìåò Âåôèê Àëï çà ëþáåçíî ïðåäîñòàâåíèòå ìàòåðèàëè îò ëè÷íèÿ ìó àðõèâ çà îñåìíàäåñåòè 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.

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CONTENTS

TV-RADIO TOWER

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BODRUM INTERNATIONAL AIRPORT CONTEMPORARY JEWISH

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INSTITUTE OF TECHNOLOGY

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ISTANBUL METROPOLITAN CITY HALL

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HILTON HOTEL & SHOPPING CENTER

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INTERNATIONAL CONGRESS CENTER

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MALATYA CITY HALL

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POLITICAL PARTY HEADQUARTERS

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MULTIFUNCTIONAL COMPLEX

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ARCHITECT'S RESIDENCE BOSPHORUS

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THE TURKISH EMBASSY & STAFF HOUSING

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TAKSIM MOSQUE & MUSEUM OF RELIGIONS

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AHMET VEFIK ALP

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Architecture of spirit

Àðõèòåêòóðà íà äóõà Îò äúëáîêà äðåâíîñò îáåêòèòå íà äóõà ñà èìàëè îñîáåí ÷àð. Òîâà çíà÷è, ÷å òå ñà áèëè âèíàãè öåíòúð íà îñîáåíî âíèìàíèå è óñèëèå íà ñúçäàòåëèòå. Íåùî ïîâå÷å, â òÿõ ñå å ðîäèëà àðõèòåêòóðàòà êàòî èçêóñòâî. Âñè÷êî, êîåòî å áèëî çíà÷èìî, å áèëî îáåêò íà àðõèòåêòóðàòà.  íàøå âðåìå öåííîñòèòå êîðåííî ñå èçìåíèõà. Îò ñòàðèòå ñòðàõîïî÷èòàíèÿ íà íåâèäèìè áîãîâå íå îñòàíà è ñëåäà. Îò ðåëèãèèòå îñòàíà âÿðàòà. Íàóêàòà âúðøè ñâîåòî åïîõàëíî äåëî çà ïðîìÿíàòà íà ñúçíàíèåòî. Ïîçíàé èñòèíàòà è òÿ ùå òå íàïðàâè ñâîáîäåí. È òàêà ñå çàðàæäà íîâîòî âåëè÷èå íà äóõà- ñâîáîäåí è ñèëåí. Òîâà ñòàâà íîâèÿ öåíòúð íà àðõèòåêòóðàòà. Ñâîáîäàòà, ñúâúðøåíñòâîòî, êðàñîòàòà, å äåâèçà íà íîâàòà àðõèòåêòóðà íà ñâîáîäíèÿ äóõ. Òàêàâà å àðõèòåêòóðàòà íà "Ìàéìàð Àõìåò".

From ancient times the objects of spirit have had particular charm. This means that they have always been the center of attention and effort of its creators.

Moreover, they have conceived architecture as art. Everything that was important was subject of architecture.

Nowadays the values have changed radically. The Old fears of invisible gods have vanished. From religion remained faith. Science is having huge impact on the change of consciousness. Find the truth and it will make you free. And so was born the new greatness of spirit-free and strong. This is the new center of architecture. Freedom, perfection, beauty is the motto of new architecture of the free spirit.

This is the architecture ”maymar Ahmet.”

Aêàä. Ãåîðãè Ñòîèëîâ Ïðåçèäåíò íà ÌÀÀ

Acad. Georgi Stoilov President of IAA

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AHMET VEFIK ALP Following the French Lycee ‘Saint Joseph’, Alp continued his studies at the ITU Istanbul Technical University / Architecture from where he obtained the Degree of Architect in 1971, and that of Diplome Architect in 1973, both with High Honors. The "Tepebasi Cultural Center", Istanbul, his thesis work, has drawn attention and was published in architectural journals. Two competition entries he submitted just before and after his graduation, the "Headquarters of the Central Bank of Turkey", Ankara; and the "Commercial Center for Red Crescent Society of Turkey", Ankara both obtained Jury’s Special Prizes.

Immediately after, he joined Istanbul Technical University" as Assistant Professor of Architecture and in the same time was commissioned for the design of a "Campus for Naval Sciences Academy" near Istanbul.

In 1977, ITU decided to position Alp to the United States for advanced studies.

Alp joined Rice University, School of Architecture in Houston, Texas where he was awarded the Degrees of Master and Doctor of Architecture in 1979. He has completed his doctoral studies in 16 months. His dissertation entitled ‘Aesthetic Response to Geometry in Architecture’ focuses into the domain of architectural and environmental psychology and deals with the problems of visual perception and the emotional / aesthetic interaction of man with his built surroundings. Before returning home Alp worked at the architectural firm 3D/ International, Houston.

In 1982, Dr Alp was invited to the College of Environmental Design, King Fahd University, Dhahranq Saudi Arabia. Alp has taught for 7 years there at the Departments of Architecture and City Planning. Most of the architectural schemes has prepared during that period are now in service. Amongst others are the Turkish Embassy and Staff Housing Complex at the Diplomatic Quarter in Riyadh, Rector’s Residence in Dhahran, and a Private House in Jubail. Conceptual designs for an Hotel for Pilgrims in the Holy City of Medinah, a Resort Village and Marina in Bahrain Gulf, a Shopping Mall in Jeddah have also been finalised towards futher studies.

Dr. Alp was elevated to the Rank of Associate Professor in 1985.

He was elected ‘Professor’ of the International Academy of Architecture in 1989 and appointed by the Academic Council as Founding President of the Regional Centre in Istanbul in 1993.

Alp was licensed as Architect in Turkey as of 1971. He obtained his Registration from the State of Texas, US in 1984 as "Professional Architect" and became a member of the Texas Society of Architects and American Institute of Architects. In 1995 Professor Alp was qualified as "Professional Interior Architect" by the Texas Board of Architectural Examiners. He has been welcomed as Allied Member of The American Society of Interior Designers in 1998.

Dr Alp obtained in 1994 the highest level (A) License of City Planner from the Turkish Department of Public Works and Housing.

Alp has been the recipient of a number of Prizes and Dedications for his academic / professional work and his articles and work are routinely being published in periodicals in different languages and daily newspapers. His 400, page work entitled "Architectural Heritage of Saudi Arabia’s Eastern Province" documenting lost architectural antiquities was completed in 1990.

In addition to his own Country and the Middle East, Dr. Alp has worked in Switzerland and Japan.

Amongst the design schemes he has accomplished during those years are the Turkish Pavilion, Yamagata, Japan; the Mosque & Cultural Centre of Turkey, Tokyo; the Marina Park Residences, Istanbul; the Campus of the Gebze Institute of Technology near Istanbul; Historic Villa in

Bosphorus, Istanbul; International Tourism &Trade Centre, Istanbul; Office Structures & Shopping Malls in two locations in Anatolia, Hilton Hotel and Shopping Complex in Kayseri; Political Party HQs, Ankara; Historical Hotel, Istanbul; Hotel and Mall, Istanbul; Residences and Mall, Condominiums Bostanci and Beylikduzu, Istanbul; Malatya City Hall Turkey, Residences and Mall, Izmir, Turkey and a multitude of multifunctional complexes, cultural centers, single or group housing projects, country houses, mountain lodges, seashore villas, mosques, restoration and renovation projects, urban planning and design as well as landscape and interior design activity.

In 1996 Dr Alp was appointed as Professor and Chairman of the School of Architecture, Gebze Institute of Technology, Istanbul.

Alp has visited over 40 countries and speaks fluent English and French in addition to his native language. Presently, he leads Alp Architects and Planners Ltd in Istanbul, heads Istanbul Center of the International Academy of Architecture, presides a number of associations and societies, participates in international juries, congresses and symposia The Ministry of Culture and The Council of Higher Education, Turkey have conjointly appointed Professor Alp to the membership of The Regional Council for The Preservation of the Cultural and Natural Landmarks. In 2001 he has been conferred with the title of "Honourable Member of the Kazgor Design Academy", Kazakhistan, and was elected as Member of the "International Academy of Architecture for Eastern Countries".

Ahmet Vefik Alp has servet as Chief Advisor to the Prime Minister of Turkey durring 1999-2002.

The Presidium of the International Academy of Architecture represented by 22 delegates from 16 Countries has bestowed upon him the distinguished title of Academician in 2000, anonymously and on the presence of the represen-

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tatives of the International Union of Architects UIA and UNESCO. In 1994, 1999, 2004 and 2009 local elections respectively, he run for the Office of the Metropolitan Mayor of Greater Istanbul and his vision for the restoration of the disturbed ecology, history and urbanism of the City recognised national and international attention.

In 2006 and 2009, he served as Jury Member for the IAA World Triennial of Architecture, Sofia, Bulgaria.

The architectural schemes he presently works on, amongst others, are the Taksim Mosque & Museum of History of Religions, in Istanbul, Taksim Square and secondly a competition entry with Italian colleagues Nicolettis for the Radio-TV Tower, a 350 m high communication and vista tower for Istanbul, Turkey.

Dr. Alp has been the recipient European Property Awards 2011 in public service architecture category for two of his architectural works in Turkey, "Malatya City Hall" and "MHP Political Party HDQS". At the final cycle, the latter has been selected the Best of Europe.

Dr. Alp has recently been elected as a Chartered Member of RIBA, Royal Institute of British Architects.

AFFLIATIONS SHORTLIST • CHAMBER OF ARCHITECTS OF TURKEY, (TR) • CHAMBER OF CITY PLANNERS OF, (TR) INTERNATIONAL UNION OF ARCHITECTS, UIA (F) • AMERICAN INSTITUTE OF ARCHITECTS, (USA) • AMERICAN INSTITUTE OF ARCHITECTS, CONTINENTAL EUROPE, AIAE (EU) • ROYAL INSTITUTE OF BRITISH ARCHITECTS RIBA (UK) • AMERICAN SOCIETY OF INTERIOR DESIGNERS ASID (USA) • INTERNATIONAL ASSOCIATION FOR HOUSING SCIENCE IAHS (USA • INTERNATIONAL ACADEMY OF ARCHITECTURE IAA • INTERNATIONAL ACADEMY OF ARCHITECTURE FOR EASTERN COUNTRIES IAAEC (AZER) • ASSOCIATION OF TURKISH AMERICAN SCIENTISTS ATAS (USA) • TEXAS SOCIETY OF ARCHITECTS TSA (USA) • INTL ASSOC FOR THE DEVELOPMENT AND MANAGEMENT OF TOWNS INTA (NL) • THE AGA KHAN FOUNDATION • EUROPEAN ASSOCIATION FOR ARCHITECTURAL EDUCATION EAAE (NL) • NEW YORK ACADEMY OF SCIENCES, (USA) • KAZGOR DESIGN ACADEMY (KAZ)

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ÀÕÌÅÒ ÂÅÔÈÊ ÀËÏ Àõìåò Âåôèê Àëï çàâúðøâà ôðåíñêèÿ ëèöåé "Ñâåòè Éîñèô" è ïðîäúëæàâà îáó÷åíèåòî ñè â ITU Òåõíè÷åñêèÿ óíèâåðñèòåò â Èñòàíáóë, ñïåöèàëíîñò " Àðõèòåêòóðà", êúäåòî ñå äèïëîìèðà ñ îòëè÷èå ïðåç 1973ã. Êóëòóðíèÿò öåíòúð "Òåáåáàñè" â Èñòàíáóë ïðîÿâÿâà âíèìàíèå êúì íåãîâàòà äèïëîìíà ðàáîòà è òÿ å ïóáëèêóâàíà â íÿêîëêî àðõèòåêòóðíè ñïèñàíèÿ. Ìàëêî ïðåäè è ìàëêî ñëåä äèïëîìèðàíåòî ñè ó÷àñòâà â äâà êîíêóðñà - çà ñåäàëèùå íà Öåíòðàëíàòà áàíêà íà Òóðöèÿ â Àíêàðà è çà Òúðãîâñêè öåíòúð íà ×åðâåíèÿ ïîëóìåñåö â Àíêàðà. È äâàòà ïðîåêòà ïîëó÷àâàò ñïåöèàëíèòå íàãðàäè íà æóðèòî. Âåäíàãà ñëåä òîâà Àëï ñå ïðèñúåäèíÿâà êúì ITU êàòî àñèñòåíòïðîôåñîð ïî àðõèòåêòóðà.  ñúùîòî âðåìå ìó å âúçëîæåí äèçàéíà íà Àêàäåìèÿòà íà ìîðñêèòå íàóêè áëèçî äî Èñòàíáóë. Ïðåç 1977 ã. ITU ðåøàâà äà èçïðàòè Àëï â Ñúåäèíåíèòå ùàòè, çà äà âçåìå ó÷àñòèå â èçñëåäîâàòåëñêà äåéíîñò. Àëï ðàáîòè â Ó÷èëèùåòî ïî àðõèòåêòóðà êúì óíèâåðñèòåòà "Ðàéñ" â Õþñòúí, Òåêñàñ, êúäåòî ïîëó÷àâà ìàãèñòúðñêà è äîêòîðñêà ñòåïåí ïî àðõèòåêòóðà ïðåç 1979 ã. Çàâúðøâà äîêòîðàíòóðàòà ñè çà 16 ìåñåöà. Äèñåðòàöèÿòà ìó íà òåìà: "Åñòåòè÷åí îòãîâîð íà ãåîìåòðèÿòà â àðõèòåêòóðàòà" ñå ôîêóñèðà â îáëàñòòà íà àðõèòåêòóðàòà, îêîëíàòà ñðåäà è ïñèõîëîãèÿòà è ñå çàíèìàâà ñ ïðîáëåìèòå íà âèçóàëíîòî è åìîöèîíàëíîòî âúçïðèÿòèå - åñòåòè÷åñêîòî âçàèìîäåéñòâèå íà ÷îâåêà ñ ïîñòðîåíèòå ñãðàäè â çàîáèêàëÿùàòà ãî ñðåäà. Ïðåäè äà ñå âúðíå ó äîìà, Àëï ðàáîòè â àðõèòåêòóðíà 3D ôèðìà â Õþñòúí. Ïðåç 1982 ã. ä-ð Àëï å ïîêàíåí â Êîëåæà çà åêîëîãè÷íî ïðîåêòèðàíå â óíèâåðñèòåòà íà Êðàë Ôàõä, Dhahran, êúäåòî å ïðåïîäàâàòåë â ïðîäúëæåíèå íà 7 ãîäèíè â êàòåäðèòå ïî "Àðõèòåêòóðà" è"Ãðàäñêî ïëàíèðàíå". Ïîâå÷åòî îò àðõèòåêòóðíèòå ïðîåêòè, êîèòî å ïîäãîòâèë ïðåç òîçè ïåðèîä â Ñàóäèòñêà Àðàáèÿ âå÷å ñà â åêñïëîàòàöèÿ. Ñðåä äðóãèòå ñà òóðñêîòî ïîñîëñòâî è Æèëèùåí êîìïëåêñ íà ñëóæèòåëèòå â Äèïëîìàòè÷åñêèÿ êâàðòàë â Ðèÿä, Ðåçèäåíöèÿòà íà Ðåêòîðà â Dhahran è ÷àñòíà êúùà â Äóáàé. Ïðîåêò çà õîòåë çà ïîêëîííèöè â Ñâåùåíèÿ ãðàä íà Medinah, êóðîðòíî ñåëèùå è ïðèñòàíèùå â Ïåðñèéñêèÿ çàëèâ Áàõðåéí, òúðãîâñêè öåíòúð â Äæåäà ñúùî ñà áèëè ôèíàëèçèðàíè. Ä-ð Àëï ñòàâà äîöåíò ïðåç 1985 ã. Èçáðàí å çà Ïðîôåñîð íà Ìåæäóíàðîäíàòà àêàäåìèÿ ïî àðõèòåêòóðà ïðåç 1989 ã. è å íàçíà÷åí îò Àêàäåìè÷íèÿ ñúâåò êàòî ïúðâè ïðåçèäåíò íà Ðåãèîíàëíèÿ öåíòúð â Èñòàíáóë ïðåç 1993 ã. Àëï å ëèöåíçèðàí êàòî àðõèòåêò â Òóðöèÿ ïðåç 1971 ã. Òîé ïîëó÷àâà ñâîÿòà ðåãèñòðàöèÿ â Òåêñàñ, ÑÀÙ ïðåç 1984 ã. êàòî ïðîôåñèîíàëåí àðõèòåêò è ñòàâà ÷ëåí íà òåêñàñêîòî îáùåñòâî íà àðõèòåêòèòå è Àìåðèêàíñêèÿ èíñòèòóò íà àðõèòåêòèòå. Ïðåç 1995 ã. ïðîô. Àëï å êâàëèôèöèðàí êàòî ïðîôåñèîíàëåí àðõèòåêò ïî âúòðåøíà àðõèòåêòóðà îò Óïðàâèòåëíèÿ ñúâåò íà ïðàêòèêóâàùèòå â Òåêñàñ àðõèòåêòè. Òîé å ïðèîáùåí îò Àìåðèêàíñêîòî îáùåñòâî íà èíòåðèîðíè äèçàéíåðè ïðåç 1998 ã. Ä-ð Àëï, ïîëó÷àâà ïðåç 1994 ã. íàé-âèñîêî íèâî (A) - ëèöåíç íà àðõèòåêò îò òóðñêîòî Ìèíèñòåðñòâî íà áëàãîóñòðîéñòâîòî è æèëèùíàòà ïîëèòèêà. Àëï å íîñèòåë íà ðåäèöà íàãðàäè è ïîñâåùåíèÿ çà àêàäåìè÷íàòà è ïðîôåñèîíàëíàòà ñè ðàáîòà. Íåãîâèòå ñòàòèè è ïðîåêòè ïåðèîäè÷íî ñå ïóáëèêóâàò â ñïåöèàëèçèðàíè èçäàíèÿ íà ðàçëè÷íè åçèöè. Íåãîâàòà 450-ñòðàíèöè ïóáëèêàöèÿ "Architectural Heritage of Saudi Arabia's Eastern Province", äîêóìåíòèðàùà èçãóáåíèòå àðõèòåêòóðíè àíòèêè íà îñìàíöèòå â Èçòî÷íà Àðàáèÿ, å çàâúðøåíà ïðåç 1990 ã. Îñâåí â Òóðöèÿ è Áëèçêèÿ èçòîê, ä-ð Àëï å ðàáîòèë â Øâåéöàðèÿ è ßïîíèÿ. Ñðåä äèçàéíåðñêèòå ìó ïðîåêòè ñà ïàâèëèîí "ßìàãàòà", ßïîíèÿ, äæàìèÿ è êóëòóðåí öåíòúð íà Òóðöèÿ, Òîêèî, "Ìàðèíà Ïàðê", Èñòàíáóë, Êàìïóñ íà Ãåáçå - Èíñòèòóòà ïî òåõíîëîãèè â áëèçîñò äî Èñòàíáóë, èñòîðè÷åñêà âèëà â Áîñôîðà, Èñòàíáóë, ìåæäóíàðîäåí òóðèñ-

òè÷åñêè è òúðãîâñêè öåíòúð, Èñòàíáóë, îôèñ ñãðàäè è ìîëîâå â Àíàäîëà, õîòåë "Õèëòúí" è òúðãîâñêè êîìïëåêñ â Êàéñåðè, ïîëèòè÷åñêè ïàðòèéíè ùàáîâå, Àíêàðà, èñòîðè÷åñêè õîòåë, Èñòàíáóë, õîòåë è Mall, Èñòàíáóë, æèëèùíè ñãðàäè è ìîë Bostanci è Beylikdz, Èñòàíáóë, êìåòñòâî íà Ìàëàòèÿ Òóðöèÿ, æèëèùà è Mall, Èçìèð, Òóðöèÿ è ìíîæåñòâî ìóëòèôóíêöèîíàëíè êîìïëåêñè, êóëòóðíè öåíòðîâå, åäèíè÷íè èëè ãðóïîâè ïðîåêòè íà æèëèùà, âèëè, ïëàíèíñêè õèæè, äæàìèè, ðåñòàâðàöèè è ãðàäîóñòðîéñòâåíè ïðîåêòè, êàêòî è ëàíäøàôòåí è èíòåðèîðåí äèçàéí. Ïðåç 1996 ã. ä-ð Àëï ñòàâà ïðîôåñîð è ïðåäñåäàòåë íà Ó÷èëèùåòî ïî àðõèòåêòóðà â Ãåáçå òåõíîëîãè÷åí èíñòèòóò, Èñòàíáóë.  ìîìåíòà òîé ïðîâåæäà ïåðèîäè÷íè àðõèòåêòóðíè ðàáîòèëíèöè çà äèçàéí êàòî ãîñòóâàù ïðîôåñîð â Éåäèòåïå óíèâåðñèòåò, Èñòàíáóë. Àëï å ïîñåòèë íàä 40 ñòðàíè è âëàäåå àíãëèéñêè è ôðåíñêè åçèê â äîïúëíåíèå êúì ðîäíèÿ ñè åçèê.  ìîìåíòà òîé ðúêîâîäè Alp Architects and Planners â Èñòàíáóë, ðúêîâîäèòåë å è íà Èñòàíáóëñêèÿ öåíòúð íà Ìåæäóíàðîäíàòà àêàäåìèÿ ïî àðõèòåêòóðà, ïðåäñåäàòåëñòâà ðåäèöà àñîöèàöèè è îðãàíèçàöèè, ó÷àñòâà â ìåæäóíàðîäíè æóðèòà, êîíãðåñè è ñèìïîçèóìè. Ïðåç 2001 ã. ïîëó÷àâà çâàíèåòî ïî÷åòåí ÷ëåí íà Êàçãîð Äèçàéí àêàäåìèÿ, Êàçàõñòàí è å èçáðàí çà ÷ëåí íà Ìåæäóíàðîäíàòà àêàäåìèÿ íà àðõèòåêòóðàòà çà ñòðàíèòå îò Èçòî÷íà Åâðîïà. Àõìåò Âåôèê Àëï å íàçíà÷åí çà ãëàâåí ñúâåòíèê íà ìèíèñòúð-ïðåäñåäàòåëÿ íà Òóðöèÿ 1999-2002 ã. Ïðåçèäèóìúò íà Ìåæäóíàðîäíàòà àêàäåìèÿ ïî àðõèòåêòóðà, ïðåäñòàâëÿâàí îò 22 äåëåãàòè îò 16 ñòðàíè, ìó å äàë çâàíèåòî "Àêàäåìèê" ïðåç 2000 ã., àíîíèìíî è â ïðèñúñòâèåòî íà ïðåäñòàâèòåëè íà Ìåæäóíàðîäíèÿ ñúþç íà àðõèòåêòèòå UIA è ÞÍÅÑÊÎ. Ïðåç 1994, 1999, 2004 è 2009 ã. òîé ó÷àñòâà â ìåñòíèòå èçáîðè çà ñòîëè÷åí êìåò íà Èñòàíáóë ñ ïðåäëîæåíèÿ çà âúçñòàíîâÿâàíå íà íàðóøåíà åêîëîãèÿ, êóëòóðà, èñòîðèÿ è óðáàíèçúì, ïðåäèçâèêàëè íàöèîíàëíî è ìåæäóíàðîäíî âíèìàíèå.

8 The Istanbul TV-Radio Tower Project is an unprized competition entry with architects Prof. Manfredi and Luca Nicoletti, Rome.

The Tower is planned to replace the numerous steel structure emission towers polluting the silhouette of the City.

The Project is sited to the highest point of Istanbul at 250m at the Asian side. The Camlica Hill, a recreation park, is known for its pine trees and splendid views over the magnificient Istanbul Metropole, former capital of the former grand empires of the World.

The vertical profile of the Tower is as follows: Between +60m and +100m from bottom upwards there are three technical floors followed by three guest levels, a restaurant including the kitchen and a mezzanine floor, then an enclosed vista terrace with mezzanine coffee, and finally and open vista terrace at +100m. There are partial west oriented open terrace on all levels.

At the base there are the lower ground level at 240m and upper ground level at 245m. The main guest entrance and shuttle service stop are located at the lower ground floor.

The upper ground level that houses a secondary entrance is complemented by a grass-finished amphitheatre proposed in accordance with the topography.

Observed from above the crescent shaped amphithatre and the star-shaped decorative pool imitate the Turkish national flag. The lower ground also houses a service zone that contains the transformers and generators. The service trucks may circulate the technical space.

The flexibility and versatility of space are the inherent qualities of the Tower. Its pine tree-textured metal mesh envelope and the central concrete core housing the vertical circulation elements and technical shafts define a vertical inner space. The floor levels at various altitudes may be interchanged, eliminated and augmented as necessary. The internal layout of the floors may also be modified at wish.

The TV-Radio towers of the major Cities of the World exhibit some kind of resemblance with a dominant solid vertical tube. Yet, the proposed Istanbul Tower is unique with its geometry that begins as an ellipse and terminates as a circle, its pine tree-textured metallic mesh envelope, its elongated space defined between the envelope and the central core, and finally the vertical rupture of its envelope opening westwards to the Historical Peninsula and Istanbul's cruise liner sport as an inviting gesture to those approaching the legendary City from the West are the main characteristics of the concept. At halfway from the ground the Tower's vertical opening exposes a crescent-star figure of the Turkish flag floating inside the vertical space.

TV-RADIO TOWER Istanbul, Turkey 2011

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BODRUM INTERNATIONAL AIRPORT Bodrum, Turkey 1998

13 The Bodrum-Milas International Airport Project is a submission to an architectural competition organized by the Ports Authorities of Turkey. The entry was disqualified by the jury due to an error in presenting the sealed identity envelope.

The area is a major domestic and foreign tourists' summer destination.

Instead of in-fashion large airport templates designed as a prismatic terminal block connected with a linear long gates corridor the present scheme prefers a compact square layout towards an informal space psychology. The large entrance canopy that covers the passengers' departure and arrival approach platforms defines a total space unified with the main lobby. The departing passengers passing through the circular check-in hall traverse the terminal diagonally towards passport control booths and, thereafter, diverge symmetrically towards the embarkation gates. This centralized system offers easy passenger cognition and orientation.

The entry space landscaped by water jets, palm trees and an illuminated pool constitutes a welcoming and prestigious approach with a microclimate of visual freshness during hot days. The vehicular and pedestrian traffic for embarking and disembarking passengers is handled with direct and shortest travel distance. Parking space for 850 cars and 100 buses surround the land side of Terminal.

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The 'total space' approach with internal voids and mezzanines allows the arriving passengers to contemplate the dynamic and representative dimensions of the departing passengers level. The mezzanine level of the main space at 16.00m high houses the cafes and restaurants and invites all passengers for a view of the busy main floor. The departing passengers at 10.30m level descend 1.50m to reach the lobbies towards the gates. The arriving passengers at 4.50m level find the street without any steps. The mechanical spaces, a group of offices, the baggage identification area and apron services are at the same level with the

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apron. The symmetrical vertical circulation shafts serve the kitchen and commercial spaces above. The conic skylights carry the sunlight into the internal spaces.

The total enclosed area of the Terminal reaches 75.000 m2. The structure is fabricated out of light metal construction. The stylistic interpretation of the Terminal offers a delicate synthesis of the contemporary high-tech architecture with traditional and vernacular accents.

Professor Architect Georgi Stoilov and Architect Kiril Botchkov were part of the design team as advisers.

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INSTITUTE OF TECHNOLOGY Gebze, Kocaeli, Turkey

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DEPARTMENT OF CHEMISTRY Gebze, Kocaeli, Turkey 1995

The 12.000m2 Chemistry Department of the Faculty of Sciences is located at the Academic Forum, one the four centers of the Academic Sector of the Campus. This is a circular plaza which also houses the Offices of the Deans of Engineering and Sciences, the Central Library and the Faculty & Staff Club. It may be perceived as the focus of the academic life of the Campus.

The Chemistry Department is the first structure of the Campus to be designed and built. Its architectural philosophy is a collision of geometries and a delicate synthesis of hightech and traditional styles with strict adherence to the sloping topography of the land as in most structures of the Campus.

In plan, the Department is layed out in three main parts:.

The longitudinal laboratory block is terraced in three levels to match the slope of the land. Conic skylights on the terraces provide natural light and brutalist tubular chimneys evacuate the poisonous gases released from the fumehoods of the lab spaces. The labs' wing is terminated by horizontally tilted WC units.

The central atrium is a meeting and a transition space between labs and the classrooms/offices blocks. It is roofed with a curved space frame structure finished with aluminium panels. A steel bridge spans the atrium to connect the labs and the classrooms at the middle level. A small auditorium is placed at the ground level of the atrium. The space continues towards the lanscape and the valley with a projecting pointed terrace.

The classrooms and faculty offices block is dominated by a square floor housing the chairman's suite and the administartion. Its deep roof projections and 1/2 ratio modular windows are reminiscent of Turkish traditional architecture.

The Masterplan of the Campus has been prepared by the same architect.

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+1 LEVEL PLAN

F-F SECTION

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Chemistry's Atrium

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DEPARTMENT OF ENVIRONMENTAL ENGINEERING The enclosed area of the Environmental Engineering Department building sums up to 10.000 m2. Its design philosophy is a delicate collision of the 'hightech' and Turkish traditional styles.

The structure sits at the eastern side of the circular Academic Forum and is spatially organised in three main blocks.

The laboratories are stepping down in three terraces towards the west, the Gulf direction to match the natural topography of the land. The modular laboratory spaces are naturally lit from the terraces through conical skylights.

The brutalist cylindrical chimneys serve to evacuate to toxic gases discharged from the labs. The labs terminate with solid WC units at the western end. Quadrocircular skylight elements cover the corridors feeding the lab spaces.

The central atrium-foyer with an ellipsoid space frame roof finished with aluminium panels offers an overwhelming meeting space collecting/distributing people as an articulated junction. It's a transit zone between the lab section and the classrooms/administration block. A free-standing spacedivider wall element longitudinally divides the atrium space in two and transport the steel stairs from the upper entrance to the lower entrance. The atrium-foyer opens to a protected courtyard at its side.

The classroom/administration block that penetrates the cental atrium is a five level square structure depicting Turkish traditional architecture, it is slightly rotated from the structural grid to directly face the panoramic view towards the Gulf of Izmit. The floors of the structure are integrated by a central void gradually enlarging towards the pyramidal roof which, in turn, is culminated with a skylight.

The Masterplan of the Campus has been prepared by the same architect.

Gebze, Kocaeli, Turkey 1995

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WEST ELEVATION

EAST ELEVATION

SECTION D-D

SECTION C-C

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THE DEPARTMENT OF ELECTRONICAL ENGINEERING Gebze, Kocaeli, Turkey 1997

FACADE

FACADE

LONGTUDINAL SECTION

The design philosophy of the 8.000 m2 Electrical-Electronical Engineering Department building aims to minimize the land excavation and integrate the buildings with the sloping topography of the site: This approach is referred to in most of the structures of the Campus which generally sits on sloped terrain.

The building possesses a lower entrance at the inner pedestrian ring of the Campus at 0.00m, and an upper entrance facing the campus outer peripheric boulevard at +9.30m. The quasi-rectangular building with a curved metal-shed space frame roof is made of two wings that meet at the central cylindrical atrium which serves as a collecting and distributing entity.

The vertical organization of the building appears to be creative and benefitial both functionally and spatially: The offices/classrooms' northwestern wing's six floors equalize in height with the high-ceiling labs' southeastern wing's three floors. Both wings meet three times at

the same level at the central cylindrical atrium: First, at the lower entrance level 0.00m; second, at the upper entrance level +9.30m; and third at the top floor at +18.60m. Additionally, the entrance of the Chairman's Suite is located at +9.30m level already shared by both wings and the upper entrance. Consequently, the +9.30m level may be considered as the hearth of the building's spatial organization.

The high-tech architectural style reflecting the Department's academic philosophy is delicately collided with the Turkish traditional architecture expressed in the two-level Department's Chairman's Suite interpreted as a traditional Turkish house projecting off the central atrium. This sensitive synthesis, the stylistic and geometric collision of spaces, is typical of the overall architectural message of the Campus.

The reinforced concrete skeleton of the building is already completed.

The Masterplan of the Campus has been prepared by the same architect.

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0.00 LEVEL (MAIN ENTERANCE)

+ 6.20 LEVEL

+ 9.30 LEVEL

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FRONT ELEVATION

SIDE ELEVATION

CIRCULAR ATRIUM FRONT TOP

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THE FACULTY & STAFF CLUB Gebze, Kocaeli, Turkey 1997

ACADEMIC FORUM PLAN

SITE PLAN

The Faculty & Staff Club of the Institute of Technology in Gebze, Kocaeli is located at the front of the Academic Forum at the southern end of the Chemistry Department Building.

The Academic Forum, a circular plaza which also comprises the Dean of the Engineering, the Dean of Sciences' Offices and the Central Library may be acknowledged as the academic hearth of the Campus. A pedestrian viaduct originates from this point towards the other side of the valley where the Mosque of the Campus is located The building layout is a dynamic composition of two square blocks that penetrate into the sides of a conical glass atrium at the center.

The system is completed by a longitudinal brutalist open terrace projecting towards the Gulf direction. The kitchen and the main entrance blocks are defined as separate subordinate entities that complete the structure. The dominating glass cone of the atrium may be perceived as the terminus element of the Academic Forum.

The functional layout of the Club is very clearcut. The larger southern square is reserved for the restaurants and coffe rooms of the academic faculty while the smaller northern one is dedicated to the administrative staff. The cascading terraces extend the enclosed spaces towards the landscape and the sea view. As in most of the buildings of the Campus the Faculty Club aims to integrate itself with the sloping topography of the terrain. A service road reaches the service court below the kitchen.

The enclosed area of the Faculty & Staff Club building is 6,600 m2.

The construction works have not started yet. The Masterplan of the Campus has been prepared by the same architect.

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MAIN ENTRANCE (E1) FACADE

ENTRANCE (E2) FACADE

SECTION

ENTRANCE (E3) FACADE

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SITE PLAN

THE RECTORAT Gebze, Kocaeli, Turkey 1996

The 10.000 m2 Rectorat building of the Institute of Technology in houses the offices of the Rector, the Senate, the Board and the administrative sections. It possesses nine levels above and two basements below ground and is positioned on a dominating hill near the Gulf shore and enjoys unobstructed views onto the whole Campus and the Marmara Sea. The top of the hill is planned as the 'Administrative Forum' of the Campus and comprises the fivestar Guest's Hotel, the International Congress Hall and the Museum of Science and Technology, all surrounding a circular ceremonial plaza with the Hotel oriented towards the seascape.

The building ensemble is composed of two rectangular and one circular block gathered around an eight-floor high atrium culminated by a bridge-like steel structure dining hall. The three blocks of different heights and forms are responsible for the vibrant interplay of geometries. This is witnessed in the collision of the three-level rectangular block with the two-level circular one. The latter posed on a circle of threefloor high circular columns canopies the entrance, penetrates the atrium and carries reflections of the Turkish-Ottoman architecture in opposition to the high-tech style of the whole. This stylistic attitude is common to all other entities of the Institute. As implied by its representativeness the circular block is dedicated to the Rector's Suite and the top administration of the Institute.

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FLOUR PLAN

The inviting transparent atrium-foyer will allow spectacular views of the prospective Izmit Gulf Suspension Bridge, one of the longest of the World, to be built on the southeastern side of the Campus.

A two-level annex rectangular block connected with a passover to the main structure contains the Institute's Technical Affairs Department which is expected to manage the completion and maintenance of the 400.000m2 Campus construction on 3.800.000m2 land. The underground levels of the Rectorat are devoted to car parking and mechanical facilities.

The structural construction works of the Rectorat have reached the first level above ground, yet building activities wait for new directives from the Government to proceed towards completion.

The Masterplan of the Campus has been prepared by the same architect.

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ISTANBUL METROPOLITAN CITY HALL Istanbul, Turkey 2000

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SECTION A-A

The Istanbul Metropolitan City Hall Project is a prized national architectural competition entry.

The site is located on the European side of the City adjacent to the major road leading to the Bosphorus Bridge towards the Asian side. The land and the neighboring park crowned by an historical memorial and a shrine are surrounded by roads on all sides.

The proposed City Hall complex is a low rise complex as a reference to human scale and the neighboring monuments. Its eclosed area measures 220.000 m2. A crescent-like layout defines a central circular plaza at 0.00m level. Peripheral office spaces, three levels below and four levels above the plaza isolate the latter from the wind and the surrounding roads' dust and noise. The peripheral spaces below 0.00m enjoy light and air thru internal court-gardens at -13.00m level. The mouth of crescent opens up towards the Memorial Park to unite the latter with the City Hall's circular plaza conceived as 'citizens meeting point'. At the plaza one can enjoy views of the cityscape and the horizon thru the transparent foyers of the surrounding circular ground floor. Three basements levels below the plaza

serve as car parking.

Seven radially oriented eight-nine floor rectangular blocks symbolise the legendary 'seven hills landscape' of the Imperial City and intersect at right angle with the peripheral circular office belt. Their slabs are cablesupported to allow a column-free space below. The terminal block towards the parc houses the Offices of the Mayor, an egg-shaped auditorium, an exhibition foyer and finally the semi-spherical Council Meeting Hall under a giant free-flying roof. The Council Hall becomes transparent towards the plaza and a light-slope amphitheatre allows the citizens to sit on the steps and follow the City Council debates from outside. A reflecting pool enriched with water jets is placed between the Council Hall and the amphitheatre.Two pedestrian bridges span the surrounding road and connect the complex with the city texture. During weekends and closed days, the public may wander around the City Hall, the plaza and the Memorial Park. dr. Bernd Seidel, Architect, and his colleagues from Berlin, Germany were part of the project team.

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+ 0.00 LEVEL PLAN

+ 21.20 LEVEL PLAN

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ROOF PLAN

UNOBSTRUCTED VEWS FROM PLAZA

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HILTON HOTEL & SHOPPING CENTER Kayseri, Turkey 1995

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The Anatolian town of Kayseri near Cappadoccia touristic region is the hometown of the Sinan the Great, Master Architect of the Ottoman Empire. He is well known for his unequalled masterpieces such as the Suleymaniye Mosque in Istanbul and Selimiye Mosque in Edirne, Turkey. The 5-star Hilton Hotel and Shopping Complex Project in Kayseri has been selected as a result of an invited architectural competition. The total built-up of the complex area sums up to 45.000 m2. The site is located at the very center of the City between the 'Republic Square, the 'Architect Sinan Park', a modest Mosque by Sinan and a public school from the Seljuk Empire.

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The structure is set back in cascades from the Republic Square. Its curved geometry and terraced manipulation refers to the great Erciyes Mountain's silhouette dominating the City. The touches of the architecture Seljuk Empire may be experienced inside and outside of the ensemble.

The hotel possesses 215 rooms, 8 suites, 2 ball rooms each with a capacity of 500 people to be unified in to a single 1000-seat space for large scale gatherings. The various restaurants welcome visitors with different tastes.

The sport center houses an indoor swimming pool and a fully equipped

fitness center. The ground, first and mezzanine floors house a 7000 m? shopping center with independent access. The roof restaurant-bar enjoys a panoramic view of the City and the Erciyes Mountain. The basement floors contain a night club and parking areas for both the hotel and shopping center. A five-level office block at the Istasyon Road side completes the ensemble.

The Hilton Kayseri may be considered as the primary landmark of the City.

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GROUND PLAN

10th FLOOR PLAN

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INTERNATIONAL CONGRESS CENTER Kusadasi, Turkey 2003

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42 The Kusadasi International Congress Hall project was prepared for an invited architectural competition in 2003. The town, south of Izmir, is an Egean touristic settlement enjoying rich archeological and natural entities.

The site for the Congress Hall is like a bowl sloping down southwestwardly towards the sea. The main design principles were orientation to the scenic view, integration with the sloping topography and achievement of a strong symbolic quality. In that regard, foyers, banquet halls and reception areas are located at the southern end enjoying the view of the sea and the Kusadasi Port. Terraces and an amphitheatre complete the cascading character of the scheme and allow summertime acivities to overflow into the landscape. In paralel, the placement of the transparent spaces at the open side of the bowl leads to attractive views from the Izmir- Kusadasi intercity highway passing by the eastern side of the Congress Hall.

43 The main auditorium, an ellipsoid, is placed at the northern end of the complex with its stage facilities facing the upper end of the land. This stepping down conception of the structure has minimised the excavation works leading to a natural integration of the ensemble with the terrain.

Organic geometry has been preferred to further unite the building with the bowl-like landscape and to emphasize the symbolic nature of the Center The roof, a steel space frame structure, is conceived as a waving surface to imitate the Egean Sea waves. Supported by tubular columns it terminates as a giant canopy covering the main entrance. The axis that connects the entrance with the road continues as a bridge to the other side of the valley to end as a symbol tower and a vista point. The enclosed area of the building is 30.000m2

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MALATYA CITY HALL Malatya, Turkey 2009 Malatya's new city hall is planned on a 60.000m2 land facing two boulevards. Its spatial organization is the outcome of a delicate collision geometries and styles. The 28.000m2 building is made of three main parts: The ten-floor, 20.000 m2 avant-garde main block is conceived as a double-skin elliptical form with a central atrium space. The office spaces at both sides are described as elliptical arcs. The five-floor, 5000 m2, circular mayoral block is positioned towards the front plaza and the main road. It intersects with and merges into the elliptical block. Consequently, it looks onto the external plaza and the internal atrium. its style is a reinterpretation of the Turkish-islamic traditional architecture that collides with the high tech style of the rest. Attached to the mayoral block are the spiral-shaped City Council Room and the multifunctional hall below. They open respectively to the upper and lower ground levels merging into the central atrium. The building works as one 'total space'.

Approaching from the streey one perceives the whole depth of the structure through the transparent atrium. The rampway leading to the atrium from the main entrance transverses the structure to continue up to

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the other end of the land as a spine about which the masterplan and the building develop. The climatecontrolled atrium of the elliptical block serves as 'citizens meeting point' as a theatrical arena with social gatherings, exhibitions, conferences, concerts and cultural events. The internal terrace of the mayoral block giving towards the atrium serve as a podium for speeches and performances, The city hall is conceived as a socialising platform, a public and cultural space and embodies high symbolic and representative values.

Its spatial organization is dynamic and transparent instead isolated offices and departments at various floor levels. The continuity of space is highly emphasized throughout the complex.

The atrium floor is finished with cubic stone blocks similar to the traditional street pavements. With trees and social functions inside, the atrium is conceived to be the 'square of the city'. The open steel stairways at both sides of the atrium and the steel bridges spanning the atrium use the orange and the green colors borrowed form the apricot fruit and its leaves. The same colors have also been used for the logo of the City since Malatya is the number one producer and exporter of apricot worldwide.

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THE ATRIUM, A SOCIAL MILIEU

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POLITICAL PARTY HEADQUARTERS Ankara, Turkey 2004

EUROPE'S BEST PUBLIC SEURICE BUILDING AWARD 2011

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The headquarters of the National Action Party 'MHP' sits on a 3.890 m2 land in the Turkish capital Ankara. The built-up area totals 18.000 m2 above and 10.000 m2 in 5 basements below ground. Conceived in high-tech style in a vibrant geometry, the architecture occasionally refers to the TurkishIslamic tradition embracing the old and the new in a delicate balance: An attitude that also reflects the party's political philosophy.

The main entrance leading to the triangular nine-level high atrium-court is emphasized by a grand Seljuki portal. A separate second entrance aside allows the press and students of the political school to move in and out. The building uses intelligent technologies and is access-free throughout. Cultural and social spaces such as the library, the art gallery, the mascid, the street cafe, the museum enrich the office functions.

The ground floor, from where one can perceive almost the totality of the building houses the cafe and the exhibition gallery. The 750-seat auditorium with balcony, its foyers, the cafeteria, the museum, the library and the mascid occupy the 1st and 2nd basement floors which partially enjoy daylight due to the backwards sloping terrain. The 3rd basement is reserved for the mechanical rooms and storage. The car parking is located on the 4th and 5th basements.

The ensemble is described by three arc-shaped office blocks, 9/12/15 floors respectively encircling the central triangular atrium. The three-crescent logo of the Party is

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disguisedly implied here. The roof of the atrium is a sky garden.

100m above ground on the top of the two cylindrical shafts the circular VIP restaurant and heliport terminate the structure. On the opposite side of the main entrance, the five-level circular Chairman's Pavillion crowned by a coupola and skylight is reminiscent of the TurkishOttoman architecture. Its ground floor accomodates the protocol entrance directly accessible from the street. The VIP lobby is located on its 1st and the Suite of the Chairman on its 2nd floor. The 3rd floor houses the meeting hall, and finally under the roof coupola is the private dining hall of the Chairman.

The Pavillion is connected to the main building via bridges spanning the atrium void. They allow the Chairman and its aids to reach directly and privately the Press Conference Hall and the Party Executive Board meeting room. The internal balcony overlooks the atrium and permits speeches to a crowd of 1500 persons dispersed at various levels inside the atrium. The Pavillion is also directly accessible from the underground garage thru a private lift.

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VIEUS FROM ATRIUM

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MULTIFUNCTIONAL COMPLEX Istanbul, Turkey 1996 The project located on a 40.000 m2 lot on the Marmara Sea corniche road between the Ataturk International Airport and the Imperial Historical Peninsula of Istanbul. It enjoys 220m frontage to the shore road and a 163m frontage to the rear Demirhane Road. The total built-up area of the Complex is 250.000 m2, 150.000m2 above and the rest below 0.00 level. It's possible to reach the sea shore through an existing tunnel under the corniche road and water-oriented recreational facilities may be installed at sea side subsequent to appropriate permits from authorities. The basement floors contain a 2.500 car capacity parking. The shopping center, the congress hall, the exhibition areas, the television studios, the sport center, the fast food places and the music hall functions are located below 0.00 level. The shopping center is covered with a glazed atrium and roofed with a tensile roof projecting towards the road and the sea. The ensemble has been nick named 'Cloud Building' due to the flying shape of the tensile system that canopies the main eutrance.

The hotel, office and residence towers at the corners approach each other as they rise up. They meet each other and are completed to a square floor plan on top with three levels, each of 7.000m2 area.

The structure is culminated with a pyramidal glass roof. The expresspanoramic elevators inside the steel columns at the front corner serve directly these top three levels. A station of the city rail system is envisioned to be placed behind the Complex.

The scheme received 'the Belgium Silver Medal Award' at the 8th World Triennial of Architecture in 1997 in Sofia, Bulgaria.

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MODEL

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A-A SECTION

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ARCHITECT'S RESIDENCE BOSPHORUS Istanbul, Turkey1990 The reinforced concrete timber-finished white-painted residence is conceived as a water-front single family residence on the European shore of the splendid Bosphorus, Istanbul. It consists of a reconstruction of a listed historical building that had vanished years ago. The envelope is expected to respect the original building while the internal space organization satisfies today's requirements. The lot with 9m frontage faces directly the Bosphorus and the Black Sea opening beyond where the prospective 3rd Bosphorus Bridge is planned to be built. The structure is attached to another listed 'Art Nouveau' style timber finished building.

The dynamic spatial organization of the interior leads to 'vertical continuity' visually linking all levels above ground.

The stairs distribute the circulation on landings positioned at intermediate levels. The house offers four levels above and one level below grade. The basement level comprises the main kitchen, the wine cellar, the laundry, the mechanical room and the doorkeeper's suite. The natural stone finished ground floor includes a double-height entrance lobby, a reception space, and a study. The car garage and the driver's suite are located at the back of the lot. The mezzanine level overlooking the entrance lobby houses two bedrooms with private baths and a guest's suite opening to the backyard. The main floor rises by two steps towards the backside and enjoys the living/dining spaces, a square balcony on the sea-front corner, a semi-open kitchen with bar counter, and a terrace on the back. Finally, the penthouse level, similarly rising by two steps towards the rear, is reserved to the master's suite. Crowned by a skylight it also houses a study, a corner sea-front breakfast balcony and a rich bathroom. The cylindrical glass tube at the center pierces the house from the main floor up to the roof terminating with an octagonal pyramidal glass tower.

The land measures 200 m2, the enclosed area totals 600 m2.

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THE TURKISH EMBASSY & STAFF HOUSING Ar-Riyadh Diplomatic Quarter, Saudi Arabia 1990

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The Turkish Mission at Riyadh Diplomatic Quarter, Saudi Arabia comprises the Ambassador's Residence, the Chancellery and the Service Staff Housing in a 9000 m2 lot facing the spine road of the Quarter. The Diplomats' Housing is located in four structures grouped in four neighboring lots The two-level, 1000m2 Residence and three-level 2000m2 Chancellery are layed out under two diagonally positioned square roofs with deep overlapping projections.

An interplay of courtyards, arcades, verandahs and porticoes flow from one building to the other, yet maintain the necessary isolation between the two functions. The respect towards the neighbors' privacy and the climatic control is naturally obtained through the conception of the building shell. The structures are enveloped with a slightly titled concrete shell which transforms itself from solid wall to a columnade at climatically and functionally favorable orientations. The fenestration pulled back behind columns and deep projecting roof overhangs eliminate direct sun and therefore minimize heat gain and visual discomfort.

The Residence's ground level, entered through a high ceiling porch, is devoted to the reception halls which are diagonally accessed through the central courtyard. The halls may be united as needed transforming the ground floor to a 'total space' around the court. The verandahs and gardens beyond complement the open-air receptions. The upper floor is devoted to the ambassador's private life. A gazebo reflecting the Turkish-Islamic style ornates the front yard and a swimming pool completes the backyard.

The Chancellery building, posed on a reflecting pond, surrounds a transparent courtyard to which the introverted offices are exposed. Visitors to various sections enter through specific gates and flow through distinct pathes to reach the respective entrances. VIP guests are oriented to the three-storey high ceremonial entrance directly leading to the ambassador's office and the multipurpose hall.

The introverted, two-level, Service Staff Quarters possesses seven small housing units oriented to internal patios. It respects the tranquility of the Residence and successfully cope with the harsh climatic environment.

The 24-unit Diplomats' Housing consists of four buildings attached two by two on four lots neighboring the main premises. A three-storey high entrance passageway fully pierces the structure, acts as a shaded court and allows light and air into the units. The comfort and privacy are secured by orienting the rooms towards this longitudinal atrium where hanging balconies are enjoyable during comfortable weather. The facade "mushrabiyas" are controlled by lattice-like screens towards privacy.

The limitations imposed by the planning authority with regard to privacy have been a major parameter for the design process. The outcome was a climate and privacy sensitive synthesis of the Turkish-Islamic architectural style and the local Saudi Najd traits.

ENTRANCE OF THE RESIDENCE

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Diplomats Housing

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RESIDENCE PORTAL CHANCELLERY POOL

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RESIDENCE

TRADITIONAL STYLE GAZEBO AT THE YARD

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TAKSIM MOSQUE & MUSEUM OF RELIGIONS Istanbul, Turkey 2011 Taksim is the main square of Istanbul. It is placed on one of the seven hills that make the topography of the Metropole. Taksim and its environs Beyoglu, Pera have been predominantly inhabited by non-islamic population since the Ottoman imperial times. Splendid churches and a west-influenced architectural vocabulary constitute the urban texture of the zone.

The name of the square of Taksim, which may be translated to English as 'distribution', derives from the fact that in ancient times the water has been brought to the hill from northern Istanbul via aquaducts and distributed to the surrounding areas from a structure called 'Maksem' located at the hearth of the square. The 'Maskem' itself is made of two structures, an octogaonal control room and a rectangular storage tank which both have been listed as historic entities.

A monument by the Italian sculptor Pietro Conanico has been erected at the center of Taksim in 1928. It is considered to symbolise the modern Republic of Turkey. Although mosques are few in this area the construction EXPLOADED AXONOMETRY

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SITE PLAN

ROOF PLAN

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PLATEAU PLAN

PRAYING PLAN

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BASEMANT 1

BASEMANT 3

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FASADES

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TRANSVERSAL SECTION

LONGITUDINAL SECTION

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of a new mosque in Taksim Square has systematically been subject to objections and protests by west-oriented circles of the Country who consider this act as a revolt against the westernization of Turkey. However, a significant majority proclaims that the idea of building a mosque in Taksim Square is primarily a functionasl need in a Country of %99 muslim population.

The site considered for a mosque in Taksim has finally been designated as a 'religious building lot' in thew zoning maps of Beyoglu preparewd by the City of Istanbul.. As expected, court cases have been filed to cancel the said zoning plan.

The 2,500 m2 site of the Mosque is located immediately at the rear of the Maksem Water Tank structure which functions today as an exhibition hall.

The present scheme for the Taksim Mosque may be considered as a radical step in the mosque architecture of Turkey. While mosques have traditionally been fake replicas of the 500 years old grand architecture of the Master Architect Sinan of the Ottoman Empire, the proposed project brings a meaningful berakthrough throuh a sensitive and delicate interpretation for the contemporary mosque architecture while preserving the symbolic values of the Ottoman islamic times. The avant guard approach of the Project is expected to ease the opoposition for a new mosque in Taksim.

The main praying space is an elevated dome, diameter 15 meters, plateau height 20 meters, self-structured with an innovative envelope reminding the natural texture of the wood. The curvilinear stripes getting

gradually denser towards the summit contitute a natural control of the sunlight. The skin of the dome represents the 'infinity' and 'Allah' scriptures are disguised within its texture. A glass dome, 1 meters inside the outer envelope, defines the main praying space. The minaret, 40 meters high, derives from a similar skin approach. The elevated dish on which the main dome sits is supoported by columns reminding a praying person with arms towards the sky. The space below the dish offers a semi-open praying area where people may also socialize between prayers.

Two circular vertical circulation shafts at both sides of the site ensure the traffic down to the 7 floors below the main plateau. The first basement is reserved for the conference hall and banquet room, and the second basement houses the library, the classroms and workshop studios. The 5th, 4th, and 3rd basements interconnected with mobile ramps are designated for the Muesum of History of Religions. The visitors start their visit from the 5th basement floor reserved Judaism, and cotinue up to 4th basement for the Christianity, and finally to the 3rd for the Islam. Each floor of the Muesum enjoys a circular cinevision space where visitors may watch a cinematographic presentation of the life of each religion, respectively.

The 6th and 7th basements are reserved for car parking with a total capacity of 80 cars. They are serviced with two car lifts.

The total enclosed area is of the complex is 17.000 m2. The enclosed area above the plateau is 1,400 m2. The overall praying capacity of the Mosque in enclosed, semi-enclosed and open spaces is 1,400 persons.

The Project is ready to be presented for approvals.

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Òåëåâèçèîííà è ðàäèî êóëà

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Èñòàíáóë, Òóðöèÿ 2011

Òåëåâèçèîííàòà è ðàäèî êóëà â Èñòàíáóë íå å íàãðàäåí êîíêóðñåí ïðîåêò ñ ó÷àñòèåòî íà ïðîô. Ìàíôðåäè è Ëóêà Íèêîëåòè - Ðèì. Êó-

ëàòà å ïðîåêòèðàíà, çà äà çàìåíè ìíîãîáðîéíèòå ñòîìàíåíè êóëè, êîèòî íàðóøàâàò ñèëóåòà íà ãðàäà. Âåðòèêàëíèÿò ïðîôèë íà êóëàòà å êàêòî ñëåäâà: ìåæäó +60ì. è 100ì. îò íàé-

Ìåæäóíàðîäíî ëåòèùå â Áîäðóì Áîäðóì, Òóðöèÿ 1998

Ïðîåêòúð íà Áîäðóì-Ìèëàñ å êîíêóðñíî ïðåäëîæåíèå îò òóðñêèòå ïðèñòàíèùíè îðãàíè â Òóðöèÿ, íî å áèë

Òåõíîëîãè÷åí èíñòèòóò Êàòåäðà ïî õèìèÿ Ãåáçå, Êîäæàåëè, Òóðöèÿ1995

Äåïàðòàìåíòúò ïî õèìèÿ íà Òåõíîëîãè÷íèÿ, èíñòèòóò, ðàçïîëîæåí íà 12,000 m2, ñå íàìèðà â Àêàäåìè÷íèÿ êàìïóñ. Òîé ìîæå äà áúäå âúçïðèåò êàòî ôîêóñúò íà àêàäåìè÷íèÿ æèâîò íà êàìïóñà. Õèìè÷åñêèÿò ôàêóëòåò å

ïúðâàòà ïðîåêòèðàíà ñòðóêòóðà íà êîëåæà, êîÿòî âå÷å å èçãðàäåíà. Àðõèòåêòóðíàòà ôèëîñîôèÿ å ñáëúñúê ìåæäó ãåîìåòðèÿ è ñèíòåç íà âèñîêîòåõíîëîãè÷íè è òðàäèöèîííè ñòèëîâå ñúñ ñòðèêòíî ïðèäúðæàíå êúì òîïîãðà-

ôèÿòà íà çåìÿòà, êàêòî å â ïîâå÷åòî ñòðóêòóðè íà êîëåæà. Ïðîåêòúò å ðàçâèò â òðè îñíîâíè ÷àñòè: Íàäëúæíèÿò ëàáîðàòîðåí áëîê å òåðàñèðàí íà òðè íèâà, çà äà ñúîòâåòñòâà íà íàêëîíà íà òåðåíà. Êîíè÷-

íèñêàòà òî÷êà íàãîðå. Èìà òðè òåõíè÷åñêè åòàæà, ñëåäâàíè îò òðè åòàæà çà ãîñòè, ðåñòîðàíò, âêëþ÷âàù êóõíÿ è êàôå, è òåðàñà ñ ÷óäåñíà ãëåäêà. Íà çàïàäíàòà ñòðàíà íà âñè÷êè íèâà èìà ÷àñòè÷íî îòâîðåíà òåðàñà.

äèñêâàëèôèöèðàí, ïîðàäè ãðåøêà ïðè ïîäàâàíåòî íà äîêóìåíòèòå. Ìÿñòîòî å ìíîãî ïîñåùàâàíî îò ìåñòíèòå æèòåëè è òóðèñòèòå ïðåç ëÿòîòî.

íè êàïàíäóðè íà òåðàñèòå îñèãóðÿâàò åñòåñòâåíà ñâåòëèíà.Êîìèíè îòâåæäàò îòðîâíèòå ãàçîâå, èçïóñêàíè îò ëàáîðàòîðèÿòà. Öåíòðàëíèÿò àòðèóì å ìÿñòî çà ñðåùà è ïðåõîäíî ïðîñòðàíñòâî ìåæäó ëàáîðàòîðèèòå è êëàñíèòå ñòàè. Ïîêðèâúò å ñ èçâèòà ðàìêà, êîÿòî å çàâúðøåíà ñ àëóìèíèåâè ïàíåëè. Ìàëúê àóäèòîðèóì å ðàçïîëîæåí íà ïðèçåìíîòî íèâî íà àòðèóìà.

Êàòåäðà Åêîëîãè÷íî èíæåíåðñòâî Ãåáçå, Êîäæàåëè, Òóðöèÿ 1995

Îáùàòà ïëîù íà ïðîåêò å 10.000 m2. Ôèëîñîôèÿòà íà äèçàéíà êðèå äåëèêàòåí ñáëúñúê íà "õàé-òåê" è òóð-

ñêè òðàäèöèîííè ñòèëîâå. Ñòðóêòóðàòà ñå íàìèðà â èçòî÷íàòà ÷àñò íà êðúãëèÿ Àêàäåìè÷åí ôîðóì è å ïðîñòðàíñòâåíî îðãàíèçèðàí â òðè îñíîâíè ãðóïè. Ëàáîðàòîðèèòå ñà â òðè

òåðàñè íà çàïàä, â ïîñîêà Ïåðñèéñêèÿ çàëèâ, çà äà ñúîòâåòñòâàò íà åñòåñòâåíèÿ ðåëåô íà çåìÿòà. Ìîäóëíèòå ëàáîðàòîðíè ïðîñòðàíñòâà ñà åñòåñòâåíî îñâåòåíè îò òåðà-

ñèòå ÷ðåç êîíóñîâèäíè êàïàíäóðè. Áðóòàëèñòè÷íèòå öèëèíäðè÷íè ìåòàëíè êîìèíè ñëóæàò çà îòâåæäàíå íà òîêñè÷íèòå ãàçîâå, èçïóñêàíè îò ëàáîðàòîðèèòå.

Äåïàðòàìåíò ïî åëåêòðîèíæåíåðñòâî Ãåáçå, Êîäæàåëè, Òóðöèÿ1997 Äèçàéíåðñêàòà ôèëîñîôèÿ íà åëåêòðîèíæåíåðíèÿ äåïàðòàìåíò, ðàçïîëîæåí íà 8,000 êâ.ì ïëîù,

èìà çà öåë äà ñâåäå äî ìèíèìóì èçêîïèòå íà çåìÿ è äà èíòåãðèðà ñãðàäàòà â íàêëîíåíàòà òîïîãðàôèÿ.

Õàé-òåê àðõèòåêòóðàòà îòðàçÿâà àêàäåìè÷íàòà ôèëîñîôèÿ, êîÿòî å äåëèêàòíî ñú÷åòàíà ñ òóðñêà-

90 òà òðàäèöèîííà àðõèòåêòóðà. Òîçè ÷óâñòâåí ñèíòåç, ñòèëèñòè÷íèÿò è

ãåîìåòðè÷åí ñáëúñúê íà ïðîñòðàíñòâàòà å òèïè÷åí çà öåëèÿ àðõèòåêòóðåí

îáëèê íà êîëåæà. Ñòîìàíîáåòîíîâèÿò ñêåëåò íà ñãðàäàòà âå÷å å

çàâúðøåí. Ìàñòúð ïëàíúò íà êîëåæà ñúùî å èçãîòâåí îò àðõèòåêòà.

Ôàêóëòåò è êëóá íà ïåðñîíàëà Ãåáçå, Êîäæàåëè, Òóðöèÿ1997

Îôîðìëåíèåòî íà ñãðàäàòà ïðåäñòàâëÿâà äèíàìè÷íà êîìïîçèöèÿ îò äâà êâàäðàòíè áëîêà, êîèòî ïðîíèêâàò â ñòåíèòå íà êîíè÷åí ñòúêëåí àòðèóì.

Ñèñòåìàòà ñå äîïúëâà îò íàäëúæíà îòêðèòà òåðàñà, ïðîåêòèðàíà â ïîñîêàòà íà Ïåðñèéñêèÿ çàëèâ. Äîìèíèðàùèÿò ñòúêëåí êîíóñ íà àòðèóìà, ìîæå äà ñå âúçïðèåìå êàòî êðàéíèÿ åëåìåíò íà Àêàäåìè÷íèÿ ôîðóì.

Ôóíêöèîíàëíîòî ðàçïðåäåëåíèå íà êëóáà å ìíîãî ÷èñòî. Ïî-ãîëÿìàòà þæíà ÷àñò íà ïëîùòà å çàïàçåíà çà ðåñòîðàíòè, êàôå è çà ñòàèòå íà ó÷åáíèÿ ôàêóëòåò, à ïî-ìàëêàòà ñåâåðíà å îòäåëåíà çà àäìèíèñòðàòèâíèÿ ïåðñîíàë.

Êàñêàäíè òåðàñè óäúëæàâàò çàòâîðåíèòå ïðîñòðàíñòâà êúì ëàíäøàôòà è èçãëåäà êúì ìîðåòî. Êàêòî è ïîâå÷åòî îò ñãðàäèòå íà êîëåæà, êëóáúò èìà çà öåë äà ñå èíòåãðèðà â íàêëîíåíàòà òîïîãðàôèÿ íà òåðåíà, êàòî ïî òîçè íà÷èí ñå ñâåäàò äî ìèíèìóì èçêîïíèòå ðàáîòè.

Ðåêòîðàò Ãåáçå, Êîäæàåëè, Òóðöèÿ1996

Ñãðàäàòà íà Ðåêòîðàòà íà Èíñòèòóòà ïî òåõíîëîãèè â Ãåáçå, Êîäæàåëè,

çàåìà 10.000 m2.  íåÿ ñå íàìèðàò îôèñèòå íà ðåêòîðà, ñåíàòà, óïðàâèòåëíèÿ ñúâåò è àäìèíèñòðàöèÿòà. Ïðîçðà÷åí àòðèóì ñ ôîàéå è íåâåðîÿòíà ãëåäêà

íà áúäåùèÿ Èçìèò çàëèâ ñ âèñÿù ìîñò, åäèí îò íàéäúëãèòå â ñâåòà, ùå áúäå èçãðàäåí â þãîèçòî÷íàòà ñòðàíà íà êîëåæà.  ïîäçåìíèòå íèâà íà ðåêòîðàòà ñà ïàðêèíãúò è ìåõà-

íè÷íèòå ñúîðúæåíèÿ. Ñòðîèòåëñòâîòî íà Ðåêòîðàòà å äîñòèãíàëî ïúðâîòî íèâî íàä çåìÿòà, íî ñòðîèòåëíèòå äåéíîñòè ñà ñïðåíè â î÷àêâàíå íà íîâè ïðàâèòåëñòâåíè ðåøåíèÿ, çà äà ñå ñòèãíå äî çàâúðøâàíåòî íà îáåêòà.

Ñòîëè÷íîòî êìåòñòâî â Èñòàíáóë

32 36

Èñòàíáóë, Òóðöèÿ 2001

Ïðîåêòúò çà êìåòñòâîòî â Èíñòàíáóë å ó÷àñòâàë â íàöèîíàëåí êîíêóðñ. Ìÿñòîòî íà ïðîåêòà å â åâðîïåéñêàòà ÷àñò íà

ãðàäà â íåïîñðåäñòâåíà áëèçîñò äî ãëàâíèÿ ïúò, âîäåù äî ìîñòà íà Áîñôîðà, ñâúðçâàù àçèàòñêàòà ñòðàíà. Çåìÿòà è ñúñåäíèÿò ïàðê ñà óâåí÷àíè ñ èñòîðè÷åñêè ïàìåòíèê è õðàì, çàîáèêîëåíè îò

ïúòèùà îò âñè÷êè ñòðàíè. Ïðåäëîæåíèåòî çà êìåòñòâîòî å íèñúê êîìïëåêñ êàòî ïðåïðàòêà êúì ÷îâåøêèÿ ìàùàá è ñúñåäíèòå ïàìåòíèöè. Ïëîùòà å 220.000 m2. Ñåäåì ðàäèàëíî îðèåí-

òèðàíè 8-9 åòàæíè ïðàâîúãúëíè áëîêà ñà ñèìâîë íà ëåãåíäàðíèÿ "ïåéçàæ íà ñåäåìòå òåïåòà" íà èìïåðàòîðñêèÿ ãðàä è ñå ïðåñè÷àò ïîä ïðàâ úãúë ñ ïåðèôåðíèÿ êðúãúë îôèñ êîìïëåêñ.

Õîòåë "Õèëòúí" è òúðãîâñêè öåíòúð Êàéçåðè, Òóðöèÿ 1995

Àíàäîëñêèÿò ãðàä Êàéçåðè áëèçî äî òóðèñòè÷åñêèÿ ðåãèîí Êàïàäîêèÿ å ðîäíèÿò ãðàä íà Ñèíàí Âåëèêè, ãëàâåí àðõèòåêò íà Îñìàíñêàòà èìïåðèÿ. Òîé å äîáðå èçâåñòåí ñúñ ñâîèòå

íåíàäìèíàòè øåäüîâðè êàòî Ñþëåéìàí äæàìèÿ â Èñòàíáóë è Ñåëèì äæàìèÿ â Îäðèí, Òóðöèÿ. 5-çâåçäíèÿò õîòåë "Õèëòúí" è òúðãîâñêèÿj êîìïëåêñ â Êàéñåðè å áèë èçáðàí â ðåçóë-

òàò íà ïîêàíà çà ó÷àñòèå â àðõèòåêòóðåí êîíêóðñ. Îáùàòà çàñòðîåíà òåðèòîðèÿòà íà êîìïëåêñà å 45,000 m?. Îáåêòúò ñå íàìèðà â ñàìèÿ öåíòúð íà ãðàäà ìåæäó ïëîùàä Ðåïóá-

ëèêà, "ïàðêà íà àðõèòåêò Ñèíàí, ñêðîìíà äæàìèÿ îò Ñèíàí è åäíî äúðæàâíî ó÷èëèùå îò Èìïåðèÿòà íà Ñåëäæóêñêèòå.

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Ìåæäóíàðîäåí êîíãðåñåí öåíòúð Êóøàäàñú, Òóðöèÿ 2003

Ïðîåêòúò çà çàëà â Êóøàäàñú íà Ìåæäóíàðîäåí êîíãðåñåí öåíòúð å ïîäãîòâåí ïî ïîâîä íà ïîêàíà çà

40 44 52 58

ó÷àñòèå â êîíêóðñ ïðåç 2003 ã.. Ãðàäúò, þæíî ðàçïîëîæåí îò Èçìèð, å Åãåéñêî òóðèñòè÷åñêî ñåëèùå. Ïàðöåëúò íà êîíãðåñíàòà çàëà ñå ñïóñêà íà þãîçàïàä êúì ìîðåòî. Äèçàéíúò íà ïðîåêòà íà Ìåæ-

äóíàðîäíèÿ êîíãðåñåí öåíòúð å îðèåíòèðàí êúì ïàíîðàìåí èçãëåä, èíòåãðàöèÿ â íàêëîíåíèÿ ðåëåô è ïîñòèãàíå íà ñèëíî ñèìâîëè÷íî èçëú÷âàíå. Ôîàéåòàòà, áàíêåòíèòå çàëè è ïðèåìíèòå çîíè ñà ðàçïî-

Êìåòñòâî â Ìàëàòèÿ Ìàëàòèÿ, Òóðöèÿ 2009 íà äâà áóëåâàðäà. Ïðîñòðàíñòâåíàòà îðãàíèçàöèÿ å ðåçóëòàò îò äåëèêàòåí ñáëúñúê íà ãåîìåòðèè Íîâîòî êìåòñòâî â Ìà- è ñòèëîâå. Ñãðàäàòà ñ ëàòèÿ å ïðîåêòèðàíî íà ïëîù îò 28,000 êâ. ì ñå ïëîù îò 60 000 êâ.ì. ñ ëèöå ñúñòîè îò òðè îñíîâíè

÷àñòè. Îáùàòà çàëà èìà ôóíêöèÿòà äà ïðèîáùè îáùèíñêàòà àäìèíèñòðàöèÿ è ãðàæäàíèòå. Ïðîñòðàíñòâåíàòà îðãàíèçàöèÿ íà ñãðàäàòà å äèíàìè÷íà, íà ðàçëè÷-

ëîæåíè â þæíèÿ êðàé, ñ ïàíîðàìåí èçãëåä êúì ìîðåòî è ïðèñòàíèùåòî íà Êóøàäàñú.Òåðàñèòå è êàñêàäíèÿò õàðàêòåð íà ïðîåêòà ïîçâîëÿâàò ëåòíèòå ïðîñòðàíñòâà äà ïðåëèâàò â ïåéçàæà.

íè íèâà ñ ïðîçðà÷íè âìåñòî èçîëèðàíè îôèñè. Âëèçàéêè â àòðèóìà, ÷îâåê âúçïðèåìà ïî÷òè âñåêè úãúë íà âñÿêî íèâî îò êìåòñòâîòî. Íåïðåêúñíàòîñòòà íà ïðîñòðàíñòâîòî å ñèëíî ïîä÷åðòàíî â öåëèÿ êîìïëåêñ.

Ïîëèòè÷åñêà ïàðòèéíà öåíòðàëà Àíêàðà, Òóðöèÿ 2004

Ñåäàëèùåòî íà Íàöèîíàëíàòà ïàðòèÿ çà äåéñòâèå "MHP" å ðàçïîëîæåíq íà 3,890 m2 â òóðñêàòà ñòîëèöà Àíêàðà. Çàñòðîåíàòà ïëîù âúçëè-

çà íà 18.000 ì2 - íàä çåìÿòà è 10.000 ì2 â 5 íèâà ïîä çåìÿòà. Çàìèñëåíà â õàéòåê ñòèë ñ ðàçëè÷íà ãåîìåòðèÿ, àðõèòåêòóðàòà îò âðåìå íà âðåìå ñå âðúùà êúì òóðñêî-èñëÿìñ-

êàòà òðàäèöèÿ, ïðåãðúùàéêè ñòàðîòî è íîâîòî â åäèí äåëèêàòåí áàëàíñ- ïîâåäåíèå, êîåòî ñúùî îòðàçÿâà ïîëèòè÷åñêàòà ôèëîñîôèÿ íà ïàðòèÿòà.

Míîãîôóíêöèîíàëåí êîìïëåêñ Èñòàíáóë, Òóðöèÿ 1996

Ïðîåêòúò å ðàçïîëîæåí íà 40,000 êâ. ì íà áðåãà íà Ìðàìîðíî ìîðå, íà ïúòÿ

ìåæäó ìåæäóíàðîäíîòî ëåòèùå "Àòàòþðê" è èñòîðè÷åñêèÿ Èìïåðèàë ïîëóîñòðîâ íà Èñòàíáóë. Êîìïëåêñúò ñå ðàäâà íà äâåñòà è äâàäåñåò ìåòðà ëèöå êúì êðàéáðåæíèÿ ïúò è ñòî øåñòäåñåò è

òðè ìåòðà ëèöå êúì çàäíàòà Demirhane Road. Îáùàòà ìó çàñòðîåíà ïëîù å 250,000 êâ.ì., îò êîèòî 150,000 êâ.ì. íàä çåìÿòà, à îñòàíàëèòå ïîä íèâî 0,00 . Ìàçåòî ñúäúðæà 2,500 ïàðêèíã ìåñòà.

Òúðãîâñêèÿò öåíòúð, êîíôåðåíòíàòà çàëà, èçëîæáåíèòå ïëîùè, òåëåâèçèîííèòå ñòóäèÿ, ñïîðòíèÿò öåíòúð, çàâåäåíèÿòà çà îáùåñòâåíî õðàíåíå è ìóçèêàëíàòà çàëà ñå íàìèðàò ïîä íèâî 0,00 .

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Êúùà çà ïî÷èâêà êðàé Áîñôîðà

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Èñòàíáóë, Òóðöèÿ 1990

Ñòîìàíîáåòîííàòà áîÿäèñàíà â áÿëî êúùà ñ äúðâåíè ãðåäè å ïðîåêòè-

ðàíà êàòî åäíîôàìèëíà êúùà ñ èçãëåä êúì ïðåêðàñíèòå áðåãîâå íà Åâðîïåéñêàòà ÷àñò íà Áîñôîðà, Èñòàíáóë. Òÿ ñå ñúñòîè îò ðåêîíñòðóêöèÿ íà èñòîðè÷åñêà ñãðàäà, êîÿòî å èç÷åçíàëà ïðåäè ìíîãî ãîäèíè. Îáâèâêàòà

ñå î÷àêâà äà îòãîâàðÿ íà îðèãèíàëíàòà ïîñòðîéêà, äîêàòî âúòðåøíèòå ïðîñòðàíñòâà ñà îðãàíèçèðàíè ñïðÿìî äíåøíèòå èçèñêâàíèÿ. Ñãðàäàòà å äîëåïåíà äî äðóãà äúðâåíà ñãðàäà â ñòèë àðò íóâî. Äèíàìè÷íîòî ïðîñòðàí-

ñòâî íà èíòåðèîðà âîäè äî íåãîâàòà „âåðòèêàëíà ïðîäúëæèòåëíîñò“, êîÿòî âèçóàëíî ñâúðçâà âñè÷êè åòàæè íàä ïàðòåðíèÿ. Ïàðöåëúò å 200 êâ.ì., à ÐÇÏ-òî íà ñãðàäàòà å 600 êâ.ì.

Òóðñêîòî ïîñîëñòâî è æèëèùà çà ïåðñîíàëà Að-Ðèÿä äèïëîìàòè÷åñêèÿ êâàðòàë, Ñàóäèòñêà Àðàáèÿ 1990

Òóðñêîòî ïðèñúñòâèå â Ðèÿä - Äèïëîìàòè÷åñêèÿ êâàðòàë â Ñàóäèòñêà Àðàáèÿ ñå ñúñòîè îò ðåçèäåí-

72

öèÿòà íà ïîñëàíèêà, êàíöåëàðèÿ è êðèëî çà îáñëóæâàùèÿ ïåðñîíàë îò 9000 êâ.ì. Äèïëîìàòè÷åñêèòå æèëèùà ñå íàìèðàò â ÷åòèðè ñòðóêòóðè, ãðóïèðàíè â ÷å-

òèðè êâàðòàëà. Ðåäóâàò ñå äâîðîâå, àðêàäè, âåðàíäè, ïîðòèöè îò åäíàòà ñãðàäà â äðóãàòà, çàïàçâàéêè íåîáõîäèìàòà äèñòàíöèÿ ìåæäó äâåòå

ôóíêöèè. Îãðàíè÷åíèÿòà, íàëîæåíè îò îðãàíèòå çà ïëàíèðàíå ïî îòíîøåíèå íà ñèãóðíîñòòà, ñà îñíîâåí ïàðàìåòúð â ïðîöåñà íà ïðîåêòèðàíå.

Òàêñèì äæàìèÿ è ìóçåé íà ðåëèãèèòå Èñòàíáóë, Òóðöèÿ 2011

Ïëîùàä "Òàêñèì" å öåíòðàëíèÿ ïëîùàä íà Èñòàíáóë. Òîé ñå íàìèðà íà åäèí îò ñåäåìòå õúëìà, êîèòî îôîðìÿò èñòîðè÷åñêèÿ ïåéçàæ íà ìåòðîïîëà. Îêîëíîñòèòå ìó ñà áèëè ñ ïðåîáëàäàâàùî íå-

èñëÿìñêî íàñåëåíèå îùå îò âðåìåòî íà Îñìàíñêàòà èìïåðèÿ. Ðàçêîøíè öúðêâè è çàïàäíî ïîâëèÿíà àðõèòåêòóðà ïðåäñòàâëÿâàò ãðàäñêàòà òúêàí íà çîíàòà. Ïàìåòíèê íà èòàëèàíñ-

80

êèÿ ñêóëïòîð Ïèåòðî Êîíàíèêî å èçäèãíàò â öåíòúðà íà ïëîùàä "Òàêñèì" ïðåç 1928 ãîäèíà. Ñúñ ñòàòóòà íà Àòàòþðê, ïàìåòíèêúò ñå ñ÷èòà çà ñèìâîë íà ñúâðåìåííà Ðåïóáëèêà Òóðöèÿ. Âúïðåêè, ÷å äæàìèèòå ñà ìàëêî â òàçè îáëàñò, ñòðîèòåëñòâîòî íà íîâà äæàìèÿ íà ïëîùàä "Òàêñèì" å ïîâîä

íà âúçðàæåíèÿ è ïðîòåñòè îò çàïàäíî îðèåíòèðàíèòå êðúãîâå íà ñòðàíàòà. Âúïðåêè òîâà, çíà÷èòåëíî ìíîçèíñòâî ïðîêëàìèðà, ÷å èäåÿòà çà ïîñòðîÿâàíåòî íà äæàìèÿ íà ïëîùàä "Òàêñèì" å ïðåäè âñè÷êî ôóíêöèîíàëíà è íóæíà çà ñòðàíà êàòî Òóðöèÿ ñ 99% ìþñþëìàíñêî íàñåëåíèå.

World Architecture Masters

1

In memoriam Ricardo Legorreta Vilchis The International Academy of Architecture learned with deep sorrow that one of the leading masters of the world contemporary architecture passed away.

Ricardo Legorreta Vilchis, IAA Academician, UIA Gold Medalist. He was honoured with the most prestigious awards for his architectural master pieces in Mexico and around the world.

His built works are highly appreciated by the world society of architecture, as well as by the citizens of the different towns and countries.

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

Prof. Georgi Stoilov, HFAIA IAA President Past UIA President

Ìåæäóíàðîäíàòà àêàäåìèÿ íà àðõèòåêòóðàòà íàó÷è ñ äúëáîêà ñêðúá, ÷å åäèí îò âîäåùèòå ìàéñòîðè íà ñúâðåìåííàòà àðõèòåêòóðà â ñâåòà ïî÷èíà. Ðèêàðäî Ëåãîðåòà Âèëõèñ, àêàäeìèê. íà ÌÀÀ, çëàòåí ìåäàëèñò íà ÌÑÀ, å óäîñòîåí ñ íàé-ïðåñòèæíèòå íàãðàäè çà ñâîèòå àðõèòåêòóðíè øåäüîâðè â Ìåêñèêî è â öåëèÿ ñâÿò. Íåãîâèòå ïîñòðîåíè ïðîåêòè ñà âèñîêî öåíåíè îò àðõèòåêòóðíàòà îáùíîñò ïî ñâåòà, êàêòî è îò ãðàæäàíè â ðàçëè÷íèòå ãðàäîâå è äúðæàâè. Ìåæäóíàðîäíàòà àêàäåìèÿ íà àðõèòåêòóðàòà èçðàçÿâà ñâîèòå èñêðåíè ñúáîëåçíîâàíèÿ íà ñåìåéñòâîòî ìó, ïðèÿòåëèòå è êîëåãèòå. Ïðîô. Ãåîðãè Ñòîèëîâ, HFAIA ÌÀÀ ïðåçèäåíò Ìèíàë UIA ïðåçèäåíò

NEWS

2

In memoriam Kiyonori Kikutake One of the masters of the world contemporary architecture, the Japanese architect Kiyonori Kikutake, has passed away.

It is a great sorrow for the International Academy of Architecture and for the architects around the world.

His architectural master pieces are highly appreciated by all the colleagues and friends.

The International Academy of Architecture was proud to have this icon of the profession as one of its most active members.

May his memory live forever.

Acad. Georgi Stoilov, HFAIA IAA President Past UIA President Åäèí îò ìàéñòîðèòå íà ñâåòoâíàòà ñúâðåìåííà àðõèòåêòóðà, ÿïîíñêèÿò àðõèòåêò Êèîíîðå Êèêóòàêå å ïî÷èíàë. Òîâà å ãîëÿìà ìúêà çà Ìåæäóíàðîäíàòà àêàäåìèÿ ïî àðõèòåêòóðà è çà àðõèòåêòèòå îò öÿë ñâÿò. Íåãîâèòå àðõèòåêòóðíè òâîðáè ñà âèñîêî öåíåíè îò âñè÷êè êîëåãè è ïðèÿòåëè. Ìåæäóíàðîäíàòà àêàäåìèÿ íà àðõèòåêòóðàòà áå ãîðäà äà èìà òàçè èêîíà çà ïðîôåñèÿòà êàòî åäèí îò íàé-àêòèâíèòå ñè ÷ëåíîâå. Íåêà ïàìåòòà ìó äà æèâåå âå÷íî. Àêàä. Ãåîðãè Ñòîèëîâ, HFAIA ÌÀÀ ïðåçèäåíò Ìèíàë UIA ïðåçèäåíò

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In memoriam Imre Makovecz The International Academy of Architecture learned with deep sorrow about the death of its member- the famous Hungarian architect Imre Makovecz, IAA Academician.

His views about architecture are unique and he uses them in his practice, creating remarkable architectural works: family houses, apartment buildings, cultural and shopping centers.

He was perfect in his unconventional architecture.

IAA would like to present its sincere condolences to his family, colleagues and friends.

May his memory live forever.

Acad. Georgi Stoilov, HFAIA IAA President Past UIA President Ìåæäóíàðîäíàòà àêàäåìèÿ íà àðõèòåêòóðàòà íàó÷è ñ äúëáîêà ñêðúá çà ñìúðòòà íà ñâîÿ ÷ëåí, èçâåñòíèÿò óíãàðñêè àðõèòåêò Èìðå Ìàêîâåö, ÌÀÀ àêàäåìèê. Íåãîâèòå âúçãëåäè çà àðõèòåêòóðàòà ñà óíèêàëíè è òîé ãè èçïîëçâà â ñâîÿòà ïðàêòèêà çà ñúçäàâàíå íà çàáåëåæèòåëíè àðõèòåêòóðíè ïðîèçâåäåíèÿ: åäíîôàìèëíè êúùè, æèëèùíè ñãðàäè, êóëòóðíè è òúðãîâñêè öåíòðîâå. Òîé áåøå ïåðôåêòåí â íåêîíâåíöèîíàëíàòà ñè àðõèòåêòóðà. ÌAA áèõìå èñêàëè äà ïðåäñòàâèì ñâîèòå èñêðåíè ñúáîëåçíîâàíèÿ íà ñåìåéñòâîòî ìó, êîëåãè è ïðèÿòåëè. Íåêà ïàìåòòà ìó äà æèâåå âå÷íî. Àêàä. Ãåîðãè Ñòîèëîâ, HFAIA ÌAA ïðåçèäåíò Ìèíàë UIA ïðåçèäåíò

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CONVENTIONCENTRE DUBLIN The Convention Centre Dublin is Ireland's new world-class purpose-built international conference and event venue located at Spencer Dock, Dublin.

Amenities include a 48.500 square foot exhibition space, a 2,000 seat auditorium, and banquet facilities seating 2^000 guests.

The building's shinning design includes a unique glass-fronted atrium rising for the full height of the building facade which immediately identifies the Centre to visitors from near and afar. Stairs, escalators, and elevators create an exciting vertical processional moving up through the atrium, enhancing interaction between delegates while providing panoramic views of the River Liffey, Dublin's city center and the Wicklow Mountains. ÊÎÍÔÅÐÅÍÒÅÍ ÖÅÍÒÚÐ Â ÄÚÁËÈÍ Êîíôåðåíòåí öåíòúð Äúáëèí å íîâî ìÿñòî îò ñâåòîâíà êëàñà â Èðëàíäèÿ çà ïðîâåæäàíå íà ìåæäóíàðîäíè êîíôåðåíöèè, êîåòî ñå íàìèðà íà Spencer Dock, Äúáëèí. Ñúîðúæåíèåòî âêëþ÷âà ïðîñòðàíñòâî îò 48,500 êâ. ì. çà èçëîæáè, 2000 ìåñòà â àóäèòîðèÿ è êîêòåéëíà çàëà çà 2000 ãîñòè. Áëÿñêàâèÿò äèçàéí íà ñãðàäàòà âêëþ÷âà óíèêàëåí îñòúêëåí àòðèóì ïî öÿëàòà âèñî÷èíà íà ôàñàäàòà íà ñãðàäàòà, êîåòî âåäíàãà ñå èäåíòèôèöèðà ñ Öåíòúðà çà ïîñåòèòåëè îò áëèçî è äàëå÷. Ñòúëáè, åñêàëàòîðè è àñàíñüîðè ñúçäàâàò âúçìîæíîñò çà âåðòèêàëíî ïðèäâèæâàíå ïðåç àòðèóìà, êàòî ñúùåâðåìåííî îñèãóðÿâàò ïàíîðàìíà ãëåäêà íà ðåêà Ëèôè, öåíòúðà íà Äúáëèí è ïëàíèíàòà Óèêëîó.

Kevin Roche John Dinkeloo and Associates LLC This strong yet graceful office building anchors an important intersection in Washington, D.C. It is sited one block from Lafayette Square Park and The White House at 17th and H Streets. Lafayette Tower is a significant addition to our nation's capital and exemplifies the best in responsible, elegantly simple, and sophisticated architecture that recognizes the objectives of the building owner, surrounding urban fabric and specific needs of the occupants.

Lafayette Tower is the first commercial office building in Washington, DC to receive LEED CS Platinum certification. The design team employed various advanced strategies to achieve this goal without sacrificing cost-effectiveness, quality, or convenience. ÊÅÂÈÍ ÐÎØ ÄÆÎÍ ÄÈÍÊÅËÓ È ÏÀÐÒÍÜÎÐÈ LLC Òàçè îôèñ ñãðàäà å âàæíà ïðåñå÷íà òî÷êà âúâ Âàøèíãòîí. Òÿ å ðàçïîëîæåíà íà åäèí áëîê ðàçñòîÿíèå îò Lafayette SquarePark è Áåëèÿ äîì íà óëèöè 17-òà è H. Êóëàòà Ëàôàéåò å çíà÷èìî äîïúëíåíèå êúì ñòîëèöàòà íà íàøàòà íàöèÿ è å ïðèìåð çà íàé-äîáðàòà, åëåãàíòíî ïðîñòà è óñëîæíåíà àðõèòåêòóðà, êîÿòî îòãîâàðÿ íà öåëèòå íà ñîáñòâåíèêà íà ñãðàäàòà, ãðàäñêàòà îáñòàíîâêà è ñïåöèôè÷íèòå íóæäè íà îáèòàòåëèòå. Êóëàòà Ëàôàéåò å ïúðâàòà òúðãîâñêà îôèñ ñãðàäà âúâ Âàøèíãòîí, îêðúã Êîëóìáèÿ,êîÿòî ïîëó÷è ñåðòèôèêàò LEED CS Platinum. Äèçàéíåðñêèÿò åêèï å èçïîëçâàë ðàçëè÷íè ðàçðàáîòåíè ñòðàòåãèè, çà äà ïîñòèãíå òàçè öåë, áåç äà ñå æåðòâàò ðàçõîäè, êà÷åñòâî èëè óäîáñòâî.

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Steven Holl On behalf of the International Academy of Architecture, I would like to express our sincere congratulations about the IAA Gold Medal that Arch. Steven Holl, IAA Academician, has received. His architectural master pieces deserve this high award.

Please, accept our cordial wishes for health, personal happiness and ne professional success in 2012.

Acad. Georgi Stoilov, HFAIA IAA President Past UIA President

ÀÐÕ. ÑÒÈÂÚÍ ÕÎË, ÀÊÀÄÅÌÈÊ ÍÀ ÌÀÀ - ÍÎÑÈÒÅË ÍÀ ÇËÀÒÅÍ ÌÅÄÀË ÍÀ AIA . Îò èìåòî íà Ìåæäóíàðîäíàòà àêàäåìèÿ íà àðõèòåêòóðàòà, áèõ èñêàë äà èçðàçÿ íàøèòå íàé-èñêðåíè ïîçäðàâëåíèÿ çà çëàòíèÿ ìåäàë íà AIA, êîéòî å ïîëó÷èë íà àðõ. Ñòèâúí Õîë, àêàäåìèê íà ÌÀÀ. Íåãîâèòå àðõèòåêòóðíè ïîñòèæåíèÿ çàñëóæàâàò òîâà âèñîêî îòëè÷èå. Ìîëÿ, ïðèåìåòå íàøèòå ñúðäå÷íè ïîæåëàíèÿ çà çäðàâå, ëè÷íî ùàñòèå è íîâè ïðîôåñèîíàëíè óñïåõè ïðåç 2012 ãîäèíà. Àêàä. Ãåîðãè Ñòîèëîâ, HFAIA Ïðåçèäåíò íà ÌÀÀ Ìèíàë UIA ïðåçèäåíò

NEWS

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School of Management at Case Western Reserve University The Peter B. Lewis Building, home of the School of Management at Case Western Reserve University, was designed by the world famous architect, Frank Gehry.

This structure, which is a powerful, compact sculpture as well as a functioning building, is perhaps this visionary architect's most succinct and dramatic creation. The waterfall of stainless steel plates that compose the roof, can be seen as representing the onslaught of new business needs in our rapidly-changing global economy.

The brick walls, symbolic of traditional ways of conducting business, do not collapse under the impact of these waves, but respond and adapt in graceful curves. The extraordinary manipulation of iron, brick, glass, wood and drywall, evident in the construction of both the inside and the outside of this building, is testimony to the skill, innovation, and imagination of those companies and individuals who worked together in transforming Frank Gehry's state-of-the-art design into reality.

Benefactor, Peter Lewis's aim - to provide a physical space that would embody the goals of the teaching of new, and updated, management skills, and the encouragement of 21st century entrepreneurialism, has certainly been realized in this remarkable building.

Ñãðàäàòà íà Ïèòúð Á. Ëþèñ , äîì íà Ó÷èëèùåòî ïî ìåíèäæìúíò êúì Case Western Reserve University, å ïðîåêòèðàíà îò ñâåòîâíîèçâåñòíèÿ àðõèòåêò Ôðàíê Ãåðè. Òàçè ñòðóêòóðà å ìîùíà, êîìïàêòíà ñêóëïòóðà, êàêòî è ôóíêöèîíèðàùà ñãðàäà è ìîæå áè íàé-êðàòêîòî è äðàìàòè÷íî òâîðåíèå íà òîçè ìå÷òàòåë àðõèòåêò. Âîäîïàäúò íà ïëàñòèíè îò íåðúæäàåìà ñòîìàíà, êîèòî ñúñòàâÿò ïîêðèâà, ìîæå äà ñå ðàçãëåæäà êàòî ïðåäñòàâèòåë íà íîâèòå áèçíåñ íóæäèòå íà ïðîìåíÿùàòà ñå ãëîáàëíà èêîíîìèêà. Òóõëåíè çèäîâå, ñèìâîë íà òðàäèöèîííèòå íà÷èíè çà èçâúðøâàíå íà ñòîïàíñêà äåéíîñò, íå ñå ñðèâàò ïîä âúçäåéñòâèåòî íà òåçè âëèÿíèÿ, íî ðåàãèðàò è ñå àäàïòèðàò â èçÿùíè èçâèòè âúëíè. Èçâúíðåäíàòà îáðàáîòêà íà æåëÿçî, òóõëè, ñòúêëî, äúðâî è ãèïñîêàðòîí, èçïîëçâàíè âúâ âúòðåøíàòà è âúíøíàòà ÷àñò íà òàçè ñãðàäà, å ñâèäåòåëñòâî çà óìåíèÿ, èíîâàöèè è âúîáðàæåíèå íà ôèðìèòå è õîðàòà, êîèòî ñà ðàáîòèëè çàåäíî çà ïðåâðúùàíåòî íà ïðîåêòà íà Ôðàíê Ãåðè â ðåàëíîñò. Áëàãîäåòåëÿò Ïèòúð Ëóèñ óñïÿâà äà îñèãóðè ïðîñòðàíñòâî, êîåòî ùå îëèöåòâîðÿâà öåëèòå íà ïðåïîäàâàíåòî íà íîâè è àêòóàëíè óïðàâëåíñêè óìåíèÿ, êàêòî è íàñúð÷è ïðåäïðèåìà÷åñêàòà äåéíîñò íà 21-âè âåê â òàçè çàáåëåæèòåëíà ñãðàäà.

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MVRDV Bureau`s Cloud reinvents the skyscraper The Cloud building comprises two luxury highrise residential towers - one 54 floors and 260 meters, the other 60 floors and 300 meters - and halfway up, there's a cloud of architecture ten floors deep, spanning both buildings and beyond.

The space is so large that it can take the shopping, services and space that is normally underneath a residential complex (services, shared areas, etc) and relocate it in a more convenient form, closer to its users.

This makes space at ground floor level for public gardens. Instead of a concrete obstacle in the center of the community, there's a park, thereby creating a radically different ambiance for the building's immediate surroundings for all.

Inside the cloud's 14,357square meter volume, there's a huge connecting atrium, which is bathed in light at different times of the day by the use of angled and carefully positioned - a kaleidoscope very attuned to nature and envisaged to be still and calming.

The cloud contains all the services you'd normally expect at ground level plus lifestyle services in keeping with the nature of the building, such as a wellness centre, conference center, fitness studio, various pools, restaurants and cafes.

In addition to the retail and top of the cloud are a series of public and private outside spaces, patios, decks, gardens and pools. Underneath, glass floors can be used for other purposes.

The outer surfaces of the cloud are going to the most expensive parts as they will have some of the most spectacular views - large common areas, cafes and restaurants and 9,000 square meters of Office-Hotel are planned.

Similarly, some of the more luxurious 260 square meter apartments imaginable will be thereabouts too. Normally, the amount of square footage available on top of a skyscraper is limited.

The cloud design multiplies the amount of rooftop real estate by several orders of magnitude, creating very high priced real estate These areas atop the cloud will contain apartments of immense luxury with complete seclusion and privacy, just meters away from a vibrant community.

Private apartments above and beneath the cloud will include massive balconies, double height ceilings, pools and gardens.

Alternatively, the top floors of both towers are penthouse apartments of 1200 m2 with private roof gardens.

Tennant parking is underground, each tower is accessed via a grand lobby and dedicated express elevators take people into the cloud from the parking area inside a few seconds. A metro train station is five minutes walk.

"ÎÁËÀÊÚÒ" ÍÀ ÀÐÕÈÒÅÊÒÓÐÍÎÒÎ ÁÞÐÎ MVRDV ÏÐÅÎÒÊÐÈÂÀ ÍÅÁÎÑÒÚÐÃÀ×À "Îáëàêúò" ñå ñúñòîè îò äâå ëóêñîçíè âèñîêè æèëèùíè êóëè - 260 ìåòðà åäíàòà ñ 54 åòàæà è 300 ìåòðà äðóãàòà ñúñ 60 åòàæà. Ïî ñðåäàòà èìà "îáëàê" îò äåñåò åòàæà, êîéòî îáõâàùà äâåòå ñãðàäè è ñå ðàçïðîñòèðà èçâúí òÿõ. Ïðîñòðàíñòâîòî å òîëêîâà ãîëÿìî, ÷å çîíèòå çà ïàçàðóâàíå, óñëóãè è ñåðâèçíè, êîèòî îáèêíîâåíî ñà ïîä æèëèùíèòå êîìïëåêñè (óñëóãè, îáùè ÷àñòè è ò.í.), ìîãàò äà ñå ïðåìåñòÿò ïî-áëèçî äî ñâîèòå ïîòðåáèòåëè. Òîâà ïðàâè ìÿñòî íà íèâî ïàðòåð îáùåñòâåí ïàðê. Âìåñòî áåòîííà ïðå÷êà â öåíòúðà íà îáùíîñòòà, èìà ïàðê, êàòî ïî òîçè íà÷èí ñå ñúçäàâà åäíà êîðåííî ðàçëè÷íà àòìîñôåðà çà âñè÷êè ñãðàäè, êîèòî ñà â íåïîñðåäñòâåíà áëèçîñò. Âúòðå â "îáëàêà", êîéòî å êâàäðàòíà ôîðìà ñ ðàçìåð 14 357 êâ.ì., èìà îãðîìåí àòðèóì, îáëÿí ñúñ ñâåòëèíà ïî âñÿêî âðåìå íà äåíÿ ÷ðåç èçïîëçâàíåòî íà ïðàâîúãúëåí âíèìàòåëíî ïîçèöèîíèðàí êàëåéäîñêîï. "Îáëàêúò" ñúäúðæà âñè÷êè óñëóãè, êîèòî îáèêíîâåíî ñå î÷àêâà äà ñà íà íèâîòî íà çåìÿòà, ïëþñ óñëóãè êàòî óåëíåñ öåíòúð, êîíôåðåíòåí öåíòúð, ôèòíåñ ñòóäèî, áàñåéíè, ðåñòîðàíòè è êàôåíåòà. Íà âúðõà íà "îáëàêà" èìà ïîðåäèöà îò ïóáëè÷íè è ÷àñòíè âúíøíè ïðîñòðàíñòâà, âúòðåøíè äâîðîâå, ïàëóáè, ãðàäèíè è áàñåéíè. Ñòúêëåíèòå ïîäîâå ìîãàò äà áúäàò èçïîëçâàíè è çà äðóãè öåëè. Âúíøíèòå ïîâúðõíîñòè íà "îáëàêà" ñà íàé-ñêúïèòå ÷àñòè, òúé êàòî òàì ùå áúäàò ðàçïîëîæåíè ãîëåìèòå îáùè ÷àñòè, êàôåíåòà è ðåñòîðàíòè è îôèñõîòåë ñ ïëîù îò 9,000 êâ.ì. Îáèêíîâåíî ïëîùòà íà âúðõà íà íåáîñòúðãà÷èòå å îãðàíè÷åíà. "Îáëàêúò" óìíîæàâà ðàçìåðà é íÿêîëêî ïúòè è ñúçäàâà ìíîãî âèñîêè öåíè íà íåäâèæèìè èìîòè. Íà âúðõà íà îáëàêà ùå èìà ëóêñîçíè àïàðòàìåíòè, êîèòî ùå îñèãóðÿâàò ïúëíî óåäèíåíèå è íåïðèêîñíîâåíîñò íà ëè÷íèÿ æèâîò ñàìî íà ìåòðè îò åäíà îæèâåíà îáùíîñò. ×àñòíèòå àïàðòàìåíòè íàä è ïîä "îáëàêà" ùå âêëþ÷âàò îãðîìíè òåðàñè ñ äâîéíè òàâàíè, áàñåéíè è ãðàäèíè. Êàòî àëòåðíàòèâà, íà ãîðíèòå åòàæè íà äâåòå êóëè ùå èìà ïåíòõà-

óñ -àïàðòàìåíòè îò 1200 êâ.ì. ñ ÷àñòíè ãðàäèíè íà ïîêðèâà. Ïàðêèíãúò å ïîäçåìåí, âñÿêà êóëà å äîñòúïíà ïðåç Ãðàíä ôîàéå. Åêñïðåñíè àñàíñüîðè ùå âîçÿò õîðàòà îò ïàðêèíãà çà íÿêîëêî ñåêóíäè. Ìåòðîñòàíöèÿòà å ñàìî íà ïåò ìèíóòè ïåøà.

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Metropol Parasol

by Jurgen Mayer H. Architekten

Seville, Spain

Civic icon, shady plaza, farmer's market, archaeological museum and belvedere: Seville's newest landmark is versatile and site-specific.

The Metropol Parasol by J?rgen Mayer resembles a grove of prefabricated wooden trees soaring over the shabby Plaza de la Encarnaci?n, excavated for an underground parking garage.

Digging was halted when mosaic floors and other remains of Roman villas were discovered at a depth of six metres. Three competitions were held to redevelop the site, and Mayer won the third with an organic structure that is radically different from the sharp-edged geometry of his previous work.

His design was presented for public comment in early 2004 and the response was surprisingly favourable. Most innovative urban interventions, from the Eiffel Tower to IM Pei's Pyramid, have taken a year or more to win popular acceptance.

To their credit, the Sevillanas saw that Mayer had been inspired by the shade trees in a neighbouring park and the undulating stone roof of the city's Gothic cathedral and expressed their approval.

They may also have spotted allusions to the fretted screens and patterned bricks of Moorish and Mud?jar buildings, and the barred shadows of the awnings covering the Calle Sierpes in the summer.

Seville can be wet (this year's Semana Santa was as soggy as an typical English April) or fiercely hot, as you would expect of a city that lies on the latitude of Tunis.

Even a sun-loving Berliner understands the need for protection, and Mayer also realised that his work would have to be supported at a few, carefully positioned points to preserve the integrity of the ruins.

The solution was to create a layered structure that turns the excavation into a subterranean museum, maintains the existing street level for the market and creates a fresh plaza on its roof beneath a canopy that rises from six trunks.

Steps, escalators and lifts in concrete shafts link these levels to an 800m? rooftop restaurant and a 250m walkway that snakes over the undulating grid of laminated wood panels.

From the day it opened, the plaza drew locals to stroll, sketch and skate, lacking only the benches and caf? tables to be added as the spaces are fleshed out. The market is fully occupied, but the restaurant and storefronts still await their tenants.

Concerts are promised, and the multilevel complex looks as though it will prove to be a popular gathering place late into the night.

Mayer developed the structural system for his Mensa Karlsruhe, and it proved the best solution to issues of cost, durability, maintenance, thermal expansion and seismic resistance.

Materials and glues were tested for temperatures of up to 80?C. Regrettably, the polyurethane coating required to protect the wood is in a dull cream tone, unevenly applied, and masks the texture of the panels, which could easily be cement board.

The panels, of varying thickness and size, are bolted and braced together to create a resilient superstructure rising from a steel and concrete base. Fire regulations required the restaurant to have a steel deck.

Spanish architects have mastered the art of renewing their historic legacy, juxtaposing old and new with a grace and boldness lacking in other countries.

Mayer appears to have captured that spirit in his latest and largest work.

Until now, he was best known for creating isolated sculptural objects, such as the Mensa Karlsruhe, Danfoss Universe and Villa Ludwigsburg, with its cantilevered wings. Inspiration came from his collection of payment envelopes, with their repetitive patterns designed to camouflage the contents.

He would find a point of departure in what he called 'this primordial soup' of tiny shapes, and a simple diagram morphed into a complex structure.

Inventive as the earlier buildings were, they can appear a little too schematic, like enlarged models.

In contrast, the Metropol Parasol could be likened to a honeycomb or a coral reef as much as a clump of trees, and these natural associations give it a humanity .

The sensuous forms that swell from each trunk and extend overhead are imbued with an inner energy that expresses the vitality of the city and plays off the drab facades. From every vantage point, the shapes and perspectives shift, drawing you up and inside the structure, as though this were a living presence.

A soloist has produced a symphony, transcending the limitations of simple modules to create an urban landscape.

Ìåòðîïîë Ïàðàñîë îò Þðãåí Ìàéåð - H. Architekten, Ñåâèëÿ, Èñïàíèÿ Ãðàäñêà èêîíà, ñåí÷åñò ïëîùàä, ïàçàð çà ïëîäîâå è çåëåí÷óöè, àðõåîëîãè÷åñêè ìóçåé è Áåëâåäåðå: íàé-íîâàòà çàáåëåæèòåëíîñò íà Ñåâèëÿ å ïëàñòè÷íà è óíèêàëíà çà ìÿñòîòî. ×àäúðúò "Ìåòðîïîë" îò Þðãåí Ìàéåð ïðèëè÷à íà ãîðè÷êà îò äúðâåíè ñãëîáÿåìè ïëîñêîñòè, èçäèãàù ñå íàä Ïëàçà äå ëà åíêàðíàñèîí, äåéñòâàù êàòî ïîäçåìåí ïàðêèíã. Êîïàåíåòî å áèëî ñïðÿíî, êîãàòî ìîçàå÷íè ïîäîâå è äðóãè îñòàíêè îò ðèìñêè âèëè ñà îòêðèòè íà äúëáî÷èíà îò øåñò ìåòðà. Òðè êîíêóðñà ñà ïðîâåäåíè çà ðåêîíñòðóêöèÿ íà ïëîùàäà, Ìàéåð ïå÷åëè òðåòèÿ êîíêóðñ ñ îðãàíè÷íà ñòðóêòóðà, êîÿòî å êîðåííî ðàçëè÷íà îò îñòðàòà ãåîìåòðèÿòà íà ïðåäèøíèòå ìó ïðîåêòè. Íåãîâèÿò ïðîåêò å ïðåäñòàâåí çà ïóáëè÷íî îáñúæäàíå â íà÷àëîòî íà 2004 ã., è îòãîâîðúò å èçíåíàäâàùî áëàãîïðèÿòåí. Íàé-èíîâàòèâíèòå ãðàäñêè èíòåðâåíöèè îò Àéôåëîâàòà êóëà äî ïèðàìèäà íà È.Ì.Ïåé, ñà îòíåëè åäíà ãîäèíà èëè ïîâå÷å, çà äà ñå ñïå÷åëè îäîáðåíèåòî íà îáùåñòâîòî. Íî òóê õîðàòà ñà âèäåëè, ÷å Ìàéåð å áèë âäúõíîâåí îò ñåí÷åñòèòå äúðâåòà îò ñúñåäíèÿ ïàðê è âúëíîîáðàçíèòå ïîêðèâè îò êàìúê íà ãîòè÷åñêàòà êàòåäðàëà íà ãðàäà è âåäíàãà ñà èçðàçèëè ñâîåòî îäîáðåíèå. Ñåâèëÿ ìîæå äà áúäå ìîêðà (Semana Santa òàçè ãîäèíà å òîëêîâà âëàæíà êîëêîòî åäèí òèïè÷åí àíãëèéñêè àïðèë) èëè óæàñíî ãîðåùà, êàêòî ìîæå äà ñå î÷àêâà îò ãðàä, êîéòî ñå íàìèðà íà ãåîãðàôñêàòà øèðèíà íà Òóíèñ. Äîðè òúðñåù ñëúíöåòî áåðëèí÷àíèí ðàçáèðà íóæäàòà îò çàùèòà. Ìàéåð ñúùî å îñúçíàë, ÷å ðàáîòàòà ìó ùå òðÿáâà äà ñå ïîääúðæà âúâ âíèìàòåëíî ïîçèöèîíèðàíè òî÷êè, çà äà ñå çàïàçè öåëîñòòà íà ðóèíèòå. Ðåøåíèåòî å äà ñå ñúçäàäå ïëàñòîâà ñòðóêòóðà, êîÿòî ïðåâðúùà ðàçêîïêèòå â ïîäçåìåí ìóçåé, ïîääúðæàù ñúùå-

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ñòâóâàùîòî íèâî íà óëèöàòà çà ïàçàðà è ñúçäàâàù ñâåæ ïëîùàä íà ïîêðèâà ïîä íàâåñ, êîéòî ñå èçäèãà îò øåñò ñòâîëà. Ñòúïàëà, åñêàëàòîðè è àñàíñüîðè â áåòîíåíè øàõòè ñâúðçâàò âñè÷êè íèâà, äîñòèãàùè 800 m? äî ïîêðèâà, êúäåòî å ðåñòîðàíòúò è 250 ì ïåøåõîäíà ïúòåêà, êîÿòî ñå âèå íàä âúëíîîáðàçíàòà ìðåæà îò ëàìèíèðàíè äúðâåíè ïëîñêîñòè. Îò äåíÿ íà îòâàðÿíå, ïëîùàäúò ïðèâëè÷à ìåñòíèòå îáèòàòåëè çà ðàçõîäêè, ðèñóâàíå è ñêåéò. Ëèïñâàò ñàìî ïåéêè è êàôå ìàñè, êîèòî ùå áúäàò äîáàâåíè, êîãàòî ïðîñòðàíñòâàòà ñå ôîðìèðàò îêîí÷àòåëíî. Ïàçàðúò å íàïúëíî çàåò, íî ðåñòîðàíòúò è ìàãàçèíèòå âñå îùå î÷àêâàò ñâîèòå íàåìàòåëè. Ïðåäâèæäà ñå â êîìïëåêñà äà áúäàò èçíàñÿíè è êîíöåðòè, êîåòî ùå ãî íàïðàâè ïîïóëÿðíî ìÿñòî çà ñúáèðàíå äî êúñíî ïðåç íîùòà. Ìàéåð å ðàçðàáîòèë ñòðóêòóðíà ñèñòåìà çà íåãîâàòà Ìåíñà Êàðëñðóå, è òÿ ñå å îêàçàëà íàé-äîáðîòî ðåøåíèå íà ïðîáëåìè îò òèïà íà ðàçõîäè, òðàéíîñò, ïîääðúæêà, òîïëèííî ðàçøèðåíèå è ñåèçìè÷íà óñòîé÷èâîñò. Ìàòåðèàëèòå è ëåïèëàòà ñà èçñëåäâàíè íà òåìïåðàòóðè äî 80 ° C. Çà ñúæàëåíèå, ïîëèóðåòàíîâîòî ïîêðèòèå, íåîáõîäèìî çà çàùèòà íà äúðâîòî, å ñ ìåê áåæîâ òîí, êîéòî å íåðàâíîìåðíî ïîëîæåí è ìàñêèðà òåêñòóðàòà íà ïàíåëèòå. Ïàíåëè, ñ ðàçëè÷íà äåáåëèíà è ðàçìåðè, ñà çàâèíòåíè è ñâúðçàíè, çà äà ñúçäàäàò óñòîé÷èâà íàäñòðîéêà, èçäèãàùà ñå îò ñòîìàíåíà è áåòîííà îñíîâà.Ïðîòèâîïîæàðíèòå íîðìè èçèñêâà ðåñòîðàíòúò äà èìà ñòîìàíåíà ïëàòôîðìà. Èñïàíñêèòå àðõèòåêòè ñà îâëàäåëè èçêóñòâîòî íà ïîäíîâÿâàíå íà òÿõíîòî èñòîðè÷åñêî íàñëåäñòâî, ñúïîñòàâÿéêè ñòàðîòî è íîâîòî ñ ôèíåñ è ñìåëîñò, êîåòî ìîæå äà áúäå âèäÿíî â ìàëêî äðóãè ñòàíè. Ìàéåð èçãëåæäà å óñïÿë äà óëîâè òîçè äóõ â íàé-íîâèòå è íàé-ãîëåìèòå ìó ðàáîòè. Äî ñåãà òîé å èçâåñòåí íàé-âå÷å ñúñ ñúçäàâàíåòî íà èçîëèðàíè ñêóëïòóðíè îáåêòè, êàòî Ìåíñà Êàðëñðóå, Danfoss Universe è Âèëà Ëóäâèãñáóðã, ñúñ ñâîèòå êîíçîëíè êðèëà. Âäúõíîâåíèåòî èäâà îò íåãîâàòà êîëåêöèÿ îò ïëàòåæíè ïëèêîâå, ñ òåõíèòå ïîâòàðÿùè ñå ìîäåëè, ïðåäíàçíà÷åíè çà ïðèêðèâàíå íà ñúäúðæàíèåòî. Òîé ùå íàìåðè îòïðàâíà òî÷êà â òîâà, êîåòî íàðè÷à "èçíà÷àëíà ñóïà" îò ìàëêè ôîðìè è ïðîñòà ñõåìà, ïðåðàñíàëà â ñëîæíà ñòðóêòóðà. Èíîâàòèâíè êàòî ìàëêè ìîäåëè, ñãðàäèòå ìîãàò äà èçãëåæäàò òâúðäå ñõåìàòè÷íè êàòî óãîëåìåíè. ×àäúðúò íà "Ìåòðîïîë" îáà÷å å ðàçëè÷åí, òîé ìîæå äà ñå îïðèëè÷è íà åäíà ï÷åëíà ïèòà èëè êîðàëîâ ðèô, èëè ãîðà è òåçè åñòåñòâåíè àñîöèàöèè äàâàò åäíî ïðèðîäíî èçìåðåíèå íà àðõèòåêòóðàòà. ×óâñòâåíèòå ôîðìè, êîèòî òðúãâàò îò âñåêè ñòâîë, ðàçøèðÿâàò ñå íàãîðå è èãðàÿò ïî áåçöâåòíèòå ôàñàäè, ñà ïðîïèòè ñ âúòðåøíà åíåðãèÿ, êîÿòî èçðàçÿâà æèçíåíîñòòà íà ãðàäà. Îò âñÿêà ãëåäíà òî÷êà, ôîðìèòå è ïåðñïåêòèâè ñå èçìåñòâàò, òå ðèñóâàò âúòðå è íàãîðå ñòðóêòóðàòà, êàòî ÷å òîâà å æèâî ñúùåñòâî. Ñîëèñòúò å ñúçäàë ñèìôîíèÿ, îòâúä îãðàíè÷åíèÿòà íà ïðîñòèòå ìîäóëè, çà äà ñå ñúçäàäå ãðàäñêè ïåéçàæ.

NEWS

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21st Century Oasis "21st Century Oasis," a proposal by Sou Fujimoto Architects in collaboration with Taiwanese firm, Fei & Cheng associates has won first prize in the Taiwan Tower International Competition. The concept for the tower was taken from the regional Banyan tree characterized by its intersecting roots that create a solid foundation for the tree to expand upward.

The dazzling intersection of beams that make up the tower's facade will create an alluring combination of indoor and outdoor space encompassed within the same structure. The porous nature of the tower's walls will create lighting that is similar to walking through an overgrown forest.

The tower will reach a height of nearly 1,000 feet off the ground, but that's not all... A rooftop "island" will be constructed to overlook the city. Filled with greenery, the "island" will integrate nature back into the surrounding landscape and hopefully become a beacon for green construction in Taiwan.

But the tower won't get the green building of the year award just for a garden in the sky. It will feature innovative construction to limit its carbon footprint. The structure will harvest rainwater, create energy through solar panels and ground source heat pumps along with its natural ventilation.

For nighttime, the various beams will be outfitted with LED lights that will change in color and intensity. The tower will be able to transition into a "sleeping state" where the lights will turn hazy, reminiscent of Chinese lanterns.

"21-âè ÂÅÊ ÎÀÇÈÑ" - ÒÀÉÂÀÍÑÊÀÒÀ ÊÓËÀ "21-âè âåê Îàçèñ ", ïðåäëîæåíèå îò "Ñó Ôóäæèìîòî àðõèòåêòè" â ñúòðóäíè÷åñòâî ñ òàéâàíñêàòà ôèðìà "Ôåé ×åíã àñîøèåéòñ", ñïå÷åëè ïúðâà íàãðàäà â Ìåæäóíàðîäíèÿ êîíêóðñ çà Òàéâàíñêàòà êóëà. Êîíöåïöèÿòà çà êóëàòà å âçåòà îò äúðâîòî áàíÿí, õàðàêòåðèçèðàùî ñå ñ ïðåïëèòàùè ñå êîðåíè, êîèòî ñúçäàâàò ñîëèäíà îñíîâà äúðâîòî äà ñå ðàçøèðÿâà íàãîðå. Îñëåïèòåëíîòî ïðåñè÷àíå íà ãðåäèòå, êîèòî ïðàâÿò ôàñàäàòà íà êóëàòà, ùå ñúçäàäàò èíòåðåñíà êîìáèíàöèÿ îò âúòðåøíè è âúíøíè ïðîñòðàíñòâà, îáåäèíåíè â ðàìêèòå íà åäíà è ñúùà ñòðóêòóðà. Ïîðåñòàòà õàðàêòåðíà ôîðìà íà ñòåíèòå íà êóëàòà ùå ñúçäàäå îñâåòëåíèå, êîåòî å ïîäîáíî íà õîäåíå ïðåç áóðåíÿñàëà ãîðà. Êóëàòà ùå äîñòèãíå âèñî÷èíà îò áëèçî 1000 ôóòà íàä çåìÿòà, íî òîâà íå å âñè÷êî ... Íà ïîêðèâà "îñòðîâ" ùå îñèãóðÿâà èçóìèòåëåí èçãëåä êúì ãðàäà. Èçïúëíåí ñ ìíîãî çåëåíèíà, "îñòðîâúò" ùå èíòåãðèðà îáðàòíî ïðèðîäàòà â îêîëíèÿ ïåéçàæ è ùå ñå ïðåâúðíå â ñèìâîë çà "çåëåíîòî" ñòðîèòåëñòâî â Òàéâàí. Íî êóëàòà íÿìà äà ïîëó÷è íàãðàäà çà "Çåëåíà ñãðàäà íà ãîäèíàòà" ñàìî çàðàäè ãðàäèíàòà â íåáåòî. Òÿ ùå âêëþ÷âà èíîâàòèâíè ñòðîèòåëíè ìåòîäè, çà äà îãðàíè÷è ñâîÿ âúãëåðîäåí îòïå÷àòúê âúðõó îêîëíàòà ñðåäà. Ñòðóêòóðàòà ùå ñúáèðà äúæäîâíàòà âîäà, ùå ïðîèçâåæäà åíåðãèÿ ÷ðåç ñëúí÷åâè ïàíåëè è ïîäçåìíè ïîìïè- èçòî÷íèê íà òîïëèíà, è ùå èìà åñòåñòâåíà âåíòèëàöèÿ. Ïðåç íîùòà ðàçëè÷íèòå ãðåäè ùå áúäàò îáîðóäâàíè ñ LED ñâåòëèíè, êîèòî ùå ñå ïðîìåíÿò íà öâÿò è èíòåíçèâíîñò. Êóëàòà ùå áúäå â ñúñòîÿíèå äà ñå ïðåîáðàçè â "ñïÿùàòà äúðæàâà", êúäåòî ñâåòëèíèòå ñà íåÿñíè, íàïîìíÿùè íà êèòàéñêè ôåíåðè.

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Military History Museum Dresden, Germany

The redesigned Dresden Museum of Military History is now the official central museum of the German Armed Forces. It will house an exhibition area of roughly 21,000 square feet, making it Germany’s largest museum.

The armory was built from 1873 –1876 and became a museum in 1897. Since its 1897 founding, the Dresden Museum of Military History has been a Saxon armory and museum, a Nazi museum, a Soviet museum and an East German museum.

Today it is the military history museum of a unified and democratic Germany, its location outside the historic center of Dresden having allowed the building to survive the allied bombing campaign at the end of World War II. In 1989, unsure how the museum would fit into a newly unified German state, the government decided to shut it down.

By 2001 feelings had shifted and an architectural competition was held for an extension that would facilitate a reconsideration of the way we think about war.

Daniel Libeskind’s winning design boldly interrupts the original building's symmetry. The extension, a massive, fivestory 14,500-ton wedge of concrete and steel, cuts through the 135-year-old former arsenal’s structural order. A 82foot high viewing platform (the highest point of the wedge is 98 feet) provides breathtaking views of modern Dresden while pointing towards the exact area where the fire bombing of Dresden began, creating a dramatic space for reflection.

The new façade’s openness and transparency contrasts with the opacity and rigidity of the existing building. The latter represents the severity of the authoritarian past while the former reflects the openness of the democratic society in which it has been reimagined. The interplay between these perspectives forms the character of the new Military History Museum Inside, in the original, columned part of the building, German’s military history is presented in chronological order. But now it is complemented, in the new wide-open spaces of the five-story wedge, by new exhibition areas with a new focus on thematic consideration of the societal forces and human impulses that create a culture of violence.

Íîâîïðîåêòèðàíèÿò ìóçåé íà âîåííàòà èñòîðèÿ â Äðåçäåí ñåãà å îôèöèàëíèÿò ìóçåé íà íåìñêèòå âîåííè ñèëè. Ñ èçëîæáåíà ïëîù îò 21 000 êâ. ôóòà, òîé ñå ïðåâðúùà â íàé-ãîëåìèÿ ìóçåé â Ãåðìàíèÿ. Îðúæåéíèöàòà å ïîñòðîåí îò 1873 -1876 ã., è ñå ïðåâðúùà â ìóçåé ïðåç 1897 ã. Îò îñíîâàâàíåòî ñè ïðåç 1897 ã., äðåçäåíñêèÿò Âîåííî-èñòîðè÷åñêè ìóçåé å ñàêñîíñêè îðúæååí ñêëàä è ìóçåé, ìóçåé íà íàöèñòèòå, ñúâåòñêè ìóçåé è ìóçåé íà Èçòî÷íà Ãåðìàíèÿ. Äíåñ òÿ å âîåííî-èñòîðè÷åñêè ìóçåé íà åäèííà è äåìîêðàòè÷íà Ãåðìàíèÿ. Ðàçïîëîæåíèåòî ìó èçâúí èñòîðè÷åñêèÿ öåíòúð íà Äðåçäåí ïîçâîëÿâà íà ñãðàäàòà äà îöåëåå îò ñúþçíè÷åñêèòå áîìáàðäèðîâêè â êðàÿ íà Âòîðàòà ñâåòîâíà âîéíà. Ïðåç 1989 ã. ïðàâèòåëñòâîòî ðåøàâà äà ãî çàòâîðè, çàùîòî íå å ñèãóðíî êàê ìóçåÿò ùå ñå âìåñòè â íîâîñòðîÿùàòà ñå åäèííà íåìñêè äúðæàâà. Äî 2001 ã. íàãëàñèòå ñå ïðîìåíÿò è ñå ïðîâåæäà àðõèòåêòóðåí êîíêóðñ çà ðàçøèðåíèå, êîåòî ùå óëåñíè ïðåîñìèñëÿíå íà íà÷èíà, ïî êîéòî ñå âúçïðèåìà âîéíàòà. Ïå÷åëèâøèÿò äèçàéí íà Äàíèåë Ëèáåñêèíä ñìåëî ïðåêúñâà ñèìåòðèÿ íà îðèãèíàëíàòà ñãðàäà. Ðàçøèðåíèåòî, ìàñèâíà, ïåòåòàæíà 14,500-òîííà ñãðàäà ñ ôîðìà íà êëèí îò áåòîí è ñòîìàíà, ïðîðÿçâà ñòðóêòóðàòà íà 135-ãîäèøíèÿ áèâø Àðñåíàë. 82-ìåòðîâàòà âèñîêà ïëàòôîðìà çà ãëåäàíå, (íàé-âèñîêàòà òî÷êà íà êëèíà å 98 ôóòà) ïðåäëàãà ñïèðàùè äúõà ãëåäêè íà ñúâðåìåíåí Äðåçäåí, è ñî÷è òî÷íî êúì ïëîùàäà, êúäåòî ñà çàïî÷íàëè áîìáàðäèðîâêèòå íà Äðåçäåí, ñúçäàâàéêè äðàìàòè÷íî ïðîñòðàíñòâî çà ðàçìèñúë. Îòêðèòîñòòà è ïðîçðà÷íîñòòà íà íîâàòà ôàñàäà êîíòðàñòèðàò ñ íåïðîçðà÷íîñòòà è òâúðäîñòòà íà ñúùåñòâóâàùàòà ñãðàäà. Ïîñëåäíèÿò ïðåäñòàâëÿâà òåæåñòòà íà àâòîðèòàðíîòî ìèíàëî, äîêàòî ïúðâîòî îòðàçÿâà ñòåïåíòà íà îòâîðåíîñò íà äåìîêðàòè÷íîòî îáùåñòâî, â êîåòî òî å áèëî ïðåèçìèñëåíî. Âçàèìîäåéñòâèåòî ìåæäó òåçè ïåðñïåêòèâè ôîðìèðà õàðàêòåðà íà íîâèÿ âîåíåí ìóçåé. Âúòðå â îðèãèíàëà, ÷àñò îò ñãðàäàòà ñ êîëîíè, âîåííà-

òà èñòîðèÿ íà Ãåðìàíèÿ å ïðåäñòàâåíà â õðîíîëîãè÷åí ðåä. Íî ñåãà òÿ ñå äîïúëâà îò íîâèòå øèðîêî îòâîðåíè ïðîñòðàíñòâà íà ïåòåòàæíèÿ êëèí è îò íîâèòå èçëîæáåíè ïëîùè ñ àêöåíò âúðõó òåìàòè÷íîòî ðàçãëåæäàíå íà îáùåñòâåíèòå ñèëè è ÷îâåøêè èìïóëñè, êîèòî ñúçäàâàò êóëòóðà íà íàñèëèå.

NEWS

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The Evelyn Grace Academy "The Evelyn Grace Academy", a cutting-edge new secondary school in Brixton, south London by Zaha Hadid Architects has won the prestigious "RIBA Stirling Prize 2011" for the best new European building built or designed in the United Kingdom, reported official site of RIBA. This is the second year running that Zaha Hadid Architects have won the "RIBA Stirling Prize". Last year they won the award for their "MAXXI Museum of 21st Century Art" in Rome, this year they have put the practice's formidable reputation to great use by breaking new ground in school design.

The presentation of the UK's premier architectural award took place at a special ceremony on October 1 at the RIBA Stirling Prize-winning (2001) Magna Science Adventure Centre in Rotherham. "The Evelyn Grace Academy" is the first school to win the "RIBA Stirling Prize", with seven schools shortlisted in previous years. It is the first time that Zaha Hadid Architects have designed a school and their first large-scale project in the UK. Previously they designed a "Maggie's Centre" in Scotland and more recently they have completed the "Riverside Museum" in Glasgow and the London "Aquatics Centre" for the 2012 Olympics.

With total area 10.745 thousand square meters, construction of "Evelyn Grace Academy" completed in 2010. A highly stylized zig-zag of steel and glass, the "Evelyn Grace Academy" is squeezed onto the tightest of urban sites (1.4 hectares - the average secondary school is 8/9 hectares). The architects received a complex brief: four schools under a single academy umbrella with the need to express both independence and unity.

This is the 16th year the "RIBA Stirling Prize" has been presented. Last year's winner was" MAXXI, the National Museum of XXI Century Arts" in Rome by Zaha Hadid Architects. Zaha Hadid Architects have been shortlisted for the prize on three previous occasions, in 2005 for the "BMW Central Building", Leipzig, Germany; in 2006 for the "Phaeno Science Centre", Wolfsburg, Germany and in 2008 for "Nord Park Railway" in Innsbruck, Austria. "ÅÂÅËÈÍ ÃÐÅÉÑ ÀÊÀÄÅÌÈß" - ÈÇÓÌÈÒÅËÅÍ ÇÈÃÇÀà ÎÒ ÑÒÎÌÀÍÀ È ÑÒÚÊËÎ "Åâåëèí Ãðåéñ àêàäåìèÿ" å ìîäåðíî íîâî ñðåäíî ó÷èëèùå â Áðèêñòîí, Þæåí Ëîíäîí, ïðîåêòèðàíî îò àðõèòåêòêàòà Çàõà Õàäèä, íîñèòåëêà íà ïðåñòèæíàòà íàãðàäà "RIBA Ñòúðëèíã 2011" çà íàé-íîâàòà åâðîïåéñêà ñãðàäà, ïîñòðîåíà èëè ïðîåêòèðàíà â Îáåäèíåíîòî êðàëñòâî, ñúîáùàâà îôèöèàëíèÿ ñàéò íà RIBA. Òîâà å âòîðàòà ïîðåäíà ãîäèíà, êîãàòî Çàõà Õàäèä ïå÷åëè "RIBA Ñòúðëèíã". Ïðåäõîäíàòà ãîäèíà íåéíîòî àðõèòåêòóðíî áþðî ïå÷åëè íàãðàäàòà çà "MAXXI Ìóçåé íà èçêóñòâàòà íà 21-âè âåê " â Ðèì, à ïðåç 2011 îòíîâî ðàçòúðñâàò àðõèòåêòóðíàòà ïðàêòèêà ñ íîâ äèçàéí íà ó÷èëèùå. Ïðåäñòàâÿíåòî íà Premier àðõèòåêòóðíà íàãðàäà íà Âåëèêîáðèòàíèÿ ñå ïðîâåäå íà ñïåöèàëíà öåðåìîíèÿ íà 1-âè îêòîìâðè 2011 ïî âðåìå íà íàãðàæäàâàíåòî íà "RIBA Ñòúðëèíã 2011" â Ìàãíà, ïðèêëþ÷åíñêè è íàó÷åí öåíòúð â Ðîòåðäàì. "Åâåëèí Ãðåéñ àêàäåìèÿ" å ïúðâîòî ó÷èëèùå, êîåòî ïå÷åëè "RIBA Ñòúðëèíã" â ñúñòåçàíèå ñúñ ñåäåì ïðîåêòà çà ó÷èëèùà ïðåç ïðåäõîäíèòå ãîäèíè. Òîâà å ïúðâèÿò ïúò, êîãàòî Çàõà Õàäèä å ïðîåêòèðàëà ó÷èëèùå è ïúðâèÿò é ìàùàáåí ïðîåêò âúâ Âåëèêîáðèòàíèÿ. Ïðåäè òîâà òÿ ïðîåêòèðà "Ìàãè Öåíòúð" â Øîòëàíäèÿ, à íàñêîðî å çàâúðøèëà "Ðèâúðñàéä ìóçåé" â Ãëàçãîó è Ëîíäîíñêèÿ àêâàöåíòúð çà Îëèìïèéñêèòå èãðè ïðåç 2012 ãîäèíà. "Åâåëèí Ãðåéñ àêàäåìèÿ", êîåòî å ñ îáùà ïëîù 10.745 õèë. êâ. ì, ñå ñúáèðà ïî èçóìèòåëåí íà÷èí ñàìî âúðõó òÿñíà ãðàäñêà òåðèòîðèÿ îò 1.4 õåêòàðà. À ñðåäíàòà ïëîù çà ñðåäíî ó÷èëèùå å 8/9 õåêòàðà. Àðõèòåêòèòå ñà ïîëó÷èëè ñëîæíî çàäàíèå - äà ðàçïîëîæàò íà ìèíèìàëíà ïëîù ÷åòèðè ó÷èëèùà ïîä ÷àäúðà íà àêàäåìèÿòà, êîèòî äà èçðàçÿâàò íåçàâèñèìîñò, íî ñúùåâðåìåííî è åäèíñòâî.

Íàãðàäàòà "RIBA Ñòúðëèíã" ñå âðú÷âà çà 16 ïúò. Ïðåäõîäíàòà ãîäèíà ïîáåäèòåë å "MAXXI, Íàöèîíàëíèÿ ìóçåé íà èçêóñòâàòà XXI âåê" â Ðèì, ïðîåêòèðàí ïàê îò "Çàõà Õàäèä àðõèòåêòè". "Çàõà Õàäèä àðõèòåêòè" ñà áèëè â ñïèñúêà ñ íîìèíèðàíèòå è ïðåäèøíè ãîäèíè - ïðåç 2005 ã. çà "BMW Ðåêòîðàò", Ëàéïöèã, Ãåðìàíèÿ, ïðåç 2006 ã. çà "Phaeno Science Centre", Âîëôñáóðã, Ãåðìàíèÿ è ïðåç 2008 ã. çà "Ñåâåðåí æåëåçîïúòåí ïàðê" â Èíñáðóê, Àâñòðèÿ.

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