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INTERVIEW PROJECT MEGANOM#33 / 2006

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COLOPHON

ArchIdea aims to be a mouthpiece for architects that by their work, opinions and ideas have

significance for their fellow-architects, interior designers, and everybody with a special interest in

the architectural horizon, from all over the world.

ArchIdea is a biannual publication and is distributed world-wide. The editors emphatically declare

that they are not responsible for opinions and statements expressed in articles.

All rights reserved. No part of this magazine may be reproduced, stored in a retrieval system or transmitted in any form

or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission in writing of

the Publisher.

The Publisher has made efforts to ensure that all obligations arising from the Copyright Act with regard to the illustrations

in this magazine have been complied with. Copyright owners of materials used in this issue whom we have been unable to

contact and feel they have rights should contact the Publisher.

FRONT COVER: VILLA ROSE

FOCUS ON INTERIORSCONCERT HALLS

Concert halls are used as a means to create public spaces. The Opera House in Copenhagen and the Muziek-

gebouw aan t IJ/BIMhuis in Amsterdam introduce public spaces into what used to be docklands, while the

Disney Concert Hall in downtown Los Angeles is giving public space back to the town.

PROJECTSThe interiors of several projects involving the use of floors and furniture surfacing from Forbo Flooring are

included as a form of inspiration. The projects are located in various parts of the world and show the many

possibilities provided by Forbos products.

SUMMARYThe summaries of both interview and article have been translated into 14 languages. Four translations are

included in this publication; for the remaining translations please refer to our website: www.archidea.com

INTERVIEWPROJECT MEGANOMAlexandra Pavlova and Yuri Grigoryan of the Moscow-based architectural office Project Meganom aim to make

Russian architecture stand out. To them, architecture is about more than just nest-building and providing

comfort; they like to create contrast.

12-15

16-33

34-35

4-11

CONTENTS

Editorial office:

ArchIdea

P.O. Box 13

NL-1560 AA Krommenie

www.archidea.com

Editor:

W. J. F. Burmanje

News editors:

T. Cole, J-C. Iversen, W. Rijkhoff, K. Toner

Production coordination:

W. Rijkhoff

Interviews:

E. Mik, Amsterdam

Design & layout:

Dedato designers and architects, Amsterdam

Architectural & Aesthetical Consultant:

J. de Pauw

Typeset and colour reproduction:

Bloem Digital Imaging, Wormer

Print:

Kwak & Van Daalen & Ronday, Zaandam

Circulation:

96.330

Errata:

The photos of the Marie de Valenciennes city hall project on page 22 of ArchIdea #32 were made by Studio VDM.

The floor design of the UMC St Radboud hospital project on page 28 of ArchIdea #32 was made by Michiel van Nieuwland of Forbo Flooring, The Netherlands.

The architect of the Mencia de Mendoza school project on page 29 of ArchIdea #32 is Haverman Meiracker Vermeulen BV from Breda, The Netherlands.

The Badhuis school and day care centre project on page 29 of ArchIdea #32 was comm issioned by Mr. K.J. Hol from Heteren, The Netherlands.

The building contractor for the Fukuoka Wajiro Hospital project on page 33 of ArchIdea #32 is Kumagai Gumi Co. Ltd.

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Villa Rose was first made of wood and plastic. The archi-

tects built the life-size model in the woods just outside

Moscow. They wanted their client to experience how fan-

tastic their idea was: a house made of glass, semitranspar-

ent and surrounded by trees. Then they had it torn down.

Alexandra Pavlova and Yuri Grigoryan of Project Meganom

explained why they see buildings as fundamentally tem-

porary: A hundred years, two hundred years, it doesnt

mean anything. What counts is the form, the idea. A good

form will survive for aeons. Architecture isnt tangible: it

exists in the mind. You can destroy a building and build an

identical one, as was done with the bombed-out buildings

and churches in London and Berlin after World War II. In

this project we wanted to promote a discussion about the

difference between form and materialisation.The original Villa Rose was reconstructed in glass and

concrete. The villa can be regarded as a contemporary

dacha. Dachas - Russian country houses - became popular

in the 19th century, when people used to escape from the

town and spend the weekend in the country. In those days,

a dacha was very small and simple. They were not at all

comfortable; often they were no more than a wooden cabin

- not what people in todays Russia dream of. Traditionally,

however, the Russian people have a strong, deep-rooted

urge to restore their contact with nature. This is why the

architects have made Villa Rose mostly transparent and

irregular, with various angles that provide different views

of the trees around it. The ground plan looks like a rose:

the villa is in the centre of the settlement, surrounded

by six other villas, which were also designed by Project

Meganom. The rose-shaped plan emphasizes the villas

central position. It keeps the houses together; it col-

lects them, so to speak.

Villa Rose clearly shows that Project Meganom doesmake

architecture exciting. The house is outspoken and sculptur-

al - a rock of ice. Inside, the space is open and fragment-

ed, and its different functions confront each other. The

entrance provides a view of the living area and the indoor

swimming pool. The interior exudes one atmosphere, one

spirit - sober, stately, relaxed - although each room has

its distinguishing features; for example, one is in whitestucco, while another is clad in wood. It is clearly not a

house that aims only to provide absolute comfort.

- Do the archit ects of Project Meganom want to evoke

these strong sensations also in the users of their

buildings?

Yes. We like contrasts, conflicts. We want architecture

to be exciting, to provide different kinds of sensations.

We dont regard architecture as a joke, as a commodity.

Architecture, just like literature, cinema and music, is art.

Not that a building shouldnt be comfortable: the living

space should provide comfort. To us, comfort essentially

For more than half a century, Socialism stifled nearly every initiative

that emerged in Russian architecture. The work of the Moscow-based

architectural office Project Meganom is evidence that architecture

is beginning to open up again, like a budding flower. We want to

continue the tradition of constructivism. We aim to give Russian

architecture a strong position, to make it stand out.

Project Meganom:

ARCHITECTUREIS

LIKEA

FLOWERTHAT

ISBLOSSOMING

AGAIN

Villa Rose

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means good planning. But we also want the buildings user

to experience emotions. If life is too comfortable, it be-

comes less interesting. We dont build nests: architecture

is not about saving people. Designing a house comes close

to writing a scenario. You have to make a scenario for the

resident: here youll find this, there that, with differenttouches, different finishes for the living room, for the

bedroom.

- Isnt architecture primarily meant to provide shel-

ter, to protect people from the outside world, the

climate? Why is it so important to make architec-

ture exciting for people?

We want to continue the tradition of constructivism, the

architecture of Leonidov and Melnikov - architects who

gave the profession a considerable boost in the 1920s.

First, the Russian revolution stimulated every art form

- poetry, painting, architecture - but ten years later,

Socialism started stifling nearly every initiative and it

continued to do so for more than half a century. The State

tried to stop everything; people were killed, put in prison.

But now architecture is like a flower that is blossoming

again. Its very exciting: a lot of things are happening. For

the Russians, everything is new. Theres a new feeling ofarchitecture. But were mainly preoccupied with the formal

aspect. We aim to give Russian architecture a strong posi-

tion, to make it stand out. We were raised and educated

during the Soviet period. But being intelligent and reason-

able, we kept well away from social and political issues.

We tend to let them come nearer now, but we still keep

them at a distance.

- Is there any interest in architecture in contempo-

rary Russia, any awareness of the importance of

architecture?

There was no real interest until very recently. People just

Villa Rose

X-Park >

Villa Rose

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wanted a fashionable, comfortable house. Then, about

two years ago, property developers started to show more

interest in architecture as an intellectual product. They

became aware that theres an idea, a concept, behind the

building that can help them sell it and gives them a story to

tell potential clients, that theyre investing in ideas! Design

became more popular, as it is in the rest of the world. Look

at Britain: ten, twenty years ago, they had nothing but

19th-century styles, such as the Victorian. Then foreign

architects were invited to Russia, which helped to a cer-

tain extent and had the psychological effect that architects

wanted to do more than just build ugly buildings in the

centre of Moscow. Unfortunately, none of their designs

have been built. Their mentality is so different. They arent

flexible: they have only one concept, think its quite strong

and just want to build it. Another problem is that not all

technology is available yet in Russia. We try to use new

technologies ourselves, as we did in Villa Rose with the

special industrial glass, which we found in Germany. But

sometimes its difficult: one day we suggested installing a

solar heating system. The client said we were crazy: oil is

very cheap in Russia, and we wanted to bring in this very

expensive solar system?

- Youve built mainly for rich clients, the Russian nou-

veau riche. Arent you interested in social or public

projects?

We are interested, and were qualified for it. Were look-

ing for possibilities to do public or social projects, but we

dont get the commissions in that segment. In Moscow,

public projects are the domain of government architects.

Russian architecture has two faces: a private and a public

one. The two are totally separated.

Villa Rose and the villas around it share the same form.

The X-shape, like that of a chromosome, is pronounced and

sculptural, almost organic.

- Does Project Meganom regard architecture as just

another way of making a sculpture? Why not make

a simple and clear building?

The sculptural form is more natural. We always keep in

mind what the context asks for. The idea behind the X-

shape was to maximise the contact with nature. We gave

the houses slightly sloping roofs to make them less visible

in the woods, more harmonised with it, like small hills.

Sometimes, we put grass on the roofs to bring architecture

closer to nature. There are two ways to relate architecture

to nature. One is what the Japanese architect Sejima does:

use completely transparent but straight and straightfor-

ward forms. The other is to create a sculpture. We opt

for the latter, although fundamentally theyre both about

making architecture more natural, bringing architecture

closer to its natural environment. In the city, we of course

take a different approach. You can make withdrawal from

the city a theme. For example, we designed a villa in the

centre of Moscow that can hardly be seen from the street.

Inside, theres a winter garden. We brought nature inside

its walls.

The buildings of Project Meganom are not only about

< Private house in Pines Village

Villa Ostozhenka

Central Market, Moscow

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adaptation. They also present strong contrasts, like the

theatre just outside Moscow. It is built in the woods at the

end of a street lined with fashion shops. Project Meganom

designed the master plan and the shops. The street zigzags

slightly, like a snake - a pattern reminiscent of the layout

of old Russian villages. The shops are simple glass and

concrete boxes clad in wood. The theatre, with its organic

shape, glass curtain wall and vertical, irregular wooden

lamellas on the outside, contrasts sharply with them.

Again, it is basically a conceptual approach.

Our first idea was to have a huge wooden jalousie that

could be opened and closed, but it would have been too

expensive. The lamellas in the current design allude to the

stage curtain in the theatre, as well as to the trees around

the building. They open and close visually as you pass by.

- In your work, theres a contrast between abstract

form and very tangible, natural materials. You

almost expose materials. Why?

We like to introduce old style materials in contempo-

rary architecture: a contemporary form, but made of, for

instance, wood. Wed love to make something completely

white, partly because old Russian churches are white. So

were not against white and immaterial, but our clients

tend to prefer natural materials. Were always in dialogue

with our clients.

- Your work seems to evolve towards immateriality,

though.

Yes, its like what the Russian poet Chlebnikov wrote:

architecture is going to disappear. We like the feeling

of lightness, of the right proportion. This has nothing to do

with glass. Glass can be very heavy, visually. For example,

those glass boxes in the city catch the eye: all those reflec-

tions! And when theyre dark inside, they look very dark

from the outside too. Glass in a natural environment has a

different effect and offers true transparency. Take Phillip

Johnsons Glass House: it has no roof, and the lights the

same inside and outside. Some of Palladios villas also

generate this feeling of lightness, not because of the use

of glass, but as a result of the subtle proportions and the

sensitive use of limestone.

One particular house by Project Meganom can be regarded

as a proclamation. It summarizes what the architectural

office is striving for. It has not been built yet, and perhaps

it never will be. It is a proposal, an imaginary project to be

built on Cape Meganom, a promontory jutting out into the

Black Sea in western Crimea (and the origin of the name

of the architectural office). It is a rough landscape and

hardly any building has been able to withstand the severe

weather there. The house is simplicity itself: a glass bar

protruding from the bare slopes. Half of it is inside the

mountain. This cool, dark part provides the best conditions

for the bedroom. The upper half is in the open air and

accommodates the living space. Beneath it, breakers crash

onto the rocks. It would be a truly spectacular and exciting

experience to be in House Meganom. Its so attractive to

us because its about negative and positive space. Dark

inside, absolutely free outside, without walls, hanging

above the sea. We also consider it a statement about

architecture. The glass part is the future, the new technol-

ogy. Glass doesnt need a supporting construction; it can

be glued. The part inside the hill refers to the past. Youd

come to the house perhaps once a week, not to experience

the same comfort and convenience as you do at home, but

to feel something else. To feel that youre able to fly, to

feel nature, the sun, the wind, the water and the waves,

and the darkness inside the hill. We wanted to liberate

space. We wanted to make architecture immaterial.

Mercury Theatre

Mercury Luxury Village

Reconstruction of the

old printing-house on

Stastnoy bulv

Cape Meganom

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The Opera House in Copenhagen, designed by the Danish

architect Henning Larsen, is monumental, but at the same

time a gesture to both town and water. It is situated in

a former dock area. It is modern, although its grandeur

and symmetry give it a classical appearance. Its location

on the historical axis that stretches across the water via

Amelinborg Square to Frederiks Church contributes to

this classical aspect. Its a location that traditionally ex-

udes hierarchy, determines the import of the building, and

in that sense adds lustre to the ambitions of the financier,

the extremely rich indu strialist A.P. Mller.

The enormous, cantilevered roof is the most conspicuous

architectonic feature. It appears to float. It holds the

different parts together visually and forms an enormous

awning, creating a covered square on the waterfront, a

generous public space that can even be used for theatrical

performances. The auditorium floats between the roof and

the floor and behind the glass of the foyer. It bulges out,

and is mysterious like a shell. Maple wood gives it a golden

radiance. Balconies with fantastic views of the harbour

and the town run along the glass, and from them radial

bridges cut through the shell of the auditorium. They make

entering the auditorium something dramatic, as though

you yourself, a visitor, were part of an opera. Inside,

Henning Larsen has created an intimate atmosphere with

horseshoe-shaped balconies, dark rich maple wood and

plush-covered seating.

THE COPENHAGEN OPERA HOUSECOPENHAGEN, DENMARK (2001-2004)

Architects: Henning Larsens Tegnestue A/S

Donated by the A.P. Mller and Chastine Mc-Kinney Mller Foundation.

Photos: Adam Mrk

Indeed, little has changed where the hall itself is

concerned. It still comes down to a choice between

a long rectangular hall (which is acoustically ideal),

a fan-shaped hall with ascending terraces and bal-

conies (to reduce the distance from the stage), a pit

with horseshoe-shaped balconies (especially suited to

operas) or a mixture of these. The acoustics are better

now, though, as a result of technical developments

and the use of new materials.What has undergone substantial change is not the

design of the auditorium itself but of the surrounding

spaces: the entrance, the foyers, the communicating

areas and the outer area. More than in the past there

is a need to see the concert hall as part of the town:

the concert hall serves as an icon providing the town

with an identity, as a means to create a public space,

an impulse or crystallisation point for new urban

developments. This is bound up with the loss of public

space, the lack of communality people experience, of

spaces in which to meet one another. Todays streets

and squares are fulfilling this role less and less, while

cultural institutions are increasingly doing so. Also the

location where a new concert hall is built plays a role.

Three recently built concert halls illustrate this. Two

of them - the Opera House in Copenhagen and the

Muziekgebouw aan t IJ/BIMhuis in Amsterdam - are

located on the waterfront where the docks used to be.

They simultaneously face the water, making the most

of the panoramic view, while on their inland side theygenerate urban activity. More or less the same applies

to the Disney Concert Hall in downtown Los Angeles.

This is a desolate area. There are hardly any pedestri-

ans to be seen, the avenues are chockablock with

traffic and make you think of freeways. No throbbing

town centre here. What the Disney Concert Hall does

is give public space back to the town. Its an interna-

tional crowd puller, and its exuberant design exhorts

an urban spin-off in its immediate surroundings, the

upgrading of the entire area. Who knows, downtown

LA might be a nice place to be one day.

FOCUS ON INTERIORS CONCERT HALLS

NO PERIOD BROUGHT ABOUT SO MANY CHANGES IN ARCHITECTURE AS THE TWENTIETH CENTURY

DID. Nevertheless, the job of designing a concert hall does not appear to have changed that much.

A hall with a stage, rows of chairs and good acoustics; an entrance hall and a foyer for socialising

- talking, seeing and being seen - and a monumental appearance to give the visit to a concert a sta-

tus-enhancing or sacral or ritual cachet.

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The roof of the Muziekgebouw aan t IJ/BIMhuis, designed

by the Danish architectural firm 3XNielsen, collars out

excessively and extends into an enormous awning over a

high and completely transparent foyer, offering a protective

wing to an outdoor caf. It looks like a Danish style ele-ment. The confrontation with the expanse of water and the

sky is spectacular. The caf, the foyer and the balconies are

public spaces; they give the IJ river back to the town.

Architect Kim Nielsen wanted to create an honest building,

one that would fit in with the silos and warehouses. And

he succeeded. The concept is simple: three volumes held

together by the roof and the glass faade. One box houses

the auditorium of the Muziekgebouw, the other - the black,

far protruding one - the BIMhuis. The third box, which

is narrow, high and covered with green sheets of glass,

accommodates the offices. The spaces in between are

breathtaking: they are high, almost inhospitable, hardly

qualifying as indoor spaces. The oak flooring has been left

rough, the concrete naked. The feeling of space echoes that

of the expanse of water and of the sky above it; it is of a

quality one hardly ever encounters in a building.Acoustically, the large auditorium is innovative. Inside the

concrete box, there is a steel construction; it stands free

from its surroundings and has its own foundations. The

sound of trains, cars and boats passing by outside is inau-

dible; the auditorium is of studio quality. The inside box has

concrete walls, while a framework of maple-wood strips

refines the acoustics. The sound quality can be adjusted

by raising or lowering the ceiling, and the stage can be

enlarged towards the back. The height of the floor sections

is variable and allows for different hall arrangements, such

as level, sloping, etc.

Architects: 3XNielsen A/S

Photos: Adam Mrk

WALT DISNEY CONCERT HALLLOS ANGELES, USA (1999-2003)

From the outside, the Disney Concert Hall is difficult to

construe as a building, let alone as a concert hall. Billowing

sails of glistening steel slide in between one another; their

reflections and curves offset the sterile, straight-lined,

no-nonsense architecture of the surrounding skyscrapers.

The space opens itself up only when you move in between

the sails. Then you understand that the layers uncurl from

the concert hall, and that creating public space was one of

the most important objectives of the American architect

Frank Gehry.

Gehry placed the auditorium at an oblique angle in the

rectangular block. Around it and partly in between the bil-

lowing sails is an acropolis with inner gardens, staircases

and a small amphitheatre. Inside the building, Gehry cre-

ated space between the auditorium and the shell of curved

surfaces and glass facades in order to generate a festive

environment, a complex and organic track, like a forest.

Every effort has been made to ease the visitor away from

daily life and to prepare him or her for an exceptional

musical experience. Even the columns containing the

wiring and ventilation ducts have been hidden inside tree-

like shapes.

The auditorium is like a box, but everything undulates. The

walls are curved, the ceilings are covered with cloth-like

strips of wood, the terraces and balconies are concave

and convex. The public is caught in inwardly and outwardly

curving shapes. To the eye, these suggest the natural form

to optimally carry sound waves; it is not surprising that

the auditorium is commended for its acoustics. Like the

gardens and the tree-like columns, the organic curves, the

warm atmosphere of pinewood and the flowery patterns of

the upholstery may be interpreted as a homage to Lillian

Disney, the widow of Walt, whose generous donation in the

1980s gave the impulse for the creation of this dazzling,

sculptural and thoroughly poetic concert hall.

HET MUZIEKGEBOUW/BIMHUISAMSTERDAM, THE NETHERLANDS (1997-2005)

Architects: Gehry Partners, LLP

Photos: Federico Zignani, BMotion

Courtesy of the Music Center of Los Angeles County

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Marmoleum real 3032

Novosibirsk, Russia

Design studio Opus, Novosibirsk

Opus

1,000 m2Marmoleum real 2.5mm

Location

Floor design

Flooring consultant

& installation

Flooring material

MAYORS OFFICE

Marmoleum colourful greys 3501 Photo: Tom Jers

Herlev, Copenhagen, Denmark

DaVinci Gruppen

MDD Erik Solberg

Holmris Hansen A/S

Charles Christensen A/S

Disa Industries A/S

985 m2 Marmoleum colourful greys

175 m2Desk Top metallica and Bulletin Board

Location

Architect

Interior architect

Furniture contractor

Flooring contractor

Commisioned by

Flooring material

Material

DISA INDUSTRIES A/S Office

PROJECTS

Marmoleum colourful greys 3511Marmoleum colourful greys 3503 Bulletin Board 2162

Marmoleum real 3146

Marmoleumcolourf ul greys 3513 Des k Topmetall icaM4155

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Vimela, Vrumaa, Estonia

Hansi Aru, Eesti Project AS

lle Pungits

Auma Expo AS, Tartu

European Regional Development Fund measure 43

540 m2Marmoleum real 2.0mm

Location

Architect

Floor design

Flooring consultant

Subsidized by

Flooring material

VRUMAA KUTSEHARIDUSKESKUSERAAMATUKOGU Educational centre library

Riga, Latvia

Architects Office Valenis un Stepe

TKC

J Projects

1,100 m2Marmoleum piano and Artoleum piazza 2.5mm

Location

Architect

General contractor

Flooring consultant

Flooring material

BALTCOM OFFICE

Marmoleum real 3055

M ar mo le um pi an o 3 60 4 M ar mo le um pi an o 3 61 1 A rt ol eu m p ia zz a 5 40 1

Marmoleum real 3146

Ljungby, Sweden

Liljewall Arkitektur AB Gteborg

Ljunbgy kommun

Tage & Sner AB

Ljungby Golv AB

4,500 m2Marmoleum real and fresco

Location

Architect

General contractor

Building contractor

Flooring contractor

Flooring material

SUNNERBOGYMNASIET School building

Photos: Per Arvidsson

M a rm o le u m fr e sc o 3 82 7 M a rm o le u m fr e sc o 3 85 9

Marmoleum real 3182Marmoleum real 3126

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Ytre Moberg, Os, Hordaland, Norway

Klaus Bo Christensen (Bo Arkitekter)

May Christensen (Bo Arkitekter)

Byggforum, Hans Rykenes

538 m2Marmoleum real, fresco, vivace, dual and Marmoleum meets Mendini

Aquajet technique

Location

Architect

Interior architect

Flooring contractor

& installation

Flooring material

Designs

KUVGEN BARNEHAGE Kindergarten

Marmoleum real 3120 Photos: Pll Hoff, BergenMarmoleum meets Mendini Plato forte 18002

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Marmoleum dual 562 Photos: Simo Kaarsalo

Tampere, Finland

KSOY Arkkitehtuuria

Kalevi Nkki

Jaana Varjolahti

Rakennusliike J. Malm Oy, Kangasala

Tammer-Lattiat Oy, Tampere

1,165 m2Marmoleum dual 2.5mm

Location

Architect

Interior architect

Interior designer

Building contractor

Installation

Flooring material

TUOMIKALLIO Centre for disabled people

Eternal form starchip 10112Eternal form starchip 10052

Photos: Robert Batey Photography

Location

Architect

Project architect

Interior designer

Floor designer

General contractor

Flooring contractor

Installation

Flooring consultant

Flooring material

EAST TENNESSEE CHILDRENS HOSP ITALADDITION Renovation Project - Emergency Dept.

M ar mo le um r ea l 31 39 M ar mo le um f re sc o 38 58 M ar mo le um f re sc o 38 59 Photos: Shoji Mochida

Hokkaido, Japan

Azusa Sekkei Co., Ltd, Mr. Yasuyuki Ishikura

Obayashi Corporation

Sanyu Co., Ltd, Sapporo Branch

Selkon Technos, Co., Ltd

6,925 m2Marmoleum real, dual, and fresco 2.5mm

Location

Architect

General contractor

Installation

Flooring consultant

Flooring material

HAKODATE AIRPORT

M ar mo le um du al 70 7 M ar mo le um du al 77 2

Eternal form starchip 10072Eternal form starchip 10012

Knoxville, Tennessee, USA

Barber McMurry Architects

Ron Bomers, Partner in charge and Mike Driskill, AIA - Project Manager

Corporate Interiors, Inc. - Knoxville, TN, Susan Ballard, ASID - Project Manager

Susan Ballard, ASID and Rebecca Tinsley - CAD Designer

Johnson & Galyon General Contractors

Bonitz Flooring

Roberto F. Galabis

Stacy Moore

372 m2Eternal form 2.2mm

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Marmoleum real 3134 Marmoleum real 3182 Photo: Neil Fenelon Photography

World Square, Sydney, Australia

Meacham Nockles McQualter, Darlinghurst

Avex Building

Something Different Flooring

320 m2Marmoleum real, and dual (cut into hexagons and adhered to the floor and wall)

Location

Architect

Building contractor

Flooring contractor

Flooring material

SP3Urban clothing outlet

Marmoleum real 3173 Photos: Leon Chen

Bundang, Korea

Min associates

Linoleum Korea

10,427 m2Artoleum scala 2.5mm

Location

Interior design

Installation

Flooring material

SEOUL NATIONAL UNIVERSITYBUNDANG HOSPITAL

Artoleum scala 5076 Artoleum scala 5077

M ar mo le um r ea l 3 20 4 M ar mo le um d ua l 4 38 M ar mo le um d ua l 4 12 M ar mo le um d ua l 4 65

THE LIBRARY OF SICHUAN UNIVERSITY

Location

Architecture & design

Architect

Interior architect

Interior & floor designer

General contractor

Building contractor

Flooring contractor

Flooring material

Chengdu, Sichuan Province, China

China Southwest Architecture Design & Research Institute

Qian Fang

Union Center of Interior Architecture Design & Research

Wen Qiang

Shengzhen jianyi decoration design engineering company

The 12th branch of Sichuan provincial construction company

Long Tide

8,700 m2Marmoleum real and fresco 2.5mm

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Artoleum graphic 5303

Photos: Dudley Bunn

Artoleum passione 5604

Marmoleum real 3141 Photos: Eric Sierens / Max Dupain + Associates

LEIGH JONES ORTHODONTIC CLINIC AND ARTISTS STUDIO

Mosman, NSW, Australia

Nordon Jago Architects Pty Ltd

Inline Interiors

John Meldrum

300 m2Marmoleum real, and fresco

M a rm o le u m fr e sc o 3 82 5 M a rm o le u m fr e sc o 3 84 7

Location

Architect

Building contractor

Flooring contractor

Flooring material

Marmoleum real 3135

Nordon Jago Architects:

Marmoleums colours are brilliant, and it has a low gloss

level which is aesthetically pleasing, more like natural stone.

Marmoleum also has a lovely tactility, and personally I like the

delicate, natural scent when first laid - a subtle reminder of

linseed, one of its natural ingredients. Add to this its environ-

mental pedigree, the fact that it doesnt off-gas, and its bac-

teriostatic nature, and we find we often specify Marmoleum.

Fourways, Johannesburg, South Africa

Design Line Architects & Interiors, Cape Town, South Africa

Kevin Bates Flooring

Marley FloorworX

2,000 m2Marmoleum and Artoleum

Location

Architect

Flooring contractor

Flooring consultant

Flooring material

VIRGIN ACTIVE - BROADACRES

Crche - in the fitness centre

Artoleum passione 5606

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Artoleum graphic 5311

Lugo, Spain

Jose Doncel Cervio, Roberto Lopez Pieiro

500 m2Artoleum 2.5mm

Bulletin Board

Location

Architect

Flooring material

Material

Photos: Foto Blanco

ARCHITECTURE STUDIO

Artoleum passione 5603

Marmoleum fresco 3825

Marmoleum vivace 3406

Geesthacht, Germany

Henke + Partner, Hamburg

ME Manfred Eichhorn GmbH, Hamburg

1,800 m2Marmoleum vivace, Eternal wood and ColoRex

Location

Architect

Flooring contractor

Flooring material

JOHANNITER KRANKENHAUSHospital

Milan, Italy

Ing. Andrea Polletta, Ing. Daniele Toschi, Ing. Cosimo Dangelo

Prof. Arch. Stefano Menotti Colucci

Tredil Spa

Colombo Linoleum, Monza

6,000 m2Marmoleum real, fresco and dual 2.5mm, 700 m 2 Safestep

Location

Architect

Interior architect & floor design

General contractor

Flooring contractor

Flooring material

ISTITUTO GERIATRICO PIERO REDAELLI CENTRORIABILITATIVO GIOVANNI PAOLO II Hospital

Eternal wood 11542

Marmoleum fresco 3826

Photos: Leniger Fotografie, Paderborn

M a rm o le u m fr e sc o 3 84 6 M a rm o le u m fr e sc o 3 85 6

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Gent, Belgium

Ingels Els (Gebouwendienst UZ)

Multi-Step b.v.b.a., Kortrijk

2,500 m2Marmoleum vivace, and Marmoleum real 2.5mm

Location

Architect & floor design

Installation

Flooring material

UZ - KINDERPSYCHIATRIEHospital

50 - Equeurdreville, France

Jean-Jacques Poupard, 50 - Saint Lo

S.C.I. du Val lAbb - 50

Ent. Le Barbanchon, 50 - Tourlaville

800 m2Eternal wood, 300 m2 Sarlibain

Location

Architect

General contractor

Flooring contractor

Flooring material

POLYCLINIQUE DU COTENTINHospital

Marmoleum vivace 3403 Photos: Jan Landau, Lighthouse

Eternal wood 11512

Photos: J.P. Lagarde

M a rm o le u m vi v ac e 3 40 6 M a rm o le u m vi v ac e 3 40 8

76 - St. Etienne du Rouvray, France

Atelier dArchitecture O. Arene et C. Edeikins, 75 - Paris

C.C.I., 76 - Rouen

Ent. Plascose, 76 - Rouen

8,500 m2Marmoleum decibel

Location

Architect

General contractor

Flooring contractor

Flooring material

E.S.I.G.E.L.E.C.University

Marmoleum decibel 82735 Marmoleum decibel 81035 Photos: J.P. Lagarde

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Desk Top 4151Desk Top 4150

Photos: Fotostudio Van Wijk, Krommenie

Amsterdam, The Netherlands

Van den Oever, Zaaijer & Partners architecten, Amsterdam

Dura Bouw, Amsterdam

6,000 m2 Marmoleum fresco 2.5mm

Location

Architect

General contractor

Flooring material

BEDRIJFSVERZAMELGEBOUW TRIADESOCIALE DIENST AMSTERDAMSocial security office

Marmoleum fresco 3826

Belfast, Northern Ireland

Kennedy Fitzgerald

Mark Finlay

Dunlop Builders

Commercial & Industrial Flooring

200 m2Marmoleum colourful greys 2.5mm, 100 m2 Surestep

Location

Architect

Interior architect

Building contractor

Flooring contractor

Flooring material

& furniture surfacing

PRESBYTERIAN CHAPLAINCY Coffee bar

Marmoleumcolourful greys 3512 Marmoleumcolourful greys 3513 Marmoleumcolourful greys 3516

M a rm o le u m f r es c o 3 8 46 M a rm o le u m f r es c o 3 8 47 M a rm o le u m f re s co 3 8 58

The property insurance company

Interpolis originated in the Dutch agri-

cultural world. Jurgen Bey wants part

of this origin to be reflected in the

buildings interior design. He treats the

reception rooms as the Sunday room

and draws his inspiration for their

design from the richness and beauty of

the bucolic interior, with its archetypal

furniture, abundantly decorated fabrics

and peculiar combinations that have

developed over time.

Marmoleum fresco 3867

Marmoleum colourful greys 3501

Desk Top 4160

Tilburg, The Netherlands

Studio Jurgen Bey, Rotterdam

30 m 2Desk Top

Aquajet technique

Location

Interior designer

Material (Furniture Linoleum)

Designs

INTERPOLISHead office of insurance company

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`ARCHITECTUUR IS ALS EEN BLOEM DIE ZICHOPENTVilla Rose bestond eerst als constructie van hout en plastic.Een model op ware grootte. De architecten van het Russischebureau Project Meganom wilden de clint laten voelen hoefantastisch hun idee was: een huis van glas, hal f transparant,midden in het bos. Maar ook het afbreken ervan wasbelangrijk. Het liet zien dat in de architectuur alleen het idee,de vorm tegen de tand des tijds bestand is, niet dematerialisatie ervan.Later werd Villa Rose in glas en beton gebouwd. Je zou devilla kunnen opvatten als een hedendaagse datsja. Contactmet de natuur staat voorop. Het huis is grotendeelstransparant en heeft een uitgesproken, onregelmatige vorm.Je kunt het bos vanuit veel hoeken bekijken. Ook het interieuris spectaculair. De ruimte is open, gefragmenteerd, en elkeruimte kreeg zijn eigen sfeer mee.Alexandra Pavlova en Yuri Grigoryan van Project Meganomstellen dat het in hun architectuur om meer gaat dan hetbieden van comfort. Ze houden van contrasten,tegenstellingen. Architectuur gaat niet over het bouwen vannesten. Architectuur is een kunst. Zij moet emotiesgenereren, net als films, romans, muziek. Als het leven alleenmaar comfortabel is, wordt het minder interessant.Project Meganom wil het Russisch constructivisme uit de jarentwintig voortzetten. Meer dan een halve eeuw was er weinigmogelijk in Rusland, maar nu is architectuur als een bloemdie zich opent. Nog opgeleid in de Sovjettijd houden dearchitecten van Project Meganom zich ver van politieke ensociale issues. Ze zien het als hun taak architectuur formeelte benaderen. Ze willen een duidelijk Russische stijlontwikkelen. Ze vertellen dat de belangstelling voor

architectuur als intellectuele discipline toeneemt. Tot eenpaar jaar geleden wilden clinten alleen maar comfortabele,modieuze woningen. Maar sinds kort begrijpen ontwikkelaarsdat ze architectuur kunnen gebruiken om projecten teverkopen, dat ze interesse kunnen wekken met de ideen dieerachter zitten.Project Meganom ontwierp ook de vijf villas rondom VillaRose. Hun plattegrond heeft een X-vorm. Zo wordt het contactmet de natuur gemaximaliseerd. Ook het lichtjes dalen ofrijzen van de daken, als heuvels, is een aanpassing aan de

natuur. Het sculpturale zet Project Meganom in om gebouwenaan de natuur te relateren.Vaak combineert Project Meganom een abstracte vorm metmaterialen als hout en steen. Ze houden van dat contrast.Maar het is ook een wens van veel van hun clinten. Ze zouden,als ze de kans kregen, ook graag een geheel wit gebouwontwerpen. Ze willen lichtheid, juiste proporties. Lichtheidheeft niet per definitie met glas van doen. In de stad is glasvaak een zwaar materiaal, dat met zijn reflecties of donkerteveel aandacht naar zich toe trekt.Het Huis Meganom is een imaginair project. Het vat dearchitectuur van Project Meganom als het ware samen. Eeneenvoudiger concept laat zich niet denken. Een glazen balksteekt uit de berg Meganom en hangt boven de zee. De anderehelft boort zich in de berg. Binnen is het donker, koel, buitenlicht. Een vakantiewoning waar je heen gaat om iets bijzondersmee te maken, om de natuur te ervaren, de zon, het water,en bevrijd van materie het gevoel te krijgen dat je vliegt.

CONCERTZALENAnders dan vroeger worden concertzalen tegenwoordigingezet als een manier om openbare ruimte te scheppen. Destraat en het plein vervullen die rol steeds minder, cultureleinstituties steeds meer. Drie recent opgeleverde concertzalenillustreren dat. Het Operahuis in Kopenhagen en hetMuziekgebouw aan t IJ/BIMhuis in Amsterdam introducerenopenbare ruimte in wat vroeger een havengebied was, deDisney Concert Hall in Los Angeles poogt het desolatedowntown Los Angeles te revitaliseren.Het door de Deense architect Henning Larsen ontworpenOperahuis is modern maar heeft een monumentale uitstraling.Dat komt door haar grandeur en symmetrie. Haar ligging

draagt eraan bij: op de historische as van hetAmelinborgplein naar de Frederikskerk. Een overhellend dakhoudt de delen bijeen en vormt een gigantische luifel. Aan hetwater is zo een overdekt plein ontstaan. Geheimzinnig boltachter het glas van de foyer het auditorium op. Vanaf balkonssteken bruggen in het auditorium. Binnen heeft Larsen methoefijzervormige balkons, esdoornhout en velours een intiemesfeer geschapen.Ook het Muziekgebouw in Amsterdam van het Deensearchitectenbureau 3XNielsen heeft een dak dat een enorme

luifel wordt. Eronder is een terras aan het water. Hetontwerpconcept is eenvoudig: drie volumes (twee zalen eneen kantoorgedeelte) worden bijeengehouden door het daken de glazen gevel. De ruimtes ertussen zijn adembenemend,amper binnenruimtes meer. De grote zaal is een doos in eendoos, de akoestiek heeft mede daardoor studiokwaliteit. Methet omhoog en omlaag brengen van het plafond kan degeluidskwaliteit gevarieerd worden.De Disney Concert Hall lijkt met zijn bollende zeilen vanglinsterend staal amper een gebouw. Tussen de zeilen opentzich de ruimte. De Amerikaanse architect Frank Gehry plaatstehet gebouw scheef, eromheen schiep hij publ ieke ruimte. Ookde foyers kunnen als zodanig worden opgevat. De foyersvormen een complex en organisch parcours, met boomachtigevormen die de kolommen verbergen. De zaal zelf is zoveel alseen doos. Maar alles golft en is gevat in holle en bolle vormen.De warme uitstraling van dennenhout domineert.

Architektur ist wie eine Blume, dienochmals blhtVilla Rose wurde zunchst aus Holz und Kunststoff erstellt,als ein Modell in Lebensgre. Die Architekten aus demrussischen Architekturbro Project Meganom wollten, dassIhr Kunde erfahren sollte, wie fantastisch ihre Idee war: EinHaus aus Glas gebaut, halb transparent, von Bumenumgeben. Aber sein Abriss war auch wichtig, um zudemonstrieren, dass in der Architektur nur die Idee und dieForm und nicht deren Verwirklichung die Kraft besitzen,den verheerenden Auswirkungen der Zeit zu widerstehen.Spter wurde die Villa Rose in Glas und Beton wiederaufgebaut. Das Haus kann als eine zeitgenssische Datschabetrachtet werden. Der wichtigste Fokus fr die Architektenist der Kontakt mit der Natur. Die Villa ist grtenteilstransparent. Ihre Form ist offen und unregelmig, mitverschiedenen Winkeln, die verschiedene Ansichten desHolzes bieten. Das Innere ist gleichermaen spektakulr: DerRaum ist offen und gegliedert, dabei strahlt jeder Raum einespezifische Atmosphre aus.Alexandra Pavlova und Yuri Grigoryan vom Project Meganom

finden, dass es bei Architektur um mehr geht, als nur um dasNestbauen und das Schaffen von Komfort. Sie mgen es,Kontraste zu schaffen. Architektur ist eine Form der Kunst,und wie Filme, Romane und Musik sollte sie Emotionenhervorrufen. Wenn das Leben zu komfortabel ist, wird esweniger interessant.Project Meganom mchte die Tradition des russischenKonstruktivismus weiter fortfhren. Mehr als ein halbesJahrhundert lang wurde jede Initiative in Russland vom Staaterstickt, aber jetzt ffnet sich die Architektur wieder, wie dieKnospen einer Blume. Die Architekten von Project Meganom,die in der sowjetischen Zeitepoche aufgewachsen sind undausgebildet wurden, halten sich von politischen und sozialenThemen fern, und sie beschftigen sich hauptschlich mit denformellen Aspekten der Architektur. Sie mchten einenrussischen Stil entwickeln, der hervorsticht. Sie meinen, dasses ein steigendes Interesse an der Architektur als eineintellektuelle Disziplin gibt. Noch bis vor ein paar Jahrenwollten die Leute nur komfortable, moderne Huser, aberBautrger sind jetzt berzeugt, dass die Architektureingesetzt werden kann, um Projekte zu verkaufen, und dass

die Idee, die hinter dem Design steht, das Interesse der Leutewecken kann.Projekt Meganom entwarf auch die fnf Villen, die die VillaRose umgeben. Die X-Form des Grundrisses wurde gewhlt,um einen optimalen Kontakt mit der natrlichen Umgebung zuerreichen. Die leicht geneigten Dcher, die Hgeln hneln,sollen dazu dienen, eine Harmonie zwischen den Villen undder Natur herzustellen. Projekt Meganom geht von einembildhauerischen Denkansatz aus, um seine Gebude der Naturnher zu bringen.Die Architekten von Project Meganom kombinieren oft dieabstrakte Form mit Materialien wie Holz und Stein. Wie vieleihrer Kunden mgen auch sie diesen Kontrast. Sie mchten,dass man ihnen die Gelegenheit gibt, ein vollstndig weiesGebude zu erstellen. Sie suchen Helligkeit und die richtigenProportionen. Helligkeit steht nicht notwendigerweise mitGlas im Zusammenhang. In einem stdtischen Kontext kannGlas ein schweres Material sein: Seine Spiegelungen undseine Dunkelheit ziehen die Blicke auf sich.Meganom-Haus ist ein imaginres Projekt und irgendwie istes eine Zusammenfassung der Architektur von Project

Meganom. Das Konzept knnte nicht einfacher sein: EineGlasstange, deren eine Hlfte aus dem Kap Meganom berdie zusammenbrechenden Wellen hinausragt, wobei dieandere Hlfte in den Berg eindringt: Drinnen ist es khl unddunkel, aber drauen ist es hell. Man wrde sich dorthinbegeben wie zu einem Ferienhaus: Um an etwas Besonderemteilzunehmen und um die Natur zu erleben, die Sonne, dasWasser und um befreit von der Materiali tt ein Gefhl zubekommen, als ob man fliegt.

KonzerthallenHeutzutage werden Konzerthallen als Mittel benutzt, umffentliche Rume zu schaffen. Straen und Pltzebernehmen immer weniger die Funktion solcher Rume,sondern sie wird mehr und mehr von kulturellen Institutionenerfllt. Drei unlngst erbaute Konzerthallen zeigen uns, dasdies so ist. Das Opernhaus in Kopenhagen, und dasMusikgebude in t IJ/BIMhuis in Amsterdam sorgen dort, wofrher die Hafenviertel waren, fr die Einfhrung ffentlicherRume, wohingegen die Disney Konzerthalle im Stadtgebietvon Los Angeles vielleicht der erste Schritt in die Richtung

ist, diesen desolaten Bereich wieder mit neuem Leben zuerfllen.Das Opernhaus in Kopenhagen wurde von dem dnischenArchitekten Henning Larsen entworfen. Es ist modern, aberseine Erhabenheit und Symmetrie geben ihm einmonumentales Aussehen. Hierzu trgt auch sein Standort ander historischen Achse bei, die sich vom Amelienborg Squarebis zur Frederiks-Kirche erstreckt. Ein frei vorgebautes (bzw.ausladendes) Dach hlt die verschiedenen Teile zusammenund bildet eine enorme Markise, wodurch ein bedeckter Platzdirekt am Wasser geschaffen wird. Hinter dem Glas desFoyers wlbt sich der Zuhrerraum geheimnisvoll nach auen.Von den Balkonen aus, die rund um das Glas herum angeordnetsind, schlagen sich Brcken durch in den Zuhrerr aum hinein,wo Larsen durch den Einsatz von hufeisenfrmigen Balkonen,Ahornholz und Plsch eine vertraute Atmosphre geschaffenhat.Das Musikgebude in Amsterdam wurde von der dnischenArchitektenfirma 3XNielsen entworfen. Auch dies hat einDach, dass sich in eine enorme Markise erstreckt und so demdirekt am Wasser gelegenen Caf im Freien einen

schtzenden Flgel bietet. Das Designkonzept ist einfach: DreiVolumen zwei Zuhrerrume und ein Broabschnitt zusammengehalten vom Dach und der Glasfassade. Diedazwischenliegenden Rume sind atemberaubend und knnenkaum als innenliegende Rume bezeichnet werden. Der groeZuhrerraum ist ein Raum innerhalb eines Raumes; wohldeshalb hat auch die Akustik Studioqualitt. Die Klangqualittkann durch das Hochziehen oder Herablassen der Decke nochangepasst werden.Mit ihren wogenden Segeln aus glitzerndem Stahl sieht dieDisney Konzerthalle kaum aus wie ein Gebude. Zwischen denSegeln ffnet sich der Raum. Der amerikanische ArchitektFrank Gehry platzierte das Gebude in einem schiefen Winkelund schuf drumherum ffentlichen Raum. Die Foyers dieeine komplexe und organische Laufbahn mit baumartigenFormen, welche die Service-Sulen verstecken, bilden knnen auch als ffentlicher Raum angesehen werden. DerZuhrerraum selbst ist wie ein Kasten; aber alles in diesemKasten verluft wellenfrmig und ist in konkave und konvexeFormen eingebettet. Und das Ganze wird von der warmenAtmosphre, die das Kiefernholz schafft beherrscht.

L'ARCHITECTURE EST COMME UNE FLEUR QUISE REMET A FLEURIRDans un premier temps la Villa Rose avait t r alise en boiset en plastique en tant que maquette grandeur nature. Lesarchitectes du cabinet darchitecture russe Project Meganomvoulaient que leur client ralise laspect extraordinaire deleur ide : une maison en verre semi-transpar ente entouredarbres. Mais sa dmolition tait tout aussi importante pourdmontrer quen architecture seule lide et la forme, et nonpas la matrialisation, peuvent rsister aux outrages dutemps.Ensuite, la Villa Rose a t reconstruite en verre et en bton.On peut considrer cette maison comme une datchacontemporaine. Le principal but des architectes est le contactavec la nature. La villa est en grande partie transparente. El lea une forme audacieuse et irrgulire, avec des angles diversqui offrent des perspectives diffrentes sur les bois.Lintrieur est tout aussi spectaculaire : lespace est ouvertet fragment, chaque pice dgage une ambiance spcifique.Alexandra Pavlova et Yuri Grigoryan de Project Meganomconsidrent que larchitecture ne se rduit pas simplement la construction dun nid et la cration dun certainconfort. Ils aiment crer des contrastes. Larchitecture estune forme dart, et tout comme les films, les romans et lamusique elle devrait engendrer de lmotion. Si la vie est tropconfortable elle devient moins intressante.Project Meganom veut perptuer la tradition duconstructivisme russe. Pendant plus dun demi-sicle touteinitiative en Russie a t touffe par lEtat, mais prsentlarchitecture souvre nouveau, comme une fleur quispanouit. Les architectes de Project Meganom qui ont grandiet t duqu pendant la priode Sovitique, se tiennent

lcart des questions politiques et sociales, leurproccupation principale porte sur les aspects formels delarchitecture. Ils veulent dvelopper un style russe qui seremarque. Ils constatent quil y a un intrt grandissant pourlarchitecture en tant que discipline intellectuelle.Jusqu ces dernires annes les gens voulaient des maisons la mode et confortables, mais prsent les promoteursimmobiliers ont pris conscience que larchitecture peut treutilise pour vendre des projets et que lide derrire le dessinpeut susciter lintrt des gens.

Project Meganom a aussi ralis les cinq villas qui se trouventautour de la Villa Rose. La forme en x du plan a t choisieafin dobtenir un contact maximal avec lenvironnementnaturel. Les toits, lgrement pentus pareils des collines,ont pour but de mettre les villas en harmonie avec la nature.Project Meganom emploie une approche sculpturale pourpermettre ses btiments dtre plus proches de la natur e.Les architectes de Project Meganom allient souvent lesformes abstraites avec des matriaux tels que le bois et lapierre. Ils apprcient les contrastes, tout comme nombre deleurs clients. Ils souhaiteraient quon leur offre la possibili tde raliser une maison totalement blanche. Ils sont larecherche de la lgret et de proportions justes. La lgretnest pas forcment lie au verre. Dans un contexte urbain leverre peut tre un matriau lourd : ses ombres et ses refletsattirent le regard.Meganom House est un projet imaginaire, et dune certainefaon constitue le rsum de larchitecture de ProjectMeganom. Le concept ne pourrait pas tre plus simple; unebarre en verre dont une moiti merge du Cap Meganom etsurplombe les vagues dferlantes, tandis que lautre moitipntre dans la montagne; lintrieur est frais et sombre,lextrieur est lumineux. Vous vous y rendriez comme vousvous rendriez dans une maison de vacances pour participer quelque chose de spcial et pour se trouver en contact avecla nature, le soleil, leau et tre libr de toute matrialit,de telle sorte que vous ayez limpression de voler.

LES SALLES DE CONCERTDe nos jours les salles de concert sont utilises comme unmoyen pour crer des espaces publics. Les rues et les placesremplissent de moins en moins cette fonction, alors que les

tablissements culturels le font de plus en plus. Troi s sallesde concert,de construction rcente, mettent ceci en lumire.LOpera House Copenhague et le Muziekgebouw aan t IJ/BIMhuis Amsterdam introduisent des espaces publics dan sce qui tait autrefois le quartier des docks, tandis que la Sallede Concert Disney situe dans le centre ville de Los Angelesest peut tre un premier pas vers une redynamisation de cequartier lugubre.LOpera House Copenhague a t ralise par larchitectedanois Henning Larsen. Cest un btiment moderne mais sa

dimension et sa symtrie lui donnent une apparencemonumentale. Son emplacement sur laxe historique qui vade Amelienborg Square lEglise de Frdrik contribue cela.Le toit surplombe l'intgralit du btiment et forme un normeauvent, crant ainsi une place couverte sur les quais. Derrireles vitres du foyer l'auditorium merge mystrieusement. Despasserelles surgissent des balcons situs autour des vitreset pntrent dans la salle, o Larsen a cr une ambianceintime au travers des balcons en forme de fer cheval, etgrce la prsence du bois drable et de capitonnage.Le Muziekgebouw Amsterdam a t ralis par le cabinetdarchitecture 3xNielsen. Ce btiment aussi a un toit qui seprolonge en un norme auvent, offrant ainsi une aileprotectrice aux cafs en terrasse qui se trouvent le long duquai en dessous. Le concept du btiment est simple : troisvolumes -deux auditoriums et une partie pour des bureaux-relis par le toit et la faade en verre. Les espacesintermdiaires sont vous couper le souffle, il est difficile deles qualifier despaces intrieurs. La grande salle est unebote dans une bote, cest en partie grce ce concept quelacoustique est dune qualit digne dun studio. La qualit duson peut tre modifie en levant ou baissant le plafond.Avec ses voiles gonfles en acier tincelant, la salle de concertDisney na pas vraiment lapparence dun btiment. Lespaceentre les ailes se dploie. Larchitecte amricain Frank Gehrya plac le btiment en angle oblique et a cr un espace publictout autour. Les foyers -qui forment un passage complexe etorganique o des structures en forme d'arbre dissimulent descolonnes de service- peuvent eux aussi tre considrscomme des espaces publics. L'auditorium lui-mme est commeune bote, mais tout ce qui se trouve lintrieur ondule etse trouve fix dans des formes concaves et convexes. Le tout

est domin par lambiance chaude cre par le pin.

LARCHITETTURA E COME UN FIORE CHESBOCCIA DI NUOVOVilla Rose stata inizialmente costruita in legno e plastica,come un modello a grandezza naturale. Gli architetti delRussian architectural office Project Meganom desideravanoche i loro clienti potessero provare quanto questa idea fossefantastica: una casa costruita in vetro, semitrasparente,circondata da alberi. Ma demolirla era importante anche perdimostrare che, in architettura, soltanto lidea e la forma, enon la loro materializzazione, sono capaci di resistere altrascorrere del tempo.Successivamente, Villa Rose fu ricostruita in vetro e cemento.La casa poteva essere considerata come una daciacontemporanea. Il contatto con la natura lobiettivo degliarchitetti. La villa per la maggior parte trasparente. La suaforma decisa ed irregolare, con varie angolature che dannodiverse prospettive sul verde. Linterno anchessospettacolare: lo spazio aperto e frammentato, ed ogni stanzadiffonde unatmosfera specifica.Alexandra Pavlova e Yuri Grigoryan di Project Meganomtrovano che larchitettura sia pi che un insieme di costruzioni

e comodit. Amano creare contrasto. Larchitettura unaforma darte, cos come i films, i romanzi e la musica, potrebbesuscitare emozione. Se la vita troppo confortevole, diventameno interessante.Project Meganom vuole continuare la tradizione dellecostruzioni russe. Per oltre met secolo, ogni iniziativa inRussia stata repressa dallo stato, ma ora larchitettura si di nuovo aperta, come un germoglio. Gli architetti di ProjectMeganom, cresciuti ed educati nel periodo sovietico, si sonotenuti lontani da questioni politiche e sociali e si dedicanoprincipalmente agli aspetti formali dellarchitettura. Essivogliono sviluppare uno stile russo che emerga. Dicono chec un aumento di interesse per larchitettura come disciplinaintellettuale. Fino a pochi anni fa, la gente ricercava solo caseconfortevoli ed eleganti, ma coloro che curano lo svilupposono ora divenuti consapevoli che larchitettura pu essereusata per promuovere progetti e che le idee che stanno dietroi disegni possono risvegliare linteresse della gente.Project Meganom ha progettato anche le cinque ville checircondano Villa Rose. La forma a X della pianta statascelta per ottenere un ottimo contatto con lambiente

naturale. I tetti leggermente spioventi, come colline, sonoconcepiti per armonizzare le ville con la natura. ProjectMeganom applica un approccio di scultura affinch ilcomplesso crei un basso impatto ambientale.Gli architetti di Project Meganom abbinano spesso la formaastratta con materiali come il legno e la pietra. Essi amanoquesto contrasto, cos come fanno molti dei loro clienti.Volevano darsi la possibilit di costruire un edificiocompletamente bianco. Erano alla ricerca della luminosit edelle giuste proporzioni. La luminosit non legatanecessariamente al vetro. In un contesto urbano, il vetro puessere un materiale pesante: i suoi riflessi e le sue ombremonopolizzano lattenzione.Meganom House un progetto immaginario e, in una parolasola, riassume larchitettura del Project Meganom. Il concettonon potrebbe essere pi semplice: una barra di vetro, metdella quale si protende da Cape Meganom sopra onde che siinfrangono, laltra met che penetra la montagna: freddo escuro allinterno e luminoso allesterno. Ci si potrebbe andarecome si andrebbe in una casa di vacanza: prendere parte aqualcosa di speciale per essere immersi nell a natura, il sole,

lacqua e, libero dalla materialit, provare la sensazione divolare.SALE DA CONCERTIAl giorno doggi le sale da concerto sono usate come un mezzoper creare spazi pubblici. Vie e piazze funzionano sempremeno come spazi di questo genere, mentre le associazioniculturali lo stanno divenendo sempre pi. Tre sal e da concertirecentemente costruite lo testimoniano. L Opera House diCopenhagen e il Muziekgebouw aan t J/BIMhuis diAmsterdam introducono spazi pubblici in quello che una voltaerano le banchine, mentre la Disney Concert Hall nel centrodi Los Angeles forse il primo passo verso la rivitalizzazionedi questarea desolata.L Opera House di Copenhagen stata progettatadallarchitetto danese Henning Larsen. E moderna ma la suagrandezza e simmetria gli conferiscono un aspettomonumentale. La sua collocazione nellassetto storico che siestende da Amelinborg Square a Frederiks Churchcontribuisce a renderla tale. Un tetto a travi tiene unite lediverse parti e forma unenorme tenda creando una piazza

coperta sul lungomare. Dietro la vetrata del foyer, prorompemisteriosamente lauditorio. Dai terrazzini attorno allavetrata, dei ponti passano attraverso lauditorio, dove Larsenha creato unatmosfera intima mediante lutilizzo diterrazzini a forma di ferro di cavallo, di legno dacero e tessutifelpati.Il Muziekgebouw di Amsterdam stato progettato dallostudio di architettura danese 3XNielsen. Anchesso ha un tettoche si estende in unenorme tenda, proteggendo allesternoil caff sottostante posto sul lungomare. Il concetto semplice: tre volumi, due auditori ed una sezione uffici, tenutiassieme dal tetto e dalla facciata di vetro. Gli spazi nel mezzosono affascinanti, di alta qualit come spazi interni. Il grandeauditorio una scatola nella scatola; anche grazie a questo,lacustica ha la qualit da studio di registrazione. La qualitdel suono pu essere regolata alzando o abbassando ilsoffitto.Con le sue vele spiegate di acciaio brillante, il Disney ConcertHall non somiglia affatto ad un normale edificio. Tra le vele,lo spazio si rivela. Larchitetto americano Frank Gehry hacollocato ledificio ad unangolatura obliqua e ha creato spazi

pubblici attorno ad esso. Anche gli atrii, che formano unpercorso complesso ed organico, con forme ad arbusto chenascondono colonne di servizio, possono essere consideratispazi pubblici. Lo stesso auditorio come una scatola maqualsiasi cosa in esso ondeggia ed impressa in formeconcave e convesse. Linsieme dominato da una caldaatmosfera creata dalla pineta.

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LA ARQUITECTURA ES COMO UNA FLOR QUEFLORECE DE NUEVOVilla Rose fue construida primero de madera y plstico, comoun modelo de tamao real. Los arquitectos del estudio rusoProject Meganom quisieron que sus clientes experimentaranlo fantstica que fue su idea: una casa construida de vidrio,semitransparente, rodeada de rboles. Pero derrumbarla fuetambin importante para demostrar que, en arquitectura, sol ola idea y la forma, y no su materializacin, son capaces deresistir los estragos del tiempo.Ms adelante, Villa Rose fue reconstruida de vidrio y cemento.La casa puede considerarse como una dacha contempornea.El objetivo principal de los arquitectos es el contacto con lanaturaleza. La villa es en su mayor parte transparente. Suforma es abierta e irregular, con varios ngulos que aportandiferentes vistas a los bosques. El interior es igualmenteespectacular, el espacio es abierto y fragmentado, y cada salarezuma una atmsfera especfica.Alexandra Pavlova y Yuri Grigoryan de Project Meganomconsideran que la arquitectura es mucho ms que tan soloun edificio nido que da confort. Les gusta crear contrastes.La arquitectura es una forma de arte y, como las pelculas,novelas y msica, debera generar emociones. Si la vida esdemasiado confortable, se convierte en menos interesante.Project Meganom quiere continuar la tradicin delconstructivismo ruso. Durante ms de medio sigl o, cualquieriniciativa en Rusia era sofocada por el Estado, pero ahora laarquitectura se abre de nuevo, como una flor. Los arquitectosde Project Meganom, quienes crecieron y educaron en elperodo sovitico, se alejan de las cuestiones polticas ysociales y se centran principalmente en los aspectos formalesde la arquitectura. Quieren desarrollar un estilo ruso que

permanezca. Comentan que existe un inters creciente enarquitectura como disciplina intelectual. Hasta hace algunosaos, la gente solo buscaba comodidad, casas a la moda, perolos especuladores inmobiliarios ahora se dan cuenta que laarquitectura puede utilizarse para vender proyectos y que laidea detrs del diseo puede despertar el inters de la gente.Project Meganom tambin diseo las cinco villas que rodeanVilla Rose. La forma en X del diseo se eligi para conseguirun contacto ptimo con el medio ambiente natural. Los tejadosligeramente ondulados, como colinas, pretenden armonizar

las villas con la naturaleza. Project Meganom utiliza unenfoque escultural para acercar sus edificios a la naturaleza.Los arquitectos de Project Meganom a menudo combinan laforma abstracta con materiales como la madera y la piedra.Les gusta este contraste, como a la mayora de sus clientes.Les gustara tener la oportunidad de construir un edificiototalmente blanco. Buscan la claridad y las proporcionesrectas. La claridad no est necesariamente unida al vidrio.En un contexto urbano, el vidrio puede ser un material pesado:sus reflejos y oscuridad atrapan la vista.Meganom House es un proyecto imaginario y, en ciertamanera, resume la arquitectura de Project Meganom. Elconcepto no puede ser ms simple: un bar ra de vidrio, la mitadsobresaliendo de Cape Meganom sobre las olas rompiendo,la otra mitad penetrando en la montaa: fro y oscuro en elinterior, y luz en el exterior. Se ira all como el que va a unacasa de vacaciones: para tomar parte en algo especial yexperimentar la naturaleza, el sol, el agua y, liberado de lamaterialidad, tener la sensacin de volar.

SALAS DE CONCIERTOSActualmente, las salas de conciertos se utilizan como mediopara crear espacio pblicos. Las calles y las pla zas se empleancada vez menos para estas actividades mientras que lasinstituciones culturas incrementan su uso para este fin. Tressalas de conciertos recientes lo ilustran. La Opera House deCopenhagen y el Muziekgebouw aan t IJ/BIMhuis demsterdam introducen espacios pblicos dentro de lo quesolan ser los muelles, mientras que el Disney Concert Hallen el centro de Los Angeles es quizs el primer paso pararevitalizar esta zona desolada.La Opera House de Copenhague fue diseada por el arquitecto

dans Henning Larsen. Es moderna pero su grandiosidad ysimetra le dan un aspecto monumental. Su localizacin en eleje histrico que se extiende desde Amelinborg Square aFrederiks Church contribuye a ello. Una cubierta voladamantiene unidas las distintas partes y forma un enorme toldo,creando una plaza cubierta en la parte que da al mar. Detrsdel cristal del vestbulo, el auditorio sobresalemisteriosamente. Desde los palcos alrededor del vidrio,cruzan puentes el auditorio, donde Larsen ha creado unatmsfera intimista empleando palcos en forma de herradura,

de madera de arce y felpa.El Muziekgebouw de Amsterdam fue diseado por la firmadanesa de arquitectos 3XNielsen. Este proyecto tambinposee un tejado que se extiende en un enorme toldo,ofreciendo un ala protectora al caf exterior de abajo juntoal mar. El concepto de diseo es sencillo: tres volmenes dos auditorios y un rea de oficinas unidas todas ellas porun tejado y la fachada de vidrio. Los espacios intermedios sonimponentes, difcilmente calificables como espaciosinteriores. El amplio auditorio es una caja dentro de una caja;debido en parte a esto, la acstica es de calidad de estudio.La calidad del sonido puede ajustarse elevando o bajando eltecho.Con sus ondulantes velas y reluciente acero, el Disney ConcertHall difcilmente parece un edificio. Entre las velas, el espaciose abre a s mismo. El arquitecto americano Frank Gehry situel edificio en un ngulo oblicuo y cre un espacio pblico asu alrededor. Los vestbulos que forman un camino complejoy orgnico, rboles con formas ocultan las columnas deservicio pueden considerarse como espacio pblico. Elauditorio mismo es como una caja, pero todo en ello ondulay encaja en formas cncavas y convexas. El conjunto estadominado por una atmsfera clida creada por madera depino.

'ARQUITECTURA COMO UMA FLOR QUEBROTA DE NOVO'Villa Rose foi inicialmente construda em madeira e plstico,como um modelo de habitao. Os arquitectos do Gabinete dearquitectura russo Meganom gostariam que os seus clientesexperimentassem o quanto a sua ideia era fantstica: umacasa feita de vidro, semitransparente, rodeada de rvores.Mas demolir Villa Rose era tambm importante, parademonstrar que, na arquitectura, apenas a ideia e a forma eno a sua materializao esto aptos a ultrapassar asbarreiras do tempo.Mais tarde, Villa Rose foi reconstruda em concreto e vidro,a casa podia ser vista como uma tpica vila russacontempornea. O contacto com a natureza o objectivoprincipal para os arquitectos. A Villa maioritariamentetransparente. A sua forma irregular e verdadeira, comdiferentes ngulos que proporcionam pontos de vista distintossobre a floresta. O seu interior igualmente espectacular: oespao aberto e fragmentado e cada diviso exibe umaatmosfera nica.Alexandra Pavlova e Yuri Grigoryan da firma Project Meganom

acham que a arquitectura significa muito mais do que umnovo-edifcio ou proporcionar conforto, gostam de criarcontrastes. A Arquitectura uma forma de arte e, tal comoos filmes, novelas e a msica, deve criar emoes. Se a vida demasiado confortvel torna-se menos interessante.A Project Meganom pretende continuar com a tradio doconstrutivismo russo. Durante mais de meio sculo, todas asiniciativas levadas a cabo na Rssia eram reprimidas peloEstado, mas agora a arquitectura est a tor nar-se mais abertatal como uma flor a brotar. Os ar quitectos deste gabinete quecresceram e foram educados no Perodo Sovitico, mantm-se afastados de questes polticas e sociais e estomaioritariamente preocupados com os aspectos formais daarquitectura, pois pretendem desenvolver um estilo russo quese destaque. Sublinham que h um crescente interesse naarquitectura, como uma disciplina intelectual. At h poucosanos, as pessoas pretendiam apenas casas modernas econfortveis, mas os detentores de propriedades esto agoracientes que a arquitectura pode ser usada na venda deprojectos e que esta ideia aliada ao design pode despertar ointeresse das pessoas.

A Project Meganom tambm desenhou as cinco vilas querodeiam Villa Rose, a principal ideia do projecto era adquiriro contacto perfeito com o ambiente natural. Os telhadosligeiramente inclinados, como uma colina, pretendemalcanar a harmonia das vilas com a natureza. Foi aplicadauma aproximao escultural de forma a relacionar os seusedifcios com a natureza.Os arquitectos deste gabinete normalmente combinam aforma abstrata com materiais como a madeira e a pedra,gostam deste tipo de contraste, tal como a maioria dos seusclientes. Gostariam que lhes fosse dada a oportunidade defazer um edifcio completamente branco, uma vez queprocuram luminosidade e propores ideais. A luminosidadeno est necessriamente ligada ao vidro, por exemplo, numcontexto urbano, o vidro pode ser considerado um materialpesado: os seus reflexos e sombras sobrecarregam osolhos.A Meganom House um projecto i maginrio e, de certa forma,retrata o trabalho da arquitectura do gabinete ProjectMeganom. O conceito pode no ser muito simples: uma barrade vidro, metade da proeminncia da Cape Meganom salienta-

se at chocar com as ondas, a outra metade penetra namontanha:o interior frio e escuro, o exterior muito luminoso. como ir at uma casa de frias para viver algo especial,usufruir da natureza, do sol, da gua,para se libertar damaterialidade e de adquirir uma sensao de estar a voar.

ESPAOS CULTURAISActualmente, as instituies culturais so usadas para criarespaos pblicos. Ruas e praas funcionam cada vez menosdeste modo, no entanto os espaos culturais tm cada vezmais importncia neste aspecto.Trs instituies bem recentes ilustram nitidamente estaideia: a Opera House em Copenhaga e o Muziekgebouw aant IJ/BIMhuis em Amsterdo introduzem espaos pblicos emlocais que funcionavam como docas, enquanto o CentroCultural Disney, na baixa da cidade de Los Angeles, talvezo primeiro passo para a revitalizao desta rea d esolada.A Opera House em Copenhaga foi projectada pelo arquitectodinamarqus Henning Larsen, trata-se de uma construomoderna, cuja grandiosidade e simetria lhe atribuem umaaparncia monumental, a sua localizao no eixo histrico

que se estende desde a praa Amelinborg at igrejaFrederik tambm contribui para isso. O telhado em arcomantm as diferentes partes unidas e forma um grandiosotoldo, criando uma praa coberta na margem. Por trs dovidro do trio salienta-se, misteriosamente, o auditrio.Atravs de varandas volta do vidro, pontes que atravessamo auditrio, Larsen criou uma atmosfera ntima usandovarandas em forma de U, sofs de madeira e pelcia.O Muziekgebouw em Amsterdo foi projectado pela firmadinamarquesa de arquitectura 3XNielsen, tambm esteedifcio ostenta um telhado cuja forma, um enorme cobertooferece uma asa protectora porta de en trada do caf situadoabaixo. O conceito do projecto simples: trs volumes doisauditrios e uma rea de escritrios unidos pelo telhado epela fachada de vidro. Os espaos entre eles so asfixiantes,dificilmente qualificados como espaos interiores. O grandeauditrio uma caixa dentro de outra caixa; e em parte porcausa disto, a qualidade acstica semelhante de umestudio. A qualidade do som pode ser ajustada, aumentandoou diminuindo o tecto.Com as suas velas ajustveis de ao cintilante, o Centro

Cultural Disney dificilmente se parecer com um edifcio;entre as suas velas, os espaos abertos sobressaem. Oarquitecto americano Frank Gehry colocou-o num ngulooblquo e criou um espao pblico sua volta. Os trios formando uma complexa e orgnica trilha, com trs formasdistintas que ocultam as colunas principais so tambmconsiderados como espaos pblicos. O auditrio apenascomo uma caixa, mas tudo o que est no seu interior ondulae est embrenhado em formas cncavas e convexas. O tdoest dominado pela atmosfera acolhedora criada pelamadeira de pinho.

L'ARCHITECTURE EST COMME UNE FLEUR QUISE REMET A FLEURIRDans un premier temps la Villa Rose avait t ralise en boiset en plastique en tant que maquette grandeur nature. Lesarchitectes du cabinet darchitecture russe Project Meganomvoulaient que leur client ralise laspect extraordinaire deleur ide : une maison en verre semi-transparente entouredarbres. Mais sa dmolition tait tout aussi importante pourdmontrer quen architecture seule lide et la forme, et nonpas la matrialisation, peuvent rsister aux outrages dutemps.Ensuite, la Villa Rose a t reconstruite en verre et en bton.On peut considrer cette maison comme une datchacontemporaine. Le principal but des architectes est le contactavec la nature. La villa est en grande partie tr ansparente. Ellea une forme audacieuse et irrgulire, avec des angles diversqui offrent des perspectives diffrentes sur les bois.Lintrieur est tout aussi spectaculaire : l espace est ouvertet fragment, chaque pice dgage une ambiance spcifique.Alexandra Pavlova et Yuri Grigoryan de Project Meganomconsidrent que larchitecture ne se rduit pas si mplement la construction dun nid et la cration dun certainconfort. Ils aiment crer des contrastes. Larchitecture estune forme dart, et tout comme les films, les romans et lamusique elle devrait engendrer de lmotion. Si la vie est tropconfortable elle devient moins intressante.Project Meganom veut perptuer la tradition duconstructivisme russe. Pendant plus dun demi-sicle touteinitiative en Russie a t touffe par lEtat, mais prsentlarchitecture souvre nouveau, comme une fleur quispanouit. Les architectes de Project Meganom qui ont grandiet t duqu pendant la priode Sovitique, se tiennent

lcart des questions politiques et sociales, leurproccupation principale porte sur les aspects formels delarchitecture. Ils veulent dvelopper un style russe qui seremarque. Ils constatent quil y a un intrt grandissant pourlarchitecture en tant que discipline intellectuelle.Jusqu ces dernires annes les gens voulaient des maisons la mode et confortables, mais prsent les promoteursimmobiliers ont pris conscience que larchitecture peut treutilise pour vendre des projets et que lide derrire le dessinpeut susciter lintrt des gens.

Project Meganom a aussi ralis les cinq villas qui se trouventautour de la Villa Rose. La forme en x du plan a t choisieafin dobtenir un contact maximal avec lenvironnementnaturel. Les toits, lgrement pentus pareils des collines,ont pour but de mettre les villas en harmonie avec la nature.Project Meganom emploie une approche sculpturale pourpermettre ses btiments dtre plus proches de la nature.Les architectes de Project Meganom allient souvent lesformes abstraites avec des matriaux tels que le bois et lapierre. Ils apprcient les contrastes, tout comme nombre deleurs clients. Ils souhaiteraient quon leur offre la possibilitde raliser une maison totalement blanche. Ils sont larecherche de la lgret et de propo rtions justes. La lgretnest pas forcment lie au verre. Dans un contexte urbain leverre peut tre un matriau lourd : ses ombres et ses refletsattirent le regard.Meganom House est un projet imaginaire, et dune certainefaon constitue le rsum de larchitecture de ProjectMeganom. Le concept ne pourrait pas tre plus simple; unebarre en verre dont une moiti merge du Cap Meganom etsurplombe les vagues dferlantes, tandis que lautre moitipntre dans la montagne; lintrieur est frais et sombre,lextrieur est lumineux. Vous vous y rendriez comme vousvous rendriez dans une maison de vacances pour participer quelque chose de spcial et pour se trouver en contact avecla nature, le soleil, leau et tre libr de toute matrialit,de telle sorte que vous ayez limpression de voler.

LES SALLES DE CONCERTDe nos jours les salles de concert sont utilises comme unmoyen pour crer des espaces publics. Les rues et les placesremplissent de moins en moins cette fonction, alors que les

tablissements culturels le font de plus en plus. Trois sallesde concert,de construction rcente, mettent ceci en l umire.LOpera House Copenhague et le Muziekgebouw aan t IJ/BIMhuis Amsterdam introduisent des espaces publics dansce qui tait autrefois le quartier des docks, tandis que la Sallede Concert Disney situe dans le centre ville de Los Angelesest peut tre un premier pas vers une redynamisation de cequartier lugubre.LOpera House Copenhague a t ralise par larchitectedanois Henning Larsen. Cest un btiment moderne mais sa

dimension et sa symtrie lui donnent une apparencemonumentale. Son emplacement sur laxe historique qui vade Amelienborg Square lEglise de Frdrik contribue cela.Le toit surplombe l'intgralit du btiment et forme un normeauvent, crant ainsi une place couverte sur les quais. Derrireles vitres du foyer l'auditorium merge mystrieusement. Despasserelles surgissent des balcons situs autour des vitreset pntrent dans la salle, o Larsen a cr une ambianceintime au travers des balcons en forme de fer cheval, etgrce la prsence du bois drable et de capitonnage.Le Muziekgebouw Amsterdam a t ralis par le cabinetdarchitecture 3xNielsen. Ce btiment aussi a un toit qui seprolonge en un norme auvent, offrant ainsi une aileprotectrice aux cafs en terrasse qui se trouvent le long duquai en dessous. Le concept du btiment est simple : troisvolumes -deux auditoriums et une partie pour des bureaux-relis par le toit et la faade en verre. Les espacesintermdiaires sont vous couper le souffle, il est difficile deles qualifier despaces intrieurs. La grande salle est unebote dans une bote, cest en partie grce ce concept quelacoustique est dune qualit digne dun studio. La qualit duson peut tre modifie en levant ou baissant le plafond.Avec ses voiles gonfles en acier tincelant, la salle de concertDisney na pas vraiment lapparence dun btiment. Lespaceentre les ailes se dploie. Larchitecte amricain Frank Gehrya plac le btiment en angle oblique et a cr un espace publictout autour. Les foyers -qui forment un passage complexe etorganique o des structures en forme d'arbre dissimulent descolonnes de service- peuvent eux aussi tre considrscomme des espaces publics. L'auditorium lui-mme est commeune bote, mais tout ce qui se trouve lintrieur ondule etse trouve fix dans des formes concaves et convexes. Le tout

est domin par lambiance chaude cre par le pin.

LARCHITETTURA E COME UN FIORE CHESBOCCIA DI NUOVOVilla Rose stata inizialmente costruita in legno e plastica,come un modello a grandezza naturale. Gli architetti delRussian architectural office Project Meganom desideravanoche i loro clienti potessero provare quanto questa idea fossefantastica: una casa costruita in vetro, semitrasparente,circondata da alberi. Ma demolirla era importante anche perdimostrare che, in architettura, soltanto lidea e la forma, enon la loro materializzazione, sono capaci di resistere altrascorrere del tempo.Successivamente, Villa Rose fu ricostruita in vetro e cemento.La casa poteva essere considerata come una daciacontemporanea. Il contatto con la natura lobiettivo degliarchitetti. La villa per la maggior parte trasparente. La suaforma decisa ed irregolare, con varie angolature che dannodiverse prospettive sul verde. Linterno anchessospettacolare: lo spazio aperto e frammentato, ed ogni stanzadiffonde unatmosfera specifica.Alexandra Pavlova e Yuri Grigoryan di Project Meganomtrovano che larchitettura sia pi che un insieme di costruzioni

e comodit. Amano creare contrasto. Larchitettura unaforma darte, cos come i films, i romanzi e la musica, potrebbesuscitare emozione. Se la vita troppo confortevole, diventameno interessante.Project Meganom vuole continuare la tradizione dellecostruzioni russe. Per oltre met secolo, ogni iniziativa inRussia stata repressa dallo stato, ma ora larchitettura si di nuovo aperta, come un germoglio. Gli architetti di ProjectMeganom, cresciuti ed educati nel periodo sovietico, si sonotenuti lontani da questioni politiche e sociali e si dedicanoprincipalmente agli aspetti formali dellarchitettura. Essivogliono sviluppare uno stile russo che emerga. Dicono chec un aumento di interesse per larchitettura come di sciplinaintellettuale. Fino a pochi anni fa, la gente ricercava solo caseconfortevoli ed eleganti, ma coloro che curano lo svilupposono ora divenuti consapevoli che larchitettura pu essereusata per promuovere progetti e che le idee che stanno dietroi disegni possono risvegliare linteresse della gente.Project Meganom ha progettato anche le cinque ville checircondano Villa Rose. La forma a X della pianta statascelta per ottenere un ottimo contatto con lambiente

naturale. I tetti leggermente spioventi, come colline, sonoconcepiti per armonizzare le ville con la natura. ProjectMeganom applica un approccio di scultura affinch ilcomplesso crei un basso impatto ambientale.Gli architetti di Project Meganom abbinano spesso la formaastratta con materiali come il legno e la pietra. Essi amanoquesto contrasto, cos come fanno molti dei loro clienti.Volevano darsi la possibilit di costruire un edificiocompletamente bianco. Erano alla ricerca della luminosit edelle giuste proporzioni. La luminosit non legatanecessariamente al vetro. In un contesto urbano, il vetro puessere un materiale pesante: i suoi riflessi e le sue ombremonopolizzano lattenzione.Meganom House un progetto immaginario e, in una parolasola, riassume larchitettura del Project Meganom. Il concettonon potrebbe essere pi semplice: una barra di vetro, metdella quale si protende da Cape Meganom sopra onde che siinfrangono, laltra met che penetra la montagna: freddo escuro allinterno e luminoso allesterno. Ci si potrebbe andarecome si andrebbe in una casa di vacanza: prendere parte aqualcosa di speciale per essere immersi nella natura, il sole,

lacqua e, libero dalla materialit, provare la sensazione divolare.SALE DA CONCERTIAl giorno doggi le sale da concerto sono usate come un mezzoper creare spazi pubblici. Vie e piazze funzionano sempremeno come spazi di questo genere, mentre le associazioniculturali lo stanno divenendo sempre pi. Tre sale da concertirecentemente costruite lo testimoniano. L Opera House diCopenhagen e il Muziekgebouw aan t J/BIMhuis diAmsterdam introducono spazi pubblici in quello che una voltaerano le banchine, mentre la Disney Concert Hall nel centrodi Los Angeles forse il pri mo passo verso la rivitalizzazionedi questarea desolata.L Opera House di Copenhagen stata progettatadallarchitetto danese Henning Larsen. E moderna ma la suagrandezza e simmetria gli conferiscono un aspettomonumentale. La sua collocazione nellassetto storico che siestende da Amelinborg Square a Frederiks Churchcontribuisce a renderla tale. Un tetto a travi tiene unite lediverse parti e forma unenorme tenda creando una piazza

coperta sul lungomare. Dietro la vetrata del foyer, prorompemisteriosamente lauditorio. Dai terrazzini attorno allavetrata, dei ponti passano attraverso lauditorio, dove Larsenha creato unatmosfera intima mediante lutilizzo diterrazzini a forma di ferro di cavallo, di legno dacero e tessutifelpati.Il Muziekgebouw di Amsterdam stato progettato dallostudio di architettura danese 3XNielsen. Anchesso ha un tettoche si estende in unenorme tenda, proteggendo allesternoil caff sottostante posto sul lungomare. Il concetto semplice: tre volumi, due auditori ed una sezione uffici, tenutiassieme dal tetto e dalla facciata di vetro. Gli spazi nel mezzosono affascinanti, di alta qualit come spazi interni. Il grandeauditorio una scatola nella scatola; anche grazie a questo,lacustica ha la qualit da studio di registrazione. La qualitdel suono pu essere regolata alzando o abbassando ilsoffitto.Con le sue vele spiegate di acciaio brillante, il Disney ConcertHall non somiglia affatto ad un normale edificio. Tra le vele,lo spazio si rivela. Larchitetto americano Frank Gehry hacollocato ledificio ad unangolatura obliqua e ha creato spazi

pubblici attorno ad esso. Anche gli atrii, che formano unpercorso complesso ed organico, con forme ad arbusto chenascondono colonne di servizio, possono essere consideratispazi pubblici. Lo stesso auditorio come una scatola maqualsiasi cosa in esso ondeggia ed impressa in formeconcave e convesse. Linsieme dominato da una caldaatmosfera creata dalla pineta.

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ARKITEKTUREN BLOMMAR UPP IGENVilla Rose byggdes till en brjan av tr och plast i naturligstorlek. Arkitekterna p den ryska arkitektbyrn ProjectMeganom ville att klienten skulle f uppleva hur fantastiskderas id var ett hus gjort av glas, halvt genomskinligt ochomgivet av trd. Men att riva ned det igen var ocks viktigtfr att visa att det i arkitektur endast r idn och formen somkan st emot tidens tand och inte den fysiska gestaltningen.Eftert byggdes Villa Rose terigen upp i glas och betong.Huset kan nu betraktas som en modern datja. Arkitekternahar hr koncentrerat sig p kontakten med na turen. Huset ri huvudsak genomskinligt. Formen r rttfram ochoregelbunden med olika vinklar som ger tret annorlundautseenden. Interiren r lika spektakulr med mnga ppnaoch osammanhngande utrymmen dr varje rum har sinalldeles speciella atmosfr.Alexandra Pavlova och Yuri Grigoryan vid Project Meganomtycker att arkitektur ska vara mer n att bara bygga bo ochge komfort. De tycker om att skapa kontrast och anser attarkitektur r en konstform som ska frambringa knslor psamma stt som film, sknlitteratur och musik. Om livet rfr bekvmt blir det mindre intressant.Project Meganom vill fortstta traditionen i den ryskakonstruktivismen. Under mer n ett halvt sekel styrdes varjenytt initiativ i Ryssland av staten, men nu har arkitekturenblommat upp igen. Arkitekterna i Project Meganom, som vxteupp under den sovjetiska perioden, vill hlla sig ifrn politi skaoch sociala frgor och i stllet koncentrera sig p de formellaaspekterna i arkitekturen. De vill utveckla en rysk stil somskiljer sig frn mngden och menar att det finns ett katintresse fr arkitektur som intellektuell disciplin. Till fr ngrar sedan ville mnniskor bara ha moderna, komfortabla hus,

men byggherrarna har nu blivit alltmer medvetna om attarkitekturen kan gagna frsljningen av projekt och att idnbakom designen kan vcka mnniskors intresse.Project Meganom har ocks ritat de fem hus som omger VillaRose. X-formen valde man fr att f bsta mjliga kontaktmed den naturliga miljn. De svagt lutande taken pminnerom bergssluttningar och r gjorda fr att husen skaharmonisera med naturen. Project Meganom tillmpar enskulptural strategi fr att f byggnaderna att smlta in inaturen.

Arkitekterna p Project Meganom kombinerar ofta abstraktaformer med material som tr och sten. De tycker omkontraster, vilket ven mnga av deras