INTERVIEW PROJECT MEGANOM

#33 / 2006
2 3
COLOPHON
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FRONT COVER: VILLA ROSE
FOCUS ON INTERIORS
CONCERT 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.
PROJECTS
The 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.
SUMMARY
The 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
INTERVIEW
PROJECT MEGANOM
Alexandra 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
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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 commissioned 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.

Project
Meganom
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 does make
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 white
stucco, while another is clad in wood. It is clearly not a
house that aims only to provide absolute comfort.
- Do the architects 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. 4 5
Project Meganom:
ARCHITECTURE
IS
LIKE
A
FLOWER
THAT
IS
BLOSSOMING
AGAIN
Villa Rose
6 7
Project
Meganom
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 different
touches, 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 of
architecture. 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
8 9
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
Project
Meganom
< Private house
in Pines Village
Villa Ostozhenka
Central Market, Moscow
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.
Project
Meganom
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
10 11
13
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 industrialist 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 HOUSE
COPENHAGEN, DENMARK (2001-2004)
Concert Halls
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 they
generate 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.
12
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
Concert halls
WALT DISNEY CONCERT HALL
LOS 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/BIMHUIS
AMSTERDAM, THE NETHERLANDS (1997-2005)
14 15
Architects: Gehry Partners, LLP
Photos: Federico Zignani, BMotion
Courtesy of the Music Center of Los Angeles County
Marmoleum real 3032
Novosibirsk, Russia
Design studio Opus, Novosibirsk

Opus
1,000 m
2
Marmoleum 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 m
2
Marmoleum colourful greys
175 m
2
Desk Top metallica and Bulletin Board
Location
Architect
Interior architect
Furniture contractor
Flooring contractor
Commisioned by
Flooring material
Material
DISA INDUSTRIES A/S Office
16 17
PROJECTS
Marmoleum colourful greys 3511 Marmoleum colourful greys 3503 Bulletin Board 2162
Marmoleum real 3146
Marmoleum colourful greys 3513 Desk Top metallica M4155
18
Vimela, Vrumaa, Estonia
Hansi Aru, Eesti Project AS
lle Pungits
Auma Expo AS, Tartu
European Regional Development Fund measure 43
540 m
2
Marmoleum real 2.0mm
Location
Architect
Floor design
Flooring consultant
Subsidized by
Flooring material
VRUMAA KUTSEHARIDUSKESKUSE
RAAMATUKOGU Educational centre library
Riga, Latvia
Architects Office Valenis un Stepe
TKC
J Projects
1,100 m
2
Marmoleum piano and Artoleum piazza 2.5mm
Location
Architect
General contractor
Flooring consultant
Flooring material
BALTCOM OFFICE
Marmoleum real 3055
Marmoleum piano 3604 Marmoleum piano 3611 Artoleum piazza 5401
19
Marmoleum real 3146
Ljungby, Sweden
Liljewall Arkitektur AB Gteborg
Ljunbgy kommun
Tage & Sner AB
Ljungby Golv AB
4,500 m
2
Marmoleum real and fresco
Location
Architect
General contractor
Building contractor
Flooring contractor
Flooring material
SUNNERBOGYMNASIET School building
Photos: Per Arvidsson
Marmoleum fresco 3827 Marmoleum fresco 3859
Marmoleum real 3182 Marmoleum real 3126
21
Ytre Moberg, Os, Hordaland, Norway
Klaus Bo Christensen (Bo Arkitekter)
May Christensen (Bo Arkitekter)
Byggforum, Hans Rykenes
538 m
2
Marmoleum real, fresco, vivace, dual and Marmoleum meets Mendini
Aquajet technique
Location
Architect
Interior architect
Flooring contractor
& installation
Flooring material
Designs
KUVGEN BARNEHAGE Kindergarten
20
Marmoleum real 3120 Photos: Pll Hoff, Bergen Marmoleum meets Mendini Plato forte 18002
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 m
2
Marmoleum dual 2.5mm
Location
Architect
Interior architect
Interior designer
Building contractor
Installation
Flooring material
TUOMIKALLIO Centre for disabled people
Eternal form starchip 10112 Eternal 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 HOSPITAL
ADDITION Renovation Project - Emergency Dept.
Marmoleum real 3139 Marmoleum fresco 3858 Marmoleum fresco 3859 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 m
2
Marmoleum real, dual, and fresco 2.5mm
Location
Architect
General contractor
Installation
Flooring consultant
Flooring material
HAKODATE AIRPORT
22 23
Marmoleum dual 707 Marmoleum dual 772
Eternal form starchip 10072 Eternal 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 m
2
Eternal form 2.2mm
24
Marmoleum real 3134 Marmoleum real 3182 Photo: Neil Fenelon Photography
World Square, Sydney, Australia
Meacham Nockles McQualter, Darlinghurst
Avex Building
Something Different Flooring
320 m
2
Marmoleum real, and dual (cut into hexagons and adhered to the floor and wall)
Location
Architect
Building contractor
Flooring contractor
Flooring material
SP3
Urban clothing outlet
25
Marmoleum real 3173 Photos: Leon Chen
Bundang, Korea
Min associates
Linoleum Korea
10,427 m
2
Artoleum scala 2.5mm
Location
Interior design
Installation
Flooring material
SEOUL NATIONAL UNIVERSITY
BUNDANG HOSPITAL
Artoleum scala 5076
24
Artoleum scala 5077
Marmoleum real 3204 Marmoleum dual 438 Marmoleum dual 412 Marmoleum dual 465
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 12
th
branch of Sichuan provincial construction company
Long Tide
8,700 m
2
Marmoleum real and fresco 2.5mm
26 27
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 m
2
Marmoleum real, and fresco
Marmoleum fresco 3825 Marmoleum fresco 3847
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 m
2
Marmoleum and Artoleum
Location
Architect
Flooring contractor
Flooring consultant
Flooring material
VIRGIN ACTIVE - BROADACRES
Crche - in the fitness centre
Artoleum passione 5606
28
Artoleum graphic 5311
Lugo, Spain
Jose Doncel Cervio, Roberto Lopez Pieiro
500 m
2
Artoleum 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 m
2
Marmoleum vivace, Eternal wood and ColoRex
Location
Architect
Flooring contractor
Flooring material
JOHANNITER KRANKENHAUS
Hospital
Milan, Italy
Ing. Andrea Polletta, Ing. Daniele Toschi, Ing. Cosimo Dangelo
Prof. Arch. Stefano Menotti Colucci
Tredil Spa
Colombo Linoleum, Monza
6,000 m
2
Marmoleum 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 CENTRO
RIABILITATIVO GIOVANNI PAOLO II Hospital
Eternal wood 11542
Marmoleum fresco 3826
29
Photos: Leniger Fotografie, Paderborn
Marmoleum fresco 3846 Marmoleum fresco 3856
30
Gent, Belgium
Ingels Els (Gebouwendienst UZ)
Multi-Step b.v.b.a., Kortrijk
2,500 m
2
Marmoleum vivace, and Marmoleum real 2.5mm
Location
Architect & floor design
Installation
Flooring material
UZ - KINDERPSYCHIATRIE
Hospital
50 - Equeurdreville, France
Jean-Jacques Poupard, 50 - Saint Lo
S.C.I. du Val lAbb - 50
Ent. Le Barbanchon, 50 - Tourlaville
800 m
2
Eternal wood, 300 m
2
Sarlibain
Location
Architect
General contractor
Flooring contractor
Flooring material
POLYCLINIQUE DU COTENTIN
Hospital
Marmoleum vivace 3403 Photos: Jan Landau, Lighthouse
Eternal wood 11512
Photos: J.P. Lagarde
Marmoleum vivace 3406 Marmoleum vivace 3408
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 m
2
Marmoleum 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
31
Desk Top 4151 Desk Top 4150
Photos: Fotostudio Van Wijk, Krommenie
Amsterdam, The Netherlands
Van den Oever, Zaaijer & Partners architecten, Amsterdam
Dura Bouw, Amsterdam
6,000 m
2
Marmoleum fresco 2.5mm

Location
Architect
General contractor
Flooring material
BEDRIJFSVERZAMELGEBOUW TRIADE
SOCIALE DIENST AMSTERDAM
Social security office
Marmoleum fresco 3826
32 33
Belfast, Northern Ireland
Kennedy Fitzgerald
Mark Finlay
Dunlop Builders
Commercial & Industrial Flooring
200 m
2
Marmoleum colourful greys 2.5mm, 100 m
2
Surestep
Location
Architect
Interior architect
Building contractor
Flooring contractor
Flooring material
& furniture surfacing
PRESBYTERIAN CHAPLAINCY Coffee bar
Marmoleum colourful greys 3512 Marmoleum colourful greys 3513 Marmoleum colourful greys 3516
Marmoleum fresco 3846 Marmoleum fresco 3847 Marmoleum fresco 3858
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
2
Desk Top
Aquajet technique
Location
Interior designer
Material (Furniture Linoleum)
Designs
INTERPOLIS
Head office of insurance company
34 35
`ARCHITECTUUR IS ALS EEN BLOEM DIE ZICH
OPENT
Villa Rose bestond eerst als constructie van hout en plastic.
Een model op ware grootte. De architecten van het Russische
bureau Project Meganom wilden de clint laten voelen hoe
fantastisch hun idee was: een huis van glas, half transparant,
midden in het bos. Maar ook het afbreken ervan was
belangrijk. Het liet zien dat in de architectuur alleen het idee,
de vorm tegen de tand des tijds bestand is, niet de
materialisatie ervan.
Later werd Villa Rose in glas en beton gebouwd. Je zou de
villa kunnen opvatten als een hedendaagse datsja. Contact
met de natuur staat voorop. Het huis is grotendeels
transparant en heeft een uitgesproken, onregelmatige vorm.
Je kunt het bos vanuit veel hoeken bekijken. Ook het interieur
is spectaculair. De ruimte is open, gefragmenteerd, en elke
ruimte kreeg zijn eigen sfeer mee.
Alexandra Pavlova en Yuri Grigoryan van Project Meganom
stellen dat het in hun architectuur om meer gaat dan het
bieden van comfort. Ze houden van contrasten,
tegenstellingen. Architectuur gaat niet over het bouwen van
nesten. Architectuur is een kunst. Zij moet emoties
genereren, net als films, romans, muziek. Als het leven alleen
maar comfortabel is, wordt het minder interessant.
Project Meganom wil het Russisch constructivisme uit de jaren
twintig voortzetten. Meer dan een halve eeuw was er weinig
mogelijk in Rusland, maar nu is architectuur als een bloem
die zich opent. Nog opgeleid in de Sovjettijd houden de
architecten van Project Meganom zich ver van politieke en
sociale issues. Ze zien het als hun taak architectuur formeel
te benaderen. Ze willen een duidelijk Russische stijl
ontwikkelen. Ze vertellen dat de belangstelling voor
architectuur als intellectuele discipline toeneemt. Tot een
paar jaar geleden wilden clinten alleen maar comfortabele,
modieuze woningen. Maar sinds kort begrijpen ontwikkelaars
dat ze architectuur kunnen gebruiken om projecten te
verkopen, dat ze interesse kunnen wekken met de ideen die
erachter zitten.
Project Meganom ontwierp ook de vijf villas rondom Villa
Rose. Hun plattegrond heeft een X-vorm. Zo wordt het contact
met de natuur gemaximaliseerd. Ook het lichtjes dalen of
rijzen van de daken, als heuvels, is een aanpassing aan de
natuur. Het sculpturale zet Project Meganom in om gebouwen
aan de natuur te relateren.
Vaak combineert Project Meganom een abstracte vorm met
materialen 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 gebouw
ontwerpen. Ze willen lichtheid, juiste proporties. Lichtheid
heeft niet per definitie met glas van doen. In de stad is glas
vaak een zwaar materiaal, dat met zijn reflecties of donkerte
veel aandacht naar zich toe trekt.
Het Huis Meganom is een imaginair project. Het vat de
architectuur van Project Meganom als het ware samen. Een
eenvoudiger concept laat zich niet denken. Een glazen balk
steekt uit de berg Meganom en hangt boven de zee. De andere
helft boort zich in de berg. Binnen is het donker, koel, buiten
licht. Een vakantiewoning waar je heen gaat om iets bijzonders
mee te maken, om de natuur te ervaren, de zon, het water,
en bevrijd van materie het gevoel te krijgen dat je vliegt.
CONCERTZALEN
Anders dan vroeger worden concertzalen tegenwoordig
ingezet als een manier om openbare ruimte te scheppen. De
straat en het plein vervullen die rol steeds minder, culturele
instituties steeds meer. Drie recent opgeleverde concertzalen
illustreren dat. Het Operahuis in Kopenhagen en het
Muziekgebouw aan t IJ/BIMhuis in Amsterdam introduceren
openbare ruimte in wat vroeger een havengebied was, de
Disney Concert Hall in Los Angeles poogt het desolate
downtown Los Angeles te revitaliseren.
Het door de Deense architect Henning Larsen ontworpen
Operahuis is modern maar heeft een monumentale uitstraling.
Dat komt door haar grandeur en symmetrie. Haar ligging
draagt eraan bij: op de historische as van het
Amelinborgplein naar de Frederikskerk. Een overhellend dak
houdt de delen bijeen en vormt een gigantische luifel. Aan het
water is zo een overdekt plein ontstaan. Geheimzinnig bolt
achter het glas van de foyer het auditorium op. Vanaf balkons
steken bruggen in het auditorium. Binnen heeft Larsen met
hoefijzervormige balkons, esdoornhout en velours een intieme
sfeer geschapen.
Ook het Muziekgebouw in Amsterdam van het Deense
architectenbureau 3XNielsen heeft een dak dat een enorme
luifel wordt. Eronder is een terras aan het water. Het
ontwerpconcept is eenvoudig: drie volumes (twee zalen en
een kantoorgedeelte) worden bijeengehouden door het dak
en de glazen gevel. De ruimtes ertussen zijn adembenemend,
amper binnenruimtes meer. De grote zaal is een doos in een
doos, de akoestiek heeft mede daardoor studiokwaliteit. Met
het omhoog en omlaag brengen van het plafond kan de
geluidskwaliteit gevarieerd worden.
De Disney Concert Hall lijkt met zijn bollende zeilen van
glinsterend staal amper een gebouw. Tussen de zeilen opent
zich de ruimte. De Amerikaanse architect Frank Gehry plaatste
het gebouw scheef, eromheen schiep hij publieke ruimte. Ook
de foyers kunnen als zodanig worden opgevat. De foyers
vormen een complex en organisch parcours, met boomachtige
vormen die de kolommen verbergen. De zaal zelf is zoveel als
een doos. Maar alles golft en is gevat in holle en bolle vormen.
De warme uitstraling van dennenhout domineert.
Architektur ist wie eine Blume, die
nochmals blht
Villa Rose wurde zunchst aus Holz und Kunststoff erstellt,
als ein Modell in Lebensgre. Die Architekten aus dem
russischen Architekturbro Project Meganom wollten, dass
Ihr Kunde erfahren sollte, wie fantastisch ihre Idee war: Ein
Haus aus Glas gebaut, halb transparent, von Bumen
umgeben. Aber sein Abriss war auch wichtig, um zu
demonstrieren, dass in der Architektur nur die Idee und die
Form und nicht deren Verwirklichung die Kraft besitzen,
den verheerenden Auswirkungen der Zeit zu widerstehen.
Spter wurde die Villa Rose in Glas und Beton wieder
aufgebaut. Das Haus kann als eine zeitgenssische Datscha
betrachtet werden. Der wichtigste Fokus fr die Architekten
ist der Kontakt mit der Natur. Die Villa ist grtenteils
transparent. Ihre Form ist offen und unregelmig, mit
verschiedenen Winkeln, die verschiedene Ansichten des
Holzes bieten. Das Innere ist gleichermaen spektakulr: Der
Raum ist offen und gegliedert, dabei strahlt jeder Raum eine
spezifische Atmosphre aus.
Alexandra Pavlova und Yuri Grigoryan vom Project Meganom
finden, dass es bei Architektur um mehr geht, als nur um das
Nestbauen 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 Emotionen
hervorrufen. Wenn das Leben zu komfortabel ist, wird es
weniger interessant.
Project Meganom mchte die Tradition des russischen
Konstruktivismus weiter fortfhren. Mehr als ein halbes
Jahrhundert lang wurde jede Initiative in Russland vom Staat
erstickt, aber jetzt ffnet sich die Architektur wieder, wie die
Knospen einer Blume. Die Architekten von Project Meganom,
die in der sowjetischen Zeitepoche aufgewachsen sind und
ausgebildet wurden, halten sich von politischen und sozialen
Themen fern, und sie beschftigen sich hauptschlich mit den
formellen Aspekten der Architektur. Sie mchten einen
russischen Stil entwickeln, der hervorsticht. Sie meinen, dass
es ein steigendes Interesse an der Architektur als eine
intellektuelle Disziplin gibt. Noch bis vor ein paar Jahren
wollten die Leute nur komfortable, moderne Huser, aber
Bautrger sind jetzt berzeugt, dass die Architektur
eingesetzt werden kann, um Projekte zu verkaufen, und dass
die Idee, die hinter dem Design steht, das Interesse der Leute
wecken kann.
Projekt Meganom entwarf auch die fnf Villen, die die Villa
Rose umgeben. Die X-Form des Grundrisses wurde gewhlt,
um einen optimalen Kontakt mit der natrlichen Umgebung zu
erreichen. Die leicht geneigten Dcher, die Hgeln hneln,
sollen dazu dienen, eine Harmonie zwischen den Villen und
der Natur herzustellen. Projekt Meganom geht von einem
bildhauerischen Denkansatz aus, um seine Gebude der Natur
nher zu bringen.
Die Architekten von Project Meganom kombinieren oft die
abstrakte Form mit Materialien wie Holz und Stein. Wie viele
ihrer Kunden mgen auch sie diesen Kontrast. Sie mchten,
dass man ihnen die Gelegenheit gibt, ein vollstndig weies
Gebude zu erstellen. Sie suchen Helligkeit und die richtigen
Proportionen. Helligkeit steht nicht notwendigerweise mit
Glas im Zusammenhang. In einem stdtischen Kontext kann
Glas ein schweres Material sein: Seine Spiegelungen und
seine Dunkelheit ziehen die Blicke auf sich.
Meganom-Haus ist ein imaginres Projekt und irgendwie ist
es eine Zusammenfassung der Architektur von Project
Meganom. Das Konzept knnte nicht einfacher sein: Eine
Glasstange, deren eine Hlfte aus dem Kap Meganom ber
die zusammenbrechenden Wellen hinausragt, wobei die
andere Hlfte in den Berg eindringt: Drinnen ist es khl und
dunkel, aber drauen ist es hell. Man wrde sich dorthin
begeben wie zu einem Ferienhaus: Um an etwas Besonderem
teilzunehmen und um die Natur zu erleben, die Sonne, das
Wasser und um befreit von der Materialitt ein Gefhl zu
bekommen, als ob man fliegt.
Konzerthallen
Heutzutage werden Konzerthallen als Mittel benutzt, um
ffentliche Rume zu schaffen. Straen und Pltze
bernehmen immer weniger die Funktion solcher Rume,
sondern sie wird mehr und mehr von kulturellen Institutionen
erfllt. Drei unlngst erbaute Konzerthallen zeigen uns, das
dies so ist. Das Opernhaus in Kopenhagen, und das
Musikgebude in t IJ/BIMhuis in Amsterdam sorgen dort, wo
frher die Hafenviertel waren, fr die Einfhrung ffentlicher
Rume, wohingegen die Disney Konzerthalle im Stadtgebiet
von Los Angeles vielleicht der erste Schritt in die Richtung
ist, diesen desolaten Bereich wieder mit neuem Leben zu
erfllen.
Das Opernhaus in Kopenhagen wurde von dem dnischen
Architekten Henning Larsen entworfen. Es ist modern, aber
seine Erhabenheit und Symmetrie geben ihm ein
monumentales Aussehen. Hierzu trgt auch sein Standort an
der historischen Achse bei, die sich vom Amelienborg Square
bis zur Frederiks-Kirche erstreckt. Ein frei vorgebautes (bzw.
ausladendes) Dach hlt die verschiedenen Teile zusammen
und bildet eine enorme Markise, wodurch ein bedeckter Platz
direkt am Wasser geschaffen wird. Hinter dem Glas des
Foyers wlbt sich der Zuhrerraum geheimnisvoll nach auen.
Von den Balkonen aus, die rund um das Glas herum angeordnet
sind, schlagen sich Brcken durch in den Zuhrerraum hinein,
wo Larsen durch den Einsatz von hufeisenfrmigen Balkonen,
Ahornholz und Plsch eine vertraute Atmosphre geschaffen
hat.
Das Musikgebude in Amsterdam wurde von der dnischen
Architektenfirma 3XNielsen entworfen. Auch dies hat ein
Dach, dass sich in eine enorme Markise erstreckt und so dem
direkt am Wasser gelegenen Caf im Freien einen
schtzenden Flgel bietet. Das Designkonzept ist einfach: Drei
Volumen zwei Zuhrerrume und ein Broabschnitt
zusammengehalten vom Dach und der Glasfassade. Die
dazwischenliegenden Rume sind atemberaubend und knnen
kaum als innenliegende Rume bezeichnet werden. Der groe
Zuhrerraum ist ein Raum innerhalb eines Raumes; wohl
deshalb hat auch die Akustik Studioqualitt. Die Klangqualitt
kann durch das Hochziehen oder Herablassen der Decke noch
angepasst werden.
Mit ihren wogenden Segeln aus glitzerndem Stahl sieht die
Disney Konzerthalle kaum aus wie ein Gebude. Zwischen den
Segeln ffnet sich der Raum. Der amerikanische Architekt
Frank Gehry platzierte das Gebude in einem schiefen Winkel
und schuf drumherum ffentlichen Raum. Die Foyers die
eine komplexe und organische Laufbahn mit baumartigen
Formen, welche die Service-Sulen verstecken, bilden
knnen auch als ffentlicher Raum angesehen werden. Der
Zuhrerraum selbst ist wie ein Kasten; aber alles in diesem
Kasten verluft wellenfrmig und ist in konkave und konvexe
Formen eingebettet. Und das Ganze wird von der warmen
Atmosphre, die das Kiefernholz schafft beherrscht.
L'ARCHITECTURE EST COMME UNE FLEUR QUI
SE REMET A FLEURIR
Dans un premier temps la Villa Rose avait t ralise en bois
et en plastique en tant que maquette grandeur nature. Les
architectes du cabinet darchitecture russe Project Meganom
voulaient que leur client ralise laspect extraordinaire de
leur ide : une maison en verre semi-transparente entoure
darbres. Mais sa dmolition tait tout aussi importante pour
dmontrer quen architecture seule lide et la forme, et non
pas la matrialisation, peuvent rsister aux outrages du
temps.
Ensuite, la Villa Rose a t reconstruite en verre et en bton.
On peut considrer cette maison comme une datcha
contemporaine. Le principal but des architectes est le contact
avec la nature. La villa est en grande partie transparente. Elle
a une forme audacieuse et irrgulire, avec des angles divers
qui offrent des perspectives diffrentes sur les bois.
Lintrieur est tout aussi spectaculaire : lespace est ouvert
et fragment, chaque pice dgage une ambiance spcifique.
Alexandra Pavlova et Yuri Grigoryan de Project Meganom
considrent que larchitecture ne se rduit pas simplement
la construction dun nid et la cration dun certain
confort. Ils aiment crer des contrastes. Larchitecture est
une forme dart, et tout comme les films, les romans et la
musique elle devrait engendrer de lmotion. Si la vie est trop
confortable elle devient moins intressante.
Project Meganom veut perptuer la tradition du
constructivisme russe. Pendant plus dun demi-sicle toute
initiative en Russie a t touffe par lEtat, mais prsent
larchitecture souvre nouveau, comme une fleur qui
spanouit. Les architectes de Project Meganom qui ont grandi
et t duqu pendant la priode Sovitique, se tiennent
lcart des questions politiques et sociales, leur
proccupation principale porte sur les aspects formels de
larchitecture. Ils veulent dvelopper un style russe qui se
remarque. Ils constatent quil y a un intrt grandissant pour
larchitecture en tant que discipline intellectuelle.
Jusqu ces dernires annes les gens voulaient des maisons
la mode et confortables, mais prsent les promoteurs
immobiliers ont pris conscience que larchitecture peut tre
utilise pour vendre des projets et que lide derrire le dessin
peut susciter lintrt des gens.
Project Meganom a aussi ralis les cinq villas qui se trouvent
autour de la Villa Rose. La forme en x du plan a t choisie
afin dobtenir un contact maximal avec lenvironnement
naturel. 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 pour
permettre ses btiments dtre plus proches de la nature.
Les architectes de Project Meganom allient souvent les
formes abstraites avec des matriaux tels que le bois et la
pierre. Ils apprcient les contrastes, tout comme nombre de
leurs clients. Ils souhaiteraient quon leur offre la possibilit
de raliser une maison totalement blanche. Ils sont la
recherche de la lgret et de proportions justes. La lgret
nest pas forcment lie au verre. Dans un contexte urbain le
verre peut tre un matriau lourd : ses ombres et ses reflets
attirent le regard.
Meganom House est un projet imaginaire, et dune certaine
faon constitue le rsum de larchitecture de Project
Meganom. Le concept ne pourrait pas tre plus simple; une
barre en verre dont une moiti merge du Cap Meganom et
surplombe les vagues dferlantes, tandis que lautre moiti
pntre dans la montagne; lintrieur est frais et sombre,
lextrieur est lumineux. Vous vous y rendriez comme vous
vous rendriez dans une maison de vacances pour participer
quelque chose de spcial et pour se trouver en contact avec
la nature, le soleil, leau et tre libr de toute matrialit,
de telle sorte que vous ayez limpression de voler.
LES SALLES DE CONCERT
De nos jours les salles de concert sont utilises comme un
moyen pour crer des espaces publics. Les rues et les places
remplissent de moins en moins cette fonction, alors que les
tablissements culturels le font de plus en plus. Trois salles
de concert,de construction rcente, mettent ceci en lumire.
LOpera House Copenhague et le Muziekgebouw aan t IJ/
BIMhuis Amsterdam introduisent des espaces publics dans
ce qui tait autrefois le quartier des docks, tandis que la Salle
de Concert Disney situe dans le centre ville de Los Angeles
est peut tre un premier pas vers une redynamisation de ce
quartier lugubre.
LOpera House Copenhague a t ralise par larchitecte
danois Henning Larsen. Cest un btiment moderne mais sa
dimension et sa symtrie lui donnent une apparence
monumentale. Son emplacement sur laxe historique qui va
de Amelienborg Square lEglise de Frdrik contribue cela.
Le toit surplombe l'intgralit du btiment et forme un norme
auvent, crant ainsi une place couverte sur les quais. Derrire
les vitres du foyer l'auditorium merge mystrieusement. Des
passerelles surgissent des balcons situs autour des vitres
et pntrent dans la salle, o Larsen a cr une ambiance
intime au travers des balcons en forme de fer cheval, et
grce la prsence du bois drable et de capitonnage.
Le Muziekgebouw Amsterdam a t ralis par le cabinet
darchitecture 3xNielsen. Ce btiment aussi a un toit qui se
prolonge en un norme auvent, offrant ainsi une aile
protectrice aux cafs en terrasse qui se trouvent le long du
quai en dessous. Le concept du btiment est simple : trois
volumes -deux auditoriums et une partie pour des bureaux-
relis par le toit et la faade en verre. Les espaces
intermdiaires sont vous couper le souffle, il est difficile de
les qualifier despaces intrieurs. La grande salle est une
bote dans une bote, cest en partie grce ce concept que
lacoustique est dune qualit digne dun studio. La qualit du
son peut tre modifie en levant ou baissant le plafond.
Avec ses voiles gonfles en acier tincelant, la salle de concert
Disney na pas vraiment lapparence dun btiment. Lespace
entre les ailes se dploie. Larchitecte amricain Frank Gehry
a plac le btiment en angle oblique et a cr un espace public
tout autour. Les foyers -qui forment un passage complexe et
organique o des structures en forme d'arbre dissimulent des
colonnes de service- peuvent eux aussi tre considrs
comme des espaces publics. L'auditorium lui-mme est comme
une bote, mais tout ce qui se trouve lintrieur ondule et
se trouve fix dans des formes concaves et convexes. Le tout
est domin par lambiance chaude cre par le pin.
LARCHITETTURA E COME UN FIORE CHE
SBOCCIA DI NUOVO
Villa Rose stata inizialmente costruita in legno e plastica,
come un modello a grandezza naturale. Gli architetti del
Russian architectural office Project Meganom desideravano
che i loro clienti potessero provare quanto questa idea fosse
fantastica: una casa costruita in vetro, semitrasparente,
circondata da alberi. Ma demolirla era importante anche per
dimostrare che, in architettura, soltanto lidea e la forma, e
non la loro materializzazione, sono capaci di resistere al
trascorrere del tempo.
Successivamente, Villa Rose fu ricostruita in vetro e cemento.
La casa poteva essere considerata come una dacia
contemporanea. Il contatto con la natura lobiettivo degli
architetti. La villa per la maggior parte trasparente. La sua
forma decisa ed irregolare, con varie angolature che danno
diverse prospettive sul verde. Linterno anchesso
spettacolare: lo spazio aperto e frammentato, ed ogni stanza
diffonde unatmosfera specifica.
Alexandra Pavlova e Yuri Grigoryan di Project Meganom
trovano che larchitettura sia pi che un insieme di costruzioni
e comodit. Amano creare contrasto. Larchitettura una
forma darte, cos come i films, i romanzi e la musica, potrebbe
suscitare emozione. Se la vita troppo confortevole, diventa
meno interessante.
Project Meganom vuole continuare la tradizione delle
costruzioni russe. Per oltre met secolo, ogni iniziativa in
Russia stata repressa dallo stato, ma ora larchitettura si
di nuovo aperta, come un germoglio. Gli architetti di Project
Meganom, cresciuti ed educati nel periodo sovietico, si sono
tenuti lontani da questioni politiche e sociali e si dedicano
principalmente agli aspetti formali dellarchitettura. Essi
vogliono sviluppare uno stile russo che emerga. Dicono che
c un aumento di interesse per larchitettura come disciplina
intellettuale. Fino a pochi anni fa, la gente ricercava solo case
confortevoli ed eleganti, ma coloro che curano lo sviluppo
sono ora divenuti consapevoli che larchitettura pu essere
usata per promuovere progetti e che le idee che stanno dietro
i disegni possono risvegliare linteresse della gente.
Project Meganom ha progettato anche le cinque ville che
circondano Villa Rose. La forma a X della pianta stata
scelta per ottenere un ottimo contatto con lambiente
naturale. I tetti leggermente spioventi, come colline, sono
concepiti per armonizzare le ville con la natura. Project
Meganom applica un approccio di scultura affinch il
complesso crei un basso impatto ambientale.
Gli architetti di Project Meganom abbinano spesso la forma
astratta con materiali come il legno e la pietra. Essi amano
questo contrasto, cos come fanno molti dei loro clienti.
Volevano darsi la possibilit di costruire un edificio
completamente bianco. Erano alla ricerca della luminosit e
delle giuste proporzioni. La luminosit non legata
necessariamente al vetro. In un contesto urbano, il vetro pu
essere un materiale pesante: i suoi riflessi e le sue ombre
monopolizzano lattenzione.
Meganom House un progetto immaginario e, in una parola
sola, riassume larchitettura del Project Meganom. Il concetto
non potrebbe essere pi semplice: una barra di vetro, met
della quale si protende da Cape Meganom sopra onde che si
infrangono, laltra met che penetra la montagna: freddo e
scuro allinterno e luminoso allesterno. Ci si potrebbe andare
come si andrebbe in una casa di vacanza: prendere parte a
qualcosa di speciale per essere immersi nella natura, il sole,
lacqua e, libero dalla materialit, provare la sensazione di
volare.

SALE DA CONCERTI
Al giorno doggi le sale da concerto sono usate come un mezzo
per creare spazi pubblici. Vie e piazze funzionano sempre
meno come spazi di questo genere, mentre le associazioni
culturali lo stanno divenendo sempre pi. Tre sale da concerti
recentemente costruite lo testimoniano. L Opera House di
Copenhagen e il Muziekgebouw aan t J/BIMhuis di
Amsterdam introducono spazi pubblici in quello che una volta
erano le banchine, mentre la Disney Concert Hall nel centro
di Los Angeles forse il primo passo verso la rivitalizzazione
di questarea desolata.
L Opera House di Copenhagen stata progettata
dallarchitetto danese Henning Larsen. E moderna ma la sua
grandezza e simmetria gli conferiscono un aspetto
monumentale. La sua collocazione nellassetto storico che si
estende da Amelinborg Square a Frederiks Church
contribuisce a renderla tale. Un tetto a travi tiene unite le
diverse parti e forma unenorme tenda creando una piazza
coperta sul lungomare. Dietro la vetrata del foyer, prorompe
misteriosamente lauditorio. Dai terrazzini attorno alla
vetrata, dei ponti passano attraverso lauditorio, dove Larsen
ha creato unatmosfera intima mediante lutilizzo di
terrazzini a forma di ferro di cavallo, di legno dacero e tessuti
felpati.
Il Muziekgebouw di Amsterdam stato progettato dallo
studio di architettura danese 3XNielsen. Anchesso ha un tetto
che si estende in unenorme tenda, proteggendo allesterno
il caff sottostante posto sul lungomare. Il concetto
semplice: tre volumi, due auditori ed una sezione uffici, tenuti
assieme dal tetto e dalla facciata di vetro. Gli spazi nel mezzo
sono affascinanti, di alta qualit come spazi interni. Il grande
auditorio una scatola nella scatola; anche grazie a questo,
lacustica ha la qualit da studio di registrazione. La qualit
del suono pu essere regolata alzando o abbassando il
soffitto.
Con le sue vele spiegate di acciaio brillante, il Disney Concert
Hall non somiglia affatto ad un normale edificio. Tra le vele,
lo spazio si rivela. Larchitetto americano Frank Gehry ha
collocato ledificio ad unangolatura obliqua e ha creato spazi
pubblici attorno ad esso. Anche gli atrii, che formano un
percorso complesso ed organico, con forme ad arbusto che
nascondono colonne di servizio, possono essere considerati
spazi pubblici. Lo stesso auditorio come una scatola ma
qualsiasi cosa in esso ondeggia ed impressa in forme
concave e convesse. Linsieme dominato da una calda
atmosfera creata dalla pineta.
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Summary Summary
34 35
LA ARQUITECTURA ES COMO UNA FLOR QUE
FLORECE DE NUEVO
Villa Rose fue construida primero de madera y plstico, como
un modelo de tamao real. Los arquitectos del estudio ruso
Project Meganom quisieron que sus clientes experimentaran
lo fantstica que fue su idea: una casa construida de vidrio,
semitransparente, rodeada de rboles. Pero derrumbarla fue
tambin importante para demostrar que, en arquitectura, solo
la idea y la forma, y no su materializacin, son capaces de
resistir 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 la
naturaleza. La villa es en su mayor parte transparente. Su
forma es abierta e irregular, con varios ngulos que aportan
diferentes vistas a los bosques. El interior es igualmente
espectacular, el espacio es abierto y fragmentado, y cada sala
rezuma una atmsfera especfica.
Alexandra Pavlova y Yuri Grigoryan de Project Meganom
consideran que la arquitectura es mucho ms que tan solo
un 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 es
demasiado confortable, se convierte en menos interesante.
Project Meganom quiere continuar la tradicin del
constructivismo ruso. Durante ms de medio siglo, cualquier
iniciativa en Rusia era sofocada por el Estado, pero ahora la
arquitectura se abre de nuevo, como una flor. Los arquitectos
de Project Meganom, quienes crecieron y educaron en el
perodo sovitico, se alejan de las cuestiones polticas y
sociales y se centran principalmente en los aspectos formales
de la arquitectura. Quieren desarrollar un estilo ruso que
permanezca. Comentan que existe un inters creciente en
arquitectura como disciplina intelectual. Hasta hace algunos
aos, la gente solo buscaba comodidad, casas a la moda, pero
los especuladores inmobiliarios ahora se dan cuenta que la
arquitectura puede utilizarse para vender proyectos y que la
idea detrs del diseo puede despertar el inters de la gente.
Project Meganom tambin diseo las cinco villas que rodean
Villa Rose. La forma en X del diseo se eligi para conseguir
un contacto ptimo con el medio ambiente natural. Los tejados
ligeramente ondulados, como colinas, pretenden armonizar
las villas con la naturaleza. Project Meganom utiliza un
enfoque escultural para acercar sus edificios a la naturaleza.
Los arquitectos de Project Meganom a menudo combinan la
forma 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 edificio
totalmente blanco. Buscan la claridad y las proporciones
rectas. 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 cierta
manera, resume la arquitectura de Project Meganom. El
concepto no puede ser ms simple: un barra de vidrio, la mitad
sobresaliendo de Cape Meganom sobre las olas rompiendo,
la otra mitad penetrando en la montaa: fro y oscuro en el
interior, y luz en el exterior. Se ira all como el que va a una
casa de vacaciones: para tomar parte en algo especial y
experimentar la naturaleza, el sol, el agua y, liberado de la
materialidad, tener la sensacin de volar.
SALAS DE CONCIERTOS
Actualmente, las salas de conciertos se utilizan como medio
para crear espacio pblicos. Las calles y las plazas se emplean
cada vez menos para estas actividades mientras que las
instituciones culturas incrementan su uso para este fin. Tres
salas de conciertos recientes lo ilustran. La Opera House de
Copenhagen y el Muziekgebouw aan t IJ/BIMhuis de
msterdam introducen espacios pblicos dentro de lo que
solan ser los muelles, mientras que el Disney Concert Hall
en el centro de Los Angeles es quizs el primer paso para
revitalizar esta zona desolada.
La Opera House de Copenhague fue diseada por el arquitecto
dans Henning Larsen. Es moderna pero su grandiosidad y
simetra le dan un aspecto monumental. Su localizacin en el
eje histrico que se extiende desde Amelinborg Square a
Frederiks Church contribuye a ello. Una cubierta volada
mantiene unidas las distintas partes y forma un enorme toldo,
creando una plaza cubierta en la parte que da al mar. Detrs
del cristal del vestbulo, el auditorio sobresale
misteriosamente. Desde los palcos alrededor del vidrio,
cruzan puentes el auditorio, donde Larsen ha creado un
atmsfera intimista empleando palcos en forma de herradura,
de madera de arce y felpa.
El Muziekgebouw de Amsterdam fue diseado por la firma
danesa de arquitectos 3XNielsen. Este proyecto tambin
posee un tejado que se extiende en un enorme toldo,
ofreciendo un ala protectora al caf exterior de abajo junto
al mar. El concepto de diseo es sencillo: tres volmenes
dos auditorios y un rea de oficinas unidas todas ellas por
un tejado y la fachada de vidrio. Los espacios intermedios son
imponentes, difcilmente calificables como espacios
interiores. 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 el
techo.
Con sus ondulantes velas y reluciente acero, el Disney Concert
Hall difcilmente parece un edificio. Entre las velas, el espacio
se abre a s mismo. El arquitecto americano Frank Gehry situ
el edificio en un ngulo oblicuo y cre un espacio pblico a
su alrededor. Los vestbulos que forman un camino complejo
y orgnico, rboles con formas ocultan las columnas de
servicio pueden considerarse como espacio pblico. El
auditorio mismo es como una caja, pero todo en ello ondula
y encaja en formas cncavas y convexas. El conjunto esta
dominado por una atmsfera clida creada por madera de
pino.
'ARQUITECTURA COMO UMA FLOR QUE
BROTA DE NOVO'
Villa Rose foi inicialmente construda em madeira e plstico,
como um modelo de habitao. Os arquitectos do Gabinete de
arquitectura russo Meganom gostariam que os seus clientes
experimentassem o quanto a sua ideia era fantstica: uma
casa feita de vidro, semitransparente, rodeada de rvores.
Mas demolir Villa Rose era tambm importante, para
demonstrar que, na arquitectura, apenas a ideia e a forma e
no a sua materializao esto aptos a ultrapassar as
barreiras do tempo.
Mais tarde, Villa Rose foi reconstruda em concreto e vidro,
a casa podia ser vista como uma tpica vila russa
contempornea. O contacto com a natureza o objectivo
principal para os arquitectos. A Villa maioritariamente
transparente. A sua forma irregular e verdadeira, com
diferentes ngulos que proporcionam pontos de vista distintos
sobre a floresta. O seu interior igualmente espectacular: o
espao aberto e fragmentado e cada diviso exibe uma
atmosfera nica.
Alexandra Pavlova e Yuri Grigoryan da firma Project Meganom
acham que a arquitectura significa muito mais do que um
novo-edifcio ou proporcionar conforto, gostam de criar
contrastes. A Arquitectura uma forma de arte e, tal como
os 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 do
construtivismo russo. Durante mais de meio sculo, todas as
iniciativas levadas a cabo na Rssia eram reprimidas pelo
Estado, mas agora a arquitectura est a tornar-se mais aberta
tal como uma flor a brotar. Os arquitectos deste gabinete que
cresceram e foram educados no Perodo Sovitico, mantm-
se afastados de questes polticas e sociais e esto
maioritariamente preocupados com os aspectos formais da
arquitectura, pois pretendem desenvolver um estilo russo que
se destaque. Sublinham que h um crescente interesse na
arquitectura, como uma disciplina intelectual. At h poucos
anos, as pessoas pretendiam apenas casas modernas e
confortveis, mas os detentores de propriedades esto agora
cientes que a arquitectura pode ser usada na venda de
projectos e que esta ideia aliada ao design pode despertar o
interesse das pessoas.
A Project Meganom tambm desenhou as cinco vilas que
rodeiam Villa Rose, a principal ideia do projecto era adquirir
o contacto perfeito com o ambiente natural. Os telhados
ligeiramente inclinados, como uma colina, pretendem
alcanar a harmonia das vilas com a natureza. Foi aplicada
uma aproximao escultural de forma a relacionar os seus
edifcios com a natureza.
Os arquitectos deste gabinete normalmente combinam a
forma abstrata com materiais como a madeira e a pedra,
gostam deste tipo de contraste, tal como a maioria dos seus
clientes. Gostariam que lhes fosse dada a oportunidade de
fazer um edifcio completamente branco, uma vez que
procuram luminosidade e propores ideais. A luminosidade
no est necessriamente ligada ao vidro, por exemplo, num
contexto urbano, o vidro pode ser considerado um material
pesado: os seus reflexos e sombras sobrecarregam os
olhos.
A Meganom House um projecto imaginrio e, de certa forma,
retrata o trabalho da arquitectura do gabinete Project
Meganom. O conceito pode no ser muito simples: uma barra
de vidro, metade da proeminncia da Cape Meganom salienta-
se at chocar com as ondas, a outra metade penetra na
montanha: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 da
materialidade e de adquirir uma sensao de estar a voar.
ESPAOS CULTURAIS
Actualmente, as instituies culturais so usadas para criar
espaos pblicos. Ruas e praas funcionam cada vez menos
deste modo, no entanto os espaos culturais tm cada vez
mais importncia neste aspecto.
Trs instituies bem recentes ilustram nitidamente esta
ideia: a Opera House em Copenhaga e o Muziekgebouw aan
t IJ/BIMhuis em Amsterdo introduzem espaos pblicos em
locais que funcionavam como docas, enquanto o Centro
Cultural Disney, na baixa da cidade de Los Angeles, talvez
o primeiro passo para a revitalizao desta rea desolada.
A Opera House em Copenhaga foi projectada pelo arquitecto
dinamarqus Henning Larsen, trata-se de uma construo
moderna, cuja grandiosidade e simetria lhe atribuem uma
aparncia monumental, a sua localizao no eixo histrico
que se estende desde a praa Amelinborg at igreja
Frederik tambm contribui para isso. O telhado em arco
mantm as diferentes partes unidas e forma um grandioso
toldo, criando uma praa coberta na margem. Por trs do
vidro do trio salienta-se, misteriosamente, o auditrio.
Atravs de varandas volta do vidro, pontes que atravessam
o auditrio, Larsen criou uma atmosfera ntima usando
varandas em forma de U, sofs de madeira e pelcia.
O Muziekgebouw em Amsterdo foi projectado pela firma
dinamarquesa de arquitectura 3XNielsen, tambm este
edifcio ostenta um telhado cuja forma, um enorme coberto
oferece uma asa protectora porta de entrada do caf situado
abaixo. O conceito do projecto simples: trs volumes dois
auditrios e uma rea de escritrios unidos pelo telhado e
pela fachada de vidro. Os espaos entre eles so asfixiantes,
dificilmente qualificados como espaos interiores. O grande
auditrio uma caixa dentro de outra caixa; e em parte por
causa disto, a qualidade acstica semelhante de um
estudio. A qualidade do som pode ser ajustada, aumentando
ou 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. O
arquitecto americano Frank Gehry colocou-o num ngulo
oblquo e criou um espao pblico sua volta. Os trios
formando uma complexa e orgnica trilha, com trs formas
distintas que ocultam as colunas principais so tambm
considerados como espaos pblicos. O auditrio apenas
como uma caixa, mas tudo o que est no seu interior ondula
e est embrenhado em formas cncavas e convexas. O tdo
est dominado pela atmosfera acolhedora criada pela
madeira de pinho.
L'ARCHITECTURE EST COMME UNE FLEUR QUI
SE REMET A FLEURIR
Dans un premier temps la Villa Rose avait t ralise en bois
et en plastique en tant que maquette grandeur nature. Les
architectes du cabinet darchitecture russe Project Meganom
voulaient que leur client ralise laspect extraordinaire de
leur ide : une maison en verre semi-transparente entoure
darbres. Mais sa dmolition tait tout aussi importante pour
dmontrer quen architecture seule lide et la forme, et non
pas la matrialisation, peuvent rsister aux outrages du
temps.
Ensuite, la Villa Rose a t reconstruite en verre et en bton.
On peut considrer cette maison comme une datcha
contemporaine. Le principal but des architectes est le contact
avec la nature. La villa est en grande partie transparente. Elle
a une forme audacieuse et irrgulire, avec des angles divers
qui offrent des perspectives diffrentes sur les bois.
Lintrieur est tout aussi spectaculaire : lespace est ouvert
et fragment, chaque pice dgage une ambiance spcifique.
Alexandra Pavlova et Yuri Grigoryan de Project Meganom
considrent que larchitecture ne se rduit pas simplement
la construction dun nid et la cration dun certain
confort. Ils aiment crer des contrastes. Larchitecture est
une forme dart, et tout comme les films, les romans et la
musique elle devrait engendrer de lmotion. Si la vie est trop
confortable elle devient moins intressante.
Project Meganom veut perptuer la tradition du
constructivisme russe. Pendant plus dun demi-sicle toute
initiative en Russie a t touffe par lEtat, mais prsent
larchitecture souvre nouveau, comme une fleur qui
spanouit. Les architectes de Project Meganom qui ont grandi
et t duqu pendant la priode Sovitique, se tiennent
lcart des questions politiques et sociales, leur
proccupation principale porte sur les aspects formels de
larchitecture. Ils veulent dvelopper un style russe qui se
remarque. Ils constatent quil y a un intrt grandissant pour
larchitecture en tant que discipline intellectuelle.
Jusqu ces dernires annes les gens voulaient des maisons
la mode et confortables, mais prsent les promoteurs
immobiliers ont pris conscience que larchitecture peut tre
utilise pour vendre des projets et que lide derrire le dessin
peut susciter lintrt des gens.
Project Meganom a aussi ralis les cinq villas qui se trouvent
autour de la Villa Rose. La forme en x du plan a t choisie
afin dobtenir un contact maximal avec lenvironnement
naturel. 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 pour
permettre ses btiments dtre plus proches de la nature.
Les architectes de Project Meganom allient souvent les
formes abstraites avec des matriaux tels que le bois et la
pierre. Ils apprcient les contrastes, tout comme nombre de
leurs clients. Ils souhaiteraient quon leur offre la possibilit
de raliser une maison totalement blanche. Ils sont la
recherche de la lgret et de proportions justes. La lgret
nest pas forcment lie au verre. Dans un contexte urbain le
verre peut tre un matriau lourd : ses ombres et ses reflets
attirent le regard.
Meganom House est un projet imaginaire, et dune certaine
faon constitue le rsum de larchitecture de Project
Meganom. Le concept ne pourrait pas tre plus simple; une
barre en verre dont une moiti merge du Cap Meganom et
surplombe les vagues dferlantes, tandis que lautre moiti
pntre dans la montagne; lintrieur est frais et sombre,
lextrieur est lumineux. Vous vous y rendriez comme vous
vous rendriez dans une maison de vacances pour participer
quelque chose de spcial et pour se trouver en contact avec
la nature, le soleil, leau et tre libr de toute matrialit,
de telle sorte que vous ayez limpression de voler.
LES SALLES DE CONCERT
De nos jours les salles de concert sont utilises comme un
moyen pour crer des espaces publics. Les rues et les places
remplissent de moins en moins cette fonction, alors que les
tablissements culturels le font de plus en plus. Trois salles
de concert,de construction rcente, mettent ceci en lumire.
LOpera House Copenhague et le Muziekgebouw aan t IJ/
BIMhuis Amsterdam introduisent des espaces publics dans
ce qui tait autrefois le quartier des docks, tandis que la Salle
de Concert Disney situe dans le centre ville de Los Angeles
est peut tre un premier pas vers une redynamisation de ce
quartier lugubre.
LOpera House Copenhague a t ralise par larchitecte
danois Henning Larsen. Cest un btiment moderne mais sa
dimension et sa symtrie lui donnent une apparence
monumentale. Son emplacement sur laxe historique qui va
de Amelienborg Square lEglise de Frdrik contribue cela.
Le toit surplombe l'intgralit du btiment et forme un norme
auvent, crant ainsi une place couverte sur les quais. Derrire
les vitres du foyer l'auditorium merge mystrieusement. Des
passerelles surgissent des balcons situs autour des vitres
et pntrent dans la salle, o Larsen a cr une ambiance
intime au travers des balcons en forme de fer cheval, et
grce la prsence du bois drable et de capitonnage.
Le Muziekgebouw Amsterdam a t ralis par le cabinet
darchitecture 3xNielsen. Ce btiment aussi a un toit qui se
prolonge en un norme auvent, offrant ainsi une aile
protectrice aux cafs en terrasse qui se trouvent le long du
quai en dessous. Le concept du btiment est simple : trois
volumes -deux auditoriums et une partie pour des bureaux-
relis par le toit et la faade en verre. Les espaces
intermdiaires sont vous couper le souffle, il est difficile de
les qualifier despaces intrieurs. La grande salle est une
bote dans une bote, cest en partie grce ce concept que
lacoustique est dune qualit digne dun studio. La qualit du
son peut tre modifie en levant ou baissant le plafond.
Avec ses voiles gonfles en acier tincelant, la salle de concert
Disney na pas vraiment lapparence dun btiment. Lespace
entre les ailes se dploie. Larchitecte amricain Frank Gehry
a plac le btiment en angle oblique et a cr un espace public
tout autour. Les foyers -qui forment un passage complexe et
organique o des structures en forme d'arbre dissimulent des
colonnes de service- peuvent eux aussi tre considrs
comme des espaces publics. L'auditorium lui-mme est comme
une bote, mais tout ce qui se trouve lintrieur ondule et
se trouve fix dans des formes concaves et convexes. Le tout
est domin par lambiance chaude cre par le pin.
LARCHITETTURA E COME UN FIORE CHE
SBOCCIA DI NUOVO
Villa Rose stata inizialmente costruita in legno e plastica,
come un modello a grandezza naturale. Gli architetti del
Russian architectural office Project Meganom desideravano
che i loro clienti potessero provare quanto questa idea fosse
fantastica: una casa costruita in vetro, semitrasparente,
circondata da alberi. Ma demolirla era importante anche per
dimostrare che, in architettura, soltanto lidea e la forma, e
non la loro materializzazione, sono capaci di resistere al
trascorrere del tempo.
Successivamente, Villa Rose fu ricostruita in vetro e cemento.
La casa poteva essere considerata come una dacia
contemporanea. Il contatto con la natura lobiettivo degli
architetti. La villa per la maggior parte trasparente. La sua
forma decisa ed irregolare, con varie angolature che danno
diverse prospettive sul verde. Linterno anchesso
spettacolare: lo spazio aperto e frammentato, ed ogni stanza
diffonde unatmosfera specifica.
Alexandra Pavlova e Yuri Grigoryan di Project Meganom
trovano che larchitettura sia pi che un insieme di costruzioni
e comodit. Amano creare contrasto. Larchitettura una
forma darte, cos come i films, i romanzi e la musica, potrebbe
suscitare emozione. Se la vita troppo confortevole, diventa
meno interessante.
Project Meganom vuole continuare la tradizione delle
costruzioni russe. Per oltre met secolo, ogni iniziativa in
Russia stata repressa dallo stato, ma ora larchitettura si
di nuovo aperta, come un germoglio. Gli architetti di Project
Meganom, cresciuti ed educati nel periodo sovietico, si sono
tenuti lontani da questioni politiche e sociali e si dedicano
principalmente agli aspetti formali dellarchitettura. Essi
vogliono sviluppare uno stile russo che emerga. Dicono che
c un aumento di interesse per larchitettura come disciplina
intellettuale. Fino a pochi anni fa, la gente ricercava solo case
confortevoli ed eleganti, ma coloro che curano lo sviluppo
sono ora divenuti consapevoli che larchitettura pu essere
usata per promuovere progetti e che le idee che stanno dietro
i disegni possono risvegliare linteresse della gente.
Project Meganom ha progettato anche le cinque ville che
circondano Villa Rose. La forma a X della pianta stata
scelta per ottenere un ottimo contatto con lambiente
naturale. I tetti leggermente spioventi, come colline, sono
concepiti per armonizzare le ville con la natura. Project
Meganom applica un approccio di scultura affinch il
complesso crei un basso impatto ambientale.
Gli architetti di Project Meganom abbinano spesso la forma
astratta con materiali come il legno e la pietra. Essi amano
questo contrasto, cos come fanno molti dei loro clienti.
Volevano darsi la possibilit di costruire un edificio
completamente bianco. Erano alla ricerca della luminosit e
delle giuste proporzioni. La luminosit non legata
necessariamente al vetro. In un contesto urbano, il vetro pu
essere un materiale pesante: i suoi riflessi e le sue ombre
monopolizzano lattenzione.
Meganom House un progetto immaginario e, in una parola
sola, riassume larchitettura del Project Meganom. Il concetto
non potrebbe essere pi semplice: una barra di vetro, met
della quale si protende da Cape Meganom sopra onde che si
infrangono, laltra met che penetra la montagna: freddo e
scuro allinterno e luminoso allesterno. Ci si potrebbe andare
come si andrebbe in una casa di vacanza: prendere parte a
qualcosa di speciale per essere immersi nella natura, il sole,
lacqua e, libero dalla materialit, provare la sensazione di
volare.

SALE DA CONCERTI
Al giorno doggi le sale da concerto sono usate come un mezzo
per creare spazi pubblici. Vie e piazze funzionano sempre
meno come spazi di questo genere, mentre le associazioni
culturali lo stanno divenendo sempre pi. Tre sale da concerti
recentemente costruite lo testimoniano. L Opera House di
Copenhagen e il Muziekgebouw aan t J/BIMhuis di
Amsterdam introducono spazi pubblici in quello che una volta
erano le banchine, mentre la Disney Concert Hall nel centro
di Los Angeles forse il primo passo verso la rivitalizzazione
di questarea desolata.
L Opera House di Copenhagen stata progettata
dallarchitetto danese Henning Larsen. E moderna ma la sua
grandezza e simmetria gli conferiscono un aspetto
monumentale. La sua collocazione nellassetto storico che si
estende da Amelinborg Square a Frederiks Church
contribuisce a renderla tale. Un tetto a travi tiene unite le
diverse parti e forma unenorme tenda creando una piazza
coperta sul lungomare. Dietro la vetrata del foyer, prorompe
misteriosamente lauditorio. Dai terrazzini attorno alla
vetrata, dei ponti passano attraverso lauditorio, dove Larsen
ha creato unatmosfera intima mediante lutilizzo di
terrazzini a forma di ferro di cavallo, di legno dacero e tessuti
felpati.
Il Muziekgebouw di Amsterdam stato progettato dallo
studio di architettura danese 3XNielsen. Anchesso ha un tetto
che si estende in unenorme tenda, proteggendo allesterno
il caff sottostante posto sul lungomare. Il concetto
semplice: tre volumi, due auditori ed una sezione uffici, tenuti
assieme dal tetto e dalla facciata di vetro. Gli spazi nel mezzo
sono affascinanti, di alta qualit come spazi interni. Il grande
auditorio una scatola nella scatola; anche grazie a questo,
lacustica ha la qualit da studio di registrazione. La qualit
del suono pu essere regolata alzando o abbassando il
soffitto.
Con le sue vele spiegate di acciaio brillante, il Disney Concert
Hall non somiglia affatto ad un normale edificio. Tra le vele,
lo spazio si rivela. Larchitetto americano Frank Gehry ha
collocato ledificio ad unangolatura obliqua e ha creato spazi
pubblici attorno ad esso. Anche gli atrii, che formano un
percorso complesso ed organico, con forme ad arbusto che
nascondono colonne di servizio, possono essere considerati
spazi pubblici. Lo stesso auditorio come una scatola ma
qualsiasi cosa in esso ondeggia ed impressa in forme
concave e convesse. Linsieme dominato da una calda
atmosfera creata dalla pineta.
ES
PT
FR
IT
Summary Summary
34
ARKITEKTUREN BLOMMAR UPP IGEN
Villa Rose byggdes till en brjan av tr och plast i naturlig
storlek. Arkitekterna p den ryska arkitektbyrn Project
Meganom ville att klienten skulle f uppleva hur fantastisk
deras id var ett hus gjort av glas, halvt genomskinligt och
omgivet av trd. Men att riva ned det igen var ocks viktigt
fr att visa att det i arkitektur endast r idn och formen som
kan 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. Arkitekterna
har hr koncentrerat sig p kontakten med naturen. Huset r
i huvudsak genomskinligt. Formen r rttfram och
oregelbunden med olika vinklar som ger tret annorlunda
utseenden. Interiren r lika spektakulr med mnga ppna
och osammanhngande utrymmen dr varje rum har sin
alldeles speciella atmosfr.
Alexandra Pavlova och Yuri Grigoryan vid Project Meganom
tycker att arkitektur ska vara mer n att bara bygga bo och
ge komfort. De tycker om att skapa kontrast och anser att
arkitektur r en konstform som ska frambringa knslor p
samma stt som film, sknlitteratur och musik. Om livet r
fr bekvmt blir det mindre intressant.
Project Meganom vill fortstta traditionen i den ryska
konstruktivismen. Under mer n ett halvt sekel styrdes varje
nytt initiativ i Ryssland av staten, men nu har arkitekturen
blommat upp igen. Arkitekterna i Project Meganom, som vxte
upp under den sovjetiska perioden, vill hlla sig ifrn politiska
och sociala frgor och i stllet koncentrera sig p de formella
aspekterna i arkitekturen. De vill utveckla en rysk stil som
skiljer sig frn mngden och menar att det finns ett kat
intresse fr arkitektur som intellektuell disciplin. Till fr ngra
r sedan ville mnniskor bara ha moderna, komfortabla hus,
men byggherrarna har nu blivit alltmer medvetna om att
arkitekturen kan gagna frsljningen av projekt och att idn
bakom designen kan vcka mnniskors intresse.
Project Meganom har ocks ritat de fem hus som omger Villa
Rose. X-formen valde man fr att f bsta mjliga kontakt
med den naturliga miljn. De svagt lutande taken pminner
om bergssluttningar och r gjorda fr att husen ska
harmonisera med naturen. Project Meganom tillmpar en
skulptural strategi fr att f byggnaderna att smlta in i
naturen.
Arkitekterna p Project Meganom kombinerar ofta abstrakta
former med material som tr och sten. De tycker om
kontraster, vilket ven mnga av deras klienter gr. Att f
gra en helt vit byggnad r ngot de grna skulle vilja f
tillflle till. De efterstrvar ljus och rtta proportioner. Men
ljus r inte alltid frknippat med glas. I urbana miljer kan
glas vara ett tungt material: dess reflexioner och mrker
fngar blicken.
Meganom House r ett fantasifullt projekt och sammanfattar
p ngot stt Project Meganoms arkitektur. Konceptet kan
inte vara enklare: en glasbalk dr den ena hlften skjuter ut
frn Kap Meganom ver de svallande vgorna och den andra
hlften trnger in i berget. Det r kallt och mrkt p insidan
och ljust p utsidan. Man skulle kunna se huset som en
semesterbostad, som ett stlle dit man ker fr att njuta av
det speciella, fr att uppleva naturen, solen, vattnet och fr
att frigra sig frn den konkreta verkligheten och f en knsla
av att man flyger.
KONSERTHALLAR
Nufrtiden anvnds konserthallar som ett stt att skapa
offentliga miljer. Gator och torg fungerar allt mindre som
sdana miljer, medan kulturella institutioner gr det i kad
utstrckning. Tre nyligen byggda konserthallar r bevis p
detta. Operahuset i Kpenhamn och Muziekgebouw aan t IJ/
BIMhuis i Amsterdam har skapat offentliga miljer i det som
tidigare var hamnkvarter, medan man kan se Disney Concert
Hall i Los Angeles centrum som ett frsta steg fr att ge ny
livskraft t detta dsliga omrde.
Operahuset i Kpenhamn r ritat av den danske arkitekten
Henning Larsen. Det r en modern byggnad, men tack vare
storslagenheten och symmetrin fr byggnaden ett
monumentalt utseende. Att den ligger p det historiska strk
som strcker sig frn Amalienborg till Frederikskirke bidrar
ocks till detta. Det utskjutande taket hller samman de olika
delarna och formar en enorm markis som tcker den ppna
platsen ut mot vattnet. Bakom glaset i foajn buktar auditoriet
ut p ett gtfullt stt. Frn balkonger runt glaset gr broar
igenom in till auditoriet. Henning Larsen har dr skapat en
intim atmosfr genom att anvnda hstskoformade balkonger,
lnntr och plysch.
Muziekgebouw i Amsterdam r ritat av den danska
arkitektfirman 3XNielsen. ven denna byggnad har ett
utskjutande tak. Hr ger det skydd t utomhuscafet mot
sjsidan. Designkonceptet r enkelt: tre enheter tv
auditorier och en kontorssektion som hlls samman av taket
och glasfasaden. Utrymmena mellan r hisnande och man kan
knappast tro att det r inomhusmiljer. Det stora auditoriet
r byggt som en box i en annan box, vilket r en av
anledningarna till att akustiken r av studiokvalitet.
Ljudkvaliteten kan justeras genom hjning och snkning av
taket.
Med sina svallande segel av glnsande stl ser Disney Concert
Hall knappast ut som en byggnad. Mellan seglen ppnar
utrymmet upp sig. Den amerikanske arkitekten Frank Gehry
har placerat byggnaden i en sned vinkel och skapat offentliga
miljer runt den. Foajerna, som bildar en komplex och
organisk vg med trdliknande former som dljer pelare med
serviceenheter, kan ocks betraktas som offentliga miljer.
Auditoriet r byggt som en box, men inuti r allt vgformat
och omslutet av konkava och konvexa former. Helheten
domineras av den varma atmosfr som skapas av furutr.
ARIKTEKTUR ER SOM EN BLOMST SOM
BLOMSTRER IGJEN
Villa Rose ble frst bygd i tre og plast, som en modell i naturlig
strrelse. Arkitektene fra det russiske arkitektfirmaet Project
Meganom ville at klienten skulle oppleve hvor fantastisk ideen
deres var et semitransparent hus i glass omgitt av trr. Men
selve rivingen var ogs viktig. Den skulle vise at innenfor
arkitektur er det bare bygningens id og form som tler tidens
tann, og ikke dens materialisering.
Deretter ble Villa Rose gjenoppbygd i glass og betong. Huset
kan beskrives som en moderne dacha. Arkitektene har frst
og fremst fokusert p naturen, og villaen er hovedsakelig
transparent. Formen er frimodig og uregelmessig, med ulike
vinkler som gir variert utsikt til skogen. Innredningen er like
spektakulr. pen og fragmentarisk romflelse, og hvert rom
utstrler en helt egen atmosfre.
Alexandra Pavlova og Yuri Grigoryan fra Project Meganom
mener at arkitektur handler om mer enn bare redebygging og
komfort. De liker skape kontraster. Arkitektur er en
kunstform, og br, i likhet med filmer, romaner og musikk,
framkalle flelser. Er livet for behagelig, blir det mindre
interessant.
Project Meganom nsker viderefre den russiske
konstruktivismen. I Russland ble i over et halvt rhundre
ethvert initiativ kvalt av staten, men n reiser arkitekturen
seg igjen som en spirende blomst. Arkitektene i Project
Meganom, som er oppvokst og utdannet i sovjettiden, unngr
politiske og samfunnskritiske temaer, og fokuserer mer p
arkitekturens formelle sider. De nsker utvikle en russisk
stil som skiller seg ut. De sier at det er en kende interesse
for arkitektur som intellektuell disiplin. Helt til noen f r
siden ville folk ha komfortable, moderne hus, men
eiendomsutviklerne ser n at arkitektur kan brukes til selge
prosjekter og at ideen bak design kan vekke folks interesse.
Project Meganom designet ogs de fem villaene rundt Villa
Rose. X-formen ble valgt for oppn optimal kontakt med det
naturlige miljet. De lett skrnende takene ligner bakker, og
skal harmonisere med naturen. Project Meganom bruker en
skulpturell tilnrming for bringe bygningene nrmere
naturen.
Arkitektene i Project Meganom kombinerer ofte abstrakt form
med materialer som tre og stein. De liker denne kontrasten,
og det gjr mange av klientene deres ogs. De kunne godt
tenke seg skape en helt hvit bygning. De sker letthet og
riktige proporsjoner. Letthet er ikke ndvendigvis knyttet til
glass. I en urban sammenheng kan glass vre et tungt
materiale, der refleksjon og mrkhet fanger yet.
Meganom House er et imaginrt prosjekt og oppsummerer
p sett og vis Project Meganoms arkitektur. Konseptet kunne
ikke vrt enklere. En glassbjelke, hvor den ene halvdelen
stikker ut over blgene fra Cape Meganom, og den andre
halvdelen bryter gjennom fjellet. Inne er det mrkt og kjlig,
og ute er det lyst. Man besker det p samme mte som man
ville beskt en feriebolig. Man nsker ta del i noe spesielt,
oppleve naturen, solen, sjen og befri seg fra den materielle
verden f flelsen av fly.
KONSERTSALER
I dag brukes konsertsaler til skape offentlige rom. Gater og
torg fungerer i stadig mindre grad som slike rom, mens
kulturinstitusjoner i strre grad fr denne funksjonen. Denne
tendensen illustreres av tre nye konsertsaler. Operahuset i
Kbenhavn og Muziekgebouw aan t IJ/BIMhuis i Amsterdam
introduserer offentlige rom p tidligere havneomrder, mens
Disney Concert Hall i sentrum av Los Angeles kanskje er det
frste steget mot gjenopplivningen av dette forlatte omrdet.
Operahuset i Kbenhavn er tegnet av den danske arkitekten
Henning Larsen. Bygget er moderne, men strrelsen og
symmetrien gir det et storsltt preg. Dette inntrykket
forsterkes av beliggenheten p den historiske akse, som
strekker seg fra Amalienborg slottsplass til Frederikskirken.
Et framspringende tak holder de forskjellige delene sammen
og danner en enorm markise, som skaper en overdekket plass
ut mot vannet. Bak glasset i foajeen svulmer auditoriet
gtefullt ut. Fra balkonger rundt glasset skjrer broer
gjennom auditoriet, der Larsen har skapt en intim atmosfre
ved hjelp av hesteskoformede balkonger, lnnetre og plysj.
Muziekgebouw i Amsterdam er tegnet av det danske
arkitektfirmaet 3XNielsen. Dette bygget har ogs et tak som
fortsetter ut i en enorm markise og danner en beskyttende
vinge over utendrskafeen ved kaien nedenfor. Designkonseptet
er enkelt. Tre volumer to auditorier og en kontoravdeling
holdt sammen av taket og glassfasaden. Rommene imellom
er praktfulle, og kan neppe betegnes som innendrsrom. Det
store auditoriet er en boks inne i en boks, noe som bidrar til
den gode akustikken i studiokvalitet. Lydkvaliteten kan
reguleres ved heve eller senke taket.
Med sine blgende seil av skinnende stl ligner Disney Concert
Hall nrmest ikke en bygning. Mellom seilene pner rommet
seg. Den amerikanske arkitekten Frank Gehry plasserte
bygningen i en skr vinkel og skapte et offentlig rom rundt
det. Foajeene som danner et komplekst og organisk spor
med trelignende former som skjuler servicesylene - kan ogs
betraktes som offentlige rom. Selve auditoriet ligner en kasse,
men innvendig er alt blgende og innebygd i konkave og
konvekse former. Helhetsinntrykket domineres av en varm
atmosfre, skapt av furutre.
ARKITEKTUREN ER SOM EN BLOMST, DER
BLOMSTRER IGEN
Villa Rose blev frst bygget af tr og plast i naturlig strrelse.
Arkitekterne fra det russiske arkitektfirma Projekt Meganom
nskede, at deres klient skulle opleve, hvor fantastisk deres
id var: et hus bygget i glas, halvtransparent, omgivet af
trer. Ved nedrivningen var det desuden vigtigt at vise, at
inden for arkitektur er det kun en bygnings id og form, der
kan modst tidens tand, ikke dens materialisering.
Efterflgende blev Villa Rose genopbygget i glas og beton.
Huset kan beskrives som en moderne dacha. Arkitekterne har
frst og fremmest fokuseret p kontakten med naturen.
Villaen er hovedsageligt transparent og formen er frimodig
og uregelmssig med forskellige vinkler, som giver
forskellige udsigter til skoven. Interiret er tilsvarende
storslet: Rummet er bent og segmenteret, og hvert rum
udstrler en srlig atmosfre.
Alexandra Pavlova og Yuri Grigoryan fra Projekt Meganom
mener, at arkitektur handler om mere end blot at bygge rede
og opn komfort. De kan lide at skabe kontraster. Arkitektur
er en kunstform, og den skal ligesom film, romaner og musik
skabe flelser. Hvis livet er for bekvemt, bliver det mindre
interessant.
Projekt Meganom nsker at fortstte den russiske
konstruktivisme-tradition. I mere end et halvt rhundrede
blev ethvert initiativ, der blev taget i Rusland, kvalt af staten,
men nu rejser arkitekturen sig igen som en spirende
blomsterknop. Arkitekterne i Projekt Meganom, som er
opvokset og uddannet i Sovjettiden, holder sig fra politiske
og sociale emner og beskftiger sig hovedsageligt med
arkitekturens formelle sider. De nsker at udvikle en russisk
stil, som skiller sig ud. De siger, at der er en stigende interesse
for arkitektur som en intellektuel disciplin. Indtil for f r
siden ville folk bare have komfortable, moderne huse, men
bygherrerne er nu blevet opmrksomme p, at arkitektur kan
bruges til at slge projekter, og at iden bag design kan
vkke folks interesse.
Projekt Meganom har ogs tegnet de fire villaer omkring Villa
Rose. Planens X-form er valgt for at opn optimal kontakt med
det naturlige milj. De bakkelignende, let skrnende tage har
til forml at bringe villaerne i harmoni med naturen. Project
Meganom anvender en skulpturel metode til at bringe deres
bygninger nrmere naturen.
Arkitekterne i Project Meganom kombinerer ofte den
abstrakte form med materialer som tr og sten. De holder af
kontrasten, og det gr mange af deres klienter ogs. De vil
gerne have muligheden for at skabe en helt hvid bygning. De
sger lethed og de rigtige proportioner. Lethed hnger ikke
ndvendigvis sammen med glas. I en bymssig sammenhng
kan glas godt vre et tungt materiale: Refleksionerne og
mrket fanger jet.
Meganom House er et imaginrt projekt, og p en mde
opsummerer det Project Meganoms arkitektur. Konceptet kan
ikke vre mere enkelt: En glasbjlke, hvoraf halvdelen
stikker ud fra Cape Meganom over blgerne, der brydes, og
den anden halvdel bryder gennem bjerget: Indenfor er der
kligt og mrkt, og udenfor er der lyst. Man besger det p
samme mde, som nr man besger en feriebolig: Man nsker
at f del i noget srligt og at opleve naturen, solen, vandet
og at befri sig for den materielle verden at f flelsen af,
at man flyver.
KONCERTSALE
I dag bruges koncertsale til at skabe offentlige rum. Gader
og pladser fungerer i stadig mindre grad som sdanne rum,
mens kulturinstitutionerne i stadig hjere grad fr denne
funktion. Denne tendens illustreres i tre koncertsale, der er
bygget for nylig. Operahuset i Kbenhavn og Muziekgebouw
aan t IJ/BIMhuis i Amsterdam anlagt p tidligere
havneomrder, og Disney Concert Hall i centrum af Los
Angeles er muligvis det frste tiltag i genoplivningen af disse
affolkede omrder.
Operahuset i Kbenhavn er tegnet af den danske arkitekt
Henning Larsen. Det er moderne, men strrelsen og
symmetrien giver det en monumental fremtrden. Dette
forstrkes af beliggenheden p den historiske akse, som
strkker sig fra Amalienborg slotsplads til Frederikskirken.
Et udkraget tag holder de forskellige dele sammen og danner
en enorm markise, som skaber en overdkket plads ved
havnefronten. Bag foyerens glas buler auditoriet gdefuldt
ud. Fra balkoner rundt om glasset skrer broer gennem
auditoriet, hvor Henning Larsen har skabt en intim atmosfre
ved hjlp af hesteskoformede balkoner, ahorntr og plys.
Muziekgebouw i Amsterdam er tegnet af det danske
arkitektfirma 3XNielsen. Det har ogs et tag, som fortstter
ud i en enorm markise og danner en beskyttende vinge over
den udendrs caf ved kajen nedenfor. Designkonceptet er
enkelt: tre volumener to auditorier og et kontorafsnit holdt
sammen af taget og glasfacaden. De mellemliggende rum er
betagende og kan nppe betegnes som indendrs rum. Det
store auditorium er en boks inden i en boks, og delvis af denne
grund er lyden af studiekvalitet. Lydkvaliteten kan justeres
ved at hve eller snke taget.
Med sine blgende sejl af skinnende stl ligner Disney Concert
Hall nsten ikke en bygning. Mellem seglene bner rummet
sig. Den amerikanske arkitekt Frank Gehry har placeret
bygningen i en skr vinkel og skabt et offentligt rum omkring
den. Foyererne som danner et komplekst og organisk spor
med trlignende former, som skjuler servicesjlerne kan
ogs betragtes som offentlige rum. Selve auditoriet ligner en
kasse, men indvendigt er alt blget og indbygget i konkave og
konvekse former. Helhedsindtrykket domineres af en varm
atmosfre, som er som er skabt i fyrretr.
ARKKITEHTUURI ON KUIN KUKKA,
JOKA KUKKII JLLEEN
Villa Rosesta tehtiin aluksi luonnollisessa koossa oleva malli
puusta ja muovista. Venlisen arkkitehtitoimiston Project
Meganomin arkkitehdit halusivat asiakkaansa kokevan,
kuinka hieno toimiston idea oli: puoliksi lpinkyv, lasista
tehty talo, joka on puiden ymprim. Talon purkamisella
haluttiin mys osoittaa, ett arkkitehtuurissa vain idea ja
muoto, ei niiden aineellistuma, kestvt ajan hammasta.
Myhemmin Villa Rose rakennettiin uudelleen lasista ja
betonista. Taloa voidaan pit modernina datana. Yhteys
luontoon on arkkitehtien ppainopiste. Rakennus on posin
lpinkyv. Se on muodoiltaan suorasukainen ja
epsnnllinen, ja lukuisat kulmat tarjoavat erilaisia
nkaloja metsn. Sistilat ovat yht upeat:tila on avoin ja
pirstaleinen ja jokaisella huoneella on oma, erityinen
ilmapiirins.
Alexandra Pavlova ja Yuri Grigoryan Project Meganom -
toimistosta ovat sit mielt, ett arkkitehtuuri on enemmn
kuin pelkk pesnrakennusta ja mukavuuden luontia. He
pitvt kontrastien luomisesta. Arkkitehtuuri on taidemuoto
ja sen tulisi hertt tunteita elokuvien, romaanien ja musiikin
tavoin. Jos elm muuttuu liian miellyttvksi, se menett
mielenkiintoaan.
Project Meganom haluaa jatkaa venlisen konstruktivismin
perinnett. Yli puolen vuosisadan ajan valtio tukahdutti
jokaisen aloitteen Venjll, mutta nyt arkkitehtuuri on
avautumassa uudelleen, kuten nupullaan oleva kukka. Project
Meganom -toimiston arkkitehdit, jotka kasvoivat ja
kouluttautuivat neuvostoajalla, pysyvt erossa poliittisista ja
sosiaalisista kysymyksist ja ovat enimmkseen kiinnostuneita
arkkitehtuurin muotoja koskevista seikoista. He haluavat
kehitt venlisen tyylin, joka erottuu edukseen.
Arkkitehtien mukaan kiinnostus arkkitehtuuria kohtaan
intellektuellina tiedonalana kasvaa. Viel muutama vuosi
sitten ihmiset halusivat vain mukavia ja muodikkaita taloja,
mutta nyt rakennuttajat ovat ymmrtneet, ett
arkkitehtuurin avulla voi myyd projekteja ja ett idea
suunnittelun takana voi hertt ihmisten kiinnostuksen.
Project Meganom suunnitteli mys Villa Rosea ymprivt
viisi muuta huvilaa. Rakennussuunnitelmalle valittiin X-
muoto, jotta voitaisiin luoda paras mahdollinen yhteys
luonnolliseen ympristn. Hieman viistojen, mkien
kaltaisten kattojen tarkoituksena on sulauttaa huvilat
luontoon. Project Meganom tuo rakennuksensa lhemms
luontoa soveltamalla kuvanveiston lhestymistapaa.
Toimiston arkkitehdit yhdistelevt usein abstrakteja muotoja
puun ja kiven kaltaisten materiaalien kanssa. Kontrasti
miellytt heit, kuten monia heidn asiakkaitaankin.
Arkkitehdit toivoisivat saavansa tilaisuuden tehd kokonaan
valkoisen rakennuksen. He etsivt valoisuutta ja oikeita
suhteita. Valoisuus ei vlttmtt liity lasiin. Urbaanissa
ympristss lasi voi olla raskas materiaali, sillsen
heijastukset ja tummuus voivat pist silmn.
Meganom House on kuvitteellinen projekti, joka on tavallaan
yhteenveto Project Meganomin arkkitehtuurista. Konsepti ei
voisi olla yksinkertaisempi:lasipalkki, josta puolet tyntyy
esiin Cape Meganomista rantaan lyvien aaltojen ylle ja toinen
puoli porautuu vuoren sisn. Sisll on viile ja pime ja
ulkona valoisaa. Lomanviettopaikan tavoin siell voisi olla osa
jotain erityist ja tuntea luonnon, auringon, veden sek kokea
lentmisen tunteen vapautuneena aineellisuudesta.
KONSERTTISALIT
Nykyn konserttisaleja luodaan mys julkisiksi tiloiksi. Kadut
ja aukiot toimivat yh vhemmn julkisina tiloina, kun taas
kulttuuri-instituutiot kasvattavat rooliaan kokoontumispaikkoina.
Kolme skettin rakennettua konserttisalia ovat esimerkkej
tst. Kpenhaminan oopperatalo ja Muziekgebouw aan t
IJ/BIMhuis Amsterdamissa on rakennettu entisille satama-
alueille. Disney Concert Hall Los Angelesissa on puolestaan
rakennettu keskikaupungille, mik on ehk ensimminen askel
kolkon alueen piristmisess.
Kpenhaminan oopperatalon suunnitteli tanskalainen
arkkitehti Henning Larsen. Talo on moderni, mutta suuruus ja
symmetria tekevt siit monumentaalisen. Monumentaalisuutta
korostaa oopperatalon sijainti Amalienborgin aukiolta
Marmorikirkolle ulottuvalla historiallisella akselilla. Ulkoneva
katto kokoaa rakennuksen osat yhteen ja muodostaa valtavan
katoksen, jonka alle syntyy katettu aukio veden relle.
Oopperasali tyntyy arvoituksellisesti esiin eteishallin lasin
takaa. Lasia ymprivilt parvilta sillat halkovat tiens
oopperasaliin, jonne Larsen on luonut intiimin tunnelman
hevosenkengn muotoisilla parvilla, vaahterapuulla ja
plyysill.
Amsterdamin Muziekgebouwn on suunnitellut tanskalainen
arkkitehtitoimisto 3XNielsen. Mys siin on katto, joka jatkuu
pitkn katoksena ja tarjoaa suojaavan siiven alapuolella
veden rell olevalle kahvilalle. Suunnittelu on
yksinkertainen: talo koostuu kolmesta osasta, kahdesta
oopperasalista ja toimisto-osastosta, jotka katto ja lasinen
julkisivu kokoavat yhteen. Vlitilat ovat henkesalpaavia, ja
niit on vaikea uskoa sistiloiksi. Suuri oopperasali on
laatikko laatikon sisll, ja osaksi tmn ansiosta akustiikka
on studiolaatuista. nen laatua voidaan st nostamalla
tai laskemalla kattoa.
Kirkkaine terspurjeineen Disney Concert Hall hdintuskin
nytt rakennukselta. Purjeiden vliss tila avautuu.
Yhdysvaltalainen arkkitehti Frank Gehry sijoitti rakennuksen
vinokulmaan ja loi julkisen tilan sen ymprille. Mys
monimutkaisen ja yhtenisen linjan muodostavia eteishalleja
puunmuotoisine tukipylvineen voidaan pit julkisina tiloina.
Itse oopperasali on kuin laatikko, mutta kaikki sen sisll
aaltoilee ja sulkee sisns koveria ja kuperia muotoja.
Kokonaisuutta hallitsee mntypuun tuoma lmmin ilmapiiri.
SE
NO
DK
FI
Summary
35
Summary
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ARKITEKTR ER EINS OG BLM SEM AFTUR
FR A BLMSTRA
Villa Rosa var fyrst byggt r tr og plasti sem lkan fullri
str. Arkitektar rssnesku arkitektastofunnar Project
Meganom vildu a viskiptavinur eirra gti skynja hversu
vintraleg hugmynd eirra vri: Glerhs, hlfgegnstt og
umluki trjm. En a var lka mikilvgt a taka a sundur
til a sna a arkitektr er a aeins hugmyndin og formi
sem stenst tmans tnn, ekki hlutgervingin.
En Villa Rosa var san byggt r gleri og steinsteypu. a m
lta hsi sem ntma dacha ea sveitasetur.
Meginhersla arkitektanna liggur snertingunni vi
nttruna. Byggingin er a mestu gegns. Lgun hennar er
bi heft og reglulegt og mismunandi sjnarhorn skapa
fjlbreytilega sn til skgarins. A innanveru er byggingin
jafn strfengleg; rmi opi en broti upp og hvert herbergi
hefur sitt eigi andrmsloft.
Alexandra Pavlova og Yuri Grigoryan starfa hj Project
Meganom. A eirra liti snst arkitektr um meira en bara
hreiurger og gindi. au vilja skapa andstur.
Arkitektr er listgrein og tti , svipa og kvikmyndir,
bkmenntir og tnlist a vekja tilfinningar. Ef lfi er of
gilegt verur a ekki jafn hugavert.
Arkitektarnir hj Project Meganom vilja vihalda hefunum
rssneskri byggingarstefnu. meira en hlfa ld var srhvert
frumkvi Rsslandi kft af rksivaldinu en n er
arkitektrinn a vakna til lfsins aftur eins og jurt vi blmgun.
Arkitektarnir hj Project Meganom voru aldir upp og
menntair tmum Sovtrkjanna en halda sig n fjarri
stjrnmla-og samflagsumru. eir hafa mestan huga
hinni formlegu hli arkitektrs og vilja ra rssneskan stl
sem veri lkur rum. eir segja a a gti aukins huga
arkitektr sem gunar hugsun og skilningi. ar til fyrir
fum rum vildi flk aeins gileg ntmaleg hs en n hafa
byggingaverktakar gert sr grein fyrir v a arkitektr getur
selt eignir og a hugmynd a baki hnnunar getur vaki huga
flks.
Project Meganom teiknai lka einblishsin fimm umhverfis
Villa Rosa. Grunnteikningin er X-laga til a tryggja sem mesta
nlgun vi nttrulegt umhverfi. kin eru hf ltillega
hallandi lkt og htt landslag til a mynda sem best
samrmi vi nttrulegt umhverfi. Me nlgun
myndhggvarans tengir Project Meganom byggingar snar
nttrunni enn betur.
Arkitektarnir hj Project Meganom sameina oft hlutst
form vi efni eins og tr og stein. Andstan heillar eins
og reyndar marga viskiptavini eirra. eir vildu gjarnan f
tkifri til a a byggja algjrlega hvtt hs og leita eftir
lttleika og rttum hlutfllum. Lttleiki tengist ekki endilega
gleri. borgarsamflagi getur glerinu fylgt ungi; bi
speglun ess og myrkur grpa athygli manns.
Meganom House er mynda verkefni og snir vissan htt
kjarnann arkitektr Meganoms. Hugmyndin gti vart veri
einfaldari: Glertangi sem gengur hlfur t r
Meganomhfanum, t yfir ldurti en a hlfu leyti inn
fjalli. a er svalt og skuggslt inni og bjart ti. Eins og
sumarathvarf; fer anga til a taka tt einhverju
srstku og upplifa nttruna, slina og vatni , finna hvernig
losnar um fjtra efnisins,hefja sig til flugs.
TNLEIKASALIR
N tmum er tnleikahsum tla a skapa
almenningssvi. Torg og strti gegna essu hlutverki
minna mli en ess meiri er hlutur menningarstofnana. etta
m glgglega sj remur nreistum tnleikahsum.
peruhsi Kaupmannahfn og Muziekgebouw aan t IJ/
BIMhuis in Amsterdam ba til mannlfstorg ar sem ur voru
bryggjuhverfi og Disney tnleikahsi miborg Los Angeles
er ef til vill fyrsta skrefi a blsa lfi a eyiland.
peruhsi Kaupmannahfn var teikna af danska
arkitektinum Henning Larsen. a er ntskulegt en tign ess
og formfegur lj v sgulegan mikilfengleika. Og
stasetningin styur essa sgulegu tilvsun v byggingin er
stasett lnu sem liggur fr hallartorgi Amelenborgar til
Fririkskirkju. aki sem hvlir svifbitum tengir saman hina
mismunandi hluta .a myndar geysistrt skyggni og vi a
verur til vel sklt torg vi sjvarbakkann. A baki glerveggja
anddyrisins hvelfist tnleikasalurinn t dulugan htt. Fr
svlum glerveggjanna liggja brr yfir tnleikasalinn ar sem
Larsen hefur skapa hllegt andrmsloft me skeifulaga
svlum, hlyn og plussi.
Muziekgebouw Amsterdam var teikna af danska
arkitektafyrirtkinu 3XNielsen. ar er lka um a ra ak
sem teygist t grarstrt skyggni og myndar annig skjl
fyrir tikaffihsi sjvarbakkanum. Hugmyndin er einfld og
byggist remur einingum; tveimur tnleikaslum og
skrifstofueiningu, tengdum saman me akinu og framhli r
gleri. Rmi ar milli er svo strfenglegt a varla er hgt
a tala um innanhssrmi. Strri tnleikasalurinn er hlf inn
ru hlfi og a er a hluta til sta ess a
hljmbururinn er svipaur og hljveri. Hljmblnum m
svo breyta me v a hkka ea lkka lofti.
Disney tnlistarhsi lkist eiginlega ekki byggingu me snum
ndu, glampandi stlseglum. milli seglanna opnast san
rmi. Bandarski arkitektinn Frank Gehry stasetti
bygginguna hallandi lnu og me opnu svi allt um kring.
a m lka lta anddyrin sem opin almenningssvi en au
mynda margbreytilega og lifandi braut me trjlaga formum
ar sem jnustulmurnar leynast. Tnleikasalurinn sjlfur
er kassalaga en a innanveru bylgjast yfirbori hvolfu
og kptu formi. Hlleiki furunnar sr san um a gefa heildinni
hllegan bl.
JP
KR
CN
IS
Summary
35
Summary
34
Forbo Linoleum B.V.
P.O. Box 13
1560 AA Krommenie
The Netherlands
Tel. +31 75 647 74 77
Fax +31 75 647 77 01
contact@forbo.com
www.forbo-flooring.com