практикум архитектура (2015)

Министерство образования и науки Российской Федерации
Федеральное государственное бюджетное образовательное учреждение
высшего профессионального образования
«УФИМСКИЙ ГОСУДАРСТВЕННЫЙ НЕФТЯНОЙ
ТЕХНИЧЕСКИЙ УНИВЕРСИТЕТ»
Кафедра иностранных языков
Prominent architects and their most iconic buildings
Тексты для внеаудиторного чтения
по направлению «Архитектура»
Практикум
Уфа-2015
1

Данный практикум предназначен для самостоятельной работы студентов
первого курса специальности 07.03.01 «Архитектура» с целью обучения чтению
и переводу иностранной литературы во внеаудиторное время.
Все тексты имеют подробный предтекстовый словарь и поясняющие
примечания; задания к тексту в виде вопросов, направлены на контроль
понимания текста, поиск конкретных данных, извлечение необходимой
информации и ее использование в соответствии с коммуникативными
задачами.
Составители: А.Х. Ишмухаметова, преподаватель
Е.И. Сухарева, преподаватель
Рецензенты: А.Р.Арсланова ст. преподаватель, канд. фил. наук каф. ин.яз.
Н.Б. Шарифуллина, ст. преподаватель каф. ин.яз.
© Уфимский государственный нефтяной технический университет, 2015
2

CONTENTS
Text 1. Frank Gehry………………………………………………………………..4
Text 2. Frank Gehry’s Architecture………………………………………………..7
Text 3. Zaha Hadid………………………………………………………………..12
Text 4. Zaha Hadid’s Architecture………………………………………………..15
Text 5.Santiago Calatrava………………………………………………………...19
Text 6. Santiago Calatrava’s architecture…………………………………………22
Text7.Massimiliano Fuksas……………………………………………….............30
Text 8. Architecture of Massimiliano Fuksas……………………………………..33
Text 9.Arata Isozaki………………………………………………………............38
Text 10.Architecture of Arata Isozaki…………………………………….. ……..41
Active vocabulary…………………………………………………………………47
References………………………………………………………………………...58
3

Text 1. Frank Gehry (4,167)
“I'm not going to retire; I'll just keep going…”
I. Learn the following words and expressions:
1. bold [bəʊld] – отважный, смелый, энергичный
2. brash [bræʃ] – дерзкий, поспешный, опрометчивый
3. cardboard [ˈkɑːdbɔːd] – картон
4. celebrity [sɪˈlɛbrɪtɪ] – знаменитость, звезда
5. chain-link fencing – сетка - рабица
6. challenge [ˈtʃælɪndʒ] – подвергать сомнению, бросать вызов
7. clutter [ˈklʌtə] – суматоха, беспорядок, хаос
8. concrete [ˈkɒŋkriːt] – бетон
9. corrugated [ˈkɒrəɡeɪtɪd] – гофрированный, рифленый
10.creation [krɪˈeɪʃ(ə)n] – созидание, творчество, творение
11.design [dɪˈzaɪn] – план, проект, проектирование, проектировать
12.employee [ˌɪmplɔɪˈi:] – рабочий, служащий, работающий по найму
13.encourage [ɪnˈkʌrɪdʒ] – ободрять, поощрять, поддерживать
14.enroll [ɪnˈrəʊl] – записываться, зачисляться
15.entire [ɪnˈtaɪə] – полный, целый, весь
16.extended family – большая семья
17.fame [feɪm] – популярность, слава
18.gambling [ˈɡæmblɪŋ] – азартные игры, игра на деньги
19.hardship [ˈhɑːdʃɪp] – трудности, неприятности
20.heart attack [ˈhɑːt əˌtæk] – сердечный приступ
21.influence [ˈɪnflʊən(t)s] – влияние, воздействие, воздействовать
22.introduce – вводить, внедрять, представлять, знакомить
23.iron [ˈaɪən] – железо, железный
24.itch to do sth [ɪtʃ] – испытывать нетерпеливое желание сделать что-
либо
25. mainstream [ˈmeɪnstriːm] – главное направление(зд.в искусстве)
26.maverick [ˈmæv(ə)rɪk] – «белая ворона», диссидент, инакомыслящий
27.mining [ˈmaɪnɪŋ] – горное дело, горная промышленность
28.motif [məʊˈtiːf] – лейтмотив, главная мысль, мотив, элемент орнамента
29.plywood [ˈplaɪwʊd] – фанера
30.recuperate [rɪˈkjuːp(ə)reɪt] – восстанавливать, возмещать
31.regret [rɪˈɡrɛt] – сожалеть, испытывать сожаление
32.rumpled [ˈrʌmpld] – потрепанный, помятый
33.savings – сбережения
34.scavenge [ˈskævɪndʒ] – копаться в мусоре, чистить, очищать
35.scenery [ˈsiːn(ə)rɪ] – пейзаж, ландшафт, вид
36.soft-spoken [ˈsɒftˌspəʊk(ə)n] – любезный, учтивый
37.supervise – заведовать, руководить
38.unpretentious [ˌʌnprɪˈtɛn(t)ʃəs] – скромный, простой
39.weird [wɪəd] – странный, чудной
40.wood shavings – стружки
4

II. Mind the pronunciation of the following words:
Spain [speɪn], Jewish [ˈdʒuːɪʃ], Sabbath [ˈsæbəθ], Southern [ˈsʌðən],
Massachusetts [ˌmæsəˈtʃuːsɪts], Canada [ˈkænədə], Toronto [təˈrɒntəʊ],
Guggenheim [ˈɡʊɡənhaɪm], California [ˌkælɪˈfɔːnɪə], Bilbao [bɪlˈbɑːəʊ],
stenographer [stəˈnɒɡrəfə], gefilte fish [ɡəˈfɪltəˈfɪʃ], machine [məˈʃiːn],
geometric [ˌdʒɪəˈmɛtrɪk], investment [ɪnˈvɛstmənt], whimsical [ˈwɪmzɪk(ə)l].
III. Read and translate the text. Write out twenty more new words from the text
and learn them.
Frank Gehry
Over the years many adjectives have been used to
describe Frank Gehry's creations, including forward-
looking, astonishing, and weird. Anything but
ordinary, Gehry challenged the mainstream in the
1970s and 1980s when he used everyday materials
such as cardboard to make furniture, and chain-link
fencing to construct buildings. Collectors sought his
whimsical lamps and chairs, and Gehry-designed
office buildings and homes were scattered in cities all
over the world, but the maverick architect did not
achieve real fame until the late 1990s. The Guggenheim Museum in Bilbao, Spain,
unveiled by Gehry in 1997, made him a celebrity at the age of sixty-eight. Since then,
countless urban commissions have come Gehry's way, and he is considered to be one
of the most important and innovative architects of the twenty-first century.
Frank Gehry was born Ephraim Goldberg on February 28, 1929, in Toronto,
Canada. He and his sister, Doreen, were raised in a small mining town in eastern
Ontario, by the extended Goldberg family. Father Irving was a former boxer who
traveled selling pinball and slot machines. Sometimes Gehry would make sales calls
with his father, which meant that he made frequent stops at bars at a very young age.
Once Gehry said, “But my mother took me to concerts and introduced me to art, so
there was a balance.”
Gehry also considers his grandmother to be an early influence. He fondly
remembers building imaginary cities with her using wood shavings scavenged from
his grandfather's hardware store. He also remembers the carp that his grandmother let
swim around in the family bathtub on Friday nights. The Goldbergs were Jewish and
gefilte fish was a favourite for Sabbath, or Saturday night, dinner. In later years
Gehry regularly used fish motifs in many of his designs. “I never intended “to build
fish,”Gehry told to the journalists, “In my mind, I say 'Enough with the fish.' But it
has a life of its own.”
By the mid-1940s the family was experiencing hardships on several fronts.
Following World War II (1939–45), the Canadian government began cracking down
on gambling and Irving Goldberg's business suffered. At the same time the family
lost most of their savings as a result of some bad investments. Then, in 1947,
Goldberg suffered a heart attack, which was severe enough that his doctor suggested
5

a change of scenery to help him recuperate. As a result, the entire family left Canada
for Los Angeles, California. Gehry had just graduated from high school, and the
move proved to be an important one. He has lived the rest of his life in California,
and critics considered him to be very much a California designer – brash, bold, and
unpretentious.
Gehry took a job as a truck driver in order to pay for night-school art classes
and eventually enrolled in the school of architecture at the University of Southern
California (USC). He was inspired to get a degree in architecture by one of his
teachers who invited him to visit a construction site. “I was quite moved by watching
the architect walking around, supervising, by the things he was worried about,”
Gehry recalled himself. In 1952 Gehry married his first wife; a stenographer who
helped put him through school. The two were married for sixteen years and had two
daughters. According to Gehry his wife encouraged him to change his name. Gehry
was taunted and beaten up when he was a boy in Toronto because he was Jewish, and
his wife feared the same for their children. He now regrets his decision. “I wouldn't
do it today,” Gehry said in one of his interviews.
After graduating from USC in 1954, Gehry had a one-year stint in the U.S.
Army. It was during this time that he began experimenting with furniture design since
his assignment was to make furniture for the enlisted soldiers. Gehry's designs were
so good that his tables and chairs usually ended up in the officers' quarters. He then
spent a year studying city planning at the Harvard Graduate School of Design, in
Cambridge, Massachusetts. In 1957 Gehry returned to California and worked for
several years with established architecture firms, before opening his own design firm
in 1962.
Gehry's early projects were fairly typical of the times and followed the
modernist style. Modernist architecture stressed clean, geometric lines, with no
clutter and no decoration. Simplicity was the key, functionality was the focus. Gehry
the artist, however, was itching to experiment. So he began using materials such as
unpainted plywood, rough concrete, and corrugated metal, all of which are usually
hidden after a house is “properly finished.”
At the moment Gehry still runs his studio, which has now grown to over 140
employees. In his spare time, the rumpled, soft-spoken artist enjoys sailing in the
Santa Monica Bay and playing ice hockey. He took up the sport at age sixty. Looking
ahead, he would like to become involved in urban renewal projects in Los Angeles
and New York. “I'm not going to retire,” Gehry told People magazine, “I'll just keep
going.”
Notes:
1. anything but ordinary – все что угодно только не быть как все
2. officers’ quarters - офицерские квартиры
3. after a house is properly finished – после завершения чистовой отделки
4. Bilbao - Бильбао (город в Испании)
5. it has a life of it’s own – это само собой получается
6. … put him through school – помогала ему оплачивать учебу
6

IV. Answer the following questions:
1. What adjectives are normally used to describe Frank Gehry and his buildings?
What can you say about his personality and his creations reading these
adjectives?
2. “There was a balance in my upbringing”, says Gehry. Explain these words.
3. How did his childhood influence the artist and his work?
4. What happened in the mid-1940s?
5. Was Gehry a goal-seeking person? Prove your point of view.
6. Why did he change his name? Does he regret it now?
7. What was the beginning of his career?
8. What are the typical features of modernism? What was Gehry’s attitude to
them?
9. What are Gehry’s plans for the future?
10.Retell the text, using active vocabulary.
Text 2. Frank Gehry’s Architecture (4,810)
1. aerial view [ˈɛərɪəl] – вид с воздуха, с высоты
2. auditorium [ˌɔːdɪˈtɔːrɪəm] – зрительный зал, аудитория, конференц-зал
3. bowling alley [ˈbəʊlɪŋˌælɪ] – площадка для игры в боулинг, кегельбан
4. capture [ˈkæptʃə] – поймать, схватить, увлечь, пленить
5. cascade [kæˈskeɪd] – каскад, небольшой водопад
6. clad [klæd] – облицовывать
7. cladding [ˈklædɪŋ] – облицовка, обшивка
8. controversy [ˈkɒntrəvɜːsɪ, kənˈtrɒvəsɪ] – спор, дискуссия, полемика
9. cozy [ˈkəʊzɪ] – удобный, уютный
10.deny [dɪˈnaɪ] – отрицать, отвергать
11.ensure [ɪnˈʃʊə] – обеспечивать, гарантировать, уверять
12.exhibition [ˌɛksɪˈbɪʃ(ə)n] – выставка
13.extraordinary [ɪkˈstrɔːd(ə)n(ə)rɪ] – выдающийся, исключительный
14.eye-catching [ˈaɪˌkætʃɪŋ] – привлекательный, бросающийся в глаза
15.fascinating [ˈfæsɪneɪtɪŋ ]– очаровательный, захватывающий
16.rear [rɪə] – зд. тыльная/задняя часть здания
17.immense [ɪˈmɛns] – огромный, колоссальный
18.in fits and starts – неравномерно, урывками
19.include – содержать, включать в себя
20.infuse [ɪnˈfjuːz] – вдохновлять, воодушевлять
21.leviathan[lɪˈvaɪəθ(ə)n] – громадина, гигант, великан
22.light/lit/lit – освещать, зажигать
23.limestone [ˈlaɪmstəʊn] – известняк
24.magic wand [wɒnd] – волшебная палочка
25.masterpiece [ˈmɑːstəpiːs] – шедевр
26.perplex [pəˈplɛks] – ставить в тупик, ошеломлять, сбивать столку
7

27.proposal [prəˈpəʊz(ə)l] – предложение, проект, предложение (о браке)
28.remit [rɪˈmɪt] – уменьшать, смягчать, ослаблять, пересылать, отправлять
29.revitalize [riːˈvaɪt(ə)laɪz] – оживлять, восстанавливать
30.riot [ˈraɪət] – бунт, восстание, буйство, пышность
31.rival [ˈraɪv(ə)l] – соперничать, конкурировать
32.sandstone [ˈsæn(d)stəʊn] – песчаник
33.severe [sɪˈvɪə] – строгий, суровый, требовательный
34.significant [sɪɡˈnɪfɪkənt] – важный, существенный
35.terrace [ˈtɛrɪs] – терраса, веранда
36.titanium [tɪˈteɪnɪəmˌ taɪˈteɪnɪəm] – титан, титановый
37.triumph [ˈtraɪəmf] – триумф, победа, торжество
38.unveil [ˌʌnˈveɪl] – снимать вуаль, торжественно открывать (памятник)
39.urban [ˈɜːbən] – городской
40.widow [ˈwɪdəʊ] – вдова
Bois de Boulogne [bwɑdebʊˈlɔn], Paris [ˈpærɪs], Douglas [ˈdʌɡləs], Miami [maɪ
ˈæmɪ], although [ɔːlˈðəʊ], millimeter [ˈmɪlɪˌmiːtə], alley [ˈælɪ], harmonious [hɑː
ˈməʊnɪəs], futurist [ˈfjuːtʃərɪst], philharmonic [ˌfɪləˈmɒnɪk], hullabaloo
[ˌhʌləbəˈluː], orchestra [ˈɔːkɪstrə].
and learn them.
Gehry's best-known works include the titanium-clad Guggenheim Museum in
Bilbao, Spain; Walt Disney Concert Hall in downtown Los Angeles; Louis Vuitton
Foundation in Paris, France; New World Center in Miami Beach and many others.
Built within the context of Bilbao Ria 2000 Plan to revitalize some industrial
areas of the city of Bilbao, the Guggenheim Museum was created. The Basque
Government’s brief was to have one of the most significant 20th century buildings,
and finally it was.
This masterpiece is a kind of urban sculpture that gives people the impression
of being a ship in the Nervión River, or even a metallic flower, from an aerial view. It
is set between two levels: the river level and the city level, 16 meters higher. The plot
is crossed by the Puente de la Salve bridge, embraced by a sculptural tower that
makes it part of the compound. It has wide stairs that connect again the two different
levels at the other side of the bridge.
The Guggenheim Museum in Bilbao, designed by Frank Gehry
This sculptural building is composed by different volumes with different uses
apart from the exhibition rooms: an auditorium, a library, offices, a café and a
restaurant.
Gehry used blocks of limestone, half-millimeter-thick titanium panels, glass
curtains and a water surface at the rear. Limestone represents the tradition (Deusto
University, on the other side of the river, is made of sandstone) and titanium panels
8

give the building a futurist image. On the inside, exhibition rooms are large enough to
show Modern Art, that includes great scale works, like Rosenquist and Warhol’s
pictures.
After his Guggenheim triumph, Gehry worked harder than ever, and in several
years he managed to create what many claim is a masterpiece to rival the
Guggenheim, the Walt Disney Concert Hall.
The project had been in the works since 1987 when Lillian Disney (1899–
1997), widow of American icon Walt Disney (1901–1966), decided to build a new
hall to house the Los Angeles Philharmonic. The following year Gehry won the
competition to design the hall, which was surprising at the time since he was still
known as the weird architect who used chain-link fencing. When faced with his
modern, spiraling designs, the ninety-year-old Disney was perplexed. Gehry won
here over by showing the inspiration for his design – a single white rose floating in a
bowl of water.
The Walt Disney Concert Hall, designed by Frank Gehry
Work on the hall went in fits and starts, stalled over the years by earthquakes,
riots, and a lack of funds. In 1997 Lillian Disney died, and many thought perhaps her
dream died with her. That same year, however, the Guggenheim opened and Gehry's
instant star status infused new life into the proposal. Funding came through, and
fifteen years after he began, Gehry unveiled the finished hall in October of 2003. The
structure looks like a cascade of shiny, metal ribbon unfurled against the sky.
In Time magazine, Gehry called it “a boat where the wind is behind you.” It is
especially unique because Gehry seems to have captured the essence of the hall's
namesake because the shining arcs bring to mind the magic wand of Disney dancing
in the air.
9

For the curving interior Gehry used Douglas fir to create comfortable, cozy
surroundings for concert-goers, who are also treated to floral-patterned cushioned
seats. The seat design is a tribute to Lillian Disney. In addition, since functionality is
so central, Gehry wanted the musicians to be happy. He worked closely with a
Japanese acoustics company to ensure that his design would provide a perfect
harmonious setting. One day while the orchestra was practicing, Gehry was in the
audience. “One of the bass players looked at me,” he recounted, “and gave me this
big thumbs up. That's when I knew it was all O.K.”
Louis Vuitton Foundation in Paris, designed by Frank Gehry
10

The construction of this new centre was started in 2006, designed by the
American-Canadian architect Frank Gehry. Built at a cost of $143 million, it was
opened in October 2014. It looks as Gehry intended – as though it is sailing down the
Bois de Boulogne. Although a privately owned venue at the moment it will pass into
the hands of the Paris government after 55 years.
The two story structure has 11 galleries of different sizes, a huge 350 seat
auditorium and multilevel roof terraces for events and art installations. Gehry had to
contain his design within the square footage and two story volume of a bowling alley
that previously stood on the site. His remit required that anything higher had to be
made of glass. Though it may have seemed difficult, the result is stunning; a
leviathan glass building that takes the form of sails inflated by the wind.
Like the pyramid before it at the Louvre, Gehry’s design for Louis Vuitton has
attracted controversy. Some love it, some hate it but all agree, this building is like
nothing Paris has seen before.
Some say this is Gehry’s attempt to recreate the Guggenheim Museum in
Bilbao – but in glass. Whatever the hullabaloo and however anyone feels about the
Louis Vuitton Fondation, there is no denying that it is a very eye-catching and
fascinating piece of architecture.
Inside there are exhibitions of contemporary art by the world’s top artists,
concerts will take place in the auditorium and the website shows a dynamic
programme of events.
Take the elevator to the fourth floor and walk around the terrace to get an
understanding of how this immense glass gallery was put together. What you will not
forget are the extraordinary views over the City, especially at night when the building
is lit up and Paris twinkles at your feet. There are other terraces, an excellent
exhibition of the plans of the museum with models showing what is inside and a film
showing how it was built.
Notes:
1. Walt Disney Concert Hall – концертный зал имени Уолта Диснея
2. Bois de Boulogne – Булонский лес
3. Louis Vuitton Foundation – фонд и музей Луи Виттон
4. Guggenheim Museum – Музей Гуггенхайма
5. New World Center – концертный зал Новый Мировой Центр в Майами
6. Deusto University – университет Деусто
7. The Nervión River – река Нервион
8. Douglas fir – дугласова пихта, лжетсуга тисолистная (вечнозелёное
хвойное дерево семейства cосновые)
9. in the works – в процессе разработки
1. What was the purpose of Guggenheim Museum’s creation?
2. What impression does this building give to people?
11

3. What building materials were used to construct this masterpiece? Why?
4. Describe Lillian Disney’s attitude to Gehry’s modern architecture. What did he
do to overcome this difficulty?
5. Describe the structure of The Walt Disney Concert Hall (use the active
vocabulary from the text).
6. Prove that Gehry is a Professional Architect who thinks about every detail.
7. What can one find inside the Louis Vuitton Foundation in Paris?
8. Do you agree with the words “leviathan glass building”? Why? Why not?
9. Would you like to visit one of those places described in Text 2?
10.What is your personal attitude to Frank Gehry’s architecture?
Text 3. Zaha Hadid (3,052)
“If architecture doesn't kill you, then you're no good…”
1. absorb [əbˈzɔːb,əbˈsɔːb] – поглощать, впитывать, улавливать
2. acclaim [əˈkleɪm] – объявлять, провозглашать, бурно
аплодировать
3. actual [ˈæktʃʊəl] – действительный, фактически существующий
4. afford [əˈfɔːd] – иметь возможность, давать, позволять себе
5. attend [əˈtɛnd] – посещать, присутствовать
6. chapel [ˈtʃæp(ə)l] – (небольшая) церковь, часовня
7. citizen [ˈsɪtɪz(ə)n] – гражданин, гражданка
8. civilization [ˌsɪv(ə)laɪˈzeɪʃ(ə)n] – цивилизация, цивилизованность
9. commission [kəˈmɪʃ(ə)n] – заказ (особ. художнику), поручение
10. contemporary [kənˈtɛm|p(ə)rərɪ] – современный, новый
11. demand [dɪˈmɑːnd] – потребность, спрос
12. dismiss [dɪsˈmɪs] – отпускать, отвергать, распускать
13. diverse [daɪˈvɜːs] – иной, многообразный, разнообразный
14. employ – предоставлять работу, нанимать сотрудников
15. enter the competition /the event – выступать в соревновании,
участвовать в состязании
16. executive [ɪɡˈzɛkjʊtɪv] – руководитель, руководящий работник
12

17. expect [ɪkˈspɛkt] – ожидать, ждать
18. focus [ˈfəʊkəs] – сосредоточивать, концентрироваться
19. give up [ˈɡɪvˈʌp] – оставить, отказаться, бросить
20. intend for – предназначать для чего-либо
21. interviewer [ˈɪntəvjuːə] – интервьюер, опрашивающий
22. jut out – выдаваться
23. marsh [mɑːʃ] – болото, топь
24. move to/into – переезжать
25. neighbor [ˈneɪbə]– сосед
26. nun [nʌn] – монахиня
27. one-of-a-kind [ˌwʌnəvəˈkaɪnd] – необычный, своеобразный
28. ongoing [ˈɒnˌɡəʊɪŋ] – продолжающийся, постоянный
29. outbreak [ˈaʊtbreɪk] – вспышка, внезапное появление, начало
30. pursue [pəˈsjuː] – преследовать, добиваться, избрать профессией
31. religious [rɪˈlɪdʒəs] – религиозный, относящийся к религии
32. reshape [ˌriːˈʃeɪp] – изменять форму, переделывать
33. retain [rɪˈteɪn] – удерживать, сдерживать
34. select [sɪˈlɛkt] – избранный, отборный, отбирать, выбирать
35. slope [sləʊp] – скат, склон, откос
36. stir up [ˈstɜː(r)ˈʌp] – расшевелить, разбудить, побуждать
37. suffer [ˈsʌfə] – страдать, испытывать, терпеть
38. ties – связи, узы
39. to keep up with – не отставать от кого-л., поспевать за кем-л.
40. violence [ˈvaɪələns] – жестокость, насилие
13

Baghdad [ˌbæɡˈdæd], Iraq [ɪˈrɑːk], Islamic [ɪzˈlæmɪk], Sumerian [suːˈmɪərɪən],
Catholic [ˈkæθ(ə)lɪk], Muslim [ˈmʊzlɪm], Beirut [beɪˈruːt], Lebanon
[ˈlɛbənən], Dutch [dʌtʃ], London [ˈlʌndən], Ohio [əʊˈhaɪəʊ], Cincinnati
[ˌsɪn(t)sɪˈnætɪ].
and learn them.
Zaha Hadid
For many years, her designs filled the pages of
architecture periodicals but were dismissed as impractical or
as too radical, and Hadid even thought about giving up
architecture after she suffered a major rejection in her
adopted homeland of Britain in 1995. Her star began to rise
internationally when her design for Cincinnati, Ohio's new
Center for Contemporary Art was selected and built, earning
worldwide acclaim. By the mid-2000s Hadid employed
nearly 150 people in her London office and was working
hard to keep up with new commissions that were coming in,
offering her a chance to help reshape the world architectural landscape.
Born in Baghdad, Iraq, on October 31, 1950, Zaha Hadid grew up in a well-
educated Islamic family. Her father was an executive and, for a time, the leader of a
liberal Iraqi political party. The drawing ability was first absorbed from her mother.
Hadid's interest in architecture had roots in a trip her family took to the ancient
Sumer region in southern Iraq, the site of one of the world's oldest civilizations,
when she was a teenager. “My father took us to see the Sumerian cities,” she told
Jonathan Glancey of London's Guardian newspaper. “Then we went by boat, and
then on a smaller one made of reeds, to visit villages in the marshes. The beauty of
the landscape – where sand, water, reeds, birds, buildings, and people all somehow
flowed together – has never left me. I'm trying to discover – invent, I suppose – an
architecture, and forms of urban planning, that do something of the same thing in a
contemporary way.”
Hadid attended a Catholic school where French was spoken and nuns served as
instructors, but which was religiously diverse. As Hadid told to one of the journalists,
“the Muslim and Jewish girls could go out to play when the other girls went to
chapel.” Hadid's family expected her to pursue a professional career, and she studied
math at the American University in Beirut, Lebanon. Her family left Iraq after the
rise of dictator Saddam Hussein and the outbreak of war with neighbouring Iran, but
she has retained ties to both Iraq and Lebanon and has at times had difficulty talking
to interviewers about the ongoing violence in her home region.
In 1972 Hadid moved to London (later becoming a British citizen) and enrolled
at the Architectural Association School of Architecture. She was never married nor
had children. “If architecture doesn't kill you, then you're no good,” she explained to
Glancey. “I mean, really—you have to go at it full time. You can't afford to dip in
and out.” By 1977 Hadid had received her degree, along with a special Diploma
14

Prize, and she began working for a London firm, founded by one of her key teachers
Dutch architect Rem Koolhaas.
Hadid opened an office of her own in 1980, but at first her ideas were more in
demand than her actual designs. Hadid taught courses at the Architectural
Association and filled notebooks with one-of-a-kind ideas, some of which were
published in architecture magazines or exhibited in galleries. Hadid began to enter
design competitions, some of them research-oriented and others for buildings
intended for construction. Her design for The Peak, a sports club jutting out
horizontally from one of the mountain slopes that surround the city of Hong Kong,
won the top prize in the institution's competition, but the building was never
constructed. Hadid's competition entries in the 1980s and early 1990s were little
known to the public at large but stirred up interest among her fellow architects, and
even after she became famous, her website continued to list her competition prizes
before focusing on her actual building projects.
Notes:
1. absorbed – унаследовала
2. ancient Sumer region – территория древнего Шумера
3. Architectural Association School of Architecture – Архитектурная школа
Архитектурной Ассоциации
4. you have to go at it full time – вы должны посвящать этому все свое время
5. public at large – широкая публика
1. What were the roots of Zaha Hadid’s interest in architecture?
2. How did she describe the trip to Sumer region?
3. Who was her father?
4. What have you found out about her education?
5. When did her family leave Iraq and why?
6. How did she feel about her motherland staying abroad?
7. “She was never married nor had children” what do you think about this fact of
Hadid’s biography? Would you do the same in her place?
8. How did Hadid’s career start?
9. Did success come to Zaha Hadid at once?
Text 4. Zaha Hadid’s Architecture (4,632)
1. allow [əˈlaʊ] – позволять, разрешать
2. amass [əˈmæs] – собирать, копить, накапливать
3. angle [ˈæŋɡl] – угол, ракурс
4. approach [əˈprəʊtʃ] – приближаться, подходить, сближаться
5. ascend [əˈsɛnd] – подниматься, всходить
6. award [əˈwɔːd] – награждать, присуждать
7. bay [beɪ] – бухта, залив
15

8. breakthrough [ˈbreɪkθruː] – прорыв, достижение, открытие
9. commitment [kəˈmɪtmənt] – обязательство, заинтересованность
10.confine [ˈkɒnfaɪn] – граница, предел
11.conscious [ˈkɒn(t)ʃəs] – понимающий, осознанный, здравый
12.curious [ˈkjʊərɪəs] – любопытный
13.devastated [ˈdɛvəsteɪtɪd] – опустошенный, разоренный
14.dire [ˈdaɪə] – страшный, ужасный, жуткий
15.error [ˈɛrə] – ошибка, заблуждение
16.fire truck – пожарная машина
17.fit [fɪt] – соответствовать, годиться, подходить
18.interior [ɪnˈtɪərɪə] – внутренний, внутренняя сторона, часть
19.itinerary [aɪˈtɪn(ə)r(ə)rɪ] – маршрут, путь
20.meld – объединяться, смешиваться
21.numerous [ˈnjuːm(ə)rəs] – многочисленный, множественный
22.observer [əbˈzɜːvə] – наблюдатель, эксперт, обозреватель
23.obsolete [ˈɒbs(ə)liːt] – вышедший из употребления
24.permanent [ˈpɜːm(ə)nənt] – постоянный, неизменный
25.propel [prəˈpɛl] – двигать, побуждать, толкать вперед
26.ramp [ræmp] – скат, уклон, пандус
27.render – представлять, исполнять
28.restrict [rɪˈstrɪkt] – ограничивать, держать в определенных пределах
29.rumored [ˈruːməd] – известный по слухам
30.ski jump – трамплин, прыжок с трамплина
31.spatial [ˈspeɪʃ(ə)l] – пространственный, занимающий пространство
32.staff [stɑːf] – набирать кадры, комплектовать штат
33.sundeck [ˈsʌndɛk] – открытая веранда на солнечной стороне
34.trouble [ˈtrʌb(ə)l] – неприятность, затруднение, трудность
35.unorthodox [ʌnˈɔːθədɒks] – неортодоксальный, необщеприняый
36.virtue [ˈvɜːtʃuː, -tjʊ-] – добродетель, нравственность, эффективность
37.warehouse [ˈwɛəhaʊs] – склад, складское помещение, товарный склад
38.withdraw [wɪðˈdrɔː] – отнимать, забирать, отзывать
39.unfortunately [ʌnˈfɔːtʃʊnɪtlɪ] – к несчастью, к сожалению
40.recall[rɪˈkɔːl] – вспоминать, припоминать
Japan [dʒəˈpæn], Alpine [ˈælpaɪn], athlete [ˈæθliːt], visual [ˈvɪʒʊəl, -zjʊə-],
theory [ˈθɪərɪ], neutral [ˈnjuːtr(ə)l], intrigue [ɪnˈtriːɡ], volunteer [ˌvɒl(ə)n
ˈtɪə], furniture [ˈfɜːnɪtʃə].
and learn them.
Vitra Fire Station, designed by Zaha Hadid
16

After several small projects, including one for the interior of the Monsoon
Restaurant in Sapporo, Japan, Hadid's first major building was constructed in 1993
and 1994; it was a small Vitra Fire Station, with numerous irregular angles (Hadid
has been widely quoted as saying that since there are 360 degrees, she sees no reason
to restrict herself to just one).
Constructed as a working firehouse within the Vitra furniture design and
manufacturing complex (after a fire some years earlier proved the need for such a
structure), the building was intended to serve all of Vitra's buildings which at the time
fell outside the range of neighbouring fire districts. When in use the firehouse was
staffed by volunteers who worked in the Vitra factory. The building functioned as a
firehouse until the fire district lines were re-drawn and the Vitra complex was finally
covered by a nearby fire department. This rendered the building partially obsolete,
and it was for this reason (and not the rumored error on Hadid's part of not allowing
enough room in the building to house fire trucks) that the building is now used by
Vitra as a showplace for part of its permanent collection of chairs.
Cardiff Bay Opera House, designed by Zaha Hadid
In 1994 Hadid seemed to be on the verge of a breakthrough: her design for the
new Cardiff Bay Opera House in Britain's Wales region was selected for
construction. It was to be an unorthodox building, with sharp angles and interior
spaces that ran into and through one another rather than falling neatly into separate
areas, but it was also planned to be inviting to the user, with an auditorium
surrounded by glassed-in spaces that gave views of nearby Cardiff Bay.
17

But unfortunately, the design of the Cardiff Bay Opera House ran into trouble
almost immediately. The design competition was reopened, and Hadid's design was
once again named the winner, but the project's funder, Britain's National Lottery,
eventually withdrew its commitment. Hadid was devastated. “It was such a
depressing time,” she recalled to Evening Standard . “I didn't look very depressed
maybe but it was really dire. I made a conscious decision not to stop, but it could
have gone the other way.”
Bergisel Ski Jump, designed by Zaha Hadid
At the same time, Hadid
began to amass a solid core of
admirers among her staff,
among architecture experts, and
among ordinary observers. As
clients became more and more
fascinated with Hadid's plans,
some of the plans advanced
from theory to reality. She
designed the unique Bergisel Ski
Jump on a mountain near
Innsbruck, Austria. ‘The
challenge here was to integrate a
new, initially alien element into
a given formula: the cafe and
sundeck’, Zaha Hadid once said. Construction works began in 2001 and have been
completed in September 2002. Zaha Hadid designed what is already considered a
tourist attraction that should be on the itinerary of every visitor to Innsbruck. At a
length of about 90 meters and a height of almost 50 meters the building is a
combination of a tower and a bridge. Structurally it is divided into the vertical
concrete tower and a spatial green structure, which integrates the ramp and the cafe.
Two elevators bring visitors to the cafe 40 meters over the peak of the Bergisel
Mountain. From here they can enjoy the surrounding alpine landscape as well as
watch the athletes below fly above the Innsbruck skyline.
18

The Contemporary Arts Center
Designed by Zaha Hadid and in 1998 came
the biggest commission yet: the Contemporary
Arts Center. This is the first free-standing
building for the Contemporary Arts Center,
founded in Cincinnati in 1939 as one of the first
institutions in the United States dedicated to the
contemporary visual arts. It is one of the first
bigger buildings Zaha Hadid has designed and the
first relatively large museum in America designed
by a woman. The building makes you curious
about what one can expect inside; especially the
staircases are astonishing. “We didn’t want to
create just another big warehouse for art,” states
James Fitzgerald, Chair of the Board of Trustees.
“We wanted to create a building, a piece of
architecture that would speak to the highest levels of architectural design and would
have lasting power.”
The new building had to fit the confines of a narrow street corner lot in
downtown Cincinnati, but Hadid made a virtue of necessity by linking the museum's
internal and external environments: the outdoor sidewalk continued into the building,
where it propelled visitors toward a sleek black central staircase that melded
dramatically into the structure's back wall. As viewers ascended the staircase they
looked into galleries that completely overturned the usual neutral conception of
museum display spaces—the galleries had different shapes and sizes, and each one
seemed to present something new to those approaching. “Not many people
voluntarily walk up six stories anywhere,” noted Joseph Giovannini of Art in
America, “but Hadid's space so intrigues visitors that few think of bypassing the
experience by hitching a ride on the elevator: they sense they would miss chapters.”
A bonus in Hadid's design was its economy: the building used only common
materials, and construction costs came in at a reasonable $230 per square foot.
In 2004 Hadid was awarded the Pritzker Architecture Prize, considered the
profession's highest honor. She was the first woman to receive the award. “I still
believe in the impossible,” said Hadid during one of the interviews. So there are few
limits to what she might do next.
Notes:
1. Vitra Fire Station – пожарная часть «Витра»
2. Cardiff Bay Opera House – оперный театр залива Кардифф
3. Bergisel Ski Jump – лыжный трамплин Бергизель
4. advanced from theory to reality – перестали существовать только на
бумаге
5. The Contemporary Arts Center – центр современного искусства
19

1. What was Hadid’s first major building? What do you know about it?
2. “Cardiff Bay Opera House” was a very important project, wasn’t it?
3. How did Zaha Hadid feel about the failure with the Cardiff Bay Opera
House?
4. What helped to advance some of Hadid’s paper projects to reality?
5. What was the challenge with the Bergisel Ski Jump?
6. Describe the structure of the Bergisel Ski Jump.
7. What do you think of the Contemporary Arts Center? What peculiar
features does it have?
8. How do you understand the words “I still believe in the impossible”?
9. Would you like to visit one of those places described in the Text 4?
10.What is your personal attitude to Zaha Hadid’s architecture?
Text 5. Santiago Calatrava (4,090)
“The metamorphoses of space”
1. associate [əˈsəʊʃɪeɪt] – присоединять(ся) (в качестве участника),
вызывать ассоциацию (with), общаться
2. avenue [ˈævɪnjuː] – авеню, проспект, аллея
3. ceramist [ˈsɛrəmɪst] – гончар, керамик, специалист по керамике
4. complete [kəmˈpliːt] – завершать, комплектовать, пополнять
5. confess [kənˈfɛs] – признавать, признаваться
6. convert [kənˈvɜːt] – преобразовывать; превращать
7. defy [dɪˈfaɪ] – бросать вызов, игнорировать, противостоять
8. delicate [ˈdɛlɪkɪt] – утонченный, изысканный, тонкий
9. earn [ɜːn] – заслуживать, снискать, получать, зарабатывать
10. environs [ɪnˈvaɪ(ə)rənz] – окрестности; окружение, среда
11. expertise [ˌɛkspɜːˈtiːz] – квалификация, компетентность
12. facet [ˈfæsɪt] – фаска; аспект, грань
13. fold [fəʊld] – складывать, сгибать; загибать; сворачивать;
перегибать
14. gain [ɡeɪn] – получать, зарабатывать, добывать, извлекать
пользу
20

15. hallmark [ˈhɔːlmɑːk] – критерий, признак
16. heritage [ˈhɛrɪtɪdʒ] – наследство; наследие
17. imposing [ɪmˈpəʊzɪŋ] – грандиозный; впечатляющий,
внушительный;
18. load-bearing – несущий (нагрузку)
19. local authorities – местные власти, органы местного
самоуправления
20. major [ˈmeɪdʒə] – значительный, главный; крупный
21. metamorphose [ˌmɛtəˈmɔːfəʊz] – трансформировать,
трансформация
22. mode [məʊd] – метод, способ; форма
23. oversee [ˌəʊvəˈsiː] – осуществлять надзор; следить; смотреть (за
чем-л.)
24. pergola [ˈpɜːɡələ] – беседка
25. quirk [kwɜːk] – изгиб; закругление, архит. небольшой желобок
26. remain [rɪˈmeɪn] – оставаться сохраняться
27. rescue [ˈrɛskjuː] – спасать, избавлять; освобождать
28. reveal [rɪˈviːl] – обнаруживать, раскрывать
29. rotunda [rəʊˈtʌndə] – ротонда(круглая постройка, обычно с
куполом)
30. set designer – художник по декорациям, кинодекоратор
31. sketch [skɛtʃ] – эскиз, набросок; зарисовка
32. span – пролёт(моста);расстояние между опорами(арки, свода)
33. spot – место, местность, район; небольшой участок местности
34. structural engineering – проектирование зданий и сооружений
35. suspension bridge [səˈspɛnʃ(ə)n brɪdʒ] – висячий мост; цепной
мост
36. townhouse [ˌtaʊnˈhaʊs] – таунхаус (одноквартирный дом,
составляющий часть сплошного ряда домов с общими боковыми стенами)
37. turmoil [ˈtɜːmɔɪl] – шум, суматоха; беспорядок
21

38. inspire [ɪnˈspaɪə] – вдохновлять, воодушевлять; стимулировать
39. particularly [pəˈtɪkjʊləlɪ] – особенно, в особенности
40. rock – горная порода; скальная порода камень
Zürich [ˈzʊərɪk], Switzerland [ˈswɪtsələnd], Albert Einstein [ˈælbət ˈaɪnstaɪn],
veterinary [ˈvɛt(ə)rɪn(ə)rɪ], Vatican [ˈvætɪkən], Mediterranean [ˌmɛdɪt(ə)ˈreɪnɪən],
inquisition [ˌɪnkwɪˈzɪʃ(ə)n], agricultural [ˌæɡrɪˈkʌltʃ(ə)rəl], symmetry [ˈsɪmɪtrɪ],
knight [naɪt].
and learn them.
Santiago Calatrava
In 2013 the Vatican Museums held a major exhibition
entitled “The metamorphoses of space” celebrating the work
of the great Spanish architect and revealing the multiple facets
of his career: not only an architect, he is also an engineer,
ceramist, set designer, painter and sculptor. Each one of his
projects is accompanied by watercolour paintings explaining
the thinking behind his work and his poetics.
Calatrava was born in 1951 in Spain’s Mediterranean
coastal city of Valencia, and grew up in nearby Benimamet.
His mother’s family were of Jewish heritage, but had
nominally converted during the Spanish Inquisition of the
fifteenth century. His Calatrava surname was an old
aristocratic one from medieval times, and was once associated with an order of
knights in Spain. Both sides of his family were involved in the agricultural export
business.
The family's hillside home was imposing, with large rooms that Calatrava later
named as an inspiration for his attraction to major projects and big spaces. Though
Calatrava's father was oriented toward commercial activities at work, he loved art and
took his son to see Spain's greatest museum, the Prado in Madrid. Calatrava started to
show an interest in sculpture and drawing, and by the time he was eight he had
enrolled in art classes in Valencia. In his teens, he traveled to Paris as an exchange
student, and also visited Switzerland before returning to Valencia to finish high
school.
Calatrava enrolled at its Institute of Architecture. He also studied urban
planning at the school. After graduating in 1974, he traveled to Zürich, Switzerland,
to enroll at the city’s Federal Institute of Technology, where Albert Einstein had once
studied. He earned two Ph.Ds. from the school, the first in structural engineering and
the second in technical science. The structural-engineering training was a somewhat
unusual choice of study for an architect, for few in either field are trained in both. But
22

Calatrava was fascinated by the construction of large, load-bearing buildings, and the
technical expertise he gained would later make his name as an architect.
At the Zürich institute, Calatrava and his fellow students tried to solve unusual
gravity and design challenges. They once built a donut-shaped swimming pool in the
rotunda of the school, suspended by cables from the ceiling and made of a transparent
sheeting material that allowed viewers to watch swimmers from below. His 1981
Ph.D. dissertation was titled “On the Foldability of Space Frames,” and after
marrying a Zürich law student he decided to remain in the city.
In 1982 Calatrava won a competition asking architects to submit a redesign for
the Zürich train station, Stadelhofen. His sketches showed curving avenues leading to
the various modes of transportation – for the trains, cars, buses, pedestrians – with
steel pergolas supporting a skeletal framework above. The entire building, when
finished, seemed to resemble a ribcage. These curving spines, usually of poured
concrete but still delicate-looking, would become a hallmark of Calatrava's style.
They were inspired quite directly by an actual skeleton: while in school in Zürich, he
had once helped a veterinary student complete some drawings for a project, and as
thanks the student gave him the skeleton of a dog. Calatrava hung it in his office, and
his young son named it Fifi.
As a structural engineer, he was particularly fascinated by bridges, and began
taking on these projects, too, though local authorities did not usually hire architects to
design them. Over the next dozen years, he would complete almost 50 spans around
the world, but most of them in Europe. Usually suspension bridges, Calatrava's works
were often made from white concrete, which reflected the water’s light, and steel
cables. They often defied the reassuring standard of symmetry in bridge design, and
featured a quirk that resembled something organic, such as a bird's wing in flight. “I
love being an architect of bridges,” Calatrava confessed to Alan Riding of the New
York Times."Every bridge has to be different. It is made for different people, above
all for different surroundings. It can be in a horrible urban spot, but it can rescue its
environs."
But Calatrava explained his philosophy, noting that “movement gives an added
dimension to form. It makes form a living thing. Instead of thinking of a building as
something mineral, like a rock, we can start to compare a building to the sea, which
has waves that move, or to a flower whose petals open in the morning. This is a new,
more poetic understanding of architecture.”
Calatrava and his family, which includes four children, live in a Park Avenue
townhouse in Manhattan. His wife, Tina, the former law student, serves as his
business manager, and oversees the details of offices in Zürich, Valencia, and Paris.
He continues to be inspired by Fifi…
Notes:
1. He earned two Ph.Ds- получил две докторские степени
2. “On the Foldability of Space Frames”- “О складываемости объемных
конструкций”
23

1. Who was Fifi? How was Calatrava inspired by Fifi?
2. What has become a hallmark of Calatrava's style? Give examples.
3. Calatrava has got a new, more poetic understanding of architecture, hasn’t he?
Explain this philosophy.
4. What was his family background? And how did it affect his life?
5. Did he study hard to become a prominent architect? Prove it.
6. How did Calatrava explain his attraction to big spaces?
7. What unusual challenges did he try to solve while being a student?
8. Why was he fascinated by bridges? And what was his professional secret in
designing bridge spans?
Text 6. Santiago Calatrava’s architecture (7,601)
1. ample [ˈæmp(ə)l] – просторный; обширный
2. arch [ɑːtʃ] – арка; свод, аркада; антиклинальная складка
3. awning [ˈɔːnɪŋ] – навес, тент, укрытие
4. cellar [ˈsɛlə] – подвал, погреб
5. chancel [ˈtʃɑːns(ə)l] – алтарь
6. contribution [ˌkɒntrɪˈbjuːʃ(ə)n] – вклад, ценные достижения
7. core [kɔː] – сердцевина; ядро; глубинная, внутренняя часть
8. crown [kraʊn] – венчать, увенчивать, завершать(верхнюю часть чего-
л.); покрывать вершину, верхушку(чего-л.)
9. cutting-edge – самый современный (изготовленный с применением
передовых технологий)
10.dimetric [daɪˈmɛtrɪk] – тетрагональный
11.entertainment [ˌɛntəˈteɪnmənt] – зрелище, представление
12.feather [ˈfɛðə] – перо оперяться
13.fin – ребро, пластина; плавник(рыбы)
14.fix [fɪks] устанавливать; прикреплять; закреплять
15.fixed arch – бесшарнирная арка
16.floating arch – плавучая арка
17.flood [flʌd] – наводнение; половодье; разлив
18.flying buttress [ˈbʌtrəs] – аркбутан, контрфорсная арка
19.height [haɪt] – высота, вышина верх, высшая степень
20.indigenous [ɪnˈdɪdʒ(ə)nəs] – местный, туземный, природный
21.lobby [ˈlɒbɪ] – вестибюль, приемная, холл; коридор; фойе
22.lounge [laʊndʒ] – гостиная, комната для отдыха с удобными креслами,
23.marble [ˈmɑːb(ə)l] – INCLUDEPICTURE
"https://yastatic.net/lego/_/La6qi18Z8LwgnZdsAr1qy1GwCwo.gif" *
MERGEFORMATINET мрамор, мраморное изделие
24.nave [neɪv] – неф (церкви)
25.pentagon [ˈpɛntəɡ(ə)n] – пятиугольник, пятигранный
24

26.picturesque [ˌpɪktʃəˈrɛsk] – живописный(о ландшафте);колоритный(о
внешнем виде)
27.pointed arch – стрельчатая арка
28.pour [pɔː] – лить, отливать
29.prow [praʊ] – нос(судна, самолёта)
30.pupil [ˈpjuːp(ə)l] – зрачок, ученик; малолетний; подопечный
31.reach [riːtʃ] – простираться; доходить, размах, амплитуда
32.resemble [rɪˈzɛmb(ə)l] – походить, иметь сходство
33.rest (rest (up)on / in) – держаться, основываться, опираться
34.ribbed vault [vɔːlt] – нервюрный/ребристый свод
35.rotate [rəʊˈteɪt] – вращать, вращаться чередовать;
36.shutter [ˈʃʌtə] – затвор, заслонка
37.sunbreak [ˈsʌnbreɪk] – бетонный козырек над окном
38.surround [səˈraʊnd] – окружать; обносить, обрамление; край, кромка,
39.translucent [trænzˈluːs(ə)nt] – полупрозрачный
40.twist – крутить, скручивать вращать, поворачивать
Sweden [ˈswiːdn], Malmö [ˈmɑːlmɜː], Hemesferic [ˏhemɪˊsferɪk], whole [həʊl],
Milwaukee [mɪlˈwɔːkiː], brochure [ˈbrəʊʃə], concierge [kɒnsɪˈɛəʒ],inauguration [ɪ
ˌnɔːɡjʊˈreɪʃ(ə)n], chromosome [ˈkrəʊməsəʊm], auditorium [ˌɔːdɪ
ˈtɔːrɪə],occasion [əˈkeɪʒ(ə)n], illusion [ɪˈluːʒ(ə)n], planetarium [ˌplænɪˈtɛ(ə)rɪəm]
magisterial [ˌmædʒɪˈstɪ(ə)rɪəl], ultrasonic [ˌʌltrəˈsɒnɪk], weigh [weɪ].
and learn them.
The Turning Torso is the tallest skyscraper in Sweden and in the Nordic
countries, situated in Malmö. The project was designed by the Spanish architect
Santiago Calatrava and officially opened on 27 August 2005. The tower reaches a
height of 190 metres with 54 stories – 147 apartments, a relaxation and spa area, a
lounge, a gym and a wine cellar followed by around-the-clock concierge service 365
days a year. The vision of the Turning Torso is based on a sculpture called Twisting
Torso, which is a white marble piece based on the form of a twisting human body,
created by Santiago Calatrava. In 1999 Malmö’s former managing director saw the
sculpture in a brochure presenting Calatrava in connection with his contribution to
the architectural competition. It was on this occasion that the managing director was
inspired to build Turning Torso. Shortly afterwards he travelled to Zurich to meet
Calatrava, and ask him to design a residential building based on the idea of a
structure of twisting cubes.
The Turning Torso
25

This is a solid immobile building constructed in nine segments of five-story
pentagons that twist relative to each other as it rises; the topmost segment is twisted
90 degrees clockwise with respect to the ground floor. Each floor consists of an
irregular pentagonal shape rotating around the vertical core, which is supported by an
exterior steel framework. The two bottom segments are intended as office space.
Segments three to nine house 147 apartments. The construction of part of this
building was featured on Discovery Channel's Extreme Engineering TV program
which showed how a floor of the building was constructed.
Illustration of the general structure
of the Turning Torso. (1) shows a typical
floor plan, where the grey circle denotes
the core and blue shapes denote the steel
framework. (2) shows the way the nine
segments fit around the core, and (3) is a
dimetric projection of the tower.
The City of Arts and Sciences is an entertainment-based cultural and
architectural complex in the city of Valencia, Spain. It is the most important modern
tourist destination in the city of Valencia. The City of Arts and Sciences is situated at
the end of the former riverbed of the river Turia, which was drained and rerouted
after a catastrophic flood in 1957. The old riverbed was turned into a picturesque
sunken park. Designed by Santiago Calatrava and Félix Candela, the project
underwent the first stages of construction in July 1996.The complex is made up of the
following buildings, in order of their inauguration:
The Hemesferic
26

The Hemesferic is an IMAX Cinema, planetarium and laserium. The building
is meant to resemble a giant eye, and has an approximate surface of 13,000 m². The
Hemesferic also known as the planetarium or the “eye of knowledge,” is the
centerpiece of the City of Arts and Sciences. It was the first building completed in
1998. Its design resembles an eyelid that opens to access the surrounding water pool.
The bottom of the pool is glass, creating the illusion of the eye as a whole. This
planetarium is a half-sphere composed of concrete 110 meters long and 55.5 meters
wide. The shutter is built of elongated aluminum awnings that fold upward
collectively to form a sunbreak roof that opens along the curved axis of the eye. It
opens to reveal the dome, the pupil of the eye, which is the Ominax theater. The City
of Arts and Sciences is divided in half by a set of stairs that descend into the vaulted
concrete lobby. The underground spaces are illuminated with the use of translucent
glass panels within the walking path. The transparent roof is supported by concrete
arches that connect to the sunken gallery. There is a miraculous echo inside of the
building and if two people stay on the two opposite pillars inside of the eye they can
seamlessly speak with each other.
27

Interactive museum of science
Interactive museum of science — is a building that resembles the skeleton of a
whale. It occupies around 40,000 m² on three floors. The hotch-potch of exhibits is
designed more for ‘entertainment value’ than for science education. Much of the
ground floor is taken up by a basketball court sponsored by a local team and various
companies. The building is made up of three floors and 26,000 square meters of
which is used for exhibitions. The first floor has a view of the Turia Garden that
surrounds it; which is over 13,500 square meters of water. The second floor hosts
“The Legacy of Science” exhibition by the researchers. The third floor is known as
the “Chromosome Forest” which shows the sequencing of human DNA. Also on this
floor is the “Zero Gravity, ”the“ Space Academy”, and “Marvel Superheroes”
exhibition. The building’s architecture is known for its geometry, structure, use of
materials, and its design around nature. The building is about 42,000 square meters
which is currently the largest in Spain. It has 20,000 square meters of glass, 4,000
panes, 58,000 m³ of concrete, and 14.000 tons of steel. This magnificent building
stands 220 meters long, 80 meters wide and 55 meters high.
The Umbracle
The Umbracle is a landscaped
walk with plant species indigenous to
Valencia (such as rockrose, rosemary,
lavender, honeysuckle, palm tree). It
harbors in its interior the Walk of the
Sculptures, an outdoor art gallery with
sculptures by contemporary artists.
(Miquel de Navarre, Francesc Abbot,
Yoko Ono and others). The Umbracle
is also home to numerous free-standing
28

sculptures surrounded by nature. It was designed as an entrance to the City of Arts
and Sciences. It is 320 meters long and 60 meters wide, located on the southern side
of the complex. It includes 55 fixed arches and 54 floating arches that stand 18
meters high. The plants displayed were carefully picked to change colours with each
season.
The Palau de Les Arts
The Palau de Les Arts is an opera house and performing arts center. It contains
four large rooms: a Main Room, a Magisterial Classroom, an Amphitheater and a
Theater of Camera. It is dedicated to music and the scenic arts. It is surrounded by
87,000 square meters of landscape and water, as well as 10,000 square meters of
walking area. It holds many events such as opera, theatre and music in its
auditoriums. Panoramic lifts and stairways connect platforms at different heights on
the inside of the metallic frames of the building. The building has a metallic feather
outer roof that rests on two supports and is 230 meters long and 70 meters high. One
of the supports allows for part of the building to overhang. The building is supported
by white concrete. Two laminated steel shells cover the building weighing over 3,000
tons. These shells are 163 meters wide and 163 meters long.
The Agora
29

The Agora is a space designed to hold a variety of events such as concerts,
performances, exhibitions, conventions, staging of congresses, and international
sports meetings. Many important events have been held in this building including the
Freestyle Burn Spanish Cup in 2010 and the Christmas Special Program.
The Milwaukee Art Museum
The Milwaukee Art Museum (MAM) is an art museum located in Milwaukee,
Wisconsin, USA with a collection of over 30,000 works of art. The museum receives
over 350,000 visitors a year. The Milwaukee Art Center was formed when the
Milwaukee Art Institute and Layton Art Gallery merged their collections in 1957. In
2001 the Quadracci Pavilion was created by Spanish architect Santiago Calatrava.
The structure incorporates both cutting-edge technology and old-world
craftsmanship. The hand-built structure was made largely by pouring concrete into
one-of-a-kind wooden forms. It is a building that could have only been done in a city
with Milwaukee’s strong craft tradition. Windhover Hall is the grand entrance hall for
the Quadracci Pavilion. It is Santiago Calatrava’s postmodern interpretation of a
Gothic Cathedral, complete with flying buttresses, pointed arches, ribbed vaults, and
a central nave topped by a 90-foot-high glass roof. The hall’s chancel is shaped like
the prow of a ship, with floor-to-ceiling windows looking over Lake Michigan.
One of the most striking features of the building is the moveable sunscreen,
resembling the large tail of a whale about to descend beneath the sea. It rests on top
of the Museum’s vaulted, glass-enclosed Windhover Hall. Moveable, wing-like
sunscreen has a wingspan comparable to that of a Boeing 747-400. The screen is
made up of 72 steel fins, ranging in length from 26 to 105 feet. The entire structure
weighs 90 tons. It takes 3.5 minutes for the wings to open or close. Ultrasonic wind
sensors on the fins continually monitor wind speed and direction; whenever winds
30

exceed 23 mph for more than 3 seconds, the wings close automatically. According to
Santiago Calatrava, “in the crowning element of the wing-like sunscreen, the
building’s form is at once formal (completing the composition), functional
(controlling the level of light), symbolic (opening to welcome visitors), and iconic
(creating a memorable image for the Museum and the city).”
Notes:
1. The Palau de les Arts Reina Sofía – Дворец искусств Королевы Софии
2. The Ágora – Агора
3. The Hemisferic – Полусфера
4. The Umbracle is a landscaped walk – Оранжерея Umbracle
5. The Turning Torso – небоскреб “Поворачивающееся тело/торс”
6. Milwaukee – город Милуоки, США
7. laserium – театр лазерных постановок
8. Magisterial Classroom – зал для чтения лекций и проведения камерных
мероприятий
9. Marvel Superheroes – персонажи комиксов компании Marvel
10.zero gravity – невесомость
11.about to descend beneath the sea – готовый погрузиться в морскую
пучину
12.The hotch-potch of exhibits – совокупность экспонатов
1. Why is the Hemesferic known as the “eye of knowledge”?
2. What building was featured in Extreme Engineering TV program on Discovery
Channel? Why? Describe its general structure.
3. What modern tourist destination in the city of Valencia can you name? And
what is so special about that place of interest?
4. Which of Calatrava’s works received the Outstanding Structure Award? Why?
5. Whom does the idea of building The Turning Torso belong to? What was the
idea based on?
6. Why was it decided to place the city of Arts and Sciences on the riverbed?
7. What are the components of the city of Arts and Sciences?
8. Where were translucent glass panels used? And what was the purpose of their
usage?
9. Which building resembles the skeleton of a whale and what does it host?
10.Comment on the following statement : “Calatrava’s works are modern yet
understandable, and sculptural but purposeful”.
31

Text 7. Massimiliano Fuksas (4,664)
"We have to work with chaos, rather than order”
1. accident [ˈæksɪd(ə)nt] – несчастный случай; катастрофа;
2. achievement [əˈtʃiːvmənt] – достижение,успех
3. advanced [ədˈvɑːnst] – передовой, прогрессивный; развитой;
4. appropriate [əˈprəʊprɪɪt] – подходящий, уместный
5. aspirations [ˌæspɪˈreɪʃ(ə)n] – стремление, желание(достигнуть ч-л.)
6. badge [bædʒ] – значок; эмблема, символ; признак; знак
7. be keen on smth – очень любить что-л., увлекаться чем-л.
8. cathedral [kəˈθiːdrəl] – собор; непререкаемый, непреложный
9. cemetery [ˈsɛmɪtrɪ] – кладбище
10.dedicate [ˈdɛdɪkeɪt] - посвящать
11.delete [dɪˈliːt] – вычеркивать, стирать, исключать;
12.demolish [dɪˈmɒlɪʃ] – разрушать, уничтожать; сносить
13.descent [dɪˈsɛnt] – происхождение; родословная; источник
14.destruction [dɪsˈtrʌkʃ(ə)n] – разрушение, уничтожение
15.differ [ˈdɪfə] – отличаться; различаться, расходиться во мнениях, не
соглашаться
16.disparage [dɪsˈpærɪdʒ] – принижать; недооценивать, умалять
17.elect [ɪˈlɛkt] - избирать, решать, делать выбор
18.establish [ɪˈstæblɪʃ] – основывать, учреждать
19.honour [ˈɒnə] – честь, благородство
20.impose [ɪnɪˈpəʊz] – налагать [вводить] (запрет);предписывать
21.intelligence [ɪnˈtɛlɪdʒ(ə)ns] – ум, интеллект, сведения, информация
22.intuition [ˌɪntjnˈɪʃ(ə)n] – знания, основанные на интуиции
23.know-how [ˈnəʊhaʊ] - умение; знание дела, секрет изготовления,
24.landscape [ˈlændskeɪp] – ландшафт; пейзаж, рельеф
25.low-income housing – жилье экономического класса
26.miss – обнаружить отсутствие, недоставать
27.mosque [mɒsk] – мечеть
28.partnership [ˈpɑːtnəʃɪp] – сотрудничество
29.prevent [prɪˈvɛnt] – предотвращать, предупреждать; предохранять
30.renovate [ˈrɛnəveɪt] – ремонтировать, реконструировать, освежать
31.responsible [rɪˈspɒnsəb(ə)l] INCLUDEPICTURE
"https://yastatic.net/lego/_/La6qi18Z8LwgnZdsAr1qy1GwCwo.gif" *
MERGEFORMATINET - ответственный, надежный,
32.representative [ˌrɛprɪˈzɛntətɪv] – представитель, делегат
33.rural [ˈrʊ(ə)rəl ] - сельский, деревенский
34.seek [siːk] – искать, разыскивать; добиваться
35.source [sɔːs] – источник, основа; начало
36.spiral [ˈspaɪ(ə)rəl] – спираль, винтовая линия, предмет спиральной
формы
37.state [steɪt] – заявлять; утверждать; констатировать
32

38.suburbs [ˈsʌbɜːb] – пригород, окраина; окрестности,
39.tiny [ˈtaɪnɪ] - очень маленький, крошечный
40.tufa [ˈtjuːfə] - известковый туф,
Baltic [ˈbɔːltɪk], Hagia Sophia [ˌhaɡɪə səˈfiːə], Vienna [vɪˈɛnə], Venice [ˈvɛnɪs],
Lithuanian [ˌlɪθjʊˈeɪnɪən], Afghanistan [æfˈɡænɪstæn], Buddha [ˈbʊdə], Etruscan
[ɪˈtrʌskən], Stuttgart [ˈʃtʊtɡɑːt], Salzburg [ˈsɔːlzbəːɡ], Berlin [bɜːˈlɪn]
organization [ˌɔːɡənaɪˈzeɪʃ(ə)n].
and learn them.
Massimiliano Fuksas
His biography’s first line states he was born in
Rome, but is of Lithuanian descent. One of the most
distinctive, if unpredictable, architects in the world, never
mind Italy, is still proud of his links to a tiny Baltic state.
For Massimiliano Fuksas it is more a badge of
honour that proves he is a global citizen rather than a
parochial nationalist. One grandmother was German, his
father was Lithuanian Jew and mother – Roman, whose
cultural viewpoints differed. “I'm a strange Italian,” he
says. “Actually, I'm more Roman than Italian. I have a crazy sense of organization. A
Roman has craziness alone while Germany has only order; I put them together.”
Fuksas originally trained as an artist and came to architecture almost by
accident. “I started as a painter and thought I could be a film maker, but I thought I
would give architecture a go.” He received his degree in architecture from the La
Sapienza University in 1969 in Rome, where he opened his first office in 1967, while
still studying. “I think an architect is always a creator as an artist, though the
technique is less important than the inspiration.” Like an artist, Fuksas seeks ideas
from all manner of sources around him. “I never look for inspiration in architecture, I
look at art, movies and landscapes, like dunes or forests.”
Although playful in his views, Fuksas boasts strongly held beliefs, but Fuksas
is wary of innovation. “The best innovation is to give people a place to live that is
appropriate for their lives. We need to understand better men, women and children.
Democracy is the real innovation in architecture today.” For Fuksas, democracy
means less locally elected representatives, but more being open to the views and
aspirations of ordinary people. “You only realise what democracy is when you don't
have it, like when you lose freedom. When you see the destruction of the golden
dome of Samarra or the Buddhas in Afghanistan, you feel that you have lost
something. Architecture is part of the community. I always seek to create a stage for
the players, the people. I don't want to impose anything or decide how people should
move.”
Initially, he practiced his art in cemeteries. In the cemetery of Orvieto, he
returned to the old Etruscan tradition using tufa to build a wall. From 1985 he has
33

worked in partnership with his wife, Doriana Mandrelli. Fuksas has taught at Rome,
Stuttgart, at Columbia University in New York, Hanover and at the Academy of Fine
Arts in Vienna (until1997). In 1989, he opened his second branch in Paris, and in
1996, the third workshop in Vienna (Austria). In July 1998, he was responsible for
the architecture of the city of Venice and the boards of architectural achievements in
Berlin and Salzburg.
Fuksas is concerned that architects are too keen to find a technical solution to
solve a design problem rather than looking at the needs of users of a building. He is
even more disparaging about architectural theories.”We have reached the end of the
idea that we can find a solution with knowledge of science. Today we should use
more intuition than intelligence. I don't believe in theory or even pragmatism, only
emotion and inspiration; the quality you can give to the feeling of a vision. All
theories have been found to be false, none were good. They were good for a period,
but not for eternity. If you want to give emotion to other people, you have to be
surprised every day. If you go one day without surprise, you cannot have emotion.
"The biggest challenge is how to deal with a world of six billion people, many of
whom are moving every day from rural areas to cities. My answer is we have to work
with chaos, rather than order. I call this sublime chaos. We have to be fast, because
you always need fresh concepts and not ideas that quickly become boring.” And as
for really advanced concepts in the history of architecture he distinguishes: “number
one is Hagia Sophia in Istanbul because it was a new concept of space. Hagia Sofia
was built as a cathedral and transformed into a mosque. It is now a museum. It looks
like it floats on air. Secondly, the Sydney Opera Hall built in 1960s, which was
landscape architecture. Thirdly, it’s Frank Lloyd Wright's Guggenheim Museum. He
projected the emptiness, and then made the walls. It looks like the walls come out of
the emptiness instead of the other way around. You think about the spiral but not
about the walls of the spiral.”
For many years he has dedicated his special attention to the study of urban
problems and in particular to the suburbs. “For future architecture, we should
renovate a lot of buildings and demolish some of them completely, like the low-
income housing built in the 1970s. Not because they are ugly, but because they
represent areas of suffering where people are unhappy. The first consideration in
architecture is to think about people's happiness. We should also construct a new idea
of a city. A new pedestrian city with more trees, where social relationships are better
and people can meet. I'd get rid of the traffic in the center. We could make an
underground transportation system using trains and subways. It wouldn’t be hard.
The best thing about architecture is to delete rather than to add. To have the entire
historic center of Rome as a pedestrian zone would be one of the most beautiful
things in its history. Again, it's possible. We have the technology and know-how.
What we're missing is the will. We need politicians who think environmentally and
realistically.” Since January 2000, he writes the architecture column of the weekly
publication L' Espresso, established by Bruno Zevi.
Notes:
34

1. Buddha – Будда (или Сиддхартха Гаутама) был духовным наставником
и основателем буддизма в Древней Индии
2. Samarra – Самарра - город в Ираке
3. Etruscan – Этрусская цивилизация, населявшая в I тыс. до н. э. северо-
запад Апеннинского полуострова
4. to give architecture a go – попробовать себя в архитектуре.
5. boasts strongly held beliefs – гордится признанным мнением
1. What does democracy mean to Fuksas?
2. Where does he look for inspiration and seek ideas?
3. Why is Fuksas considered to be a global citizen?
4. Explain his words : “The best thing about architecture is to delete rather than to
add”
5. Where did he practise his art first?
6. What are his three top historical World Wonders?
7. What Fuksas’ ideas do you share and support? Why? Why not?
8. What urban problems has he dedicated his attention to?
9. What are his main career milestones?
10.What prevents urban architecture from evolving and developing, according to
Fuksas?
Text 8. Architecture of Massimiliano Fuksas (4,582)
1. adhesion [ədˈhiːʒ(ə)n] – прилипание; слипание; склеивание .
2. alternate [ɔːlˈtɜːnɪt] – поочередный,(по)переменный, чередующийся
3. association [əˌsəʊsɪˈeɪʃ(ə)n] – союз, ассоциация, сотрудничество
4. axis [ˈæksɪs] – ось, осевая линия, вал, шпиндель
5. beam [biːm] – брус; балка
6. bear [bɛə] – переносить, носить, нести
7. benefit [ˈbɛnɪfɪt] – выгода, прибыль, польза, благо
8. bilinear [baɪˈlɪnɪə] – билинейный ,двухлинейный
9. civil [ˈsɪv(ə)l] – гражданский
10.decrease [diːˈkriːs] – уменьшать; убавлять, сокращать
11.dense [dɛns] – густой, плотный; непрозрачный
12.determine [dɪˈtɜːmɪn] – определять, устанавливать
13.dimention [d(a)ɪˈmɛnʃ(ə)n] – величина; объем; протяжение,
измерение
14.envelope [ˈɛnvələʊp] – обертка ,обложка, оболочка
15.evoke [ɪˈvəʊk] – вызывать, пробуждать
16.expansion [ɪkˈspænʃ(ə)n] – рост, развитие, расширение, увеличение
17.experience [ɪkˈspɪ(ə)rɪəns] – опытность; опыт работы
18.façade [fə|ˈsɑːd] – фасад
35

19.fiber [faɪbə] – волокно
20.lead [liːd] – вести; возглавлять
21.load [ləʊd] – груз, ноша, тяжесть, бремя, нагрузка
22.maritime [ˈmærɪtaɪm] – морской
23.optimize [ˈɒptɪmaɪz] – выбирать самое выгоднейшее решение
24.oscillation [ˌɒsɪˈleɪʃ(ə)n] – качание, колебание, неустойчивость
25.panel [ˈpænl] – панель; филенка
26.perpetual [pəˈpɛtʃʊəl] – вечный, бесконечный
27.pillar [ˈpɪlə] – столб; стержень колонны, колонна, стойка; опора
28.precious [ˈprɛʃəs] – драгоценный; большой ценности
29.quarter [ˈkwɔːtə] – квартал, четверть
30.release [rɪˈliːs] – освобождать, избавлять
31.resin [ˈrɛzɪn] – смола; канифоль ,сырой каучук
32.rotation [rəʊˈteɪʃ(ə)n] – вращение; оборот; чередование
33.slab [slæb] – плита; лист, пластина
34.spacial – пространственный
35.staircase [ˈstɛəkeɪs] – лестница, лестничный марш
36.stretch [strɛtʃ] – растягивать, вытягивать, удлинять, тянуть
37.surface [ˈsɜːfɪs] – поверхность, вид, внешность, наружность
38.tower [ˈtaʊə] – выситься, возвышаться
39.vibration [vaɪˈbreɪʃ(ə)n] – вибрация, колебание; дрожание
40.void [vɔɪd] – пустота; вакуум, лакуна
II.Mind the pronunciation of the following words:
Georgia [ˈdʒɔːdʒɪə], [ˈdʒɔːdʒjə], among [əˈmʌŋ], commercial [kəˈmɜːʃ(ə)l],
horizontally [ˌhɒrɪˈzɒnt(ə)lɪ], non-directional [ˌnɒndɪˈrɛkʃ(ə)nəl], Netherlands
[ˈnɛðələndz], indentation [ˌɪndɛnˈteɪʃ(ə)n].
and learn them.
Tbilisi Public Service Hall
36

The Tbilisi Public Service Hall is situated in the central area of the city and it
overlooks the Kura river. The building is made up of 7 volumes that contain offices
(each volume is made up of 4 floors located on different levels). These volumes are
placed around a “central public square”, which is the core of the project, where there
are the front office services. Offices are connected to each other by internal
footbridges that stretch on different levels. Volumes and the central public space are
towered above by 11 big “petals” that are independent both formally and structurally
from the rest of the building. Three of those big petals cover the central space. The
petals, different for their geometry and dimension, reach almost 35 meters and they
are supported by a structure of steel pillars with a tree-like shape, coated in glass fiber
and resin. Among the petals, which are at different levels, there are the glass facades.
The main characteristic of these facades is that these have been released completely
from the structure of the petals, allowing relative movements between the facade and
the spatial network structure of coverage. This decision was taken to prevent that any
movement of the cover, mainly due to oscillations for snow loads, wind or thermal
expansion, can lead to the crisis of the glass. The Tbilisi Public Service Hall includes:
the National Bank of Georgia, the Ministry of Energy, the Civil and National
Registry.
The Admirant Entrance Building
37

The Admirant Entrance Building is part of a developed shopping area set in the
historic centre of the city Eindhoven, the Netherlands. It is located just at the border
between the new quarter and the 18th September square, forming the main gateway
to a new shopping axis. This prominent position called for an iconic building: a
request that the Admirant Entrance Building fulfilled entirely. It is like a precious
jewel that attracts the public’s attention and leads pedestrians to the heart of the new
district. Dynamics go in different directions and with varying intensity. This further
flow of speed has its origin in the contrast of the two facade materials: crystalline, the
maritime blue of the glass is in contrast to the dense and clear white panels. Open and
closed surfaces alternate smoothly and flow over softly. The building’s shape
resembles a (half-) droplet, or egg; the largely transparent glass facade shows the
occasional indentation. This modern architectural design – known as BLOB
(BiLinear OBject) – has caused quite a stir in Eindhoven. Because of the building’s
shape, the floor space decreases with each storey also, the 2nd, 3rd and 4th floors
have large voids, stretching out to the faсade.
The building consists of
two elements: the 5-storey high
primary concrete structure and
the glass and steel envelope.
Commercial spaces are located
on the ground and first level
and office spaces on level three
and four (plus an additional
technical level).The geometry
of the facade varies from
38

vertical surfaces to amorphous shapes, which create a dynamic inside of the building.
In fact, the floors – which shapes are determined by the form of the facade – reach
the 950 m² on the ground floor and 250 m² on the highest office level. Except for the
staircase, no vertical elements block the visual connections on the inside of the
building. The steel construction is non-bearing, because of the glass facade; the
concrete framework (floors, walls and columns) are therefore self-supporting. The
framework also provides for stability, where as the glass facade is only supported
horizontally on storey-level. The concrete skeleton was designed as a 3-Dimensional
model. For the entire concrete framework it has an important benefit: the adhesion
factor can easily be determined, which means that the column positions are relatively
easily optimised, in agreement with the architecture. The same model was used to
calculate the weight- and stability figures, as well as the required amount of
reinforcement in the storey floors. Furthermore, due to the non-orthogonal shape, the
Admirant is non-directional. There is no front or back. Looking at this from a certain
distance, it is noticeable that the building is in a rotation. Perhaps a similar
appearance to a marine mammal that rises to the surface shows itself for the briefest
moment, and then sinks immediately into the depths again.
The project of Massimiliano and Doriana Fuksas
It was conceived as a symphony of architectural volumes, creating the effect of
a music that you can listen to with your eyes. On a total area of about 110,000 square
meters, the elliptical shape of each building gives the impression of a perpetual
motion and continuous vibration. The surface of the facade is a continuous ribbon
coated with a metal skin with openings geometric design that allows natural light to
enter the interior of the four volumes.
The complex is made up of a center for the performing arts that houses two
theatres for a total of 1800 seats and a music hall (600 seats), a cultural center that
includes a theatre with 2600-3000 seats and an exhibition gallery, offices, Writer and
Literary Association, an apartment building for artists. All surrounded by green
gardens that evoke the eastern hills of China, with their colorful vegetation.
39

Notes:
1. The Admirant Entrance Building – торговый центр Admirant в городе
Эйндховен, Нидерланды.
2. …called for an iconic building – предполагало необходимость
выдающегося сооружения.
III. Answer the following questions:
1. Is the designing concept of the Tbilisi Public Service Hall common or complex?
Prove your point of view.
2. What does it host?
3. Where is The Admirant Entrance Building located?
4. What is it used for?
5. What new architectural design was applied to construct the building?
6. Has the 3D computational model any important benefit in designing the
structure?
7. What are the elements of the building? And what are the materials used?
8. What is unique about the Chinese project of Fuksas?
9. Which buildings have the non-orthogonal shape?
10. What is the impact of Fuksas’ architecture on ordinary people/citizens?
40

Text 9. Arata Isozaki ( 5, 412)
“The Mirage City”
I. Learn the following words and expressions
1. acknowledge [əkˈnɒlɪdʒ] – признавать, допускать,подтверждать
2. aesthetic [iːsˈθɛtɪk] – художественные взгляды
3. aesthetically [iːsˈθɛtɪk(ə)lɪ] – эстетически, в соответствии с
принципами эстетики, посредством чувственных ощущений
4. aim – цель, намерение; стремление
5. cantilever [ˈkæntɪˌliːvə] – консоль, кронштейн, укосина, консольный
6. chamber of commerce [ˈtʃeɪmbə] – торговая палата(ассоциация
предпринимателей города, штата, защищающая интересы торгово-
промышленных кругов)
7. collaboration [kəˌlæbəˈreɪʃ(ə)n] – сотрудничество; участие; совместная
работа
8. conduct [kənˈdʌkt] – вести, руководить; проводить
9. connection [kəˈnɛkʃ(ə)n] – связь, соединение, сцепление
10.consideration [kənˌsɪdəˈreɪʃ(ə)n] – размышление; обсуждение;
рассмотрение; разбор
11.contradiction [ˌkɒntrəˈdɪkʃ(ə)n] – противоречие; несоответствие
12.cooperation [kəʊˌɒpəˈreɪʃ(ə)n] – сотрудничество, взаимодействие
13.county [ˈkaʊntɪ] – графство(административная единица в
Великобритании)округ(административное подразделение штата в США)
14.crowd [kraʊd] – толпа; скопление людей
15.display [dɪsˈpleɪ] – выставлять, показывать; демонстрировать
16.enchant [ɪnˈtʃɑːnt] – очаровывать, восхищать
17.exclusively [ɪkˈskluːsɪvlɪ] – исключительно; единственно; только
18.flamboyant [flæmˈbɔɪənt] – яркий; вычурный; пышный
19.graduate student – аспирант(человек, который получил университетскую
степень бакалавра и продолжает научную работу, чтобы получить
ученую степень магистра)
20.haunted [ˈhɔːntɪd] – часто посещаемый, населенный(призраками и т. п.)
21.head [hɛd] – направляться, держать курс, следовать
22.honour [ˈɒnə] – чтить,удостаивать
23.identify [aɪˈdɛntɪfaɪ] – отождествлять устанавливать подлинность;
распознавать
24.impact [ˈɪmpækt] – ударять; толкать, (on)оказывать воздействие
25.indebt [ɪnˈdɛt] – обязывать
26.institution [ˌɪnstɪˈtjuːʃ(ə)n] – общество, организация, учреждение
27.mature [məˈtʃʊə] – зрелый; спелый, зрелый, выдержанный созревший
28.mentor [ˈmɛntə] – наставник, руководитель, воспитатель, куратор
29.neoclassicism [ˌniːəʊˈklæsɪsɪz(ə)m] – неоклассицизм
30. opportunity [ˌɒpəˈtjuːnɪtɪ] – удобный случай; благоприятная возможность
31.own [əʊn] – владеть; иметь, обладать
41

32.private [ˈpraɪvɪt] – частный; личный; персональный; неофициальный
33.proceed [prəˈsiːd] – продолжать, приступать, переходить
34.provide [prəˈvaɪd] (with) – снабжать; обеспечивать
35.recognize [ˈrɛkəɡnaɪz] – узнавать, выражать признание, ценить
36.root [ruːt] – источник, корень, первопричина
37.rubble [ˈrʌb(ə)l] – бутовый камень, булыжник, валун
38.stupa [ˈstuːpə] – ступа(монументальное культовое сооружение)
39.synthesize [ˈsɪnθəsaɪz] – синтезировать,
40.utilitarian [juːˌtɪlɪˈtɛ(ə)rɪən] - практический, прагматический
Occasionally [əˈkeɪʒ(ə)nəlɪ] ,encyclopedia [ɪnˌsaɪkləˈpiːdɪə], burgeon [ˈbəːdʒ(ə)n],
Metabolism [məˈtæbəlɪz(ə)m], Japanese [ˌdʒæpəˈniːz], Tokyo [ˈtəʊkɪəʊ], minimize
[ˈmɪnɪmaɪz], cultivated [ˈkʌltɪveɪtɪd], divorce [dɪˈvɔːs], touch [tʌtʃ].
and learn them.
The Japanese architect Arata Isozaki
developed a style which reflected both Japanese
traditions and Western post-modern and mannerist
influences. Arata Isozaki was born in Oita City,
Japan, in 1931. His father was the president of the
chamber of commerce and a cultivated poet who,
along with his father, owned a successful trucking
business. Then the war came. In the confusion of
bombs, his mother was killed in an accident in
1945. By 1955 both his father and grandfather were dead and much of Japan still lay
in rubble. One would never know the haunted roots of Isozaki’s aesthetic from
talking to him. He is cheerful, energetic and open with just a touch of wistfulness.
Today he is working on his third marriage, to sculptor Aiko Miyawaki. After nearly
20 years together he is fairly sure it will last. “Divorce was not so common in Japan
in my generation, but after I lost my family there was no one in control.”
He studied with Kenzo Tange, one of Japan’s leading modern architects, at the
University of Tokyo from 1950 to 1954. He continued to work for and with Tange as
a graduate student at the university and then in the firm from 1954 to 1963. At that
point Isozaki established his own practice but did not disassociate himself from his
mentor, continuing to design occasionally for Tange in the 1970s. This attitude is in
keeping with native Japanese practices that stress collaboration and cooperation,
rather than competition, among professionals.
Nearly all of the leading 20th-century Japanese designers have attempted to
synthesize indigenous traditions with Western forms, materials, and technologies.
Isozaki’s “style” has in fact been a series of modes that have come as a response to
these influences. As a young architect he was identified with Metabolism, a
42

movement founded in Japan in 1960. However, Isozaki minimized his connections to
this group, seeing the Metabolist style as overly utilitarian in tone. By contrast, in the
1960s, Isozaki’s work featured dramatic forms made possible through the
employment of steel and concrete but not limited aesthetically by those materials. His
designs of branch banks for the Fukuoka Mutual Bank of the mid-1960s are
characteristic of this early phase of Isozaki’s career. The Oita Branch Bank (1966) is
a representative of the group: its powerful cantilevered upper stories are more
characteristic of his English contemporary James Stirling that of any of his fellow
Japanese architects.
At the first opportunity, he traveled to Europe with the notion of looking
exclusively at modern buildings. Instead he became enchanted with classical
architecture. He headed home via the United States. He arrived home with a three-
dimensional architectural encyclopedia imprinted on his mind. It included everything
from Corbusier-like minimalism to Platonic solids and East Indian stupas. He
proceeded to make buildings that did not look Japanese to the Japanese. In the 1970s
Isozaki's architecture became more historical in its orientation, suggesting a
connection with the burgeoning post-modern movement of Europe and the United
States. These connections Isozaki did acknowledge, and his work of the 1970s
represents a mature synthesis of formal, functional, and technical considerations. A
representative work of this period is his Fujimi Country Club, Oita City, constructed
in 1973, which displays the love of pure form that also characterizes 18th-century
French neoclassicism. The classic European barrel vault had never been used
significantly in Japan so he introduced it. Another French principle, “architecture
parlante” (architecture that bespeaks its function), is also at work at Fujimi: by
massing the building in the shape of a question mark. “It was a private joke asking
why the Japanese play so much golf.”
Later, his Western influences were decidedly mannerist, with Giulio Romano
and Michelangelo replacing the classicists as sources. Isozaki's Tsukuba City Center
of 1979-1983, located in Ibaraki, is a complex of buildings clearly indebted to
Michelangelo's Campidoglio in Rome, but not at all limited by it. Chosen as the
project director for this urban development, Isozaki created a design that included
large, colorful buildings, a large plaza, and a sunken garden that provides as clear a
statement of post-modern aims as any project built in Europe or the United States.
This new-found fascination with what post-modern guru Robert Venturi called
“complexity and contradiction” coincided with Isozaki’s interest in building outside
of his native country. His Los Angeles County Museum of Contemporary Art (1984-
1985) may be the best known structure by a Japanese designer in America. Isozaki
was, in fact, one of only a handful of Japanese architects to have some impact in the
West. In June 1997 the MOMA celebrated its 18th years by honouring 18 individuals,
including the creator Isozaki.
Isozaki’s excellence was recognized in his native country and around the
world. One of the honours he received was the Asahi award, given to individuals who
make significant and lasting contributions to Japanese culture. He was also a multiple
winner of the Annual Prize awarded by the Japan Architectural Association. Since the
43

практикум архитектура (2015)

практикум архитектура (2015)

Recommended

Recommended

More Related Content

Viewers also liked

Viewers also liked (8)

Similar to практикум архитектура (2015)

Similar to практикум архитектура (2015) (10)

More from kamilla_camilla

More from kamilla_camilla (8)

Recently uploaded

Recently uploaded (20)

практикум архитектура (2015)