Up close & personal Daniel Libeskind

“All architecture is civic,” says Daniel Libeskind, “and even if you do a private house, it’s all part of some public realm.”

 

      

When the last monograph surveying Daniel Libeskind’s work was published—some eight years ago—the New York architect was riding a wave of praise for his Jewish Museum in Berlin. The project had won him international renown, putting him in league with other architects at the top of the profession. But at the time, the museum was one of his few built works.

Counterpoint: Daniel Libeskind, a new volume published by Monacelli Press, carries the last monograph forward, chronicling 36 projects—15 built, 12 currently under construction, and 9 unbuilt. The work ranges from his early Felix Nussbaum Haus to a recently announced residential tower for Manhattan.

• Why did you structure the monograph as a dialogue?

Daniel Libeskind: Well, you know, monographs are really a bore, and I wanted something more interactive. It’s about a conversation. I’ve always considered architecture itself a means of communicating.

I also wanted to create a book that was very clear. It isn’t just a bunch of blurred Xeroxes and computer graphics—computer noise—which are very popular.

• What is contrapuntal about your work?

DL: I don’t work in a linear manner. I don’t start from A and go to B.

• As the book took shape, were you surprised by anything as you revisited your body of work?

DL: Inevitably. For example, it occurred to me that the shopping center in Switzerland has a lot of cultural ideas. It looks more like a museum than a shopping center. It tends to transform the idea that architecture is just an elitist thing for a particular civic benefit. All architecture is civic, and even if you do a private house, it’s all part of some public realm.

I also realized that there is a continuity in my work that goes beyond the programmatics of different projects. I didn’t calculate it, but when you look at the book, a certain kind of exuberance arises.

• Introducing the Imperial War Museum in Manchester, England, you address a question about the “familial relationship” among your projects, saying, “The true signature of a building is not a fashion or a style, but a character that resists appropriation.”

DL: Quite frankly nobody will copy the Jewish Museum. Nobody will copy the Denver Art Museum because they can’t. They are truly inventions that require a lot of commitment.

The signature is something authentic. It’s not something done just for commerce. It’s about research. It’s about belief, passion, intensity. It’s something that is the art of architecture.

• Some of the buildings in this monograph have come to characterize an era of large, highly visible projects that may disappear in the current economic climate. Do you think we will see fewer buildings with the scale of, say, the Denver Art Museum in a few years?

DL: I think that people will be more conscious and not build as much, but then it’s even more important—and I think clients are very savvy [about this] today—to invest in something that is value for money.  I think it’s not a coincidence that the Empire State Building got built in a difficult economic era.

• Do you think we will emerge from this recession with a changed sense of social or aesthetic priorities in architecture? Will constraint—to some extent—foster creativity?

DL: I think that constraint is something that I’ve always had and I’ve always admired. What would a poet do without rhyme and sound?

You have to pursue architecture whatever the external conditions are. Even if you can’t build it, you draw it, you investigate it. I think the great architects have always worked, whether they had jobs or not.

                              Jewish Museum Berlin

Interview with Bjarke Ingels

• You've been calling for a new approach, "hedonistic sustainability," which is "sustainability that improves the quality of life and human enjoyment." What are some examples of this?  Why is it important for sustainability to enhance pleasure?

We shouldn't forget what we are here to do in the first place as architects and landscape architects. It's to improve the quality of life for everyone and not at the expense of the quality of life for other people or other life forms, for that matter. The whole discussion about sustainability isn't popular because it's always presented as a downgrade. The position has been there's a limit to how good a time we can have. We have to downgrade our current lifestyle to achieve something that is sustainable. That makes it essentially undesirable. People can be to the left and maybe shop a little bit green, but they're not going to drop their car if they have to pick up their kids from football and go to the movies. It becomes an impossible mission.

However, there's nothing in our lifestyle that necessarily requires CO2 emissions. It's just an unforeseen side effect of all of the increases in quality of life that we have been able to deliver through modernization and industrialization. As we get smarter and more aware of these side effects, we can factor them in and start delivering urban mobility without emissions by switching to fuel cells or batteries. 

My two favorite examples from Copenhagen: 37 percent of the Copenhageners today commute by bicycle so they are never stuck in a traffic jam. You know how unenjoyable it is to sit stuck in traffic, especially if you do it every day. So 37 percent of the Copenhageners never experience that because they have the convenience of going from A to B on a bicycle. Also, our port has become so clean you can swim in it. You don't have to commute to the Hamptons to have clean water. You can actually jump in the port downtown. So these are basic examples where sustainability actually starts becoming an upgrade rather than a downgrade.

In your large-scale master plan and park projects, you often feature landscape loops. For example, in your Stockholmsporten project, "a continuous bike and pedestrian path reconnects different areas in an un-hierarchical and democratic way." In Clover Block, there's a perimeter loop surrounding a massive lawn.  In another project still in the idea phase, you propose a loop city in the Copenhagen suburbs. What's the attraction to these loop forms? How well do they work?

They have to do with connectivity. You can see it in the loop city idea. The old paradigm for Copenhagen a city was the five finger plan, where from the central orientation of downtown Copenhagen you have these corridors of urban tissue that extend, leaving gaps between the fingers of green and agriculture. But, of course, this is a hierarchical and central model where the further you get out in the finger, the further you are away from the concentration of connectivity and activity. Given a lot of the Copenhageners live out in the fingers, and a lot people actually work in this finger and live in this finger and play football in this finger, another kind of connectivity starts becoming interesting. Since Copenhagen is actually the other side of the Oresund by Malmö and Lund and Elsinore, you have a whole suburbia over there. Historically, because it's on the Swedish side (ten years ago, we didn't have the bridge between Copenhagen and Malmö), there's never been any kind of central planning authority considering these Swedish/Copenhagen suburbs as part of the metropolitan area of Copenhagen because they're in another country. They're eight hours away from Stockholm but only 30 minutes away from Copenhagen. 

So what we are proposing with the loop city is to create a bi-national continuous urban tissue where people are no longer condemned to live in the outskirts and commuting into downtown Copenhagen and back out again.

There will be a continuous ability to interact between these kind of urban areas that now house the majority of the population of the area. You have 500,000 people living in Copenhagen inner city and you have three and a half million people in the region.

Rockstar Danish architect Bjarke Ingels delivered the keynote presentation at Architectural Record's Innovation Conference. He explained his idea of "hedonistic sustainability," which holds that design does not need to make a "Protestant" sacrifice in order to be ecologically or socially attuned.

IMA Institut du Monde Arabe (Paris, France)

Islamic NEW Architecture 

Arab World Institute in Paris, France  by Pritzker Prize-Winning Architect Jean Nouvel

Built between 1981 and 1987, the Institut du Monde Arabe (IMA), or the Arab World Institute, is a museum for Arabian art. Symbols from from Arabian culture combine with high-tech glass and steel.

The Arab World Institute has two faces. On the north side, facing the river, the building is sheathed in glass which is etched with a white ceramic image of the adjacent skyline. On the south side, the wall is covered with what seems to be moucharabieh, the kind of latticed screens found on patios and balconies in Arab countries. The screens are actually grids of automated lenses used to control light. 

 

Interview - Cetsaie 2011 - Patricia Urquiola

Patricia Urquiola

Born in Spain in 1961, Patricia Urquiola graduated in Milan under Italian design legend Achille Castiglioni, who turned her focus from architecture to product design. She gained ten years of experience from the best in the sector before opening her own design office, which now employs more than 20 people – and has become a new star in the global design firmament.

Patricia Urquiola does not commit to a specific style.
Instead, she aims to evoke people's emotions and trigger associations by combining styles, shapes and references, re-interpreting them and giving them a new lease of life. It is no wonder that what matters to her is people's desire to spontaneously touch her designs.

Mimesis Museum by Alvaro Siza

Mimesis museum by a well-known Portuguese architect Alvaro Siza is located in South Korea and reminds of a cat in many ways. The initial inspiration was a story about an emperor who loved cats so much that he called upon the most famous painter to draw him a cat, he got to wait seven years to see the drawing, but that is already another story. An interesting fact is that architect Alvaro Siza has never seen a Korean cat because he has never been to Korea. The ground-floor of Mimesis is a cat, curled up and straighten up at the same time that stretches and yawns.

 

It is all there. The author took various cat postures as an inspiration and wanted to find the most elegant solution for the building. Draft design, models, drawings and adjustments, new models, presentations and so on. That was the chain of events that preceeded the construction. The project was unique and drew attention at the first sight. In the basement, there are archives, service area and other possible exhibition space. Ground floor features space for arriving and distribution, space for temporary exhibitions and a coffee place with a restaurant. Everything else can be found in landings topped off by a large exhibition space in the highest one. Light is always light and gentle so that it does not bother. Both the artificial and sun lights are considered crucial.

Architect Jean Nouvel

New monument of Manhattan's West Side

A new monument of Manhattan`s West Side in New York has become a sky scraper by well-known french architect Jean Nouvel. 

Construction of the facade captures attention at first glance; the window frames are accentuated looking scattered. In reality, 20 smaller functional windows are situated on one big panel. Walls were really designed from the inside out. A typical floor is composed by seven megapanels and each of them corresponds to a room. The biggest room has fabulous view on the street. Steel was used for the exterior, while the interior was treated with a layer of silver anodized aluminum. Various glass coatings add another layer of depth of light.

Foster + Partners

Foster + Partners Unveil Plans for Solar-Powered LEED Gold Kuwait International Airport

Foster + Partners just announced they will be designing the new Kuwait International Airport - and they're aiming to make it the world's first LEED gold certified passenger terminal! The stunning design is sure to be an eye-catcher from both the ground and the sky, and it will raise the environmental bar for airports everywhere with a smart set of green features that will reduce the building's energy use and keep it cool in one of the hottest places on earth. 

Aqua Tower - Chicago’s Architectural Genius Wins Grant

Chicago’s Architectural Genius Wins Grant

A Chicago architect has been named one of 22 MacArthur Foundation Fellows for 2011, all chosen for their innovative contributions to design and technology.

Chicago's own Jeanne Gang.

Chicago’s own Jeanne Gang, 47, is the first architect in 11 years to win a Genius Grant from the John D. and Catherine T. MacArthur Foundation.

Each Genius Grant winner will receive $500,000 over the next five years with no strings attached.

Gang, who founded Studio Gang Architects in 1997, is best known for her design of the award-winning Aqua Tower, a curvaceous skyscraper of mixed-use Chicago real estate on North Columbus Drive that offers a mix of luxury condos for sale and rent, office and retail space, and a hotel.

The architecturally unique Aqua Tower.

 

The Foundation calls Gang an “Architect integrating conventional materials, striking yet functional designs, and ecologically friendly technology in bold structures that challenge the aesthetic and technical possibilities of the art form.”

The Chicago-based John D. and Catherine T. MacArthur Foundation chose the grant recipients “for their creativity, originality, and potential to make important contributions in the future.”

“This has been a year of great change and extraordinary challenge, and we are once again reminded of the potential individuals have to make a difference in the world and shape our future,” said Robert Gallucci, President of the MacArthur Foundation.

“The MacArthur Fellows exemplify how individual creativity and talent can spark new insights and ideas in every imaginable field of human endeavor.”

Among this year’s Fellows are a cellist, a developmental biologist, a radio producer, a neurologist, a conservator, a poet, a geneticist, a parasitologist and a public historian.

And, an innovative Chicago architect.

Congratulations to all the Fellow winners!

Na talasima mašte - Hotelski komleks, Boračko jezero, BiH

KONCEPCIJA I FUNKCIONALNO REŠENJE REKONSTRUKCIJE HOTELSKOG KOMPLEKSA „BORAŠNICA“ OBJEKAT: Rekonstrukcija hotelskog kompleksa „Borašnica“

LOKACIJA: Boračko jezero                                Konjic, Bosna i Hercegovina INVESTITOR: TURIST - BEST KONJIC AUTORSKI TIM: arh Velimir Djordjević arh Srđan Vuleta arh Gordana Sejfulovski render: Ivana Davidović – 3D ___________________________________________________________________ Opis lokacije : Novi turistički centar Bosne i Hercegovine, na severoistočnoj strani planine Prenj, na nadmorskoj visini od 405 m, na 21 kilometar od Konjica krajem 2011. godine počeće gradnja ekskluzivnog kompleksa. Centar "Borašnica", u svom sastavu će imati hotel, naselje bungalova i specifičan objekat sa kafeima, restoranima, bazenom i scenskim prostorom. Na tom prostoru uz samo jezero trenutno je smešten stari mali hotel i nekoliko oronulih bungalova, koji će biti srušeni. Polazna ideja pri projektovanju je bilo formiranje hotelskog kompleksa potpuno orjentisanog ka Boračkom jezeru, koji će u toku sezone i u vansezoni funkcionisati aktivno, u skladu sa potrebama stanovništva, posetilaca i korisnika prostora. Osnovna koncepcija planskog rešenja proizilazi iz morfologije predmetnog područja, analize postojećeg stanja i zahteva korisnika prostora. Grupisanjem sadržaja došlo se do formiranja sledećih zona: ulaznih zona sa parkinzma, sportsko-rekreativne zone (sportski tereni), zone bungalova sa 42 objekta, zona plažnog kompleksa sa letnjom pozornicom i zona hotela 4* sa hotelskom plažom. Formirana su dva ulaza u kompleks. Jedan ulaz se nalazi u neposrednoj blizini sportskih terena, i opslužuje sportski blok, naselje bungalova i plažni kompleks sa letnjom pozornicom. Drugi ulaz se nalazi u neposrenoj blizini hotela - Borašnica 4*. Odmah nakon ulazka u kompleks predvidjeni su parkinzi, koji zadovoljavaju potreba korisnika. U celom hotelskom kompleksu je zamišjeno da se saobraćaj odvija preko pešačkih staza, a prilaz do bungalova je omogućen malim vozilima na el. pogon. Zahvaljujući konfiguraciji terena i projektovanom položaju objekata ispunjeni su uslovi da većina smeštajnih kapaciteta ima pogled na jezero, a takođe posetiocima Plažnog kompleksa je omogućeno da uživaju u direktnoj komunikaciji sa vodom. Terasasta forma objekata prati u potpunosti konfiguraciju terena i u centar dešavanja stavlja jezero. Razigranost straza, trasa i puteva do vode prati celu ovu priču. Talasaste forme koje su korištene u oblikovanju celog kompleksa su proistekle iz neposredne blizine sa vodom i pokušaja da se ceo kompleks uklopi i saživi sa okolinom. Projektantski tim arh.Srdjan Vuleta i arh.Gordana Sejfulovski na čelu sa arh.Velimirom Djordjevićem stvara projekat za izgradnju hotela na oko 12.000 m2, kapaciteta 120 kreveta sa zatvorenim bazenom i kongresnim salama, naselja sa 58 bungalova kapaciteta oko 300 kreveta, objekat sa otvorenom scenom i bazenom, kafeima i restoranima, površine oko 12.300 m2 i kapaciteta oko 1.000 posetilaca, kao i sportskog dela sa fudbalskim, rukometnim i teniskim terenom. Projekat je formiran u fazama izgradnje. FAZE REKONSTRUKCIJE HOTELSKOG KOMPLEKSA "BORAŠNICA": PRVA FAZA -Ulazna partija sa dvonivelisanim parkingom za 77 vozila - Sportsko-rekreativni blok sa terenima: - fudbalski teren dimenzija 90.00 x 45.00 m, sa atletskom stazom dužine 100m (sa 3 trake) i montažnim tribinama, pomocni teren za fudbal dimenzija 41.00 x 21.00 m, univerzalni teren (za rukomet, odbojku, košarku) dimenzija 41.00 x 21.00 m, sa montažnim tribinama, teniski teren dimenzija 36.00 x 18.00 m, sa montažnim tribinama - Plažni kompleks sa letnjom pozornicom: -kapaciteti: ležaljke 600 mesta -restoran 152 mesta -kafe galerija 1 169 mesta -kafe galerija 2 121 mesta površine: - površina nultog etaža: ........4451.00 m2 - površina prvog etaža: .........4962.00 m2 - površina drugog etaža: ..….3195.00 m2 Ukupna površina objekta:...12826.00 m2 - Naselje bungalova: bungalov tip"A" ukupno: 62.04m2 (kapacitet 6 ljudi) bungalov tip "A" - 21 komad bungalov tip"B" ukupno: 63.05m2 (kapacitet 8 ljudi) bungalov tip "B" - 21 komada Ukupno bungalova: 42 bungalova DRUGA FAZA - Ulazna partija sa parkingom za 72 vozila - Hotel 4* kapaciteti: -kongresna sala - 250 ljudi -zatvoreni bazen dimenzija 25 x 15 m -restoran za 200 gostiju -terasa restorana za 300 gostiju -sobe: - 48 dvokrevetnih soba - 10 apartmana - 2 LUX apartmana -ukupan kapacitet hotela: 120 kreveta površine: Ukupna površina objekta:.….....10150.00 m2 Površina terasa:............................1850.00m2 Površina objekta + terase:..........12000.00m2 Plažni kompleks sa letnjom pozornicom Koncept uređenja i funkcija: Objekat je smešten na južnoj obali Boračkog jezera. Osmišljen je da funkcioniše kako u dnevnim tako i u noćnim časovima. U objektu se nalazi više funkcija, od sportsko rekreativnih, ugostiteljskih, soba za smestaj osoblja do prostora za odmor i relaksaciju. Ideja arhitektonskog rešenja je da pruži prostor za opuštanje i odmor pored vode i u dnevnim i u noćnim satima, a takođe razmišljano je da se pored, udarne, letnje sezone, rad objekta produži i u zimskim danima. Objekat plažnog kompleksa je namenjen prvenstveno ugostiteljskim sadrzajima i prvenstveno u letnjem periodu. Forma objekta je proistekla iz funkcionalne sheme, lokacije i ideje da se svim posetiocima pruži pogled na vodu. Pored toga, iz konfiguracije terena je proisteklo da je objekat sa gornje strane ukopan, tako da je direktan ulaz sa terena omogućen i na prizemlju (sa spotrskog terena, sa plaže) i na drugom spratu(sa glavne pešačke ulice). Osnovna koncepcija je ta da se počevši od plaže, postepeno savlađuje visina sa terasama/podijumima, visine 60cm ili 120cm. S’ obzirom na veličinu objekta, organizacija ugostiteljskih kapaciteta je podeljena u nekoliko zona. Sa zapadne strane objekta nalazi se restoran, čije terase su organizovane u više nivoa. Većina ostalih terasa je osmišljena tako da su u dnevnim časovima na njima ležaljke, a u večernjim se one zamenjuju stolovima i stolicama. Rešenje smeštaja ležaljki i stolova je u boxovima koji sa nalaze na samim terasama, tako da se za relativno kratko vreme dnevna postavka može zameniti noćnom. Noćna organizacija objekta ja na nivou kafe-kluba. Na samoj plaži, na mestu spoja vode i peska, predvidjena je pozornica sa velikim video bimom. Zbog svoje stepenaste forme i oblika amfiteatra, pozornica je saglediva iz svake tačke objekta. U centralnom polozaju nalazi se bazen, okruglog oblika. Na drugom spratu, su organizovana dva glavna ulaza sa kojih se pušta ka terasama i bazenu, a na istoj koti, sa dve bočne strane su smeštene dve kafe galerije. Ove galerije su tako organizovane da mogu da funkcionišu kao odvojeni ugostiteljski objekti. U projektu je jedna kafe galerija organizovana kao poslastičarnica a druga kao picerija, ali u toku eksploatacije to se može menjati. Vidikovci su osmišljeni u dve severne kule, bliže jezeru, sa kojih se pruža prelep pogled ka jezeru i okolini. Prilaz ka vidikovcima je preko kafe galerija. Spoljni gabariti objekta su 130.00 x 80.00 m. Spratnost je P+2, objekat je veoma razudjene forme, sa dominantnim kružnim elementima. Ukupno BRUTO površina objekta: 12826.00 m2 NASELJE BUNGALOVA Naselje bungalova je projektovano kao skup ekoloških jedinica, građenih od drveta, koji daju osećaj topline i prirodne atmosfere u kompleksu. Predviđena su dva tipa bungalova da bi obezbedili smeštaj svih mogućih varijanti gostiju po pitanju kapaciteta (od 1 do 6 ljudi). Tip “A” je projektovan kao bugalov na dva nivoa, prizemljem i mansardom i unutrašnjim drvenim stepeništem za vezu između nivoa. Prizemlje je zamišljeno kao tip dnevnog boravka (sa rasklapajućim dvosedom), kupatilom, garderobom, mini kuhinjom i malim trpezarijskim stolom. U bungalov se ulazi preko natkrivenog trema, koji nam ujedno služi i kao terasa u prirodi. Mansarda je zamišljena kao spavaći blok sa dve sobe i kupatilom. Ovaj tip bungalova je univerzalnog karaktera i može da obezbedi smeštaj i dvočlane porodice kao i višečlane porodice (do 6 osoba). Tip “B” je projektovan kao bungalov sa dve potpuno odvojene smeštajne jedinice. Specifičnost ovog bungalova je u tome što u isto vreme obezbeđuje ulaz gostiju sa dva različita visinska nivoa. U apartman na prizemlju se ulazi slično kao kod tipa “A”, preko trema na koti 0.00m, a u apartman na mansardi se ulazi sa gornje pešačke staze na koti +2.70m. Kapacitet oba apartmana je takav da maksimalno može da pruži smeštaj za 4 gosta, HOTEL **** Hotelska zona: Pristup arhitektonskoj modelaciji objekta i oblikovno rešenje proistekli su iz uslova konkretne lokacije, funkcije objekta, ambijentalnih i arhitektonskih vrednosti mesta u kome se gradi objekat. Hotel je projektovan kao objekat sa 4* u sklopu planinsko-turističkog-sportskog arhitetktonskog komplksa raznovrsne namene. Spratnosti je P+5, razuđenog ovalnog oblika sa spoljnjim gabaritima 85,00/35,00-50,00m. Objekat je funkcionalno rešen prema potrebama korisnika: Hotelsku zonu čine podzemne etaže ugostiteljsko-rekrativnog tipa i nadzemne etaže smeštaja za korisnika hotela, takođe doprinos javnog karaktera hotela je amfiteatar za 250 korisnika. U podzemnim etažama nalazi se zatvoreni bazen sa spa centrom, fitnesom i prostori sa rekreativno-zabavnim sadržajem. Najniži etaž je na koti -9.500m, gde je smešten zatvoren bazen 25x15m, sa bogatim sadržajem wellnes centrom za goste hotela. Spa centar je hodnikom povezan sa stepeništem i liftom za gornje etaže. Iz wellness prostora se kružnim tokom ulazi u prostorije za masažu, tuširanje, parno kupatilo.Takođe se pristupa u prostor teretane, sauna i tuševa sa jedne strane i bazen sa druge. U okviru bazenskog prostora nalazi se bazen za plivanje i leželjke, kao i uslužni šank. Takođe u ovom prostoru se predviđa i deo za bazensku tehnologiju koja se razrađuje u okviru glavnog projekta. Na etaži -4.500 smesten je restoran za 200 ljudi i otvorenom terasom restorana za 300 ljudi, nalazi se iznad bazena. Terasa na istoj etaži je prateći deo kuhinje sa ostavama, magacinima, prostorom za personal-kuvare, ugostitelje hotela. Desno i levo krilo objekta je stepenište sa liftom i javnim toaletima. U prizemlju objekta na koti 0.000m predviđen je prijemni deo (recepcija) koja je toplom vezom povezana sa bazenom, spa centrom, amfiteatrom, restoranom i apartmanima na spratu. Sa recepcije ulazimo u hodnik koji nas povezuje sa foajeom i toaletom (muškim i ženskim). Lobby bar dominira čitavim prizemlje, tu se nalazi i administrativni blok hotela. Horizontalne i vertikalne komunikacije (stepenište i lift) povezuju kompletan objekat i ostvarene je laka dostupnost gostiju svim prostorima. Kapacitet Lobby bara sa foajeom je za 150 ljudi. Na I spratu na koti +4.500m razdvojen je ulaz u amfiteatar od dvokrevetnih soba. Hodnik apartmana spaja desno i levo krilo, dok stepenište direktno omogućava ulaz u amfiteatar i javne toalete sa oba kraja objekta.Sve sobe na spratu su dvokrevetne ,gledaju prema jezeru i imaju terasu.Kapacitet sprta čine 8 dvokrevetnih soba površine 22,30m2; 6 apartmana P=35,00m2 i dva polukružna apartmana P=59,60m2, sa odvojenom kongresnom salom za 250ljudi. Na II spratu na koti +7.500m nalazi se samo apartmanski blok, bez pratećih sadržaja.Javne prostore na spratu čine foaje sa hodnikom i toaletima na desnom i levom krilu objekta uz vertikalnu komunikaciju.Sve sobe imaju terasu i gledaju ka jezeru.Kapacitet soba na ovoj etaži je 8 dvokrevetnih soba P=23,60m2 ;6 dvokrevetnih soba od 29,50m2 i dva apartmana od 59,60m2. Sve nadzemne etaže II,III i IV sprat sadrže toalete, glavni hodnik za apartmane i prostor za spremačice. Na III spratu na koti +10.500m je identičan kao II sprat, kaskadno se povlači za 2,00m ka brdu. Stvara se terasasta, stepenasta fasada. Sobe su dvokrevetne , 8 soba od 25,00m2 , 6 soba od 24,50m2 i dva apartmana po 60,00m2. IV sprat je identičan kao III etaž, na nivu +13.500m , fasadno je povučen je za 2,00m stepenasto ka brdu. Desno i levo krilo sadrze sobama od 20,00m2, središnji deo se sastoji od četiri apartmana sa dnevnom sobom,spavaćom i kupatilo površine 54,00m2. Na kruznim delovima (desnim i levim) je Lux apartman sa kuhinjom i spavaćom sobom od 54,20m2. Takvi apartmani se provlače duž vertikale ,na svim etažama od I do V sprata. V sprat je predviđen za vidikovac,to je slobodan prostor iznad kružnih etaža uz stepenišni prostor. Pruža se prelep pogled celokupnog kompleksa i suprotne strane jezera, pejzažna panorama. Ukupna BRUTO površina objekta + terase:..........12000.00m2