HULUMTIM I RASTEVE NDERKOMBETARE NE LIDHJE ME PARQE DHE MONUMENTE (MEMORIALE)

OBJEKTE TE MEMORIALEVE
OBJEKTE (INSTALACIONE) PER VROJTIM
SHTIGJE PER KEMBESORE DHE CIKLISTE

OBJEKTE TE MEMORIALEVE

Szatmry Palace / MARP

Architects
MARP

Location
Pcs, Hungary

Project Year
2011

From the architect. The existing ruins of the renaissance Szathmry Palace is one of Hungarys most
valuable protected monuments. The palace is situated in the city of Pcs which is one of the oldest town
of the southwestern region of Hungary with long historical background. The ruins are located in a park
of Tettye Valley in the northeast part of the city, where the dense historical urban fabric meets nature.
The valley rises almost
from the heart of the city,
offering a magnificient
view of the city from the
top. Bishop Gyrgy
Szathmry (1457-1524)
built his own Renaissance
style summer residence
here at the very beginning
of the 16th century. The
palace must have been a
two-storey building with
inner patio, made of local
stone. It was said to have been a U-shaped building arranged around a courtyard open towards the
South, that is to say, towards the city. A former archeological excavation confirmed that the Bishop
of Pcshad a building with inner courtyard built that was rebuilt a number of times later. During the
long occupation of Hungary by the Ottoman Empire from the mid-16th century, the palace housed
probably a Turkish dervish cloister. This is when the south-east tower must have been built that is still
untouched. After the Ottomans had
been driven away, the building was left
empty and its condition became worse
and worse. At the beginning of the 20th
century, one part of the building was
demolished, and certain openings were
strengthened with arches, thus
providing a sense of romantic ruin
aesthetics. Until recently the ruin was
used as a background scene for a
summer theatre. Despite the long
history and its superb location, the palace in its bad condition was not able to fullfil the proper role
following from its historical and architectural importance.
Holocaust Memorial / Sergio Kopinski Ekerman
Architects
Sergio Kopinski Ekerman

Location
Salvador - Bahia, Brazil

Project Year
2006

Part of the plan consisted also in building a Holocaust Memorial, a space capable of filling some
programmatic blanks. First, creating a landmark to the new occupation; second, providing the
visitors with a place to pray, think and meditate, giving the cemetery a useful liturgical space;
third, remembering one of the most important events in the Jewish history, playing an
educational role as well.

The first part of the project was finished

in July 2007, and consisted in the
construction of a new entry gate, the
ampliation and refurbishment of the
obituary pavilion, improvements in the
access to the older part of the field, new
floors, infrastructure services, the
construction of a new sink for the netilat
iadaim , besides the realization of the
Holocaust Memorial itself.

The new building respected the goal to organize the Cemetery towards its growing, connecting
to a new gate and a small plaza beside the obituary pavilion, thus becoming an element of
composition to the basic core of reception and permanence of the users during religious
services.

The main wall is oriented towards Jerusalem, absorbing a tradition brought from the synagogue.
Its forms are inspired from the word "chai" - "life" in Hebrew, understanding that the
remembrance from
those that had gone
and from those who
survived is made of
their legacy and their
acts in life. From this
point, the project seeks
to create a space
formed by light and
shadow, using apparent
concrete, brutal and
non perfect, suggesting
the bitterness of the experience lived by the ones who died or survived the shoah.
 Wahat al Karama / bureau^proberts + Urban Art
Projects

Architects
bureau^proberts, Urban Art
Projects

Location
Abu Dhabi - United Arab
Emirates

Project Year
2016

From the architect. This

work exemplifies the power of fusion between art and architecture in a project that
conveys purpose and emotion and creates a place of reflection, serenity and significance for
its nation.
The conceptual direction of the project was conceived by world renowned artist Idris Khan
to create a park for reflection on both loss and remembrance, a spiritual place that
conveyed unity and
support - a monument
that has positive and
hopeful resonance
while inspiring
curiosity in sculpture
and how
contemporary art can
influence emotions.
At the heart of Wahat Al Karama park is the MONUMENT which serves as a unifying poetic
moment despite its monumentality. The complex structure is comprised of 31 aluminium
vertical tablets, the largest soaring 23 metres in height. The tablets appear to gently rest on
each other symbolizing the united strength of the seven nations of the UAE. With its
impressive scale, the Memorial represents the eternal martyr, a place of reassurance and
defiance. Its two front tablets stand vertically and are intended to evoke a sense of humility
when approached.

Each tablet was carefully handcrafted by UAPs design and fabrication team. The 31 tablets
are made of a total of 850 cast aluminium panels. UAPs team used a hand painting
technique to achieve a delicate gradient of colour on the surface that captures the light
rather than reflecting it.
 Memorial To Victims Of Violence / Gaeta-Springall
Arquitectos

Architects
Gaeta-Springall Arquitectos

Location
Mexico

Project Year
2013

From the architect. The site is in Chapultepec, the most important park of Mexico City. This
part of the forest belongs to the Federal Government and was under the custody of the
Ministery of Defense of Mexico for many deacades; so first of all, the Memorials Project
means the recuperation of 15,000 sqm in terms of public space.
A memorial is the
architectural piece in which
we can find the remembrance
and the memory of the
culture and history; in the
particular case of
the Memorial of the Victims of
the Violence in Mexico, we
materialize, in terms of
architecture, one of the most
important and current issues
of Mexican
society: violence. This is the
big and open wound; in response to this, we propose an open project in the site, opento the
city and open to the apropiation by the citizens; a project with a strong relationship with
the city and her actors. The recuperation of the public space as well as the remembrance of
the victims of violence are the essence of the project.

Our project plays the double condition of public space and memorial.
The first premise was to recognize the vocation of the site as a forest; with a very strong
presence of nature; the trees are there and they characterize the site.

The violence is suggested in two dimensions: the void and the built. The void proposed in
the project is the space created between the steel walls and the trees. This void or empty
space could remind us the concept of the nopresences and absenses of the people to
remember, and the surfaces of the steel walls, rusty or mirroring, show that we can lose
ourselves, add ourselves, or mutiply ourselves.
Besides that, if we think of violence as destruction, the construction of seventy steel walls
plays as the great antidote against the violence .

The big projectual action consists on building seventy metalic walls in corten steel rising
between the trees; it is a dual play between nature and architecture: the forest of trees and
the forest of walls. The society of the trees and the visitors play the living beings; the
society of the
walls play the
unmateriality of
the memories of
the victims.
The list of materials is reduced: steel and concrete, added to the natural elements of the
forest. We are using the corten steel in three ways: natural, rusty or stainless mirroring,
each of them with different meanings. The rusty steel means the marks and scars that time
makes in our lifetime. The stainless mirroring steel is used to reflect and multiply the
living: persons, trees, and the water of the central space; and the natural steel is used as an
unperturbed element that remind us the main and essential values that societies must keep
to live in peace. Concrete is used for the lanes and the benches; for walking and reflection.

In the central space, which is the main space of the Memorial, there is a 1,200 spm fountain
with an undetermined form and open geometry, to remind us that the violence issue is still
opened. The fountain is covered with a grid so that the visitor can walk over the water.
Water means life; water cleans, and water heals.
In this area the steel walls rise stronger and taller, creating the strongest drama in the
whole place. The reflection in the water of trees and walls make our eyes go up and down.
When they go up, they see the sky, the light, the sunthe hope.

Finally, one of the most important parts of the project is the humanization and
appropriation of the steel walls.
Society is responsible for
making the Memorial. The
seventy metallic walls are
spaces for people to write the
name of their victim, and
express their pain, anger, and
longings. These steel walls play
as mirrors and blackboards,
and by the writings, being
transformed into witnesses of
the pain and destruction
provoked by the violence of the
organized crime.
 OBJEKTE (INSTALACIONE PER VROJTIM)

National Tourist Route Trollstigen / Reiulf Ramstad

Architects + Oslo Norway
Architects
Reiulf Ramstad
Architects, Oslo Norway

Location
Romsdalen, Rauma, Norway

Project Year
2010
From the architect. The project
will enhance the experience of
the Trollstigen plateaus
location and nature.
Thoughtfulness regarding
features and materials will
underscore the sites temper
and character, and well-
adapted, functional facilities
will augment the visitors
experience. The architecture is to be characterised by clear and precise transitions between planned
zones and the natural landscape. Through the notion of water as a dynamic element from snow, to
running and then falling water- and rock as a static element, the project creates a series of prepositional
relations that describe and magnify the unique spatiality of the site.
 Snefjord Road stop / Pushak
Architects
Pushak

Location
Havysund-Gunnarnes,
Msy, Norway

Architects
Pushak

Project Year
2005

From the architect. The site

of the road stop is a
paradox. Oftentimes, the
hardest winds blow off the sea, and yet the most attractive view is toward the fjord. The obvious
response in order to shield tourists from the wind would be to construct a view-blocking wall.
Instead three "bench-boxes" prefabricated at a local wharf dot the area, and their differing
orientations allow visitors to choose where to sit
according to wind and sun conditions.
Two persons or groups can use each box at once
while they retain some privacy. The structure is
built with steel bars with cantilevered benches
and roofs. The interiors are covered with oak. The
exteriors are covered with copper sheets.
Pinohuacho Observation Deck / Rodrigo Sheward
Architects
Rodrigo Sheward

Location
Villarrica, Araucania, Chile

Project Year
2006
Fur Diatoms / Reiulf Ramstad Architects +
Leth&Gori
Architects
Reiulf Ramstad
Architects, Leth&Gori

Location
Fur, Skive
Municipality, Denmark

Project Year
2015

From the architect. In the middle of the Danish fjord Limfjorden, there is a small island
entitled Fur. The architectural instalation at Fur will allow tourists and visitors to come
even closer to the spectacular nature.The island is characterized by untouched nature;
The project will strengthen peoples experience in this beautiful landscape, and create the
condition to enjoy the great panoramic view.
Torskfjorddalen / Pushak
Architects
Pushak

Location
Finnmark, Norway

Architects
Pushak

Program
Roadstop, benches

Project Year
2007

From the architect. The site is in a steep slope with views to the Torskfjord valley and the
fjord in the west. The siting area is on a lower level than the road and parking. The back of
the bench is shielding from the winds blowing from the mountain in east.
 Stokke Sculpture Park: An Illusion

We dont usually write about sculptural installations, however this one-of-a-

kind viewing point has touched our soft spot for unique structures. It was
designed for the Sti For Oye sculpture park in Stokke, set amongst the
Vestfold oak forest to the West of Oslo.
As you enjoy the woodland walk throughout the park, you will reach the
highest point of the site. There, a steel and wooden installation awaits for you
to enter the gently defined space, climb the stairs and reach the platform to
enjoy the eastern views of a castle.
The structure stands on a sloped site, featuring a steel frame combined with
wooden platforms engulfed by low, transparent glass walls; on the lower side,
the structure is supported by vertical metal poles. I love the geometric
symmetry of its form, the way both staircase stand in parallel resembling a
wooden escalator in the middle of the forest and how the positioning of each
staircase creates an optical illusion for the entire space.
AUSSICHTSPLATTFORM CONN

Flims, Switzerland
2006
PROJECT BY CORINNA MENN
CHUR, SWITZERLAND

The retreat of the last ice age

triggered the huge Flimser
Bergsturz 10'000 years ago. The
power of the Rhine began to break
through the masses of rocks and
created the natural spectacle of
ruin Aulta. In the context of the
ravine landscape, which is collected
for national protection, the people
of Conn are intentionally opened a
window without entering the stage
themselves.

Nestled on the outermost edge of

the forest, the viewing platform
extends between the pine trees and slopes over the gorges, without affecting the limestone
formations that have grown over thousands of years. Seen from the footpath, the dark steel
structure stands as a part of the forest between the high tribes. The visitor rises above the
spiral staircase and steps out onto the wing-like sprawled wooden platform.
The light larch wood of the beams, the fanned out
double ribs and the conical floor segments acts
like a floating sail from a distance. Suspended from
the main beam, it is tensioned at its tips with steel
ropes. The basic elements and their linear
connections span an inherent spatial figure
inscribed with a sphere. The conciseness of this
structure is characterized by the materiality
reduced to the static and constructive necessity.
 SHTIGJE PER KEMBESORE DHE CIKLISTE

Vedahaugane / L J B

Architects
LJB

Location
Aurlandsfjellet, Norway

Project Year
2010
From the architect. The Vedahaugane lookout consists in a 90 meters long concrete path
leading the visitor away from the road and into the landscape. A double curve shape follows the
terrain and leads towards a beautiful untouched valley dominated by high mountains and eternal
snow. Jotunheimen mountains are in the distant.
The last third of the path hosts a wooden bench to enable people to relax and enjoy the
magnificent panorama. The wheelchair friendly walkway is floating a few cm above the
ground, supported by round columns to minimize the impact on the landscape and reduce the
actual footprint of the construction. At the same time the intervention gets a light and reversible
expression.
TRYSIL BIKE CENTER