Archive for August 8th, 2010

August 8, 2010

Armani Hotel Dubai_Giorgio Armani; Wilson Associates

A World Within a World

By Suzanne Stephens

As one more sign of the decline of the West and its dominance in things ultra-chic, Milanese fashion designer Giorgio Armani chose the Burj Khalifa tower in Dubai for the setting of his touted debut in the hotel business. New York and Milan just have to wait—albeit they are on the list for forthcoming Armani hotels. Armani could not have chosen a more dramatic venue than this desert city on the Persian Gulf for displaying his “minimalist opulence,” as the Armani literature puts it. For one thing, there is the deep contrast between his and other luxe-level Dubaian caravansaries. These hotels seriously strive for over-the-top-dom marked by panoply and panache. You can get an ocular migraine visiting the self-proclaimed “seven star” Burj Al-Arab Hotel (designed by Tom Wright of WS Atkins in 1999), where 22-karat-gold leaf is the default interior finish.

In relation to the gimme-gilt syndrome, the cerebrally elegant Armani Hotel Dubai, a joint project with Emaar Properties, the Burj’s developer, appears amazingly discreet.

Stepping into the hotel through one of the three glass pavilions nestled between the lobes of the tower, the visitor enters a cool, shadowy lobby dominated by a tubular arch construction, rather like an abstracted version of a spider sculpture by Louise Bourgeois. The hotel’s materials contrast textures—such as Eramosa limestone floors with the sheen of fabric wall coverings. Its color scheme is Full Armani Jacket, veering confidently from beige to tan to gray to charcoal. The public spaces and 160 guest rooms and suites are located mostly on the first eight floors of the tower, plus floors 38 and 39, with 144 Armani-designed short-stay apartments on floors 9 through 16. Elsewhere in the Burj, residences designed by Skidmore, Owings & Merrill (SOM)—for Armani—fill out floors 19 to 39, with more SOM-designed condos on 43 to 72, and luxury ones on floors 76 to 108— not to mention the offices on floors 112 to 154. In addition, Adam Tihany is designing a restaurant appropriately named Atmosphere on the 122nd floor, slated to open at the end of the year.

The halls of the Armani Hotel’s guest-room floors, paneled in zebrawood and trimmed with LED cove lighting at the base and fluorescent lighting at the ceiling, impart the sleek look of a sci-fi catwalk to a calmer world. They lead to somnolently lush guest rooms where Armani partitioned spaces with serpentine walls to echo the curves of the tower’s exterior. Since most of the furnishings and fabrics belong to the designer’s home furnishings line, Armani Casa, the gesamtkunstwerk idea never stops. The rooms’ plush look is calming and soothing. For a bit of oomph, many rooms overlook the Dubai Fountain’s Busby-Berkeley-goes-to-Arabia floor show designed by WET in the lake next to the Dubai Mall.

Restaurants, cafés, and lounges in the hotel religiously adhere to the Armani aesthetic, along with boutiques, a nightclub, and a spa. The Italian-oriented Ristorante most serenely imparts the soigné Armani imprimatur, where tan, curvilinear banquettes and floor lamps arcing over circular tables echo the tower’s formal thematic. The Japanese restaurant, Hashi, presents a coolly casual look (with disco music thumping in the background), but Peck, a gourmet deli with Milanese-Viennese early Modern overtones, might appeal more to architects: It looks as if Adolf Loos were hovering over the hand of the designer. An Indian restaurant, Amal, on the other hand, comes out looking anorexic, owing to the bleak lighting and attenuated scale of the fittings (more arches!). Oddly, this seems to be the only place where touches of color made it through the door, but that alone simply doesn’t provide the heat. Fortunately, these drawbacks can be fixed.

Although Giorgio Armani meticulously supervised the entire design of the hotel, down to the room controls and the soap, he was backed up by Wilson Associates, the interior design firm headquartered in Dallas. Because of its past experience in designing hotels and resorts, including the Ritz-Carlton, Four Seasons, Kempinksi, Disney, and Emaar Properties, it stands to reason that Wilson’s advice would be useful. But make no mistake about the person at the controls: as Bernard Himel, managing director of Wilson Associates says, “Giorgio Armani had the vision and intense attention to detail—he was personally involved in almost every decision.” Not surprisingly, you sense that when you go there. It will be interesting to watch how the company, Armani Hotels & Resorts, formed in 2005 with Emaar Properties, retains this aesthetic for the series of hotels it is planning in the years to come.

August 2010

Armani Hotel Dubai

The entrance to the Armani Hotel Dubai is located between two lobe-like wings of the Burj Khalifa.

Armani Hotel Dubai

A Milanese ambience overlaid with Viennese overtones characterizes Peck, a gourmet deli in the Armani Hotel.

Armani Hotel Dubai

The hotel’s Ristorante, offering Italian cuisine, effectively employs soft lighting, monochromatic colors, and circular forms that echo the formal motifs of the Burj Khalifa itself.

Armani Hotel Dubai

In the hotel’s hallways, lighting strips (LED at the base, fluorescent at the top) and zebrawood paneling provide an eerily svelte path to the guest rooms.

Armani Hotel Dubai

The lobby’s height is dramatized by a tubular arch construction that echoes in elevation the sinuous lines of the Burj’s three-lobed plan.

August 8, 2010

Burj Khalifa _Skidmore, Owings & Merrill

The completion of the world’s tallest skyscraper raises intriguing questions about the significance of this gleaming, spiraling form.

By Blair Kamin

Iconic skyscrapers, especially those that strive for the fleeting title of “world’s tallest building,” are rarely the progeny of cold logic. Their backers invariably are motivated by ambition and ego. The architect does not control whether or where such behemoths are built. He or she can only ensure that they are proud and soaring things, not Frankenstein-esque, XXL-size monstrosities. Such is the considerable achievement of Adrian Smith, FAIA, and his former colleagues at the Chicago office of Skidmore, Owings & Merrill (SOM) in the gargantuan yet persuasive Burj Khalifa, which rises half a mile above the desert in the once-unstoppable, now-humbled Persian Gulf playground of Dubai.

At the staggering height of 2,717 feet (easily more than two Empire State Buildings), this shimmering, spiraling mixed-use tower inevitably raises the question: When is big too big? To some, this giant of giants — its spire alone is more than 700 feet tall — clearly overshoots the mark. Shortly after its spectacular January 4 opening ceremonies, critics pegged it the Hummer of skyscrapers. “Purely a vanity project,” said the German urban planner Albert Speer, Jr., in Spiegel. “Completely unsustainable,” jibed Britain’s Guardian. Pundits also ridiculed the tower’s abrupt name change — from Burj Dubai (Arabic for “Dubai Tower”) to Burj Khalifa in honor of Sheik Khalifa-bin-Zayed al-Nahyan of Abu Dhabi, who bailed Dubai out of its 2009 debt crisis. In the Great Recession, when sustainability supposedly has supplanted spectacle as architecture’s guiding principle, the bling of the Burj Khalifa offers a convenient target for those eager to consign the pre-Crash Age of Excess to the ash heap of history.

But it would be shortsighted to conflate the messy circumstances surrounding the Burj Khalifa’s completion with the tower’s exhilarating and surprisingly refined architecture. And such a dismissal would ignore previous supertall sagas. When the now-beloved Empire State Building opened in 1931, so few of its floors were rented out that it was labeled “the Empty State Building.” Building booms and busts come and go, as do the temporary wearers of the world’s-tallest-building crown. What matters, in the long haul, is the artistry that separates skyscrapers that are merely yardstick-tall from those that make of their tallness a smashing aesthetic virtue. And the Burj Khalifa easily meets — and exceeds — and exceeds — that standard, soaring in both height and design quality above Dubai’s often-ludicrous collection of architectural cartoons.

The $1.5 billion skyscraper marks the first time since Egypt’s Great Pyramid of Giza that the world’s tallest building has been found in the Middle East. It also represents a great leap forward in height, rising higher than the previous record-holder, Taipei 101 in Taiwan, by more than 1,000 feet. Yet the tower is more than a mere feat of engineering, the product of mad scientists striving to achieve a listing at The secret to its success is its integration of architecture and engineering, long a staple of the SOM Chicago office, responsible for five of the world’s current 10 tallest buildings.

To be sure, the tower is no paragon of sustainability. But a little perspective is in order. When the tower’s developer, the state-backed Emaar Properties, rounded up the usual supertall suspects — including SOM, Kohn Pedersen Fox, and Pelli Clarke Pelli — for an invited competition in 2002, green was not on its agenda; “Big” was. At that time, architects and the culture at large had yet to embrace sustainability as they have today. It is perhaps unfair to judge a building birthed in one era by the standards of another, just as it is unrealistic to insist on passive solar cooling in a climate where summer temperatures hit 120 degrees Fahrenheit and even the bus shelters are air-conditioned. The Burj beats the heat with double-paned glass walls that combine a low-E outer layer with a reflective inner layer. Besides, by promoting urban density, the skyscraper has attributes of conceptual green rather than literal green.

Located a few miles inland from the azure waters of the Persian Gulf, the tower is the undisputed centerpiece of a 500-acre, master-planned city-within-a-city that has improbably risen on what was desert just six years ago. Its nearly occupied 160 floors house a chic Armani hotel, floor upon floor of sold-out but mostly unoccupied condominiums, an already-popular observatory, and still-under-construction boutique offices. Huddled around the tower, like Lilliputians to its Gulliver, are various residential and hotel towers, the sprawling Dubai Mall, and a new “old town” of traditional, Islamic-themed town houses and hotels. While the juxtaposition of heights may seem bizarre, Emaar shrewdly calculated that the presence of the world’s tallest building would give the area cachet and allow the company to charge higher prices for units with prized “Burj views.” Such a strategy paid off — at least until Dubai’s real estate market collapsed in 2009.

Taking note of the Burj’s superskinny, supertall silhouette, many critics have wrongly averred that the tower was inspired by Frank Lloyd Wright’s unbuilt Mile-High Illinois scheme of 1956. In fact, as Smith and SOM have made clear, the actual forerunners were the suavely curved, three-pronged Lake Point Tower in Chicago of 1968, designed by Schipporeit & Heinrich, which has shallow floor plates to keep residents close to prized views; and another three-lobed, residential high-rise, SOM’s Tower Palace III in Seoul, South Korea, completed in 2004. Such was the formal genesis of the Y-shaped Burj, whose organic forms subtly echo in plan the onion domes and pointed arches prevalent in Islamic architecture. In tandem, SOM’s chief structural engineer, William Baker, designed a wind-resistant “buttressed core” of concrete that, at the 156th floor, gives way to an internal steel structure that carries the mostly unoccupied spire to the summit (see page 89).

This innovative structural solution allows the Burj to be remarkably tall and remarkably thin, with one-third less square footage than the steel-framed Willis (originally Sears) Tower even though it almost doubles Willis’s height. As at Willis, floor plates simply drop off as the tower sets back, letting columns run continuously and avoiding costly structural transfers. Yet in lieu of Willis’s boxy Miesian geometry, the setbacks whir upward in a dynamic, counterclockwise spiral. By sheathing the faceted, sculptural mass in a luminous, light-catching skin, accentuated with fin-shaped stainless-steel mullions, Smith creates a dazzling skyline object that mounts rhythmically to a thrilling climax. This skyscraper looks like a skyscraper, its elegant, exultant verticality providing Dubai’s random clumps of high-rises with an unmistakable center of the tent.

The tower’s extraordinary height, Smith insists, was not his — or his client’s — aim, but an outgrowth of his desire to prevent the tower from appearing stubby, as it did in earlier, shorter schemes. “I just wanted the proportions to be right,” said Smith, who left SOM in 2006 to start his own firm, Adrian Smith + Gordon Gill Architecture. “That was the singular motivation for reaching to that height — not a number.”

The tower is equally persuasive at ground level, achieving Smith’s aim that it approximate the effect of a vertical stalagmite that grows naturally out of the earth. Footlike extensions of its Y-shaped floors step down nimbly to the surrounding plaza. Lacking an immediate context, Smith built one in the form of wedge-shaped low-rise annexes (an office building and a health club) that belly up to the Burj and shape relatively intimate spaces around it. Pedestrians approaching the tower encounter lozenge-shaped entrance pavilions outfitted with precisely detailed, cable-supported double walls. The pavilions have the added benefit of deflecting downdrafts that could knock visitors off their feet.

Upstairs, the benefits of the tower’s structural parti are readily apparent. By dispensing with closely spaced perimeter columns and deep floor plates, the buttressed core opens the interior to million-dollar views of the Gulf, Dubai’s skyline, and the surrounding desert. While the “At the Top” observatory on the 124th floor is not truly at the tower’s top, as its name implies, it is still a splendid lookout point. From bottom to top, SOM’s interiors team wisely employed soothing, understated finishes, creating oases of calm that sharply contrast with Dubai’s visual cacophony.

For all the design skill, the question looms: Is the skyscraper nothing more than beautiful folly? Undeterred by the Burj’s empty spaces, Emaar reports that the tower’s Armani Hotel is recording “strong occupancy levels,” that the observatory is on target to attract 1.2 million visitors in its first 12 months of operation, that owners are starting to occupy the condos, and that the transfer of offices to owners will begin this summer. Nonetheless, due to Dubai’s sharp decline in real estate prices, some Burj condo owners are renting out apartments rather than flipping them.

For his part, Smith argues that the Burj is not the last blast of the age of spectacle, but a harbinger of the future, as developing countries follow its prototype of the mega-scale, master-planned community anchored by an iconic tower. With Saudi Arabia contemplating a kilometer-high skyscraper, and other developing countries getting set to join the supertall race, time may well prove him right — just as it did the backers of the Depression-era giant that eventually became synonymous with the exuberance of New York City and the resilience of America.

Burj Khalifa

Stainless-steel spandrel panels and vertical fins articulate the gleaming glass-and-aluminum curtain wall of the tower.

Burj Khalifa

The Burj Khalifa is surrounded by a 27-acre park designed by landscape architects SWA. The complex overlooks the Dubai Lake and Fountain and the Old Town Island, a new, low-rise mixed-use complex(foreground).

Burj Khalifa

The swirling park designed by SWA Group at the base of the Burj Khalifa echoes the tower’s curves and supplies water features and planting for the hot, humid climate. The mix of plants (irrigated by graywater) includes date palms, olive trees, and the Hymenocallis (spider lily) that inspired the Burj’s design.

Burj Khalifa

The residential entry pavilion contains a large sculpture by Jaume Plense, titled World Voices, comprising 196 cymbals and representing the number of countries in the world. The structure of bronze-and-brass alloy, plated with gold, rises from a pond that echoes the leaf-shaped form of the pavilion.

Burj Khalifa

The upper level of the entrance pavilion for the corporate suites has a sculptural ceiling of English sycamore to give it an organic lift.

Burj Khalifa

The escalator leads to a lower-level entrance for the offices that connects to parking for cars. Glass is held in a suspended cable-net structure.

Burj Khalifa

In the upper floors for the corporate suites, walls are lined with dark Wenge wood.

Burj Khalifa

Image courtesy Skidmore, Owings & Merrill

Burj Khalifa

Image courtesy Skidmore, Owings & Merrill

Burj Khalifa

Image courtesy Skidmore, Owings & Merrill

Burj Khalifa

Image courtesy Skidmore, Owings & Merrill


Design Architect: SOM – George Efstathiou, FAIA, Partner-in-Charge; Bill Baker, Structural Engineer; Adrian Smith, FAIA, Consulting Design Partner; Ray J. Clark; Eric Tomich; Stan Korista; Edward Thompson AIA; Peter Weismantle, AIA; Gregory L. Smith AIA; Heather K. Poell AIA; Lawrence Novak; James Pawlikowski; Luke Leung; Gil Di Lorio; Joseph Jamal; Nancy Abshire, AIA; Kenneth Turner, AIA; Peter Freiberg, AIA; Gabriel Wong, AIA B. Eunjung Cho; Bradley Young; Miguel Gonzalez; Michael Filar; Scott Kadlec; Bridgett Baker Thomas; Ishac Koussa; Katey Knott; Mohamed Sheriff; Scott Cherney; Dennis Milam; Kenneth Maruyama; David Scott; Nada Andric, Associate Director for Interiors; Daniel Bell, Associate, Site Team

Architect of record: Hyder Consulting

Engineers: SOM, Hyder

Consultants: Jaume Plensa, Plensa Studio (residential lobby artwork); SWA Group (landscape); Ominum International (quantity surveyor); Fisher Marantz Stone (lighting); Pelton Marsh Kinsella Consulting (acoustical); Lerch Bates Consulting (vertical transportation); Lerch Bates Façade (façade access); The RJA Group (fire & life safety); Square Peg Design (signage & graphics); Opening Solutions (ironmongery); GHD (independent verification and testing); RWDI (wind engineering); Boundary Layer Wind Tunnel Laboratory at the University of Western Ontario (wind tunnel peer review); Hyder Consulting (geotechnical); AECOM/STS (geotechnical peer review); CTL Group (concrete testing); CBM Engineers (structural peer review); Crystal Fountains / PA EMS (interior water features); WET Design (exterior water features); Emirll Services (security systems); Speirs and Major Associates (external feature lighting); STS Consultants (geotechnical peer review); Trend Foodservice Design (food service/laundry); Walker Parking (parking)

General Contractor: Samsung Coporation / BESIX Group / Arabtec Construction

Sub-contractors: Middle East Foundations (Piling); NASA Multiplex (foundation); Samsung / BESIX / Arabtech (superstructure); Doka (formwork); Unimix (concrete supplier); Eversendai (steel); DEPA, Heeho, Ashtaar, Fino (interior fit-out)


Exterior cladding: Far East Group, Al Abbar Aluminum & Glass (metal/glass curtainwall); Waagner Biro AG (cable wall pavilions); UNIMIX Concrete Supplies (concrete)

Glazing: Guardian Industries (glass); Dow Corning (silicone)

Doors: Al Abbar (entrances); Task Industrial, UAE (metal doors); Fino International FTZ, Depa Dubai, Hee Hoon Design Group (wood doors); Marshfield Door, USA; Eggers Doors, USA (fire-control doors)

Hardware: Dorma (locksets, hinges); Dorma, Samuel Heath (closers); Dorma (exit devices); CHMI (pulls); Ogro, Olivari, Manital (levers)

Interior finishes: Hunter Douglas, Decoustics, Armstrong, Armani Hotel (acoustical ceilings); STO (suspension grid); Dorma (demountable partitions); Imperial Woodworking, Fino International, Depa Dubai, Hee Hon Design Group (cabinetwork and custom woodwork); Jotun Paint, Sherwin-Williams, Benjamin Moore, Dupont (paints and stains); Wolf Gordon, Knoll Textiles, Carnegie, Maharam, Valley Forge (wallcoverings); TABU Spa / Berti Pavimentui Legno (paneling); Abet Laminati (plastic laminate); Formica (solid surfacing); Italian Automotive Texture Paints (special surfacing)

Floor and wall tile: Royal Mosa, Dal Tile, Sicis, Glacier, Fino International, London Grey, Kerman Grey, ERAMOSA; Mannington Commercial (resilient flooring); Hokanson, Tai Ping, Interface, Shaw Floors (carpet); Campolonghi Group, Tre Emme (natural stone); Lopark, Margaritelli (wood flooring); Fritz Kohl, Tabu (veneer); Figla (glass floors); Excelsior, Eden Design (metal flooring)

Furnishings: Halcon, Knoll, Haworth, Interna Contract, Moroso, Cassina, Poltrona Frau, Zographos, Interior Crafts, Arper, Cherner Chair, Holly Hunt, Armani Casa; Calvin Fabrics, J Robert Scott, Larsen, Gretchen, Bellinger (fabrics); Edelman Leather, Cortina, Pollaro Custom Furniture, Richard Schultz, Mechoshade

Lighting: Zonca; Lucent Lighting, Erco, DAL, Oldham Lighting, B-K Lighting, Dynalite, Tectronics, Philips, Holly Hunt, Armani Casa

Conveyance: Otis

Plumbing: Dornbracht, Durvait, Hansgrohe

Armani Hotel:
Interior Designer: Giorgio Armani; Wilson Associates

August 8, 2010

who is Sergey Skuratov?

here is his СOPPER HOUSE, Moscow, 2004

The peculiarity of the place is in the necessity to create a link between the adjacent large buildings, embankment and small public garden at the intersection of two narrow streets.
Thus the broken line of new dwelling complex composed of three different sized buildings follows the green channel which starts at Zachatjevsky monastery and ends on the river bank.
Any “standard” house would`ve become a dam across this channel, so the park-like character was given to the new composition quite intentionally.
The system of three houses unified with continuous ground floor through passage makes its interior an inseparable part of the adjacent landscape.
The effect of transparency was obtained by using large cantilevers for each volume – the mass of the house is lifted off the earth, thus it is not blocking the view and the landscape has the opportunity to pour into the inner space.
We think that this method gives Moscow architecture a new way of understanding, rendering to it plasticity and sculptural forms.
Façade materials were chosen correspondingly: patinated copper sheets were introduced for the first time, and together with natural greenery the whole complex looks like integral body inside the city block.
Side facades are covered with tilted sheets of green glass reflecting either skies or earth thus dematerializing the body of the house finished with natural wooden.
Only the white Jurassic stone on some parts of the facades does the job of tying up the new dwelling complex to the existing houses around on the streets nearby.

August 8, 2010

Russia got talent: Sergey Skuratov Architects

SSA_04 © Yuri Palmin

Architects: Sergey Skuratov Architects
Location: Moscow, Russia
Project Team: S.Skuratov, S.Nekrasov, J.Кovaleva, I.Ilyin, P.Кarpovsky, А.Nigmatulin
Structures: I. Shipetin`s Design Bureau
Service & Engineering Systems: Alexej Kolubkov
Site Area: 20,780 sqm
Project Area: 220,715 sqm
Project Year: 2005-2010
Photographs: Yuri PALMIN

Multifunctional complex representational features are the main tower 214-meters high and chip-like house 130-meters high. Both high-rise buildings are connected by third structure consisting of two parallel 8 storey units so that an atrium is formed in between them, with well lit inner space (in spite of giants standing nearby). The whole composition is positioned on three-level stylobate which contains underground parking lots, trade and sports rooms, well accomplished roof with dwelling and offices entrance groups, sport grounds and R&R areas, separate units for trade center and offices. The connecting low storey houses and the main tower are lifted up for 17-meters supported by almost chaotically tilted columns high made of coal black cast-in-situ concrete.

To stress the size of the main tower the 8-shade colored façade “alpolic” panels were used, smoothly changing from as brightly white as Carrara marble at the top to dark shades of limestone at the bottom. The “alpolic” panels (Japan) are the finishing element of suspended façade system assembled in modules, making a sure impression of the building faced with natural stone material. Rhombus shaped plan of each typical floor is slightly but intentionally turned counterclockwise with each level from bottom to top thus giving the main tower a twisted shape, when obtuse angle on the first floor changes itself to a sharp one at the very top, and vice versa. The panel-shaped high-rise building is very sculptural as well because its facades are made of three different types of glass while its monotony gets subdued by the intertwined basket-like vertical stripes.

Trade&Entertainment centre contains large self-service store below “zero” level plus shopping galleries and night club with restaurant in the 2-storey prism-like structure above stylobate roof. The roof of the Trade centre itself is given to the summer café with 80 seats.

Office unit, “the last-minute” addition to the composition idea consists of two parts of different height, both united with common atrium space on the ground level.

The Dwelling complex is located very closely to the wide open spaces of Poklonnaya Gora and the valley of the Setun River. Its composition was dictated by existing urban situation and originally consisted of two symmetrical pairs slightly differing from each other. The first part of this pair is nearing its completion now. It was conceived and constructed as general urban accent just for the purpose of versatile apprehension from well known observation points in Moscow. The place for construction site was chosen on the top break point of the longitudinal profile of the famous street in the city. The spot of the complex itself managed to occupy only vacant spaces within city blocks and not a single existing house in the area had been touched. The skyscraper`s architecture responds to the scarceness of buildings in the district, famous for the rich greenery of Moscow State University campus and vast territories of well-known “Mosfilm” factory of movies. The main tower serves as a landmark of the main entrance to it.

Principle of segregation between private and public was taken as the basic one for programming the Complex. Thus the separate and independent coexistence of inhabitants, visitors and office workers was ensured. At the same time autonomous and controlled access to each and every function in the Complex was thoroughly planned without losing efficiency in engineering service and technology.

SSA_01 © Yuri Palmin

SSA_02 © Yuri Palmin

SSA_03 © Yuri Palmin

SSA_05 © Yuri Palmin

SSA_06 © Yuri Palmin

SSA_07 © Yuri Palmin

SSA_08 © Yuri Palmin

SSA_09 © Yuri Palmin

01_Mosfilm_16 © Courtesy of Sergey Skuratov Architects

01_Mosfilm_46 © Courtesy of Sergey Skuratov Architects

01_Mosfilm_47 © Courtesy of Sergey Skuratov Architects

location plan location plan

situation situation

site plan site plan

plan 01 plan 01

plan 02 plan 02

plan 03 plan 03

plan 04 plan 04

plan 05 plan 05

plan 06 plan 06

plans block A plans block A