Michel Nagi Ghostine nisqap The Afterlife Kawsay Pacha diseñon

Michel Nagi Ghostine nisqap The Afterlife Kawsay Pacha diseñonqa Kawsay Hallpa Kamay Atipanakuy T'aqapi 2024 A' Design Award Burunsi Premiu nisqap ancha chaniyuq atipaqninmi.

BurunsiKawsay Hallpa· 2024

The Afterlife Kawsay Pacha

Michel Nagi Ghostine rurasqa

Mañakuq: NG Studio

Kawsay Hallpa T'aqapi A' Design Award Burunsi Premiu Atipaq

27,957

Taripasqa Premio Atipaq

#158388 nisqapaq Premio Kayninta Taripay

A' Design Award ukhupi Qhaway Prensa Willakuy Premio Unanchay

Llinphikuna

Diseñomanta

The Afterlife Kawsay Pacha nisqamanta

Ñawpaq Chiri Maqanakuy ukhu wasinmanta Hawka Wasimanqa tikrakun allin hukllaywanmi llamk'anapaq allin kaynin rikuchiynintawan. Ch'iyan rikuriq materialkuna yachayniyuq k'anchaywanpas churasqa espacioqa sutilla kayta haykuypaq allin kaytawan kallpanchakun, chaykunam hawka ruwaypi ancha chaninnin. Ñawpaq pacha kaqkuna kunan pacha ruway imaymaynintawan tantasqa huk tiyayta qun ukhu yuyaykunapaq rimanakuykunapaqwan allin kaqta, chaymi rikuchin ñawpaqman qhawasqa tikrayta maqanakuypa rikuchininninta suyakuypa k'anchaninman.

Riqsichiy

A' Design Award Burunsi Premiu nisqamanta

The Afterlife Kawsay Pacha A' Design Award Burunsi Premiu mishak kan, jatun yupaychay, kayta mana shuk shina, mushuk yuyaypi, yuyaypi shinallatak chaskik kaypi riksishka diseñukunaman kun. Burunsi mishak kashkakunaka ruray ushayta charik shinallatak mancharina mushuk rurashkakunami, paykunata rurakkunapak achka yachayta, yuyayta shinallatak ruray ushayta rikuchinku. The Afterlife Kawsay Pacha sinchi yupaychashka, kuyashka shinallatak riksishka shuk ruray kanata munanku, ruray yuyaywan shinallatak mushuk yuyaywan. Kay Burunsi Premiu japishka diseñuka arti, siensia, diseñu shinallatak tekinolojíapi ashtawan alli ruraykunata tantachin shinallatak ima ukumanta rikuypi sumak kan. The Afterlife Kawsay Pacha mañaykunata alli paktachin, munaykunata llankan, shunkuta kuyachin shinallatak yachayta munayta kallarichin.

Diseño Qhipanpi

Prensa Kit

Diseñadorpa quska créditos, llamk'aq runakunapas técnico willaykuna.

Sapaq Kayninkunamanta: Nestled near Berlin, the architectural revival of Bunker 17/5001 from the Cold War era symbolizes peace. Hosting a Berlin Wall memorial, an open void, and a transparent Peace Center, it dematerializes through mirrored surfaces. The kinetic facade, a marvel of design, adds dynamism to the transformation, reflecting the changing landscape of peace and reconciliation. Honecker’s Barrack transforms into a glass pavilion, crowned by a Ginko Biloba tree—a beacon of hope and commemoration in a transformative narrative of unity and renewal.
Tupukuna & P'istuy: The Honecker Bunker spans 48.9m x 66.3m with a ground floor area, and its protective shield, buried under 6 meters of sand, measures 4.2m thick. Outer walls are 1.65m thick, with a bottom plate of 2.4m. The peace center measures 100m x 35m x 17.5m and includes a museum, exhibition center, auditoriums, service areas, experimental spaces for artists, and a restaurant. The Lantern is 8m x 30m x 14m and features a space for peace discussions
Etiquetakuna: Historial Site Redevelopment, Adaptive Reuse Architecture, Peace Monument Design, Urban Regeneration Project, Sustainable architectural interventions, Cultural Heritage Preservation, Memorial Architecture Design
Ruway Tecnología: The design process of Bunker 17/5001's transformation involved a meticulous blend of innovative techniques and thoughtful methodologies. Incorporating advanced production technology, such as kinetic facades, we aimed to infuse dynamism into the structure, reflecting the evolving narrative of peace and reconciliation. Material selection prioritized sustainability and symbolism, with glass pavilions representing transparency and hope. Methodologically, our approach combined historical research, conceptual ideation, and iterative design iterations, ensuring alignment with the project's overarching themes of resilience and renewal. This comprehensive approach enabled the seamless integration of historical significance with contemporary vision, creating a space that resonates with both past and present aspirations for peace.
Diseño Sasachakuy: The creative challenge in this project was immense, tasked with metamorphosing a Cold War relic into a beacon of peace within the historical and social milieu. Internally, harmonizing the bunker's historical weight with societal expectations demanded finesse. Externally, legal intricacies, production constraints, and technological frontiers shaped our design trajectory. Overcoming these hurdles necessitated exhaustive research, ingenious design approaches, and collaborative endeavors to harmonize with societal needs and regulatory requisites.
T'aqwiy: Type of Research: Comprehensive design research.

Research Objectives: To understand the historical significance and societal impact of Bunker 17/5001, and to develop a transformative vision for its revival as a symbol of peace.

Methodology: Employed a multidisciplinary approach combining historical analysis, architectural studies, and sociocultural research.

Data Collection and Research Tools Used: Conducted archival research, site visits, and interviews with historians, architects, and local stakeholders. Utilized digital mapping tools, 3D modeling software, and ethnographic observation.

Participants or Experiments: Engaged with diverse stakeholders including historians, architects, community members, and potential visitors to gather insights and perspectives.

Results: Revealed deep insights into the historical context of Bunker 17/5001, its significance during the Cold War, and its potential as a symbol of reconciliation and hope.

Insights and Impacts: The research informed the design process, guiding decisions on architectural interventions, material selection, and symbolic elements. It fostered a deeper understanding of the site's cultural and historical significance, shaping a narrative of resilience and renewal.

Effect of the Research in Real-Life Phenomena: The design research has the potential to spark dialogue and reflection on the impact of historical events, promote reconciliation, and inspire future generations to embrace themes of peace and unity through architecture and design.
Kallpachay: The genesis of this project is rooted in a profound amalgamation of historical context, human resilience, and symbolic narratives. The inspiration arose from contemplating the stark realities of the Cold War, where the bunker symbolizes the epitome of human conflict and the quest for security. Witnessing the resilience of humanity in the face of such adversity sparked a desire to transform this symbol of destruction into one of peace and contemplation.

Motivated by the paradox of a structure built for annihilation embodying the enduring spirit of humanity, my thoughts gravitated towards themes of hope, renewal, and collective endeavor. Inspiration flowed from biblical allegories, particularly the story of Noah's Ark, which encapsulates the essence of survival and renewal amidst chaos.

The motive behind the project extends beyond mere architectural innovation. It's driven by a vision to transcend the militaristic past, paying homage to sacrifices while embracing a future characterized by unity and reconciliation. Through artistic intervention and memorialization, the design aims to foster dialogue, contemplation, and connection, thereby becoming a testament to the enduring pursuit of peace in a world marked by turmoil and division.
Llamk'ay Pacha: Constructed in the late 1960s, the bunker served its purpose until the fall of the Berlin Wall. By 2008, discussions on repurposing began, culminating in my project concept materializing in 2017.
Purichiy Puriy: Visitors descend through the memory void, evoking suffocation, before confronting the imposing Objekt. They traverse to the piazza, bearing witness to the memorial of the fallen. Amidst this contrast lies the peace center and bunker, open for exploration. Inside, the red elevator ascends, delivering them to the garden with the luminous lantern, symbolizing hope amidst turmoil.
Siq'i Hayñikuna: Michel Ghostine

The people in the pictures submitted were generated artificially and thus do not violate third-party intellectual property.