From the lifestyle of the 20th century it would seem that man has lost touch with himself as a result of the breach that has developed between the physical and the spiritual, between theory and practice, between man and environment, between orientationthat the microcosm contains and center.

With the above in mind, this design aims to unite the earthly and the mystical, and in this way to create a comprehensible environment.

The objective, therefore, was not to create a functional bridge but a symbolic one, representing a bridging or transitional phase.

The physical character of Luxor and Thebes may be defined conceptually in terms of life and death, with the east bank the city of the living and the west bank the city of the dead; hence the connection between life and death - a concept taken from the combination of the mundane and the mystical in Egyptian life and history.

The layout of the Platonic in essence, bearing reference to the Egyptian environment as the birthplace of geometry. The concept of geometry is symbolically suggested by means of relaitionships deriving from the "Golden Rectangle;" a blending of the modular with the "Book of Death"

The design takes its concreteness from the book "Yaau and I" that is "Joseph and I", because just as Joseph has to make an intro into the unknown, so must all mankind. The Egyptians fascination with Creation is symbollically represented in terms of thed birth prosess.

The beginning, which is also the end, is embodied in Osiris, Amon and Isis. No structural beginning or end can be found that is appropriate to the mysticsism of the Egyptian outlook, in which logic does not play a pertinent role.

Mankind is embodied in physical form as supporting the earth. This indicates that any particle of the microcosm contains an element of the macrocosm; "As above, so below."

The architectural ocatve provides the underlying concept of the design, because everyting is integrated with everything else.

"Baie mense gebruik net een of twee konsepte

in hulle werk," se argitektuurs tudent Henrico Bruwer,

"terwyl ek met baie konsepte werk."

IMAGE: Invitation to the National Institude for Architectural Education Exibition opening, New York USA

Daar is nie n enkele boek oor die argitektuur op sy boekrak nie. Hy besit nie eens n groot tekenbord nie. Tog het hierdie beskeie vierdejaarstudent in die argitektuur aan die Universiteit van die Vrystaat onlangs met een van die wereld se mees gesogde argitektuurpryse weggeloop.

Henrico Bruwer is die eerste Suid-Afrikaner wat die internasionale William van Alen ontwerpsprys van die National Institude for Architectural Education in New York kon verower. Deelnemers uit nie minder nie as 68 lande het aan die kompetisie deelgeneem. "Die opdrag was om die Nyl by Luor op die een of ander manier te oorspan", vertel Henrico in sy Bloemfonteinse woonstel. Hier in sy beknopte slaapkamer skep hy die ontwerpe wat die wereld aan die praat het. Hy het egter sy kompetiesie-ontwerp by n tafel in sy ouerhuis op die Vrystaatse dorpie Vrede gedoen.

"Ek teken graag vryhand. Dit is vir my baie vinniger as om op n gewone tekenbord te werk. Ek het wel n klein tekenbordjie sonder n arm," vertel Henrico. Die papier waarop hy sy wenskema ontwerp het, was in elk geval te groot vir enige tekenbord. Die beoordelaars was juis met die omvang van die skema beindruk. "Baie mense gebruik net een of twee konsepte in hulle werk, terwyl ek met baie konsepte werk. As n mens die Luxor-projek ontleed, kan jy bykans veertig verskillende konsepte identifiseer. Hulle vorm almal saam n geheel", vertel Henrico.

Hy konseptualiseer alles in sy gedagtes en glo nie aan konseptekeninge nie. "Sodra ek ek wil weet wat ek wil doen en waarheen ek wil gaan, teken ek die hele aansig uit. Die eerste een wat ek teken is dan ook die finale een."

Henrico put sy insperasie uit die lees van filosofie. "Ek bring dit graag met die basiese beginsels van Argitektuur in verband," se hy.

Maar die kraetiewe vryheid wat hierdie gedagtewereld meebring, kan n mens ook kniehalter. Henrico glimlag, " Ek het nie die ontwerpskurses in my derde jaar suksesvol voltooi nie. Drie maande daarna het ek darem n eervolle vermelding in n internationale ontwerkompetisie gekry! Miskien is dit omdat n mens soms noodwendig n skema ontwerp waarin jou hart nie is nie."

Hoe lyk die toekoms vir Suid-Afrikaanse jong argitekte? Henrico meen daar is nie veel hoop vir voornemende entrepeneurs nie. Daar is egter baie werk in die veld van laekoste-behuising. "Ek dink net nie ek is n persoon wat elke dag lae-koste huisies sou wou teken nie", spot hy.

Henrico Bruwer droom van sy eie praktyk, maar hy gaan eers sy prysgeld van vyfduisend Amerikaanse dollar gebruik om die wereld te deurreis en om so met die Argitektuur van ander lande kennis te maak.

"Ek gaan binnekort Egipte besoek," se Henrico. "Dit sal my eerste besoek aan die land wees, al het ek reeds n brug oor die Nyl by Luxor ontwerp. Later wil hy in Amerika gaan Studeer. Hy wil graag in Suid-Afrika woon en werk. Hier, saam met sy vriende, vind hy inspirasie in die eenvoud van die natuur. Maar tussendeur skep Henrico Bruwer steeds die delikate swart-en-wit sketse van mitioese geboue en ver afgelee paleise wat kenners in New York na hul asems laat snak.- De Kat, Maart 1993, p 80

Like Le Corbusier said, we employ stone, wood and concrete, and with this materials we build houses palaces and cities. That is construction. Thus behold something that expresses a thought. A thought which reveals itself non verbally, a thought that reveals itself solely by means of form and shape which stand in a certain relationship to the define space or spaces out of the larger space itself , purely mathematical creations of our minds. These are the language of architecture, established by certain conditions that aroused our emotions. . .the thoughtful making of space, considering, loving, feeling, creating!

As in language however, architectural forms and spaces also have connotative meanings- associative values and symbolic content that is subject to personal and cultural interpretation, which change from time to time. Therefore architecture, in combining form and space into a single essence, not only facilitative purpose but communicates meaning.

The art of architecture make our existence not only visible but meaningful, through the source of all life we building for humans, and being an architect is having that spirit to build for humans.

133 Years Later, Gaudí’s Cathedral Nears Completion

The fantastical Sagrada Família in Barcelona has entered the final stage of construction.

By Jeremy Berlin , National Geographic

Clock-watchers, take note: The Sagrada Família has entered the home stretch of construction. And it took only 133 years.

Six new towers will soon be added to the (in)famous Roman Catholic basilica in Barcelona, bringing the total to 18 and—at long last—finishing the work begun by Catalan architect Antoni Gaudí in the late 19th century.

The tallest of the new towers will be 564 feet (172 meters) high, making the cathedral the tallest religious structure in Europe, says Jordi Faulí, the current chief architect.

The building is now 70 percent complete and on track to be finished in 2026—the centenary of Gaudí’s death—though some decorative elements could take up to six additional years to complete.

Consecrated in 2010 by Pope Benedict XVI, the Sagrada Família remains an extravagant work in progress—a fever dream of deliquescent spires and vivid stained glass, ornate facades, and ornamental arches.

Rising hundreds of feet above downtown Barcelona, it draws the eyes (and euros) of some three million visitors a year

IMAGE: Elevation for the Completion of the Sagrada Familia, Barcelona, Spian.

Henrico won an Honarable Mention in the Student Design Competition in 1992.

The Competition was for the Completion of the Sagrada Familia.

At the heart of Gaudí's vision is a timeless truth. As Bassegoda writes: “Looking toward the future, the lesson of Gaudí is not to copy his solutions but rather to look at nature for inspiration … nature does not go out of fashion.”

Henrico's intention was to create a city in the Center of the Building, connecting with a wide network of gears, like an engin, or the internal organs.

A Companion to the Chrysler Building, thesis 1994

The 77-story Chrysler Building is an iconic New York City image, easily recognizable in New York City's sprawling skyline because of its shiny peak.

Walter Chrysler bought the project before construction and had the architect William Van Alen add decorative features inspired by Chrysler's automobile designs, including stainless-steel eagle head hood ornaments, Chrysler radiator caps, racing cars on the 31st floor, and even the notable shiny vertex.

Its new companion will have a lot of compex functions. As our city change and our social responsibilities become more vevident, buildings of this sort will have many uses. The proposed building will house not only commercial and office spaces but will include more publc-orientated functions: a business collage, several theaters and public spaces.

While this was an imagenary project, the problem it addresses are real: the problems of the new versus the old, of adding to an historic icon, and of integrated several uses in a single structure.

IMAGE: Model for the Companion for the Chrysler Building, New York, US.

Henrico won an First Honarable Mention in the Student design Competition in 1994.

The Competition was for a Companion for the Chrysler Building in New York.

Insired by an engine and a wined - up toy Henrico created an Companion for this headcourters for the Chrysler car company.

In the daytime it serves as an reflector to the neigbouring Chryler building and at nigt it changes to a modern New York icon.

Then the inside become visable and one can seen the toy inside the building, a real Companion for an existing well known Chrysler New York icon.

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You get to fill the blackboard of your life with whatever you want. The time to embrace your magnificence is right now. We are the mist of a glorious era, as we let go of limiting thoughts.

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SA student in Architecture win in US

23 years ago

SOUTH AFRICAN students in architecture, won the first and second place in an American design contest which achieved students of 68 architecture schools around the world have participated previously.

Mr. Henrico Bruwer, a fourth-year student at the University of the Orange Free State (UFS), won the International William van Alen design contest for students.

Altogether 158 students entered this year for the match. The National Institute for Architectural education in New York offer it annually.

Mr. Bruwer won a bursery of about R16.500 for study or travel abroad. Last year he won an honorable mention for his entry in the same match. Me. Marianne de Klerk, a fourth-year student at the University of Pretoria, was named runner-up.

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