first annual magazine award
Y
oung architects often find magazine
competitions as their unique chance
to acquire experience, but also a good
chance to promote themselves. Promoting young architects should definitely get
more significance and wider social importance and recognition. The fact of the
matter is that young architects are quite
reluctant to compete, due to their doubt
in regularity and fairness of the competi-
tion. Therefore, we are using this opportunity to pinpoint that practice and bring
it out to the eye of the public.
On March 25th there was the opening of
the 1st annual Award of Arhitekton magazine, at the recently refurbished Museum
of King Peter the 1st Karadjordjevic. After
the opening day, the public could also enjoy spectacular works of young architects
during the exhibition, until March 31.
There were exhibited in total 30 out of 61
submitted works for the competition.
The panel comprised Professor of the
Belgrade Architecture School, Mr. Miodrag Mirković, Head of the Savski Venac
city municipality, architect Mr. Tomislav
Đorđević, representative of the magazine
„Arhitekton“, architect Mr. Milan Rašković
and editor`n`chief, architect Mr. Marko
Stojčić.
opening
first
prize
21
Za
mlade
arhitekte afirmisanje i sticanje
iskustva kroz konkurse je često jedini način ali i
prava šansa. Promocija takve arhitekture je nešto
što bi moralo biti značajno, više zastupljeno i inicirano u društvu. Činjenica da učešće mladih ljudi
na ovim prostorima često izostane zbog sumnje u
regularnost raspisanih konkursa je nešto na šta se
odmah mora reagovati i to na jedini logičan način –
snažnom propagandom i upiranjem prstom.
25.marta otvorena je izložba radova povodom
dodele Prve godišnje nagrade časopisa Arhitekton. Izložba je trajala do 31.marta i održala se u
nedavno rekonstruisanom Muzeju Kralja Petra I
Karađorđevića u Beogradu.
Na izložbi je bilo izloženo 30 od ukupno 61 pristiglih radova koji su bili u konkurenciji za nagradu.
Četvoročlani žiri u sastavu: Profesor Arhitektonskog fakulteta u Beogradu arh.Miodrag Mirković,
Predsednik opštine Savski Venac arh.Tomislav
Đorđević, ispred redakcije časopisa Arhitekton
arh.Milan Rašković i glavni i odgovorni urednik
časopisa arh.Marko Stojčić, doneo je odluku o rezultatima konkursa.
Dodeljene su tri nagrade od kojih je Prvu dobio mladi
autorski tim iz Niša u sastavu Milan Stevanović,
Srđan Sakan, Petar Pejić, Vojislav Nikolić i Stefan
Živković za projekte nastale na fakultetu u okviru
studija – stambene zgrade, među kojima se istakao
objekat „Living box“. Drugu nagradu je dobio autorski tim ACID za Projekat umetničke galerije u
Mariboru i treću Projekat tipskog vrtića autorke
Senke Šepić iz Osijeka.
Prvonagrađani rad predstavlja veoma napredan i
realističan pristup veoma mladih autora arhitektonskim zahtevima današnjice i kao takav se
istakao u odnosu na ostale pristigle radove. Pored kvaliteta ponuđenog
projekta
pobedničkog
rada, žiri je imao
na umu da
ovom
nagradom
treba
pomoći mladim autorima i dati
im preko potreban podsticaj.
Prvonagrađeni tim iz Niša dobio je
novčanu nagradu u iznosu od 100
000 dinara, besplatnu dvogodišnju
pretplatu na časopis, objavljivanje
prvonagrađenog rada, promovisanje
rada u javnosti kao i mogućnost za objavljivanje još dva projekta u periodu
od dve godine. Druga i treća nagrada
uključuju besplatnu jednogodišnju pretplatu na časopis, objavljivanje nagrađenog
rada, promovisanje rada u javnosti kao i
mogućnost za objavljivanje još jednog projekta u periodu od jedne godine.
Sama izložba je bila jedinstvena mogućnost
da i pored velikog broja renomiranih arhitektonskih imena i anonimni autori dobiju
šansu da promovišu svoje projekte. Ta ideja
je i spontano dovela žiri do pobedničkog rada,
dodelivši Prvu nagradu najmlađim učesnicima
takmičenja, studentima, mnogo manje promovisanog Arhitektonskog fakulteta u Nišu.
Našu ideju podržala je Opština Savski Venac,
Inženjerska Komora Srbije kao i kompanije koje
su lideri u svojim oblastima i od kojih arhitekte
svakako imaju puno da nauče.
Generalni sponzor izložbe i Nagrade bila je kompanija Kingspan, pored koje su i kompanije
Eglo, Ytong, Sika, Zumtobel, Wienerberger, Alpod flooring, Thyssen Krupp, Alubond
i Mačkov podrum.
42
march/april/may 2011 / reconstrution
RESTAURANT
BOROVI
Refurbishment
REKONSTRUKCIJA
RESTORANA
BOROVI
Architect/Projektant: Aladin Baljinac
Architectural office/Projektni biro AMBIJENT, Novi Pazar
R
efurbishment is usually quite challenging, yet highly rewarding
process for an architect. The essential requirement is a new form,
through which the refurbished object is given a new layout, corresponding to the specific time. In most cases it is required to keep the
important elements of the construction, even sometimes the basic
form of the old object.
The “Borovi” restaurant is located in the midst of the Peshter highlands, close to Sjenica town; micro location is on the edge of the
highland pine woods. The architect was given a task to plan the
expansion of space, contents and the capacity of the object,
transforming the overall image of the restaurant. The same
assignments were given for creating a new concept of the
mountain lodge “Pines” in Sjenica.
After the initial assessment of the object quality, a project concept was drafted, after which the implementation phase was initiated. The main challenge
was reconstruction of two insufficiently defined spaces – the congress hall rooftop, and
the VIP suits, located in the restaurant
attic. The investor’s request is his legitimate right, and at the same time
it is a challenge for the architect
to satisfy both the commercial
and the aesthetic aspect.
The required expansion
of the restaurant was
done by the construction of new
parts of the object, at the
south and
north.
The
expansion on the west was achieved by lowering the existing rooftop surface to the ground elevation. That produced
43
a new silhouette of the object, contrasting the rooftop
element, which is dominating the glass façade, thus forming the
contemporary composition of the mountain lodge.
Replacing the façade with the huge glass surface added to
excellent communication of the interior with the environment; this enabled the dwelling in nature, while staying
in the interior, through the visual communication with
the exterior.
Having in mind the climate of the Peshter highlands,
we chose the AGC Synergy Azur glass, since its
technical characteristics are such that it provides
thermal insulation, letting the sun energy in
and saving the energy to heat up the object.
Needless to mention, all aesthetic criteria
as well as enough of the day light are satisfied.
From the aesthetic point of view, the
glass façade is additionally empharhitektonska
sized by adding the aluminium conrekonstrukcija
struction elements, in the free
objekta je obično
form, which follows the dance of
veoma
zahtevna
the rooftop surface, creating a
za arhitektu ali je
very special dynamic effect.
istovremeno
i
veliki
The interior has been enizazov. Uvek je potrebno
riched through the conpronaći novi izraz kojim
struction of new parts of
se
rekonstruisani
objekat
the object, by providmože učiniti potpuno novom
ing additional height,
arhitekturom svojstvenoj vremenu
thus
comprising
u kojem se rekonstrukcija radi, a
the upper gallery
najčešće je potrebno zadržati važne
space with the
elemente konstrukcije pa i samu formu
whole restaustarog objekta.
rant.
Postojeći objekat restorana Borovi smešten
je u srcu Pešterske visoravni nadomak
Sjenice, na izuzetnoj mikrolokaciji borove
šume. Projektni zadatak koji je arhitekta imao,
determiniše buduća proširenja sadržaja i kapacitet
objekta, uz transformaciju kompletnog imidža
restorana. To su i bile osnovne smernice za stvaranje
novog koncepta planinskog doma Borovi u Sjenici.
Imajući u vidu postojeći kvalitet objekta pristupilo se
projektovanju i dogradnji novih delova objekta. Adaptacija
postojećih prostora koji su nedovoljno artikulisani, a
odnose se na krovište za kogresnu dvoranu i VIP apartmane
u potkrovlju restorana, predstavljaju legitimne zahteve
investitora sa jedne strane, a sa druge izazov za projektanta da
rekonstrukcijom postojećeg restorana zadovolji komercijalni ali i
estetski aspekt.
Potrebno proširenje prostora restorana ostvareno je dogradnjom
novih delova objekta severne i južne strane dok je sa zapadne strane
proširenje dobijeno spuštanjem postojećih krovnih ravni na kotu poda.
Na takav način dobijena je nova silueta restorana sa dominantnim
elementom krova sa staklenom fasadom koji se metodom kontrasta
međusobno naglašavaju i čine savemenu kompoziciju planinskog objekta .
Dematerijaizacijom fasade u vidu staklene povšine postignut je efekat dobre
komunikacije unutrašneg prostora sa okruženjem. Projektant je na takav način
omogućio boravak u prirodi, ali ovog puta sa aspekta enterijera kroz vizuelnu
komunikaciju sa eksterijerom.
Imajući u vidu klimatske uslove na Pešteru i želju za postizanjem dobre komunikacije
sa okruženjem, odabrano je staklo AGC Sunergy Azur koje svojim tehničkim
karakteristkama termički izoluje prostor, apsorbuje sunčevu energiju i propušta je unutar
objekta i na takav način doprinosi uštedi energije , propuštajući dovoljno svetlosti i na
kraju zadovoljavajući sve estetske kvalitete.
A
48
march/april/may 2011 / architecture history
49
Do.co.mo.mo. Srbija je nacionalni
ogranak
međunarodne
radne
grupe Do.co.mo.mo. International,
koja se bavi registrovanjem,
dokumentovanjem
i
zaštitom
građevina, mesta i celina modernog
pokreta u arhitekturi. Misija
Do.co.mo.mo. Srbija jeste rad na
upućivanju i edukaciji javnosti o
vrednostima moderne arhitekture
i njenoj popularizaciji u Srbiji, kao
i predstavljanje dela nacionalnog
modernog pokreta svetskoj javnosti.
Program rada ogranka je predstavljen
na Jedanaestoj konferenciji Do.co.
mo.mo. International održanoj u
Meksiko Sitiju u avgustu 2010. godine,
čime je Do.co.mo.mo. Srbija postao
ravnopravni deo međunarodne
radne grupe.
Photo archive/Foto arhiva: Zoran Keković i Zoran Čemerikić, Dijana Milašinović Marić, Docomomo Srbija, www.pavle-beljanski.museum
Text: Docomomo Srbija
„Do.co.mo.mo. Serbia“ is a national branch of the international
working group „Do.co.mo.mo.
International“, dealing with registering, documenting and protecting of objects, sites and totality of
modern architectural movement.
The mission of the „Do.co.mo.mo.
Serbia“ is to educate the public
of the values of modern architecture, to promote it throughout
Serbia, as well as to present the
national modern movement to the
global public. The action plan was
presented at th 11th „Do.co.mo.
mo. International“ conference, in
Mexico City, in August 2010. At
Palace/Palata ”Janković”
architect Branislav Kojić, Niš, year 1937
the conference, the „Do.co.mo.
mo. Serbia“ was acknowledged as
an equal part of the international
group.
The setting-up of the organization
was a logical response of the architectural industry to an increasing,
almost daily destruction of objects
stemming from the modern architectural movement. Contemporary architecture objects from
the 20th century are frequently
not acknowledged, very often by
the architects as well, who work
on their refurbishment; they are
not perceived as a part of cultural
heritage.
Quite frequently, those objects
have been annexed, or additional
floors have been built, what led
to their not being able to be recognized at all. We have also seen
it happening that the ambience
of modern architectural wholes is
being destroyed in vain. These tendencies are mostly due to the lack
of general understanding in the
culture of architecture and values
of historic importance of the 20th
century architecture.The main
goal of the „Do.co.mo.mo. Serbia“
is to influence the awareness raising of the importance of such objects, sites and wholes.
Museum of Contemporary Art/Muzej savremene umetnosti
architects Ivan Antić and Ivanka Raspopović, Belgrade, year 1960-65
Astronomical Observatory on Zvezdara, Belgrade
Astronomska opservatorija na Zvezdari, Beograd
architect Jan Dubovi, year 1931
Organizacija je osnovana kao
neophodna reakcija struke na
ubrzanu,
gotovo
svakodnevnu,
devastaciju građevina i celina koje
pripadaju
modernom
pokretu
u arhitekturi. Objekti moderne
arhitekture 20. veka se u javnosti,
a često i od strane stručnjaka
angažovanih na sanaciji i adaptaciji,
još uvek ne razumeju i ne prihvataju
kao deo kulturne baštine. Čest
je slučaj da su na značajnim
modernim objektima, pa čak i na
spomenicima
kulture,
izvedeni
građevinski radovi adaptacija ili
dogradnji takvog obima da su ovi
promenjeni do neprepoznavanja,
dok se ambijenti modernističkih
urbanih celina kroz promene
osnovnih namena uništavaju i
nepovratno nestaju. Ovakvi procesi
su u velikoj meri posledica opšte
neupućenosti
u
arhitektonsku
kulturu i neprepoznavanja vrednosti
i istorijskog značaja moderne
arhitekture 20. veka. Osnovni cilj
Do.co.mo.mo. Srbija, stoga i jeste
da svojim radom utiče na povećanje
svesti i znanja o značaju pojedinih
objekata, mesta i celina.
52
march/april/may 2011 / projects
T
he Ministry of Science and Technological
Development of the Republic of Serbia initiated an
international competition for a Centre for Promotion
of Science and the urban development of Blok 39
in New Belgrade in Serbia. An international jury
unanimously selected Austrian architect Wolfgang
Tschapeller’s project as the winning entry.
53
Architect: Wolfgang Tschapeller ZT GmbH
The Centre for Promotion of Science will be an
institution of service and a national bank of knowledge
in the field of science for the general public. It will
organise innovative and educative exhibitions, and
bring science closer to the general public. The main
goal of the Centre for Promotion of Science will be
to facilitate scientific education, continuous training
as well as social and economic growth, both with
direct action, and in partnership with other actors –
primarily the Ministry of Science and Technological
Development and the Ministry of Education.
The Centre will be positioned in New Belgrade’s Blok
39, a prime innovation part of the city, a scientific park
with research institutes, universities and research
based business. The purpose of the competition was
to develop an architectural design for the Centre for
Promotion of Science as well as proposals for the
urban development of the entire Blok .
Centre for Promotion of Science
M
inistartstvo za Nauku i Tehnološki Razvoj Republike Srbije raspisalo je internacionalni konkurs
za izradu Idejnog arhitektonskog rešenja Centra za
promociju nauke i Kampusa nauke i umetnosti u Novom Beogradu u bloku 39. Internacionalni žiri proglasio je pobedničkim projekat austrijskog arhitekte
Wolfgang Tschapeller-a.
Centar za promociju nauke predstavljaće javnu
naučnu instituciju i nacionalnu banku znanja iz oblasti
nauka. Centar za promociju nauke će kroz inovativne i
edukativne izložbe doprineti približavanje nauke široj
javnosti. Glavni cilj Centra za promociju nauke će biti
unapređivanje naučnog obrazovanja, kontinuinirane
stručne obuke kao i socijalni i ekonomski rast koji bi
bio ostavaren u direktnoj saradnji i partnerstvu, pre
svega sa Ministarstvom za Nauku i Tehnološki razvoj i
Ministarstvom obrazovanja i nauke.
Centar će biti izgrađen u Bloku 39, na Novom Beogradu, glavnom inovativnom delu grada, koji će predstavljati naučni park sa istraživačkim institutima i univerzitetima. Namera raspisanog konkursa je izrada
Idejnog arhitektonskog rešenja Centra za promociju
nauke kao i predlog urbanog razvoja dela grada koji
obuhvata Blok 39.
centar za promociju nauke
60
R
march/april/may 2011 / projects
R
anica, medieval small town in the
outskirts of Bergamo, Italy, can now
enjoy a piece of contemporary architecture: the New Cultural Center by DAP
studio and Paola Giaconia.
site plan/situacija
architects: DAP studio/elena sacco – paolo danelli and arch. Paola Giaconia
Photo: Alessandra Bello
costs: building: 2.800.000 euros, outdoors: 300.000 euros, lighting: 150.000 euros
0
4
10
20 M
furnishings: 170.000 euros; other costs: 1.000.000 euros
building program: public library: 850 sqm; kindergarten: 370 sqm; auditorium: 230 sqm;
dance and theater school: 310 sqm; bar: 50 sqm; underground parking
schedule: design: 2005-2006; construction: 2007-2010
In a moment of weakness and vulnerability
for the state of culture
in Italy, Ranica responds to the situation
by opening this new
building, devoted to education, to community,
to intellectual energy.
Opened for the public in
the spring of 2010, the
building -which contains a public library,
an auditorium, a kindergarten, a dance and
theater school- substantiate the effective
synergy between the
public administration
of this small town in
Northern Italy and the
architects. A signal of
optimism in the current
controversial system
of Italian public works.
On January 22, 2011 the project was
awarded first prize by the Institute of
Architects in Bergamo as the best building in Bergamo and in its province in the
last 10 years. The jury, chaired by Swiss
architect Aurelio Galfetti, selected the
project for the New Cultural Center in
Ranica as the best public building.
anica, mali srednjovekovni grad na
periferiji Bergama u Italiji, dobio
je čast da uživa u primerku savremene
arhitekture: Novom kulturnom centru,
koji je projektovao studio DAP i Paolo
Giaconia.
U trenutku kada je kultura u Italiji u
slabom i osetljivom stanju, Ranica daje
svoj odgovor na novonastalu situaciju
otvarajući ovu novu zgradu, posvećenu
obrazovanju, zajednici i intelektualnoj
energiji. Otvorena za publiku na proleće
2010., zgrada koja sadrži javnu biblioteku, auditorijum, obdanište, školu
za ples i pozorište, potvrđuje uspešnu
saradnju između administracije ovog
malog grada na severu Italije i arhitekata. Svetla tačka i signal optimizma
u sadašnjem kontraverznom sistemu u
kome se nalaze italijanski javni radovi.
22. januara 2011. projekat je nagrađen
prvom nagradom Arhitektonskog instituta u Bergamu, kao najbolja zgrada u
Bergamu i njegovoj provinciji u poslednjih deset godina. Žiri, sa predsedavajućim
švajcarskim arhitektom Aureliom Galfettijem, izabrao je Novi kulturni centar u
Ranici za najbolju javnu zgradu.
61
cultural center
kulturni centar
u ranici
in ranica
68
march/april/may 2011/architects
69
A TEACHER NEVER DIES
Text: Marin Rajković
Bogdan, meaning “a gift from God” is
a true Master of three-fold mastery!
The first one was when the Creator
of All That Is gave us Bogdan, the
Constructor of 19 Balkan`s memorial complexes; the second time was
when Bogdanovic, the Author presented us with 30 books and for the
third time the Master, who can be
compared to Dürer, by his craftsmanship in drawing, had been revealed to
us as a TEACHER!!!
For those are the reasons he would
never die…
Bogdan Bogdanovic did in the language of construction and architecture what Willy Brant did by his political gesture – through the building
of memorial complex dedicated to
ALL the victims, he introduced the
universal language of symbols – for
the Jewish monument it is the wing
of the Phoenix, in Kosovska Mitrovica monument, it was the “cradle of
heaven”, in Krusevac – butterflies who
live only a day. An excellent account
of his symbolic language in architecture can be found in one of his essays
“Typographic semiotics”, published in
the magazine “UMETNOST”, number
63/64 in 1979.
Aside from his practical work, Bogdan had written and published over
30 books, with one aim – to try and
explain certain notions, to draw the
public attention to rough neglecting
of the history and theory of the city.
He was realizing that the newly com-
ing techniques of designers` trends
and social utopias were bringing only
COLLAPSE!!! He started from the very
beginning, almost as Vitruvius, in the
practical manual book “Little Urbanism” to the detailed “Urbanistic mytologens”, concluding with “Urbs &
Logos”! He created two logical tools
for understanding and successful
development of cities. The first tool
being the analog COSMOC – POLIS –
MAN and the second being semantic tool, matrix subject – synthema
– philosophema. He was superbly
dominant in explaining the anatomy
and physiology of the historical development of cities, which had their
beginning in devouring nature, for
which later on there was a price to be
paid. It is interesting to mention a few
verses of the poem by Zoran Bundalo,
dedicated to Bogradn Bogdanovic:
The city is our destiny – we haven’t
chosen it,
Being present ever since, ever now –
while hope is withering
And so the night is falling apart, in its
hollowness and spatiousness!”
Whole-heartedly he got involved in
the politics, for he could not stand the
false messiahs. The title of his most
famous (and regrettably the last) interview is:”The courage to scream
NO”
Bogdan taught us all what the stepping stone of knowledge are. He
taught us the ARETON, the principle
of the Antic academy, which says
UcITELJ NIKADA NE MOzE DA UMRE
Tekst: Marin Rajković
B
ogdan nam je dva puta od
Boga DAN i treći put uvek
dobro došao! Prvi put je
Veliki stvoritelj svih svetova - DAO
Bogdana graditelja 19 balkanskih
memorijalnih kompleksa, drugi put
je dao Bogdanovića spisatelja 30
knjiga i treći put je Protomajstor, koji
se kao crtač može meriti sa Direromnaravno uvek dobrodošao-UČITELJ!!!
Zato nikada ne može da umre ...
Bogdan
Bogdanović
graditelj je PRVI pre - četvrt veka
pomirio četnike i partizane –
građane i revolucionare. Ni na
jednom Bogdanovom memorijalnom
kompleksu nigde nećete naći ni
u naznaci Zvezdu Petokraku – niti
četničku Kokardu - jer (ko ne zna)
„kokarda“ je svaka vojnička oznaka
koja se nosi na kapi - koja je deo
uniforme. To je zbog toga što među
nama uvek ima onih koji imaju običaj
da „tumače“ ono o čemu nemaju
pojma. Dakle Bogdan je učinio
graditeljskim jezikom ono što je Vili
Brant učinio političkim gestom, kada
je kao Nemački Kancelar klekao na
spomenik Jevrejskim žrtvama, da
oslobodi mlade Nemce „nacističke
hipoteke“. Bogdanovi memorijalni
kompleksi su univerzalna kultna
mesta posvećena žrtvama rata –
svih ratova na svetu i svih vremena.
O tome govore univerzalni simboli
jezika – kojim se Bogdan služio
u svojoj gradnji. U jevrejskom
spomeniku – dva krila Feniksa ; U
Kosovskoj Mitrovici '“kolevka neba“
; u Prilepu blistavo bele okamenjene
„...pletisanke, što pletivo pletu
tanko – među javom i međ snom!“
; u Kruševcu leptiri koji se odlepe od
zemlje samo za jedan dan ; u Leskovcu
kamena Kraljica duša koje lutaju;
u Mostaru zagrljaj neba i zemlje
svih drevnih civilizacija od (kako je
voleo da kaže)„blatnjavih“ civilizacija
Mesopotamije
(međurečja)
do
kamenih gradova Maja i Inka. Kupe
u Vukovaru – dotiču nebo; „stećci“
u Beloj Crkvi su kaplari solunski, još
iz „prvog“ rata, a betonsku oplatu
za raskošni Cvet u Jasenovcu – radili
su brodograditelji, samo jedanput
(da se izlije beton) - jer niko osim
njih to nije umeo - a onda je oplata
bačena i ukazao se raskošni cvet
večitog ponovnog rađanja, koji u
kriptama u svojoj bazi ima jezerca
sa minijaturnim „zlatnim“ barkama
– koje „prenose duše na onaj svet“
!!! Ako nekoga zanima OVAJ JEZIK
Bogdanovog upisivanja u pejsaž
– neka nađe esej istog autora
„Tipografska semiologija“ u časopisu
UMETNOST br. 63/64 iz 1979.
Ovde smo samo napomenuli da su
Bogdanovi memorijali simbolički
METAJEZIK.
Zašto je to važno.
Zato što svi koji su mu
zavideli, nisu shvatali da Bogdan
nije vešto „pobegao“ u jednu
sasvim novu „specijalnost“ – da ne
bi imao konkurenciju – jer su oni
kao školovani arhitekti „moderne“
već bili fah - specijalisti – naučeni
da „štancuju stanove“, pa kao takvi
nisu ni bili u konkurentskoj ravni.
Nisu razumeli da je Bogdana „teralo
nešto iznutra“. Nisu bili sposobni
da prepoznaju na koliko je načina
Bogdan bio opismenjen :
semantički,
ludički,
simbolički,
hermeneutički, mitološki, ritualno,
inicijacijski, alhemiski, pitagorejski i
teozofski, likovno i logički, filosofski i
metafizički. Bogdan je znao Kantovu
definiciju „arhitektonike“ koja je
uvođenje reda među stvari. Svi
drugi arhitekti njegove generacije nisu ni primetili da ceo svet „proces
projektovanja“ pogrešno prevodi
sa DESIGN - što je oblikovanje,
„mešenje“, „vajanje“, seckanje i
slaganje – kolažiranje !
Zato je Bogdan (osim
nekoliko stotina naslova u štampi i
periodici) napisao 30 knjiga da bi
pokušao da objasni neke pojmove,
da skrene pažnju na grube previde
u istoriji i teoriji grada - kao i u
tehnikama projektantskog mišljenja
i socijalnim utopijama iz čijeg
ideograma – je „virio“ ubrzani KRAH
!!! Počeo je od početka - kao Vitruvije.
Ako ne računamo „Mali Urbanizam“
(kao praktikum), velika doktrina
Bogdanove gradogradnje detaljno je
razrađena počevši od „Urbanističkih
mitologema“ – zaključno sa „Urbs &
Logos“ !
Tako je stvorio dva logička
alata za razumevanje i uspešan
razvoj gradova. Prvi graditeljski
alat je analoški niz KOSMOS –
POLIS – ČOVEK i drugi semantički
alat je matrica : tema – sintema –
mitologema – filosofema. Objasnio
je anatomiju i fiziologiju istoriskog
„razvoja“ gradova – koji je išao putem
„gutanja“ prirode – što je neminovno
imalo svoju cenu. Zato je (Bogdanov
učenik) arhitekt i pesnik Zoran
76
march/april/may 2011 / projects
77
Partner-in-Charge: Bjarke Ingels, David Zahle
Project Leader: Brian Yang; Team: Jelena Vucic, Alina Tamosiunaite, Xing Xiong, Armor
Gutierrez, Jakob Lange, Andreas Klok Pedersen, Maciej Zawadzki, Daniel Selensky,
Gül Ertekin, Sunming Lee, Long Zuo, Ji Young Yoon
Use/Namena: Commercial/Komercijalna, Body Culture; Status: 1. Prize
Location/Loakcija: Copenhagen, Denmark; Client: Amagerforbraending
Budget: 460 MIO €; Site Area/Površina parcele: Building: 95,000m2,
Landscape: 90,000m2 Total Floor Area/Ukupna podna površina:
Roof + ski slope: 32,000m2, Façade area: 74,000m2,
Administrative + Visitor center floor area: 6,500m2, Landscape: 90,000m2
Architect: BIG (Architecture)
A
Text: BIG
AMAGERFORBRAENDING:
A NEW WASTE
TREATMENT PLANT
magerforbraending is in many ways situated
on an edge condition. It is a place in the outskirts of Copenhagen, but also the centre for new
recreational activities. It divides the local area in
two, with factories on one side and housing on
the other. It is a place you know from afar, but
where few people ever go. On one hand the city
of Copenhagen on the other hand Amager. The
aim of the project is to tie all these opposing forces together, forming an identity for a new place
in Copenhagen. We want to turn it into a place
in itself – a destination where people will travel
to. Most of the recently build power plants are
merely functional boxes, wrapped in an expensive gift paper. The main “function” of the façade
is to hide the fact that factories are having a serious image/branding problem. We want to do
more than just create a beautiful skin around the
factory. We want to add functionality! The ambition of creating added value in terms of added
functionality does not stand in contrast to the
ambition to create beauty. It does not have to be
either/or – it can be both!
Novo postrojenje za preciscavanje otpada
A
magerforbraending je gledano sa više strana situiran na ivici postojećih diverziteta. To je mesto u predgrađu Kopenhagena, ali takođe i centar za nove rekreativne
aktivnosti, koji deli lokalnu oblast na 2 dela, jednu sa postrojenjima i drugu sa stanovanjem, na različitim stranama. To je nedovoljno poznato mesto gde ljudi retko dolaze,
mesto između grada Kopenhagena i Amagera. Cilj projekta je da poveže zajedno sve
ove suprotnosti, formirajući identitet potpuno novog mesta u Kopenhagenu. Ideja
autora je da taj prostor formiraju u okviru postojećeg mesta, stvarajući potencijalnu
destinaciju ka kojoj bi ljudi putovali. Većina nedavno izgrađenih elektrana su samo
kutije sa svojom funkcijom, upakovane u skup papir. Glavna “funkcija” fasade bi stoga
trebala da sakrije činjenicu da fabrike imaju ozbiljan vizuelni problem. Njihova ideja je
da urade mnogo više od samog kreiranja lepe obloge zgrade, kao i da dodaju i funkcionalnost. Ambiciozno stvaranje dodatne vrednosti u vidu funkcionalnosti ne protivreči
ambicionznom stvaranju lepote. To ne mora da bude ili/ili, već više i/i. Predlaže se
korošk
a cesta
march/april/may 2011 / projects
85
U
GM of Elastik is an attempt of bringing art events
again to the daily public interest of the city of
Maribor. The organizational principle of an active roof,
is offering not only a consolidation of the big urban
potential of the site, but also a radical break with the
tradition of a white-box gallery container. It offers
an active dialogue between the inside and outside,
between the art and the city.
GM od biroa Elastik je pokušaj da se umetnički
događaji ponovo dovedu u dnevno interesovanje javnosti u gradu Mariboru. Organizacioni princip
aktivnog krova nudi ne samo integrisanje velikog
urbanog potencijala lokacije, već i radikalan raskid
sa tradicijom galerije kontejnera u formi bele kutije. Ono nudi aktivan dijalog između unutrašnjosti i
spoljašnjosti, između umetnosti i grada.
Urban Consolidation
Urbana konsolidacija
The new UGM gallery is located on the border between
Maribor’s medieval city center, characterized by
delicate monumental buildings and introverted urban
blocks (carré) on one side, and the newly developed
peripheral urban tissue, characterized by massive,
bulky public and housing buildings, the swimming pool
Pristan and the faculties on the other. This is also the
point where Lent with picturesque walkways along the
river ends, where cars and introverted programs start
disconnecting the existing urban structure.
Nova UGM galerija locirana je na granici između srednjovekovnog centra Maribora, karakterističnog po delikatnim monumentalnim zgradama i introvertnim urbanim blokovima (carré) i novorazvijenog perifernog
urbanog tkiva, karakterističnog po masivnim, velikim
javnim zgradama i kućama, bazenu Pristan i fakultetima. To je takođe tačka u kojoj je “Lent” sa živopisnim
stazama duž obala reke, i gde automobili i introvertni
programi počinju da se isključuju iz postojeće urbane
strukture.
Text: Elastik
ugm gallery
06
pristaniška
U
a ul.
ul.
04
ribišk
84
03
02
vojaš
niška
ul.
01
05
06
drava
01 - New Maribor Art Gallery Square, outdoor podium
02 - city market
03 - New playground for the kids, interactive field
04 - New bustop, art installation
05 - “Sodni Stolp” water square
06 - pedestrain bridge
- public city squares
- existing urban tissue
- new proposal
- existing pedestrian corridors
- new pedestrian corridors
ugm galerija
T
90
march/april/may 2011 / projects
he architecture doesn’t limit itself
to the planning fit but it ends with
the realization of the work, and this
happens not necessarily before facing
the Administrations and the corporations
standing around the building trial. The
complexity of the relationships and the
compromises that there can be at the
beginning of an architectural production
cannot however justify shortage of the
planning commitment and/or the total
subjugation to the businessmen and
buyers requests: the system that goes
from the planning to the realization of
the work is always a “social action”, it is
shared, and in there the responsibility of
the architecture must be recognized, to
all the levels and in every context.
In this case, the project counted the
realization of a building to residential
destination inside a lot not built and not
91
reached by public services like roads,
illumination, sewerages, etc...
There is an area of considerable
dimensions to manage; inside this area
it has been necessary to organize, laying
down the Public Administration, the
whole public works system that would
have been then a service to the building:
the access road to the building races along
two sides of the quadrangular perimeter
of the lot, conducting the cars to the area
predisposed to open parking lot, and an
ample green zone faces the residences.
tissellistudioarchitetti
architects/arhitekte: filippo tisselli, cinzia mondello, filippo tombaccini
location/lokacija: cesena; district: forlì-cesena
use/upotreba: residential/rezidencijalna
site area/površina parcele: 3492 mq; bldg. area/površina objekta: 827 mq
gross floor area/površina poda: 661 mq
structure/konstrukcija: reinforced concrete/armirani beton
desingn year/godina projektovanja : 2005; completion year/završeno : 2008
Everything is also in the service of a
building with parking lot at the basement
and that it develops out on three levels
on earth: eight apartments fairly divided
in the first two floors and only one
apartment with garret of pertinence.
Beyond a mere functional description of
the intervention, action focus is still the
wish to reinstate the architectural quality
to the directional vertexes of the building
intervention, refusing the homologation
to the reassuring and anonymous
morphology of the surrounding buildings.
The classical and consolidate residential
functions can be found in a “box” which
does not refuse the archetype of the
parallelepiped volume, but even in the
tension of the planning search it “lives”
and rotates along a parallel axle to the
ground almost lifting from earth the look
of its more representative face.
Arhitektura se ne ograničava na
projektovanje, već se završava sa
realizacijom projekta, koja se ne
dešava uvek pre suočavanja sa
administracijom i korporacijama
koje stoje oko procesa izgradnje.
Kompleksnost
ovih
relacija
i
kompromisa koji postoje na početku
proizvodnje jedne arhitekture ipak
ne mogu da opravdaju manjak
posvećenosti
projektovanju
i
potpuno
pokoravanje
uslovima
investitora i kupaca: sistem koji ide
od projektovanja do realizacije posla
je uvek “društvena akcija”, on je
zajednički i u okviru toga mora biti
prepoznata odgovornost arhitekture
na svim nivoima i u svakom kontekstu.
U ovom slučaju projekat je
podrazumevao
realizaciju
zgrade na stambenoj lokaciji u
okviru neizgrađene parcele, bez
infrastrukture puteva, osvetljenja,
instalacija, itd…
Trebalo je urediti prostor velikih
dimenzija; u okviru ovog prostora
bilo je neophodno da se organizuje
polaganje cele infrastrukture koja bi
opsluživala zgradu: pristupnog puta
zgradi sa obe strane četvorougaone
parcele, sprovođenje automobila
u zonu predviđenu za otvoreni
parking i bujne zelene zone okrenute
ka stanovima. Zgrada sa parking
mestima u podrumu, razvija se na tri
nivoa iznad tla: osam stanova jednako
su raspoređeni na prva dva sprata a
samo jedan je sa potkrovljem.
Pored puke funkcionalne deskripcije
intervencija, fokus akcije je i dalje
na želji da se ponovo uspostavi
arhitektonski kvalitet usmerenih
verteksa intervencija na zgradi,
odbijajući odobrenje ohrabrujućoj i
anonimnoj morfologiji okolnih zgrada.
Klasične i ujedinjene stambene
funkcije mogu da se nađu u
“kutiji” koja ne odbija arhetip
paralelopipednog volumena, ali čak i
u napetosti projektovanja traži svoje
“živote” i rotira duž osovine paralelne
zemlji, gotovo se uzdižući sa zemlje
svojim reprezentativnijim izgledom.
96
march/april/may 2011 / expo
city code - back to the future
kôd grada - povratak u budućnost
Text/Tekst: ELA NEŠIĆ
T
his year`s world EXPO exhibition held in Shanghai was open
in may and lasted till october. Serbian pavilion`s name was
„The City Code“, by the architect Natalija Miodragović and coauthors.
„The City Code“ is a successful response to the topic of general
and specific urban planning; thus it can be interpreted in two
ways – as a dialogue between the local & global, traditional &
modern, individual & collective, external & internal. On the top
of that, the project is enriched with an air of „fictional surplus“
– the added quality which provides for aesthetic indulgence.
Following the EXPO background, starting from the first exhibition in 1851, in London, when Paxton`s Crystal Palace – a significant cast-iron and glass building was erected – an immediate
observation comes to one`s mind; the world exhibitions have
alway been a chance to present new architectural concepts and
ideas, an opportunity to experiment, in a fair-merry state of
mind and spectacular character of manifestation that not only
allows, but stimulates new concepts, having in mind that those
are temporary objects as representations of different nations/
countries. National pavilions have always been regarded as a
reflection of cultural, technological and above all, political state
of affairs of the country they represent.
For the first time with the subject of urban dwelling „Better
city, better life“, the 2010 EXPO had more than 200 participants. The effort has been made to present the notion of a
modern city, through the use of symbols, multicultural aspects,
life and work, science and technology, in service of a better life.
N
a ovogodišnjoj svetskoj izložbi EXPO u Šangaju, koja
je trajala od maja do oktobra, Srbija je nastupila sa
paviljonom pod nazivom „KÔD grada“, autora arhitekte Natalije
Miodragović i saradnika.
„KÔD grada“ predstavlja uspešan odgovor na temu gradogradnje
u širem smislu i može se tumačiti na više nivoa - kao dijalog
između lokalnog/globalnog, tradicionalnog/savremenog,
individualnog/kolektivnog, spoljašnjeg/unutrašnjeg... Povrh
svega rad poseduje i nešto više – tzv. „fikcionalni višak“, onaj
neophodni dodatni kvalitet, koji pruža estetsko zadovoljstvo.
Ako pratimo istorijat EXPO-a od prve izložbe održane davne
1851. godine u Londonu, koja se pamti po Paxtonovoj Kristalnoj
palati - značajnom dostignuću industrijske arhitekture, možemo
primetiti da su svetske izložbe bile prilika za primenu novih
arhitektonskih koncepata i ideja, mogućnost za eksperimente,
svojstvene sajamskom i spektakularnom karakteru takve
manifestacije koja takve stvari dopušta i podstiče, s obzirom
da su u pitanju privremeni objekti i reprezentacija nacije
(države). Nacionalni paviljoni su tumačeni kao odraz
kulturološkog, tehnološkog i nadasve političkog stanja zemlje
koju predstavljaju.
Prvi put sa temom grada, pod nazivom “Bolji grad, bolji život”,
ovogodišnji EXPO, sa više od 200 zemalja i gradova učesnika
pokušao je na inovativan način da predstavi svoje viđenje
modernog grada, baveći se simbolima, multikulturalnošću,
životu i radu u gradovima, naukom i tehnologijom u službi
boljeg života.
Object/Objekat: REPUBLIC OF SERBIA PAVILION, EXPO, SHANGAI, CHINA PAVILJON REPUBLIKE SRBIJE, EXPO, ŠANGAJ, KINA,
Competition/Konkurs: 2009. Project/Projekat: 2009/10.,Realisation/Realizacija: 2010.
Architects/Arhitekte: Natalija Miodragović, Ljubica Bulatović, Darko Kovačev i Milan Miodragović
Team/Tim: Nemanja Kordić, Ivana Damjanović, Ema Stojković
Civil engeneer/Građevinski inžinjer: Jurgen S. Wassink, Lighting/Osvetljenje: Nebojša Radivojević, Grafika: Rade Milićević
97
104 march/april/may 2011 / projects
105
F
NOVIstipić
ast-developing business of the
„Stipić-Interart“ company brought
the need for constructing additional office and storage space.
The well-reputed client is located at a
well known address and has enough
of unused land at the object site, next
to the existing building and the showroom; therefore, it made complete
sense to define the project task as adding a constructional unit attached to the
existing object and use of the remainder for the warehouse.
At the same time it has been requested that a newly constructed annex
promotes the investor`s characteristic
brand; that really addws spice to the
initially simple task.
Post-war transitional urbanism left
strong impact on the rough context of
the location.
The location is suburban, which in this
case means that the objects in vicinity
have not been fully merged into the environment, since there is no infrastructure and serious lack of public space.
The area for mixed urbanistic purpose
is featured with non-balanced composition of family houses, many of them
look self-grown and almost identical to
the built corporate-warehouse „boxes“,
with one dominating feature in common – „max. BPR“ – sta ovo tacno
znaci? There are no added values in
the overall concept of construction and
aerial design.
The project concept is based on plug-in
modules that create complex and compact composition, using 100% of capacity provided by the site, within the urban planning limitations.
Each and every module has the purpose
to enhance different aspects of the typical corporate building. Therefore, all
those „forgotten“ spaces of the near-by
objects have been used (the rooftop,
the exterior window), while the whole
site is designed up to the principle of
planning a family house. As the development of the architectural concept
was going on parallel with the development of the constructional concept,
we can even say we had in practice the
composition of constructive modules.
Each module is a separate construction
whole.
Lokation/ Lokacija: Zagreb_Lučko, Croatia
Investor/Investitor: Stipić Interart
Architecture: UPI-2M - Vedran Jukić, Berislav
Medić, Alan Leo Pleština
Photo: Davor Konjikušić, Vanja Šolin, UPI-2M
Size/Veličina: 2500m2/13000m3
Purpose/Namena:Office-Storage/Poslovna
kancelarijska/skladišna
R
azvojem i unapređenjem poslovanja, „Stipić-Interart”-u
ukazala se potreba za dodatnim kancelarijskim i
magacinskim prostorom.
Obzirom na činjenicu da poseduju etablirano ime i dodatnu
količinu slobodne površine na parceli pored postojeće
poslovne zgrade i show-room-a, kao logičnim učinila se
ideja definisanja projektnog zadatka na način da se od
projektanta zahtevala dogradnja postojećeg objekta kao i
iskorišćavanje ostatka prostora za potrebe magacina.
Istovremeno je, jasno zatraženo da taj aneks svojom pojavom
na najbolji način istakne i karakterističnost investitorovog
brenda, čime je, na prvi pogled „jednostavan“ projektni
zadatak, i dodatno “začinjen”.
Post-ratni urbanizam tranzicije je ostavio jaki trag na
grubom urbanističkom kontekstu lokacije.
U predgrađu grada, lokacija čija je okolna urbanizacija
propraćena planovima koji su ostali samo na grubom
planu šireg područja, rezultirali su izostankom razvoja
infrastrukture pre same gradnje, kao i nedostatkom javnog
prostora.
Područje mešovite namene obeležava mešavinu porodičnih
kuća koje uglavnom deluju kao „samonikle“ kao i gotovo
identičnu tipologiju gradnje magacinsko - poslovnih „kutija“
kojima je zajednička karakteristika „max. BRP“, u pravilu,
bez ikakvih dodatnih vrednosti u njihovom osmišljavanju.
110 march/april/may 2011/architectural office
111
flow
architecture
Tatjana Nikčević, architect, established
the architectural bureau “FLOW Architecture” in 2000, in Santa Monica, California. In 2006 and 2008 Montenegrin
and Serbian branches were opened,
respectively.
Inventive creativity, vision and mathematically sophisticated design of the
FLOW are inspirational in their manifestation of dynamic architectural
forms. Strong dynamics of applied
solutions for research of synergy potential on all levels contributes to the
maximum design use. FLOW architectural style is creative, yet methodic at
the same time, impressive and practical. The style is specific for its emphasis on the importance of symbolism
and simplicity of construction; on the
other hand, it provides visually complex and resonating space, significant
for rich architectural indulgence.
There have been noted quite unique
feedback reactions to the FLOW Architecture solutions, ranging from questioning new approach of the organic
architecture to balancing the form,
function, needs and wishes of the client.
HOTEL GALIJA
Team: Tatjana Milana Nikčević; Mina
Marković, Zoran Marković, Jovan
Roganović; Olivera Simovska; Radoš
Pešić; Biljana Georgieva; Stevan
Kovačević; Lidija Malenkova; Viktor
Nastoski; Milica Nikčević; Marija
Boreta; Boris Mandić; Boris Todorović,
Krsto Ćetković; Marko Nikčević; Vladimir Adrecenko; Stephen
Picciano; Patrick Winters; Atul Dwiedi.
HOTEL GALIJA
Text: Ivan Ratković
david chipperfield
D
avid Chipperfild’s architecture follows the
basic principal of minimal use of design
elements and simple means of construction,
perhaps in the fullest expression of modernist
ideals- a puritanical vision of simplified,
transcendental existence.
David Chipperfield is the winner of the Stirling
prize 2007 and receives the Royal Gold Medal
2011 for his life time’s work – of one of the world’s
oldest and most prestigious architecture prizes.
The Royal Institute of British Architect (RIBA)
President Ruth Read describes Chipperfield as
“one of the world’s greatest architect” and says
his style is” one of calm rational elegance”.
Chipperfield has in his projects a high standard of
finish; he transformed the construction material
into refined art form. The aesthetic idea was
progressively refined and developed through
the choice of materials, colors and details.
His concept can be seen both as great work in
small object design. A selection of his successful
museum projects proves that the planning does
not always have to end in vulgar spectacle rather
it can also create architecture full of meaning in
its simplest form.
Among other projects he designed 11 museum
buildings around the world: In China Liagzu
Museum and Rock bund Art Museum, in US
Anchorage Alaska Museum, Saint Louis Art
Museum and Figge Art Museum. But the
most significant Museum buildings he builds
in Germany- Museum of Modern Literature,
James Simon Gallery, Folkwang Museum, Neues
Museum Island. Finally his latest work is two
museums buildings in his home country- The
Hepworth Wakefield and Turner Contemporary.
Chipperfield is the winner of the DETAIL Prize
2011 for the architecture of the Neues Museum
in Berlin. Quotes from the jury’s judgments:
“the architecture has a sensual aesthetic, which
is impressive due to the tense relationship
between the clear, modern architectural idiom of
the new buildings elements and the old building
stock. The project involves the completely new
approach to reconstruction and is on outstanding
and authentic example of redevelopment of an
existing building”.
The Neues Museum was designed on Berlin’s
Island by Friedrich August Stuler and built
between 1841 and 1859. In 1944 the building
was destroyed by the Allies. Neues Museum
Island rebuilding project by Chipperfield cost 270
million Euros. Architecture critic Elis Woodman
describes the project as being “truly magisteriala building that feels very much of a piece with
the archeological finds it presents while also
serving as testament to the national trauma that
Germany underwent in the past sanctuary”
A
rhitektura
Davida
Chipperfilda sledi osnovni
princip minimalne upotrebe
projektnih
elemenata
i
jednostavno
značenje
konstrukcije, može se reći kao
potpuni izraz modernističkog
ideala - kao puritanska vizija
svedene
transcendentalne
egzistencije.
David Chipperfield je dobitnik
Stirlingove nagrade 2007.
Zlatna Medalja za životno
delo - jedna od najstarijih i
najprerstižnijih arhitektonskih
nagrada uručena mu je
2011.. Predsednik Kraljevskog
insituta Britanske Arhitekture
(RIBA), Ruth Read opisuje
Chipperffild-a kao“ jednog od
najvećih svetskih arhitekata“ i
kaže da je njegov stil „ hladna
promišljena elegancija“.
Chipperfield svoje projekte
realizuje
do
savršenog
detalja;
on
trasformiše
konsruktivni
materijal
u
pročišćenu umetničku formu.
Estetski ideal se progresivno
pročišćava i razvija kroz izbor
materijala, boje i detalja.
Njegov koncept se podjednako
ostvaruje kod velikih objekata
kao i kod najmanjih zahvata.
Pregled njegovih upešnih
radova dokazuje da projekat
ne mora uvek da završi kao
neukusni spektakl već to može
biti i arhitektura ispunjena
značenjem kroz jednostavnu
izražajnu formu.
Pored ostalih projekata on
je izgradio 11 muzeja na
raznim stranama sveta: u Kini
Liagzu Muzej i Rock bund Art
Museum, u SAD na Aljasci
Anchorage Museum, Saint
Louis Art Museum i Figge Art
Museum. Ali najznačajnija
dela ostvarena su u NemackojMuseum
of
Modern
Literature, James Simon
Gallery, Folkwang Museum,
Neues
Museum
Island.
Naposletku tu su i dva muzeja
u njegovoj domoviniThe
Hepworth Wakefield i Turner
Contemporary. Chipperfield je
i dobitnik nagrade arhitekturu
časopisa DETAIL za 2011-tu za
Novi Muzej (Neus Museum) u
Berlinu.
117
Kivik art centre - subjective sculpture
Neues Museum in Berlin
120 march/april/may 2011 / projects
Refreshed radiance of the old ambience
A
supilova
121
housing facility is located in Supilova
Street, in Zvezdara part of
Belgrade in vicinity of the
Zvezdara woods. Being positioned on the top of the
hill, and overviewing it,
the facility provides highquality living standard. The
quality and unused potential of the space were
waiting to be used and
imprinted in the object,
so as to refresh and refine
the space. The positioning
and natural qualities of the
nearby houses do not have
adequate architectural expression. There have been
a few sporadic attempts
to amend that, however,
without any influence on
the environment. A rather
different architectural approach to the form resulted in significant enrichment of the space.
The basic shape of the object has been somewhat
limited by the physical and
urban planning parameters. The space being relatively narrow and rather
S
tambeni
objekat
nalazi se u Supilovoj
ulici
u
Beogradu,
naselje Zvezdara. Blizina
Zvezdarske
šume,
na
obodu skoro najvišeg dela
Beograda sa pogledom na
isti, je mesto sa kvalitetom
idelnog stanovanja visokog
nivoa. Potencijal koji se
nameće i kvalitet prostora
jednostavno su čekali da se
iskoriste i ugrade u objekat,
što će ustajali prostor
pokrenuti i oplemeniti.
Okruženje lokacije, koje
shodno svojom pozicijom
i prirodnim kvalitetima,
deep led to visual division
of the form in two parts.
The front part, facing the
street is completely in contrast to the yard part. A
more aggressive approach
gives the impression of
sharpness and represents
the outpost of a new form
of architectural expression
of the environment; whilst
the choice of material and
their combination balances the passion towards
the calmness of the living
space. The yard part is far
more simple and peaceful,
without any strong accentuation and in accordance
with its positioning.
ground floor
What links these two entities is the staircase and the
rooftop, which encompasses the object as a whole,
through its expressed, almost imposed form. With
lateral sheet metal walls,
as well as with the roof’s
extension all the way to
the ground floor, the overall form is implemented in
two separate entities.
nema
adekvatan
arhitektonski
izraz.
Sporadični pokušaji da se
to promeni ne utiču previše
na sveobuhvatni dojam.
Jedan drugačiji pristup
rešavanju arhitektonskog
oblika i forme, uticalo je
na oplemenjivanje samog
prostora.
Ograničenost
prostora,
što u fizičkom smislu,
što
po
urbanističkim
parametrima diktiralo je
osnovni oblik objekta.
Relativno uzak prostor sa
velikom dubinom, naveo
je na razmišljanje da se
vizuelno podeli forma
na dva dela. Prednji deo
prema ulici po oblikovanju
se u potpunosti razlikuje
od
dvorišnog
dela.
Agresivniji pristup, odaje
utisak oštrine i predvodi
novu formu arhitektonskog
izraza okruženja, dok
izborom
materijala
i
njihovom kombinacijom
smiruje strast i pravi balans
prema mirnoći stambenog
prostora. Dvorišni deo je
daleko svedeniji i mirniji
bez jakih akcenata, shodno
svojoj poziciji.
Veza ova dva entiteta
predstavlja
stepenišni
prostor i krov, koji svojom
izraženom formom, skoro
nametnutom, objedinjuje
objekat u jednu celinu.
Obradom bočnih zidova od
lima kao i sam krov i njegovo
vođenje do prizemlja je
pokušaj da se cela forma
krova implementira u dva
odvojena entiteta.
Upotreba
drveta
u
delu
prednje
fasade
je posledica balansa i
stvaranja kontrasta nad
velikim površinama lima
koje dominiraju bočnim
fasadama.
Download

Segment 09 (PDF)