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FROM M
Y PE
RSPE
CTI
VE IZ MOJE PERSPEKTIVE
by iva
n r
atko
vić
Ed
ua
rd
o Souto
de
Mourapritzker prize
2011
About the award
How would you feel if you were to receive a telephone call saying you had been awarded the Pritzker Prize? It hap-
pened to architect Souto de Moura while he was working in his studio in a small Portuguese town. He was surprised and he did not believe it at first. When it was confirmed he stated that he regards this award as a great personal suc-cess and that this is also a recognition for Portugal, where all his works are. It may look like a fairy tale but neither in life nor in fairy tales things happen without a reason. This award surprised many but it was no accident.
Most of us will agree that nowadays, in the era of the over-production of architectural wonders, it is harder than ever to form judgments of its value. Computer-aided architectural design is intended to facilitate and accelerate the realiza-tion of the ideas. Unfortunately, its effect on the design process is not always positive. With the help of technical and technological innovations, construction industry, and aggressive marketers of equipment, in short time architects can create an architectural product but not architecture itself. Due to the overproduction of architecture architectural cri-teria are disappearing and it is clear that the market can not be the sole arbiter of architectural value. Other institu-tions that would educate and awake the public are neces-sary. Many big investors will become interested in Edoardo Souto de Mora. That is how a new beginning looked like for many ‘star architects’.
Architecture has always been competitive discipline. Throughout history, architects and artists have been fight-ing for the attention of rulers, monarchs and tyrants. The architecture has for centuries depended on the will and wish of the rulers to perpetuate their power by construct-ing monuments and buildings. They knew how to choose a gifted artist.Renaissance historian Jakob Burkchard explains the phe-nomenon of occurrence of the masterpieces of Renais-sance art as a joint venture. Those were the happy days when artists, scientists and financial tycoons all participat-ed in the creative process. Many tyrants and absolutists showed a great affection for artists. French King was the sponsor of Leonardo da Vinci. This intimacy did not always end well for the artists; Albert Speer did not come to realize his project of the Capital of the World, instead he spent 20 years in prison. One of the mightiest rulers in history, Stalin, had no understanding for arts and artists; he exiled Rus-sian architects and painters who were the best European avant-garde artists.
O nagradi
Kako bi se osećali da su vam telefonom javili da ste dobitnik Pritzkerove Nagrade? To se dogodilo arhitekti Souto de Mouri dok je radio u svom ateljeu u malom portugalskom gradu. On tu situaciju
opisuje kao iznenađenje i u početku nije verovao da je to moguće. Kada je proverio tu vest, izjavio je da nagradu smatra velikim ličnim uspehom ali da je to priznanje i za Portugaliju gde se nalaze sva njegova dela. Deluje kao priča iz bajke ali u bajkama se ništa ne dešava slučajno. Ova nagrada je mnoge iznenadila ali je najmanje slučajna.
Složićemo se da je danas, u hiperprodukciji arhitektonskih čudesa teže nego ikada formirati vred-nosne sudove. Kompjutersko projektovanje umešalo se u struku da olakša i ubrza relizaciju ide-ja. Nažalost, uticaj digitalizacije na proces projektovanja nije uvek pozitivan. Uz pomoć tehničko-tehnoloških inovacija, građevinske industrije i agresivnih trgovaca opremom, možemo za kratko vreme dobiti arhitektonski proizvod ali ne i arhitekturu. Usled hiperprodukcije arhitektonske robe, nestaju kriterijumi i postaje jasno da tržište ne može da predstavlja jedini vrednosni arbitar. Neophodne su druge institucije koje će da edukuju i probude javnost. Mnogi veliki investitori će se sada zainteresovati ko je taj Edoardo Souto de Mora. Tako je izgledao novi početak za mnoge sadašnje arhitektonske zvezde.
Arhitektura je oduvek bila takmičarska disciplina. Kroz istoriju su se arhitekte i umetnici borili za naklonost vladara, monarha i Tirana. Arhitektura je vekovima zavisila od volje vladara da svoju moć ovekoveče izgradnjom spomenika i zgrada. Prosvećeni moćnici su umeli da izaberu obdarene umet-nike.Istoričar renesanse Jakob Burkchard objašnjava fenomen nastanka remek dela renesanse kao zajednički umetnički poduhvat. To je bio srećan istoriski period, duh renesanse, kada su u stvaralačkom procesu zajednički sarađivali umetnici, naučnici i finansiski moćnici. Mnogi tirani i apso-
lutisti pokazivali su veliku naklonost prema umetnicima. Francuski Kralj bio je godinama sponzor Leonarda da Vinčija. Velika bliskost umetnika i vladara nije se uvek dobro završavala; Albert Speer nije stigao da realizuje svoj projekat Prestonice Sveta ali je zato proveo 20 godina u zatvoru. Jedan od najmoćnijih vladara u isto-riji, Staljin, nije imao razumevanja za umetnost; razjurio je iz Rusije arhitekte i slikare koji su bili vrh evropske avangarde.
U drugoj polovini 20. veka u demokratskim društvima ulogu promocije umetnosti, pored Ministarstva za kult-uru, sve više preuzimaju nezavisne institucije sponzo-risane od bogatih porodica koje osnivaju fondacije, kul-turne centre i muzeje. Kroz nove demokratske oblike sponzorisanja i afirmacije umetnosti, kao što je insti-tucija konkursnog takmičenja arhitekata i dodela ugled-nih nagrada, na najbolji način se otkrivaju i afirmišu nove vrednosti u arhitekturi (umetnosti). Da podsetimo na neke poznate primere: međunarodni arhitektonski konkursi za Operu u Sidneju, kulturni centar Pompidu kao i nagrada za Defans dodeljeni su do tada takoreći potpuno nepoznatim arhitektima. Žiri sastavljen od re-nomiranih stručnjaka pokazao je apsolutnu nezavis-nost od spoljnih uticaja i hrabrost da donese odluku da se izgradnja objekata koji će obeležiti istoriju arhi-tekture poveri autorima koji do tada nisu imali nikakvo praktično iskustvo u sličnim poduhvatima - posedovali su samo ideju.
Hteli smo da Vas potsetimo da u opštoj krizi vrednos-nih kriterijuma (u Srbiji se iz poznatih razloga nagrada-ma i konkursima više ne veruje) još uvek postoje neke institucije sa tradicijom u čiju objektivnost ne treba sumnjati. Pritzkerova nagrada već 36 godina potvrđuje svoju reputaciju Nobelove nagrade za arhitekturu.
elaborated
16 december 2011 / january 2012 / architects
MUSEUM
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AVIATION
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The Muzeum Lotnictwa is one of the largest museums of aviation in the world. It is located
in historically preserved buildings and hangars of the former historic airfield of Rakowice-Cyzyny in Cracow, the first airfield on polish terrain, build in 1912 for the air fleet no. 7 of the Austrian-Hungarian Empire.In 2005 a competition was launched for the new main building - the first pan-European competition for architects, after the accession of Poland to the EU, to be won and realised by a German architect.
MuseumThe idea of flying, the spirit of the place, the structure of the historic airfield – the new building for the Museum of Aviation takes up these references intellectually and synthesises them into an expressive and emblematic structure. The old hangars set the modular scale for the footprint (60x60 m) and the height (12m) for the new building. Developed from this modular scale - cut out and folded, as if made like a paper airplane, a large structure has arisen – triangular wings made of concrete and yet as light as a wind-vane or propeller. Size and orientation of the wings got developed out of three different functions. 4500sqm usable area on three floors is for disposition now. Intertwining spaces provide good orientation for the visitor.Entering the building one has the choice to go into the education wing with a voluminous 3D-cinema or directly into the exhibition area with the planes. The wings are generously glazed, opening in all directions. The exhibition thus links visually with the landscape around it and offers a view to the apron and the planes on display outdoors. The airplanes in the North wing seem by no means enclosed, but rather having been placed in shelter, ready to roll out onto the runway at any time.
Muzeum Lotnictwa PolskiegoMuseum of Aviation and Aviation Exhibition Park, Krakow – Poland
International competition 1st prize 2005, completion 2010
Architect | General planner: Pysall Architekten / Design Author: Pysall . Ruge Architekten with Bartlomiej KisielewskiProject team: Justus Pysall, Peter Ruge, Bartlomiej Kisielewski, Katarzyna Ratajczak, Mateusz Rataj, Alicja Kepka-Guerrero
Brief: Museum of Aviation with exhibition area | cinema | conference area | library | museum shop | cafeteria | restoration area | administration | Aviation park | transformation of the airport into an aviation park | exterior exhibition recreation area
Size: Museum of Aviation: 4.504 m2; Aviation Exhibition Park: 6,19 hectares
Building cost: € 13,0 Million
Museum and Aviation Exhibition Park Krakov - Poljska1.nagrada na konkursu 2005.godine, završeno 2010.godine
Arhitekte: Pysall Architekten / Autor projekta: Pysall . Ruge Architekten i Bartlomiej KisielewskiProjektantski tim: Justus Pysall, Peter Ruge, Bartlomiej Kisielewski, Katarzyna Ratajczak, Mateusz Rataj, Alicja Kepka.
Program: Muzej vazduhoplovstva sa izložbenim prostorom | bioskop | konferencijski blok | biblioteka | prodavnica suvenira | kafeterija | područje restauracije | administracija | Vazduhoplovni park | Transformacija aerodroma u vazduhoplovni park | spoljašnji izložbeno-rekreativni prostorPovršina: Muzej vazduhoplovstva: 4.504 m2; Vazduhoplovni izložbeni park: 6,19 hektaraTroškovi gradnje: Ukupno 13,0 milliona evra
Lotnictva je jedan od najvećih muzeja vazduhoplovstva na svetu. Nalazi se u
okviru očuvanih, istorijskih zgrada i hangara nekadašnjeg aerodroma Rakovice-Cizini u Krakovu, prvog aerodroma na poljskom terenu koji je izgrađen 1912. godine za potrebe aero flote broj 7 Austro-Ugarskog carstva.Konkurs za projekat nove glavne zgrade održan je 2005. godine kao prvi pan-evropski arhitektonski konkurs nakon ulaska Poljske u EU na kome je pobedio nemački arhitekta.
MuzejNova zgrada muzeja vazduhoplovstva podržava ideju o letenju, duh lokacije i strukturu istorijskog aerodroma i sjedinjuje ove reference u jednu izražajnu i simboličku strukturu. Stari hangari su poslužili kao modularna matrica za osnovu nove zgrade (60x60m), kao i za visinu nove zgrade (12m). Iz ove matrice razvijena je velika građevina, skrojena i savijena poput papirnog aviona, sa trougaonim krilima od betona a ipak laganim kao vetrokaz ili propeler. Dimenzije i orjentacija ovih krila definisani su u skladu sa tri različite funkcije. Dobijena je upotrebna površina od 4500m2 raspoređena na tri nivoa. Prožimanje prostora doprinelo je lakšoj orijentaciji posetilaca. Pri ulazu u zgradu otvaraju se dve mogućnosti: ulaz u edukativno krilo sa velikim 3D bioskopom i direktan pristup u izložbeni prostor sa avionima. Sva krila su zastakljena i otvorena u svim pravcima. Na taj način izložbeni prostor je vizuelno povezan sa okolnim pejzažom i omogućene su vizure ka betoniranom uzletištu aerodroma i avionima izloženim u spoljašnjem prostoru. Avioni koji se nalaze u severnom krilu ne izgledaju ni malo napušteni, već kao da su smešteni u hangar, spremni da u bilo kom trenutku izađu na pistu.
Photo: Jakub Pierzchala & Marcin Przybylko Copyrights Pysall Architekten
Media-TIC in Barcelona wins World Building of the Year 2011
at World Architecture Festival Awards
Media-TIC, Barcelona, Spain, designed by Cloud 9 based in Spain , has beaten off competition from hundreds of buildings around the globe to win the ‘World Building of the Year 2011’ award at the prestigious World Architecture Festival (WAF) Awards in Barcelona. The presentation of the WAF Awards took place during the largest global celebration of architecture - the World Architecture Festival, which took place at the Centre Convencions International Barcelona (CCIB) this week. The project was commissioned by The Consortium of the Zona Franca CZFB and @22Barcelona, an experimental district in the city. The architects were extremely interested in the digital city model based on information, communication and technology, with the idea of a city where what matters is knowledge, added value and patents. In short the objective was for the architecture to be in sync with the city’s values. The building is divided with large companies on the upper floors, smaller spaces for emerging
companies below and the first floor features a cibernariun and auditorium offering courses and programmes to city residents. The building was selected from 16 finalists to win the highest accolade in global architecture by a ‘super-jury’¹ of the world’s most influential architectural and urban designers, led by the distinguished Michael Sorkin. It is the first win for the host city.Speaking at the awards presentation, Paul Finch, WAF Programme Director said that the building was ‘a magnet for people with a whole range of ideas’. It won, he said, for the scale and degree of difficulty of its ambition, and because it was a symbol of an emerging movement in the city of Barcelona. Also, he said, it opens up conversations of concerns about energy and sustainability and shows that when addressing issues of sustainability, architects should lead the charge and this was the project that has most taken on this challenge. Providing a mix of large office space, space for start-ups and public space, the building has excellent green credentials. It targets and achieves the following: Total 95% CO2 reduction, the Media-ICT is a NET building almost a net zero building.
Enric Ruiz-Geli of Cloud 9, which designed the Media-TIC building, said it should act as a ‘seed for an environmental revolution’. He said, If it doesn’t happen, we will not succeed with our fight against global warming.’ Ruiz-Geli took to the stage with his entire family, saying, ‘This is what happens when you win an award at home.’ His nine-year old son, Iago, had chosen the green colour that dominates in the building, he said. Looking at his children, Ruiz-Geli added, ‘These are our clients.’ He also praised the experience of WAF, bringing together architects from so many different countries. ‘I was amazed by the density of cultures,’ he said. Finch added: “The World Architecture Festival is the world’s largest, live, truly inclusive and interactive global architectural awards programme. Attracting entries from internationally renowned practices to small local architects, the stellar quality of this year’s designs demonstrates their commitment to designing the world’s most exciting buildings. This year we’ve attracted more entries than ever before, with over 700 submissions from 59 different countries. Our congratulations go to Cloud-9 for a truly accomplished project.”
Media-TIC u Barselonipobednik na takmičenju za objekat godine
2011. u okviru Svetskog festivala arhitekture
Media-TIC u Barseloni, Španija, projekat Cloud 9 studija iz Španije, pobedio je konkurenciju - stotine objekata širom sveta i osvojio nagradu na takmičenju “Svetski objekat godine - 2011.” u okviru prestižnog Svetskog festivala arhitekture (World Architecture Festival - WAF) u Barseloni. Prezentacija takmičarskog dela programa održana u okviru najveće globalne proslave arhitekture - Svetskog festivala arhitekture koji se odigrao u Međunarodnom kongresnom centru Barselone (Centre Convencions
International Barcelona - CCIB).Za razliku od drugih arhitektonskih konkursa, na festivalu arhitekti prezentuju svoje radove pred vrhunskim stručnim žirijem, uživo, pred publikom, dok se takmiče za nagradu ‘Svetski objekat godine’.Naručen od strane Kolegijuma Zona Franca CZFB i @22Barcelona, kao ‘eksperimentalni blok grada’, Media-TIC obezbeđuje različite prostore - kombinaciju većih poslovnih prostora i manjih prostora za kompanije u usponu, kao i javne prostore za održavanje kurseva i programa za građane.Arhitekti su naročito bili zainteresovani za digitalni model grada baziran na informacijama, komunikaciji i tehnologiji, koji sadrži ideju o
gradu u kome se cene znanje, novostvorena vrednost i patenti. Ukratko, osnovni cilj je bio da se kreira arhitektura koja je sinhronizovana sa vrednostima grada. ‘Super žiri’, sastavljen od svetskih, najuticajnijih arhitekata i urbanista, koji je predvodio istaknuti Michael Sorkin, izabrao je objekat Media-TIC među 16 finalista kao najcenjeniji projekat u kategoriji globalne arhitekture. Ovo je prva pobeda grada-domaćina.Paul Finch, direktor programskog odseka WAFa, tokom prezentacije takmičarskog dela programa opisao je pobednički objekat kao ‘magnet za ljude sa širokim spektrom ideja’. Objasnio je da je projekat pobedio zbog razmere i stepena ambicije projekta kao i zbog činjenice da
WAF director, Paul Finch WAF winners, Cloud 9 People’s Choice award, Syndicate studio
34 december 2011 / january 2012 /waf 35
This is the 4th year the World Architecture Festival Awards have been presented. Previous winners include ‘World Building of the Year 2008’ - Luigi Bocconi University, Milan, designed by Irish practice Grafton Architects; ‘World Building of the Year 2009’ - Mapungubwe Interpretation Centre in South Africa, designed by Peter Rich Architects of Johannesburg, and ‘World Building of the Year 2010’ - MAXXI (National
Museum of the 21st Century Arts) in Rome, designed by Zaha Hadid Architects.Hanimaadaoo International Airport, Maldives, designed by Integrated Design Associates Limited was awarded the ‘Future Project of the Year 2011’ award and the iconic 76-story Beekman Tower at 8 Spruce Street, New York, designed by renowned architect Frank Gehry, won the ‘Structural Project of the Year 2011’ with
the prize going to engineer WSP Cantor Seinuk.The WAF Awards see unsung local buildings take on internationally acclaimed projects in what is the world’s biggest architecture contest. Unlike other architectural competitions, architects present their work in front of leading industry judges and a live public audience as they compete for the accolade of ‘World Building of the Year’.
objekat simboliše nov pokret u gradu Barselona. Takođe, dodao je da projekat otvara diskusije na temu zabrinutosti oko energije i održivosti i da pokazuje da, kada se radi o pitanjima održivosti, arhitekti moraju preduzeti odgovornost, i da se ovaj projekat najviše upustio u izazov rešavanja ekoloških problema.
Arhitekti studija Cloud 9 naglasili su da je objekat Media-TIC zamišljen kao veliki generator i da ima optimalnu potrošnju energije. Projekat ima za cilj i teži da ostvari sledeće:1-20% CO2 redukciju usled upotrebe District Cooling čiste energije.2-10% CO2 redukcije zbog upotrebe fotonaponskog krova.
World Building of the Year Award 2011Media-TIC, Barcelona, Spain, Cloud 9, SpainThe project was commissioned by The Consortium of the Zona Franca CZFB and @22Barcelona, an experimental district in the city. The architects were extremely interested in the digital city model based on information, communication and technology, with the idea of a city where what matters is knowledge, added value and patents.
Svetski objekat godine 2011.Media-TIC, Barselona, ŠpanijaArhitekti: Cloud9, ŠpanijaNaručen od strane Kolegijuma Zona Franca CZFB i @22Barcelona, kao ‘eksperimentalni blok grada’, Media-TIC obezbeđuje različite prostore - kombinaciju većih poslovnih prostora i manjih prostora za kompanije u usponu, kao i javne prostore za održavanje kurseva i programa za građane. Arhitekti su naročito bili zainteresovani za digitalni model grada baziran na informacijama, komunikaciji i tehnologiji, koji sadrži ideju o gradu u kome se cene znanje, novostvorena vrednost i patenti.
World Building of the YearSvetski objekat godineMedia-ICT, Barcelona, SpainCloud 9, Spain
36 december 2011 / january 2012 /waf 37
Arhitekti: Atelier Nuno Lacerda Lopes (CNLL)Lokacija: Mouriz, Paredes, Severna Portugalija
Klijent: Gradsko veće ParadesProjektantski tim: CNLL I Márcia Areal I Vanessa Tavares I Hé-
lder Lopes I Augusto Rachão I Natália RochaArhitektonska koordinacija: CNLL
Specijalizacije: AC + Cogen, Central Projecto, IPCKonstrukcije: MRG
Model: CNLLPovršina: 3220m2
Projekat: 2010.Fotografi: FG+SG – Fernando Guerra,
Sergio Guerra
Location. Mouriz, Paredes, Northern of PortugalProject. 2009-2010Client. Paredes City CouncilArchitecture’s Coordination. CNLLSpecialties. AC + Cogen, Central Projecto, IPCPhoto. FERNANDO GUERRA | FG+SG
µSkOlA58 december 2011 / january 2012 / projekts 59
Every year, architects under the
age of 40 are invited to submit
projects (built or unbuilt) to be
judged by a panel of distinguished
architectural practitioners,
developers, architectural journalists,
educators, and critics. Participating
architects under 40 can be either
working as individual practitioners or
collaborating inside an established
firm as the principal lead designer of
the projects submitted.
In addition to the 27 European
Union member countries, architects
from the following European
nations are invited to participate:
Norway, Switzerland, Russia, Turkey,
Liechtenstein, Albania, Monaco,
Andorra, Serbia, Montenegro, Georgia,
Bosnia-Herzegovina, Macedonia,
Moldavia, Belarus, Azerbaijan, Canary
Islands, Faeroe Islands, San Marino,
and Iceland.
Projects include corporate
architecture, skyscrapers, institutional
projects, religious buildings, civic
and political structures, planning
projects, urban renewal, restoration/
renovation, residential architecture
for single family and multi-family
dwellings, stores, residential or
commercial interiors, sports and
transportation centers, and public
environments.
Svake godine arhitekti ispod
40 godina starosti pozivaju
se da predaju projekte
(izgrađene ili ne) koje ocenjuje
grupa koju čine istaknuti aktivni
arhitekti, preduzimači, arhitektonski
novinari, profesori, i kritičari.
Arhitekti učesnici ispod 40 godina
mogu predati individualne projekte ili
projekte rađene unutar firme ukoliko
su na tim projektima radili kao glavni
projektanti.
Pored 27 zemalja članica Evropske
unije, ove godine pozvani su da
učestvuju i arhitekti iz sledećih
Evropskih zemalja: Norveška,
Švajcarska, Rusija, Turska,
Lihtenštajn, Albanija, Monako,
Andora, Srbija, Crna Gora, Gruzija,
Bosna i Hercegovina, Makedonija,
Moldavija, Belorusija, Azerbejdžan,
Kanarska ostrva, Farska Ostrva, San
Marino i Island.
Dozvoljeni projekti obuhvataju
poslovne objekte, oblakodere,
arhitekturu institucija, verske objekte,
društvene i političke projekte,
urbanističke projekte, urbanističku
rekonstrukciju, projekte restauracije/
renoviranja, individualno i kolektivno
stanovanje, komercijalne projekte,
stambene ili komercijalne enterijere,
sportske i transportne centre, i
javne prostore.
ISPOD4040UNDERAUGUSTIN ROSENSTIEHL
PIERRE SARTOUX FRANCE
ISRAEL ALBA RAMIS SPAIN
STEFANIA PAPITTOGIANLUCA EVELS
ITALY
TSABIKOS PETRAS GREECE
66 december 2011 / january 2012 /young architects 67
Villa trouveThe first impression of the Villa on Chaplin’s hill, in Toronto, is that it clearly establishes and confirms its colonial attitude and intention.
Perceiving a work of architecture as an act of “colonization” requires understand-ing the distinction between a clearly au-tonomous architecture and an architec-ture which is neatly and sympathetically inserted into its existing context. To “col-onize”, in short, means to occupy terri-tory, but in most cases it means territo-rial occupation by force – through the imposition of a new regime or a different order in the occupied area. However, in both cases, colonization measures it-self in relation to the occupied territory and becomes established, in relation to the predecessor, when conceived of as a combination of imposed force and a perspicacious “grafting”. This house is here, on this targeted location, to stay and to establish a “New Order”. It rises prominantly from the hill top, and so vi-sually colonizes the existing topography which now becomes something different, strengthened and renewed through the intervention.
Vila na Čaplinovom bregu, u Toron-tu, jasno uspostavlja i potvrđuje svoju “kolonizatorsku” nameru i stav. Razumeti arhitekturu kao
akt “kolonizacije”, znači zauzeti poziciju negde na pola puta između produkcije arhitekture kao čistog, autonomnog ob-jekta i produkcije arhitekture kao čistog i kompresovanog umetanja u postojeći kontekst. “Kolonizovati” ukratko znači okupirati teritoriju. Ali, “kolonizovati”, u vecini slučajeva znači i okupirati silom, nametnuti novi režim ili drugačiji red na okupiranom mestu. Međutim, u oba slučaja, kolonizacija meri sebe prema okupiranoj teritoriji i uspostavlja sebe prema prethodniku, tako što postaje kombinacija nametnute sile i promišljene dogradnje. Ova kuća je, ukratko, stigla izrično i ciljno na to mesto - da se tu skrasi i uspostavi “novi poredak” (New Order). Ona očito kao da izrasta na vrhu brega, jednovremeno kolonizujući gesti-kulaciju zatečene topografije koja je, za uzvrat, ovom intervencijom samo dobila snažan oslonac i okrepljenje.
The Architect’s Pen
Iz pera arhitekte
Author/Autor: arch. Miloš Pavlović
Photo: Steven Miric
74 december 2011 / january 2012 / projekts 75
Fasade zgrada u prethodnim periodima, u mnogim slučajevima, su okarakterisane rasporedom
prozora i osa, i često se na njima isticao površinski reljef sa arhitektonskim elementima iz relevantnog perioda ili stila. Struktura fasade takođe je uticala na plan osnove; značaj funkcije, bilo da se radi o značaju funkcije ili značaju korisnika prostorije, ogledao se u broju prozorskih osa te prostorije.
Naročito u slučaju poslovnih objekata, postojala je jasna struktura i broj osa se mogao unapred odrediti - određeni broj za direktora ili radnika višeg čina i manji broj za običnog radnika.Sa uvođenjem prozorskih traka ove hijerarhije su napuštene. Danas je uobičajeno da se celokupna fasada radi u staklu i pojam transparentnosti i dalje predstavlja dominantnu odliku moderne arhitekture. Ova promena u arhitekturi rezultirala je ljudskom potrebom za individualnošću i komforom koji je potrebno ostvariti.
Iz ovog razloga, već neko vreme radimo sa dinamičnim fasadama koje mogu biti prilagođene varirajućim uslovima i individualnim potrebama. Ovi sistemi mogu se, takođe, kontrolisati i podesiti korišćenjem kompjuterskih programa kada korisnici nisu prisutni u prostoru. Prema tome, moguće je uspešno realizovati ovakve transparentne fasade i ujedno zadržati komforno okruženje za korisnike objekta.
Ove fasade se neprekidno menjaju, kako u skladu sa okruženjem tako i u skladu sa individualnim potrebama; svaki dan, svaki sat prikazuje novi “lik” i tako fasada dobija dodatnu ulogu dinamičke skulpture.
Napisali smo specijalnu koreografiju za nove Kiefer tehničke fasade koju možete pogledati u vidu video klipa na našoj internet prezentaciji.
Arh. DI Ernst Giselbrecht
Up until relatively recently, a building’s façade could, in many circumstances, be characterised by its
configuration of window arrangements and axes and often featured surface relief with architectural elements from a particular period or style. The structure of the façade has previously also had an impact on the floor plan of the building; whereby the importance of a rooms function or its user was reflected in the number of window axes it possesed.
Office buildings in particular would display a clear structure and the number of axes could be predetermined, for example there would be a certain number for a director or high-ranking counsellor and less for a civil servant.With the introduction of window strips, these hierarchies were abandoned. Today it is commonplace for an entire facade to be glazed as the notion of transparency has continued to be the dominant feature of modern architecture.This move towards a more democratic architecture has resulted in common human needs such as comfort being elevated above individual egos.
For this reason we have been working for some time with dynamic façades that can be adapted to changing conditions and individual needs.These systems can also be controlled and optimised using computer programs when the room is empty. Thus it is possible to successfully realise these new transparent façades and still maintain a comfortable environment for the inhabitants of the building.
These façades change continuously in response to both environmental conditions and individual needs; each day, each hour shows a new “face”, and so the façade, while functional, is also a dynamic sculpture.
We wrote a dedicated choreography for the new Kiefer technic façades which can be seen in a video clip on our website.
Arch. DI Ernst Giselbrecht
DYNAMIC FACADE
DINAMIČNA FASADA
KIEFER TECHNIC SHOWROOM
Architects / Arhitekte: Ernst Giselbrecht + Partner ZT GmbHWeb: www.giselbrecht.at
Photo: Paul Ott, Gisel Brecht
80 december 2011 / january 2012 / projekts 81
Architects: Steven Holl Architects and Solange Fabião
Project: Cité de l’Océan et du SurfLocation: Biarritz, FranceText: Gordana Petković, B. Arch.
It appears that the effectsof the Steven Holl’s Museum open important themes -purified aesthetics and “cleansing” of the planet.
Čini se da emocionalna iskustva koja budi Hollov muzej pokreću značajne teme pročišćene estetikei „čišćenja“ planete.
92 december 2011 / january 2012 / projekts 93
Project Fact SheetProject Name: New Headquarters and Production Complex for Pratic, Fagagna, Udine, Italy Architects: GEZA Gri e Zucchi Ar-chitetti Associati Location: Fagagna, Udine, ItalyPhotographer: Fernando Guerra | FG+SG fotografia de arquitectura Use:factory: 10.000 mqoffices: 1.000 mqshowroom: 550 mqloading docks: 2.700 mqparking: 120 spotslandscape: 33.000 mq complete year: 2011
The inauguration for the new headquar-ters and production complex of Pratic,a
company specialized in the manufacture of curtain sys-tems, has recently takenplace in Fagagna a town located in the province of Udine. The complex placed adjacent to the provincial highway that leads from Udine to Spilim-bergo, was designed and built by GEZA (architects Ste-fano Gri and Piero Zucchi).The intervention is com-posed principally of: a main volume, a parallelepiped with a surface of approximately 10,000 m2 that houses the main productive core; a sec-ond volume of about 1000 m2 placed adjacent to the first but rotated 15 degrees in or-der to align with the highway is dedicated to the offices; a parking lot for 100 cars; a loading dock and service area of approximately 2,700 m2; a garden space of about 33,000 m2. In addition spaces dedicated to communication, showrooms, break rooms and open communal and pri-vate areas are housed in the buildings in order to accom-modate the daily activities of the workers. The complex, anchored in the industrial zone of the town, is also inti-mately tied to the surround-ing agricultural landscape through different aspects of its design; thus ultimately forming part of the mountain-scape characteristic of the region.
U gradu Faganja u provinciji Udine predstavljen je novi poslovni i
proizvodni kompleks firme Pratik, koja se bavi proiz-vodnjom fasadnih sistema tj. zid zavesa. Firma GEZA projektovala je i izgra-dila kompleks u blizini au-toputa koji iz Udina vodi u Spilimbergo.Kompleks se sastoji od: glavnog objekta sa površinom od oko 10.000 m2² koji obuhvata glav-no proizvodno jezgro; drugog objekta namen-jenog za kancelarijske prostorije površine oko 1000 m2² koji je postavljen nedaleko od prvog ob-jekta ali zarotiran za 15° u odnosu na njega da bi bio paralelan sa autoputem; parkinga za 100 automo-bila; prostora za utovar i istovar robe; prostora za servisiranje površine oko 2.700 m2²; zelene površine na 30.000m2². Takođe, postoje i pros-torije namenjene sastan-cima i izložbama, sobe za odmor, kao i zajedničke i privatne prostorije smeštene unutar objekata i prilagođene dnevnim ak-tivnostima radnika. Kom-pleks postavljen unutar industrijske zone grada je takođe, kroz različite aspekte svog dizajna, spojen sa poljoprivred-nim okruženjem i na taj način se uklapa u planinski pejzaž ovog regiona.
HEADQUARTERS AND PRODUCTION COMPLEX POSLOVNI I PROIZVODNI KOMPLEKS
pratic102 december 2011 / january 2012 / projekts 103
ARCHITECTS:
Barreca & La VarraCLIENT:
Iniziativa Immobiliare Due s.r.l.LOCATION:
Milan, Italy
SCHEMATIC DESIGN, DESIGN DEVELOPMENT
AND ARTISTIC SUPERVISION:
Barreca & La Varra(GIANANDREA BARRECA, GIOVANNI LA VARRA)WITH:
Andrea Perego (PROJECT COORDINATOR), Dino Polverino (ART. SUPERVISION COORDINATOR),Alessandro Grassi,Fabrizio Lampis,Simona Oberti,Marina Ranieri
GROSS FLOOR SURFACE:
9.549 mqFLOOR AREA:
2.340 mq
SCHEDULE:
DESIGN:
2007-2008CONSTRUCTION:
2008-2011 photo: Paolo Rosselli
110 december 2011 / january 2012 / projekts 111
MEETING OF DESIGN STUDENTS - MEDS
ISTANBUL 2011“BRIDGEIN CULTURES”
Connection between Europe and
Asia
MEDS – Meeting of Design
Students - was founded in 2010 by
students from different countries
and a wide range of departments
of design. It was created with the
aim to join all design departments
together. Architecture, interior
architecture, industrial design,
graphic design and all other
departments of design.
The objective of MEDS is to share
knowledge about design; to
explore and discuss the design
process, from small objects to large
projects, to share experience
and to improve creativity, abilities
and communication between
design students. Different people,
different cultures, different
languages and different design
departments will be joined in one
place, to generate fresh, new
ideas.
MEDS is organised each year in
different country with the aim to
spread the organisation’s ideas
and influence all over Europe. The
second MEDS event was held at
the beginning of August 2011 in
Istanbul, Turkey. This year the
theme of the workshops was the
juxtaposition of the continents of
Europe and Asia within Istanbul
city centre about the constant
positive reactions.
SASTANAK STUDENATA DIZAJNA
MEDS Istanbul 2011.“PREMOSTITI KULTURE”Veza između Evrope i Azije
MEDS - Sastanak studenata
dizajna - osnovan je 2010. godine
od strane studenata iz različitih
zemalja u saradnji sa različitim
dizajnerskim organizacijama i
ustanovama. Oformljen je sa ciljem
da se udruže svi odseci dizajna:
arhitektura, enterijer, industrijski
dizajn, grafički dizajn i svi ostali
oblici dizajna.
Cilj MEDSa jeste da podeli stečena
znanja o dizajnu; da istražuje
i diskutuje proces dizajniranja,
od malih predmeta do velikih
projekata, da prenese iskustva i da
poboljša kreativnost, sposobnosti
i komunikaciju između studenata
dizajna. Različiti ljudi, različite
kulture, različiti jezici i različiti
odseci dizajna sastaju se na
jednom mestu da bi generisali
sveže, nove ideje.
MEDS se organizuje svake godine u
drugoj zemlji sa ciljem da se ideje
i uticaji ove organizacije prenesu
širom Evrope. Drugi MEDS događaj
održan je početkom avgusta 2011.
godine u Istanbulu u Turskoj. Tema
radionica za 2011. godinu bila je
jukstapozicija kontinenata Evrope
i Azije unutar gradskog centra
Istanbula.
118 december 2011 / january 2012 / events 119
