Radionica Vi

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PUT-KRETANJE PATH-MOVEMENT SVI SMO PUTOTVORCI WE ARE ALL PATHMAKERS

HHVVAARR HHVVAARR

jedna granicaone boundary

NNOOVVOO MMEESSTTOO NNAA MMEETTUUJJII

~etiri granicefour boundaries

tri granicethree boundaries

ONO ŠTO ZAUSTAVLJA NA PUTU WHAT STOPS ON THE WAY

kupovanje kao društveni doga|ajshopping as a social event

trg kao teatarthe square as a theatre

AASSCCOOLLII PPIICCEENNOODDUUBBRROOVVNNIIKK

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UU VV OO DDMJESTO-MIROVANJE

II NN TT RR OO DD UU CC TT II OO NNPLACE-RESTING

CCIITTYY AANNDD AARRCCHHIITTEECCTTUURREE

RAVNOTE@A

BALANCE OF

SS.. PPLLAANNII]]:: SSPPAAVVAA]]AA SSOOBBAA UU KKUU]]IIOOBBIITTEELLJJII OO// BBEEDDRROOOOMM IINNTTHHEE HHOOUUSSEE OOFF FFAAMMIILLYY OO,,11997788..,, ZZAAGGRREEBB

LL.. LLAAUURRAANNAA ((LL.. VVRRAANNJJAANNIINN))::PPAALLAAZZZZOO DDUUCCAALLEE,,OOKKOO//AAPPPPRROOXX.. 11447700..--7755..,, UURRBBIINNOO

prozorsko mjestowindow place

MIROVANJA - KRETANJA UNUTARNJEG - VANJSKOGSAMUJU]EG - ZAJEDNI^KOG

RESTING - MOVEMENTINTERIOR - EXTERIORALONE - TOGETHER

improvizirano mjesto (gola potreba)improvised place (naked need)

oblikovano mjestoa designed place

SVI SMO MI MJESTOTVORCI WE ARE ALL PLACEMAKERS

all placemakers but not necessarily at the sametime builders, and very often a misunderstandingoccurs because we imagine that we are builders, too, or vice versa, when builders forget to cultivatetheir own ability of place-making. b) Examples of shaped places (Planiæ,Hundertwaser: places for sleeping, for bathing, forretreat etc.) c) Examples of different degrees ofrelation to Nature are projected. The question isposed: does the relation to Nature play in their “lifesentence” some role (is it looked at, dwell, walk,swim, work etc. in it). We define what a place is(the balance of opposites of moving and resting,the inner and the outer, being alone and being withothers). Place is for instance, window, baywin-dow, window place, balcony, loggia, roof terrace,terrace, chardak, tekia, altana, the whole city; butalso interspace (en gawa) from the thres-hold tothe “entrance transition” (entrance to a village,house, a city, a museum, a palace, a shop, acountry house). Instructions are given about theeducational role of architecture: by creating placesarchitecture educates, articulates the place-makingability, creates conditions in which we can realise,in an articulate way, a certain need as a happen-ing. What is introduced into our “life sentence”?The sight, the dwelling on a terrace or in a garden;how we enter a house, how we exit, do we needto halt, to look around etc?3. We are all path makers (the need of effective mov-ing, natural movement). Each path leads to an endand leads from it (we go and leave). We show someexamples of paths from an entirely primal one - oneboundary, through some differently articulated - two,three, four boundaries, differently shaped: soft, hard,fluent, curved, straight, rhythmised, narrow, wideones to the paths which connect vertically - steps,span water - bridge.4. What halts us on the way? We become aware ofthe need of a restful stay outside, of shopping as asocial event, of observing beauty, enjoying water,halting in a square, in a courtyard, in the neighbour-hood, in a park.5. A designer’s task is set. The equal, the unequal,the angle curves at which we looked in the work-shop Drawing for their own sake will now become ameans, and in the same way, the syntactic rule ofrotation which we have contemplated before, amode, so that by using them in one stroke we couldshape our basic needs and create places.Everybody imagines that he/she lives alone and, bythe suggested means, shapes all his/her needs asplaces. Afterwards a graph is drawn.

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Prva izvedba radionica: 1995.-96.

I ove radionice su specijalizirane poput radionica C r t e `, S l i k a r s t v o i K i p a r s t v o. Sudionici se bave upoznavanjem arhitektonskih i urbanisti~kih djela s osobitimnaglaskom na mjerama - na razli~itim vrstama proporcioniranja. Kao i u svim radionicama, umjet-ni~ka se djela upoznavaju razli~itim metodama i na svestran na~in. Naglasak je, kao i u ostalimspecijaliziranim radionicama, na individualnom istraìva~kom radu svakog sudionika, studenti-instruktori su izuzetno korisni.Ove su radionice strukturirane u nešto slobodnijem ritmu od ostalih. Teme se grupiraju ovako: dvijesu radionice uvodne, tri su posve}ene centralnim, dvije uzdu`nim gra|evinama, a tri su samostalne -svaka ima svoju temu (graditeljstvo i pogled; cjelovita analiza jednog modernog graditeljskog djela;idealni grad).Uz temeljnu namjeru - kultiviranje osjetilnog - pozornost se, kao i u ostalim radioni-cama, aliovdje mo`da u elaboriranijem vidu, usmjerava na mjere, na ono što nadilazi osjetilno.Uz upoznavanje vrhunskih djela europske, što prošle što moderne arhitekture, pojavljuju se i djelaizvaneuropskih kultura.

Namjera u p r v o j radionici je, putem velikog broja primjera, ste}i iskustvo o ~ovjekovimmjestotvora~kim i putotvora~kim sposobnostima; ste}i iskustvo o tome da je ~ovje~anstvo u razli~itimvremenima, kulturama uvijek oblikovalo mjesto i put; povezati ta iskustva osvještavanjem vlastitihpotreba i utjecati na mjestotvora~ku i putotvora~ku sposobnost svakoga sudionika.

Ambijent: U prostoriji su stolovi i stolice okrenuti prema zidu. Projektor je iza njih. Prire|eni supapiri i olovke.

Struktura doga|anja1. Uvodne rije~i o paradoksu graditeljstva kao mnogoosjetilnog doìvljavanja prostorno-plasti~kog okvi-ra ìvota i nevidljivosti, nedodirljivosti prostora. Priziva se u sje}anje jezi~nost naših djelatnosti što sekoristilo u “fotografiranju” crteà u radionicama C r t e ` . Sintagmatska i paradigmatska os pokušava se sada koristiti za izraàvanje svakodnevnogdoga|anja našega ìvota. Sudionici se pozivaju da sastave svoju “ìvotnu re~enicu”. Horizontalno sepišu glavni doga|aji tijekom dana koji ~ine sintagmu, a vertikalno paradigme svakoga doga|aja.Upozorava se da je polazište u zajedni~koj “dubinskoj re~enici”: mirovanje i kretanje. Svaka je pojedinare~enica konkretizacija te dubinske (poput: spavanje - pranje - pripremanje jela - jedenje - rad itd).2. Projiciraju se vizualni izazovi za sastavljanje re~enice. a) Prvo se pokazuju primjeri u kojima sepotreba pojavljuje skoro golo bez, odnosno sa samo improviziranim mjestom. Upozorava se da smosvi mjestotvorci, ali ne i graditelji, i da je ~est nesporazum kada mislimo da smo i graditelji ili, obrat-no, kada graditelj zanemari njegovati svoju mjestotvora~ku sposobnost. b) Projiciraju se primjerioblikovanih mjesta (S. Plani}, F. Hundertwasser, mjesta za spavanje, kupanje, povla~enje itd.). c) Projiciraju se pri-mjeri u kojima se pojavljuju razli~iti stupnjevi odnosa prema prirodi. Sudionike sepita, igra li priroda neku ulogu u njihovoj “ìvotnoj re~enici” (da je se gleda, da se u njoj boravi,hoda, pliva, radi itd.). Odre|uje se što je mjesto (ravnoteà suprotnosti kretanja i mirovanja,unutarnjeg i vanjskog, samuju}eg i zajedni~kog). Mjesto je npr. prozor, erker, prozorsko mjesto,balkon, loggia, terasa na krovu, terasa, ~ardak, tekija, altana, cijeli grad, ali i me|uprostor (en gawa)od praga do ulaznog prijelaza (ulaz u seosku ku}u, u grad, u muzej, u najamnu pala~u, radnju, vilu).Upozorava se da stvaranjem mjesta garditeljstvo odgaja, artikulira mjestotvora~ku sposobnost, stvarauvjete u kojima moèmo ostvariti odre|enu potrebu kao doga|aj. [to ulazi u našu “ìvotnure~enicu”, da li pogled, boravak na terasi, u vrtu, da li to kako ulazimo, izlazimo iz ku}e, postoji lipotreba zastajanja, motrenja i sli~no?3. Svi smo mi putotvorci (potreba efikasnog kretanja, prirodnog kretanja). Svaki put vodi cilju iliodvodi od njega (idemo, napuštamo). Projiciraju se primjeri puteva od posve prvotnih - jedna grani-ca, preko razli~ito artikuliranih puteva - dvije, tri, ~etiri granice, razli~ito oblikovane (mekano, tvrdo,te~no, zakrivljeno, ravno, ritmizirano, usko, široko) do puteva koji okomito spajaju - stube,premoš}uju vodu - mostovi.4. [to nas zaustavlja na putu? Osvještava se potreba za mirnim vanjskim boravkom, kupovanjemkao društvenim doga|anjem, gledanjem ljepote, uìvanjem u vodi, zastajanjem na trgu, u dvorištu,susjedstvu, parku.5. Zadaje se dizajnerski zadatak. Jednake, nejednake, uglate krivulje koje smo gledali u radionicamaC r t e ` sebe radi, postat }e nam sredstva, a do sada kontemplirano sintakti~ko pravilo rotacijena~in, da bismo u jednom potezu oblikovali naše temeljne potrebe, stvorili mjesta. Svatko zamišlja daìvi sam, i uz pomo} sugeriranih likovnih sredstava oblikuje sve svoje potrebe kao mjesta. Nakon togacrta još i graf.

First performance of workshops: 1995.-96.

These are also specialized workshops like the work-shops Drawing, Painting and Sculpture. The partici-pants are introduced to architectural and town-plan-ning artworks with an emphasis on measurements -on different kinds of proportions. As in all the otherworkshops the artworks are introduced by differentmethods and in various ways. As in the other spe-cialized workshops the individual exploration ofeach participant is accentuated. The students areinstructors/helpers. This workshop is structured at amore liberal rhythm. The topics are grouped in thisway: two workshops are an introduction, three ofthem are devoted to central buildings, two to longi-tudinal ones and the last three workshops are inde-pendent - each of them has its own topic (architec-ture and view; a complete analysis of a modernarchitectural artwork; an ideal city). Apart from the basic intention - the cultivation of thesensory - attention is, as in the other workshops, buthere perhaps in a more elaborate way, directed tomeasurements, to that what overcomes the sensory.As well as some supreme artworks of past and mod-ern European architecture, we also introduce art-works from non-European cultures, too.

The intention in the f i r s t workshop is to gainexperience, through a large number of examples, ofman’s place-making and path-making activities; ofshaping places and paths through all times and cul-tures and to connect the experience with the aware-ness of our own needs and to influence the place-making and path-making capabilities of every par-ticipant.

Ambience: Tables, chairs are turned towards thewall. A projector is behind. Papers, pencils areavailable.

Structure of the activity1. The introductory words are about the paradoxicalnature of architecture as a multisensory experienceof spacial life frame and the invisibility and intangibili-ty of the space. We are reminded of the linguisticcharacter of the activities used in “photographing”the drawings in the workshops Drawing. We now tryto use the syntagmic and paradigmatic axes toexpress everyday occurences in our lives. The partic-ipants are invited to compose a sentence of their life.The main events during the day which make a syn-tagm are written horizontally and the paradigmas ofeach event vertically. These instructions are given:the starting point is in the common “deep sentence”:rest and movement. Each particular sentence is thisdeep one made concrete (as for instance: sleeping -washing - preparing meals - eating - working etc).2. The visual challenges for the composition of thesentences are projected: a) First we show theexamples where the need appears entirely nakedwithout a place, or more precisely, with an impro-vised place. These instructions are given: we are

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GRAD I GRADITELJSTVO

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JESMO LI GRADITELJI? ARE WE BUILDERS?

lukarch

svodvault

stupcolumn

PRVOTNA LJUDSKA GRADNJAPRIMORDIAL HUMAN BUILDING VELIKI IZUMI GREAT INVENTIONS

@ENSKA KU]A WOMAN'S HOUSE

centristi~ka komunikacijska strukturacentristic communication structure

BBUUNNJJAA,, HHVVAARR

RRAAFFAAEELL//RRAAPPHHAAEELL::SSAANN EELLIIGGIIOO DDEEII OORREEFFIICCII,, PPOO^̂EETTAAKK//BBEEGGAANN 11550099..,, RRIIMM//RROOMMEE

PPAADDEERRBBOORRNN

Pr - predvorje, hallU - ulaz, entranceKo - komora, chamberSp - spavanje, bedroom

Kh - kuhinja, kitchen[t - {tala, stableZh - zahod, closetSt - stube, stairs

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UU VV OO DD PRIRODNE GRADNJE

II NN TT RR OO DD UU CC TT II OO NNNATURE’S BUILDINGS

ŠPILJA U ÔVJEKU ÔVJEK U ŠPILJICAVE IN MAN MAN IN A CAVE

GGNNIIJJEEZZDDOO//AA NNEESSTT

NNAAUUTTIILLUUSS PPOOMMPPIILLIIUUSS

AC : BC = BC : ABBD : CD = CD : BCCE : DE = DE :CDDF : EF = EF : DE

Zlatni rez Golden section

attainable perhaps, we were builders (showingdetails of buildings where the emphasis is on thematerials - stone, twigs, bricks, wood, glass, steel,tile, concrete). c) More and more elaborated exam-ples are shown of excellently performed details(columns, consoles, tiles, painted façades, doors,floors, the pavement of a square, gargoyles, win-dows) and examples of great inventions in architec-ture (arch, vault, some variations of the cross-ribbedvault, domes, flying buttresses, some great skills ofGaudi’s, shell constructions). Instructions are givenabout their excellent quality.3. Architecture is communication - reminding theparticipants of the experiences in the workshopsOrigins and Principles and Analysis of the Work ofArt: a) “A Woman’s House” from Paderborn isshown; b) The participants draw a graph in order tounderstand the communication structure; c) Theessence of the so called “Woman’s House” isdefined: the frame of one way of living as is visiblefrom the graph (centristic structure).4) The essence of architecture and art as a whole isin measurements. Some slides of Capella Pazzi (F. Brunelleschi) taken from peculiar angles are anintroduction to a very profound exploration of mea-surements, which will follow in the next workshops.5. We have defined the essence of painting: how toachieve the visibility of light; the essence of archi-tecture is perhaps, how to house light, how besidesmaking a place for Man to dwell, to make a placefor light, too. A series of slides gives instructionsabout this very important topic of the explorationswhich follow. The participants are asked to bringpencils, triangles, callipers and maps to keep thematerial they get or produce.

Namjera u d r u g o j radionici je pokazati povezanost, ali i odvojenost “ne-ljudskih”, “prirodnihgradnji” te njihova korištenja u ~ak vrlo elaboriranim primjerima i prvotne ljudske gradnje; ste}iiskustvo o razlici izme|u mjestotvora~ke i graditeljske sposobnosti pokazivanjem velikog broja izvrsnoizvedenih detalja na gradnjama u razli~itim materijalima te velikih graditeljskih izuma.

Ambijent: Isti je kao i u prethodnoj radionici. Prire|eni su konop~i}i duljine 30 cm, papiri, olovke ifotokopije.

Struktura doga|anja1. a) Radionica zapo~inje vje`bom za koju su potrebni konop~i}i i fotokopije crteà ~vorova, ~ije porijek-lo sudionici ne znaju. Zadatak je da se uz pomo} studenata-instruktora pokuša izvesti sve vrste ~vorova.b) Na projekcijama su razli~ite “ne-ljudske gradnje” - gnijezdo ptica (sada se otkriva da su ~vorovi kojisu se izvodili pti~ja gradnja), nautilus pompilius (od prošupljene mase do zlatnoga reza - mjera je bitumjetni~kog), stabla, pustinjski nanosi, osinjak, grad od stijene (Ciudad Encantada - za~arani grad). c) Tema je špilja (podsje}anje na interpretaciju ~ovjekova pada: “špilja je bila u ~ovjeku”, nakon pada“~ovjek se našao u špilji”). Uz projekcije govori se o korištenju špilja, stijena, podzemlja (katakombe,trogloditska naselja, naselja pod zemljom, svetište u stijenama - ~ajtija (Bhaja), grad (Petra). d) Dijele setlocrti špilja. Postavlja se pitanje na što podsje}aju (najintimniji ~ovjekovi tjelesni organi, istodobno svetamjesta).2. Slijedi opet pitanje: jesmo li graditelji? a) Projiciraju se redom snimci zagreba~kog sluma, zagre-ba~kog novog naselja (“ìvot je san”) i “alternative” našeg vremena (Polcevera i Lukavac). b) Dok jematerijal bio prvotan i dostupan, mo`da smo bili i graditelji (pokazivanje detalja gradnji kod kojih jenaglasak na materijalu - kamen, pru}e, opeka, drvo, staklo, ~elik, crijep, beton). c) Pokazuju se sveelaboriraniji primjeri, izmjenjuju se snimci izvrsno izvedenih detalja gradnji (polustupovi, konzole,plo~ice, oslikane fasade, vrata, podovi, poplo~enje trga, gargulji, prozori) i velikih izuma graditeljstva(luk, svod, varijante kri`norebrastog svoda, kupole, kontraforni sustav, velike Gaudijeve majstorije,ljuske). Upozorava se na njihovu izuzetnu kvalitetu.3. Graditeljstvo je komunikacija - podsje}a se na spoznaje iz radionica P o ~ e l a i n a ~ e l a i A n a l i z a u m j e t n i ~ k o g d j e l a . a) Pokazuje se “ènska ku}a” u Paderbornu. b) Sudionicicrtaju graf da bi shvatili komunikacijsku strukturu. c) Odre|uje se bit tzv. “ènske ku}e” kao okvirajednog na~ina ìvota, što je vidljivo iz grafa (centristi~ka struktura).4. Mjera je bit graditeljstva kao i umjetnosti u cjelini. Nekoliko snimaka Kapele Pazzi F. Brunelleschijaiz naro~itih uglova uvod je u temeljno istraìvanje mjera, koje }e uslijediti u narednim radionicama.5. Bit slikarstva smo odredili: kako u~initi svjetlost vidljivom; bit arhitekture je mo`da: kako udomitisvjetlost, kako osim mjesta za ~ovjeka stvoriti mjesto i za svjetlost. Niz snimaka ukazuje na ovu druguva`nu temu istraìvanja koja slijede.6. Sudionici se zamole da, na naredne radionice, sa sobom donose olovke, trokute i šestare te mape ukoje }e spremati materijal koji dobiju ili sami stvaraju.

221The intention in the s e c o n d workshop is toshow connections, but also the separation of the“non-human”, “nature's buildings” and their useeven in very elaborated examples and primordialhuman buildings; to gain experience of the differ-ence between place-making and building abilities,by being shown a large number of excellently per-formed architectural details in different materialsand examples of great architectural inventions.

Ambience: The same as in the former workshop.Little cords about 30 cm long, paper, pencils andphotocopies are prepared.

Structure of the activity1. a) The workshop begins with an exercise: theparticipants get a little cord and a drawing of theknots whose origin they do not know at first. Thetask is that the participants helped by the stu-dents-instructors, try to make all the different sortsof knots. b) In the projections there are different“non-human buildings” - nests of birds (now wediscover that the knots were birds’ buildings)Nautilus pompilius (from the penetrated mass tothe Golden Section - the measure is the essenceof an artwork), trees, piles of sand, a wasp nest, astone city (Ciudad Encantada - enchanted city) c) The topic is a cave (reminding us of the inter-pretation of the human Fall: “the cave was in man”by the Fall “the man found himself in the cave”).During projection we talk about using the caves,the rocks, the underground settlements (cata-combs, troglodytes) underground dwellings, sanc-tuary in the rock - chaitia (Bhaja), city (Petra) d) The cave plans are distributed. The question isposed: What do (the most intimate human bodyorgans, at the same time sacred places) remindus of. 2. Again a question is possed: are we reallybuilders? a) Slides of a Zagreb slum; of a new sub-urb in Zagreb (“life is a dream”); of “the alternatives”of our time (Polcevera and Lukavac) are projected.b) When the building materials were primordial and

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Konopom se rade ~vorovi (imitira se pti~jagradnja)/Knots are made with cords (imitation ofbirds’ building)

Crta se graf “ènske ku}e” u Paderbornu/ A graph of the “women’s house” in Paderborn isdrawn

Crta se graf “ènske ku}e” u Paderbornu/ A graph of the “women’s house” in Paderborn isdrawn

Dizajnerski zadatak: oblikovati prostor za“ìvotnu re~enicu”/Designers task: to shape spacefor the “life sentence”

Dizajnerski zadatak: oblikovati prostor za“ìvotnu re~enicu”/Designers task: to shape spacefor the “life sentence”

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LL.. BBEERRNNIINNII:: PPIIAAZZZZAA SSAANN PPIIEETTRROO,, 11665577..,, RRIIMM//RROOMMEE

PPIIAAZZZZAA DDEELL CCAAMMPPOO,, 1133..--1144.. SSTT..//1133TTHH--1144TTHHCC..,,SSIIEENNAA

razmjer = Zlatni rez2 : 3

proportion = Golden Section

rotacijarotation

plaštmantle

(GUIDONI)

PPAALLAAZZZZOO PPUUBBLLIICCOO,, VVIISSIINNAA//HHEEIIGGHHTT:: 9900 MM,, KKUUTT//AANNGGLLEE:: 4455°

zagrljajembracement

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OO BB LL II CC II PP RR OO SS TT OO RR AAVRHUNSKA MJESTA

FF OO RR MM SS OO FF SS PP AA CC EESUPREME PLACES

AAPPOOLLOODDOORR IIZZ DDAAMMAASSKKAA//AAPPOOLLOODDOORROOSS FFRROOMM DDAAMMAASSCCUUSS::PPAANNTTEEOONN//PPAANNTTHHEEOONN,, 111188..--112266..,, RRIIMM//RROOMMEE

rimska stopa = 0,295 mroman feet

7 niša = 7 planeta7 niches = 7 planets

trska (mjerni instrument) = 7'rod (measuring instrument)

147' (21 x 7)/(3 x 7 x 7)

boravak = statikaabode = static

harmonijski razmjerharmonic proportion

6 : 8 : 12razmjer 2 : 4 : 5proportion

sferasphere

Arhitektura je namijenjena udomiti ne samo ~ovjeka nego isvjetlost, svjetlost u~initi "vidljivom".

Architecture is intended to house not only man but also light, to make light "visible".

Piazza Retta, 115 x 143 mPiazza Obliqua, 195 : 240 m

"stvorena ljepota" (Pitagorejci)"created beauty" (Pythagoreans)

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2

3

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ulazak = dinamikaentry = dynamic

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ez

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ion

7' + 7' + 7' + 7'. c) We project two set of slidesabout the Pantheon: the exterior: we go around, rest-ing on the details of the entry, we explain the special“entrance transition” which originates from a longi-tudinal Greek temple, we discuss the basic paradoxof the central structure - it is intended to be anabode (statics) but it is necessary to enter it some-how (dynamics); the second set of slides are of theinterior. We direct the participants towards a trueexperience: when we are in the centre we have tofeel the large void as a large envelope and ascend inone’s imagination to the height of the entablature,because the basic idea of the sphere, the perfectionof the cosmos with Man in the centre of it is realisedonly then. We evoke the experience of the partici-pants: the Golden Section and harmonic proportionsare used to connect the two allied bodies: the entryand the central space, where number 7 dominates.d) We show slides of the movement of a light spotin the interior of the dome. Instructions are givenabout the time, the patience, directing attention tothe prepared possibility following the light move-ments, which are, apart from our imagination, nec-essary for an experience of such great architecture.3. Learning Piazza del Campo in Siena (13th-14thCentury) takes place: a) through an exercise-puz-zle. The participants are not informed of what theywill look at, but with a large number of slides theplace is gradually shown. The task is to draw aplan of the place helped by instructions, and thecommentaries of the slides. The exercise is diffi-cult and it is possible to change it for an easierone but not such an interesting one, that is, tomark on the plan the place where the photos weretaken from (such an exercise exists already in theworkshop Analysis of the Work of Art). After theseattempts it is useful (if there is enough time) toshow the series of the slides again in order tocheck the drawing of the plan. At the end of theexercise we show the slide, an aerial photograph,of the Campo (empty and full during the Palio). b) The participants get a plan of the Campo (dim:100 x 150 m) and C. Guidoni’s interpretation ofthe square as a mantle, on tracing paper. They areinvited to explore the square along with the stu-dents-instructors, to superpone the mantle fromthe tracing paper onto the plan, to connect thesquare with the city (the position of streets sug-gests rotation) and to check the ratio (2 : 3). c) The slide of the Campo taken from Costarellashows the tower of Palazzo Publico at its wholeheight (90 m). The participants are told of the pos-sibility of apprehending it under a strained angle of45º and that in this way the sky is drawn into theplace.4. A slide of L. Bernini’s Piazza San Pietro in Rome(1657) is projected [Piazza Obliqua: 240 m (theinterior measure: 198 m) x 195 m; Piazza Retta:

Istraùju se mjere Panteona i Trga Sv. Petra uRimu. Voditelj i studenti pomaù/ The measure-ments of the Pantheon and Piazza San Pietro in Romeare explored. The workshop leader and the students-instructors help

Namjera u t r e } o j radionici je upoznati tri velika središnja prostora europskog graditeljstva, u prvom redu individualno istraùju}i njihove mjere i kolektivno se uìvljavaju}i u karakter oblikaprostora; istraìti kako se postiè vrhunska ljepota vrhunskog graditeljstva; osvijestiti kako graditeljstvonije samo mjesto za ~ovjeka, nego i za svjetlost (ono svjetlost ~ini “vidljivom”).

Ambijent: Isti je kao i u prethodnoj radionici. Potrebni su fotokopije, olovke, trokuti i šestari.

Struktura doga|anja1. Posve kratki uvod o tome kako smo se u dvije prethodne radionice privodili tome što sada slijedi -istraìvanju vrhunske arhitekture vrhunske ljepote. Još jedanput se podsje}a na mjesto i put; na to daje arhitektura prostor, kojega ne vidimo i ne dodirujemo; da je bit arhitekture, kao i svake umjetnosti,u mjeri; na osobitost arhitekture, jer je ona nadosjetilna i po svojoj mjeri i po svom temeljnom for-malnom elementu - prostoru. Paradoks arhitekture je u tome što je ona krajnje konkretna - u njojboravimo i kre}emo se i krajnje apstraktna jer se njena bit osjetilno ne moè doìvjeti.2. a) S dva osobita snimka prikazuje se Panteon (vanjski, s boka iz ugla ispred S. Maria sopraMinerva i, unutrašnji, odozdo, iskosa). Daju se temeljni podaci: Panteon je Agripin hram izAugustova doba, ali preure|en za Hadrijanove vladavine (graditelj Apolodor iz Damaska, 118.-126. god.). b) Sudionici dobivaju tlocrt, okomiti presjek, podatke o veli~inama Panteona (Ch.Ledit), analiti~ki crte` fizijatrijskih mjera, popis razmjera. Uz pomo} studenata-instruktoraistraùju se mjere. Otkriva se zlatni rez (u predvorju: 2:3), harmonijski razmjer (u cjelini: 6:8:12)i, još jedan, u postupnom rastu visine od predvorja do po~etka prvog segmenta kupole (2:4:5). Uzpodatke o temeljnoj mjeri središnjeg prostora (promjer i visina su isti: 147 rimskih stopa) dobivajuse i podaci o rimskoj stopi (0,295 m), o debljini zida (6,20 m), o promjeru otvora (8,92 m), deblji-ni stjenke kupole (1,40 m). Usput se govori o razli-~itim podacima u razli~itih autora (npr. za raz-liku od Ch. Ledita prema J. Joedickeu promjer je 150 rimskih stopa), o razli~itim stopama (rims-ka, ati~ka, langobardska, keltska itd.), o mjernom instrumentu trski i o odnosu prema stopi (vari-jabilno). Kult svetog broja 7 (trska = 7’ (stopa), jer je 7 niša = sedam planeta, debljina zida je 21’ = 3 x 7, promjer je 147’ = 21 x 7 ili 7 x 7 = 49 x 3 = 147’, otvor je za 30 cm promašio dabude 7’ + 7’ + 7’ + 7’). c) Projiciraju se dva seta snimaka Panteona. Prvi set su snimci izvana:Panteon se obilazi, zadràva se na detaljima predvorja, tuma~i se naro~it “ulazni prijelaz” kojipotje~e iz uzdu`noga gr~kog hrama, govori se o temeljnom paradoksu središnje strukture - nami-jenjen je boravku (statika), a mora se u njega u}i (dinamika). Drugi set su snimci unutrašnjosti.Upu}uje se na pravi doìvljaj: kada smo u sredini valja osjetiti veliku prazninu kao omota~ i uimaginaciji se di}i do visine vijenca, jer se tek tada realizira temeljna zamisao kugle - sfere -savršenstva kozmosa u ~ijem je središtu ~ovjek. Evociraju se iskustva sudionika: zlatnorezni i har-monijski razmjer sluìli su za povezivanje dvaju stranih tijela - predvorja i središnjeg prostora ukojem vlada broj 7. d) Pokazuju se snimci na kojima se vidi kako se po unutrašnjosti kupole kre}esvjetlosna mrlja. Upozorava se da je, osim imaginacije, za doìvljaj velike arhitekture potrebno ivrijeme, strpljivo usmjeravanje pozornosti na pripremljenu mogu}nost pra}enja kretanja svjetlosti.3. a) Upoznavanje Piazze del Campo u Sieni (13.-14. st.) zapo~inje vje`bom-zagonetkom. Velikim bro-jem dijapozitiva postupno se pokazuje trg. Traì se da, prema njima, sudionici pokušaju nacrtati tlocttrga (u tome im pomaù upozorenja, komentari snimaka). Vje`ba je teška i moè se zamijeniti za lakšu,ali manje zanimljivu, da se na planu Campa snalazi ustanovljavanjem odakle je snimak napravljen (tavrsta vje`be je bila i u radionicama A n a l i z a u m j e t n i ~ k o g d j e l a). Nakon crtanja poèljnoje, ako ima vremena, vratiti slijed dijapozitiva radi kontrole. Na kraju vje`be pokazuje se avionski sni-mak Campa (prazan i pun za vrijema Palia). b) Sudionici dobivaju plan Campa (veli~ina: 100 x 150m) i, na pausu, Guidonijevu interpretaciju trga kao plašta. Pozivaju se da uz pomo} studenata-instruk-tora istraè trg, da superponiraju plašt sa pausa na plan, da poveù trg s gradom (razmještaj ulica su-gerira rotaciju) i da provjere omjere (2:3). c) Projicira se snimak trga iz Costarelle, vidi se toranj PalazzoPublico u punoj visini (90 m). Upu}uje se na to da se vidi pod napetim kutom od 45º i da tako uvla~i inebo u oblikovanje trga.4. Pokazuje se jedan snimak Berninijeva Trga Sv. Petra u Rimu 1657. (Piazza Obliqua: 240 m/unutarnja mjera: 198 m/ x 195 m; Piazza Retta: 143 x 115, visina fasade: 45,5 m, širina fasade:143 m, visina Michelangelove kupole: 136,5 m) i odmah slijede vje`be. a) Sudionici dobivajuBerninijeve skice na pausu i plan trga. Istraùju odnos izme|u izvedenoga trga i prethodnih

225The intention in the t h i r d workshop is to intro-duce the three great central spaces of Europeanarchitecture, in the first place, by individually explor-ing their measurements and collectively trying to feelthe character of the space shape; we explore howthe supreme beauty of supreme architecture hasbeen achieved; how architecture is not only a placefor Man but also for light (it makes light “visible”).

Ambience: As usual. Photocopies, pencils, trian-gles, callipers are available.

Structure of the activity1. A brief introduction about the intentions of thetwo former workshops is given to introduce whatwill take place - the exploration of the supremebeauty of supreme architecture. Once the partici-pants are reminded what the place and the path areand also that architecture is space not visible andnot tangible; that the essence of architecture is inmeasurements as in all artworks; that architectureis supersensory above the senses in measurementsand in space also. This is the paradox of architec-ture, the uttermost concreteness, in which we dwelland move and the uttermost abstraction - we cannot experience its essence in a sensory way.2. a) We present the Pantheon with two extraordi-nary slides (an exterior side view, taken from thecorner in front of S. Maria sopra Minerva and aninterior one, diagonally from below). The basic dataare given - the temple of Agrippa from the time ofAugustus, but rebuilt during Hadrian’s rule (architect:Apollo-doros from Damascus, 118-126.) b) Theparticipants get a plan, a vertical section, data aboutthe dimensions (Ch. Ledit), an analytic drawing ofthe physiatric measurements, a list of proportions.The participants helped by the students-instructorsexplore the measurements. They discover theGolden Section (in the portique entry: 2:3) the har-monic proportion (in the whole: 6:8:12) and onemore in the gradual growth of the height from theentry to the first segment of the dome (2:4:5).Besides the data of the basic measurements of thecentral space (the diameter and height are the same:147 Roman feet) they also receive information aboutthe Roman feet (0.295 m), of the width of the wall(6.20 m), of the diameter of the oculus (8.92 m), ofthe width of the dome (1.40 m). We discuss differ-ent data of different authors (for instance, differentlyfrom Ch. Ledit, J. Joedicke gives the dimension ofthe diameter as 150 Roman feet), the different feet,(Roman, Attic, Langobardian, Celtic etc.) the measuring instrument - rod and its relation tofeet (variable).The cult of the holy number 7 (rod = 7') becausethere are 7 niches = 7 planets, the width of the wallis 21'= 3 x 7, the diameter 147' = 21 x 7 / 7 x 7 =49 x 3 = 147’ the oculus for 30 cm missed being

224


number of slides. The main ideas: a large containerwhich can be filled and emptied unnoticablly cre-ates the impression of being closed, but in realitythe square is open; the demolished Borgo and thebetrayal of Bernini’s idea about a third wing; thesquare was not created to be experienced by anindividual but by a multitude; what was Bernini’stask and what did he solve (he didn’t solve: thePope visible from all sides while giving a blessingeither from one or the other provided place; he didsolve: “ the great image of the Church” embracingthe whole city and the world - urbi et orbi). c)Wefinish with the circumambulation of Michelangelo’sdome (slides taken from different sides), but it isneither explored nor explained.

prijedloga, osobito ~ovjekoliki oblik zagrljaja. Dobivaju veli~ine trga, provjeravaju ima li razmjera.Upozorava se da je mo`da va`nija slika zagrljaja od tajnih mjera, iako se i to moè otkriti(unutarnji promjer je 666’ - pitagorejski broj “stvorene ljepote”). b) Slijedom dijapozitiva obilazise trg. Glavne ideje su: veliki sadrà~ koji se neprimjetno puni i prazni, djeluje zatvoreno, a u bitije otvoren; srušeni Borgo i iznevjerena Berninijeva ideja koja je predvi|ala tre}e krilo; trg nijestvoren da bi ga doìvljavao pojedinac, nego mnoštvo; Berninijev zadatak i što je od toga riješio(ne: vidljivost Pape sa svih strana dok dijeli blagoslov bilo s jednog bilo s drugog predvi|enogmjesta; da: “velika slika Crkve” koja grli cijeli grad i svijet - urbi et orbi). c) Završava se obi-laskom Michelangelove kupole (snimci s razli~itih strana). Ne istraùje se niti se tuma~i.

227143 x 115 m, the height of the façade: 45.5 m, thewidth of the façade: 143 m, the height ofMichelangelo’s dome: 136.5 m] and the exercisesfollow immediately a) the participants receiveBernini’s sketches on tracing paper and a plan ofthe square. They explore the relation between thesquare performed and the earlier propositions,especially the antropomorphic shape of theembracement. They receive the dimensions andcheck the propositions. They are instructed that theimage of the embracement may be more importantthan the secret measurements even though theycan be discovered (for instance the interior diameteris 666’, the Pythagorean number of “the createdbeauty”) b) The square is circumambulated by a

226


229


mali ulazakthe small entrance

izlazakexit

"Priroda je svjetlosti da nije ni u broju, ni u u mjeri, ni teìni, nego u milosti Vi|enja." (Sv. Ambrozije)"The nature of light is that it is not in numbers, not in measurements, not in weights but in the grace of Vision." (St. Ambrosius)

AANNTTEEMMIIJJEE IIZZ TTRRAALLAA,, IIZZIIDDOORR IIZZ MMIILLEETTAA//AANNTTHHEEMMIIUUSS OOFF TTRRAALLEESS,, IISSIIDDOORRUUSS OOFF MMIILLEETTUUSS:: HHAAGGHHIIAA SSOOPPHHIIAA,, 66.. SSTT..//66TTHH CC..,, CCAARRIIGGRRAADD//CCOONNSSTTAANNTTIINNOOPPLLEE

ati~ka stopa = 0,308 mattic feet

trska = 11' 1''rod

broj mudrostithe number of wisdom

modul = trskamodule = rod

epifanijaepiphany

trojstvoTrinity

zlatni brojGolden Number

(LEDIT)

veliki ulazak sve}enstvathe grand entrance of the priests

veliki ulazak carathe grand entrance of the emperor

77' 7

''

11' 1

''

99' 9''

33' 3

''

61' 8

''

228


"…ljepota je boànsko zra~enje” (Plotin)… “u ljepoti likovi, u likovima mjere, u mjerama brojevi…" (Sv. Augustin)"…beauty is divine radiation” (Plotinus)… “in the beauty figures, in the figures measurements, in the measurements numbers…"

(St. Augustinus)

SSAANN SSTTEEFFAANNOO RROOTTOONNDDOO,, 55.. SSTT..//55TTHH CC..,, RRIIMM//RROOMMEE

(RITZ)

gr~ki alfabetgreek alphabeth

zra~enje polagano, odmjereno, na sve straneradiation measured, slowly in all directions.

PP OO NN AA [[ AA NN JJ EE PP RR OO SS TT OO RR AAVRHUNSKA MJESTA

BB EE HH AA VV II OO UU RR OO FF SS PP AA CC EESUPREME PLACES

Λογοs σοϕιαs = 144Λογοs τελειοs = 144ο τοποs αγιοs = 144Αληθεια του θεου = 144itd./etc.

(

(

(

≈ ≈

Λ ο γ ο s11+15+3+15+18=62

48 la

kata

48

cub

48 lakata48 cub

48 lakata48 cub

48 lakata48 cub

PROPORCIONIRANJE PO SVETOM TEKSTU PROPORTIONS ACCORDING TO THE HOLY TEXT


231

zlatni rez42 : 65 mGolden Section

MMIICCHHEELLAANNGGEELLOO:: CCAAMMPPIIDDOOGGLLIIOO,, 11553388..,, RRIIMM//RROOMMEE

centrifugalne i centripetalne silecentrifugal and centripetal forces

perspektivno skra}enjeperspective shortening

42

56

230


PP OO NN AA [[ AA NN JJ EE PP RR OO SS TT OO RR AAVRHUNSKA MJESTA

BB EE HH AA VV II OO UU RR OO FF SS PP AA CC EESUPREME PLACES

izmicanje uobi~ajenim mjeramaevasion of common measures

AA.. PPAALLLLAADDIIOO:: VVIILLLLAA RROOTTOONNDDAA((VV.. SSTTRR..//SSEEEE PPAAGGEE 1166))VVIICCEENNZZAA

12 : 18 : 30 = zlatni rezGolden Section

ali i but also

65

ments (dimensiones) in the measurements numbers(in dimensionibus numeros)”. During the individualexplorations the participants come to the discoveryof numbers. St. Ambrosius: “The nature of light isthat it is not in numbers and not in measurements,not in weights but in grace of Vision”. And if Visionis a the grace we hope we have received it. We tryto imagine the interior of the San Stefano Rotondowhen all the walls glittered because they were cov-ered with mosaics.3. a) The most praised building in the world, theHagia Sophia (Anthemius of Trales and Isidorus ofMiletus, middle of the 6th Century later a mosque,today a museum) is presented. Procopius writes thatan angel whispered the measurements to emperorJustinianus, and the builders only built the church.The participants are given instructions about thegradual transition of weight by means of the dome,the halfdomes and the strong buttresses from allsides, which can been seen in a slide of the exterior.b) The measurements are explored. The participantsget a plan; the vertical section and the dimensions(the length: 80.57 m; the width: 69.70 m; the centralsquare: 30.77 m) and instructions for Ch. Ledit’sinterpretation of the proportions according to holynumbers. The Attic feet is used (0.308 m) the rod is11’ 1’’ and that is the module (the width of the pylon,the arch which divides the central part from the sanc-tuary and the nartex). The other measurements arealso explored (the nartex and the height of the dome:33’ 3’’, the central square: 99’ 9’’; the western part:61’ 8’’; the eastern part-sanctuary: 77’ 7’’). The par-ticipants receive the measurements in metres andcompute and change them into feet. c) The slide ofthe whole of the interior is projected and is dis-cussed, the measurements - the holy numbers andtheir meaning (Holy Trinity, double confirmation -Epiphany, the number of Wisdom, the GoldenNumber); about the effect of the whole - an explo-sion of space, an effect of strong expansion, inver-sion - as if the space determined the boundaries andnot that the mass determines the space; about howthis effect is achieved [(the ratios, the domination ofthe central space over the collateral ones, by settingthe Great pylons (Prokopius: “four mountains”),which with the whole of their mass are in the collat-eral aisles and only the surface faces the centralspace, by dematerializing the walls with panellingand with lace-like perforated stones, polychromaticmarble, the position of the row of windows whichdivide the dome from the supports)]. d) Details areshown which illustrate even more of these aspects. e) Again there is a slide of the whole of the interiorand we talk about the orthodox lithurgy (thedivine/spiritual theatre). The small entrance (theemperor and the people from the narthex went to theambone) is described. It lasted till the “sursumcorda” then the door was closed and the great

U ~ e t v r t o j radionici je namjera nastaviti s istraìvanjem velikih središnjih prostora; upoznatineke osobite na~ine proporcioniranja (po svetom tekstu, po svetom broju).

Ambijent: Isti je kao i u prethodnoj radionici. Potrebni su fotokopije, krejoni, digitron.

Struktura doga|anja1. Sudionici se pozivaju da krejonom na listu papira spontano, brzo, u nekoliko poteza nacrtaju svojevi|enje temeljnog oblika prostora Panteona (kugla), Campa u Sieni (plašt), Trga Sv. Petra(obuhva}anje, zagrljaj) i da sebe smjeste u kuglu, ispod plašta, u zagrljaj zajedno s drugima.2. a) Na projekcijama se pokazuje rekonstrukcija kasnoanti~ke rimske crkve San Stefano Rotondo.Daju se podaci: najve}a centralna gra|evina gra|ena mo`da ve} u Konstantinovo doba (promjer:66,52 m = 144 lakta; visina: 27 m = 48 lakata /tzv. mali lakat = 0,462 m), posve}ena Sv.Stjepanu tek u 5. st. Nalazi se na Celiu. b) Upu}uje se na na~in posve}ivanja crkve u to doba (upepeo rasut na zemlji biskup je upisivao gr~ki alfabet i latinsku abecedu u obliku X - kozmi~ki kri`prema ~etirima stranama svijeta i uzimao u posjed svijet). c) Istraìvanje zapo~inje simuliranjemposve}enja i u fotokopije tlocrta ucrtavaju se oblici (X, gr~ki kri`, kvadrat, rotacija kvadrata, zvijezde). Pomaù studenti-instruktori. d) Sudionici dobivaju gr~ki alfabet i paralelno slovimanapisane odgovaraju}e brojke (po starijem i novijem na~inu), dobivaju tlocrt San Stefana Rotonda ukoji su upisani tekstovi i brojke (veli~ine u laktovima po S. Ritzu), upute na fizijatrijske mjere i,kona~no, po jedan gr~ki tekst, koji sami otkrivaju u mjerama crkve. Pomaù studenti-instruktori. e) Projiciraju se snimci San Stefana Rotonda iznutra. Iako je današnje stanje redukcija originalnog,sugerira se, da se ipak osje}a: crkva je trebala biti Sveti Jeruzalem (promjene: dva stupa u sredini iz12. st., tre}i je krug sa~uvan samo fragmentarno, nema mozaika i inkrustacija). Govori se o blagomširenju iz kuglastog (valjkastog) središnjeg dijela, upozorava se na posve druga~ije osvjetljenje nego uPanteonu. Citira se Plotin: “Ljepota je boànsko zra~enje” (danas bismo rekli energija). Uìvljavamose u kontinuitet tog zra~enja/energije, iz središta odmjereno, sporo, na sve strane. Sv. Augustin:“Znam, ni{ta mi se drugo ne svi|a no ljepota, u ljepoti likovi (figuras), u likovima mjere (in figurasdimensiones), u mjerama brojevi (in dimensio-nibus numeros).” U istraìvanju, koje su sudioniciindividualno izvodili, došlo se do brojeva. Sv. Ambrozije: “Priroda svjetlosti je da nije ni u broju ni umjeri ni u teìni, nego u milosti Vi|enja.” A ako je vi|enje milost nadamo se da nam je dana.Pokušavamo zamisliti unutrašnjost San Stefana Rotonda kada su svi zidovi blještali, jer su biliprekriveni mozaicima.3. a) Prikazuje se snimak najhvaljenije gra|evine svijeta, carigradske crkve Hagia Sophije (Antemijeiz Trala i Izidor iz Mileta) iz sredine 6. st., kasnije dàmija, danas muzej. Prokopije piše da je an|eošapnuo mjere caru Justinijanu, a graditelji su je samo izveli. Upozorava se da se izvana vidi postupnoprenošenje tereta putem kupole i polukupola i podupiranje jakim kontraforima sa svih strana. b) Istraùju se mjere. Sudionici dobivaju tlocrt, okomiti presjek, veli~ine (duljina: 80,57 m; širina:69,70 m; središnji kvadrat: 30,77 m) i upute za Ch. Leditovu interpretaciju proporcioniranja po sve-tim brojevima. Koristi se ati~ka stopa (0,308 m), trska je 11’1’’, a to je i modul (širina stuba, lukakoji odvaja središnji dio od svetišta ili narteksa). Istraùju se i ostale mjere (narteks i visina kupole:33’3’’; središnji kvadrat: 99’9’’; zapadni dio: 61’8’’; isto~ni dio - svetište: 77’7’’). Sudionici dobivajuveli~ine u metrima i izra~unavaju odnosno pretvaraju u stope. c) Pokazuje se snimak cjelineunutrašnjosti i govori se: o mjerama - svetim brojevima i njihovom zna~enju (Sveto Trojstvo,dvostruka potvrda - Epifanija, broj mudrosti i zlatni broj); o efektu cjeline - eksplozija prostora, efektsna`nog širenja, inverzije, kao da prostor sebi odre|uje granice a ne masa prostor; o tome kako sepostiè taj efekt (omjerima, dominacijom središnjeg prostora nad bo~nima, postavom središnjihstubova /Prokopije: “~etiri planine”/, koji su cijelom masom u bo~nim brodovima, dematerijalizaci-jom zidova oplatom, ~ipkastom obradom kamena, šarenim mramorom, razmještajem vijenca prozorakojim se kupola odvaja od nosa~a). d) Pokazuju se snimci detalja ~ime se još bolje ilustriraju pojedinive} pokazani aspekti. e) Ponovo snimak cjeline i govori se o ortodoksnoj liturgiji (boànski/duhovniteatar). Opisuje se mali ulazak (car i narod iz narteksa do ambona). Traje do “sursum corda”, tadase zaklju~aju vrata i onda po~inje veliki ulazak. S desna prema središtu kre}e car, a s lijeva sve}enst-vo. Na kraju slijedi izlazak. Kretanje je, dakle, koreografirano u obliku krià, što je povezano soblikom prostora (usput se upozorava na na~in kako je svijet gledao na Hagia Sophiu - kao na ~udo,npr. obra}enja Rusa na ortodoksno krš}anstvo posve je sigurno bilo uvjetovano sjajem Carigrada a

233In the f o u r t h workshop the intention is tocontinue the exploration of large central spaces; tointroduce some specific modes of proportions(according to holy texts, or holy numbers)

Ambience: As before. Photocopies, mini computers,crayons are available

Structure of the activity1. The participants are invited to draw spontaneous-ly and quickly with crayons, in a few strokes, theirown vision of the basic space shape of thePantheon (sphere), the Campo in Siena (mantle), thePiazza San Pietro (embracement, enclosure) and “toput themselves” into the sphere, under the mantle,into the embracement, together with the others.2. a) A reconstruction of the late Roman church SanStefano Rotondo is projected. The data are given:the largest central building, probably built underConstantine [(diameter: 66.52 m = 144 cubits;height: 27 m = 48 cubits, (the so called small cubit= 0.462 m)] consecrated to St. Stephen not earlierthan the 5th Century. It is placed on the Coelium. b) The participants are informed of the way of con-secrating a church at that time (in ashes spread onthe earth the bishop would write the Greek and Latinalphabets in the shape of an X - the cosmic cross,towards the four sides of the world and took pos-session of the world. c) The exploration begins witha simulation of the consecration act and the shapes (X, Greek Cross, square, rotation of the square,stars) are drawn onto the photocopies of the plane.The instructors help. d) The participants get theGreek alphabet and parallelly the correspondingnumbers (according to an older and a newer com-putation), a plan of San Stefano Rotondo with writ-ten texts and numbers (measurements in cubits(according to S. Ritz), instructions about the physi-atric measures and also one Greek text each, whichthey themselves discover in the measurements ofthe church. The students-instructors are again verybusy helping. e) Some slides of the interior of SanStefano Rotondo are projected. In spite of the pre-sent condition which is a reduction of the originalstate, it is suggested that one can still feel thechurch was intended to be the Holy Jerusalem. (The modifications: two columns in the centre fromthe 12th Century, the third circle is preserved only infragments, there are no mosaics or incrustations).We talk about a gentle expansion from the spherical(cylindrical) central part, the participants are shownthe illumination effects are different from those in thePantheon. Plotinus is quoted: “Beauty is a divineradiation” (today we would say energy). We try tofeel the continuity of this radiation / energy from thecentre, measuredly, slowly, to all sides. St.Augustinus: “I know, nothing pleasures me, butbeauty in the beauty figures, in the figures measure-

232

Voditelj tuma~i/The workshop leader explains Crte` oblika prostora po sje}anju/Drawing theshapes of space from memory

Crte` oblika prostora po sje}anju/Drawing theshapes of space from memory

Istraìvanje San Stefana Rotonda/ Exploration ofSan Stefano Rotondo

Istraìvanje Hagia Sophije/Exploration of HagiaSophia

Istraìvanje Hagia Sophije uz pomo} studenta-instruktora/Exploration of Hagia Sophiahelped by a student-instructor

Razgovori/Discussions Razgovori/Discussions


into the interior which immediately stops and trans-forms itself into an invitation into the exterior, sothe meaning is that all movements are in question.5. Learning about Michelangelo’s Campidoglio(1538). It starts with: a) an exercise, on the planof Campidoglio (length: 65 m; width: 42-56 m;Cordonata: 60 m; the access: 12 m) Helped bythe students-instructors the participants explorethe measurements - check the length and thewidth of the square on the top of the Cordonataand in front of the Senate’s palace. We discoverthat one side of the trapezium is of the GoldenSection relation to the length; b) We present theslides and the participants are invited to draw theirwanderings in the square onto the plan. Instructi-ons are given about the optical illusion of a per-spective shortening - closing of the square owingto walking on the Cordonata and giving the GoldenSection proportions to the whole square. TheCordonata is in the axis of the square emphasizedby the statue of Marcus Aurelius, the palace of theSenate and by the positions of the palaces of theConservatori and the Museum. But when we stepinto the square other forces begin to act also(centripetal and centrifugal ones) and we hesitatebetween three attractions. Some aerial slides sug-gest how the pavement (performed according toMichelangelo’s plans only in the year 1940) playsan important role in the movement in the square,how the pavement interprets our effort to remainat the top of the hill (sphere).(Incidentally we tell the participants: Michelangelo didnot finish the square himself so there are some“pupils erors” in: the height of the Senate Palace, thedimensions of the statues, the Capitoline Museum,and even parts of the Palazzo dei Conservatori).

posebno Hagia Sophije). f) Slijedi snimak koji ukazuje na kretanje svjetla u Hagia Sophiji. To jeteatar i svjetla (snopovi dolaze s razli~itih strana i me|usobno se ukrštavaju).4. a) Pokazuju se snimci izvana A. Palladijeve Ville Rotonde kraj Vicenze (1567.-1569.) i upozorava sena odnos prema okolišu, koji se dosta izmijenio (nekad je tu tekla ~ak plovna rijeka), i prema strana-ma svijeta (iako nije strogo orijentirana). Podsje}aju se sudionici na radionice P o ~ e l a i n a ~ e l ai A n a l i z a u m j e t n i ~ k o g d j e l a gdje smo se bavili komunikacijskom strukturom i glavnimsintakti~kim pravi-lima. Sudionici dobivaju crte` koji ih podsje}a na rotaciju kao glavno pravilo usmjeravanja prostora. Obilaskom putem snimaka stje~e se iskustvo o širenju i o postojanju tri razineprostora. b) Istraùje se tlocrt i okomiti presjek (iz Palladijeve Quattro libri dei Architettura, u planu suucrtane Palladijeve originalne mjere). Uz pomo} instruktora pokušava se na}i zlatni rez, a i ustanovitiPalladijev na~in izmicanja jednostavnim omjerima/razmjerima. c) Nakon što se na|e zlatni rez uveli~inama predvorja (2:3; 3:5) projiciraju se snimci predvorja, pa snimci unutrašnjosti (prozor spogledom prema van) i govori se o pozivu u unutrašnji prostor koji odmah prestaje i pretvara se upoziv prema van, pa je smisao u tome da se svako kretanje dovede u pitanje.5. a) Upoznavanje Michelangelova Campidoglia (1538.) po~inje vje`bom da se na tlocrtu (duljina:65 m,; širina: 42-56 m: Cordonata: 60 m; uspon: 12 m), uz pomo} stude-nata-instruktora istraèmjere - provjeravaju se duljina i širina na vrhu Cordonate i ispred pala~e Senata. Ustanovljuje se daje jedna, uà stranica trapeza u odnosu zlatnog reza prema duljini. b) Pokazuju se snimci i sudionicisu pozvani da svoje tumaranje po trgu, u skladu s vi|enim snimcima ucrtaju u plan. Upozorava seda zlatnorezni razmjer cijelog trga nastaje tek kao opti~ka varka perspektivnog skra}enja - zatvara-nja trga uslijed kretanja Cordonatom, koja je u naglašenoj osi cijelog trga (kip Marka Aurelija i pala~aSenata te zrcalni razmještaj pala~e Konzervatora i Muzeja). Kada smo, me|utim, stupili na trgpo~inju djelovati još neke sile (centripetalna i centrifugalna), i mi se tako kolebamo u trovrsnojprivla~nosti. Snimci odozgora s jedne i druge, uè strane pokazuju kako poplo~enje (izvedeno poMichelangelovim planovima tek 1940. god.) igra ulogu u kretanju odnosno na koji na~in interpretiranaše nastoja-nje da ostanemo na vrhu brijega (kugle) (usput se upozorava: Michelangelo nije izveotrg do kraja i tako ima dosta “grešaka u~enika”: u visini pala~e Senata, u veli~ini kipova, u pala~i Muzeja, pa ~ak i u pala~i Konzervatora).

235entrance began. The emperor went from the right tothe centre, the priests from the left. At the end wasthe exit. The whole movement was choreographedin the shape of the cross which corresponded withthe shape of the space. (Incidentally we give infor-mation about how the world treated Hagia Sophia -as a miracle, for example the conversion of theRussians to Orthodox Christianity was certainly con-ditioned by the luxury of Constantinople and espe-cially Hagia Sophia). The slide emphasises themovements of light in Hagia Sophia. That is a lighttheatre also (the rays come from different sides andinterfere).4. a) The slide shows the exterior of A. Palladio’sVilla Rotonda by Vicenza, (1567-69) and instruc-tions are given about its relation to the environmentwhich has been largely changed (here in the past,flowed a navigable stream), and to the sides of theworld (although it is not strictly oriented). The par-ticipants are reminded of the workshops Originsand Principles and Analysis of the Work of Artwhere we worked on communication structuresand main syntactic rules. The participants receive adrawing which reminds them of rotation as themain rule in space direction. Circumambulatingusing slides we gain experience of the extensionand of the three levels of space. b) The plan andvertical section are explored (from Palladio’sQuattro libri dei Architettura, Palladio’s originalmeasurements are written in the plan). Helped bythe instructors we try to find the Golden Section,but also to state Palladio’s evasion of simpleratios/proportions. c)After finding the GoldenSection in the dimensions of the entrance hall (2 : 3; 3 : 5) we project some slides of theentrance hall (portico) and the interior (the windowwith an outside view) and we discuss the invitation

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gaze in the dome). The symbolism of the shapes(hexagram = death) is perhaps also connected withthe emblems of the papal families (the bee, the pid-geon and the hill = Barberini, Pamphili, Chigi)3. a) An aerial slide of the Piazza Navona is pro-jected. The place - the square (container) in whichone dimension also predominates, but this timehorizontally. The origin of the shape is the stadiumof the Emperor Domitian. The miracle is that thespace has preserved its shape although all themasses which determined it have been destroyed.b) The participants explore the plan especially therelations which are created by the setting of thefountains (L. Bernini: The Central Fountain of theRivers - the Danube, the Ganges, the Nile and thePlate, 1648; G. della Porta: the South Fountainbegun in 1575 was finished by Bernini; the NorthFountain (1878)) and they discover the relation ofthe Golden Section; c) We talk about the function ofthe square starting from the Stadium (the martyr-dom of St. Agnes) through to the Festa di Lago inthe 17th and 18th Centuries to the popular squareof today. d) We again present the whole of thesquare. The participants get a plan of a part ofRome and find the Pantheon, the Piazza Navonaand the S. Ivo very close to each other. e) Slidestaken from different pedestrian angles are projected- our attempt is “to walk” along this elongatedplace. 4. We project the slides of the square in Telè (15th-17th Centuries, length: approx. 320 m; width: 4-50m). The exercise is like the one with the slides ofthe Campo. The participants try to draw a plan. Atthe end they receive a plan to check the measures,the changes in relation of the length and width ofthe square. We become aware that the placeexpands mostly in one but also in the other dimen-sion so the square is nearly the whole city.5. a) The slide of the Piazza di Spagna (architects: A. Specchi and F. de Sanctis, approx. 1721-23, theobelisk in 1789, the distance from the fountain to theobelisk: 90 m) was taken from Via Condotti, from themost favourable position, from where the theatreoccurs in the best way (from Trinita dei Monti - Scaladi Spagna - Via Babuino - Dei Due Macelli to theBarcaccia fountain). It is again a directed place butnow in inclination. b) The participants, construct theaxes around which the parts are oriented, on the planand on the section, “the barque”, the obelisk, thechurch, to notice the shifts. The result of all theseshifts is liveliness. c) We present a series of slides -details - from top to bottom and the reverse and theparticipants mark the place on the plan from wherethe slides were taken.

U p e t o j radionici namjera je upoznati usmjerena mjesta, ona kod kojih preteè jedna dimenzija,bilo da se poziva u okomicu bilo da se radi o vodoravnom ili kosom širenju. Posredno se stje~e iskustvoi o tome koliko ve} u baroku nestaje sveti tekst kao predloàk za proporcioniranje.

Ambijent: Isti je kao i u prethodnim radionicama. Potrebni su, televizor, video, fotokopije i krejoni.

Struktura doga|anja1. Kao i u prethodnoj radionici, sudionici se pozivaju da krejonom u nekoliko poteza izraze svojevi|enje “ponašanja prostora” u San Stefano Rotondu, Hagia Sophiji, Villa Rotondi i na Campidogliu.Time se prizivaju u sje}anje doìvljaji od prije tjedan dana i osvještava se koliko je pripremeneophodno za doìvljaj vrhunskih arhitektonskih djela ~ovje~anstva, i koliko je razvijanje unutarnjearhitekture permanentan proces.2. a) Pokazuju se snimci izvana S. Ivo della Sapienza (1642.-1660., Rim) F. Borrominija. Dvorište G.della Porte je ve} gotovo kada Borromini zapo~inje gradnju (promjer kupole: 17 m; oblik heksagrama,konkave-konvekse, spiralni završetak). Dok se pokazuju snimci unutrašnjosti doljnjeg dijela, govori seo zbunjivosti u odnosima konkava-konveksa. b) Slijedi vje`ba ozna~avanja ritmova (prema R.Witkoveru). Sudionici, uz pomo} studenata-instruktora, u tlocrtu ozna~avaju izmjenjivanje izbo~enih iudubljenih dijelova i iskušavaju razli~ite mogu}e na~ine ~itanja. Razgledavaju se Borrominijevipripremni crteì (cjelina, tlocrt lanterne, skice lanterne). c) Ponovo se projiciraju snimci unutrašnjosti.Uz pomo} rezultata vje`be odgonetava se uzrok zbunjenosti u prostoru - višesmislenost odnosaizbo~eno-udubljeno. Pokazuju se snimci gornjeg dijela. Upozorava se na razrješenje koje nastaje kadase digne pogled (kontinuitet konkava-konveksa, jedinstvo strukture = zavojiti pogled gore, zavojititoranj izvana). Pokazuje se inverzija pogleda - snimak odozgo prema dolje, odakle nikako nije bilonamijenjeno da se gleda u unutrašnji prostor. Kretanje pogleda je cilj i put istodobno: razrješenjeopreke centralni prostor - ulazak se postiè efektom zbunjenosti i nesigurnosti u doljnjem dijelu i efek-tom istodobnosti cilja i puta pogledom u kupolu. Simbolika oblika (heksagram = smrt) je mo`dapovezana i sa znamenjima papinskih porodica (p~ela, golubica, brdo = Barberini, Pamphili, Chigi).3. a) Pokazuje se avionski snimak Piazza Navone u Rimu. Mjesto - trg (sadrà~), kod kojeg tako|erprevaè jedna dimenzija, ali u horizontali. Porijeklo oblika je anti~ki Domitianov stadion. ~udo~uvanja oblika prostora unato~ destruiranju masa koje su ga odredile. b) Sudionici istraùju plan,osobito odnose koji nastaju postavljanjem fontana (L. Bernini: Središnja fontana ~etiriju rijeka(Dunav, Ganges, Nil i Plata), 1648. god.; G. della Porta: Ju`na fontana zapo~eta 1575. god.,dovršava je Bernini; Sjeverna fontana, 1878. god.) i otkrivaju se odnosi zlatnog reza. c) Govori se ofunkciji trga od stadiona (martirij sv. Agnese) preko Festa di Lago u 17. i 18. st. do pu~kog trgadanas. d) Ponovo se pokazuje cjelina trga. Sudionici dobivaju plan dijela Rima i nalaze na okupuPanteon, Piazza Navonu i S. Ivo. e) Pokazuju se snimci trga iz razli~itih pješa~kih uglova - pokušavase “kretati” po izduljenom mjestu.4. Pokazuju se snimci trga u Tel~u (15.-17. st.; duljina: oko 320 m; širina: 4-50 m). Vje`ba je poputone sa snimcima Campa. Sudionici pokušavaju crtati tlocrt. Na kraju sudionici dobivaju plan kako biprovjerili mjere, promjene u odnosu duljine i širine. Osvještava se: mjesto se širi prete`no u jednoj, aliosjetno i u drugoj dimenziji, tako da je trg = grad.5. a) Slijedi snimak Piazza di Spagne (arhitekti: A. Specchi i F. de Sanctis; oko 1721.-1723., obelisktek 1789. god.; udaljenost od fontane do obeliska: 90 m) iz Via Condotti, iz najpovoljnijeg poloàja,odakle se teatar zbiva najupe~atljivije (od Trinita dei Monti - Scale di Spagna - Via Babuino - Dei DueMacelli do fontane Barcaccia). Opet se radi o pokrenutom mjestu, ali sada u kosini. b) Sudionici naplanu i presjeku konstruiraju osi po kojima se ravnaju pojedini dijelovi, “barka”, obelisk, crkva, da bise uo~ili pomaci. @ivost je rezultat tih pomaka. c) Pokazuje se niz snimaka - detalja - odozdo premagore i obrnuto, a sudionici na planu ozna~avaju odakle su oni snimljeni.

239In the f i f t h workshop the intention is to intro-duce the concept of directed places in which onedimension predominates, no matter whether there isan invitation to take the direction vertically, horizon-tally or in inclination expanding. Indirectly we gainexperience about how in the time of the Baroque theHoly Text disappears as a specimen for proportion.

Ambience: The same as in the former workshops.Photocopies, a TV set, a video player, crayons arenecessary.

Structure of the activity1. As in the former workshop the participants areinvited to express in a few strokes their vision of“space behavior” in the San Stefano Rotondo, inHagia Sophia, Villa Rotonda and the Campidoglio. Inthis way they evoke their experiences from the pre-vious week and become aware how much prepara-tion is needed to experience the supreme artworksof mankind and how to cultivate “the interior archi-tecture”, which is a permanent process.2. a) We present some slides of the exterior of S.Ivo della Sapienza by F. Borromini (1642-60,Rome). The courtyard by G. della Porta had alreadybeen finished when F. Borromini began the work(the diameter of the dome is 17 m; the shape is thatof a hexagram, there are concavities - convexitiesand a spiral tower) While projecting some slides ofthe lower part of the interior we talk about the con-fusing character of the concave-convex relationship. b) Exercise: marking the rhythm (according to R.Wittkover). The participants helped by the students-instructors, mark the alternation of the concave andconvex parts in the plane and explore the differentmodes of reading the rhythm. Borromini’s preparato-ry drawings (the whole, the plan of the lantern,some sketches of the lantern) are studied. c) Weproject some slides of the interior again. Using theresults of the exercise we solve the cause of thefeeling of confusion in space - a polysemic relationof the concave and convex. Some slides are thenshown of the upper part of the church. The partici-pants are given instructions on the effect of theunravelling which occurs when we raise our glance(the continuity of the concave-convex, the unity ofthe structure = spiral glance upwards = spiral exte-rior spire.) We show an inversion of the glance witha slide made from top to bottom from where theinterior was not supposed to be looked at. In themovement of the gaze the aim and the path are thesame; it is the solution or the unravelling of theopposites of the central space - the entry with theeffect of confusion and uncertainty in the lower partsand the simultaneity of the aim and the path with the

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Crte` pona{anja prostora po sje}anju/ Drawing ofthe behaviour of space from memory

Istraìvanje ritma S. Iva/Exploration of the rhythmof S. Ivo

Studiranje Borrominijevih skica za S. Ivo/Studying Borromini's sketches for S. Ivo

Istraìvanje mjere Piazze Navone/ Exploration ofthe measures of Piazza Navona

Istraìvanje trga u Tel~u/Exploring the Square inTelè

Istraìvanje osi Piazze di Spagne/Exploring theaxes of Piazza di Spagna


241


potrebno vrijeme: 4' 50''necessary time

duljina = 23 x širinathe length = 23 x width

hipertrofirani ljudski korakthe hypertrophic human step

glavni ciljmain aim

najavaannouncement

sporedni putminor way

sporedni ulazminor entrance

PPLLAACCAA,,DDUUBBRROOVVNNIIKK

VVIIAA CCAALLZZAAIIOOLLIIFFIIRREENNCCAA//FFLLOORREENNCCEE

IIKKTTIINN II KKAALLIIKKRRAATT//IICCTTIINNOOSS AANNDD KKAALLLLIIKKRRAATTEESS:: PPAARRTTEENNOONN//TTHHEE PPAARRTTHHEENNOONN,,55 SSTT.. PPRR.. KKRR..//55TTHH CC.. BB..CC..,,AATTEENNAA//AATTHHEENN

SSAAIINNTTEE FFOOYY,, 1111.. SSTT..//1111TTHH CC..,,CCOONNQQUUEESS

glavni ulazmain entrance

sporedni ciljminor aim

glavni putmain path

1000' = 400 korakasteps

zlatni rezGolden section

240


RR II TT AA MM PP RR OO SS TT OO RR AAPUT = MJESTO

RR HH YY TT HH MM OO FF SS PP AA CC EEPATH = PLACE

HHRRAAMM//TTEEMMPPLLEE:: BBOORROOBBUUDDUURR,, OOKKOO //AAPPPPRROOXX.. 880000

MMEEGGAALLIITTSSKKII SSPPOOMMEENNIIKK//MMEEGGAALLIITTHHIICC MMOONNUUMMEENNTT,, OOKKOO//AAPPPPRROOXX.. 11550000.. PPRR.. KKRR..//BB..CC..,,DDUUGG//LLOONNGG 11 KKMM,, CCAARRNNAACC,,

BBAANNCCOO DDII SSOOPPRRAA 330000 MM//BBAANNCCOO DDII SSOOTTTTOO 335500 MM,,

SSIIEENNAA

put neodre|enundefined way

put odre|endefined way

MMIINNAARREETT SSAAMMAARRAA

gnomonski rast = spiralagnomonic growth =spiral

brdo put mjesto = kozmosmountain path place = cosmos

(Ictinus and Kallikrates, 5th Century B.C. length:69.51 m; width: 30.86 m; the height of thecolumns: 10.40 m) are presented. The detail sug-gests the hypertrophic human step (the alternationof light and shadow - column and intercolumn). b) Exercise: we explore the Golden Section of thecolumn - intercolumn relation and draw the walking(the meandering) into the plan. 8. Some aerial slides of the Placa are projected,and because a participant has just been toDubrovnik (which can often happen) and performedthe experiment of measuring the time needed tocross from one end to the other: 4’ 50’’, we talkabout perfect measures. The length is a little lessthan 300 m (1000 feet, 292 m = 400 steps). b) Exercise follows: the ratio of the street isexplored on the plan and a comparison made withVia Calzaioli in Florence. c) Again the slide of thePlaca. We instruct the participants concerning thesort of adjustment different from the one in theParthenon or in Siena. In Placa it is neither the lawof steps (Parthenon), nor of the natural way ofhuman walking (Siena) but of greater attraction.Four or five minutes overshadow the experience ofthe former place, but these three hundred metersare not tiring. We talk about the ideal ratios (23 xwidth), and of Via Calzaioli and the Placa whichperfectly satisfy this criterion, Placa with some vari-ations because of the widening or narrowing.9. a) We present Luxor (the name: al Uqsur, theArabic variation of castrum, length: 260 m). Luxoris a colossally articulate path to a sanctuary, seem-ingly perfectly detached from the human scale, butaccording to R. A. Schwaller de Lubicz’s hypothe-ses the proportion is anthropomorphic (see the fol-lowing workshops Art and Spirituality). b) Exercise:exploration of the plan of Luxor with the help of anEgyptian representation of the human figure (ontracing paper).10. a) The participants get the plan of theRomanesque pilgrim church Sainte Foy in Conques(11th Century) and spontaneously draw in the cruci-fied figure using crayons. b) They receive two draw-ings (Francesco di Giorgio's human figure drawn inthe plan of basilica and the Brahma-pura the plan ofan ideal Indian city, with the figure of a cosmic man-Purusha drawn on it) so that they may compare. c) With a certain number of slides we circumambu-late the church in Conques. (length: 56 m; width:14.40 m, height: 22.10 m) and enter it. The attentionis directed to the gradation of the functions: themain announcement, the main entrance, main path,main aim; the side entrance, side path and side aim; to the roleof the bays, of the crossing – a stretching of thegaze; the gradation of the relation of the load and thesupports.

U { e s t o j radionici namjera je osvijestiti osobite puteve koji su istodobno i mjesta; istraìti razli~itena~ine proporcioniranja puta.

Ambijent: Isti kao i u prethodnim radionicama. Potrebni su fotokopije, paus, krejoni.

Struktura doga|anja1. Kao i u prethodne dvije radionice, sudionici se pozivaju da krejonom u nekoliko poteza izraze svojevi|enje biti usmjerenog mjesta, da to u~ine u jednom potezu, nalaze}i vlastiti simbol. Istodobno sepozivaju da pogledaju svoja ranija rješenja.2. Slijedi kratki naputak voditelja. Nakon istraìvanja vrhunskih mjesta u povijesti graditeljstva,pamte}i ih i nalaze}i vizualni znak za njihova bitna svojstva, usmjerujavamo našu pozornost na put.Do mjesta vodi put, i kada se mjesto napusti, put ga ukine, pa se opet usmjerava prema novommjestu. Me|utim, put jest ili moè i sam biti mjesto.3. a) Projicira se snimak pretpovijesnog megalitskog spomenika u Carnacu (oko 1500. pr. Kr.; dulji-na: oko 1 km). b) Sudionici dobivaju plan Carnaca, prebrojavaju nizove kamenova/me|uprostore iucrtavaju krejonom svoj put kroz Carnac/u Carnacu. c) Radovi se razgledavaju (projiciraju ili, bolje,rasprostiru se na stolu i razgledavaju se stoje}i uokolo). Zaklju~ak: svi su putevi razli~iti, i Carnacpruà beskrajno velike mogu}nosti da se ostvari posve individualan ritam kretanja.4. a) Sudionici dobivaju crte` dviju ulica, Banco di Sopra i Banco di Sotto, izvu~enih iz plana Siene,ali im se ne kaè što je pred njima. Uz pomo} studenata-instruktora odre|uju ritam na temeljuproširenja u linijama lijevo-desno (lijevo a, desno b, uzimaju}i u obzir duljine: A, a, B, b). Jedansudionik ~ita/pjeva ritam. b) Projicira se avionski snimak Siene i prepoznaju se ulice (Banco di Sopra iBanco di Sotto; duljina: 300-350 m). Prate se pogledom i osvještava se da se prilago|avaju ljudskomhodu, da se rotacijom vezuju za druge ulice, a uspore|uju}i s Carnacom, u odnosu na ritam, kretanjeje, unato~ organskog karaktera i slobodnog ritma, odre|enije i suènije od prethodnoga.5. a) Projicira se snimak minareta u Samari. Od sudionika se traì da se uìve u kretanje, da pokuša-ju doìvjeti put (odre|en s jedne strane, neodre|en s druge, stupnjevan odozdo). b) Slijedi vje`ba:krejonom se u jednom potezu povla~i linija puta (spirala sa sedam zavijutaka). Osvještava se na kojije na~in put - mjesto.6. a) Avionski snimak Borobudura (oko 800. god.), najvelebnije gra|evine svijeta. U Borobuduru jepostignuta istost puta i mjesta. Brdo se pretvara u razra|eni i sre|eni svijet = kozmos, put do svetiš-ta (stupe) se izvodi gnomonskim rastom. Hodo~asnik prelazi razli~ite faze vlastitog ìvota i cijelekreacije, na putu je, ali je uvijek u mjestu. b) Sudionici se pozivaju da preko pausa ucrtaju u planvlastiti put u skladu s gnomonskim rastom. Put je tumaranje na jednoj ravnini i skok na drugu ~imese dobiva spirala.7. a) Projiciraju se redom avionski snimak atenske Akropole, snimak cjeline i snimak detaljaPartenona (Iktin i Kalikrat, 5 st. pr. Kr., duljina: 69,51 m; širina: 30,86 m; visina stupa: 10,40 m).Snimak detalja ukazuje na hipertrofirani ljudski korak (izmjenjivanje stupa i interkolumnija - svjetla isjene). b) Slijedi vje`ba: prvo se istraùje zlatni rez odnosa stupa - me|uprostora i potom se u planucrtava kretanje (meandar).8. a) Pokazuju se snimci Place u Dubrovniku odozgora i, jer je jedan sudionik upravo tamo bio (štose ~esto moè dogoditi) mjerio je potrebno vrijeme za kretanje od jednog do drugog kraja (4’50’’).Na temelju njegova iskustva govori se o savršenim mjerama. Duljina je nešto manja od 300 m (1000stopa, 292 m = 400 koraka). b) Slijedi vje`ba: na planu se istraùju omjeri ulice i uspore|uje se sulicom Calzaioli u Firenzi. c) Opet se projicira snimak Place. Upozorava se na drugovrsnu prilagodbuod one u Partenonu ili Sieni. U Placi nije rije~ niti o koraku (Partenon), niti o prirodnom ljudskomkretanju (Siena), nego o zakonu ve}e privla~nosti. ~etiri do pet minuta zasjene doìvljaj prethodnogmjesta, ali tristo metara hoda ne umara. Govori se o idealnim omjerima (23 x širina), ~emu potpunoudovoljavaju Via Calzaioli i Placa s varijacijama, s obzi-rom na širenje/suàvanje.9. a) Prikazuju se snimci Luxora (ime: al Uqsur, arapska varijanta od castrum; duljina: 260 m). Radise o kolosalno artikuliranom putu do svetišta, naizgled posve odmaknutom od ljudske mjere, ali posmjeloj pretpostavci R. A. Schwaller de Lubicza, ipak se radi o antropomorfnom proporcioniranju (v. radionice U m j e t n o s t i d u h o v n o s t). b) Slijedi vje`ba: istraùje se plan Luxora uz pomo} egipatskog prikaza ljudske figure (na pausu).10. a) Sudionici dobivaju plan romani~ke hodo~asni~ke crkve Sainte Foy u Conquesu (11. st.) ispontano krejonom ucrtavaju razapeti lik. b) Sudionici, radi usporedbe, dobivaju dva fotokopiranacrteà (F. di Giorgia lik ~ovjeka ucrtanog u tlocrt bazilike i plan Brahma-pure, staroindijskog ide-alnog grada s ucrtanim likom kozmi~kog ~ovjeka, Puruše). c) Slijedi obilazak crkve St. Foy ve}imbrojem snimaka (duljina: 56 m; širina: 14,40 m; visina: 22,10 m) i ulazak u unutrašnjost.Usmjerava se pa`nja na stupnjeva-nje namjene (glavna najava, glavni ulaz, glavni put, glavni cilj;sporedni ulaz, sporedni put, sporedni cilj itd.; na ulogu traveja, kriìšta - razapinjanje pogleda; nastupnjeva-nje odnosa tereta i nosa~a). Namjera u s e d m o j radionici je upoznati razli~ite na~ine oblikovanja uzdu`nih gra|evina kaoartikuliranih puteva; istraìti razli~ite na~ine proporcioniranja u vrhunskim uzdu`nim gra|evinamaeuropske arhitekture.

Ambijent: Isti je kao i u prethodnim radionicama. Potrebni su stereogrami i fotokopije.

243In the s i x t h workshop the intention is tobecome aware of the very extraordinary paths whichare at the same time places, as well to explore thedifferent modes of proportioning the path.

Ambience: The same as in the former workshops.Photocopies, trace paper, crayons are available.

Structure of the activity1. The same as in the two previous workshops, theparticipants are invited to express in a few strokes,with crayons, their own visions of the essence of adirected place, finding their own symbols. At thesame time they are also invited to look at their ownearlier drawings.2. A short introduction by the workshop leader fol-lows. After exploring the supreme places in the his-tory of architecture, memorising and finding thevisual signs for them, we now direct our attention tothe path. The path guides us to a place, and whenwe leave the place the path abolishes it and directsitself again towards a new place. But the path isalso, or can be, a place. 3. a) We project a slide of the prehistoric monu-ment in Carnac (approx. 1500 B.C. length: approx.1 km); b) the participants get a plan of Carnac,count the rows of stones/interspaces and draw in,with crayons, their own paths through Carnac. c) We study the drawings (they can be projected orspread on a table and the participants standaround). The conclusion: all the paths are different,Carnac offers a very large number of possibilities torealize the individual rhythm in movement.4. a) The participants get a drawing of two streetsBanco di Sopra and Banco di Sotto drawn out ofthe plan of Siena but without informationn whatthey are. With the help of the students-instructorsthe rhythm is defined on a widening of the lines leftand right (left-a, right-b, also taking into accountthe length: A, a, B, b). A participant reads or sings the rhythm.b) An aerial slide of Siena is projected and the par-ticipants recognise the streets (Banco di Sopra andBanco di Sotto, length: 300-350 m). We followthem by glance and become aware of how they areadjusted to human walk, how they are connectedto other streets by rotation, and concerning therhythm compared with Carnac, how the walk ismore defined and limited despite its organic char-acter and free rhythm.5. a) The slide of a minaret in Samara is projected.The task is to try to feel the walking, to feel the path(defined on one side, undefined on the other andgraduated from below). b) The exercise follows: todraw the line of the path (spiral with seven swirls)with a crayon in one stroke. The participants becomeaware of the way in which the path is a place.6. a) An aerial slide of Borobudur (approx. 800). Itis an example of the most magnificent architecturein the world and represents the equality of the pathand the place. A mountain transformed into anarticulated and ordered world = the cosmos, thepath to the sanctuary (stupa) which is performed bygnomonic growth. The pilgrims traverse differentphases of their own lives and the whole of creation,they are on their way but always in a place too. b)The participants are asked to draw on tracing papertheir own path into the plan, in accordance with thegnomonic growth. The path is wandering on aplateau and jumping to another, to get a spiral.7. a) An aerial slide of the Acropolis in Athens, aslide of the whole and a detail of the Parthenon

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Istraìvanje puta kroz megalitski spomenik uCarnacu/Exploring the path through the megalithicmonument in Carnac

i istraìvanje puta Banco di Sopra i Banco diSotto u Sieni/and exploring the path: Banco di Sopraand Banco di Sotto in Siena

Oblik kretanja na minaretu u Samari/The shape of the movement on the minaret inSamara

Oblik kretanja u Borobuduru/The shape of themovement in Borobudur

Kretanje na Placi u Dubrovniku/Movement on thePlaca in Dubrovnik

Kretanje na Placi u Dubrovniku/Movement on thePlaca in Dubrovnik

Antropomorfni oblik Sainte Foy u Conquesu/The antropomorphic shape of Sainte Foy in Conquesu

Studenti instruiraju/The students-instructors givinginstructions


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iluzioniranje prostoraa spatial illusion

iluzioniranje medijaillusion of medium

iluzioniranje materijalaillusion of materials

FF.. BBRRUUNNEELLLLEESSCCHHII:: SSAANNTTOO SSPPIIRRIITTOO,, 11443366..--4466..,, FFIIRREENNCCAA//FFLLOORREENNCCEE

MODUL = 5,5 lakatacubits

EE..QQ.. AASSAAMM:: SSVV.. IIVVAANN NNEEPPOOMMUUKK//SSTT.. JJOOHHNN NNEEPPOOMMUUKK,, 11773333..-- 4466..,, MMÜÜNNCCHHEENN//MMUUNNIICCHH,,

(JOEDICKE)

18 M

2 M

2 M

3 M

30 M

12 M

24 M

M

3 M 4

M

4 M

4 M

5 M

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MM JJ EE RR AA PP RR OO SS TT OO RR AAVRHUNSKI PUTEVI

TT HH EE MM EE AA SS UU RR EE MM EE NN TT OO FF SS PP AA CC EESUPREME PATH

KKAATTEEDDRRAALLAA//CCAATTHHEEDDRRAALL,, 1133.. SSTT..//1133TTHH CC..,, CCHHAARRTTRREESS

7 ulaza 7 entrances

atektonikaathectonic

AA.. PPAALLLLAADDIIOO:: IILL RREEDDEENNTTOORREE,, 11559922..,,VVEENNEECCIIJJAA//VVEENNIICCEE

izmicanje uobi~ajenim mjeramaevasion of common measures

upitni ciljthe questioned aim

upitni putthe questioned path

svijet: 11 zavijutaka (8 platonskih sfera + duh +duša + Bog)world: 11 spirals (8 Platonic spheres + Spirit+ Soul + God)

keltska stopa = 0,3048 mceltic feet

IHS

OU

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99'

9''

77'

7''

98'(7+7x7)

155'2

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77' 7''

123' 4'' TETRAKTYS

23'

7''

49'

(7x7)

88'

8''

11'

25'

22'

2''

(LEDIT)

labyrinth (the Minotaur, Theseus and Ariadna) andits connections with the Christian sanctuary aregiven. Dance initially played an important role inChristian liturgy. Today it has been preserved inthe “Easter Dance of the Six” in Sevilla forinstance or the Theseus’ dance in Echternach,where Christ is Theseus, he emerges from out of alabyrinth playing with a ball.2. Instructions about some data. a) In the 11th and12th Centuries Chartres was a very important school– grammarians and mathematicians revived thepythagorean tradition. Their texts were forbidden andthey were excommunicated. The symbolism of therectangle and the square (Pierre de Roissy) wasprobably built into the plan of the cathedral. b) At thetime of the building of the second church (the firstwas burnt down in 1194) the cult of the Grail wasthe strongest. The Grail is the Chalice with Christ’sblood, which Joseph of Arimathea collected andwhich was searched for by the Knights of the RoundTable. There is an interpretation about the connectionbetween the tables from the legend and the geometri-cal shapes of the rectangle, square and circle in theplan of the cathedral. The Round Table of KingArthur, the circle, is the nearest to the entrance – thechalice is searched for; the se-cond step is thesquare table of Joseph of Arimathea, and evokes hiscaptivity in a tower – the chalice is in his possession;the third, the rectangular table, the table of the LastSupper – the chalice is fillled with Christ’s blood. Thethesis of P. Derlon and G. Pennington is that theseshapes were used in meditation/contemplation andthen after prohibition the condemned scholars con-fided their secret to the gipsies who at that time start-ed coming to France. c) Exercise: the participants geta stereogram with the shapes from Chartres. Theshapes are in two rows in alternation pure red andblue in colour (the colours of Chartres’ stainedglass).They are invited to fix their gaze on the centrebetween the two rows and to wait for an effect (theeffect is: the overlapping and appearance of a thirdrow – the stereo effect). Warning: in the stereo effectthe colour can be changed at will. d) Some slides ofthe interior are projected and the participants becomeaware of the path as an unbroken flow of thelabyrinth.3. a) Plans of F. Brunelleschi’s Santo Spirito are dis-tributed (the project: 1436; performed: 1446; length:85.90 m; width: 29.40 m) with marked measure-ments. The students-instructors help the participantsto explore the measurements. Different systems, themodular, the arithmetic and geometric series and theGolden Section are found; b) A slide of a bay is pro-jected. The module (M) is recognized. M = the depthof the niche: 5.5 cubits (1 cubit = 0.586 m); theintercolumnium = 2 M, the bay = 2 M, the height of

Struktura doga|anjaNajavljuje se upoznavanje s ~etiri vrhunske uzdu`ne gra|evine nastale u razmjerno malom vremen-skom rasponu od 13. do 18. st., u Europi. 1. a) Prvo se projiciraju snimci izvana katedrale u Chartresu (13. st.; po V. le Ducu je duljina:130,20 m; širina: 32,80 m; visina: 36,55 m, a po Ch. Leditu je duljina: 128,32 m; širina: 29,87m; visina: 37,49 m). Uzdu`ne sakralne gra|evine su u Europi bazilikalnog tipa. U prošloj seradionici upoznala romani~ka bazilika, a u ovoj se prate stilske promjene u bazilici od gotike dokasnog baroka. Objašnjava se konstruktivni sustav goti~kog graditeljstva(šiljasti luk, kontrafor,udvostru~enje zida). Podi}i zid u visinu i otvoriti ga mogu}e je samo udvostru~enjem zida. b)Slijede snimci unutrašnjosti (šiljasti luk, kri`norebrasti svod). c) Sudionici istraùju mjere. Mjernajedinica je keltska stopa: 0,3048 m. Istraùju afirmaciju broja 7 (širina brodova: 7+7 x 7 = 98’;kriìšte: 7 x 7 = 49’; od kriìšta do sjevernog/ju`nog portala: 77’ 7’’; 7 traveja do kriìšta; 7traveja svetišta i 7 ulaza), proporcioniranje po svetom tekstu (IHSOUS: 88’8’’), odnos zlatnog reza(49’ : 77’7’’), svete brojeve (111’ = visina svoda do klju~nog kamena; 99’9’’ = duljina svetišta),pitagorejski tetraktis (širina fasade = 123’4’’). d) Pokazuje se zapadna rozeta (13,50 m) i labirint.Govori se o kompozicijskom odnosu rozete i labirinta (svijetlog mjesta i puta). e) Slijedi vje`ba.Sudionici dobivaju snimak labirinta, traì se da pro|u kroz njega (jedanaest slojeva svijeta =jedanaest zavijutaka: osam platonskih sfera, duh, duša, svemogu}i Bog). Put je samo jedan - praviput. Labirint je arhetipski simbol svijeta. Hodo~asnici su njime prolazili na koljenima. Rozeta -mandala = kozmos baca svoje svjetlo na labirint - put = kozmos, tako se po/u ure|enom svijetu(kozmosu) izjedna~uju mjesto i put. Upu}uje se na anti~ki mit o labirintu (Minotaur, Tezej iArijadna), i na vezu s krš}anskim svijetom. U krš}anskoj liturgiji je, naime, ples po~etno igraova`nu ulogu. Danas se sa~uvao npr. “uskrsni ples šestorice” u Sevilli, ili pak Tezejev uEchternachu gdje se Krist lopta i izlazi iz labirinta.2. Upu}uje se na neke ~injenice. a) U 11. i 12. st. Chartres je vrlo va`na škola - gramati~ari,matemati~ari obnavljaju pitagorejsku tradiciju. Njihovi se tekstovi zabranjuju, a oni izop}uju.Simbolizam pravokutnika i kvadrata (P. de Roissy) mo`da je ugra|en u katedralu. b) U doba grad-nje druge crkve (prva je izgorjela 1194. god.) najja~i je kult Graala. Graal je kale` s Kristovom krvlju,koju je Josip Arimatejski skupio i za kojom tragaju vitezovi Okruglog stola. Postoji interpretacija o veziizme|u stolova iz legende o Graalu i geometrijskih likova pravokutnika, kvadrata i kru`nice ucrtanihu tlocrt Chartresa. Najbliì ulazu je kru`ni oblik, okrugli stol kralja Arthura - kale` se traì; drugi jekvadrati~ni stol Josipa Arimatejskog, oblik evocira njegovo zato~eništvo u kuli - kale` se posjeduje; itre}i, pravokutni stol, stol Posljednje ve~ere - kale` se puni Kristovom krvlju. Postoji teza P. Derlona iG. Penningtona da su ti oblici sluìli medita-ciji/kontemplaciji i da su, nakon zabrane, osu|eniu~enjaci svoju tajnu povjerili Ciganima, koji upravo u to doba dolaze u Francusku. c) Slijedi vje`ba:sudionici dobivaju stereogram s oblicima iz Chartresa (krug, kvadrat, pravokutnik). Oblici suporedani u dva reda, naizmjence jarkocrvene i plave boje (boje vitraja u Chartresu). Pozivaju se dafiksiraju sredinu izme|u dva niza i da ~ekaju efekt (efekt: poklapanje, pojavljivanje tre}eg reda -stereoefekt). Upozorava se da }e se boja oblika u stereoefektu mo}i mijenjati po vlastitoj èlji. d) Projiciraju se snimci unutrašnjosti i osvještava se put kao neprekinuto opticanje labirinta.3. a) Dijele se tlocrti S. Spirita F. Brunelleschija (nacrt: 1436.; izvedeno: 1446.; duljina: 85,90 m;širina: 29,40 m) s ozna~enim mjerama. Instruktori pomaù istraìti mjere. Otkrivaju se razli~itisustavi: modularni, aritmeti~ki i geometrijski niz i zlatni rez. b) Projicira se snimak traveja.Prepoznaje se modul (M). M = dubina niše = 5,5 lakata, (1 lakat = 0,586); interkolumnij: 2M,travej: 2M; visina stupa: 3M itd. c) Projicira se cjelina (prepoznaje se širina broda: 2 x 2M; visinastupa: 3M; visina luka: 4M; visina do prvog vijenca iznad arkade: 5M; visina drugog vijencaiznad prozora: 8M (3-5-8 je Fibonaccijev niz). d) Ve}im se brojem snimaka osvještava put(usporedba sa Chartresom). Objašnjava se što su zna~ila ~etiri ulaza (jednako vri-jedna), ophod, niše izvana, koje je Brunelleschi predvidio, ali koje se sve nisu izvele - kruènje okosredišnjeg dijela, ~ime se gubi karakter jednosmjernog kretanja. e) Snim-cima se osvještavaju kon-struktivni elementi (kostur od pietre serene), sloènost pros-tora, karakter svjetla.4. a) Sudionici dobivaju tlocrt i fotokopiju pro~elja Palladijeva Il Redentorea, (1577.-1592., duljina:28,2 m; širina: 8,8 m, Venecija). Na tlocrtu se istraùju mjere - izmica-nje uobi~ajenim

247The intention in the s e v e n t h workshop is tointroduce different ways of shaping longitudinalbuildings, different articulated paths; to explore dif-ferent ways to proportion in the supreme longitudi-nal buildings of European architecture.

Ambience: The same as in the previous ones.Photocopies and stereograms are available.

Structure of the activityAnnouncement of the topic: introduction of four lon-gitudinal buildings created in a relatively small timespan between the 13th and 18th Centuries inEurope.1. a) First we project the slides of the exterior ofthe cathedral in Chartres (13th Century accordingto V. le Duc the length: 130.20 m; width: 32.80 m;height: 36.55 m, according to Ch. Ledit, length:128.32 m; width: 29.87 m; height: 37.49 m). Thelongitudinal churches in Europe are of the basilicaltype. So the work with the examples which followscan be considered as following the stylisticchanges in the basilica from the Romanesque (a former workshop) to the late Baroque time. Weexplain the constructive system of Gothic architec-ture (the pointed arch, flying buttresses, the dou-bling of the wall) opening and heightening are pos-sible only if the wall is duplicated. b) Slides of theinterior (the pointed arch, the cross-ribbed vault)are shown c) The participants explore the mea-surements. The unit is a Celtic feet: 0.3048 m.They explore the confirmation of the number 7 (the width of the naves: 7 + 7 x 7 = 98’; thecrossing: 7 x 7 = 49’; from the crossing to thenorth/south portal: 77’ 7’’; 7 bays to the crossing;7 bays of the sanctuary and 7 entrances), the pro-portions according to the Holy Text (IHSOUS : 88’8’’), the Golden Section (49’ : 77’ 7’’), Holy num-bers (111’ = the height of the vault to the keystone); 99’ 9’’ = length of the sanctuary), thePythagorean tetractys (the width of the façade =123’ 4’’) d) The western rosewindow is shown(13.50 m) and the labyrinth. We talk about thecompositional relation between the rose windowand the labyrinth (the illuminated place and thepath). e) Exercise: the participants receive photo-copies of the labyrinth and the task is to passthrough them (eleven layers of the world = elevenswirls: eight platonic spheres, the spirit, the soul,and Almighty God). The path is only one – theright one. The labyrinth is an archetypal symbol ofthe world. The pilgrims pass through it on theirknees. The rose window – mandala = cosmosthrows its light on the labyrinth – path = cosmos,so in an ordered world the place and the pathbecome one. Instructions concerning the mythical

246

Mjere katedrale u Chartresu/The measurementsof the Chartres cathedral

Prolaènje kroz labirint katedrale uChartresu/Passing through the labyrint of theChartres cathedral

U tlocrt su nacrtana tri oblika/Three shapes aredrawn on the plane

Voditelj tuma~i/The workshop leader explains

Istraùju se mjere S. Spirita/Santo Spirito’s mea-surements are explored

Istraùju se stereogramski oblici Chartresa/ The stereogramic shapes of Chartres are explored

Studenti pomaù u istraìvanju fasade Il Redentore/The students-instructors help in the exploration of the Il Redentore façade


the chapels turned towards it, and the “shifted”ambulatory - an ambulatory for “dwarfs”), the con-trast between the vault and the supports (the barrelvault with the lunette arches “floating”, and the wallmassive but articulated with archeshalf/quarter/eighth parts of the columns and pillarsand their connection: the heavy entablature whichbelongs to another, the post and beam structuresystem) c) Slides taken in different illumination areshown.5. The participants study the plan of Asam-kirche,the church of St. John Nepomuk in Munich (1733-46) by Egid Quirine Asam. This is a one nave longitu-dinal building, which due to the way it is shapedbecomes a place. The measurements are not ofinterest any more. Everything is in the total engage-ment of attention and in the Gesamtkunstwerk, archi-tecture becomes a sculpture, a painting and all thisexists as a pure illusion: an illusion of materials,mediums, space. In the basic education of our atten-tion which always occured spontaneously in thepast, through the rituals/ceremonies (music, words,pictures, space, dance) we have now arrived at amoment when our attention want to be filled everymillimeter or minute, but we are on a very dangerousboundary of losing the measurements and the dooris fully opened to the so called sacral kitsch (thedecadence of sacral art) in the next century.

omjerima/razmjerima i zamišljaju svoj put kroz prostor, a na pro~elju se, preko pausa, iscrtavajuproìmanja trokutastih zabata. b) Projiciraju se snimci izvana. Crkvi se pribliàvamo vodenimputem (razli~ite udaljenosti, razli~ite strane). Osvještava se maniristi~ki karakter pro~elja. c)Projiciraju se snimci unutrašnjosti: cilj (dovodi se u pitanje ophodom iza i kontra svijetlom), put(velika središnja dvorana i kapele koje su okrenute prema njoj, te “pomaknuti” ophod - ophod za“patuljke”), kontrast svoda i nosa~a (ba~vasti svod sa štih kapama posve “lebde}i” i masivan zid,ali razra|en polu/~etvrt/osminom stubova i stupova te njihovo sastajalište, jaki napust vijenac kojipripada drugom, arhitravnom sustavu). d) Projiciraju se snimci u razli~itim osvjetljenjima.5. Sudionici razgledavaju tlocrt Asamkirche, crkve Sv. Ivana Nepomuka u Münchenu (1733.-1746.,duljina: 28,2 m; širina: 8,8 m) Egida-Quirina Asama. Rije~ je o jednobrodnoj uzdu`noj gra|evini, kojapo na~inu oblikovanja postaje mjesto. Mjere više nisu zani-mljive. Sve je u potpunom angaìranjupozornosti i u Gesamtkunstwerku - arhitektura prelazi u skulpturu, u sliku i sve to kao ~isti iluzionizam:iluzioniziranje materijala, medija, prostora. U temeljnom odgoju osjetila, što se u prošlosti doga|alospontano, putem obreda (glazbom, rije~ju, slikom, prostorom, plesom) stigli smo do trena kada se svakimilimetar/trenutak pozornosti èli ispuniti, ali smo na osjetljivoj granici gubitka mjere, i vrata su širomotvorena onome što }e se dogoditi u idu}em stolje}u, i što nazivamo sakralnim ki~em (dekadencijasakralne umjetnosti).

249the column = 3 M etc; c) The whole is projected(the width of the nave is recognised as 2 x 2 M; theheight of the column: 3 M; the height of the arch: 4 M; the height of the first cornice over the arches: 5M; the height of the second cornice over the window:8 M (3 - 5 - 8 = Fibonacci series) d) With a largenumber of slides we become aware of the path(compared with Chartres). An explanation is givenabout the meaning of the four entrances (the samevalue), the ambulatory, the exterior niches whichBrunelleschi had foreseen but were not executed: cir-cumambulating the central part, which means losingone-dimensional movement; e) Watching the slideswe become aware of the constructive elements, too,(the skeleton made of pietra serena), of the complex-ity of the space and of the character of light.4. a) The participants get a plan of Il Redentore byA. Palladio (1577-1592, 28.2 x 8.8 m, Venice). Theyexplore: the measurements - the evasion of com-mon ratios/proportions and they imagine their paththrough the space. On the façade (on tracing paper)they draw the interpenetration of the tympanums. b) Some slides of the exterior are projected. Weapproach the church across the water (different dis-tances, different sides). The participants becomeaware of the mannerism of the façade); c) We pro-ject some slides of the interior: the aim (it is calledinto question through the ambulatory behind and thecounter light), the path (the large central room and

248


251


nesumjerljivostincommesurability

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ku}a = 20b : 14a (220 : 112)house

najmanji zajedni~ki nazivnik za: 24'' i 33''the smallest common denominator for

modul:24''33'' 1'' = 2,53 cm

11a

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250


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SSTTOONNEEHHEENNGGEE IIIIII((OOKKOO//AAPPPPRROOXX.. 11770000 PPRR.. KKRR..//BB..CC..))

izlazak sunca iznad Heelstoneathe sunrise above the Heelstone

strukturalna jedinica: 8b x 11a = 22' =264'' structural unit:

K1

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^2

K2

M

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56 Aubrijevih rupaAubrey's holes

jaraktrench

nasipdike

(HOYLE)

A1234 Heelstone

4. We announce the main topic: the comparison ofthe prehistorical architecture of Stonehenge andFarnsworth House in Plano by L. Mies van derRohe (1950). a) First we look at the slides ofStonehenge III at different seasons and illumina-tions (1700 B.C.). We explain what menhirs, dol-mens, chromlechs are and attention is directed tothe height of the stones (6-10 m), to the elabo-rateness (the so called enthasis), to the purpose(to “draw” the Sun into the center of the sanctu-ary) b) The aerial slide of the whole reveal theremnants of Stonehenge I (2600 B.C.); c) The participants get a plan with the analysis ofF. Hoyle and a plan prepared for a game. Twoseashells and two snailshells are distributed toeverybody. Instructions are given for the “game”:one seashell is put on number 38, the other onnumber 10, one snailshell on number 46, the otherone on number 18. The seashells mark the move-ments of the Moon and the Sun, the snailshells theMoon’s knots. Explanations are given of theStation Stones, the Heelstone, Aubrey’s holes, ofA1, A2, A3, A4) d) The game begins. Instruc-tions: with the seashell which represents the Moonyou start from the 38th hole anticlockwise andevery day go over two holes. The workshop leaderannounces: first day, second day etc. On the tenthday when they arrive at the 18th hole there is adiscussion about the possibility of an eclipse, ifthe Sun is near (± 15 o Sun), but since it is faraway the “game” goes on, there is no eclipse. Onthe 13th day we include into the game the otherseashell, which represent the Sun and from the10th hole we put it two holes further also anti-clockwise. Simultaneously the days pass and theshell which represents the Moon is moved. When,on the 24th day, we arrive at the 46th hole weagain study the situation of the Sun, because therecould be an eclipse again if the Sun is near. Thistime again it is not the case and so we go on tillthe 26th day. Now, for the second time (every thir-teenth day) the seashell which represents the Sunis placed in the next position. Eventually we arriveat the 28th day and become aware that a monthhas passed. Naturally, we could play in the sameway till the whole year passes (366 days). Butnow we imagine that that has happened and weshift the snailshells three holes clockwise. Theywill arrive in the starting position in 18 years andthen an eclipse of the Sun will occur. We discussthe fact that such a perfect instrument should havebeen maintained (to correct the Moon twice amonth, and the knots every 18 years, which musthave been probably forgotten). Instructions aregiven about the importance and geniality of A1 A2A3 A4. A1 marks the northernmost place of theMoon’s rise, because the Moon does not rise in

253252 U o s m o j radionici namjera je osvijestiti na~ine kako je arhitektura namijenjena gledanju, kakoje arhitektura pripremljena da se iz nje gleda svijet i kako uspijeva biti svijet.

Ambijent: Isti je kao i u prethodnim radionicama. Potrebni su fotokopije, sitni predmeti zadruštvenu igru (školjke i puì}i).

Struktura doga|anja1. Sudionike se podsje}a na omjere radionica (dvije uvodne prema, tri posve}ene centralnim pros-torima; dvije posve}ene uzdu`nim, prema sada preostalim trima koje slijede i od kojih je svakasamostalna tema). Sudionike se pojedina~no pita kako na temelju svih dosadašnjih iskustava gledajuna arhitekturu i kako iz arhitekture gledaju svijet.2. a) Pokazuje se snimak cjeline Partenona i osvještava se klasi~nost oblikovane cjeline: stvara se iluzijada je hram - svijet namijenjen ~ovjekovom pogledu saglediv iz jednog mjesta, da je ~ovjeku primjerenomjesto (sagledava se pod kutem od 27º i istodobno se razabiru najsitniji detalji). b) Pokazuju se snimcikatedrale u Strassbourgu i u Bourgesu i osvještavaju se kao kontrastni primjeri Partenonu. Katedrala jesvijet koji nije stvoren po ~ovjekovoj mjeri, nije saglediv iz jednog mjesta nego je namijenjen Bo`jempogledu. c) Slijede snimci verande i pogled s prozora Ljetnikovca Katsura u Kyotu. Za razliku i odPartenona i od goti~kih katedrala ovdje se ne radi o sagledivosti ili nesagledivosti cjeline arhitekture(svijeta), nego arhitektura nastaje da bi se iz nje pruìo pogled u smisleni svijet.3. a) Snimci unutrašnjosti katedrale u Bourgesu pokazuju kako obojena svjetlost pada po arhitekton-skim detaljima i kako je to svjetlosno zbivanje namijenjeno ~ovjeku promatra~u. Ali, kao što izvanapogledu izmi~e cjelina zdanja, tako i u unutrašnjosti, ako se nastoji pratiti mnoštvo kretanja raznobojnihsvjetala po podu, zidovima, stupovima, svodu, granice prostora postaju sve pomi~nije i cjelina izmi~e:mi se kre}emo, a i prostor se kre}e s nama. Prostor postaje vidljiv zbog obojene svjetlosti namijenjenepogledu, ali mu izmi~e zbog pomi~nosti. Arhitektura nastaje da udomi svjetlost (naravno i ljude, u kate-dralu u Bourgesu stane 6.000 ljudi). Ono što vidimo je transformacija svjetlosti, ono o ~emu kontempli-ramo je svjetlost sama (svjetlost je prvo o~itovanje, prva tajna). b) Projiciraju se snimci Sv. Krià u Ninu.U jesenskom ekvinociju prati se kretanje svjetlosti od 8 sati ujutro do iza none. Sudionici dobivaju anal-izu M. Pejakovi}evu i snimke D. Jande.4. Najavljuje se glavna tema: usporedba pretpovijesnog graditeljstva Stonehengea i Ku}e Farnsworthu Planu L. Mies van der Rohea (1950.). a) Prvo se gledaju snimci Stonehengea III (1700. pr. Kr.) urazli~itim godišnjim dobima i osvjetljenjima. Objaš-njava se što su menhiri, dolmeni, kromlehi, usmjerava se pozornost na visinu kamenova (6-10 m), na obradu (tzv. entazis), na svrhu (da sesunce “dovu~e” u središte svetišta). b) Avionski snimak cjeline otkriva ostatke Stonhengea I. (2600.pr. Kr.). c) Sudionici dobivaju tlocrt s ucrtanom analizom F. Hoylea i tlocrt pripremljen za društvenuigru. Dijele im se i školjke (dva komada) i puì}i (dva komada). Upu}uje se u “igru”: jedna se školjkastavlja na br. 38, druga na br. 10, jedan puì} na br. 46, drugi na br. 18. [koljke obiljeàvaju kreta-nje Mjeseca i Sunca, puì}i Mjese~eve ~vorove. Objašnjava se što su Station Stones, Heelstone,Aubryeve rupe, A1, A2, A3, A4. d) Zapo~inje igra. Upute glase: školjkom (ozna~ava Mjesec) kreniteod 38. rupe u smjeru obrnutom od kazaljke na satu i svaki dan pre|ite dvije rupe. Voditelj govori:prvi dan, drugi dan itd. Deseti dan, kada se stigne do 18. rupe, govori se o mogu}nosti pomr~ineukoliko je Sunce blizu (± 15º), ali budu}i da je daleko, igra se nastavlja, pomr~ine nema. Trinaestogdana uklju~ujemo u igru drugu školjku, koja ozna~ava Sunce i od desete rupe je premjestimo dvijerupe dalje, tako|er u smjeru obrnutom od kazaljke na satu. Istodobno idu dani i pomi~e se školjkakoja ozna~ava Mjesec. Kada se 24. dana stigne do 46. rupe, opet se razmatra situacija Sunca, jer bimogla biti pomr~ina da je Sunce blizu. To opet nije slu~aj, i tako se nastavlja do 26. dana. Sada sepo drugi put (svaki trinaesti dan) pomi~e školjka koja ozna~ava Sunce. Kona~no se stigne do 28.dana i osvijesti se da je prošlo mjesec dana. Naravno, na isti na~in bi se moglo igrati dok se ne ispunicijela godina (366 dana). Zamišljamo da je godina prošla, i tada premještamo puì}e za tri rupe usmjeru kazaljke na satu. Oni }e za 18 godina sti}i u po~etnu situaciju, i tada }e se dogoditi pomr~inaSunca. Dalje se govori o tome da se takav savršeni instrument morao odràvati (ispravljati Mjesecdva puta mjese~no, a ~vorove svakih 18 godina, što se vjerojatno zaboravljalo). Upozorava se nava`nost i genijalnost A1, A2, A3, A4. A1 ozna~ava najsjevernije mjesto izlaska Mjeseca, jer Mjesec neizlazi uvijek na istom mjestu, na što upu}uju A2, A3, A4. Tako, svakih 18 godina Mjesec ne mora biti

In the e i g h t h workshop the intention is tobecome aware of the modes how architecture isintented to be looked at and how it is prepared forus to look at the world from a work of architectureand how architecture manages to be the worlditself.

Ambience: As in the former workshops. Photo-copies, small objects for a game (for instance:seashells and snailshells) are available.

Structure of the activity1. The participants are reminded of the ratios of theworkshops (two introductory ones, to three devotedto central spaces; two devoted to longitudinal onesto now the three which follow and which are inde-pendent topics). The question is posed to everyoneseparately, how on the basis of the gained experi-ence do they look at architecture and how do theylook at the world out of a work of architecture?2. a) We present a slide of the whole of theParthenon and become aware of a classicallyshaped whole: an illusion is created that the temple,the world is apprehensible from one place, and thatit is a place adjusted to Man (it is apprehensible atan angle of 27º and at the same time the smallestdetails can be distinguished) b) Some slides of thecathedrals in Strasbourg and Bourges are shown asexamples contrasting with the Parthenon. Thecathedral is the world, not created according tohuman scale, is not apprehensible from one placebut intended for God's sight.3. a) Some slides of the interior of the cathedral inBourges show the coloured light which is meantfor human eyes. But as the whole evades sight, sospace evades in the interior: we move, and thespace moves with us: the space becomes visiblebecause of the colo-ured light, but evades usbecause of its mobility. b) A work of architectureis made to house light and naturally Man too (thecathedral of Bourges has space for six thousandpeople for instance), what we see is a transforma-tion of light, what we contemplate is light itself.(Light is the first manifestation, the first secret)Some slides of the church St. Kri` in Nin are pro-jected. At the autumnal equinox the movement ofthe light was followed from 8 in the morning tillthe afternoon. The participants receive some pho-tocopies of M. Pejakovi}’s analysis and a set ofphotographs by D. Janda. c) Some slides of theveranda and the view from a window in the sum-mer residence Katsura in Kyoto are shown.Different from the Parthenon and gothic cathedralshere the question is not the apprehensibility or nonapprehensibility of the whole of architecture(world) but a work of architecture is made toenable a look at the meaningful world.

Igra Stonehengea: studenti-instruktori dijeleplanove/The Stonehenge game: the students-instructors distribute the plans

Voditelj dijeli puì}e i {koljke/The workshop leaderdistributes snailshells and seashells

Stavljaju se puì}i i {koljke na Aubrijeverupe/The snailshells and seashells are put onAubrey’s holes

Stavljaju se puì}i i {koljke na Aubrijeverupe/The snailshells and seashells are put onAubrey’s holes

Sudionik izlaè/A participant talks Voditelj tuma~i/The workshop leader explains

Student-instruktor tuma~i/A student-instructorexplains

Istraùju se mjere ku}e Farnsworth/The measurements of Farnsworth House areexplored


compared with a bay, about an opening similar tothat in a Japanese house, about Man’s freedom onwhich architecture is counted, about the simul-taneity (interior-exterior-interior), about the role ofNature - it reflects and about the similarity withStone-henge I - it is not a glance at the world, it isthe world. The whole experience of the supremearchitecture of Mankind is necessary to be able tolive in that house, to live in a total theatre whereevery gesture/movement has its meaning.

255254 na istom mjestu. e) Slijede ponovo snimci Stonehengea. Govori se o savršenom kozmosu, ne tek opogledu u svijet kao u Stonehengeu III., nego o svijetu, kozmosu koji funkcionira. Govori se orazli~itom shva}anju povijesti. Graditelji Stonehengea III. poznaju metal, grade velebno zdanje, “navišem su stupnju razvoja”, ali više ne umiju predskazati pomr~inu Sunca, više ne grade kozmos, negopogled u njega i pogled iz njega. f) Projicira se snimak Ku}e Farnsworth u Planeu Miesa van derRohea izvana. g) Sudionici dobivaju tlocrt i sa studentima-instruktorima istraùju mjere (modul: 24’’: 33’’; 1’’ = 2,53 cm; strukturalna jedinica je kvadrat sa stranicama: 8b = 11a = 22’ (22’ =264’’ što je zajedni~ki nazivnik za 24’’ i 33’’ tj. 264/24 = 11; 264/33 = 8); ku}a je 20b : 14a (220 : 112). h) Opet se projiciraju snimci, ovoga puta unutrašnjosti. Uspore|uju se rezultatiistraìvanja (izmicanje jednostranoj ~itljivosti) s rezultatima kod Palladijevih zdanja. Govori se onesumjerljivosti, o strukturalnoj jedinici u usporedbi s travejom, o otvaranju sli~nom japanskoj ku}i,ali najva`nije o slobodi ~ovjeka, na koju arhitektura ra~una, o istodobnosti (unutra - van - unutra), o ulozi prirode - ona se ogleda, o sli~nosti sa Stonehengeom I. - nije pogled u svijet, nego je svijet.Potrebno je cijelo iskustvo vrhunske arhitekture ~ovje~anstva da bi se moglo ìvjeti u Ku}iFarnsworth, ìvjeti u totalnom teatru gdje svaki pokret ima smisao.

the same place, about which A2 A3 A4 instruct. Itmeans the Moon need not be in the same placeevery 18 years. e) Again some slides ofStonehenge are shown. We talk about the perfectCosmos, not about views in the world as it is inStonehenge III but about the world, about theCosmos which functions. We talk further about thedifferent concepts of history. The builders ofStone-henge III knew metals, they built grandiosebuildings, “they were on a higher level of evolu-tion”, but they could not foretell an eclipse of theSun any more, they did not build the Cosmos anymore but a glance in it and out of it. f) A slide ofFarnsworth House in Plano, by Mies van der Rohefrom outside is shown. g) The participants get aplan and together with the instructors explore themeasurements (module: 24’’ : 33’’; 1’’ = 2.53cm; the structural unit is a square with sides: 8b= 11a = 22’ (22’ = 264’’ which is the commondenominator for 24’’ and 33’’, it means : 264 / 24= 11; 264 / 33 = 8); the house is 20 b : 14 a(220 : 112). h) Slides are shown again, this timeshowing the interior. The results of the explo-rations are compared (evading onesided readabili-ty) with the results of Palladio’s buildings. We talkabout incommensurability, about a structural unit


257256


"Neke su stvari svete a neke nisu." "Some things are sacred and others are not."(Le Corbusier)

modulor

pogled izvana prema unutra i ponovo van (PROPUSNOST)glance from outside to inside and again outside (PASSABILITY)

25.00

4.78

4.30 4.30 4.304.30

4.304.30

2.26

10.0

0


LLEE CCOORRBBUUSSIIEERR:: NNOOTTRREE DDAAMMEE DDUU HHAAUUTT,, 11995500..--5555..,, RROONNCCHHAAMMPP

LL EE CC OO RR BB UU SS II EE RR :: NN OO TT RR EE DD AA MM EE DD UU HH AA UU TTODMICANJE KONSTRUKTIVNIH I FUNKCIONALNIH ELEMENATAZID SE DRUGOM ZIDU PRIBLI@AVA, NE NU@NOSTI RADI NEGO SLOBOD-NO

MOVING AWAY OF CONSTRUCTIVE AND FUNCTIONAL ELEMENTSTHE WALL DOES NOT APPROACH THE OTHER WALL BECAUSE OF

NECESSITY BUT FREELY

away because each shift is filled with numerousdetails). c) The plans are distributed the participantslook at their compositions and at the plan of thechapel. First they compare their own compositionsand the plan concerning the closeness and distancesof the walls; they explore the measurements (theyreceive photocopies of Le Corbusier’s Modulor and aplan with the written measurements); at the end theynotice the difference between the Golden Section asa relation (an experience till now) and about theimportance of the particular Golden Section numbersin relation to human scale. d) We present an aerialslide and several made during the process of buildingand an axonometry. We explain the construction (theshell: 6 cm width; the supports at a distance of 4.30m; the walls made of the material of the destroyedchurch). e) Slides made in another season follow.The first set was taken in summer, the others in win-ter. An interpretation is made about the independenceof the walls. Each “wall” is individual in itself,autonomous and does not approach the other “wall”because of necessity but freely. f) A series of slides(wholes and details) where we can see the interior indifferent illuminations are shown. We become awareof the gaps between the walls and the roof.Instructions are given about the difference betweenAsam’s and Bernini’s baroque theatres and the ambi-guity of Le Corbusier’s. The affectedness by super-natural light is achieved as an effect, but also thepossibility to check how it is made. g) Some details:light spots on the wall, the view from the exterior inthe interior and again the exterior. h) the participantsreceive a short text by Le Corbusier about the “thingswhich are sacred and which are not”. The partici-pants are asked to bring magnifying glasses nexttime.

259258 Namjera u d e v e t o j radionici je detaljno upoznati sudionike s jednim modernim graditeljskimostvarenjem; ste}i iskustvo o slobodi pogleda, na koju moderno graditelj-stvo ra~una; uputiti naprimje}ivanje malih promjena.

Ambijent: Isti je kao i u prethodnim radionicama. Potrebni su fotokopije i izrezani oblici tlocrta uomotnicama.

Struktura doga|anja1. Zapo~inje se vje`bom. Dijele se tri linijska oblika, izrezani oblici tlocrta Le Corbusierove kapeleNotre Dame du Haut (sudionici to ne znaju). Traì se da se malo poigraju, da uz pomo} njih kom-poniraju: a) pribliàvaju}i ih me|usobno; b) tako ih pribliàvaju}i, da tvore nešto unutrašnje i neštovanjsko. Upozoravaju se da ne razmaknu elemente svoje kompozicije.2. a) Velikim brojem snimaka obilazi se Le Corbusierova kapela Notre Dame du Haut u Ronchampu(1950.-1955.) izvana. Prvo se govori o breùljku na kojem se diè kapela, o posebnom karakteru mjes-ta koja se uobli~uju kozmi~kim energijama, ali i ljudskim hodo~aš}ima i gradnjama. Sudionici se pozi-vaju na hodo~aš}e i postupno se snimcima pribliàvamo. b) Slijedi obilazak i istraìvanje. Osvještava seod ku}e Farnsworth razli~ita, druga vrsta slobode. Radi se o odmicanju konstruktivnih i funkcionalnihelemenata (usporedba s udvostru~enjem zida goti~ke katedrale). To je graditeljstvo koje ra~una naprimje}ivanje malih promjena u odnosima masa - prostor, svjetlo - sjena, boja. To je struktura kojaosloba|a pogled i ra~una na osjetljivost pogleda, prire|uju}i male promjene koje primje}uje samoistan~ano oko i samo ono uìva u njima (usporedba: Asamkirche ne dopušta da pogled odluta, jerispunjava svaki pomak mnoštvom detalja). c) Dijele se fotokopije pravog tlocrta. Sudionici gledaju usvoju kompoziciju kao i u tlocrt kapele. Prvo uspore|uju vlastite kompozicije i tlocrt sa stanovišta blizinei udaljenosti zidova, potom istraùju mjere (dobivaju fotokopije Le Corbusieurova modulora i tlocrta sucrtanim veli~inama) i najzad uo~avaju razliku izme|u zlatnog reza kao odnosa (dosadašnje iskustvo) iva`nosti pojedinih zlatnoreznih brojeva u odnosu na ljudske veli~ine. d) Pokazuje se snimak odozgora isnimci za vrijeme gradnje, te aksonometrijski crte`. Objašnjava se konstrukcija (ljuska: 6 cm debljine;nosa~i na razmaku od 4,30 m; zidovi od materijala razrušene crkve). e) Slijedi niz snimaka u drugomgodišnjem dobu. Prvi su snimci bili u~injeni ljeti, sada se projiciraju snimci nastali zimi. Interpretira sesamostalnost zidova. Svaki je “zid” individualnost za sebe, autonoman, i drugom se “zidu” nepribliàva nu`nosti radi, nego slobodno. f) Slijedi niz snimaka (cjeline i detalja) na kojima se vidiunutrašnjost u razli~itim osvjetljenjima. Osvještavaju se razmaci izme|u zidova i izme|u zidova i krova.Upozorava se na razliku izme|u Asamova i Berninijeva baroknog teatra te dvosmislenosti u LeCorbusieura. Postignut je efekt obuzetosti nadnaravnim svjetlom, ali postoji i mogu}nost provjere kakose dolazi do tog efekta. g) Projicira se nekoliko posebnih snimaka detalja: svjetlosne mrlje na zidu, pogled izvana prema unutrai ponovo van. h) Sudionici dobivaju kratki Le Corbusierov tekst o “stvarima koje su svete i koje nisu”.Na kraju se sudionici zamole da sljede}i put donesu sa sobom pove}ala.

The intention in the n i n t h workshop is to getto know in detail a great modern architectural art-work; to gain experience about the freedom of gazeon which modern architecture counts; to giveinstructions about noticing small changes.

Ambience: The same as in the former one.Photocopies, cut out shapes of the plan inenvelopes are available.

Structure of the activity1. We begin with an exercise. Three linear shapes,the cut out shapes of the plane of Le Corbusier’schapel Notre Dame du Haut (the participants do notknow what these are) are distributed. The task is toplay with them for a short time and to make a com-position of them a) by bringing them near to eachother; b) by bringing them near so that they createsomething interior and something exterior. They aretold to keep their compositions.2. a) Le Corbusier’s chapel Notre Dame du Haut inRonchamp (1950-55.) is shown with a large numberof slides from the outside. First we talk about themound where the chapel was built, about the particu-lar character of places which have been shaped bycosmic energies but also by human pilgrimages andarticulated by human buildings. The participants areinvited on an imaginary pilgrimage and gradually,through the slides, we approach. b)Circumambulat-ing and exploration comes next. The participantsbecome aware of a kind of freedom, different fromthat of Farnsworth House. It is a detachement of con-struction and functional elements (comparison withthe doubling of a Gothic wall). This is an architecturewhich counts on noticing little changes in the mass-space, light-shadow, colour relations. This is a struc-ture which liberates the gaze and counts on its sensi-bility, preparing little changes which are noticed onlyby a subtle eye and only it enjoys them (Comparison:Asam Kirche does not allow the gaze to wander

Komponiranje Le Corbusierovim “zidovima”:razgovor/Composing with Le Corbusier's “walls”:discussion

Komponiranje Le Corbusierovim “zidovima”:individualni rad/Composing with Le Corbusier's“walls”: individual work

Studenti i sudionici rade zajedno/Students andparticipants work together

Voditelj tuma~i/The workshop leader explains

Kompozicija linijskih oblika (Kapela Ronchamp)/A composition of linear shapes (Ronchamp Chapel)

Diskusija/Discussion

Studenti tuma~e Modulor/Students explain theModulor

Studenti tuma~e Modulor/Students explain theModulor


261260


ruga

campo campiello

ponte

piazzetta/piazza

ramo

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AA.. PPAALLLLAADDIIOO::IILL RREEDDEENNTTOORREE,,VVEENNEECCIIJJAA//VVEENNIICCEE

(POGA^NIK)

ZMAJEVA LINIJA (ENERGETSKI TOK) DRAGON'S LINE (ENERGETIC FLOW)


canal fondamente

salizzada calle calle largha

rio

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squares of Venice. We explain what are: canal, rio,fondamente, salizzada, calle, calle largha, ramo,ruga, campo, campiello, piazzetta, piazza, ponte. d) The participants receive a very detailed plan ofVenice. The place from where each participantshould start is marked (Frari, Campo S. Margherita,S. Sebastiano, S. Trovaso, Ca d’oro S. Maria dellaSalute, SS. Giovanni e Paolo, Ghetto Nuovo, S. Pietro in Castello, San Francesco della Vigna, TrePonti etc.) and they should arrive at Piazza S.Marco. It is not necessary to hurry, the importantthing is to become aware through what types ofstreets or squares they pass. e) A film is presentedabout the Piazza San Marco (D. Janda) with a text ofM. Butor - a description of the façade of the BasilicaSan Marco (tape, reading by B. Ipša, Z. Crnkoviæ, T. Rališ). f) Some slides of the Piazza are next. g) Il Redentore, Isola di San Giorgio and San Pietroin Castello are presented, we talk about the connec-tions between these Palladio’s churches in Veniceand the so called Dragon’s line. Instructions aregiven about the place considered as an energeticknot, about other linear flows (water, air and fireflows), which flows of energy are the lines of thelandscape.3. The last slide has to be a surprise. The churchSt. Marko in Zagreb is shown. M. Poga~nik’shypothesis: the three Palladio's churches are onthe same Dragon’s line, which continues north-wards across Istria and reaches the church of St.Marko in Zagreb (a blockade probably exists atIlirska Bistrica)4. The workshop leader thanks all the participantsand students and invites them to a discussion withrefreshments.

263262 U posljednjoj, d e s e t o j radionici, namjera je osvijestiti postojanje ideje idealnoga grada u svimkulturama; iz razli~itih aspekata osvijetliti izuzetnost Venecije; uputiti na mjesta kozmi~kih energetskihtokova i na vezu Venecije i Zagreba.

Ambijent: Isti je kao i u prethodnoj radionici. Potrebni su dva projektora, kazetofon, televizor,video te fotokopije velikog, detaljnog plana Venecije i pove}ala.

Struktura doga|anja1. Na zidu se pojavljuju jedna pokraj druge, vastupuruša mandala - plan Brahma-pure i minijatu-ra Nebeski Jeruzalem (Komentari Apokalipse Beatusa iz Liebane, poznatog iz radionica P o ~ e l ai n a ~ e l a). Posve se kratko uputi na broj polja, na Brahmastan, na gnomonski rast (spirala) isluša se tekst B. Hamvasa: Brahma-pura (Scientia Sacra).2. a) Slijedi pri~a iz Nebeske reportaè F. Karinthyja (sluša se snimka dramatiziranog teksta). Junaku šestom krugu svojega nebeskog putovanja (ne napušta vagonski kupe, nije rije~ o tome da semijenja mjesto, nego svijest) stiè u grad. Kada vodi~ (ima ga kao što ga je i Dante imao) digne zastor u kupeu, on ugleda Veneciju, pravu Veneciju, grad ispunjenih, ostvarenih èlja. b) Pokazuje sesnimak Venecije izdaleka i onda niz iznimnih snimaka detalja i specifi~nosti. c) Postupno se prelazi nasnimke ulica i trgova. Tuma~i se što je canal, rio, fondamente, salizzada, calle, calle largha, ramo,ruga, što je campo, campiello, piazzetta, piazza, ponte. d) Sudionici dobivaju detaljnu kartu Venecije.Svakom je ozna~eno jedno mjesto odakle treba krenuti (Frari, Campo S. Margherita, S. Sebastiano,S. Trovaso, Ca’ d’oro, S. Maria della Salute, SS. Giovanni e Paolo, Ghetto Nuovo, S. Pietro inCastello, S. Francesco della Vigna, Tre Ponti) i sti}i do Piazze S. Marco. Pritom se nije potrebnoùriti, a va`no je osvijestiti kojim se sve vrstama ulica i trgova prolazi. e) Projicira se film o Trgu Sv.Marka (D. Janda) uz tekst M. Butora - opis pro~elja bazilike Sv. Marka (zvu~ni snimak, ~itaju: B. Ipša, Z. Crnkovi}, T. Rališ). f) Slijedi niz snimaka Trga Sv. Marka. g) Pokazuju se Il Redentore,Isola di San Giorgio i San Pietro in Castello, i govori se o njihovoj povezanosti takozvanom zmajevomlinijom (vatreni tok). Upozorava se na shva}anje mjesta kao energetskog ~vora, na ostale linijsketokove (vodene, zra~ne), koji ~ine energetske tokove krajolika.3. Zadnji snimak treba biti iznena|enje. Pokazuje se crkva Sv. Marka u Zagrebu. Spominje se pret-postavka M. Poga~nika: tri Palladijeve crkve su na istoj zmajevoj li-niji, koja se preko Istre nastavljaprema sjeveru i stiè do crkve Sv. Marka u Zagrebu (blokada je vjerojatno nedaleko od Ilirske Bistrice).Voditelj se zahvaljuje svim sudionicima i poziva ih na proslavu (razgovor, sokove i kola~e).

In the last, t e n t h workshop the intention is tobecome aware of the concept of an ideal city in allcultures; to enlighten from different aspects theextraordinariness of Venice; to learn about the cos-mic energetic flows and about the connectionbetween Venice and Zagreb.

Ambience: As usual. Two projectors, a photocopyof a great detailed plan of Venice, a video and audioplayer, a TV set, magnifying glasses are necessary.

Structure of the activity1. The Vastupurushamandala the plan of Brahma-pura and the illumination Heavenly Jerusalem (theCommentaries of Apocalypse by Beatus deLiebana, already known from the workshop Originsand Principles) appear beside each other on thewall. A brief instruction about the fields inVastupurusha-mandala, about the Brahmastan andthe gnomonic growth (spiral) and the text by B. Hamvas: Brahma-pura (from Scientia Sacra) isgiven on tape.2. The next is a fragment of the novel The HeavenlyReport by F. Karinthy: (a tape of the dramatisedtext). The hero in the sixth circle of his heavenlyjourney (he does not really leave the compartment inthe train, because the point is not in the change ofplace but of conscioussness) arrives in the City.When the guide (he has one as Dante had) drawsopen the curtain in the compartment he looks atVenice in astonishment, at the real Venice, the cityof fulfilled and realised desires. b) We show a slideof Venice taken from a distance and later a series ofextraordinary slides of details and specific views. c) Gradually we go to the slides of the streets and


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