Terunobu Fujimori, StorkhouseStorkhouse, Raiding, AustriaStorkhouse, Rajnof, Austrija130 131Terunobu Fujimori, Storkhouse

¶ Gradišće nije uvijek bilo odredište u kojem ste mogli vidjeti pri-mjere suvremene arhitekture. Nakon 1990. doživjelo je duboku preobrazbu. Sagrađene su vinarije, javne zgrade i obiteljske kuće s izrazito modernim karakteristikama, a bukolički krajolik, bogato povijesno naslijeđe te organska poljoprivreda, učinili su kvalitetu života zaštitnim znakom čitave regije. ¶ Rajnof je malo trgovište koje se nalazi na samom izlazu južnog dijela autoceste S31, koje je postalo poznato 2006., kada je otvorena Koncertna dvorana Franza Liszta, koju je projektirao arhitektonski ured Kempe Thill. Odmjereno stroga i izvrsno pozicionirana zgrada nalazi se u parku nasuprot skladateljeve rodne kuće, pružajući nedvojbeni dašak suvremenosti glazbenim programima koji

Transformed Vernacular

Transformirana vernakularnost

¶ Burgenland has not always been a place to go to for contem-porary architecture. Burgenland underwent profound trans-formation in the period after 1990. New wineries, public build-ings and family houses were built with a distinct contemporary character, and the bucolic landscape, rich cultural heritage and organic agriculture made the quality of life a main brand of the entire region. ¶ Raiding is a tiny market town just off the southern end of the S31, which made headlines in 2006 when the Franz Liszt Concert Hall, designed by Atelier Kempe Thill, opened. The subtly austere and masterfully positioned build-ing sits in a park opposite the birthplace of the composer, giv-ing an uncompromisingly contemporary edge to the musical

napisao written by

Terunobu Fujimori

Samu Szemerey

arhitekt architect

fotografije photographs by

portret portrait

Tamas Bujnovszky (tb)Philipp Kreidl (pk)Roland Hagenberg

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programs which make Raiding a place of Liszt und Lebensqual-ität. Given this background, local ideas to use innovative archi-tecture to reflect on vernacular heritage and connect with global cultural networks seem hardly surprising. The Raiding Foundation, an initiative of Austria-born, Japan-based film-maker Roland Hagenberg, set out in 2010 to do exactly this. Besides inviting ten leading Japanese architects to create small guesthouses in Raiding, other programs including exhibitions on Japanese architecture and art as well as concerts by Japa-nese musicians have been building ties between the village and the international creative scene. ¶ Just a short walk from the concert hall, the Storkhouse stands on a narrow, oblique plot between old family houses lining the street. Pulled back to the middle, the tiny guesthouse is surrounded by the archetypi-cal volumes of neighboring buildings and the trees. A fitting scenario for the intimately eccentric architecture of Tenurobu Fujimori. The maverick architecture historian spent his early career researching forgotten Western-style architecture in Japan, establishing interdisciplinary research groups like the Architectural Detectives or the Roadway Observation Society. The group’s long-term, extensive fieldwork and award-win-ning, influential publications on unexpected urban details and patterns were not unlike Venturi and Scott-Brown’s projects a decade earlier. This personal touch and close attention to

čine Rajnof mjestom Liszt und Lebensqualität (Liszta i kvalitete života). S obzirom na ovakvu pozadinu, ne iznenađuju lokalne ideje koje koriste inovativnu arhitekturu kako bi se referirale na naslijeđe vernakularne arhitekture te se povezale s globalnim kulturnim mrežama. Udruga Raiding Foundation, nastala na inicijativu filmaša Rolanda Hagenberga koji je rođen u Austriji, a djeluje u Japanu, osnovana je 2010. upravo s ovim ciljem. Uz poziv desetku vodećih japanskih arhitekata da projektiraju gostinjske kuće u Rajnofu, ostali programi – uključujući izložbe o japanskoj arhitekturi i umjetnosti, kao i koncerte japanskih glazbenika – stvarali su veze između sela i međunarodne krea-tivne scene. ¶ Udaljena tek kratku šetnju od koncertne dvorane, Storkhouse nalazi se na uskoj parceli okruženoj starim obitelj-skim kućama koje su poredane uz ulicu. Uvučena u sredinu, malena gostinjska kuća okružena je arhetipskim volumenima susjednih zgrada i drveća. Scenarij je to prikladan za intimnu i ekscentričnu arhitekturu Terunobuja Fujimorija. Buntovni povjesničar arhitekture na početku svoje karijere proučavao je zaboravljenu arhitekturu zapadnog stila u Japanu te utemeljio interdisciplinarna istraživačka udruženja poput Architectural Detectives (Arhitektonski detektivi) ili Roadway Observation

Storkhouse je prva od deset kuća za odmor kojima je cilj povezivanje Raj-nofa i međunarodne kreativne scene

The Storkhouse is the first of the ten retreats which aim to connect Raiding with the international creative scene

details was carried on to Fujimori’s work as a designer, where his projects involve friends, clients and partners collaborat-ing in the construction process. ¶ The Storkhouse is the first of the ten retreats, available in a club membership scheme

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benefiting maintenance and further cultural programs. Its concept highlights another Burgenland phenomenon (besides famous musicians above all Joseph Haydn at Esterházy Castle in Eisenstadt), namely a large number of storks nesting in the area of the Lake Neusiedl, one of the largest inland lakes in Central Europe. The key element of the house is thus a pole holding a nest for storks on the top, with the rest of the build-ing leaning against it, almost as if humans moved in only after the storks settled. The tree of the pole, just like other sup-porting structural elements, is exposed and kept in its natural shape. This sculptural appearance and the otherwise simple volume respond to the neighboring buildings as much as to the trees in the gardens. The façade is clad with a localized version of Shou-sugi-ban, a Japanese tradition which uses burnt and oiled cedarwood finish to provide insulation against fire, pests and water. While this and some details are remarkably similar to other projects like the Yakisugi House, the craft-like, tac-tile qualities create a sense of personal signature by Fujimori rather than just a globalized version of vernacular, do-it-your-self modernism. ¶ Inside, the spaces are almost elementary,

but just like the architectural details, they twist the basics to the point where they are as otherworldly as familiar, as if speaking the language of the local village architecture with foreign words. The single volume interior is only structured by a gallery and a utilities box, with all finishes reduced to white walls and natural wood surfaces. The furniture has the same treatment in forms as well as materials, so the overall atmosphere is that of a single, unified environment, where the intricately crude details emphasize the scale of craft, handwork and intimacy instead of architectural assemblages. ¶ However, despite the ornamental patterns covering the wall above the fireplace and quirky natural shapes of the tree trunks, this is not a project of symbolism or nostalgia. When Fujimori first appeared on the international scene, the difficul-ties critics had in pinning down his architecture were obvious in many of their reviews. References ranged from Rudofsky’s

Society (Društvo za promatranje cesta). Dugoročni opsežni terenski rad te utjecajne nagrađivane publikacije o neočeki-vanim urbanim detaljima i obrascima bile su slične projektima Venturija i Scott-Browna desetljeće ranije. Osobni pečat i posebna pažnja pridana detaljima prenesena je i u Fujimorijev projektantski rad, a njegovi projekti uključuju prijatelje, klijente i partnere koji surađuju na građevinskim projektima. ¶ Storkhouse prva je od deset kuća za odmor dostupna u programu klupskog članstva koji uključuje održavanje i kulturne sadržaje. Program

naglašava još jedan fenomen Gradišća (osim slavnih glazbenika, ponajviše Josepha Haydna u dvorcu Esterházy u Željeznom), a to je velik broj roda koje se gnijezde u području Nežiderskog jezera, jednog od najvećih kopnenih jezera u središnjoj Europi. Ključni element kuće stoga je stablo na čijem se vrhu nalazi gnijezdo za rode, a na koji se naslanja ostatak zgrade; gotovo kao da su se ljudi uselili nakon što su se nastanile rode. Stablo, poput ostalih potpornih konstrukcijskih elemenata, izloženo je i sačuvalo je svoj prirodni oblik. Skulpturalni izgled i jed-nostavan volumen reagiraju na susjedne zgrade i na drveće u vrtu. Pročelje je obloženo lokalnom verzijom japanske tradicije Shou-sugi-ban, koja za završni sloj koristi nagoreno i uljem pre-mazano drvo cedra kao izolaciju od požara, nametnika i vode. Iako je ova tehnika, kao i neki detalji, prilično slična ostalim Fujimorijevim projektima poput Kuće Yakisugi, zanatske i tak-tilne kvalitete ostavljaju dojam njegova osobnog potpisa više od tek globalizirane verzije vernakularnog modernizma vlastite izrade. ¶ Unutrašnji prostor gotovo je elementaran, ali baš kao i arhitektonski detalji, izvrće bazične elemente do točke kada postaju i strani i poznati; kao da se koriste strane riječi kako bi se govorilo jezikom lokalne seoske arhitekture. Jednovolumni interijer strukturiran je samo galerijom i servisnim blokom, a sva završna obrada reducirana je na bijele zidove i površine od prirodnog drva. Pri oblikovanju pokućstva slijedi se isti stil kao i pri odabiru materijala pa se stvara dojam jedinstvenog pro-stora, u kojem izuzetno grubi detalji naglašavaju razinu umijeća,

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ručnog rada i intimnosti umjesto arhitektonskih asamblaža. ¶ Usprkos uzorcima koji ukrašavaju zid iznad kamina i neobič-nim prirodnim oblicima debla, ovo nije projekt simbolizma ili nostalgije. Kada se Fujimori pojavio na međunarodnoj sceni, većina kritičara imala je poteškoća s određivanjem njegove arhitekture. Reference su bile u rasponu od Rudofskyjeve ano-nimne vernakularne arhitekture, ekološke utopije, do kritičkog gledanja na modernizam. Sam Fujimori citira nekoliko izvora inspiracije, od modernističke arhitekture do arhitekture odre-đenog razdoblja, ali i osobni pečat koji ostavlja na urbane pro-store, a otkriva u svom istraživanju. Storkhouse smještena je u okruženju koje je zadržalo mnogo od svoje vernakularne kulture stare nekoliko stotina godina i koje je sve sklonije povezivanju ovog naslijeđa s 21. stoljećem. Zanati, alati, sirova i neobrađena estetika postale su vrijednosti koje se cijene u doba informacija, komunikacijskih mreža i krize. Iz te perspektive ovaj je projekt vježba povezivanja regionalnog turizma, brendiranja, globalne kulture i svakodnevnih materijalnih praksi. Upravo kao što je ova kuća manje stav o arhitekturi, a više o stvaranju prostora, njezinu opremu čine komadi izrađeni po narudžbi od dizajnera koji rade za velike globalne robne marke. Tkanine Angelice Ste-udel i keramika Setsuka Nagasawe dio su ovog procesa, kao i visokotehnološki nužnik koji predstavlja neke od ekscentrični-jih elemenata japanske kulture. ¶ Izvana, prostor ispod krova i zelenilo otvoreno prema ulici predstavljaju možda najsnažnije reference na okoliš neformalnih urbanih prostora Japana, koje se suptilno prenose na okoliš rajnofskih ulica. Bit će uzbudljivo pratiti kako će se ova interakcija odvijati i kako će utjecati na zajednicu kada se sagradi svih deset gostinjskih kuća.

authorless vernacular through ecological utopianism to criti-cal perspectives on modernism. Fujimori himself cites several sources of inspiration from modernist to period architecture as well as his personal touches on urban spaces uncovered in his research. In this case, the Storkhouse is situated in an environment which has retained much of its several hundred year vernacular culture and which is becoming increasingly comfortable with connecting this heritage to the 21st century. Crafts, tools, untreated and raw aesthetics have also become values cherished in an age of information, networks and crisis. From such a perspective, this project is an exercise in negoti-ating regional tourism, branding, global culture and everyday material practices. Just as the house is less of a statement on architecture than on making spaces, its accessories are pieces custom-made by designers working for large global brands. The textiles of Angelica Steudel and the ceramics of Setsuko Nagasawa are as much part of this process as the high-tech toilet representing some of the more eccentric elements of Japanese culture. ¶ Back outside, the space under the roof and the fenceless green opening to the street might be the strongest ambient references to the informal urban spaces of Japan, subtly orchestrating the transition back to the Raid-ing streetscape. It will be exciting to see how this interac-tion unfolds and where it takes the community when all ten guesthouses are built.

Ključni element kuće je stablo na čijem se vrhu nalazi gnijezdo za rode, a na koji se naslanja ostatak zgrade; gotovo kao da su se ljudi uselili nakon što su se nastanile rode The key element of the house is a pole holding a nest for storks on the top, with the rest of the building leaning against it, almost as if humans moved in only after the storks settled

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