TADAO ANDO - Arhitekton

22
february / march / april 2012 /architects
23
Text/Tekst: Ivan Ratković
TADAO ANDO
N
“U svim mojim projektima svetlo ima značajnu ulogu. Ja stvaram
zatvorene prostore pretežno putem upotrebe debelih betonskih
zidova. Osnovni smisao je formiranje mesta za individuu, zone
za pojedinca unutar društva. Kada eksterni faktori gradskog
okruženja zahtevaju da zid bude bez otvora, enterijer mora biti
naročito ispunjavajući i zadovoljavajući.” - Tadao Ando
akon neformalnog obrazovanja kod japanskog stolara i nekoliko nezavisnih studijskih putovanja u Aziju, Evropu
i Ameriku, Tadao Ando je prvi
put primećen posle rada na kući
Azuma, izgrađenoj u Sumiyoshi
1976., za koji je nagrađen nagradom za arhitekturu Japanske arhitektonske asocijacije.
Ova dvospratna stambena jedinica, zamišljena kao megaron
umetnut između tradicionalnih
kuća u nizu, već onda je pokazala osnovne principe Andove
arhitekture; njegov bazični koncept stvaranja introspektivnog
mikro-kosmosa koji stoji nasuprot urbanom haosu modernog sveta. Ovo je bila strategija, kako je rekao, “upotrebe
zidova radi poništavanja zidova”. Posle toga ovaj pristup se
dalje manifestovao u vidu serije
armirano-betonskih kuća od ko-
A
“In all my works, light is an important controlling factor. I create
enclosed spaces mainly by means of thick concrete walls. The
primary reason is to create a place for the individual, a zone
for oneself within society. When the external factors of a city’s
environment require the wall to be without openings, the interior
must be especially full and satisfying.” –Tadao Ando
Church of the Light (Ibaraki Kasugaoka Church),city of Ibaraki, Osaka Prefecture,1989
fter an informal
apprenticeship
to a Japanese carpenter and a number of independent
study tours in Asia,
Europe and the
Americas,
Tadao
Ando first came
to public notice
with his diminutive
Azuma house realized in Sumiyoshi
in 1976 for which
he received the
Japanese Architectural
Association
prize for architecture. This two-story
dwelling, conceived
as a megaron inserted within a row
of traditional terrace
houses, already established the essential principles of
jih je svaka, na jedan ili drugi
način, usresređena na atrijum,
a naročito njegove kuće Matsumoto i Ishihara iz kasnih sedamdesetih izgrađene u predgrađu
Osake. Prva od njih fokusirana je
na terasu - otvor ka šumskom
rezervatu. Drugo obeležje ove
male trospratne kuće odnosi se
na Andovu bazičnu sintaksu koja
podrazumeva, na prvom mestu,
njegovu uobičajenu upotrebu
neobrađenog betona, unutra i
spolja, ili u vidu zidova omotača
ili u vidu slobodnostojećeg okvira, koji koristi u kombinaciji sa
velikim površinama od staklenih
ploča ili blokova, koje su uramljene u čelične profile ofarbane
u sivo.
Kenneth Frampton, “Thoughts
on Tadao Ando”, esej prezentovan prilikom dodele Prtzkerove
nagrade za arhitekturu 1995. godine.
Ando’s architecture;
his basic concept of
creating introspective microcosms to
stand against the
urban chaos of the
late modern world.
This was a strategy,
as he put it, of “using walls to defeat
walls.”
Thereafter
this approach manifested itself in a series of reinforced
concrete
houses
each of which was
focused in one way
or another about an
atrium, in particular
his Matsumoto and
Ishihara houses of
the late seventies
built in the suburbs
of Osaka. Where the
first of these focused about a ter-
race, opening onto
a forest reserve, the
second number of
features in this small
three story house
established Ando’s
basic syntax, comprising in the first
instance his habitual
use of fair-faced insitu concrete, inside
and out, either as
a bounding wall or
as a free-standing
frame,
combined
with large areas of
plate glass or glass
block, framed in
steel and painted
grey.
By Kenneth Frampton, “Thoughts on
Tadao Ando”, the
essay presented at
The Pritzker Architecture Prize 1995
34
february / march / april 2012 / projects
35
KOUTALAKI SKI VILLAGE
Name: Koutalaki Ski Village
Size: 47.000m2
Client: Kassiopeia Finland Oy
Location: Levi, Finland
Partners in Charge: Bjarke Ingels, Jakob Lange
Project Leader: Hanna Johansson
Team: David Tao, Erik de Haan, Jeff Mikolajewski,
Jesper Victor Henriksson, Lucian Racovitan, Maren Allen
BIG WINS AN INVITED COMPETITION FOR
A 47.000 M2 SKI RESORT AND RECREATIONAL AREA IN LEVI.
The future Ski Village will
transform the existing Levi
ski resort into a world class
destination, offering top
quality accommodation and
leisure services for skiers
of all levels and demands.
The proximity to the Kittila
airport ensures easy access to the resort attracting international visitors to
Levi village and the whole
Lapland region. The Finlandbased developer Kassiopeia
Finland Oy is investing in its
local region as it currently
owns and operates Hotel
Levi Panorama, Levi Summit
Congress Center and Hotel
K5 Levi and above and beyond has interests in developing the exquisite Koutalaki
area.
“BIG’s visionary approach of
combining unique types of
accommodation and amenities along with the leisure activities offered at the resort,
left the jury in awe. BIG’s
ambitious plan challenges
traditional thinking and we
believe that the collaboration
between Kassiopeia Finland
and BIG-Bjarke Ingels Group
will rise to the occasion.”
Jury, Kassiopeia Finland Oy.
BIG JE POBEDNIK KONKURSA ZA SKIJAŠKI
KOMPLEKS OD 47.000M2 U GRADU LEVI.
Budući
ski
kompleks
pretvoriće postojeće skijaško
odmaralište u mestu Levi u
svetsko turističko odredište.
Kompleks nudi usluge vrhunskog smeštaja i rekreacije
za skijaše svih kategorija i
različitih potreba. Blizina aerodroma Kittila olakšava dolazak
do skijaškog centra i privlači
strane posetioce u Lapland
region i selo Levi. Preduzimač
Kassiopeia Finland Oy, situiran u Finskoj, ulaže u lokalnu
oblast i trenutno poseduje i
upravlja hotelom Levi Panorama, Levi kongresnim centrom
i hotelom K5 Levi i veoma je
zainteresovan za dalji razvoj
Koutalaki zone.
“Žiri je odao poštovanje
BIGovom vizionarskom pristupu koji obuhvata implementaciju
jedinstvenih
sadržaja, smeštaja i drugih
ugodnih prostora za rekreaciju i razonodu koje pruža
odmaralište. Bigov ambiciozan plan predstavlja izazov
u odnosu na tradicionalne
stavove i verujemo da će
saradnja između Kassiopeia
Finland i BIG-Bjarke Ingels
Group dovesti do ostvarenja
tog plana.”
Žiri, Kassiopeia Finland Oy.
february / march / april 2012 / projects
+5.30
410
+2.30 quota presunta
Prospetto Nord
Progetto Nuova Biblioteca di Maranello
Prospetto Nord esterno
Maranello Patrimonio s.r.l.
50
8
30
60
30
+5.30
342
sala lettura
hall
15
30
30
15
110
240
410
142
300
+2.30 quota presunta
15
sala conferenze
spazio polifunzionale
locale tecnico meccanico
-4.45
Sezione AA
380
ludoteca
ufficio
-0.10
5
55
15
35
30
15
225
sala lettura
290
270
300
20
50
10
30
510
300
355
sala conferenze
Progetto Nuova Biblioteca di Maranello
Maranello Patrimonio s.r.l.
70
Sezione BB
270
Konkurs: April 2007.
Projekat: Jun 2008. - Septembar 2009.
Početak radova: Septembar 2009.
Otvaranje: Novembar 2011.
Fotografije: Alessandra Chemollo
when the Municipality
di Maranello announced
the open design competition
“Progettare
la Cultura” (“Designing
Culture”) that received
nearly 150 submissions
from Italy and abroad.
The winning architects,
Arata Isozaki and Andrea Maffei, received
the commission to design the library in June
2008; construction began in September 2009.
From the beginning, the
project took into account aspects of sustainability, control over
the environmental impact of the building and
the reduction of fuel
consumption.
The architects stated
that “the Municipality’s intention to offer a
new service to the city
could only take the form
of a building that looks
into the future”.
The building defines a
rarefied space that is
perfectly placed within
the urban fabric. Its sinuous profiles are bound
by glass plates that follow its contour: reading
becomes an “open” experience by means of
the transparent membrane that forms the
façade. It manifests as
an interaction between
knowledge and the contemplation of the landscape that surrounds
the library. The building
expresses a dialogue
with the urban fabric
through the transparency of its body. The objective was to establish
a direct interaction with
the city.
55
Prospetto Nord esterno
The new Town Library
in Maranello, Italy, designed by architects
Arata Isozaki and Andrea Maffei, opened to
the public on November 19, 2011. Built near
the center of the city, it
substantiates the effective synergy between a
public administration that of Maranello, which
is investing in pursuing
an architecture of quality - and the designers:
Arata Isozaki, one of the
most celebrated masters of contemporary
Japanese architectural
culture, and Andrea
Maffei, Italian architect
who worked in Isozaki’s
studio in Tokyo for several years and is now
co-designing with him
several projects in Italy,
currently in development.
The project takes part
of the flourishing architectonic development
which the city of Maranello is experiencing
in the last few years,
thanks to the efforts of
the public administration
in planning its territory
and its public spaces
and thanks to the role
of private clients, especially those belonging to
the automotive industry
which is particularly
successful here (note:
Ferrari has its headquarters in Maranello).
In this scenario, the Municipality confirmed its
interest in contributing
to the creation of contemporary spaces for
culture and education.
The new library began
to take shape in 2007,
5
Površina parcele: 850m2
Izgrađena bruto površina: 1.175m2
Maksimalna visina iznad nivoa tla: 5.3 m
Materijali: armirani beton, čelik, paneli od zakrivljenog stakla
15
NEW TOWN LIBRARY IN
MARANELLO, ITALY
25
Program: Biblioteka
Klijent: Maranello Patrimonio s.r.l., Maranello, Italija
Arhitekte: Arata Isozaki i Andrea Maffei
Projektantski tim: Alessandra De Stefani and Carlotta Maranesi, Simone Utzeri, Maurizio Petronio
/ Andrea Maffei Architects
50
LIBRARY
BIBLIOTEKA
43
5
42
Prospetto Est
190
Prospetto Ovest
250
190
190
190
190
Progetto Nuova Biblioteca di Maranello
Maranello Patrimonio s.r.l.
48
february / march / april 2012 /architecture
49
URBANO
EDITIRANJE
A R H I T E K T U R A D O G A Đ A J A
U
R
B
A
N
E
D
I
T
I
N
G
ARCHITECTURE OF OCCURRENCE
V
ažan element u spoznaji i
tumačenju trenutka u kojem se nalazi suvremeni grad
i urbani teitorij, njegova je inspirativna i bogata slojevitost
nastala taloženjem i rastom
kroz vrijeme. Prostorno-vremenski sedimenti grada i arhitekture, te ubrzani urbani razvoj u posljednjim desetljećima,
snažno definiraju kontekst u
kojem kao arhitekti djelujemo
i projektiramo. Pored izvorne
slike grada ili građevine koja
je projekirana i mišljena kroz
urbanističke planove i projekte
postoji i trenutačna, stvarna i
poticajna slika trenutka koja
oblikuje prostor za drugačije
mogućnosti djelovanja i interpretacije.
Povijesni primjeri poput Nolieve karte Rima, ili plana Splita
sa tlocrtima kuća, govore nam
najbolje kako trezven i precizan pogled na grad, njegovo
iscrtavanje u najsitnijim detaljima i urbanim elementima
, otvara niz novih slojeva i
gradskih tokova kojih nismo
svjesni gledajući i živeći svakodnevnicu prostora oko nas.
Jasno nam je da takva uzbudljiva urbana matrica nije
nastala samo planom i kontroliranim postupkom, već rastom
u vremenu, kroz monoštvo
malih ali promišljenih arhitektura, intervencija i gradnji nastalih kvalitetnim pretapanjem prostora između
građevina i grada, kao ploda
urbane strategije i društvenog
konsenzusa građana Rima ili
Splita.
By Idis Turato
T
he inspiring and rich
stratification of a city,
formed by deposition and
growth over time, is an important element in understanding and interpreting
the moment in which the
contemporary city and
urban territory exist. Spatiotemporal sediments of
a city and its architecture
and rapid urban development in recent decades,
firmly define the context
of architects’ work. In addition to the original image of a city or a building that is designed and
conceived through urban
plans and projects, there
is a current, realistic and
stimulating image of the
moment, which shapes
the space for the different
possibilities of operation
and interpretation.
Historical examples such
as Nolli’s Map of Rome
and Map of Split that record ground floors of
buildings, show us, in the
best way, how a sober
and accurate study of
the city and drawing its
smallest details and urban elements, can reveal
the series of new layers
and urban streams which,
while perceiving space
around us, we don’t see
in everyday life. It is clear
that such complex urban
matrix didn’t arise only
through the planned and
controlled process, but
also through growth over
time, through many small
but well thought out architectural undertaking, interventions and constructions that are defined by
qualitative assimilation of
the space between buildings and the city; it was
formed as the result of
urban strategy and social
consensus of the citizens
of Rome or Split.
G
iambattista Nolli,
Karta Rima,
1748. godina
Crtež grada sa zgradama prikazanih
sa svojim prizemljima u dijelu javnog
K
arta Splita - današnje stanje
Snimak svih prizemlja zgrada u palači i gradu pored nastalog kroz vrijeme;
crtež grada - karta pokazuje bogatstvo slojeva nastalih kroz vrijeme.
M
ap of Split - current situation
The map records all ground floors of the buildings in the Palace and in
the city built over time around the Palace; the map demonstrates the richness of layers formed over time.
prostora; iscrtane sve javne i polujavne površine grada, trijemovi,
vrtovi, prizemlja crkva i svih javnih
građevina.
G
iambattista Nolli, Map of Rome,
drawn in 1748
City layout showing ground floors
of buildings in public areas, with il-
lustrations of public and semi-public city areas, porches, gardens,
ground floors of churches and all
public buildings.
74
february / march / april 2012 /architecture
75
UPGRADE OR DEMOLISH?
A
Text: Marko Stojčić
Ž
ivimo u vremenu u
kom je neophodno
promeniti tradicionalna
shvatanja o korišćenju
građevinskog
prostora.Šta kada unutar
grada tog prostora više
nema, kada grad prestane da ide u širinu
ili visinu? Kao i svaki
drugi organizam koji
se razvija grad traži
najbolje, često i najednostavnije, načine za
svoj razvoj. Taj razvoj
uglavnom podrazumeva podmlađivanje osnovnih delova organizma, nekada i potpunu
promenu
sastavnih
delova. U opštem razvoju grada arhitektura
je primarna disciplina, i
kao takva za sobom ostavlja različite objekte i
tvorevine. Postavlja se
pitanje kako proceniti u
rasponu od 70-100 go-
dina koji objekat treba
zadržati i rekonstruisati
a koji srušiti? Kako se
tu uklapa pojam energetske efikasnosti starih objekata ali i promena navika korisnika
objekata? Možda je ipak
sada pravi trenutak za
nastanak novog pravca
u arhitekturi, zrelijeg
pristupa
savremenoj
arhitekturi
koja
ne
podrazumeva
nužno
rušenje starih objekata
koji su tehnički još uvek
u dobrom stanju i čija
funkcija uz manje modifikacije može ispuniti
kriterijume sadašnjeg
vremena. Novi pravac
porazumeva novi život
starog objekta, i to ne
u vidu puke renovacije već novog života
i u umetničkom i u
tehničko-funkcionalnom
smislu.
PARASITE ARCHITECTURE
W
e live in a
time when
our traditional
views
about
the usage of
building space
needs to be
re-examined.
What
happens
when
all the available space for
new constructions in the
city has been
consumed
and city expansion is no
longer
possible? Like any
other developing organism,
the city looks
for the best
and often the
simplest way
to
develop.
This development usually
involves
the
rejuvenation of
the main parts
of the body
and sometimes
even a complete change
of its component
parts.
The
general
development
of a city is
dependent on
the intelligent
application
of
architectural
principals on many
scales,
and
time
spans,
from individual
buildings to urban planning.
The question
is how to estimate, within
say 70 to 100
years, which
structures
should be retained
and
restored and
which should
be demolished.
Does the issue
of energy efficiency or the
change of users habits in
older buildings
have an impact? Perhaps
it is time for a
new course in
architecture, a
more mature
approach
to
contemporary
a r c h i t e c t u re
that does not
necessarily
imply the demolition of old
buildings that
are still in good
shape.
With
only
minor
modifications
these buildings
can continue
to function efficiently as well
as meeting the
new standards
of
today’s
building codes.
Taking this approach , which
goes beyond
simply renovating, results
in a new lease
of life being
given to the
building both
functionally
and artistically.
PARAZITSKA ARHITEKTURA
rhitektura
koja nastaje kao potpuno
nova
koristeći neki
od resursa
starog objekta se danas
najčešće naziva
„parazitska
arhitektura“.
Taj naziv je
ve ro v at n o
previše grub,
i to iz prostog razloga
što je za nastanak jednog
takvog objekta neophodna neka vrsta
„saglasnosti“
matičnog objekta pa je
time i parazitski status
neopravdan.
Matični
objekat tu vrši
veoma važnu
ulogu
time
što
snaga
novog arhitektonskog
izraza zavisi
od potencijala i energije
koju matica
ima u trenutku sjedinjavanja. Interesantan odnos
između ova
dva se vidi
kada i matica i parazit potpuno
gube smisao
ako bi svoju
egzistenciju u prostoru nastavili
pojedinačno.
Veoma je int e re s a n t n a
pozicija arhitekte
koji
sada
ima
zadatak
da
na potpuno
novi
način
razume i prihvati potrebe
i osobenosti
„lokacije“ na
kojoj gradi.
U mnogim Evropskim zemljama postoje
podsticaji za
re k o n s t r u kciju
starih
objekata.
„Reciklaža“
urbanog prostora je tamo
poželjnija
od
izgradnje potpuno
novih
objekata
na
praznom prostoru. Neke
od
arhitektonski
naprednih kultura
zrelije
pristupaju
problemu
i
znatno ranije
prihvataju
napredne
trendove koji
svojim razvojem
daju
kvalitetna
Yo Yamagata Architects, Photographs: Forward stroke Inc
rešenja.
Postoji više
slučajeva
u
Holandiji,
naročito
u
Roterdamu,
gde se do
rešenja došlo
realizacijom
„parazitskih“
objekata. Jedan od najinteresantnijih
primera je i
objekat „Las
Palmas“.
Headquarters of the romanian architects
association
Salvador Dali Museum, St. Petersburg Building, Florida design by HOK Architects
82
february / march / april 2012 /architecture
83
K
oncept
projekta
i prateće izložbe
isključivo je zasnovan
na Lukinom istraživanju
vezanom za percepciju i interaktivnost
posmatrača sa predstavama imaginarnog
prostora u stvorenoj
atmosferi.
Kreiranje
iluzionistickog
prostora,
obuhvatalo
je izlazak iz dvodimenzionalnosti
slike.
MONOLITI
Luka Pavelka
T
he concept of the
project and the
following
exhibition
was mainly based
on Luka’s research
about
perception
and interaction between the observer
and the presentations of imaginary
space. The idea was
developing towards
moving out of the
secong
dimension.
86
february / march / april 2012 / projects
CRATER LAKE
Kobe, Japan
87
Type: Installation
Dimensions: 10 m DIAMETER x 1.7 m HEIGHT (MAX)
Location: Kobe, Japan
Completion Date: September 2011
Design: 24° Studio /Fumio Hirakawa + Marina Topunova/
Client: Kobe Biennale Organization Committee / City of Kobe / Hyogo Prefecture
T
he design motive was
influenced by the history of the Great HanshinAwaji Earthquake of 1995
that led to inevitable changes within built environment
sparring only the nature
that surrounds Kobe. This
devastating experience is
remembered by Kobe residents making them a persistent and tight community,
but remaining open and
friendly to the visitors of the
city. Strong social ties between people helped them
to overcome the disaster
and rebuilt the city making it
a better living environment.
However in the everyday life
without problems and crisis,
the face to face social interaction between people is
Crater Lake is an installation project exhibited at
Kobe Biennale 2011 from
October 1 through November 23. The project was
one of the winners for
Shitsurai Art International
Competition organized by
the city of Kobe. This multiuse environmental installation serves as a meeting
place where every area
can be used as seating for
visitors to contemplate the
surroundings, thus invoking
a social interaction within
and around.
Crater Lake je projekat instalacije koja je bila izložena
na Kobe Bijenalu od 1. oktobra do 23. novembra 2011.
godine. Ovaj projekat jedan
je od pobedničkih radova na
Shitsurai Art međunarodnom
konkursu koji je organizovao
grad Kobe. Multi-funkcionalna
instalacija ima funkciju mesta
okupljanja i svaki deo instalacije može da koristi kao
platforma za sedenje sa koje
posetioci mogu sagledavati
okruženje i tako provocirati
društvenu interakciju unutar i
oko ovog mesta.
decimating and it is one of
the biggest problems in our
technology driven time.
Crater Lake, an installation environment where people
have a place to meet to
observe the beauty of the
surrounding
environment
and more importantly to call
forth an emphasis on sustaining social interaction,
which was the important
catalyst that brought Kobe
residents to revitalize their
city after the disaster. The
installation is situated in
the man-made Port Island,
Shiosai Park that provides a
vast view of the Kobe urban center, its surrounding
mountainscape and seascape.
M
otiv projekta
bio je događaj
iz 1995. godine
– Veliki HanshinAwaji zemljotres
kada je došlo do
neizbežnih promena u izgrađenom
tkivu a pošteđeno
je samo prirodno
okruženje grada
Kobe. Ovaj razoran događaj ostao je u pamćenju
stanovnika grada
Kobe koji su nakon njega postali
uporna i bliska
zajednica otvorena i prijateljski
naklonjena
prema
posetiocima
grada. Jake soci-
jalne veze između
ljudi pomogle su
im da prevaziđu
katastrofu i obnove
grad čineći ga još
boljim
životnim
okruženjem.
Međutim, u svakodnevnom životu
bez velikih problema i kriza, fizička
društvena interakcija između ljudi je nestala što
predstavlja jedan
od najvećih problema savremenog
tehnološkog
društva.
Crater Lake instalacija predstavlja
okruženje u kome
ljudi mogu da se
okupe i posmatraju okolnu lepotu
i još važnije, gde
mogu da ukažu na
značaj održavanja
društvene
interakcije koja je
bila važan katalizator
zaslužan
za
revitalizaciju
grada Kobe posle
katastrofe. Instalacija je postavljena na veštačkom
ostrvu Port Island
u parku Shiosai
Park sa koga se
pruža pogled na
urbani
centar
grada,
njegovo
okolno planinsko i
morsko okruženje.
90
february / march / april 2012 / projects
HAUS UNTERSBERG
91
Builder
Deutsches Jugendherbergswerk, Landesverband Bayern e.V., Munich
Architecture
LAVA (Laboratory for Visionary Architecture)
http://www.jugendherberge.de/lvb/bayern/div/09810.shtml.de
Where Design Meets Adventure / Gde se dizajn susreće sa avanturom
East Balcony - Istočni balkon
West Elevation - Zapadni izgled
THE MODERNISATION OF BERCHTESGADEN YOUTH HOSTEL
West Box - Zapadna kutija
Foyer - Foaje
LAVA’S NEW DESIGN FOR THE YOUTH HOSTEL GIVES SHAPE AND FORM TO THIS
EVER-CHANGING PROCESS OF COMMUNAL
LIVING AT BERCHTESBERG. A QUALITY,
WHICH SPEAKS TO THE FUTURE BY INTEGRATING THE MOST UP-TODATE BUILDING
AND ENERGY TECHNOLOGIES.
On 8 October 2011 following a
comprehensive modernisation
programme, “Haus Untersberg”
was completed on the site of
the Berchtesgaden Youth Hostel.
NOVI DIZAJN HOSTELA ZA MLADE LAVA
STUDIJA DAJE FORMU OVOM PROMENLJIVOM
PROCESU
ZAJEDNIČKOG
STANOVANJA U MESTU BERCHTESGADEN.
KVALITET KOJI SE OBRAĆA BUDUĆNOSTI
OGLEDA SE U INTEGRACIJI SAVREMENIH GRAĐEVINSKIH I ENERGETSKIH
TEHNOLOGIJA.
The building works began at
“Haus Untersberg“ in August
2010, while the youth hostel continued to provide accommodation for guests. Over the coming years, new building projects
are to further reshape the entire complex at Berchtesgaden
Youth Hostel.
In designing the building, LAVA
took great care to consider both
the changing requirements of
young guests and families and
the potential of the basic structure of the existing building.
8. oktobra 2011. godine nakon
sprovođenja
sveobuhvatnog programa modernizacije,
završeno je izvođenje projekta “Haus Untersberg“ u okviru Berchtesgaden kompleksa
hostela za mlade.
Tokom izvođenja radova, koji
su započeti u avgustu 2010.
godine, hostel je bio u funkciji i pružao je usluge smeštaja
gostima. Dalja razrada i novi
projekti kompleksa Berchtesgaden Hostela za mlade planirani su za sledeći period.
LAVA arhitekti potrudili su se
da razmotre različite potrebe
mladih gostiju i porodica kao
i potencijal osnovne strukture
postojeće zgrade.
96
february / march / april 2012 /events
97
VELONOTTE
Velonotte global dates in the 2012:
Moscow May 26/27. Moscow’s West. The Golden favelas.
London June 23/24. East London drive. Public buildings from Dickens to
Olympics.
St. Petersburg July 14/15. The King’s Way: from Hermitage to Peterhof
fountain estate.
MOONLIGHT BIKE RIDES
TROUGH THE ARCHITECTURE
V
elonotte was created in
Moscow in 2007 by historian Sergey Nikitin and
Co. to promote and valorize
urbanistics, landscape and
history. It is an annual nonprofit event that presents
both lesser-known and key
city monuments and landscapes to hundreds of people from all over the world.
Due to popular demand and
many requests from our
participants, we’ve decided to expand our project:
Velonotte Roma 2010 was
the first European action.
Another Velnotte event
took place on October 1, 2011 in New York.
Storefront for Art and Ar-
chitecture hosted the kickoff for the first VELONOTTE
New York event, a project
which turns cities into nocturnal open air museums
experienced on a bike. The
kick-off event provided information and registration
for free to all visitors. It
consisted of a short presentation about past Velonights in Rome and St.
Petersburg and excerpts
from a documentary film
about the Moscow Velonotte with contributions
from Vladimir Papernyj, Sergei Choban, Alexander Neratoff, Marina Avdonina and
participant commentators
of the New York Velonight.
VOŽNJA BICIKLOM KROZ ARHITEKTURU PO MESEČINI
D
ogađaj
Velonotte
osnovao je istoričar
Sergej Nikitin u
Moskvi 2007. godine sa ciljem
promocije i valorizacije urbanog
okruženja i istorije. Jednogodišnji
neprofitni događaj
prezentuje
ljudima iz čitavog
sveta znamenite
i manje poznate
spomenike
i
obeležja gradova.
Zbog velike zainteresovanosti
i
na zahtev mnogih
učesnika, projekat
je proširen van
Rusije. 2010. godine održana je
prva
evropska
manifestacija
Velonotte Roma.
Velnotte New York
održan je 1. oktobra 2011. godine.
Storefront for Art
and Architecture
imao je ulogu
domaćina uvodnog dela Velnotte
događaja u New
Yorku,
projekta
koji pretvara gradove u noćne
muzeje na otvorenom gde se ture
izvode na biciklu.
U okviru uvodnog
događaja posetioci su mogli da
se besplatno registruju i informišu,
kao i da vide kratku
prezentaciju
bivših događaja u
Rimu i Sankt Peterburgu i isečak
iz
dokumentarnog filma o Moskovskom Velnotte
događaju.
Na
uvodnoj
manifestaciji govorili su
Vladimir Papernyj,
Sergei Choban, Alexander Neratoff,
Marina Avdonina
i drugi saradnici.
100 february / march / april 2012 /architecture
101
MAPPING ARCHITECTURE
By: Arch. Alek A. Nebojić
N
ew articulation of architectural expression,
resulting from changes in
modern society that dictates the role of architectural performance and
identity, seemingly nonarchitectonic, non-material, even virtual, today
is used in many existing
and
new
structures.
Architectural
expressions,
as
the
synth esis
of the architectural
language
and values
of modern times, become
means of communication
and in such form can ensure the survival and further development of architecture and society.
Generating new needs
and values is the result
of development that is
placing emphasis on the
new situations in which
the previous values and
needs are either satisfied
N
or replaced as inappropriate. Changes in lifestyle,
caused by technological
development, affect usage
and perception of space
and lead to formation of
different types of activities. Function becomes
flexible, changing its scope
and spatial requirements
necessary for
its implementation. The
physical
frame of
a newly
arisen
function
is a reflection of an event, and
it identifies the moment in
time and space. Interrelationships of the architectural elements are defined
in a moment, they are a
result of an event that initiates the formation of the
space. These moments
are significantly different
from the previous permanent ideas conceived on
universal values.
Architectural Mapping Projection by
Juan Sorrentino
A
ovi oblici artikulacija
arhitektonskog izraza koji su rezultat
promena nastalih u
savremenom
društvu
koje diktira novu ulogu
arhitektonskog delovanja i identiteta, naizgled
potpuno nearhitektonski, nematerijalni, čak virtuelni, nalaze primenu
u mnogim postojećim
i novim strukturama.
Arhitektonski izraz danas postaje sredstvo
koje nastaje u sintezi sa
vrednostima modernog
doba i koje u takvom
obliku može da obezbedi opstanak i dalji razvoj arhitekture i društva.
cceptance
of
changes
and
the fact that changes are more frequent, led to forming of certain kind
of universal space
which is intelligent,
interactive
and
adaptable. In this
way liberated space
changes previously
established hierarchy of architectural
elements. The flexible function allows
and initiates accentuation of the other
elements of the architecture.
Generisanje
novih
potreba i vrednosti rezultat je razvoja koji ih
uslovljava postavljajući
akcenat na nove situacije u kojima prethodne
vrednosti
i
potrebe bivaju ili zadovoljene ili zamenjene
kao
neodgovarajuće.
Izmene u načinu života
nastale usled tehološkog
razvoja utiču na način
korišćenja i percepiranja prostora i dolazi
do formiranja drugačijih
oblika aktivnosti. Funkcija postaje fleksibilna,
menja obim i uslove
neophodne za njeno
ostvarivanje.
Okvir
novih oblika aktivnosti
predstavlja
refleksiju
događaja,
identifikuje
momenat u vremenu i
prostoru. Arhitektonski
elementi danas stoje u
odnosima koje definiše
sam trenutak, događaj
koji inicira nastanak
prostora. Ti momenti
ozbiljno se razlikuju od
dosadašnjih trajnih ideja
koncipiranih na univerzalnim vrednostima.
P
rihvatanje promena i činjenice
da su promene sve
češće, dovelo je
do formiranja neke
vrste univerzalnog
prostora koji je inteligentan, interaktivan i prilagodljiv.
Na
ovaj
način
oslobođen
prostor menja ranije
utvrđene hijerarhije
arhitektonskih
elemenata. Fleksibilna
funkcija omogućava
i inicira preusmeravanje pažnje na
druge
elemente
arhitekture.
The mural , titled La Marcha de la Humanidad /The
March of Humanity
‘For work for Love’ Lemn Sissay immortalises Arlington House
Urban art legend Banksy – at least we think it’s him...
Street Art by French Artist JR
108 february / march / april 2012 / projects
109
WESTENDGATE
Just Burgeff architekten and a3lab
Asterios Agkathidis
W
estendGate, also known
as the Marriott Hotel,
has currently being extensively modernized. At 159
meters and 47 storeys, the
original structure was for a
short time the tallest highrise in Germany. Built in 1976
by the architects Siegfried
Hoyer and Richard Heil in
the Westend of Frankfurt
am Main, the building became the path breaker for
high-rise construction in the
whole district and the rest
of Frankfurt.
Among other things, the
renovation includes an architectural and energy efficient new design as well as
a new design and refurbishing of the entire façade, the
installation of new solar façade modules, new building
air-conditioning and optimizing of the lighting.
Grounds and Canopy
The high-rise is located at
the intersection of public
green areas which are now
extended by the newly created grounds. With the relocation of the underground
garage exit, a large urban
space for recreation was
established.
The organic tree-like structure of the sculptural roof is
easily recognizable from a
great distance. 1000 square
meters of roof surface extend at one point up to a
height of 14 meters, zoning in
the square, with translucent
air cushions filling out the
construction and providing office workers and hotel
guests refuge from the rain.
Idea and Determination of Form
The roof landscape design
integrates aspects of urban
development as well as spatial program and structural
demands.
The flying reticulated shell,
created from an inverted
tree growth algorithm, is
supported on the supports
of the underground garage.
The tree-like mesh was statically optimized with a Finite
Element Analysis method to
arrived at a minimal deployment of steel. The result was
doubly curved surfaces,
which depict the distribution
of forces of the structural
framework. A unity of form
and structure.
This type of „associative“
design requires not only the
deployment of highly developed software, but also a
new form of collaboration
between all those involved
in the planning.
The canopy draws in the
entire forecourt, which provides access to the combined new office centre and
hotel driveway ensemble.
Façade
The existing façade was
completely renovated and
redesigned and vertically
arranged solar façade modules are integrated on the
outside.
The façade was assembled
from 3-dimensional components. As the shadow and
the light reflections of the
elements vary depending
on the position of the sun,
the façade adapts to the
sunlight.
Execution
The supporting structure
consists of steel pipes.
The double curved, hive-like
roof surfaces were fitted
with transparent pneumatic
ETFE plastic cushions in different shapes. The permanently inflated cushions furnish protection against sun
and rain in spite of their optical and physical airiness,
offer an unencumbered
view of the future new WestendGate façade.
Client: Aberdeen GmbH, Frankfurt
am Main
Design: Just/Burgeff Architekten
GmbH, Frankfurt am Main & a3lab,
Asterios Agkathidis Architecture,
Frankfurt am Main
Structural design: Wilhelm und
Partner, Stuttgart
Date of completion: December, 2010
Location: Hamburger-Allee, Frankfurt
am Main
112 february / march / april 2012 / drawings
113
INTERSECTION
Drawings of Massimiliano Zigoi
Tre fuochi, pencil on paper, 21x29,7 cm
Building, ball pen on paper, 25x13 cm
S
olid geometric shapes
positioned in an indefinite
space, devoid of confines,
open, deformed, attached to
other solids, almost like a virus trying to reconfigure its
DNA.
The search for universal
knowledge. What happens in
the interior of a solid?
The transformation cannot
be undone, like entropy, you
cannot return to the original
state.
The individual pieces multiply
and create chains, connec-
tions, geometric synapses
which take you to a new vision of geometry.
The space is where the transformation takes place. Multiple
points of view host isometric
constructions, indefinitely expandable. Lattices on which
to hook single parts or which
stretch in paroxysmal ways,
like the birthplace of perspective are supported simultaneously by multiple vanishing
points, conflicting with eachother.There is no beginning.
Will there be an end?
P
uni
geometrijski
oblici pozicionirani u
jednom neodređenom
prostoru koji je lišen
granica, otvoren, deformisan, vezani su za
druge pune oblike skoro
kao virus koji pokušava
da promeni njihov DNK.
Traganje za univerzalnim znanjem. Šta se
dešava u unutrašnjosti
punog tela?
Transformacija
se
ne može poništiti, ne
možete se vratiti u orig-
inalno stanje.
Individualni delovi se
multipliciraju i stvaraju
lance,
konekcije,
geometrijske
sinapse
koje vas vode ka novoj
viziji geometrije.
Prostor je tamo gde se
odvija
transformacija.
Broj višestrukih tačka
gledišta
izometrijskih
konstrukcija može se
neograničeno povećati.
Početak ne postoji? Da li
će postojati kraj?
Cinque fuochi, pencil on paper, 42x29,7 cm
118 february / march / april 2012 /architecture
119
MY ARCHITECTURE IS BETTER THAN
YOUR ARCHITECTURE
influenced the development of architecture; the
first one less, and the
second one a little bit
more.
predstavljanju ideja ali
i nadjačavanje sujeta
umetnika je skoro bez
izuzetka donosilo nešto
dobro. U ovom tekstu
opisujem dva slučaja
koja su u prvom delu
manje a drugom malo
više uticala na razvoj
arhitekture.
MOJA ARHITEKTURA JE BOLJA OD
TVOJE
the competing vanities of
artists, almost without exceptions, brought something good. In this article
I describe two cases that
jske ali i savremeničke
razlike u pogledima su
sigurno nešto što je
razvoj umetnosti guralo
napred. Takmičenja u
tional and temporal differences in ideas certainly
contributed to the development of art. Competitions of ideas and also
Kako bi izgledali gradovi kada ne bi bilo toliko
razlike u pogledima na
arhitekturu ali i na umetnost uopšte? Generaci-
What would cities look
like if there were no differences in the attitudes
about architecture and
generally art? Genera-