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Klikni ovdje.
napisao
written by
fotografija photo by
Domagoj Blažević
Idis Turato
Arhitektura
kao generator
samodiscipline
Architecture as
a generator of
self-discipline
¶ Danom završetka pisanja ovog teksta otvoreno je gradilište
našeg posljednjeg projekta, novog vrtića u gradu Krku. Projekt
smo započeli 2005. godine, te smo paralelno s projektiranjem
izradili detaljni plan za područje novog stambenog naselja u
novom dijelu Krka. Usporedo s projektiranjem našeg vrtića
pratio sam natječaj, projekt i izgradnju vrtića ‘Medo Brundo’
u Retkovcu arhitekata Hrvoja Njirića i Davora Bušnje u Zagrebu. Kako arhitektura ipak ponekad može biti i brza, autori su
realizirali od natječaja do useljenja svoju kuću u rekordnom
roku od dvije godine. Naš je projekt tekao bitno sporije, tipično za arhitektonsko-urbanističko okruženje u Hrvatskoj. To
¶ On the same day when this text was completed, the construction site of our last project was opened – a new kindergarten in the town of Krk. We started this project in 2005, and,
parallel to the designing, we made a detailed plan for a new
residential area in the new part of Krk. Along with the work
on designing our kindergarten; I was following the competition, project and construction of the Retkovec Medo Brundo
Kindergarten in Zagreb, the work of architects Hrvoje Njirić
and Davor Bušnja. Architecture can still occasionally prove to
be a quick process: the authors completed the building, from
the time of competition to its occupation in a record time of
Hrvoje Njirić
Davor Bušnja
Njirić/Bušnja, Dječji vrtić Medo
Brundo, Zagreb, Hrvatska
Njirić/Bušnja, Medo Brundo
Kindergarten, Zagreb, Croatia
arhitekti
architects
124
Njirić/Bušnja, Dječji vrtić Medo Brundo, Zagreb, Hrvatska
Njirić/Bušnja, Medo Brundo Kindergarten, Zagreb, Croatia
125
126
zaostajanje u vremenu bilo je sa današnje distance vrlo
plodonosno – projekt sam mogao usporavati i ubrzavati u
pojedinim njegovim fazama osvrćući se više puta na sebe i
naše postavke, te takva iskustva i zaključke dovoditi u usporedbu s odličnim Hrvojevim projektom. ¶ Ni jedna arhitektonska zamisao ili ideja ne može krenuti od sebe same, te ju je
nemoguće gledati izvan konteksta povijesti i iskustva prethodnika, nastanka, mjesta i okolnosti u kojima je arhitektura
realizirana. Ona je, barem u mom slučaju, derivacija nakupljenog znanja, emocija i iskustva arhitekture prije mene i paralelna trenutku u kojem djelujemo. Kad je realizacija Hrvojevog
vrtića bila privedena kraju, a mi upravo završavali izvedbene
projekte, nazvao sam kolegu i zamolio ga da nas provede kroz
svoju kuću. Što iz razloga arhitektonske radoznalosti i ‘navučenosti’ na struku s neutaživom žeđi za spoznajom nove arhitekture, što zato da mi prolazak kroz završeni projekt možda pomogne u rješavanju vlastitih kreativnih nedoumica i
otvorenih pitanja našeg projekta, krenuli smo u uzbudljivu
arhitektonsku šetnju. Izlet u vrtić, šetnja kroz vrtić. ¶ Iskustva
prostornosti realizacije, njezina materijalizacija te tjelesni
doživljaj arhitekture uvijek mi je bio potreban da do kraja sebi
pojasnim i spoznam energiju neke kuće i projekta. Prolazak u
vremenu, taktilnost materijala, miris i zvuk prostora, svjetlo,
two years. Our project was progressing at a significantly
slower pace, typical for the architectural and urbanistic surroundings in Croatia. This temporal delay was, from today’s
point of view, very fruitful. In other words, I was able to slow
down the project or quicken the pace in different phases to
look back repeatedly at myself and our postulates and to compare these experiences and conclusions with the excellent
project of Hrvoje. ¶ Not one architectural notion or idea can
commence on its own and it is impossible to observe it out of
context of history and the experience of our predecessors, of
its coming to being, the place and circumstances in which this
architecture was realized. It is, at least in my case, a derivation of accumulated knowledge, emotions and experience of
architecture before me and concurrent with the moment in
which we act. When Hrvoje’s kindergarten was completely
finished and we were just finishing the working drawings, I
telephoned my colleague and asked him if he could take us
through his building. One of the reasons was architectural
curiosity and ‘addiction’ to the profession, accompanied by
unquenchable thirst for cognition of a new architecture. Another reason was the fact that going through a completed project might help me in solving my own creative doubts and
unanswered questions related to our project. And so, we em-
sve je to u projektu nemoguće spoznati i doživjeti, a ponajmanje potrebno racionalno predvidjeti. Ljepota nepredvidivosti procesa i korigiranje vlastitih postavki i premisa u toku
materijalizacije arhitekture uvijek je nenadoknadivo korisna
ako je moguće da se u postupku realizacije dogodi. ¶ Sunčano
zimsko jutro, djeca u sobama, odgajateljice spremne na posjet,
ravnateljica ne baš spremna na komunikaciju.... krećemo....
započinje uzbudljiva arhitektonska šetnja. Mogućnost da hodam kroz netom realiziran projekt doveo me do trenutka nekih spontano nastalih zaključaka. Arhitektura vrtića ostala je
uz škole i poneke građevine društvene namjene posljednji azil
za klasično bavljenje arhitektonskim prostorom. Mogućnost
kreiranja različitih prostorno-funkcionalnih sklopova i definiranja mjesta susreta, edukacije i socijalnog kontakta arhitekturom moguće je upravo ovdje. Vrtić za djecu, vrtić za arhitekte. Zabavište za djecu zabava(ište) za arhitekte. Pod
zabavom podrazumijevam zadovoljstvo i sreću trenutka kada
arhitektonskim alatima proizvodimo uzbudljiva i poticajna
mjesta i trenutke. Arhitektura vrtića mora osigurati kvalitetan
proces u vremenu, educirati niz generacija i biti okvir za odrastanje i znatiželju. Vrlo jasna pravila, dimenzioniranja i funkcionalni sklopovi omogućuju njihove različite interpretacije i
derivacije. ¶ Prvo što mi je odmah bilo tjelesno jasno ulaskom
barked upon an exciting architectural stroll. An excursion to
the kindergarten, a walk through the kindergarten. ¶ I have
always needed the experience of the spatiality of a built work,
its materialization and the physical impression of architecture to be able to fully explain to myself and understand the
energy of a building and project. The very passing in real time,
tactile quality of materials, smells and sounds of a space, light… all these are impossible to perceive and experience in
project drawings, and least of all necessary to rationally anticipate. The beauty of unpredictability of a process and correcting of one’s own postulates and premises in the course of
materialization of architecture has always been irretrievably
useful if it is possible for it to happen during the procedure of
realization. ¶ A sunny winter morning, children in their rooms,
kindergarten teachers ready for the visit, headmistress not so
ready for conversation… and it begins… the exciting architectural stroll has commenced. The possibility to walk through
an only recently completed project has brought me to a moment of a few spontaneous conclusions. Architecture of kindergartens has remained, along with schools and few other
public buildings, the last asylum for a classical approach to
architectural spaces. The possibility to create different spatial-functional assemblies and define places of meeting, education and social contact with architecture is possible exactly
here. Kindergarten for children, kindergarten for architects.
Playground for children, play(ground) for architects. By the
term playground I imply the pleasure and happiness of the
moment when we produce exciting and motivating places and
moments by help of architectural tools. Architecture of kindergartens has to ensure a quality process in time, educate a
number of generations and serve as a frame for growing up
and curiosity. Very clear rules, dimensioning and functional
assemblies enable different interpretations and their derivations. ¶ The first thing that instantly became clear to me, in
physical terms, and in the very moment of entering the kindergarten was the fact that ‘our kindergarten’ would leave an
entirely different impression than this remarkable project. I
was very glad about it, however, I asked myself how to use my
colleague’s experience in my own thoughts and turn it into a
stimulus for a new creation. Communication and experience
of realization as creative and motivating structure. Simultaneously, I recalled the sketch design, layout, characteristic
Njirić-style sketches and models, which perfectly responded
to the posed question of the site or context with their conceptual and functional-structural notions. On a small-sized
plot, Hrvoje created a complex structure of an introverted
carpet. The kindergarten units with closed atriums and sce-
oris, broj 50, godina 2008 oris, number 50, year 2008 Njirić/Bušnja, Dječji vrtić Medo Brundo, Zagreb, Hrvatska
Njirić/Bušnja, Medo Brundo Kindergarten, Zagreb, Croatia
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tlocrt prizemlja
ground floor plan
situacija
situacija
128
u vrtić da će ‘naš’ ostavljati potpuno drugačiji dojam od ovog
odličnog projekta. To mi je bilo jako drago, ali postavljam si
pitanje kako iskustvo kolege upotrijebiti u svojim mislima i
kako ga pretvoriti u poticaj za novo stvaranje? Komunikacija
i doživljaj realizacije kao kreativna i poticajna struktura. Paralelno sam se prisjetio idejnog projekta, tlocrta, karakterističnih njirić skica i modela koji sa svojim konceptualnim, funkcionalno-oblikovnim postavkama savršeno odgovaraju na
postavljeno pitanje parcele, konteksta. Hrvoje na skučenoj
parceli radi složenu strukturu introvertiranog tepiha. Vrtićke
jedinice sa zatvorenim atrijima i scenarij unutrašnje ulice oko
koje postavlja sve zajedničke i uslužne funkcije vrtića definiraju os i arhitektonsku kičmu kuće. ¶ Već prvim korakom u
ulazni hal dočekao me potpuno drugačiji osjećaj od očekivanog. Koji je razlog tome? Shvatio sam da ću morati dublje ući
u analizu materijalizacije, te da sam sada pred uzbudljivim
trenutkom u kom me projekt dovodi u još jedan krug spoznaje i traži od mene dodatnu koncentraciju, analizu projektarealizacije. Kada me Maroje Mrduljaš pozvao da napišem ovaj
tekst o vrtiću ‘Medo Brundo’ u Retkovcu, pristao sam iz prve,
bez razmišljanja. Razlog prvi: pojasniti sebi samom (a možda
i drugima) neočekivani osjećaj iskustva realizacije projekta na
takvom vrhunskom primjeru. Razlog drugi: dati svoj skromni
prilog Orisu i njegovom uredništvu u pokušaju da pokrene
konstruktivno-kreativni dijalog unutar struke oslobođen klišeja i navada arhitektonskog pisanja i kritike. Pisanje i kritika
kao projekt za sebe. Pisanje kao iskustvo komunikacije i mentalni fitness i otvorena razmjena misli s kolegama koja nas jača
i postavlja u jaku poziciju naspram svakodnevnog djelovanja
u ‘stvarnom svijetu’. Upravo taj stvarni svijet Hrvatske u kojoj
je sve moguće, a i nije... dovodi do nepredvidivih i kreativnih
trenutaka i novih mogućnosti. Prostor ‘između sustava’, ne-
nario of the interior street around which all common and
service functions of the kindergarten are arranged define the
axis and architectural spine of the building. ¶ Already the first
step into the entrance hall evoked a completely different feeling than expected. What was the reason for that? I realized
that I would have to carry out a deeper analysis of materialization, and that I was at that point facing an exciting moment
in which the project was leading me to another layer of insight
and required additional concentration from me, an analysis of
the project-realization. When Maroje Mrduljaš asked me to
write this text about the Medo Brundo Kindergarten, I agreed
immediately, without giving it any thought. The first reason:
to explain to myself (and perhaps to others) an unexpected
feeling of the experience of the realization of a project on such
a supreme example. The second reason: to make my humble
contribution to Oris and their editorial board in their attempt
to initiate constructive-creative dialogue within the profession, freed from clichés and habits of writing about architecture and criticism of architecture. Writing and critique as projects in themselves. Writing as an experience of
communication and mental fitness, and an open exchange of
ideas with colleagues that makes us stronger and provides us
with a powerful position in comparison with the everyday
functioning in ‘the real world’. And exactly this real world of
Croatia, in which everything is possible and is not possible…
enables unpredictable and creative moments and new possibilities. The space ‘between the systems’, unpredictability and
unstableness are the creative frame (at least to me) of today’s
activities. ¶ Hrvoje’s kindergarten, in accordance with the
project brief and programme, defines and designs a space at
the junction of two streets as a kind of urban dialogue between
the kindergarten and city. The position of the building and
oris, broj 50, godina 2008 oris, number 50, year 2008 tlocrt krovne terase
tlocrt 2. kata
tlocrt 1. kata
roof terace plan
2nd floor plan
first floor plan
uzdužni presjek
longitudinal section
poprečni presjek
cross section
aksonometrija
axonometry
Njirić/Bušnja, Dječji vrtić Medo Brundo, Zagreb, Hrvatska
Njirić/Bušnja, Medo Brundo Kindergarten, Zagreb, Croatia
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predvidivost i nestabilnost kreativni su okvir (bar meni) u
današnjem djelovanju. ¶ Hrvojev vrtić sukladno projektnom
zadatku i programu definira i projektira prostor na križanju
dviju ulica kao svojevrsni urbani dijalog vrtića i grada. Položaj
građevine i njezina parcela zasigurno bi bila primjerenija poslovnoj ili uslužno-trgovačkoj namjeni. Upravo tu manu ugrađenu u bit projektnog zadatka Hrvoje koristi kao svoju prednost. U startu snažna odluka koju zapravo nameće sama
parcela i njezin ‘nemirni’ kontekst, te dovodi vrtić i parcelu u
poticajni sukob-odnos sa gradom. Dio parcele prepušta gradu
i javnoj komunikaciji. Odličan i hrabar potez koji ne bi bio
moguć unutar sustava koji nameće i definira idealna pravila
parcele, položaj i njezine dimenzije. ¶ Nastavno na ulazni atrij
koji se povezuje s dijelom parcele izvan ograde vrtića i predstavlja javni i urbani dio parcele dolazimo do unutrašnje ulice
sa nizom sadržaja, staklenih kutija – od ravnatelja, do računovodstva, švelja, preko pedagoga, koji izravno komuniciraju s
prolaznikom i djecom. Takav potez osigurava konstantni dijalog između strana i neprestano pretapanje odgoja, komunikacije, edukacije i usredotočenosti jednih na druge, bez obzira na to s koje strane stakla se nalazili. Od odgajatelja, preko
djece, do švelja i kućnog majstora, preko kuhara i pedagoga,
sve je pretpostavljeno i definirano staklenim okvirom ili po-
the plot would certainly be more appropriate for business,
service or trade activities. This disadvantage, implanted in the
very essence of the project brief, is used by Hrvoje exactly as
an advantage. A strong decision at the very beginning, actually
imposed by the very site and its ‘disturbed’ context, which
places the kindergarten and plot into a motivating conflictrelation with the city. Part of the site is offered to the city and
public circulation. This is a remarkable and brave move, which
could not be possible within a system that imposes and defines ideal rules for a plot, its position and dimensions. ¶ The
entrance atrium, connected to the part of the plot outside the
kindergarten fence and representing the public and urban
segment of the site, leads to the interior street which contains
a number of programmes, glass cubes. These glass cubes are
intended for the headmistress, accounts office, seamstress,
pedagogues – and they all communicate directly to passers-by
and children. Such a move ensures a constant dialogue
between the two sides and constant merging of upbringing,
communication, education and focusing of one to the other,
no matter on which side of the glass they are. From kindergarten teachers to children, to seamstress and repairman, to
cooks and pedagogues, everything is conditioned and defined
by glazing frames or sliding walls of the big multipurpose
kretnim kliznim stijenama velikog polivalentnog atrija. Upravo taj vrhunski oblikovan i tehnološki dorađen prostor ostavlja dojam koji u našoj percepciji vrtića nije bio do sada poznat.
Iz tog razloga prvi dojam nakon ulaska kroz ulazni hal doveo
me, a vjerujem i svakog drugog posjetitelja, u neočekivani
odnos s kućom. U današnjem vremenu ‘disneylandizacije’ stilova i sveopće poplave ‘pevec-kika’ estetike ovakav vrtić i prostor ulaznog hodnika sigurno dovodi djecu, a i njihove roditelje, u sukob između ustaljenih navika i načina života u
okvirima svojih kuća te biva svojevrsni edukativno-prostorni
tjelesni šok, katarza, trenutak spoznaje drugačijeg i visokoe-
atrium. Precisely this excellently formed and technologically
well-conceived space leaves an impression that has not been
given so far in our perception of kindergartens. For that reason, the first impression upon entering through the entrance
hall put me (and I believe any other visitor) into an unexpected
relation with the building. At the present time of ‘Disneylandization’ of styles and general over-abundance of Pevec-like
and Kika-like aesthetics, such a kindergarten and entrance hall
space certainly represent a conflict when related to the conventional habits and lifestyle in one’s own home, both in the
minds of children and their parents. Furthermore, it becomes
a kind of educational-spatial physical shock, catharsis, moment of perceiving a different, highly aestheticized and shaped
architectural space. ¶ Defined by the proposal in the competition entry, the area intended for the kindergarten teachers’
offices which Hrvoje unmistakeably placed on the ground
floor at the edge of the plot that belongs to the section of
urban dialogue of the kindergarten with the city, was unfortunately eliminated during the realization of the main project.
Fire prevention regulations and the budget proved and showed
that the ‘fire prevention strain’ of the building was not able
to endure a kindergarten unit on the upper floor and therefore the management of the kindergarten had to be placed on
oris, broj 50, godina 2008 oris, number 50, year 2008 Njirić/Bušnja, Dječji vrtić Medo Brundo, Zagreb, Hrvatska
Njirić/Bušnja, Medo Brundo Kindergarten, Zagreb, Croatia
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stetiziranog i oblikovanog arhitektonskog prostora. ¶ Natječajnim projektom definirani prostor boravka za odgajatelje
koji Hrvoje nepogrešivo smještava u prizemlje na rubu parcele, u dijelu urbanog dijaloga vrtića sa gradom, nažalost biva
eliminiran u toku realizacije glavnog projekta. Požarni propisi
i proračun dokazali su i pokazali da ‘požarno opterećenje’ građevine ne može podnijeti vrtićku jedinicu na katu, te je potrebno upravu vrtića smjestiti na kat građevine, a vrtićku jedinicu u prizemlje na mjesto gdje joj realno nije idealno mjesto.
Time je nažalost izgubljen dio komunikacijske živosti i funkcionalne prokrvljenosti prostora vrtićke ulice. Pomicanje prostora za odgajatelje na kat građevine bitno je poremetilo Hrvojevu ideju o prožimanju javnih sadržaja s vrtićem. Tu
dolazimo do pitanja koje sebi često postavljam. Da li se građevine mogu i trebaju projektirati scenarijima ili klasični arhitektonsko-prostorni konstrukt svojim elementima ploha,
bridova, platformi i prostornim razdiobama udomljuje sadržaje i kreativno potiče upotrebu prostora neovisno o namjeni,
pravilima i uvjetima korištenja? ¶ Vrtićke jedinice su, kao i
‘vrtićka-ulica’, oblikovane minimalistički kao pažljivi ali vrlo
precizni okviri unutar kojih se odvija život i rast mališana. Namještaj projektiran po mjeri prostora, bojan bijelom bojom
zidova, zajednički ostvaruju efekt prostornog elementa gdje
sjena, plohe i udubine definiraju mjesta u jedinici. Prostor je
podijeljen u dvije visine. Ona okrenuta starijima je 3 metra
(nešto viša od uobičajene) a druga, visina 1 metra, namijenjena je mališanima. Dio namještaja i ogledala definira tu intimnu
i na prvi pogled odraslima nevidljivu projektiranu visinu, prostor djece. Spajanje ploha zida, lomovi svjetla preko reflektirajućih i staklenih ploha, te brižljivo projektiran namještaj
spajaju se sa žutim elementima opreme i pokretnih mekih
strunjača. Žuta boja pretapa se u travnato zelenu. Zelenilo
smiruje, slova i rečenice putuju po staklenim plohama. Visokoestetiziran i zahtjevan prostor. Hrvojevo inzistiranje na toj
odluci, te upotreba tehnološki savršenih materijala i tehnologije zasigurno će ostati duboko urezani u sjećanje djece koja
ga koriste. Roditelji i odgajatelji također ovakvim su projektom dovedeni pred gotov čin gdje se moraju maksimalno
koncentrirati na svakodnevni odgoj djece i prenositi energiju
radoznalosti i potrebu za stjecanjem znanja koju ovaj vrtić
vrlo zahtjevno generira i postavlja pred svojeg korisnika. Arhitektura kao generator samodiscipline i koncentracije. ¶ Zad­
njim rečenicama i slovima ovog teksta odlazim na Krk u prvi
službeni posjet gradilištu, ovog puta kao nadzorni inženjer
(na gradilištu me uopće ne poznaju kao projektanta). Veselim
se trenutku kad ću s Hrvojem prošetati gotovim vrtićem, te
the upper floor of the building and a kindergarten unit on the
ground floor, positioned in a place which was not ideal in reality. This, regretfully, created a loss of some of communicational liveliness and functional quality of the circulatory system of the kindergarten street’s space. This relocation of the
space for kindergarten teachers to the upper floor of the building disturbed Hrvoje’s idea of merging common spaces
with the kindergarten. Here, we are faced with the question
I often ask myself: can or should buildings be created in accordance to scenarios or does a classical architectural-spatial
construct, with its elements of planes, edges, platforms and
spatial divisions, represent a home to contents and creatively
motivate usage of space not in dependence on purpose, rules
and conditions of this usage? ¶ The kindergarten units as well
as ‘kindergarten street’ are formed in minimalist manner, as
carefully yet very precisely formed frames within which the
life and growing up of the little ones occurs. The furniture,
designed according to the space’s proportions and coloured
in the same white colour as the walls, creates an effect of
spatial element where shadows, surfaces and niches define
the places in a unit. The space is divided into two levels. The
first one is 3 metres high (it is somewhat higher than usual)
and is intended for older children and the other 1 metre high
is intended for little children. Part of the furniture and mirrors
define this intimacy and – at first sight invisible to adults designed height – children’s space. Joining of wall surfaces, refraction of light over reflecting and glass surfaces and carefully designed furniture merge with yellow elements of
equipment and movable soft mats. The yellow colour dissolves
into grass-green colour. The greenness is calming; letters and
sentences travel all over the glass surfaces. This is a highly
aesthetic and demanding space. Hrvoje’s insistence on this
decision and usage of technologically perfect materials and
equipment will certainly remain deeply imprinted in the memory of children who use it. Parents and kindergarten teachers have also been presented with an accomplished fact
with such a project, and they have to focus maximally on the
everyday bringing up of children and to transfer the energy of
curiosity and need for acquiring new knowledge which this
kindergarten very demandingly generates and sets in front of
its users. Architecture as a generator of self-discipline and
concentration. ¶ The last sentences and letters of this text
take me back to Krk, to my first official visit to the construction site, this time as supervising engineer (people on the
construction site are not at all aware I am also the architect).
I am looking forward to the time when I will stroll through my
oris, broj 50, godina 2008 oris, number 50, year 2008 se nadam da će sve ovo nakon 10 mjeseci gradnje rezultirati
svojevrsnim nastavkom priče. Ako to rade s filmovima i knjigama, zašto mi ne bismo započeli s istom praksom u arhitekturi. Odgovor Hrvoja slijedi ... To be continued!
completed kindergarten with Hrvoje and I hope that all this
will result in a continuation of the story after ten months of
construction. If they can do it with films and books, why
wouldn’t we start the same practice with architecture?
Hrvoje’s answer follows… To be continued!
Dječji vrtić ‘Medo Brundo’, Dubrava 185, Zagreb, Hrvatska
Medo Brundo Kindergarten, Dubrava 185, Zagreb, Croatia
autori authors
arhitektonski ured architectural office
investitor client
neto površina net area
projekt project
realizacija completed
cijena cost
Njirić/Bušnja, Dječji vrtić Medo Brundo, Zagreb, Hrvatska
Hrvoje Njirić, Davor Bušnja
njiric + arhitekti
Grad Zagreb / City of Zagreb
2650 m²/sqm
2005
2007
2.720.000,00 €
Njirić/Bušnja, Medo Brundo Kindergarten, Zagreb, Croatia
133