Predmet: višeporodično stanovanje Autor: Vuk Đorđević
Transcription
Predmet: višeporodično stanovanje Autor: Vuk Đorđević
18 avgust / septembar / oktobar 2010 / projekti 19 osnova i presek eko jedinice the plan and section eco unit osnova eko jedinice eco unit floor plan Predmet: višeporodično stanovanje Autor: Vuk Đorđević Projektovano: maj 2009. godine Sajt: www.behance.net/Renovatio Subject: Multifamily housing Author: Vuk Đorđević Designed: May 2009 Web page: www.behance.net/Renovatio ECO housing ECO housing Objekat Su+P+4 je predstavljen kao sklop stambene jedinice i energetske. Stambena jedinica u svom sastavu sadrži lokale koji su smešteni u prizemlju i 14 stanova koji se prostiru na četiri etaže. Energetska jedinica je inteligentna i samoodrživa funkcionalna jedinica koja je zasebno komponovana i projektovana, iako predstavlja fizički nerazdvojivu celinu od stambenog objekta. Jedinica radi na principu dva prirodna izvora energije. Prvi izvor je sunce sa svojim zracima koje preovlađuje sa južne i zapadne strane, gde su orjentisane solarne ploče i paneli. Ovaj vid energije se pretežno koristi tokom leta i proleća kada je dnevna osunčanost i jačina sunčevih zraka maksimalna. Drugi izvor energije je vetar tj. Košava. Vetar se praktično usisava turbinama koje su smeštene na istočnoj i zapadnoj fasadi zgrade. Oba tipa energije omogućavaju pokretanje turbina proizvodeći struju koja se koristi kao utrošak kolektivne energije. A building Su+P+4 has been presented as an assembly of the housing and energy unit. Housing unit in its own shape contains office spaces located on the ground floor and 14 flats spreading on four flours. The energy unit is intelligent and self-sustainable functional unit, separately composed and designed, even though it represents physically inseparable entity of the housing building. The unit operates on the basis of the principle of two natural energy sources. The first one is the Sun with its rays prevailing on the south and west part, where the solar blocks and panels are oriented. This kind of energy is mostly used during summer and spring time, when the daily exposure to Sun and power of Sun rays reach the maximum. The second source of energy is wind, i.e. Košava. The wind is practically vacuumed by the turbines, located in the east and west facade of the building. Both types of the energy allow starting 24 avgust / septembar / oktobar 2010 / projekti 25 poslovni objekat office building Projektovano: 2008/09. god. Autor i glavni projektant: Mustafa Musić Projektanti saradnici: Ela Nešić, Vanja Panić, Aleksandra Kirn, Jelena Krupež, Mirjana Todorović, Boris Vasović Projektni biro: «ZENIT – inženjering», Beograd Designed: 2008/09 Author and main designer: Mustafa Musić Associate designers: Ela Nešić, Vanja Panić, Aleksandra Kirn, Jelena Krupež, Mirjana Todorović, Boris Vasović, Design bureau: «ZENIT – engineering», Belgrade požeška 118 projekat/project:Nemačka ambasada, Beograd, German Embassy, Belgrade, competition entry, 2009 adresa/address: Ulica Miloša Kneza 74-76, Belgrade, Serbia klijent/client: Federal Office for Building and Regional Planning, Berlin, Germany ukupna podna površina/total floor area: 5600 m2 projektantski tim/project team: Matija Bevk, Vasa J. Perović, Gerrit Neumann, Anja Vidic, Jure Grohar, Gonzalo Piqueras, Tina Marn, Ida Sedušak, Blaž Hartman bevk & perović arhitekti nemačka ambasada u beogradu 33 german ambassy in belgrade avgust / septembar / oktobar 2010 / arhitektura 41 Tekst/Text: Luigi Centola 40 U Italiji postoji šest hiljada aktivnih kamenoloma a napuštenih ima deset hiljada ili više. Samo u Kampaniji nema manje od dve hiljade. Italijansko tlo je prekriveno ranama. Naravno, neophodno je pronalaziti materijale po mogućnosti u blizini, kako bi se gradila neophodna infrastruktura i poboljšavala ekonomija, ali je neprihvatljivo da se nastavlja sa masakriranjem i uništavanjem italijanskih pejzaža. To je svačije nasleđe, jedinstveno na svetu. Ne mogu se u potpunosti zaštititi farmeri od beskrupuloznosti, ponekad čak i u predelu zaštićenom UNESCO-a. Projekat BioVallo je stvoren i razvija se uz pomoć Planinarske zajednice, gradonačelnika, službenika i građana Vallo di Diana. U petnaest opština, bilo je sedamdeset nadgledanih napuštenih kamenoloma, dok u provinciji Salerno, nažalost, postoji preko šest stotina. Region Campanie, u pokušaju da ohrabri rešavanje problema, u skorašnjem Reagionalnom planu aktivnosti miniranja, izlaže mogućnost da se kultivišu napušteni kamenolomi, parcialno i za određen vremenski period, i da se odobri odgovarajući projekat unapređenja i vraćanja prirodi. U praksi, javni i privatni sektor može da iskoristi ovu priliku da konačno napravi “lica”kamenoloma bezbednim oblikujući postojeće stanje u prostor za rekreaciju, sportske i kulturne događaje, turizam i aktivnosti u harmoniji sa prirodom, stvarajući pozitivan vizuelni utisak. T here are nearly six thousand of active quarries in Italy and there are ten thousand abandoned ones or more. Only in Campania there are no fewer than two thousand. Italian territory is covered with wounds. Certainly it is necessary to find materials, preferably locally, to build essential infrastructure works and development, welfare and economy, but it is unacceptable that we continue to massacre and injure the Italian landscapes. It is everyone’s heritage, unique in the world. We cannot fully protect farmers from unscrupulous, sometimes even in the context of UNESCO. The project BioVallo was created and is being developed with the invaluable assistance of the Mountain Community of Mayors, administrators and citizens of Vallo di Diano. In fifteen municipalities, there were seventy surveyed Vallo disused quarries, while the province of Salerno, unfortunately, has over six hundred. The Campania Region, in order to encourage the resolution of the problem in the recent Regional Plan for Mining Activities (PRAE), provides the opportunity to cultivate the abandoned quarries, partially and for a limited period of time, with the approval of an appropriate project to upgrade and re-naturalize. In practice, public and private sector can use this opportunity to finally make safe the dangerous quarry faces, mitigating Tekst/Text: Ivana Miletić regiona, nivou zajednice i četvrti do nivoa samog objekta i arhitektonske tipologije i izraza. Iako su se svi složili da treba insistirati na implozivnom rastu grada unutar postojećih granica, kada se radi o vrsti i “težini” intervencije ni ovog puta nisu zaobiđene debate na temu soliteri da ili ne, čelik i staklo da ili ne, odbacivanja modernizma, pitanja odnosa prema nasleđu…. PETER CALTHORPE, arhitekta i urbanista, je od strane Newsweek Magazine proglašen za jednog od 25 inovatora avangarde(“innovator on the cutting edge”) za svoj rad na modelima urbanog i suburbanog rasta u Americi. Kroz svoje projekte širom sveta implementira ideju dizajna zajednice sa fokusom na održivom okružju i ljudskoj razmeri. Osnivač je Novog urbanizma: uspešno mesto, bilo da se radi o četvrti, selu ili gradskom centru, mora da ima različitu namenu, različite korisnike, da bude walkable i transit-oriented i enviromentaly sustainable. On urbanizam vidi kao glavno oružje u borbi protiv klimatskih promena. Solarni kolektori i novi izvori energije nisu dovoljni za održivi život u gradu. On budućnost grada vidi bez automobila, u tradicionalnom načinu života, i u fokus postavlja pešački gradski sistem. Jedini održivi grad je istorijski grad od kojeg treba učiti. Ljudska razmera ne zavisi od dimenzija i visina zgrada, čemu u prilog govori npr. grad New York, već od detalja i javnih prostora, mogućnosti da se šeta ulicom. Stari gradovi su se bazirali na ovome i novi grad treba da inkorporira restauraciju i konzervaciju i da se ispravi ambijentalna šteta. Zastupa Transit-oriented design, stvaranje kompaktnih pešačih zajednica koncetrisanih oko Short overview on the reality….. In case when more than a half of the world population live in cities, it is expected that more than 75% of the population will be urbanized until 2050 (London School of Economics). The other capitals resolved successfully the situation in which Rome is now, while the other will have to face that problem. Uncontrolled urban growth world-wide does not have as its consequence creation of mega-cities such as London and New York, but meta-cities which overcome the number of 20 million of inhabitants. Financial Times (Edwin Heathcote, Cities of hope: growing populations need new solutions) defines north-east Europe as successful meta - city thanks to its infrastructure. Efficient public transportation, communications and management have enabled them to make it through the situation of the halt of the traditional industry using the economic knowledge and financial growth. The connection is essential for the physical exchange of meta-cities wherein the digital networking cannot be put aside and which led to urbanization of the rest of the planet. Most of the cities have, to a significant degree, gone beyond their original limits and the UN-HABITAT in the State of the World Cities 2010/2011: Bridging the Urban Divide mentions as new trends urban corridors, mega regions and city regions representing new engines of the global and regional economies. The World Bank, in its annual repost, advises moving to the cities defining them as guides on the road towards the innovations and seeking the response to the climate change, energy efficiency and economic development. Cities promise jobs, earning and efficient health protection. In which way archi - stars see the solution of the problem… A simple division of a city into a city centre and PETER CALTHORPE, architect and town planner, proclaimed to be one of 25 innovators of avant-garde (“innovator on the cutting edge”) by Newsweek Magazine. For his work related to models of town and suburb growth in America. In his projects worldwide he implements an idea of community design focusing on sustainable environment and human exchange. The founder of the New Town Planning: a successful place, either it concerns a quarter, village of city centre; it has to have different purpose, different users, to be walkable and transit-oriented, as well as environmentally sustainable. He sees the town planning as a main tool to fight against the climate change. The solar collectors and new sources of energy are not sufficient for a sustainable life in a city. He sees the future of the city with no cars, in a traditional life style, and he focuses on pedestrian city system. The sole sustainable city is the historical city from which we should learn. Human exchange does not depend upon dimension and altitude of a building, which is supported by example of the city of New York, but by its details and the public space, possibilities to walk along the outskirts without previously putting in into a wider content is insufficient to see all possible challenges and problems. Debate showed that a huge gap still existed between town planners and designers. While the first still see the city of the future as the city from the past, where the passabilities, density and complexity, represent the elements to be insisted on, while, the latter refuse the universalist approach to the problem favouring the intervention in the context with no fear from experiments, construction of high-raise buildings and use of up-to-day technologies and materials. Different questions arose at the level of region, community and quarters up to the level of the sole building and architectural typology and expression. Despite the fact that all of them agreed that it was necessary to insist in implosive growth of a city within its existing boundaries. When it comes to type and “difficultness” of an intervention, this time debate on subject whether or not the skyscrapers, whether or not steel and glass, rejection of modernism, issue related to the heritage... avgust / septembar / oktobar 2010 / urbanizam new models of the urban transformation 2010-2020 ith the intent to define the Strategic Plan for Rome Development, the city administration has activated the huge participative process called Millennium Project. The goal is to reach the ultimate call of the city through various workshops and conferences in order to realize a dialog between the institutions and the citizens on the future investments. The overall project is followed by the open consultations with every citizen through public assemblies and internet forums. The ambition of this project is, besides the preparation of the Rome candidacy to host the 2020 Olympic Games, to make a transformation of the city development in the following decade. The two-day debate represents the first step towards the implementation and revision of the new General Regulation Plan with the intent to focus on two problems: - City core (historical town): neglected zones as provocation of the development - Outskirts of town: from the expansion to reconstruction of identity Thanks to the fact that all world prominent names in architecture and town planning have gathered in one place for the first time: Richard Burdett, Santiago Calatrava, Peter Calthorpe, Stefano Cordeschi, Massimiliano Fuksas, Leon Krier, Richard Meier, Renzo Piano and Paolo Portoghesi (except for the invited: Zahe Hadid) together with officials of one city and mayor of Rome (Giovanni Alemanno), the significance of this debate went beyond the Rome framework. The international character of the meeting has contribut- W se nalazi Rim neke prestonice su već manje-više uspešno rešile, a druge taj problem tek čeka. Nekontrolisani urbani rast u svetu za posledicu nema više stvaranje mega-gradova poput Londona i Njujorka, vec meta–gradova koji prevazilaze brojku od 20 miliona stanovnika. Financial Times (Edwin Heathcote, Cities of hope: growing populations need new solutions) severno-zapadnu Evropu već definiše kao uspešan meta-grad zahvaljujući svojoj infrastrukturi. Efikasan javni transport, komunikacije i upravljanje su omogućili da se kroz ekonomsko znanje i finansijski rast snađu u situaciji zastoja tradicionalne industrije. Povezanost je krucijalna za fizičku razmeru meta-grada gde se ne može izuzeti digitalno umrežavanje koje je nasuprot očekivanjima odvelo do urbanizacije ostatka planete. S’obzirom na to da je većina gradova uveliko izašla izvan svojih originalnih granica i UN-HABITAT u State of the World Cities 2010/2011: Bridging the Urban Divide kao nove urbane trendove navodi urbane koridore, mega regione i gradske regione koji su novi motori globalnih i regionalnih ekonomija. Svetska banka u svom godišnjem izveštaju savetuje selidbu u gradove definišući ih kao vođe na putu ka inovacijama i traženju odgovora na klimatske promene, energetsku efikasnost i ekonomski razvoj. Gradovi obećavaju posao, zaradu i efikasniju zdravstvenu zaštitu. Na koji način arhi-starovi vide rešavanje problema… Jednostavna podela grada na centar i periferiju bez smeštanja u širi kontekst je nedovoljna da se sagledaju svi izazovi i problemi. Debata je pokazala da još uvek vlada veliki jaz između planera i projektanata. Dok prvi i dalje vide grad budućnosti kao grad iz prošlosti, gde su prohodljivost, gustina i kompaktnost, elementi na kojima treba insistirati, drugi pak, odbijaju univerzalistički pristup problemu, zalažući se za intervencije u kontekstu bez straha od eksperimenata, gradnje u visinu i upotrebe savremenih tehnologija i materijala. Nametnula su se pitanja različite razmere, na nivou ed towards the de-contextualization of the subject of new models of town planning transformation, moving it from Rome to the global town planning problems. At the same time, the direct confrontation of different opinions and currents took place, as well as in a specific moment a conflict between traditional and high/eco inclined town planners. S Internacionalni Workshop, 8. i 9. April 2010 Auditorium_Parco della Musica_sala Petrassi a namerom da se definiše Strateški plan razvoja Rima, Uprava grada je aktivirala širok participativni proces nazvan Milenijumski projekat. Cilj da se kroz niz radionica i konferencija dođe do finalnog saziva grada kako bi se odigrao dijalog između institucija i građana na temu budućih intervencija. Čitav projekat je propraćen otvorenim konsultacijama sa svakim građaninom putem javnih skupština i internet foruma. Ambicija ovog projekta je, pored pripreme rimske kandidature za domaćina Olimpijskih igara 2020, da se u tekućoj deceniji da preokret razvoju grada. Dvodnevna debata je prvi korak ka implementaciji i reviziji Novog generalnog regulacionog plana sa namerom da se u fokus postave dva problema: - gradsko jezgro (istorijski grad): zapuštene zone kao provokacija razvoja - periferije: od ekspanzije do rekonstrukcije identiteta Zahvaljujući činjenici da su se po prvi put na jednom mestu sastala svetski značajna imena arhitekture i urbanizma: Richard Burdett, Santiago Calatrava, Peter Calthorpe, Stefano Cordeschi, Massimiliano Fuksas, Leon Krier, Richard Meier, Renzo Piano i Paolo Portoghesi (izuzev pozvane Zahe Hadid) zajedno sa čelnicima jednog grada uključujući i gradonačelnika Rima (Giovanni Alemanno), značaj ove debate prevazilazi rimski okvir. Internacionalni karakter skupa je doprineo i dekontekstualizaciji teme novih modela urbane transformacije, pomerajući je sa Rima na globalne urbane probleme. Istovremeno, dat je prostor direktnoj konfrontaciji različitih mišljenja i struja, a u određenim momentima i sukobu između planera tradicionalista i high/ecotech pristalica. Kratak osvrt na realnost….. U situaciji kada više od polovine svetskog stanovništva živi u gradovima, očekuje se da će do 2050-te više od 75% populacije biti urbanizovano (London School of Economics). Situacija u kojoj novi modeli urbane transformacije 2010-2020 International workshop 8 and 9 April 2010 Auditorium_Parco della Musica_conference hall Petrassi 46 47 avgust / septembar / oktobar 2010 / projekti Centar za energetski efikasne tehnologije, Ningbo, Kina autor projekta: Mario Cucinella Architects fotografije: Daniele Domenicali tekst: Gordana Petković, dipl. ing. arh. Center for energy efficient technology, Ningbo, China Author of Design: Mario Cucinella Architects Photos: Daniele Domenicali Text: Gordana Petković,BSc Arch. FUNKCIJA I FORMA - POD UTICAJEM SUNCA I VETRA FUNCTION AND FORM – INFLUENCED BY THE SUN AND WIND Centar za energetski efikasne tehnologije kroz funkciju i formu nosi dualitet sunca i vetra kao ideju za pokretanje instituta te vrste, i inspiraciju za arhitektonsko oblikovanje. Objekat u sebi sadrži funkciju proučavanja alternativnih vidova energije, među kojima solarne i energije vetra. Dizajnersko tumačenje funkcije izraženo je kroz formu objekta, koja kao da se pokreće prilagođavajući se vazdušnim strujanjima i upadnim uglovima sunčevih zraka. Center for energy efficient technologies, through its function and form, carries duality of the sun and wind as an idea for foundation of an institute of that kind, and an inspiration for architectural shaping. The object contains function of alternative energies research, among which, solar and wind energy. Designer function interpretation is expressed through the object’s form, which seems to be moving accommodating to air flow and to sun rays angles of incidence. 57 ENERGY EFFICIENCY 56 Savremeno doba je svakako era traženja alternativnih rešenja za proizvodnju energije, s obzirom da se razvila svest o iscrpljivosti klasičnih izvora energije i strah od potpunog uništenja planete zagađenjem nusproduktima postojećih tehnologija proizvodnje. Kako savremeni građevinski objekti troše velike količine energije da bi postigli odgovarajući komfor (osvetljenje, grejanje, klimatizacija, korišćenje električnih uređaja) energetska efikasnost postala je opšte prihvaćeni princip projektovanja, a „pametne kuće“ više nisu samo eksperimentalni primeri već svebrojniji održivi građevinski fond. Contemporary time presents an era of alternative solutions for energy production findings since consciousness on classic energy resources exhaustion has developed as well as fear of total planet destruction by the by-products of the existing production technologies. As contemporary construction objects spend great energy quantities in order to achieve appropriate comfort (lightning, heating, air-conditioning, electric devices usage) energy efficiency became a generally accepted design principle, and “smart houses” are no longer experimental examples but more and more they became a sustainable construction fund. Tekst/Text: Aleksandra Njagulj 65 Prvi govor: 30 maj 1984. princ Čarls/Prince Charles Čelzi baraks /Chelsea barracks, London The Royal Institute of British Architects (RIBA) invited Prince Charles to make a speech at the 150 anniversary celebration and also present Gold Medal for Architecture to the Indian architect, Charles Correa. The Prince, however, had a slightly different plan. What ensued could be likened to an “underwater detonation” - and the consequences for architectural practice in the United Kingdom emanating from this deceivingly quiet epicentre have been far reaching and permanent. Kraljevski institut britanskih arhitekata (Royal Institute of British Architects - RIBA) u okviru proslave 150 godina od svog osnivanja pozvao je princa Čarlsa (Prince Charles) da održi prigodni govor i dodeli Kraljevsku zlatnu medalju za arhitekturu indijskom arhitekti Čarlsu Korei (Charles Correa). Princ je, međutim, imao nešto drugačiji plan... Ono što je zatim usledilo može se uporediti sa “podvodnom detonacijom” - a posledice po arhitektonsku profesiju u Ujedinjenom Kraljevstvu proistekle iz ovog varljivo tihog epicentra su, po svemu sudeći, dalekosežne i trajne. Šta se zapravo desilo? Princ Čarls je iskoristio priliku da zatečenom zboru najistaknutijih arhitekata predoči svoje viđenje njihovog rada - naročito se usredsredivši na tadašnji konkurs za proširenje Nacionalne galerije (National Gallery) na londonskom centralnom trgu Trafalgar, odnosno na pobednika tog konkursa, arhitektonsku firmu Arends Barton Koralek (Ahrends Burton Koralek). Rešenje ABK je bio radikalno modernistički projekat, koji je princ uporedio sa «čudovišnim čirom na licu voljenog i otmenog prijatelja». To je, izgleda, bilo dovoljno da pobednički projekat bude odbačen. Umesto toga je podignuta zgrada po - za princa daleko pitkijem - postmodernističkom projektu Roberta Venturija (Robert Venturi) i Deniz Skot Braun (Denise Scott Brown). Ova arhitektonska tvorevina diči se «razvodnjenim» korintskim pilastrima poput onih na fasadi originalne Nacionalne galerije, koja ih je, opet, reciklirala od starih Grka. Negde u isto vreme u Francuskoj Luvr (Louvre) dobija svoju slavnu piramidu, arhitekte I.M.Peija (I.M.Pei). Taj govor princa Čarlsa poznat je kao «Govor o čiru» (Carbuncle Speech), a inspirisao je, između ostalog, i osnivanje Karbankl kupa (Carbuncle Cup). Naime, poznati časopis «Dizajn u građevinarstvu» (Building Design) od 2006.g. za najgore arhitektonsko ostvarenje tokom prethodne godine, pobedniku kao nagradu dodeljuje drvenu kašiku. Piter Arends (Peter Ahrends), jedan od čelnika firme Arends Barton Koralek, kasnije je tvrdio da je ovaj skandal uništio njegovu karijeru. First Speech: 30 May 1984 What exactly happened? Prince Charles used the opportunity to present to a stunned audience of architects his view of their work - especially regarding the competition for the extension to the National Gallery on Trafalgar Square in London and its winner, architectural practice Ahrends Burton Koralek. ABK’s proposal was a radically modernist design, which the Prince likened to “a monstrous carbuncle on the face of a much loved and elegant friend”. Arends Barton Koralek /Ahrends Burton Koralek Nacionalna galerija /National Gallery/, London This seems to have been quite enough for the winning project to be abandoned. Instead, a building was erected according to a much more Prince-friendly post modern design by Robert Venturi and Denise Scott Brown. This edifice boasts diluted Corinthian pilasters mirroring the ones featured on original National Gallery building, themselves recycled from ancient Greece. At about the same time, in France, the Louvre got its famous pyramid by architect I.M.Pei. The speech by Prince Charles is now known as “the Carbuncle Speech”, and has inspired, among other things, the Carbuncle Cup. Since 2006, a well-known architectural publication, Building Design, gives a wooden spoon as a reward for the worst architectural achievement of the preceding year. Peter Ahrends, one of the leaders of Arends Barton Koralek, later claimed this scandal ruined his carreer. Drugi govor: 12. maj 2009. Second speech: 12 May 2009 U maju 2009, prvi put posle dvadeset i pet godina, predsednik RIBA Sunand Prasad (Sunand Prasad) poziva princa Čarlsa da ponovo održi govor, ali vode su i dalje daleko od mirnih. Sam princ nije mnogo učinio da u svom govoru smiri strasti, već je ponovio sve svoje stavove iz 1984. g.. Grupa naijistaknutijih svetskih arhitekata tim povodom poslala je otvoreno pismo uglednom listu Sandej tajms (Sunday Times) pozivajući princa da, “umesto što iskorištava svoj privilegovan položaj da bi ometao jedan od najznačajnijih stambenih projekata u Londonu u narednih pet godina, uzme učešće u otvorenoj i transparentnoj javnoj raspravi”. Ova poslednja napomena aludirala je na odbijanje Klarens Hausa (Clarence House), zvanične rezidencije princa Čarlsa, a u ovom kontekstu sinonima za samog princa, da učestvuje u javnoj debati na koju ga je pozvao arhitekta Ričard Rodžers povodom sporenja oko projekta Čelzi baraks (Chelsea barracks) u Londonu. Među potpisnicima ovog pisma bili su arhitekte Žak Hercog (Jacque Herzog) i Pjer de Mejron (Pierre de Meuron), Lord Foster (Foster), Zaha Hadid (Zaha Hadid), Renco Pjano (Renzo Piano) i Frenk Geri (Frank Gherry), kao i Nikolas Serota (Nicholas Serota), direktor Tate muzeja, Riki Bardet (Ricky Burdett), profesor arhitekture i Dejan Sudjić (Deyan Sudjic), direktor londonskog Muzeja dizajna. Pored toga, Viliam Alsop (William Alsop) je sa više vodećih britanskih arhitekata u pismu objavljenom u poznatom levičarskom dnevniku Gardijan In May 2009, when the then president of RIBA, Sunand Prasad, invited Prince Charles to address RIBA again for the first time in 25 years, passions were still running high. The Prince himself did little to alleviate them: he reiterated all his opinions from 1984. A group of the world’s most prominent architects issued an open letter in the London broadsheet, The Sunday Times, calling on the Prince “to engage in an open and transparent debate” rather than “use his privileged position to intervene in one of the most significant residential projects likely to be built in London in the next five years”. (The Guardian) pozvao na bojkot prinčevog govora pred članovima RIBA. osnova postojećeg stanja/existing situation Lord Ričard Rodžers /Lord Richard Rogers This last comment alluded to the refusal of Clarence House (the official residence of Prince Charles, and here synonymous with the Prince himself) to engage in a public debate on the Chelsea Barracks project dispute when invited by the architect, Richard Rogers. Among the signatories of this letter were architects Jacque Herzog and Pierre de Meuron, Lord Foster, Zaha Hadid, Renzo Piano and Frank Gherry, and also Nicholas Serota, director of Tate Museum, Ricky Burdett, professor of architecture and Deyan Sudjic, director of Design Museum in London. 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U ntije cr , nasta crtački s o “ radi ectiva nteresa orante zličitim p i D Persviti naj itekta e su ra h obja slao ar izrađen o je p nici, a o radi ikama. n teh arh a t k ite 75 82 avgust / septembar / oktobar 2010 / projekti 83 ulični izgled street elevation Idejni projekat stambenog objekta, ul. Kladovska 9, Beograd Preliminary design of residental object, 9 Kladovska St., Belgrade Autor: Ela Nešić,dia projektovano 2008/9. Author: Ela Nešić, architect designed in 2008/9. O O bjekat se nalazi u kontekstu ne baš podsticajne arhitekture novijeg vremena, tako da se pri osmišljavanju koncepta rešenja svesno išlo ka tome da se objekat posmatra kao nezavisan. U oblikovnom smislu namera je bila da se jednostavnošću i odmerenošću upotrebljenih materijala, objekat distancira od postojećeg izgrađenog okruženja. Tendencija ka upotrebi apstraktnih ortogonalnih geometrijskih formi– ramovi oko otvora, pristupna pergola i sl., prati osnovnu ideju, dok povremeni akcenti daju vizuelni identitet. Funkcionalna organizacija stambenih jedinica koncipirana je tako da se glavne funkcije stanova orijentišu ka ulici, odnosno dvorištu, dok su sporedne prostorije postavljene na bočnim stranama. Bočni prilaz omogućava diskretan pristup objektu i unutrašnjem dvorištu, ali je i funkcionalno i vizuelno rasterećenje glavnih fasada. idejni projekat stambenog objekta u kladovskoj ulici u beogradu bject is situated within the context not specifically encouraging architecture nowadays, so the main thought in conceptual solution preparation was to realize this object as an independent unit. In regard to shape of the object, the intention was to disassociate object from current environment by simplicity and measuredness of the materials used. Tendency to use abstract orthogonal geometric forms– frames around openings, accessible pergolas follows basic idea while temporary accents give some visual identity. Functional organization of residential units was drafted so that the main apartments’ functions are oriented towards street or to court while secondary rooms are situated on rear sides of the building. Side approach to the object enables direct approach both to the object and inner court and at the same time functionally and visually unburdens primary facades. preliminary design of residental object in kladovska st. in belgrade intervju / interview bjarke ingels Na ovogodišnjem Belgrade Desig Week-u razgovarali smo sa Bjarke Ingelsom, danskim arhitektom čiji rad ima posebno mesto u arhitekturi današnjice, koji je na pitanje kako je tako mlad uspeo da uradi toliko velikih projekata, rekao: “Kada sam završio fakultet imao sam sreću da moji roditelji nisu imali prijatelje kojima je trebao projekat vikendice ili nešto slično, tako da sam odmah bez gubljenja vremena krenuo da radim i osvajam velike konkurse”. Da li vam se čini da u pogledu inovativnosti i progresije svetska arhitektura polako posustaje zbog ekonomske situacije? Puno projekata je obustavljeno. Može se reći da više avanturistički projekti koji su bili izvodljivi pre dve ili tri godine sada nisu mogući. Istovremeno ja mislim da inovacije na možda manje spektakularan ali više dosetljiv i inteligentan način, su tražene. Kao što sada ne biste naručili neki ludi, spektakularni, skupi nemogući arhitektonski projekat, već bi pre naručili projekat objekta koji na inteligentan način koristi resurse, projekat koji može proizvesti manje spektakularnu ali dosetljiviju inovativnu formu. Potreba je majka svih inovacija, tako da u vreme krize potreba može biti još zahtevnija tako da češće dovodi do inovacije. A da li mislite da je recesija prouzrokovana nedostatkom ideja možda, i da se dve recesije dešavaju istovremeno? Ja ne mislim da živimo u vremenu u kojem nedostaju ideje, naprotiv, mislim da zbog istovremene razmene ideja, tekuća evolucija inovacija zapravo ubrzava. Mislim da je učestalost inovacija danas veća nego pre 20 godina. Ne znam da li znaš američki futurista Ray Kurzweil napisao je knjigu pod nazivom “Sličnost je blizu” gde on govori o ideji da od izuma točka, frekvencija i brzina inovacija ubrzava i bilo koja vrsta eksponencijalne krive ide ka maksimumu gde postaje vertikalna. U skladu sa ovim proračunima u narednih 20 ili 30 godina dostićićemo tačku gde će inovacija biti skoro trenutna. Mi u našem birou pratimo sa dosta interesovanja njegova razmišljanja i njegova zapažanja. Kakva su Vaša iskustva vezano za globalnu svest o arhitekturi i koliko je stvarno ta svest važna za arhitekturu? Ja mislim da je Gugenhaim muzej u Bilbau postao prvi “dogajđaj” arhitekte kao zvezde. Frenk Geri je bio prvi. On je radio veoma poželjne objekte, a pored njega i Norman Foster i neki drugi, i ja mislim da su arhitekte siviše često kritikovane, kao da je tu u pitanju natprirodno obožavanje idola. Dobra stvar oko toga i oko arhitekture je da je ta kultura obožavanja poznatih orijentisana ka objektima, i u drugu ruku ona prouzrokuje da se šira publika interesuje za arhitekturu, iako na veoma površan način. Na primer, možete da idete i gledate film zato što ste 89 O n this year’s Belgrade Design Week we have talked with Bjarke Ingels, a Danish architect whose work has significant position in architecture today and who responded to our question how it happened that he developed so many great designs so young, as follows: “When I graduated from the faculty I was lucky enough to have parents who did not have friends who needed resting house design or similar so I started immediately, without wasting any time, to work and participate on great competitions”. Does it seem to you that progression and innovation in architecture around the world is in the slow recession because of economic crisis? A lot of projects got killed with a crash, you can say that more adventures and risky projects that were feasible two or three years ago are now not feasible, in the same time I think that maybe innovation on perhaps less spectacular but more ingenious and more intelligent way has become more in demand, like now you would not commission some kind of crazy spectacular, expensive, impossible architecture but you might commission really intelligent way of using the recourses of a project in a smart way that might create less spectacular but more ingenious form of innovation. Necessity is the mother of all inventions, so in the time of crisis necessity might be higher so that true innovation might be more frequent. And do you think that recession is caused by the lack of the ideas maybe, and that two recessions are happening at the same time? I don’t feel that we live in the age starved of ideas, but on the contrary, I think, since there is instant exchange of ideas, ongoing evolution of innovation is accelerating. I think that the frequency of innovation today is probably higher than it was 20 years ago. I don’t know if you know that American futurist Ray Kurzweil wrote a book called „Singularity is near“ where he is talking about an idea that since invention of the wheel the frequency of paradigm change and the speed of innovation has been accelerating and any sort of exponential curve goes towards singularity where it comes vertical and according to this calculations within the next 20 or 30 years we will reach this point where innovations will be almost instantaneous and like I am in our office and we are following with a lot interest his thinking and his observations. What are your experiences regarding global conscience about architecture and how really important is that conscience about architecture existence? I think that Gugenhaim museum in Bilbao became the advent of the star architect. Frank Garhy was the first one. He made TARZAN IN ENERGETIC FIELD avgust / septembar / oktobar 2010 / arhitektura TARZAN U ENERGETSKOM POLJU 96 97 Projekat: Konkursni rad za predstavljanje Republike Srbije na 11. međunarodnoj izložbi arhitekture u Veneciji, 2008. Project: Competition work for the Republic of Serbia presentation on the 11th international exhibition of architecture in Venice, 2008. Projektovano: 2008. god. Autor i glavni projektant: Dipl.Ing.Arh. Mustafa Musić Projektant: Dipl.Ing.Arh. Vanja Panić Projektni biro: «ZENIT – inženjering», Beograd Designed: 2008 Author and main designer: Mr Mustafa Musić, BSc Arch. Designer: Ms Vanja Panić, BSc Arch. Project bureau: «ZENIT – engineering», Belgrade bog dan bog danović 102 avgust / septembar / oktobar 2010 / arhitekti Ideja redakcije našeg časopisa je bila da napravi serijal od tri članka posvećena Bogdanu Bogdanoviću. Pred vama je prvi, drugi ćete moći da pročitate u sledećem broju, dok treći na žalost nismo uspeli da pripremimo zato što je u njemu predviđen intervju sa Bogdanom Bogdanovićem koji, kao što možda znate, više nije sa nama. Our redaction’s idea was to create a serial consisting of three articles dedicated to Mr Bogdan Bogdanovic. Below you will find the first one, the next will be published in the following number while the third, unfortunately we were not able to prepare (the interview with Mr Bogdan Bogdanovic was planned) since, as you may know, Mr Bogdanovic passed away. tekst: mr Irena Kuletin Ćulafić 103 Bogdan Bogdanović je rođen 20. avgusta 1922. godine u Beogradu, u porodici levičarski orijentisanih intelektualaca. Otac Milan bio je ugledni književni kritičar, predsednik Saveza književnika i direktor Narodnog pozorišta u Beogradu. Nakon završene II Muške gimnazije, Bogdanović upisuje Arhitektonski fakultet u Beogradu čije studiranje prekida usled izbijanja Drugog svetskog rata. Kao partizan učestvuje u pružanju pokreta otpora nemačkim okupacionim snagama. Po završetku rata nastavlja studije arhitekture i diplomira 1950. godine, sa radom iz urbanizma kod profesora Nikole Dobrovića. Godine 1953. postaje asistent Katedri za urbanizam Arhitektonskog fakulteta u Beogradu. Godine 1964. imenovan je za predsednika Jugoslovenskog udruženja arhitekata. Godine 1970. godine postaje dekan Arhitektonskog fakulteta, a tri godine kasnije redovni profesor. Za dopisnog člana Srpske akademije nauka i umetnosti izabran je 1970. godine, a jedanaest godina kasnije samoinicijativno napušta Akademiju. U napuštenom selu Mali Popović u okolini Beograda 1976. godine Bogdanović pokreće alternativnu nastavu u prirodi. Škola u Malom Popoviću bila je usmerena na filozofske studije arhitekture zasnovane na istraživanju simbologije formi. Škola nije posedovala fiksan raspored predavanja, razvijala je nove sisteme pristupa arhitektonskoj praksi kao što su metode bliske slobodnim asocijacijama i geomantiji. U periodu od 1982. do 1986. godine Bogdanović je bio gradonačelnik Beograda, a 1987. godine dodeljen mu je status profesora emeritusa. Imenovan za člana nekoliko značajnih međunarodnih institucija: član je osnivačkog veća Internacionalne akademije arhitekture (1987), član Ruske akademije arhitekture (1994), dopisni član Bavarske akademije lepih umetnosti (1998), član kolegijuma Evropskog Univerziteta u Jeni (2000), počasni član Akademije nauka i umetnosti Bosne i Hercegovine (2002). Pojavom Slobodana Miloševića na političkoj sceni krajem osamdesetih, Bogdanović se protivi nacionalizmu i osuđuje nasilničke i anti-urbane akcije koje nova vlast nosi sa sobom. Miloševiću i Centralnom komitetu saveza komunista Srbije upućuje antinacionalističko pismo u dužini od preko 60 stranica teksta, nakon čega Bogdanović doživljava pretnje i biva isključen je iz Centralnog komiteta SKS. Po izbijanju rata na jugoslovenskim prostorima, sa suprugom odlazi u emigraciju i nastanjuje se u Beču, gde je živeo do smrti. A rhitekta-vajar, urbanista i vanserijski pisac o gradu njegovom nastanku, životu i smrti, tvorac vanvremenskih spomenika i celina memorijalne arhitekture, teoretičar i istoričar arhitekture i urbanizma čija pisana reč odiše visokim nivoom intelektualizma, pisac eseja-traktata nadahnutih izvanrednim senzibilitetom za fantaziju, maštu i nadrealno, nekadašnji profesor i dekan Arhitektonskog fakulteta u Beogradu, bivši gradonačelnik Beograda, dobitnik značajnih nagrada i priznanja, ličnost čije je ime zapisano u svetskim enciklopedijama. Mr. Bogdan Bogdanović was born on 20 August 1922 in Belgrade, in the family of politically left oriented intellectuals. His father Milan was a respectable literature reviewer, president of the Society of writers and Director of the National Theater in Belgrade. After graduating 2nd Male Secondary School, Bogdanović enrolls the Faculty of Architecture in Belgrade and stops the studies because of the Second World Was outburst. As a partisan, he participates in giving resistance to German forces. He continues with studying after the war finished and graduates in 1950 with graduation work in the area of town planning, mentored by Professor Nikola Dobrović. In the year of 1953 he becomes the assistant professor on the Department for town planning of the Faculty of Architecture in Belgrade. He was elected as a president of Yugoslav society of architects in 1964. In the year of 1970 he becomes the Dean of the Faculty of Architecture and three years after, a Professor. He was elected associate member of the Serbian Academy of Science and Art in 1970 and eleven years later he abandons the Academy on self – initiative. In the abandoned village called Mali Popović close to Belgrade, Bogdanovic runs alternative education held in nature in 1976. The school in Mali Popović was directed to philosophic studies of architecture based on form symbolism research. School did not posses fixed lectures’ schedule, it developed new approach systems in architectural practice as the methods close to free associations and geometry. Between 1982 and 1986, Mr Bogdanović was the Mayor of Belgrade, and in 1987 he was appointed Professor Emeritus. He was nominated member in several significant international institutions: member of Founding Council of the International Architecture Academy (1987), member of Russian Architecture Academy (1994), associate member of Bavarian Fine Arts Academy (1998), member of collegiums of the European University in Jena (2000), honorary member of the Academy of Science and Arts of Bosnia and Herzegovina (2002). Appearance of Slobodan Milošević at the political scene in the eighties, Bogdanović stands against nationalism and judges violent and anti – urban action that new government carries with itself. He writes an anti – nationalist letter of 60 pages to Mr Milošević and Central Committee of Communist Society of Serbia after which Bogdanovic experiences threats and exclusion from the Central Committee of CSoS. After outburst of war in former Yugoslavia, he emigrates together with his wife and settles in Vienna, where he died. A n architect – sculptor and an extraordinary writer on town - its creation, life and death, a creator of timeless monuments and memorial architecture complexes, theoretician and architecture and urban planning historian whose written word emits with high level of intellectualism, a writer of essays – tractates inspired by exceptional sensibility for fantasy, imagination and surreal, former professor and the Dean of the Faculty of Architecture, University of Belgrade, former Mayor of Belgrade, winner of significant prizes and acknowledgment, a person whose name is recorded in world encyclopedia. 113 Photographer: Oskar Da Riz We selected an Italian bureau MONOVOLUME for publishing (apart from Francesco Gatti whose interview we published in previous number) out of the Italian group of architects published in “top 10 below 40”, within issue no. 4. The thing we liked the most is their characteristics to treat both exterior and form equally good as well as the object’s interior where one cannot define whether interior or the object’s architecture is dominant in light of efficiency. We also liked the fact for being in opportunity to publish the photos of their constructed objects, which is a curiosity with younger architects who usually compete for the personal accomplishment awards with not-constructed designs and threedimensional presentation. sezione c Italijanski biro MONOVOLUME (pored Frančeska Gattija čiji smo intervju, dat za naš časopis, objavili u prošlom broju) izabrali smo da objavimo iz grupe italijanskih arhitekata objavljenih u “top 10 ispod 40” u broju 4. Ono što nam se najviše dopalo jeste njihova karakteristika da podjednako dobro tretiraju eksterijer i formu, kao i enterijer objekta, gde se ne može definisati da li je po pitanju uspešnosti dominantan enterijer ili spoljašnja arhitektura. Takođe nam se dopala i činjenica što smo bili u mogućnosti da objavimo fotografije njihovih izvedenih objekata, što je kuriozitet kod mlađih arhitekata koji u konkurenciji za nagrade za lično ostvarenje uglavnom ulaze sa neizvedenim projektima i trodimenzionalnim prikazima. “Rothoblaas” je kompanija specijalizovana za sklapanje sistema i električnih alata za drvnu industriju. Skladište i prodaja su smešteni u prizemlju pored administracije, soba za sastanke i izložbeni salon su na gornjem spratu. Cilj projekta je bi da se stvori kompaktan vrlo prepoznatljiv objekat. Objekat kao korporacijski identitet, moderan i reprezentativan za kompaniju. Ovo je dovelo do funkcionalne, kompaktne konstruktivne opne, obezbeđene staklom. Materijal glavnog objekta je drvo, kako bi se pokazali sopstveni proizvodi. sezione b sezione b -1,10 ±0,00 ±0,00 sezione a sezione a 0 1 2 3 4 5m piano terra sezione c Foto / Photographer: Oskar Da Riz The „rothoblaas“ office is a large-scale commercial operation specializing in assembling systems and power tools for the woodworking industry. Warehouse and commissioning are situated on the ground floor whereas administration, a meeting room and a showroom can be found on the upper floor. The aim of the project was to create a compact building with a high level of recognition. The building as corporate identity of the enterprise; contemporary and representative of the company. This has lead to a functional, compact structural shell, provided with a glass envelope. The main building material employed is wood in order to show the own products. osnova prizemlja ground floor