22

february / march / april 2012 /architects

23

Text/Tekst: Ivan Ratkovi

TADAO ANDO
N

U svim mojim projektima svetlo ima znaajnu ulogu. Ja stvaram

zatvorene prostore preteno putem upotrebe debelih betonskih
zidova. Osnovni smisao je formiranje mesta za individuu, zone
za pojedinca unutar drutva. Kada eksterni faktori gradskog
okruenja zahtevaju da zid bude bez otvora, enterijer mora biti
naroito ispunjavajui i zadovoljavajui. - Tadao Ando

akon neformalnog obrazovanja kod japanskog stolara i nekoliko nezavisnih studijskih putovanja u Aziju, Evropu
i Ameriku, Tadao Ando je prvi
put primeen posle rada na kui
Azuma, izgraenoj u Sumiyoshi
1976., za koji je nagraen nagradom za arhitekturu Japanske arhitektonske asocijacije.
Ova dvospratna stambena jedinica, zamiljena kao megaron
umetnut izmeu tradicionalnih
kua u nizu, ve onda je pokazala osnovne principe Andove
arhitekture; njegov bazini koncept stvaranja introspektivnog
mikro-kosmosa koji stoji nasuprot urbanom haosu modernog sveta. Ovo je bila strategija, kako je rekao, upotrebe
zidova radi ponitavanja zidova. Posle toga ovaj pristup se
dalje manifestovao u vidu serije
armirano-betonskih kua od ko-

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 citys
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

nain, usresreena na atrijum,
a naroito njegove kue Matsumoto i Ishihara iz kasnih sedamdesetih izgraene u predgrau
Osake. Prva od njih fokusirana je
na terasu - otvor ka umskom
rezervatu. Drugo obeleje ove
male trospratne kue odnosi se
na Andovu bazinu sintaksu koja
podrazumeva, na prvom mestu,
njegovu uobiajenu upotrebu
neobraenog betona, unutra i
spolja, ili u vidu zidova omotaa
ili u vidu slobodnostojeeg okvira, koji koristi u kombinaciji sa
velikim povrinama od staklenih
ploa ili blokova, koje su uramljene u eline profile ofarbane
u sivo.
Kenneth Frampton, Thoughts
on Tadao Ando, esej prezentovan prilikom dodele Prtzkerove
nagrade za arhitekturu 1995. godine.

Andos 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 Andos
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.
BIGs visionary approach of
combining unique types of
accommodation and amenities along with the leisure activities offered at the resort,
left the jury in awe. BIGs
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 SKIJAKI

KOMPLEKS OD 47.000M2 U GRADU LEVI.
Budui
ski
kompleks
pretvorie postojee skijako
odmaralite u mestu Levi u
svetsko turistiko odredite.
Kompleks nudi usluge vrhunskog smetaja i rekreacije
za skijae svih kategorija i
razliitih potreba. Blizina aerodroma Kittila olakava dolazak
do skijakog centra i privlai
strane posetioce u Lapland
region i selo Levi. Preduzima
Kassiopeia Finland Oy, situiran u Finskoj, ulae 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.
iri je odao potovanje
BIGovom vizionarskom pristupu koji obuhvata implementaciju
jedinstvenih
sadraja, smetaja i drugih
ugodnih prostora za rekreaciju i razonodu koje prua
odmaralite. Bigov ambiciozan plan predstavlja izazov
u odnosu na tradicionalne
stavove i verujemo da e
saradnja izmeu Kassiopeia
Finland i BIG-Bjarke Ingels
Group dovesti do ostvarenja
tog plana.

iri, 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

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

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.
Poetak 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 Municipalitys 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
faade. 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 Isozakis
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,

Povrina parcele: 850m2

Izgraena bruto povrina: 1.175m2
Maksimalna visina iznad nivoa tla: 5.3 m
Materijali: armirani beton, elik, 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

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 A J A
U
R
B
A
N
E
D
I
T
I
N
G
ARCHITECTURE OF OCCURRENCE
V

aan element u spoznaji i

tumaenju trenutka u kojem se nalazi suvremeni grad
i urbani teitorij, njegova je inspirativna i bogata slojevitost
nastala taloenjem i rastom
kroz vrijeme. Prostorno-vremenski sedimenti grada i arhitekture, te ubrzani urbani razvoj u posljednjim desetljeima,
snano definiraju kontekst u
kojem kao arhitekti djelujemo
i projektiramo. Pored izvorne
slike grada ili graevine koja
je projekirana i miljena kroz
urbanistike planove i projekte
postoji i trenutana, stvarna i
poticajna slika trenutka koja
oblikuje prostor za drugaije
mogunosti djelovanja i interpretacije.
Povijesni primjeri poput Nolieve karte Rima, ili plana Splita
sa tlocrtima kua, 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 gledajui i ivei svakodnevnicu prostora oko nas.
Jasno nam je da takva uzbudljiva urbana matrica nije
nastala samo planom i kontroliranim postupkom, ve rastom
u vremenu, kroz monotvo
malih ali promiljenih arhitektura, intervencija i gradnji nastalih kvalitetnim pretapanjem prostora izmeu
graevina i grada, kao ploda
urbane strategije i drutvenog
konsenzusa graana Rima ili
Splita.

By Idis Turato

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 Nollis 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 dont see
in everyday life. It is clear
that such complex urban
matrix didnt 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.

iambattista Nolli,
Karta Rima,
1748. godina
Crte grada sa zgradama prikazanih
sa svojim prizemljima u dijelu javnog

arta Splita - dananje stanje

Snimak svih prizemlja zgrada u palai i gradu pored nastalog kroz vrijeme;
crte grada - karta pokazuje bogatstvo slojeva nastalih kroz vrijeme.

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 povrine grada, trijemovi,

vrtovi, prizemlja crkva i svih javnih
graevina.

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 Stoji

ivimo u vremenu u
kom je neophodno
promeniti tradicionalna
shvatanja o korienju
graevinskog
prostora.ta kada unutar
grada tog prostora vie
nema, kada grad prestane da ide u irinu
ili visinu? Kao i svaki
drugi organizam koji
se razvija grad trai
najbolje, esto i najednostavnije, naine za
svoj razvoj. Taj razvoj
uglavnom podrazumeva podmlaivanje osnovnih delova organizma, nekada i potpunu
promenu
sastavnih
delova. U optem razvoju grada arhitektura
je primarna disciplina, i
kao takva za sobom ostavlja razliite objekte i
tvorevine. Postavlja se
pitanje kako proceniti u
rasponu od 70-100 go-

dina koji objekat treba

zadrati i rekonstruisati
a koji sruiti? Kako se
tu uklapa pojam energetske efikasnosti starih objekata ali i promena navika korisnika
objekata? Moda je ipak
sada pravi trenutak za
nastanak novog pravca
u arhitekturi, zrelijeg
pristupa
savremenoj
arhitekturi
koja
ne
podrazumeva
nuno
ruenje starih objekata
koji su tehniki jo uvek
u dobrom stanju i ija
funkcija uz manje modifikacije moe ispuniti
kriterijume sadanjeg
vremena. Novi pravac
porazumeva novi ivot
starog objekta, i to ne
u vidu puke renovacije ve novog ivota
i u umetnikom i u
tehniko-funkcionalnom
smislu.

PARASITE ARCHITECTURE

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
todays
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
koristei neki
od resursa
starog objekta se danas
najee naziva
parazitska
arhitektura.
Taj naziv je
ve ro v at n o
previe grub,
i to iz prostog razloga
to je za nastanak jednog
takvog objekta neophodna neka vrsta
saglasnosti
matinog objekta pa je
time i parazitski status
neopravdan.
Matini
objekat tu vri
veoma vanu
ulogu
time
to
snaga
novog arhitektonskog
izraza zavisi
od potencijala i energije
koju matica
ima u trenutku sjedinjavanja. Interesantan odnos
izmeu ova
dva se vidi
kada i matica i parazit potpuno
gube smisao
ako bi svoju
egzistenciju u prostoru nastavili
pojedinano.
Veoma je int e re s a n t n a
pozicija arhitekte
koji

sada
ima
zadatak
da
na potpuno
novi
nain
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.
Reciklaa
urbanog prostora je tamo
poeljnija
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

reenja.
Postoji vie
sluajeva
u
Holandiji,
naroito
u
Roterdamu,
gde se do
reenja dolo
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

oncept
projekta
i pratee izlobe
iskljuivo je zasnovan
na Lukinom istraivanju
vezanom za percepciju i interaktivnost
posmatraa sa predstavama imaginarnog
prostora u stvorenoj
atmosferi.
Kreiranje
iluzionistickog
prostora,
obuhvatalo
je izlazak iz dvodimenzionalnosti
slike.

MONOLITI
Luka Pavelka

he concept of the
project and the
following
exhibition
was mainly based
on Lukas 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

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 izloena

na Kobe Bijenalu od 1. oktobra do 23. novembra 2011.
godine. Ovaj projekat jedan
je od pobednikih radova na
Shitsurai Art meunarodnom
konkursu koji je organizovao
grad Kobe. Multi-funkcionalna
instalacija ima funkciju mesta
okupljanja i svaki deo instalacije moe da koristi kao
platforma za sedenje sa koje
posetioci mogu sagledavati
okruenje i tako provocirati
drutvenu 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.

otiv projekta
bio je dogaaj
iz 1995. godine
Veliki HanshinAwaji zemljotres
kada je dolo do
neizbenih promena u izgraenom
tkivu a poteeno
je samo prirodno
okruenje grada
Kobe. Ovaj razoran dogaaj ostao je u pamenju
stanovnika grada
Kobe koji su nakon njega postali
uporna i bliska
zajednica otvorena i prijateljski
naklonjena
prema
posetiocima
grada. Jake soci-

jalne veze izmeu

ljudi pomogle su
im da prevaziu
katastrofu i obnove
grad inei ga jo
boljim
ivotnim
okruenjem.
Meutim, u svakodnevnom ivotu
bez velikih problema i kriza, fizika
drutvena interakcija izmeu ljudi je nestala to
predstavlja jedan
od najveih problema savremenog
tehnolokog
drutva.
Crater Lake instalacija predstavlja
okruenje u kome

ljudi mogu da se
okupe i posmatraju okolnu lepotu
i jo vanije, gde
mogu da ukau na
znaaj odravanja
drutvene
interakcije koja je
bila vaan katalizator
zasluan
za
revitalizaciju
grada Kobe posle
katastrofe. Instalacija je postavljena na vetakom
ostrvu Port Island
u parku Shiosai
Park sa koga se
prua pogled na
urbani
centar
grada,
njegovo
okolno planinsko i
morsko okruenje.

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 susree sa avanturom

East Balcony - Istoni balkon

West Elevation - Zapadni izgled

THE MODERNISATION OF BERCHTESGADEN YOUTH HOSTEL

West Box - Zapadna kutija

Foyer - Foaje

LAVAS 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
ZAJEDNIKOG
STANOVANJA U MESTU BERCHTESGADEN.
KVALITET KOJI SE OBRAA BUDUNOSTI
OGLEDA SE U INTEGRACIJI SAVREMENIH GRAEVINSKIH 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

sprovoenja
sveobuhvatnog programa modernizacije,
zavreno je izvoenje projekta Haus Untersberg u okviru Berchtesgaden kompleksa
hostela za mlade.
Tokom izvoenja radova, koji
su zapoeti u avgustu 2010.
godine, hostel je bio u funkciji i pruao je usluge smetaja
gostima. Dalja razrada i novi
projekti kompleksa Berchtesgaden Hostela za mlade planirani su za sledei period.
LAVA arhitekti potrudili su se
da razmotre razliite potrebe
mladih gostiju i porodica kao
i potencijal osnovne strukture
postojee zgrade.

96

february / march / april 2012 /events

97

VELONOTTE

Velonotte global dates in the 2012:

Moscow May 26/27. Moscows West. The Golden favelas.
London June 23/24. East London drive. Public buildings from Dickens to
Olympics.
St. Petersburg July 14/15. The Kings Way: from Hermitage to Peterhof
fountain estate.

MOONLIGHT BIKE RIDES

TROUGH THE ARCHITECTURE

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, weve 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.

VONJA BICIKLOM KROZ ARHITEKTURU PO MESEINI

ogaaj
Velonotte
osnovao je istoriar
Sergej Nikitin u
Moskvi 2007. godine sa ciljem
promocije i valorizacije urbanog
okruenja i istorije. Jednogodinji
neprofitni dogaaj
prezentuje
ljudima iz itavog
sveta znamenite
i manje poznate
spomenike
i
obeleja gradova.
Zbog velike zainteresovanosti
i
na zahtev mnogih
uesnika, projekat

je proiren van
Rusije. 2010. godine odrana je
prva
evropska
manifestacija
Velonotte Roma.
Velnotte New York
odran je 1. oktobra 2011. godine.
Storefront for Art
and Architecture
imao je ulogu
domaina uvodnog dela Velnotte
dogaaja u New
Yorku,
projekta
koji pretvara gradove u none
muzeje na otvorenom gde se ture
izvode na biciklu.

U okviru uvodnog
dogaaja posetioci su mogli da
se besplatno registruju i informiu,
kao i da vide kratku
prezentaciju
bivih dogaaja u
Rimu i Sankt Peterburgu i iseak
iz
dokumentarnog filma o Moskovskom Velnotte
dogaaju.
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. Neboji

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

ovi oblici artikulacija

arhitektonskog izraza koji su rezultat
promena nastalih u
savremenom
drutvu
koje diktira novu ulogu
arhitektonskog delovanja i identiteta, naizgled
potpuno nearhitektonski, nematerijalni, ak virtuelni, nalaze primenu
u mnogim postojeim
i novim strukturama.
Arhitektonski izraz danas postaje sredstvo
koje nastaje u sintezi sa
vrednostima modernog
doba i koje u takvom
obliku moe da obezbedi opstanak i dalji razvoj arhitekture i drutva.

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 postavljajui
akcenat na nove situacije u kojima prethodne
vrednosti
i
potrebe bivaju ili zadovoljene ili zamenjene
kao
neodgovarajue.
Izmene u nainu ivota
nastale usled teholokog
razvoja utiu na nain
korienja i percepiranja prostora i dolazi
do formiranja drugaijih
oblika aktivnosti. Funkcija postaje fleksibilna,
menja obim i uslove
neophodne za njeno
ostvarivanje.
Okvir
novih oblika aktivnosti
predstavlja
refleksiju
dogaaja,
identifikuje
momenat u vremenu i
prostoru. Arhitektonski
elementi danas stoje u
odnosima koje definie
sam trenutak, dogaaj
koji inicira nastanak
prostora. Ti momenti
ozbiljno se razlikuju od
dosadanjih trajnih ideja
koncipiranih na univerzalnim vrednostima.

rihvatanje promena i injenice

da su promene sve
ee, dovelo je
do formiranja neke
vrste univerzalnog
prostora koji je inteligentan, interaktivan i prilagodljiv.
Na
ovaj
nain
osloboen
prostor menja ranije
utvrene hijerarhije
arhitektonskih
elemenata. Fleksibilna
funkcija omoguava
i inicira preusmeravanje panje 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 its him...

Street Art by French Artist JR

108 february / march / april 2012 / projects

109

WESTENDGATE
Just Burgeff architekten and a3lab
Asterios Agkathidis

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 faade, the
installation of new solar faade 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.

Faade
The existing faade was
completely renovated and
redesigned and vertically
arranged solar faade modules are integrated on the
outside.
The faade 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 faade 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 faade.

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

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?

uni
geometrijski
oblici pozicionirani u
jednom neodreenom
prostoru koji je lien
granica, otvoren, deformisan, vezani su za
druge pune oblike skoro
kao virus koji pokuava
da promeni njihov DNK.
Traganje za univerzalnim znanjem. ta se
deava u unutranjosti
punog tela?
Transformacija
se
ne moe ponititi, ne
moete 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 viestrukih taka
gledita
izometrijskih
konstrukcija moe se
neogranieno poveati.
Poetak ne postoji? Da li
e 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 nadjaavanje sujeta
umetnika je skoro bez
izuzetka donosilo neto
dobro. U ovom tekstu

opisujem dva sluaja

koja su u prvom delu
manje a drugom malo
vie 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 savremenike

razlike u pogledima su
sigurno neto to je
razvoj umetnosti guralo
napred. Takmienja 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 uopte? Generaci-

What would cities look

like if there were no differences in the attitudes
about architecture and
generally art? Genera-