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Ja ne elim da budem interesantan. Ja elim da budem dobar Mies van der Rohe Konkurs za paviljon arhitekture. 290 pristiglih radova. Na konkurs se prijavilo 455 arhitekata i arhitektonskih timova iz celog sveta to je ukupno 765 arhitekata. Prema ovim podacima i podacima koje smo prikupili na naem web sajtu procena je da je oko 1650 arhitekata uestvovalo u ovom konkursu (deo njih nije poslao svoj rad). Hvala svima. Ovaj broj radova je dokaz da su arhitekte uvek spremne da uestvuju u neemu to e se raditi u slavu arhitekturi. Predlozi koje smo ovde predstavili su precizan presek kroz svetsku arhitekturu danas. To su radovi arhitekata razliitog talenta, iskustva i starosti. Obzirom da su pristigli iz preko 50 zemalja sveta moe se rei da je u pitanju konkurs na kojem su uestvovale sve arhitektonske kulture i naini razmiljanja. U ovom broju asopisa prikazujemo deo onih koji su zadovoljili najvei broj kriterijuma koje smo ocenjivali, a na naoj izlobi odranoj u muzeju Kralja Petra I u Beogradu bili su prikazani svi radovi. asopis Arhitekton, zajedno sa sponzorima konkursa za PAVILJON ARHITEKTURE, zahvaljuje svim uesnicima na radu na projektu paviljona. Poetna ideja o konkursu ostvarila se u vidu mnotva interesantnih projekata koji su dokaz elje i potrebe za ovakvim manifestacijama. Trudili smo se da raspiemo i sprovedemo konkurs koji odgovara svetskim standardima i teiemo da u narednim godinama ovaj arhitektonski dogaaj jo vie uvrstimo i definiemo. asopis Arhitekton posebno se zahvaljuje generalnom sponzoru kompaniji Kingspan, kao i komaniji Zumtobel i drugim sponzorima i saradnicima koji su uestvovali u organizaciji arhitektonskog konkursa i izlobe "Druga Nagrada asopisa Arhitekton". Kompanije, koje su lideri u svojim oblastima i koje svojim proizvodima ali i poslovnom politikom svakako doprinose unapreenju srpske arhitekture, asopis Arhitekton je imao ast da predstavi i preporui svim posetiocima izlobe. Tu je pre svega kompanija Kingspan kao

generalni pokrovitelj izlobe i Prve nagrade, iji su proizvodni program u svojim radovima predstavile arhitekte irom sveta. Kompanija Zumtobel, sponzorstvom Druge nagrade ali i radionicom pod nazivom Svetlo u arhitekturi, kao jedan od najznaajnijih proizvoaa rasvete na svetu, imala je mnogo toga da ponudi posetiocima i da pokrene razmiljanje o svetlu, na nain kako se to radi u svetu. Pored kompanije Zumtobel, edukativnu ulogu imala je i kompanija Sika, koja je arhitekte upoznala sa proizvodima i mogunostima predstavljenim u radionici Vodi za arhitekte sa kompanijom Sika. Posetioci su mogli da sumiraju razliite probleme koji se javljaju pri izvoenju i kvalitetna reenja za njih. Uesnicima konkursa i posetiocima izlobe predstavljena je jo jedna mogunost u projektovanju fasada i to kompanije Alubond. Interesantnom maketom kompanija Alubond je pokazala na konkretnom primeru, paletu od 15 boja koje su primenjene na objektu u Holandiji. Kompanija koja je svojom postavkom u Kui kralja Petra I, privukla veliku panju posetilaca je svakako Xella Srbija. Panju mnogobrojnih posetilaca privukla je jo jedna prednost Ytonga - mogunost oblikovanja atraktivne skulpturalne forme kojom se kompanija Xella predstavila na izlobi. Menjao se oblik skulpture, posetioci su sami oblikovali postavku, i na taj nain doiveli Ytong blok, svako na svoj nain. Protekle godine, iz objektivnih razloga, najvie se realizovalo projekata enterijera, tako da smo imali potrebu da predstavimo kompanije iz ove oblasti - Floor Experts, kompaniju sa neverovatnom ponudom parketa i podova, i Room Interior sa najnovijim dizajnom iz kueFritz Hansen. Sve informacije o proizvodima, prodajnim mestima i salonima, prezentovane su u sponzorskom filmu pomenutih kompanija prikazanom u sklopu filma o arhitekturi, koji je u kombinaciji sa katalozima omoguio da svaki posetilac dobije kompletnu informaciju koja mu je potrebna u daljem radu i projektovanju.

OBRAZLOENJE IRIJA iri je veinom glasova doneo odluku da Prva nagrada pripadne arh. Dimitriju Bugarskom. Obzirom da je konkursnim uslovima traeno da objekat bude izveden od panela tip Kingspan, nisu se podjednako vrednovala reenja koja su arhitektonski vredna po drugim kriterijumima koji nisu traeni ovim konkursom. Nekoliko reenja je visoko ocenjeno od strane irija ali obzirom na presudnu ulogu dela irija iz kompanije Kingspan, maksimalno su vrednovani samo objekti koji su ostvareni prema propozicijama konkursa. Obzirom da je stigao veliki broj radova iri je bio prinuen da radove svrsta u nekoliko kategorija koje su formirane kako bi se radovi pravilno ocenili. Kategorije prema kojima su radovi razvrstani su: kompozicija dobijena multiplikovanjem elemenata, kubina forma, poligonalna struktura, organska forma i simplifikovana forma dvovodne kue. Pobedniki rad je izabran veinom glasova irija, obzirom da je zadovoljio kriterijume koji su odluivali, a to su: potovanje konkursnih uslova, izvodljivost, cena izvoenja, upotrebljivost , kao i estetika forme. Od ukupnog broja od 290 rada, 142 rada su iz Srbije i Bosne i Hercegovine, 25 iz Maarske, 34 iz June Amerike, i ostatak iz jo 20 zemalja.

JURY REPORT The Jury decided to award the first prize to architect Dimitrije Bugarski. Considering that the competition terms and conditions accentuated the use of panels - Kingspan panels, the solutions that have other architectural values - not required by the competition brief, were not equally assessed. The jury members considered several high-quality solutions but they could not overlook the critical role of the Kingspan company requirements and only the projects that met the terms of the competition were highly evaluated. Taking in consideration the large number of entries, the jury was compelled to classify the projects by categories that were created in order to correctly evaluate the projects: the composition of the Pavilion generated by multiplication of the elements; cubic shape; polygonal structure; organic form and simplified form of the Pavilion. The winning project gained the majority of jury votes - it met the crucial criteria: meeting the terms and conditions of the competition brief; feasibility; building costs; usability; and the aesthetic of form. Out of 290 projects in total, 142 are from Serbia and Bosnia and Herzegovina, 25 are from Hungary, 34 are from South America, and the rest of them are from 20 other countries.

I dont want to be interesting. I want to be good. Mies van der Rohe Architecture Pavilion Competition. 290 submissions. 455 architects and architect teams from around the world applied to the competition - 765 architects in total. According to these data and the data we collected from our web site it is estimated that about 1650 architects participated in this competition (part of them did not send their works). These numbers show that architects are always willing to participate in projects that celebrate architecture. Thank you all. The solutions we present here give an overview of the world architecture today. These are the works of architects of different ages, experiences and different abilities. Considering that submissions came from more than 50 countries, we can conclude that the submitted projects represent most of the architectural cultures and attitudes. In this issue we present a number of projects that generally have met the criteria of the competition that were evaluated. Together with all other works, these projects were presented at our exhibition "The 2nd Annual Arhitekton Magazine Award" that was held in the Museum of King Peter I in Belgrade. Magazine Arhitekton, together with the sponsors of the ARCHITECTURE PAVILION Competition, would like to thank all of the participants for their work on the pavilion project. The initial idea of the competition is achieved in the form of variant interesting projects that indicate the desire and

need for such manifestations. We tried to meet the requirements of the international standards, and in future, we will strive to firmly define and configure this architectural event. Magazine Arhitekton would especially like to thank the general sponsor - Kingspan company, and the company Zumtobel, and all the other sponsors and contributors who participated in the organization of the competition and exhibition "The 2nd Annual Arhitekton Magazine Award". The Magazine Arhitekton was honored to present and recommend to the visitors of the exhibition companies that are leaders in their fields and which products and business policies certainly contribute to the improvement of Serbian architecture. Above all, Arhitekton presented the general sponsor of the event and the first prize, the company Kingspan, whose product range architects all over the world used in their solutions for the Architecture Pavilion competition. The company Zumtobel who was the sponsor of the second prize and, also, the host of the workshop "Light in Architecture", as one of the major manufacturers of the innovative lighting solutions in the world, presented the company's products and ideas in an interactive way, and encouraged visitors to think about the light. Also, the company Sika, who hosted the workshop "Guide for Architects Company Sika", educated the architects about the company's products and their innovative usage. The visitors were able to summarize the various

building problems and quality Sika solutions were suggested. The visitors and competitors were informed about the new options in the faade design that were presented by the company Alubond. Alubond company presented the interesting model as a concrete example of 15-colors palette that was used on the building in Holland. One company and its exhibit-installation in the Museum of King Peter I, attracted the great attention of visitors - company Xella Serbia. The attention of numerous visitors was drawn by another advantage of the Ytong products - the ability to form the attractive sculptural shape that the company Xella presented at the exhibition. The sculpture was changing during the exhibition - the visitors could shape the sculpture themselves and experience Ytong block in their own way. Last year, due to objective reasons, interior design projects were predominant, thus, this year, we felt the need to present the companies from this field - the company Floor Experts and its incredible range of floor coverings, and the company Room Interior presenting the Fritz Hansen latest design. All information about products, sales outlets and showrooms, were presented in a video about above mentioned companies, shown as a part of the film about architecture. The video installation, together with catalogs and other promotional material handed out during the event, provided the complete information to the visitors, needed for their further work.

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Prva nagrada : Dimitrije bugarski

first prize : Dimitrije bugarski

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BIG / UKRTENE # KULE u Seulu, Koreja

BIGs residential towers in the Yongsan International Business District revitalize the Han riverfront into a new commercial and residential center for the citizens of Seoul.

BIG / CROSS # TOWERS IN SEOUL, KOREA

ituated at the south-east edge of the Yongsan master plan designed by Studio Liebeskind for the Korean development group Dreamhub, BIGs Cross # Towers will contribute to the developing skyline of Seoul and become a recognizable marker of the new cultural and commercial center of the city. BIG was selected to submit a design proposal for Yongsan International Business District among 19 international offices, including SOM, Dominique Perrault, REX and MVRDV. The 21 000 m2 site is positioned next to the existing urban fabric in the future development zones

of the Yongsan master plan. BIGs design includes two elegant towers with a height of 214 and 204m. To meet the height requirements of the site, the exceeding building mass is transformed into an upper and lower horizontal bar, which bridge the two towers at 140m and 70 m height. The two towers are additionally connected through the arrival bar at the ground level - and a courtyard below ground. The Cross # Towers constitute a three-dimensional urban community of interlocking horizontal and vertical towers. Three public bridges connect two slender tow-

ers at different levels underground, at the street and in the sky. Catering to the demands and desires of different residents, age groups and cultures the bridges are landscaped and equipped for a variety of activities traditionally restricted to the ground. The resultant volume forms a distinct figure on the new skyline of Seoul a # that serves as a gateway to the new Yongsan Business District signaling a radical departure from the crude repetition of disconnected towers towards a new urban community that populates the three-dimensional space of the city. Bjarke Ingels, Founding Partner, BIG

BIGs design includes two elegant towers with a height of 214 and 204m. To meet the height requirements of the site, the exceeding building mass is transformed into an upper and lower horizontal bar, which bridge the two towers at 140m and 70 m height.

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Both the upper and lower bridge introduce rooftop sky gardens accessible to residents, allowing for outdoor activities, while a courtyard at the heart of the development is an integral part of the overall architectural design. Dramatic views towards the neighboring towers and visual connections across the courtyard from the retail zone create an exciting space for the residents and visitors. The outdoor landscape is envisioned to draw from the charm of traditional courtyards combined with the modernity of the project. Pedestrians at the arrival deck which

connects the towers at ground level can enjoy impressive views to the bridges above and to the submerged courtyard below. The typical tower inherently removes life from the city it occupies. Circulation is linear and social interactions occur only in lobbies or awkward elevator rides. We propose a building that triples the amount of ground floor triples the amount of social interaction and reintroduces the idea of neighborhood within the tower complex. Thomas Christoffersen, Partner in Charge, BIG

The development will offer over 600 high-end residences and amenities, including a library, gallery space and a kindergarten. BIGs design ensures that the tower apartments have optimal conditions towards sun and views. The bar units are given value through their spectacular views and direct access to the roofscapes, activating the outdoor realm. The exterior facades are developed to correspond to the different orientations and solar conditions, creating a diverse facade which varies from the viewers vantage point and the position of the sun.

Krovovi gornjeg i donjeg mosta ureeni su u vidu bati koje su dostupne stanovnicima i koje omoguavaju aktivnosti na otvorenom, dok je dvorite, u srcu strukture, integralni deo celokupnog arhitektonskog dizajna. Uzbudljive vizure ka susednim kulama i pogledi preko dvorita iz komercijalne zone ine prostor interesantnim za stanovnike i posetioce. Ureenje spoljanjeg prostora

osmiljeno je kao kombinacija tradicionalnih dvorita i modernih karakteristika projekta. Peaci na pristupnoj platformi, koja povezuje kule na nivou prizemlja, mogu da uivaju u impresivnim vizurama ka mostovima iznad i ka ukopanom dvoritu ispod. Tipina kula inherentno odvaja ivot od grada koji okupira. Cirkulacija je linearna i socijalne interakcije se javljaju samo u

hodnicima i nepodesnim liftovima. Mi predlaemo objekat koji utrostruuje povrinu prizemlja utrostruuje koliinu socijalnih interakcija i ponovo uvodi ideju o susedstvu u okviru komleksa kula. Tomas Christoffersen , odgovorni partner, BIG Objekat prua preko 600 modernih stambenih jedinica i drugih sadraja, ukljuujui biblioteku, galerijski prostor i obdanite. BIGov dizajn osigurava optimalne us-

love za apartmane u kulama vezane za orjentaciju i vizure. Vrednost jedinica traktova uveana je planiranjem spektakularnih pogleda i direktnog izlaza na krovne bate gde dolazi do aktiviranja spoljanjih zona. Fasada je dizajnirana tako da reaguje na razliite solarne uslove i orjentacije, stvarajui tako razliite efekte koji variraju u odnosu na taku posmatranja i poloaj sunca.

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IZVAN KONTEKSTA
Arh. Alek A. Neboji

OUT OF CONTEXT

NOTES ON PHOTOGRAPHIC WORK FICTIONS

BELEKE O FOTOGRAFSKOM RADU FIKCIJE

By Filip Dujardin

Another point that adds to the effect of alienation is the fact that most of the architecture I create is isolated from its environment. You could say that they are decontextualized, in order to become more abstract. In the end you get images that are too abstract to be real and too true-to-life to be fictitious. Filip DUJARDIN Druga stvar koja doprinosi efektu otuenja je injenica da je veina arhitektonskih objekata koje stvaram izolovana od okruenja. Moe se rei da su oni dekontekstualizovani da bi postali vie apstraktni. Na kraju se dobijaju slike koje su previe apstraktne da bi izgledale realne i previe bliske stvarnosti da bi bile fikcije. Filip DUJARDIN

he parameters of the environment and territory - parameters of context determine the architecture of space and time. These known factors can be organized, selected, evaluated and analyzed through different processes. Today, in the world of architecture, we are well aware of the majority of these factors and many methods we use to process them. Even the non-material, personal, spiritual parameters can be identified and inserted into that database. However, all these parameters are about existing, recognizable conditions which we derive them from. How do we know if these conditions are the only possible ones, and if they are real and valuable? The role of architecture, besides framing the life of the place and time, refers to the development and progress. Initiation of the new themes and values requires verification of the existing parameters and consideration of the non-existing ones. Architecture out of context can generate new ideas; hidden, non-obvious ones. How can we act and examine and not negate the established norms? Does the architecture that con-

tradicts these norms loose purpose and function or it has a chance to define new content, new expressions, new values? Belgian photographer Filip Dujardin in his work 'Fictions' analyzes architectural elements which he later synthesizes into a completely new discourses. Freed from the architectural and physical constraints and parameters he creates an architecture that emphasizes different architectural quality. By using a non-standard method and the selected non-contextual parameters, the author realizes the structures that are not just fictions. Looking at these buildings we can almost recognize their purpose some new functions generated as a result of new technologies, meant for some new generations and their future values.
arametri okruenja i teritorije - parametri konteksta odreuju arhitekturu prostora i vremena. Ti poznati inioci mogu se organizovati, selektovati, vrednovati i analizirati putem razliitih procesa. Danas u svetu arhitekture dobro smo upoznati sa mnotvom tih faktora i sa velikim brojem metoda pomou kojih ih obraujemo. ak se i oni nematerijalni, lini, duhovni

parametri mogu identifikovati i uvrstiti u takve baze podataka. Meutim, svi ti parametri govore o postojeim, nama prepoznatljivim stanjima iz kojih proistiu. Kako onda proveriti da li su takva stanja jedina mogua, da li su realna i vredna? Pored toga to uokviruje ivot mesta i vremena uloga arhitekture odnosi se i na razvoj i napredak. Pokretanje novih tema i vrednosti zahteva, preispitivanje postojeih i razmatranje nepostojeih parametara. Arhitektura izvan konteksta moe generisati neke nove ideje; skrivene, neoigledne. Kako onda delovati i ispitivati a ne negirati utvrene norme? Da li arhitektura koja im protivurei gubi svrhu i funkcionalnost ili ima ansu da definie nove sadraje, nove izraze, nove vrednosti? Belgijski fotograf Filip Dujardin u svom radu Fikcije bavi se analizom arhitektonskih elemenata koje kasnije sintetie u potpuno nove diskurse. Osloboen od arhitektonskih i fizikih ogranienja i parametara on stvara arhitekturu koja istie drugaije arhitektonine kvalitete. Nestandardnom metodom, koristei izabrane nekontekstualne parametre, autor ostvaruje strukture koje nisu iste fikcije. Gledajui ove objekte kao da prepoznajemo emu slue - za neke nove funkcije nastale kao rezultat novih tehnologija a za neke nove generacije i njihove budue vrednosti.

eing an architectural photographer for some years now I discovered that my fascination for architecture was in particular focused on the sculptural quality of a building. The building as a volume in space with its own laws of proportion was something very interesting to me, and something that I wanted to explore more. Often I was a bit frustrated by the building I was photographing because of the lack of eloquence and expressiveness needed to create an interesting or exciting image.

In fact after some time I felt the need to control all these aspects of architecture myself. So the best way to do that is pretending to be an architect myself and design my own buildings. As I am not an architect I cannot build actual structures, but doing it in a virtual way was something that opened a whole new way of working for me. Creating architecture by means of the computer gave me the possibility to design in complete freedom and with no restricting constraints such as building program, building cost etc.

ao fotograf koji se bavi fotografijom arhitektonskih objekata ve due vreme, posebno sam fasciniran skulpturalnim kvalitetom arhitektonskih objekta. Objekat kao volumen u prostoru koji ima sopstvene zakone proporcije predstavlja za mene neto veoma interesantno i neto to sam eleo vie da istraim. Pri-

likom fotografisanja objekata esto sam bio frustriran zbog nedostatka elokventnosti i izraajnosti objekta to mi je oteavalo da napravim interesantnu ili uzbudljivu sliku. Nakon nekog vremena osetio sam potrebu da sam kontroliem sve ove aspekte arhitekture. Najbolji nain da to uradim bio je da se pretvaram da

sam arhitekta i da dizajniram svoje objekte. Poto ja nisam arhitekta, ja ne mogu da gradim stvarne strukture, ali virtuelni pristup mi je otvorio potpuno nov put kreiranja. Stvaranje arhitekture uz pomo kompjutera daje mi potpunu slobodu, bez ikakvih ogranienja kao to su funkcionalni zahtevi, trokovi izgradnje i sl.

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OUT OF CONTEXT

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HEURISTIKI METOD / ALISA U ZEMLJI UDA

w - Graphic heuristic game based on Lewis Carrolls model - Bogdan Bogdanovi (3rd Symposium on the Synthesis of Art: Trough graphics to SYNTHESIS, Cultural Centre, Vrnjaka Banja, 6 - 14 January, 1978).
POVRATAK GRIFONA - Crtaka heuristika igra po modelu Luisa Karola Bogdan Bogdanovi (sa Treeg Simpozijuma o sintezi umetnosti: CRTEOM PREMA SINTEZI, Kulturno-propagadni centar, Vrnjaka Banja, 6 - 14. I 1978.

HEURISTIC METHOD / ALICE IN WONDERLAND

Pria Bogdana Bogdanovia koja poinje pitanjem ivotinjskih prikaza u modernoj arhitekturi i bavi se njegovim imaginarnim zverima otkriva specifian proces geneze tih oblika. Obiaj da crta teratomorfne prikaze uvodi ga u igru koju naziva pronalazaka, heuristika igra.

Za neim sam tragao, valjda za pravim pitanjima, jer, kao i u svakoj igri, odgovori su se esto nudili jo i pre no to su pitanja jasno postavljena.
Tragajui za unutranjim idejnim skeletom Bogdan Bogdanovi uvia nevidljivu matinu mreu koju je, kako kae, mogue uporediti sa nekom tajanstvenom geografskom kartom u koju bi se mogli postavi njegovi mali monstrumi - prostor koji ima smisla samo za njega i njegove zveri. Imaginarne zveri mogu se doiveti samo kada se postave u odreene diskurse. Da bi te spodobe imale znaenje makar i kao umetnika tvorevina uz njihove pojave moraju se objasniti i njihove prave linosti, smatrao je. Sa tm ciljem on izlazi iz sveta arhitekture i prostornih umetnosti i koristi transdisciplinaran pristup oslanjajui se na pisca Luisa Karola i njegova delo Alisa u zemlji uda i njen nastavak Kroz ogledalo, jer, kako kae, u njima je prepoznao vrst sistem, neku vrstu matine fantastine geografske karte specifinog prostora, kojim Karol ubedljivo oivljava svoje ivotinjske prikaze.

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TERRITORY OF THIRD BELGRADE

TERITORIJA TREEG BEOGRADA

DESIGN MODEL FOR THE NEW HOUSING ESTATES ON THE FUTURE THIRD BELGRADE TERRITORY MODEL PROJEKTOVANJA NOVIH NASELJA NA TERITORIJI BUDUEG TREEG BEOGRADA

Preliminary urban and architectural design for residentialoffice building complex of the social housing in the Ova settlement
Idejno urbanistikoarhitektonsko reenje stambeno-poslovnog kompleksa socijalnog stanovanja u naselju Ova

Ova - ceo kompleks - Urbanizam - model / Ova - entire complex - Urbanism - model

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TERRITORIAL EXPANSION - WATER STUDIO

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PROIRENJE TERITORIJE - RENE OBALE

PROIRENJE TERITORIJE - WATER STUDIO

Text: Marko Stoji

TERRITORIAL EXPANSION - WATER STUDIO

Conceptual design Architect Koen Olthuis Waterstudio.NL Sea Tree

Arhitekta-konceptualni dizajn: Koen Olthuis Waterstudio.NL Morsko drvo

Slike/Photocredits: Architect Koen Olthuis - Waterstudio.NL

21. dec. 2011.

Kada priamo o razumevanju teritorije u arhitekturiWhen we talk about understanding territory and its needs, and the new i njenih potreba ali i novih mogunosti, nezaobilaznaopportunities in architecture, an untema je proirenje graevinske teritorije na netoavoidable issue is the extension of the na emu do sada nije stvarana arhitektura, i tobuilding territory to the surfaces where no architecture had been created before nije uzimano u obzir kao potencijalna graevinskaand which had not been considered a povrina. Dobar poetak u stvaranju arhitekture jepotential building area. When creating is a ako moemo imati jo neto to nam moe pomoiarchitecture, itgraspgood thing to have something to at, something that da objekat bude kvalitetniji i interesantniji, a towill make the project qualitatively better je svakako atipina graevinska parcela, u ovomand more interesting, and, that, certainly, sluaju uz ili na vodi.is an atypical building surface - water for example. Primer Holandije i poveavanje graevinske povrineNetherlands example, its ventures of the u toj zemlji je opte poznat sluaj. Isuivanje terenaexpansion of the building area, is a well known project. So far the only recogje do skoro jedini prihvaeni primer na koji nain senized method of creating new building dolazilo do novih parcela sve do danas. Savremenagrounds has been the method of drainarhitektura je u potrazi za atraktivnijim ali i jeftinijimage. Contemporary architecture is looking for more attractive and less expensive reenjima, a to moe biti gradnja na vodi.solutions - building on water could be
one of them.

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Proirenje na raun vodene povrine ima svojuLand growth at the expense of water potporu i u procesu globalnog zagrevanja. Obzi-surface is a response to the process of rom da e se u narednih 200 godina potencijalnaglobal warming. Considering reduction percentage of the land territory in the graevinska povrina smanjiti, potpuno je opravdanonext 200 years, it is completely reasonda najmanje isto toliko uzmemo nazad od vodeneable to take away at least as much from teritorije, i to naroito zbog toga to e potrebathe water territory for building, especially because the need for the building area za graevinskom povrinom rasti. Ono to je nes-increases with time. The disproportion razmera je to to e se najverovatnije formiranjeof the process reflects in the fact that the happen nove teritorije desiti u ve razvijenim urbanistikimforming of the new territory will as a in already developed urban areas sredinama kao prirodna potreba za proirenjem, dokresult of the need for expansion, while e danas neizgraene sredine to i ostati.todays undeveloped areas will stay as they are. U ovom broju prikazujemo najinteresantnije projekteIn this issue we present the most interestholandskog biroa Waterstudio koji je specijalizo-ing projects of the Dutch bureau Wavan za ovu vrstu arhitekture i ini se da je najdaljeterstudio who specializes in this type of architecture, and who has, so far, come otiao do realizacije realnih projekata iji ivot seclosest to realizing projects the life of zasniva na vodenoj povrini.which is based on water surface.

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PTUJ ARCHAEOLOGICAL MUSEUM

ARHEOLOKI MUZEJ U PTUJU

he site of what is today the town of Ptuj has been settled since prehistory. The architectural heritage from the later Roman period is particularly rich with the extent of settlement in those times having been surpassed only recently. After the fall of Rome, the town's development exhibits a slowdown but sustains until the present day and results in an abundance of archaeological findings. On the one hand, this means an incredibly rich archaeological collection and vivid archaeological activity, but also problems with any construction or infrastructural intervention done below ground level. The mediaeval Ptuj stretches between the monastery of the Conventual Franciscans in the east, the castle in the north, and the Dominican monastery in the west. Today, the edge of the old town is preserved in the south by the Drava river and in the north, where the castle hill is not built, while in the east, it gets lost in the later development. On the eastern side, this border, logically represented in nature by the course of the mediaeval city walls, is almost completely lined with a belt of greenery, which represents a welcome caesura between the historical town and the contemporary development. The green belt is interrupted only on the site of the planned museum of archaeology, by the only main access road into the town from the north-western side.

Projekat/project: Ptuj Archaeological Museum Tip/type: commission Godina/year: 2011 Status/status: in progress Povrina/size: 6.720 m2 Klijent/client: Municipality of Ptuj Lokacija/location: Ptuj, Slovenia Arhitektura/architecture: Enota Projektantski tim/project team: Dean Lah, Milan Tomac, Alja erne, Neboja

Vertovek, Andrej Oblak, Polona Rupari, Karmen Bovha, Marua Zupani, Nua Zavrnik ilec

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okacija dananjeg grada Ptuj naseljena je jo u doba praistorije. Obim veoma bogatog arhitektonskog naslea iz kasnog rimskog doba je tek skoro nadmaen. Nakon pada Rima, razvoj grada je tekao laganim tokom, ali kontinualno sve do dananjih dana to je rezultiralo mnotvom arhelokih nalazita. Sa jedne strane, ovaj razvojni put podrazumeva postojanje neverovatne bogate arheoloke kolekcije i ive arheoloke aktivnosti, ali, sa druge strane, govori i o problemima u vezi sa bilo kakvim konstruktivnim ili infrastrukturnim intervencijama ispod nivoa tla. Srednjevekovni Ptuj prostire

se izmeu franjevakog manastira na istoku, tvrave na severu i dominikanskog manastira na zapadu. Danas je stari grad ouvan rekom Dravom na jugu i uzvienjem tvrave koje nije izgraeno na severu, dok se na istoku gubi u kasnije izgraenom tkivu. Na istonoj strani, ova granica, koja je inae odreena u vidu srednjovekovnih gradskih zidina, je skoro u potpunosti ozelenjena pojasom zelenila koji predstavlja prelaznu zonu izmeu istorijskog grada i savremenog razvoja. Zeleni pojas preseca jedino glavni pristupni put gradu iz pravca severozapada, u predelu lokacije budueg arheolokog muzeja.

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97 uesto binomio, in verit abbastanza inflazionato, per tema la page poich in questi anni il consumo o la preservazione del territorio sono concetti che affiancano la progettazione nel nostro continente ma anche del resto del mondo. Con ledificazione si sostituisce unimmagine con unaltra, si cambia

ARHITEKTURA + TERITORIJA ILI ARHITEKTURA I TERITORIJA?

text: Massimiliano Zigoi

ARCHITECTURE+TERRITORY OR ARCHITECTURE AND TERRITORY?

ARCHITETTURA+TERRITORIO O ARCHITETTURA E TERRITORIO?

va kombinacija, od davnina u upotrebi i dalje se koristi sa pitanjem potronje ili ouvanja prostora koji podravaju dizajn na naem kontinentu, ali i u ostatku sveta. Svaka zgrada je deo celine i ukoliko bismo jednu zgradu zamenili drugom, ona bi promenila i percepciju okruenja ubacivanjem novih elemenata. Okruenje jedne zgrade moe biti priroda ili istorijsko jezgro pri emu treba voditi rauna o istorijskim vrednostima i sa poveanom

a. b.

panjom intervenisati. Meutim prostor nije samo priroda ili istorijsko jezgro ve je sintagma koja dolazi iz arhitekture ali je blisko povezan sa drugim disciplinama koje ga okruuju i karakteriu. Modifikacija prostora zahteva poznavanje istorije i njeno potovanje. Balans izmeu starog i novog donee novim prostorima drugaiji izgled koji ne treba da bude nasilan kao Armageddon ve treba da sadri dobro isplanirane akcije. Danas imamo sve mogunosti da to postignemo, zato: iskoristimo ih!

rchitecture and territory, a combination that has been and still is utilized when speaking of usage and preservation of spaces that sustain the design on our continent and all over the world. Each building is a part of a whole and if it were to be replaced with another it would surely modify the perception of the surrounding because of the elements added. Whether it is on the outskirts of the city in nature or in the historic centre of the town it should be treated with reverence and respect. Special care has to be taken with the historic values. However the territory comprises not only natural or historic values but it is also defined by other architectures and related disciplines that surround and define it. Each territory has its own identity which needs to be acknowledged and respected. Balance between the old and the new will, of course, give a new appearance to the new space, but the change should never be aggressive as in Armageddon, instead it should contain well planned actions. Today we have means to achieve that, so, let us do it!

Lambretto Art Project (fotografija Tommaso Giunchi) Edificio Luna visto da via Ventura 5 (foto Martina Bedin)

Luna building. Facade from 5 Ventura street (photo Martina Bedin);

Objekat Luna. Fasada, pogled iz ulice Ventura (fotografija Martina Bedin)

b.

Edificio Luna. Cortile interno (foto Martina Bedin)

Luna building. Courtyard (photo Martina Bedin)

Objekat Luna. Dvorite (fotografija Martina Bedin)

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a.

Lambretto Art Project (foto Tommaso Giunchi)

Lambretto Art Project (photo Tommaso Giunchi)

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la percezione di un ambiente con un inserimento di nuovi elementi. Il rapportarsi con un territorio prevalentemente naturale o con un nucleo di antica formazione porta con s rispetto del passato e attenzione negli interventi. Il territorio per non solamente il luogo della natura o della storia antica, esso ha una vocazione deri-

vata dalle architetture, di qualsivoglia tipo, che lo occupano e lo connotano. E il territorio possiede sempre un equilibrio che va conosciuto, rispettato, certamente modificato, ma non snaturalizzato con una specie di violento Armageddon, bens con una consapevolezza nell'azione. Oggi abbiamo gli strumenti farlo: usiamoli!

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BRUNNER Salone Internazionale del Mobile 2012 - Sajamski tand

BRUNNER Fair stand Salone Internazionale del Mobile 2012

Arhitekti / Architects: Ippolito Fleitz Group Projekat / Project: Brunner Fair stand Salone Internazionale del Mobile 2012 Lokacija / Location: Salone Internazionale Del Mobile 2012, Milan Italy Klijent / Client: Brunner Gmbh Godina / Year: April 2012 Povrina / Size: 90 M / Sqm Tim / Team: Peter Ippolito, Gunter Fleitz, Tilla Goldberg, Jrg Schmitt, Daniela Schrder, Axel Knapp, Martin Berkemeier, Frank Fasmer, Anna Maier, Leonie Beck, Monther Abuhmeidan Fotografije / Photography: Francesco Di Loreto F38F

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TANATRIO AGRAMONTE
GO! Competition v.3.0 Location: Porto, Portugal
GO! Takmienje v.3.0 Lokacija: Porto, Portugal Projektantski tim / Project team: Tiago S, personal website: http://cargocollective.com/tiagosa Andr Vergueiro, personal website: http://cargocollective.com/andrevergueiro Carolina Castro, personal website: http://cargocollective.com/carolina_castro

his competition was a 48hours architecture marathon, where we were supposed to design a new concept of space for funeral ceremony for all religions. The shape raises from the ground to define the street in an attempt to control the permanent link between the introspective forested area and the existing graveyard space annex. Thus a new block is given to the city with a space for reflection, providing an environment not exposed directly to the public. Fundamental to the design of this dome was the creation of an internal logic path for funeral ritual. The course is divided into two approaches, first a moment of mourning and introspection. Here there is a way into the main chapel, that distributes to the three ceremony chapels. The building becomes the hinge between this dark moment and the next "breathing" moment, appears connected with the garden and the program of a social character.

PLAN - LEGEND: 1. Entry 2. Concierge 3. Washroom 4. Florist 5. Waiting Room 6. Antre-chamber 7. Funeral Hall 8. Farewell Room / Chapel 9. Chapel Services 10. Outside Entrance to the Chapel 11. Resting room 12. Administrative Services 13. Washroom 14. Bar 15. Cafeteria

PLAN - LEGENDA: 1. Ulaz 2. Portir 3. Toalet 4. Cvear 5. ekaonica 6. Pristup dvoranama 7. Sala za sahrane 8. Oprotajna soba/Kapela 9. Usluni prostori uz kapelu 10. Spoljni pristup kapeli 11. Soba za predah 12. Administrativne usluge 13. Toalet 14. Bar 15. Kafeterija

1.

2.

3.

CONCEPTUAL EVOLUTION - LEGEND: 1. block defined by main street and cemetery 2. volumetric opening - city block 3. block defragmentation - traditional city quarter 4. program distribution through cult logic 5. cult spaces aiming to the sky - verticality 6. traditional city quarter roof character verticality
KONCEPTUALNA EVOLUCIJA - LEGENDA: 1. blok definisan glavnom ulicom i grobljem 2. volumetrijska otvaranja - gradski blok 3. defragmentacija bloka - tradicionalni gradski kvart 4. distribucija programa prema kultnoj logici 5. kultni prostori orjentisani ka nebu - vertikalnost 6. vertikalni karakter krova tradicionalnog gradskog kvarta

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5.

6.

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vo takmienje bilo je zamiljeno u vidu arhitektonskog maratona koji je trajao 48 sati. Na zadatak je bio da osmislimo novi koncept prostora za pogrebne ceremonije svih religija. Predloen oblik se uzdie od zemlje kako bi definisao ulicu radi kontrolisanja stalne veze izmeu introspektivne poumljene zone i postojeeg aneksa groblja. Tako nastaje novi blok grada sa prostorom za razmiljanje, obezbeujui okruenje koje nije direktno izloeno javnosti. Definisanje unutranjeg loginog puta pogrebnog rituala uticalo je na dizajn kupole. Taj pravac se sastoji od dva dela, pristupa, gde se prvi odnosi na trenutak alosti i introspekcije. Odavde kree put ka glavnoj kapeli koji se rava ka tri ceremonijalne kapele. Objekat postaje spona izmeu mranog trenutka i sledeeg momenta "odahnua", i ostvaruje vezu sa dvoritem i programom socijalnog karaktera.

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V - jay / Reconstruction of the Central Hall of Army

Reconstruction of the Central Hall of Army into a congress center
Rekonstrukcija doma vojske u kongresni centar

V - jay / Rekonstrukcija Doma Vojske

by adding new contents needed for the functioning of a modern convention center, but, also, the retention of the part of the building hosting the Center of the Serbian Army and its accompanying facilities. Thus, we applied several principles which influenced the final urban and architectural concept of the new design: flexibility and multifunctionality; modernization of the building and its compliance with the time without compromising its authenticity and identity; accentuation of the buildings role as an important city landmark and the principles of ecological architecture and energy efficiency. The designed complex consists of five interrelated parts: conference area, catering and accommodation segment, Gallery of the Contemporary Art, Educational center and Center of the Serbian Army. The flexibility of the function is achieved through the generated functional connections between the parts which allow their separation or unification. WEST ELEVATION R=1:200 IZGLED ZAPAD R=1:200
IZGLED ZAPAD R=1:200

ALTERNO: ore Kiti Duan Nikoli Mirjana Nikoli Slavia Kondi Milan Stevanovi Vojislav Nikoli

he volumetric composition of the Central Hall of Army consists of two dominant parts - the lower storey part (basement, ground floor and mezzanine) and the seven story tower (basement, ground floor and the main floors). The formal expression of the building is very modern and it is highly valuable to the city and the nation. Because of the significance of the building, the approach to its remodeling has to be cautious. The project implies the expansion of the buildings facilities

NORTH SEVER R=1:200 R=1:200 IZGLED ELEVATION

IZGLED SEVER R=1:200

IZGLED JUG R=1:200 SOUTH ELEVATION R=1:200

IZGLED JUG R=1:200

IZGLED ISTOK R=1:200

EAST ELEVATION R=1:200

IZGLED ISTOK R=1:200

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