Contributions to the interpretation of the architecture of contemporary public buildings ROZPRÁVANIE , ABSTRAKCIA , KONTEXT Príspevky k interpretácii súčasnej architektúry verejných budov (original) (raw)
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BASIC TYPOLOGY OF THE PUBLIC BUILDINGS
Journal of Cultural Heritage, 2013
Taking into account the general suggestions and European standards in the field of education in conservation, at the Faculty of Architecture University of Belgrade in the recent years a series of students' projects has been carried out in order to investigate possibilities of protection, presentation and utilisation of historic sites. The idea was to broaden the students' knowledge and to educate them so that they could be able to solve complex issues while investigating, evaluating and renewing historic areas. This paper presents a one-semester work with students investigating renewal and modern utilisation potentials of the medieval Ottoman fortress Ram on the Danube bank (Serbia). The project empowered the students to be informed about: general methodology of the site condition valorisation; its character, significance and values; the destroyed buildings restoration and regeneration potentials; and 3D models implementation in assessing and comparing approaches to the protection and presentation. The historic and architectural analysis included several research stages of the origin and development of the fortress and data collection from various sources, archives and institutes. Conducting such research, the students were able to find out tangible and intangible characteristics and the basic architectural elements of the fortress and the surrounding buildings. Theory, investigation and education were complementary within the project, promoting an integrated approach in order to finding the most effective form of the historic site and its active inclusion in everyday life.
An architect’s relation to structure: Analysis of Pinki Cultural Sports Center by Ivan Antic
Spatium, 2018
Architecture represents the synthesis of form, function and construction. In the works of the architect Ivan Antić this can be read at the first view of the building. A master in designing movement through an object, Antić constantly developed the relationship between function and form, as well as between function and construction. A detailed analysis of his work, projects and drawings, gives insight to these relations, making them clear. The observer can see the architect's logic and simplicity in designing even the most complex buildings. The relationship between the design concept and the way the structure manifests itself in his projects will be presented in this paper. The logic behind the design of Pinki Cultural Sports Center, with emphasis on structure, as well as the relationship between the architect and the engineer can be seen throughout this paper.
Procedia Manufacturing, 2015
The article presents authors reflections on objects co-creating the new image of the cities and encouraging creating an interactive, multicultural space. The presented problems discuss architecture in the context of transferring information and activation of public places in the city. They are an element of research concerning the role of functions dominating the composition of a city that is being conducted by the team of researchers from the Silesian University of Technology and the Lodz University of Technology. The text discusses two groups of problems: 1) the question of the selected objects belonging to a predetermined to significative group; 2) an attempt to analyse the factors creating the human context in architecture.
Za krásnější svět: Tradicionalismus v architektuře 20. a 21. století / Toward a More Beautiful World: Traditionalism in Architecture of the 20th and 21st Centuries , 2013
TOWARD A MORE BEAUTIFUL WORLD (Brno: Barrister & Principal – VUTIUM 2013, 448 pp., 760 ill., an extensive English summary) uses innovative methodology to look at the traditionalist attitude in architecture and in the formation of architectural environment. In the five parts, the book (I) analyzes the professional debate around the history of architecture and the diversity of aesthetic preferences within this debate, (II) clarifies a theory that uses results of neuroscience to explain the attractiveness of traditional buildings, (III) based on this theory, sums up the history of twentieth- and twenty-first-century traditionalist architecture around the world and (IV) in the Czech Lands (the present Czech Republic), and (V) uses two specific examples to illustrate current variations in the relationship between heritage protection, musealization of art and the creation of an aesthetically valuable environment. The scope of the publication and its comprehensiveness make this book the first of its kind in the field of architectural history. The text is in Czech, nevertheless, international readers find all captions in English and an extensive English summary. The methodology of this book builds upon the architectural theory of the American scientist Nikos Salingaros, the impulses of world art studies, and the idea that there is a direct relationship between personal preference for a specific artistic morphology and the manner of its (art-historical) interpretation. The findings of brain science help specify the meaning of the words beauty and traditionalism. Even an untrained viewer can feel the contrast between traditional and modern architecture, while neighboring buildings in two different traditional styles (for example a baroque palace and a Gothic church) do not create the same impression of contrast or disharmony. The book explains the difference in aesthetic effect through Salingaros’s term structural order. This concept understands traditional architecture as an architecture designed according to the principles of structural order and modernist architecture as an architecture, where structural order is weak or non-existent. The concept put forward in this book is that architectural traditionalism strives to express structural order, while architectural modernism, which exists simultaneously, does not aim for this kind of order, neither consciously nor intuitively. Art-historical conceptions are also referred to as either traditionalist or modernist, according to which approach to artistic creation they prefer. The struggle toward a more beautiful world is considered a leitmotif of traditionalism – hence the title of the book. The book’s five parts and fifty chapters address themes such as: the aesthetic theory of empathy as elaborated by Heinrich Wölfflin and Geoffrey Scott; the scientific theory of architecture according to Christopher Alexander and Nikos Salingaros; American renaissance and the City Beautiful movement; city building according to artistic principles in the work of Camillo Sitte, Werner Hegemann and Gustavo Giovannoni; the Heimatschutz movement and Paul Schultze-Naumburg; the destruction and reconstruction of old cities and the Venice Charter; the New Tradition, New Urbanism and the vision of harmonious building according to Prince Charles. The chapters on the Czech Lands describe architectural works by Friedrich Ohmann, Jan Vejrych, Kamil Hilbert, Ladislav Skřivánek and Dušan Jurkovič and analyze texts by Václav Wagner, Břetislav Štorm, Josef Karel Říha, Ladislav Žák and Jiří Kroha. These chapters also discuss cubism and socialist realism in Czech architecture, new development and heritage conservation during the communist era and after the regime change in 1989, and public interest in the fate of old buildings and in the appearance of towns, villages and landscapes.
The Social Condenser: Revolution of Social Condenser and Redefine its roles in society, 2022
Since the late 1920s, Constructivists and architects have promoted the notion of the Social Condenser and it has become one of the most powerful architectural concepts produced in the Soviet Union until nowadays. However, the terms of social condenser have been redefined over time by architects, and this concept potentially enhances equality and interaction for people in society. My paper will look at the meaning and purpose of social condensers by investigating the revolution of Narkomfin by Moisej Ginzburg and Ignatij Milinis, and comparing their latter generation aspects. (How do Aleksander Ginzburg and Moisej’s nephew redefine the Narkomfin as a social condenser? What do they recover or restore?) I also investigated other architects who implement the social condenser ideal in today’s world and questioned, Why do social condensers continue to be produced in the modern world? The paper examines the topic in three sections: Study of original Narkomfin in 1930 (1), Revolution of Narkomfin from 2016 to 2020 (2), and Murawskis’s concept that influenced modern architects (3). The first part examines Narkomfin(1930), Moscow, one of the masterpieces of Murauskis to understand his initial concept and purpose of building within the community. The second part examines Narkomfin (2016 and 2020) by Moisei’s grandson who not only recovers the building but also designs a new purpose and perspective on the old building principle. The last part examines the form and the function of other architect’s projects that applied the social condenser concept to catalyze the community.
14th Belgrade International Architecture Week - Catalog , 2019
Prvih decenija po završetku Drugog svetskog rata, zemlje širom sveta beleže ogroman zamah izgradnje u svim mogućim razmerama i najrazličitijim tipologijama. Jugoslavija nije izuzetak – štaviše, zemlja beleži istorijske rekorde u rastu privrede i posledično, ulaganjima u infrastrukturu svake vrste. Istorijske okolnosti na međunarodnom planu dovode do specifičnog jugoslovenskog ekcepcionalizma, koji omogućuje samoupravljanje na unutrašnjem, a nesvrstanost na spoljnom političkom planu – što je stvorilo posebnu klimu za razvoj eksperimenta u arhitekturi koji pleni tihu pažnju međunarodne stručne javnosti od samog nastanka. Danas je ova arhitektura u novom talasu interesovanja i zadobija novu, globalnu popularnost i publiku koja prati stare „veličanstvene ruine“, da li će se i kako rekonstruisati i kako će se u njima živeti i raditi u budućnosti. Međutim, ono što je daleko zanimljivije jeste društvo koje je iznedrilo takvu arhitekturu, i omogućilo pojavu i delovanje niza autora i autorskih timova izvanrednog talenta, a koji su to društvo uprostorili. Mnogi od njih često imaju i vrlo ambivalentan odnos prema zadacima koji su pred njih postavljeni, te načinu na koji se njihovi projekti realizuju, ali ipak uspevaju da iznesu svoje ideje onako kako su ih zamislili. Isto tako, ova generacija arhitekata kroz svoja dela beleži i svakodnevicu društva za koje stvara, i njegov uspon i pad odslikava arhitektonskom produkcijom: prvi nespretni -ali odlučni koraci u industrijalizaciji; eksperimenti sa novim formama, materijalima i razmerama; vrhunac produkcije kada su svi – naručioci, investitori, projektanti, izvođači i proizvođači – radili kao jedan, dobro podešen mehanizam; do postepenog opadanja, smanjenja, egzila, te najzad degradacije – kako same produkcije tako i (iz)građenog prostora. In the first decades after the end of the Second World War, countries all over the world saw hugely intensified construction in all the possible proportions and in a myriad of typologies. Yugoslavia was by no means an exception - in those times, it boasted historic records in economic growth and, consequently, in the investments in all the types of infrastructure. At the international level, historical circumstances led to a specific Yugoslav exceptionalism, which enabled self-government in internal policy and a non-aligned position in foreign policy. As a result, it created a specific climate for the development of experimental architecture, which quietly drew the attention of international experts from the very moment it was created. Today, this type of architecture has been the object of a new surge of interest and has gained a new and global popularity, with the public watching the “magnificent ruins” getting old and deliberating if and how such ruins are going to be reconstructed and how one is going to live and work there in future. However, what is far more interesting is a society that bred such architecture, thereby enabling the appearance and activity of many extraordinarily talented individual authors and teams of authors, who created space of such society. Many of them often had a very ambivalent attitude towards the tasks set before them and towards the method of the realization of such projects, but, nevertheless, they succeed in conveying their ideas the way they envisaged them. In the same way, it is through their works that this generation of architects records everyday life of the society for which they design, reflecting its rise and fall through architectural production: the initial clumsy - but decisive - steps in industrialization; experiments with new forms, materials and proportions; the peak of production, when everybody - clients, investors, designers, contractors and manufacturers - acted as a single and well adjusted mechanism, then a gradual decline, decrease, exile and, finally, degradation - both of production itself and of built space/space being built.
The new social reality of ex-socialist architecture
THREE DECADES OF POST-SOCIALIST TRANSITION, 2019
The new social reality of ex-socialist architecture Abstract: The architectural creative process implies the change of the existing context, which, due to its application of abstract intervention, suggests a certain level of utopia or ideology. The nature of the transformation is determined to the accepted abstract value system and the imaginary projection of changes. The reality in the period of socialism seeks to transform into an ideal type, a universal model, with the aim of optimizing living conditions. Architecture becomes a model of the transformation of social reality. The concrete user turns into an abstraction an objective norm, which brings architecture more to a system with macro perception. The period of post-modern and contemporary architectural practices overlaps with the contemporary political and economic context to the extent that they are vague boundaries of their separation. The problem of the manipulation of real and concrete is simultaneously portrayed as inseparable elements of the concept. The principles of social in architecture are examined within specific ideological frameworks by exploring the phenomenon of abandonment and devastation of case studies from the period of socialism, and their reuse within the new socioeconomic context and current European migration crisis. Previous social functions of architecture are compared with their current use by migrants within specific local conditions and particular attention to elements of social context transformation and the role of architecture. Current use of facilities at the border of Bosnia and Herzegovina is critically examined within the contemporary theoretical research of bottom-up concepts and their social imperative, defining the real problem and its social benefits. Case studies are analysed in relation to micro and macro levels, investigating architecture through social processes with the aim of defining the level of a decision-making process, user-defined space, and the real significance for the community.
Never before there have been so many tendencies and formal conventions in architecture. And probably never before there was so much turmoil about understanding of our environment. Indispensable connections betweeen architectural schools with its mission focused on formulation of theoretical guidelines and professional practice definitely rooted in commercial activities, despite the disadvantageous separation and incoherentness, described by Fisher 1 among others, emerge and unfortunately amplify the chaos within the discourse on condition of architecture and its mission. On one hand we can observe the proliferation of fashion driven architecture, playing the role of sculpture or commodity, sometimes being self-contained and unrelated to the surroundings. Thus built environment is adorned with objects that stand out, and below tangled explanations of the authors one can find little connection to what really composes the framing space. On the other hand we face the lowest but the most dynamic process of shortsighted developments, driven mostly by commercial factors. This tendency results in quick and extensive use of resources, in building activities unsupported by deeper understanding of social patterns and their behaviors in urban environment, cultural or civilizational aspects. The most significant danger lies in ignoring the vision of the environment filled with multiplicated objects of that kind and in overpassing the question whether people will be able to adapt and perceive such space as comfortable, safe, marked by humane character.
Contribution to comprehending symbolism and meaning of architectural form
MATEC Web of Conferences, 2017
Architectural form and space, from the very beginning of their creation, weren't only elements reflecting mere act of building; as the act of human actions, they included proper symbolic presentation of a creator's perception of the world. The initial point is that each physical, therefore each architectural form, speaks volumes on more than just their purpose, so it can have symbolic meanings, being proved in history of architecture for such a long time. While observing architectural form, these two questions impose. The first question refers to identifying usable purpose of particular facility, in other words, its function. The second question imposes to identify what are the things that we are reminded of concerning that particular facility. This second question represents search for the meaning in each form that mankind instinctively longs to identify in order to comprehend the world we live in. No matter if we are in natural or building area, everything we are surrounded by has got specific forms recalling certain associations. The aim of this paper is to indicate that pictures appearing as a consequence of close forms and designs represent associations and they should not be compared to symbols. The goal of this research is to contribute to clearer seeing of symbolism of architectural form, in which situations it exists and whether it exists in contemporary architectural forms. This work is based on elements of Gestalt observation theory.