Professional Documents
Culture Documents
Arhitektura I Urbanizam
Arhitektura I Urbanizam
Arhitektura I Urbanizam
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, Barcelona Strategic Urban Systems,
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11000 , 73/II
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34
, 2012.
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T , -
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Expressionism as the radical creative tendency in architecture.......................................
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Minimalism in architecture: architecture as a language of its identity.............................
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III
Ljiljana Blagojevis article published in this issue presents
a continuity of her previous papers dedicated to the work of
architect Milan Zlokovi. In her article, the author analyzes the
line of architectural sensibility that is somewhat neglected in the
previous researches, by analyzing the so far briefly interpreted
works, and in relation to the historical-cultural context and
architecture of Trieste at the turn of the 19th and 20th century. This
article extends the referential and interpretive field to a more
complex perception of modernist discourse in Serbia, in which
architect Zlokovi played a key role.
Theoretical discussions on art and architecture, as well as the
researches about the importance of contemporary art in publicpolitical urban space are the topics of the other two articles.
The first text presents a theoretical-critical discussion about
interrelations of esthetic categories of expression, expressiveness
and expressionism, and the reexamination of their positions
and roles in the system of visual expression in architecture. In
the second article, the authors base their researches on the
criteria evaluation and methods of selecting adequate locations
and works of contemporary art and their compatibility in the
formation of special ambients.
Editorial
Minimalism in architecture is the topic that has been dealt with
several times in this journal. In this issue, two articles talk about
an extremely topical subject. In the first article, the author tries
to find the solution to the question posed in the title of the work:
how the language of architecture represents its identity. By citing
numerous sources that research the relation between architecture
and language, the author introduces us to the complex relations
between architectural and linguistic signs. In the research
described in the article, the author proves that minimalism in
architecture through the inspired use of architectural ambients
assumes the greatest responsibility for giving an identity to an
object. The other text analyzes the architectural discourse formed
around the term minimalism in architecture. The author examines
the relevance of the official hypotheses. Writing the history of
minimalism in architecture, in its most intensive period
the nineties of the last century mainly took place in three
cities: London, Barcelona and Milan. The author analyzes the
ways in which each of these cities tried to show minimalism in
architecture as an authentic local creation.
The Plava Ptica nursery, by architects Milenija and Darko
Marui, surely is one of the most significant architectural
works constructed in Belgrade in 2011. Numerous awards, very
affirmative reviews, but, above all, the satisfaction of the children
who spend their time in this unique space, are a special topic of
this issue.
Mila Pucar
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ID BROJ: 192031500
, DOI: 10.5937/arhurb1234003B
*
: 2012, : 2012.
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Rundbogenstil
Abstract
The research of work of the architect Milan Zlokovi (1898,
Trieste 1965, Belgrade) so far has focused mostly towards
analysis of his projects which are key to the study of the
modern movement in architecture in Serbia and the region.
This paper, however, opens a line of inquiry which focuses on
another feature of his creative disposition, which has been
overlooked to some extent. It is argued that this sensibility,
which characterises his early projects of the 1920s, owes much
to his Mediterranean ancestry and upbringing in Italy. In his
projects this feature corresponds to a certain transhistorical
interpretation and transposition of cultural, artistic and tectonic
principles of the Italian-Mediterranean architecture. In the
architecture of the regions of Italy which were under the AustroHungarian rule until its break-up in WW1 and particularly in
Trieste, where the architect was born and lived until he left for
university studies, Central European and especially Viennese
cultural influences mix with those of Italian and Mediterranean
origin. The aim of this article is to examine this very feature of
Zlokovis designs in relation to historical and cultural context
of Trieste architecture at the turn of the 20th century. The
analysis of Zlokovis early projects is based on study of primary
sources, i. e., projects and photographic documentation from
the architects family archive, as well as on secondary sources
on Trieste architecture. In a more general sense, this article on
the polyvalent foundation of Belgrade modern movement aims
to expand the referential and interpretative field of research of
modernist discourse in which architect Zlokovi had a key role.
Key Words: Architect Milan Zlokovi, transhistorical interpretation, transposition of cultural, artistic and tectonic principles, architecture of Trieste, Mediterraneanized Rundbogenstil
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the Ministry of Forests and
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prikaz-autora-pojedinacan.php?autor=17 25. 2012.
10
Palazzo Modello, Piazza Grande (Piazza dellUnit dItalia), Giuseppe Bruni, 1871-1873. : http://sguardoinsutrieste.webege.com/index.html
1. 2012.
11
Palazzina Parisi, Giorgio Polli, 1909. : http://www.viedeitorrenti.it/en/the-10-areas/piazza-goldoni 1. 2012.
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UDK:72.036.7
ID BROJ: 192032012
, DOI: 10.5937/arhurb1234014A
*
: 2012, : 2012.
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Summary
The concepts of expression, expressiveness and expressionism
present the key terms on which contemporary architectural
and artistic works are based. Although these are essential
esthetic categories, the explanations of these concepts are not
clearly defined in scientific and theoretical texts. When the
term expressionism is mentioned, it often implies the stylistic
direction in architecture and the arts, which was created and
lasted until the beginning of the XX century in northern Europe
(especially in Germany and the Netherlands), and in which the
artists have twisted the reality with exaggerated and energetic
strokes to express their inner visions, ideas or emotions.
However, contemporary theoretical discussions in the arts and
architecture point to the manifestation of expressionism in
other periods and contexts as well. The basic aim of the text is a
critical discourse of interrelations among esthetic categories of
expression, expressiveness and expressionism; reexamination
of their positions and roles in the system of visual expression,
as well as the examination of the starting hypothesis in
research, according to which expressionism in architecture is
a radical creative tendency with distinctive choleric-sanguine
characteristics.
Key words: expressionism, expression, expressiveness, visual
expression, architecture, art.
14
, ...
e-mail: djordje.alfirevic@gmail.com
, 34/2012/ 14-27/
Introduction
XX
(Herbert Read)
,
. ,
,
,
(Read, 1957). .
.
,
, . .
By the mid-20th century, the art critic Herbert Read set the
thesis by which art is the emotional expression of certain states
of intuition, perception or emotion of an individual. By further
analyzing this thesis in his works, he makes a bold statement
by which realism, idealism and expressionism are not separate
movements in art, but represent constant basic factors in all
the arts (Read, 1957). The opinions of H. Read have enabled
the reexamination of previous interpretations of certain stylistic
directions and phenomena in architecture and the arts. To place
the phenomenon of expressionistic creativity into an appropriate
context and to understand its essence, it is necessary to analyze
beforehand the general esthetic categories to which it belongs,
i.e., expression and expressiveness.
Expression
.
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1.
Field of application
rendition / interpretation
expressing thoughts and feelings with spatial, formative and visual means.
manner and form by which thoughts are expressed in words.
expressing emotional states by body gestures and facial mimics.
intensity of expressing emotional content, which is clear, striking and personal
verbal/non-verbal behavior caused by a specific emotion.
process in which information from genes is used in biochemistry.
Table 1.
Use of the concept expression in the field of science and arts.
15
, 34/2012/ 14-27/
, . (Benedeto
Croce), . (Regina Wenninger), . .
(Robin George Collingwood) . (John Dilworth). .
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(Julio Carlo Argan) 1770
19702000. ,
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, XIX XX
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. (Jenefer Robinson)
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16
1
2
3
4
5
6
. , . (1934)
Wenninger. Individual Style after the End of Art. (2005), p. 105-115.
Collingwood. The Principles of Art. (1958), p. 109-111.
Dilworth. Artistic Expression and Interpretation. (2004), p. 10-28.
. 1770-1970-2000. (1970). . 184.
Robinson. Expression and expressiveness in art. (2007), p. 19-41.
. 1.
.
Fig. 1.
Expressionistic manifestation by architect Daniel Libeskind
infusion of sharp-angled and tilted architectural forms.
, 34/2012/ 14-27/
17
1
2
3
4
5
6
. , . (1934)
Wenninger. Individual Style after the End of Art. (2005), p.105-115.
Collingwood. The Principles of Art. (1958), p.109-111.
Dilworth. Artistic Expression and Interpretation. (2004), p.10-28.
. 1770-1970-2000. (1970). .184.
Robinson. Expression and expressiveness in art. (2007), p.19-41.
, 34/2012/ 14-27/
.
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18
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Fig. 2.
Expression and expressiveness
- Subject (artist)
- Object (art work)
- Observer (percipient)
.
,
,
, 7 . . (2004),
. 25-61.
.
8
, Robinson. Expression and
expressiveness in art. (2007), p. 19-41.
. ,
9
Tolstoy.
What is art?. (1955), p. 506.
, ,
10
. :
.
. (2000), . 42.
11
, .
. . ,11
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,
. (2012), . 23.
- - 12
.
.12
/Visual Exspression in
Architecture. (2011), . 3-15.
, 34/2012/ 14-27/
Expressiveness
The concept of expressiveness is very often identified with the
concept of expression. If the concept of expression is primarily
understood as an activity or pattern, then the concept of
expressiveness would imply the property of the object. In his
article Expressiveness, B. Toovi defines expressiveness as
a category of stylistics, linguistics, literature, art, esthetics,
logic, psychology and genetics, which on the linguistic level
includes formal, semantic, functional and categorical units in
their homogenous and heterogeneous relations that reflect
and express a unique subjective, emotional and/or esthetisized
relation between A (sender, author, speaker) and B (addressee,
recipient) or C (subject, message content).7 By the concept of
expressiveness he means the property or group of qualities, which
reflect a specific relation between the sender and the recipient
or object. Jenefer Robinson arrives at a similar conclusion when
she makes an absolute distinction between the concepts of
expression and expressiveness. In her opinion, expression is the
relation between an art work (expression) and a person who is
expressing oneself, who is an author or an imaginary protagonist,
narrator or character (character from a work of art). Contrary to
this, expressiveness is a relation between expression and the
public with whom it communicates.8
Leo Tolstoy, in his article What is Art? gives a simplified
interpretation of expressiveness when he says that art is a human
activity reflected in the fact that an individual consciously, by
means of specific external signs, conveys to the others the feelings
he/she has experienced, so that they are infected by these feelings
and they experience them.9 Criticizing Tolstoys stance, Gordon
Graham gives his opinion on expressionism, as a viewpoint
according to which art works resonate emotions, but are not a
real expression of emotion. He says that for every work of art it
can be claimed that: 1) the catalyst for the creation of an art work
is any kind of emotional experience, 2) its reception has created
an emotion with the public, and thereby, 3) still, it is untrue that
the emotion was contained in the mentioned work of art. The
expressionist theory in art emphasizes that if a certain feeling can
be ascribed to one work of art, then that work is an expression of
that feeling, and understanding that work amounts to a specific
recognition of the feeling in question.10
19
. . (2004), .25-61.
Robinson. Expression and expressiveness in art. (2007), p.19-41.
9
Tolstoy. What is art?. (1955), p. 506.
10
. : . (2000), .42.
11
, .
. (2012), . 23.
12
. /Visual Expression in Architecture.
7
8
, 34/2012/ 14-27/
. 3.
13
Fig. 3.
Polarization of expressive categories in architecture13
,
.
(
),
(
).
,
,
, . .
,
,
.
20
,
.
, .
, XX ,
,
.
. . (James
Stevens Curl), . (Alan Higgins), . (Jonathan
. : XXI (2008),
. (2011), O svestlosti u arhitekturi minimalizma (2010).
14
Palmier. . (1995). . 14.
15
Pehnt. Expressionist Architecture. (1973), p. 8.
13
, 34/2012/ 14-27/
Expressionism
Analyzing theoretical approaches in understanding the concept
of expressionism, two basic interpretations of this phenomenon
can be singled out. The differences that appear between them,
based on the width of its understanding, i.e., on whether
expressionism is observed as a stylistic direction in architecture,
which appeared and lasted until the beginning of the XX century,
or represents a permanent, basic factor of all stylistic directions
and all the periods.
The first and, at the same time, the most common interpretation
in scientific and professional literature is advocated by critics
such as James Stevens Curl, Alan Higgins, Jonathan Harris, Giulio
Carlo Argan, Kim Sohee and others. The interpretation is based
on the opinion that expressionism, in its most narrow sense, is
an art movement originating in northern Europe (especially in
Germany and the Netherlands) around 1905, and that it lasted
until the end of the third decade of the XX century. The earliest use
of the concept expressionism is linked to the year 1850 and the
dictionary of art criticism Taits Edinburgh Magazine, where the
term is used for new trends in modern painting.14After a pause
of 25 years, expressionism in architecture has reappeared in its
neo-variant in the mid-60s of the XX century, as a reaction to the
already widespread modernism in the world.
Since the birth of the movement, many authors have dealt with
this topic. Among the most important texts and studies on the
subject of expressionism that can be listed are: an essay by Georg
Lukacs (xpressionism Its Significance and Decline, 1934) and
books Peter Selz (German Expressionist Painting, 1957), Pierre
Garnier (German Expressionism, 1962), Dennis Sharp (odern
Architecture and Expressionism, 1966), Bill Groman (xpressionists,
1969), Wolfgang Pehnt (xpressionist Architecture, 1973), Tim
Benton (xpressionism, 1975), John Willet (xpressionism, 1978)
Jean-Michelle Palmier (xpressionism as Rebellion, 1978), Vittorio
Gregotti (xpressionism, 1986), Donald Gordon (xpressionism
Art and Idea, 1987) and Elger Dietmar (xpressionism, 2002).
In art, the concept of expressionism referred to the artists activity
who distorted reality through exaggeration, energetic and visible
brush strokes and loud colors, with the aim of expressing artistic
ideas or emotions. In architecture, expressionists did not deal
with emphasizing function, but with creating free, powerful,
sculptural forms, often crystal-like, and sometimes with sharp
angles and in the form of stalactites. 15
Like expressionist painters, expressionist architects were not
organized into groups, with unique programs and activities.
Most of the architects, who entered the field of expressionism,
have created in such a way only during a short period of their
21
, 34/2012/ 14-27/
,
,
. ,
,
,
.16
,
.
, .
.
.17
. (Douglas Kellner)
,
-.
. ,
,
.18
,
. ,
XX ,
, .
,
, .19
. (Adolf Behne)
New Strum Exhibition
1914. .,
.
, XX
,
.
. ,
.
.
. , ,
,
. ,
: . (Casa
Mila, Casa Batllo, Park Guell .), . (Ideal palace), .
(Berlin Philharmonic Hall), . (TWA Terminal
JFK Airport), (Notre Dame du Haut, Philips Pavilion),
(Hundertwasser house, Waldspirale), .
(Guggenheim museum, Nationale Nederlanden Building) .
. (Elger Dietmar) . . (Jean-Michel
Palmier)
,
.20
,
.
, , .21
22
. 4.
(A.
Gaudi Casa Batllo, Hundertwasser Hundertwasser
house, F. Gehry National bank, H. Scharoun Berlin
Philharmonic Hall, Le Corbiseur Notre Dame du Haut)
, 34/2012/ 14-27/
For Palmier, expressionism is not only an art movement, but a sensibility and global
vision with hopes, dreams and hatreds. It has marked all forms of art, and broken them
in order to unite them again into odd artistic creations where the fact that someone
is an expressionist is ultimately more important than the fact that they are painters,
sculptures or playwrights.21
The most radical and broadest interpretation of the concept of expressionism is given by
the critic Herbert Read, who in his books22 has established a thesis that expressionism can
be considered as a steady, basic factor in all the arts that have over time brought it to the
surface. According to Read, the term expressionism is used in defining art works in which
the reality is distorted in order to express artistic emotions or inner visions. For example, in
painting, the emotional influence is emphasized by the use of intensive colors, distortion
of shape etc.23 Read finds that the concept of expressionism is of primary significance,
such as the concepts of idealism and realism, and not of secondary importance like
the word impressionism; as well as that it defines one of the basic ways of perception
and representation of the world around us. He also states that depending on the sociopolitical, cultural-historical and other circumstances, the expressionistic elements occur
from time to time in other styles, such as: cubism, fauvism, abstract expressionism,
informel etc.
Like Read, the theoretician Gill Perry finds that the term expressionism as a stylistic
definition was often used in art to implicitly define the quality/level of distortion or
exaggeration in form, in the works of any artist from any period.24 The opinions of H. Read,
D. Kellner and G. Perry are significant because they indicate the existence of expressionism
as a permanent, basic factor in all styles and all periods; it allows the possibility of
explaining also the appearances that have the elements of expressionism, and which
do not belong exclusively to the expressionistic movement from the beginning of the XX
century.
Similarly to Read and Perrys thoughts on art, in his books, Charles Jencks also points to
the existence of cyclical appearances in architecture as well. According to Jencks, three
basic groups of architectural tendencies are evident; they occasionally appear in courses
of history: traditionalist, rationalistic and creative.25
Under creative (intuitive) tendencies, Jenkcs means examples of: art-deco, expressionism,
secessionism, fantastic architecture, organic architecture, neo-expressionism,
deconstructivism etc.
23
Figu. 4.
Expressionism in other stylistic trends (A.Gaudi - Casa
Batllo, Hundertwasser - Hundertwasser house, F.Gehry
- National bank, H.Scharoun - Berlin Philharmonic Hall,
Le Corbiseur - Notre Dame du Haut)
21
, 34/2012/ 14-27/
. , 22
,
. ,
,
, (. ,
,
.).23 ,
,
,
. , ,
-, -
,
, : ,
, , .
, . (Gill Perry)
, /
,
.24 . , . .
,
,
,
XX .
,
. (Charles Jencks),
. ,
,
:
, .25
()
: , ,
, , ,
, .
24
,
,
,
. ,
,
(
(Taut), (Mendelsohn)
(Poelzig)).
XX , ,
Read. Art Now. (1933) Education Through Art. (1954).
Read. The Thames and Hudson Dictionary of Art and Artists. (ed. 1966, 1985
and 1994), p. 128.
24
Perry. Primitivism, Cubism, Abstraction: The Early Twentieth Century.
Primitivism and the Modern. (1993). p. 62-81.
, .26
, , ,
.
,
XX :
(Hans Scharoun), (Hugo Haring)
(Erih Mendelsohn).
.
,
,
.27
.
,
, ,
.
,
, ,
.
,
,
,
, . ,
:
, .
?
. ,
. .
:
1) / / , 2)
,
, 3)
, 4) ,
5) , 6)
, 7) , 8) .28
.
,
:.
. . (1986).
. . (1986), . 75.
27
Jencks. The New Expressionism, in Architecture Today. (1993), p. 222-229.
28
Higgins. Architectural Movements of the Recent Past. (2010).
22
25
23
26
, 34/2012/ 14-27/
When he speaks of expressionism, Jenkcs states that it is a utopian movement from the early 20s, which had clearly adopted
specific anarchist ideals, behind which the great expressionist architects were lining up. However, the realization of these ideas in
practice did not go very far, that is why there are very few expressionistic buildings that had actually been constructed (except for
the works of Taut, Mendelsohn, Poelzig and Haring). Jenkcs feels
that when expressionism reappeared in the 60s of the XX century, in the form of fantastic architecture, its earlier political and
ideological roots have already been dissolved, and then it represented just one of the significant movements in the history of
architecture.26 On the other hand, new expressionism according
to Jenkcs, started appearing in architecture in the late 70s, simultaneously with similar movements in the art world. In both cases,
the inspiration came from the works created in the 20s of the XX
century: in the architecture of Hans Scharoun, Hugo Haring and
Erih Mendelsohn. Behind the concept new expressionism is the
perception of architecture as a naturally expressive medium, freed
of conventional codes. Its central idea is that there is a primitive,
unconscious language available to everyone who makes an effort
to feel the power of pure form, light and conventional materials.27
Similarities between interpretations show that there is a general
consensus on what basically represents the essence of the concept of expressionism. All the authors agree that it is a radical
form of architecture and art, whose aim is authentic expression
of the inner world - vision, emotion, thought and feeling. Differences in interpretation indicate that there is a serious conflict
of opinions regarding the understanding of the broad interpretation of the concept; because ever since the first promotion of the
concept of expressionism until the present, there has been a lot
of controversy about its interpretation. It is indisputable that expressionism in architecture is a creative tendency whose aim is to
express the emotion, thought and vision of the artist in a radical
and authentic way, by means of an extreme approach to architectural formation and articulation. However, a question is raised,
what are the creative principles of expressionism in architecture,
i.e., based on which criteria it can be said that an architectural
work is expressionistic?
Few historians of architecture and art have dealt with the analysis
of expressionistic principles. Still, there are certain opinions
about what makes one architectural work expressionistic. Alan
Higgins s opinion is significant, and according to it, the primary
aspects of an expressionistic work in architecture are: 1) curved/
angular concrete and/or brick walls, 2) dramatic, irregular
forms and a tendency to avoid the rectangular shape and right
angle, 3)attitude towards architecture as if it were a sculpture,
Perry. "Primitivism, Cubism, Abstraction: The Early Twentieth Century. Primitivism and the Modern (1993), p.62-81.
Jencks. . (1986).
26
Jencks. . (1986), .75.
27
Jencks. The New Expressionism, in Architecture Today. (1993), p.222-229.
28
Higgins. Architectural Movements of the Recent Past, (2010).
24
25
25
, 34/2012/ 14-27/
. 5.
(Jewish
museum, Berlin D. Libeskind (), Chilehaus,
Hamburg Fritz Hger ())
,
().
(
. , . . ),
.
,
, .
,
.
(
, ,
,
).
,
.
,
,
,
.
.
,
.
, (). ,
,
(-)
(). je
,
,
, ,
() ()
.
. 6.
26
Fig. 6.
Attitude of expressionism towards expression
and expressiveness
, 34/2012/ 14-27/
Fig. 5 .
Spontaneous and conditioned expressionism
(Jewish museum, Berlin D.Libeskind (left),
Chilehaus, Hamburg Fritz Hger (right)
Conclusion
The concept of expressionism is very close to the concept of expression. Both concepts
reflect expression of thought, vision and emotional content by means of a specific artistic
medium. The difference lies in the fact that the idea of expressionism refers to only one
part of the field of expression, which is radical and aggressive (choleric-sanguine). Besides
expressionism, expression includes all those examples of artistic expression, which are
extreme, but reduced and non-violent (phlegmatic-melancholic) by their character
(minimalism). Expressionism is a radical creative tendency in architecture, whose aim
is authentic expression of thought, emotion or feeling of the artist by means of an
architectural work, which as a medium establishes a specific relation between architectural
expression and the public (users) with which the work of art (architect) communicates.
Expressionism possesses the characteristics of expression and expressiveness, and appears
in two manifestive categories - spontaneous and conditioned expressionism.
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27
UDK: 7.038.5:711.4
ID BROJ: 192032524
, DOI: 10.5937/arhurb1234028D
*, **
: 2012, : 2012.
[]
,
. 1 (Rosalyn Deutsche)
,
,
,
,
.
.
,
.
, ,
.
,
.
, 2008.
, 10
,
.
28
bstract
()The discourse about public art is itself a political site a
site, that is, of contests over the meaning of democracy and,
importantly, the meaning of the political. Rosalyn Deutsche
The text is researching the significance of art compositions that
are presented in unconventional way, outside of museums and
galleries, displayed in the urban public spaces and specially
dealing with criterias for evaluation and final election of
appropriate locations and modern art masterpieces, their
compatibility and forming special and unrepeatable ambients.
Analize is about the most suitable public spaces, which deserve
or need art interventions. It gives overview of different critique
attitudes connected with choise of art peaces, interpretation
of their value and symbolism, as reaction of the citizens. No
matter if their character is permanent or temporary art subjects
can fundamentally change appereance and nature of space,
give it new dimension, or design it in the different manner. The
fact is that the public space is actually the politic realm, so all
interventions require certan steps, from iniciatives to decisions
making and realization. As case study of procedures is stated
example of work of Commission for sculptures of Belgrades
City Assemble, that started in 2008, with a task to elect 10 art
compositions and to opt for becomingly exibition locations, with
verification of all urbanistic or technical possibilities.
Key words: public space/realm, art, urban design, criteria,
political procedures, citizens
: , , ,
, ,
* , . . .,
natasa.danilovic@urbel.com
** , . . .,
marta.vukotic@urbel.com
1
,
.
, , 34/2012/ 28-41/ -
,
(Public Art)
(Street Art) ,
,
, .
,
,
, ,
, a
,
, , . (Read,
1980). ,
,
,
.
,
- ,
,
,2
, -
2011. ,
.3
,
,
,
(Miles, 1997).
,
,
(Richard Cork) ,
,
. ,
,
. , ,
, ,
,
(Roberts, 1998). ,
, ,
,
,
, (lndmark)
.
. 1.
(2. 2008)
Fig. 1.
Masterpieces of Goya, passing by on truck, on
streets of Madrid (2nd May 2008)
. 2.
2 , (. Dos de Mayo),
,
1808. .
(Francisco Goya 2. 1808. ,
, 3. 1808. ,
),
1814. , .
, .
29
, , 34/2012/ 28-41/ -
. 3.
, (Joan
Mir), ,
(, 2007)
Fig. 3.
Intervention in pavings, author Joan Mir, La
Rambla, Barcelona (reconstruction, 2007)
,
.
,
,
, ,
, ,
(Roberts, 1998).
,
, 4
-
(Boudrrillard, 1985).
PUBLIC ART
30
( )
,
(, , , ),
(, , , ),
. Public art
,
,
,
( , 2000).
,
,
.
, (Sharon
Zukin)
. 4.
(Louise Bourgeois
(Guggenheim),
Fig. 4.
Sculpture Maman author Louise Bourgeois,
infront the Guggenheim Museum, Bilbao
(Zukin, 2004).
,
.
: ,
,
. /
(Martnez Sarandeses
et al, 2003):
, , ,
;
, ,
, , , .;
,
, .
,
,
.
,
,
, ,
(Gehl, 2006; Carmona, Tiesdell,
2007).
, ,
, , , ,
.
,
4 1929.
,
, ,
,
.
, , 34/2012/ 28-41/ -
, ,
( 1991).
,
.
, ,
, .
, ,
. , ,
,
, , ,
,
,
( , 2010). ,
,
,
(Kostof, 2001).
, , ,
.
,
.
,
, ,
,
( , 1975; Rossi,
1999; , 2006; Zucker 1970).
,
, ,
,
(Web, 1990).
( -
)
, (
, in situ )
,
,
. (Irvin, 2000).
,
. ,
,
, (, 2002).
, ,
, ,
. .
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/ , , ,
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,
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. ,
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.
31
. 5.
,
. ,
(Viktor Hulk), 1997,
Fig. 5.
Inspired by people and their professions/dedications, habits
or blemishes. Ingenious and unexpected observer form street
shaft, author Viktor Hulk, 1997, Bratislava.
, , 34/2012/ 28-41/ -
. 6.
,
, (Juraj
Meli),
Fig. 6.
Scultupe of Napoleon, resting on the bench, onsquare infront
French Embassy, author Juraj Meli, Bratislava.
, ,
,
, ,
, ,
.
,
, , .
,
, ,
,
. 8.
, (Flix
Hernando), 2001,
Fig. 8.
Street cleaner, author Flix Hernando, 2001, drid.
32
. 7.
, (Radko Mauha),
.
.
Fig. 7.
Paparrazo photographer, author Radko Mauha, Bratislava. These
sculptures , because its human scale and accessibility are favorable
among citizens and tourists.
. 9.
(WE) (Jaume Plensa),
7. 30. 2009.
Fig. 9.
WE, author Jaume Plensa, displayed in Prague
, , 34/2012/ 28-41/ -
. 10.
,
(Jonathan Borofsky), 1997, ,
.
.
Fig. 10.
Molecular man, uthor Jonathan Borofsky,
1997, Berlin, on Spree River. Both sculptures are
inspired by human body and usings light efect.
,
,
.
- ,
, ()
,
5 (, 2011).
,
,
(, , )
. ,
,
, ,
.
. 11.
(Puppy),
(Jeffrey Koons), 1997,
, . ,
,
Fig. 11.
Flower sculpture Puppy, author Jeffrey Koons,
1997, infront the Guggenheim Museum, Bilbao.
Unussual, oversized, different interpretation
and materialization
33
5 1991.
,
, 1945. .
70
, .
, , 34/2012/ 28-41/ -
. 12.
(Fish) , .
(Frank Gehry), 1992, ,
Fig. 12.
Fish, construction, Arch. Frank Gehry, 1992,
Olimpic port, Barcelona.
. 13.
(Gambrinus, La Gamba)
(Javier Mariscal),
.
Fig. 13.
Gambrinus, La Gamba, author Javier
Mariscal, Barcelona.
. 14.
. ,
(David ern), 1999, ,
Fig. 14.
St Venceslas riding dead horse, author David
ern, 1999, pedestrian corridor, Prague.
34
,
.
.
, .
. ,
, . (
) ,
. , ,
, , 34/2012/ 28-41/ -
. 15.
,
. (Peter
Eisenman), 2005,
Fig. 15.
Holocaust Memorial, Arch.
Peter Eisenman, 2005, Berlin.
. 16.
(
),
(Brigitte Matschinsky-Denninghoff,
Martin Matschinsky), 1987.
.
Fig. 16.
Sculpture Berlin, authors Brigitte
Matschinsky-Denninghoff and Martin
Matschinsky, 1987. Symbolized the life
of divided city, befor the fall of the Wall
and unification of two Germanies.
. 17.
,
(Wolfgang Mattheuer), 1999, ,
XX /
/.
Fig. 17.
Century step, author Wolfgang Mattheuer,
1999, in commercial-pedestrian street in l
Leipzig, symbolizing fatal ideologies of 20th
century fashism/nacism and communism/
Stalinism.
,
(Macphee, 2002). ,
,
, .
,
, ,
,
(Duque, 2001).
,
,
. ,
, . ,
, ,
.
35
, , 34/2012/ 28-41/ -
. 18.
( ),
. (Carl Fredrik Reuterswrd), ,
1999, , .
1980.
, ,
, , , ,
, , .
Fg. 18.
Non violance (or knotted gun), author Carl Fredrik
Reuterswrd, replic, 1999, cape Town, South Africa.
Original monument was erected in 1980 infront building
of United Nations in New York, as present of Government
Luxembourg, and rest two originals are in Malme and
Luxembourg, and coppies in Berlin, Liverpool, Kae,
Lousane, Maimi, Stochlom and Gethebourg.
36
. 19.
(Yitzhaka Rabina) 4.
11.1995. .
16
.
Fig. 19.
Monument on place of assassination of Israeli
Prime Minister Yitzhaka Rabina, 4.11.1995.
in tel Aviv. Uneven stone panels 16 bazalt
peaces from Golan Heights, represent political
earthquake as consequence of assassination.
. 20.
(
)
.
, 1937.
(Reina Sofia) .
Fig. 20.
Replica of the painting (wall mosaic
made by ceramic tiles), Gernica by Pablo
Picasso, in the town of the same name.
Original, from 1937 is displayed in Nationa
Museum of Reina Sofia, Madrid.
, , 34/2012/ 28-41/ -
,
. , ,
, : 27. 1941, 1968,
1991, 1992,
1996, 1997.
, .
,
(, 2000;
-, 1992).
, ,
, , .
,
.
,
. ,
.
:
;
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37
, , 34/2012/ 28-41/ -
.
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. 21.
VI,
Fig. 21.
"Plod VI", author Olga Jani
38
. 22.
,
Fig. 22.
"Model urbane sklupture",
author Kosta Bogdanovi
. 23.
,
Fig. 23.
Rende, author Vladimir Peri
, , , , ,
, , .
7
: ( ) ,
, , ,
, , , ,
, ,
( ) .
8
, 1912.
. , ,
. , 1928. , 17,5
, , .
, ,
.
, , 34/2012/ 28-41/ -
. 24.
Monumentua Rubiali,
(Casto Solano),
2001,
Fig. 24.
Monumentua Rubiali, author
Casto Solano, 2001, Bilbao.
. 25.
(Barcelona Head)
-
(Roy
Lichtenstein), 1992,
Fig. 25.
Barcelona Head,
author pop-art artist
Roy Lichtenstein, 1992.
,
.
Public Art, .
,
.
, ,
.
,
.
, , ,
, .
, ,
, , ,
,
(, 2004; , 2005). , (.
), (
).
,
, , ,
. 26.
(Face),
(Rick Kirby),
2007, ,
.
, 4.6 ,
Fig. 26.
Face, author Rick Kirby,
2007, Lincoln, UK. Metal
sculpture, 4.6 , on facade
. 27.
(The Traffic Light tree),
(Pierre Vivant),
(Public Art Commissions Agency),
1998.
(Canary Warf), .
.
Fig. 27.
The Traffic Light tree, uthor Pierre Vivant,
winner of the competition of Public Art Commissions Agency, 1998. Traffic roundabout
in bussines zone of Canary Warf, London.
Temporarily removed.
.
,
, .
8.
,
. ,
39
, , 34/2012/ 28-41/ -
40
, , ,
,
, .
, .
,
.
,
, , ,
(, 1997). ,
, ,
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.
, , ,
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, . (Project
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,
. ,
,
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.
, , ,
. ,
, :
?
. 28. 29.
? ? (Where are
you going? Where have you been?),
, 2004,
(Brayford
Waterfront), ,
Fig. 28. and 29.
Where are you going? Where have you
been?, intervention on the bridge, 2004,
Brayford Waterfront, Lincoln, UK
, , 34/2012/ 28-41/ -
41
* - ,
, ,
20082010. .
** , .
, .
UDK: 72.038.42
ID BROJ: 192033036
, DOI: 10.5937/arhurb1234042V
*
: 2012, : 2012.
Minimalism in architecture:
architecture as a language of its identity
,
. ,
,
()
, ,
.
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Abstract
Every architectural work is created on the principle that includes
the meaning, and then this work is read like an artifact of the
particular meaning. Resources by which the meaning is built
primarily, susceptible to transformation, as well as routing of
understanding (decoding) messages carried by a work of
architecture, are subject of semiotics and communication
theories, which have played significant role for the architecture
and the architect.
Minimalism in architecture, as a paradigm of the XXI century
architecture, means searching for essence located in the
irreducible minimum. Inspired use of architectural units
(archetypical elements), trough the fatasm of simplicity,
assumes the primary responsibility for providing the object
identity, because it participates in language formation and
therefore in its reading. Volume is form by clean language that
builds the expression of the fluid areas liberated of recharge
needs. Reduced architectural language is appropriating to the
age marked by electronic communications.
Keywords: language, semiotics, architecture, minimalism,
expression, archetypical elements, wall, window, stairs
42
* , ...
dvasilski@fgm.edu.rs
dragana.vasilski@gmail.com
, 34/2012/ 42-64/ :
. ,
. . (, 1977:78).
, XXI
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Introduction
Our age every day confirms its style. It is there infront our eyes.
Infront the eyes that can not see. (Le Korbizije, 1977:78)
Minimalism in architecture, as a paradigm of the XXI century
architecture, uses his sensibility in search for the essence and
made balance between material and spiritual, between physical
quality and abstraction, between the ordinary and the absolute.
Search for essence leads to irreducible minimum that represents
that essence. Where does one get the request to reach the
essence of things? This request he can only get from there where
it receives. He receives it from the language he speaks ... our
language-correct us and then again at the end points us to the
essence of things (Hajdeger, 1999:151).
Research in the direction of the relationship of architecture and
language, impose at the beginning many questions. For example:
how to define the architecture as a language or meaning of the
architectural language? Or, what is it that architecture can say,
and how she does it? The first and obvious identification between
architecture and language lies in their joint of semiotic1 and
semantic power2. But the architecture as a system of
communication and expression is characterized by blured images
and forms, as compared to the clarity of verbal discourse means
that the architectural significance will never have the semantic
accuracy of words - spoken or written, or, as Heidegger says: The
Language of us - at first and then again at Finally - refers to the
substance of things. However, this never means that our language
in any arbitrarily taken verbal meaning - directly and finally
supply us with the transparent substance of things, such that this
essence is subject being ready for use (Hajdeger, 1999:152).
In order to clarify the intricate relationships between architectural
and linguistic signs, we can start with a clear distinction between
language, which is a way of communication, and text that
represent content and meaning. The text consists of semantics,
the content understandable to everyone in the community, and
pragmatic implications arising from the more educational
awareness of the text. This research is related to the establishment
of analogies between the basic elements of architecture
(materials, ornaments, some other parts) and the basic linguistic
units (words, vocabulary, etc.).
A simple language of minimalism is the language witch semantics
everyone can recognize, but there are dialects within the
language that are holders of special social significance for users.
Another obvious, and much quoted, the identification between
architecture and language are located in areas diametrically
different from the semantic or semiotic power of language: the
structural and non-mimetic character of both discourses.
1 (. semeiotike) .
,
(, 1980 : 832). ,
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2 (. semantikos) , (,
1980 : 832).
43
, 34/2012/ 42-65/ :
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:8).
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(MOMA) , 1975.
(The
Architecture of the Beaux Arts),
, 34/2012/ 42-65/ :
45
, 34/2012/ 42-65/ :
46
.
(Jenks, 1977; Rowe, Koeter, 1978).
:
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Lefebvre) (Lefebvre, 1974) :
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(pattern languages) (
) (patterns of events),
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, 34/2012/ 42-65/ :
3
Steven Holl: A black swan theory , Princeton Architectural Press, 2007.
Steven Holl: Architecture spoken, Rizzoli, 2007.
47
, 34/2012/ 42-65/ :
. 1 .
:
Fig. 1.
Etienne-Louis Boullee: Cenotaphu for Isaac Newton
48
,
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per eternam (). ,
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Fig. 2.
Cistercian Monastery de Santa Maria de
Alcobaa, Portugal
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, 34/2012/ 42-65/ :
49
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50
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1968:31).
, 34/2012/ 42-65/ :
WALL
In a world of symbols, according to tradition, the wall is protective
barrier that encloses a world and it prevents the damaging effects
of penetrating the low caste born influance. The problem is that
the area enclosed is also bounded around ... (Gerbran, evalije,
2009: 1093). The walls are pictures of very beginning of the
civilization, ideas and frameworks guiding the spatial patterns,
mirrors of development or fall of ideologies. From the famous
White Wall, which separated the Upper and Lower Egypt, through
the Great Wall of China (Fig. 3), monumental and protective, or
through the wall of five stories Hawa Mahal (Jaipur, India, 1799)
(Fig. 4), laced and transparent, the Berlin Wall in the twentieth
century, the wall is always represented a reflection of the reality
of real life. The history of architecture is the history of the wall, a
history of wall is the history of the meaning of physical sacrifice by
a wall (Brki, 1992:18).
The comeback of the wall in modern architecture, the vitality of
this element, the constant transformation of the wall, not only
what tolerate but also causes, confirm its value, perfectly
independent of style, fashion and personal taste (Radovi, 1998:
376). This thought is confirmed by numerous examples, where
the wall was in addition to their structural features, still the
holder of certain ideas. Rationalists of the eighteenth century the
wall used as a legitimate means for the formation of primary
geometric bodies. Boullee and Ledu are the sovereign rulers of the
walls. ... Boullee, which liked continuous walls, looked with
askance at what can openings do bad to the outer shell of
buildings (, 1990:197). Wall of the 19th century has been
burdened with ornaments, to discover the aesthetic values of
pure land, whose expressive power has been lost since Egyptian
time (Gidion, 1968:31) in terms of concepts of space and time,
began after 1920 by Theo van Doesburg, Gerrit Rietveld and Mies
van der Rohe.
Frank Lloyd Wright emphasized the strength of the wall in one of
his most famous works - Larkin building (Fig. 5), for which he
said: Almost all the technological innovations that are used today
were proposed in 1904 at Larkin building. Amsterdam School in
Oud based work on the wall, using bricks, and has made rich
forms of modern morphology. Berlages Stock Exchange in
Amsterdam built in 1903 is one of the first buildings in Europe
which had the facade of which is treated as a smooth wall surface.
Adolf Loos manipulate with freedom with the masses of the wall,
connecting true with aesthetic. Alvar Aalto has placed the wall in
the center of the modern architecture. In his Finnish Pavilion (Fig.
6), shown at the world exhibition in New York in 1939, was
without doubt the most spirited architectural work (Gidion,
1968:384) shown in this exhibition. His curved walls surrounds in
free space three-storey height building, not vertical but tilted
forward in space. His House of Culture in Sturenkatu, Helsinki,
Finland (Fig. 7) is a facility in which was developed the wedgeshaped brick for making wave formed outer wall.
"Graceful form of a brick wall represents Aldos ambition to attain
organic architecture rich in nuanced form (Lahti, 2004:74). Le
Corbusier set up a wall in the center of the story about architecture
(his second point relates to the functional independence of the
skeleton and the wall). Louis Kahn has posted a new way to set
the expressiveness of the wall, for example, walls in Ahmedabad
(Institute of Public Administration, at Ahmedabad, India, 1963.)
(Fig. 8), so it is quite understandable why the builders was
amased bz Kahns work. Louis Kahns laboratory in Philadelphia
were the sensations of America building in 1960, which are, as we
believe, very closely related Larkin Building (Giedion, 1969: 271).
Wall as a motive culminates with the third generation. In one text
Charles Jencks believes that the third generation is fascinated by a
wall, so he even the modern architectural movement call
wallism (Sharp,1978: 225). Daniel Libeskind develops the wall
theme in architectural structures, initiated the idea of the
wall,
lifting it to a higher cognitive level (Fig. 9).
In minimalism, the wall is very differently used, its expression can
be compared with all said, but always through the language of
silence. If we remember Khan's question What building wants to
be? we have to ask the question, What wall wants to be ? If it is
... the something where the modernists were the best: abstract
wall handling... (Traktenberg, Hajman: 2006:507), the
lightmotive in minimalism, in terms of searching for the essence,
then the wall is the embodiment of authorial attitude. If the wall
is understood as border between inside and outside, the author
expresses his views on the borders, so the language represents
authors identity. The wall becomes a rich visual experience
expressed by the language of silence.
Tadao Ando, sets the wall pure and raw as the holder of the process
and volume, and using it he express his strength and durability of its
artistic expression in symbiosis, which leads to a different spirituality
but always tied to tradition (Fig. 10). The wall sometimes express
the authors rejection of alienated urban environment (Fig. 11). So
Ando is using basic geometry as the primary aspect for expression
and control, which becomes an expression of quiet serenity of the
natural environment or the saturation of urban chaos. The wall has
a certain rigidity, mass continuity, and those properties are
transposed to the building itself, which defines the basic character
of his expression. Claudio Silvestrin also sets clear wall, as an
impressive, massive, tall (9 meters) and mortared wall of outside
faade, interrupted with vertical gap which interrupts the border to
give functionality for the door (Fig. 12).
Louis Barragan used a white wall in his house in Las Arboledas as a
screen on which he can read the changes in light and a effect similar
to shadow of fluttering branches (Fig. 13). In order to express the
essence of the building, he is using two walls, high and lower one,
and connects them with a big wooden door (Fig. 14). Silence,
stillness, a sense that time stands still and provides spirituality to
Baragans work, as well as representing an outstanding example of
form in architecture that is completely immune to other influences
exept those of personal and internal nature, undoubtedly
contributed to the new generation of minimalist to orientate in
their attempts to form their own expression. One of them is
certainly Eduardo Souto de Moura (Fig. 15).
A somewhat different expression of the wall, growing out of
copyright attitude towards the wall as a border, can be seen at
two facilities in Munich. The first is Brandhorst Museum (Fig. 16),
whose facade is a wall of abstract painting that hides what is
51
, 34/2012/ 42-65/ :
. 4.
,
, ,
1799.
Fig. 4.
Hawa Mahal or
Palace of the
Winds, Jaipur,
India, 1799.
. 3.
, , , 1345.
Fig. 3.
The Great Wall, Beijing, China, 1345.
(. 5),
:
1904. .
(Kaufmann, 1998:37138).
, ,
(Joedicke, 1961:170).
1903.
(, 1968:212).
, . (Alvar
alto) .
(. 6),
1939. ,
,
(, 1968:384). ,
,
,
. (House of
Culture), , (. 7),
.
(Lahti, 2004:74).
(
). (Luis Kahn)
,
(Institute of Public Administration,
Ahmedabad, India, 1963), (. 8)
.
1960, , ,
(, 1969:271).
.
,
(wallsm) (Sharp,1978:225).
(Daniel Libeskind)
52
. 7.
: ,
, 1958.
Fig. 7.
Alvar Aalto: House of Culture, Sturenkatu,
Helsinki, Finland, 1958.
, 34/2012/ 42-65/ :
. 5.
:
,
, 1906.
Fig. 5.
Frank Lloyd Wright:
Larkin
Administration
Building, 1906.
. 6.
: , , 1939.
Fig. 6.
Alvar Aalto: Finnish Pavilion, New York, 1939.
WINDOW
Window is a place in wall where we can enter or leave, while the
body does not move. The window symbolizes a connection with
those outside, the unknown that is the subject of knowing. The
change of the semantic field is static, we can get out through the
window or go, while we go nowhere (Gerbran, A.; evalije: 763).
The windows of Renaissance palaces are compared with the eyes
(, 1990: 198). As an opening to air and light, the window
symbolizes the ability to receive; if the window is circular, so is the
reception, signifying the one who has the eye and mind; if it is
square, it is a terrestrial reception in comparison to what comes
from the skies (Gerbran, evalije, 2010:750). A window as an
element has always been the bearer of the idea of certain stylistic
features : as an element of decoration (Fig. 21), as recognizable
feature and always as the same facade identity (Fig.22), as a
romantic vision (decorative lid only tells that there may exist a
window ) (Fig.23) or as a segment of faade canvas with height of
15m (Fig. 24).
One of the crucial elements of composition in modern architecture,
is a window. Broad, horizontal windows so. Chicago windows,
the symbol of the Chicago school (in which is the first time since
the 19th century overcamed the separation of design from
architecture) from the late nineteenth century, were modere
performance commercial buildings. Initially, the window was a
hole in the wall - relatively small area with simple contours in the
casement of the large wall area ... there is something disturbing
about the perceptual and modern windows, which are simply
slots... (, 1998:205). One of the characteristics of modern
architecture is a horizontal window (Vasari, 1970: 20). Horizontal
window at Mies, 1922. (Joedicke, 1961: 122), seems to be the
phase between the traditional windows (including the one that
was mentioned by Cukarija in Rome around 1590 (Santories,
Encyklopedie: 113), and curtain wall where the windows no
longer open (Radovi, 1998:371). Le Corbusier is always turning
to the windows as necessary motives of its architecture: from the
Savoy Villa, where is used a join type window as a high principle
53
, 34/2012/ 42-65/ :
. 8.
: ,
, , 1963.
Fig. 8.
Luis Kahn: Institute of Public Administration,
Ahmedabad, India, 1963.
54
,
(. 9).
, ,
,
. :
?,
? [] :
[],
,
(, : 2006:
507). ,
,
.
.
(Tadao Ando)
,
(. 10).
(. 11).
.
, ,
, .
(Claudio Silvestrin) ,
, , (9 )
,
(. 12).
(Louis Barragan) ,
,
(. 13). ,
, ,
(. 14). , ,
, ,
,
. (Eduardo
Souto de Moura) (. 15).
,
,
. (. 16),
. . (. 17),
, ,
.
,
.
,
, ,
(John Powson) (Shigeru Ban),
.
, 34/2012/ 42-65/ :
. 9 .
: ,
, , , 2003.
Fig. 9 .
Daniel Libeskind: Studio Weil, San Carlos,
Mallorca, Spain, 2003.
. 10.
: ,
, , 2001.
Fig. 10.
Tadao Ando: Sayamaike Historical Museum,
Osaka, Japan, 2001.
. 11 .
: , , 1975.
Fig. 11 .
Tadao Ando: Azuma House, Osaka, 1975.
55
. 12.
: ,
, 1989.
Fig. 12.
Claudio Silvestrin: Neuendorf House,
Majorca, 1989.
. 13 .
: , ,
, 1963.
Fig. 13.
Louis Barragan: Drinking Trough Fountain, Las
Arboledas, Mexico City, 1963.
, 34/2012/ 42-64/ :
. 14.
: ,
, , 1968.
Fig. 14.
Louis Barragan: Master plan for Los Clubes,
Service entrance, Mexico City, 1968.
. 16.
:
, , 2000.
Fig. 16.
Sauerbruch Hutton: Brandhorst
Museum, Munchen, 2000.
56
. 15.
: ,
, 1993.
Fig. 15.
Eduardo Souto de Moura: Maja House,
Maja, 1993.
. 17.
:
. ,
,
, 2000.
Fig. 17.
Allmann Sattler
Wappner: The Herz Jesu
Kirche, (Church of the
Sacred Heart), front and
side facades, Munich,
Germany, 2000.
,
, (El Croquis,
2005).
.
,
: (. 18).
(McQuaid, 2003).
, ,
. , .
,
: , (. 19),
. ,
() :
(. 20).
, 34/2012/ 42-64/ :
. 18.
: ,
, 1999.
Fig. 18 .
John Powson: Powson House,
London, 1999.
. 21.
, ,
( )
Fig. 21.
St. Jeronimo Monastery, Lisbon, Portugal
(Manueline style)
. 19.
: , ,
, , 2002.
Fig. 19.
Shigeru Ban: Picture Window House, Izu,
Shizuoka, Japan, 2002.
. 22.
: ,
, XVII
Fig. 22.
Kopenhagen: Nyhavn, heritage harbor,
XVII century
. 24.
: , ,
Fig. 24 .
Snohetta: Opera, Oslo, window
seen from interior
. 20
: ,
, , 1995.
Fig. 20.
Shigeru Ban: Curtain Wall House,
Itabashi, Tokyo, 1995.
. 23 .
, ,
( ,
)
Fig. 23.
Jardin Majorelle, Marrakech,
Morocco (museum today, ex Yves
Saint Laurent House)
of modernism, to Ronchan which uses a complex system of holes. In a long series of house
projects (Fig. 25), is constantly present memory of the mysterious holes, as described in
a sketch parts of the villa of Hadrian at Tivoli (Jacobus, 1966:89).
Openings on Wright s building, on the other hand, are not inconsistent with the
surrounding area but its continuation. Wright said: There is no meaning to talk about the
doors and windows. His openings are as in the textile weaving: they are what is left
between the forms (, 1990:198). Wright Prairie house, may be viewed as a series
of protruding windows that were thrown out parts of space which they belong.
57
, 34/2012/ 42-65/ :
,
.
, , .
,
, .
(, , 2009:763).
(, 1990:198). ,
;
, ,
; ,
(, , 2010: 750).
: (. 21),
(. 22),
(
) (. 23)
15 (. 24).
. , ,
. (Chicago windows),
58
. 25 .
: , ,
, 1927.
Fig. 25.
Le Corbusier: The resort Visenhof, Stuttgart,
Germany, 1927.
( 19.
) XIX ,
. ,
[]
,
[] (, 1998:205).
(Vasari, 1970:20).
1922. (Joedicke, 1961:122),
(
1590. (Santories, Encyklopedie : 113)
(,
1998:371).
: ,
, ,
. (. 25),
,
(Jacobus,
1966:89).
. 26.
: , ,
, 1957.
Fig. 26 .
Scarpa: Corner window, Gipsoteca Canoviana,
Treviso, 1957.
, 34/2012/ 42-65/ :
The author who has built his compositional system in solving the
windows and light, by being made usable two developmental
characteristics of modern architecture, is Carlo Scarpa. The first
made arched window of secession without the interference of
classical knowledge, and the other is that he then became a
corner window as can be found in Wrights and the De Stijl
movement. Scarpa has translated the corner window of the new
spatial concepts in the vocabulary of Venice: the light that creates a
window in the corner becomes chromatic brilliance full transparency,
typical of regional visual art through the ages (Fig. 26).
Bearing in mind that the light is the central theme of the identity
of minimalism in architecture (Vasilski, 2010: 1-20), it can be
concluded that the window remains her constant theme, whether
it is reduced to a point, line, or the whole area, serving both
functions and expressive tasks. The elements have so diverse
positions and destinies, and the window between them, and all
the openings, that to them may not be made definitive theoretical
conclusions.
In many Barragan s works, modest facade has very strict finishing.
In its simplicity the only decorations are convected windows and
bars on them with frames that form a network. Some of its formal
designs, including the frameless windows in his house, were the
subject of detailed analysis of architects such as Tadao Ando,
Alvaro Siza, Claudio Silvestrini, Eduardo Souto de Moura. Among
the motives that form the language of minimalism, certainly one
that is best known as the taken motives from Barragan home (Fig.
27) - took by Tadao Ando to design his Church of light (Fig. 28)
and Baes, who applied it in the Turegano building (Fig. 29) . When
Ando visited this house he admitted that the Barragans window
was the inspiration for his project.
The composition of the window allows the interpretation of nonliving forms. In contrast to the volume that can be formed
unconsciously, positioning windows - holes are planned by the
composition. SANAA in school object in Essen (Fig. 30) uses a
different size windows in the exterior walls so that each job place
receives the required amount of daylight and simultaneously
achieves a visual connection with the environment. Chipperfield
also act similarly in their residential building in Madrid (Fig. 31),
each window on the facade has an unique position. Baeza in his
bank office building (Fig. 32) in Granada, pulls windows inward,
and thus on the south faade receives brsoleil, while on the
northern side provides a homogeneous, continuous light specific
to the northern side where the individual offices are located.
Breaking the limit for moving from one semantic field to another
is associated with the notion of opening. As for the imaginary
hole is richer in meaning than mere gaps: full with all possibilities
of what will be met or that which will pass through its opening, it
was full of waiting, or the sudden presence of some knowledge
(Gerbran, A.; evalije: 571). Neutral and elegant windows all over
the surface of the wall, give special effect in the interior, entering
. 27 .
: ,
1947.
Fig. 27.
Luis Barragan: Barragan
House, 1947.
. 29.
:
, 1988.
Fig. 29.
Alberto Campo Baeza: Turegano
House, 1988.
. 28.
: ,
, , , 1988.
Fig. 28.
Tadao Ando: Chirch of Light, Ibaraki,
Osaka, Japan, 1988.
59
, 34/2012/ 42-65/ :
, ,
, .
:
. :
. (, 1990 : 198).
.
,
, (Carlo Scarpa).
,
.
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(, 2010 : 120).
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30)
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. 30.
:
, ,
, 2002.
Fig. 30.
SANAA (Kazuyo
Sejima + Ryue
Nishizawa): The
Zollverein School,
Essen, Germany,
2002.
60
.
:
,
(, , 2009:571).
,
. (. 33)
(. 34, 35).
: ?
?
, .
. 31.
:
,
, , 2005.
Fig. 31.
David Chipperfield: Housing
Villaverde, Madrid, Spain,
2005.
, 34/2012/ 42-65/ :
STAIRS
Stairs are the dynamic principle of mastery of different heights,
they talk about the human need for ritual: to arrive, ascend,
enters. The ladder is symbolic related to axis of the world, those
are the classic upward symbol, denotes not only cognitively, but
climbing in elevation and integral rise of whole being. They also
have a negative aspect: it is the descent, fall, return to the earth or
the underworld. Steps, namely, connecting three cosmic world in
them, not in the column, it adds all the drama of rectitude
(Gerbran, evalije, 2009:647).
All rising to great place is by a winding stair. said Francis Bacon.
Mastering the height at the entrance to the building or in its
interior can be achieved by other means, but none is so filled with
parades and a sense of drama. The ancient Greeks built their
theaters, Epidaurus in the IV century BC was probably the best
known example of how the steps are simple to use as a seat (not
to mention the reason - knowledge of structures), a continuous
source of inspiration even in the twentieth century, when he
moved to work in Alvar Alto and Denys Lasdun (Powson, 1998:
94). Leisdan modelled the main auditorium in Royal National
Theatre in London, on ancient Greek theater at Epidaurus.
. 32.
:
, , , 2001.
Fig. 32 .
Alberto Campo Baeza: Head Office of the Caja General de
Ahorros, Granada, Spain, 2001.
. 33.
:
, , , 1990.
Fig. 33.
Claudio Silvestrin: Victoria Miro Gallery,
Florence, 1990.
61
. 34.
: , ,
, , 2002.
Fig. 34 .
David Chipperfield: Private House, Corrubedo,
Galicia, Spain, 2002.
, 34/2012/ 42-65/ :
(. 36).
, ,
.
, ,
(Schleifer, 2006:34).
Fig. 35.
Alberto Campo Baeza:
Turegano House, Madrid,
Spain, 1988.
. 35.
:
, ,
, 1988.
,
: , , .
,
.
: , , .
, , , , ,
(, , 2009:647).
. 37.
:
, ,
1956-86.
Fig. 37.
Hans van der Laan: Saint
Benedictusberg Abbey, Vaals,
1956-86.
62
. 38.
: ,
, , 2004.
Fig. 38 .
John Powson: Monastery of Our
Lady, Novy Dvur, Czech Republic,
2004.
. 36 .
:
,
Fig. 36.
Manuel Aires Mateus:
Alenquer House, Portugal
. 39.
:
, ,
, , 1937.
Fig. 39.
Adalberto Libera: Casa Malaparte,
Punta Massullo, Island of Capri,
Italy, 1937.
, 34/2012/ 42-65/ :
The Romans used the stairs as the center of the ritual, as well
Maya civilization. The Mayan culture of Uxmal, Yucatan, Mexico
(Fig. 45) impacted Jrn Utzon: The attitude of the third
generation to the past always oscillated around the question:
How is the human experience solved some problems in the other
period and on other occasions? In the Mayan architecture, with is
made from horizontal platforms at different levels, as well as their
broad stairs, Utzon found elements he searched for (Giedion,
1969: 409). The renaissance of the stairs were a metaphor for the
heavenly aspirations. Steps in Rome became the most beautiful
pedestal for the construction of the church (S. Maria Maggiore)
until they have grown almost to independent buildings that were
taken in the most noble way of merging the various levels of
space (Spanish steps, 1721-1725, which connects the Piazza
Spagna to the Trinita S. dei Monti) (Giedion, 1968:66).
Through time and space, the stairs are always represented a
special message: used in the fine arts Beaux-Arts - as well as
elaborating the set design element, and the Bauhaus - as an
essential element of the building the appearance of which is
perfectly suited to its task (Ojeda, Pasnik: 2003:111).
Language of Silence, which is transferred from Cistercian
monastery (Fig. 37) by Pouson to the Czech Republic (Fig. 38),
takes the idea of using a clean flat surfaces, as a guide in the
search for essence. Probably the best known are those stairs in the
house Malaparte (Fig. 39), timeless and sublime in its beauty of
simplicity. The point is seen and felt. The same expression worn
stairs and Le Corbusier (Fig. 40) and Barragan (Fig. 41).
Stairs, as a symbol of overcoming height, very often without any
kind of fence (Fig. 42), and if they have it, the fence is very reduced
and almost dematerialized (Fig. 43). In the interior of public
spaces, they are often over dimensioned in an attempt to point
out the straight line (Fig. 44). And then, the thought take us again
back to the Mayan civilisation (Fig.45).
. 40.
:
, ,
, 1934.
Fig. 40 .
Le Corbusier: Residential
building, Port de Molittor, Paris,
France, 1934.
. 41.
: ,
, 1947.
Fig. 41.
Luis Barragan: House
Office, Mexico City, 1947.
Conclusion
In his lectures, Robert Wilson often recalls the lessons given by
Sibyll Moholy-Nagy at the Pratt Institute in New York in the early
Sixties: We were shown slides during Sibyll Moholy-Nagys
lectures on the history of architecture. They consisted of different
forms of energy, ranging from a Byzantine mosaic to a prehistoric
Sumerian vase and a 1922 telephone. We were bombarded by
various kinds of visual information. It was different in the lessons
based on verbal information. Therefore, what we felt was not
what we saw. And we had to make free associations between
what we saw and what we heard. Not necessarily like a collage,
but as in a structure. And then there was an exam...and the
students were confused and worried because they hadnt been
given the answers. The learning process was much longer than a
semester, or five semesters or even a five-year course. It was a
way of thinking, an experience of associations that spanned an
entire lifetime (F.Quadri, F.Bertoni, R.Stearns, 1997:232). Or, as
Socrates taught: learning, like a life process associated with the
acquisition of experience, with changing the character and image
of the world, is possible only if there is awareness of ignorance.
Architecture should speak for itself, with its own language, there
is no manifest. It is its own manifesto. Kandinsky even wrote in his
1911 essay About the spiritual in art: Every epoch has its own
measure of artistic freedom, and hence the most creative genius
can not exceed the limits of that freedom (Jung, 1996:314).
Minimalism is not the architecture that confront itself, deviant
architecture or difference work: it is defined not by what is not
there, but the true values that are present and their abundance in
the application - experience that is spoken with its language.
Talking about minimalism in architecture, appears again a
guiding theory from Martin Hidegger, from the famous Heraclitusseminar led in 1966 with E. Fink: every day we must invent new
concepts in pursuit of own vision of the world. For imago mundi,
a microcosm who embodies the world of the individual, is
certainly a step towards to a more valuable life. Nevertheless,
one goes on working, telling stories, giving form to truth, hoping
darkly, sometimes almost confidently, that truth and serene form
will avail to set free the human spirit and prepare mankind for a
better, lovelier, worthier life (Mann, 1959:203).
63
. 42.
:
, ,
1985.
Fig. 42.
Michael Gabellini:
Dente residence,
New York, 1985.
, 34/2012/ 42-65/ :
,
.
,
.
, IV . . . .
,
( ).
, XX
(Alvar Alto)
(Denys Lasdun) (Powson, 1998:94).
.
, .
(Uxmal, Yucatan, Mexico) (. 45)
(Jrn Utzon):
:
? ,
,
,
(, 1969:409).
, .
(S. Maria Maggiore)
( ,
17211725, Piazza Spagna a S. Trinita dei Monti)
(, 1968:66).
,
: BeauxArts ,
(Ojeda, Pasnik, 2003:111).
, (. 37)
(. 38),
, .
(. 39),
. .
(. 40) (. 41).
, ,
(. 42), ,
(. 43).
, ,
(. 44).
(. 45).
. 45.
Fig. 45.
The complex of temples
in Uxmal, Yucatan,
Mexico
. 43.
. :
, ,
Fig. 43 .
L. Kin: The White
box, Tokyo, Japan
64
. 44.
:
,
Fig. 44 .
Michael Gabellini: Jil Sender
Showroom, New York
, (Robert Wilson)
(Sibyll Moholy-Nagy) (Pratt Institute, New
York) :
.
,
1922.
.
. , ,
,
, . []
.
, . ,
(F. Quadri, F. Bertoni, R. Stearns, 1997:232). ,
, 34/2012/ 42-65/ :
: ,
, ,
.
,
, . .
1911.
:
,
(, 1996:314).
,
:
,
.
,
, - 1966.
. : [...]
, . , ,
,
. , , ,
, ,
, ,
. (Mann, 1959:203).
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UDK: 72.038.42
ID BROJ: 192033548
, DOI: 10.5937/arhurb1234066S
*
: 2012, : 2012.
Constituent period in
theoretization of minimalism in
architecture
66
Abstract
.
,
.
,
.
(Ricardo Legorreta),
(Louis Kahn)
,
(Smith, 1976; Bonnefoi,
1979).
.
(Tadao Ando),
(Taki,
1984).
,
,
(Auer, 1988).
,
* , ,
wladimirstevanovic@gmail.com
/34/2012/ 66-71 /
. 2.
, : ,
1971-76.
Fig. 2.
Neo-rationalism Rossi, Aldo: Modena Cementary,
1971-76.
http://subtilitas.tumblr.com/post/7124533294/gabrielebasilicos-beautiful-capture-of-aldo
. 3.
: K ,
, 1969.
Fig. 3.
Superstudio: Continuous monument,
desert Arizona, 1969.
Lang, P, W. Menking (2003) Superstudio: Life
without objects, Milan, Skira, p.129.
1
2
3
4
67
/34/2012/ 66-71 /
, ,
,
1988. , .
,
,
.
.
.5
68
lifestyle
: 1)
,
, ,
(Vice, 1994:15); 2)
,
(Pawson, 1996:7); 3)
,
(Marey, 1999:8).
: The New
Moderns 1990. (Melhuish, 1994).
(Jonathan Glancey) .
.
,
,
.
- .
,
.
, , ,
,
(minimal new moderns)
. ,
, ,
(John Pawson),
(Claudio Silvestrin) (Tony Freton), lifestyle
.
,
.
(twenties revivalism)
- (late modern movement)
(neo-modernism).
,
(Mies van der Rohe). ,
,
,
(oy, 1994;
Melhuish, 1994). ,
.
,
,
(Melhuish, 1994).
.
(Buchenan, 1991).
(Herzog & DeMeouron).
: 1)
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; 2)
, minimal art.
,
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(Alberto Campo Beeza) (Eduardo Souto de Moura) .
,
, ,
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(Melhuish, 1994; Vice, 1994).
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.
/34/2012/ 66-71 /
,
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XX . ,
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Minimum (1996). ,
.
less is more
,
. Minimalismos,
(Montaner, 1993). : ,
, , ,
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. ,
(1932) (1988),
(). Light construction 1995. ,
(Terence Riley).
, ,
- . ,
(Rodolfo Machado) (Rodolphe el-Khoury)
Monolitic architecture.
, , ,
(Machado, el-Khoury, 1995).
,
, . ,
, ,
: Less is more, 1996.
8 (Sala d Exposicions del Col-legi d Arquitectes de Catalunya)
(Vittorio E. Savi) .
111
.
. ,
, , .
, , XX
.
(Peter Behrens) , less is more bienahe nichts,
.
- .
wabi. ,
XII ,
. , .
69
/34/2012/ 66-71 /
( ),
(Ignsio de
Sola Morales), 1986.
. ,
,
.
Minimal (. 4.) Rassegna
(1988)
. (Vittorio
Gregotti)
, .
Lotus Intrernational a (1992, 1994)
,
,
.
Minimalismo
, (Patrizia
Ranzo), ,
(Carmagnola, Pasca 1996; Ranzo, 1996).
, ,
.
. 4.
Rassegna
Minimal 1988.
(. Avon, A., C.
Germano)
Fig. 4.
Cover page of Rassegna Issue
Minimal , 1988. (ed. Avon, A.,
C. Germano )
70
Col-legi , ,
. Less is more,
XIX (UIA) 1996.
.
XIX , .
, 26. 28. . 1996. .
(Vanni Pasca) (AG Fronzoni),
. (Massimo Vignelli)
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, , ,
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(Bertoni, 1999:226).
(1990) (1996),
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/34/2012/ 66-71 /
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(, , ), (, , , , ,
, , , .) minimal art; 2) , (Claude Nicolas Ledoux)
(Etienne Louis Boullee) (Marc Antoine Laugier) , ,
- , .
UDK:711.75(497.11) ; 625.1/.5(497.11)
ID BROJ: 192034060
, DOI: 10.5937/arhurb1234073V
: 2012, : 2012.
* ,
vucicdragana@gmail.com
bstract
Participation of the public transportation system in Belgrade
reached its full capacity. In order to fulfill daily commuting needs
and connect suburb areas with center, solutions should be found
in rail systems.
Planned reconstruction and built of a new railway systems in
Belgrade questions its sustainability and ecological, social and
visual impact on the environment.
This study includes research about urban railway systems, their
impacts on the environment, with the focus on the valorization
of the study area, in order to understand the existing problems
and give the best possible suggestions for its solutions, and
future plans in order to create ecologically, visually and socially
improved landscape.
Key words: "BG: voz", urban railway, railway impacts, urban
design
,
,
.
,
.
,
,
,
,
,
: , .
,
,
.
73
/34/2012/ 72-79 /
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(a:
, . 2011)
Fg. 1.
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(author: Dragana Vucic, sept. 2011)
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Fg. 4.
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Novi Beograd train station
. 5.
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Recontstruction of the Tosin
bunar train station
. 6.
Fg. 6..
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train station surroundings
. 7.
Fg. 7.
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