architecture in a mirror
REPUBLIC OF MACEDONIA MINISTRY OF CULTURE OF THE REPUBLIC OF MACEDONIA
13. INTERNATIONAL ARCHITECTURE EXHIBITION LA BIENNALE DI VENEZIA
EXHIBITION TITLE: ARCHITECTURE IN THE MIRROR: EVERYDAY AND SUBLIME
COMMISSIONER: FROSINA ZAFIROVSKA VICE COMMISSIONER: TASHE STREZOVSKI CURATORS: ALEKSANDAR RADEVSKI, SAŠA TASIC METAMAK ARCHITECTURE COLLECTIVE: MINAS BAKALCEV, MITKO HADŽI PULJA; VIOLETA BAKALCEV; VIKTORIJA STAVRIC; BETIM ZEQIRI; NIKOLA STREZOVSKI; DAMJAN MOMIROVSKI; KRISTINA TODIC; JANA VITANOVA; JANA KONSTANTINOVA; STEFANIJA TODOROVSKA; SLAVKO JOSIFOSKI; JONE JANKOSKI; BESIAN MEHMETI; BEKIR ADEMI; IVAN BELESKI; MIHAJLO ZINOSKI; FILIP GODZIROV; ALEKSANDAR RADEVSKI; SAŠA TASIC
PAVILION AT THE ARTIGLIERIE DELL’ARSENALE AUGUST 29th to November 25rd, 2012
architecture in a mirror: everyday and sublime
INTRODUCTION:
ARCHITECTURE IN A MIRROR EVERYDAY AND SUBLIME
How to think about today's architecture, captured in the pragmatic flows of the changing society? Can architecture once more be captivating, romantic, humanistic, visionary and everyday at the same time? It appears that today's architecture is becoming increasingly complex and ambiguous, and thus increasingly manipulative. It is lost in the cloud of the everyday. But how can architecture be seen again in its elementary correlations, geometry, form, use. To be derived from the specific, idiosyncratic, everyday, and face the timeless, resistant level. How to find the vertical deepness of the everyday? The everyday that makes sense only if it is reflected in the sublime.
There is a reflective plane that separates the image from its reflection in the mirror. What if this plane becomes a common ground for different specific works, separated from their specific places? What if instead of horizontal contexts, works of architecture face their own vertical projection, if we face the real image with it’s reflective one, in unique subjectivity?
Mirrors are means of classical representation. Brunelleschi found perspective by using a mirror. Mirrors create an exact copy, projection of a three-dimensional reality of a two-dimensional plan. His biographer, Antonio Manetti, describes the famous experiment from 1425. Brunelleschi painted the Florence Baptistery frontally from the western portal of the unfinished cathedral. The painted panel was made with a hole punched through the distance. Thus, Brunelleschi used it so that the viewer from the west side sees a mirror through the hole in which reflects the image of the Baptistery. Brunelleschi wanted to test the new perspective realism not in comparison with the painted image of the real object, but rather with its reflection in the mirror (according to Euclid's laws on geometric optics). This demonstration, for the first time, shows a way in which threedimensional volumes can be represented in a two-dimensional plan, in the way in which the mirror reflects them. As a consequence of that, of the property of the mirror to represent three-dimensional objects in a twodimensional reflection, it became possible to fold the two-dimensional image in a threedimensional space.
“The displacement of mirrors cannot be expressed into a rational dimension… such a surface of mirrors cannot be rationally understood” Robert Smithson, "Incidents of Mirror-Travel in the Yucatan," (1969) Robert Smithson created the displacement of mirrors in Yucatan by installing 12-inch square mirrors at dispersed places. The result is a series of nine photographs for the nine displacements of the mirrors. The mirrors reflect and bend the surroundings, displacing the hardness of the region, breaking its forms. The displacements reinvent temporality, mirrors do not own a material durability, they are an abstract timeless evidence for the passing of time, landscapes on their photographs are seen as remnants of time, pieces of interrupted time. The displacement (of mirrors) is not onto but rather into the ground, Robert Smithson states. In this way, mirrors become some kind of archaeological artefacts, modular material objects on the one hand, and non-sites on the other hand, that reflect and bend the surroundings. They are a part of the context but they are out of it as well, the place decontexts through them.
Position of mirror displacement – sixth displacement
Position of mirror displacement – seventh displacement
There is an image that obsessively reappears in Andrei Tarkovsky's movies, an image of a house in which it rains (Michel Chion, Kuca u kojoj pada kisa, Polja 323, 1986, pp 6-8). The architectural representations of Tarkovsky go through a process of displacement. They are realistic representations, but their everyday space syntax is displaced. As all other elements in Tarkovsky's movies, which in order to function need to break, to turn into their own ruins, movie representations of architecture displace it from ordinary provision, turn it into ruins through which it erects into a new concept, a new organism. Roofless houses, water dripping through them, with walls on which you can see traces of time through the disintegration of their material structure, under a thin layer of water that reflects the sky. Architecture is deducted to elementary artefacts.
Andrei Tarkovsky, screenshot from the movie Stalker 1979
Andrei Tarkovsky, screenshot from the movie Nostalgia 1983
Architecture in a mirror The exhibition of 27 architectural fragments placed on 27 identical bases with mirror surfaces (100x100x30 cm) is conceived as a testing apparatus with mirrors that researches the relation between everyday specific configurations separated from their particular places with their images in the mirror. If everyday circumstances give the horizontal plan of architecture inscribed in the specific configuration of the works, their confrontation with their own character in a mirror gives the vertical plan, as a permanent structure of the everyday, projected in the substantial. Seen separately, they are individual fragments from the everyday experience that reflect from the other side of reality. Seen together, they represent a city of particularities on mutual bases with mirror surfaces, in which their images call the memory of the sublime.
Displacement of 27 Mirrors Macedonian Pavillion at Arsenale , Venize 29th August > 25th November 2012
Houses of ruins: The de-construction of works shown at the exposition moves towards the distinction of the important properties of the image. Architecture in a mirror is a transformation from a specific into another, substantial state. Architecture is deduced to a state, similar to ruins, through which a new, different, substantial potential of the house can be developed. In this way, works are seen as a kind of “ruins in reverse�, they are a ruin even before they become one. The procedure of deconstruction of houses is a process that leads from their specific form into a fragmentary form. Thus, the entire generative process, from a generative form (archetype) to a specific form (type), results in a form of the important characteristics of the image, from the idea of a house, through a particular house to a house in which it rains.
Houses in this process come down to different substantial aspects arisen from their nature: of the basic tectonic system, of the basic spatial guest, of surfaces with cutoff openings, of a scheme of program zones. Houses do not disappear, their archetypical
images remain, but they change, becoming architectural fragments, frames, para-ergon of the environment. The de-construction of works of architecture relies on the movie depictions of the architecture of Andrei Tarkovsky. Atmospheres that are created in his poetic pictures are a model of the search for the archetypical experience in every specific situation. They become houses through which you can see, frame the external and internal landscape, it can rain in them, you can see the sky on their ground. The transformation of architectural works, leads towards wider analog images. So architecture faced with the new ground on the mirror, with the new plane of phenomenal appearance, first transforms itself, and secondly is displacing in the landscapes of the films of Andrei Tarkovsky. The result is the creation of analog architecture, collage of memories and meanings, atmospheres and places. Transformed objects, as their ruins, fragments, call their old meaning, and at the same time they are opening to new opportunities.
Three parts: The exhibition shows three representations on one subject, which means deconstruction of the specific configuration faced with their images in the mirror: - Models placed on a mirror - Central perspective of the figures and their reflections as seen from above - Central perspective of the figures and their reflections, on a background of chosen movie images of the landscapes from the movies by Andrei Tarkovsky. Models on a mirror Models of the objects as inverse ruins reduced to the substantial properties of their characters. Material: pressed sawdust, Measure: 1:50 - 1:250 Surfaces: 100x100x30cm, with 100x100cm mirrors. Drawing: Central perspective of the object/model and its reflection as seen from above. Linear drawings are constructed with vanishing point in the central position of the square basis. Format: 36Ń…36cm
Traces from working process August 2012
Collage: The central perspective of the object/model of the background of the landscapes from Andrei Tarkovsky's movie images. The relation of the objects with the background is indefinite. They are used as atmospheres, textures, colours, figures, regardless of the topics of the objects or in certain loose proportion. They are landscapes in which architectural fragments are displaced and reflected. As incidents in a mirror, they are landscapes that decontextualize in the objects' figures. Format: 36x36cm
METAMAK architectural collective is open and informal group. It’s work convergates, juxtaposes or disperses in different architectural works. The exhibition ARCHITECTURE IN A MIRROR, shows the specific topography of their work, connections, incongruities, interrelations and joint actions. For this exhibition some of their architectural works, were reworked as an Architectural Experiment, through specific situations they are exploring the universal, essential values, as a COMMON GROUND. In this way, Architecture in a mirror is an EXPERIMENT IN A MIRROR of Metamak architecture collective.
WORKS
METAMAK ARCHITECTURE COLLECTIVE
MINAS BAKALCEV
MB
MITKO HADŽI PULJA
MHP
VIOLETA BAKALCEV
VB
VIKTORIJA STAVRIC
VS
BETIM ZEQIRI
BZ
NIKOLA STREZOVSKI
NS
DAMJAN MOMIROVSKI
DM
TYPOLOGY
CHRONOLOGY
pp.
STOBI VINERY, GRADSKO, MK
2008
016
MUSEUM FORTRESS, OHRID, MK
2011
022
RAILWAY COLONY, SKOPJE, MK
2009
026
HOTEL PASSAGE, SKOPJE, MK
2010
030
WEEKEND HOUSE, STENJE, MK
2012
034
SHELTER, SKOPJE, MK
2011
038
WAREHOUSE MONMAR, SKOPJE, MK
2011
042
COURTYARD ILOSKI FAMILY, VELMEJ, MK
2011
046
TELECOMMUNICATIONS TOWER, SKOPJE, MK
2011
052
SKYSCRAPER 01, VARDAR RIVER VALEY, MK
2011
056
KT
SKYSCRAPER 02, VARDAR RIVER VALEY, MK
2011
058
JANA VITANOVA
JV
SKYSCRAPER 03, VARDAR RIVER VALEY, MK
2011
060
JANA KONSTANTINOVA
JK
HOUSING FOR THE MACEDONIAN ARMY, SKOPJE, MK
2010
064
KRISTINA TODIC
STEFANIJA TODOROVSKA SLAVKO JOSIFOSKI JONE JANKOSKI
STO
SINGLE FAMILY HOUSE, POROJ, MK
2011
070
SINGLE FAMILY HOUSE, ZDANEC, MK
2008
074
MULTI STOREY GARAGE, SKOPJE, MK
2010
078
CHATEAU MJ, GRADSKO, MK
2012
084
SJ JJ
BESIAN MEHMETI
BM
BEKIR ADEMI
BA
IVAN BELESKI
IB
MIHAJLO ZINOSKI
MZ
FILIP GODZIROV
FG
ALEKSANDAR RADEVSKI
AR
SAŠA TASIC
ST
HOUSE MOMCHILO LJUBIC, SKOPJE, MK
2007
088
ORTHODOX CHURCH ST. ILIJA, GOVRLEVO, MK
2009
094
MUNICIPALITY KARPOSH, SKOPJE, MK
2010
100
MUSEUM OF MACEDONIAN FIGHT, SKOPJE, MK
2009
104
NEXT HOUSING, RESEN, MK
2011
108
HOTEL, KOJNSKO, MK
2012
112
THEATER + LIBRARY + CINEMA, MK
2012
116
MEMORIAL HOUSE OF MOTHER THEREZA, SKOPJE, MK
2007
120
MACEDONIAN - ITALIAN EDUCATIONAL CENTER, SKOPJE, MK
2008
124
MEMORIAL MUSEUM OF HOLOCAUST, SKOPJE, MK
2005
130
HOUSE 360°, SKOPJE, MK
2007
136
URBAN VILLA, ST. CEDOMIR MINDEROVIC, SKOPJE, MK
2010
140
MB MHP VB VS BZ
STOBI VINERY SKOPJE, 2008 A BUILDING FOLDED IN TOPOGRAPHY
NS DM KT JV JK STO SJ JJ BM BA IB MZ GF AR ST
LEFT: GROUND LEVEL RIGHT: MASS MODEL, OBJECT + REFLECTION, VERTICAL PERSPECTIVE VIEW
16
17
STOBI VINERY SKOPJE, 2008 THE BUILDING IN THE CONTEXT
18
STOBI VINERY SKOPJE, 2008 THE BUILDING IN THE CONTEXT
20
MB MHP VB VS BZ
MUSEUM FORTRESS OHRID, 2011 BUILDING OVERLEAPING HISTORICAL SITE
NS DM KT JV JK STO SJ JJ BM BA IB MZ GF AR ST
RIGHT: MASS MODEL, OBJECT + REFLECTION, VERTICAL PERSPECTIVE VIEW
22
23
MUSEUM FORTRESS, OHRID, 2011 BACKGROUND: IMAGE FROM THE MOVIE STALKER (1979) ANDREI TARKOVSKY
24
25
MB MHP VB VS BZ NS
RAILWAY COLONY SKOPJE, 2009 INTEGRAL HOUSING BLOCK IN FRAGMENTED HOUSING AREA
DM KT JV JK STO SJ JJ BM BA IB MZ GF AR ST
LEFT: LAST LEVEL RIGHT: MASS MODEL, OBJECT + REFLECTION, VERTICAL PERSPECTIVE VIEW
26
27
RAILWAY COLONY SKOPJE, 2009 THE BUILDING IN THE CONTEXT
28
29
MB MHP VB VS BZ
HOTEL PASSAGE SKOPJE, 2010 HOTEL WITH INNER COURTYARD AND PASSAGE
NS DM KT JV JK STO SJ JJ BM BA IB MZ GF AR ST
LEFT: CONCEPT DIAGRAM RIGHT: ENVELOPE, OBJECT + REFLECTION, VERTICAL PERSPECTIVE VIEW
30
31
HOTEL SKOPJE, 2010 BACKGROUND: IMAGE FROM THE MOVIE NOSTALGIA (1983) ANDREI TARKOVSKY
32
33
MB MHP VB VS
WEEKEND HOUSE STENJE, 2012 HOUSE ON THE LAKE COAST
BZ NS DM KT JV JK STO SJ JJ BM BA IB MZ GF AR ST
LEFT: SITUATION WITH GROUND PLAN RIGHT: BUILDING STRUCTURE / FUNCTIONAL STRIPS, OBJECT + REFLECTION, VERTICAL PERSPECTIVE VIEW
34
35
WEEKEND HOUSE STENJE, 2012 BACKGROUND: IMAGE FROM THE MOVIE MIRROR (1975) ANDREI TARKOVSKY
36
MB MHP VB VS BZ
SHELTER SKOPJE, 2011 UNFOLDING URBAN ORIGAMI
NS DM KT JV JK STO SJ JJ BM BA IB MZ GF AR ST
LEFT: STAINLESS STEEL MODEL RIGHT: SURFACE, OBJECT + REFLECTION, VERTICAL PERSPECTIVE VIEW
38
39
ORIGAMI SKOPJE, 2011 BACKGROUND: IMAGE FROM THE MOVIE STALKER (1979) ANDREI TARKOVSKY
40
MB MHP VB VS BZ
WAREHOUSE MONMAR SKOPJE, 2011 STOREHOUSE WITH DIAGONAL ACCESS
NS DM KT JV JK STO SJ JJ BM BA IB MZ GF AR ST
LEFT: ROOF AND FLOOR PLAN RIGHT: SLIDING AND MIRRORING TRIANGULAR PRISMS OBJECT + REFLECTION, VERTICAL PERSPECTIVE VIEW
42
43
WAREHOUSE MONMAR SKOPJE, 2011 BACKGROUND: IMAGE FROM THE MOVIE NOSTALGIA (1983) ANDREI TARKOVSKY
44
MB MHP VB VS BZ NS DM KT JV
COURTYARD ILOSKI FAMILY VELMEJ, 2011 BY REDISCOVERING THE ARCHETYPES FROM THE VERNACULAR, THE YARD BECOMES AN ATRIUM, AND THE VILLAGE BECOMES A “PALACE”
JK STO SJ JJ BM BA IB MZ GF AR ST
LEFT: PERSPECTIVE VIEW AND GENERATIVE PROCESS, WHITE CHALK ON BLACKBOARD RIGHT: FROM COURTYARD TO PERISTYLE, OBJECT + REFLECTION, VERTICAL PERSPECTIVE VIEW
46
47
COURTYARD ILOSKI FAMILY VELMEJ, 2011 LANDSCAPE INTENSIFICATION THROW THE COLONNADE OF COLUMNS
48
COURTYARD ILOSKI FAMILY VELMEJ, 2011 VIEW TOWARDS THE PORTICO
50
MB MHP VB
TELECOMMUNICATIONS TOWER SKOPJE, 2011
VS BZ
RISING VERTICALITY
NS DM KT JV JK STO SJ JJ BM BA IB MZ GF AR ST
LEFT: INNER VIEW RIGHT: OCTAGON STRUCTURE, OBJECT + REFLECTION, VERTICAL PERSPECTIVE VIEW
52
53
TELECOMMUNICATIONS TOWER SKOPJE, 2011 BACKGROUND: IMAGE FROM THE MOVIE MIRROR (1975) ANDREI TARKOVSKY
54
55
MB MHP VB VS
SKYSCRAPER 01 VARDAR RIVER VALLEY, 2011 50 X 50 X 300 METERS
BZ NS DM KT JV JK STO SJ JJ BM BA IB MZ GF AR ST
LEFT: GEOGRAPHY RIGHT: MASS MODEL, OBJECT + REFLECTION, VERTICAL PERSPECTIVE VIEW
56
57
MB MHP VB VS
SKYSCRAPER 02 VARDAR RIVER VALLEY, 2011 50 X 50 X 300 METERS
BZ NS DM KT JV JK STO SJ JJ BM BA IB MZ GF AR ST
LEFT: GEOGRAPHY RIGHT: MASS MODEL, OBJECT + REFLECTION, VERTICAL PERSPECTIVE VIEW
58
59
MB MHP VB VS
SKYSCRAPER 03 VARDAR RIVER VALLEY, 2011 50 X 50 X 300 METERS
BZ NS DM KT JV JK STO SJ JJ BM BA IB MZ GF AR ST
LEFT: GEOGRAPHY RIGHT: MASS MODEL, OBJECT + REFLECTION, VERTICAL PERSPECTIVE VIEW
60
61
THREE SKYSCRAPER BACKGROUND: IMAGE FROM THE MOVIE NOSTALGIA (1983) ANDREI TARKOVSKY
62
63
MB MHP VB VS
HOUSING FOR THE MACEDONIAN ARMY, SKOPJE 2010
BZ NS DM KT JV JK STO SJ
LONG HOUSING BLOCK THAT CREATES IN-BETWEEN SPACES, VIBRATING FIELD OF GREEN OASIS
JJ BM BA IB MZ GF AR ST
LEFT: SITE PLAN RIGHT: TYPICAL HOUSING UNITS, OBJECT + REFLECTION, VERTICAL PERSPECTIVE VIEW
64
65
HOUSING FOR THE MACEDONIAN ARMY, TYPICAL HOUSING UNITS BACKGROUND: IMAGE FROM THE MOVIE SACRIFICE (1986) ANDREI TARKOVSKY
66
HOUSING FOR THE MACEDONIAN ARMY, TYPICAL HOUSING UNITS INNER YARD PERSPECTIVE VIEW
68
MB MHP VB
SINGLE FAMILY HOUSE POROJ, 2011
VS BZ NS DM
A HOUSE WITH CUT - OUTED INNER ATRIUM
KT JV JK STO SJ JJ BM BA IB MZ GF AR ST
LEFT: GROUND FLOOR PLAN RIGHT: ENVELOPE, OBJECT + REFLECTION, VERTICAL PERSPECTIVE VIEW
70
71
SINGLE FAMILY HOUSE POROJ, 2011 BACKGROUND: IMAGE FROM THE MOVIE NOSTALGIA (1983) ANDREI TARKOVSKY
72
73
MB MHP VB
SINGLE FAMILY HOUSE ZDANEC, 2008
VS BZ NS
A HOUSE INTEGRATE INTO THE TERRAIN
DM KT JV JK STO SJ JJ BM BA IB MZ GF AR ST
LEFT: GROUND FLOOR PLAN RIGHT: WALLS AND SLABS, OBJECT + REFLECTION, VERTICAL PERSPECTIVE VIEW
74
75
SINGLE FAMILY HOUSE ZDANEC, 2008 BACKGROUND: IMAGE FROM THE MOVIE MIRROR (1975) ANDREI TARKOVSKY
76
MB MHP VB VS
MULTISTORY GARAGE HOUSE SKOPJE, 2010
BZ NS DM
LAYERED BODY RAMP LANDSCAPE
KT JV JK STO SJ JJ BM BA IB MZ GF AR ST
LEFT: SECTION RIGHT: BUILDING STRUCTURE, OBJECT + REFLECTION, VERTICAL PERSPECTIVE VIEW
78
79
MULTISTORY GARAGE HOUSE SKOPJE, 2010 INNER VIEW MULTI DIRECTIONAL VOID
80
81
MULTISTORY GARAGE HOUSE SKOPJE, 2010
82
MB MHP
CHATEAU MJ GRADSKO, 2012
VB VS BZ NS
DOUBLE SPIRAL ON THE HILL, SPACE SUBSTANCE WILLING TIMELESS
DM KT JV JK STO SJ JJ BM BA IB MZ GF AR ST
LEFT: SECTION RIGHT: BUILDING STRUCTURE, OBJECT + REFLECTION, VERTICAL PERSPECTIVE VIEW
84
85
CHATEAU MJ GRADSKO, 2012 VIEW TO THE HILL WITH VINEGARWEED VALLEY
86
MB MHP VB
HOUSE MOMCHILO LJUBIC SKOPJE, 2007
VS BZ NS DM KT JV JK STO SJ JJ BM BA IB MZ GF AR ST
LEFT: TYPICAL FLOOR PLAN + ELEVATION, RIGHT: PERFORATED ENVELOPE OBJECT + REFLECTION, VERTICAL PERSPECTIVE VIEW
88
89
HOUSE MOMCHILO LJUBIC SKOPJE, 2007 BACKGROUND: IMAGE FROM THE MOVIE NOSTALGIA (1983) ANDREI TARKOVSKY
90
HOUSE MOMCHILO LJUBIC SKOPJE, 2007 PERFORATED VOLUME WITH DIFFERENT WINDOWS FOR DIFFERENT ROOMS
92
MB MHP VB VS
ORTHODOX CHURCH ST. ILIJA GOVRLEVO, 2009
BZ NS DM KT
THE CHURCH IS MADE FROM STONES OF THE OLD HOUSES
JV JK STO SJ JJ BM BA IB MZ GF AR ST
LEFT: SUPERPOSITION OF THE OLD CHURCH AND THE NEW ONE RIGHT: SPACE BASIC STRUCTURE WITH OPEN DOME, OBJECT + REFLECTION, VERTICAL PERSPECTIVE VIEW
94
95
ORTHODOX CHURCH ST. ILIJA GOVRLEVO, 2009 PEOPLE GATHERING ST. ILIJA`S DAY, 2-ND AUGUST 2012
96
97
ORTHODOX CHURCH ST. ILIJA GOVRLEVO, 2009 SURROUNDING WOOD WITH LAMB
98
MB MHP VB
MUNICIPALITY KARPOSH SKOPJE, 2010
VS BZ NS DM
LAYERED SLABS WITH CUT OUTED AND SUPERIMPOSED VOIDS
KT JV JK STO SJ JJ BM BA IB MZ GF AR ST
LEFT: FLOOR PLANS RIGHT: WIREFRAME, OBJECT + REFLECTION, VERTICAL PERSPECTIVE VIEW
100
101
MUNICIPALITY KARPOSH SKOPJE, 2010 BACKGROUND: IMAGE FROM THE MOVIE MIRROR (1975) ANDREI TARKOVSKY
102
MB MHP VB VS
MUSEUM OF MACEDONIAN FIGHT SKOPJE, 2009
BZ NS DM KT JV JK STO SJ JJ BM BA IB MZ
MUSEUM ASSEMBLED FROM VERTICAL CORES DEDICATED TO CONCRETE PERSONS OF MACEDONIAN HISTORY. “HISTORY IS NOT AS IMPORTANT AS THE CONCRETE PERSONS WHO MADE IT”
GF AR ST
LEFT: EXTERNAL NIGHT VIEW RIGHT: ASSEMBLY OF VERTICAL CORES, OBJECT + REFLECTION, VERTICAL PERSPECTIVE VIEW
104
105
MUSEUM OF MACEDONIAN FIGHT SKOPJE, 2009 BACKGROUND: IMAGE FROM THE MOVIE STALKER (1979) ANDREI TARKOVSKY
106
MB MHP
NEXT HOUSING RESEN, 2011
VB VS BZ NS
LINEAR CITY, CITY OF SQUARES RESEN - PRESPA LAKE
DM KT JV JK STO SJ JJ BM BA IB MZ GF AR ST
LEFT: CITY OF SQUARES CONCEPT RIGHT: VERTICAL ENVELOPE GRID , OBJECT + REFLECTION, VERTICAL PERSPECTIVE VIEW
108
109
NEXT HOUSING RESEN, 2011 BACKGROUND: IMAGE FROM THE PRESPA LAKE
110
111
MB MHP
HOTEL KOJNSKO, 2011
VB VS BZ NS
HOTEL AS AGREGATION OF HOUSE
DM KT JV JK STO SJ JJ BM BA IB MZ GF AR ST
LEFT: FLOOR PLANS RIGHT: TOPOGRAPHIES VOLUMES , OBJECT + REFLECTION, VERTICAL PERSPECTIVE VIEW
112
113
HOTEL KOJNSKO, 2011 BACKGROUND: IMAGE FROM THE MOVIE MIRROR (1975) ANDREI TARKOVSKY
114
MB MHP
THEATER+LIBRARY+ CINEMA TETOVO, 2012
VB VS BZ NS
HYBRID AGGREGATION CLOTHED WITH TWINKLING CURTAIN
DM KT JV JK STO
CINEMA
SJ JJ
LIBRARY BM BA
DRAMA THEATRE
IB MZ GF AR ST
LEFT: PROGRAM DIAGRAM RIGHT: LAYERED HORIZONTAL PLANS WITH PRINCIPAL VERTICAL ELEMENTS , OBJECT + REFLECTION, VERTICAL PERSPECTIVE VIEW
3 IN 1
116
117
THEATER+LIBRARY+ CINEMA TETOVO, 2012 BACKGROUND: IMAGE FROM THE MOVIE MIRROR (1975) ANDREI TARKOVSKY
118
MB MHP
MEMORIAL HOUSE OF MOTHER THEREZA SKOPJE, 2007
VB VS BZ NS DM
A HOUSE THAT MAKES A STEP BACKWARDS AND ALLOWS TREES TO BECOME A PART OF HER
KT JV JK STO SJ JJ BM BA IB MZ GF AR ST
LEFT: SECTIONS RIGHT: BODY WITH WINDOWS-ROOMS, OBJECT + REFLECTION, VERTICAL PERSPECTIVE VIEW
120
121
THE TREES AND THE HOUSE
122
123
MB MHP VB
MACEDONIAN - ITALIAN EDUCATIONAL CENTER SKOPJE, 2007-2008
VS BZ NS DM KT
BUILDING WITH INNER COMPLEX LANDSCAPE BEHIND THE ORDINARY PROFILE
JV JK STO SJ JJ BM BA IB MZ GF AR ST
LEFT: SECTION SEQUENCES RIGHT: FOLDED SURFACE, OBJECT + REFLECTION, VERTICAL PERSPECTIVE VIEW
124
125
MACEDONIAN - ITALIAN EDUCATIONAL CENTER SKOPJE BACKGROUND: IMAGE FROM THE MOVIE NOSTALGHIA (1983) ANDREI TARKOVSKY
126
MACEDONIAN - ITALIAN EDUCATIONAL CENTER SKOPJE EXTERNAL VIEW
128
MB MHP VB
HOLOCAUST MEMORIAL MUSEUM SKOPJE, 2005
VS BZ NS
ARCHEOLOGY OF ABSENCE
DM KT JV JK STO SJ JJ BM BA IB MZ GF AR ST
LEFT UP: MAIN HALL, VOID OF SHADOWS LEFT DOWN: WORKING MODEL, SPIRAL DEVELOPMENT OF THE BUILDING PLAN RIGHT: VERTICAL ENVELOPE, OBJECT + REFLECTION, VERTICAL PERSPECTIVE VIEW
130
131
MEMORIAL MUSEUM OF HOLOCAUST SKOPJE, 2005 BACKGROUND: IMAGE FROM THE MOVIE STALKER (1979) ANDREI TARKOVSKY
ENTRANCE VIEW
132
ENTERANCE GAP
134
MB MHP
HOUSE 360° SKOPJE, 2007
VB VS BZ
A HOUSE THAT UNFOLDS AND OVERLOOKS THE CITY
NS DM KT JV JK STO SJ JJ BM BA IB MZ GF AR ST
LEFT: WORKING MODEL RIGHT: FOLDED SURFACE, OBJECT + REFLECTION, VERTICAL PERSPECTIVE VIEW
136
137
HOUSE 360° SKOPJE, 2007 BACKGROUND: IMAGE FROM THE MOVIE NOSTALGHIA (1983) ANDREI TARKOVSKY
138
MB MHP VB
URBAN VILLA ST. CHEDOMIR MINDEROVIC STREET, SKOPJE 2008/2010
VS BZ NS DM KT
A HOUSE WITH A ROOM THAT OVERLOOKS THE STREET AND THE INNER YARD
JV JK STO SJ JJ BM BA IB MZ GF AR ST
LEFT: FLOOR PLAN AND STREET ELEVATION RIGHT: PERFORATED ENVELOPE WITH MAIN ROOMS, OBJECT + REFLECTION, VERTICAL PERSPECTIVE VIEW
140
141
HOUSE ON CHEDOMIR MINDEROVIC STREET, SKOPJE 2008/2010 BACKGROUND: IMAGE FROM THE MOVIE NOSTALGHIA (1983) ANDREI TARKOVSKY
142
THE MACEDONIAN PARTICIPATION IN THE 13. INTERNATIONAL ARCHITECTURE EXHIBITION LA BIENNALE DI VENEZIA IS SUPPORTED BY THE MINISTRY OF CULTURE OF THE REPUBLIC OF MACEDONIA COMMISSIONER: FROSINA ZAFIROVSKA VICE CIMMISIONER: TASHE STREZOVSKI CURATORS: SASA TASIC & ALEKSANDAR RADEVSKI METAMAK ARCHITECTURE COLLECTIVE: MINAS BAKALCEV, MITKO HADŽI PULJA; VIOLETA BAKALCEV; VIKTORIJA STAVRIC; BETIM ZEQIRI; NIKOLA STREZOVSKI; DAMJAN MOMIROVSKI; KRISTINA TODIC; JANA VITANOVA; JANA KONSTANTINOVA; STEFANIJA TODOROVSKA; SLAVKO JOSIFOSKI; JONE JANKOSKI; BESIAN MEHMETI; BEKIR ADEMI; IVAN BELESKI; MIHAJLO ZINOSKI; FILIP GODZIROV; ALEKSANDAR RADEVSKI; SAŠA TASIC TEXT: METAMAK ARCHITECTURE COLLECTIVE CATALOGUE DESIGN: MINAS BAKALCEV, MITKO HADŽI PULJA; BETIM ZEQIRI; NIKOLA STREZOVSKI; DAMJAN MOMIROVSKI; ALEKSANDAR RADEVSKI; SAŠA TASIC TRANSLATION: TASHE STREZOVSKI PRINTED BY POLYESTERDAY: 500 COPIES THE PROJECT IS SPONSORED BY: MEPSO - SKOPJE; MAKEDONSKI ŠUMI - SKOPJE; CHAMBER OF ARCHITECTS AND ENGINEERS OF MACEDONIA - SKOPJE; KOMERCIJALNA BANKA - SKOPJE; GRANIT - SKOPJE; PROTOTIP - SKOPJE; SINTEK - SKOPJE; POLITEHNA - SKOPJE; KARBO LUX - RESEN; MEBEL ACEVSKI - SKOPJE; MONMAR SKOPJE; JACA INZENERING - SKOPJE; SPECIAL GRATITUDE TO MR. MINCHO JORDANOV ACKNOWLEDGMENTS FOR: FACULTY OF ARCHITECTURE - UNIVERSITY SS. CYRIL AND METHODIUS; MARIJA GJORGOVA; KIRIL ZLATANOV; DAVOR PEJCINOSKI; VLADO TASEVSKI; BOJAN RAFAILOVSKI; NATIONAL AND UNIVERSITY LIBRARY ST. KLIMENT OHRIDSKI - SKOPJE; ECONOMIC CHAMBER OF MACEDONIA SKOPJE; MINISTRY OF FOREIGN AFFAIRS OF RM; MR. AMON BAJRAMOVSKI, GENERAL CONSUL OF RM IN VENICE, ITALY; GORAN MARKOVSKI; LJUPCHO GEORGIEVSKI; ILIJA ILOSKI; IRINA DIMOVSKA SHOKAROVSKA AUGUST 2012, SKOPJE, REPUBLIC OF MACEDONIA
BUILDING COMPANY
CIP - Каталогизација во публикација Национална и универзитетска библиотека „Св. Климент Охридски“, Скопје 061.43 (100): 72 (497.7) “2012” (083.824) АРХИТЕКТУРА во огледало: секојдневно и возвишено = Architecture in the mirror : sublime and the everyday. - Skopje : [б.и.], 2012.илустр. Текст на мак. и англ. јазик ISBN 978-608-65461-0-6 ( С. Тасиќ ) 1. Насп. ств. насл. а) 13. Интернационална изложба за архитектура - Венециско биенале 2012 - Каталог од изложби COBISS.MK - ID 91982602
METAMAK ARCHITECTURAL COLLECTIVE metamakarchitecturalcollective@gmail.com
Minas Bakalcev Mitko HadĹži Pulja Violeta Bakalcev Viktorija Stavric Betim Zeqiri Nikola Strezovski Damjan Momirovski Kristina Todic Jana Vitanova Jana Konstantinova Stefanija Todorovska Slavko Josifoski Jone Jankoski Besian Mehmeti Bekir Ademi Ivan Beleski Mihajlo Zinoski Filip Godzirov Aleksandar Radevski SaĹĄa Tasic
REPUBLIC OF MACEDONIA MACEDONIAN PAVILION 13. INTERNATIONAL ARCHITECTURE EXHIBITION LA BIENNALE DI VENEZIA PAVILION AT THE ARTIGLIERIE DELL’ARSENALE