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1. oris prostora

o zgodovini sarajeva

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1. oris prostora

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http://konkursiregiona.net/da-zeljeli-smo-mirsnimio-je-milomir-kovacevic-strasni/

http://www.radiosarajevo.ba/novost/124110

2EOHJDQMH 6DUDMHYD GDWLUDQR PHG LQ OHWRP MH QDMGDOMxH REOHJDQMH PHVWD Y PRGHUQL GREL ùORYHxWYD 3UYLù Y ]JRGRYLQL ùORYHxWYD GREL MDYQRVW HGLQVWYHQ YSRJOHG Y {LYOMHQMH REOHJDQLK SUHELYDOFHY SR ]DVOXJL SRVQHWNRY YHù VWRWLQ ]DVHEQLK LQ MDYQLK NDPHU 3R YRMQL L]LGH ƂOP ] QDVORYRP 'R \RX UHPHPEHU 6DUDMHYR" PRQWLUDQ L] DYWHQWLùQLK YLGHR PDWHULDORY SRVQHWLK Y ùDVX REOHJDQMD $JUHVLMD L]YDMDQD V VWUDQL -XJRVORYDQRY QDWDQùQHMH 6UERY LQ øUQRJRUFHY GHOQR WXGL +UYDWRY MH WHUMDOD {LYOMHQMD OMXGL RG WHJD SUHELYDOFHY 6DUDMHYD

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www.ronhaviv.com/

en.wikipedia.org/wiki/Siege_of_Sarajevo

1. oris prostora

arhitektura in sarajevo

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ZZZ UDGLRVDUDMHYR ED

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poglavje Ii. zgodba o zbirki. ali zgodba o gonilu

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2.ozadje projekta

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2.ozadje projekta

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2.ozadje projekta

o ideji Ars-aevi

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2.ozadje projekta zasnova ambientov posameznih volumnov in razporejanje

posameznih artefaktov

LJUBLJANA COLLECTION

MILANO COLLECTION

MUZEJ IZHOD NA STREHO KOMUNIKACIJE INSTALACIJA ODDAJA ZVOK

DINAMIKA ARTEFAKTOV SERVISI MARINA ABRAMOVIC

HOJNICA OBISKOVALCA = CIK CAK

VISOKO TEMACNO ODMEV

2.ozadje projekta zasnova ambientov posameznih volumnov in razporejanje

posameznih artefaktov

VENEZIA COLLECTION

PRATO COLLECTION

SOL LE WIT ILIYA KABAKOV

HOJNICA OBISKOVALCA = LIJ

DINAMIKA ODPRTIN = DIGONALA

SVETLO VISOKO ODPRTO OTROSKI SMEH UPANJE, SPIRITUALNOST

2.ozadje projekta zasnova ambientov posameznih volumnov in razporejanje

BOLOGNANO COLLECTION

ZUNAJ = ZNOTRAJ SVETLOBA NIZKO

posameznih artefaktov

SARAJEVO IN OPEN AIR COLLECTION

MEANDRIRANJE SVETLO, TEMNO, SVETLO, TEMNO

2.ozadje projekta zasnova ambientov posameznih volumnov in razporejanje

DUNAJ + ISTANBUL COLLECTION

RENDEZ -VOUS COLLECTION

KAOS MESANJE ZVOKA INSTALACIJ ODMEV

posameznih artefaktov

RED USTALJEN RITEM

NERED DINAMIKA

poglavje iiI. zgodba o zaฤ etku in iskanju. Osnovni gradniki muzejske zgodbe

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3. referencni okvir

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3. referencni okvir

arhitektura in umetnost | filozofsko-likovna Meje med arhitekturo in umetnostjo postajajo vse bolj zabrisane. Umetniki in arhitekti Ĺželijo ustvariti odnos med izmenjavo Ä?ustev in sooÄ?enj na nivoju prostora. Umetnost beĹži iz muzejev v iskanju vkljuÄ?evanja opazovalcev, ki so bolj zainteresirani v bolj neposredno izkuĹĄnjo, medtem ko arhitektura na drugi strani, deďŹ nira javni prostor in postaja percepirana kot objekt. Mestni muzeji zgubijo svojo funkcijo â&#x20AC;&#x2DC;ĹĄkatleâ&#x20AC;&#x2122; in postanejo nekaj drugega, umetnost pa sama postane muzej, natanÄ?neje prostor Ä?ustev in telesnih obÄ?utij. Arhitektura danes ni ustvarjena le za vizualni kontakt z zunanjim svetom. Predvsem je deďŹ nirana kot interier â&#x20AC;&#x201C; soba, prostor z mejo, umetnost naj ruĹĄi te meje. Umetnost ponuja svobodno razmiĹĄljanje in ideje, ki omogoÄ?ajo vkljuÄ?evanje opazovalca â&#x20AC;&#x201C; ta potem postane â&#x20AC;&#x2DC;â&#x20AC;&#x2122;uporabnikâ&#x20AC;&#x2122;â&#x20AC;&#x2122;. Arhitektura na drugi strani postane prepustna, zruĹĄi mejo med notranjostjo in zunanjostjo -zaÄ?nemo jo opazovati kot objekt. Galofaro L., 2007. Artscapes. Art as an approach to contemporary landscape. Barcelona, GG, str. 27-33)

osnova

Kaj je umetnost v odnosu do arhitekture in kaj je arhitektura, zgradba, prostor, stena sama po sebi? Kaj je prazen prostor. Okakura Kakuzo v knjigi o Ä?aju navede:â&#x20AC;&#x2122;â&#x20AC;&#x2122; Samo v vakuumu leĹži resniÄ?no esencialno. Smisel v sobi najdemo ĹĄele v prostem/praznem prostoru zamejenim s streho in stenami, ne pa v strehi in stenah samih po sebi. V prejĹĄnjem desetletju, Ä?asu megalomanske arhitekture, umetniĹĄko delo skorajda tekmuje z arhitekturo. To ne deluje veÄ? kor podlaga/platforma za artefakte, temveÄ? postaja sama artefakt. Dve letni nazaj v Pompidujevem centru umetnosti v Parizu organizirajo razstavo v celoti posveÄ?eno umetnosti niÄ?a. Z naslovom praznine v postavijo razstavo v devetih sobah, te so s sveĹže prebarvanimi stenami in lesenimi tlemi popolnoma oÄ?iĹĄÄ?ene. Razstava Robert Barrya je po mnenju kritikov ena najradikalnejĹĄih v zadnjem Ä?asu, sporoÄ?ilo v danaĹĄnjem svetu kaosa, pretiravanja in preseganja uspehov ĹĄe iz prejĹĄnjega tedna pove gledalcu eno -â&#x20AC;&#x2122;â&#x20AC;&#x2122; Vzemimo si trenutek svobode, da premislimo kako naprej.â&#x20AC;&#x2122;â&#x20AC;&#x2122;

Gordon Matta Clark, Splitting http://imageobjecttext.com/tag/splitting/

James Turrell, Meeting

Robert Rauschenberg | White Paintings

http://artlert.wordpress.com/2013/07/01/james-turrell-i-think-were-made-for-the-twilight/

http://imageobjecttext.com/tag/splitting/

Prazen prostor ali prazna stvar sta termina, ki v resnici ne obstajata. Vedno je nekaj kar vidimo, nekaj kar sliĹĄimo. Poskusiti ustvariti tiĹĄino je nemogoÄ?e. - John Cage

Skladbe John Caga, s vzponi in padci, trenutki â&#x20AC;&#x2DC;tiĹĄineâ&#x20AC;&#x2122; in momenti popolnega â&#x20AC;&#x2DC;ustvarjenegaâ&#x20AC;&#x2122; kaosa vplivajo na slike Roberta Rauscheberga in obratno. Rauscerberg ĹĄokira umetniĹĄko javnost z â&#x20AC;&#x2DC;Belimi slikamiâ&#x20AC;&#x2122;, ĹĄe preden so te v popolnosti izpostavljene javnosti. Prepogosto nerazumljene v pomenu, slike Ä?rpajo iz budistiÄ?ne estetike. Kar Rauscherberg prikaĹže s senco in svetlobo, Cage uglasbi s tiĹĄino in ambientalnim ozadjem v glasbi. Njegov odgovor je 4â&#x20AC;&#x2122;33â&#x20AC;&#x2122;â&#x20AC;&#x2122;, prikazuje pianista, ki ĹĄtiri minute in 33 sekund zelo potiho pritiska na klaviaturo, tako, da se zvoki v ozadju prepoznavno sliĹĄijo.

Robert Barry | Voids www.pablogt.com

James Turrell, Meeting New York PS1

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3. referencni okvir

arhitektura in umetnost filozofsko-likovna

osnova

Paralelo Cagevi uglasbitvi in Raushebergovim slikam, lahko najdemo v arhitekturnih intervencijah Marca Casagrande in Sami Rintale. Projekti, s katerimi se Casagrande ukvarja, prikazujejo dejansko realnost prostora, delujejo na skoraj primarni stopnji, arhitektura je oÄ?iĹĄÄ?ena bliĹĄÄ?a, ne posega v prostor kot maligna-plastiÄ?na tvorba. Vse Ä?loveĹĄke intervencije, kot pri Cagu zvok klavirja, pri Casagrande-ju pa grajeni zidovi, obkroĹžajo realni, naravni, pristni pojavi.

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Ä&#x152;e se spet vrnemo k misli Okakure Kakuze in objetega prostora, najdemo pri Kahnu podobno paralelo. S citatom iz govora 1971.leta namreÄ? izvemo â&#x20AC;&#x2DC;â&#x20AC;&#x2DC;Soba je zaÄ?etek arhitekture. Je prostor misli. Ti v sobi z njeno dimenzijo, strukturo, njeno svetlobo, ki se odziva na njen karakter, njeno duhovnostjo, spoznaĹĄ, da karkoli Ä?lovek predlaga, postane Ĺživljenje. (Louis Kahn,1971 govor, â&#x20AC;&#x153;The Room, the Street, and Human Agreement,â&#x20AC;?). Kar Kahn sporoÄ?i z idejo sobe in njeno vsebino, Le Corbusier na malce drugaÄ?en naÄ?in pove z â&#x20AC;&#x2DC;Boite a Miraclesâ&#x20AC;&#x2122; -â&#x20AC;&#x2122;Ä&#x152;lovek, osnovni graditelj, lahko ustvari najbolj uporabne objekte za nas, zato, ker najveÄ? ve o volumnu. On lahko ustvari Ä?udeĹžno ĹĄkatlo, ki v sebi skriva vse kar srce poĹželi. Scene materializirajo trenutek, ko nastane ta Ä?udeĹžna ĹĄkatla. Ĺ katla, ki je kubus, omogoÄ?a dvig, manipulacijo, celo distrakcijo itd. Notranjost kubusa je prazna, toda tvoj domiseln duh ga lahko napolni z vem, kar um lahko zamisli v maniri stare Comedie delâ&#x20AC;&#x2122;arte! Arhitektura naj bo torej samo soba, hiĹĄa ali muzej - naj ostane zavetje in platforma tistemu, ki biva v njej, Ä?lovek naj jo napolni s tistim, ki je njemu ustrezno in ustreza funkciji. Ko govorimo o arhitekturi muzeja, pridemo do ĹĄtevilnih reĹĄitev, od postavitve artefaktov pa do same zasnove stavbe, nasproti pridemo stavbam, ki so delovale kot novi generator mestu npr. Bilbao ali do minimalistiÄ?nih galerij v primeru Tadao Anda. KakrĹĄnakoli reĹĄitev je, vsaka s svojimi omejitvami, daje odgovore na predloĹženo urbanistiÄ?no in socialno situacijo. Vsekakor pa menim, da bi arhitektura morala umetnosti postavit oder, jo s svojimi â&#x20AC;&#x2DC;manipulacijskimiâ&#x20AC;&#x2122; sredstvi â&#x20AC;&#x201C; pika, Ä?rta, ploskev, zunaj â&#x20AC;&#x201C; znotraj, svetlo â&#x20AC;&#x201C; temno, poudariti in ustvari â&#x20AC;&#x2DC;potâ&#x20AC;&#x2122; skozi in do umetnine, vsekakor ne preglasiti ali sama sebi postati namen.

Louis Kahn | The room http://www.arthistory.upenn.edu/themakingofaroom/catalogue/section4.htm

Robert Rauschenberg and John Cage, Automobile Tire Print http://www.thewhitereview.org/art/gabriel-orozco-cosmic-matter-and-other-leftovers/robert-rauschenbergautomobile-tire-print-1953/

Le Corbusier | La boite a miracles sleekdesign.canalblog.com

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3. referencni okvir

studijski primeri

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www.dezeen.com/matadero

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http://www.archdaily.com/72192/kolumba-musuem-peter-zumthor/6-custom/

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