teksturE arhitekturE bErlina by Miloš Komlenić

Miloš Komlenić (1972- ), fotografije grada u duhu slova “E” u 2D/3D... 2,5D

***

T E K S T U RE ARHITEKTURE GRADA BERLINA autor: doc. arh. Miloš Komlenić saradnik: arh. Bojan Zdravković Berlin,

jul/avg

2011.god.

*** Maurits Cornelis Escher (1898-1972), crtež slova “E” u 2D/3D... 2,5D

M. C. Escher The City

Renzo Piano, Christoph Kohlbecker Debis Headquarters, 1997

Schulte-Frohlinde Architekten SOLON AG Office Building 2007

Izložba

intuitivnom

nastala

gotovo

spontanom,

reakcijom na utiske putovanja u

Berlin, grad koje je postao, i postaje, muzej savremene arhitekture. Ona oslikava impresije jednog stručnog, „arhitektonskog“ oka, a u isto vreme

jedan

opušteni

eksperiment

savremenim, digitalnim tehnologijama.

zašto?

The exhibition was created through an almost spontaneous, intuitive reaction to impressions of a trip to Berlin, a city which has become, and is becoming, a museum of modern architecture. It reflects the first impressions of an expert, “architect’s eye”, and is also a relaxed experiment with modern, digital technologies.

why?

Schulte-Frohlinde Architekten SOLON AG Office Building, 2007

Sam početak razmišljanja o datom materijalu predstavlja opažanje, donekle posebno jednom „južnjačkom oku“: arhitektura i sami objekti koji čine ovaj urbani milje su oblikovno vrlo svedeni i jednostavni, gotovo strogi. Ali i otvoreni urbani prostori (ulice, trgovi i parkovi, čak i unutrašnjost zatvorenih gradskih blokova) daleko su veći od sličnih prostora u nama bliskim sredinama. Samim tim daleko veći broj objekata ulazi u „oko posmatrača“ osvrtom na grad i njegove ulice. Takođe, njihovo severno nebo daleko je „teže“, i predstavlja vidni, a bliski, teret oku posmatrača.

zato...

Starting

thought

about

the

presented

material concerns perception, particularily unusual to a “southern eye”: architecture, and the objects themselves, that make this urban setting, are very simple and reduced in forms. Open urban space (streets, squares and parks, even spaces inside the closed city blocks) are much more spacious than similar spaces in envoronments around us. Thus, a far greater number of buildings appear in the eye of the spectators view on the city and its streets. Also, their northern sky is more “heavy”, and presents the “visible burden” of the spectators view.

‘cause...

Jean Nouvel Galeries Lafayette, 1996

Time arhitektura samih zgrada postaje smernija i manje nadmena, obzirom da je ona gotovo uvek deo većeg asemblaža koji gledamo. Dominiraju jednostavne

osnovne

prizmatične

forme,

dominantnim ortogonalnim linijama. Oblikovanje formama višeg

objekata reda,

postaje

urbanim

podređeno

formama,

koje

uglavnom prate jednu čistu, jasnu i jednostavnu matricu. Prirodna potreba za identitetom svakog pojedinačnog objekta (a i njegovih autora) seli se na drugostepeni izražajni plan: na oblikovanje fasade, na njenu perforaciju, ritam, materijalizaciju...

kako?

The architecture, the design of the buildings itself, becomes less arrogant and more modest, concerning that it is almost always a part of a larger assemblage that we look. Basic and simple prismatic forms dominate, with predominantly orthogonal lines. Forms of buildings becomes subordinated to the higher order of forms, urban forms, which generally follow a clear, and simple pattern. â&#x20AC;&#x153;Natural needâ&#x20AC;?, search for the identity of each building (and its

authors)

translated

the

second-level

expressive plan: the facade, and its perforations, rhythm, materialisation...

how?

Eller & Eller -

Pažnja i fokus fotoaparata upravo se na to i usmeravaju - na ritam, način, ideju i pristup otvaranju opne samog objekta. To i postaju osnovni „alati“, instrumenti

formiranja

identiteta

svakog

objekta.

Takvu nameru je, svakako, lakše čitati u 2D prikazu, sa jasnim proporcijama bez skraćenja, tj. u „tehničkom crtežu“ - ili svođenju fotografije na imitaciju istog. Upravo takva namera se čita iza ove izložbe. Oblici i forme koji nose ove matrice/teksture su gotovo drugostepeni u njihovom čitanju, i deo su poimanja grada u većoj razmeri. Samom prolazniku, posmatraču, u bliskom kontaktu sa objektima ostaje dominantna impresija upravo o njegovoj opni, koja i jeste prvi kontakt objekta sa spoljnjim svetom, kako za njegove korisnike, tako i njegove posmatrače.

tako...

Attention and focus of the camera are directed on that - the rhythm, approach, and the concept of opening of the surface membrane of the building. It literally becomes “the main tool”, the instrument in establishing the identity of each building. Such intention is easier to read in 2D view, with clear proportions

without

perspective,

the

“technical

drawing” alike, or a photograph as an imitation of it. Such intention is visible behind this exhibition. The forms bearing these textures are almost secondary in their reading and comprehension of a larger scale. Passing by, the viewer, in close contact with buildings, retains the dominant impression of its surface, “the skin” - and that is the buildings first contact with the outside world, both with the users and its observers.

so...

Christoph Langhof Indoor Swimmingpool, 1987

Hascher Jehle Architektur Berlin Chamber of Physicians, 2003

Reichel & Stauth Architekten Scandic Hotel, 2010

Dominique Perrault Velodrom, 1997

Modersohn & Freiesleben Architekten Office Building, 2003

David Chipperfield Gallery of Modern Art, 2006

Busmann und Haberer Representatives/Jakob-Kaiser-Haus, 2002

Frenk O. Gehry DZ Bank Haus, 1999

STP Architekten Office Building, 2010

Axel Schultes Apartment and Office Building, 2000

H채ffner & Zenk Architekten Embassy of Slovak Republic, 2010

Petzinka Pink Architekten NRW State Representation, 2002

Christoph Langhof Apartment and Office Building, 2002

NPS Tchoban Voss Department Store, 2007

Helmut Jahn Office building

Leon Wohlhage Wernik Indian Embassy, 2001

Hilde Leon & Konrad Wohlhage Office Building

PÄTZOLD ARCHITEKTEN Office Buidling, 2009

PSP Pysall, Stahrenberg & Partner Embassy of Malaysia, 2000

Collignon und Fischötter “City Light House” Office Building, 2004

Michael Kรถnig, Betz und Partner Hotwl, 1996

Murphy / Helmut Jahn Kranzelereck, 2001

GMP - von Gerkan, Marg und Partner Berlin Central Train Station, 2006

GMP, von Gerkan, Marg und Partner Berlin Central Train Station, 2006

Nalbach+Nalbach Architekten Hotel at Central Train Station, 2011

Matthias Sauerbruch & Louisa Hutton Fire and Police station, 2004

Le Corbusier ”Unité d’ Habitation” in Berlin, 1957

Busmann + Haberer Architekten Center for Microsystems and Materials, 2011

Augustin & Frank Architekten Institute of Physics, 2003

“GMP” - von Gerkan, Marg & Partner Swissôtel im Ku’damm-Eck, 2001

NPS Tchoban Voss Office Building, 2006

Matthias Sauerbruch & Louisa Hutton Inovation Center for Photonics, 1998

Geier Maass Pleuser Architekten Ministry of Environmental Protection, 2010

Thomas Baumann Viterra Development Building, 2008

Hastrich Keuthage Architekten Appartment Building, 2007

Ortner & Ortner Office & Apartment Building

Stephan Braunfels Parliament Building, 2002

Abelmann Vielain Pock Architekten Institute for German Literature, 2006 Reconstruction of an old DDR Lecture Hall

Numrich Albrecht Klumpp Architekten Center for IT and Medias, 2011 Reconstruction of an old DDR Office Building

Peichl & Partner Architekten Annex to Hotel Adlon, 2004

SGS Architekten Apartment Building, 2004

Carlos Zwick Architekten Office Building, 1999

associate:

Bojan ZdravkoviÄ&#x2021;

Schulte-Frohlinde Architekten SOLON AG Office Building, 2007

Eisele Fritz Bott Architekten Center for Environment and Technologies, 1998

Arata Isozaki Headquarters of Berliner Volksbank, 1998

Frenk O. Gehry Schweger und Partner

DZ Banka Collegium Hungaricum,Center for Arts and Medias, 2011

GMP, von Gerkan, Marg und Partner Jakob-Kaiser-Haus, 2000

Lieb + Lieb Architekten Office Building for Representatives, 2011

Leon Wohlhage Wernik Syndicate Union, 2003

Laurdis Ortner & Manfred Ortner German Broadcasting Service, 1999

STP Architekten Office Building, 2010

Hastrich Keuthage Architekten Apartment Building, 2007

Carlos Zwick Architekten Office Building, 1999

associate

Bojan ZdravkoviÄ&#x2021;

CEPEZED B.V. Architects Innovation Centre for Informatics, 1999

M端ller Reimann Architekten Office Building, 2005

3XN Arcitects Danish Embassy , 2010

N. Grimshaw & A. Neumann Office Building, 2005

Matthias Sauerbruch & Louisa Hutton GSW Headquarters Tower, 1999

? Office Building, MarkgrafenstraĂ&#x;e 19

GMP, von Gerkan, Marg und Partner Office and Apartment Building, 2010

Nettbaum & Partner Hotel Maritim, 1995

Abelmann Vielain Pock Architekten Institute for German Literature, 2006

Braun & Schlockermann & Partner Singapore Ministry of Foreign Affairs, 1998

STP Architekten Etap Hotel, 2010

Frank O. Gehry DZ Bank, 2001

Sergei Tchoban DomAquareĂŠ, 2004

M端ller Reimann Architekten Ministry of Foreign Affairs, 1996

Cornelsen und Seelinger Architekten Representative Office of Saarland Building, 2000

Ortner & Ortner Office & Apartment Building, 2003

“GMP”- fon Gerkan, Marg & Partner Eugen Gutmann Haus of Dresdner Bank, 1997

Kรถhler Architekten Allianz Building, 1997

M端ller Reimann Architekten Ministry of Foreign Affairs, 1996

Emil Leibold, Herbert Boos & Hanno Walther DDR Ministry of International Trade, 1984

Stรถrmer Murphy and Partners Office Building

Busmann & Haberer Jakob-Kaiser Haus, 2002

Ieogh Ming Pei & Eller+Eller German Historic Museum, 2003

Claus Neumann Architekten Konrad Adenauer Foundation, 1998

Walter A. Noebl Office Building, 2001

Alfred Berger & Tiina Parkkinen & others... Nordic Embassies

Deubzer Kรถnig Architekten Office & Apartment Building

SGS Architekten Apartment Building. 2004

Schwebes + Schoszberger Office Building, 1955

Andrew Pilson & Daniel Shiu Escher/LEGO instalation, 2005