Sabina Marov Portfolio Feb 18

Sabina Marov p o r t f o l i o _ 02 _ 2 0 1 8

Selected works follow chronological order March 2012 - May 2017 school year 1st HOUSE IN KRAKOVO 2nd EHL CAMPUS DEVELOPMENT MURTER WINE CELLAR 3rd JUMP OFF HOUSING DALMATINOVA 8 MUSEUM FOR A. CALDER RUGEN PRORA 4th MH17 MEMORIAL A BOX IN A BOX A BOX IN A BOX EXPANDING KSEVT 5th BAÅ KA SEAFRONT OUTLINING HISTORY RESTAURO URBANO TIVOLI SPACE IS THE ONLY NOISE IF YOU CAN SEE TRNOVO PAVILION HOUSE IN ISTRIA FOR AN ARTIST KULTURA 2016, 2017 OCULUS

Location motifs

HOUSE IN KRAKOVO design studio 1, mentor: doc. mag. TomaĹž KruĹĄec, 2011/12

Since the site does not give a clear motive which the house can relate to, it is formed simply by the location site itself - the corner of Emonska street and Krakov road.

The house is introverted. The walls, whose orientation arises from the geometry of the surrounding streets, create a private, quiet area, isolated from those streets. Interior spaces are defined by inner courtyards which provide natural light and create serene vistas.

The relaxed atmosphere, associated with the natural aspect of locations, is achieved by immersion of the parts of the

house into the ground. In this way, arts of everyday life descend to the ground level.

The kitchen is open and fluid space, practical and fast, designed for a minimlum stay in this part of the house.

The living room is two steps away from the rest of the house and with a full-length windows opened to the garden. The tree in the garden maintains intimacy in a room. Bedroom is conceived as a space dedicated to rest and leisure within which are placed bath and sauna.

Together with the sleeping part they form one unified, peaceful space.

sec_projektiranje in kompozicija_1. letnik 2011/2012_doc. mag. Tomaz Krusec u.d.i.a._tehnicna sodelavca Anze Koren in Matevz Zalar_Sabina Marov_25110182__

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Seminar Krusec_projektiranje in kompozicija_1. letnik 2011/2012_doc. mag. Tomaz Krusec u.d.i.a._tehnicna sodelavca Anze Koren in Matevz Zalar_S

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STUDENT ROOM EHL design studio 2, mentor: doc. mag. Tadej Glažar, 2012/13

The attributes to describe the concept of the room are – practical and clear. In order to get as much as organized student space, it is designed with straight lines that divide the necessary elements situated by the wall and free space every student needs in the middle of the room.

The quality of natural light is not guaranteed only in the room but also in the bathroom. The bathroom is placed behind a

glass wall which fills the space with light but at the same time hides the view to the bathroom.

Multifunctional piece of furniture – shelves / stairs partly hide the view to the bathroom and enable safe climb to the beds places above the bathroom.

Space division, axonometry

Old photos of Ĺ ibenik and Kornati

Ambiences

MURTER WINE CELLAR individual project, conceptual design 2012-

The wine cellar is located in the southeast of Murter, in Dalmatia. That part of the island contains numerous vineyards and nearby the site is a small facility for wine production.

However, the facilty does not provide ability to retain and enjoy the natural beauty of the area.

To keep the existing number of vineyards and vines preserved, the cellar is designed as a narrow strip on the edge of the vineyard.

Not to disturb the image of the location, is placed under the vineyard. The topography of the site allowed making of, not bunker, but sort of open underground tunnel.

The main entrance is on the north and

is separated from the entrance of the existing buildings intended for wine production. The two buildings are connected with two narrow passages. Service rooms are added aside so that the central corridor can open to the south without view distractions. After the cozy sitting area at the end of a tunnel, visitors can continue into two hidden bedrooms on the west.

The cellar interior is set in visible concrete and in some places original stone rock is left intact. Altogether with roughly handled wooden furniture create a sense of cruelty of Dalmatian paysage. The wine is the factor that warms the ambience.

Conceptual division of the programme - housing, common spaces, communications

Axonometric division of the basic housing unit

JUMP OFF

HOUSING design studio 3, mentor: prof. dr. Aleš Vodopivec, 2013/14 in collaboration with Petja Ogrinc

When a man decides to leave the nest of their parents or a student home in order to move to a new lodging, the biggest issues are rental costs. Those can be lowered by reducing the cost of construction. Solution which enables that is the installation wall.

In this project, the installation wall is the load bearing structure. Space partitions go perpendicularly to the wall. The difference is obvious: between hard - bearing brick elements and light - wooden partition panels; between static and flexible.

The repetition of the walls throughout the site creates the barcode floor plan image

and a village of single-family terraced houses.

One unit stretches between two walls and only in this longitudinal direction are possibilities for future reshaping. Possible disturbing contact points between close neighbors in this way dissapear.

The roof is also an element that enriches the idea of inexpensive ​​ construction. It’s inclination allows natural ventilation of the house and natural light. The geometry directs the flow of meteor water to drain into a wall which stores it in underground tanks. The households benefit from the stored water.

Axonometric view of the basic groundfloor housing unit + common spaces

Axonometric view of the first floor housing units

Peter Martensen - 1993 - One Finger Fuga

The Volume

Cloud over Dalmatinova turns into an object over Dalmatinova

Groundfloor of the object, sketch

DALMATINOVA 8 design studio 3, mentor: prof. dr. AleĹĄ Vodopivec, 2013/14 The only obvious fact about Dalmatinova are constant vague conflicts between the municipality and investors, among investors and among the 17 creditors. For users of this part of Dalmatinova the straight effect is the transition restriction. For the former and prospective employees of Dalmatinova, 13 unbuilt residentals and 8 commercial units represent more than just paused traffic.

The following design programs to avoid adding new investors and tries to keep a link with the users from the surrounding area.

Current circumstances are, at first glance, clearly explained in the media. However, the answers to questions about the future of Dalmatinova are not clear. The concept illustrates the current situation - clouds in colloquial sense, a symbol of confusion. Due to the unstable and

temporary forms, it is hard to define the edge, beginning and end. Recomposition of existing scaffolding on the site tries to reinterpret cloudy weather over Dalmatinova.

The volume is created in certain construction grid and it fills the void by following the same height as nearby buildings. Scaffolding structure illustrates massive loss of space and loss of its potential. The image of scaffolding indicates an incompleteness of a construction. The way-over-scaled object pinpoints that wrong decisions have been made.

The volume touches the visitor so that awareness of space as a valuable resource is raised. Despite the fact that the volume itself is a reflection of the current socioeconomic situation, it also encourages activity from the outside to reflect within it. Scaffolding provides empty

spaces as a canvas for further reactions. An individual is able to create a single part of Dalmatinova enviroment. It is intended primarily for individuals from immediate surrounding.

The ground floor is left without specified programme, it is reshaped just to let the urban passage open once again. The rooms on the first floor are built up with scaffolding elements and they let common activities happen. Residents can meet there and decide how to adjust the spaces above. A new street level is created on the second floor. From there on an individual can decide whether to continue forward and realize his idea/s on space or just to hang out and be aware of developments.

Contextual collage

aksonometrija

MUSEUM FOR A. CALDER architectural design 3, mentor: prof. dr. Tomaz KruĹĄec, 2013/14

Museum for Alexander Calder’s works is placed on stepped terrain, below the ground.

Traces of roof structure - concrete beams, are seen from the road above and guide visitors through the roof to the public space and entrace below, on other side of the site.

Service spaces and similar facilities are places aside in order to clearly keep the main museum spaces in central area.

The task of the exercise was to explain idea mainly through the models.

RUGEN PRORA studio Turato, object analysis and floorplan reconstruction, 2014

KDF - “Kraft durch Freude” or freely translated “strength through joy and happiness”, in early 1936 announced an architectural competition for the biggest hotel in the world. The proposal were submitted by 11 enowned German architects, and the first prize project was long hotel, house-wall, by architect Clemens Klotz.

The project suggested to place the hotel Prora parallel to the slightly curved line of sandy beach.

It consisted of two symmetrically mirrored wings, the northern and southern branches of the hotel, which are

over the central square for mass gatherings and large ceremonial hall, supporting the central facilities. Altogether they merge into a unified, magnificent tourist resort.

Each of the two identical hotel tracts consists of four blocks with ten housing units. The block is composed and assembled by vast stringing rooms size of 5 x 2.5 m which at one point could receive and accommodate 20,000 to 50,000 tourists. Each room has two equal beds, a table with two chairs, a wardrobe and a sink and a square window overlooking the sea.

- Idis Turato (idisturato.com)

When architectural form is reduced to its essential nature in this way, what it stages and makes visible is not itself but the life that unfolds within its limits.

- A Simple Heart, DOGMA Studio (2002-2010)

MH17 MEMORIAL student competition, special thanks to prof.

AleĹĄ Vodopivec, 2014 in collaboration with Petja Ogrinc, Damian Sobol Turina, Diego Umari

Idea’s main motif is location, i.e. water surface. Water is not reduced and replaced with artificial, but rather preserved and emphasised. The project goes against the conventional square; it refrains from it by evolving beside it.

A new concept of space is set. Memorial approach is not what we picture as a concrete space with suggestive sculpture.

The route which connects and belts everything is not visible in its entirety. It ceases to be an abstract space when one sets on a journey.

Thoughts are unnecessary; the line calls to us.

By spreading, it creates a secure and spacious area, perfect to spend your day; by narrowing and depressing, the line path becomes cramped and ambience dramatic.By stepping down you let the surroundings behind and your focus becomes the path itself. Culmination happens in the narowness of the path, when the tightness becomes oppressing and you look up in the sky.

Traditional Chinese nesting boxes (system as in Baboushka dolls)

Precious public space is placed in secure center of the object

50:50 site division - preserving free unbuilt space among future urban jungle

The library and community center develop embrace the central public area

A BOX IN A BOX A BOX IN A BOX design studio 4, mentor: prof. dr. Aleš Vodopivec, 2014/15 in collaboration with Tina Mravlje In the Chinese sets of nesting boxes the smallest box held a single grain of rice. The grain, secured by layers of envelopes, symolized the future development of the society.

The complex of the community information centre does not answer to any external condition or urbanistic situation. The design approach is strict. A continuous membrane embraces the site as a guarantee that no changes within the context affect the complex. From the outside, the complex looks like a solid box; however, in the inside it is clearly divided into the building and the park.

The strictness of design is also present within the building. The hearth of the building is the central atrium conceived as a large public space. The library envelops it.

The public space, starting on the side

of the street, slowly descends through the entrance and gradually lifts up as a wide staircase.

The library is organized hierarchicaly.

Going up through the building the librarian sections become more complex - from more everyday topics and general reading on the first floor to scientific department on the last two floors.

Reading areas are arranged around the library and are designed according to their orientation. The ones in the east are designed as small individual study niches. The reading areas in the west overlook the park and are more open and flexible.

The building is supported by eight symmetrically placed concrete cores. The structure is strengthened by ribbed slab and ribbed roof. Vertical communications are inside four of

the cores.

The continuous membrane which envelops the building and the park is made of translucent corrugated polycarbonate panels.

Translucent corrugated polycarbonate panels and floor-to-ceiling glass facade form a double skin of the building - a ventilated facade. In this system, an air space between the glass and the polycarbonate layer creates the “chimney effect” providing for an efficient natural ventilation. Different layers also improve building’s sound insulation which is of major importance for the library ambience.

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EXPANDING KSEVT AA summerschool Vitanje, mentor: Aljoša Dekleva, Michael Obrist, 2015 in collaboration with Gregor Mljač, Danica Sretenovic, Nuša Zupanc ... It is important to be aware of the fact that for a architecture of quality an entirety is a necessity, as it was, as it will be. When we look into space, we look into the past, the past that takes place during our present and guides us on the way to future. It represents the time which in our dimension may not exist, but is present here and now.

The scope of the project Expanding KSEVT does not place KSEVT in context, because this aspect is already done by its materialization, but assists the village of Vitanje to adapt to new context - context of Vitanje with KSEVT. Current tourists are only tourists and villagers villagers only. Their interaction does not exist. KSEVT is presented solely and only as a sculpture, which creates a surplus of aesthetic or artistic work, with some useful value (acting as a “duck”).

Expanding KSEVT is based on a strategy as an orbital system defined on the basis of time, not space, which turns tourist into the researcher, and after seeing the exhibition in KSEVT it takes him around Vitanje and thus prolongs the duration of the visit. Offers

which KSEVT as a facility is lacking, is the experience offered by the universe. There is no desire to put something from outer space to Earth, but to feel the universe on the surface of the Earth. This gives us a sense of isolation and distance even when on nearby hills.

The cells placed there host a play of light at dawn and provide a sensation of multiple sunrises. Further in space, the same experience is available. An astronaut sees sixteen sunrises during one day in space station.

The problem of large distance between Vitanje and KSEVT can be illustrated by two different satellites, that never met. The key in applying the strategy which alters thinking and measures the effect in social approach to KSEVT is dealing with the distance. The workshop held in KSEVT offered a sleep over for local children. It was the beginning of strategy for it made children get closer with the culture in the universe and what KSEVT represents in that context.

The stereotype was broken for KSEVT stopped being an institution with closed doors.

Still so small, however, the sleep over was

the first step to the possible solution of KSEVT’s integration into enviroment. Consequences of learning, internalisation and co-living with “new” Vitanje after KSEVT represents the first project goal, which brings together Vitanje anf KSEVT as a whole. It is perfectly represented in direct link between tourists and locals (children), where tourist becomes more than a tourist - a researcher. Children are offered a new view of the world, the world beyond the borders of Vitanje.

Gregor Mljač trailer available on: https://vimeo.com/157950223

photo: Ajda Schmidt

1st type of stopping units for KSEVT/Vitanje’s guests; made in local wood

View from 1st type of unit

View from 2nd type of unit; made in local steel workshop; representing outer space atmosphere with endless Sun’s reflections

Concept - piers as mirrored street extensions, new programme holders

Programme division along the streets and piers

BAŠKA SEAFRONT competition entry for the Baška coastal zone plan, 2015 in collaboration with Ani Pijevac, Filip Ružic, Damian Sobol Turina, Plan 21

Baška is popular tourist destination in Croatia, troubled by various infrastructural and architectural problems. Proposed solution highlights specifics of the location, and presents coastline not as a border between strong motifs – sea&city, but as a new programmatic backbone.

The proposed rearrangement of the basic urban matrix of what has so far been only the coastal edge and passage, was transformed into the main artery of the village which with its hybridity combines almost all public facilities and functions.

The accentuation and rephrasing of the existing city piers as mirrored extensions of the streets reinforce new integrative character of the coastal promenade that becomes symmetrical central urban axis with evenly spade accents, programs and facilities.

Urban reinterpretation and upgrading existing matrix grants instead of the external facade of the village at least a dozen new images: each inner vista of the access streets with a view to the promenade and retouched piers generates a new and different atmosphere and ambience.

New pavilion and object for water sport clubs

New staircase - both communication and seating area

Beach extensions on piers

Construction of seating area around water spring

Traces of two temples and reconstruction of their outline

Position of previous two temples

Site vista around 1900s

Addition of seating areas on stepped terrain - public space

Site vista during Mussolini’s excavations

Thoughtful daily and touristic route across the site incorporates it into existing urban tissue

OUTLINING HISTORY Living archeology, Catholic University of America, Roma Tre, workshop, 2016 mentor: Francesco Cellini, M. Segarra Lagunes in collaboration with Valeria Vitale

The project outlines the remains of the old temples by defining subtle traces of corten steel and stone on the ground - the new public level is formed. That level connects the modern one with the level of the Teatro Marcello. The museum and bar on the modern level are incorporated in urban tissue following the geometry of modern Rome.

The reconstructed staircase of the old temple inspires new tribunes aside creating spontaneous auditorium existing slope.

The market, placed beneath the road, guarantees other public activities not only for the tourists but also for the locals.

RESTAURO URBANO: TIVOLI Laboratorio di restauro urbano, RomaTre, mentor: prof. Michele Zampilli , in collaboration with: Silvia Barberis, Agnese Chittaro, Alessio Dorich, Geoffroy Bracq, 2015/16 The project od urban restoration in old historical centre of Tivoli near Rome, consists of reprogramming piazza Tani from parking lot to an entrance square to the oldest part of the town. Typologies of ancient houses around piazza Tani have been throughfully analyzed in order to place existing structure in certain time period so adequate restoration could be applied.

Analyzing the progress of typologies has given an insight to which modifications on structures were worth preserving and which weren’t significant. The research revealed how once very attended piazza with generous public and comercial programme (old bottegas) lost

its connotation during the years of constant spread of the urban tissue. Major part of the houses were objects originally made of two cells on each of the two floors. One part of the house was intended for residental use while the other had its own entrance for the bottega.

Bottegas were run by the residental families.

Different sizes and shapes of the front doors point out different use of internal spaces.

In the restoration project those elements, mostly made of stone, were kept visible on the facade while the colours of the facade were brought back to the earthly colour gradients.

The sequence of case a schiera continues to the opposite side of piazza Tani.

Two houses of the sequence were completely destroyed during war period. The ruins of the support walls are visible on the first one while the second was turned into small park. The main restoration project includes reconstruction of the first house and conversion of park into more suitable public space.

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Laboratorio di restauro urbanourbano Laboratorio di restauro Docenti Prof. M.Zampilli,A.Filpa , P.Ungari| Tutor G. Fiorentino, G. Ajò,G. Brunori, A. Cretarola Docenti Prof. M.Zampilli,A.Filpa , P.Ungari| Tutor G. Fiorentino, G. Ajò,G. Brunori, A. Cretarola

Gruppo 02 |S.02 Barberis, G. Bracq, A. Chittaro , A. Dorich, S.Marov Gruppo |S. Barberis, G. Bracq, A. Chittaro , A. Dorich, S.Marov Mappatura dei materiali e delloestato degrado Mappatura dei materiali dellodistato di degrado

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MAPPATURA DEI MATERIALI E DELLO STATO DI DEGRADO Prospetti su Piazza Tani, scala 1:100

MAPPATURA DEI MATERIALI E DELLO STATO DI DEGRADO Prospetti su Piazza Tani, scala 1:100

LEGENDA malta LEGENDA lamiera malta laterizio (muratura) lamiera lamiera zincata laterizio (muratura) laterizio (coppi) lamiera zincata vetro laterizio (coppi) stucco vetro materiali lignei stucco intonaco materiali lignei materiali lapidei intonaco PVC materiali lapidei materiali metallici PVC materiali ceramici materiali metallici materiali ceramici

INTERVENTI DIRETTI SUI MATERIALI

INTERVENTI DIRETTI SUI MATERIALI

Abaco dei degradi

Abaco dei degradi Operazioni preliminari Pulitura Operazioni preliminari Consolidamento Pulitura

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INTERVENTI SULLA FABBRICA Verifica di smaltimento delle acque meteoriche INTERVENTI SULLA FABBRICA I_PRE_04 Verifica di smaltimento delle acque Rimozione e recupero tegole di meteoriche copertura I_PRE_04 I_PRE_05 Rimozione e recupero tegole di Rimozione e sostituzione oscuranti ed copertura infissi I_PRE_05 I_PRE_06 Rimozione e sostituzione oscuranti ed Rimozione elementi incongrui che infissi deturpano la facciata I_PRE_06 I_PRE_08 Rimozione elementi incongrui che Rimozione e sostituzione canali di deturpano la facciata gronda e discendenti fortemente degradati I_PRE_08 Rimozione e sostituzione canali di gronda e discendenti fortemente degradati

RESTAURO DELLE SUPERFICI MURARIE Prospetti su Piazza Tani, scala 1:100

RESTAURO DELLE SUPERFICI MURARIE Prospetti su Piazza Tani, scala 1:100

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OPERAZIONI PRELIMINARI (I_PRE) CODICE I_PRE_01 Asportazione dello strato di malta cementizia mediante l’uso di spatole e di attrezzi meccanici (vibroincisiori) senza intaccare il paramento sottostante I_PRE_02 Applicazione di agente diserbante I_PRE_03 Disinfestazione della microvegetazione con biocidi I_PRE_04 Rimozione e recupero tegole di copertura I_PRE_05 Rimozione e sostituzione oscuranti ed infissi I_PRE_06 Rimozione elementi incongrui che deturpano la facciata I_PRE_07 Rimozione puntuale di materiale incoerente con uso di scalpelli e spatola I_PRE_08 Rimozione canali di gronda e discendenti fortemente degradati

PULITURA (I_PUL) CODICE I_PUL_01 Pulitura a secco diffusa con spatole e setole di saggina ed eventuale aspiratore di polveri I_PUL_02 Pulitura a secco di polveri e depositi incoerenti con piccoli pennelli con un tensio-attivo di tipo Desogen, diluito in acqua e tamponando con spugna I_PUL_03 Rimozione di polvere indurita, smog, depositi organici con spugnature di carbonato d’ammonio diluito con a seguito risciacquo I_PUL_04 Applicazione puntuale di impacchi di argilla ed acqua distillata previa stesura di una sospensione acquosa di argilla I_PUL_05 Asportazione meccanica con spazzola metallica per il muschio e strappo a mano delle erbacce infestanti I_PUL_06 Pulitura da biodeteriogeni, da porre in opera in tutte le zone interessate dal fenomeno per eliminare alghe, licheni, muschi, batteri o altri fenomeni biobatteriogeni I_PUL_07 Rimozione a secco e con acqua e spazzole dei depositi superficiali incoerenti

CONSOLIDAMENTO (I_CON) CODICE I_CON_01 Riempimento e stuccature di fratture di materiali lapidei con composti premiscelati (legante idraulico, inerti di cava, polvere di travertino, pigmenti naturali) DEG_08 Macchia

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I_CON_02 Stuccatura con malta a base di leganti idraulici per impedire o rallentare l’infiltrazione d’acqua piovana e dell’umidità

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I_CON_03 Trattamento consolidante diffuso a bassa pressione da applicarsi in profondita nei pori I_CON_04 Chiusura del buco non presente nella prima fase con laterizi

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I_FIN_02

I_PUL_01

I_PRE_04

I_PUL_04

INTEGRAZIONE (I_INT)

I_INT_02 Stuccatura di lesioni, microlesioni e giunti nell’elemento lapideo I_INT_04

I_FIN_01 I_FIN_02

I_FIN_01 I_FIN_02

I_PRE_05

CODICE I_INT_01 Applicazione a spruzzo diffusa, fino ad assorbimento, di prodotto idrorepellente in solvente organico

I_CON_02 I_PUL_03

I_CON_02

I_FIN_02

I_PRO_01

I_PUL_03

I_FIN_01 I_FIN_02

I_PRO_01

I_FIN_01 I_FIN_02

I_INT_03 Applicazione di sostanza battericida nelle fessure e successivamente su ttua la facciata I_INT_04 Ripristino e bonifiche degli elementi di copertura

I_FIN_02

I_FIN_02

I_INT_04

I_INT_05 Ripristino canali di gronda e discendenti I_INT_06 Riverniciatura con vernici adatte al materiale e resistenti alle intemperie I_INT_07 Rimontaggio dei nuovi infissi ed oscuranti

I_PRO_03

I_PRO_01

I_PRO_01

I_PRO_01

FINITURA (I_FIN) CODICE _FIN_01 Integrazione delle lacune dell’intonaco esterno preesistente con nuovo intonaco I_FIN_02 Trattamento estetico dell’intonaco mediante l’impiego di materiali che per coloritura e composizione risultino affini agli originali, con pigmenti naturali

PROTEZIONE E MANUTENZIONE ORDINARIA (I_PRO) CODICE I_PRO_01 Protezione degli elementi in legno I_PRO_02 Stuccatura delle fratture e crepe degli elementi con un composto premiscelato a base di legante idraulico e frantumazione di materiali di simil colore I_PRO_03 Applicazione di sostanza battericida nelle fessure e sucessivamente su tutte le zone sotto elementi architettonici agettanti

SPACE IS ONLY NOISE IF YOU CAN SEE

SPACE IS ONLY NOISE IF YOU CAN SEE

SPACE IS ONLY NOISE IF YOU CAN SEE

SPACE IS ONLY NOISE IF YOU CAN SEE

SPACE IS ONLY NOISE IF YOU CAN SEE

SPACE IS ONLY NOISE IF YOU CAN SEE

SPACE IS ONLY NOISE IF YOU CAN SEE

SPACE IS ONLY NOISE IF YOU CAN SEE

SPACE IS ONLY NOISE IF YOU CAN SEE

SPACE IS ONLY NOISE IF YOU CAN SEE

posters/stickers

wooden 1:1 model

SPACE IS THE ONLY NOISE IF YOU CAN SEE exhibition, Society of architects Rijeka, in collaboration within Sekcija, 2017 The attempt to get together architecture and music and to reveal their secret relation happened in the spaces of Society of architects Rijeka. It was a first project of Sekcija, newly found group of young architects and urbanists from Rijeka.

Space is the only noise if you can see by Nicolaas Jaar was thematic and acoustic background of the whole exhibition but its subject was Iannis Xenakis and his work as mathematician, architect, engineer and composer in music

and architecture.

The exhibition was divided into different parts according to the position within space. The main part was taken by wooden model of the partial facade of Sainte Marie de la Tourette by Le Corbusier, inspired by Xenakis’s music. It could be touched or beaten with hand or some different things in order to achieve acoustic rhytm.

Next to it was a long longitudinal poster on the wall that was actually a transcript

of Jaar’s song. As La Tourette’s facade was a transcript of Xenakis rhythm _ the method was repeated. Tones are converted into heights of the horizontal lines and verical lines follow rhytmical structure of the song. In that way a unique graphic of the facade was made as an interpretation of the melody, harmony and rhytm of the background Jaar’s music.

conceptual design process

standard situation

structural design process

intimate event

social event

TRNOVO PAVILION design studio 5, competition entry, mentor: prof. dr. Aleš Vodopivec, 2017

Idea of the proposed pavilion continues manners of Jože Plečnik who designed his hometown as a city of mediterrenean ambience. The lightness of being under the sun is achieved with simple structural elements.

White canvas is the main element, which is widespread horrizontally and vertically on steel tubles defining roof and walls. As a roof, canvas is not fixed but mobile and adjustable to different situations. Two steel frames with pavilion form two doors which act as para-

vans that can define space according to the actual need of users.

The pavement is made out of recycled stone and brick material that create unique pattern. Its installation and design is done by social event organized by local community. Project proposes that type of meaningful event in order to connect the community with the use of pavilion from the very beginning.

HOUSE IN ISTRIA FOR AN ARTIST conceptual design through basic collage graphic, landscape architecture, 2017

OCULUS Kotor APSS, Numen / For use, 2017 in collaboration with Aiste Ambrazeviciute, Luka Ljumovic Kotor Architectural Prison Summerschool is an eight day-long gathering dedicated to infusing contemporary cultural life into the city by means oftemporary architectural installations. Located in an abandoned, part-derelict prison built during the occupation of the Austrians, the brief was simple: to design and build temporary structures that have to be set-up quickly but can also become part of the public space, part of the community,part of the program, and a point of interest for visitors and tourists. The primary material: rope, produced locally.

It has been inspired by an endless flow

of triangular geometry within a defined space.

The micro-location of the structure (small courtyard against theside-wall of the prison with high walls surrounding it) is hardly definable while the rope structure that drowns into this space appeals as a contrast. The base of geometry is the sequence of knots which further are used as a tool to “draw” in 3-dimensional space. Layers created by the same technique areintentionally placed to create a single pattern.

Even though the geometry within the prisonborders is perfectly constructed, rope gave it irregulatitiesby defying gravity and tension.

The linear matrix of the installation dominates

the vertical opening providing a viewer with an sculptural experience.Viewer is invited to approach the structure in vertical directions from two points: street level and the upper level – prison’s terrace.

GRAPHIC DESIGN design of a range of promotional material for cultural events organized by Slovenian student association, September 2015_

A2 poster

4. pomurska študentska zaposlitvena konferenca

RIS DVOREC RAKIČAN

22. april 2017