Days of architecture Sarajevo / theme introduction lecture - “Continuos interior”

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@idisturato
Days of architecture Sarajevo / theme introduction lecture - “Continuos interior”
Gumno House / photo by ivannekadfotka.tumblr.com
More >>> http://www.idisturato.com/project/gumno-house-2/
Gumno House
The Hall Story
‘The Hall Story’ is a short documentary about an architectural object and process of its inception, development, construction and its first usages. The story is told through conversations with the very people who built the civic hall and school gymnasium in Krk, designed by Turato Architects, as well as with people using it today.
The film does not follow a typical architectural narrative nor is it a mere project description, consisting of directed frames of the building itself. Instead, it features simple and intimate stories of main characters involved in its very construction. We watch them share their views on city architecture and the building process. The project’s complexity reveals itself by walk-through scenes and discovery of various architectural segments, pulling the viewer in to enjoy all the details, the surrounding atmosphere, the site itself and its urban context.
The Hall Story from idisturato.com on Vimeo.
The film records a specific relationship between the site’s rich layers of urban archaeology, its different flows and the newly built hall itself. It talks about the work process and all the different collaborations that have had to take place in order to make completion of the project possible. The conversations with all the colorful characters who took part in the construction as well as with those who today use the hall, reveal a sense of community, of feeling the project’s destiny from within and of all the challenges of its complex construction. The film speaks volumes about the way humans feel architecture and the emotion architecture gives back.
Film_
Authors: Maja Bosnić, Ivan Dorotić, Ana Štulina
Camera: Maja Bosnić, Ana Štulina
Editing: Ana Štulina
Interviews: Ivan Dorotić
Music: Nora Turato
Sound editing: Ivan Zelić
Graphics: noraturato.com
English translations: Dominko Blažević
Architecture_
Authors: Turato Architects
Project team: Idis Turato, Ida Križaj, Marko Liović, Josip Mičetić, Ana Staničić
Contractor: GP KRK
Cheef engineer: Branko Hriljac
Interviewees in the film_Ilija Pavlović, Vedran Mirković, Goran Ožbolt, Ivan Mujo Dokić, Nikola Dokić, Nikola Filić, Ljupče Filić, Željko Filić, Petar Kopanica
Thanks to_ Children from the primary school «Fran Krsto Frankopan», Basketball players from the town club, Franciscan monastery, Serđo Samblić (principal of the primary school), Dario Vasilić (mayor of Krk), GP Krk
The Hall Story
Istrian House of Tourism / Casa Turistica Istriana
The most developed county in the country, as far as tourism is concerned, has decided to design the House of Tourism in order to give a presentation of its most prolific economic branch. Located in the very center of the town of Poreč, this specific building, according to the managers of the tourist board, clearly stands out when considering the importance of tourism and demonstrates and materializes to guests, tourists and local residents a clear message about Istria and its specific Istrian tourism.
To me personally, this task was somewhat vague at the very beginning, the possible solution sounded pretentious, insufficiently thought through, primarily induced by the contradictory nature of sensations and emotions that this idea provoked in me. The needs and desires of tourism enthusiasts for this somewhat pretentious display and the targeted presentation also seemed unnecessarily excessive.
On the other hand, the basic idea of the tasks and the need for constructing such a “house” which would serve as a catalyst of the targeted message encouraged me immensely regardless of the subject it covers. The mere opportunity to program and architecturally design a house that manipulates feelings, messages, and specifically mediatizes the views of its visitors was reason enough to eventually devote ourselves to this task.
The basic idea of the House of Tourism revolves around the idea of a building as an architectural “device”, a programed architectural infrastructure, which sets as its final goal the realization of a specific place, clearly marked and read as a complex architecturally unified space. The House of Tourism is composed and constructed as a series of previously prepared and predefined elements, spatial assemblies that serve as architectural mediators and message conveyors. The House of Tourism is a catalyst for experiencing physical movement, dwelling, cognition and contemplation of the designed message of Istria.
Architecture and organization of the House of Tourism represents on the one hand a simple and recognizable spatial sign, while on the other hand its spatial “voids” and complex interior display a lively and dynamic story. The organization of the house, based on simple relationships between full-empty, dark-light, mobile-fixed, served-serving, supportive-supported, defines the house as a specific but easily useable and recognizable space.
The organization of space and the position of the “temporary void”, which holds all public activities of the house, lead the visitor through the ground floor, the upstairs floors and the roof terrace. The architectural promenade begins at the crossroads of pedestrian flows of the city which intersect and meet at the House of Tourism and travel down the promenade of the Red Istria, encounter the world of the Gray Istria and the spaces of White Istria and at the end of each one, on the facade of the building they turn into large openings, screens, framed vistas of the town skyline of Poreč.
At the last floor of the House of Tourism, the architectural promenade creates a special atmosphere culminating with a ramp-amphitheater for summer events, lectures, concerts and gatherings and it ends with a view of the marina and Poreč. With the promenade composed and arranged in this way, the architecture of the House of Tourism accomodates all necessary accompanying service facilities that are defined by a program and the needs. Offices and office space located alongside a promenade represent a kind of metaphor of the old town houses and stores, facilities situated along the street where the vibrancy of the public promenade is used for a public and social function, while the contents, purpose and service of every individual house-office enables active work of employees-residents in the service of the idea and the program of the House of Tourism, a small but powerfully mediatized building.
Thalassotherapia Pavilion
A small multipurpose hall – exercise pavilion was built within Thalassotherapia, a Special Hospital for Medical Rehabilitation for asthmatic children in Crikvenica, Croatia. In this old, experienced specialist medical institution rich in tradition, the little patients do special exercises daily together with receiving numerous medical and therapeutic treatments. The combination of exercises consists of aerobic training, gymnastics and breathing exercises which strengthen the body and encourage the patient’s spirit. Proximity to the sea, pleasant climate, sun and special atmosphere enable the children (who come for treatment mainly from continental Croatia) to have a pleasant stay and an unforgettable experience of the Mediterranean, experience socialization and holidays by the sea.
The newly built Pavilion is located on the rim of the hospital complex, situated between the park and a children’s playground which connects the hospital complex to the beach and the street by a public promenade. The new Pavilion together with the existing building for accommodations and the hospital complex restaurant in the east and the old villa from the 19th century in the south enclose the perimeter of the hospital grounds. With its transparency and rhythmic structure the Pavilion creates a specific sense of dwelling in an unusual space which places the users between nature and the interior. The specific architecture of the Pavilion provides the users with a physical sense of “between”: between open and closed, between a roofed over space and an open space, between full and empty, between light and shadow. The Pavilion gives the impression of a rhythmical architectural device for exercise and events.
Except for the users of the hospital, the Pavilion is intended for recreational activities of citizens outside of the hours for daily specialist therapy and occasional events and gatherings of residents of and visitors to Crikvenica.
The Pavilion was constructed as an expansion of the old single floor building from the beginning of the 20th century, which holds a thermal substation, that supplies part of the hospital complex, and administration offices. The newly built glass garden Pavilion consists of an exposed wooden laminated structure and a tilt and turn glass cover. The structure of the roof and walls is visible on the outside of the Pavilion and it extends in the shape of a fan from the diagonally placed ridge of the building. Besides their structural function, the wooden frames made from laminated wood, can also serve an additional function of protecting against the sun and they can be turned into carriers for canvas awnings.
The structure of the Pavilion and the fan-shaped laminated carriers are being supported by a reinforced concrete beam which like a ring encircles the cornice of the old building on which it is laid. A system of ducts and pipes of thermo-technical installations is located inside the structure of the circumferential beam and it is used for additional ventilation, heating and cooling of the hall space. The ring of the structural beam and the ventilation duct system become a continuous bench, a chair or a table of the hall serving as a fractured surface of varying dimensions which allows users of the hall to sit and socialize along the edge of the Pavilion. The floor of the wall is lined with small wooden tiles set on an elastic substructure.
Thalassotherapia Pavilion
The Legalized City
The Legalized City was created on this day, 30 June 2013. The Legalized City is a project. The Legalized City is also a metaphor. At the same time, the Legalized City is a typical, as well as a specific, phenomenon. The Legalized City is a cultural, social, architectural and urban development truth. The Legalized City is our everyday life. For some, the Legalized City is their pride, for others it is a shame, but the prevailing majority of the population simply lives the Legalized City. The Legalized City has its shape; the Legalized City has its boundaries. One enters into the Legalized City consciously and without persuasion. One does not exit the Legalized City. The Legalized City forever confirms the desired state. The Legalized City is the final form of a consciously chosen life.
It is unusual that one city is a project, a metaphor and a phenomenon, all at the same time. The Legalized City is an accurately thought out project and it is super real. The Legalized city is the image of a state, but also a recognizable, finished process which deserves its description and a plan. The Legalized City is our daily image, clarified and outlined in its truthfulness and commonness. The Legalized City doesn’t have a guilty consciousness due to perfection, nor does it show pretentions to patronize. The Legalized City has no desire to idealize and aestheticize. The Legalized City is a generally accepted, subsequently confirmed model of life and work in the community. The Legalized City came into existence, it evolved and became action in time, based on the fundamental human nature and the need to build according to clear and everlasting laws of adaptable infrastructure and shifting politics.
The Legalized city consists of municipality N, municipality R, municipality V, municipality V-1 and village Č, which are located alongside the Adriatic coast, on one larger peninsula, on two larger islands and 88 smaller islands. The Legalized City is a project which describes and demonstrates an apparent state of city development, and the generic elements and structures which were used in the construction. The Legalized City is assembled and arranged on the basis of the energy of the multitude of generally accepted methods and elements. The Legalized City is the general condition that we all see and we all feel. The Legalized City places such a condition on a pile and it provides order to the pile giving it a corresponding meaning which has never been defined before. The order and the meaning in this case are not perceived as arbitrating or hierarchical zoning.
The Legalized City does not show a desire for something better, and even less an aspiration towards the ideal. The order and the new meaning are simply serving a project that demonstrates a possibility. The Legalized City is a possibility constructed from the omnipresent, the ordinary and the quotidian. The ordinariness and the quotidian have been brought to a state of hypertrophied quantitative immensity. This ordinariness obtains its body, and the shape of ordinariness is a specific new possibility.
The Legalized City cannot be controlled by any spatial gesture or by a series of strokes and shapes. The Legalized City fragments its structural components and elements. Every component of the Legalized City is a hostage of the totality. They are hostages of a modus-operandi, the spirit of deceit and the hypocrisy on which they were developed. The Legalized City consists of components which cannot exist without one another. Every village or municipality of the Legalized City is a link in an endless chain, a part of a network and a matrix. The Legalized City is a generic matrix of genetic dependence of each element and individual. All components of the City are products of the same creators. Incestuous brothers and sisters caught in a continuous dance of the super real quotidian.
The growth, shapes and elements of the Legalized City are based on relationships and rules which function as reflections, interpretations of certain ancient images from which, as some say, everything was created. The Legalized City enters into the realm of amoral, perverse, but also surprisingly ordinary and innocent at first glance. The Legalized City and its individual elements were initially found beyond good and evil, but they were eventually summed up and arranged into a project, creating a perverse lightness of totality. This perverse lightness results from naivety and recklessness of many decisions accumulated over time. It is an everyday truth. The truth everyone recognizes and wants.
The Legalized City was produced from a photograph of the actual condition. The actual condition is represented by a two dimensional orthophoto map recorded up until a specific date at a specific location. The photograph functions as a beginning of a new life. The photograph functions as a phoenix. The Legalized City and its houses have been initially constructed, and their use and the number of floors will be subsequently determined. The structure of the roof is covered by authentic Mediterranean tiles and it relativizes content and volume. The photograph of the roof is a materialization of the pure super reality. The City’s roofs are built simply to be photographed. The photography is a measure of truth. The building shown in the photograph will only subsequently be turned into a project. The legalization project for each of the constructed units comprises the plan for the Legalized City. This process is known to everyone and it is generally accepted. The building method is verified, the principle is operationally feasible and the administrative and legal procedures are legitimate.
Each resident of the Legalized City is informed about the rules and the methods of work, firmly assured of the given parameters, relationships and politics. The residents of the Legalized City do not call anything into question. They simply live and build. They are in a situation beyond the standards of ethics, morality and religion. The residents of the Legalized City believe in the given rules and tradition which they realize and understand through the klapa singing, through the stone wattle on the wall of the pizza place or a fast-food stall. That is tradition in the form of a rustic ceramic tile from Pevec Superstore.
History, archeology and cultural monuments of the Legalized City exist and are used exclusively in the service of tourism. They also form the basis for a fictitious identity. The Legalized City is always sunny and warm. This is written in travel agencies brochures and on internet sites of this city. The climate is Mediterranean and stable, without drastic changes and every house has its own air-conditioning unit.
In one municipality of the Legalized City, there is a lake on a small peninsula. The lake is of irregular oval shape with the surface area of 5,300 m2 and it is 15 m deep. The seawater lake is considered to be a natural bioreactor in which intense biochemical processes occur. Right next to this geo-hydro-morphological phenomenon, a legalized large, glamorous and famous port for nautical tourism was constructed. The port is of a high standard with numerous facilities, shops, a hotel, casino and 600 berths. This prestigious marina is visited by many celebrities who like to spend time there.
Each municipality of the Legalized City has its own beach. A beach with numerous clubs is a special phenomenon where the party lasts for 24 hours a day. During the day and night, the residents and guests are entertained by go-go dancers, while the music, after-beach parties and famous DJs lead them through wild and crazy parties. We can say that the beach brought great popularity to the Legalized City and additionally confirmed its fame.
The infrastructure of the Legalized City rests on absolute freedom (selfishness) of the individual. The infrastructure of the Legalized City is dealt with if necessary and varies from super individual towards necessarily collective. The individual, as the utterly selfish, parasitic and self-indulging, is put before the collective and the generally planned. The collective is dealt with only before the collapse, after the pain of the unbearable condition or paranoia induced by the media pressure. The Legalized City absorbs the energy from photovoltaic cells, geothermal heat pumps, black water heaters and diesel aggregates. Everyone has a septic tank and an energy certificate. The only planned and omnipresent infrastructure is the mobile service provider network and a wireless internet service provider network. Every house has its own hot-spot.
The only real subconsciously dependent collective spirit, behavior correction and the possible fear is the social network status. As the city is growing so is the individual need for infrastructure. The infrastructural elements will be provided when necessary, in an appropriate manner, and only for a limited period, if so required. The infrastructure is a kind of a time-sharing category. The infrastructure is paid for or rented by a text message.
The houses in the Legalized City are mainly constructed in a “Mediterranean style”. Slanted roofs covered with tiles of various colors and shapes. Some roofs are covered with tin, concrete or plastics, but they are always and only in a color and structure of the Mediterranean tiles. The windows are made of plastics, sometimes aluminum, of different colors and shapes. The Legalized City accepts and recognizes the architectural stylistic orientation that varies between Tuscany-Mediterranean and Greco-Roman style with a strong sense for the authentic and traditional. Postmodern pastiche, collage of elements and materials bought during several afternoons in one of the wholesale stores of construction materials. The interiors of buildings in the Legalized City are not as determined as their exterior. The stylistic and technical possibilities here are limitless. As opposed to the exterior which is not even finished on numerous houses, the interior of each building is completely spotless. Every resident of the Legalized City has the right to choose his/her own colors, trimmings and appliances.
One thing is certain; anyone can create a design, perform and supervise construction for the house and all its exterior elements, as well as its interior, in the Legalized City. There is a complete freedom as well as a democracy of possibilities. Everyone is his/her own architect and builder. The construction accepts all styles, all ideas and concepts. It is a clear and precise image of genuine subconsciousness. The construction of the Legalized City is a final liberation and self-affirmation.
Butterfly City
The Zagreb Architecture Show was open on Friday, November 30, 2012. This exhibition of realizations and projects made in the last four years encompassed the Butterfly City project. This project and the overall development of its thought and concept had emerged from the idea of and in cooperation with Damir Stojnić. The project had begun in 2003, so that it can be observed and analyzed in three separate stages or chapters. Each chapter is an independent conceptual artistic whole, representing a well-rounded and deliberate project.
Each tells and describes both the personal story of the author and the experience of acting in time. It is a story about ideas and about the transposition of thoughts in contemporary art, as well as about their possible influence on architecture, urbanization and contemporary planning of a city as a territory. The display of all the parts and phases of this project, exhibited at this year's Architecture Show like an omnibus movie, represents a rounded whole that also speaks about the honest and unrestrained cooperative work of many people and their collaborators, within various media, on different levels and using different models of thinking, of reflecting on reality, of presenting it and of influencing the truth around us, our society, time and space.
Chapter 1
Academic painter Damir Stojnić started to make his burning sculptures during 2003 and 2004 in an abandoned Istrian quarry. These “Ateliers of Fire”, as he personally named them, are in fact spatial installations, drawings made of stone that makes the outlines and contours of butterflies or other chosen creatures, and filled with wood and twigs from a nearby forest. At nightfall, fire is set to these drawings-sculptures, turning them into bonfires. Numerous blazing fires create a fiery archipelago on the flat plateau area of the quarry. The entire process is filmed and photographed from a nearby cliff, so that all the stages of the action and event are recorded. During the night, as the fires abate in front of the spectators and the artist, stunning butterfly shapes drawn in ember appear. The granulation of the embers, visible only in complete darkness, has reminded Damir Stojanović of stars, of stellar paths and shapes in a starry sky. A shining drawing makes the dark space around it look even darker, thus obliterating the limitations of the three spatial dimensions (x, y, z) and generating a feeling of a weightless and non-dimensional state. He has often felt, in his own words, as if they were floating, similar to some ghostly fire-forms, even though he watched them from above. Video-clips and photographs of this project were exhibited for the first time precisely on September 9th 2009, the 10th anniversary of the “Ghetto” gallery in Split, where these fiery drawings were exhibited together with the works of painter Alieta Monas and conceptual artist Slaven Sumić, member of the legendary group of artists from the 1960s; Crveni peristil (Red peristyle).
Chapter 2
Soon after the exhibition in Split, on a sunny Saturday, Damir Stojnić showed me the pictures of the burning butterflies. I was stunned by this sight. One butterfly figure reminded me of a strange city photographed from an airplane at night. I showed Damir my favorite picture of a city and architecture; Julius Shulman’s photograph of the Stahl house, showing the night lights of Los Angeles. It was decided to make a project based on Stojnović’s sketch and idea to draw another city in ember. The intention was to follow the contours of the burning butterfly motive on the picture in order to design an imaginary city. Embers, therefore, in this new formulation, represent burning city lights. Respecting the structure of the ember’s granulation on the drawing, this simple pattern was filled with streets, squares and buildings. A piece of tracing paper was laid over the 70×100 cm photograph, and the project began. The initial sketch was done by hand, like a drawing, a graphic. This phase, and the phase of establishing filled and empty spaces, was followed by the decision to convert the contours of buildings and streets into a DWG format, a digital CAD drawing, so as to obtain a map of the city, in order for it to be as similar as possible to usual city plans and maps.
Parts and sections of some Croatian cities - Rijeka, Zagreb, Zadar, Šibenik, Split, Dubrovnik, Osijek, Pula and Varaždin were taken as elements and thus began the collaging of the Butterfly City (Grad-Leptir), according to the previously prepared drawing. In the final phase, all parts of the drawing were put together and redrawn as a precise DWG drawing in Auto-Cad, and saved as a file, a project for further developing, drawing and printing. A black and white printout of a line drawing on white paper was put in a wooden frame and exhibited in 2010 in Venice, at an exhibition of Damir Stojnić’s graphics.
Chapter 3
During the process of drawing and modeling of the city, and after numerous discussions, deliberations, further developments and transpositions of the idea, I have suggested to make the city plan as an orthophoto of the city, by copying and pasting parts of existing orthophoto city maps into a new assembly, and by adding landscapes, rivers, lakes, forests, grasslands, pastures; in other words, to make something that would look as if it really existed somewhere on the globe. The mere working on it at some point moved Damir to speak to me truthfully and write an e-mail saying: “….all imaginary things already exist in some way, and tend to become concrete…”. Finally, he remembered a timeless saying attributed to Albert Einstein, which states that imagination is more important than knowledge.
The orthophoto printout of the city project and the additional map created on this occasion as a land use map, typical for City Master Plans of cities and municipalities, ware exhibited at the XI. Triennial of Croatian Sculpture in 2012, as two separate maps and presentations.
At the end in 2012, the orthophoto of the Butterfly City was finally inserted into the interactive Google Earth interface, where it displayed the last digital map as an ultimate presentation and simulation of our chosen reality. All three phases of the project are currently displayed in my office at Delta in Rijeka, on the wall in front of the coffee table for meetings and discussions about designing and planning: the 70×100 cm photograph printed on an aluminum panel, depicting a burning butterfly; the framed black and white 70×100 cm drawing of the butterfly city; and the 70×100 cm Plasma screen with the Google Earth display of the butterfly city.