Architecture in a mirror: everyday and sublime

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