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Vodovod窶適analizacija Poslovna hiナ。a / Office building

Andrej Mlakar 4


Lapidarnost jedrnatost, zgoščenost, klenost

lapi da ren: kratek, jedrnat, zgoščen, klen, kot napis v kamnu

Lapidary

concise, pithy, concentrated, precise, as though inscribed in stone

Miha De‰man


Nova poslovna palača javnega podjetja Vodovod–Kanalizacija arhitekt Andrej Mlakar

The new office building of the public utility company Vodovod–Kanalizacija architect Andrej Mlakar


Nova poslovna palača javnega podjetja Vodovod–Kanalizacija

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rhitektura že zaradi časa, ki mine od zasnove do izvedbe, težko sledi zadnji modi, ima pa zato daljši rok trajanja. Če je neka nova stavba slaba, je to jasno takoj. Kaj je zares dobro in kaj je muha enodnevnica, pa pokaže šele čas. Tako se nove stavbe znajdejo v nekakšnih vicah. Kritiki jih ovohavamo in trosimo rožice ali gnoj, umetnostna zgodovina pa počaka in jih v antologije uvršča po preteku desetletja ali dveh.

Palača VO-KA pa je nastajala celo desetletje. Projekti zanjo so bili narejeni že leta 1992. To omogoča, da je po eni strani njeno vrednotenje lažje in objektivnejše, po drugi pa je tudi ‘zamudila trend’. zato kaj lahko, kljub nespornim kvalitetam, ostane nezapažena in jo bomo kritiki morda odkrili ‘za nazaj’.

Čas, ki je minil od projekta do realizacije, stavbi ni škodil, prej nasprotno. Omogočil je arhitektovim zamislim, da so dozorele in se izčistile. Nagovor nove stavbe tako seveda ni po zadnji modi. zaman bi iskali zapeljive topološke površine in trendovski stilistični dizajn. Ta je zgolj nakazan v ukrivljeni strehi avle in nagnjenem portiku. Sicer pa stavbo odlikujejo bolj klasične vrline dobre arhitekture: trajnost, ekonomičnost, racionalnost, uporabnost. Velja se vprašati, kaj je boljše: pametna in nepretenciozno kvalitetna stavba ali pa stavba kot znak, blagovna znamka, plakativna ikona ali celo eksces?

Odgovor naj poišče vsak zase, tudi sam ga ne vem. Kot arhitekt pa seveda dajem arhitekturi prednost pred marketingom.


The new office building of the public utility company Vodovod–Kanalizacija

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ecause of the time that elapses from planning to execution, architecture finds it difficult to follow the latest trend, but it has a longer period of duration. If a given new building is a poor one, this is immediately apparent. However, only time reveals what is really good and what is merely ephemeral. New buildings thus make their way in a kind of purgatory. We critics sniff at them and shower them with roses or dung, but art history waits and ranks them in its anthology only after the course of a decade or two.

The VO-KA office building was an entire decade in the

making. The plans for it were worked out back in 1992. This made possible, on the one hand, an easier and more objective evaluation. On the other hand, though, it also ‘missed the trend’. It can thus, despite undisputed qual-ity, remain unnoticed and we critics may perhaps discover it ‘in reverse’.

The time that elapsed from the planning to the realisation of the building was not a loss, but just the opposite. It allowed the architect time to reflect, time to ripen and clarify his ideas. Certainly, then, the statement of the new building does not follow the latest fashion trend. A search for seductive topological surfaces and trendy stylistic design would be in vain. This is only seen in the curving roof of the hall and the sloping portico. Indeed, the building is distin-guished more by the classic values of good architecture: durability, economy, rationality and functionality. It is worth asking which is better: a sensible and unpretentiously quality building – or a building as a sign, as a trademark, as a placard-like icon or even an excess?

Let each seek his own answer, because I also do not know. As an architect, however, I certainly give architecture priority above marketing.


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urbani topografiji Bežigrada je zahodno zaledje Dunajske ceste nespecifično in kaotično. V morju periferne pozidave se kljub temu pojavljajo posamezne urbane zgoščine, ki so praviloma sledi zgodovinske rabe prostora. Ena od njih je tudi lokacija nove palače VO-KA, ki jo odlikuje pozicija na križišču dveh cest – v ortogonalni sistem vpete Slovenčeve in Vodovodne, ki diagonalno preči urbani vzorec. Skupaj oblikujeta trikotni stavbni otok, ki se čelno odpira proti mestnemu središču. Lokacija je prometno ugodna. Blizu je obvoznica, mimo potekata javni potniški promet in primestna železnica. Lokacija, ki je bila izbrana na podlagi študije LUz že daljnega leta 1991, ima tudi simbolni pomen. Vodovodna cesta poteka po trasi prvega ljubljanskega vodovoda, ki poteka iz črpališča Kleče do mestnega središča. Iz tega črpališča še danes izvira najboljša ljubljanska voda. zgoščen opis stavbe bi bil lahko: dolžina 90 m, širina med 20 in 50 m, skupaj s parkirno nadstrešnico 90 m: višina dve kleti, pritličje in dve etaži: površina 7500 poslovnih, 15000 parkirnih m2. Gradnja kvadratnega metra poslovnih in servisnih površin je stala 700 EUR, parkirnih površin pa 300 EUR. Suha statistika pove nekaj o velikosti in ceni. To je nedvomno zelo pomembno, ni pa vse, saj mora biti statistika nadgrajena s kvalitetno arhitekturo. Ta pa je kompleksna in zahteva od arhitekta popolno obvladanje tako inženirstva kot umetnosti. Skušal bom opisati, zakaj je ta stavba kvalitetna. Govoril bom o tehničnih in strokovnih rečeh, zato se opravičujem, če se bo komu zdel opis predolg.

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n the urban topography of Bežigrad the western background area of Dunajska Cesta is characterised by a lack of specificity and chaos. In the sea of the peripheral built-up area, individ-ual urban concentrations appear that, as a rule, proceed from the historical use of the space. One of these is also the location of the new VO-KA build-ing, which is distinguished by its position at the intersection of two streets – in the orthogonal system fixed by Slovenčeva Ulica and Vodovodna Cesta, which cuts diagonally across the urban pattern. Together, they form a triangular building island that opens frontally toward the city centre. The location is advantageous with regard to traffic. The motorway loop is nearby, and public transport and the area railway run past it. The location, which was selected on the basis of the LUz study back in 1991, also has symbolic importance. Vodovodna Cesta runs along the course of Ljubljana’s first aqueduct, which flows from the Kleče pumping station to the city centre. Today the best water in Ljubljana still comes from this pumping station. A condensed description of the build-ing would be easy: a length of 90 m, a width from 20 to 50 m, together with the car park pergola 90 m: a height consisting of two sub-ground levels, a ground floor, and two upper floors: 7,500 m2 of commercial area and 15,000 m2 of parking area. The construction per square meter of commercial and service area cost EUR 700 and for the parking area EUR 300. These dry statistics tell something about the size and cost. Without doubt, this is very important, but it is not everything, because statistics must be built upon quality architecture. This is complex and demands from architecture a full mastery of both engineering and art. I shall attempt to describe why this is a quality building. I shall speak about technical and professional matters, and therefore I offer my apology, should the description seem overlong to anyone.


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Tloris kleti 1 Basement 1 1 parkiranje

Parking 2 garderobe

Cloakroom 3 laboratorij

Laboratory 4 arhiv

Archive

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rikotna parcela je zasedena na premišljen način, tako da se stavba dobro usede v lokacijo. Dva trakta, postavljena v obliki črke L, ki se stikata z vogaloma, oblikujeta dva zunanja prostora: sprednji vhodni prostor proti križišču in zadnji, večji parkirni prostor, ki s krilom nadstreška interpretira trikotno parcelo. Malo mi je žal, da manjši kvader ni za kakšni dve etaži višji, da bi deloval bolj kot stolp. Urbanistično bi tako bolje markiral križišče in odgovoril višjim sosednjim objektom. Fasade so oblečene v sodobno obleko iz kamna, betona, kovine in stekla. Manjši trakt je poudarjeno stereometričen, zato so odprtine enakopraven del zveznega fasadnega ovoja. Večji trakt pa je glede na orientacijo fasad artikuliran na zaprto čelno fasado, ki jo določa poteza avle in vhoda, dve enaki stekleni vzdolžni fasadi, ki jima kovinska senčila dajo lahkotno tehničen, poudarjeno horizontalni značaj, ter servisno zadnjo fasado s čitljivo bazilikalno zasnovo. Trikotno parkirišče je nadkrito z bogato nadstrešnico monumentalnih dimenzij in konstrukcije. Petindvajsetmetrski razpon premoščajo jekleni prostorski palični nosilci, ki nosijo transparentno streho. Parkirišče, ki je ponavadi grd in zanemarjen prostor, postane pokrit trg za avte, nekakšen sodobni urbani prostor, kjer se namesto s toaleto ali stasom kažeš s avtomobilsko znamko. zato je prav parkirišče najzanimivejši tipološki novum objekta.

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he triangular lot is filled in a deliberate manner, in a way that the building fits into the location well. Two L-shaped tracts, joined at their corners, form the two exterior areas: the front entry area towards the intersection and the rear, larger parking area, which accents the triangular lot with the wing of its projecting roof. I regret somewhat that the small ashlar is not higher by two stories, to act more like a column. From the perspective of urban planning, this would better mark the intersection and respond to the higher surrounding buildings. The facades are fashioned in contemporary style from stone, concrete, metal and glass. The smaller tract is emphatically stereometric, and the openings are therefore a part of the open-plan facade covering in their own right. The larger tract is articulated with respect to the orientation of the facades to the closed front facade, which is defined by the line of the hall and the entrance, two identical longitudinal glass facades, to which the metal shadows give a gentle technical, emphasised horizontal character as well as a rear service facade with a perceptible basilica design. The triangular car park is covered by a rich pergola of monumental dimensions and construction. Supporting girders of steel bridge a 25-metre span, supporting a transparent roof. The car park, which is generally an unattractive and neglected place, becomes a covered square for cars, a kind of contemporary urban space, where you express yourself through the make of your car rather than your dress or figure. It is therefore the car park that is the most interesting typological innovation in the building.


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0 Tloris pritličja Ground floor 1 vhodna ploščad

5 dvorana Entrance piazzetta Hall 2 večetažni hall 6 restavracija Entrance hall Restaurant 3 blagajne 7 parkiranje Cashier Parking 4 pisarne Offices

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Tloris 1. nadstropja First floor

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Tloris 2. nadstropja Second floor 1 pisarne

Offices 2 večetažno stopnišče

Staircase 3 sejna soba

Meeting room

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asade so oblečene v sodobno obleko iz kamna, betona, kovine in stekla. Manjši trakt je poudarjeno stereometričen, zato so odprtine enakopraven del zveznega fasadnega ovoja. Večji trakt pa je glede na orientacijo fasad artikuliran na zaprto čelno fasado, ki jo določa poteza avle in vhoda, dve enaki stekleni vzdolžni fasadi, ki jima kovinska senčila dajo lahkotno tehničen, poudarjeno horizontalni značaj, ter servisno zadnjo fasado s čitljivo bazilikalno zasnovo.

he facades are fashioned in contemporary style from stone, concrete, metal and glass. The smaller tract is emphatically stereometric, and the openings are therefore a part of the open-plan facade covering in their own right. The larger tract is articulated with respect to the orientation of the facades to the closed front facade, which is defined by the line of the hall and the entrance, two identical longitudinal glass facades, to which the metal shadows give a gentle technical, emphasised horizontal character as well as a rear service facade with a perceptible basilica design.


Vzhodna fasada Vzdol탑ni prerez zahodna fasada

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East facade Longitudinal section West facade

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Vhod s piazzetto, vzhodna fasada, severna fasada

Entrance with piazzetta, east facade, north facade


JuĹžna fasada Severna fasada PreÄ?ni prerez

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South facade North facade Cross section

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oda je diskretna, pa vendar vsepovsod prisotna tema palače. Vhodno piazzetto, ki je diskretno dvignjena nad nivo parterja, krasita stenski vodnjak in jambor kot elementa bolj tradicionalne, pa v času postmoderne znova obujene urbane ikonografije. Glavni vhod s piazzette je označen z nadstreškom – portikom, ki izhaja iz aerodinamično zaobljene strehe osrednjega prostora. To je ena od redkih retoričnih gest, s katerimi arhitekt razgovarja sicer zadržano oblikovano celoto. ater is a discrete, but nonetheless omnipresent, theme of the building. The small entry piazza, which is discretely raised above the level of the parterre, is embellished by a wall fountain and mast as elements of more traditional, but timely post-modern urban iconography outfitted anew. The main entrance from the small piazza is accentuated by a projecting roof – a portico that proceeds from the aerodynam-ically rounded-off roof of the central area. This is one of the few rhetorical gestures with which the architect communi-cates the otherwise restrained design of the whole.


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vla sredi introvertirane poslovne stavbe se razteza skozi tri etaže. Tvorijo jo stopniščni prostor z bazilikalno osvetlitvijo in odprti hodniki pred pisarnami. Pod stopniščem, ki v eni potezi teče skozi vse tri etaže, so spravljene sejne sobe in servisni prostori. Avla je namenjena strankam, ki obiskujejo okenca v pritličju, pa tudi zaposlenim, ki se lahko preko ograj pogovarjajo v mediteranskem uličnem ambientu. Osrednji prostor je torej prostor komunikacije – med ljudmi in med prostori. Sejne sobe so opremljene s celostenskimi črno-belimi fotografijami ljubljanskih vodnjakov, ki jih je posnel znani arhitekturni fotograf Miran Kambič.

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n the middle of the introverted commercial building, the hall extends through three floors. It consists of a staircase area with basilica-style light-ing and open hallways in front of the offices. Below the staircase, which runs in a single line through all three floors, are arranged meeting rooms and ser-vice areas. The hall is designed for the customers that come to the counters on the ground floor, as well as for employees, who can carry on conversations through the railing with the ambiance of a Mediterranean-style street. The central area is therefore an area for communication – between people and between spaces. The meeting rooms are equipped with wall-sized monochrome photographs of the fountains of Ljubljana, which were taken by the well-known architectural photographer Miran Kambič.


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interieru avle so uporabljeni domači kamni, predvsem pohorski tonalit. Stopnišče se zaključi s steno iz masivnih, velikih tonalitnih plošč. Galerija fontan je del že omenjene tematske rdeče niti, namreč vode. Tudi izbira barv sodi v ta repertoar, zlasti posrečena apnenčasto zelenomodra, ki se pojavlja v oblogah servisnih prostorov. Manjši trakt je povezan z večjim v vseh etažah. V pritličju je majhna dvorana, jedilnica s kuhinjo in interni bife. Dvorana je obložena z lesom, ki ga prekinjajo pasovi luči. Jedilnica in bar imata oblogo iz oblikovanih aluminijastih plošč, ki ji dajejo sij sodobnosti in tehnološke naprednosti. Vhod v bar označuje izmaknjena stena. Pogoji za zaposlene so optimalni. Arhitekt je strop vseh pisarniških prostorov poševno dvignil od hodnika proti zunanji fasadi. Tako je pod obešenim stropom dovolj prostora za inštalacije, ki so tako ali tako pretežno v jedrni coni, na fasadi pa je etažna konstrukcija stanjšana na minimum, da okna pisarn zajamejo čim več naravne svetlobe. Veliko pozornosti je posvečeno klimatski in energetski zasnovi objekta. Pred vzhodno in zahodno fasado pisarn so premični brisesoleili s centralnim krmiljenjem. Notranje stene pisarn ob hodniku so masivne, sestavljene iz betonskih slopov, ki z akumulacijo regulirajo klimo v stavbi. Ponoči se hiša hladi s svežim zrakom, podnevi pa slopi oddajajo akumuliran hlad. Tako je bistveno zmanj-šana potreba po umetni klimi. Manjša poraba energije pa pomeni manjšo ekološko obremenitev in prihranek.

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n the interior of the hall is used domestic stone, especially tonalite from Pohorje. The staircase closes with a wall of large, solid tonalite slabs. The fountain arcade is a part of the principle thematic element already mentioned – namely, water. The choice of colours is also part of this repertoire, especially the well-chosen limestone greenblue, which appears in the wainscoting of the service areas. The smaller tract is connected with the larger at all floors. On the ground floor there is a small hall, a dining area with a kitchen and a refreshment area for employees. The hall is outfitted with a wood veneer, interrupted by track lighting. The dining area and bar have wainscoting formed from shaped aluminium tiles, which contributes a sheen of modernity and technical innovation. The entrance to the bar is marked by an offset wall. Working conditions are optimal. The architect raised the ceilings of all the offices obliquely from the hallway to the exterior facade. There is thus sufficient room below the suspended ceil-ing for the installations that, in one way or another, are predominantly found in a core zone, and on the facade the floor construction has been reduced to a minimum to allow the windows of the offices to take in as much natural light as possible. Great attention has been dedicated to the climate control and energy design of the building. In front of the eastern and western facade of the offices there are mobile brisesoleils with a central control. The interior walls of the offices along the hallway are solid, constructed from concrete pillars and able to regulate the climate in the building through temperature accumulation. At night the building cools off with fresh air, and during the day the columns provide a cooling effect. In this way, the need for artificial climate control is significantly reduced. Lower consumption of energy means savings and reduced demands on the environment.


Tajništvo glavnega direktorja, njegova pisarna in sejna soba

Office of the general’s manager secretary , general manager’s office and meeting room


Pisarna tajniĹĄtva in direktorja sektorja

Secretary’s office and office of sector manager


Pisarni, blagajna

offices, cashier’s area


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rnimo se k podobi. Teatralnost celote je strogo kontrolirana. Nagovor je zgoščen in lapidaren. Omeji se predvsem na piazzetto z vodnjakom pred vhodom, na monumentalno stopnišče ter na parkirno nadstrešnico, skratka, na skladnjo javnih in poljavnih prostorov. Arhitekt zrelo uporablja preizku-šene arhitekturne elemente in detajle in jih zlaga v smiselno in prepričljivo celoto. Gre za dobro temperirano stavbo, ki je lahko za zgled. Preredek fenomen je, da mestna javna služba, ki živi od denarja komitentov, tega vrača mestu s tem, da vlaga v kvalitetno arhitekturo. za uspelo realizacijo velja pohvaliti vsaj tri: arhitekta, izvajalce in naročnika. Prognoziram ji uspešno, dolgo in zdravo življenje.

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o return to the image – the theatrelike quality of the whole is strictly controlled. The statement is concise and lapidary. It limits itself primarily to the small piazza with the fountain before the entrance, to the monumental staircase and to the car park pergola – in short, to the syntax of the public and semi-public spaces. The architect makes mature use of tested architectural elements and details, and arranges them into a sensible and persuasive whole. It is a well-tempered building that can be held forth as an example. It is all too rare a phenomenon that a city public service, which subsists on user fees, makes a return to the city when it invests in quality architecture. For successful realisation, at least three parties are to be commended: the architect, the contractors and the investor. It is my prediction that it will have a successful, long and healthy life.


Fontana kipar Mirsad Begic´

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egic´eva fontana, namenjena pitju vode, obrašča neki šum. In okoli nežnega šuma svoje vode se v vhodnem prostoru stavbe, v katerega je postavljena, sama vzpostavlja kot neki šum, prihajajoč od drugod. zanimivo je opazovati, kako je v svoji krhki nagnjenosti oblikovana kot popolno nasprotje arhitekturne geometrije prostora, ki pa tega arhitekturnega prostora ne zanika, ampak je v njem prav tisti izmikajoči se element, ki mu s svojo krhkostjo podarja neko posebno trdnost: v njem ne učinkuje kot okras ali dodatek, ampak kot presenečenje, ki izpostavlja problematičnost in krhkost meje med človeškostjo in naravo sredi neke arhitekture, za katero je videti, da stoji v svetu, kjer je ta problematičnost in krhkost pozabljena – ko pa jo vpisuje nazaj, izpostavlja tudi neko resnico arhitekture kot take. Izpostavlja neko inercijo materialnosti, ki združuje slovesnost v Begic´evem opusu že dolgo skoraj obredno ponavljanih form (‘antična’ forma amfore in značilna silhueta ptiča-čuvarja) s skrivnostmi presnavljanja odpadnega – ali arheološkega – materiala, ko nekaj, kar je bilo love ko, spet postaja – a ne na harmoničen način, ampak prej boleče, skozi razpad, obraslost in necelovitost – del narave: tako me je ta fontana spomnila mnogih mojih opazovanj in razmišljanj, v katerih me zmeraj znova fascinirajo ti procesi. Begic´ jih zmore tematizirati z veliko poetično močjo. Ta fontana tega problema ne izpostavlja zelo ostro, ampak

bolj s poudarkom na nežnosti. S strašno nežnim nagibom, ki ga lahko obenem razumemo kot izročenost telesnemu stiku in kot neko nagnjenost v tujost. Vse to so seveda predvsem splošne značilnosti Begic´evega kiparstva: to kiparstvo je ves čas zaznamovano s pozornostjo do teh materialnih transformacij, s katerimi se iz odvrženosti ne-več-človeškega proizvaja nekakšna schellingovska geisti ge K rper licBegic´ hkejeit. tu uporabil svoje značilne postopke in značilno ikonografijo, a kljub prepoznavnosti v njegovem opusu stalno ponavljajočih se elementov gre za osredotočenje na konkretno vsebino fontane: tu gre za delovanje vode, ki ni preprosto ponujena v pitje iz neke dekorativne lupine, ampak dejansko prepaja vse, kar jo obrašča, je tisto, kar omogoča obraščanje, vseprežemajoča vlažnost, ki omogoča zarejanje neznanih bitij, tudi zarejanje tega, kar je neko bilo človeško. In zdaj je vse skupaj potegnjeno ven iz svoje potopljenosti in bistven je ravno ta učinek. Tudi značilne posode-lobanje niso le neka preprosta stilizacija združujoče simbolike, ampak ponazoritev teh procesov, z vsem časom čakanja, odvrženosti, potopljenosti ... V Begic´e-vem kiparstvu v ponovitvah ne gre toliko za ponavljanje kot za krhkost vztrajanja, za upočasnjeni čas, ki je vedno v odnosu z nepredstavljivim časom stvari v njihovem presnavljanju. In šum te vode se prebija skozi ta čas. Je, ko pijemo vodo iz te fontane, mogoče piti tovodo?


Fountain sculptor Mirsad Begic´

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certain sound surrounds Begic´’s fountain, intended for drinking water. And, around the gentle noise of its water in the entryway to the building in which it is displayed, it establishes itself as a certain sound emanating from elsewhere. It is interesting to observe how, in its fragile inclination of design, it serves as a complete contradiction to the architectural geometry of the space – which however does not negate this architectural space, but within it is an elusive element that, through its fragility, be-stows upon it some particular strength. In this space it does not have the effect of an ornament or an addition, but as an unexpected element exposing the doubtfulness and fragility of the border between humanity and nature in the middle of a certain architecture for which it can be seen that it stands in a world where this doubtfulness and fragility is forgotten – when this is registered, it also represents a certain truth of architecture per se. It exposes a certain inertia of materi-ality that combines the solemnity in Begi'’s work, with its long and almost religious repetition of forms (the ‘antique’ forms of amphorae and distinc-tive silhouettes of a bird-guardian), with the secrets of the transformation of the discarded – or archaeological – material, when something, that had been human, again becomes so – however not in a harmonious manner, but in-stead painfully, through decay, through being overgrown, through incompleteness – a part of nature. This fountain thus reminded me of many of my observations and reflections, in which these processes continually fascinate me anew. Begi' manages to thematicise these through a great poetic power. This fountain does not present this problem in very pointed way, but

rather with an emphasis on delicacy: with an extremely gentle inclination, which at the same time can be understood as a surrender to bodily contact and as a certain leaning toward the foreign. All of these are, of course, general characteristics of Begi'’s sculpture: a body of sculpture that has always been marked by an attention to those material transformations by which, from the casting off of the no-longer-human, is produced some kind of geistige K rperlich?keit in the spirit of Schelling. Here Begi' made use of his distinctive processes and characteristic iconography. However, despite the recognition in his work of constantly repeating elements, there is a focus on the concrete content of the fountain: here it is the oper-ation of the water, which is not simply offered for drinking from some decorative shell, but actually inundates everything that surrounds it: it is that which makes possible the surrounding, all-pervasive wetness, which enables the engenderingof unknown creatures, and also the engendering of that which was once human. And now everything together is drawn out from its submersion and, essentially, that is exactly the effect. The characteristic skull-vessels are not only a certain simple stylisation of a uniting symbolism, but an illustration of these processes, in the course of the entire time waiting, casting away, submerging... In Begi'’s sculpture, recapitulation is not so much a matter of repetition as it is a fragility of persistence, a slowing down of time, which is always in relation to the unrepresentable time of an object in its transformation. And the sound of the water breaks through this time. As we drink water from this fountain, is it possible to drink this


Andrej Mlakar Rojen / born on 13. 9. 1954. Diplomiral leta 1979 na Fakulteti za arhitekturo v Ljubljani. Graduated from the Faculty of Architecture in Ljubljana in 1979. Poslovni naslov Business address KROG d.o.o. Krakovski nasip 22 1000 Ljubljana, Slovenija GSM: 041/796 095 Tel. + fax: 01/426 57 61 Priznanja za arhitekturo zlata ptica Ljubljana, 1982 Jugoslovansko mladinsko priznanje za arhitekturo zagreb, 1984 Priznanje za razstavljeno delo in postavitev razstave: DAL, razstava Društva arhitektov Ljubljane, Ljubljana, 1988 Architecture awards Golden Bird Award Ljubljana, 1982 Yugoslav Award for Young Architects zagreb, 1984 Award for exhibition work and exhibition lay-out: DAL, Exhibition of the Architects’ Society of Ljubljana, 1988

Realizacije • Vrtec Rožna dolina, Ljubljana, 1981

Projects • Rožna Dolina nursery school, Ljubljana, 1981

• Vodarna Medlog, Celje, 1984

• Medlog water supply centre, Celje, 1984

• Tržnica Kamnik, Kamnik, 1989

• Kamnik market, Kamnik, 1989

• Stanovanjska soseska na Ledarski ulici, Ljubljana, 1995 • Bežigrajski dvor: stanovanjski bloki, 1995, garaže, 1995, zunanja ureditev, 1996 • Poslovno–trgovski objekt na Litijski cesti, Ljubljana, 1996-1998 • Poslovno–stanovanjski objekti: med Metelkovo cesto in Kotnikovo ulico, poslovno–stanovanjski objekt E, 1997, poslovno–stanovanjski objekt D, 2000-2001, poslovni objekt P, 2000, Ljubljana, 1997-2001 • Pravna fakulteta, prenova Tiskarne Ljudska pravica, Ljubljana, 1997-2000 • Poslovno–servisni objekt Vodovod-Kanalizacija, Ljubljana, 2001 • Enodružinska hiša na Škofljici, Ljubljana, 2001 Razstave • Trgi za naša mesta, skupinska razstava, Beograd, Delft, Novi Sad, Skopje, 1982 • Razstava dobitnikov priznanj zlata ptica, Novo mesto, 1982 • Nekatere nove tendence v novejši slovenski arhitekturi, Piran, Rijeka, Beograd, 1984 • Salon arhitekture, Beograd, 1986 • DAL, razstava Društva arhitektov Ljubljane, Ljubljana, 1986, 1988, 2001 • Razstava za nagrado Piranesi, Piran, 1997, 2002

• Residential neighbourhood on Ledarska ulica, Ljubljana, 1995 • Bežigrajski Dvor: Blocks of flats, 1995, Garages, 1995, Landscaping, 1996 • Business and shopping centre on Litijska cesta, Ljubljana, 1996-1998 • Business and residential areas: between Metelkova cesta and Kontikova ulica, Office and residential building E, 1997, Office and residential building D, 2000-2001, Office building P, 2000, Ljubljana, 1997-2001 • Faculty of Law, restoration of Ljudska Pravica Printing House, Ljubljana, 1997-2000 • Office and services building Vodovod-Kanalizacija, Ljubljana, 2001 • Single family home in Škofljica, Ljubljana, 2001 Exhibitions • Squares for our cities, joint exhibition, Belgrade, Delft, Novi Sad, Skopje, 1982 • Exhibition of Golden Bird award winners, Novo mesto, 1982 • Some new trends in recent Slovenian architecture, Piran, Rijeka, Belgrade, 1984 • Architecture showroom, Belgrade, 1986 • DAL, Exhibition of the Architects’ Society of Ljubljana, Ljubljana, 1986, 1988, 2001 • Piranesi Award Exhibition, Piran, 1997, 2002


Javno podjetje Vodovod–Kanalizacija d.o.o.

Vodovodna cesta 90, p.p. 3233 1001 Ljubljana, Slovenija tel.: + 386 (0) 1 580 81 00 faks: + 386 (0) 1 580 84 03 e-pošta: voka@vo-ka.si www.vo-ka.si

Arhitektura in oprema / Architecture and interior Andrej Mlakar

Sodelavci arhitekture / Architectural team Samo Groleger Tatjana Mahovič Damjan Kmetič Mekoni d.o.o.

Leto projekta / Year of project 1992 Izvedba / Execution 2000-2001 Izvajalci del / Contractors SCT, d.d., Primorje, d.d. Elektroobnova, d.o.o., Kovinar, d.o.o. Klima instalacije Ivan Rajterič s.p. Almont d.o.o., Partes d.o.o., Imko d.d. Mineral d.d., Pohištvo Iskra, d.o.o. Lesnina inženiring, d.d. Jakles, d.o.o., Hoja mobiles, d.d.

Umetniško vodstvo in oblikovanje kataloga Art direction and design of catalogue Edi Berk / KROG

Besedilo / Text Miha Dešman Miklavž Komelj

Fotografije / Photography Miran Kambič

Lektura / Editing Maja Kraigher

Prevod / Translation Amidas, Ljubljana

Grafična priprava / Graphic pre-press KROG Grafika Paradoks

Tisk / Printed by Tiskarna Ljubljana

Realizacija / Produced by KROG, Ljubljana 2002


Andrej Mlakar 4  

architect Andrej Mlakar, janez bogataj

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