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1. oris prostora

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1. oris prostora

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http://konkursiregiona.net/da-zeljeli-smo-mirsnimio-je-milomir-kovacevic-strasni/

http://www.radiosarajevo.ba/novost/124110

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www.ronhaviv.com/

en.wikipedia.org/wiki/Siege_of_Sarajevo

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poglavje Ii. zgodba o zbirki. ali zgodba o gonilu

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2.ozadje projekta

umetnost med vojno v sarajevu .RW ,YR $QGULù RSLVXMH MH VWDYEH 6DUDMHYD ULVDOD ORNDOQD ]JRGRYLQD RG RWRPDQVNLK VWUHK DYVWUR RJUVNLK IDVDGQLK SODVWLN LQ OMXGVNLK GRPRY VRFLDOLVWLùQLK GQL 'DQHV {H VNRUDM YVH ]DNUSDQH YRMQLK UDQ JUDQDW LQ PHWNRY V VRGREQLPL VWHNOHQLPL IDVDGDPL VRREOLNXMHMR SR GRER PHVWD 0HVWR NMHU MH YHGQR SULKDMDOR GR PHxDQMD NXOWXU ]QDQR SR KDUPRQLùQHP ELYDQMX ] OMXGPL UD]OLùQLK YHUVNLK JHQHWVNLK GHPRJUDIVNLK R]DGLM ] UD]OLùQLPL QDYDGDPL NL VR ELOH VWROHWMD YLU SRQRVD NUHDWLYH LQ KXPRUMD .XOWXUQL PR]DLN MH xH GDQHV QHL]ùUSHQ YLU XPHWQLxNHJD XVWYDUMDQMD )LQDQFLUDQMH XPHWQRVWL MH GDQHV VNRUDM ]DQHPDUOMLYR ORNDOQH REODVWL QLVR QDNORQMHQH UD]YRMX XPHWQRVWL =JRGED 1DFLRQDOQHJD PX]HMD SULùD R SROLWLùQL LJQRUDQFL WD MH {H OHWR ]DSUW ]DUDGL SRPDQMNDQMD VUHGVWHY WHK QL QLWL WROLNR GD EL SRNULOL VWURxNH RJUHYDQMD 3RGREQR ]JRGER VUHùDPR SUL ƂQDQùQLK LQMHNFLMDK QHYODGQLK RUJDQL ]DFLMDK Y SRYRMQLK ùDVLK WH VR SROLWLùQL YHOMDNL VSHOMDOL Y SRSUDYLOD VYRMLK GYLJDO GHQDU QL QLNROL SULxHO GR XPHWQLxNLK RUJDQL]DFLM 9RMQD GHYDVWDFLMD LQ ERM ]D IXQGDFLMH MH xH YHGQR YVHSULVRWHQ QD ERVDQVNHP SRGURùMX

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2.ozadje projekta

o ideji Ars-aevi =ELUND YNOMXùXMH GHOD ORNDOQLK XPHWQLNRY WHU PHGQDURGQLK LPHQ ] ]ELUNDPL UD]VWDY YVDNHJD PHVWD NL MH {HOHOR VRGHORYDWL SUL LGHML PX]HMD 6HGDQMD ]ELUND YNOMXùXMH GHOD YHù NRW XPHWQLNRY LQ ]ELUNH L] REGREMD PX]HMHY VRGREQH XPHWQRVWL L] 6DUDMHYD 0LODQD 3UDWD /MXEOMDQH %HQHWN 'XQDMD %RORJQH LQ ,VWDQEXOD 9 SULKRGQRVWL VR QDùUWRYDQD VRGHORYDQMD xH ] GUXJLPL PX]HML $UV $HYL MH SURMHNW NL VH QHSUHVWDQR RGYLMD LQ xLUL NROHNFLMR LQ VRGHORYDQMD xH ] GUXJLPL PX]HML SR VYHWX øH EL RPHQLOL OH QHNDM LPHQ VRGHOXMRùLK XPHWQLNRY ODKNR L]SRVWDYLPR GHOD QDVOHGQMLK 0DULQD $EUDPRYLó &DUOD $FFDUGL 0LURVODZ %DOND 6WHSKDQ %DONHQKRO %L]KDQ %DVVLUL -RVHSK %HX\V 7RQ\ &UDJJ %UDFR 'LPLWULMHYLó 2UVKL 'UR]GLN *ORULD )ULHGPDQQ %HUQDUG )UL]H ,5:,1 'XVDQ 0DQGLó 0LUDQ 0RKDU $QGUHM 6DYVNL 5RPDQ 8UDQMHN %RUXW 9RJHOQLN $QLVK .DSRRU 6RO /H:LWW 5LFKDUG 1RQDV -XOLDQ 2SLH 'HQQLV 2SSHQKHLP /RLV :HLQEHUJHU )UDQ] :HVW <RRQ <RXQJ 6HRN ,GHMQL SURMHNW 5HQ]R 3LDQD DUVDHYL ED

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2.ozadje projekta

o ideji Ars-aevi

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2.ozadje projekta zasnova ambientov posameznih volumnov in razporejanje

posameznih artefaktov

LJUBLJANA COLLECTION

MILANO COLLECTION

MUZEJ IZHOD NA STREHO KOMUNIKACIJE INSTALACIJA ODDAJA ZVOK

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2.ozadje projekta zasnova ambientov posameznih volumnov in razporejanje

posameznih artefaktov

VENEZIA COLLECTION

PRATO COLLECTION

SOL LE WIT ILIYA KABAKOV

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2.ozadje projekta zasnova ambientov posameznih volumnov in razporejanje

BOLOGNANO COLLECTION

ZUNAJ = ZNOTRAJ SVETLOBA NIZKO

posameznih artefaktov

SARAJEVO IN OPEN AIR COLLECTION

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2.ozadje projekta zasnova ambientov posameznih volumnov in razporejanje

DUNAJ + ISTANBUL COLLECTION

RENDEZ -VOUS COLLECTION

KAOS MESANJE ZVOKA INSTALACIJ ODMEV

posameznih artefaktov

RED USTALJEN RITEM

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arhitektura in umetnost | filozofsko-likovna osnova Meje med arhitekturo in umetnostjo postajajo vse bolj zabrisane. Umetniki in arhitekti Ĺželijo ustvariti odnos med izmenjavo Ä?ustev in sooÄ?enj na nivoju prostora. Umetnost beĹži iz muzejev v iskanju vkljuÄ?evanja opazovalcev, ki so bolj zainteresirani v bolj neposredno izkuĹĄnjo, medtem ko arhitektura na drugi strani, deďŹ nira javni prostor in postaja percepirana kot objekt.

Mestni muzeji zgubijo svojo funkcijo â&#x20AC;&#x2DC;ĹĄkatleâ&#x20AC;&#x2122; in postanejo nekaj drugega, umetnost pa sama postane muzej, natanÄ?neje prostor Ä?ustev in telesnih obÄ?utij. Arhitektura danes ni ustvarjena le za vizualni kontakt z zunanjim svetom. Predvsem je deďŹ nirana kot interier â&#x20AC;&#x201C; soba, prostor z mejo, umetnost naj ruĹĄi te meje. Umetnost ponuja svobodno razmiĹĄljanje in ideje, ki omogoÄ?ajo vkljuÄ?evanje opazovalca â&#x20AC;&#x201C; ta potem postane â&#x20AC;&#x2DC;â&#x20AC;&#x2122;uporabnikâ&#x20AC;&#x2122;â&#x20AC;&#x2122;. Arhitektura na drugi strani postane prepustna, zruĹĄi mejo med notranjostjo in zunanjostjo -zaÄ?nemo jo opazovati kot objekt. Galofaro L., 2007. Artscapes. Art as an approach to contemporary landscape. Barcelona, GG, str. 27-33)

Kaj je umetnost v odnosu do arhitekture in kaj je arhitektura, zgradba, prostor, stena sama po sebi?

Kaj je prazen prostor. Okakura Kakuzo v knjigi o Ä?aju navede:â&#x20AC;&#x2122;â&#x20AC;&#x2122; Samo v vakuumu leĹži resniÄ?no esencialno. Smisel v sobi najdemo ĹĄele v prostem/praznem prostoru zamejenim s streho in stenami, ne pa v strehi in stenah samih po sebi.

V prejĹĄnjem desetletju, Ä?asu megalomanske arhitekture, umetniĹĄko delo skorajda tekmuje z arhitekturo. To ne deluje veÄ? kor podlaga/platforma za artefakte, temveÄ? postaja sama artefakt. Dve letni nazaj v Pompidujevem centru umetnosti v Parizu organizirajo razstavo v celoti posveÄ?eno umetnosti niÄ?a. Z naslovom praznine v postavijo razstavo v devetih sobah, te so s sveĹže prebarvanimi stenami in lesenimi tlemi popolnoma oÄ?iĹĄÄ?ene. Razstava Robert Barrya je po mnenju kritikov ena najradikalnejĹĄih v zadnjem Ä?asu, sporoÄ?ilo v danaĹĄnjem svetu kaosa, pretiravanja in preseganja uspehov ĹĄe iz prejĹĄnjega tedna pove gledalcu eno -â&#x20AC;&#x2122;â&#x20AC;&#x2122; Vzemimo si trenutek svobode, da premislimo kako naprej.â&#x20AC;&#x2122;â&#x20AC;&#x2122;

Gordon Matta Clark, Splitting http://imageobjecttext.com/tag/splitting/

James Turrell, Meeting

Robert Rauschenberg | White Paintings

http://artlert.wordpress.com/2013/07/01/james-turrell-i-think-were-made-for-the-twilight/

http://imageobjecttext.com/tag/splitting/

Prazen prostor ali prazna stvar sta termina, ki v resnici ne obstajata. Vedno je nekaj kar vidimo, nekaj kar sliĹĄimo. Poskusiti ustvariti tiĹĄino je nemogoÄ?e. - John Cage

Skladbe John Caga, s vzponi in padci, trenutki â&#x20AC;&#x2DC;tiĹĄineâ&#x20AC;&#x2122; in momenti popolnega â&#x20AC;&#x2DC;ustvarjenegaâ&#x20AC;&#x2122; kaosa vplivajo na slike Roberta Rauscheberga in obratno. Rauscerberg ĹĄokira umetniĹĄko javnost z â&#x20AC;&#x2DC;Belimi slikamiâ&#x20AC;&#x2122;, ĹĄe preden so te v popolnosti izpostavljene javnosti. Prepogosto nerazumljene v pomenu, slike Ä?rpajo iz budistiÄ?ne estetike. Kar Rauscherberg prikaĹže s senco in svetlobo, Cage uglasbi s tiĹĄino in ambientalnim ozadjem v glasbi. Njegov odgovor je 4â&#x20AC;&#x2122;33â&#x20AC;&#x2122;â&#x20AC;&#x2122;, prikazuje pianista, ki ĹĄtiri minute in 33 sekund zelo potiho pritiska na klaviaturo, tako, da se zvoki v ozadju prepoznavno sliĹĄijo.

Robert Barry | Voids www.pablogt.com

James Turrell, Meeting New York PS1

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3. referencni okvir

arhitektura in umetnost filozofsko-likovna osnova Paralelo Cagevi uglasbitvi in Raushebergovim slikam, lahko najdemo v arhitekturnih intervencijah Marca Casagrande in Sami Rintale. Projekti, s katerimi se Casagrande ukvarja, prikazujejo dejansko realnost prostora, delujejo na skoraj primarni stopnji, arhitektura je oÄ?iĹĄÄ?ena bliĹĄÄ?a, ne posega v prostor kot maligna-plastiÄ?na tvorba. Vse Ä?loveĹĄke intervencije, kot pri Cagu zvok klavirja, pri Casagrande-ju pa grajeni zidovi, obkroĹžajo realni, naravni, pristni pojavi.

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Ä&#x152;e se spet vrnemo k misli Okakure Kakuze in objetega prostora, najdemo pri Kahnu podobno paralelo. S citatom iz govora 1971.leta namreÄ? izvemo â&#x20AC;&#x2DC;â&#x20AC;&#x2DC;Soba je zaÄ?etek arhitekture. Je prostor misli. Ti v sobi z njeno dimenzijo, strukturo, njeno svetlobo, ki se odziva na njen karakter, njeno duhovnostjo, spoznaĹĄ, da karkoli Ä?lovek predlaga, postane Ĺživljenje. (Louis Kahn,1971 govor, â&#x20AC;&#x153;The Room, the Street, and Human Agreement,â&#x20AC;?). Kar Kahn sporoÄ?i z idejo sobe in njeno vsebino, Le Corbusier na malce drugaÄ?en naÄ?in pove z â&#x20AC;&#x2DC;Boite a Miraclesâ&#x20AC;&#x2122; -â&#x20AC;&#x2122;Ä&#x152;lovek, osnovni graditelj, lahko ustvari najbolj uporabne objekte za nas, zato, ker najveÄ? ve o volumnu. On lahko ustvari Ä?udeĹžno ĹĄkatlo, ki v sebi skriva vse kar srce poĹželi. Scene materializirajo trenutek, ko nastane ta Ä?udeĹžna ĹĄkatla. Ĺ katla, ki je kubus, omogoÄ?a dvig, manipulacijo, celo distrakcijo itd.

Notranjost kubusa je prazna, toda tvoj domiseln duh ga lahko napolni z vem, kar um lahko zamisli v maniri stare Comedie delâ&#x20AC;&#x2122;arte!

Arhitektura naj bo torej samo soba, hiĹĄa ali muzej - naj ostane zavetje in platforma tistemu, ki biva v njej, Ä?lovek naj jo napolni s tistim, ki je njemu ustrezno in ustreza funkciji. Ko govorimo o arhitekturi muzeja, pridemo do ĹĄtevilnih reĹĄitev, od postavitve artefaktov pa do same zasnove stavbe, nasproti pridemo stavbam, ki so delovale kot novi generator mestu npr. Bilbao ali do minimalistiÄ?nih galerij v primeru Tadao Anda. KakrĹĄnakoli reĹĄitev je, vsaka s svojimi omejitvami, daje odgovore na predloĹženo urbanistiÄ?no in socialno situacijo. Vsekakor pa menim, da bi arhitektura morala umetnosti postavit oder, jo s svojimi â&#x20AC;&#x2DC;manipulacijskimiâ&#x20AC;&#x2122; sredstvi â&#x20AC;&#x201C; pika, Ä?rta, ploskev, zunaj â&#x20AC;&#x201C; znotraj, svetlo â&#x20AC;&#x201C; temno, poudariti in ustvari â&#x20AC;&#x2DC;potâ&#x20AC;&#x2122; skozi in do umetnine, vsekakor ne preglasiti ali sama sebi postati namen.

Louis Kahn | The room http://www.arthistory.upenn.edu/themakingofaroom/catalogue/section4.htm

Robert Rauschenberg and John Cage, Automobile Tire Print http://www.thewhitereview.org/art/gabriel-orozco-cosmic-matter-and-other-leftovers/robert-rauschenbergautomobile-tire-print-1953/

Le Corbusier | La boite a miracles sleekdesign.canalblog.com

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Muzej umetnosti Chichu | Naoshima | Tadao Ando

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http://www.archdaily.com/72192/kolumba-musuem-peter-zumthor/6-custom/

http://www.archdaily.com/72192/kolumba-musuem-peter-zumthor/6-custom/

http://www.archdaily.com/72192/kolumba-musuem-peter-zumthor/6-custom/

spacedid.wordpress.com

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4. projekt muzeja

Trenutno stanje

devastiran severni zid

MX{QD IDVDGD ] GRJUDMHQLPL GHOL

DGPLQLVWUDWLYQL REMHNW .DUOD 3DU]LND ] QDùUWRYDQR NRQ]HUYDFLMR

3RJOHG QD MX{QR IDVDGR

vhodni portal .R DUKLWHNWXUL RGVWUDQLPR YVR GHNRUDFLMR PHKDQLùQH NOLxHMH LQ Y]GU{HYDQMH RVWDQH ]D QMR UXxHYLQD 5XxHYLQD HGLQD NL RVWDQH SRVWDQH SODWIRUPD ùORYHxNH QDUDYL SODWIRUPD VHQFH SURVWRUD PDWH ULDOD VWUXNWXUH LQ ùDVD 1DUDYD {HOL SRVHùL Y WR SODWIRUPR ]DVHVWL PDNVLPDOHQ SURVWRU ]D {LYOMHQMH Y GDQLK SRJRMLK 7DNUDW VPR SULùD UDYQRWH{MX Y NDRVX 1DUDYD VH ER YHGQR xLULOD LQ XPLUDOD D YHGQR GRPLQLUDOD QLNRJDUxQML ]HPOML 0DUFR &DVDJDQGH trenutno stanje znotraj objekta

WUHQXWQR VWDQMH V SUHJDMHQLPL VWHQDPL SUL YKRGX

0X]HM YRMQH XPHWQRVWL Y 6DUDMHYX 8QLYHU]D Y /MXEOMDQL _ )DNXOWHWD ]D DUKLWHNWXUR _ GLSORPDQW $PLOD .DGULEDxLó _ PHQWRU SURI 0LORx )ORULMDQùLù X G L D _ VRPHQWRU GRF 0LWMD =RUF X G L D _ YSLV _ GLSORPD

4. projekt muzeja

Sheme PO ARNHEIMU

PRAZNO OPUSTOSENO OSAMLJENO RED = USTALJEN GLASBENI RITEM SIROK PROSTOR GLEDALEC NIMA OBCUTKA USMERITVE

ODMIK OD ZEMLJE VISINA SPONTANO SIMBOLIZIRA VISOKO VREDNOST ALI SPIIRITUALNOST CLOVESKO OBMOCJE

NOV RED = TRK NEPRIJETNO

OZEK PROSTOR GLEDALEC SE POCUTI UJETEGA

RED + NERED = TENZIJA, DINAMIKA ' CLOVEK DOZIVLJA PROSTOR V KATEREM ZIVI KOT ASIMETRICEN''

POTEG GRAVITACIJE NAJBOLJ ' IGNORIRA'' VERTIKALA - POSTANE REFERENCNI OKVIR ZA VSE OSTALE SMERI

0X]HM YRMQH XPHWQRVWL Y 6DUDMHYX 8QLYHU]D Y /MXEOMDQL _ )DNXOWHWD ]D DUKLWHNWXUR _ GLSORPDQW $PLOD .DGULEDxLó _ PHQWRU SURI 0LORx )ORULMDQùLù X G L D _ VRPHQWRU GRF 0LWMD =RUF X G L D _ YSLV _ GLSORPD

4. projekt muzeja POSTAVITEV ARTEFAKTOV

Sheme PO ARNHEIMU

PROSTOR

TLA

KRIZISCE POTI = OTOK

OBLIKA OBJEKTA LAHKO OBSTAJA Z ODLIKO RAVNOTEZJA MED TLEMI IN PROSTOROM

NEGATIVNI PROSTOR = LEBDENJE PRITISK - KONTRAPRITISK

' Prostor ima sposobnost ustvajanja mej in limit objektom, s tem prepreca njim samim, da bi postali nerazlocno majhni ali veliki' - ARYHITAS 0X]HM YRMQH XPHWQRVWL Y 6DUDMHYX 8QLYHU]D Y /MXEOMDQL _ )DNXOWHWD ]D DUKLWHNWXUR _ GLSORPDQW $PLOD .DGULEDxLó _ PHQWRU SURI 0LORx )ORULMDQùLù X G L D _ VRPHQWRU GRF 0LWMD =RUF X G L D _ YSLV _ GLSORPD

4. projekt muzeja

Sheme PO grabrijanu

HISA AVLIJA

GRAJENO TKIVO SE DREVESOM UMIKA MEANDER - ATRIJ

ORENTALSKA HODNA POT = CIKC-CAK ' Oreintalec se drevesu umika..

OGRAJA ZNOTRAJ /ZUNAJ = PROSTOR ZA POMIRITEV IN PREKIINJANJE VTISOV IZ ZUNANJEGA SVETA OKNO = Uokvirja slike zunanjega sveta

0X]HM YRMQH XPHWQRVWL Y 6DUDMHYX 8QLYHU]D Y /MXEOMDQL _ )DNXOWHWD ]D DUKLWHNWXUR _ GLSORPDQW $PLOD .DGULEDxLó _ PHQWRU SURI 0LORx )ORULMDQùLù X G L D _ VRPHQWRU GRF 0LWMD =RUF X G L D _ YSLV _ GLSORPD

4. projekt muzeja

koncept - Sheme objekta

GRAJEN PROSTOR SE UMIKAJA OBSTOJECEM RASTJU

9 ZBIRK = 9 VOLUMNOV = 9 AMBIENTOV

0X]HM YRMQH XPHWQRVWL Y 6DUDMHYX 8QLYHU]D Y /MXEOMDQL _ )DNXOWHWD ]D DUKLWHNWXUR _ GLSORPDQW $PLOD .DGULEDxLó _ PHQWRU SURI 0LORx )ORULMDQùLù X G L D _ VRPHQWRU GRF 0LWMD =RUF X G L D _ YSLV _ GLSORPD

4. projekt muzeja

Sheme objekta

POZITIVNI - NEGATIVNI PROSTOR POSTAVITEV IN DINAMIKA GRAJENEGA DOLOCA PROSTOR NEGRAJENEGA IN HKRATI NEGRAJEN PROSTOR DOLOCA GRAJEN PROSTOR

oDPIRANJE - ZAPIRANJE PROSTORA VHODNE, IZHODNE POTI, SIRJENJE OZANJE

POSTAVITEV ARTEFAKTOV = POT OBISKOVALCA

0X]HM YRMQH XPHWQRVWL Y 6DUDMHYX 8QLYHU]D Y /MXEOMDQL _ )DNXOWHWD ]D DUKLWHNWXUR _ GLSORPDQW $PLOD .DGULEDxLó _ PHQWRU SURI 0LORx )ORULMDQùLù X G L D _ VRPHQWRU GRF 0LWMD =RUF X G L D _ YSLV _ GLSORPD

4. projekt muzeja

Sheme objekta

PROGRAM VOLUMNA = VISINA VOLUMNA = OBCUTJE UPORABNIKA

FASADA = IZGINJANJE STAVBE, REFLEKSIJA OKOLJA

KOT SONCA = PERFORACIJA VOLUMNA = RISANJE SENC

VELIKOST VOLUMNA DOLOCA ZBIRKA 0X]HM YRMQH XPHWQRVWL Y 6DUDMHYX 8QLYHU]D Y /MXEOMDQL _ )DNXOWHWD ]D DUKLWHNWXUR _ GLSORPDQW $PLOD .DGULEDxLó _ PHQWRU SURI 0LORx )ORULMDQùLù X G L D _ VRPHQWRU GRF 0LWMD =RUF X G L D _ YSLV _ GLSORPD

4. projekt muzeja

tloris razporeditve artefaktov

WORULV SULWOLùMD PX]HMVNHJD GHOD SRVWDYLWHY DUWHIDNWRY

0X]HM YRMQH XPHWQRVWL Y 6DUDMHYX 8QLYHU]D Y /MXEOMDQL _ )DNXOWHWD ]D DUKLWHNWXUR _ GLSORPDQW $PLOD .DGULEDxLó _ PHQWRU SURI 0LORx )ORULMDQùLù X G L D _ VRPHQWRU GRF 0LWMD =RUF X G L D _ YSLV _ GLSORPD

4. projekt muzeja GXQDM FROOHFWLRQ

LVWDQEXO FROOHFWLRQ

maketni pogled + programske Sheme objekta

kavarna

VDQLWDULMH JDUGHUREH LQ VHUYLVQL SURVWRUL _ P

YHQH]LD FROOHFWLRQ VDUDMHYR FROOHFWLRQ

WHKQLùQL SURVWRUL _ P

UHQGH] YRXV FROOHFWLRQ

NOHWQD HWD{D _ P

PLODQR FROOHFWLRQ

NDYDUQD _ P UD]VWDYQL SURVWRUL _ P YKRGQD DYOD _ P NRPXQLNDFLMH P P B P DGPLQLVWUDFLMD GHSRML GHODYQLFH _ P SULWOLùMH _ P

UD]VWDYQL SURVWRUL _ P NRPXQLNDFLMH P P B P DGPLQLVWUDFLMD GHSRML _ P QDGVWURSMH _ P

NRPXQLNDFLMH P P B P UD]VWDYQL SURVWRUL _ P

SUDWR FROOHFWLRQ ERORJQDQR FROOHFWLRQ

OMXEOMDQD FROOHFWLRQ

VWDQRYDQML ]D NXVWRVD _ P QDGVWURSMH _ P VNXSQR _ P

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4. projekt muzeja materiali

MATERIALI V TLAKU

Kaldrma texturelib.com â&#x20AC;ş brick â&#x20AC;ş stone wall

MATERIALI V MUZEJSKEM DELU

MATEIRIALI V KAVARNI

Medenina www.picstopin.com

2SHĂšQD VWHQD ] YLGQLPL RVWDQNL JUDQDWLUDQMD LQ SR{LJD

Obdelana kovina | Korten texturelib.com

WH[WXUHOLE FRP

Obdelana kovina texturelib.com

Les

3DQGRPR

www.houzz.com/dark-textured-flood

ZZZ FRQFUHWHDUWLVDQV FRP DX

.HUDPLND _ xHVWNRWQH SORxĂšLFH ] ROMQR JOD]XUR GYDNUDW {JDQH EORJ VXUIDFHWLOHV FRP y 'HVLJQ )L[

OBLOGA ZAREZE V TLEH V DELU SPOMINSKEGA PARKA Korodirana zlitina z bakrom | na zaÄ?etku v rdeÄ?kastih tonih, kasneje preide v zelene texturelib.com

.HUDPLND QD IDVDGL ] JOD]XUR UHIHNWLUD RNROLFR SRQHNRG ]LGRYH VWDUH UXxHYLQH GUXJRG SD L]JLQMD Y QHER ZZZ FRU FF SUR\HFWRV SKS"S O R

0X]HM YRMQH XPHWQRVWL Y 6DUDMHYX 8QLYHU]D Y /MXEOMDQL _ )DNXOWHWD ]D DUKLWHNWXUR _ GLSORPDQW $PLOD .DGULEDxLĂł _ PHQWRU SURI 0LORx )ORULMDQĂšLĂš X G L D _ VRPHQWRU GRF 0LWMD =RUF X G L D _ YSLV _ GLSORPD

4. projekt muzeja vizualizacija

Pogled na muzej iz vhodne - zahodne strani

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44

4. projekt muzeja vizualizacija

Vstopni atrij ob vhodu v muzej

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4. projekt muzeja vizualizacija

Vhodna avla v muzej v milanskem volumnu

0X]HM YRMQH XPHWQRVWL Y 6DUDMHYX 8QLYHU]D Y /MXEOMDQL _ )DNXOWHWD ]D DUKLWHNWXUR _ GLSORPDQW $PLOD .DGULEDxLó _ PHQWRU SURI 0LORx )ORULMDQùLù X G L D _ VRPHQWRU GRF 0LWMD =RUF X G L D _ YSLV _ GLSORPD

4. projekt muzeja vizualizacija

DvoviĹĄinska galerija v Milano collection z instalacijo Hidetoshi Nashazawa

Ljubljana collection

0X]HM YRMQH XPHWQRVWL Y 6DUDMHYX 8QLYHU]D Y /MXEOMDQL _ )DNXOWHWD ]D DUKLWHNWXUR _ GLSORPDQW $PLOD .DGULEDxLĂł _ PHQWRU SURI 0LORx )ORULMDQĂšLĂš X G L D _ VRPHQWRU GRF 0LWMD =RUF X G L D _ YSLV _ GLSORPD

4. projekt muzeja vizualizacija

Prato collection

Venezia collection

0X]HM YRMQH XPHWQRVWL Y 6DUDMHYX 8QLYHU]D Y /MXEOMDQL _ )DNXOWHWD ]D DUKLWHNWXUR _ GLSORPDQW $PLOD .DGULEDxLó _ PHQWRU SURI 0LORx )ORULMDQùLù X G L D _ VRPHQWRU GRF 0LWMD =RUF X G L D _ YSLV _ GLSORPD

4. projekt muzeja vizualizacija

Sarajevo collection

Rendez vous collection

0X]HM YRMQH XPHWQRVWL Y 6DUDMHYX 8QLYHU]D Y /MXEOMDQL _ )DNXOWHWD ]D DUKLWHNWXUR _ GLSORPDQW $PLOD .DGULEDxLó _ PHQWRU SURI 0LORx )ORULMDQùLù X G L D _ VRPHQWRU GRF 0LWMD =RUF X G L D _ YSLV _ GLSORPD

4. projekt muzeja vizualizacija

1RWUDQML MX{QL DWULM

0X]HM YRMQH XPHWQRVWL Y 6DUDMHYX 8QLYHU]D Y /MXEOMDQL _ )DNXOWHWD ]D DUKLWHNWXUR _ GLSORPDQW $PLOD .DGULEDxLó _ PHQWRU SURI 0LORx )ORULMDQùLù X G L D _ VRPHQWRU GRF 0LWMD =RUF X G L D _ YSLV _ GLSORPD

4. projekt muzeja vizualizacija

Zunanji atrij med Rendez-vous volumnom in Dunajsko-Istanbulskim

Istanbul collection

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poglavje v. zgodba o kavarni. o kavi in kahvedziji

ZZZ WKHJXLGHLVWDQEXO FRP QHZVV GHWDLO

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5.projekt kavarne

O IDEJI IN ZGODOVINI BOSANSKE KAVARNE

KWWSV ZZZ IDFHERRN FRP WXUNLVK FRIIHH IDQ

ZZZ WXUNLVKFRIIHH XV y 7XUNLVK &RIIHH +LVWRU\

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3R NRQFX PX]HMVNH SRWL ODKNR RELVNRYDOHF ]DNOMXùL VYRM RELVN Y NDYDUQL 1RWUDQMRVW QMHQHJD YR OXPQD PRùQR ]QL{DQD Y SULPHUMDYL ] PX]HMVNR VH QDVDMD QD REDOR 0LOMDFNH 3RSROQRPD ]DSUWD VHY HUQD VWHQD QD YKRGQL VWUDQL RELVNRYDOFX SULNULYD VYRMR QRWUDQMRVW SUHG QMLP VH ULxH OH SRGRED WH{NLK LQ ERJDWLK PHGHQLQDVWLK YUDW WHU UDKOD UHƃHNVLMD EHOLK SORxùLF 1RWUDQMRVW MH REOLNRYDQD Y SRSROQHP NRQWUDVWX LQWHULHUMD PX]HMD NL QDVWRSD ] L]ùLxùHQLPL VWHQDPL GLQDPLNR ]LGRY WHU UD]OLùQLPL YLxLQDPL VWURSRY LQ RELVNRYDOFD SUHM YDMHQHJD PLUQHJD WHU XWLxDQHJD REùXWMD QDHQNUDW SUHVHQHWL ] ERJDWRVWMR LQ WRSOLQR PDWHULDORY 6WURS MH PRùQR ]QL{DQ NDU XVWUH]D RWRPDQVNL WUDGLFLML YLVRNMH QDPUHù OH PHWUD 2ELVNRYDOFD SRWLVQH SURWL WOHP 0L]LFH LQ VWROL VNRUDM SULWOLNDYL VR Y {HOML GD SULEOL{DMR ùORYHND ùORYHNX SRVWDYOMHQL Y PLQLPDOQHP UD]PDNX /HYR LQ GHVQR RG YKRGD VH WOD VSXVWLMR Y VWRSQLxùQD VHGLxùD QDG QMLPL SD VH SRMDYL VYHWOREQLN 3RQHNRG SHUIRULUDQ GUXJRG ] YVWDYOMHQLPL OXùPL 2E ]DGQML VWUDQLFL VR SRVWDYOMHQL xWLUMH SURVWRUL ] QDGYLxDQR ]HQLWDOQR VYHWORER QDPHQMHQL SULSUDYL NDYH 6NURPQL Y RSUHPL OH ] RJQMLxùHP LQ QHNDM SROLFDPL D YVHP HVHQFLDOQLP ]D SULSUDYR NDYH 6WHQH LQ VWURSL REOR{HQL Y OHVX VH Y MX{QL IDVDGL ]DùQHMR UD]PLNDWL Y SHUIRULUDQL VWHQL WD MH SUDY WDNR L] OHVD =D QMR VH VNULYD ]XQDQML EDONRQVNL GHO NL JOHGD QD UHNR LQ *UEDYLFR 3URVWRU SROQL VNURPQD RSUHPD LQ ERJDWRVW WHNVWXU WHU WRSOLQD EDUY LQ PDWHULDORY 2G SUHM RPHQMHQHJD OHVD SRJOHG VNRùL GR WUDGLFLRQDOQLK WHSL KRY t ùLOLPRY t WHU GHWDOMRY Y PHGHQLQL 6SUHPLQMDQMH SROR{DMD VRQFD LQ QMHJRYD VHQFD LQ VYHWORED XVWYDUMDMR UD]QROLNH Y]RUFH SR QRWUDQMRVWL V SHUIRUDFLMR VWHQ LQ VWURSRY =MXWUDM LQ RSROGDQ VRQFH V SRPRùMR QDOXNQMDQLK MX{QLK SDQHORY WYRUL SUHSURJR VYHWOREH LQ VHQFH RSROGDQ SD VNR]L VYHWOREQLNH V WDQNLPL {DUNL VYHWOREH SURQLFD QD SRJOREOMHQD PHVWD Y WOHK 7DP SRQRùL VYHWORED WHU VHQFH QDGDOMXMHMR VYRMR ]JRGER ] XPHWQR UD]VYHWOMDYR VNULWR Y SRVDPH]QLK SURƂOLK VYHWOREQLNRY .DKYHG{LMH VR Y VYRMLK QLxDK QHSUHVWDQR RVYHWOMHQH ] QDGVYHWORER 1L]HN SURVWRU NDYDUQLFH RELVNRYDOFD REMDPH LQ SRVHGH N WOHP QDWR SD JD SRVSUHPL N SRùDVQHP SLWMX LQ JD DQLPLUD ] LJUR VYHWOREH LQ VHQFH WHU YRQMHP VYH{H SHùHQH NDYH LQ SRùDVL VH SUHPLNDMRùLP EXKWHùLP JRVWLP GLPRP L] QDUJLOH

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5.projekt kavarne

vizualizacija

Kavarna

Poglobljena sediĹĄÄ?a s svetlobniki

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poglavje vi. zgodba o prostoru. o lokaciji in njeni ureditvi

SDUNHKDUULVRQ FRP DUFKLWHFW V EURWKHU NLQJGRP

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6.

projekt urbanizma in krajine

lokacija

]HPOMHYLG 6DUDMHYD ] R]QDùHQR ORNDFLMR P

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6.

projekt urbanizma in krajine

o zgodovini marijinega dvora NOVO MESTO

STARO MESTO

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Obmocje urejanja

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100m ORNDFLMD REVHJD REPRùMH PHG UHNR Miljacko in Hisetovo ulico

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merilo: 1:500

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projekt urbanizma in krajine

morfoloĹĄ ka analiza prostora

Morfologija grajenega tkiva priÄ?a o nedokonÄ?ani karejski gradnji na severnem delu, poleg tega opazimo toÄ?kovne objekte veÄ?jih razseÄ?nosti in razprĹĄeno toÄ?kovno gradnjo na jugu.

Zelene povrĹĄine sreÄ?amo v manjĹĄem razponu znotraj karejskih blokov, veÄ?ja poteza obstaja ob bregovih reke Miljacke in parkovni ureditvi okoli muzejskih poslopij.

Poudarek prometnih povezav - avtomobilske in tramvajske proge opazimo v enosmernem prometu z glavno vpadnico v mesto. Na obmoÄ?ju potekajo manjĹĄe ceste enosmernega znaÄ?aja.

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projekt urbanizma in krajine

zaznavna analiza prostora

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projekt urbanizma in krajine

kontekst prostora

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projekt urbanizma in krajine

programske analize

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projekt urbanizma in krajine

skice Zasnove urbanizma

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6.

projekt urbanizma in krajine

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kompleks muzeja Ars Aevi

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spominski park z vrezano potezo v zemljini

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6.

projekt urbanizma in krajine

Spominski park

www.parkeharrison.com/

ZAREZA V TLEH

Lucio Fontana

Zareza v tleh | del spominskega parka

www.moma.org/collection/artist.php?artist_id=1930

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6.

projekt urbanizma in krajine

Spominski park

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zeleni klini

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zeleni klini

kaldrma s kovinskimi intarzijami

zeleni klini

Muzejski komplek Ars Aevi

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poglavje vii. zgodba o naฤ rtu. o risbi, detajlu in delovanju

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7.NACRTI

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meriilo 1:100 02_KAVARNA 10 vhod | 2.4m2 11 vetrolov 12 sanitarije gosti | 10.1m2 13 prostor za pripravo kave | 17m2 14 peka kave | 5.7m2 15 garderoba+ sanitarije zaposleni | 5.2m2 16 mize | 84m2 17 poglobljeni prostori za mize | 100m2 18 balkon | 83m2 316m2

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Prerez D-D meriilo 1:100

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poglavje viii. zakljuฤ ek.

ZZZ WKHJXLGHLVWDQEXO FRP QHZVV GHWDLO

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8. fotografije makete

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8. fotografije makete

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8. zakljucna beseda

Vsak muzej z vsako zbirko govori o eni poti, o eni zgodbi. Zgodba Ars Aevija, zaÄ?eta v tragiÄ?nih okoliĹĄÄ?inah, govori o poti ene Ĺželje po ohranitvi kulture, ohranitvi dostojanstva. DanaĹĄnji Ä?asi mogoÄ?e piĹĄejo manj prijetne zakljuÄ?ke te zgodbe. Ob koncu bi samo ĹĄe enkrat ponovila zaÄ?etne besede.

V kakrĹĄnem koli Ä?asu zgodovine, Ä?lovek potrebuje umetnost. Med drugim tudi zato, da bi bolje razumel pogled drugega Ä?loveka na svet zato, da nas ta veÄ?krat opomni o preveÄ?krat pozabljeni humanosti.

Pogled na muzejski kompleks z drugega brega Miljacke

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9. zahvala

Zahvala

Ĺ˝elela bi se zahvaliti profesorju MiloĹĄu za priliko ustvarjanja na seminarju in poglobljeno in prijetno mentorstvo pri diplomi, Mitji za zakladnico podatkov in realen vpogled v arhitekturo, Igorju za stabilnost Bolti za maketo Zaili in Ibru ter Nuri za naÄ?rte Mami in Tatu za...za vse.

Mami za â&#x20AC;&#x2DC;mamavostâ&#x20AC;&#x2122;, za podarjeno ljubezen do vsega lepega. Tatu za bistrost, humor in glas razuma.

Bojanu, ker me je ĹĄe enkrat spoznal s Sarajevom in podaril navdih za diplomo Kolegom iz faksa, ki niso veÄ? le kolegi Prijateljem iz Gorice, ker bi brez njih postala dvodimenzionalna in razpredala o printerjih Jakobu, ker ga briga, tudi Ä?e mu ni treba.

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10. VIRI IN LITERATURA

Zabel I., 2008. Eseji II: o moderni in sodobni umetnosti. Ljubljana, *cf., 536 str.

Merril M., 2010. Louis Kahn On the thoughtful making of spaces.Kosel, Lars Muller, 239 str.

Galofaro L., 2007. Artscapes. Art as an approach to contemporary landscape. Barcelona, GG Arnheim R., 1997. The dynamics of architectural form. Berkeley and Los Angeles, California, University of California Press, Ltd. Neidhart T., 2004. Sarajevo kroz vrijeme : Sarajevo throughout Time. Sarajevo, Arka Press Zumthor P., 1998. Thinking architecture. Berlin, Birkhäuser Grabrijan D., 1985 . Bosansko orientalska arhitektura v Sarajevu. Ljubljana, Partizanska knjiga Ukers W., 2009. All about coffee. The Project Gutenberg EBook kWLNV , (OLMHY VWRO /MXEOMDQD kWXGHQWVND ]DOR{ED Zborniki/Revije/Ä?lanki: HadĹžiomerspahiÄ&#x2021; E., 2008 Ars Aevi, katalog, Sarajevo, Fundacija Ars Aevi DeĹĄman M.,2011. Arhitektov bilten Letn. 41, ĹĄt. 190/191 Rog et cetera. Ljubljana, DruĹĄtvo arhitektov Kreft L., 2002. NikogarĹĄnja zemlja in svet za niÄ? .str. 171-194 Tratnik P., ZupanÄ?iÄ? N.( urednici) , 2002. Prostori umetnosti: zbornik. Ljubljana, DruĹĄtvo inovatorjev Ljubljana, 231 str.

Spletni viri: http://www.archdaily.com/362554/light-matters-louis-kahn-and-the-power-of-shadow/ http://www.arthistory.upenn.edu/themakingofaroom/catalogue/section4.htm http://www.amazon.com/Moulding-Assembling-Designing-Ceramics-Architecture/dp/8460992128 http://en.wikipedia.org/wiki/ http://www.archdaily.com/ http://www.jordibadia.com/ http://www.sa92.ba/v1/index.php?showimage=318 http://www.pro.ba/bosna-i-hercegovina-u-potrazi-za-izgubljenim-identitetom/ http://www.spomenici-sa.ba/o-zavodu http://sarajlicevo.blogspot.com/2008/08/srea-na-sarajevski-nain.html#uds-search-results http://kons.gov.ba/main.php?id_struct=27&lang=1 http://shop.detail.de/blaetterkatalog/inDETAILBauenimBestandIT/index.html www.artnet.com/magazineus/reviews/kleiman/kleiman9-5-06.asp www.arsaevi.ba/ Razstave: Razstava Skenderija Ars Aevi, trenutna razstava 2010 Razstava MAO NedokonÄ?ane modernizacije: Med utopijo in pragmatizmom 3.12.-31.3.2013 Razstava Muzej revolucije Sarajevo, Opsada Sarajeva

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