de arhitectura

apare trimestrial editat de Arhitekt Studio A srl adresa: str. dr. Nicolae Paulescu nr. 1, ap. 20 300005 Timioara, judeul Timi Romnia telefon / fax: 0256 491.146 0721 841.831 editor: arhitektstudioa@yahoo.com publicitate: Rzvan Fiat Tomescu 0728 206.378 razvanfiat@gmail.com website: www.de-arhitectura.ro blog: blog.de-arhitectura.ro www.facebook.com/dearhitectura realizatori: coperta: tipar: issn: pre: Adrian-Florin Ionaiu Erica Gabriela Trampitsch Andreea Laura Sima Carla Mariana Duda Casa 77 | House 77 de | by dIONISO LAB foto | photo Fernando Guerra Bistra srl, Timioara 1582-179x 11,98 lei

info

nr. 38

cuprins
editorial

in context
3 6 10 14 18

3 / 2013 N CONTEXT

ADRIAN-FLORIN IONAIU N CONTEXT "plombe"

AVIGNON-CLOUET ATELIER C, FRANA, 2007 DIONISO LAB CASA 77, PORTUGALIA, 2010 DIERENDONCKBLANCKE ARCHITECTEN CASA GELUKSTRAAT, BELGIA, 2011 SCULP(IT) ARCHITECTEN LIVE / WORK, BELGIA, 2011 3 echipe belgiene

GRAUX & BAEYENS ARCHITECTEN CASA G-S, BELGIA, 2011 GRAUX & BAEYENS ARCHITECTEN CASA V-C, BELGIA, 2011 GRAUX & BAEYENS ARCHITECTEN CASA K, BELGIA, 2010

22 28 34

JAN DE VYLDER ARCHITECTEN LES BALLETS C DE LA B AND LOD, BELGIA, 2008 40 ARCHITECTEN DE VYLDER VINCK TAILLIEU CASA ROT-ELLEN-BERG, BELGIA, 2011 48

LOW ARCHITECTEN LITTLE WILLY, BELGIA, 2008 58 LOW ARCHITECTEN CAS PENTRU PATRICK, BELGIA, 2010 "rurale" 68 64

PROARH O INTERPRETARE CONTEMPORAN, CROAIA, 2012

STUDIO AUTORII CASA B, SERBIA, 2010 72 STUDIO AUTORII CASA A, SERBIA, 2012 78 PARASITE STUDIO NEGRU PE ALB, ROMNIA, 2012 82

n context
text : Adrian-Florin Ionaiu foto : Keith Sirchio n multe cazuri actuale lucrrile prezentate aiurea la televiziuni, n reviste sau pe bloguri , lucrri amplu comentate sau recompensate prin varii premii oferite, sunt o dovad a unui eu supradimensionat, lucrri ce nu par a-i fi dezvoltat un mine1, opere de arhitectur lipsite de necesara reveren fcut locului unde se aeaz. Am s plec n argumentarea celor spuse anterior, oarecum paradoxal, de la o lucrare a arhitectului german Jrgen Mayer H., Metropol Parasol din Sevillia, Spania, finalist la Premiul Mies van der Rohe 2013. Cu toat publicarea ei intens i succesul turistic al acestei construcii, cetenii de acolo au n continuare opinii extrem de mprite asupra acestui nor / ciuperci / umbrele de soare / vafe2 de 30 de metri nlime aprute n oraul lor vechi, unii spunnd c trebuia gsit alt loc pentru aa ceva, alii c oraul ar trebui s se mite spre viitor odat cu vremurile. Ideea proiectului Parasol a fost aceea de a face umbr, o marf de valoare ntr-un ora aa de fierbinte precum Sevillia, i a crea n acest fel o pia mai locuibil, folosit pn atunci mai mult ca loc de parcare. Nu voi intra n detaliile tehnice ale proiectului, cum au fost rezolvate accesele ctre promenada suspendat sau cele privind modul n care lemnul lamelar a fost ncleiat de structura metalic i altele, cci nu este subiectul nostru, ci m voi referi la relaia acestui straniu obiect cu contextul istoric. Jrgen Mayer spunea c formele obiectului su au fost inspirate de cele ale catedralei oraului i c ceea ce a intenionat a fost s fac una fr ziduri, mai democratic i c, totodat, i-a dorit s aduc ntr-un fel nite copaci n pia. Vzut din unele unghiuri, construcia pare un lucru frumos, ndrzne i inventiv. Este interesant i prin modul n care leag spaiul dintre trecut, prezent i viitor, dintre ruinele romane gsite i puntea de la nivelul cerului. Dar are o problem, aceea c aceast form frumoas poate n sine dar aici am serioase obiecii, justificate pentru cine privete i celelalte lucrri realizate ale autorului , acest obiect arhitectural nu este n nici-un fel conectat cu mprejurimile, c este o arhitectur n sine ca un eu incomplet, nchis n sine. i n fapt, ce nevoie am de aceast pdure artificial scump3 i pretenioas cnd mai degrab a putea alege s fac una real, vie, influenat de vreme i influennd pozitiv mediul, asta dac nu vreau s fac totui arhitectur, dar una mai adecvat locului, ntinznd pur i simplu nite pnze uoare ca n attea sukuri arabe. i pentru a da un exemplu din acelai registru cu Parasol, e drept mult mai mic, fcut cu mijloace minimale, inspirat cu adevrat de sistemele naturale, v invit s vedei Pavilionul CitySol 2007 amplasat temporar n Parcul Stuyvesant Cove din New York, USA i proiectat de Situ Studio, ntr-o postare de acum patru ani de pe blog4, o imagine a realizrii de atunci ilustrnd chiar editorialul de acum. Aadar, numrul de fa i propune s aduc n discuie contextul ca loc al edificrii arhitecturii. Cum este influenat arhitectura de setul de circumstane geografice, locale, politice, istorice i economice, cum este determinat de faptele care o nconjoar, de un eveniment special sau o situaie, sunt numai cteva din ntrebrile ridicate n acest numr n context. G.H. Mead, fondatorul colii de gndire a interacionismului simbolic, i-a construit teoria pornind de la studiul dezvoltrii i organizrii sinelui. Mead se gndea la sine ca fiind faze ce se influeneaz reciproc, numite mine i eu. Mine este faza social a sinelui, ordinea social care include valori, moravuri i norme, ordine ce promoveaz stabilitatea, previziunea i controlul social. Eul lucrnd n comun cu mine este faza nou, creatoare, greu previzibil a sinelui. Sinele este, n esen, un dialog ntre eu i mine. Mine este un produs social, pe cnd eu are o relaie neclar cu experiena social. Sinele, aadar, este cu adevrat un produs al interaciunii dintre individul unic i contextul social. Fiecare dintre noi percepe i interpreteaz diferit contextul social. De aici, realitatea social a unei persoane nu poate s fie aceeai cu realitatea social a altei persoane. 2 Rowan Moore n The Observer, Sunday 27 March 2011 Metropol Parasol, Seville by Jrgen Mayer H review 3 ntre 50 i 100 de milioane de euro, dup unele estimri, pentru circa 10.000 m2 4 vezi http://blog.anualadearhitectura.ro/blog/detalii/76/46 2 / 3
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in context
text : Adrian-Florin Ionaiu photos : Keith Sirchio In many cases, current works presented elsewhere - on television, in magazines or on blogs works extensively reviewed and rewarded with various prizes, are evidence of an oversized "I", works that do not seem to have developed a "me "1, architecture lacking the necessary reverence towards the place where it lies. I will begin arguing in favor of the aforesaid, somehow paradoxically, with the work of the German architect Jrgen Mayer H., Metropol Parasol in Seville, Spain, one of the Mies van der Rohe 2013 award finalists. Despite its intense publication and the touristic success of this construction, the citizens from there still have divided opinions on this 30 feet tall cloud / mushroom / parasols / vafe2, which appeared in their old city, some saying that other place should have been found for it, others saying that the city should move forward with the time. The Parasol project's idea was to provide shade, a valuable commodity in a city as hot as Seville, and thus to create a more livable square, till then used more as a parking lot. I will not go into the technical details of the project, how the access ways to the suspended promenade were resolved or how the laminated wood was added on the metal structure and so on, because this is not our subject, but I will refer to this strange object's relationship with its historical context. Jrgen Mayer said that its object's shapes were inspired by those of the city's cathedral and that what he intended to was to build another, more democratic one without walls, and at the same time, he wanted to bring some trees in the square. Viewed from certain angles, the building looks like a bold, inventive, beautiful structure. It is also interesting the way it links past, present and future through the exposed Roman ruins and the sky deck. But there's a problem: this shape, allegedly beautiful in itself the objection being justified when looking at the other works by the same author this architectural object is in no way connected with the surroundings, it is an incomplete, introverted architectural I. And in fact, what need do I have of this expensive3 and pretentious artificial forest, when I would rather choose to make a real, living one influenced by the weather and positively influencing the environment. That is unless you want to make architecture but an architecture more appropriate to its place, by simply laying some light canvas, as in so many Arab Suks. And in order to give an example from the same category as Parasol, but at a smaller scale, made with minimum means, truely inspired by natural systems, I invite you to look up the CitySol 2007 Pavilion, temporarily located in the Stuyvesant Cove Park in New York, designed by Situ Studio, in a post on our blog4 four years ago a picture of it illustrating this editorial. Therefore, this issue aims to bring into discussion the context as a place for building architecture. How architecture is influenced by the set of geographical, local, political, historical and economic circumstances, how it is determined by the facts that surround it, by a particular event or situation are just some of the questions raised in this issue "in context". G.H. Mead, founder of the symbolic interactionism school has built his theory from the study of the development and the organization of the self. Mead thought of "the self" as phases that influence each other, called "me and I. Me is the social phase of the self, the social order which includes values, morals and rules, order that promotes stability, foresight and social control. The self working together with "me" is the new, creative, hard to predict phase of the self. The self is essentially a dialogue between "I" and "me." "Me" is a social product, while "I" has an unclear relationship with the social experience. Thus, the self is actually a product of the interaction between the individual and the social context. Each of us perceives and interprets differently the social context. Hence, the social reality of a person can not be the same social reality of another person. 2 Rowan Moore in The Observer, Sunday 27 March 2011 Metropol Parasol, Seville by Jrgen Mayer H review 3 between 50 and 100 million Euros, by some estimates, for about 10,000 m2 4 see http://blog.anualadearhitectura.ro/blog/detalii/76/46
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