U ovom radu prikazan je kraći osvrt na fraktale, te neke moguće primjene fraktalne geometrije u arhitekturi i građevinarstvu. Zanimanje za ovom matematičkom disciplinom je u neprekidnom rastu još od ...kraja 20. stoljeća, kako zbog same očaravajuće ljepote fraktala, tako i zbog općeprihvaćene spoznaje da je dosta oblika u prirodi, ako ne i svi, nepravilno i neravno, odnosno kaotično (priroda je fraktalna). Fraktalna geometrija, nasuprot euklidskoj, nudi znatno bolje metode za opisivanje prirodnih objekata, te samim time i za postizanje harmonije sa prirodom, tj. sklada između izrazite preciznosti i kaotične nesavršenosti.
Matematika je temelj arhitekture. Zahvaljujući razumijevanju matematike, arhitekti osmišljavaju, projektiraju i grade svoje građevine. Matematički modeli i odnosi moderne gradnje prikazani su u ovom ...radu kroz opis jednog od najvećih američkih arhitekata, svrstanog među pionire moderne arhitekture, Franka Lloyda Wrighta. U radu je opisana njegova arhitektura te u njoj sadržana matematika, neke od najpoznatijih građevina te pripadajući im matematički modeli.
Contemporary classical architecture is an important problem field in the recent history and theory of architecture. Its growing presence on the contemporary architectural scene elicits a study into ...its genesis and modes of presentation; a critical analysis of its protagonists’ ideas; a synthetic exploration into the main problems of displaying the history of ideas underpinning classical architecture; and finally, a formulation of a comprehensive set of notions related to this modern phenomenon. This study deals with the theoretical positions of contemporary classical architects with which they explain their work; moreover, it attempts at defining relations and establishing a continuum of ideas between contemporary classical architects and the theoreticians of Renaissance architecture. Furthermore, insight is provided into the manifestations of theoretical thought on contemporary classical architecture within modern architectural theory along with the definitions of the authors’ theoretical views upon which it has been classified as a significant theoretical form of architecture in the 21st century. Theoretical considerations behind contemporary classicism in architecture are clearly distinguished from those of other contemporaneous theoreticians. In their individualistic approach to the history of architecture and attitudes towards the ideas of collectivism, historicism, the spirit of the times, and formalism they group with the Renaissance theorists. Collectivism and historicism are rejected with the view that a piece of art is not determined by the random and volatile context to which an individual (artist) belongs. They maintain the thesis on history in which the laws of each art are perfected over time, first by formalizing the corpus of facts observed on the buildings in the history of architecture, then by evaluation and examination of these facts, and finally, by their sublimation and transformation into abstract types and general rules for the modern user. They advocate formalism in architecture which annihilates the zeitgeist. Aesthetic qualities associated with architecture arise from the properties defined by the spatial model of the building so that it is the form rather than the meaning which is believed to contribute to architectural evaluation; it is argued that in the design process the architectural form is set first, and only then its articulation into ideas is considered. In the first part of the study, the general theoretical principles of the history and theory of architecture are grouped into subheadings according to precise methodological criteria, and are then cross-referenced to the theoretical arguments presented in the second part. There are seven key themes singled out from the specific theoretical views on contemporary classical architecture and seven new thematic and theoretical positions are established within the topic, which provide the basis for the reading into the theory of contemporary classicism in architecture and its relationship with the Renaissance. The developed diachronic exposition of theoretical positions in architecture, encompassing its complex and multi-faceted relation with a wider cultural field of social sciences, yielded a new interpretation of contemporary phenomena in architectural history and theory.
Savremena klasična arhitektura predstavlja značajnu problemsku celinu novije istorije i teorije arhitekture. Njeno sve veće prisustvo na savremenoj arhitektonskoj sceni ukazuje na potrebu za proučavanjem geneze, načina prikazivanja i kritičkom analizom ideja njenih protagonista, za sintetičkom studijom koja istražuje globalne probleme prikazivanja istorije ideja koje stoje iza klasične arhitekture, kao i za formulisanjem jedinstvenog pojma za ovu savremenu pojavu. Ovo istraživanje se bavi teorijskim postavkama savremenih klasičnih arhitekata kojima oni objašnjavaju svoj rad, a zatim definisanjem odnosa i uspostavljanjem kontinuuma ideja između savremenih klasičnih arhitekata i renesansnih teoretičara arhitekture. Utvrđuju se načini na koje se teorijska misao savremene klasične arhitekture manifestuje u arhitektonskom stvaralaštvu i savremenoj teoriji arhitekture, odnosno definišu teorijski stavovi njenih autora na osnovu kojih se ona svrstava u značajne teorijske oblike arhitekture 21. veka. Teorijski stavovi savremene klasične arhitekture jasno se razlikuju i izdvajaju od stavova drugih teoretičara koji istovremeno deluju. Sa renesansnim teoretičarima čine jedinstvenu teorijsku grupu po svom individualističkom pristupu istoriji arhitekture i stavovima prema idejama kolektivizma, istoricizma, „duha vremena“ i formalizma. Kolektivizam i istoricizam se odbacuju stavom da pojedinačna dela nisu određena slučajnim i promenljivim kontekstom kome pojedinac pripada. Zastupa se teorija o istoriji po kojoj se zakoni svake umetnosti usavršavaju vremenom, formalizovanjem korpusa činjenica koje se vide na građevinama iz istorije arhitekture, njihovim procenjivanjem i ispitivanjem i, na kraju, sublimiranjem i transformacijom u apstraktne tipove i opšta pravila za savremenu upotrebu. Zastupa se formalizam u arhitekturi koji poništava „duh vremena“. Estetska svojstva povezana sa arhitekturom zasnivaju se na svojstvima definisanim prostornim modelom građevina i veruje se u doprinos forme, a ne značenja vrednovanju arhitekture, uz obrazloženje da se u projektantskom postupku prvo postavlja arhitektonska forma, a tek zatim govori o njenoj artikulaciji da bi izrazila ideje. Opšta teorijska polazišta istorije i teorije arhitekture su uz pomoć preciznih kriterijuma metodološki grupisana u podnaslove u prvom delu rada, a zatim ukrštena sa argumentima teorijskih postavki izdvojenim u drugom delu rada. Iz konkretnih teorijskih stavova postavljeno je sedam ključnih tema savremene klasične arhitekture, odnosno ustanovljeno sedam novih tematsko-teorijskih postavki u okviru teme, koje daju osnovu za čitanje teorije savremene klasične arhitekture i njene veze sa renesansom. Na osnovu razvijenog dijahronijskog tumačenja teorijskih postavki u arhitekturi u čijem opsegu postoji složena i višestrana relacija između arhitekture i šireg kulturnog polja društvenih nauka, proizilazi nova interpretativna postavka savremenih pojava istorije i teorije arhitekture.
Arhitektonsko-urbanistički projekt novosagrađenog dijela Splita (1968. – 1979.) uobičajeno se naziva SPLIT 3. Urbanistički projekt djelo je slovenskih arhitekata (Vladimir Mušič, Marjan Bežan, Nives ...Starc), a arhitektonske projekte zgrada i ambijenata izradili su splitski arhitekti (Dinko Kovačić, Mihajlo Zorić). Članak Dinka Kovačića dokumentira vrijeme i koncepciju urbanističkog i arhitektonskog oblikovanja grada, s osvrtom na tradicionalne kvalitete zavičajne arhitekture interpretirane suvremenim arhitektonskim vokabularom.
Plečnikovi stebri so pred postavitvijo na Navju leta 1952 podpirali balkon na zgradbi Glasbene matice, vendar so balkon med obnavljanjem pročelja odstranili. Navje je s stebri pridobilo prijeten ...estetski poudarek. (Povzeto po: M. Piškur, S. Žitko: Ljubljansko Navje. Ljubljana, 1997.)
The subject of this research is the methodological concept of architectural
critical practice: its theoretical postulation and historical examination
through the study of the critical discourse of ...modern architecture in
Yugoslavia. Its main objective is to examine modern architecture in
Yugoslavia in the theoretical context of critical thinking and to explain its
specificities within the frame of reference of the critical architecture of
modernism in an international context. In a broader sense, the particular aim
of this research is to gain scientific insights into the possibilities and
principles of establishing architectural critical discourse, and thus to make
a contribution to the contemporary theoretical debate on the role, forms and
scope of critical thinking in architecture. The first section of this
dissertation establishes the theoretical framework of the research, examines
referential concepts of architectural theory and critical theory and situates
the subject of investigation in the geographical and historical context. The
second section is conceived as historical-interpretative research composed of
four case studies in which previously postulated theses are examined in
specific historical circumstances and theoretical models of architectural
critical practice are constructed based on research results. The theoretical
framework is set up through the examination and systematization of key
notions: critique, critical theory, critical architecture, practice,
theoretical practice and architectural critical practice. The hypotheses
proposed in thus formed glossary are further tested through a critical
analysis of referential texts from the fields of architectural theory,
aesthetics, philosophy and social theory, among which the works VI of
Manfredo Tafuri and Theodor Adorno stand out as the main theoretical points
of reference. The concept of architectural critical practice is theoretically
explained as a term broader than the concepts of architectural criticism and
critical architecture, which were explicated by Tafuri in his book Theories
and History of Architecture Teorie e storia dell’architettura (Bari:
Laterza, 1968) and theoretically developed in the 1980s by K. Michael Hays.
The problems of critical discourse are viewed in the context of the current
debate on the role of critical thinking in architecture, as one of the most
significant topics of contemporary architectural theory. Throw the notions of
the postcritical theory, presented in the work of Michael Speaks, Sarah
Whiting, Robert Somol, Stan Allen and Silvia Lavin, the major problems of
radical criticism, i.e. problems of negativity, destruction and inhibition,
are identified, and a key question of this theoretical research is raised:
can an efficient remedy be found within the framework of the very concept of
criticism? On the assumption that the philosophical concepts of the Frankfurt
school are relevant to understanding the phenomena of modern art and
architecture and that the thesis about the double character of art, put
forward by Adorno in his Аеsthetic Theory Äesthetische Theorie (Frankfurt am
Main: Suhrkamp Verlag, 1970), has the capacity to unify different forms of
critical thinking through a unique conceptual mechanism, a secondary research
hypothesis is postulated. It argues that the critical discourse in
architecture is determined by the continuity of the principle of critical
ambivalence (i.e. of the double character of art, as both autonomous and fait
social) and by the changeable position of the subject, object and devices of
criticism. Furthermore, it is established that the changeability of the
critical positions is conditioned (prompted or inhibited) by the changes of
the historical, cultural, and socio-political context. In keeping with the
ideas of the philosophy of practice, explained in the works of Louis
Althusser and the Yugoslav philosophical group Praxis, architectural critical
practice is defined as a field of broad professional activity which entails
qualities of a general, social practice. Underscoring the conceptual shift
from the singular VII architectural building as an instrument of criticism to
a complex methodological apparatus in which different forms of theoretical
and design work are understood as an extended medium of architectural
critical thought and activity, we point out the basic characteristics of this
concept and, relying on Pierre Bourdieu’s research of social practice, we
identify its specific features: situational logic, dispersedness and
adaptability. The theoretical concept thus established is examined through a
historical analysis of the key examples of critical discourse of modern
architecture in Yugoslavia. The principle of contemporariness is singled out
as the basic critical paradigm and, based on the theses advanced in Tafuri’s
theory, elements of transcendent (avant-garde) and immanent (experimental)
criticism are identified in individual examples of architectural practice.
The study shows that Tafuri’s theory is not fully applicable to the Yugoslav
cultural context and points out the specificities of the Yugoslav critical
discourse. On the margin of the Tafuri’s critical opposition between the
avant-garde and experimentalism, four separate historical situations,
subjects of the second part of the research, are identified as precedents
indicating the possibilities of transforming, extending and opening up
critical discourse in architecture. The first critical model is structured as
a study of early projects of architect Nikola Dobrović (1897-1967). The
object of this analysis are his first constructed buildings, built in Prague
between 1927 and 1934, among which Antonin Jindrak’s house stands out (Krč,
1928). The particularity of his critical position is viewed in the wider
context of Central European architectural avant-garde and theoretically
explained as latent criticism. The second model is conceived as a case study
of the design and construction of the Yugoslav Journalists’ Association
Center in Belgrade (1930-1935), by architect Ernest Weissmann (1903-1985).
This research focuses on the problem of the critical reception of
architectural avant-garde and examines the process of its mediation through
the construction of this building. The construction of the Museum of
Revolution in Belgrade (1961-1982), based on the designs of architect
Vjenceslav Richter (1917-2002), is the subject of the third critical study,
which explores the phenomenon of interrupted criticism and points out the
inconstancy, changeability and VIII transformability of critical discourse in
architecture. The last critical model analyses the work of architect Milan
Zloković (1897-1965) on the design and construction of the Tourist Settlement
in Ulcinj (1961-1964). Through a study of the basic characteristics of
Zloković’s design method, in relation to the particularities of the specific
cultural context, the problem of establishing the appropriate critical
distance is questioned and analysed. In each of the these cases a complex
critical attitude towards the existing social reality and the unique critical
moment of emancipation is recognized. The research shows that the concept of
architectural critical practice is founded on the principle of the double
character of architecture and it involves invention, construction and use of
diverse critical instruments of architectural and urban design, as well as
the critical methods of the history and theory of architecture. Through the
study of the unique experience of the Yugoslav modernism, by shifting the
focus from the critical architecture to the extended field of architectural
critical practice, the further possibilities of opening up contemporary
critical discourse in architecture are conceptually indicated.
Tema ovog istraživanja je metodološki koncept arhitektonske kritičke prakse,
njegova teorijska postavka i istraživanje kroz studiju kritičkog diskursa
moderne arhitekture u jugoslovenskom kulturnom prostoru. Njegov osnovni cilj
je da se moderna arhitektura u Jugoslaviji sagleda u teorijskom kontekstu
kritičkog mišljenja i da se odrede i naučno objasne njene karakteristike i
posebnosti. U širem smislu, cilj ovog rada je sticanje naučnih sazananja o
mogućnostima i principima uspostavljanja kritičkog diskursa u savremenoj
arhitektonskoj teoriji i praksi. U prvom delu istraživanja postavljen je
teorijski okvir rada, analizirani su referentni koncepti arhitektonske
teorije i kritičke teorije, i problem istraživanja je situiran u
prostorno-vremenskom kontekstu. Drugi deo disertacije je koncipiran kao
istorijsko-interpretativno istraživanje koje se sastoji iz četiri studije
slučaja u kojima se prethodno postavljene teze ispituju u konkretnim
istorijskim uslovima i, na osnovu rezultata istraživanja, konstruišu
teorijski modeli arhitektonske kritičke prakse. Teorijski okvir je postavljen
kroz ispitivanje i sistematizaciju ključnih pojmova: kritika, kritička
teorija, kritička arhitektura, praksa, teorijska praksa i arhitektonska
kritička praksa. Hipoteze postavljene u pojmovniku se dalje proveravaju kroz
kritičku analizu referentnih tekstova iz oblasti arhitektonske teorije,
estetike, filozofije i društvene teorije, među kojima se, kao glavna
teorijska uporišta izdvajaju radovi Manfreda Tafurija (Manfredo Tafuri) i
Teodora Adorna (Theodor Adorno). Koncept arhitektonske kritičke prakse je
teorijski objašnjen kao širi pojam u odnosu na koncepte arhitektonske kritike
i kritičke arhitekture, koje je u svojoj knjizi Teorie e storia
dell’architettura (1968) objasnio Tafuri, i 1980-ih godina teorijski razvio
Majkl Hejz (K. Michael Hays). Problemi kritičkog diskursa su posmatrani u
kontekstu aktuelne debate o ulozi kritičkog mišljenja u arhitekturi, kao jednog
od najznačajnijih pitanja savremene arhitektonske teorije. Kroz studiju ideja
postkritičke teorije (Michael Speaks, Sarah Whiting, Robert Somol, Stan
Allen, Silvia Lavin), identifikovani su ključni problemi radika
Članak donosi pregled idejnoga rješenja oblikovanja liturgijskoga prostora buduće solinske bazilike odabrane kao najbolji rad na natječaju koji je u ožujku 2009. raspisala Splitsko-makarska ...nadbiskupija. Riječ je o interdisciplinarnome radu u kojem se susreću arhitektura i teologija u razmatranju i realizaciji liturgijskih formi. U prvome dijelu članka ukratko su ocrtana idejna polazišta te su razložene postavke i logika pristupa projektiranju. Drugi dio pokušava pružiti opisni presjek i hermeneutsku podlogu iščitavanju idejnoga projekta. Kroz tri naznačena okvira - »oblikovanje liturgijskih žarišta«, »opna forme« i »svjetlo i voda« -autori razrađuju nosive elemente arhitektonsko-liturgijskoga jezika te obrazlažu temeljne postavke idejnoga rješenja. Treći dio članka iznosi perspektive idejnoga rješenja.
Kontinuiranim angažmanom na valorizaciji, kategorizaciji i zaštiti zagrebačke graditeljske baštine Gradski zavod za zaštitu spomenika kulture i prirode u Zagrebu nastoji biti ustrajan u zaštiti ...najvrjednijih arhitektonskih ostvarenja svih povijesnih epoha.
Ovim su radom obuhvaćeni primjeri zagrebačke graditeljske baštine s područja stambene arhitekture recentno pojedinačno zaštićene rješenjima o utvrđivanju obilježja kulturnih dobara. Pojedinačno su pobrojeni primjeri zagrebačkih obiteljskih kuća i višestambenih građevina koje su se neupitnom vrijednošću uvrstile u Listu zaštićenih kulturnih dobara, upisanih u Registar kulturnih dobara Republike Hrvatske. Načinjen je potom pregled prijedloga rješenja o utvrđivanju obilježja kulturnog dobra za deset stambenih građevina, izrađenih u Gradskom zavodu za zaštitu spomenika kulture i prirode, koje je potom potvrdilo Stručno povjerenstvo za utvrđivanje obilježja kulturnog dobra Ministarstva kulture.
Znanstvenom elaboracijom, s detaljnim kronološkim historijatima i opisima predmetnih kulturnih dobara, razlaže se njihova visoka vrijednosna kategorizacija i uvrštavanje među najznačajnije građevine stambene namjene na području grada Zagreba. Predmetne su građevine obilježjima i kvalitetom redom značile novost i mijenu u vrijeme nastanka, u hrvatsku su arhitekturu unosile obilježja novoga vremena, a skladom i kvalitetom izvedbe osigurale su opstojnost do danas. Pri izradbi elaborata valorizacije, revalorizacije te kategorizacije zagrebačke stambene arhitekture rečeni su se primjeri iskristalizirali nužnima za zaštitu jer su potvrda kontinuiteta opstojnosti kvalitete zagrebačke graditeljske prakse tijekom prve polovice i sredine dvadesetog stoljeća.
Objašnjeni su konzervatorski principi i sistematizacija zaštite, kojom predmetne stambene građevine, sukladno svojoj „arhitektonici”, podliježu i različitom konzervatorskom sagledavanju te, sukladno tomu, i uspostavljanju mjera zaštite. Ovim radom Gradski zavod za zaštitu spomenika kulture i prirode u Zagrebu predstavlja kontinuirani angažman na zaštiti najznačajnijih primjera povijesno važnih arhitektonskih razdoblja zagrebačke kulturne baštine.
