Inapoi

ShowCase: Zagreb Museum of Contemporary Art

Publicat de SPATIULCONSTRUIT, la

Sursa: http://archinect.com



Intr-un loc care la momentul competitiei nu avea caracteristici urbane, Igor Franic de la Studio Arhitekturu Za (SZA) a luat in considerare matricea ortogonala puternic subliniata din Novi Zagreb, de la care a continuat sa dezvolte proiectul. Pentru Franic, contextul este intregul Novi Zagreb, atat in sensul patrimoniului culturii moderne de planificare a orasului cat si a zonei cu caracteristici ambiante specifice, care intr-o mare masura marcheaza marea, chiar gigantica dimensiune a arhitecturii de spatii deschise. Spatiile publice sunt aproape brutale in articularea lor; aceste elemente constituie in mare parte platforme ridicate peste locuri de parcare si platouri de acces in partea din fata a cladirilor, derivate din solutii de infrastructura. In proiectul lui Franic, putem identifica acceptarea si dezvoltarea modelelor morfologice existente si a proprietatilor spatiale din Novi Zagreb; in proiect, el foloseste programul, dar, de asemenea si capitalul simbolic al Muzeului ca mijloc prin care el atinge detasamentul fata de neutralitatea peisajului inconjurator construit.



Franic's project generates "its own city-planning" within the borders of the parcel and forms an ample square that slowly rises towards the large "hovering" mass of the Museum which covers the open public space. The relationship of the wide access cascades, the grand "neo-classicist" porch and the building itself reminds of Schinkel's Altes Museum in Berlin. This is an architectural scene on metropolitan scale, which is rare in Zagreb. The monumental dimension of the colonnade is in logical proportion with the scale of the building, but also with the wider context, while the mass covering the porch contributes to dramatic impression. In the dialectics of symbolism of architectural elements and tectonic culture, Franic's peristyle is a kind of transitional shape between the neo-constructive and rhetorical characteristics of the Ionic order at the entrance to Zagreb Stock Exchange by Viktor Kovacic and the neighbouring Vitic's pavilion No. 40 along the Zagreb Fair, where a strong concrete construction on the gables is the principal architectural motive, logically corresponding with construction demands. In his solution, Franic intended to reconcile both poles - the symbolical characteristics emerging from rhythmical order and the simple logics of a hyper-dimensional ordinary concrete skeleton, which resulted in a specific crossover between representativeness and architectural rationality.




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