info

de arhitectura

apare trimestrial editat de

Arhitekt Studio A srl
adresa:
str. dr. Nicolae Paulescu nr. 1, ap. 20

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editor:
arhitektstudioa@yahoo.com
publicitate:
Rzvan Fiat Tomescu

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website:
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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

realizatori:



coperta:


tipar:
issn:
pre:

nr. 38

cuprins

in context

3 / 2013 N CONTEXT

editorial

ADRIAN-FLORIN IONAIU N CONTEXT

"plombe"
AVIGNON-CLOUET ATELIER C, FRANA, 2007

DIONISO LAB CASA 77, PORTUGALIA, 2010

10

DIERENDONCKBLANCKE ARCHITECTEN CASA GELUKSTRAAT, BELGIA, 2011

14

SCULP(IT) ARCHITECTEN LIVE / WORK, BELGIA, 2011

18

3 echipe belgiene

GRAUX & BAEYENS ARCHITECTEN CASA G-S, BELGIA, 2011

22

GRAUX & BAEYENS ARCHITECTEN CASA V-C, BELGIA, 2011

28

GRAUX & BAEYENS ARCHITECTEN CASA K, BELGIA, 2010

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

64

"rurale"

PROARH O INTERPRETARE CONTEMPORAN, CROAIA, 2012

68

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
1

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
1