KONKURS
AUTOR OBJEKTA: Dipl.Ing.Arh. Mustafa Musić
Projektovano: 2007. godine
Koncept arhitektonske strukture muzeja baziran je, na pre svega suštini njenog sadržaja, ali i pejzaža u kome počiva. Objekat je viđen kao emiter poruka, koje se posetiocu – primaocu saopštavaju na način primeren ovom i budućem vremenu. Ovo dakle nije riznica dragocenosti, već jedan živi interaktivni sistem, koji u korelaciji sa posmatračem – posetiocem, proizvodi uvek nove senzacije i doživljaje predstavljenog. Arhitektonska struktura jeste aluzija na sedimentiranje i slaganje geoloških, ali i kulturnih slojeva šireg područja. Tako dakle, predložena struktura ima atribute prirodne stvari, atribute biomorfnosti, ali samo po svom duhu, a ne i primarnoj formi. Ona je aluzija na topografiju blago zatalasanog pejzaža i nastajanje aluvijalne zaravni. Dakle, ovaj megalit koji lebdi nad zemljom, oslonjen na snop energije svetla, izbrazdan je prirodnim silnicama vetra i erozije. On počiva u okruženju koje je osmišljeno kao sublimat šire teritorije ( land art ), kako prirodnog pejzaža, tako i onog koji je rezultat ljudskog delovanja (trake njiva, oranica, zasada…), pa slika konteksta muzeja stvara aluziju na prizor viđen iz aviona (poljoprivrednog dvokrilca).
Stoga predloženi koncept oslikava bivstvovanje kuće u značajno širem kontekstu, nego što je njegovo neposredno fizičko okruženje. Ova tačka je stoga, na izvestan način centar delovanja kulturnih silnica u ravni užeg i šireg kulturnog polja, koja svakako prevazilazi prostor vojvođanske ravnice i seže do drugih prostora i tačaka na kulturnoj mapi Evrope i sveta – tačaka-emitera kulturnih poruka, kakva je i ova tačka sama.
Objekat je nadvišen i postavljen na posebno oblikovan postament – blagi nasip, sa različitim zasadom i platoima za skulpture, čime se ostvaruje kvalitetnija vizuelna i fizička veza sa rekom.
Funkcija i konstrukcija objekta usaglašeni su sa činjenicom da objekat sadrži prostore sa dva osnovna svojstva, kojima je pridružen čitav niz dihotomija. Prostor hola – komunikacioni prostor – dnevna soba ima atribute nadkrivenog trga, dobro rasvetljenog jezgra iz kojeg se doživljava i čita struktura ostatka kuće – izložbenih prostora, kojima su pridruženi atributi introvertnosti, zatvorenosti, odn. sagledavanja eksponata u ritualnom miru, sa veoma redukovanim i programirano doziranim upadnim svetlom.
Ove dihotomije puno – prazno, svetlo – tamno, mirno – uzavrelo… izražene su i karakterom arhitektonskog i volumetrijskog oblikovanja, koje je posredno i tumač strukture objekta. Kretanje, počev od ritualnog pristupanja objektu blagom rampom (landscape), pa do onoga unutar objekta, programirano je kao kretanje po stilizovanoj helikoidi, gde trase kretanja posetioca nužno ostvaruju raznolike predstave i doživljaje prostora, odn. eksponata u njima. Mirnoći prostora za izlaganje suprotstavljena je živost hola (utrobe) ispresecanog mostovima koji spajaju odgovarajuće funkcije po etažama i obezbeđuju dobar uvid i preglednost prostora. Ovako organizovanim kretanjem, rampama i mostovima, ostvareno je dobro sagledavanje i čitanje prostora, iz kruga u krug, gde se posetioc uvek nanovo informiše i podseća gde je i gde ide.
Konstrukcija objekta podrazumeva relativno velike raspone u skladu sa funkcijama, savladane linearnim rešetkastim nosačima, koji nesakriveni imaju i funkciju nošenja veštačke rasvete, vešanja ekrana, platformi za izlaganje umetničkih dela, kao i postavljanja umetničkih radova u prostoru.
Organizacija i konstruktivni sistem objekta derivirani su iz napred iznesenih širih razmatranja, pa je muzej koncipiran kao živ organizam, što je podcrtano i načinom kretanja, odnosno smenjivanjem vizuelnih senzacija (aluzija na Piranezijeve prostore).
Arhitektonsko oblikovanje akcentuje sve napred iznete osobenosti kuće i izražava pomenute dihotomije. Nadkriveni ostakljeni trg – ulica – soba ima svoje ishodište na Dunavskoj obali.
Sama betonska opna „zatvorene“ strukture osmišljena je kao organomorfni sklop sa aluzijom na topografiju aluvijalne ravni (izohipse prirodnog terena), odn. organsko tkivo i sl, sa smislom da slojevi ove višeslojne opne, pored likovno-skulpturalnih efekata, jesu posledica promišljanja vezanog za doziranje svetla u različitim prostorima. Izlagački prostori imaju tako samo ostakljene zenice očiju – aluzija na vizuelne umetnosti, odnosno otvora blende fotoaparata, koja dozira i menja količinu upuštenog svetla. Nadalje, pomeranjem ravni stakla po lejerima petoslojne zidne strukture, staklo posledično dobija sve veću površinu, a kada se nađe u npr. četvrtom sloju, ono postaje transparentna traka koja „curi“ oko objekta (administracija i sl).
Kretanjem kroz predloženu arhitektonsku strukturu dvojakih svojstava, posetilac biva eksponiran svetlom i mrakom, smenjivanjem uzavrelog i mirnog prostora, uvek znajući gde je.
Tekst: Zenit Inženjering
COMPETITION
Author: B.Arch. Mustafa Musić
Project: 2007
Concept of the architectural museum structure is based primarily on the essence of its contents as well as on the landscape where it is situated. The object is considered as an emissary of the messages which are sent to visitor-recipient in the way appropriate to both this and future time. Thus, this does not represent a treasury of valuables but one live interactive system which produces, in cooperation with observer – visitor, always new sensations and experiences of the presented. Architectural structure is an allusion on sedimentation and compounding of not only geological but cultural layers of the society as well. Suggested structure, thus, has attributes of the natural thing, the attributes of bimorphs but only for its spirit not in its primary form. It presents an allusion on topography of mildly sinuous landscape and creation of alluvial plain. Therefore, this megalith floating over the land, leaning on beam of light energy, is creased by wind and erosion. It lies in an environment created as a sublimate of wide territory (land art) both for natural landscape and the one created by humans (creases of agricultural land, plough lands, planed areas…) so the context of the museum makes an allusion on the scene as seen from the airplane (agriculture biplane).
Hence, the suggested concept depicts settlement of the house in a significantly wider context than its immediate physical surrounding. This spot, in a certain way, presents the center of operation of cultural activities within wider and narrower cultural field, which succeeds the space of Vojvodina plain and spreads towards to other spaces and spots on the cultural map of Europe and the world – spots-cultural messages emitters, as this spot is.
The object is overtopped and settled at the specially shaped posture – minor bank with different plantations and sculpture plateaus which actualizes more quality visual and physical connection to the river.
Object’s function and construction are harmonized concerning that the object consists of the spaces with two basic attributes with whole set of associated dichotomy. Hall- communication space – living room – has the attributes of covered square, well lighted core which gives the picture of the structure of the rest of the object – exhibition halls which posses the attributes of introvert, closeness and observance of the exhibits in ritual peace with very reduced and dosed light.
Those dichotomies, full-empty, light-dark, calm-ebullient, are expressed by the character of architectural and volumetric shaping which is an indirect interpreter of object’s structure. Movement, starting from ritual approach to the object by the light gate (landscape), towards inner side of the object has been programmed as moving over stylish helicoids where a visitor’s movement traces necessarily make various presentations and impressions of the space and exhibits in it. Calmness of the exhibition space is contrasted by liveliness of the hall (intestine) cross-cut by bridges connecting appropriate functions on floors and securing good perception and overview of the space. Movement organized in such way that good observance and space reading, from circle to circle, where the visitor re-informs himself and he is reminded where he is and where he is going.
Construction of the object implies relatively huge spans in line with functions, smitten by linear braced girders, which have the function of artificial lightning carrying, screen hanging, exhibition platforms as well as settling the art works in space.
Organization and constructive system of the object are derived from the abovementioned wider analysis so the museum is drafted as a live organism which is underlined by movement method apropos by changing of visual sensations (allusion to Piranesi spaces).
Architectonic shaping gives an accent to the all abovementioned characteristics of the house and emphasizes mentioned dichotomies. Covered glass square – street – room has its source on the Danube bank.
“Closed” structure concrete membrane has been rationalized as an organo – morphic set with an allusion on topography of alluvial plain (isophypse of the natural terrain) in other words organic tissue and similar in terms of the fact that the layers of this multi – laired membrane, apart from its artistic – sculpture effects, are the consequence of consideration related to light dosing within different spaces. This kind of exhibition spaces only has glassy eye pupils – allusion to visual art or camera blends which doses and changes quantity of light. Further on, by moving the plane of glass over the layers of five – layer wall structure, the glass consequently gets more and more surface and when it comes to fourth layer it becomes transparent lane which “leaks” around the object (administration and similar).
Moving through suggested architectonic structure of two-sided characteristics, the visitor becomes exposed by light and dark, by changing of fizzy and calm space, knowing what his position at every point of time is.
Text: Zenit Inženjering
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