36 37oris, number 82, year 2013oris, broj 82, godina 2013 sou fujimoto, Serpentine Gallery Pavilionsou fujimoto, Paviljon Galerije Serpentine

Osjećam kako nestajem – svakog dana sve sam manjaAli gledajući u zrcalo – veća sam u svakom smislu

Sonic Youth: Tunic (Song for Karen)1

1 Stih iz pjesme Tunic (Song for Karen), s lp-a Goo iz 1990. američke alter-rock skupine Sonic Youth, posvećene pop-zvijezdi Karen Carpenter koja je umrla od anoreksije.

Nestajuća arhitektura

Disappearing Architecture

fotografijephotographs by

Iwan Baanportretportrait

David Vintiner

I feel like I’m disappearing – getting smaller every dayBut I look in the mirror – I’m bigger in every way

Sonic Youth, Tunic (Song for Karen)1

1 From the song Tunic (Song for Karen), from the album Goo in 1990 by the American alter-rock group Sonic Youth, dedicated to the pop star Karen Carpenter who died of anorexia.

napisao written by

arhitektarchitect

Sou Fujimoto

Alan Kostrenčić

¶ Paviljoni predstavljaju specifičnu kategoriju arhitektonske prakse koja na izvjestan način ima povlaštenu poziciju slobode testiranja posve novih koncepata u realizaciji koja nije opte-rećena odgovornošću ‘trajne gradnje’. Još od renesanse sce-nografije za dvorske svečanosti ili pak inscenacije kraljevskih rođendana i slični događaji korišteni su kao prilike za realiziranje

¶ Pavilions represent a specific category of architectural prac-tice with a somewhat privileged position of freedom to test brand new concepts of realization which are not burdened by the responsibility of ‘permanent construction’. Since the Renais-sance, scenes and stages for court festivities or royal anniver-saries and similar events were used as opportunities to realize

38 39oris, number 82, year 2013

situacija

site plan

presjek

section

oris, broj 82, godina 2013 sou fujimoto, Serpentine Gallery Pavilionsou fujimoto, Paviljon Galerije Serpentine

svakako je i tradicija gradnje Serpentine paviljona unutar vrtova Kensingtona. ¶ Ovogodišnji paviljon, trinaesti po redu, prepu-šten je u ruke jedne od najzanimljivijih novijih arhitektonskih figura Japana, a vjerojatno i globalne scene – Sou Fujimotu. U svojoj 41. godini on je ujedno i najmlađi arhitekt koji je dobio priliku projektiranja privremene strukture za Galeriju Serpentine. Od donedavne pozicije ‘dečka koji obećava’ Fujimoto je ovim projektom i službeno inauguriran u zvjezdani status. Podsjetimo se samo nekih imena koja su imala priliku raditi ovaj prestižni paviljon – Herzog & de Meuron s Ai Weiweijem, Peter Zumthor, Jean Nouvel, Kazuyo Sejima i Ryue Nishizawa, Rem Koolhaas, Álvaro Siza i Eduardo Souto de Moura… ¶ Fujimotovo rješenje

the tradition of building the Serpentine Pavilion in Kensington Gardens. ¶ This years pavilion, the thirteenth, was given to one of Japan’s – and probably also the world’s – most interesting new architects, Sou Fujimoto. At 41, he is also the youngest architect ever to win the chance to design a temporary struc-ture for the Serpentine Gallery. From his recent position of a ‘guy with promise’, Fujimoto was officially promoted to a star with this project; remember only some of the names who have had the opportunity to work on this prestigious pavilion – Her-zog & de Meuron with Ai Weiwei, Peter Zumthor, Jean Nouvel, Kazuyo Sejima and Ryue Nishizawa, Rem Koolhaas; Álvaro Siza and Eduardo Souto de Moura… ¶ Fujimoto’s pavilion design is

the logical consequence of the conceptual ideas set out in his book/manifesto Primitive Future3, and his recent architectural works, such as House na4. The pavilion has a steel-pipe grid structure, briefly suggesting fragility and dispersing the bor-ders, resembling the Croatian project of the Floating Pavilion for the Venetian Biennale in 2010. The three-dimensional pavil-ion structure is made of square steel profiles of only 800 and 400 mm, emphasizing the impression of fragility and slimness, similar to House na. In this way, the load-bearing structure is almost dematerialized into a lacy white structure that in the

3 Sou Fujimoto: Primitive Future, inax Publishing, Tokyo, 20084 Published in Oris, vol. 77, 2012, pp. 42–51

This ‘disappearing’ structure is turned into a three-dimensional field, where people may walk, sit, climb, relax...

bold new architectural ideas and to create brand new spaces. Beatriz Colomina states this idea in her text ‘Future Pavilions’2 by referring to Alison and Peter Smithson who believe that the centuries-old tradition of temporary theatrical structures played a key role in the evolution of ideas and tastes in the architecture. Pavilions as laboratories for creating and testing new architectural ideas proved themselves through a long tra-dition of world exhibitions, expos and similar events with their ‘temporary architecture’. One such event that questions and pushes the limits of understanding architecture is definitely

2 Beatriz Colomina: ‘Pavilions of the Future’, Oris, vol. 48, 2007, pp. 4–17

‘Nestajuća’ struktura pretvorena je u trodimenzionalno polje, u kojem i kroz koje je moguće prolaziti, sjediti, penjati se, boraviti…

smjelih novih arhitektonskih ideja i stvaranje sasvim novih pro-stora. Beatriz Colomina postavlja tu tezu u tekstu Paviljoni budućnosti2 pozivajući se na Alison i Petera Smithsona koji smatraju da je stoljećima stara tradicija privremenih kazališnih struktura odigrala ključnu ulogu u evoluciji ideja i ukusa u arhi-tekturi. Paviljoni kao laboratoriji za stvaranje i ispitivanje novih arhitektonskih ideja dokazali su se kroz dugu tradiciju svjetskih izložbi, expoa i sličnih manifestacija za čije se potrebe gradila ‘privremena-arhitektura’. Jedna od takvih manifestacija koja bi trebala propitivati i pomicati granice shvaćanja arhitekture

2 Beatriz Colomina: Paviljoni budućnosti, Oris ix−48–2007.; str 4.–17.

paviljona logičan je slijed njegovih konceptualnih ideja postav-ljenih još u knjizi/manifestu Primitivna budućnost3 i recentnih arhitektonskih radova poput Kuće na4. Paviljon tvori rešetkasta struktura od čeličnih cijevi, koja na prvi pogled pomalo asocira na fragilnost i temu disperziranja granica ‘objekta’, hrvatskog projekta Teglenice za Venecijanski bijenale 2010. Trodimenzi-onalna struktura paviljona sačinjena je od čeličnih kvadratnih

3 Sou Fujimoto: Primitive Future, inax publishing, Tokyo, 2008.4 Objavljeno u Orisu 77–2012., str. 42.

render, Studio Cyrille Thomas for Sou Fujimoto Architects

render, Studio Cyrille Thomas za Sou Fujimoto Architects

40 41oris, number 82, year 2013oris, broj 82, godina 2013 sou fujimoto, Serpentine Gallery Pavilionsou fujimoto, Paviljon Galerije Serpentine

42 43oris, number 82, year 2013oris, broj 82, godina 2013 sou fujimoto, Serpentine Gallery Pavilionsou fujimoto, Paviljon Galerije Serpentine

profila od svega 800 i 400 mm, pojačavajući dojam krhkosti i vitkoće, slično kao na već spomenutoj Kući na. Na taj je način nosiva struktura gotovo dematerijalizirana u čipkastu bijelu strukturu koja unatoč geometrijskoj pravilnosti (modularnom rasteru) u ukupnoj masi poprima organičku nepravilnu formu sugerirajući dojam nečeg fluidnog poput oblaka. Međutim, ta ‘formalna struktura’ vrlo vješto ‘prima’ sadržaje na sebe. To je metoda koju je Fujimoto također već ranije konceptualno postavio u svojoj knjizi, a koja je simplificirano kodirana temom gnijezda i spilje5. Za razliku od gnijezda kojeg on shvaća kao pri-marno funkcionalistički arhetip, a koji nastaje prema potrebama korisnika, Fujimotova je strategija – strategija spilje. Arhitektura nije koncipirana ‘u ime funkcionalizma’, već kreiranja mjesta na način da ne pred-definira unaprijed korištenje, već ga ostav-lja ‘otvorenim’ potičući same korisnike da iznalaze svoj vlastiti način korištenja. Apstraktni geometrijski raster koji proizlazi iz antropoloških mjera korišten je kroz razne module, koji pak omogućuju različito korištenje, a koje proizlazi iz mjera svoj-stvenih ljudskim određenim aktivnostima. ¶ Fujimotova ideja da stvori novi oblik okoliša u kojem se spajaju priroda i arhitektura,

5 Sou Fujimoto: ‘Nest or Cave’, str. 22–25; u ‘Primitive Future’, inax publishing, Tokyo, 2008.

arhitekturu kao svojevrstan krajolik – transparentni trodimen-zionalni teren koji se ne suprotstavlja pastoralnom kontekstu Kensington vrtova, već predstavlja njihov produžetak, doista je vrlo uvjerljivo uspjela. I to ne samo formalno, kroz ‘nestajanje’ arhitekture, već i kroz samo korištenje u kojoj je ta ista ‘nesta-juća’ struktura pretvorena u trodimenzionalno polje u koje i kroz koje je moguće prolaziti, sjediti, penjati se, boraviti… Paviljon je istovremeno vrlo ‘nematerijalan’ u dojmu, naročito vizual-nom, ali i vrlo ‘materijalan’ u korištenju, prije svega njegovom tjelesnom (haptičkom) doživljaju. Kao što Fujimoto kaže: ‘…i iskustvo prostora i koncept su bitni. Jedino misleći o konceptu i doživljaju s jednakih pozicija moguće je stvoriti nešto novo…’6 ¶ Vrativši se na početak ovog teksta možemo se zapitati kakvu nam novinu u arhitekturi donose ili naslućuju ovi paviljoni za Galeriju Serpentine. Prisjećajući se tako zadnjih nekoliko pavi-ljona, a posebno paviljona Herzoga i de Meuron s Ai Weiweijem iz 2012. te Fujimotovih sunarodnjaka – Kazuye Sejime i Ryue Nishizawe iz 2009., može se zamijetiti tendencija da arhitektura iščezne, ili bar ona koju tradicionalno zamišljamo kao čvrstu građevinu jasno dominantnu u prostoru. Prošlogodišnji paviljon, možda malo manje uspješno, ‘pretvaranjem’ krova paviljona u jezerce koje je iskopano i malo podignuto ne bi li se u ‘iskopini’ pod njim ostvario korisni prostor, pokazuje namjeru ‘neutralizi-

ranja’ arhitektonskih elemenata njihovom ‘naturalizacijom’. Krov je zamijenjen jezerom, unutarnji prostor iskopinom u zemlji… Arhitektura pokušava ‘nestati’ pretvarajući prepoznatljive ele-mente arhitekture u ‘prirodne elemente’. Na drugačiji način, ali sa sličnom namjerom, paviljon iz 2009. sveden je na nadstrešnicu s

6 Julian Worrall: The significance of Sou Fujimoto, 2G, N.50 Sou Fujimoto; Gustavo Gili, 2009.; str. 21.

total mass seems organic and irregular despite its geometric regularity (modular raster), suggesting fluidity, such as that of a cloud. However, this ‘formal structure’ is capable of accepting content very well. Fujimoto has already explained this method conceptually in his book, which is simply coded by the themes of the nest and the cave5. Unlike the nest, that he understands as primarily a functional archetype created according to the user’s requirements, Fujimoto’s strategy is that of a cave. The architecture is not designed ‘in the name of functionalism’ but to create the space, without pre-defining the use in advance, but leaving it ‘open’ and enticing users to find their own way of using it. The abstract geometrical raster, resulting from anthropological measurements, was used in various modules enabling various uses and resulting from measures characteris-tic of certain human activities. ¶ Fujimoto’s idea to create a new form of environment where nature and architecture combine, architecture as a landscape – a transparent three-dimensional terrain that does not oppose the pastoral context of Kensington Gardens, but represents its extension – is actually very suc-cessfully plausible. Not only in the sense of format, through the

5 Sou Fujimoto: ‘Nest or Cave’ in Primitive Future, pp. 22–25

‘disappearance’ of architecture, but also through the very use since this ‘disappearing’ structure is turned into a three-dimen-sional field, where people may walk, sit, climb, relax... The Pavil-ion is at the same time ‘non-material’ in its impression, espe-cially the visual, but also very ‘material’ in its use, primarily in its physical (haptic) experience. As Fujimoto says, ‘Both experience and concept are important. Only by thinking about concept and

experience in an equal position, can we create something new.’6 ¶ To return to the beginning of this text we may wonder what architectural novelty these Serpentine Gallery pavilions bring us. If we think about the few recent pavilions, especially those by Herzog and de Meuron with Ai Weiwei in 2012, as well as Fujimoto’s countrymen Kazuyo Sejima and Ryue Nishizawa in 2009, we notice a tendency that architecture, or at least what we think of as traditional architecture – a solid construction, clearly dominant in the space – is disappearing. Last year’s pavilion, perhaps a little less successfully, showed an intent to ‘neutralize’ architectural elements by their ‘naturalization’, as the pavilion’s roof was ‘transformed’ into a slightly raised pond in order to achieve useful space below. The roof was replaced by the pond, the inner space with a hole in the ground... Architec-ture attempts to ‘disappear’ by transforming familiar architec-tural elements into ‘natural elements’. In a different manner, but with a similar intent, the 2009 pavilion was stripped down to an overhang with a mirrored ceiling, again in an attempt to ren-der architecture invisible – the architecture ‘disappears’ in the reflection of the environment around it. If we remember that

6 Julian Worrall: ‘The Significance of Sou Fujimoto’, 2G, N.50 Sou Fujimoto, Gustavo Gili, 2009’ p.21

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the architectural press characterized Sejima’s architecture as anorexic (the faded reductionism of the museum in New York), then the tendency to ‘slim down’ to ‘disappearance’ (see Sonic Youth’s song at the beginning of the text) as an architectural expression may actually have its own reality. However, such ‘architectural dieting’ is a logical reaction to the over-saturation of overall architectural production by formal picturesqueness. Authors such as Fujimoto use this ‘abandoning of architecture’ in order to simultaneously return to the essence of architec-ture as a spatial organization and experience, but also to think about the future of architecture that formalizes this essence

in accordance with the new times. The only danger from this ‘anorexia in architecture’ is the reduction of such architecture, like Fujimoto’s pavilion, to a mere image – something that will be separated from the essence and formally copied by dozens of future projects. Still, this is no longer Fujimoto’s problem, but of the superficiality of our society today. In any case, if the zeitgeist used to be speed until recently, we may be fairly sure that the spirit of the present is dematerialization/virtualization – in their literal and metaphorical meanings.

pogledom od ogledala, ponovo pokušavajući arhitekturu učiniti nevidljivom – arhitektura ‘nestaje’ u odrazu okoline na njoj. Ako se pritom podsjetimo da je svojedobno arhitektonski tisak u šali okarakterizirao Sejiminu arhitekturu anoreksičnom (izbijeljeni redukcionizam, primjerice, muzeja u New Yorku), onda tenden-cija ‘mršavljenja’ do ‘nestajanja’ (aluzija na pjesmu Sonic Youth citiranu na početku teksta) kao arhitektonski izraz možda doista ima svoj realitet. Međutim, takva ‘arhitektonska dijeta’ logična je reakcija na prezasićenost ukupne arhitektonske produkcije formalnom slikovitosti. Autori poput Fujimota to ‘odustajanje od arhitekture’ koriste upravo za istovremeno vraćanje esenciji

arhitekture kao organizacije prostora i njegova doživljaja, ali i mišljenja budućnosti arhitekture koja tu esenciju formalizira adekvatno novome vremenu. Jedina opasnost od ‘anoreksije u arhitekturi’ predstavlja svođenje ovakve arhitekture, poput Fujimotovog paviljona, na tek puku sliku – nešto što će se, odvojeno od suštine, formalno preslikavati na desetke idućih projekata. Ali to doista nije više Fujimotov problem, već pro-blem površnosti našeg današnjeg društva u cjelini. U svakom slučaju – ako je donedavni zeit-gaist bila brzina, možemo biti prilično uvjereni da je današnji duh vremena dematerijalizacija/ virtualizacija – i u doslovnom i u metaforičkom smislu.