Klikni ovdje.

napisao
written by
fotografije photographs by
arhiv / archive Boris Magaš (BM)
Borko Vukosav (BV)
Wolfgang Thaler (WT)
Leo Modrčin
Arhitektonska
plemka
Architectural
Graft
skica, Hrvoje Arbanas
sketch by Hrvoje Arbanas
arhitekt
architect
Boris Magaš
140
Dječji vrtić i jaslice Vjeverica, Mihaljevac, Zagreb,
Hrvatska, 1975.
¶ Liberated from the constrains of epoch, we return to some
weathered works in order to experience them anew, only to
be confronted with some universal values that rise above the
limits of the circumstances of time and society. As we visit
the building of the Mihaljevac Kindergarten and Nursery
Centre in Zagreb, designed by the leading Croatian architect
Boris Magaš in 1975 we experience pure exaltation with an
inspiring piece of architecture. It is the same exaltation we
feel when visiting the most memorable buildings regardless
of the date of their design and construction, or the location
and the cultural space they belong to. While approaching
this project intent on being an analytical and objective
¶ Vraćamo se nekim arhitektonskim objektima oslobođeni
stega epohe da bismo ih pročitali na svjež način i s novim
iskustvom, te da bismo prepoznali univerzalne vrijednosti koje
nadilaze ograničenja i vremena i društvenih okolnosti. U
posjetu zgradi Dječje ustanove Mihaljevac arhitekta Borisa
Magaša susrećemo se s čistim osjećajem egzaltiranosti u
dodiru s poticajnim arhitektonskim djelom bez obzira na
datum nastanka, geografski ili kulturni prostor. Iako se pod
pritiskom analitičnog promatrača arhitekture teško oteti
potpuno subjektivnom porivu da kad već dajemo vlastito
dijete na odgoj pedagoškoj instituciji, tada bi ovo bio naš izbor
u Zagrebu. Naravno, zgrada je samo okvir, ali zasigurno i
observer of architecture, we cannot suppress the subjective
urge that, faced with a choice of an educational institution
for our own child, this would be our building of choice in
Zagreb. Certainly a building is but a framework, but it is also
an impulse for the extraordinary creative work with children
we can detect while visiting it and the kindergarten’s web
site at www.vjeverica.hr. The institution is now renamed
after the squirrel (vjeverica) and it proudly displays its
privilege to raise its children in such a splendid work of
architecture. ¶ In order to immediately water down this
introductory panegyric to a building and its architect, we
should mention the public reception of the project after it
(BM)
Vjeverica Kindergarten and Nursery, Mihaljevac,
Zagreb, Croatia, 1975
Boris Magaš, Vrtić i jaslice
Boris Magaš, Kindergarten and nursery
141
(Bv)
(BM)
142
poticaj za izuzetan kreativni rad s djecom koji naslućujemo
na www.vjeverica.hr, stranici preimenovane ustanove koja
svijest o privilegiji odrastanja u ovakvoj arhitektonskoj zemlji
snova pažljivo njeguje. ¶ Ovaj se subjektivni, uvodni panegirik
može odmah ublažiti prisjećanjem na recepciju zgrade u jav­
nosti nakon što je nagrađena stručnom nagradom 19751. go­
dine: društveno priznanje društvenom promašaju. Misli se tu
na probleme s izvedbom završnih detalja, s nemogućnošću da
se arhitektonska vizija izvuče do kraja jer se ti problemi ne­
minovno naplaćuju iz društvenih džepova i tu arhitektura u
očima javnosti jednostavno nema popusta. Nakon 35 godina
atrofije same zgrade i nevještih intervencija, možda je lakše
uvjeriti javnost da je ovo remek-djelo potrebno zaštiti i obno­
viti u originalnom ili čak poboljšanom izdanju pod pas­kom
samog arhitekta. Vjerujem da arhitekte, a ni djecu ne treba u
to uvjeravati. ¶ Gradovi koji su pozornice odnosno mjesta koja
se protežu nasuprot jasno definiranoj pozadini gorskog poteza,
bliski su nam. Mizanscena grada na podnožju prirodne sce­
nografije omogućuje osjećaj zaštićenosti i svijesti o koordi­
natama i orijentaciji. Na spojnici Zagreba i njegove scenične
planine u pozadini nalazi se i vrtić Mihaljevac, posljednja u
nizu zgrada uz nekadašnji tok Medvešćaka na potezu od sre­
dišta grada prema obroncima Medvednice. Recentnim je
arhitektonskim dodacima ovaj potez zapravo i kompletiran, a
samosvojnost i anticipatorska uloga zgrade vrtića još nagla­
won an architectural prize in 1975.1 The headline read: ‘Public
Award for a Public Failure’. Concerned by the shabbily executed
finishing touches to the building and the impossibility of
carrying out the architect’s full vision with the means of the
day, this type of reaction typically addressed the spending of
public funds, and architecture in its pure form simply did not
stand a chance. Now after 35 years of the building’s atrophy
and inappropriate interventions we believe that it is possible
to convince the public to protect this work of architecture,
and to restore it to its original or even improved state under
the aegis of the architect himself. We are convinced that both
šenija. Prvi je dojam zgrade urasle u teren, organički povezane
sa svojom širom okolinom bogate to­pografije sve do vrha
Sljemena, koju na evokativni način reinterpretira u svom
mikrosvijetu poput zagrljaja razlomljenog tektona u kojem su
štićenici potpuno sigurni. ¶ Na snažne reljefne silnice arhitekt
superponira geometrijske izvodnice kako bi stvorio arhitekturu
složene percepcije, zagonetnu i ponekad nedohvatljivu,
usprkos potpuno algoritmičnoj geometrijskoj potki. Algoritam
stvaranja prostora temelji se na manipulaciji mjerila, prvotno
u odnosu šireg teritorija i objekta, a zatim i unutar vlastitih
sastavnih dijelova. Taj je pomak u mjerilu glavni mehanizam
kojim se zgrada generira u prostoru. U slučaju vrtića to za­
sigur­no ima i konceptualnu i narativnu potku kao prostorna
inačica odrastanja. U trenutku publikacije ovog projekta u
časopisu Čovjek i prostor2, koji igrom slučaja u istom broju
objavljuje najavu o stadionu profesora Magaša u Splitu, kriti­
čarka Antoaneta Pasinović iscrpno i precizno iščitava tu stra­
tegiju prilagodbe mjerila. Iz izvora samog arhitekta dobivamo
i vrlo detaljan prikaz funkcionalne sheme zgrade te hori­zon­
talne i vertikalne dispozicije glavnih i pomoćnih sadržaja. O
dodanim vrijednostima ni traga. Možda je kao znak vremena
bilo neprikladno otkrivati majstorske tajne, polemizirati o
cijelom skupu fenomenologija koje vrtić pokreće i kojima se
izdvaja iz svojeg vremena i kulturnog prostora. Ili je jednos­
tav­no novovjeka svijest o fuziji arhitekture i okoliša, koju pro­
1 Republička nagrada ‘Borbe’, 1975.
1 The Borba Prize for Architecture – Croatia, 1975
2 ČIP, br. 278, 1976.
oris, broj 72, godina 2011
oris, number 72, year 2011
Boris Magaš, Vrtić i jaslice
(BM)
the architectural community and the children do not need
similar convincing. ¶ Cities which are laid out on a stage before
a clearly defined topological backdrop somehow feel welco­
ming and protecting. The mise-en-scène of the city against a
natural backdrop brings a sense of safety and gives an instant
and lasting sense of coordinates and orientation. The kinder­
garten rests on one such trajectory between the city of Zagreb
and its scenic mountain, at the end of a geological and archi­
tectural procession of building leading from the city centre
towards the hills. This urban sequence has only recently been
filled in the building’s immediate neighbourhood which only
emphasizes its idiosyncratic and anticipatory role. The first
impression the building gives is of complete immersion into
the terrain and an organic fusion with the wider topography
stretching all the way to the peak of Sljeme. The building is
an evocative interpretation of the landscape itself forming a
micro world of broken tecton that embraces its occupants and
provides safety. ¶ The architect turns the powerful lines of
topographic force into geometric lines to delineate an archi­
tecture of complex space, quizzical and not easily compre­
hended despite its rigid algorithmic geometric concept. The
space-making algorithm is based on the manipulation of scale,
the first level of manipulation being the relationship of the
wider surroundings and the building itself, and then the fractal
shifts in scale between the building and its parts. These shifts
in scale are the chief generative mechanism with an obvious
Boris Magaš, Kindergarten and nursery
143
(wt)
fesor Magaš ovim projektom vizionarski najavljuje prije 35
godina, tada ostala dijelom njegove stvaralačke zaokupljenosti
i daleko od matice vremena u kojem nastaje. ¶ Iz današnje
perspektive nemoguće je izbjeći doživljaj sraza dvaju suprotnih
pojmova: geometrijski klasičnu krutost tlocrtne dispozicije,
koju prolaskom po prometnoj transverzali ispred zgrade do­
življa­vamo kao idealno uravnoteženu frontalnu siluetu objekta
na brežuljku, nasuprot labirintskoj, gotovo egzaltirano raščla­
njenoj fluidnosti unutrašnjeg prostora i njegovoga potpunog
stapanja s okolnim terenom. Pokušamo li povezati plošno
iskustvo tlocrta i pročelja s kompleksnim doživljajem cjeline,
čini se da su nam potrebna grafička pomagala kako bi to bo­
gatstvo neposrednog doživljaja zgrade mogli pomiriti s pre­
ciznim kodiranjem i tlocrta i pročelja. Možda je ta naša potreba
za suvremenim sredstvima vizualizacije prostora sukladna
današnjoj potrebi za instantnom gratifikacijom odnosno žud­
njom da sve vidimo i doživimo posredno, bez odgode, u pot­
punoj simulaciji stvarnosti. Ili je pak riječ o atrofiji pros­tornog
zora naviknutog na animirani prikaz prostora u kojem su
planarni prikazi samo nužno zlo i atavizam iz nekoga prošlog
doba. Srećom, korisnici vrtića, koji su itekako bombardirani
svim digitalnim sadržajima, ipak dobar dio svojeg života
provode u prostoru koji treba istraživati, proučiti i shvatiti bez
144
oris, broj 72, godina 2011
conceptual and narrative link to a space for rearing children.
The critic Antoaneta Pasinović succinctly wrote about the
strategy of shifting scales in the magazine Čovjek i Prostor in
1976,2 coinciding in the same issue with the publication of the
architect’s other masterpiece, the football stadium in Split.
From the architect himself we are given a detailed description
of the horizontal and vertical siting of the served and serviced
spaces within the building. But no mention of the architectural
added value. As a sign of the time it was perhaps deemed
unsuitable to disclose architectural trade secrets, and to open
a dialogue on the host of phenomenologies the kindergarten
provokes and which set it ahead of its time and cultural space.
Professor Magaš anticipated the now common fusion between
architecture and landscape with this announcement 35 years
ago, but it only remains part of his personal architectural
preoccupation and away from the matrix of the time. ¶ The
clash of opposing notions is impossible not to notice from
today’s perspective: the rigid geometry of the plan and the
frontal silhouette of the building on the hill as we experience
it driving by, and the labyrinthine, almost puzzle-like complexi­
ty found in the interior and its fusion with the terrain around
it. In order to marry the planar sense of the layout and section
with the complex experience of the whole, we need visual aids
and tools to help us reconstruct the precise code of plans and
elevations as they relate to the exuberant sequence of the
volumes that compose the building. Perhaps we need the aids
in our contemporary urge to have instant gratification of
seeing and experiencing everything at once, without delay,
and in a full simulation of reality. Or we are confronted by the
atrophy of our ability to see space as we have become used to
the animated visualization of space which make the floor plan
and section but atavistic leftovers from time past. Luckily, the
kindergarten’s occupants, no doubt bombarded by digital
content, do spend a significant portion of their time in a space
that calls to be explored, appropriated and understood without
any aids. ¶ If we for a moment assume the role of a Beaux Arts
disciple and, with the help of a triangle alone, without a
computer, attempt to trace the plan in the manner of classical
architecture, we would start with the main axes, forming a
cardo and decumanus and by diagonal rotation would form
the main corps of the building. By doing this we would
certainly encounter the universal geometric repertory of
classical architecture, perfect proportions and harmony. These
central volumes contain the larger programmes of nursery and
public spaces, forming a forum at the intersection, in which
gatherings, exercises and performances are held. On the upper
tlocrt kata
floor plan
(BM)
tlocrt prizemlja
ground floor plan
(BM)
2 ČiP, no. 278 , (5) 1976
oris, number 72, year 2011
Boris Magaš, Vrtić i jaslice
Boris Magaš, Kindergarten and nursery
145
(Bv)
146
pomagala. ¶ Ako pak poput nekog vježbenika iz Beaux Artsa ,
bez računala i samo istostraničnim trokutom trasiramo poteze
iz tlocrta na način klasične arhitekture, počinjemo s glavnim
osima, formiramo cardo i decumanus, te dijagonalnom ro­ta­
cijom glavni korpus zgrade, zasigurno ćemo pronaći univerzalni
geometrijski repertoar klasične arhitekture, savršene pro­
porcijske odnose i harmoniju. U središnjim volumenima
smješ­teni su svi sadržaji koji zahtijevaju velike volumene, a na
sje­cištu osi je svojevrsni forum za vježbanje, predstave, dru­
ženje. Na gornjoj etaži smještene su jasličke jedinice u sličnoj
konfiguraciji te su zbog razlike u visini terena spojene s
okolnim terenom. Triangulacijama od osnovnoga zarotiranog
lika ulazimo u sve manje prostorne segmente gdje je poput
fraktala formirana vrtićka jedinica koja tvori niz od četiri
identična modula složene tektonike, a koja povezuju interijer
s vanjskim natkrivenim terasama i livadama. Ta su četiri
modula vrtićkih jedinica dijagonalno posmaknuta kako bi se
oslobodila jugoistočna orijentacija i zadržao osnovni motiv
projekta, a to je okretanje leđa prometnici i javnom pristupu
građevini te stvaranje sigurne zelene oaze na rubu šume.
Osnovna je trodimenzionalna prostorna ćelija trokutasta
prizma. Dok su glavni volumeni zgrade na središnjici osi
elementarne prizme, volumeni samih jedinica su segmentirani,
preklopljeni, podignuti u suprotnim smjerovima tako da se
floor, the nursery rooms are in similar configuration, and due
to the slope of the terrain are connected with the outside.
Using triangulation from the base, rotated triangle we enter
into the ever smaller, fractal segments of the kindergarten
units. There are four equal unit modules with complex tectonic
links between the inside and outside covered terraces and
lawns. The units are slightly shifted from the diagonal in order
to free up the south-eastern exposure, while maintaining the
main focus of the project on turning away from the public road
in front of the building and forming a green oasis on the
opposite, wooded side of the slope. The elemental spatial cell
is a triangular prism, integral in the large main volumes but
segmented in the volumes of the units, where they overlap
and rise above each other in different directions. The lofted
triangles form an extraordinarily dynamic composition in
which the light penetrations deconstruct the volumes fully.
By shifting these four units, their layering and connecting by
structural beams, the architectural tour de force embodies the
kinetic energy which makes the slides and other playground
elements in comparison look totally static. ¶ This triangulated
composition with its clear and readable plan was compared
with a crystalline structure of non-organic matter (A.
Pasinović). Yet the fusion of the building with the land and its
cellular fragmentation points to a complete marriage between
postiže izuzetno dinamična kompozicija u kojoj prodor svjetla
potpuno dekonstruira osnovni volumen. Smicanjem četiri
jedinice, njihovim preklapanjem i spajanjem konstruktivnim
štapovima dobiva se arhitektonski tour de force izvanredne
kinetičke energije prema kojoj tobogani i ostali rekviziti za
dječje tjelesne aktivnosti izgledaju statično. ¶ Ta je triangu­
lirana kompozicija, vjerojatno pod dojmom čitkoga i defini­
ranog tlocrta uspoređena s kristaličnom strukturom anor­
ganske tvari. (A. Pasinović), no stopljenost volumena zgrade
s terenom ispred i iza nje te njena stanična raščlanjenost uka­
zuju na potpunu fuziju prirode i arhitekture, na organičku
povezanost koja ide povrh konceptualnog ishodišta i postaje
cilj. Uočavamo kopernikanski obrat koji projektom na Miha­
ljevcu doživljava i sam arhitekt nakon prototipa vrtića iz 1962.
godine, a koji je poslije kroz nekoliko iteracija i realiziran u
nekoliko vrtićkih zgrada u Zagrebu. Taj je tlocrt, a namjerno
ne govorimo o projektu u cjelini, do savršenstva razradio
funkcionalni ustroj ustanove za odgoj djece. U perfektnom
pravokutniku formirana je dinamična kompozicija prostora,
od glave repatice sa zajedničkim prostorima, središnjom osi
hodnika na koji su poput kralježnice simetrično postavljene
četiri jedinice koje se izmjenjuju s vanjskim dvorištima. A sve
unutar savršenog pravokutnika idealnih proporcija. ¶ U vrtiću
na Mihaljevcu kristalna čistoća idealne forme oživljava i
postaje organizam. Arhitektura zapravo postaje plemka kojom
se pejzaž cijepi da bi mu se poput kakve voćke poboljšala
svojstva, odnosno da bi se stvorila savršena harmonija čovjeka
i prirode. To se cijepljenje krajobraza arhitekturom i obrnuto
ističe naročito u dva unutrašnja dvorišta glavnog volumena
koja su umetnuta kako bi unijela svjetlo i zrak u prostrane
tlocrtne plohe, ali i usadila citate prirodnog okoliša u samo
tkivo zgrade. Upravo se u tom trenutku, izlaskom na proplanak
s jaslicama otvara pogled na vijenac vrtićkih jedinica i otkriva
nova vrsta hibridnog krajobraza u kojem se gubi granica
između prirodnog i umjetnog. ¶ Od ikoničkog projekta
kazališta u Zenici s arhitektom Turinom, pa do recentnijih
Magaševih sakralnih građevina, trokut figurira kao gotovo
mistična sveznačenjska ploha čijom se manipulacijom u
prostoru i slijedeći precizna pravila geometrije traži savršeni
konstrukt s mnoštvom značenja i asocijacija. No to je i lik
kojim se s najmanje oplošja može graditi ravninski, s
jednostavnom oplatom, a da se pritom dostigne kompleksna
trodimenzionalnost i najsloženijih volumena. Takav pristup
formiranju prostora zapravo je bliži geometrijskim operacijama
geodezije ili pak astronomske navigacije. Pojam triangulacije
još je aktualniji danas jer je geometrijska triangulacija temelj
digitalnih algoritama kojima se postiže crtanje odnosno
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Boris Magaš, Vrtić i jaslice
architecture and landscape in an organic sense that reaches
beyond the conceptual origins and becomes an aim in itself.
Here we witness a Copernican reversal by the architect himself.
In 1962 Magaš designed a prototype for a kindergarten which
was later used as the background for a series of buildings in
Zagreb. The floor plan brought about a perfectly worked out
system of functional requirements for such an institution. It
was wrapped in a perfect rectangle with a dynamic inner com­
po­sition of spaces that, like a comet and its tail, arrayed the
main public spaces, the central spine and the units alter­nating
with open porches. The proportions of the space appeared
close to ideal. ¶ In the Mihaljevac kindergarten the crystal
purity of an ideal form is awakened and becomes an organism.
As if architecture is seen as a graft by which a given landscape
is grafted like a fruit tree in order to improve its qualities. It
enables a prefect union of man and nature. The grafting of
landscape by architecture and vice versa is particularly seen
in the building’s two inner courtyards which are inserted, like
any other atrium for that matter, in order to provide light and
air to the wide floor spaces, but also to insert direct quotations
of the surroundings into the very tissue of the building. It is
precisely at this sequence, as we exit from the building onto
the man-made hill of the nursery units, that we experience
the roofs of the units below, a new sort of landscape that blurs
the distinction between the natural and artificial. ¶ From the
iconic theatre project in Zenica in collaboration with Vladimir
Turina, to the more recent religious buildings by Boris Magaš,
the triangle figures as an almost mystical universal shape
conducive to a whole range of spatial manipulations following
the rules of geometry and enabling us to search for a perfect
construct with multiple meanings and associations. At its core
however we can build the most complex forms with this shape
with the least amount of area and the simplest of formwork
and building technique. The underlying method of spacemaking is closer to geometric operations of surveying or even
astral navigation. The notion of triangulation is as relevant as
ever as it is at the core of the digital algorithms we use to
render or even physically construct spatial models of the
highest complexity, such as the hyper-realistic delineations
of a human face in a movie by Pixar Studios. With only a ruler,
triangle and ink, Magaš anticipates all the hidden calculations
at work in a processor used for close simulations of biological
and geological formations and understanding the genesis of
life forms that are used to invent a new architectural space or
ways of fabrication and building. We can clearly recognize the
seeds of complex organic forms and digital morphogenesis
practices by contemporary avant-garde architects, helped in
Boris Magaš, Kindergarten and nursery
147
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148
građenje prostornih modela i najsloženijih formi poput,
recimo, hiper-realističnoga ljudskog lica u filmskim studijima
Pixara. Magašev projekt ravnalom, trokutom i tušem anticipira
sve skrivene kalkulacije koje se događaju u računalu da bi se
stvorila što vjerodostojnija slika i geoloških i bioloških konfi­
guracija, te iskoristila njihova geneza kao izvor arhitekture ili
pak pokušaj novih metoda građenja manipulacijom nemjer­
ljive količine parametara. U ovom projektu pre­poz­naje­mo
klice kompleksnih organičkih oblika i digitalne morfogeneze
kojom se bave avangardni suvremeni arhitekti koristeći sve
moćnije računalne alatke i sve kompleksnije algoritme, kojima
their practice by the ever more potent computing tools and
ever more complicated algorithms. In the kindergarten project
Magaš clearly anticipates the mission of future architecture
to achieve symbiotic unity with nature and some of the
metaphors that will emerge much later than the time of his
project. ¶ In the social context that brought about such an
inspiring work of architecture, we could argue that the
kindergarten expresses the humanistic values of socialist
society, which is true to an extent. This line of analysis is quite
prevalent in the recent interpretations of the Croatian
architecture of the second half of the 20th century. This
se pomažu pri tvorbi arhitektonskog prostora. Magaš ovdje
anticipira – i rukom crta – poslanstvo arhitekture u simbio­
tičkoj vezi s prirodom i neke metafore koje će se pojaviti dugo
nakon nastanka ovog projekta. ¶ U kontekstu društvenih uvje­
ta koji su potaknuli jednu ovako nadahnutu arhitekturu, moglo
bi se reći da je zgrada vrtića izraz humanističkog htijenja so­
cijalističkog društva, što je zasigurno i točno. Ta je kritička
linija dosta česta u recentnoj interpretaciji hrvatske arhitekture
druge polovice 20. stoljeća, jer se lako može plasirati na tržište
arhitektonskih premišljanja upravo zbog medijski atraktivnog
sraza jasno definiranih, gotovo vizionarskih ideala i nemo­guć­
critical platform is easily promoted in the recent marketplace
of architectural criticism as it clearly points to the gap between
visionary ideals and the failure to realize them. However, since
the socialist model has failed, this type of criticism implicitly
acknowledges a certain inferiority complex of so-called
socialist culture in comparison to the winning capitalist
culture. It is precisely the entire work of architect Boris Magaš,
and more pointedly this project, that proves that architecture
cannot be simply equated with a singular world view, but that
it strives towards the universal and idealistic. ¶ That is always
a personal quest. In his search for a cosmic order Magaš always
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nosti da se oni i ostvare. Taj je pristup, budući da je socijalistički
model propao, zapravo određeno priznanje inferiornosti odre­
đene kulture u odnosu na onu pobjedničku kulturu kapitalizma.
Upravo je Magaševo djelo u cjelini, a naročito ovaj projekt
dokaz da arhitektura ne može biti isključivo povezana sa sin­
gularnim svjetonazorom, već da uvijek teži univerzalnom i
idealnom. ¶ A to je nadasve osobni put. Magaš u svojem tra­
ženju kozmičkog reda uvijek glasno afirmira svoj vlastit rad
unutar korpusa hrvatske arhitekture, no, paradoksalno, poruka
je njegovih djela da taj univerzalni red može pronaći jedino
sam pojedinac koji preuzima kôd svoje kulture da bi ga sub­
vertirao, preokrenuo naglavačke kako bi mu proširio značenje
i u svom mediju, arhitekturi, kreirao novo znanje. Djelujući
kao solo arhitekt u masovnom društvu ili pak u globalnom
svijetu današnjice — u kojem je pak njegov splitski stadion
još jedna od anticipacija — on ne robuje ni ograničenjima
tehnologije građenja ni alatkama arhitektonske produkcije,
već mukotrpno vježba svoje vještine kako bi proširio znanje o
apsolutnim vrijednostima. ¶ Ne pokušavamo definirati ovo
loudly affirms his own work within the context of Croatian
contemporary architecture, but he also demonstrates that the
universal order of things can only be found on one’s own, as
an individual who takes away from his or her culture only to
subvert it, to turn it upside down in order to widen its meaning
and to create a new pool of knowledge in one’s own medium.
By acting as a solo architect in a mass society, or by acting in
the global world, in which his stadium project is accepted as
a reference point, he does not succumb to the limitations of
construction technology or the means of architectural pro­
duction but steadily practises his craft with the goal of wide­
ning knowledge of the absolutes. ¶ Our aim is not to define
this particular work of architecture within the frame­work of
an organic classicism or some other possible label or to judge
this building as the ultimate pedagogical apparatus to educate
children and guide their process of cognition. We point to
some issues of the building’s form and phenomenology and
see it as a rigorous search for the universal values of space and
geometry as a timeless and the highest form of humanism.
djelo u okvirima nekakvoga organičkog klasicizma ili neke
takve naljepnice, niti kritički promatrati ovu kuću kao ulti­
mativnu odgojnu alatku s metaforičkom, ali i fizičkom kva­
litetom prostora koji educira dječju spoznaju svijeta kroz arhi­
tekturu. Ukazivanje na neke formalne i fenomenološke aspekte
ovog projekta u kontekstu rigorozne potrage za univerzalnim
vrijednostima geometrije bitka pronalazimo kod profesora
Magaša kao bezvremenski i najviši oblik humanizma. Činjenica
je da je glavni rezultat takvih napora, odnosno isključivi no­
sitelj univerzalnog reda ne neko božansko stvorenje, već čov­
jek sam. Štoviše, u ovom primjeru stroge i egzaltirane, hibridne
ali čiste arhitekture to je čovjek u svojoj najčišćoj manifestaciji:
dijete. ¶ I zasigurno će u sljedećih trideset godina neki dječak
ili djevojčica postati arhitekt i iščitati ovaj vrtić s novim setom
parametara subatomskog ili pak koz­mo­loškog mjerila. I opet
se vratiti na početak.
The ultimate beneficiary of this search is definitely not some
divine being but the human being proper, moreover the hu­
man in its purest form, the child. ¶ We can rest assured that
in the next thirty years some boy or a girl will become an
architect and read into this building a new set of parameters
in the scale of either subatomic particles or cosmological
events, or in between and thus return back to origins.
(wt)
oris, broj 72, godina 2011
oris, number 72, year 2011
Boris Magaš, Vrtić i jaslice
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