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Arhitektura
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29 junija, 2018

Instagramski iluzionizem

Zasnova letošnjega paviljona Serpentine v Londonu je bila zaupana mehiški arhitektki in umetnici Fridi Escobedo. Avtorica pred štirinajstimi dnevi odprte arhitekture v Hyde Parku je tako komaj tretja ženska med devetnajstimi posamezniki in kolektivi, ki jih je od leta 2000 naprej doletela čast postaviti začasni paviljon na eni najprestižnejših lokacij britanske prestolnice. Namen paviljona Serpentine je hvalevreden: omogočiti vrhunskim arhitektom in oblikovalcem, da svojo prvo realizacijo v Združenem Kraljestvu zasnujejo neobremenjeni z namenom in funkcijo. Če je paviljon že vsaj dve stoletji eksperimentalni objekt arhitekture, kjer lahko bolj sproščeno kot sicer premikamo meje dovoljenega, je paviljon v kontekstu nepremičninsko obsednega mesta, kot je London, še toliko bolj nepogrešljiv.

Pred letom dni sem pisal o prvem paviljonu Serpentine, ki ga je zasnoval afriški arhitekt: Francis Kéré. Tudi letošnji z žensko avtorico iz Mehike nadaljuje nekoliko bolj progresivno in pluralistično naravnano politiko vodstva galerije Serpentine; še ne tako dolgo so bili namreč avtorji paviljonov predvsem največja imena: Zaha Hadid, Peter Zumthor, Daniel Liebesking, Oscar Niemayer, Frank Gehry in Jean Nouvel. Zdaj postajajo povabljenci v resnici mlajši (Frida Escobedo je stara osemintrideset let) in vsaj v evropskem kontekstu manj znani ustvarjalci. Paviljon Serpentine je zaradi svoje kulturne in geografske umeščenosti sicer še vedno obsojen na nekakšno vlogo izjeme, namenjene predvsem občudovanju in fotografiranju določenega kulturno privilegiranega sloja prebivalcev in obiskovalcev Londona, vendar pa zdaj zares vnaša tudi glasove oblikovalcev onkraj najbolj samoumevnega evropocentričnega horizonta.

To pa ni edina podobnost letošnjega paviljona z lanskim. Pravzaprav gre za precej sorodni strukturi: za bolj ali manj introvertirani kompoziciji, ki se od parka jasno omejujeta s perforiranimi, iz majhnih segmentov sestavljenimi stenami – v Kéréjevem paviljonu je šlo za lesene, modero pobarvane elemente, letos pa so stene zgrajene iz na jeklenem ogrodju obešenih betonskih strešnikov. Nonšalanca »sten iz strehe« postane sicer malo manj radikalna, ko opazimo, da ne gre za serijsko proizvedene in navrtane strešnike, ampak za posebej naročene in vlite elemente (skupaj s perforacijami), ki samo sledijo formi strešnikov. V obeh primerih so stene fotogenične rastrske strukture, arhitekturni pajčolani, ki prepuščajo piš vetra, obenem pa ustvarjajo raznolike politike pogledov v notranjost in ven. Tudi sodobni paviljon v parku ne more zanikati svojih daljnih prednikov, rokokojskih vrtnih hišic, namenjenih spogledovanju in ljubimkanju.

Tudi zasnova notranjosti z odprtim atrijem in ostalim, senčnim in pokritim zbirališčem, je sorodna lanskemu paviljonu. Vendar pa je letos vodilni motiv notranjosti iluzionizem. Strop je prekrit z refleksivno pločevino, ki zrcali in obenem izkrivlja oblike oblakov nad in figure obiskovalcev pod sabo. V svojih najboljših trenutkih ambient v notranjosti postane baročno bogat preplet senc in podob, ki iz dokaj preproste prostorske zasnove ustvari dovolj kompleksno prostorsko-vizualno doživetje; včasih pa se obiskovalcu kljub vsemu zazdi, da so zrcala na stropu bolj kot obiskovalcem namenjena kameram na telefonu in predvsem dovolj izčiščenim fotografijam na tisočih instagram računih mednarodne oblikovalsko osveščene javnosti. Treba je tudi povedati, da je bil Kéréjev paviljon precej bolj uspešen pri zadržanju, posedanju in poležavanju ljudi, ki so si ga prišli ogledat; letos je morda zaradi načina izvedbe tal in zaradi temnejšega kolorita večina obiskovalcev stoječih in se v paviljonu ne zadrži dalj kot nekaj minut. Očitno se celo v dobi selfijev ljudje še vedno naveličajo ogledovanja lastnih odsevov.

Napisal: Miloš Kosec

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Revija Outsider je prejela Plečnikovo medaljo za prispevek k bogatitvi arhitekturne kulture. Kot piše v utemeljitvi, sta revija in spletni portal Outsider nov slovenski medij o kulturi in družbi, ki si prizadeva za poznavalski in hkrati distanciran pogled na prostor. Ekipa arhitektov, ki skrbi za njen obstoj, je nagrajena za inovativnost pri širjenju zavedanja o arhitekturi in prostoru v kontekstu širše kulture in širše javnosti ter za vztrajnost na vsebinski in finančni neodvisnosti.

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