Revija Outsider je v sodelovanju s Centrom za kreativnost, pri Muzeju za arhitekturo in oblikovanje, razpisala Natečaj Hiša iz zemlje. Do razpisanega roka 30.3.2021 smo prejeli 469 elaboratov. Strokovna žirija, ki so jo sestavljali Tina Gregorič, Maruša Zorec, Matevž Granda, Miloš Kosec, Srđan Nađ in Rok Žnidaršič, je med njimi izbrala 15 finalistov. Nagrajenci (3) in prejemniki priznanj (3) so bili zaradi visoke kakovosti in raznolikosti del izbrani v dveh zasedanjih žirije, 10. maja in 2. junija 2021.

Namen natečaja je bil pridobiti inovativno zasnovo minimalne bivalne enote na vnaprej določeni lokaciji v jugozahodni Sloveniji. Pogoj je bila predvidena uporaba tehnike gradnje z butano zemljo. Izbrani projekt bomo v naslednjih mesecih pripravili za izvedbo in ga prihodnje leto tudi zgradili. Gradnja bo potekala s participativnimi delavnicami. S tem želimo preizkusiti tehniko gradnje z butano zemljo, preveriti zakonske okvire za takšno gradnjo in omogočiti izkušnjo bivanja v objektu skozi vse letne čase in v različnih vremenskih pogojih. Preučili bi radi princip gradnje z vidika monomaterialnosti.

Verjamemo, da je zemlja material prihodnosti, in ga želimo kot ekološko, prostorsko in arhitekturno trajnostno alternativo uveljaviti v našem prostoru.

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Outsider magazine, working in collaboration with the Center for Creativity, at the Museum of Architecture and Design, organized the Rammed Earth House competition, which by the March 30, 2021 submission deadline had received 469 entries. The expert jury, consisting of Tina Gregorič, Maruša Zorec, Matevž Granda, Miloš Kosec, Srđan Nađ and Rok Žnidaršič, selected 15 finalists. The winners (3) and the awarded honourable mentions (3) were selected in two jury meetings on 10 May and 2 June 2021 for their high quality and variety of works.

The purpose of the competition was to obtain an innovative design of a minimum living unit at a predetermined location in southwest Slovenia. The required criterion was the use of a rammed earth construction technique. The selected project will be prepared for implementation in the coming months and be built next year. Construction will take place through participatory workshops. With this we want to test the technical construction with rammed earth, review the legal framework for such construction and provide the experience of living in the building throughout the seasons in different weather conditions. We would like to examine the principles of construction from the point of view of monomateriality.

We believe that earth is the material of the future, and want to establish it as a sustainable, ecological, spatial and architectural alternative in our space.

PQGLYN: Arif Rachman Hidayat, Adhietya Orlandho Putra Sunarmo, Ctagas Firas Silmi – Suato Dio
Umestitev hiše sledi miesovskemu konceptu mimobežnih sten, ki hišo vpnejo v gozdni kontekst. Bivalni volumen s poglobitvijo kaže na svojevrstno metaforo koncepta gradnje iz zemlje, bivanje v hiši pa odpira poglede na nivo gozdnega podrastja. Žirija izpostavlja za gradnjo iz zemlje manj primerno zasnovo, ki ne izrablja osnovnih konstrukcijskih in sporočilnih prednosti materiala, ter negospodarno količino steklenih površin.

The location of the house follows the Mies concept of passing walls, which embed the house in a forest context. The main volume that deepens into the ground points to a unique metaphor of the concept of constructing with earth, and living in the house opens up views of the level of forest undergrowth. However, the jury notes a less suitable design for construction from earth, which does not take advantage of the basic construction and communication advantages of the material, and the use of too much glass surfaces.

XPM332: Wenze Chen – DOKIDO Studio
Objekt daje vtis monolita, v katerega je izdolben bivalni volumen. Zanimiv je z vidika sporočilnosti gradnje iz zemlje, s katero lahko oblikujemo drugačen tip ambientov kot z drugimi gradbenimi materiali. Po drugi strani pa potencial izrabe debeline sten, razlike med notranjo in zunanjo konturo hiše ter predvsem višinska razgibanost notranjega volumna ostajajo neizkoriščene priložnosti. Rezultat je introvertirana hiša-zatočišče, ki se slabo navezuje na okolico.

The building gives the impression of a monolith, in which the living volume is hollowed out. Especially interesting is looking at it through communicating the idea of building with earth, with which we can create a distinctive type of ambience that is not possible with other building materials. On the other hand, the potential of using the proposed wall thicknesses, differences between the interior and exterior of the house and, above all, the height variability of the internal volume, represent lost opportunities. The result is an introverted house-refuge that connects poorly to its surroundings.

HYSNDF: Vito Distante, Tommaso Mandorino, Antonio Gabriele Trifone – JDA
Objekt deluje bolj kot samozadosten monolit, ne toliko kot hiša. Tlorisno je projekt razgiban in ambientalno zanimiv. Po drugi strani hiša tako v zasnovi kot v obdelavi sten in interierja kaže na pomanjkanje stika z okolico in na premalo dosledno izpeljavo nekaterih nakazanih idej (nagnjena streha, tehnološke rešitve). Žirija se je kritično opredelila do generičnega interierja in oblog v notranjosti. Osnovni konstrukcijski princip hiše – gradnja iz butane zemlje – se tako v notranjosti premalo odraža.

The building acts more like a self-sufficient monolith than a house. The floor plan of the project is diverse and interesting in its ambience. On the other hand, the house lacks contact with the surroundings, as reflected in the wall finish and interior design and, at times, the insufficiently consistent implementation of the indicated ideas (sloping roof, construction details). The jury was also critical of the (too) generic interior. The basic construction principle of the house – the rammed earth technique – is thus insufficiently reflected in the interior.

L3VBVG: Maximilian Hartinger – Maximilian Hartinger Architekt
Elaborat svoj koncept gradi na obokih kot konstrukcijskem principu. Oblikovno (ne pa vedno tudi konstrukcijsko logično) neposredno nagovarja tehnologijo gradnje iz zemlje. Pozitivno je, da projekt kot del konstrukcije obravnava tudi notranjo opremo. Arhitekturno je zanimiv in razgiban, z gradnjo v višino pa se odzove na horizontale in vertikale gozdnega konteksta.

The proposal builds its concept on arches as a construction principle. In terms of design, but not always in terms of construction and logic, it directly addresses the technology of construction from the ground. A positive aspect of the project is that it also addresses the interior as part of the construction. It is an architecturally interesting and diverse project, and by deciding to build it up in height it responds well to the horizontals and verticals of the forest context.

6QMDDS: Frans Meilholm Christiansen
Projekt je sestavljen iz dveh dvokapnih volumnov. Povezuje ju dimnik, ki je tudi simbolno središče in povezava obeh volumnov; izraža arhaično umestitev ognjišča kot elementa, ki pomeni središče hiše. Konceptualno preigrava motive prehajanja med zunanjostjo in notranjostjo. Projekt nakazuje premišljen konstrukcijski in oblikovni sistem, ki kombinira lesene nosilce in uporabljeno zemljo. Žirija pa ugotavlja, da je osrednja vloga dimnika nedosledno izvedena oziroma zabrisana, zaradi česar je zasnova hiše kljub dobri ideji in odlični predstavitvi manj celostna in sveža, kot bi lahko bila.

The project consists of two gable-roof volumes. They are connected by a chimney, which is also the symbolic centre and link of the two volumes; it expresses the archaic placement of the fireplace as an element that represents the centre of the house. Conceptually, it entertains the motifs of the transition between the exterior and the interior. The project suggests a well-thought-out construction and design system that combines wooden beams and used earth. However, the jury finds that the central role of the chimney is inconsistently performed, which makes the design of the house, despite possessing a good idea and an excellent presentation, less rounded and innovative than it could be.

JXDCET: Matteo Meschiari, Alessandro Fontanella
Gre za idejo vkopane hiše, ki sloni na štirih masivnih vogalih, na katerih počiva lesena plošča – streha. S poglobitvijo je zmanjšana zunanja pojavnost hiše. Bivalni prostor je umeščen med manjše servisne volumne v vogalih, ki pa kljub svoji preprosti zasnovi ne izrabljajo volumenskih in ambientalnih možnosti gradnje iz zemlje. Projekt je dobro predstavljen in kljub nekaterim nedoslednostim in morebitnim praktičnim problemom deluje senzibilno.

It represents the idea of a dug-in house, that rests on four massive corners, on which leans a wooden panel – the roof. By deepening the volume into the ground, the external appearance of the house is visibly reduced. The living space is located among the smaller service volumes in the corners, which, despite their simple design, do not make use of the volume and ambient possibilities of construction from the ground. The project is well-presented and, despite some inconsistencies and possible practical problems, it works as a sensible piece of architecture.

CEVXWQ: Maximillian Nowotka, Maria Betina Rincón
Hiša je zasnovana kot kompozicija treh majhnih razgibanih volumnov, ki z medsebojnimi razmerji oblikujejo ambientalno zanimive notranje in zunanje prostore. Zasnova se igra s prehajanji med različnimi ravnmi odprtosti in osvetljenosti. Celota je z različnimi volumni in strešinami razgibana in dosledno dodelana. Trije sestavni deli delujejo kot celota, ki pa obenem sledi logiki gradnje domačije v bližini. Opomba žirije je, da je zasnova razsrediščena in da je bivalni prostor premalo osmišljen. Odsotnosti središča konkurira dobra dodelava posameznih ambientov, ki pa so mestoma preveč introvertirani oziroma ne izkoriščajo možnosti odpiranja v okolico.

The house is designed as a composition of three small, varied volumes. The interactive relations among them form an interesting spatial ambience in both interior and exterior spaces. The design plays with transitions between different levels of openness and lighting. The entirety is nicely diverse and consistently concluded with the differentiation amid volumes and roofs. The three components work as a finish entirety, but also address the present logic of the farm next to the location. However, the jury also notes that the design is fragmented in parts, and that the living space is insufficiently designed. The lack of a core competes with the good finishing of individual ambiences, which in some places are too introverted or do not take advantage of the possibility of opening up to the surroundings.

4RGQ3Z: Tjaša Tušar
Hiša je zanimiva zaradi svoje na prvi pogled neambiciozne pojavnosti, ki spominja na kmečko lopo ali prizidek. V notranjosti pa je v preprostem volumnu ustvarjen relativno kompleksen in oblikovno zanimiv splet ambientov. Zanimiva je spalna podstreha, ki se konstrukcijsko in oblikovno zgleduje po bližnji Jugovčevi strehi. Po drugi strani pa zanimivi sestavni deli ne oblikujejo dovolj prepričljive in suverene celote. To se odraža tudi v tlorisu, ki je v primerjavi s prerezom manj domišljen in potencialov gradnje iz zemlje ne izrablja v zadostni meri.

The house is interesting because of its seemingly unambitious appearance, reminiscent of a peasant shed or extension. Inside, a relatively complex and interesting set of ambiences is created in a simple volume. The bedroom attic is interesting – the inspiration comes from the construction and design, seen in the nearby Floating Roof by Oton Jugovec. On the other hand, interesting components do not form a sufficiently convincing and sovereign whole. This is also reflected in the floor plan, which is less imaginative compared to the cross-section and does not use the potential of construction from the ground to a sufficient extent.

9F2SBD: Andy Megard, Jill Ries
Projekt je sestavljen iz ločenih volumnov, ki združeno pripovedujejo zgodbo o vnaprej zastavljenem konceptu. Štiri točkovne enote puščajo prostor za premislek o tem, kako posegamo v prostor. Na prvi pogled preprosta in naključna umestitev štirih volumnov izdaja skrbno in premišljeno kompozicijo, ki ustvarja bogastvo pogledov, prehodov in zunanjih bivalnih ambientov. Razmerja medsebojnih odnosov so dodelana, arhitekturno je projekt dosleden in premišljen. Umestitev in merilo zasnove kažeta tudi na zrelo navezavo na bližnji kompleks kmetije. Zasnova poleg horizontalnega gibanja skozi kompleks razmislek namenja tudi vertikalnemu. Štirje volumni imajo jasno določene funkcije, ki spominjajo na bolj arhaične oblike bivanja na podeželju, hkrati pa oblikujejo nov model bivanja, pri katerem je razlika med zunaj in znotraj manj pomembna. Hiša postaja splet notranjih in zunanjih prostorov. Takšen kompleks predstavlja privlačen model sodobnega življenja, ki ni nostalgična vrnitev v preteklost, ampak v prihodnost usmerjena reinvencija.
Pomembna prednost projekta je, da omogoča participativno gradnjo, ki se lahko izvede fazno. Štirje volumni ponujajo možnost eksperimenta in variacij v tehnikah gradnje. Takšna hiša lahko postane model sodelovanja, preizkušanja in bivanja že v času gradnje.

The project consists of separate volumes that together tell the story of a preconceived concept. The four point units leave room for reflection on how we encroach on space. At first glance there is a simple and seemingly random placement of the four volumes, but a second look shows a careful and considered composition that creates a gorgeous set of views, passages and outdoor living ambiences. The relationships among the spatial relations are refined. Architecturally the project is consistent and thoughtful. The location and criterion of the design also indicate a mature connection to the nearby farm complex. The design is one of those that, in addition to horizontal movement through the complex, also gives consideration to vertical living. The four volumes have clearly defined functions, reminiscent of more archaic forms of living in the countryside, while at the same time creating a new model of living in which the difference between outside and inside is less important. The house thus becomes a web of indoor and outdoor spaces. Such a complex represents an attractive model of modern life, which is not a nostalgic return to the past, but a future-oriented reinvention.

An important advantage of the project is that it allows for participatory construction that can be carried out in phases. The four volumes offer the possibility of experimentation and variation in construction techniques. The house can thus become a model of cooperation, testing and living, even during construction.

XZ8G3: Rok Kuzman, Andraž Lorger, Ana Martinšek, Matevž Rožman
Objekt je sestavljen iz dveh vzporednih zidov, ki skrivata osnovne servise in funkcionalno opremo osrednjega bivalnega prostora. Elaborat izstopa po izdelanem premisleku o procesu gradnje in razgradnje hiše; od rojstva do razkroja. Preprosta zasnova bi bila lahko model tudi za kakšno drugo tehnologijo gradnje. Po drugi strani je vprašanje, ali je izčiščenost osrednjega volumna, predvsem pa njegova instantna berljivost, vidnost in izpostavljenost, projektu v prednost. Do skrajnosti racionaliziran in tehnično zgledno opremljen volumen se odpoveduje artikulaciji raznolikih, povezanih in vendar avtonomnih ambientov, ki so kljub vsemu še vedno pogoj za pluralno in prilagodljivo bivanje.

The building consists of two parallel walls, which hide the basic services and functional equipment of the central living space. The project stands out in considering the process of building and dismantling the house – from birth to decay. The simple design could also be a model for some other construction technology. On the other hand, the question remains as to whether the purity of the central volume, and above all its instant readability, visibility and exposure, is an advantage to the project. The extremely rationalized and technically exemplary volume abandons the articulation of diverse, connected and yet autonomous ambiences, which are still a condition for a diverse and flexible living environment.

6W9YXL: Constantino Da Pieve
Zasnova predstavlja neke vrste doživljajsko apoteozo materiala – zemlje, preračunano na posameznega obiskovalca. Ideja projekta je jasna, preprosta in v celoti dosledno izpeljana. Hiša je prostor meditacije sredi gozda, z izpraznjenim kontemplativnim središčem – atrijem. Programsko tako osmisli novo gradnjo poleg kmetije. Prisotna je odločna misel, da se v takšnem prostoru, s takšnim načinom gradnje, biva drugače kot v običajni hiši, in temu poudarku odločno sledi celoten koncept. Zbito zemljo uporabnik doživlja eksplicitno, v seriji ukrivljenih sten, ob skrbno premišljenem odmerjanju svetlobe in pogledov. Uporabnik se tu sreča z elementarnimi vprašanji – kaj so krivulja, ravnina, svetloba in pogled. Po drugi strani pa je kontemplativni značaj objekta v potencialnem nasprotju s kolektivno in bivalno sporočilnostjo natečaja. Kot kritiko žirija izpostavlja, da je streha v razmerju s konstrukcijo iz zemlje dominantna, tehnično zahtevna in – razen za obiskovalca, ki vstopi v stavbo – premalo berljiva. Je gradnja iz zemlje predvsem priložnost za oblikovanje kontrasta običajnemu bivanju ali pa pomeni novo, boljšo in bolj trajnostno izpeljavo bivanja za vse?

The design represents a kind of experiential apotheosis of the material, the earth, focused on an individual visitor. The idea of ​​the project is clear, simple and consistently implemented. The house is a meditation space in the middle of the forest with an empty, contemplative centre – the atrium. The program thus makes sense for a new construction next to the farm. There is a strong idea that in such a space, with such approach to building, one lives differently than in an ordinary house, and this emphasis is decisively followed in the whole concept. The user experiences the compacted earth explicitly in a series of curved walls, carefully thought-out light and views. Here the user encounters elementary questions – what are a curve, plane, light and view? On the other hand, the contemplative character of the building is in potential conflict with the collective and residential message of the competition. The jury points out that the roof is dominant, technically challenging and, except for the visitor entering the building, insufficiently readable in relation to the rammed earth construction. Is a building with earth primarily an opportunity to create a contrast to ordinary living, or does it represent a new, better and more sustainable derivation of living for all?

8DPKKH: Johann Evin
Oblikovanje volumna in njegovo odpiranje v naravo pomenita smiseln odgovor na izbrano materialnost gradbenega materiala. Lahkotnost in dimenzije strešine ustvarijo sodobno oblikovano zatočišče. Če je zunanja pojavnost hiše smiselna in fleksibilna, pa je notranjost manj dosledno oblikovana, predvsem pa premalo smelo zastavljena. Takšne nedoslednosti so predvsem tloris, ki ne izkorišča oblikovnih možnosti materiala gradnje, in notranji ambienti, ki ne odgovarjajo na zunanje pogoje (sledenje naklonu strešine).

The design of the volume and its opening into nature is a sensible answer to the chosen materiality of the building material. The lightness and dimensions of the roof represent a contemporary designed shelter. If the external appearance of the house is sensible and flexible, the interior is less consistently designed and, above all, not boldly set. Such inconsistencies are mainly seen in the floor plan, which does not take advantage of the design possibilities of the construction material, and the interior ambiences, which do not respond to external conditions (such as following the slope of the roof).

BZMLBN: Devin Dobrowolski – Somatic Collaborative
Projekt je v izhodišču preprost volumen, krit s strmo dvokapnico iz brun. Preprostost in elementarnost zunanjosti pa se ne nadaljujeta v notranjost, ki s svojo zasnovo prej spominja na standardni apartma kot pa na model trajnostnega življenja v prihodnosti. Elementarnost materialov in oblik, ki navduši od daleč, je za prebivalce hiše v veliki meri neizkoriščena.

The project is initially a simple volume, covered with a steep gable made of logs. The simplicity and rudimentary nature of the exterior, however, does not continue into the interior, which – in its design – is reminiscent more of a standard apartment than a model of sustainable living in the future. The elementary use of materials and shapes, which impresses from afar, is largely untapped for the inhabitants of the house.

XHBJ23: Monika Kobal, Zala Mrak, Isidora Stojkovska
Zasnova v polni meri izrablja volumenske, ambientalne in interpretativne možnosti, ki jih ponuja gradnja iz zemlje. Stavba odpira vprašanja negativa in pozitiva, introvertiranosti in ekstrovertiranosti, tlorisa in prereza. Po drugi strani pa je takšna »votlinska hiša« iluzija, saj pri tehniki butane zemlje ne gre za dolbenje, ampak za gradnjo v plasteh. Predvideni notranji volumni so tako vsaj deloma v nasprotju s konstrukcijskim principom. To asketski in izrazno močni, četudi pretirano introvertirani zasnovi jemlje izpovedno moč.

The design makes full use of the volumetric, ambient and interpretive possibilities offered by rammed earth construction. The building opens up questions of relations between negativity and positivity, introvertedness and extrovertedness, floor plan and cross-section. On the other hand, such a “cave house” is an illusion, because the technique of rammed earth is not about digging, but about building in layers. The projected internal volumes are thus at least partly contrary to the design principle. That said, this ascetic and expressively strong, albeit overly introverted, design takes on expressive power.

55SXKQ: Gašper Fabijan
Stavba je masivna in ekspresivna. Štirje okrepljeni vogali v polni meri izrabljajo interpretativne in strukturne možnosti gradnje iz zemlje. Rezultat so štiri vogalne enote različnih dimenzij in oblik, v katere so umeščene specifične in servisne funkcije bivanja, med njimi pa je velik, zastekljen osrednji bivalni prostor z zalivi, od koder so dostopne vogalne enote. Gre za zanimiv eksperiment, ki preizkuša »votlinaste volumne«. Glavni poudarek je v horizontalni ravnini, kar še poudarja enotna, na žalost pa premalo premišljena in nedosledno izvedena streha. Lesena konstrukcija, njena umestitev na podporne elemente in predvsem zunanja pojavnost ekspresivnemu pritličju jemljejo pomen in vpetost v občutljiv naravni prostor. V enotni pojavnosti hiše in problematični strehi se skriva tudi zagata, da je rezultat premalo prilagojen podeželski lokaciji in s svojimi razmerji bolj spominja na urbano vilo. Z drugačno rešitvijo uporabe in predvsem nadkritja skupnega povezovalnega prostora pa bi lahko celota, ki je tudi likovno in grafično zrelo predstavljena, oblikovala prepričljiv in prijeten model bivanja v naravi.

The building is massive and expressive. The four reinforced corners make full use of the interpretive and structural possibilities of construction from the ground. The result is four corner units of different dimensions and shapes, in which specific and service living functions are located, among them a central, large and glazed living space with bays, from where the corner units are accessible. It is an interesting experiment that tests the concept of “hollow volumes”. The main emphasis is on the horizontal plane, which is further emphasized by the uniform – but unfortunately also poorly thought-out and inconsistently executed – roof. The wooden construction, its placement on the supporting elements and, above all, the external appearance of the expressive ground floor take away its significance and integration into a sensitive natural space. In the uniform appearance of the house and the problematic roof also hides the conundrum that the result is insufficiently adapted to the rural location, and with its proportions is more reminiscent of an urban villa. With a different solution for the use and, above all, the roofing of a common connecting space, the entirety, which is also artistically and graphically maturely presented, could form a convincing and pleasant model of living in nature.

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