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22 novembra, 2022

Vidic Grohar arhitekti: Svet ljudi in svet stvari

Arhitekturni biro Vidic Grohar arhitekti sta leta 2016 ustanovila Anja Vidic in Jure Grohar, prej tesna sodelavca na Fakulteti za arhitekturo v Ljubljani. Biro se loteva različnih projektov, od zasnove pohištva, do prenov industrijskih stavb, v kratkem pa se obeta tudi realizacija prvih enodružinskih hiš. Kljub svojemu relativno kratkemu obstoju je biro začrtal jasen arhitekturni pristop, ki ga potrjuje skozi vse še tako različne projekte – in ki ga je hkrati težko definirati, saj nima izrazitega avtorskega sloga, na katerega bi se lahko oprli. Prav odsotnost slednjega pa je v resnici modus operandi biroja – Vidic Grohar arhitekti s kritičnim pristopom rešujejo specifične prostorske zagate. 

Primer specifičnega pristopa je projekt prenove dela hale v pisarne podjetja Alterna, ki ga je biro realiziral konec leta 2021. Obstoječa situacija tlorisa v obliki črke C je predstavljala poseben izziv razporeditvi programa, ki je obsegal oceanske pisarne, nekaj zasebnih pisarn in skupni prostor za druženje. Arhitekti so prvi tip pisarn umestili v eno in drugi tip pisarn v drugo krilo, obe krili pa povezuje skupni prostor za druženje. Prostorsko organizacijo artikulirajo novi stebri, ki so dimenzijsko identični že obstoječim nosilnim stebrom in ki smiselno nadaljujejo njihov raster z namenom prilagoditve obstoječega prostora novemu programu.

Poleg programske reorganizacije je bilo osrednje vprašanje prenove, kako nekdanjo industrijsko halo približati merilu človeka, ne da bi to vodilo v brisanje njene prvinske surovosti, na kar so arhitekti odgovorili s prostorsko-materialnim konceptom, ki vzpostavlja dva med seboj očitno različna prostora v enem. Meja med obema je začrtana na horizontu višine obodnih nosilnih sten 2.30 m; ta meja vzpostavlja dva »svetova«; pod omenjeno višino je haptičnen in izkustven prostor z raznolikimi teksturami, detajli in materiali, kot so valovito steklo, siv grobi omet, oljen les in siv epoksi. Nad omenjeno višino pa je prostor z obstoječimi in novimi vidnimi inštalacijami obravnavan ravno obratno, kot abstrakten in nematerialen. Če je v prvem primeru uporabljen »zoom in« v vsak detajl in obdelavo materiala, je v drugem uporabjen »zoom out«, nekakšno namensko brisanje detajlov, saj specifik posameznih elementov ne zaznavamo več – zaradi poenostavitve in poenotenja postane ostrešje nova celota. Do višine 2.30 m je prostor torej grajen in na novo ustvarjen, nad 2.30 m pa je obstoječi surovi prostor industrijske hale z minimalno intervencijo zgolj usmerjen. Do 2.30 m je prilagojen merilu človeka in zaznamovan kot svet njegove neposredne in intenzivne interakcije z realnostjo; vse, kar je nad tem, pa zgolj omogoča nemoteno delovanje sveta spodaj. Delitev na zgoraj in spodaj pa je tudi humorno simbolna, saj spominja na najstarejšo arhetipsko delitev na tuzemstvo in onostranstvo, le da tukaj ne razlikujemo več med posvetnim in profanim, pač pa med profanim svetom ljudi in (še bolj) profanim svetom stvari.

Arhitektom je s konceptualno razčlenitvijo dela industrijske dvorane na dva prostora konkretno situacijo uspelo razrešiti brez zatekanja k ekscentričnemu izgledu ali velikim zgodbam. 

Besedilo: Eva Gusel
Foto: Ana Skobe, Anja Vidic 

 

Vsebine, ki jih objavljamo na spletu, so drugačne od vsebin v tiskani reviji. Revija in splet imata ločeni uredniški zasnovi. Z naročilom revije podprete oboje, spletne in tiskane vsebine, in omogočite Outsiderjevo ustvarjanje na različnih kanalih. 

Naročite se lahko v spletni trgovini ali pa nam pišite na: [email protected]

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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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