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Arhitektura,Razmislek
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15 oktobra, 2015

Petra Čeferin: Živa dela – 2. del

Preberite nadaljevanje besedila Petre Čeferin "Živa dela", ki je bilo objavljeno v prvi številki revije Outsider (7.5.2015).

Partenon Le Corbusiera zanima kot arhitekturno delo. Zanima ga tisto, zaradi česar ta tempelj, zgrajen pred dva tisoč leti, živi tukaj in zdaj kot nekaj za arhitekturo pomembnega. Prav zato, ker nam pove nekaj ključnega o arhitekturi za ta trenutek, ne moremo reči, da je preprosto standardni element stare Grčije. Ni zvedljiv na antični svet in njegove pogoje ter pravila. Prav tako ni zvedljiv na svet z začetka 20. stoletja, saj tudi v njem ostaja odprto, kaj od tistega, kar je v tem templju realizirano, je pravzaprav ključno za arhitekturo. Partenon je torej posebne vrste objekt. Ni zvedljiv na vsakokratni dani čas. V različnih časih in situacijah prekinja svojo časovno in situacijsko določenost. Prav kot takšen zanima Le Corbusiera: zanima ga kot živo delo, kot nekaj radikalno sodobnega. Ne zanima ga kot mojstrovina brez primere, kot nedosegljivi ideal. Zanima ga, kako bi bilo mogoče ta tempelj ponoviti tukaj in zdaj. S tem seveda ne misli, da je treba ponoviti formo Partenona, da je torej v 20. stoletju treba delati antične templje. Treba je ponoviti tisto, zaradi česar je Partenon živo delo, zaradi česar je nadčasovni in transsituacijski objekt.02

03

 

Prav na tak način vidi tudi avtomobil. Le Corbusiera fascinira moderna tehnologija, kot so moderna prevozna sredstva – parniki, letala, avtomobili. Avto je zanj vznemirljiv estetski objekt, zanimiv zaradi svoje izrazito moderne forme. Vendar to, kar Le Corbusiera zanima, ni sama moderna forma avtomobila. Zanima ga tisto, kar v tej formi živi in kar jo bo zato tudi preživelo. Le Corbusier v svoji knjigi poziva arhitekte, naj odprejo oči, da bodo videli, da je prišla nova doba, doba modernih izumov. A to, kar morajo videti, niso preprosto moderni izumi, kot je avtomobil, ampak tisto, kar jih dela moderne, nove. V avtomobilu morajo videti invencijo kot táko. Kar pomeni da morajo invencijo ponoviti in jo tudi prakticirati.

To je tisto, kar je skupno grškemu templju in avtomobilu, in zaradi česar sta tako eden kot drugi lahko zgled in opora za konstruiranje arhitekture moderne dobe: v obeh je uspela artikulacija tistega posebnega arhitekturnega trenutka, tistega še nekaj drugega, kar ni zvedljivo na dani svet, na njegove zakone in pravila, hkrati pa vendarle je v svetu, utelešeno tako v templju kot v avtomobilu. Oba produkta človeškega ustvarjanja sta primera invencije. In naloga arhitektov je, da ta trenutek invencije ponovijo, da invencijo prakticirajo tukaj in zdaj – invencijo, ki je utelešena v moderni formi industrijskega izdelka avtomobila, in invencijo, ki je utelešena v antični formi Partenona. Da torej naredijo svoje Partenone v formah moderne dobe.

04
05

Le Corbusier nam tako v svoji knjigi pokaže, kaj je tisto, za kar gre v praksi arhitekture. Gre za to, da skonstruiramo takšne objekte, ki pripadajo svojemu prostoru in času, a imajo prebojno moč Partenona. Zaradi prebojne moči zmorejo prekinjati vsakokratni dani čas in prostor, in nas spodbujati k razmišljanju. Tako še danes deluje Le Corbusierova knjiga, enako kot njegov projekt Dom-ino, ki ga na koncu knjige predstavi kot svoj arhitekturni odgovor na zahteve moderne dobe, kot novi Partenon. Prav tako pa delujejo tudi tisoči drugih uspešnih arhitekturnih del, stavbe, besedila, risbe, h katerim se vedno znova vračamo, ker smo našli v njih nekaj, kar je za arhitekturo ključno in kar je treba ponoviti tudi danes. Arhitekturni objekti so, kadar so uspešni, outsiderji. Outsiderji so, ker so transistuacijski in nadčasovni. Trdno zasidrani v svojem času in prostoru hkrati prebijajo vsakokratni čas in prostor, luknjajo svet. In tako na čisto svojstven način kažejo, da je vedno možen še drugačen svet, da dani svet ni že zadnji horizont možnega.

Naloga arhitekture kot outsiderja je, da nam s svojimi materialnimi produkti kaže svet kot nekaj spremenljivega, ker smo mi sami tisti, ki ga lahko spremenimo in tudi znamo spremeniti. To je tisti pomen besede outsider, ki je po mojem danes zanimiv – ne le za arhitekturo, ampak tudi za družbo v celoti.

06

 

Dr.Petra Čeferin

Iz prve številke revije Outsider. Naroči. 

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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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