Product Description

ORIS 106 MAGAZINE FOR ARCHITECTURE AND CULTURE OF LIVING

Magazine for Architecture and Culture Oris has been continuously published since 1999 as a Croatian-English edition in bimonthly rhythm.

ORIS 106 MAGAZINE FOR ARCHITECTURE AND CULTURE OF LIVING

The focus of contents is survey of recent architectural practices. The magazine also covers events in the area of design, photography, and visual arts, as well as theory.
The editorial concept is based on promotion and valuing of architecture which represents cultural and social contribution; and the magazine, since its beginning, has been directed to authorial architecture and highly valued works with certain accent on the Middle European context.

Culture for All

While in the countries such as the Great Britain and the United States, the arts subjects are being pushed out of schools, and the budget plans propose cuts to the endowment of national agencies for arts and humanities, a string of recent architectural projects presented in this issue clearly show that art enriches cities and communities, encourages meetings and spurs exchanges, and finally, educates. One of the most stunning such examples must be Hamburg’s Elbphilharmonie. Hamburg coveted the transformation from a traditional city of commerce and culture to a contemporary 21st century one, whose music scene could be compared to that of Berlin, Munich and Dresden. He was given it in the form of a spectacular new philharmonics building by Herzog and de Meuron, the light tower of the city-in-progress1, situated in the famed port of Hamburg. By incorporating the existing former warehouse into the design, the architects did not negate Hamburg’s heritage, but rather made it the foundation upon which the new city will arise. The city of Taichung in Taiwan had a similar intention of building a recognisable cultural landmark as the basis for the development of art and the city itself, as well as fostering the local and national artists and troupes. The design of Toyo Ito won the competition for the national opera house, a more elaborate version of an ambitious, but unrealised project for the Forum of music, dance and visual culture in Ghent. A er nearly a decade of construction, this structurally highly complex, expressive and organic building was opened. Ito compared its fluid communication of exterior and interior spaces to the connection between the human body and nature. Close- ness to nature and conserving the memory are in the heart of a restrained, modest architecture of the Zinc mine museum by Peter Zumthor, one of the stops of the eighteen Norwegian National tourist routes. The programme was conceived to encourage tourism in the remote, pristine parts of Nor- way, and this museum is the second work by Zumthor along the route. In 2012 the Steilneset Memorial was opened, an homage to the witches executed in the 17th century in Vardø, on the coast of the Barents Sea. It is comprised of two structures, one of which houses the installation by Louise Bourgeois. The four buildings that make up the Zinc mine museum represent a reduced form of the structure, and their simple design, the industrial material and the location on the edge of a ravine recall the hardships of the miners and speak not only of the history of the place but of the national his- tory, whose important aspect would perhaps forever remain secret. A much more personal form of memory is implicit in this year’s Diébédo Francis Kéré’s Serpentine Gallery pavilion. Influenced by his birthplace, Kéré envisioned the pavilion as a tree, which in his village of Gando in Burkina Faso is a place of gathering and celebration, of contemplation and shelter. The colour blue of the sheath is the colour of the dress for special occasions, while the material and its working and carving evoke the silk weave. Intimacy, refinement and simplicity are characteristic of Tadao Ando’s architecture, whose extension of the Clark Art Institute in Williamstown, Massachussets equally inspires contemplation and peaceful enjoyment in a carefully curated art collection. Today’s imperative of sustainability was not disregarded: the rainwater for irrigation of the surrounding parks is collected from the roofs of the Taichung opera house, Serpentine pavilion and the Clark Institute; the geothermal wells under the Clark are used for powering, while the water from the river Elbe will be used for the cooling and heating system in the Elbphilharmonie. A common feature of these works of architecture is that they bring people together, invite them to spend time there and discover not only their beauty, but also what lies beneath. The entrance to the Elbphilharmonie plaza at the top of Kaispeicher, above which the glass structure with con- cert halls is mounted and which o fliers a magnificent view over the port and the entire city, is free of charge and open to all. The same goes for the Taichung opera house, while the Norwegian National tourist routes have uncovered an unknown landscape by way of thoughtful architecture. Six years ago, architectural critic Paul Goldberger recognised the birth of a new type of handmade building (…) created by technology, which can now be used not to make everything standardised, but to enhance architecture’s potential, and make buildings again more elaborate, more special, more emotionally engaging2. Such are the works revealed on the following pages. (written by Pia Sopta)

1 https://www.nytimes.com/2016/10/26/arts/music/elbphilharmonie-hamburg-new-musical-landmark.html?mcubz=0
2 https://www.theatlantic.com/national/archive/2011/03/a-conversation-with-paul-goldberger-architecture-critic/72501

CULTURE FOR ALL
PIA SOPTA
Pags: 19-22

COSMIC ARCHITECTURE
WRITTEN BY ALBERTO ALESSI
Pags: 23-30

SERGISON BATES ARCHITECTS
NOVARTIS WELCOME CENTRE AND O CE BUILDING, SHANGHAI, CHINA
WRITTEN BY ALEN ŽUNIĆ
Pags: 31-40

TOYO ITO & ASSOCIATES, ARCHITECTS
NATIONAL TAICHUNG THEATER, TAICHUNG, REPUBLIC OF CHINA
WRITTEN BY PIPPO CIORRA
Pags: 43-62

HERZOG & DE MEURON
ELBPHILHARMONIE HAMBURG, HAMBURG, GERMANY
WRITTEN BY DIETMAR STEINER
Pags: 63-84

TADAO ANDO
CLARK CENTER AND LUNDER CENTER, CLARK ART INSTITUTE, WILLIAMSTOWN, MASSACHUSE S, USA
WRITTEN BY MICHAEL WEBB
Pags: 85-98

PETER ZUMTHOR
ALLMANNAJUVET ZINC MINE MUSEUM, SAUDA, NORWAY
WRITTEN BY ALMA OFTEDAL
Pags: 99-110

STUDIO 3LHD
KARLOVAC FRESHWATER AQUARIUM AND RIVER MUSEUM, KARLOVAC, CROATIA
WRITTEN BY BORIS VIDAKOVIĆ
Pags: 111-122

DIÉBÉDO FRANCIS KÉRÉ
SERPENTINE GALLERY PAVILION 2017, LONDON, UNITED KINGDOM
WRITTEN BY MILOŠ KOSEC
Pags: 125-134

YEPÚN ASTRONOMICAL OBSERVATORY, LANALHUE LAKE, BÍO BÍO, CHILE
SUSANA HERRERA / FACTORIA
Pags: 135-138

ARHITEKTURA KRUŠEC
MULTIFUNCTIONAL SPORTS FACILITY AND NZS HEADQUARTERS, BRDO NEAR KRANJ, SLOVENIA
WRITTEN BY ALEŠ VODOPIVEC
Pags: 139-148

GISELA PODREKA
WEEKEND HOUSE, SILBA, CROATIA
WRITTEN BY IGOR PEDIŠIĆ
Pags: 149-160

WILLIAM J. R. CURTIS
THE POWER OF LE CORBUSIER
INTERVIEWED BY ALEŠ VODOPIVEC
Pags: 161-183

ANDRIJA MUTNJAKOVIĆ
ENGAGEMENT AS AN ASPECT OF PROFESSIONAL WORK
WRITTEN BY TAMARA BJAŽIĆ KLARIN
Pags: 184-198

SIMON MORASI PIPERČIĆ
DESIGNING A MULTIFACETED EXPERIENCE
WRITTEN BY BOJAN KRIŠTOFIĆ
Pags: 199-210

REI KAWAKUBO
BENEATH THE SURFACE
WRITTEN BY LEA VENE
Pags: 211-222

DAMIR BARTOL INDOŠ, TANJA VRVILO
BOIL AND RUSH
INTERVIEWED BY UNA BAUER
Pags: 223-242

DANKO STJEPANOVIĆ
A HORSE IN A GOLDEN CAGE
WRITTEN BY MIRA STANIĆ
Pags: 243-256

BIOGRAPHIES
Pags: 257-266