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The Architecture of Empathy and Unity Arhitektura Empatije I Zajedništva

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The Architecture of Empathy and Unity Arhitektura Empatije I Zajedništva maruša zorec Arhitektura empatije i zajedništva maruša zorec The Architecture of Empathy and Unity razgovarali fotografije photographs by Arhiva Maruše Zorec / Maruša Zorec’s Archive (amz), interviewed by Matjaž Bolčina (mb), Tadej Bolta (tb), Matej Delak (md), Damjan Gale (dg), Janez Kališnik (jk), Miran Kambič (mk), Jože Suhadolnik (js), Maruša Zorec (mz), Bogdan Zupan (bz) portreti portraits Damil Kalogjera Vera Grimmer Tadej Glažar Razgovarali u Ljubljani 23. listopada 2013. Interviewed in Ljubljana on 23 October 2013 ¶ Ulazak Maruše Zorec na arhitektonsku scenu nije bio ni ¶ The entry of Maruša Zorec to the architectural scene was glasan ni spektakularan, no time je bio uvjerljiviji. Bilo je to neither loud nor spectacular but thus more impressive. It was malo, atmosferično remek-djelo – kapelica u podnožju fra- a small masterpiece of atmosphere – the chapel at the bottom njevačke crkve u samom srcu Ljubljane. U svojem daljnjem of the Franciscan Church at the very heart of Ljubljana. In her radu ostvarila je ozbiljne priloge problematici kontekstualne subsequent work she made significant contributions to the gradnje. Uz poštovanje zatečenog, Maruša Zorec afirmira i issue for construction in context. With respect to the existing instrumentarij vlastita vremena uspostavljajući poveznice architecture, Maruša Zorec affirms the paraphernalia of her starih i dodanih slojeva. Također, u projektima poput knjižnice time by connecting the old and added layers. In her projects, u dvorcu u Ravnama ili Glazbene škole na imanju ormoškog such as the castle at Ravne or the music school on the estate dvorca, Maruša nudi mogućnosti komunikacije i zajedništva. of the castle in Ormož, Maruša also offers the possibilities of Svojim nastavničkim radom punim aktivizma i empatije na communication and togetherness. Her teaching style, charac- Arhitektonskome fakultetu u Ljubljani nastavlja rad svojeg terized by activism and empathy, at the Faculty of Architecture mentora Vojteha Ravnikara. in Ljubljana, continues the work of her mentor Vojteh Ravnikar. 76 oris, broj 84, godina 2013 oris, number 84, year 2013 Maruša Zorec, Intervju Maruša Zorec, Interview 77 Ne ostvarujemo nešto što je izvan nas, ostvarujemo kroz to kakvi jesmo, kako vidimo stvari, kako ih osjećamo We don’t realize something which is outside of us, we realize through what we are, how we see things, how we feel them ORIS — Vaš rad na oživljavanju potencijala povijesnih arhi- ORIS — Professor Aleš Vodopivec defined your work of zaista tako. U Ravnama smo prvi put počeli raditi u malo većem Ravne belong to a more radical approach? ¶ Maruša tektura profesor Aleš Vodopivec definirao je kao dodavanje unlocking the potential of historical architectures as add- mjerilu pa smo otkrili da ono što smo htjeli i pokazali na natje- Zorec — Maybe it really does. In Ravne we started working suvremenih arhitektonskih slojeva koji u dijalogu sa sta- ing contemporary architectural layers which acquire new čaju – intervenciju unutar starih zidova jednim potezom koji on a large-scale building for the first time and we discovered rim strukturama oblikuju nova značenja i prostorne odlike. meanings and spatial characteristics to the dialogue with se u tom slučaju odražavao u jedinstvenom popločenju, jedin- that what we had wanted and showed in the competition – Možete li nam kazati koji se sve procesi i arhitektonska sred- the old layers. Can you tell us which processes and means stvenom stropu koji je u cjelinu povezan sitnim intervencijama the intervention inside the old walls in a single take which, in stva kriju iza te sjajne definicije? ¶ Maruša Zorec — Procesi of architecture hide behind this great definition? ¶ Maruša – možda nije došlo do izražaja na način na koji smo to pred- that case, was visible in the uniform flooring and the uniform su dugotrajni i raznoliki, u biti ovise o svakoj pojedinoj situaciji, Zorec — The processes are long and diverse and depend on vidjeli na maketi i nacrtu. U Ormožu je situacija bila ponešto ceiling interconnected into a whole by small interventions – njezinim karakteristikama i podatcima koje otkrivamo na tom each individual situation, its characteristics and information, drukčija, ali smo se i mi ponešto promijenili te smo uvidjeli da was maybe not quite as visible as we had predicted by the putu. To nisu jednoznačne stvari niti slojevi potječu samo iz which are discovered on the way. These are not unambiguous naše koncepte možda nije potrebno provoditi u nekom fizič- model and the plan. The situation in Ormož was somewhat jednog vremena. Radimo postupno. Isprva su naši koncepti matters and layers do not originate only from one period. We kom, materijalnom smislu, već da poveznica može biti prostor. different, but we also accepted some changes and realized bili vrlo čvrsti. S vremenom smo spoznali da bi stare strukture work gradually. At first our concepts were very firm. With time Tu je praznina prostora ta koja sve povezuje te uvodi moderno that our concept need not be applied in a physical or material mogle biti odviše krhke pored tog novog koje bismo dodavali. we realized that old structures could seem too fragile next to u staru strukturu. Taj otvoreni prostor donosi slobodu među sense because the space could be the nexus. Emptiness of Tako su ti koncepti postupno postajali mekši. Mijenjali su se the new ones we would add. Such concepts eventually became stare zidove. Uvodimo slobodni tloris u tu relativno zatvorenu the space connects everything and introduces the contem- na putu traženja prave mjere kako bi se i sama ideja novog, more flexible. They changed during the process of searching neuređenu staru strukturu, otvaramo prostore. Prava orga- porary to an old structure. That open space brings freedom dodanog, potvrdila. for an appropriate measure so that the idea of the new, the nizacija prostora između starih zidina osnova je za režirane among the old walls. We introduce a free plan into a relatively ORIS — Kakva bi bila usporedba intervencije u dvorcu Ravne added would be confirmed. puteve kroz prostore. Bitno je da ima više puteva, to znači više closed and disordered old structure, we open spaces. Appro- na Koroškem i Glazbene škole u Ormožu? Spadaju li Ravne ORIS — How would you compare the intervention in mogućnosti upotrebe prostora za različite načine korištenja priate organization of space between old walls is the basis u radikalniju fazu pristupa? ¶ Maruša Zorec — Možda je the Ravne Castle and the Music School in Ormož? Does zgrade. U Ormožu je situacija bila drukčija i zato što su se for directed paths through the space. It is important to have 78 oris, broj 84, godina 2013 oris, number 84, year 2013 Maruša Zorec, Intervju Maruša Zorec, Interview 79 Maruša Zorec, Maša zgrada. Taj tradicionalni ornament punog i praznog u cigle- Maruša Zorec, Maša Živec, Ana Kučan, nom zidu tu je na neki drukčiji, kreativni način došao do izra- Živec, Žiga Ravnikar, preuređenje dvorca ¶ preuređenje majura Ravne, Ravne na žaja. Maruša Zorec — Pa i ovdje je razvoj bio postupan. dvorca Ormož, Ormož, Koroškem, Slovenija, Najprije smo predvidjeli da će naša intervencija, to dodano Slovenija, 2009. – 2011. 2001. – 2004. novo, biti izvedena u drvu. Slučaj je doveo do toga da smo Maruša Zorec, Maša Maruša Zorec, Maša se odlučili za opeku. Naime, morali smo zadržati krov od Živec, Žiga Ravnikar, Živec, Ana Kučan, biber-crijepa pa smo stekli dojam da će biti previše različi- Conversion of the remodeling of the tih materijala. Počeli smo razmišljati o korištenju opeke pri outbuildings of the Ravne Castle, Ravne Ormož Castle, Ormož, na Koroškem, Slovenia, dodavanju svega novoga. Slučajno smo se na primjeru jednog Slovenia, 2009 – 2011 2001 – 2004 lijepog uzorka poda od mljevene i lijevane opeke, oduševili (mk) (js) tim materijalom. Tek nakon toga oblikovala se konačna ideja muzeja, muzejski sadržaj. Nakon prve ideje za etnografski muzej, zajednica se odlučila da osnuje u zgradi arheološki muzej tog područja. U svim arheološkim nalazima glina je bila primarni element. Postupno se posve slučajno ta pripovijest prapovijesti povezala u jednu cjelinu – od načina na koji se glina upotrebljavala nekada do načina na koji je upotreblja- vamo danas. ORIS — Tu je važan i programski faktor. Je li Vam bitno sudjelovati već u stvaranju programa zajedno s investito- rima i kolike su mogućnost sudjelovanja u tom programu? ¶ Maruša Zorec — Vjerujem da takva mogućnost uvijek postoji, nikada ne vidim program kao zaista konačnu činje- Maruša Zorec, Maša nicu. Naime, mislim da naručitelju možemo ponuditi ono što Živec, Žiga Ravnikar, preuređenje majura nikada nije zapisano u programu, a to je karakter zajedničkih dvorca Ormož, interijer, prostora, javnih, polujavnih prostora namijenjenih izvjesnom Ormož, Slovenija, Maruša Zorec, Maša 2009. – 2011. more paths, in other words, more possibilities to use the space socijalnom momentu. To arhitektura može ponuditi. Kakvim Živec, Ana Kučan, for different uses of the building. The situation was different se god sadržajima bavili, važan je ulazni trg na kojem se ljudi Maruša Zorec, Maša interijer dvorca Ravne, Ravne na Koroškem, in Ormož because the rooms were very different from one okupljaju. U Ravnama se naš koncept temeljio na tome da je Živec, Žiga Ravnikar, Slovenija, another. We wanted to preserve this diversity so that every sve organizirano polazeći od unutarnjeg dvorišta, a tamo smo Conversion of the 2001. – 2004. outbuildings of the room would keep its characteristics and atmosphere. The se trudili očuvati postojeću lipu. Također,
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