Odile Decq Arhitektura Kao Jedrenje Architecture As Sailing

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Odile Decq Arhitektura Kao Jedrenje Architecture As Sailing razgovarali fotografije photographs by © Odile Decq Benoit Cornette (ODBC) interviewed by © ODBC Stéphane Couturier (SC) © ODBC Roland Halbe (RH) © ODBC Luigi Filetici (LF) © ODBC Georges Fessy (GF) © ODBC/LABTOP (L) portreti portraits Raphael Lugassy Ante Nikša Bilić Alan Kostrenčić Arhitektura Architecture kao jedrenje as Sailing ¶ Pariz u proljeće. Doduše vrlo kišno proljeće, međutim šarm ¶Paris in the springtime. Regardless of the rain, the charm of Pariza neodoljiv je i uz mokre cipele. Penjući se uz stepenice Paris is irresistible despite wet shoes. Climbing the stairs of a dvorišne zgrade čije je golemo potkrovlje preuređeno u arhi­ courtyard building to a huge loft turned into an architectural tektonski studio, dojam je bliži odlasku na tulum na ne poznatoj studio, the impression is similar to ascending towards a party at adresi… Pomalo derutno stubište, kao i sav prostor doimlju se an unknown address... The somewhat decrepit staircase, as well prilično Goth Chic, najavljujući potencijalno neo bičnu avanturu. as the space itself, leaves an impression of Goth Chic, presaging Odile Decq svakako ne pripada stereotipu europskog arhitekta, a potentially unusual adventure. Odile Decq definitely does duhovita, srdačna, ali izuzetno pronicljiva, posvetila nam je puna not belong to the stereotype of the European architect; she is tri sata izuzetno zanimljiva razgovora. Uz tipičan pariški šarm, witty, cordial, but extremely shrewd. She also dedicated a full Odile je poput njene arhitekture i umjetnosti, uvijek na rubu three hours to us and to a quite interesting interview. Beside između ekstravagancije i promišljene jednostavnosti. Unatoč her Parisian charm, Odile Decq is, like her architecture and art, darkerskom looku, njena vedrina i optimizam, uz vrlo jasnu always between extravaganza and deliberate simplicity. Despite svijest o realnosti, najbolje su sublimirane u njenoj komparaciji the Goth look, her glee and optimism, with a clear awareness of ‒ arhi tektura je kao jedrenje. To upućuje na mogućnost neke reality, are best captured in her idea of architecture as sailing. It radosnije arhitekture koja poput jedrenja proizlazi iz napora i evokes the possibility of a happier architecture, resulting from lakoće, prkošenja i suradnje između čovjeka i prirode. U ovom effort and ease, defiance and collaboration between man and vremenu krize čini se da ta jednostavna poruka sadrži puno nature, just like architecture. In these times of crisis, it seems mudrosti. this message conveys much wisdom. Razgovarali u Parizu 25. travnja 2012. Interviewed in Paris 25 April 2012 Odile Decq 8 Odile Decq oris, number 77, year 2012 Odile Decq, Intervju Odile Decq, Interview 9 ORIS — Možda možemo početi s Vašim posljednjim projektom. ORIS — Maybe we can start with your latest project. We Restoran Fantom u operi Posjetili smo ga po dolasku u Pariz i oduševili se vidjevši uživo visited it on our arrival in Paris and it is fascinating, when you Garnier, Pariz, Francuska, 2010. kako je elegantno uklopljen u sam delikatni kontekst poznate see it in person, how elegantly it is incorporated in the very pariške operne kuće Palais Garnier. Arhitektonski je to vrlo the delicate context of Paris’s famous opera house, the Palais Phantom Restaurant of smjela gesta, ali je istovremeno izvedeno s mnogo poštovanja Garnier. It is architecturally a very daring gesture, but at the the Palais Garnier, Paris, France, 2010 i razumijevanja za povijesnu zgradu natopljenu sjećanjima. same time it is done with a lot of respect and understanding Možete li nam reći kako je započeo taj projekt i kako ste for a historical building impregnated with memory. Could (RH) dobili ideju? ¶ ODILE DECQ — Čudna je to priča, jer sam poziv you tell us something about how this project started and primila na putu, tijekom vikenda, jednog od rijetkih u godini how you came up with the idea? ¶ ODILE DECQ — This is a kad putujem u Bretagnu. Bila sam na plaži kad je zazvonio very strange story, because I received a call when away on a telefon. Netko me pitao jesam li zainteresirana raditi restoran weekend, one of my only weekends that I take every year to u Palais Garnier. Bio je to čovjek koji je imao sastanak s jednim go to Britanny, so I was on the beach when I received a call. mojim klijentom u Lyonu. Gledao je neke modele raznih pro- Somebody was asking me whether I was interested in doing jekata koje je moj klijent dobio od različitih arhitekata i onda se the restaurant in the Palais Garnier. It was somebody who had raspitao za moj projekt te o meni. Sreli smo se nakon tri dana i had a meeting with one of my clients in Lyon. He was looking pokazao mi je ograničenja Ministarstva kulture; ništa se nije at some models from many different projects my client had smjelo dirati, izvana je trebalo očuvati prozirnost, bez fasade from different architects, and he asked the client about my unutar lukova, i tako je počelo. Kad sam dobila nacrte, prva je model and who I was. We met three days later and he gave ideja bila između lukova napraviti prozore, kad je već fasada me all the constraints from the Ministry or Culture, not to bila zabranjena, izvesti zakrivljeni stakleni zid iza fasadnih touch anything, to keep the transparency from the outside, lukova. Mislila sam da to možemo izvesti s vrlo prozirnim not to have the façade inside the arches but something else, staklom, poput novog omotača koji gotovo da ne postoji. I and that’s how it started. The first idea when I received the tako je počelo. Nakon toga sam zbog visine – prostor je visok site plans was, since it was forbidden to do the façade, to do osam metara, a mi smo željeli da staklena membrana ide sve windows in the arches, to have this glass wall curve behind the do stropa – nacrtala sinusoidu stakla, kako bi bez dodatnog façade arches. I was thinking if we could do that, we could do učvršćenja dosegla tu visinu. Tako je proces počeo od te prve it with very clear glass and we could make this new envelope ideje valovite staklene fasade iza postojećih stupova. almost non-existent. And this is how it started. After that, ORIS — Oduvijek me oduševljavalo kako u svojim projektima because of the height – the space is eight metres high, and we spajate vrlo umjetnički i provokativan pristup s jednostavnim wanted the glass membrane to go continuously to the ceiling i logičnim rješenjem arhitektonskog problema. Možda se – I drew a sinuous line of glass, to make it reach that height možemo, za ilustraciju Vašeg načina razmišljanja, vratiti malo without additional support. It was really a process started kroz vrijeme i na početak Vašeg rada. Počeli ste u vrijeme kad from this first idea of an undulating glass façade behind the je Dekonstrukcija bila glavna tema arhitektonskog diskursa. existing columns. ¶ ODILE DECQ — Čak i prije toga. ORIS — I’m always amazed how you put together in your ORIS — Možete li usporediti svoja razmišljanja kad ste po­ projects a very artistic and provocative approach and on činjali i svoj pristup danas? Je li se što promijenilo? ¶ ODILE the other hand quite a simple and logical solution to the DECQ — Mnogo toga. Kad sam počinjala u osamdesetima, architectural problems. Maybe, as an illustration of your way of bilo je to vrijeme kad je Richard Meyer bio posvuda. Bilo je thinking, we can move back through time a little and towards to vrijeme kasnog modernizma i to smo mi u uredu pratili, the beginning of your work. You actually started in a time pokušavajući pronaći način kako da počnemo s radom na svoj when Deconstruction was a topical theme in architectural način. ¶ U to se vrijeme pojavila Dekonstrukcija i to mi je bilo discourse... ¶ ODILE DECQ — Even before that. mnogo zanimljivije jer je to bio pristup kako dekomponirati. ORIS — Can you compare your thinking when you started and U svom sam radu analizirala dekomponiranje komponenti your approach today? Has it changed? ¶ ODILE DECQ — A lot. projekta, programa ili nečeg drugog uz ponovnu artikulaciju When I started in the 1980s, it was really a time when Richard na novi način, to je bila moja metoda dekonstrukcije. Kad Meyer was everywhere. It was the time of late modernism and smo počeli raditi na Banque Populaire, koji je bio naš prvi we were looking at that in the office, trying to find a way how veliki projekt, počeli smo s glavnim holom kao objektom to start the work by ourselves. ¶ At that time Deconstruction 10 oris, broj 77, godina 2012 oris, number 77, year 2012 Odile Decq, Intervju Odile Decq, Interview 11 Banque Populaire Ovako kako danas gradim, to je vrlo profinjeno što se gradnje Homéostasie de l’Ouest, Rennes, tiče, detalja, osmišljavanja zgrade, ali je istovremeno sve (Dinamični ekvilibrij), Francuska, 1991. Pariz, Francuska, fluidno, manje vidljivo, na neki način. Jutros sam bila u Lyonu 2007., Galerie Polaris Banque Populaire de jer ondje gradimo vrlo jednostavnu zgradu, samo dva kvadra, l’Ouest, Rennes, jedan se pomiče prema obali rijeke. No, kako bismo postigli Homéostasie (Dynamic France, 1991 da su četiri kata izmaknuta jedan iznad drugog, moramo Equilibrium), Paris, France, 2007, Galerie (SC) imati golemu konstrukciju koja je doista složena. To je više Polaris kao most ili gradnja infrastrukture. Objekt je jednostavan, ali je zaista složen što se tiče konstrukcije, načina na koji (ODBC) gradimo dvostruku fasadu i tako dalje. Zanimljiv je Musée des Confluences na drugoj strani poluotoka u Lyonu koji gradi Coop Himmelb(l)au. Vidimo kako se podiže konstrukcija, jutros smo gledali. Vrlo je jednostavna, a objekt će biti vrlo složen. To je posve suprotno od onoga što ja radim. Moje zgrade izgledaju jednostavno, a imaju složene strukture, a drugi je način složenost onoga što vidite na jednostavnoj konstrukciji.
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