razgovarala interviewed by Ana Dana Beroš IPPOLITO PESTELLINI LAPARELLI Arhitektura u pokretu IPPOLITO PESTELLINI LAPARELLI Architecture in Movement fotografije photographs by Ljubaznošću / Courtesy la Biennale di Venezia – Francesco Galli (fg) Rem Koolhas (rk) Ljubaznošću / Courtesy of Fondazione Prada – Attilio Maranzano (pam) Ljubaznošću / Courtesy of oma (o) Ljubaznošću / Courtesy of oma – Giorgio De Vecci (gdv); Phil Meech (pm) Alberto Moncada (am); Agostino Osio (ao) Marco Beck Peccoz (mbp) Philippe Ruault (pr); Andrea Sarti (as) Miguel Taborda (mt) portreti portraits Marco de Swart 138 oris, broj 89, godina 2014 oris, number 89, year 2014 IPPOLITO PESTELLINI LAPARELLI, Intervju IPPOLITO PESTELLINI LAPARELLI, Interview 139 ORIS — Nalazimo se iznad veličanstvene makete prostora ORIS — Standing here right above the marvellous Mondi- Venecijanskog bijenala, pod nazivom Monditalia, duljine od talia scale model, in its true length of approximately 300 oko 300 metara. Dakle, započnimo ovaj intervju pitanjem o m, let us start the interview by explaining the spatial con- prostornoj koncepciji ove izložbe koja se održava u prosto- cept behind this exhibition, currently taking place at the rima užare venecijanskog Arsenala. ¶ Ippolito Pestellini Corderie of the Arsenale in Venice. ¶ Ippolito Pestellini Laparelli — Bijenale arhitekture je već otpočeo te nema Laparelli — Obviously, the Architecture Biennale already ništa novoga za priopćiti, no prilika suradnje s ostalim slič- began, so there is nothing new to tell. However, the opportu- nim dvogodišnjim događanjima poslužila nam je kao nadah- nity to collaborate with other Biennales was an inspiration for nuće za prostornu organizaciju. Mislim da je maketa prilično spatial organization. I think the model is quite clear because jasna jer od početka do kraja užarnice vidite kako je uređen from the beginning to the end of the Corderie one can see how odnos između različitih projekata, među kojima su i filmske the relationship between the projects is regulated, including projekcije pa na osnovnoj razini imate dojam kao da postoji movie projections, so that on a basic level one has a feeling that master plan. Taj sustav prikaza istraživačkog projekta podi- there is a master plan at work here. The system of displaying jeljen je u pozornice za ostale bijenale. Kada su neispunjeni, research projects is broken by stages introduced for other Bien- ti prostori slave prazninu. Kada prolazite prostorom izložbe, nale events. When empty, the stages are a celebration of the a nakon otvaranja nemamo svakodnevna događanja, svakoga void. When you walk through the space - and obviously once the dana, svakoga sata određeni dio strukture je prazan. Zani- exhibition was opened there were no more events every single mljivo je što i ti neispunjeni prostori postaju dijelom izložbe day, every hour - you could find the structure empty. What is i slave sam prostor Arsenala, ali i omogućuju posjetiteljima interesting is that the stages become part of the exhibition, in slobodno kretanje prema gore, pružaju im priliku da iskuse a way they celebrate the Arsenale space, but also allow visitors prostor dvodimenzionalno i trodimenzionalno, da postanu to go up, to turn the experience of space from bi-dimensional to dijelom sveobuhvatne prostorne koreografije. Ovo je izložba three-dimensional, and to be a part of the overall choreography pokreta. Prisutnost tih pozornica omogućuje vam promatranje of space. This is an exhibition of movement. The presence of the performansa u trenutku dok se isti odvijaju, ali i promatranje stages gives you a chance to look at the performances when prostora te ponovni pogled na izložbu u sasvim drugačijem they happen, but also to look at the space, and to look back at svjetlu, jer ljude u kretanju počinjete sagledavati kao dio per- the exhibition in a different way, to look at the people moving formansa i izložbe. Dakle, u svemu tome ima i koreografskog as part of the performance. So it has a bit of a choreographic stava. U prvoj prostoriji nalazi se sustav otvorenih pozor- attitude to it. Every stage has a unique quality; some of them nica koje su okrenute jedna prema drugoj te tako ostvaruju are open, permeable, some of them are closed and protected. neraskidiv međuodnos. Ta se pozornica ponajviše koristila za The entire exhibition is an experiment, and in a way I still do not kazališne predstave, ali na njoj su se održavali i govori, preda- know whether the experiment was successful. In a way, both Razgovarali u Rotterdamu 11. rujna 2014. Interviewed in Rotterdam on 11 September 2014 vanja, videoprojekcije. Svaka pozornica ima vlastitu kvalitetu spatially and in terms of program, we challenged the format of pa su stoga neke otvorene i propusne, druge pak zatvorene i the Biennale, as well as of exhibition space in general. ¶ Ippolito Pestellini Laparelli glavni je kustos središnje ¶ Ippolito Pestellini Laparelli was the chief curator of the cen- zaštićene. Naravno, cijela je izložba svojevrsni eksperiment ORIS — The Arsenale serves as a performing platform for izložbe Monditalia s ovogodišnjeg Venecijanskog bijenala tral exhibition Monditalia at the 2014 Venice Architecture te još uvijek nisam siguran je li taj eksperiment uspješan. Na the other festivals – film, dance, theatre, and music – hap- arhitekture, pod vodstvom izbornika Rema Koolhaasa, te Biennale, led by director Rem Koolhaas. He is representative of određeni smo način, kako prostorno, tako i u vidu programa, pening simultaneously. Is it the first experiment of the kind predstavnik nove generacije arhitekata koja je tradicionalnu the new generation of architects who have replaced traditional sam format Bijenala stavili pred nove izazove, koji se tiču i in the history of the Venice Biennale? ¶ Ippolito Pestellini arhitektonsku praksu zamijenila istraživačkom. Nedavno je architectural practice with research work. He was recently izložbenog prostora općenito. Laparelli — Yes, it is the first time that the five departments postao najmlađi partner u oma-i, vodećem svjetskom uredu made the youngest partner at oma, the world’s leading office ORIS — Arsenal služi kao izvedbena platforma za druge festi- collaborate: The Architecture Department is, naturally, the za arhitekturu, urbanizam i kulturna promišljanja, gdje vodi for architecture, urbanism and cultural analysis and is part of vale – filmske, plesne, kazališne i glazbene, a svi oni odvijaju coordinator, working jointly with the Dance, Theatre, Music istraživački studio amo u Rotterdamu. Područje njihova istra- amo research studio in Rotterdam. Their research work focuses se istovremeno. Je li to prvi eksperiment te vrste u povijesti and Film Departments. The Film Biennale has a permanent živačkog rada, brišući ustaljene granice arhitekture, zalazi u on areas beyond the traditional boundaries of architecture, Venecijanskog bijenala? ¶ Ippolito Pestellini Lapare- presence; it forms the backbone of the exhibition, with the sfere medija, politike, sociologije, tehnologije, mode, postava including media, politics, sociology, technology, fashion, curat- lli — Da, ovo je prvi put da surađuje svih pet odjela: naravno, other departments joining in. We have programmed a series izložbi, izdavaštva i grafičkog dizajna. Upravo je kritičko ing, publishing, and graphic design. The critical knowledge of Odjel za arhitekturu kao koordinator, zatim Odjel za ples, Odjel of live events, workshops, debates, etc. reflecting on multiple poznavanje teritorija u kojima se susreću različite discipline the territory where different disciplines meet is the precondi- za kazalište, Odjel za glazbu i Odjel za filmsku umjetnost. Film- topics, echoing the permanent exhibition. The magic in the preduvjet stvaranja privremene arhitekture, arhitekture koja tion of ephemeral architecture, architecture which is moving, ski bijenale oduvijek je prisutan, on tvori osnovicu strukture exhibition is that when you enter it, at different times of the se kreće, mijenja i nestaje, o kojoj smo razgovarali. changing and disappearing, we have discussed. izložbe u koju se uključuju i ostale izložbe. Isplanirali smo niz year, you always find something different, so the exhibition is 140 oris, broj 89, godina 2014 oris, number 89, year 2014 IPPOLITO PESTELLINI LAPARELLI, Intervju IPPOLITO PESTELLINI LAPARELLI, Interview 141 (gdv) (o) (gdv) has three declinations. In the central pavilion at Giardini we 14. Venecijanski show Elements of Architecture, which focuses on 15 Elements, bijenale arhitekture, Corderie dell’Arsenale, the basic elements of architecture practice – ceiling, window, Monditalia, Italija, 2014. stair, ramp, etc…; that is a fundamental aspect by definition. 14th Venice biennale There is the Absorbing Modernity section of the exhibition, of Architecture, which is fundamental from a different point of view, because Corderie dell’Arsenale, this is the century that has defined us, to an extent. It is a Monditalia, Italy, 2014 century dominated by globalisation and modernity. Different countries absorbed this modernity in different ways. Ulti- mately, Italy was considered one of the fundamental coun- tries: unique because of its richness and history yet it shares common conditions with many other countries - in particular 14. Venecijanski događaja, radionica, diskusija, koje su se bavile nizom raznih različite načine upile tu modernu. U konačnici, Italija se sma- the coexistence of extreme potential with dysfunction and bijenale arhitekture, tema, a odnosile se na stalni postav. Čarolija ove izložbe počiva