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I Excursion I Friday 8.5. 09 - Sunday 10.5.09 I Ljubljana I Maribor I Coast I
Introduction by Andrej Hrausky......................................................................................1
Dekleva Gregoriè arhitekti .............................................................................................5
Ofis arhitekti.................................................................................................................9
Bevk Peroviè arhitekti...................................................................................................14
Sadar Vuga arhitekti.................................................................................................... 19
Atelije Vozliè................................................................................................................22
Arhitektura Krušec........................................................................................................25
AKSL arhitekti..............................................................................................................28
Gabrovec Medvešek Vodopivec....................................................................................31
Benda Hoèevar Zorc.....................................................................................................33
plusminus 30 ..............................................................................................................36
AA kultura...................................................................................................................38
Reichenberg arhitektura...............................................................................................40
Contemporary Slovene architecture and its background
When speaking about contemporary Slovene architecture, we have in mind the architecture of the past decade created under the new circumstances
of our independent state. Of course, architecture is a part of the general development of civilization, and Slovene architecture cannot be dealt with
separately from European and global movements yet, it is historically bound to the place of its creation, and it can only be understood if we are
familiar with certain historical, political and climatic conditions.
Slovenia is a place where the Adriatic Sea, the Alps and the Pannonian plane meet. Only here do the three dominant cultures of the western world
come together: the Germanic, the Latin and the Slavic. Once a province of the Roman Empire, Slovenia was a part of the Habsburg monarchy for
over 500 years, followed by a period as part of Yugoslavia, right up to the declaration of independence in 1991. In 2004 it became a member of the
European Union. Its territory has been crossed by routes linking ancient Rome with Byzantium, Vienna with the Adriatic Sea, the Balkans with
Europe.
Ljubljana, the capital city of some two million Slovenes, has always been the centre of architectural development. In Roman times it was a castrum,
named Emona. Since 1335 it was an important base of the ruling Habsburgs on the route towards the Mediterranean. Cultural influences came
mainly from two strong cultural centres: from Venice, or from the long-time capital of Vienna. After the prevalence of Catolicism over Protestantism,
the city centre acquired its baroque image.
In the early 18th century, the “Accademmia operosorum”, a scientific society based on the model of Italian academies, invited a number of acclaimed
Italian artists to Ljubljana: architect Andrea Pozzo, sculptor Francesco Robba and painter Giulio Quaglio. They were mentors to a number of local
artists (for instance Gregor Maèek, the most important Slovene baroque architect) who went on to continue their tradition. In the architectural
sense, 1895 represents a landmark year, in which Ljubljana suffered great damage in an earthquake, in response to which the entire monarchy was
there to help. Among the first to offer a plan for the reconstruction of the town was Camillo Sitte, who was then the most acclaimed urban planner
of the empire. But the proud Slovene mayor did not want German experts to participate in the reconstruction. Instead he contacted a Slovene, Max
Fabiani (1865-1963) distinguished professor in Vienna and an associate of Otto Wagner. His urban reconstruction plan was only carried out in part,
but Fabiani did design a number of buildings in the town. The mayor also invited a Croat, Josip Vancaš (1859-1932) to participate, and together with
local architects such as Ciril Metod Koch (1867-1925) they gave Ljubljana it secession image.
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After the post-World-War I disintegration of the Austro-Hungarian empire, Slovenia became a part of Yugoslavia. In 1921, the Faculty of Architecture
was established in Ljubljana. Its founder Ivan Vurnik (1884-1971) was a disciple of Otto Wagner in Vienna. But just like many non-German
architects, Vurnik too considered Wagner`s architecture to be an expression of German culture, so he tried to develop a Slovene national style
instead. Vurnik invited Jože Pleènik (1872-1957) to take the post of the professor of architecture in Ljubljana. Pleènik opposed Vurnik`s romantic
“creating” of a national style. Instead, Pleènik established his own interpretation of classical regionalism. He tried to redesign Ljubljana into the
capital of Slovenes, giving it the necessary monumentality. The Žale Cemetery, the National and University Library, the church in the Ljubljana district
of Šiška, the bridges over the Ljubljana river these are only the most important intervention in the town that can be rightfully called “Pleènik`s
Ljubljana”.
Pleènik paid little attention to the parallel global architectural development; instead he devoted all his efforts to the “architectura perennis” (the
eternal architecture, also the title of his book). With his reputation he was able to influence the architectural taste of his clients. When Avgust
Èernigoj (1898-1985), the only Slovene to study at the Bauhaus, prepared an exhibition of the new artistic currents in Ljubljana in 1924, he
remained largely misunderstood. The public was for more in favour of a more moderate architecture, such as that of Vladimir Šubic (1894-1946)
who decorated the rational concept with classical ornamentation and sculptures. Even with his skyscraper, the symbol of contemporary development
in Ljubljana, he followed Pleènik`s advice and designed the top of the building as a classical rotunda. Functionalism nevertheless bloomed in the late
1920s. Its protagonists were architects who studied in Vienna with Professor Peter Behrens, or were Pleènik`s disciples who later turned away from
their master. They gathered around the Arhitektura magazine (Ljubljana 1931-1934) and published a few instructive books in an attempt to
introduce new ideas to the broader public. They founded a society, which organized exhibitions on a regular basis, and tried to promote architectural
competitions. The most prominent representatives of this movement were: Josip Costaperaria (1876-1951), Herman Hus (1896-1960), France
Tomažiè (1899-1968), Ivo Spinèiè(1903-1985), Feri Novak (1906-1959), and others. Apart from these few, seven young architects went to work in Le
Corbusier`s studio in Paris, but their influence was not felt until after World War II.
The post-war period in Yugoslavia was marked by socialism. However, as early as 1948 a dispute arose between Stalin and the President of
Yugoslavia, Tito. Thus socialist realism never became the official artistic style, as it was in other states under the Warsaw pact. In Slovenia, the
young generation of architects, with its leading representative Edvard Ravnikar (1907-1993), were able to take advantage of this, and continued with
the pre-war contemporary architectural orientation. Ravnikar graduated under Pleènik`s tutorship, and then worked for Le Corbusier.
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In a way similar to that of Alvar Aalto in Finland, Ravnikar too tried to find a compromise between the international style and the Slovene heritage. In
1946, Ravnikar became a professor at the Ljubljana Faculty of architecture and became the creator and driving force of the so-called Ljubjana School of
Architecture. This development gave rise to a number of talented architects: Oton Jugovec (1921-1990), France Ivanšek (1922-2007), Stanko Kristl
(*1922), Milan Mihelic (*1925), Savin Sever (1927-2003), Miloš Bonèa (1932-2006) and others. Their work made a particular mark on the sixties and
seventies of the 20th century, at a time when politics particularly favoured architectural endeavour, for developments in architecture were seen as a
mirror of social prosperity.
The crisis of the late 1960s when architecture was seen to have lost contact with its roots and when students led endless discussions instead of
designing did not leave Slovenia untouched. The generation of younger architects gathered around the AB Architect`s Bulletin magazine (Ljubljana
1974 today) and tried to redirect the architectural discussion back to the origins of architecture. Their first realizations from the late 1970s, such as the
post-office in Vremski britof (1978), the extension of the municipal building in Sežana (1979) and others showed the way for the new architecture. The
members of the editorial board at that time Vojteh Ravnikar (*1943), Janez Koželj (*1945), Jurij Kobe (*1948) and Aleš Vodopivec (*1949) still
represent the very core of the middle generation of Slovene architects, and are today professors at the Ljubljana Faculty of Architecture. This generation
was, perhaps more than others, aware of the need to establish international links, to learn about the achievements of their colleagues abroad. The
annual entitled Day`s of Architecture, organized in Piran since 1982, and the establishment of the DESSA architectural gallery in 1989 in Ljubljana have
both made significant contributions to this end.
The gallery was designed by architect Boris Podrecca (*1940) from Vienna, which gave further emphasis to its international mission. At the symposium
in Piran, as well as in the DESSA gallery, it was now possible to meet acclaimed foreign architects. Since 1991, the DESSA gallery has also prepared
several exhibitions of contemporary Slovene architecture that have toured Europe and North America.
With the ten-day war in 1991, Slovenia became an independent state. Even before that, however, the country had changed its political constitution.
These events were of paramount importance also for the architectural development. On the one hand, architects had to face new challenges, brought
about by the new capitalism, which favoured profits over quality, and garishness to ambience. On the other hand, new technologies and the latest
materials suddenly became available. Architects wanted to compensate for what they had missed and to compete on an equal footing with the rest of
Europe. The education system underwent reform, too. If in the past the Ljubljana Faculty of Architecture (the only one in the country) had been
dominated by two strong personalities Pleènik before the war and Ravnikar after it the image of this school has gradually changed over past few
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years. It has become more pluralistic and organizes workshops led by visiting foreign professors. More and more students study abroad, which was
virtually impossible under socialism. Today we already have the youngest generation of architects who received their training under the recently
changed circumstances. Their scope of activity is both far more international and far more ambitious.
This “six-pack” generation (the name is derived from the title of an exhibition presenting six young studios) took the somewhat complacent
architectural scene by surprise and won several important competitions. Relatively young architects were assigned important tasks, which aroused
great interest among their peers abroad. Slovenia began to be considered (somewhat exaggeratedly) the country of great opportunity for young
architects. Most among Jurij Sadar (*1963), Tadej Glažar (*1964), Vasa Peroviæ (*1965), Boštjan Vuga (*1966), Matija Bevk (*1972), Aljoša Dekleva
(*1972) and Tina Gregoriè (*1994) continued their studies at the AA in London, or at the Berlage Institue in Amsterdam. From there they imported
some fresh architectural ideas, but also a goodly portion of self-confidence. They have received a number of awards abroad, followed by
considerable media coverage.
(extract of the preface of Andrej Hrausky in the catalogue “DESSA (ed.): Contemporary Architecture in Slovenia. Ljubljana, 2008.”)
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Friday, May 8, 2009
LJUBLJANA (guide: architect Špela Leskovic, AKSL arhitekti; mob: +386 41 552 550)
7:30 departure from Salzburg, Busparkplatz Nonntal
12:30 arrival at the Austria Trend Hotel Ljubljana (Dunajska cesta 154, Tel: +386 (1) 588 2500)
12:45 meeting point on Prešern's square (Prešernov trg)
(Prešeren's monument, square, three bridgesby J. Plecnik, franciscan's church, …)
Hribarjevo nabrežje, Dvorni trg: Vozliè&Vozliè
(walking along Dessa, NUK by J. Plecnik )
13:15 Extention of City Museum, Ofis arhitekti
(walking along Križanke, Krakovo)
14:00 House xxs, Dekleva Gregoriè arhitekti
14: 30 Gradaška, Sadar Vuga arhitekti
15:00 walking along the Ljubljanica river, along Breg, crossing the Šentjakobski bridge to Špajza
15:00 lunch at restaurant Špajza (Gornji trg) until 16:30
16:45 meeting at the bus in Zvezda park
17:00 Student Housing, Poljane: Bevk & Peroviæ (outside/inside)
17:30 Poljanska appartement blocks, Ofis arhitekti (outside )
18:00 New Mercator, Poljanska, Ofis arhitekti (outside)
18:30 House D Rožna dolina, Bevk & Peroviæ (outside)
19:00 NL rezidency, Bevk & Perovic (outside)
20:30 evening suggestion
dinner in a restaurant with a relaxed atmosphere.
Saturday, May 9, 2009
MARIBOR (guide: architect Gašper Medvesek, PLAN B)
8:00 breakfast in the hotel
9:00 leaving Ljubljana by bus from the hotel
10:30
12:00
13:30
14:00
14:40
Celjska koèa: arhitektura Krušec (free for coffee and sandwich); architects Lena and Tomaž Krušec guiding trough building
Teharje: arhitektura Krušec; architect Lena and Tomaž Krušec guiding trough building
One family houses: Vodopivec, Medvešek, Gabrovec
Šport's hall Ljudski vrt: Ofis arhitekti and Multiplan arhitekti
Walk through the city park and town center
Market Place by Benda, Hocevar, Zorc
15:00 lunch in Rožmarin :AKSL arhitekti, until 17:00
17:00 Walk through the old city town LENT, walking by the river Drava,
17:30 Studenška bridge: Reichenberg arhitektura, Pointing
18:00 leaving Maribor by bus
20:30 evening suggestion
Valvas'or: Dinner in slow food restaurant Valvas'or, AKSL arhitekti (reservations have to be make ahead)
or walk along old part of town by night: several places to have a nice drink
or a walk to Modern gallery (Ravnikar), Nathional gallery, new edition (Sadar & Vuga), Opera bar (Vozliè &Vozliè): drink.
or a vernincular to castle hill, walk, a drink …
Sunday, May 10, 2009
COAST (guide: architect Nina Apollonio; AA kultura)
8:00 breakfast in the hotel
9:00 leaving Ljubljana by bus from the hotel
10:00 Pivka, Dekleva Gregoriè arhitekti
11:00 Sežana, Dekleva Gregoriè arhitekti
12:30: Univerza KP, +-30 arhitekti
13:30 lunch in a local restaurant until 15:00
15:30 Villa Artes: AA kultura
16:00 Bric: Boris Podrecca
18:00 free for a late coffee by the sea
20:00 Leaving Coast
24:00 arrival at Salzburg, Busparkplatz Nonntal
Dekleva Gregoriè arhitekti
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Industrial plant, Pivka, Slovenia, 2005-2007
Team: Aljoša Dekleva, Tina Gregoriè, Lea Koviè
Photos: Matevz Paternoster
The client, surrounded by piles of waste metals, heavy duty trucks and caterpillars wanted
a 'heavy metal' HQ building with a service building and a manipulation plateau to run a
rough business. The office is the elevated control deck overlooking the industrial plant and
wrapped with the 100% metal skin facade, combining perforated metal sheets. The service
building, which has the same size as the office, is a 100% reinforced concrete structure and
appearance.
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XXS house, Ljubljana, Slovenia, 2002-2004
Team: Aljoša Dekleva, Tina Gregoriè
The eXtra-eXtra-Small House is located in a specific part of the centre of Ljubljana. The
neighbourhood called Krakovo has the structure of a historical village, which was in the
Middle Ages supplying the nearby monastery with fresh food and is today a highly protected
historical area. The basic dimensions of the new house were already defined by law
according to the volume of the pre-existing house, hundred years ago working as a service
building of a traditional house next-door.
The task was to integrate all residential functions in an extra small volume to suit the needs
of a couple living in countryside for their new urban holiday-home.
Since the house faces north, it was a challenge to bring the direct and in-direct sunlight to
the living spaces in the ground floor. The heritage protection rules allow light shafts on the
roofs, but in this case the architects turned them towards the sky. This major alternation of
the volume opened up completely new attic space suitable for use.
A huge wall size slide window opens up the space to the intimate atrium and allows indirect
lighting.
The selection of the façade materials and details established the desired service appearance
of the house. The concept of raw materials stretches from exterior to interior using fibre
cement panels in their primer mode for the roof and yard façade and 'béton brut', terrazzo,
plywood, iron and felt for the indoor.
The total area of 43m² ultimately gave the house the name 'XXS house'.
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Housing L , Sežana , Slovenia, 2005-2007
Team: Aljoša Dekleva, Tina Gregoriè, Tina Rugelj, Flavio Coddou,
Lea Koviè
The new housing addition considers and upgrades the spatial characteristics of the two existing
blocks at the edge of a housing neighbourhood facing the shopping and industrial part of a small
town of Sezana. The concept of `3 for 1` (3 buildings instead of 1) enables the new building to
become an essential forming part of the whole and not merely its extension. `3 for 1` is a
systematic volumetric structure with distinctive vertical orientation. The structural approach
emphasizes the already present structural appearance of the existing buildings and redefines the
sloped roof in order to restore an individual identity of each vertical element. Front elevation is
bending inward to accentuate the street side of the building and its entrance.
The selection of the facade materials corresponds with the building material, concrete structural
walls become side elevations finished in plaster, and brick walls are finished in fibre cement
panels in vertical layout.
Flats are compact, opening to an introverted small loggia with integrated storage space. The
alternation of the loggia position on the elevation occurs with two options of entering the outdoor
space either one way - from the living room only or two ways - as well from the bedroom.
The building sets up new morphology for further housing development to the north, currently
under construction.
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ofis arhitekti
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Ljubljana City Museum, Ljubljana, Slovenia, 1998-2004
Team: Rok Oman, Spela Videcnik , Elea ic, Rok Gerbec,
Josip Konstantinovic
The project is a renovation and extension of the Auersperg Palace, which is located in the heart
of the protected historical city centre. The palace and the plot have a very rich history dating
from prehistoric areas, to roman and medieval times. Each era added something to the building.
Through the history the purpose of the palace changed several times so the existing
organisation of the plan was not suitable to host a museum. The spaces were labyrinthic and
disconnected.
The competition entry proposed a spiral walk of the visitor through the exhibition spaces and
the proposed addition was a connecting element between the wings of the palace.
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footbal stadium, Maribor, 1998-2008
Team: Rok Oman, Špela Videènik, Katja Žlajpah, Aleš Žnidaršiè
The plot is located in the centre of the city. In the sixties a small tribune was build along one
site of the field that was covered with a beautiful concrete arched roof.
The brief was to convert the field into a football stadium and extend the existing building
with covered tribunes (for 12.500 spectators, VIP and press facilities) and an additional
public programme such as 4 big gymnasiums, a fitness-club with swimming pools, shops
and restaurants.
The project proposed a ring of tribunes weaving above an enclosed base with public
programmes. The lowest and the highest point of the tribunes are defined by the quality of
the view of the spectator.
In the corners of the field, where the views are restricted, the entrances to the tribunes are
displaced. The ring is pulled down here to the level of the entry plateau. Then it rises gently
and it reaches the highest points in the middle of the field. There the maximum number of
the seats is provided, offering the best views to the field. The corridor of the ring has a
double skin and is providing rooms for VIP, Press and refreshments.
In the base sport halls and shops are displaced. The roof of the base forms an entry plateau
to the tribunes and also offers views to the smaller sport field at the side of the stadium.
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Tetris apartments ,Ljubljana, Slovenia, 2005-2007
Team: Rok Oman, Spela Videcnik , Martina Lipicer, Nejc Batistiè, Andrej
Gregoriè, Ana Kosi
The location is on the edge of the planned 650 apartments which was finished one year ago.
Also this apartment block is a social type and was sold to the Slovenian Housing fund. The
cost per square meter had to be 650 EUR/m2 since the selling cost was 1200EUR/m2. The
given urban plot of the building was 4 floors high, 58 meters long and 15m in width. Since
the orientation of the building is towards the busy highway the apartment opening together
with balconies are shifted as 30 degrees window-wings towards the quieter and south
orientated side. Long after the elevations were planned many people associated them with
the Tetris game. And so the building got its name.
Sustainability issues:
The combination of balconies and winter gardens functions as constant temperature buffer
zone to the main living and sleeping areas.
1. The balconies are shifted opposite from the busy road. On the same time they provide
shelter from direct sunlight direction.
Additional aluminium shading panels are placed on the outer sides of the winter loggias and
balconies.
2. The service and communication spaces are reduced to a minimum thus the daylight is
provided on the shafts. The monthly basic energy and service costs are very low.
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650 apartments, Ljubljana, Slovenia, 2002-2004
Team: Rok Oman, Špela Videènik, Martina Lioicer, Nejc Batistiè, Neža Oman,
Karla Murovec, Neli Ouzunova, Florian Frey, Marisa Baptista, Ana Kosi
The project is one of the biggest housing developments in Ljubljana. There are 4 housing blocks
with 640 apartments and an underground garage with 1200 parking spaces. The urban plan
required 4 long block-stripes of apartments (app. 140m each) that have 4 floors and penthouse
apartments on the top floor. The apartments are sold under the government financial scheme
so the cost of the construction had to be under 700 EUR/apartment. That required a simple
scheme of repetitive low-cost materials. The project proposed a façade that are subdivided into
3 layers. One is the main façade layer made of concrete and coloured plaster. The second is
glass that forms winter-loggias. The third is a layer of laminate cladding that forms a geometry
of fences and balcony storages. Each building is formed by 4 equal modules with 42 apartments
with staircase and elevator. The façade of these modules is the same but created in a way that
can be connected and mirrored in a geometry that does not seem repetitive.
sustainability issues: The house provides a combination of balconies and winter gardens on
the east-west elevations. They function as a constant temperature buffer zone to the main
living and sleeping areas.. The service and communication spaces are reduced to a
minimum thus the daylight is provided on the shafts. The monthly basic energetic and
service costs are very low.
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Bevk Peroviã arhitekti
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House D, Ljubljana, Slovenija, 2005-2008
Team: Matija Bevk, Vasa J. Peroviã, Uršula Oitzl
One of the most recent realisations is a residential house in Ljubljana’s Rožna Valley in which a
specific contekst of the house influenced its concept. This buildng is introverted due to the
vicinity of neighbouring houses and this consequently dictates a concept of the richer inner
world of the house.
The house consists of a wider, half-burried part with a patio and a volume sitting on it. The
narrow space between the house and a plot boundary is landscaped, but it is not used in a
programmatic sense.
In a typological sense, it is a patio-type house, consisting of full and removed volume-patios,
ordered in the ground plan in the form of ribbons.
The House D received the Pleènik’s prize this year.
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Student housing, Ljubljana, Slovenia, 2005-2006
Team: Matija Bevk, Vasa J. Peroviã, Uršula Oitzl, Ana Èeligoj,
Davorin Poèivašek
The Student Housing is a building on the edge of the city centre of Ljubljana, near the river
bank, comprising of 56 dwelling units for students of the Ljubljana University.
It is a building of high programmatic clarity – a series of public programes (spaces for
teaching, communal living and leisure) are concentrated in a horizontal transparent base –
while series of student living units hover above in two slabs.
Student units are organized around central service cores containing bathrooms and
kitchen/dining rooms, which appear on the elevation of the buildings as huge openings –
windows like 'eyes', overlooking the street. Adjoining student bedrooms are, in turn,
screened from the street by series of folding panels in aluminium, intricately perforated,
protecting private lives of inhabitants from the street bustle.
.
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Faculty of Mathematics, Ljubljana, Slovenia, 2002-2006
Team: Matija Bevk, Vasa J. Peroviã, Nika Prešeren,Robert Loher,
Maja Valiè
The faculty of Mathematic Building is built on top of a privately owned computer company
building. On the third floor there are two large lecture rooms. On the fourth floor there are
normal lecture rooms along the central corridor and on the fifth floor cabinets for professors.
The last floor is devoted to offices and three terraces. As the terraces are covered with steel
frames the whole volume of the building is a clear rectangular box where only the sun
protection screens an South façade and fire escape stairs on the back façade are added. The
rest is a glass façade, treated in three ways. The parts in front of the public spaces are covered
with clear glass, the rest is glass printed with vertical stripes. Some glass is in front of windows,
the rest covers the façade. In this way the unique volume of the building is treated in different
ways, making different effects during day and night.
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Royal Dutch embassy, ambassador's residence,
Ljubljana, Slovenia, 2002-2003
Team: Matija Bevk, Vasa J. Peroviã, Blaž Kandus
The concept of the building is derived from the specific needs of an ambassador. The ground
floor is intended for receptions and office work, while all the private rooms are located on the
first floor. The different contents are reflected by the facade where the ground floor opens onto
the garden, while the first floor, clad with wood, is more introverted. The ground floor hosts a
study, a living room, a lounge and a dining room, all of them are linked into one surface by
means of doors, reminding us of the Dutch tradition. The upper wooden volume is uneven in
height. Together with balcony recessions and terraces the final effect is that of dynamic
volumes, reminiscent of Neo-plasticism.
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Sadar Vuga arhitekti
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Apartment house Gradaška, Ljubljana, Slovenija, 2003-2007
Team: Jurij Sadar, Boštjan Vuga, Beno Masten, Tadej Žaucer,
Goran Golubiè, Tomaž Èeligoj, Lucijan Šifrer, Ana Struna
The size, location, shape and spatial organisation of the Apartment House Gradaška outrank
all the neighbouring, almost village-like constructions. It is an independent building with
twelve different and individualised apartments.
They all cover the area of several storeys or between-storeys. The central living area is
always divided into one and a half or two storeys. The vertical arrangement of these
apartments is thus highlighted, which, besides the open ground plan and the large glass
surfaces, exposes the building’s urban and metropolitan character. The apartments form a
unity which resembles the three-dimensional tetris.
The façade is made of three different materials: a stone facing, which outlines individual
apartments, a combination of reflexive and transparent glass panels which either reflect the
surrounding area into the apartment or reveal the interior of the apartment to the
surrounding, and a filigree base whose ornamentation throws a reflection of the green to its
façade.
This façade functions as a kind of a Switching Surface between the structure and the living
character of the metropolitan vertical lofts on the one hand, and the almost village-like
atmosphere of the area on which the Apartment House Gradaška is located on the other
hand.
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Condominium Trnovski Pristan, Ljubljana, Slovenia,
2002-2004
Team: Jurij Sadar, Boštjan Vuga, Tina Hoèevar, Miha Pešec,
Tadej Žaucer, Mojca Kocbek
The Condominium is a two-floor apartment building with fifteen individualized apartments, a
common entrance lobby, an interior winter garden and exterior summer atrium.
Its basic volume is agitated, partitioned and non-monolithic, which allows an optimal
illumination of all apartments and a connection of the interior area with the exterior through
greater greened terraces, consoled balconies and winter gardens. The partitioning of the
basic volume continues to the irregular rhythm of the balconies volume. The balconies extend
far away from the building, towards the circumferential garden. The partitioning reaches its
peak by the composition of façade surfaces made of pixels of multi-coloured ceramic tiles,
and pre-dimensioned black metal frames, which link Blown-up Windows, and balconies of
orange wood.
The desired final effect of the façade at the apartment block known as Condominium Trnovski
Pristan was developed through a technique of pixelization: the architects were aiming to
achieve something which at first glance might seem like something beyond the imagination.
They shifted the perception of the size of the building in the eyes of the observer (that is why
from the outset the building seems unfamiliar) and at the same time they tried to establish a
completely new generative relationship between the building and its immediate surroundings.
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Matej in Vesna Vozliè
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Dvorni trg and Hribarjevo nabrežje, Ljubljana, Slovenija,
2002
Team: Matej Vozliè, Vesna Vozliè
The layout of the Dvorni trg square and the Hribarjevo nabrežje river banks is part of the broader
design for the transformation of public areas along the Ljubljanica River, which has evolved
gradually over the past decade. The layout of Hribarjevo nabrežje emphasises the flow of the
river and continues, with pergolas and trees, to stress the Mediterranean features of the town, a
principle earlier followed by Pleènik. Dvorni trg, a former parking area, is transformed into a
useful urban space by means of step-cascades. The necessary access to collectors in the lower
part of the square dictated the design of a wooden platform, which acts as a stage against the
background silhouette of the Ljubljana Castle.
.
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Opera bar, Ljubljana, Slovenia, 2002
Team: Vesna Vozliè Matej Vozliè
The Opera bar in Ljubljana is an example of a project that would like to deal with an interior on a
higher level of quality. As the name indicates, the bar is situated on the corner in front of the
opera house. This place was very popular for centuries. Despite the fact that it was redecorated
some 15 years ago, the public has still in mind the older interior that gave the bar the popular
name “Messing”, a Germanism in Slovene slang language indicating the presence of brass in its
interior. A businessman of Slovenian origin from Sydney, Australia, bought the bar in 2002 and
the architects had an opportunity to return the place to its former splendor. With an owner from
Sydney, the name was no longer associated with the Opera House from Ljubljana but rather with
the famous Sidney Opera House by Jørn Utzon. This of course was only a staring point for
thinking about the interior in a fresh way. At the end the bar has qualities both associated with
the old “Messing” and with Australian culture. It is divided in three spaces: the main space with a
bar, a back room and the mezzanine where the toilets are located. The architecture is clear and
simple, with a vertical articulation. With the help of wooden podia, stairs, the mezzanine (almost
a balcony) and high spaces, a kind of “Raumplan” is created. The materials are white walls, wood
and stone (partly on the floor). The architects added carefully made details, made mostly of
brass, that work almost like jewellery: niches, stair handles and coat hooks. Additionally there
are Aborigine paintings on the ceiling and in the toilets and several carefully selected Australian
pieces of art. There is always a video projection on the wall showing Australian wildlife.
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Arhitektura Krušec
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Mountan hut Celjska koèa, Celje, Slovenia, 2005
Team: Tomaž Krušec, Lena Krušec,Vid Kurinèiè
The building of the Alpine hotel "Celjska koèa" is situated on an exposed natural plateau at
the foot of the ski run bearing the same name and replaces the mountain cabin which
became obsolete and required demolishing. The former cabin was situated in the direct
vicinity of the new hotel.
The panoramic view towards the valley and the rocky hilltop of Grmada represents the main
attraction of the given location, thus making this a feature key to the design of the new
building. The described panorama serves as the guiding element both for the interior design
as well as the exterior architectural volume.
The location of the new Celjska koèa carries a double meaning: on the one hand, the image
of the cabin has been mentally ingrained in the minds of the Celje inhabitants as one of their
favourite trips for more than a century, while on the other hand, the impression of the
location reflects in the beauty of an unscathed natural surrounding and views towards the
valley.
Particular attention was devoted to the tectonic design of the building. The carrying structure
is limited to eight corner concrete columns which run along the middle of the building just
like a spinal column and thereby support all the inter-floor armed concrete plates. The
façade is completely prefabricated and constructed from wood.
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Farewell chapel Teharje, Teharje, Slovenia, 2005-2007
Team:Lena Krušec, Tomaž Krušec
The new farewell chapel replaces the old one in the same location. Its design follows the line of
the neighbouring mountains. Thumb stones of mediocre design surround it, but the architect
designed the building in such way, that its structure of stonewalls blocks the view of the cemetery
and is concentrated solely towards the mountains.
The walls are made of local stone. Polished on the exterior, it has a special structure that creates
long shadows in the interior, thus creating a contemplative atmosphere.
The most noted architectural element is the cantelivered roof that binds the whole composition.
It is based on the concrete construction, the only vertical element of the building. In this way the
tectonic structure becomes the most important element of the architectural volume.
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AKSL arhitekti
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Restaurant Valvas’or, Ljubljana, Slovenia, 2008
Team: Špela Leskovic, Aleš Košak, Domen Puc
The restaurant Valvas'or is a modern interior insertion into a historical shelf of a 17th century
house in the heart of the old town of Ljubljana. It is named by a historical person Janez
Vajkard Valvasor, who had drawn topographic maps of every city in Slovenia and neighbouring
countries. In the restaurant here is an old part of Ljubljana, perforated in an interior golden
wall, behind which there are hidden facilities and storring spaces. The name Valvasor, was
slightly modified to Valvas'OR, so that the golden colour in the interior and higher level of a
restaurant are recognizable.
Architects wanted to preserve the old shelf as original as possible, so that all the new
furnishing is lifted up from the floor and lowered from the celling. It’s a play of insertion of the
new programme in the remaing body, a play of contrast, soft versus hard. The architects
wanted to leave the high vaulted celling as much open as it can be, so the only lighting from
the celling are two hanging chandelieres giving a certain glamour, all other lighting comes from
a floating black tunnel, running through the space which combines lighting, ventilation and
sound system.
The materials used in the interior are wood, leather and metal, usually painted in gold.
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Restaurant Rožmarin, Ljubljana, Slovenia, 2006
Team: Špela Leskovic, Aleš Košak, Tina Vatovec
The restaurant Rožmarin is an example of a vertical organisation of complex programme
inside reconstructed a 60’s modernistric architecture. It combines a bar, a restaurant, a wine
bar (made in 2006) and a cafeteria (made in 2009) in 5 diferent levels, made in a
contemporary language of modern interiors. The restaurant is an open space, with a central
focus to a show kitchen. Tables have curtains wrapped arrownd them, to gain certain privacy.
Floor and ceeling are in chocolate brown color, while walls and upholstery are soft violet,
which is the colour of a rosemary flower.
The vine cellar is an open space with a visible concrete structure giving it a certain
functional-cellar-atmosphere. The softness and warmth come from the wood used on the
floor, the furniture made of wood and insertions of recessed wooden ceiling. The main focal
point is a seven meter long console wooden table for consuming wine. The classic wine cellar
is made like a transparent cooled box visible to customers. The bar counter is designed as a
functional element made of visible concrete.
On the street level we can find cafeteria. The floor is covered with the same granith cubes
like on the street, with the intention to prolong the street atmosphere into the building.
The interior design of the Restaurant Rožmarin was nominated for the Plecnik prize in 2008.
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Aleš Vodopivec, Gašper Medvešek, Nena Gabrovec
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Vile na Sernèevi, Maribor , Slovenia, 2006
Team: Prof. Aleš Vodopivec, Blaž Medvešek, Nena Gabrovec
The villa district is organized along a green walking path – Serniceva Street which divides the court
into two parts. An inner open space with green atriums is surrounded by ten villas in four floors. In
every villa there are four larger residential units either as a family house with an open space (a
green atrium in the ground floor or a sun terrace with greening on the roof ) or as units with terraces
or balconies in one floor (building on the corner).
Main entrance for pedestrians and delivery to residential buildings is from Serniceva Street that
adopts the atmosphere of a waliking (delivery) path. Under the terrain level there is a basement
floor with 76 parking spaces. Drive into the garages is organized from Kamniska Street. In the
ground floor at the intersection of Serniceva and Kamniska Street there is an area for public space.
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Rok Benda, Primož Hoèevar, Mitja Zorc
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New Maribor square market, Maribor, Slovenia, 2005
Team: Rok Benda, Primož Hoèevar, Mitja Zorc
The New Maribor square market is located at an existing open market which is already
determinated by a specific terassy configuration of the terrain between the street level, the banks
of the Drava river and the remainings of old city fortress along east side.
The market space is designed as an open space, as continious square levels, which connect the
market with the city (road, square, river...).
The extensive and infrastructuarly demanding programme of the square market and the parking
house is volumetrically, formally and in material ajusted to the small scale of the surrounding
areas.
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Higher school of economics, Muska Sobota, Slovenia, 2007
Team: Rok Benda, Primož Hoèevar, Mitja Zorc
The Higher School Of Economics in Murska Sobota is, despite the limited budget and regulations, an
example of clever spatial organisation.
Classrooms and cabinets alternate with vertically and horizontally oriented public spaces. The
building has an S shaped plan, which creates a series of semi-closed courtyards. The black façade
with its ceramic cladding tries to aproach the human scale. Contrary to the elegant dark exterior, the
interior is light, sometimes even colourful, respecting natural light and connected to the
surrounding nature.With this solution the architects succeeded in controling the space and giving
the students a high quality spatial experience.
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plusminus 30
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University of Primorska, Rectorate and Faculty of
Humanities, Koper, Slovenia, 2005
Team: Barbara Debevec, Jure Melon, Lara Melon, Bernard Podboj,
Nataša Štrukelj
Koper is a medieval Mediterranean town with an outstanding main square with Venetian
architecture. Beside tha cathedral, the town hall and the loggia there is also the seat of University
of Primorska. For this purpose, the architects had to adapt two existing palaces and build a new
extention in the back. The main concern of the architects was to preserve and refine the existent
qualities of the site and to intergrate a new, modern programme into this sensitive city area. The
new spaces are designed as buildings inside buildings, detached from the walls in a way, that lets
historical elements be preserved without hiding them. The new building has a clear functional
partition: classrooms and two lecture rooms are on the street side, lecturer’s rooms on the
courtyard side and the faculty administration in the attic.
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AA kultura
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Villa Artes, Portorož, Slovenia, 2005
Team: Marko Apollonio, Nina Crljenko, Petra Brank
Villa Artes is a housing project in the centre of Portorož, the main slovenian seaside resort. It
consists of eight individualy shaped flats, with a large outside open space area. The project has
been developed on the thesis of the master abauth identity of space in contemporary
architecture. Starting points were added to the urban conditions. Characteristic of the
traditional architecture were treated as a process, a method which created new results. The
building is devided into 8 parts, each has a different organisation, which is based on the
scheme of the organisation of old city palaces. They have all the same acces. Instead of green
atriums, there is a garden. All the materials are taken from the local area. The façade is mainly
made of stone and has a textile texture, a reinterpretation of important palaces of the cities of
the coast in the 15th century.
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Reichenberg arhitektura
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Studenci footbridge, Maribor, Slovenia, 2004-2008
Team: Bogdan Reichenberg, Gregor Reichenberg, Sašo Rek, Miha Miliè
The duality of the Double-storey bridge, the long span of Tito's bridge, the framework of the
Railway bridge, stone supports of the Old bridge and the asymmetry of the Carinthia bridge
were the main concept criteria for the new Studenci footbridge - a new morphologic entity
set out of the typology of existing bridges in Maribor, Slovenia. Main steel construction is set
horizontally on the existing supports, the deck is in a slope and offers a connection of both
walking sides in the middle of the bridge at the highest point of walking. With a gentle rise of
the deck, the center placed construction disappears beneath the floor and both walkways
merge together - creating a common area above the Drava river, where one gets an
undistracted view to all sides. The crossing of the river now becomes an event. There is a
decent connection with both riverbanks. On the
left bank - the city side - with two
stone walls which embrace the entrance and form a small 'piazzeta', on the right bank it
decently connects with a park .
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