Domen Zupančič
He lectures Management in Architecture, Vernacular Architecture and Recreational Buildings. As a supervisor, he runs a design studio. His research field is combined with vernacular architecture and economics. He is active in publishing research results and other articles in the field of architecture and management (more than 40 publications and +100 architectural projects). Pedagogical aims can be seen through several architectural workshops and intense collaboration with special groups (pre-school children, elderly people and disabled persons). He organises summer school events and international workshops, combining research field work with practical skill development (dry walling, sketching, photography). He has been guest lecturer at several universities: Italy, Romania, Serbia, Bosna and Herzegovina, Spain, Portugal, Czech Republic, Austria, Turkey, Poland and Croatia. Memberships: ICOMOS, CIAV, SIST SI, Alps-Adriatic-Alliance. He is the Chief Editor of AR architecture, a research journal.
Recent publications are available at: academia.edu or researchgate.net
Supervisors: Reviewer: CEPS Center for Educational Policy Studies Journal ISSN 2232-2647
Address: University of Ljubljana
Faculty of Architecture
Zoisova 12
1000 Ljubljana
Slovenia
Recent publications are available at: academia.edu or researchgate.net
Supervisors: Reviewer: CEPS Center for Educational Policy Studies Journal ISSN 2232-2647
Address: University of Ljubljana
Faculty of Architecture
Zoisova 12
1000 Ljubljana
Slovenia
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Books by Domen Zupančič
Letošnje šolsko leto smo pri predmetu Upravljanje v arhitekturi namenili posebni temi: učilnica prihodnosti. Kaj nam prinaša prihodnost na področju poučevanja, je vprašanje, ki ne zastara. Generacije študentov se iz leta v leto spreminjajo glede na njihove predhodne izkušnje, znanje in možnosti samostojnega razmišljanja. Radovednost je pogoj za učenje. Je v arhitekturnem snovanju mladih bodočih arhitektov še kaj radovednosti? Radovednost ne utira poti le mislim, vodi naše telo, roke, noge, pogled, sluh, vonj,…vodi nas k dotiku. Čutila so tista, ki nas zalagajo s podatki, odčitki vrednosti in nato v mislih strnemo vtise, jih spojimo s spomini, prepričanji, privzgojenimi vzorci ter jih zgnetene vrnemo nazaj v svet okoli nas. Pomagamo si rokami, da jih iztisnemo v digitalni svet prek tipkovnice, klika miške ali poteze s peresom po papirju. Ne le to. Z ostrino noža ideje izrezljamo iz papirnih pol, ali pa jih damo v laserski rezalnik, da jih z natančno mehansko-digitalno opremo izreže iz lesenih plošč, kartona ali kaj sorodnega.
Arhitektura je obrt in umetnost ter v tem sodobnem svetu je modna še pripona, da je arhitektura multidisciplinarna veda, kjer si roko poda matematika, fizika, kemija, poezija, pravo, ekonomija, likovna umetnost, filozofija, psihologija, sociologija, kiparstvo, fotografija, računalniško programiranje, umetna inteligenca,… Seznam bi lahko dopolnjeval vsak dan in na koncu meseca, bi spoznal, da sem naštel vse kar sem se spomnil in zagotovo bi še kaj manjkalo. Pa je res namen, da razložimo vse korake, vsak naklon, vsako misel preko povedi do besed in njenih zlogov ter črk : ABCČDEFGHIJKLMNOPRSŠTUVZŽ. Pa bo sledilo spoznanje, razumevanje, modrost? Zagotovo ne.
V tej zagati smo se znašli s študenti. Naloga: sodobna učilnica je bila bolj zahtevna. Ni šlo le za obliko prostora, ne! Pomembnejši je odnos med učiteljem in učenci. Motivacija je bodisi zunanja bodisi notranja. Obe sta potrebni, da je prenos znanja uspešen. Gaspari je v prvi številki revije Arhitekt zapisal: »Razred osnovna celica šolske zgradbe v primerih novih vzornih šol ni več mesto avtoritativnega nastopa učitelja, temveč prostor za kolektivno delo z mladino. V tej pogojenosti je razred vedno bolj izgubljal tradicionalno obliko pravokotnika velikosti cca. 6x9 m…danes dobiva obliko kvadratnega prostora, ki omogoča poljubno razmeščanje šolskega mobilirja primerno namenu in potrebam pouka.« [Gaspari, 1951:30-32] Pomen prispevka je dvojen: zavedanje takratnih arhitektov o velikem pomenu šolskega prostora in arhitekture šol je bilo veliko, saj so tematiko učilnice umestili v prvo številko revije Arhitekt. V nadaljevanju članka Gaspari poudarja kvaliteto lahke, mobilne opreme, ki je ergonomsko prilagojena učencem. Dialektika skaralnega prostora o enotnosti klopi in mize je bila takrat presežena, miza in stol sta postala samostojna elementa opreme. Povečala se je uporabna vrednost opreme in prostor učilnice doživi preporod glede na razporeditev opreme.
Po poti dedukcije smo arhitekti stopali zlagoma, saj šolski prostor ni prostor revolucije ali prostor hipnega, modnega ter z učinki prežetega prostora. A ne glede na leto 1951 sodobni avtorji (Ivanič, Kuhar, 2004; Blenkuš, Zorc, 2017; Gegorski et al, 2017) ugotavljajo, da je potreben premik naprej, saj je zakonodaja (normativi na področju projektiranja šol) neustrezno prilagojena ali zasnovana ter mestoma pomanjkljiva.
Prostor šole naj omogoča čustveno obnovo in reinterpretacijo doživetega, slišanega, čutenega v učilnici in izven nje. Gaston Bachelard predstavlja tezo, da vsak prostor, v katerem dejansko bivamo, skriva v svojem bistvu pojem hiše, ki ga tvorijo naši spomini in imaginacija. Bistvena moč koncepta je v integraciji misli, spominov in sanj. Zato predlaga »topoanalizo«, ki je neka vrsta pomožne metode psihoanalizi in je sistematična psihološka študija »prostorov« našega intimnega življenja (Bachelard, 2001). V sodobnih šolah je več dnevne svetlobe, oprema je specializirana glede na učilnice (predmetne učilnice, osnovne učilnice, igralnice, telovadnice,…).
Študentje VII. semestra arhitekture so to pot razmisleka nadaljevali. Usmeritev je bila tristrana: ali prenoviti obstoječo učilnico na izbrani lokaciji, zasnovati novo učilnico ali pa zasnovati mobilno učilnico. Vsem učilnicam so študentje dodali vizijo razvoja čez 10, 20 in 50 let.
Napovedovanje prihodnosti je neljuba naloga in lahko preide v polje banalnosti in enostranskosti. »Podoba določenega prostora je kombinacija vseh zaznav. Pomembni so tako gibljivi kot negibljivi elementi, ki jo sestavljajo in vizualne kvalitete, ki omogočajo »berljivost« v smislu izdelave podobe, produkt čutnih izkušenj, spominov, ki so podlaga za interpretacije informacij in usmerjevalce akcij.« [Tomšič, Zupančič 2011: 70]. Nastali projekti so različni. Poleg projektnih rešitev so študentske ekipe določile tudi ciljno publiko. Mnogi projekti zajemajo spremembe okolja pod vtisom današnjih vtisov (družbena trenja, globalne klimatske spremembe, nejasni obrisi digitalnega sveta prihodnosti,…). Velik del razmisleka mladih je bil v razumevanju inkluzije: zavedanje posebnosti v skupnosti razreda in možnih prilagoditev tem posebnostim. Pričujoča zbirka nudi kratek informativni vpogled v študentske vizije učilnice prihodnosti.
Srečno pot,
doc. dr. Domen Zupančič
The monograph texts and graphics are presented as a selection from a vast documentation database. We are aware of this shortlisted selection and we will appreciate the newcomers joining in the team of researchers in vernacular architecture in Slovenia. As Bruno Zevi pointed, the direct experience is the protagonist of architecture. To grasp the space, to know how to see it, is the key to the understanding of a building. Stone elements as stairs, lintels, door posts, roof plates and others are related to each other. The house at Repentabor was erected on a huge rock cliff; stairs are tailored in the rock foundation and the platy stone roof and greyish stone façades mimic the house dominant location. From the stone staircase to the roof we could observe an intrinsic order of tectonics.
In the preface text we opened discussion about the role of cultural landscape and the inhabitation of natural landscape from prehistoric era till today. Architecture described in the monograph is vivid and tries to resist the constant change in time. Architectural structures and its characteristic architectural elements made of local limestone are still in use in daily habits of dwellers. Descriptions in the monograph are not sets of prescribed technical goals. Our aim was to evoke the sensual social role of architecture. Sketches done by hand dare to express how “liveable” those stone elements were crafted and sometimes sculpted. Even modest drywalls at the outskirts of the villages include tectonics and are skilfully assembled stone pieces. Face stones are supported by pinning and hearting stones. Those small stones are placed in-between the stone gaps and they are carefully in-built to reinforce stone pieces and unify the wall courses. From this perspective, pinning and hearting stones have the same role as the lime mortar between roof stone plates.
In the second section we described the role of experts, organizations (national, local in the field of protection of cultural heritage), owners and managers in architecture. We are aware that the majority of the work can be done in a “do-it-yourself” way. Including this aspect, we profoundly described legislative framework and pointed out the role of architects as binding experts in the process of any construction. Empowered owners are much needed in management in architecture. Encouraged owners could find some new financial and material sources to rebuild, renovate or just to prevent decay of this kind of architecture. Salvation of the stone culture should be done hand in hand with the experts. Any material, when renovating vernacular architecture, should be carefully dismantled. Great care should be taken at any construction process starting with inventarisation and finishing with building permit and building management.
Re-roofing is one of the greatest burdens in the Kras region. Platy stone can be hard to obtain (excavate) in Slovenia. With the project RoofOfRock, we put effort into promoting platy limestone as a contemporary building material to stop the decay of roofs along the Adriatic coast. Using a series of expert guidelines (books, leaflets, videos and other material) we stepped out from this line combining theory and practice of vernacular architecture. The book may be a good source for the general public and may serve experts (architects, masons, carpenters) and even students (architecture, anthropology, archaeology, etc.).
Stone roofs are part of the cultural landscape and knowledge; how to handle this material is much needed! Treasures exist in fairytales, history; they exist today and will in the future. The fact is that rural areas in Slovenia are subject to emigration of people to cities and suburban settlements; the periphery is left with declining endemic architecture and heritage, which determine the whole’s identity. The disappearance of a nation’s culture and emergence of quasi cultural novelties reminiscent of heritage, can erode the original cultural quality. We must nevertheless believe that any improvement of ties between the profession and its users will lead to better solutions and higher use of cultural heritage values (Zupančič, 2005: 174-175).
Sketched details in the book provide essential evidences of the culture of stone. We would like to stop the common tendency by which any old building is an obsolete building. Vernacular architecture is one of the footings of architectural identity of the region and it is an inevitable part of cultural landscape. Understanding local vernacular architecture and taking care for the living built heritage is part of mature cultural goals. Rich architectural stone forms are like letters, using architectural “grammar” leads towards living architecture.
Water is a living liquid and has sacred powers. In sacred wells water is given a new role, that of a mirror. Beams of light enter and touch the water surface and are reflected. The miracle happens when light comes out of the Earth, fromthe hole at the top of the well.
Sardinia abounds with megalithic and other structures. They are the remnants of human spirit, thinking and knowledge.
Arbeit, welche auf unser künftiges Leben und
Entscheidungen der Raumgestaltung großen Einfluss haben.
Die Möglichkeiten der Umsetzung von Entscheidungen sind
die wichtigsten Faktoren in der Qualitätswahrnehmung der
Raumgestaltung. Es gibt nur einen Raum. Der urbane Raum
ist der wichtigste von allen, in den die Hand des Architekten
greift.
understanding and using space. In the eyes of adults, a paper box is a wrapping around content –
it contains something we bought and probably need. The box features information, descriptions
and pictures that inform us about the content and properties of the packed item. The same
object is viewed differently by children: a box is an object; it conceals what is drawn upon it. The
most interesting activity is to open it and see in reality whatever is drawn upon it - the magic of
the moment when the picture of the content and the content itself meet. As well as the toy, the
box is also interesting, as it may become a garage, a house, a trap, or other things.
Space is limited by planes; it may contain shapes; and architecture emerges when a space is given
a name – when it becomes recognisable. When space becomes a room, a street, a town, a glass,
or a shelter, then we speak of architecture. The relationship between space and architecture is
therefore the logic of memory, the recognition of form in the sediment of time.
All play mirrors our life: social contacts and ways of expressing emotions are formed in the
course of play. Climbing a rope and other physical activities are useful for learning about our
own abilities, which is also useful for the future. Children and adults with no opportunity to
play are deprived of moments of relaxation, so stress is not relieved during physical and social
activity, but is reflected in lessened motivation, health problems and psychological pressures.
Thoughtful planning of spaces for active educational play - with the consumption of less energy
and with ecologically more appropriate materials - leads to suitable solutions. Space was once
a primary value; today, we increasingly highlight time as a basic value alongside space: the time
of adolescence; schooling time; time for trainee work; time for intensive work; intensive work
overtime; lowered retirement age; leisure time; planning time; time for building a home; time
for renovation. Today, people seemingly have no time remaining in which to explore space, to
become familiar with it, or perceive it more profoundly in any other way. Space has become a
good with a price attached. In the eyes of the buyer, the higher the price, the better the space. A.
Trstenjak concludes that price from the buyer's viewpoint acts as a factor of limit, as a drive and
as an indicator of quality (1974). Should we leave the design of play space exclusively to design
motives, and motives provided by needs which are based solely on possibilities and execution
costs?
How often are pedagogues, educators, psychologists and other expert co-workers invited to
these design activities? Most frequently, the process of organising play space involves only
architects, landscape architects, administration and municipal officials, and suppliers of play
material in the market. In principle, the resulting solutions are pleasant, useful and based
on arguments embracing spatial design and the arrangement of play material; in addition,
standards and legislation in force are heeded, and funds reasonably used. While observing
such spaces, we found that they were operational in good weather, while in poorer weather
conditions, these spaces were deserted and looked alien. We concluded that, after appropriate
and precise consideration, playground design might also be adapted to the tenets and guidelines
followed in designing other spaces in nurseries, schools and other childcare institutions. We
will, of course, never know everything, but through involving educators and pedagogues, the
emerging playgrounds will be more suitably arranged.
In dealing with play space, we must also be aware that there is no unlimited free space; space is
finite. In practice, we increasingly notice that we are engaged with the existing playgrounds and
the remaining built-up space. Key future projects will consist of renovations of the existing stock
of playgrounds, schools and nurseries. Therefore, educators, headmasters and teachers will be
needed and welcomed in such projects. Findings based on practice, field research and freshly
acquired knowledge from other areas will assist us in formulating and realising better quality
areas for play, education and active outdoor leisure. In the early age of growth, environment has
beatriz tomšič čerkez * domen zupančič 143
a great influence on experiential learning, a factor of essential importance for designers. Being
aware that the environment has a strong impact on people, we must dedicate more effort to
the process of design and implementation of a comprehensively high quality built environment
(home, garden in front of the house, nursery, playground, school area, streets, parks...). While
observing play materials in children's playgrounds, we found stereotypical solutions which
operate or function well individually, although the ensemble of play materials does not express
a comprehensive idea. The separation between individual elements and the structures of these
elements indicate that, for us, individuals are increasingly important. However, most play is based
on team work, on confronting and exchanging ideas. We learn most through play, because it is
not a directed activity: it is a willed activity originating in our own curiosity. The idea of socially
aware and inclusive spatial design embraces several groups which form a social environment.
Every good playground is formed by clusters of small corners which are accommodated in
space so as to provide for the sensible and non-conflictual use of space for different groups. The
actual design of these small corners is not left to the planners' design motivations and tedious
consideration of a pile of regulations, standards and other regulatory documents. In designing
a playground, it is essential to have as clear an idea as possible of the likely users of the space
in future. It is also sensible to involve educators, social and art pedagogues and other experts
who try to understand social behaviour. Predicting the future is never gratifying, and amounts
to nothing more than assumptions based on statistical data, situational data and various
model verifications. What will happen to play spaces in the future? Probably, development will
be multi-directional; the first direction will probably be predicated on the development of a
combination of virtual/simulated space and real users; the second direction will certainly retain
authentic contact with open space in the environment (built or natural). In addition to these
directions, there will be the significant presence of an aging population and modified patterns of
behaviour (regarding climate conditions, socio-economic conditions and other). Elderly groups
need their own spaces for exercise, socialising and play. Unoccupied public surfaces should not
be designed with only children in mind, but increasingly also elderly adults.
Papers by Domen Zupančič
Given their spatial setting, the wall at Graček nad Famljami may be defined as a load bearing retaining wall, the
cellar in Štanjel as a structure built in the slope and the defence tower at Ostri vrh as a free-standing structure built
on level ground. The analysis of the construction method used for individual structures also includes the architectural
principles that characterise such structures and is completed by an estimated quantity of utilised raw materials, time
and number of participants.
Letošnje šolsko leto smo pri predmetu Upravljanje v arhitekturi namenili posebni temi: učilnica prihodnosti. Kaj nam prinaša prihodnost na področju poučevanja, je vprašanje, ki ne zastara. Generacije študentov se iz leta v leto spreminjajo glede na njihove predhodne izkušnje, znanje in možnosti samostojnega razmišljanja. Radovednost je pogoj za učenje. Je v arhitekturnem snovanju mladih bodočih arhitektov še kaj radovednosti? Radovednost ne utira poti le mislim, vodi naše telo, roke, noge, pogled, sluh, vonj,…vodi nas k dotiku. Čutila so tista, ki nas zalagajo s podatki, odčitki vrednosti in nato v mislih strnemo vtise, jih spojimo s spomini, prepričanji, privzgojenimi vzorci ter jih zgnetene vrnemo nazaj v svet okoli nas. Pomagamo si rokami, da jih iztisnemo v digitalni svet prek tipkovnice, klika miške ali poteze s peresom po papirju. Ne le to. Z ostrino noža ideje izrezljamo iz papirnih pol, ali pa jih damo v laserski rezalnik, da jih z natančno mehansko-digitalno opremo izreže iz lesenih plošč, kartona ali kaj sorodnega.
Arhitektura je obrt in umetnost ter v tem sodobnem svetu je modna še pripona, da je arhitektura multidisciplinarna veda, kjer si roko poda matematika, fizika, kemija, poezija, pravo, ekonomija, likovna umetnost, filozofija, psihologija, sociologija, kiparstvo, fotografija, računalniško programiranje, umetna inteligenca,… Seznam bi lahko dopolnjeval vsak dan in na koncu meseca, bi spoznal, da sem naštel vse kar sem se spomnil in zagotovo bi še kaj manjkalo. Pa je res namen, da razložimo vse korake, vsak naklon, vsako misel preko povedi do besed in njenih zlogov ter črk : ABCČDEFGHIJKLMNOPRSŠTUVZŽ. Pa bo sledilo spoznanje, razumevanje, modrost? Zagotovo ne.
V tej zagati smo se znašli s študenti. Naloga: sodobna učilnica je bila bolj zahtevna. Ni šlo le za obliko prostora, ne! Pomembnejši je odnos med učiteljem in učenci. Motivacija je bodisi zunanja bodisi notranja. Obe sta potrebni, da je prenos znanja uspešen. Gaspari je v prvi številki revije Arhitekt zapisal: »Razred osnovna celica šolske zgradbe v primerih novih vzornih šol ni več mesto avtoritativnega nastopa učitelja, temveč prostor za kolektivno delo z mladino. V tej pogojenosti je razred vedno bolj izgubljal tradicionalno obliko pravokotnika velikosti cca. 6x9 m…danes dobiva obliko kvadratnega prostora, ki omogoča poljubno razmeščanje šolskega mobilirja primerno namenu in potrebam pouka.« [Gaspari, 1951:30-32] Pomen prispevka je dvojen: zavedanje takratnih arhitektov o velikem pomenu šolskega prostora in arhitekture šol je bilo veliko, saj so tematiko učilnice umestili v prvo številko revije Arhitekt. V nadaljevanju članka Gaspari poudarja kvaliteto lahke, mobilne opreme, ki je ergonomsko prilagojena učencem. Dialektika skaralnega prostora o enotnosti klopi in mize je bila takrat presežena, miza in stol sta postala samostojna elementa opreme. Povečala se je uporabna vrednost opreme in prostor učilnice doživi preporod glede na razporeditev opreme.
Po poti dedukcije smo arhitekti stopali zlagoma, saj šolski prostor ni prostor revolucije ali prostor hipnega, modnega ter z učinki prežetega prostora. A ne glede na leto 1951 sodobni avtorji (Ivanič, Kuhar, 2004; Blenkuš, Zorc, 2017; Gegorski et al, 2017) ugotavljajo, da je potreben premik naprej, saj je zakonodaja (normativi na področju projektiranja šol) neustrezno prilagojena ali zasnovana ter mestoma pomanjkljiva.
Prostor šole naj omogoča čustveno obnovo in reinterpretacijo doživetega, slišanega, čutenega v učilnici in izven nje. Gaston Bachelard predstavlja tezo, da vsak prostor, v katerem dejansko bivamo, skriva v svojem bistvu pojem hiše, ki ga tvorijo naši spomini in imaginacija. Bistvena moč koncepta je v integraciji misli, spominov in sanj. Zato predlaga »topoanalizo«, ki je neka vrsta pomožne metode psihoanalizi in je sistematična psihološka študija »prostorov« našega intimnega življenja (Bachelard, 2001). V sodobnih šolah je več dnevne svetlobe, oprema je specializirana glede na učilnice (predmetne učilnice, osnovne učilnice, igralnice, telovadnice,…).
Študentje VII. semestra arhitekture so to pot razmisleka nadaljevali. Usmeritev je bila tristrana: ali prenoviti obstoječo učilnico na izbrani lokaciji, zasnovati novo učilnico ali pa zasnovati mobilno učilnico. Vsem učilnicam so študentje dodali vizijo razvoja čez 10, 20 in 50 let.
Napovedovanje prihodnosti je neljuba naloga in lahko preide v polje banalnosti in enostranskosti. »Podoba določenega prostora je kombinacija vseh zaznav. Pomembni so tako gibljivi kot negibljivi elementi, ki jo sestavljajo in vizualne kvalitete, ki omogočajo »berljivost« v smislu izdelave podobe, produkt čutnih izkušenj, spominov, ki so podlaga za interpretacije informacij in usmerjevalce akcij.« [Tomšič, Zupančič 2011: 70]. Nastali projekti so različni. Poleg projektnih rešitev so študentske ekipe določile tudi ciljno publiko. Mnogi projekti zajemajo spremembe okolja pod vtisom današnjih vtisov (družbena trenja, globalne klimatske spremembe, nejasni obrisi digitalnega sveta prihodnosti,…). Velik del razmisleka mladih je bil v razumevanju inkluzije: zavedanje posebnosti v skupnosti razreda in možnih prilagoditev tem posebnostim. Pričujoča zbirka nudi kratek informativni vpogled v študentske vizije učilnice prihodnosti.
Srečno pot,
doc. dr. Domen Zupančič
The monograph texts and graphics are presented as a selection from a vast documentation database. We are aware of this shortlisted selection and we will appreciate the newcomers joining in the team of researchers in vernacular architecture in Slovenia. As Bruno Zevi pointed, the direct experience is the protagonist of architecture. To grasp the space, to know how to see it, is the key to the understanding of a building. Stone elements as stairs, lintels, door posts, roof plates and others are related to each other. The house at Repentabor was erected on a huge rock cliff; stairs are tailored in the rock foundation and the platy stone roof and greyish stone façades mimic the house dominant location. From the stone staircase to the roof we could observe an intrinsic order of tectonics.
In the preface text we opened discussion about the role of cultural landscape and the inhabitation of natural landscape from prehistoric era till today. Architecture described in the monograph is vivid and tries to resist the constant change in time. Architectural structures and its characteristic architectural elements made of local limestone are still in use in daily habits of dwellers. Descriptions in the monograph are not sets of prescribed technical goals. Our aim was to evoke the sensual social role of architecture. Sketches done by hand dare to express how “liveable” those stone elements were crafted and sometimes sculpted. Even modest drywalls at the outskirts of the villages include tectonics and are skilfully assembled stone pieces. Face stones are supported by pinning and hearting stones. Those small stones are placed in-between the stone gaps and they are carefully in-built to reinforce stone pieces and unify the wall courses. From this perspective, pinning and hearting stones have the same role as the lime mortar between roof stone plates.
In the second section we described the role of experts, organizations (national, local in the field of protection of cultural heritage), owners and managers in architecture. We are aware that the majority of the work can be done in a “do-it-yourself” way. Including this aspect, we profoundly described legislative framework and pointed out the role of architects as binding experts in the process of any construction. Empowered owners are much needed in management in architecture. Encouraged owners could find some new financial and material sources to rebuild, renovate or just to prevent decay of this kind of architecture. Salvation of the stone culture should be done hand in hand with the experts. Any material, when renovating vernacular architecture, should be carefully dismantled. Great care should be taken at any construction process starting with inventarisation and finishing with building permit and building management.
Re-roofing is one of the greatest burdens in the Kras region. Platy stone can be hard to obtain (excavate) in Slovenia. With the project RoofOfRock, we put effort into promoting platy limestone as a contemporary building material to stop the decay of roofs along the Adriatic coast. Using a series of expert guidelines (books, leaflets, videos and other material) we stepped out from this line combining theory and practice of vernacular architecture. The book may be a good source for the general public and may serve experts (architects, masons, carpenters) and even students (architecture, anthropology, archaeology, etc.).
Stone roofs are part of the cultural landscape and knowledge; how to handle this material is much needed! Treasures exist in fairytales, history; they exist today and will in the future. The fact is that rural areas in Slovenia are subject to emigration of people to cities and suburban settlements; the periphery is left with declining endemic architecture and heritage, which determine the whole’s identity. The disappearance of a nation’s culture and emergence of quasi cultural novelties reminiscent of heritage, can erode the original cultural quality. We must nevertheless believe that any improvement of ties between the profession and its users will lead to better solutions and higher use of cultural heritage values (Zupančič, 2005: 174-175).
Sketched details in the book provide essential evidences of the culture of stone. We would like to stop the common tendency by which any old building is an obsolete building. Vernacular architecture is one of the footings of architectural identity of the region and it is an inevitable part of cultural landscape. Understanding local vernacular architecture and taking care for the living built heritage is part of mature cultural goals. Rich architectural stone forms are like letters, using architectural “grammar” leads towards living architecture.
Water is a living liquid and has sacred powers. In sacred wells water is given a new role, that of a mirror. Beams of light enter and touch the water surface and are reflected. The miracle happens when light comes out of the Earth, fromthe hole at the top of the well.
Sardinia abounds with megalithic and other structures. They are the remnants of human spirit, thinking and knowledge.
Arbeit, welche auf unser künftiges Leben und
Entscheidungen der Raumgestaltung großen Einfluss haben.
Die Möglichkeiten der Umsetzung von Entscheidungen sind
die wichtigsten Faktoren in der Qualitätswahrnehmung der
Raumgestaltung. Es gibt nur einen Raum. Der urbane Raum
ist der wichtigste von allen, in den die Hand des Architekten
greift.
understanding and using space. In the eyes of adults, a paper box is a wrapping around content –
it contains something we bought and probably need. The box features information, descriptions
and pictures that inform us about the content and properties of the packed item. The same
object is viewed differently by children: a box is an object; it conceals what is drawn upon it. The
most interesting activity is to open it and see in reality whatever is drawn upon it - the magic of
the moment when the picture of the content and the content itself meet. As well as the toy, the
box is also interesting, as it may become a garage, a house, a trap, or other things.
Space is limited by planes; it may contain shapes; and architecture emerges when a space is given
a name – when it becomes recognisable. When space becomes a room, a street, a town, a glass,
or a shelter, then we speak of architecture. The relationship between space and architecture is
therefore the logic of memory, the recognition of form in the sediment of time.
All play mirrors our life: social contacts and ways of expressing emotions are formed in the
course of play. Climbing a rope and other physical activities are useful for learning about our
own abilities, which is also useful for the future. Children and adults with no opportunity to
play are deprived of moments of relaxation, so stress is not relieved during physical and social
activity, but is reflected in lessened motivation, health problems and psychological pressures.
Thoughtful planning of spaces for active educational play - with the consumption of less energy
and with ecologically more appropriate materials - leads to suitable solutions. Space was once
a primary value; today, we increasingly highlight time as a basic value alongside space: the time
of adolescence; schooling time; time for trainee work; time for intensive work; intensive work
overtime; lowered retirement age; leisure time; planning time; time for building a home; time
for renovation. Today, people seemingly have no time remaining in which to explore space, to
become familiar with it, or perceive it more profoundly in any other way. Space has become a
good with a price attached. In the eyes of the buyer, the higher the price, the better the space. A.
Trstenjak concludes that price from the buyer's viewpoint acts as a factor of limit, as a drive and
as an indicator of quality (1974). Should we leave the design of play space exclusively to design
motives, and motives provided by needs which are based solely on possibilities and execution
costs?
How often are pedagogues, educators, psychologists and other expert co-workers invited to
these design activities? Most frequently, the process of organising play space involves only
architects, landscape architects, administration and municipal officials, and suppliers of play
material in the market. In principle, the resulting solutions are pleasant, useful and based
on arguments embracing spatial design and the arrangement of play material; in addition,
standards and legislation in force are heeded, and funds reasonably used. While observing
such spaces, we found that they were operational in good weather, while in poorer weather
conditions, these spaces were deserted and looked alien. We concluded that, after appropriate
and precise consideration, playground design might also be adapted to the tenets and guidelines
followed in designing other spaces in nurseries, schools and other childcare institutions. We
will, of course, never know everything, but through involving educators and pedagogues, the
emerging playgrounds will be more suitably arranged.
In dealing with play space, we must also be aware that there is no unlimited free space; space is
finite. In practice, we increasingly notice that we are engaged with the existing playgrounds and
the remaining built-up space. Key future projects will consist of renovations of the existing stock
of playgrounds, schools and nurseries. Therefore, educators, headmasters and teachers will be
needed and welcomed in such projects. Findings based on practice, field research and freshly
acquired knowledge from other areas will assist us in formulating and realising better quality
areas for play, education and active outdoor leisure. In the early age of growth, environment has
beatriz tomšič čerkez * domen zupančič 143
a great influence on experiential learning, a factor of essential importance for designers. Being
aware that the environment has a strong impact on people, we must dedicate more effort to
the process of design and implementation of a comprehensively high quality built environment
(home, garden in front of the house, nursery, playground, school area, streets, parks...). While
observing play materials in children's playgrounds, we found stereotypical solutions which
operate or function well individually, although the ensemble of play materials does not express
a comprehensive idea. The separation between individual elements and the structures of these
elements indicate that, for us, individuals are increasingly important. However, most play is based
on team work, on confronting and exchanging ideas. We learn most through play, because it is
not a directed activity: it is a willed activity originating in our own curiosity. The idea of socially
aware and inclusive spatial design embraces several groups which form a social environment.
Every good playground is formed by clusters of small corners which are accommodated in
space so as to provide for the sensible and non-conflictual use of space for different groups. The
actual design of these small corners is not left to the planners' design motivations and tedious
consideration of a pile of regulations, standards and other regulatory documents. In designing
a playground, it is essential to have as clear an idea as possible of the likely users of the space
in future. It is also sensible to involve educators, social and art pedagogues and other experts
who try to understand social behaviour. Predicting the future is never gratifying, and amounts
to nothing more than assumptions based on statistical data, situational data and various
model verifications. What will happen to play spaces in the future? Probably, development will
be multi-directional; the first direction will probably be predicated on the development of a
combination of virtual/simulated space and real users; the second direction will certainly retain
authentic contact with open space in the environment (built or natural). In addition to these
directions, there will be the significant presence of an aging population and modified patterns of
behaviour (regarding climate conditions, socio-economic conditions and other). Elderly groups
need their own spaces for exercise, socialising and play. Unoccupied public surfaces should not
be designed with only children in mind, but increasingly also elderly adults.
Given their spatial setting, the wall at Graček nad Famljami may be defined as a load bearing retaining wall, the
cellar in Štanjel as a structure built in the slope and the defence tower at Ostri vrh as a free-standing structure built
on level ground. The analysis of the construction method used for individual structures also includes the architectural
principles that characterise such structures and is completed by an estimated quantity of utilised raw materials, time
and number of participants.
The article describes an example of one of the most simple hay barn in Slovene Julian Alps I have documented in recent years. This interesting vernacular structure stands in the woods outside of village Gozd Martuljek. It consists of two basic building materials: stone and wood. Both materials are used in a construction as primitive as they could be used: walls are made of non-shaped stone assembled without mortar and a frame of a barn is made of poorly shaped timber. At first glance the building itself may not be seen as elegant as it was revealed later using method of architectural economics. The method of architectural economics describes and uses tools of graphical analysis and equations of material usage compared with level of accuracy of building. This analytical tool is helpful when describing tectonics, too.
The presented hay barn has clear and gradually developed tectonic shape: using stone dry wall combined with timber posts at ground level and the timber is used in upper level of section and on the roof. The horizontal shift of functions is clear; a ground level is for animals and tools; upper level is for hay. The facades are poorly composed. The whole presence of this vernacular structure entitles the basic entities of architectural composition using horizontal and vertical lines.