bostjan debelak architect

bostjan debelak architect

druge hiše / other houses

koncept / concept

podatki / data

kontakt / contact

hiša atelje debelak

hiša Turn / A Tower House

nazaj / back

 

"Das sehr enge Haus"

DBZ - Deutche Bauzeitschrift

 

Zelo ozka hiša

 

V slovenski arhitekturi povojnega obdobja je opazno pomanjkanje formalne identitete, ki se proti današnjemu času stopnjuje. Po kvalitetnih arhitektih 30.let (Plečnik, Vurnik, Šubic,...), ki so sicer delovali znotraj svetovnih gibanj, a so razvili svojo lastno poetiko (njihova naveza na širši kulturni evropski prostor jim je omogočila, da so na univerzalnih načelih lahko nadgrajevali svojo arhitekturo s specifičnostmi našega prostora), nastopi obdobje odvisnosti od stila, ko se slovenski arhitekti formalno težko najdejo v svetovnih modnih gibanjih.

Le nekateri predstavniki povojne generacije (na primer Ravnikar in Kristl) so znali ubežati banalnim interpretacijam novih arhitekturnih ideologij in njihova pozitivna spoznanja selektivno uporabiti. Problem modernizma je bil seveda v njegovi ekskluzivnosti.

Večjim arhitekturnim škodam-uničevanju stavbne dediščine v imenu novih civilizacijskih konceptov (na obeh straneh železne zavese) smo na slovenskem nekako ubežali, pa ne zato, ker strokovnjaki ne bi bili seznanjeni z dogajanji v širnem svetu, temveč preprosto zato, ker se je pri nas premalo gradilo (Britanci so na primer pri revitalizaciji starih mestnih jeder porušili več kvalitetnega stavbnega fonda, kot pa so ga izgubili med bombandiranji). Zanos nove dobe nas je tako nekako zaobšel.

V zadnjih desetih letih, ki so bile z nastopom postmodernega gibanja zavržene formalne konvencije, ki so v vseh prejšnih zgodovinskih obdobjih določale mesto umetnosti zunaj-znotraj družbene vloge, se navidezna osvoboditev izraza kaj kmalu izkaže kot usodna prevara. Estetska ideologija se formira po zakonih industrijske produkcije, le figura razsodnika (nujo potrebna za stil) je izgubljena. S stališča potrošnje umetnosti hitro menjavanje mode uspešno ohranja iluzijo o svobodi, s stališča njene produkcije pa se arhitekti (še prav posebej) začutijo nenadoma nekako neozemljene. Njihova reakcija se odčita v iskanju stilnega formalizma, s katerim (prav tako kot že enkrat na začetku klasicizma) poizkušajo podtakniti atribute posvečenosti arhitekturni stroki.

Konkretno se to dobro vidi v banalizirani dekorativni rabi arhitekturnih elementov (dekoracija je sicer mitsko dejanje, ki simbolno zagotavlja, da stavba kljub spremenjenim materialom ali načinu rabe še vedno opravlja vse funkcije), vidi se tudi v tipološki inovativnosti ali pa v geometrijskih preigravanjih "klasičnih" principov, kar pa predstavlja drugi pol reakcij arhitektov.

Ko naletimo na arhitekturo, ki si za kriterij svojega delovanja določi samo svojo lastno intimno poetiko, brez velikih intenc po popolnosti in pravovernosti, začutimo nenavadno olajšanje. Ko si tako cilje, kot poti postavlja sama. Preproste rešitve nas spet spomnijo na že nekoč pozabljeno prepričanje, da na arhitekturna vprašanja obstajajo predvsem arhitekturni odgovori.

Boštjan Debelak vsekakor sodi med trmoglave mlade arhitekte, ki je svoj izraz gradil skozi deklarativno zavračanje vzorov in je že s svojo prvo serijo stolov verjetno presegel svoje učitelje, vsekakor pa povzročil, da so ga posnemali. Z nekoliko banalno predrzno formuliranimi, spreobrnjenimi gesli arhitekturne teorije (function follows form, itd.), je ogradil svoje strokovno snovanje od možnih vdorov kritike in vzorov, obenem pa se je obsodil na strokovno samotarstvo, v katerem si arhitekturne uganke postavlja popolnoma sam.

Hiša predstavljena na slikah je njegova prva in tudi narejena zase. Na prvi pogled tlorisno obliko diktira gradbena parcela, v resnici pa ga je zanimalo, kako ozka je lahko hiša, ne da bi to motilo njene funkcije. Hiša, ki bi lahko bila pri slabem arhitektu le prizidek, zaključuje niz hiš kot najožja hiša v Ljubljani. Dnevni prostor je dvonadstropen, zastekljen po celi južni stranici, možnost dvoetažne izrabe pa je nakazan le v izvedenih lesenih nosilcih. Notranjo opremo je oblikoval sam. Je precej asketska in noben detajl ni odveč. V interierje je vkomponiral tudi dele starih stavb in jih simbolično uporabil. Na primer kovana okenska mreža na notranji strani majhnega okna v jedilnem prostoru (to je edino okno proti sosedovi parceli) ali pa deli kamnoseških gotskih detajlov na stopnišču. Hirearhija prostorov strogo sledi njegovi predstavi o delovanju hiše. Spreminjanje sončne svetlobe tekom dneva soustvarja vlogo posameznih prostorov, oblikovanje fasad pa ima simbolen pomen: južna odprta proti zelenju in zunanjem prostoru, zahodna proti sosedu je utrdbena, severna-dostopna pa kar nekoliko preveč prijazna. Zelo veliko arhitekturnih odgovorov v navidez majhni nalogi.

Če bi arhitekturno smer, ki nam kaže izhod iz krize identitete stroke zadnjih let lahko imenovali "arhitektura nove senzibilnosti" (brez stilskih kvalifikacij, pač pa z občutkom za specifične danosti prostora in zahteve uporabnika), tudi Boštjana Debelaka lažje postavimo v naš kulturni prostor-kot dober znak, da arhitektura spet govori svoj jezik.

 

Aleš Prijon, u.d.i.a.

5.1993

 

 

 

 

A very narrow house

 

There is a noticeable lack of formal identity in Slovenian architecture of the post-war period, which is intensifying today. According to the quality architects of the 30th year (Plečnik, Vurnik, Šubic, ...) who operated within the world movements, but developed their own poetics (their connection to the wider cultural European space allowed them to be on universal principles upgrading their architecture with the specifics of our space), comes a period of dependence on style, when Slovenian architects formally have difficulty finding themselves in the world fashion trends. Only some representatives of the post-war generation (for example, Ravnikar and Kristl) were able to escape the banal interpretations of new architectural ideologies and to apply their positive ideas selectively. The problem of modernism, of course, was its exclusivity. In the name of new civilizational concepts (on both sides of the Iron Curtain), the major architectural damage-destruction of the building heritage in Slovenia was somehow escaped, not because the experts would not be aware of the events in the wider world, but simply because in our country too little construction (for example, in the revitalization of old town centers, the British demolished more high-quality building stock than was lost during the bombing). The passion of the new age has somehow bypassed us. In the last ten years, with the onset of the postmodern movement, the formal conventions that defined the place of art outside the social role in all previous historical periods have been discarded, the apparent liberation of the term soon turns out to be a fatal deception. The aesthetic ideology is formed by the laws of industrial production, only the figure of the arbiter (necessary for style) is lost. From the point of view of the consumption of art, the rapid change of fashion successfully maintains the illusion of freedom, and from the point of view of its production, architects (especially) feel suddenly somehow grounded. Their reaction reads in the search for a stylistic formalism with which (just as at the beginning of classicism) they seek to subvert the attributes of dedication to the architectural profession. In particular, this is well seen in the banal decorative use of architectural elements (decoration is otherwise a mythical act that symbolically ensures that the building still performs all functions in spite of the changed materials or use), it is also seen in typological innovation or in geometric reproductions of "classical" "principles, which in turn represents the second half of the architects' reactions. When we come across architecture that defines only its own intimate poetics as the criterion for its activity, without great intentions of perfection and orthodoxy, we feel an unusual relief. When you set goals for yourself, it sets the path itself. Simple solutions again remind us of the long-forgotten belief that there are architectural answers above all to architectural questions. Boštjan Debelak is definitely one of the stubborn young architects who built his expression through declarative rejection of models and probably already surpassed his teachers with his first series of chairs, but certainly caused him to be imitated. Using somewhat banal boldly worded, transformed slogans of architectural theory (function follows form, etc.), he kept his professional conception out of the possible intrusion of criticism and role models, and at the same time condemned himself to professional solitude, in which he sets himself the architectural puzzles. The house shown in the pictures is his first and also made for himself. At first glance, the floor plan is dictated by the building plot, but in fact he was interested in how narrow the house can be without disturbing its functions. A house that could only be an extension to a poor architect completes a series of houses as the narrowest house in Ljubljana. The living room is two-storeyed, glazed all over the south side, and the possibility of two-storey use is indicated only in the wooden supports. He designed the interior design himself. It is quite ascetic and no detail is superfluous. He also incorporated parts of old buildings into the interiors and used them symbolically. For example, a forged window netting on the inside of a small window in the dining area (this is the only window towards the neighbor's lot), or parts of stonecutting gothic details on the staircase. The hierarchy of premises strictly follows his idea of the operation of the house. The changing sunlight co-creates the role of individual spaces throughout the day, and the design of the facades has a symbolic meaning: the southern one is open to greenery and the outer space, the western one to the neighbor is a fortress, and the north-accessible one is a little too friendly. Very many architectural answers in a seemingly small task. If the architectural direction that shows us the way out of the crisis of the identity of the profession in recent years could be called "architecture of a new sensibility" (without stylistic qualifications, but with a sense of specific characteristics of space and user requirements), it is also easier to place Boštjan Debelak in our cultural space - as a good sign that architecture speaks its language again.