INSIGHT IN SITE #1
Globalisation, crisis and critical regionalism

In contemporary practice, we need to take into consideration climate, context, tectonics, not because we believe this is the right kind of architecture to oppose the “phenomenon of universalisation’ (such was the reasoning starting from the 1940s until and after Frampton’s essay), but rather because we want to work for the long-term wellbeing of humankind and of our shared planet. Regionalism as an attitude against universalisation does not become meaningful. Rather, regionalism might be an outcome from a critical approach to the current state of human society. As such, we can speak simultaneously of Critical Regionalism, as well as critical globalism. The emphasis is on critical.”  Ken de Cooman, Beyond Critical Regionalism
The events of past two years have touched and affected all of us in some way or another.  If we could distinguished ourselves before the situation with the following words: “In a world where technology seems to be the driving force of our daily lives, maintaining human touch and community has never been more important. Working together and creating can benefit not only the design process and the work of the studio, but also the growth of our own being. ”, maintaining
this humane in the current situation, it is all the more crucial. Closing of the borders on a daily basis, limiting contacts, and ultimately the deteriorating economic situation of small and large, last but not least, extreme political action, individualise and isolate the people furthermore. That is why, knowing ourselves, at a time when the preservation of the humane is, so to speak, crucial.
On the first part of the 3-part Conference, we will seek to explore the practice of architecture of nowadays through different critical approaches by the guests architects, and their dealing with the new reality.

Curator and moderator of the first part: Erik Jurišević (KONNTRA), moderator: Kristina Dešman

Debate is a part of the 3-part Conference. More here.

Speakers

Erik Juriševič; KONNTRA, Slovenia, North Macedonia and Croatia

KONNTRA is a young architecture and design studio, based in Slovenia, North Macedonia and Croatia. Was founded in 2018 by Erik Jurišević, Mirjana Lozanovska and Silvija Shaleva. They present a different approach, of understanding and articulating the space we live in. The unconditional will, to contribute with their imagination and narration of places, through architecture, they leave an opportunity to bring the architecture towards people’s personalities. Becoming recognizable, by their approach with contemporary, characteristic and colourful expression, for presenting their architectural projects. Their collages engage all senses, to define the experience of a space. As a graphic manifesto with the symbolic associations, they provide a way to understand all the stories behind a space they create.

In the beginging of the year 2021 the project of the Square of traditional crafts in Varaždin was nominated for the Mies van der Rohe Award 2022. In the same year KONNTRA is part of the 17th Venice Biennale of Architecture as invited exhibitor at Hungarian pavilion. Recently they have together with the fashion designer Ena Zafirovska cofounded creative hybrid gallery MAЛА in the city center of Skopje.

The market of traditional crafts in Varaždin is the implementation of the first prize-winning competition solution, where a special relationship is formed between the market and the mobile modular kiosk and the baroque city center. The openness of the space to the streets is maintained by installing six modules that fit unobtrusively into the market and, with the additional installation of movable elements, enable the flexibility of the space, which is designed according to needs. Due to durability and sustainability, the basic frame of the kiosk is made of steel, while the rest is made of wood.

Authors: KONNTRA
Photos: KONNTRA
Realisation: 2020
Location: Varaždin, Croatia

Attila Róbert Csóka; Paradigma Ariadné, Hungary

Paradigma Ariadné is a Budapest based design studio to create extraordinary architecture and related contents, through applying theory, imagination and narration based design processes. The studio was founded in 2016 by Attila Róbert Csóka, Szabolcs Molnár and Dávid Smiló.
Clients of Paradigma Ariadné include individuals, institutions, companies, and local governments as well, to provide them outstanding ideas and solutions wherever processes require architecture-related knowledge.
Paradigma Ariadné is co-curator of Hungarian Pavilion at Venice Biennale of Architecture 2021 together with Dániel Kovács. Previously Paradigma Ariadné took part in several exhibitions to display their works in Budapest, Venice, Warsaw, Vienna and Ohio State, USA.

Budapest based Paradigma Ariadné architecture studio was invited by the city of Sándorfalva to design a buffalo barn and an educational trail into their natural protected land that today is wholly covered with reeds. The initial aim of the development was to immigrate buffalos to the place. This act has two outcomes. On one hand visitors would have the chance to visit the trail and meet these creatures in their living environment. On the other hand buffalos will recultivate the area with their presence and turn the place into a lake and swamp again which is able to welcome hundreds of native species that were away thanks to the lack of open water surface.
While it was a design task on one hand, it was also a task to reinterpret the built environment in natural landscape on the other.
Concept wise this project is about the understanding of agricultural buildings of the Eastern European landscape trough the time of history. These buildings in the countryside are still a mixture of almost hundred years old regional architecture and contemporary industrialized technologies that qualities sometimes are clashed together in a very naïve way. While both kind of architecture includes big and simple geometries, that creates unique character in the landscape.
We tried to continue this quality with joyful geometrical composition in an organized way. We have defined a 500 meters long curved path with 500 meter radius, on which we placed few objects for observing the nature: one buffalo barn, three little installation to enjoy the landscape through framing it, and a viewpoint at the end. Thanks to the giant curved shape of the path these objects can be revealed in a direct order for the visitors, while the whole structure can be observed only from the viewpoint.

Architecture: Paradigma Ariadné
Photos: Attila-Róbert-Csóka
Client: Municipality of Sándorfalva
Constructor: Fa-ker Sped Ltd.
Location: SÁNDORFALVA, HUNGARY

Nikola Andonov; MADA Architecture studio, Serbia

MADA Architecture studio is an idea-driven collective on a pursuit of new (spatial) experiences, playing with roles and scales and embracing methods beyond experiments.
Probably the easiest way to comprehend MADA’s approach is through its very name – “mada” (cyrilic: „мада“) meaning “even though” in Serbian. This hint of open-endedness reflects the idea that “design gives you answers as it grows and becomes oneself.”
Since its inception, MADA has worked on an array of projects, ranging in scale from Venice Biennale(s), EXPO Pavilion in Milan, and a memorial park in Kuwait, to a mixed-use complex in Belgrade and a housing block in Užice, Serbia.
In honour of their experiments and ideas, MADA has been crowned with several national and international awards and recognitions, and their work has been published in various online and printed professional platforms and magazines.

On a significant plateau of Luštica peninsula, almost ten years ago, we started building relationships and discovering old stone structures that have remained buried by the great earthquake in 1979, covered in unforgiving Adriatic macchia vegetation which even goats do not consume.
Regardless of the program and the scale, each structure was defined by some common features and narratives – displaying imperfections, conserving history and rebuilding something no one knows what it looked like.
A comprehensive set of rules led us to adopt the character of the surrounding ruins and apply it to each new structure rising from barely visible traces lying in the grass in an effort to build a new one that we can call old.

Authors: MADA Architecture studio
Location: Luštica peninsula, Montenegro

Laurens Bekemans; BC architects & studies, BC materials, Belgium

BC is BC architects, studies and materials. BC stands for Brussels Cooperation and points to how BC grew – embedded within place and people. With 3 legal entities, BC starts from architecture, over research and expertise and experiment, towards material production and contracting. As a hybrid office, BC is maneuvering the boundaries of all these disciplines in a doers manner.

We aim to do our projects in a critical and radical way. Critical means we place our work in a wider local and global context, touching on topics of the social, the ecological, the economical, the cultural, the temporal. Radical means we envision long term effects of the building (process) and act responsibly on them now. The tension between being critical and being radical is one that feeds our practice.

Having 3 legal entities representing one hybrid practice allows BC to inscribe itself in more phases of a construction process, being able to instill change in more profound ways – prototyping and iterating new economic and social models of building.

LIBRARY FOR THE COMMUNITY OF MUYINGA

The first library of Muyinga, part of a future inclusive school for deaf children, in locally sourced compressed earth blocks, built with a participatory approach.

A thorough study of vernacular architectural practices in Burundi was the basis of the design of the building. Two months of fieldwork in the region and surrounding provinces gave us insight in the local materials, techniques and building typologies. These findings were applied, updated, reinterpreted and framed within the local know-how and traditions of Muyinga.

The library is organized along a longitudinal covered circulation space. This “hallway porch” is a space often encountered within the Burundian traditional housing as it provides a shelter from heavy rains and harsh sun. Life happens mostly in this hallway porch; encounters, resting, conversation, waiting – it is a truly social space, constitutive for community relations.

This hallway porch is deliberately oversized to become the extent of the library. Transparent doors between the columns create the interaction between inside space and porch. Fully opened, these doors make the library open up towards the adjacent square with breathtaking views over Burundi’s “milles collines” (1000 hills).

On the longitudinal end, the hallway porch flows onto the street, where blinders control access. These blinders are an important architectural element of the street facade, showing clearly when the library is open or closed. On the other end, the hallway porch will continue as the main circulation and acces space fot the future school.

A very important element in Burundian architecture is the very present demarcation of property lines. It is a tradition that goes back to tribal practices of compounding family settlements. For the library of Muyinga, the compound wall was considered in a co-design process with the community and the local NGO. The wall facilitates the terracing of the slope as a retaining wall in dry stone technique, low on the squares and playground of the school side, high on the street side. Thus, the view towards the valley is uncompromised, while safety from the street side is guaranteed.

The general form of the library is the result of a structural logic, derived on one hand from the material choice (Compressed Earth Blocks masonry and baked clay roof tiles). The locally produced roof tiles were considerably more heavy than imported currogated iron sheets. This inspired the structural system of closely spaced columns at 1m30 intervals, which also act as buttresses for the high walls of the library. This rhytmic repetition of columns is a recognisable feature of the building, on the outside as well as on the inside.

The roof has a slope of 35% with an overhang to protect the unbaked CEB blocks, and contributes to the architecture of the library.

Climatic considerations inspired the volume and facade: a high interior with continuous cross-ventilation helps to guide the humid and hot air away. Hence, the façade is perforated according to the rhythm of the Compressed Earth Blocks (CEB) masonry, giving the library its luminous sight in the evening.

The double room height at the street side gave the possibility to create a special space for the smallest of the library readers. This children’s space consist of a wooden sitting corner on the ground floor, which might facilitate cosy class readings. It is topped by an enormous hammock of sisal rope as a mezzanine, in which the children can dream away with the books that they are reading.

The future school will continue to swing intelligently through the landscape of the site, creating playgrounds and courtyards to accommodate existing slopes and trees. In the meanwhile, the library will work as an autonomous building with a finished design.