11/12/2009

Arhitekti ureda DVA PLUS - Ana Dana Beroš, Ana Coce, Judita Ljutić i Damir Ljutić - osvojili su Merit Prize na ovogodišnjem Shinkenchiku natječaju, s temom ´The Residence - From Our Having Lived the Movie Century´. Žirant je bio ugledni japanski arhitekt Jun Aoki, a na natječaj je pristiglo 312 radova.

Shinkenchiku je godišnji međunarodni natječaj za inovativne koncepte na području stambene arhitekture, koji provode fundacija Yoshioka-Bunko te izdavačka kuća Shinkenchiku-sha, pokretač časopisa Architecture+Urbanism i Japan Architect.



S(T)IMULands project :

Architecture and Cinema: Beyond Kinesthetics
Architecture and cinema exist in the dimension of time and movement, both art forms imply a kinesthetic way of experiencing space. A person conceives and reads a building in terms of motion sequences in a certain time span. Images stored in our mind are embodied as haptic images as much as retinal pictures. The task of architecture is to constitute our being-in-the-world and to articulate the fine borderline between experiencing ourselves and the world. It is exactly the same what a film director does with his projected images. In the end, as all art, architecture and cinema function as alluring projection screens for our emotions.

Ambiguous Thresholds of The Experienced Space:
The S(T)IMULands project explores the possibilities of architectural transformation after the century of cinema, by thinking beyond the ideas of cinematic kinesthetics, and focusing on the ambiguous boundaries of lived reality. World is not made solely from matter, it is made from dualities, where material and mental worlds are not separate in a rigid way. Both worlds´ experiential dimensions are fully intertwined - extending corporeal and sensorial boundaries, and enlarging cognitive and emotional capacity of a subject.  
That spatial gap of ´in-between-ness´, that life on the threshold of ambiguous conditions, is called The Experienced Space - a combination of external space and inner mental space, actuality and mental projection. In this space modes of experiencing architecture and cinema become identical in meandering without fixed boundaries. Memory and daydreaming, fright and longing, value and meaning, fuse with the perception in each person’s unique experience of The Experienced Space, making it inseparably integrated with his or hers personal cargo and current life situation.

Division of Space and Its Features

Mind Space	The Experienced Space	Material Space
parallel	uncertain	mathematical
abstract	contradictory	geometrical
intangible	complex	functional
	accidental	´law and order´
	indetermint	tangible
	elusive

S(t)imulated Experience: Architecture as I do not see it
The S(T)IMULands project is, in its wider intangible sense, almost all about inducing individual mental and emotional projections of The Experienced Space. Imagination is the foundation of our very mental existence, as well as of our way of dealing with stimuli and information.

Appropriation of Environmental Realities:
The location of the S(T)IMULands project is irrelevant - it can be any found environment – whether natural or built – in the midst of a forest, deep in the ocean bed, or even inside an existing house. The act of the appropriation of the environment as ‘mise-en-scene trouvé’ is considered to provoke critical re-evaluation of well-known conditions taken for granted by presenting them in new contexts. The approach is identical to the one of a site-specific art work designed to transform the perception of space.

On The Architectural Relict: The Furniture Pieces: 
The single remnants of architecture’s physical presence are presented in ordinary furniture pieces. The vaporization of architecture to these elements is just, as furniture has required the meaning in the practice of everyday life as objects with significance, to the point where it becomes something else, where metamorphosis is reached. The furniture pieces are the stimuli of the S(T)IMULands. The meaning of furniture in the collective subconsciousness as everyday objects has the strength to lure the architectural form derived from memory. A person experiencing the S(T)IMULands is turned into an architect who keeps erecting ‘rooms’, completing the ‘house’, while making  and directing architectural scenarios in his/her mind, which is structured from lived images and fantasies underlying his/her recollections. The mystery of great artistic impact is that a fragment is capable of representing the whole, leaving the task of architecture’s relicts experienced in chairs, cupboards or beds, to resonate and amplify the mental impact. The strength of ‘architecture without architects’ is that it fills the subconscious needs of any human being, therefore preconditioning the material transformation of the built environment in time.

The Meaning of The S(T)IMULands:
While experiencing the S(T)IMULands, we project ourselves onto the objects and stimulated atmosphere of our experience. The value of a master-piece film is not in the pictures projected in front of our eyes, but in the images and emotions evoked from within us. Likewise, a meaningful experience of architecture doesn’t rely upon its material existence, but in the images and feelings stirred up in the observer, thus challenging notions of individual creativity.
  


http://www.japan-architect.co.jp/skc9/en/results/index.html
http://issuu.com/dvaplus/docs/n09-11_shinkenchiku_booklet_issuu