On Architecture

In architecture, by its definition of art building, strict demands are put in front of the architect. Function, construction and esthetics have always been essential aspects of this profession; right solution can be gained by their merging into a unique entirety.

My ideal for the created space is the formed order as in clearly discernible space system. Functionality of an object is determined by the axes, fields and centers of space which are articulated through putting routes of communication, working surfaces and points of encounter. Clear routes and well-organized function are essential for our orienting in some space and therefore a way for our perceiving and accepting it.

After analyzing the designing problem, the visual theme is enforcing itself at the very beginning of the designing process and it will leave its mark on the whole object. It is imbued with treating the space organization by the system of centers, axes and fields; it is the decision for applying certain space concept that influences further development of the project in terms of composition and form which is derived from it.

The important characteristic of architecture is its psychological impact. The form has crucial significance for specific feeling deriving from built space.

My main interest rests in the exploring of phenomena of architectural form. My explorations include its articulating through the classic language of architecture which has been developing for thousands of years, or through the modernistic liberation from tradition with acquiring new personal expression, as well as the transitive stages between those two antipodes. The results come out as designs, buildings, interiors and written work.

Concerning shapes, I prefer compact, massive, strong volumes and their protective dimension, rather than open and volatilized shapes. As contrasts of the entirety, I use the counterpoint of angular and soft bent shapes, the dichotomies of the full and empty, massive and transparent. Harmonizing the elements and emphasizing the structure can often be found in my designing.

I find inspiration for constructing the form in classical as well as modern architecture. One of the most intriguing phenomena for me is the transitive formative concept of the so-called modernized academism, which is characteristic of the architecture between two world wars. This combination in itself has some kind of monumentality and unobtrusive elegance. Visually it comprises the best qualities of the classical (order, clarity, clearly marked entrance, effect of structure on several levels – total, medium and zoom), as well as the modern (pragmatism of the form, rejecting the confusing decoration which prevents discerning of the basic structure and introducing the abstract surfaces).

One of the premises which is always somehow present in my designs is the modern, which in itself has the heritage of the classic and its echo or radiance. My aims always include order, crystal clear communication and easily discernible form.

I feel those to be preconditions for creating the human space, built ambience which can communicate with its users, because the architecture is, besides its excellence, applied art as well; only when it is accomplished as such, in the unity of the utilitarian and the esthetic, practical and symbolic, social, cultural and technical – then it can be said that it accomplished its existence.


K.F. Schinkel

Art Deco
http://www.adsw.org/resource/websites.html \

C.N. Shultz
http://www.archinform.net/arch/3907.htm?ID=3843152ca80a4e5c6432debf42cd0c87 http://www.dictionaryofarthistorians.org/norbergschulzc.htm

G. Terragni
http://en.wikipedia.org/wiki/Giuseppe_Terragni i



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