NEW ZAGREB is the place to be, claim the authors  GEERT DE GROOTE ARCHITECTUURKANTOOR of the winning proposal at Europan 10 competition in Zagreb, Croatia. Their project aims to enhance the relationship between New Zagreb and the waterfront. This should provide new uses and possibilities for the development of the area as a powerful magnet of urban activity. In order to reach this goal authors propose a strategy that will ensure a high urban and spatial quality, rather than a final result.

A dynamic public space forms the foundation of this project. The population of Zagreb is known for its investment in public space. Proof are the often frequented markets, terraces, squares, etc. Offering the possibility of unscheduled events is essential in this regard.
This proposal contains very different types of public spaces:
- The station square along Dubrovnik avenue facilitates the transition between different transport modes (train, tram, bus, motor vehicle, bicycle). The train station is located at the level of the rails on top of Dubrovnik avenue, this way creating an additional footbridge.
- The urban deck stretches out from Jadran bridge to the railway bridge at the level of the dike. The deck is connected to the pedestrian paths on the dikes and the pedestrian bridge.
- A continuous public landscape is connecting the station square with the urban deck. The public space is exposed to different demands: serenity and sensation, movement and stillness, buffer zone and connector. The section from Jadran avenue to the railway is interpreted as a sequence of alternating public and semi-public spaces of different scale and enclosure/exposure.
- Umbrellas are placed randomly through the site, generating shadow and meeting points.

The folds of the buildings define different types of spaces and varying degrees of the mix of semi-public and public spaces. The open areas on the ground floor will primarily have a public character.  In order to ensure well-functioning exterior spaces, the entire masterplan is analysed in relation to daylight conditions. Based on the desired goals regarding sunlight in the squares and public spaces, we have carried out deformations of the linear structure in order to ensure daylight at the level of the public space.

The proposed high-density lay-out is able to combine office space, dwellings and a number of other functions with public and private outdoor spaces in a wide array of sizes. In order to exploit the advantages of each given location the functions are spread and mixed.
The different programmes aren’t thought of as placed adjacent to one other, but rather placed so that they often overlap each other in the same building complex. This means that we, in certain locations, have horizontal divisions with dwellings in the upper storeys, offices in the mid-storeys and shopping at the bottom.

At the location of the intervention zone, the traffic arteries are placed on dikes to simplify crossings with one another. Along the river a dyke protects the area from flood.
The intention is to establish a continuous landscape between Dubrovnik avenue and Sava river, using the differences in height to create covered parking spaces and to enable crossing of pedestrian- and car traffic without conflict.

Openings in the parking slabs make the connection between the deck surface and the levels of the parking below. The ventilation, escape and daylight of the car park is produced by the regular penetration of the deck inside the parking. Most of the exits can be done directly to the deck, making it a pleasant route in and out of the parking. Trees are planted at regular intervals through the parking.

Public passages are running through and underneath buildings, making them an integral part of the landscape, both as a topographical event and as an experience, trying to produce an environment where landscape and buildings become intrinsically connected.

 Posted by: Eva Prelovšek

Two Slovene teams have won prizes at the Europan 10 competition. First we are presenting Elastik who won the Special mention prize for the project Soundgarden in Maastricht, Netherlands. The second project is of Eva Prelovšek and Aarne Niemelä who won the Runner Up prize in Järvenpää, Finland.

The project for Maastricht- Soundgarden- is a flexible, modular, sound-deadening construction that is slotted in – in front of the facade – along Frontensingel. In the present situation, with all the traffic, its use will be confined to small offices, a winter garden or for extra storage. Once Frontensingel becomes a quiet street, it can be turned into housing. A system of small public and private enclaves in the densely-built structure provide a variation in enclosed open spaces. Each of the four blocks in the study area has a distinctive character. With Block 11 this is determined by retaining the historical character. See more at:  Europan Netherlands.

The project for Finland- LandLines- is dealing with urban design of sustainable district in Järvenpää. It was designed as 7 steps towards sustainable district. Steps were derived from the traditional western Finnish-type building islands in the form of courtyards that allow common outdoor spaces. Authors see that space as a place of communication, common concern and social security of neighbours.

Small plots with dense arrays make it possible to preserve open countryside to the maximum degree, for both recreational and agricultural purposes. Neighborhood lies near the railway, therefore its density is increasing towards the train station area. There are also garages that serve as a buffer zone against noise and that encourage greater use of public transport. Housing units are compact and therefore provide conditions for low energy consumption. They are attached to each other and therefore economical due to lower consumption of construction materials. See more at: Europan Finland.

The strategic location and the topography of the site, the unexpected sight of the sea from all points of the area have given rise to the idea of setting up a compact, powerful, conceptually, all based on counterslope. A place compact and not scattered, so recognizable. A place where every house could have a terrace from which to admire the view over the gulf. A hill renewed and rediscovered, a new Gebel Zghir (small mountain). This project that we are presenting has won the first prize at Europan 10 competition in Rijeka, Croatia.

Rijeka is a city in which settlements coexist quite low, with houses of 1/2 floors with gardens and terraces and tower blocks of 30 storeys. The effect of this coexistence is scenic and interesting: the first are rooted to the ground and bind to the green, the latter bind to the sky, the sight of sea and landscape around it.

In this context Ulica Lipa is a decidedly suburban place now, full of houses, with the presence of gardens, orchards and small and self-building cabanons for DIY. A district where strong is the link with the open space, all the houses have a terrace and the morphology of the terrain allows sighting the sea. However, the density required by the notice is definitely urban and main street (Osjecka Ulica) is busy and very important because it binds to the center.

Authors therefore decided to develop a site with different densities, each linked to a residential typology. In front of Osjecka Ulica, which is the most polluted and noisy part of the district, we develop tall buildings that will turn to the sky, while climbing the hill towards the park buildings were lost height and gained ratio with the soil.
The position of the lot is difficult but strategic: it is located on one of the main entrances to the city and its exposure can take advantage, thanks to the drop of a beautiful sea view of the gulf of Kvarner.

The idea is to create a residential complex which as a whole has to become a sort of landmark.
To do this authors decided to develop all the buildings until the same height (equivalent to 35 meters on Osjecka Ulica), irrespective of their altitudinal range, in order to create a kind of intervention that worked in counter-slope, creating an awesome and impressive, inspired by the Burri’s Cretto in Gibellina.

The masterplan
The residential  intervention, however, need to be accompanied by a series of upgrading of the environment that surrounds him, first in the framework of trade on the west front of the area. The ideal connection with it will be possible thanks to the renovation of Osjecka Ulica that will necessarily take on the role of urban quality, to go slowly, more liveable and especially permeable. The proposed masterplan welcomes the existing intuition to create a new avenue for fast and heavy traffic on the western side of commercial development for the link between the city-center and the highway.

Because of the fact that the study area is enclosed between two green hills, authors thought about the commercial building should be low and covered with a public green plate as a hanging garden, linking the existing parks and residences on the hills with a pedestrian and cycling path which cross over Osjecka Ulica.
This will allow you to enter the project ideally located in the green, despite its proximity with the center of Rijeka.

The project as a whole and 4 different residential typologies.
The project involves the construction of a compact and coherent block, where plan reflects the proportions of different heights of the buildings: taller is a building, bigger is the space around it. The common denominator was always to try in every way to take advantage of the best kind of exposure and relationship with the surrounding, preferring, where possible, the view towards the sea. Each housing has terrace (on the ground or at 9th floor) with a panorama, with less interferences as possible. Gardens and terraces are natural extension of the houses to the outside. Facades to the other buildings are as blind as possible in order to seek the maximum privacy for each apartment.

project by:
ludens  (Annamaria Prandi, Andrea Vescovini)
and Francesco Maracchioni

Posted by: Eva Prelovšek

BorderLINE Architecture is a concept of the young Hungarian architects Marcel Ferencz and Andor Wesselényi-Garay. This concept was chosen by a jury to represent Hungary at the 12th International Architectural Exhibition in Venice.

According to the authors, the interior of the Hungarian Pavilion aims to lead back the visitors to the first intellectual experience of our human existence and to the very origin of architecture. This challenging project is a borderline-project in the widest sense of the meaning. The phenomenon of BorderLINE refers to the split personality of an architect ground between different drawing techniques, as it also refers to the juxtaposition of line and space, drawing and architecture. It refers as much to the antinomy of here and there, as it refers to the dichotomy of inside and outside.
The installation aims to explore the borderline of architecture, a state of proto-architecture that is revealed by LINEs. The authors consider the LINE as an autonomous entity that breaks out of the flatness of 2D to become physical in the space of the pavilion. The lines are made out of ropes hanging from the ceiling and stretched by 30.000 unsharpened pencils.

One can see that the Hungarian Pavilion does not locate an exhibition in its traditional sense but an installation that tries to outline a preliminary state of architecture. This preliminary state is defined and caused by lines. This bunch of lines does not create architecture yet, but still, the installation as a whole outlines a space within the space. So appears this space as the diagram of creation that puts the visitors on the borderline of graphic and architecture, space and void, forms and volumes.

The installation of the Hungarian Pavilion concentrates on the hidden – although very existing – possibilities of the line. Despite of the common belief, despite of the lovable myth, architects, according to Ferencz and Wesselényi-Garay, do not build houses themselves, architects do not create spaces themselves. What they do is drawing lines. It might seem a radical simplification, but still, architects usually can not do more than draw lines. Lines with computer, lines with pencil or pen, lines with the promise of a space, lines that most of the times appear on a flat, 2d surface. It seems, that almost every architect draws. From Siza to Zumthor, from Wolf D. Prix to Steven Holl, from Frank Gehry to Lebbeus Woods. Even the blobitects in the solitude of their studio might draw too.

The authors seriously believe that the line is a universal origin for us to express ourselves, an origin which existence is so often forgotten. For Marcel Ferencz and Andor Wesselényi-Garay the LINE is the basic material of architecture. A rope, that helps them to descend into the realm of thoughts. For them the line is a slightly mystic, almost transcendental entity that leads everyone back to the origin of architecture, the origin of everything. With this concept the two Hungarian architects fit the philosophy that interconnects Adolf Loos’ tomb in the forest and Kubrick’s monolith in 2001: A Space Odyssey.

Click here to view the embedded video.

Posted by:  Eva Prelovšek

Let the kindergarten become a place where an architect’s play with space blends with a child’s play. We are presenting the newly announced result of the architectural competition for kindergarten in Ribnica which is to be the biggest kindergarten in Slovenia. The winning solution designed by Bojan Mrežar, Renato Rajnar and Peter Rijavec will have twenty playrooms and will measure 4,500 m2. 360 children will play and learn there.

The conviction of the authors, when contemplating a kindergarten’s position in the modern world, is that a safe, warm place is a precondition for successful development of a child.  This place should enable the child to get acquainted with the world and society in peaceful and relaxed manner.  Therefore, rooms of the kindergarten were designed to embrace the playground in the middle, imitating hands embracing the child and forming a safe, warm place and environment. Rooms, intended for children of early ages, almost fully embrace the child, while a hug of the rooms, guarding children of later ages, is less closed and points to the child’s leaving for a big, wide world when the time comes.
Therefore, authors earnestly hope that the feeling of safety and warmth, given to the children in the kindergarten, will accompany them throughout life.

New kindergarten complex is roughly divided into two buildings, namely an administrative-commercial building and the one for children. The buildings have northwest-southeast orientation, following orientations of surrounding buildings and roads.  Both buildings together split the plot into two separate parts. The part north of the structure is meant for the access and parking, whereas the southern part is exclusively designed for children.  The two structures therefore guard the quiet, tender, southern part of the plot from the noisy, rough northern part.

The administrative-commercial building is designed in a single move. Its layout is modern. The floor plan of the building is rectangular, with the floor arrangement of the cellar, ground floor and first floor.
On the other hand, children’s building is treated totally differently. The floor plan of the building roughly forms a shape of two ‘U’ letters or two pockets or bays, each having a different orientation. The building’s line is strongly zigzagged and adapted to the child’s size as well as the plot’s features. Orientation of certain rooms is optimised for each room separately, depending on exposure to the sun, views, noise, etc. 

Further, great care has been taken at placing the buildings in space, taking into account existing buildings in the surroundings as well as natural characteristics.  The inspiration was found in the existing network of buildings in the centre of Ribnica, where individual houses, one by one, follow the road.  There are small gaps between individual houses as well as slightly different roof heights.  Altogether they form a long network of irregular shapes. Every individual house, adapted to its owners needs, differs from the neighbouring one and yet blends in and belongs to a bigger entity.

Similarly, in kindergarten draft individual rooms (playrooms) follow one another around the common playground.   Each is different yet optimal for a concrete location, functioning as a part of the whole.  The same principle has been used for designing the roof, namely individuality and difference within the big entity. Authors tried to combine the principle and shapes known to inhabitants of Ribnica for centuries with modern, contemporary principles of architecture.

Design layout of the administrative-commercial building

Building is designed as a simple cube acting as a contrast to noticeably varied children’s building. Correct geometric body functions as a hard, serious basis/starting point around which wings of children’s building playfully twist.

Design layout of children’s building

Children’s building has been designed to contrast with the administrative-commercial building. Rooms for children are designed in a much playful, crumbling, and attentive manner.  Therefore, they follow each other, under different angles, and forming together two big bays or pockets that surround and form a quality playground environment in the middle.  Architectural elements – on the floor plan as well as on the façade and roof – meet each other under different angles, in different ways and jointly creating an architectural play.  Thus, architecture provides us with as much material as possible for feeding our imagination. The corridors have been designed along broken playroom wings providing light (northern light) and facing the nature. At the same time, their variable width can serve as a playroom. Moreover, the indoor ceiling follows the line of the roof, thus creating rooms with different heights. Ceiling lowers in cloakrooms and toilets, whereas rises in playrooms to open the space.  In the highest part of the playroom, we have placed a folding platform giving additional appeal to the room. At breaking points of the wings the corridor widens considerably, making space for central area.  A part of central rooms’ floor descends terrace-like and creates a theatre environment.  The long side of the façade opens central area into the park. Both the interior and exterior is designed with variety of shapes, colours, materials, textures, lights, etc. It creates a very rich environment to provide the child with diversity of experience.

Posted by: Eva Prelovšek

Gallery DESSA was formed in 1989 in order to establish a space for sharing and learning about different architectural ideas. After twenty years, the gallery organized 200 exhibitions in homeland and 72 abroad, adding to these more than 50 lectures on Slovenian architecture abroad and 38 professional field trips. DESSA celebrated 20th anniversary of its establishment in December. Therefore, we are publishing a fascinating history of its beginning. 

The story of the building
Text by : Andrej Hrausky

Gallery DESSA was built during the socialist Yugoslavia, when conditions of activity were not comparable to present times. The idea was born after architects in 1982 were finally given the official status of independent cultural workers. And when we were finally cultural workers – then we also wanted to behave well. However, art galleries generally were not  in favour of architectural exhibitions, and because independent cultural workers needed to secure the official status by having exhibitions, we decided to organize our own gallery. Model for us was London 9H gallery, which in the eighties represented space for exchange of new architectural ideas. However, this was not so easy to implement. It was not only lack of money, but also the fact that in the crisis of socialism it was legally not possible to invest in “non-productive activities”. The construction of the gallery was finally made unofficially.

Since gallery had to have international character from the beginning , we wanted to obtain a well-known architect, possibly from abroad. The first discussions were held with Boris Podrecca in euphoric atmosphere at the opening of Plečnik exhibition in Paris in 1986, designed by Podrecca. We told him immediately that we have no money to pay the high fees of architects from abroad. Originally, we intended to build the gallery together with the Association of Architects of Ljubljana. Association’s Executive Board did not agree with Boris Podrecca choice as architect. The President of the Society Dušan Blaganje Jr. then calmed them down: “If I had at home one better architect, there would not be problem, but because here are all better than Podrecca, I think that it would be simply better to choose Podrecca.” Later the association abandoned the project and the whole financial burden had fallen on the DESSA society. The first plans were made at summer workshop in 1987 in Piran when Podrecca began to design Tartini Square in Piran. Matej Vozlič, Vesna Vozlič and Pietro Valle, son of the famous Italian architect Gino Valle, participated there. Later Matej Vozlič worked on the project in Podrecca’s studio in Vienna, but we had to pay him from Yugoslavia, at a very modest fee from the home price list.

Construction was led by Matjaž Sušnik, some more complex interventions were made by ourselves. Prohibition to invest in non-productive activities was not the only obstacle. We had high inflation and we had to pay deposit for trips abroad. Therefore, legendary adventures happened in connection with smuggling mosaic, halogen lights and taps, the only items that were imported. Due to restrictions on imports most of the equipment we ordered from home manufacturers.

Gallery spaces were mainly finished by the New Year 1988/89, so that we already held the New Year’s Eve party there. We wanted to wait with the official opening until the promised Podrecca’s exhibition, but he never took enough time for that purpose. We launched the gallery on 17 April 1989, with the opening of the exhibition on Plečnik-award winners. At that time I explained to the mayor Nuša Kerševan that she had opened the gallery, which was built illegally. She smiled and replied that she certainly did know about that. Podrecca did not come to the opening. When he later came, he asked Majda Cajko: “Little girl (he always calls her so), how do you feel in the most beautiful office in Ljubljana?” He got the expected answer: “It is beautiful, but for sure not functional!” Podrecca did not get confused: “It’s like with women, ugly must be functional, but for beautiful, that is not necessary.” Corporate image of  the gallery was designed by Ranko Novak, and we printed a leaflet in Slovenian, English, German and Italian.

After the opening, the gallery was published in some international journals, which made later contacts with foreign architects much easier for us. The first publication was in the catalogue Boris Podrecca, published by Harvard University Graduate School of Design, April 1987, even before construction was complete. Afterwards publication in the magazine Raum Möbel Design (Vienna) followed in February 1989 and in L’Architecture d’aujourd’hui (Paris) in September 1989. Gallery was also mentioned by Gianni Contessa in the article Forme Slovene in magazine Costruire in December 1989 and Jean-Paul Robert in the guide to Ljubljana in the Paris edition of Vouge in April 1990.

Photos by: Damjan Gale
Architectural sketches by: Boris Podrecca

Posted and translated from Slovene by: Eva Prelovšek

Skolix project proposes a new set of stadards for the development of the Greek coastline. A beautiful and sustainable living environment within a truly remarkable natural setting – one that is embedded appropriately in the landscape it inhabits, while enjoying and enhancing the aesthetic qualities of northern Corfu.

See more at:
decaARCHITECTURE, SKOLIX

Posted by: Eva Prelovšek

His work had always been noticed in Slovenia and it was only a matter of time when the world would want to see it too. This year he has held an independent exhibition of his new collection of seating design in the centre of Milan; he has exhibited his work at shows in
London, Milan, Moscow, Chicago and Las Vegas.

Damjan Uršič, an architect by trade, works in the field of industrial design, while his customers come from the very demanding and creative countries of Spain and Italy. His furniture design has won him several international awards, such as the nomination for the Interior Innovation Award, which is awarded by the Designers Association of Germany, two nominations for the IMM Hit Guide at the furniture fair in Cologne, several awards from furniture shows in Ljubljana and more.

Damjan Uršič is currently busy preparing a major collection of products for Italian company  Future for 2010. He has already designed their collection of products Slim and Fantasy, as well as the Show sofa. The Slim collection was presented at this year’s furniture fair in Milan and the exhibition at the launch of production in Milan’s Brera. Slim and Fantasy are competing for the prestigious award of Compasso d’Oro ADI 2009. The programme includes a collection of seating and bed design, which transfer into various functional and aesthetic forms with the help of an innovative mechanism – a back rest from tables into a seat or a reclining chair or bed. The special feature of the project is the hidden mechanism which guarantees the  aesthetic appearance of the product in all phases of transformation or rotations.
Uršič is a long-standing collaborator with Slovenian company TOM (since 1993), while following his experience abroad he says: „The role of design in countries with a tradition of design is different than here. In Italy it is self-evident that the product is designed by a designer. Companies are constantly striving for excellence in design. This guarantees them a good position and recognisability on the market. Here it is more an exception than a rule.
TOM is one of the rare manufacturers in Slovenia that integrated design as part of the company’s  business strategy years ago”.
The possibility of creative self-design is one of the features which launched upholstered furniture collection Moon, which Uršič designed for TOM, among the harbingers of furniture trends at this year’s furniture fair in Cologne. Moon actually featured in the central exhibition area among the fair’s select products. It surprises based on its seeming simplicity, which transforms into innovative complexity through use thereof. The system’s modularity and multi-functionality is provided by the basic elements, which can generate several different compositions, from a single seat, double seat to a sofa set, a swing chair or a combination of a coffee table with one or more seats, a bed or a simple surface intended for lounging around.
Another product that was very successful was Apollo, which aptly acts as a real space object; this electronic gaming device by Slovenian manufacturer Zuum created a real revolution in Las Vegas. In addition to the standard electronic playing positions, the device also features a
three-metre hovering interactive display in the form of a dish, which shows the action on the gaming device or other interactive contents. Apollo was a very distinctive product at its presentation at the largest gaming fair in Las Vegas based on its design and differed strongly from the other traditionally designed machines. The response received at the fair by the small start-up from Kranj was surprisingly good. In three days the previously unknown company became a global hit.

Text: Mattea K. Panter
Photographs: Matevž Paternosterand the manufacturer’s archive

Branko Uršič served almost his entire years of service in Stol Kamnik. The majority of Stol’s most successful products bears his signature.
He received numerous awards and prizes, and presented himself at many trade shows. His special attitude to wood, the creativity that sought its ideals in simplicity, clear design and careful execution of Scandinavian design, whilst committed to domestic tradition, made him one of our most prominent industrial designers as early as the mid nineteen sixties.

He forms part of the timeless collection of Slovenian design thanks to the system of bent plywood seating furniture from 1981, manufactured by Stol Kamnik.
The simple structure of bent plywood lamellae forms the basis on which hangs an upholstered seat. Two like sticks, bound into a rectangle, form the side of the chair, while the seat seems as if it is floating …The light, enticing design in itself dictated the execution of further products from this series: armchairs and tables. The natural colour of the wood, accurate design and overall excellence and elegance undoubtedly point to ideals in Scandinavian design.
Immediately after it was created, system L was subject to a great deal of attention from the expert public, the media and consumers. Hopes were high for an excellent deal which would see furnishing of the entire chain of Holiday Inn hotels all over the world. Unfortunately, all that remained was a hope!
Did the deal, like so many times before, include the wrong people, was the promotion once again underfunded? Even today, after almost thirty years, system L seems fresh, innovative and elegant and timeless in its simplicity.

Text : Lenka Bajželj
Photographs: Matevž Paternoster

»How to challenge the obvious?« is the general point of departure for every new project embarked on by architectural studio dekleva gregorič arhitekti. This concept has once again proven to be extremely efficient, as the architects have managed to prove that there is still room for a lot of novelties amongst bathroom equipment showrooms.

The owners of Pertot salon, which has a longstanding family tradition in the field of bathroom equipment, flooring and tiling, were looking to go beyond the general range on offer on the market in the industry from the outset when designing their new salon. They didn’t want to have just another showroom that would offer various final bathroom solutions and large shelves with palettes of ceramic tiling. At the same time, they wanted the
new salon to allow more active collaboration with architects in designing individual projects, which would, of course, be reflected in improved quality solutions and more interesting work.
Today when entering the showroom some guests ask »Where’s the showroom?«, and these usually don’t go on to choose products despite a detailed description of the offer. Others are taken in by the offer, which is why they don’t even notice the unusual nature of the salon, which is designed as a laboratory or consulting office for research of new dimensions in the field of bathrooms and tiling. The salon is located in a renovated industrial hall. It is divided into two parts, the white business section with offices and bathrooms, and the black and white central public part, which is defined by three topical sections. The first section is defined
by open space. Dark flooring includes a point ten-centimetre raster which allows accurate setup of combinations of bathroom fixtures in a scale of 1:1. The second, middle section is intended for consulting, and so made up of advisory desks and shelves with catalogues. The last section is a gallery of exhibited bathroom elements set on mobile elements which can be moved into the first section, where various bathroom compositions are
assembled. The entire central public section is surrounded by a line of high white curtains, which erases the former industrial appearance of the showroom, while at the same time ensures that it has become an elegant space with gentle diffuse lighting. The curtains also play the role of partition walls, as they help form an extra space which features shelves with systematically sorted tiling.
The innovative architecture of the showroom design was not designed for the architecture itself but is rather primarily intended for research work and assembling compositions in a full scale.
The neutral public ambience, which is defined by black and white colours, ensures that the effects of different selected combinations take on their proper expression.

About dekleva gregorič arhitekti
Architectural studio dekleva gregorič arhitekti was opened in 2003 by architects Tina Gregorič and Aljoša Dekleva following their completed postgraduate study of architecture at the Architectural Association in London. Their architectural designs and completed projects have won them numerous distinguished international awards. They have also been presenting their views, experience and knowledge at various lectures, exhibitions and publications.

Text: Ana Struna Bregar
Photographs: Matevž Paternoster
Architecture: dekleva gregorič arhitekti: Aljoša Dekleva, Tina Gregorič, Elizabeth Koller