59/ Summer House, Radman Vrbanek © MMXV

http://www.arhikord.hr/vitarnja/vitarnja.htm

46/ HZZO - New Visual Identity, I. Radman and A. Radman © MMXII Competition

Javni natječaj za dizajn vizualnog identiteta HZZO, MMXII, Koncept

Z ZNAČI ZDRAVLJE

Z IS FOR HEALTH

12 aksioma za novi vizualni identitet HZZO

#01 FIGURALNO ni apstraktno, ni figurativno. #02 RIZOMATSKI bez hijerarhije, iz sredine (milieu), a ne s početka (esencijalizam) ili kraja (teleologija). #03 LINEARNO crta (proces) prethodi točkama, a ne obratno (totalizacija), odnosno, prostor je derivat vremena (nema vremena u prostoru, ali ima prostora u vremenu). #04 TRANSVERZALNO ono što doista drži na okupu nije okvir ili uzročno-posljedična veza, već - stvarno ili potencijalno - najneuhvatljivija komponenta. #05 VIRTUALNO deteritorijalizacija nije isto što i nedeterminiranost. #06 ZIGZAG z je slovo koje se nalazi u imenima velikih filozofa: Zen, Zarathustra, Leibniz, Nietzsche, Spinoza, BergZon te, dakako, Deleuze. #07 MUNJEVITO rođenje svijeta, iluminacija koja svijet čini vidljivim (ekspresija, izraz, a ne reprezentacija, mimetika). #08 VITALNO mračni vjesnik koji različite potencijale dovodi u vezu kako bi se izazvala reakcija koja pokreće proces individualizacije ili opredmećenja. #09 PULSIRAJUĆE krivulja je pametna (informirana) crta, kao alegorija negativne entropije (negentropija). #10 EKOLOŠKI eko-logika (zdravlje psihe, društva i okoliša), a ne ego-logika (antropocentričnost). #11 COOL niska rezolucija izraza koja iziskuje visoku participaciju (promatrača), za razliku od visoke rezolucije i niske participacije ('hot' ili pasivan princip). #12 AFEKTIVNO asubjektivni i proto-personalni osjetilni blok koji prethodi samom osjetu i ne ovisi isključivo o semiotici i semantici.

42/ Croatian Chamber of Architects - New Visual Identity, I. Radman and A. Radman © MMXI Competition

41/ Islamic Religious Cultural Centre in Ljubljana, A. Radman and I. Vrbanek © MMXI Competition

36/ OBRTNICKI CENTAR Zagreb, Radman Vrbanek © MMX Competition

33/ SVEUCILISNA KNJIZNICA Zadar, Radman Vrbanek © MMIX Competition 4th prize

University Library, Zadar

The University Library was meant to kick-off the development of the new campus at the very heart of the city. I want to stress the symbolic significance of the metamorphosis of the area from the military barracks (off the limits) to a highly accessible urban node. The masterplan (by CiE) proposed a central park scheme. The competitors were free to choose the actual site.
…
The uncertainty of the location – we anticipated the possibility of its change in the course of the building’s conception – forced us to opt for a generic solution (one that would fit in any of the potential sites available). This was, of course, a risky strategy. To compensate for the ‘lack of specificity’ we carefully negotiated the building's relation to the ground. It is thus possible to argue that, although the library is somewhat ‘indifferent’ to its surroundings horizontally, it has a very particular way of occupying the site vertically.
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The overall scheme is rather banal: the main common space (reading rooms, etc), coextensive with the park, is sandwiched between the underground parking and elevated stacks of books. The connection is provided via peripheral sets of staircases and elevators leaving the core of the building uninterrupted. This has introduced an implicit spiral movement along the edge, with the effect of a ‘shear’ between the interior and the exterior, throwing them out of joint.

32/ CENTVRIA DUILOVO Split, Radman Vrbanek © MMIX Competition

Duilovo Urban Plan, Split

SPLIT
Legend has it that Roman Emperor Diocletian enjoyed growing cabbages so much so that he declined to reengage in politics, despite the pressing need, and retired to the place that would become Split. At the turn of the fourth century AD, he built a palace four miles from Salona, the capital of the Roman province of Dalmatia. The palace for one became a town for 5000 (in the Middle Ages), and eventually sprawled to become the second largest city in Croatia.
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Romans, the champions of pragmatics, introduced the practice of centuriation where the territory of the ager (countryside) was gridded for the purpose of efficient colonisation. The ground was thus instantly transformed into land, with legal implications (ownership, maintenance). De facto was effectively augmented by de jure. The morphology of centuriation survives to this day and could be considered an invariant of the city. It persists in the face of change.

CENTVRIA
The new tourist development with a harbour is to preserve the continuity of the waterfront and yet to provide for an ‘autonomy’ of the resort.
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Incidentally the site fits into a single centuria (which is but a pure coincidence). We saw this as a chance to delineate the area unequivocally, while at the same time maintaining the implicit (or maybe not so implicit) connection with the city at the level of the system. The fact that the grid is indifferent to topography was but welcome, as it produced a local tension in subdivision (which would otherwise have to be created out of the blue).
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The Centuria Duilovo is divided between territory and aquatory (half-half). In this way, the reclaimed waterfront becomes a version of the decumanus (east-west). The streets in the opposite direction (north-south) morph into peers of the harbour.