turistički procvat zelene istre - DalCasa

Muzej ukupne površine 14.500 m 2 trebao bi biti dovršen
do rujna 2007. godine / The Museum with 14,500 m 2 of
floor space is to be finished until September 2007
clusively, Igor Franić, an assistant professor of the Architecture
Faculty of Zagreb University, was awarded on the
public tender. Franić alone is not willing to speak about
controversies saying that the only thing that really matters
to him is to achieve a high quality design and successfully
executed project. He was awarded on the tender
publicly put out after the Town Institute for Zoning had
thoroughly analysed eight town locations in the view of
their positions and ownerships.
The outward appearance of any architectural object
clearly depends on location and its context, so, Franić
points out that the appearance of the Museum of Contemporary
Art would be different if it were situated in
some other part of the town, e.g. in the Upper town. Thus
we can recognize characteristics of functional and rational
architecture as well its particular shape that looks
like meander. Franić claims that his design is not related to
Knifer at any point, that he did not start with the form but
rather tried to understand what the museum would need
in the future, that is, what kind of edifice would meet the
needs of the museum and what edifice would be able
The whole ground floor is completely opened to visitors;
there will be, besides museum shops and a restaurant,
a multifunctional hall, an information centre, while the
remaining parts will be used for outdoor exhibitions
32
to respond to the contemporary art today as well in the
future. Its appearance should, according to his vision, be
variable. “At one occasion it could be a building of very
large surface and at yet another ideally constricted in
one very narrow and very high building, depending on
what kind of exhibition is about to happen. This is what the
meander is for, a permanent changing of high and low
spaces, which interactively touch each other thus creating
various assemblies. Besides all that, it seemed to me
that this huge space shaped and housed by the building
is very important. Thus the meander comprises of the part
near the entrance, the large porch, descending to the
terrain and so enabling people to enter upstairs, and on
the northern part where is the space for outdoor exhibitions
opens towards one large, roofed square, which is
not, I presume, yet known in urbanism. It seemed to me
that this outdoor space is important part of exhibition
space, bearing on mind the fact that the art is happening
all over around us: maybe this very junction near by is
more contemporary than any exhibition taking place on
the inside, therefore, for me, that permanent interlacing
of outside and inside provide for the building one even
greater dimension than if it were just a cube with dully
organized exhibition space inside of it.”
Although such reasoning clearly refers to some elements
of postmodernism, at least for theories of leading postmodernists
like Fredric Jameson or an Lyotarda sake, (interaction
of the outside and the inside, the public and
the private as well a certain impossibility of clear distinction
what art is and what it isn’t, tracking Michaud’s gas
art), Franić declines such references claiming that the
postmodernism had developed a kind of “l’art pour l’art”
style and thus become a purpose for itself.”
Seemingly, in spite the outward appearance of the building
and its internal functions he is concerned about so