Maybe it is not the first time in the history that an architectural lectures's entrance fee in iran is 100 to 300$, yet it seems impossible to pretend it is a very fair price!
Bostjan Vuga, Slovenian architects and co-founder (together with Jurij Sadar)of the studio "Sadar Vuga Arhitekti" which are famous for their Chamber of Commerce building in Ljubljana, is going to talk about 10 years architectural exprience of their office in Tehran.
Bostjan Vuga graduated at the Faculty of Architecture in Ljubljana (1992) and contiunued post graduate studies at the AA School of Architecture in London (1993-1995). In 2003 he was a studio tutor at Berlage Institute in Rotterdam. He was a visiting critic at AA School of Architecture, at Bauhaus Kolleg in Dessau, at the IAAC in Barcelona, at the ETH in Zürich and at the Academy of Applied Arts in Vienna.
The abstract of 2 lectures:
Sadar Vuga – Formula New Ljubljana
The Formula New Ljubljana is based on iconography and atmosphere. Co-opting and considering old icons, and creating new ones represents the more permanent segment of the formula, whereas the creation of atmospheres is the more fleeting, personal part of ther process. Iconography and atmosphere in turn create the groundwork for the branding of the city, a newly created layer of city that allows for the interpretation of the urban organism as a market product as well. The Formula New Ljubljana is not a finished product, it is an ongoing dynamic process which should include investors, urban planners, designers of new spaces and other stakeholders.
The production of the Sadar Vuga Arhitekti office creates new city layers thath are part of the Formula New Ljubljana.This is foremost the creation of ambiences with the potential that at least some of the architecture would become iconic. It is impossible to talk either about a consistency of architectural language as it was understood in the 1980´s, or about aesthetical doctrine, but least of all about typology or topology. Instead, the architects of Sadar Vuga Arhitekti explore how a certain ambience communicates in a certain project – how it communicates with users, visitors, the city. The experience of communicational architectural blueprint generates new concepts and, potentially, new icons. The vision of the end-effect of communication is the beginning of the creation of ambience, which in turn represents the skeleton of the architectural form; the skeleton of the architectural form is a potential generator of iconography. The communicating ambience and the emerging icon represent the groundwork of the layer of the city´s brand.
The Formula New Ljubljana is a potential generic model for the development of cities which for which it makes no sense to be established on a certain historical style, the dimensional fact of a world metropolis or a »one-hand« architectural fact. Instead, the Formula New Ljubljana offers an example of a new layer of city, a layer whose architectural forms are not organic heirs of the past but which by communicating ambiences allow for a spectre of individual experiences, interpretations and icons, all of which creates a city brand. After all, this is the ultimate purpose of the formula.
Formulas – Point of Our Interest
Formulas state concepts or “main ideas”, applied to SVA architectural products. We use them as the communicational tool in the office while developing a particular product, in discussions with the client and presentations to the public.
More than one product can be defined by one formula. Formulas exist regardless of typologies, program, location, site, budget, time of execution, symbolic power, landmarking, and any other parameters that outline the “uniqueness” of an architectural product.
Formulas are part of a vocabulary that stems from our architectural production and is also an influence upon it. They aim to become generic phrases and to provide a “user friendly” tool for communicating architectural products.
Formulas communicate architectural products away from their technical categories (“curtain wall”, “chilled ceiling”), topological categories (“mountain house”, “seaview window”), or typological categories (“office building”, “courtyard”).
A formula is articulated such that it captures both the character of an architectural product and its affect on the observer and user.
We are interested in architectural phenomena, in ways how an architectural product can influence its use, its visitor and its inhabitant, what that person experiences, what kind of emotions and atmosphere can be released in that person through the architectural product and how the new experience should be enabled to become part of their new identification.