KRAJINARSTVO IN VARSTVO OKOLJA 2006/07

1. KRAJINARSTVO IN VARSTVO OKOLJA 2006/07 Litija – krajina in reka Vaje se odda na formatu A4 ali A3 – vsebina obsega 5-10 strani in mora vključevati: kratka analiza stanja v prostoru, kratek teoretičen pregled izbrane tematike iz literature, aplikacija na prostor/Litija. Izbor tematike: Morfološki vzorci, spreminjanje relefa, napoved reke v prostoru, arhitektura vode, hitrost/oblika, voda in zelenje, vodno korito, barvni ambienti, tekstura vode, voda in zvok, mostovi, povezovanje bregov, voda inoprema prostora,...

2. Primer vaje 2005/06 • “napoved reke” NAPOVED REKE V ŠIRŠEM PROSTORU NAPOVED REKE V ŠIRŠEM PROSTORU OBSTOJEČE ŽELJENO

3. Elementi reke, ki privabljajo: šum, hlad, barva • Vertikalni, horizontalni elementi v ali ob reki • Povezava reke s širšim prostorom mesta: • - zeleni pasovi, drevoredi, ki vodijo proti vodi • - mostovi preko reke • - večji odprt trg tik ob reki • - atrakcije v vodi • - sistem umetnih vodnih kanalov s pešpotmi

4. Zeleni pas, ki povezuje mestne površine z naravoob reki

5. Reka kot povezovalni, ne ločilni element

6. Odpiranje rečnega prostora proti mestu s kaskadno oblikovanim trgom

7. Atrakcije v vodi, ki vabijo k reki

8. Sistem pešpoti ob umetnih vodnih kanalih, ki vodijo proti reki V vodnih kanalih se lahko pretaka: • obstoječi potoki • deževnica • umetno napeljana voda

13. OBMOČJA 2. Primer vaje 2005/06 “barvni ambienti” industrijsko območje narava industrijsko območje stanovanjsko območje območje javnih funkcij območje javnih funkcij (izobraževanje, šport) stanovanjsko območje stanovanjsko območje območje javnih funkcij industrijsko območje

14. OBMOČJE ŠOLE DEJAVNOSTI IGRA - raznolikost - razgibanost - barvitost ŠPORTNE AKTIVNOSTI - travnate površine - senca UČENJE - razl. rastlinske vrste - motivacija - različni habitati • DRUŽENJE • - manjši ambienti • prijetno počutje • senca • SPREHAJANJE • - zelene povezave med ambienti • večje, enotne zelene poteze • USTVARJANJE • - barvitost • - pestrost • teksture • zvoki • vonj

15. ZASNOVA RAZPOREDITVE DREVESNIH SKUPIN

16. ZASNOVA BARVNIH AMBIENTOV

17. RUMENI AMBIENT

18. 3. Primer vaje 2005/06 “vodno korito”

24. 4. Primer vaje 2005/06 “socialno okolje”

25. hitrost / oblika VODA V SOCIALNEMOKOLJU

26. voda avto?

27. the streamline styleamerican companies which survived the wall street crash in 1929 saw competition rise to an unprecedented extent. the design of products was taken seriously as they had to increase sales to survive. for the first time, design became a commercial imperative. from the early 1930s through into the 1950s, a design style flourished that has become known as the streamline style.its most important characteristic are the closed, streamlined forms that strongly suggest speed, symbolic of the dynamism of modern times. to visualise this, the sharp corners and transitions of objects were rounded off. knobs, handles and hand grips were recessed. speed lines were created by introducing ribs or gleaming chrome strips. this style dangled the promise before consumers that they were still on the way to a glorious future with PROSPERITY FOR EVERYBODY, at least if they continued to consume.THE STREAMLINE STYLE WAS NOT ARRIVED AT ON THE BASIS OF SCIENTIFIC REQUIREMENTS FOR OPTIMAL AIR FLOW, BUT WAS A CLICHED EXPRESSION OF THAT. there was a good deal of theatricality to these visual devices as they were applied to movie marquees, toasters, vacuum cleaners, objects which - except for the occasional domestic altercation - were not meant to fly through the air. thus, irrespective of their function or content, objects were made attractive and tempting in a way that everyone understood. it was a period in which mass consumption was uncritically embraced.

29. hitrost the art of the seventeenth century, influenced by a revival and reorientation of rhetoric (the ancient art of verbal persuasion) across the arts, may be viewed as AN ART OF PERSUASION. CATHOLIC BAROQUE, DECRIED SINCE THE ENLIGHTENMENT AS AN ART OF DECEPTION, PRIMARILY BECAUSE IT "USED" ART TO CONVEY ITS MESSAGE. An apparent contradiction between art (form) and its use to convey as message (content). Two models of persuasion of Baroque art (mostly Italian: rhetoric and propaganda, the modern version of rhetoric, which has a far more judgmental cast. oblika?

31. BERNINI, FONTANA DEL TRITONE, RIM JE PRVI, KI V MESTNO DRUŽABNO ŽIVLJENJE PRENESE TE VRSTE PLASTIKO, KI SICER IZVIRA IZ OKOLJA PODEŽELSKE VILE. TOREJ IZ NARAVNEGA OKOLJA V socialno OKOLJE. PLASTIKA JE ZASNOVANA V POVEZAVI Z VODO – TOKOM, OBLIKO IN SMERJO. NJEGOV NAMEN JE BIL OPOMINJATI NA IZGRADNJO AKVEDUKTA ACQUA FELICE PAPEŽA URBANA VII, KI JE POTREBOVAL VODNO OSKRBO ZA SVOJO NOVO REZIDENCO IN OKOLIŠ. Between 1570 and the 1620s Rome was transformed from an essentially medieval city into a baroque one. During this period popes, cardinals, and other influential citizens restored ancient aqueducts and built new fountains with the intent of using water infrastructure as a tool to return Rome to its antique grandeur, solidify papal prestige, shift existing settlement patterns, stimulate economic development, and improve public health. Three gravity-flow aqueducts were built to serve Rome: the Acqua Vergine (1562-1570), Acqua Felice (1585-1587), and Acqua Paola (1607-1612). Each tapped ancient sources and combined partially restored ancient routes with new construction, and each served a particular watershed area. After a thousand years of finite resources Rome was now awash with pure drinking water and by the 1620’s there were nearly ninety new public fountains. urban development was optimized in areas where water could be delivered. the fountains were far more than urban ornaments, but were actually the most visually prominent features of a new, although largely hidden, physical order, built upon an integrated water infrastructure system that included aqueducts, conduits, distribution tanks, and sewers. This order existed at the scale of the neighborhood and of the city, as water infrastructure provided an armature to organize, and effectively control public space, perhaps for the first time since antiquity.

32. GEORG ANDREAS BÖCKLER, ARCHITECTURA CURIOSA NOVA, 1664. PRIROČNIK ZA OBLIKOVANJE VODNJAKOV, TEORIJO IN UPORABO HIDRODINAMIKE ZA VODNJAKE IPD.

41. 5. Primer vaje 2005/06 “relief”

42. Lokacija - Litija

48. KRAJINARSTVO IN VARSTVO OKOLJA 2006/07 Litija – krajina in reka Vaje se odda na formatu A4 ali A3 – vsebina obsega 5-10 strani in mora vključevati: kratka analiza stanja v prostoru, kratek teoretičen pregled izbrane tematike iz literature, aplikacija na prostor/Litija. Na prijavljen izpitni datum oddate vezano mapo z zgoraj opredeljeno vsebino ter 2 plakata 30x30cm po predlogi (primer lanskih vaj) V sklopu predavanj bodo izoblikovani predlogi posegov v obliki delavnice.