Ureditev kanjona Kokre z navezavo na staro mesto jedro | Kokra canyon with connections to the old town centre
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Kraj | location:
Kranj, Slovenia
Naročnik | client:
Občina Kranj / Municipality of Kranj
Velikost | area:
natečaj | competition:
2009; priznanje / honorable mention
Avtorji | authors:
Ana Kučman, Luka Javornik, kranjiska arhitekta / landscape arhitects, Zaš Brezar, Andrej Bašelj, Žiga Malek, Sara Peternel, študenti krajinske arhitekture / landscape arhitecture students, Martina Tepin, arhitektka / architect
Kranj, Slovenia
Naročnik | client:
Občina Kranj / Municipality of Kranj
Velikost | area:
natečaj | competition:
2009; priznanje / honorable mention
Avtorji | authors:
Ana Kučman, Luka Javornik, kranjiska arhitekta / landscape arhitects, Zaš Brezar, Andrej Bašelj, Žiga Malek, Sara Peternel, študenti krajinske arhitekture / landscape arhitecture students, Martina Tepin, arhitektka / architect
Mesto Kranj leži nad kanjonom reke Kokre, vendar ga ne prepozna kot potencial, saj je reki in krušljivim stenam iz pragmatičnih razlogov ves čas obračalo hrbet. Predlagane spremembe posežejo v rob mesta/rob kanjona (na točko, kjer se mesto dotika kanjona, a še vedno ne prizna njegove privlačnosti). Vertikalna krajina, razvita iz obstočejih podpornih zidov in prehodov, obrne pogled proti kanjonu, ga preko doživljanja vsidra v zavest meščanov in izboljša njegovo dostopnost. S tem je meščanu približana izkušnja narave, ki jo ima takorekoč pred nosom, vendar je ne zaznava. Konceptualno izhodišče je romantični pogled na naravo, na njeno divjo moč, kakršno izraža znamenita slika Casperja Davida Friedericha Popotnik nad morjem megle, iz 1818, ki je s sodobno družbeno občutljivostjo do narave ponovno aktualizirana. V aktivno superpozicijo postavlja dva pola, mesto zgoraj in divjino spodaj; mesto se z balkoni in stopnišči obrne proti kanjonu, pogledom iz kanjona pa ostaja skrito. Poseg je močan vendar ceni obnovitveno moč narave. Medtem, ko bo mesto z navdušenim občudovnajem lebdelo nad kanjonom, bodo zadržani posegi v samem kanjonu omogočili večjo dostopnost do privlačnih neokrnjenih naravnih prvin in zagotovili nadzorovano doživetje "narave".
The town of Kranj is situated right above the canyon of Kokra, the fact the town does not acknowledge, since it has been pragmatically turning its back to the river and the crumbling canyon walls. Proposed interventions seize into the edge of the town/edge of the canyon (the point where the town meets the canyon without recognising its attractive power). The vertical landscape, developed from portions of retaining walls, makes the canyon at last visible, allows the canyon to be preceived as a merit and improves its accessibility. The experience of nature, which remained for long unseen, is now brought closer to the townie. The concept originates from romantic view of the landscape, of its natural wild power, expressed by the renown painting The wanderer above the sea of fog by Casper David Friedrich in 1818, made topical again by the contemoprary social sensibility to the subject of nature. The project places the two poles, the town above and the wilderness below, in active superposition: the balconies and stairways turn the town towards the canyon yet retain the town hidden from the canyon. The intervention is strong, but recognises the restorative powers of nature. While the town will float above the canyon with enthusiastic admiration, some restrained interventions within the canyon itself will provide access to the attractive intact natural phenomena and ensure the controlled experience of "nature".
The town of Kranj is situated right above the canyon of Kokra, the fact the town does not acknowledge, since it has been pragmatically turning its back to the river and the crumbling canyon walls. Proposed interventions seize into the edge of the town/edge of the canyon (the point where the town meets the canyon without recognising its attractive power). The vertical landscape, developed from portions of retaining walls, makes the canyon at last visible, allows the canyon to be preceived as a merit and improves its accessibility. The experience of nature, which remained for long unseen, is now brought closer to the townie. The concept originates from romantic view of the landscape, of its natural wild power, expressed by the renown painting The wanderer above the sea of fog by Casper David Friedrich in 1818, made topical again by the contemoprary social sensibility to the subject of nature. The project places the two poles, the town above and the wilderness below, in active superposition: the balconies and stairways turn the town towards the canyon yet retain the town hidden from the canyon. The intervention is strong, but recognises the restorative powers of nature. While the town will float above the canyon with enthusiastic admiration, some restrained interventions within the canyon itself will provide access to the attractive intact natural phenomena and ensure the controlled experience of "nature".