Infill architecture: Design approaches for in-between buildings and 'bond' as integrative element

Abstract

The aim of the paper is to draw attention to the view that the two key elements in achieving good quality of architecture infill in immediate, current surroundings, are the selection of optimal creative method of infill architecture and adequate application of 'the bond' as integrative element, The success of achievement and the quality of architectural infill mainly depend on the assessment of various circumstances, but also on the professionalism, creativity, sensibility, and finally innovativeness of the architect, In order for the infill procedure to be carried out adequately, it is necessary to carry out the assessment of quality of the current surroundings that the object will be integrated into, and then to choose the creative approach that will allow the object to establish an optimal dialogue with its surroundings, On a wider scale, both theory and the practice differentiate thee main creative approaches to infill objects: a)mimetic approach (mimesis), b)associative approach and c)contrasting approach, Which of the stated approaches will be chosen depends primarily on the fact whether the existing physical structure into which the object is being infilled is 'distinct', 'specific' or 'indistinct', but it also depends on the inclination of the designer, 'The bond' is a term which in architecture denotes an element or zone of one object, but in some instances it can refer to the whole object which has been articulated in a specific way, with an aim of reaching the solution for the visual conflict as is often the case in situations when there is a clash between the existing objects and the newly designed or reconstructed object, This paper provides in-depth analysis of different types of bonds, such as 'direction as bond', 'cornice as bond', 'structure as bond', 'texture as bond' and 'material as bond', which indicate complexity and multiple layers of the designing process of object interpolation.

Cilj rada je da se ukaže na stanovište da su dva ključna elementa za postizanje kvalitetnog arhitektonskog uklapanja u neposredno, postojeće, okruženje odabir optimalnog stvaralačkog metoda interpolacije i adekvatna primena 'spone' kao integrativnog elementa. Uspešnost ostvarenja i kvalitet arhitektonske interpolacije uglavnom zavise od procene različitih okolnosti, ali i od nivoa stručnosti, znanja, kreativnosti, senzibiliteta, u krajnjem slučaju i inovativnosti arhitekte. Da bi postupak interpolacije objekta bio sproveden na adekvatan način, neophodno je izvesti procenu kvaliteta postojećeg okruženja u koje će objekat biti interpoliran, a zatim se opredeliti za stvaralački pristup putem koga će novi objekat uspostaviti optimalan dijalog sa neposrednim okruženjem. Posmatrajući na širem planu, u teoriji i praksi postoje izdiferencirana tri osnovna stvaralačka pristupa u interpoliranju objekata u neposredno okruženje: a) mimikričan pristup (mimesis), b) asocijativni pristup i v) pristup kontrastiranja. Koji od navedenih pristupa će biti primenjen u određenoj situaciji, zavisiće prvenstveno od toga da li je postojeća fizička struktura, u koju se novi objekat interpolira, 'izrazita', 'specifična' ili 'bezizražajna', ali i od afiniteta projektanta. 'Spona' je termin koji u arhitekturi označava element ili zonu jedne građevine, a u izvesnim situacijama može da bude i čitav objekat, koji je na specifičan način artikulisan, sve sa ciljem da se postigne rešenje vizuelnog konflikta, koji se može javiti u situacijama neusaglašenosti između postojećih objekata i novoprojektovanog, ili rekonstruisanog objekta. U radu su detaljno analizirani različiti tipovi spona, poput 'spone-pravca', 'spone-venca', 'spone-strukture', 'spone-fakture' i 'spone-materijala', putem kojih se ukazuje na složenost i slojevitost projektantskog procesa interpoliranja objekata.