SLOVENA MITROVSKI
Independent researcher, Berlin, Germany
slovenamitrovski@aol.com

O FRAKTALNOJ GEOMETRIJI IZ PRIRODE NA PRIMERU PRIMENE ELEMENATA STAKLENOG KVAZIBRIKA NA FASADI GRAĐEVINE „HARPA“ U REJKJAVIKU
THE FRACTAL GEOMETRY OF NATURE: The Application of Glass Quasi-Bricks in the Façade of the Harp Centre in Reykjavik

Journal 12/2016 (Museum of Applied Art), pages 55-62

Article category: scientific review

UDC:
725.023:691.6(491.1)
72.071.1 Elijason O.

Abstract (original language):
Fasada građevinskog kompleksa „Harpa“ (Harpa), odnosno Islandskog nacionalnog koncertnog i konferencijskog centra u Rejkjaviku, koji je građen od 2005. do 2008, a otvoren 2011. godine, projektovana je u duhu inovacija karakterističnih za prvu deceniju XXI veka. NJen tvorac je renomirani dansko-islandski umetnik Olafur Elijason (Olafur Eliasson), koji je, uz saglasnost autora čitavog kompleksa, arhitekte Heninga Larsena (Henning Larsen), zajedno sa timom stručnjaka u svom berlinskom ateljeu, osmislio dizajn i arhitektonsku formu spoljnih površina. Kompleksno zamišljen multidisciplinarni projekat podrazumevao je rad stručnjaka iz oblasti kulture, umetnosti, nauke i tehnike.
Ovaj rad se, pre svega, bavi konstrukcijom južne čeone fasade. Posebno se ističe specifičan istraživački rad na trodimenzionalnim staklenim kvazibrik (Quazibrick) elementima, koji su rezultat petnaestogodišnjeg ispitivanja u eksperimentalnoj laboratoriji Elijasonovog berlinskog ateljea. Vodeći saradnik u tom istraživanju bio je arhitekta Ejnar Torstejn (Einar Thorsteinn), koji je definisao stakleni kvazibrik, bazirajući ga na sopstvenoj formuli I5SSDO. Svojom čistom formom i funkcionalnošću, kvazibrik je rezultat revitalizacije i obogaćivanja novim idejama staklenih geometrijskih elemenata, poznatih pod imenom „kristaline“ (Kristalline), primenjivanih u arhitekturi klasične moderne.
Pažljiva analiza ove fasade ukazuje na primenu fraktalne geometrije iz prirode, na čije je postojanje prvi ukazao Benoa B. Mandelbro (Benoit B. Mandelbrot) 1975. godine. Daljom analizom uočava se da sveobuhvatne vidljive strukture matematički složenih prirodnih elemenata na fasadi „Harpe“, omogućavaju različite vizure u zavisnosti od mesta sa kojeg se ona posmatra. U toj vizuelnoj transformaciji nalazi se i osnovna harmonija njene estetike, koja u sebe uključuje, između ostalog, klimu, svetlost, prirodno okruženje, predznanje posmatrača, dimenziju kolektivnog pamćenja itd.

Key words: (original language)
Olafur Elijason (Olafur Eliasson), fraktalna geometrija, koncertni i konferencijski centar „Harpa“ (Harpa), kvazibrik (quasi-brick).

Summary:
The paper seeks to present the complexity of the structure and the specific perception of the south façade of the Harp concert and conference Centre in Reykjavik, while highlighting the use of the fractal geometry of nature. The Harp architectural complex, designed by the architect Henning Larsen, is a segment of the extensive spatial plan for the eastern port of Reykjavik. The remarkable façade of this building is a work of the renowned Danish and Icelandic artist Olafur Eliasson. It was designed in 2011 in a multidisciplinary project that involved collaborators from various areas.
In the construction of the south façade, glass quasibrick modules were used; they were created in the experimental laboratory of the Studio Olafur Eliasson as a result of the long-term exploration of geometric shapes. The leading contributor in this study was the architect Einar Thorsteinn, who defined the quasi-brick based on his I5SSDO formula. The invention of the quasi-brick form and its binding potential rely on natural quasi-crystals. The regularly irregular shapes of the quasi-brick correspond to the forms of the fractal geometry of nature and their innovative genesis is an enrichment to "crystalline" glass elements that are already known in art history and architecture.
In his work, Eliasson highlights the importance of the synthesis and dialogue between the ethics and aesthetics of nature – culture, ecology and responsibility to people in a global world. His art addresses both individual beholders and the general public, acting as a supplication. Among other things, it suggests to beholders, who are reflected in and united with the image of the natural environment reflected in the south façade of the Harp, that it is necessary to use natural resources of our planet, time and new technologies in a rational manner.

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