Upoznajte arhitekticu Janu Čulek, osnivačicu Studija Fabule. Jana je nakon magistriranja na Arhitektonskom fakultetu u Zagrebu, završila post-master program na Berlage Centru u Nizozemskoj gdje danas još uvijek živi i djeluje. Trenutno privodi kraju svoj doktorski rad na TU Delft-u na temu komparativne analize utopijskih (i distopijskih) projekata u arhitekturi i književnosti. U svom uredu Studio Fabula, bavi se projektima, različitih mjerila, ilustracijama, istraživanjem i pisanjem…
Meet architect Jana Čulek, founder of Studio Fabula. After graduating from the Faculty of Architecture in Zagreb, she completed a post-master programme at the Berlage Center for Advanced Studies in Architecture and Urban Design in the Netherlands where she continues to live and work. She is currently working on her PhD dissertation at the TU Delft researching utopias as a critical method in architecture and literature.
In her Studio Fabula, she works on large and small scale projects, research, illustration and writing…
Zašto arhitektura?
Why architecture?
Teško pitanje :). Od malena sam bila sklona različitim oblicima kreativnog izražaja te sam se do zadnjeg treba premišljala između Akademije likovnih umjetnosti i Arhitektonskog fakulteta. Na kraju sam nekako došla do zaključka da širina arhitektonske profesije dozvoljava eksperimentiranje s različitim oblicima umjetnosti i izražaja, dok paralelno ima i puno praktičniju primjenu i djelovanje u prostoru. Rad s ljudima je također bio jedan od faktora. Dok je umjetnički život često usamljen i fokusiran na produkciju individualnih djela, kroz arhitekturu imamo priliku surađivati s kolegama iz struke, ali i upoznati ljude iz različitih sfera života.
Difficult question :). Since childhood I was always inclined towards different forms of creative expression. Until the very last moment I was unsure whether to apply to the Academy of Fine Arts or to the Faculty of Architecture. In the end I came to the conclusion that the breadth of the architectural profession allows for one to experiment with different forms of art and expression, while simultaneously being grounded within architecture’s more practical applications and different forms of spatial production. Working with people was also one of the reasons. While the life of an artist is often lonely or solitary, focusing only on the production of individual works, the architectural profession allows us to collaborate with colleagues, but also to meet people from various spheres of life.
Koliko je važna ilustracija za prenos arhitektonske zamisli?
How important are illustraitons in presenting an architectural thought?
Mislim da je ilustracija, odnosno slika, veoma važan medij za prijenos i komunikaciju arhitektonske misli. Ali danas, zbog hiperprodukcije vizualnih materijala, sama ideja, koncept ili poruka projekta se vrlo često izgube. Puno sam istraživala, razgovarala i pisala o toj temi – ona je danas kompleksnija nego ikad upravo zbog pristupnosti i raširenosti informacija (i vizualnih materijala). Ali to nije nužno loša stvar! Možda jest malo teže pronaći inovativne i interesantne poruke u moru informacija, ali sama rasprostranjenost i pristupačnost arhitektonske slike uvodi mnogo širi krug „aktera“ u arhitektonski diskurs. Jasnoća ilustracije tada postaje esencijalna zbog uspješnog prijenosa informacije krugu ljudi koji možda nisu arhitektonski stručnjaci. Slika postaje primarni način komunikacije. U svojim projektima trudim se razvijati i „polirati“ vizualnu metodu komunikacije kako bi razgovor o projektu mogao uključivati sto veći broj relevantnih aktera te samim time omogućio uspješniju izvedbu ili implementaciju.
I think that illustration, or should I say image plays a very important role in communicating architectural thought. However today, due to a hyper production of visual materials, the basic idea, concept, or message which the project intends to convey are very often lost. I have researched, discussed, and written a lot about this topic – these days it is more complex than ever because of the spread and availability of information (and visual materials). But this is not necessarily a bad thing! It may be somewhat more difficult to locate innovative and interesting messages in a sea of information, but the widespread and availability of the architectural image brings many new and different actors into the architectural discourse.
The clearness of an illustration/image thus becomes essential because it takes on the role of conveying information to a group of people which are perhaps not architectural experts. The image becomes a primary method of communication. In my own projects I try to develop and “polish” a visual communication method which would allow for a greater number of relevant actors to be involved in the project conversation, which would simultaneously facilitate a more successful project realization or implementation.
Imate li uzore u arhitekturi ili umjetnosti koji inspiriraju vaše ilustracije i rad?
Do you have role models in architecture or the arts that inspire your illustrations and your work?
Što se tiče samih ilustracija i umjetničkih inspiracija, uvijek volim spomenuti Profesora Baltazara :). I to ne samo zbog jarkog kolorita i reduciranih detalja, već i zbog samog narativnog koncepta. Profesor Baltazar uz pomoć kreativnosti i pozitive rješava raznovrsne probleme svojih sugrađana – pristup koji kao arhitekti svakako možemo preuzeti! S obzirom na to da već sedam godina živim u Nizozemskoj, njihova arhitektura je također uvelike utjecala na moj rad. Iako svakakve zgrade ovdje „rastu“ (neke kojima se i sama često čudim). Nizozemski pristup arhitekturi je nešto sto bi svi trebali barem malo usvojiti. Rijetko što je ovdje „nemoguće“ – šira javnost je otvorena novim arhitektonskim pristupima i eksperimentiranju. Eksperimenti možda nisu uvijek najuspješniji, ali rade na razvoju arhitektonskog i urbanističkog jezika – stvari nikad nisu dosadne.
Regarding illustrations and artistic inspiration, I always like to mention Professor Balthazar :). And this is not only because of the colour use and the reduction of detail, but also because of its narrative concept. Professor Balthazar solves the problems of his fellow citizens through creativity and positivity – an approach we as architects should definitely relate to!
Considering that I have been living in the Netherlands for seven years already, I have to say that Dutch architecture also had a big influence on my work. All sorts of buildings “grow” here (some which also often leave me puzzled). The Dutch approach to architecture is something we should all take in a little bit. Rarely anything is “impossible” here – the public is much more open to new architectural approaches and experiments. The experiments themselves are perhaps not always successful, but they trigger the development of an architectural and urban language – things are never boring here.
Bližite se dovršetku svog doktorskog studija. Jeste li već došli do nekih važnih zaključaka?
You are now in the final stages of your PhD thesis. Have you already come to any conclusions?
Moj doktorski rad bavi se komparativnom analizom utopijskih (i distopijskih) projekata u arhitekturi i književnosti. Polazna ideja je bila sagledati utopije ne kao finalne produkte ili „recepte“ za idealan svijet ili idealne gradove, već kao kritičke alate za osvrt na našu stvarnosti.
Jedan od ranih zaključaka bio je naravno da utopije rijetko tko danas gleda na taj način – „utopija“ se najčešće koristi kao negativan pridjev – ona označava projekt ili ideju koji je toliko van svog konteksta i zeitgeista da nije uopće vrijedan osvrta. „Utopijski“ projekti su danas često oni za koje se smatra da nemaju nikakvu kritičku (ili strukovnu) važnost te da samo (re)produciraju iluzorne forme bez interesa za bilo kakav dublji značaj ili njihov utjecaj na društvo. Moj cilj je reafirmirati utopiju kao kritički alat u arhitektonskoj praksi. U književnosti su utopije (i distopije) i dalje relevantan žanr za kritičko promišljanje stvarnosti – zašto ih ne bismo ponovno uposlili i u arhitekturi?
In my doctoral research I am performing a comparative analysis of utopian (and dystopian) works of architecture and literature. The starting idea was to look at utopias not as final products or “recipes” for an ideal world or ideal cities, but rather as critical tools which allow us to reflect on our own reality.
One of the earlier conclusions I came to was that utopias are today rarely seen that way – the word “utopia” often has a negative connotation – it signifies a project or an idea which is so much outside of its own context and zeitgeist that it is not even worth reflecting on. “Utopian” projects today are often ones to which no critical (or professional) value is attributed and are created only to (re)produce illusory forms without interest of creating a deeper meaning or effect on society. My goal is to reaffirm utopia as a critical tool within the architectural practice. In the literary field, utopias (and dystopias) are still a relevant genre which allows for a critical reflection of reality – why couldn’t we rediscover it in architecture as well?
Što za Vas znači rad na fakultetu i sa studentima?
What does teaching and working with students mean to you?
Rad sa studentima mi je oduvijek bio odličan način za izaći iz vlastite glave 🙂 ! Posao u praksi zna imati periode koji su zamorni i repetitivni – nije sve uvijek 100% kreativnost. Izlet među studente puni baterije i otvara nove horizonte. Što dulje radiš u arhitekturi, to ti neki pristupi i pogledi postaju ustaljeniji – slične stvari rješavaš na slične načine.
Studenti, zbog manjka praktičnog iskustva, gledaju na stvari iz drugih perspektiva. Pojavljuju se nove ideje, pogledi i pristupi koji me često dovode do preispitivanja vlastitih uhodanih metoda i stavova. Trenutno predajem na TU Delftu te sam dio katedre pod nazivom Metode analize i imaginacije. Kroz projektne studije, seminare i predavanja, bavimo se upravo otkrivanjem novih pristupa arhitekturi koji nerijetko dolaze iz raznih drugih kreativnih disciplina. Ta transdisciplinarnost i eksperimentalni pristup koji se njeguju u Delftu (pogotovo na mojoj katedri) privlače stvarno motivirane studente te moram reći da su završni projekti uvijek izuzetno zanimljivi – što naravno i mene motivira za unaprjeđenije vlastitog rada.
Working with students has always been a great way to get out of my own head 🙂 ! Architectural practice has periods which are tiresome and repetitive – it’s not always 100% creativity. An excursion among students fills one’s batteries and opens up new horizons. The longer you work as an architect, the more you start using similar approaches to solve similar issues.
Students, because of their lack of practical experience, often see things from a different perspective. New ideas, views and approaches come up which often lead me to question some of my established methods and points of view. I am currently part of the Chair of Methods of Analysis and Imagination at the TU Delft Faculty of Architecture. Through different design studios, seminars and lectures, my chair focuses on exploring and developing new approaches to architecture which often take inspiration from other creative disciplines. This transdisciplinarity and experimental approach which are nurtured in Delft (especially at my Chair) attract all sorts of very motivated students. I have to say that the end results are always extremely interesting – which of course motivates me to push my own work forward as well.
Koje knjige najčešće preporučujete svojim studentima?
What books do you most often recommend to your students?
Izbor knjiga obično ovisi o temi seminara ili studija. I knjige nisu uvijek samo arhitektonske. Na primjer, prošli semestar, zajedno sa prof. Klaske Havik, održala sam studio Transdisciplinarni susreti: arhitektura i književnost. Studenti su kao polaznu točku odabrali jedno od pet ponuđenih književnih djela te su na temelju transpozicije i translacije različitih književnih metoda kreirali svoje projekte. Popis literature za taj studio obuhvaćao je svašta: od samih književnih djela, metodoloških knjiga iz komparativne književnosti, literature koja se bavi „građenjem“ fikcijskih svjetova i narativa, do naravno same arhitektonske literature. Generalno se trudim studentima predlagati knjige koje šire vidokrug van same arhitekture, ali često se bavimo i teorijskim „klasicima“.
The choice of books is usually based on the topic of the seminar or the studio. And the books themselves aren’t always architectural. For instance, last semester, together with prof. Klaske Havik, I was teaching a design studio named Transdisciplinary Encounters: Architecture and Literature.
As a starting point of the course, the students were asked to choose one of five predetermined literary novels which they used as a base for transposing and translating different literary methods through which they created their design projects. The literature list for that studio encompassed a lot of things: from the literary works themselves, books dealing with comparative literature methodologies, books which focused on the topics of “world-building” and narrative creation, to – of course – architectural theory. I generally aim to suggests books to my students which widen their scope a bit outside of architecture itself, but of course we also often work with theoretical “classics” as well.
Zbog čega ste odlučili otvoriti vlastiti ured?
Why did you decide to open your own office?
Ideja je uvijek bila prisutna, samo je trebalo neko vrijeme da se odvažim stvarno otisnuti u to. Pokretanje vlastitog ureda uvijek je težak zadatak, a pogotovo u stranoj zemlji gdje ti u početku nedostaje i kontakata, a i iskustva u lokalnim procesima i procedurama. Trigger je bio početak doktorata i želja da nekako povežem dugogodišnje istraživanje koje je bilo ispred mene s radom u praksi. Ta želja je bila teško provediva bilo gdje drugdje nego u vlastitom uredu. Kroz slobodu vlastitog ureda imala sam više prilike birati tipove projekata u kojima ću sudjelovati te na koji način ću im pristupiti.
Dodatna olakotna okolnost je bila ta što u Nizozemskoj postoji Creative Industries Fund kroz koji je moguće prijavljivati i financirati različite vrste kreativnih projekata i istraživanja, tako da nije nužno uvijek naći inspiriranog klijenta. Jedan od projekata kojima sam se bavila ove godine proizašao je upravo iz jedne od inicijativa tog fonda. U suradnji s nizozemskim uredom RDVA imala sam priliku direktno povezati temu utopija iz doktorskog istraživanja s radom na urbanističkom projektu koji je trenutno u izradi.
The idea was always there, it just took me some time to realize it. Starting one’s own office is always a difficult process, especially when you are based in a foreign country where you miss the amount of contacts you would have had locally, as well as insufficient experience in local processes and procedures. The trigger was the beginning of my PhD and a wish to connect this long-term research which was ahead of me with my work in practice. This wish would have been fulfilled with difficulty anywhere else but within my own office. Through the freedom which my own practice provided, I had more choice in the types of projects that I would participate in and in the ways that I would approach them.
Another mitigating circumstance was that the Netherlands is home to the Creative Industries Fund through which people from various creative disciplines (including architecture) can apply for project and research funding. Therefore, it is not always necessary to find an inspired client. One of the projects that I was busy with this year came out of one of the Fund’s Open Calls. In collaboration with the Dutch office RDVA I had an opportunity to connect the topic of utopias from my doctoral research directly with a large scale urban planning project which is currently underway.
U svom studiju se bavite različitim tipovima projekata, od projekata velikih mjerila do onih malih, istraživanjima, ilustracijama… Gdje se najbolje pronalazite? Kakvi projekti Vas ispunjavaju?
Your studio work consists of small and large scale projects, research, illustrations… What types of projects suit you best?
Trebalo mi je dugo vremena da sama sebi priznam da mi najviše „leže“ urbanistički projekti i projekti velikog mjerila. Nekako kao arhitekti uvijek imamo potrebu fokusirati se na zgrade, ali zanimljivost arhitekture kao profesije jest da je možemo biti aktivni i produktivni u puno drugih mjerila te u različitim fazama izrade prostora. Kroz doktorsko istraživanje te kroz iskustvo rada na projektima velikog mjerila (što u Zagrebu što u Nizozemskoj) shvatila sam da me najviše interesiraju projekti u kojima dolazi do uspostave, presijecanja i interpolacije različitih sistema (prostornih, socijalnih, infrastrukturnih,…). Što je zatečena situacija kompleksnija to je interesantnija jer zahtjeva, s jedne strane, uspostavu jasnog sistema i komunikacijske narative (vizualne i verbalne), dok s druge strane treba omogućiti simultanu kohabitaciju različitih manjih elemenata i priča koji kontekst čine specifičnim. To skakanje iz jasnoće velikog mjerila u kompleksnost malog te povezivanje narativa različitih mjerila i potreba -odnos mikro i makro mjerila – smatram najinteresantnijim dijelom svakog rada. U takvim situacijama u upotrebu dolaze svi alati, od ilustracije i istraživanja do projektiranja i planiranja.
It took a while for me to admit to myself that urbanism and large-scale projects are ones that “sit” best with me. Somehow as architects we always have this need to focus on buildings, but what I find interesting with architecture as a profession is that we can be active and productive in many other scales and phases of creating space. Through my doctoral research and through my previous work experiences on large scale projects (some in Zagreb and some in the Netherlands) I realized that I am most interested in projects in which you have to deal with establishing, intersecting and interpolating various different systems (spatial, social, infrastructural,…). The more complex the context, the more interesting it is because it requires, on the one hand, the setting up of a clear and identifiable system and narrative (both visual and verbal), while on the other hand it needs to allow for simultaneous cohabitation of various small(er) scale elements and stories which make the context specific. These jumps from the clarity of a larger scale to the complexity of the smaller one and the interconnection of the different narratives and needs – the relationship of the micro and macro – are what I find most interesting aspects of every project. In these instances, we get to use all our architectural tools, from illustration and research to design and planning.
Koji biste savjet dali mladim arhitektima?
What would your advice be to young architects?
Prije nekoliko godina, zajedno s kolegom R. Gornyem vodila sam izborni kolegij za studente prve godine diplomskog studija arhitekture u Delftu. Kolegij se zvao „Roles of the Architect“ – „Uloge arhitekta“. Imali smo grupu od petnaestak studenata s kojima smo razgovarali o različitim ulogama, poslovima i putevima koji su mogući po završetku arhitektonskog fakulteta. Jedan od zadataka koji smo dali studentima je bio da napišu svoj idealni oglas za posao. Iz rezultata tog zadatka bilo je vidljivo da se velika većina studenata zapravo ne želi baš baviti „tradicionalnim“ oblikom arhitekture gdje je cilj izgradnja zgrade, već traže metode i sfere u kojima svoje arhitektonsko obrazovanje mogu primijeniti na različite oblike djelovanja u prostoru: od istraživačke prakse, pisanja o arhitekturi, djelovanja u kulturnoj sferi, participativnih akcija i slično. Moj savjet mladim arhitektima bi bio da njeguju te interese i radoznalost jer postoji stvarno velik broj uloga koje kao arhitekti možemo imati.
A couple of years ago, together with my colleague R. Gorny, I was teaching an elective course for first year master students at the TU Delft Faculty of Architecture and the Built Environment. The name of the course was “Roles of the Architect”. We had a group of around fifteen students with who we discussed different roles, jobs and trajectories which are possible after graduating as an architect.
One of the assignments the students were given was to write their ideal job add. From the results of this assignment, it was evident that the majority of the group didn’t really want to enter what we would call “traditional” practice where the main goal is the building, but they rather searched for methods and spheres in which the architectural education could be used for other ways of operating within space: from research practice, writing about architecture, being active in the cultural sphere, participatory actions, etc. My advice to young architects would be to always nurture these interests and curiosities because there is indeed a very large number of roles that we can take on as architects.
Did you like Jana Čulek’s work?
Read more about artists and illustrators: Koketit: Life Is a Process, Art Is a Process