Slovensko arhitekturo v devetdesetih lahko umestimo v dve interpretacijski shemi. Prva bi bila v nadaljevanju t. i. Plečnikove in Ravnikarjeve šole. Nekaj najboljših realizacij v preteklem desetletju izhaja iz ponovne navezave na šestdeseta, po prelomu, ki ga je v osemdesetih s to tradicijo uprizoril postmodernizem. Pa vendar se zgodovine ne da ponavljati niti nadaljevati, ne da bi zašli v dvoumje. Zato je kljub nekaterim hvalevrednim poskusom oživljanja tradicija modernizma še vedno v upadanju in izginjanju in nič ne kaže, da bi bilo lahko kmalu kaj drugače.

Druga interpretacijska shema temelji na spoznanju, da je postmoderna arhitektura kljub kvalitetni superiornosti in herojskemu odporu prejšnje, moderne paradigme v veliki meri že prevzela celotno polje, tudi branike upirajočih se. Tudi arhitektura, ki se deklarira za nadaljevalko moderne kontinuitete, je okužena z virusom postmoderne. Tudi ona stoji na stališču globalne kulture, ki je preplavila vse ravni naše lokalnosti in se na vseh ravneh tudi manifestira. Multikulturnost globalne paradigme ponuja možnost, da hkrati z drugimi stili obstaja tudi nadaljevanje klasične moderne arhitekture, ne zagotavlja pa ji več edine in privilegirane pozicije. Tako predstavlja le manjši segment, namenjen poznavalcem, eliti. Kot da ni bilo podobno že na začetku moderne...

Zamudništva je z globalizacijo konec. Arhitektura postaja privesek prevladujoče množične medijske produkcije zabave in potrošnje. Ne zastopa več avtonomije discipline. Aktualno najekskluzivnejša arhitekturna produkcija prestopa meje med arhitekturo in umetnostjo, modo, lifestyle izdelki in marketingom. Nove vsebine zahtevajo tudi nove oblike in nove načine komunikacije in reprezentacije. Iz kritično analitičnega pristopa, zavezanega skupnemu, se arhitekturni diskurz individualizira in privatizira.

Nova stavba gospodarske zbornice biroja Sadar in Vuga pa tudi hiša v Grižah Nandeta Korpnika sta primera, kako lahko globalno pristopi k lokalnemu na svež, duhovit in celo spoštljiv način. Lahko si pomaga s kvalitetno lokalno arhitekturno tradicijo, ob tem pa je brezkompromisno zavezano sedanjosti. Avtorji pripadajo generaciji, rojenih v šestdesetih. Morda je paradoksalno, a ravno s Korpnikovo hišo Acman, Sadarjevo in Vugino Zbornico ter Njirićevim Baumaxom in Mc Donald'som se realizira slovenska arhitekturna identiteta zaključka 20. stoletja. Ta duhovita, kritična in polivalentna arhitektura je živa pop ikona - v očitnem nasprotju z mrtvimi (bahaškimi vilami s ponarejenimi stebriči, steklenimi piramidami, pretirano dizajniranimi lokali pa tudi papeškimi dekoracijami in preštevilnimi novimi cerkvami).

Šola v Višnji Gori, delo Mateja in Vesne Vozlič, arhitektov generacije, rojenih v petdesetih, je zavezana drugačnemu arhitekturnemu nazoru, ki temelji na avtonomiji jezika arhitekture, s katerim pripoveduje svojo zgodbo.

Arhitekti sosednjih dežel so v podobnih razmerah prebujajoče se province nekoliko pred nami ujeli priključek na arhitekturno kompozicijo iztekajočega se tisočletja. Objavljamo aktualna dela Biroja Gasparin in Meier z avstrijske Koroške, pripadnikov generacije iz petdesetih, in Maurizia Bradaschie iz Trsta, arhitekta, rojenega v šestdesetih. Spominjamo se prezgodaj preminulega kolega in prijatelja Jörga Mayrja iz Gradca.

Prihodnje generacije slovenskih arhitektov se oblikujejo v šoli za arhitekturo. Predstavljamo nekaj del študentov, nastalih v prejšnjem študijskem letu, ki smo jih izbrali na razstavah seminarjev v začetku tekočega študijskega leta.

Že po tradiciji v ab ne smeta manjkati zgodovina in filozofija.

Prijetno branje tudi v novem tisočletju!

Slovene architecture of the 90's could be divided into two interpretation schemes. The first is the continuation of the supposed Plečnik-Ravnikar school. Some of the best realisations in the past decade have resulted from references to the sixties, following the caesura with this tradition performed by postmodernism in the 80's. And yet, one cannot repeat history, nor continue it, without finding oneself in ambiguity. Despite some admirable attempts for restoration, the tradition of modernism is still in its decline, and nothing seems apparent to change this in the near future.

The second interpretation scheme is based on the act of realising that post-modern architecture, despite the qualitative superiority and heroic resistance of the former modern paradigm, has already occupied the whole field, including the defensive positions of the resisters. Even architecture that declares itself to be the continuation of modernism, is contaminated with the post-modern virus. It stands on the position of global culture, which flooded all levels of our local identity, and manifests itself everywhere. Multi-cultural global paradigms offer a possibility for the continuation of the classical modern architecture to co-exist with other styles, but they can no longer ensure its unique and privileged position. In this way, there remains only a small fragment for the connoisseurs, for the elite. Didn't something similar happen at the beginning of modernism?

Globalisation brought an end to those in delay. Architecture is becoming an appendix of the dominating mass media production of entertainment and consumerism. It no longer stands for the autonomy of the branch. The most exclusive architectural production at this moment is crossing the border between architecture and art, fashion, lifestyle products and marketing. New contents demand new forms and new means of communication and representation. From the critical-analytical approach, devoted to the common benefit, architectural discourse is undergoing the process of individualisation and privatisation.

The new building of the Chamber of Economy by Sadar in Vuga arhitekti, and the family house in Griže by Nande Korpnik, are two examples of how the global may approach the local in a fresh, humorous and even respectful way. It may find help in the quality local architectural tradition, but at the same time, it remains uncompromisingly devoted to the present. The authors belong to the generation born in the 60's. It may be a paradox, but it is exactly the Acman family house by Nande Korpnik, the Chamber by Sadar and Vuga, and the Baumax and McDonalds by the Njirić, that manifest Slovene architectural identity at the end of the 20th century. This witty, critical, polyvalent architecture is a live pop-icon, as opposed to the dead ones (pretentious villas with fake columns, glass pyramids, over-designed snack bars, or decorations for the Pope's visit and numerous new churches).

The school in Višnja Gora by Vesna and Matej Vozlič, architects belonging to the generation born in the 50's, is based on a different architectural credo of autonomous architectural language, telling its own story.

Under similar circumstances of an awakening province, architects from the neighbouring countries have caught, a little before us, the architectural train of the turning millennium. Here, we are publishing current projects by the Gasparin and Meier bureau from the Austrian Carinthia, born into the 50's, and Maurizio Bradaschia from Trieste belonging to the 60's generation. We also pay tribute to our deceased colleague and friend, Jörg Mayr from Graz.

The future generations of Slovene architects come from the School of Architecture. We are presenting some of last year’s student works, chosen from the exhibitions of seminars at the beginning of the first term.

And, by tradition, there is no ab without history and philosophy.

We hope that all our readers will continue to enjoy our magazine into the new millennium.