Page 96 - Ekonomija i Biznis_juli-avgust 2016.indd

РУБРИКАStojan Pavleski architect at Stone Design БАНКАРСТВО

You can no longer say “this is mine, and this is yours” in the world,
this entire story has become a bit more complex. All of us – some
more, and some less, leave a trace, and maybe our life is a sort of
migration.

change the space publicly and privately, however we all bear some inner thought that this world is for every-
that is, how much the public things are one. No matter how much we want that, even if we are bad or self-
private, and vice versa, how this changes ish, I think that this code is born by every person inside himself. We
us and how much we change it, leaving a wanted to work on this idea, it is a matter of a subconscious level of
part of ourselves. For example, whether the human, between the public and the private, architecture is taken
what is German is German only, or now it as a transfer for a more global thought. We didn’t want to get tied to
also belongs to the people who have come, local problems, this is usual in the biennale, our idea is not related to
and some of them will stay, they will leave
their mark, they will change the space, Entrance into the tunnel
they will color it with their culture.

When it comes to the visual part, we
had two concepts, one of them was a con-
cept of a sphere, and the other one was a
tunnel, in the end we chose the tunnel.
It has a length of 15 meters, a height of
3.5 meters, it has a small entrance and a
small exit, and it spreads in the middle. It
is slightly wrapped, so when you enter in-
side, you cannot see the other end – so that
it can bring expectation and surprise. In a
combination with our multicultural forms,
three iconic buildings from the world have
been used – the Gherkin by Norman Foster
in London, Guggenheim from New York,
and La Defense from Paris, we actually
made a city that exists, and does not exist.

The famous buildings are geographi-
cally dislocated, placed in a city that does
not exist, the buildings are dematerialized,
processed as terracotta, as an iconic mate-
rial (not on glass, as it would be expected),
in order to give a clue that it all belongs to
the human, so even what is in New York
could belong to you as well.

The entire story is cosmopolitan, this
creates a warm visual image, and a posi-
tive theology – each one of us believes in
a similar world, a world for everyone. Re-
gardless of whether we believe in God, we
all believe in a force, although we haven’t
seen it, and the material world is the one
that is taking us to the sphere of public and
private. If I build a house and a yard, and
no one can enter, I can say “This belongs to
me, you cannot enter further from there”,

96 July-August 2016