Forms of space in architectural drawing

The aim of my diploma is the introduction of the work and importance of four extraordinary architects by looking closer into one of their masterpieces. I have compared the chosen works and I tried to define the most interesting and creative way of presenting them to the pupils. The diploma consists of two parts. In the first, theoretical part, I am writing about the lives and works of Antonio Gaudí, Le Corbusier, Frank Gehry and Zaha Hadid. In the second part, I focus on the chosen masterpieces of each of the selected architects. These include: . Casa Milá from Antoni Gaudí, . Villa Savoye from Le Corbusier, . Guggenheim Museum Bilbao from Frank Gehry and . Capital Hill Residence from Zaha Hadid. I have processed these works by a computer program for editing photos – Photoshop – and changed the shapes of the buildings. My aim was raising the pupil's interest for architecture and so overcome the passive way of teaching. I find it very important to create awareness among the adolescents of the importance of architecture and the influence of each building on its surrounding. At the same time it is important that the pupils develop an active attitude towards their environment and also develop three dimensional thinking

Architectural object perception of the residents in a closer urban area

Modern panorama of Ljubljana is part of transitional period and is, as such, dynamically changing. Different elements are a part of its architectural appearance - buildings, parks, infrastructure, permanent and temporary solutions for different uses, which are more or less integrated in a symbiosis, or are disturbers of aesthetic appearance. The purpose of this master thesis is to study the attitude of citizens toward changes in time a space. As such were chosen two objects that were accepted with mixed emotions - RESIDENTIAL HOUSE GRADAŠKA (built in 2005) and CONDOMINIUM TRNOVSKI PRISTAN (built in 2003) and are works of SADAR + VUGA Architects bureau. SADAR + VUGA are interested in concepts that provide new impressions and create new social interaction and communication in society. Exactly these two buildings are a good example of provocative new age concepts, which are responsible for changes in social response. By providing that, they offer a potential for social interaction in the context of changes in a specific area or environment. The two buildings are just 300 meters apart and are placed in the suburban Trnovo area. However, they differ in architectural communication. Newly built houses have an impact not only on their surroundings but also widely in society. With all that on mind, some architects have been trying to change the society with form and design. Part of this master thesis is to study the intentions of SADAR + VUGA in designing the two houses and how they succeeded in impacting the society. Since some time has passed since the buildings were constructed, this gave us the opportunity to analyse how citizens of Ljubljana have accepted the buildings or how their minds have changed. Do they find the two buildings disturbing or were they disturbing only at the beginning when they offered a new perspective. Have the citizens gotten used to them, and did they change their mind. Have Sadar and Vuga succeeded in introducing a new perspective on modern architecture and did they change the people’s attitude towards it. All these questions are addressed in the study. More than with the architectural aspect, the study is concerned with educational impact of these two projects. Therefore, the focus is placed on the interaction between architecture and citizens; touching upon the ever topical question of delimiting what is private in public

Zaključna razstava študentov četrtega letnika Likovne pedagogike, študijsko leto 2012/2013

Letos lahko govorimo o izraziti psihični fiksaciji del, o arhaični razgaljenosti barvne gmote, linije in prostora. Barva in črta kot psihični opni vzpostavljata že omenjeno elementarnost in tako prevzemata vlogo stalnosti v podobi časa ki ga živimo. To skorajda zasanjano razraščanje tudi ne izbira nosilcev, ki so vse bolj variabilni, nestalni in fragmentarni. Struktura slike in risbe se je porazdelila in se kaže- enkrat kot knjiga, v velikost naših dlani, drugič je del večjega, galerijskega prostora sten in potem že obleži na podstavku kot najdeni predmet z eno izmed konceptualnih intervencij

Zaključna razstava študentov četrtega letnika Likovne pedagogike, študijsko leto 2012/2013

Letos lahko govorimo o izraziti psihični fiksaciji del, o arhaični razgaljenosti barvne gmote, linije in prostora. Barva in črta kot psihični opni vzpostavljata že omenjeno elementarnost in tako prevzemata vlogo stalnosti v podobi časa ki ga živimo. To skorajda zasanjano razraščanje tudi ne izbira nosilcev, ki so vse bolj variabilni, nestalni in fragmentarni. Struktura slike in risbe se je porazdelila in se kaže- enkrat kot knjiga, v velikost naših dlani, drugič je del večjega, galerijskega prostora sten in potem že obleži na podstavku kot najdeni predmet z eno izmed konceptualnih intervencij

Zlikovci 13

Študij likovne umetnosti in tudi kiparstva ni zgolj ukvarjanje s produkcijo, tisto obstoječo in lastno, temveč je neprestani komentar. Sodobna umetnost nasploh ni več “lepa umetnost” ampak predvsem komentar. Zato se zdi logično, da je razstavljanje prav to, če je le živo, zdravo in recimo budno. Zakaj študent-ka v zadnjem letniku študija opusti vse, kar je naredil-a do trenutka, ko je dobil-a priliko za samostojno razstavljanje in želi narediti vse na novo? Zato, ker ni pripravljen-a samo ob strani stati. Zadnjih štirideset dni je bilo zelo aktivnih. Delali smo razstavo in vse kar sodi zraven, ne “stvari za oceno”. To je pomembno vedeti

Zlikovci 13

Študij likovne umetnosti in tudi kiparstva ni zgolj ukvarjanje s produkcijo, tisto obstoječo in lastno, temveč je neprestani komentar. Sodobna umetnost nasploh ni več “lepa umetnost” ampak predvsem komentar. Zato se zdi logično, da je razstavljanje prav to, če je le živo, zdravo in recimo budno. Zakaj študent-ka v zadnjem letniku študija opusti vse, kar je naredil-a do trenutka, ko je dobil-a priliko za samostojno razstavljanje in želi narediti vse na novo? Zato, ker ni pripravljen-a samo ob strani stati. Zadnjih štirideset dni je bilo zelo aktivnih. Delali smo razstavo in vse kar sodi zraven, ne “stvari za oceno”. To je pomembno vedeti

Razstava grafik 2. letnika Oddelka za likovno pedagogiko, mentor izr. prof. Črtomir Frelih, 31. 5. - 20. 6. 2011, Ljubljana, Pedagoška fakulteta

Grafike 2. letnika Oddelka za likovno pedagogiko, ki so jih študentke in študenti izdelali v letu 2011. Mentor: izr. prof. Črtomir Frelih. Tehnična pomoč: demonstratorka Nina Koželj

Razstava grafik 2. letnika Oddelka za likovno pedagogiko, mentor izr. prof. Črtomir Frelih, 31. 5. - 20. 6. 2011, Ljubljana, Pedagoška fakulteta

Grafike 2. letnika Oddelka za likovno pedagogiko, ki so jih študentke in študenti izdelali v letu 2011. Mentor: izr. prof. Črtomir Frelih. Tehnična pomoč: demonstratorka Nina Koželj