Architectural Photography

Extra Time / Sodnikov podaljšek

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Blaž Budja, 2004

Zamejeni Plečnikov artefakt Blaža Budje

Tri skupine velikih povečav originalov velikega formata, trije vsebinski sklopi prostorov:
Plečnikov stadion, suburbana okolica predvojnih modernističnih blokov z vrtovi, prostor cest in parkirišč.
Urbane razmejitve prostorov niso določene samo s horizontalnimi podolžnostmi, ampak so razmejene tudi
navzgor z odprtim sivim nebom, kjer se nič ne dogaja, ter z amorfnostjo tal: asfaltom, mivko, mrtvim zelenilom
zimskih vrtov in trato, s polstenostjo mirujočih, odmrlih barv,… prostori mirujočega časa in neba.
Zamejeni Plečnikov artefakt slovesnosti bivšega časa: bele kolonade povzdignjenega športnega duha,
stebri, simetrije hišnih blokov modernizma, vse te majhne mogočnosti so le še mogoči odčitki sedanjih generacij.
Blaž Budja, tokrat predvsem fotograf, je tu odlično dimenzioniral in rastriral čas mirovanja v prostoru tega
Plečnikovega artefakta.

—Branko Cvetkovič

Objavljeno v katalogu ob fotografski razstavi v Galeriji Kresija, september 2004. Vse pravice pridržane.


Plečnik’s Delimited Artefact, by Blaž Budja

Three groups of huge enlargements of large format originals; three content-related spaces: the stadium, the suburbansuroundings of pre-war modernist residential blocks with gardens, the space of streets and parking lots.
The urban delimitation of spaces is not defined merely by means of horizontaltransverses, but also vertically, with the open greysky, where nothing is happening, and with the amorphousness of the groin: the asphalt, the fine sand, the dead greenness of glazed loggias and lawns, with the unnaturalness of still, expiring colours,… the spaces of time and space standing still.
The delimited Plečnik artifact of the solemnity of bygone years: the white colonnades of the sublimated spirit of sport, the columns, the symmetries of the modern residential blocks – all these minor magnitudes are now just possible readings of the present generations.
Blaž Budja, this time acting above all as a photographer, has exquisitely dimensioned and treated the time of stillness within this space of this artifact of Plečnik.

Branko Cvetkovič

Published for Blaž Budja’s photo exebition at Kresija Gallery in Ljubljana, September 2004. All rights reserved.

Hotavlje

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Blaž Budja, kamnolom marmorja na Hotavljah, 2006.

Hotaveljski kamnolom

Hotaveljski kamnolom je nekoliko nenavaden v svoji zvrsti, je na nek način negativ tistega kamnoloma, ki ga poznamo.

No, in ko govorimo o negativu, že operiramo s fotografsko terminologijo. Pozitiv je seveda delo Blaža Budje.V uvodniku k tej številki Piranesija, omenjam »verkleidung«-obleko, ki je, dražji kot je kamen, bolj je svečana. Primer Hotaveljskega kamnoloma je ravno obraten. Tu nimamo opravka z obleko, če že, potem s principom narobe obrnjene rokavice. Ustvarjeni prostor je posledica pridobivanja plemenite kamenine, ki jo s pomočjo sodobne tehnologije izrežemo iz hribine. To seveda še ni arhitektura, je pa prostor, ki ga fotograf s svojim avtorskim videnjem povzdigne iz zgolj slučajno nastalega fenomena v izbrani prostor z vsebino in sporočilom.

Fotografije Blaža Budje v opazovalcu prebudijo arhetipske podobe egipčanskih templjev, Koptskih svetišč, katakomb starokrščanov, skratka evocirajo reminiscence na arhitekturne prostore, iztrgane, izdolbene iz amorfne zemljine. Nekaj podobnega zasledimo pri Braqueu, ki je z nanosom barve odkrival vsebino, skrito za belino platna.In če že hočemo, nas Blaževa obravnava praznega v polnem spomni na aktualno razmišljanje portugalskega arhitekta Airesa Mateusa. Gre namreč za princip, obraten od običajnega, kjer prostor ne nastaja z dodajanjem, zidanjem, marveč z odvzemanjem.

Budja se često loteva tem pozabljenega, odstavljenega (štadion za Bežigradom, opuščene industrijske hale na Ravnah ), a je s svojo interpretacijo sposoben sicer inertni materiji dati smer, smer zaznave in razmisleka.

Skratka, mrtvi in neopazni deli sveta oživijo v arhitekturno izostreni Blaževi optiki.

—Vojteh Ravnikar

Objavljeno v reviji Piranesi, št. 23/24, 2006. Vse pravice pridržane.


The Hotavlje Quarry

The Hotavlje Quarry is somewhat unusual for its kind – it is in some way the negative of the quarry that we are familiar with.

And if we speak of the “negative” we are already operating with photographic terminology. The positive is, of course, the work of Blaž Budja. In the introduction to this issue of Piranesi I mention “verkleidung” – clothing that is more expensive than stone, the more it is ceremonious. The case of the Hotavlje Quarry is exactly the opposite. Here we are not concerned with clothes; if anything, we deal with an inside-out glove. The space created is the consequence of the extraction of the noble stone which is cut from the hillside with the aid of modern technology. This is not, of course, architecture, but it is a space which the photographer, with his author’s gaze, raises from a phenomenon of haphazard origins to a selected space with content and a message.

The photographs of Blaž Budja awaken in the observer the archetypal images of Egyptian temples, Coptic holy places, the catacombs of the ancient Christians – in short, they evoke reminiscences of architectural spaces, torn and excavated from the amorphous earth. We find something similar in Braque, who, with the application of paint, discovers the content hidden behind the white canvas. And, if we wish, Blaž’s treatment of the empty in the full reminds us of the current thinking of the Portuguese architect Aires Mateus. It is a case of principles gleaned from the commonplace, where space comes about not from adding, building, but rather from removing.

Budja repeatedly tackles the forgotten, the removed (the Bežigrad Stadium, the abandoned industrial halls in Ravne) and with his interpretation he is capable of giving inert material direction – direction of awareness and thought.

In short, the dead and unnoticed parts of the world come to life in Blaž’s architecturally focused optics.

Vojteh Ravnikar

Published in Piranesi magazine, no. 23/24, 2006. All rights reserved.