villeggiatura...nim komunalnim vinskim podrumom. Stari kameni zidovi i zeleni drveni kapci paralelni s cestom uravnotežuju kon-trast koji je unio novi element okomit na cestu. Oprečan

ORIS 120, GODINA _ YEAR 2019. IDIS TURATO, HOTEL I VINARIJA ROXANICH _ ROXANICH HOTEL AND WINERY 108 109

Filmska villeggiatura

A Cinematic Villeggiatura

HOTEL I VINARIJA ROXANICH, MOTOVUN, HRVATSKA_ROXANICH HOTEL AND WINERY, MOTOVUN, CROATIA | autor_author IDIS TURATO | arhitektonski ured_architectural office ARHITEKTONSKI BIRO TURATO D.O.O. | napisao_written by MILOŠ KOSEC | projektni tim_project team NIKOLA ŠTEFANEC, TOMISLAV STEPIĆ, VEDRAN HUBICKI, LJUPCHO SACHAROVSKI, BORIS KIRINČIĆ (statika_statics), MIRKO GROŠIĆ (geomehanika_geome-hanic), KATARINA ŠANTIĆ, IRENA MARKOVIĆ, ALEKSANDRA AJZENHAMER, MARTINA MATAIJA, MARIJANA KRIZMANIĆ, KRISTIJAN MAMIĆ, DAVID NAGLIĆ | investitor_client ROXANICH D.O.O. | površina parcele_site area 5 777 m² | bruto površina_gross floor area 7 262 m² | realizacija_completed year 2019 | cijena_costs 57 400 000 HRK + PDV | glavni izvođač_main constructor ING-GRAD D.O.O. | fotografije_photographs by Geoarheo (Goran Skelac)(G), Sandro Lendler (SL), Jure Živković (JŽ)

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predavač na Danima Orisa 2020._lecturer at the Days of Oris 2020


U Istri, arhaično ne znači nužno i staro. Kulturni kra-jolik unutrašnjosti poluotoka odlikuje rijedak kon-

tinuitet naseljavanja i kultivacije zemlje. Neke od tih tra-dicija, poput uzgoja vinove loze i maslina, zaista se mjere u tisućama godina. Pa, iako su vlakovi i automobili zami-jenili magarce i kola, tračnice i ceste uglavnom su ostale iste. Kontinuitet je pragmatičan: topografija Istre nemilo-srdna je, a prilagodba je ključna za opstanak. Stanovnici Istre intuitivno razumiju rečenicu iz romana Leopard: Ako želimo da stvari ostanu kakve jesu, morat će se promijeniti.

I n Istria, archaic does not necessarily mean

old. Cultural landscape of the interior of the peninsula exhibits a rare continuity of habitation and cultivation of land. In some cases, this con-

tinuity can indeed be measured in thousands of years, and cultivation of wine and olive trees is just an example of that. But even if donkeys and carts have been replaced by trains and cars, the tracks and roads have largely remained the same. Continuity is pragmatic: Istrian topography is just as unforgiving and adaptation is a matter of survival. Inhabit-ants of Istria intuitively understand the following sentence from the novel The Leopard: If we want things to stay as they are, things will have to change. Its author, Giuseppe Tomasi di Lampedusa, was writing about the 19th century Sicily, though it might as well be contemporary Istria. Even among the many atemporal impressions which the traveller gets by visiting coastal towns and resorts, the ancient town of Motovun is an especially forceful case. When the curved

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Autor romana, Giuseppe Tomasi di Lampedusa, pisao je o Siciliji 19. stoljeća, no jednako tako moglo bi se raditi o današnjoj Istri. Čak i među brojnim bezvremenskim utis-cima koji putniku ostaju nakon posjeta obalnim gradićima i odmaralištima, stari grad Motovun posebno je upečatljiv primjer. U trenutku kada se južna zavojita cesta naglo izravna prema strmom brdu na čijem je vrhu grad, putnik se na tren osjeti poput osva-jača. Kuće djeluju poput ovaca

koje traže utočište među drevnim pastoralnim institucijama crkvenih zvonika i palača, zaštićenima strmim padinama od napretka u dolini u podnožju. No drevne su institucije danas uglavnom prazne, o stadu prvenstveno brinu vrlo suvremene institucije turizma i kulture, posebno slavni Motovun film festival. Međutim, najnoviju scenu u istarskoj sekvenci prilagodbe ne pruža Motovun film festival, nego novi hotel i vinarija Roxanich u susjedstvu. Filmska analogija dobro funkcio-nira ne samo zbog prisutnosti autoriteta grada Motovuna, već i zbog brižljivog kinematografskog kadriranja arhi-tektonskog kompleksa. U uvodnom kadru nalazi se novo-izgrađeni crveni volumen, okomit na glavnu cestu. Riječ je o smjeloj uvodnoj gesti koja se može promatrati samo u kombinaciji sa sljedećom scenom – pažljivo obnovlje-nim komunalnim vinskim podrumom. Stari kameni zidovi i zeleni drveni kapci paralelni s cestom uravnotežuju kon-trast koji je unio novi element okomit na cestu. Oprečan

road south straightens directly towards a steep hill with a town at the top, the traveller for a moment feels like an invader. The houses seem like sheep seeking refuge among the ancient pastoral authority of church steeples and aris-tocratic palaces, protected from the progress in the valley below by steep slopes. And yet, the ancient authorities are mostly vacant now; the flock is predominantly tended by the very contemporary authority of tourism and culture,

especially the famous Moto-vun Film Festival.The latest scene in the Istrian sequence of adaptability, how-ever, is not provided by the Motovun Film Festival, but by the new Roxanich Hotel and winery next door. The film analogy works well not only because of the loom-ing authority of Motovun high above, but also because of a careful cinematic framing of the architectural complex. The

opening shot is a newly built red structure perpendicular to the main road – a bold opening statement that can only be taken into account together with the scene of an old care-fully renovated communal wine cellar. Ancient stone walls and green wooden shutters parallel to the road balance the

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odnos između očuvanja sta-roga i izgradnje novoga, arhi-tektonskim se sredstvima nadovezuje na već spome-nutu Lampedusinu rečenicu: Ako želimo da stvari ostanu kakve jesu, morat će se pro-mijeniti. A promijenile su se i više no što je vidljivo izvana. Ono što vidimo samo je vrh ledene sante; stvarna je pri-roda kompleksa topografska, što postaje očigledno sa stra-žnje strane. Razina ceste ula-zna je točka za goste, a nekih sedamdeset metara ispod razine ceste ulazna je točka za grožđe. Velika većina kompleksa ugrađena je u padinu brda. Hotel i restoran izgrađeni su povrh vinarije, u doslov-nom i prenesenom smislu. Oni su nadgradnja prostranom vinskom podrumu koji je pak njihova ekonomska i fizička baza. Užitak koji se nudi u gornjem dijelu uvjetovan je

proizvodnim procesom na donjoj razini. Kompleks se dakle u prostornom smislu može čitati kao uzdizanje grožđa u vino ili kao poniranje gostiju prema tajnama procesa proi-zvodnje vina. Riječ je o dvjema bitno različitim sekvencama, no obje su pažljivo režirane prostornom dispozicijom i unu-tarnjim uređenjem kompleksa. Idis Turato, arhitekt hotela i vinarije, dobro je upoznat s kinematografskim pristupom arhitekturi. Živ i intenzivan dizajn interijera Muzeja Apoksiomena na otoku Lošinju nastaje na temelju pažljivog kadriranja kretanja posjeti-telja prostorima građevine. To je postignuto zaigranim i nekonvencionalnim tretmanom površina koji je istovre-meno narativna scenografija i osobni izazov sveprisutnoj redukciji interijera na ono najosnovnije. Turatu bogatstvo izraza i zaigrani intenzitet predstavljaju ovo najosnov-nije i on očigledno uživa u režiranju arhitektonskih scena na temelju kulturnih referenci, kontrasta i iznenađenja. Međutim, dok je projektiranje muzeja zadatak uvjetovan uglavnom jednom predvidljivom sekvencom posjeta, hotel predstavlja sasvim drukčiji slučaj. Ovdje arhitekt postavlja

contrariness of the novelty perpendicular to the road. The perpendicular relation between the preservation of the old and the construction of the new is quoting Lampedusa with architectural means: If we want things to stay as they are, things will have to change. And they have changed more than is apparent from the outside. What we see is merely the tip of an iceberg; the true nature of the complex is topographi-cal, which becomes apparent from the back. The entry point for the guests is on the road level, while the entry point for the grapes can be found some seventy meters below the road. The vast majority of the complex is built in the hill-side. The hotel and restaurant are built on top of the winery, both literally and figuratively. They are a superstructure as much as the extensive wine cellar is an economic and physical base they rest upon. The pleasure offered above is conditioned by the production process below. In spatial terms, the complex can therefore be thought of as either an ascent of grapes into wine or a descent of guests towards the secrets of wine production process. These are two very different sequences, but they are both carefully directed

through the spatial disposi-tion and the interior design of the complex.Idis Turato, the architect of the hotel and winery, is no stranger to cinematic takes on architecture. Vivid and intense design of interiors of the The Museum of Apoxy-omenos on the Island of Lošinj builds upon careful framing of visitors’ progression through spaces. This is achieved with a playful and unconventional treatment of surfaces that is both a narrative scenography and a personal challenge to

the all-pervasive reduction of interior design to bare essen-tials. For Turato, richness of expression and playful inten-sity are bare essentials, and he obviously enjoys directing architectural scenes out of cultural references, contrasts and surprises. But whereas a museum is a task usually

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scene, ali ima vrlo ograni-čen utjecaj na redoslijed nji-hova nizanja. Od check ina do check outa, posjetitelji biraju jedan od brojnih scenarija u mnoštvu kretanja, upotreba, susreta i doživljaja. Slobodni da odaberu puteve, trajekto-rije, poglede i prostore, posje-titelji postaju redatelji svo-jih scena i doživljaja. Turato je toga svjestan i stoga ne tretira interijer kompleksa isključivo kao okvir ili scenu, nego kao pravog glumca, možda čak glavnu filmsku zvijezdu. U hotelu Roxanich interijer preuzima aktivnu ulogu. Ovo mjesto nadograđuje i unaprjeđuje stari koncept villeggiature. Prije je on označavao boravak na selu i uživa-nje u plodovima zemlje, ali i u smirenoj jednostavnosti koja nedostaje užurbanim gradovima. No za razliku od paladi-janske vile u ruralnom krajoliku koja je tvorila jednostavan i gotovo asketski kontrast raskošnim interijerima gradskih

palača njihovih vlasnika, vinarija u Motovunu danas pri-vlači posjetitelje upravo zbog svog raskošnog i bogatog interijerskog narativa koji djeluje kao protuteža uobičaje-nom minimalističkom mainstreamu urbane svakodnevice. Hotel se smjestio unutar starih kamenih zidova prijaš-njeg komunalnog vinskog podruma. Cjeloviti konstruk-tivni i dekorativni redizajn interijera na prvi pogled dje-luje radikalno. Međutim, na drugi pogled istarske arhaične

conditioned with a single predictable sequence of visits, a hotel is an altogether different case. Here, the architect sets the scenes, but has a limited chance of sequencing them in a particular order. From check in until check out, visitors choose one scenario out of plurality of movements, uses, encounters and experiences. With the freedom to choose the paths, trajectories, views and spaces, the visi-tors become directors of their own scenes and experiences. Turato knows this, which is why he treats the interior of the complex not just as a setting or a scene, but as an actor in its own right, perhaps even as the main star. In Roxanich Hotel, the interior gains agency of its own. It is a place that builds on and upgrades the ancient concept of villeggiatura. This used to mean staying at the countryside to enjoy the fruits of its soil, as well as experiencing calm simplicity absent from bustling cities. But unlike a Palladian villa in the country which established a simple and almost frugal contrast to the opulent interiors of the owners’ city palaces, the winery in Motovun today draws visitors thanks to its opulent and rich interior narrative that acts as a contrast to the usual

minimalist mainstream of the urban everyday life. The hotel inhabits the old stone wall structure of the former communal wine cel-lar. The complete structural

and decorative redesign of the interior at first seems radi-cal. At second glance, however, we can see the Istrian archaic dimension hidden just beneath the stone walls and velvet surfaces. A strong affinity with an older idea of

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dimenzije skrivaju se odmah ispod kamenih zidova i baršu-nastih površina. Pojavljuje se snažna povezanost sa starom idejom udobnosti. Interijeri dvoraca samo u holivudskim filmovima imaju vidljive kamene zidove. Stvarne feudalne rezidencije bile su čvrste i neprobojne izvana, ali meke i zaodjevene u bogate materijale u unutrašnjosti. Pri ula-sku u dobro očuvanu staru kuću ne stječe se dojam tvrdih površina i odzvanjajućih koraka; upravo suprotno, prosto-rije su ogrnute šupljom drvenom oplatom, mekim tepi-sima i raznobojnim tapetama. Hotel Roxanich najnoviji je izdanak te tradicije. U Turatovu interijeru hotela jednaka je pažnja posvećena svim površinama. Danas smo navikli

comfort emerges. Castle interiors have visible stone walls only in Hollywood films; real feudal residences were firm and impregnable from the outside, but soft and clad in rich

materials on the inside. When entering a well-preserved old house, the impression is not that of hard surfaces and echoing footsteps; instead, the rooms are wrapped in hollow wood panelling, soft carpets and colourful wallpapers. Roxanich Hotel is the latest descendant of this heritage.

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da projektanti veliku pažnju posvećuju zidovima – možda je riječ o nasljeđu modernističke bijele kocke koja je iz gale-rije migrirala u idealan dom. Suvišno je reći da vertikalne površine podrazumijevaju vertikalitet kao privilegiranu poziciju, a posjetitelja kao osobu u stajaćem položaju. No imaginacija koja ovdje djeluje više je povezana s dugom ali zanemarenom trajektorijom baroknog projekta u kojemu su stropovi i podovi jednako važni kao i zidovi. Šest ploha sobe moglo bi biti proizvoljno razmještano. Čak i na mje-stima gdje strop otkriva stare istrošene drvene grede izvorne kamene građevine

– element koji je zasigurno primjenjiv samo na strop – ispada da su one nenosive. Sačuvane su, restaurirane i obješene ispod betonske ploče. Modernistički bi pro-jektant vjerojatno bio opsjed-nut transparentnim odnosom između materijala i njihove nosive uloge. Arhitekt ovog hotela opsjednut je odnosom između materijala i njihova narativnog potencijala.

Barok je operativni koncept hotela, ali ne iz očitih razloga. Barokni karakter ne predstavljaju nužno brojne boje ili ekscentrični trompe-l’oeil detalji namještaja – oni bi jed-nako tako mogli biti, a uglav-nom i jesu, modernistički. Ono što je barokno jest sen-zualno zadovoljstvo lutajućeg

In Turato’s hotel interiors, an indiscriminate attention is devoted to all surfaces. Today we are used to walls getting most of the designers’ attention. This is perhaps a heritage of the modernist White Cube migrating from a gallery to the ideal home as well. Needless to say, vertical surfaces assume verticality as a privileged viewpoint and a visitor pri-marily as a standing person. The imagination that is at work here, however, has more to do with a long but neglected trajectory of a baroque design where ceilings and floors are as important as the walls. The six planes of a room could just as well be switched around at will. Even where the ceiling exposes old worn-out wooden beams from the original stone building, elements surely suitable only for the ceiling, these turn out to be non-structural. They were sal-vaged, restored and rehung below a concrete slab. A mod-ernist designer might be obsessed with transparent relation between materials and their load-bearing role. The archi-tect of this hotel was obsessed with the relation between materials and their narrative potential.Baroque is the operational concept of the hotel, but not for the obvious reasons. All the various colours and the eccen-tric trompe-l’œil details of the furniture are not necessar-ily baroque in character – these could just as well be, and in fact predominantly are, modernist. What is necessarily

baroque, however, is the sensual pleasure wandering eyes and hands feel in the surfaces and patterns. These are inte-riors that do not serve as mere backdrops, but often become protagonists in their own right. The patterns and colours rather than materials or functions are their guiding prin-ciples: the visual motif seamlessly transgresses from the (SL) (SL) (SL)(SL)

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pogleda i dodira ruke na površinama i uzorcima. Ovi inte-rijeri nisu samo pozadina, nego često postaju protagonisti. Umjesto materijala i funkcija, njihova su vodeća načela uzorci i boje: vizualni motiv bešavno prelazi s tapeta na tepih. Dosljednost je sveprisutna, ali ona je narativna, a ne materijalna. Bešavnost je bremenit pojam u arhitekturi gdje može prouzročiti sumnje i optužbe za neiskrenost. S druge strane, bešavnost je preduvjet kinematografskog iskustva, uvjerljivog vizualnog narativa. Ona uvjetuje pri-jelaz kadra u scenu i, naposljetku, u sekvencu. Krevet je centralni element svake hotelske sobe. No u hotelu Roxanich krevet postaje soba unutar sobe, što je kako barokno, tako i kinematografsko obilježje. On pod-sjeća na velike dostojanstveničke krevete kraljevskih rezidencija 18. stoljeća. Visina, širina, oblikovanje i oso-bito njegova prostorna dispozicija transformiraju krevet u privilegiranu poziciju unutar sobe kao samodostatnu cjelinu. Stube koje vode do kreveta relativiziraju nje-govu odvojenost od poda, a ljestve koje vode do kreveta s baldahinom nude dodatni horizontalni vidikovac, čisto pretjerivanje. Kada ležimo, raskošna prostorna ovojnica djeluje poput platna za ima-ginaciju, bilo kao rezultat dje-tinjeg sanjarenja ili rokokoom inspirirana fantazija u dvoje. U oba slučaja, racionalni ver-tikalni imperativ relativiziran je i izbalansiran uz pomoć maštovite horizontalnosti. Meki zvukovi i taktilnost hotel-skih soba jukstaponirani su područjima s izraženijim jav-nim karakterom poput hotel-skog lobija, restorana i bara. Taktilna raskoš boja i materi-jala i dalje je prisutna, a veći volumeni pružaju scenogra-fiju za masovne sekvence. No rokoko intima soba ustupa mjesto ekstrovertiranijem

karakteru. Sada se nalazimo u pozadini kompleksa, zašti-ćeni od ceste kamenim zidovima. Upravo ovdje zaštitna ovojnica biva probijena velikim staklenim površinama koje nude širok pogled na brežuljkaste istarske vinograde sve do mora. Bogati unutarnji kaleidoskop hotela naposljetku se stapa s arhaičnim krajoli-kom izvana, a scene poslože u sekvencu koja djeluje sto-ljećima stara.

wallpaper to the carpet. Consistency is present through-out the interior, but as a narrative rather than a material consistency. Seamlessness is a loaded term in architec-ture where it can give space to suspicion and accusations of insincerity. On the other hand, seamlessness is a condition for a cinematic experience and a convincing visual narra-tive. It is a condition for a frame to progress to a scene and finally to a sequence. In every hotel room, the bed is the focal element. But in Roxanich Hotel, the bed becomes a room within a room, which is as much a baroque as it is a cinematic feature. It evokes the great state beds of the 18th century royal resi-dences. The height, width, design and, above all, the spatial disposition of the bed transforms it into a privileged view-point of the room as a self-contained whole. Steps leading to the bed relativize its separation from the floor, while the ladder leading up to the four poster bed provides another horizontal vantage point, a pure excess. Lying down, the rich envelope of the space appears as a canvas for imagina-tion, whether as a result of a childlike daydreaming or as a rococo-inspired fantasy for two. In both cases, the rational vertical imperative is relativized and balanced with a more fanciful horizontality. Soft sounds and tactility of the hotel rooms are juxtaposed with the more public areas of the hotel lobby, restaurant and bar. The tactile opulence of colours and materials is still here, with larger volumes offering scenography for mass sequences. But the rococo intimacy of the rooms gives way to a more extroverted character. We are now at the back of the complex, protected from the road by the stone walls. It

is here that the protective envelope can be breached with large glass surfaces offering a wide view of the hilly Istrian vineyards towards the sea. The rich interior kaleidoscope of the hotel finally merges with the archaic landscape outside, and scenes align themselves into a sequence that might just as well be centuries old.

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Documents

villeggiatura...nim komunalnim vinskim podrumom. Stari kameni zidovi i zeleni drveni kapci paralelni s cestom uravnotežuju kon-trast koji je unio novi element okomit na cestu. Oprečan