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Architecture Perennis V uvodu je zapisal Nace Šumi ...Da pa lepota umetnostnih spomenikov vendarle ni pridržana zgolj višjim ciljem, govori Mušičevo prepričanje, da zaslužijo pozornost ne le cerkve in dvorci, marveč tudi na videz skromni, ne iz umetniških nagnjenj narejeni, navidezno zgolj praktičnemu vidiku namenjeni spomeniki, dokazuje Mušičevo vrednotenje izdelkov tako imenovane ljudske umetnosti. Začenši s kmečko hišo, ki ji je še kot študent namenil posebno predavanje v klubu Ognjišče arhitektov akademikov, ki je deloval v okviru Plečnikove šole. Tam srečamo znamenit stavek o njeni slavi in njenem pomenu, ko jo postavlja dobesedno na oltar. Obenem pa je navdušen in zavzet propagator pogledov v prihodnost, pogledov, ki jih v naši krajini odkriva in njene sestavine napoveduje moderna avtomobilska cesta. Obakrat je seveda dokazilno merilo isto, zagledanost v lepoto včerajšnjega in jutrišnjega dne. Pravi slavospev ljudski umetnosti pa je njegovo pisanje o slovenskem kozolcu, ki v svetu nima dvojnika ter smo zato nanj upravičeno lahko ponosni. Mušičev svet lepega obsega potemtakem vse razsežnosti in vse ravni oblikovanega. Zajel pa ni le sveta svoje ožje domovine, marveč potencialno ves svet. Velik del tega sveta je prehodil in premeril v misijah Unesca, kjer je plodno sodeloval. Prav posebno to velja za jugoslovanski Mediteran od Dalmacije do Makedonije. Njegova privrženost Mediteranu se prav dobro bere v številnih odličnih risbah, ki jih ne smemo gledati zgolj kot nevtralne dokumente, saj so prežeti z Mušičevo osebnostjo, z njegovo ljubeznijo kljub navidezni zadržanosti zaradi dokumentacije izdelkov. S temi risbami, ki smo jih ob desetletnici arhitektove smrti v izboru izdali v posebni mapi, bo pomen Marjana Mušiča še bistveno zrasel, zakaj on je namreč bolj od sodobnikov povzdignil to nalogo do samostojnega umetniškega dela... V poglavju Grad Otočec je zapisal Marjan Mušič ...Še posebno se zaostré ti problemi pri obnovi spomenikov, ki smo jih pobliže spoznali šele, ko so že propadli, ker pač niso bili pred tem v zadostni meri preučeni in dokumentirani. To vse postane še toliko bolj pereče, kadar gre za obnovo tako imenovanih raščenih arhitekturnih spomenikov, ki so se v razvoju od prvotnega najstarejšega stavbnega jedra dopolnjevali in spreminjali svojo sestavo ter so se tudi v kompozicijskih vrednotah prilagajali raznim družbenorazvojnim obdobjem z določeno oblikovno stilno usmeritvijo. Takšen spomenik pa je tudi Otočec... V poglavju Arhitektura slovenskega kozolca je zapisal Marjan Mušič ...Kozolec je torej arhitekturni spomenik, ki je v sozvočju združil vse bistvene sestavine, kakršne mora imeti vsaktera arhitekturna umetnina; te so: smotrnost, konstrukcija, plastično oblikovanje in organska povezanost z okoljem. S tem pa se je tudi vključil v napore za izraz nove slovenske arhitekture, ki teži v novih razmerah in z novimi možnostmi k sintezi navedenih sestavin... Marjan Mušič je l. 1970 pri Cankarjevi založbi v Ljubljani objavil monografijo Arhitektura slovenskega kozolca, kjer je zapisal "Naj bo že kakor koli, eno je gotovo, da je kozolec nasledek brezimnega ljudskega stavbarstva, kjer je kolektivno ustvarjanje in spopolnjevanje stavbnega tipa neločljivo vezano na dolgotrajen razvoj. To velja tudi za povsem razviti vezani kozolec kot najmlajšo in tudi najpopolnejšo značilno obliko kozolca, v kateri pa žive reliktne konstrukcije in oblike, ki so iz njih izšle. Temeljita in vsestranska preučevanja bodo nedvomno v marsičem osvetlila probleme, ki so v zvezi z izvorom in razvojem kozolca, s tem pa bodo tudi zožila zorni kot ugibanj in domnev. Ostal pa bo prej ko slej neprizadet fenomen kozolca z vsemi značilnimi oblikami kot arhitekturni spomenik slovenske ustvarjalnosti in kot pobudnik prostorske kompozicije, ki je vdahnila poezijo slovenski zemlji. Namen pisca te knjige je bil, da odkriva lepoto, ki je prisotna v strogi in domiselni zgradbi kozolca in v miku njegovih skupin, pri tem pa vselej v presenetljivem sozvočju z obrisi pokrajine in z nenehno spremenljivim prostranstvom neba." Nace Šumi wrote in the introduction ... that the beauty of artistic monuments, however, is not reserved only to higher goals, is represented by Mušič's belief that not only churches and castles deserve attention, but also seemingly modest, not from artistic inclinations made, seemingly only for practical aspect intended monuments, demonstrates Mušič's evaluation of products of so-called folk art. Starting with the farmhouse, to which he already as a student gave a special lecture at the club Fireplace (Ognjišče) of architects academics, which acted under the Plečnik school. There we meet a famous phrase of its glory and its significance when it is put literally at the altar. At the same time excited and enthusiastic propagator of views in the future, views, which are discovered in our landscape and its components predicted by the modern automobile road. Both times, of course, conclusive measure of the same infatuation in the beauty of yesterday and tomorrow. A true celebration of folk art is his writing on the Slovenian hayrack, which has no counterpart in the world, and we are therefore rightly proud of it. Mušič's world of beauty, therefore, comprises all aspects and is at all levels shaped. He covered not only the world of his homeland, but potentially the whole world. He surveyed and walked a large part of the world in the missions of UNESCO, where he worked fruitfully. That is especially the case for Yugoslav Mediterranean from Dalmatia to Macedonia. His adherence to the Mediterranean is also well-read in many excellent drawings, which should not be seen merely as a neutral documents as they are imbued with Mušič’s personality, his love, despite the apparent reluctance due to object documentation. With these drawings, which we have issued in a separate folder on the tenth anniversary of the death of the architect, the importance of Marjan Mušič will grow significantly, why he has more than his contemporaries elevated this task to an independent work of art ... Marjan Mušič wrote in the chapter on Castle Otočec … These problems are especially aggravated in the reconstruction of monuments that we can become more familiar with only after they have already decayed, and have not previously been sufficiently studied and documented. This all becomes even more acute when it comes to the so-called reconstruction of generic architectural monuments that have been in the development from the original oldest building core complemented and modified its composition and have also adapted various compositional values to social development periods with a certain design style. That is also the case in the monument Otočec ... Marjan Mušič wrote in the chapter The architecture of Slovenene "kozolec" (hay-rack) The "Kozolec" is an architectural monument, which has captured in its development all the variety of functionally ... Hay-rack is an architectural monument, which has combined in harmony all the essential elements of every architectural masterpiece. These are: functionality, construction, design and organic relationship with the environment. In this manner it is also involved in efforts for the new Slovenian architecture expression in the new circumstances and new opportunities for the synthesis of stated elements ... Marjan Mušič published in 1970 a monograph The architecture of Slovenene "kozolec" (hay-rack) (Publisher Cankarjeva založba, Ljubljana), where he wrote "...Be that as it may: It is a fact that the "kozolec" is an heirloom of anonymous popular architecture, where the collective creation and perfection of a certain structural type is inseparably subject to prolonged evolution. The same holds good for the full coupled hay-rack as the most recent and consummate characteristic form of "kozolec"; in it, some structural relics remain alive, together with certain forms emerging from them. Thorough and universal investigation is sure to elucidate the problems connected with the "kozolec"; this is again going to narrow the range of speculation. Yet, now as ever, the phenomenon of the Slovene hay-rack will remain untouched, in all its characteristic forms, as an architectural monument to Slovene creativness and as a stimulant of spatial composition, which has breathed poetry into our landscape. It has been the author's intention to reveal the beauty inherent in the strict and ingenious construction of the "kozolec" and in the charm of its groupings, yet always in harmony with the contours of the landscape and with the incessantly changing infinity of the skies." CIP - Kataložni zapis o publikaciji Narodna in univerzitetna knjižnica, Ljubljana 72 (497.4): 929 Mušič M. 72 (497.4-12) MUŠIČ, Marjan, 1904 -1984 Arhitektura za vse čase: Novo mesto in Dolenjska/ [besedilo] Marjan Mušič; [uvod in komentarji Nace Šumi; napisi ob ilustracijah Marjan in Marko Mušič; o knjigi Marko Mušič; urednik Marko Mušič; bibliografija Bogo Komelj in Marko Mušič; načrti, slike, risbe in skice Marjan Mušič ... [et al.] ; posnetki in izrisi izvedenih del Atelje Marko Mušič; modeli Marjan Mušič in Atelje Marko Mušič; črnobele fotografije Marjan Mušič ... [et al.] , barvne fotografije Dragan Arrigler in Marko Mušič]. - Ljubljana: [samozal.] M. [i. e. Marko] Mušič: Atelje Marko Mušič, 2002 ISBN 961-238-028-7 |