Praznine is a magazine that deals with critical thought and theory in the areas of spatial planning, architecture and art. The magazine involves a younger generation of Slovenian architects, artist and philosophers into critical reevaluation and constant rethinking of the role of architecture and arts in the modern day society. It was established in 2011 by students and graduates of architecture but has since developed a broad span of writers, editors and collaborators from areas of architecture, philosophy, visual arts, design, social sciences, graphics and the humanities.
Katarina Čakš and Vid Zabel are currently finishing their studies at Ljubljana Faculty of Architecture. They co-founded Praznine in 2011 together with Tomo Stanič, Martin Kruh, Rok Velikonja, Barbara Logar, Maša Ogrin and Andreja Žumer
The post-second world war period was a time of distinct formation of Slovenian architecture. In the 1960s whilst the world was moving away from local and regional architectural features, a generation of Slovenian architects began developing their own distinctive approach towards spatial construction. This was as much a consequence of the cultural, economical and political context of the (then) developing Socialist Federal Republic of Yugoslavia as the influence and teachings of the architect Edvard Ravnikar (and through him his mentors Jože Plečnik and Le Corbusier).
In a country that was still building its identity, the architects of the time needed to face the challenge of moderate material resources to serve a society that was in great need of infrastructure. All this, combined with a sense of building in a time of technological and industrial advancement, inspired projects that were particularly ingenious both in terms of technology and spatial ideas. There was a common notion underlying many buildings of the time – an idea of rationality bound together with existentialism.
In the following decades, the continuity of architectural education and mentorship began to disperse as most architecture graduates went on to gain additional experience and knowledge abroad. Nevertheless, the Slovenian architecture of the 1960s and 1970s, with its merging of the universal and the specific through tectonics, materiality and spatial concepts, has become a topical issue once again for a number of contemporary Slovenian architects and teachers. This association is especially apparent in the contemporary use of construction materials and technical innovations as means of defining clear theoretical concepts.
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