Razgovarali u Londonu 25. ožujka 2015.
Svijet Smiljana Radića počiva na dualnosti svojih dijelova. U konzekventno provedenom umjetničkom konceptu on sjedinjuje elemente koji zapravo ne pristaju jedni uz druge, elemente koji potječu iz različitih područja i iz različitih vremena. Tako ostvaruje novi tok vremena i nove, posve autentične oblikovne sklopove. Jedan od njegovih bitnih ciljeva je stvaranje atmosfere, kako pomoću svojstava materijala, kao što su težina, gustoća, ali i krhkost, tako i pomoću nematerijalnih sredstava baziranih na psihološkim učincima svih čimbenika koji su ugrađeni u njegova zdanja i instalacije. Katkada on želi omogućiti povlačenje u mir skloništa, drugi puta opet arhitektonskim sredstvima intenzivirati kretanja i kontakte. Radićevo djelovanje istraživačkog je karaktera, njegove brojne umjetničke instalacije s vremenom bivaju transponirane u realno građenje.
ORIS: We could begin our conversation in a chronological order, but I would like to do it the other way around and begin with your new work – the Yungay Centre for the Performing Arts. I think that we can find some characteristics of your older works there. There is the important issue of how to maintain the poetics and the personal strategies from the early work later on in a career of an architect when he gets to work in a bigger scale. Today it is hard to imagine that the architect of Villa dall’Ava or the Maison Bordeaux is now building the Seattle Library or the CCTV Headquarters in Beijing. But with you it is different, for example in Yungay we can find the idea of a circus tent, which is in fact one of your early interests.
Smiljan Radić: I don’t think it is too difficult to maintain ideas because you always have just one artistic concept, you can’t have too many, or I can’t. For example, Yungay is really expressive because the tent is real, it is a circus tent that we bought which was hand crafted. It is a popular circus that you can find along the coast in Chile. They normally travel between September and April each year. During the winter they stop and do other activities. More than the circus, it is important that at the base of the building we are making a real and stable room for performance, happenings, dance etc. – a new space for that kind of activities and then we placed this element that is popular and handcrafted on the top. This is a contraposition, more or less the same as the stones in other projects, it is the same idea. Through contraposition you can get a part of the history of architecture that we don’t have in Chile, you can get a sense of time. It works in Yungay because we were not allowed to build at the top of the building, we could just do something ephemeral there and for that we choose this tent. More than a real conceptual way of thinking about things, we need something that is easy to understand.