{"id":766291,"date":"2025-10-17T18:48:49","date_gmt":"2025-10-17T16:48:49","guid":{"rendered":"https:\/\/www.hashtag.al\/?p=766291"},"modified":"2025-10-17T19:25:38","modified_gmt":"2025-10-17T17:25:38","slug":"arkitekti-japoenez-i-humbur-ne-perkthim","status":"publish","type":"post","link":"https:\/\/www.hashtag.al\/index.php\/2025\/10\/17\/arkitekti-japoenez-i-humbur-ne-perkthim\/","title":{"rendered":"Arkitekti japonez i humbur n\u00eb p\u00ebrkthim","gt_translate_keys":[{"key":"rendered","format":"text"}]},"content":{"rendered":"

\"\"<\/span><\/p>\n

Nga Peter Hallen<\/strong><\/span><\/p>\n

Arkitekti suedez Peter Hallen – pedagog n\u00eb Akademin\u00eb Mbret\u00ebrore t\u00eb Stokholmit dhe artitekti q\u00eb ka dizenjuar Kep Merlin dhe disa godina n\u00eb Tiran\u00eb si edhe Liza Fior – lektore pran\u00eb Universitetit t\u00eb Arteve n\u00eb Lond\u00ebr, ngren\u00eb shqetesimin se projekti japonez rrezikon t\u00eb d\u00ebmtoj\u00eb n\u00eb m\u00ebnyr\u00eb t\u00eb pakthyheshme peisazhin historik t\u00eb zon\u00ebs arkeologjike pasuri bot\u00ebrore e UNESCO-s<\/em><\/span><\/p>\n

\u00a0<\/strong><\/span><\/p>\n

LETRA PUBLIKE:<\/strong><\/span><\/p>\n

S\u00eb fundmi Kengo Kuma, projekti i nj\u00eb arkitekti japonez u p\u00ebrzgjodh si fitues i nj\u00eb konkursi arkitektonik n\u00eb lidhje me qendr\u00ebn e vizitor\u00ebve n\u00eb zon\u00ebn e Trash\u00ebgimis\u00eb Bot\u00ebrore t\u00eb UNESCO-s t\u00eb Butrintit n\u00eb Shqip\u00ebrin\u00eb e Jugut.<\/span><\/p>\n

Ndoshta Kuma, thjesht ndoshta, e ka keqkuptuar se si ne n\u00eb Per\u00ebndim i trajtojm\u00eb rr\u00ebnojat e nd\u00ebrtesave historike. P\u00ebr shkak t\u00eb pik\u00ebpamjeve t\u00eb ndryshme mbi restaurimin dhe ndoshta edhe respektimin e fragmenteve t\u00eb nd\u00ebrtesave historike q\u00eb nuk jan\u00eb ekzakt\u00ebsisht d\u00ebrrmuese p\u00ebr syrin e patrajnuar.<\/span><\/p>\n

T\u00eb qenit nj\u00eb arkitekt suedez q\u00eb ka punuar mjaft n\u00eb Shqip\u00ebri dhe nj\u00eb fans i madh i Shqip\u00ebris\u00eb dhe Japonis\u00eb m\u00eb jep frym\u00ebzim p\u00ebr t\u00eb reflektuar mbi k\u00ebt\u00eb projekt japonez p\u00ebr Butrintin.<\/span><\/p>\n

N\u00eb vizit\u00ebn time t\u00eb par\u00eb u dashurova me Butrintin, jo vet\u00ebm p\u00ebr arsye historike, por edhe p\u00ebr vendin, peizazhin n\u00eb t\u00eb. Nj\u00eb vend ku uji i \u00ebmb\u00ebl dhe i kripur takohen dhe ka t\u00ebrhequr njer\u00ebzit q\u00eb nga fillimi i koh\u00ebrave. Uj\u00eb p\u00ebr t\u00eb pir\u00eb dhe ushqim p\u00ebr t\u00eb ngr\u00ebn\u00eb\u2026<\/span><\/p>\n

Atje kam p\u00ebrjetuar nj\u00eb koncert t\u00eb mrekulluesh\u00ebm t\u00eb muzik\u00ebs s\u00eb shekullit t\u00eb 16-t\u00eb nga kori Romeo dhe Zhuliet nga Teatri Dramatik Mbret\u00ebror i Ingemar Bergman n\u00eb Stokholm.<\/span><\/p>\n

N\u00eb nj\u00eb koh\u00eb tjet\u00ebr, nj\u00eb prima balerin\u00eb ruse rrezikon k\u00ebmb\u00ebt dhe shputat e saj t\u00eb \u00e7muara duke sfiduar shiun s\u00eb bashku me balerin\u00ebn e saj nga Bolshoi.<\/span><\/p>\n

Un\u00eb kam bler\u00eb ushqime t\u00eb prodhuara nga fshatrat p\u00ebrreth si dhe artikuj q\u00eb i kan\u00eb b\u00ebr\u00eb nga artizan\u00ebt e prodhuar n\u00eb vend. Kam sh\u00ebtitur dhe eksploruar m\u00eb k\u00ebmb\u00eb dhe me\u00a0 varka t\u00eb gjith\u00eb zon\u00ebn. <\/span><\/p>\n

E dua vendin\u2026<\/span><\/p>\n

\u00a0<\/span><\/p>\n

Filozofia e Kum\u00ebs<\/span><\/p>\n

Mendoj se n\u00eb teori zgjedhja e Kengo Kum\u00ebs si arkitekt p\u00ebr nj\u00eb projekt n\u00eb peizazhin e Butrintit \u00ebsht\u00eb e shk\u00eblqyer pasi ai njihet p\u00ebr p\u00ebrdorimin e materialeve natyrore p\u00ebr t\u00eb krijuar hap\u00ebsira bashk\u00ebkohore, lidhjen mes arkitektur\u00ebs, bot\u00ebs natyrore dhe komuniteteve lokale.<\/span><\/p>\n

Filozofia arkitekturore e Kuma-s sillet rreth ides\u00eb s\u00eb integrimit t\u00eb pand\u00ebrprer\u00eb t\u00eb nd\u00ebrtesave me mjedisin e tyre, duke theksuar materialet q\u00eb pasqyrojn\u00eb kontekstin dhe kultur\u00ebn lokale.<\/span><\/p>\n

\u00a0<\/span><\/p>\n

“Metoda ime \u00ebsht\u00eb t\u00eb shmang gjestet heroike, sepse arrin n\u00eb nj\u00eb pik\u00eb ku heroik\u00ebt vrasin bukurin\u00eb e materialit,”<\/em> thot\u00eb ai hapur.<\/span><\/p>\n

\u201cNd\u00ebrtesat e mia jan\u00eb gjithmon\u00eb pjes\u00eb e vendit, pjes\u00eb e vendndodhjes. Un\u00eb dua t\u00eb bashkoj nd\u00ebrtesat me mjedisin sa m\u00eb mir\u00eb t\u00eb mundem. Harmonia \u00ebsht\u00eb gjithmon\u00eb q\u00ebllimi i praktik\u00ebs sime\u201d,<\/em> thot\u00eb Kuma.<\/span><\/p>\n

Ne e kuptojm\u00eb nga m\u00ebnyra se si ai flet p\u00ebr q\u00ebllimet e tij dhe filozofin\u00eb e tij arkitekturore se ai \u00ebsht\u00eb i p\u00ebrsosur p\u00ebr k\u00ebt\u00eb pun\u00eb!<\/span><\/p>\n

E megjithat\u00eb, ajo q\u00eb ai mendon dhe ajo q\u00eb thot\u00eb nuk p\u00ebrputhet me at\u00eb q\u00eb ka propozuar p\u00ebr Butrintin. Si mund t\u00eb jet\u00eb kjo?<\/span><\/p>\n

Nd\u00ebrsa meditojm\u00eb mbi k\u00ebt\u00eb, do t\u00eb doja t\u00eb vendosja n\u00eb qend\u00ebr t\u00eb v\u00ebmendjes nj\u00eb projekt tjet\u00ebr n\u00eb nj\u00eb kontekst historik, at\u00eb t\u00eb arkitektit Demitris Pikionis n\u00eb Akropolin n\u00eb Athin\u00eb, Greqi.<\/span><\/p>\n

\u00a0<\/span><\/p>\n

Pikionis dhe Akropoli<\/span><\/p>\n

N\u00eb Akropol, Pikionis, iu bashkua nj\u00eb komisioni q\u00eb mbik\u00ebqyr p\u00ebrmir\u00ebsimet n\u00eb rrug\u00ebt p\u00ebrreth vendit arkeologjik n\u00eb 1951. <\/span><\/p>\n

Ai k\u00ebmb\u00ebnguli se nj\u00eb projekt i till\u00eb k\u00ebrkonte t\u00eb kuptohej si nj\u00eb \u201cvep\u00ebr arti\u201d, format e paracaktuara dhe m\u00ebnyrat mbizot\u00ebruese arkitekturore nuk mund t\u00eb zbatoheshin. Do t\u00eb k\u00ebrkohet v\u00ebmendje maksimale ndaj detajeve.<\/span><\/p>\n

Ai u b\u00eb p\u00ebrgjegj\u00ebs p\u00ebr pozicionimin e \u00e7do guri t\u00eb shtigjeve n\u00eb nj\u00eb sip\u00ebrfaqe prej 80,000 m2. Pikionis mblodhi shtigjet nga materialet e gjetura dhe t\u00eb shp\u00ebtuara: shk\u00ebmbinj nga vendi i kombinuar me fragmente t\u00eb lashta, por edhe mbetjet e pallateve neoklasike athinase, q\u00eb m\u00eb pas u rr\u00ebzuan p\u00ebr t’i hapur rrug\u00eb nd\u00ebrtesave t\u00eb banimit prej betoni.<\/span><\/p>\n

Vizatimet e Pikionis zbulojn\u00eb nj\u00eb ambivalenc\u00eb t\u00eb m\u00ebtejshme: shumica e projektit nuk p\u00ebrcaktohet n\u00eb let\u00ebr, por vet\u00ebm evokohet. Nuk \u00ebsht\u00eb kryesisht vizual, por topografik. N\u00eb vend, pjes\u00ebt u vendos\u00ebn n\u00eb diskutim me mjeshtrit. Ai na fton t\u00eb gjejm\u00eb at\u00eb q\u00eb ai e quajti t\u00eb pashprehur\u00ebn.<\/span><\/p>\n

N\u00eb nj\u00eb m\u00ebnyr\u00eb sokratike, Pikionis favorizonte t\u00eb folur\u00ebn n\u00eb vend t\u00eb fjal\u00ebs s\u00eb shkruar. Vet\u00ebm faqja mund t\u00eb verifikoj\u00eb propozimin – at\u00eb q\u00eb ai e quajti ‘bindje’ ndaj vendit.<\/span><\/p>\n

Arkitektura e teknologjis\u00eb s\u00eb ul\u00ebt e materialeve kryesisht t\u00eb pap\u00ebrpunuara t\u00eb Pikionis, e integruar n\u00eb m\u00ebnyr\u00eb delikate n\u00eb sit, marr\u00ebdh\u00ebnia me natyr\u00ebn \u00ebsht\u00eb \u00e7el\u00ebsi.<\/span><\/p>\n

Rivendosje m\u00eb shum\u00eb se restaurim<\/span><\/p>\n

N\u00eb Tokio u mahnita me faktin se nd\u00ebrtesa p\u00ebr t\u00eb cil\u00ebn erdha direkt nga aeroporti u shkat\u00ebrrua para syve t\u00eb mi pas mb\u00ebrritjes. Restoranti i famsh\u00ebm Nomad nga Toyo Ito u cop\u00ebtua. Si mund t\u00eb ndodh\u00eb kjo?<\/span><\/p>\n

Duke k\u00ebrkuar p\u00ebrgjigje n\u00eb Japoni, shum\u00eb iu referuan \u00e7mimeve t\u00eb larta n\u00eb tokat e nd\u00ebrtimit, t\u00eb tjer\u00ebt iu referuan nj\u00eb shkalle m\u00eb t\u00eb vog\u00ebl respekti p\u00ebr objektin ekzistues.<\/span><\/p>\n

A mund t\u00eb gjejm\u00eb nj\u00eb t\u00eb dh\u00ebn\u00eb nj\u00eb tjet\u00ebr t\u00eb dh\u00ebn\u00eb n\u00eb arkitektur\u00ebn e tempullit japonez?<\/span><\/p>\n

Japonia ka zhvilluar nj\u00eb strategji origjinale p\u00ebr t\u00eb luftuar kund\u00ebr erozionit t\u00eb monumenteve t\u00eb saj: rind\u00ebrtim periodik. Nj\u00eb her\u00eb n\u00eb nj\u00ebzet vjet, godinat e vjetra t\u00eb shenjt\u00ebrores s\u00eb Ises\u00eb, sh\u00ebrbejn\u00eb si modele p\u00ebrpara se t\u00eb rrafshohen me tok\u00eb p\u00ebr t\u00eb nd\u00ebrtuar ato t\u00eb tempullit t\u00eb ri n\u00eb tok\u00ebn ngjitur.<\/span><\/p>\n

Vazhdim\u00ebsia e k\u00ebsaj praktike p\u00ebrshkruhet q\u00eb nga shekulli VI.<\/span><\/p>\n

K\u00ebshtu, n\u00eb Japoni, q\u00eb n\u00eb periudhat e hershme historike, nj\u00eb nd\u00ebrtes\u00eb mund t\u00eb ishte rind\u00ebrtuar disa dekada pasi t\u00eb ishte \u00e7montuar ose shkat\u00ebrruar, n\u00eb nj\u00eb vend dhe n\u00eb nj\u00eb shkall\u00eb tjet\u00ebr, duke p\u00ebrdorur materiale t\u00eb ndryshme ose pjes\u00ebrisht t\u00eb rinovuara.<\/span><\/p>\n

\u00a0<\/span><\/p>\n

K\u00ebto praktika rind\u00ebrtimi shk\u00ebputen nga ruajtja ose restaurimi n\u00eb kuptimin modern t\u00eb fjal\u00ebs dhe jan\u00eb m\u00eb t\u00eb ngjashme me at\u00eb t\u00eb rikthimit.<\/span><\/p>\n

A mund t\u00eb jet\u00eb kjo nj\u00eb e dh\u00ebn\u00eb p\u00ebr shkall\u00ebn e madhe q\u00eb Kuma propozon p\u00ebr Butrintin?<\/span><\/p>\n

Personalisht Butrintin e gjej n\u00eb shkall\u00eb t\u00eb vog\u00ebl, ndonj\u00ebher\u00eb edhe n\u00eb miniatur\u00eb, fortes\u00eb si modelet p\u00ebr f\u00ebmij\u00eb ushtar\u00eb, p\u00ebr\u00a0 sfida loje.<\/span><\/p>\n

Konsideroj pik\u00ebrisht ve\u00e7antin\u00eb e Butrintit, shkall\u00ebn intime t\u00eb teatrit dhe bazilik\u00ebn mbres\u00ebl\u00ebn\u00ebse krah p\u00ebr krah. Gjenerata mbi gjenerata p\u00ebrgjithmon\u00eb n\u00eb t\u00eb nj\u00ebjtin vend.<\/span><\/p>\n

Ose si\u00e7 tha shoqja ime, arkitektja me baz\u00eb n\u00eb Lond\u00ebr, Liza Fior: “Ne e vler\u00ebsonim shum\u00eb informalitetin e natyr\u00ebs dhe historis\u00eb, dyshemet\u00eb me pllaka t\u00eb p\u00ebrmbytura dhe pem\u00ebt rreth gur\u00ebve”.<\/span><\/p>\n

\u201cRr\u00ebnojat ekzistuese q\u00ebndrojn\u00eb si nj\u00eb seri dhomash, disa t\u00eb lidhura me t\u00eb tjerat, t\u00eb cilat nuk jan\u00eb n\u00eb kund\u00ebrshtim me madh\u00ebshtin\u00eb dhe singularitetin e struktur\u00ebs s\u00eb re t\u00eb propozuar, thot\u00eb Liza.\u201d<\/em><\/span><\/p>\n

Butrinti \u00ebsht\u00eb nj\u00eb bukuroshe e fjetur dhe ne duhet t\u00eb dep\u00ebrtojm\u00eb leht\u00eb mbi dheun e tij p\u00ebr t\u00eb mos e shtypur.<\/span><\/p>\n

A \u00ebsht\u00eb nd\u00ebrtimi i nj\u00eb monumenti bashk\u00ebkohor n\u00eb koh\u00ebn ton\u00eb, i vizatuar nga nj\u00eb arkitekt me fam\u00eb bot\u00ebrore, m\u00ebnyra m\u00eb e mir\u00eb p\u00ebr ta shp\u00ebtuar k\u00ebt\u00eb trash\u00ebgimi kulturore p\u00ebr t\u00eb ardhmen?<\/span><\/p>\n

A nuk do t\u00eb vras\u00eb struktura e re, shtresat historike t\u00eb s\u00eb kaluar\u00ebs vet\u00ebm duke u shfaqur kaq me z\u00eb t\u00eb lart\u00eb?<\/span><\/p>\n

A integrohet v\u00ebrtet qasja e Kuma ndaj vendit me peizazhin ekzistues dhe natyr\u00ebn e tij, mendoj se jo. \u00cbsht\u00eb shum\u00eb e madhe dhe imponuese.<\/span><\/p>\n

A \u00ebsht\u00eb qasja e saj integruese shoq\u00ebrore si\u00e7 pretendon ai? Liza Fior: “Un\u00eb mund t\u00eb shoh se rruga e rrotullimit dhe p\u00ebrkushtimi ndaj komuniteteve lokale mund t\u00eb jet\u00eb nj\u00eb gj\u00eb e mir\u00eb, por ende shum\u00eb e v\u00ebshtir\u00eb dhe shum\u00eb mbi fuqizimin e lidhjeve t\u00eb gjuh\u00ebs arkitekturore gjestike me Kuma-tok\u00ebn dhe jo me vendin.”<\/em><\/span><\/p>\n

Nuk mund t\u00eb ndalem s\u00eb menduari p\u00ebr at\u00eb q\u00eb b\u00ebri Vespasianus n\u00eb Rom\u00eb kur shkat\u00ebrroi pjes\u00eb t\u00eb Domus Aurea t\u00eb Neronit dhe nd\u00ebrtoi Koloseun mbi rr\u00ebnojat e tij.<\/span><\/p>\n

Q\u00ebllimi i monumentit t\u00eb ri ishte t\u00eb na detyronte t\u00eb harronim t\u00eb par\u00ebn. Nuk dua t\u00eb harroj apo t\u00eb pak\u00ebsoj at\u00eb q\u00eb \u00ebsht\u00eb Butrinti tani. Do t\u00eb doja t\u00eb rrisja mund\u00ebsin\u00eb ton\u00eb p\u00ebr t\u00eb par\u00eb dhe p\u00ebrjetuar at\u00eb q\u00eb \u00ebsht\u00eb tashm\u00eb atje, p\u00ebr t\u00eb krijuar nj\u00eb lloj xhami zmadhues p\u00ebr t\u00eb na ndihmuar t\u00eb kuptojm\u00eb dhe t\u00eb na vendos\u00eb n\u00eb vendin e njer\u00ebzve q\u00eb jetuan atje dhe i ngrit\u00ebn ata gur\u00eb q\u00eb jan\u00eb ende n\u00eb vend.<\/span><\/p>\n

Rr\u00ebnojat e nd\u00ebrtesave historike n\u00eb vend nuk po b\u00ebrtasin sakt\u00ebsisht, ato m\u00eb tep\u00ebr po na p\u00ebshp\u00ebritin mesazhin e tyre dhe sipas m\u00ebnyr\u00ebs sime t\u00eb t\u00eb menduarit m\u00eb shum\u00eb shprehin q\u00ebndrimin e Pikionis sesa at\u00eb t\u00eb kumbarit t\u00eb Kuma, Kenzo Tange\u2026<\/span><\/p>\n

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*Autori \u00ebsht\u00eb arkitekti suedez Peter Hallen \u2013 pedagog n\u00eb Akademin\u00eb Mbret\u00ebrore t\u00eb Stokholmit dhe arkitekti q\u00eb ka dizenjuar Kep Merlin dhe disa godina n\u00eb Tiran\u00eb, si edhe Liza Fior \u2013 lektore pran\u00eb Universitetit t\u00eb Arteve n\u00eb Lond\u00ebr, ngrejn\u00eb shqet\u00ebsimin se projekti japonez rrezikon t\u00eb d\u00ebmtoj\u00eb n\u00eb m\u00ebnyr\u00eb t\u00eb pakthyeshme peizazhin historik t\u00eb zon\u00ebs arkeologjike, pasuri bot\u00ebrore e UNESCO-s.<\/strong><\/span><\/p>\n

 <\/p>\n","protected":false,"gt_translate_keys":[{"key":"rendered","format":"html"}]},"excerpt":{"rendered":"

Nga Peter Hallen Arkitekti suedez Peter Hallen – pedagog n\u00eb Akademin\u00eb Mbret\u00ebrore t\u00eb Stokholmit dhe artitekti q\u00eb ka dizenjuar Kep Merlin dhe disa godina n\u00eb Tiran\u00eb si edhe Liza Fior – lektore pran\u00eb Universitetit t\u00eb Arteve n\u00eb Lond\u00ebr, ngren\u00eb shqetesimin se projekti japonez rrezikon t\u00eb d\u00ebmtoj\u00eb n\u00eb m\u00ebnyr\u00eb t\u00eb pakthyheshme peisazhin historik t\u00eb zon\u00ebs arkeologjike […]<\/p>\n","protected":false,"gt_translate_keys":[{"key":"rendered","format":"html"}]},"author":32,"featured_media":766292,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[22,11],"tags":[],"class_list":["post-766291","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-ballina","category-super-click"],"gt_translate_keys":[{"key":"link","format":"url"}],"_links":{"self":[{"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/posts\/766291","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/users\/32"}],"replies":[{"embeddable":true,"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/comments?post=766291"}],"version-history":[{"count":99999,"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/posts\/766291\/revisions"}],"predecessor-version":[{"id":766312,"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/posts\/766291\/revisions\/766312"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/media\/766292"}],"wp:attachment":[{"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/media?parent=766291"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/categories?post=766291"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/tags?post=766291"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}