Arhitektonski fakultet Univerziteta za tehnologiju u Grazu od 2003. organizuje godišnju nagradu za najbolje diplomske radove na master studiju koji su završeni u predhodnoj godini. Pobjedničke radove bira internacionalni žiri, koji kroz izložbu i predavanja obrazlaže svoj izbor.
Ovogodišnji članovi žirija bili su Lone Wiggers (C.F. Møller) iz Kopenhagena , Jonas Elding (Elding Oscarson) iz Stockholma te Marta Schreieck (Henke Schreieck)iz Beča.
Sretni smo i ponosni jer je ovogodišnji prvonagrađeni rad KENOPSIA – Sarajevo War Tunnel Museum čiji je autor Ena Kukić, aktivni član i urednik AABH. Enin projekat izabran je julu od strane nastavnog odbora fakulteta da predstavlja Tehički Univerzitet u Grazu na arhitektonskom bijenalu Archiprix 2019 u Chileu. Ovaj projekat, kao i 314 predstavnika drugih Univerziteta možete pogledati ovdje.
Opis projekta: “KENOPSIA [noun]: the eerie, forlorn atmosphere of a place that is usually bustling with people but is now abandoned and quiet; an emotional afterimage that makes it seem not just empty but hyper-empty, with a total population in the negative, who are so conspicuously absent they glow like neon signs.” The Sarajevo Tunnel is an underground passage constructed in 1993, during the Siege of Sarajevo. It was built under the airport runway in order to link the besieged city of Sarajevo with the Bosnian-held territory on the other side, und used by millions of people during the siege. After the war, it was turned into an unofficial museum, later touristified and misrepresented by the authorities, while its content remains politically controlled and original artefacts improperly managed, offering visitors a false promise of first-hand experience. Seeing the present-day Bosnian collective memory as carefully fragmented, trivialized and fuelled with identity politics, this Thesis revisits the past: regional culture of remembrance – medieval Stećaks and Yugoslavian Spomeniks provided a basis for the architectural language in following design project. Reinterpreting the identity of the tunnel as a building, the entire museum is located underground. Outdoor spatial organisation is characterized by sudden changes of scale, motivated by feelings of exposure and disguise. Lowered plateau offers a close view of the original tunnel entrance remains. The war tunnel was constructed with metal pipes on the Dobrinja side since all the trees in the city were used as firewood, which influenced the choice of materials -the only part of the project above the ground level is a delicate metal frame in the form of the demolished house, pointing out the ordinariness of the house and emphasizing its basement as an important part. The museum is characterized by a clean floor plan and simple gradation of spaces. The original tunnel can be observed through the glass from a new passage dug in parallel to the original one, but larger than it in its dimensions and limited in length. The materialization seeks to provide a neutral and minimalistic basis for the main showpiece – the tunnel itself. The exit on the rural side of the tunnel offers a simple memorial, conceived as an ensemble of concrete monoliths that take the form of the original wartime appearance of the demolished houses which served as secret exits from the tunnel. These monoliths are a negative concrete cast capturing the space and accentuating the absence of original objects.This part of the project is a reminiscence of Stećaks, indigenous monuments chosen for their metaphysical characteristic, timelessness and dignified commemoration.”