Beta Competition Submitted works, 2020 categories 1-7
competition.betacity.eu
Distribution of the works entering the competition on categories:
Distribuţia lucrărilor care intră în concurs pe secţiuni Versenybe beválogatott pályaművek kategóriák szerinti eloszlása Distribucija radova u kategorijama
323
Total number of works Lucrări predate în total Beadott pályaművek száma összesen Ukupan broj predatih radova
252 35 36 5
Number of works from Romania Lucrări predate din România Beadott pályaművek Romániából Radovi predati iz Rumunije
Number of works from Serbia Lucrări predate din Serbia Beadott pályaművek Szerbiából Radovi predati iz Srbije
Number of works from Hungary Lucrări predate din Ungaria Beadott pályaművek Magyarországról Radovi predati iz Mađarske
Disqualified works Lucrări descalificate Kizárt pályaművek Diskvalifikovani radovi
50 37 20 74 52 61 29
Built Space Spaţiu construit Megvalósult épületek Izgradjeni prostor
Interior Space Spaţiu interior Belső terek Unutrasnji prostor
Public Space Spaţiu public Közterek Javni prostor
Graduation Projects Lucrări de licenţă Diplomamunkák Diplomski radovi
Initiatives/Experiments/Visions in architecture Iniţiative/ Experimente/ Viziuni în arhitectură Kezdeményezések/ Kísérleti tervek/ Építészti víziók Inicijative/ Eksperimenti/ Arhitektonske vizije
Photography Fotografie Fénykép фотографија
Essay Eseu Esszé Ecej
Built Space
e
50
Spaţiu construit Megvalósult épületek Izgradjeni prostor
BC589156
DISQUALIFIED
Interior Spa
ace
37 Spaţiu interior Belső terek Unutrasnji prostor
Public Spac
ce
20 Spaลฃiu public Kรถzterek Javni prostor
Graduation
n Projects
74 Lucrări de licenţă Diplomamunkák Diplomski radovi
DISQUALIFY
Initiatives / Experiment
/ ts / Visions
52
Iniţiative/ Experimente/ Viziuni în arhitectură Kezdeményezések/ Kísérleti tervek/ Építészti víziók Inicijative/ Eksperimenti/ Arhitektonske vizije
DISQUALIFIED
Essay
_abstract
29 Eseu Esszé Ecej
COMPETITION.BETA 2020 | CATEGORY 6 — ESSAY | PAGE 1
TIRON ANDREI
PUBLIC SPACE IN RURAL AREAS AND THE IMPACT ON THE COMMUNITY ”Traditional rural heritage is the result of a continuous dialogue with the environment, with a certain cultural, social and historical context. Fragility is based not only on the characteristics of the materials used, but rather on its ease of transformation and adaptation. Through direct contact with the city and the modern world, traditional rural heritage disappears with amazing rapidity. The old houses are abandoned, the villages transforms, and the material and immaterial rural heritage becomes the subject of a museum. ” The need for development of rural communities is as important as the urban one. In recent years, these communities have suffered greatly because of globalization, migration, urbanization and poor development strategies. Identity has begun to be diluted, and heritage is beginning to disappear, and many of the current studies avoid these topics. The specificity of the rural public space - "in the country" - is given by the lucidity and versatility of the spaces. The grass meets the gravel in a delicate, natural way, the water flows through small grassy ditches, sometimes paved. Rural public space does not hide under rich vegetation, but looks for a sunny place. Also, an important factor is the latest news worldwide, the current epidemic, social distancing, a sudden cessation of human activities, with consequences that for the moment can not be estimated. How much will these events affect rural communities? Will local government strategies for public spaces change? What elements will we keep and what elements will we eliminate from the current requirements for arranging children's playgrounds, recreational areas, etc. given the distance between people required by the medical field.
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Knowing how urbanism is currently done in Romania, where the efficiency of the building space must be maximum, the question is whether Romanian society, administrations and designers can learn something from these events, events that have been in history, where people adapted later. Do future rules will have an effect, or de rural communities already are prepared for such epidemics? Lets find some answers...
keywords: #public space #rural community #past #future #șwaben
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MIRUNA MOLDOVAN
RESPONSABILITY IN AND THROUGH ARCHITECTURE IN EMERGENCY SITUATIONS
Can human responsibility towards the built environment exist without the responsibility of the act of building it towards humanity? Architect Raimond Abraham questioned architecture as a study of the human condition, always putting man in relationship with the built environment and the process of building. Anthropologist Vintilă Mihăilescu stated that ”a house is a relationship that is fulfilled in space and takes place over time.”1 Architecture provides space for happenings and interactions and becomes a framework for living. It is man the one who is both the designer and the builder of the frame, but also its user in the everyday life. But what happens in an emergency situation?
Emergency situations, whether natural disasters, epidemics or adverse social circumstances, imply an imbalance in the daily life and involve disturbance, vulnerability and uncertainty. How could architecture mediate the social impact of these situations? Its responsibility to man cannot be limited only to providing shelter. Through the quality of its spaces, architecture could heal, could even have a therapeutic role in restoring balance or it could become a tool in limiting the spread of diseases. For example, during the recent crisis of the pandemic, at a Mihăilescu, „Acasă în lume” in V. Mihăilescu, I. Tudora, Acasă în lume, Bucharest, Igloo Media, 2020, p. 28
1 V.
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time when most people needed to be isolated, architecture acquired a responsibility for which, it remains to be seen whether or not it was prepared. We therefore propose that the discussion of responsibility in and through architecture revolves around the social relationship between man and the built environment in two particular phases of an emergency situation: during one (pandemic architecture) and after one (post-disaster architecture). We will analyse whether human responsibility towards architecture and architecture’s responsibility towards humanity could establish a co-dependence relationship for crisis mediation.
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MIRUNA MORAR
FORGOTTEN;REDEFINED
The built environment represents our surroundings at most times, with the majority of us living in urban spaces where architecture and urbanism are protagonists. I believe that architecture is the form of art that has the biggest impact on us, working with our subconscious mind, and most of us are unfortunately unaware of the influence of buildings on our well-being. Built spaces interact with our state of mind and our feelings, they define the atmosphere and our relationship with the city and its inhabitants. The built environment is important to us as individuals because of the emotional meaning we tend to give to spaces around us; the city we were born in, the neighbourhood where we grew up, the street where we had our first kiss, they all become spaces of affect. We build inner cities inside ourselves, they form and define us, and the sight of places dear to us brings up certain feelings. But protecting the built environment is not only and individual concern, based on our preferences and memories, but also a collective one, and it should be one of our main concerns. Their protection is a question of responsibility towards past and future generations alike. As John Ruskin stated, built heritage ''does not belong to us, but to the people who createdit and,
at the same time, to the future generations''1. Old buildings stand for the values of the past, and their destruction means losing our history. Preserving them should be our duty, and this implies permanent care in order to prevent destruction. In my essay I will focus on why it is important to protect what is already built and how we could adapt old buildings to contemporary functions in order to repurpose them. I am not against building new
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architecture; I believe it is important to define a new style of our age. There are situations when the old heritage needs to be destroyed so that we could build for the future. But new constructions should respect certain imposed laws of building, and follow a well thought theoretical discourse, which I believe to be lacking nowadays. The new should respect the old, not compete with or overwhelm it.
1 Sergiu
Nistor, "Foreword" in Alois Riegl, Modern Cult of Monuments, Its Character and Its Origin, Bucharest, 1999, p. II (original edition: Der moderne Denkmalkultus, sein Wesen und seine Enstehung, Leipzig-Viena, 1903).
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VĂLEANU PAUL
DO WE REALLY HAVE TO BUILD?
In this writing I want to acknowledge the need for architecture consulting before starting any project. I will do this both theoretically and practically. Theoretically, by finding the scheme of a questioning process, and practically, by researching how this scheme applies in Romanian society. So, the first step is asking the right questions in order to find our deepest needs. To define our needs we have to know first our scope or telos. The telos has to do with projections (interior) and ethics (exterior). While finding our future’s projections we have to determine our own needs, only by our ethics we can find the way we influence society with our project's form and symbolic language. Do we really have to build? or could we modify what already exists? or should we start from scratch?, and, if so, then what are the lowest means to build to gain the minimum waste of energy consumption?, be it mental or environmental. The second step in our endeavor is to see how in Romanian society, where, for example, the acquisition or building of a house is synonym with fulfillment in life, taking time before starting the project could be largely beneficial, while newly build suburbs generally don't increase quality of life, but only sell a dream of independence. Maybe renovating, restoring, finding alternatives between collective living and individual housing, or even not building at all would be better solutions for the client. In this way the architect becomes both a consultant for the client and a mediator between client and society as a whole, while asking: Do we really have to build? becomes a moral statement.
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IORDACHE ANDREEA - MARIA
ARCHITECTURE AS A PHYSICAL REPRESENTATION OF OUR THOUGHTS –OR THE LIMITS THAT WE HAVE SINGLE-HANDEDLY CREATED –
The human being, as a representative of its species, has shifted his perception of the world from animistic to totalitarian because of all of the species and races of the planet he was the only one capable to rewrite or start from scratch the „game rules”. Without a doubt, this is one of the fundamental traits of the man’s reasoning, more precisely the ability of imagining things which do not exist in reality, but also the capability of conceptualizing ideas1. Therefore, the historical mark which he has left on the time axis almost surpasses the effects of ice age, earthquakes and even with the asteroid that made extinct the dinosaurs.2 While up until now, the rapid growth that our species has persuaded with no worry about the long term consequences, today our common mentality is ruled by guilt due to the destruction done by ourselves. The expansion of the human species has led to an increase of the demand of material resources and, of course, space (new urbanized areas–well-delimited from the natural ones).
1 Yuval Noah Harari. Sapiens: A Brief History of Humankind. Ed. Polirom, 2017, 28 2
Yuval Noah Harari. Homo Deus: A Brief History of Tomorrow. Ed. Polirom, 2018, 21
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Speaking of remorse caused by the destructions of the Homo sapiens, at this moment there is a tendency to withstand and supress the negative effects that the species has brought upon the environment, this behaviour being a result of the species’ fear of self-destruction. While the concern for the pollution’s negative effects has been gaining more attention in urban planning since the 70’s, nowadays these show actions which put accent on cities being a propitious environment for the living beings that have disappeared from the urban area due to the lack of food, shelter or accidents. A noteworthy manifest of this type is represented by Gardens by the Bay in Singapore, but also by specific buildings meant to illustrate models which can guide the planning, philosophy and concept behind the others worldwide. The only question remains whether we are truly the owners of the „citadels” that we have built over time or if we are just simple users divided into generations.
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AURELIA OANCEA
EVERY TIME A HISTORIC BUILDING IS REDESIGNED AND RE-INTERPRETED WE LEARN A LITTLE MORE
Cultural sustainability and cultural production in buildings within buildings It is somehow always something gratifying about working with sustainability in architecture and more exigencies have gradually come to the fore of the profession in the name of sustainability. It surfaces traits like understanding, caring, and abilities to connect with people, nature, or culture. Environmental sustainability and social sustainability have had their own glory period of making waves in architecture. As for cultural sustainability, these waves unfurl over broader debates about understanding architecture not of objects but of relations and about an anthropological conception of culture as something dynamic and in constant flux. This conceptual framework might shape and add to our understanding of both the agency and relevance of the profession. Accordingly, the architect and the building act as agents of cultural production and are active players in the process of creolization. It is a shared responsibility, by way of participating in shaping and transforming society. In the case of buildings within buildings, in which the historic material is transformed and re-purposed, it is the behaviour of the architect that may explain the result of a relational work. Typically, this kind of historic buildings
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fall under a grey area as for the regulation and institutional protection and more often than not become subject to political marketing or land speculation. Through the case study of the former Jewish elderly home in Bucharest, the essay proposes a discussion of an architecture that in between political gesture and commercial manipulation constitutes specific relations with history and culture. Likewise, it addresses timeless questions about the ontology of the objects, moral responsibility, and cultural awareness. Finally, it asks “what can we learn from this?”
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IASMINA IONESCU
THE ARCHITECT BETWEEN „I” AND „WE”
The basis of our authenticity as a community, but also as individuals is the cultural baggage that we inherit, respectively that we gain throughout the life experience. The heritage, understood by the sum of its tangible and intangible gives significance, value, individuality and emotion, which represent the system of values of an individual or of a community/nation. The phenomenon of globalization has led to a uniformity of values and trends between communities, leading to a sharp loss of diversity. Architecture is one of the most visible forms of cultural manifestation, influencing the way of life of the individual since ancient times. In this context of globalization, the role of the architect in society is particularly important, as it must work harmoniously on the one hand with the existing built fund and on the other hand with the modern needs of today's society. This pair of forces is often understood as a limitation, leading to a perpetual struggle between what I want as an individual and what the community I belong to wants. For this reason, countless selfish approaches can be observed in relation to the existing environment or the cultural background, putting pressure on cities. These approach is not sustainable as long as it don’t identify with the needs of the local community [1]. But when enough is enough? The paper aims to bring an answer to this question and to analyse the fine line between the architect's relation to the term „I” or „we”. A critical analysis on the fine demarcation between how much pressure a city can withstand and how much modernity it needs is still necessary, in order to be able to design responsibly in the future. The challenge of the architectural profession
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nowadays is precisely the responsible answer to the modern needs of a city with a strong cultural baggage.
[1] F. Lenzerini, “Intangible Cultural Heritage: The living culture of peoples”, The European Journal of International Law, vol. 22, 2011
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TIMOTEI NICOLAE DROB
UNBUILD IT
What is unbuilt should remain unbuilt. What is now unbuilt should remain for as long as we can, unbuilt. What was built and then unbuilt should not be re-built, under any circumstances. This is a fundamental guideline in magic practice: the act of re-building is basically a curse. As this reality that we inhabit becomes oversaturated with a sort of unstoppable replication of broken code, an uncontrollable derivation of scarce resources, a sleepwalking overload of concrete disruptions, at least one disaster of biblical proportion sleeps under this building spree of humanity . The unbuilt as an essential category will be my proposition and in this paper I will try to give substantial arguments in favor of such a righteous principle. As we come to accept the grim reality of the present neoliberal order, human productive endeavour as a global agent is a substantial disruptor of the ecologial spirit of our planet. For now this is our only home, our home base - and we are its faithful xenomorph managers. This base is in hypersleep, drifting around a massive energy source as we hijack it to extract all resources we can use for a superpositional temporary building site, an essentialy post-human home base. Human society presumes a building spirit, but its limitations should always be mitigated by an opposing un-spirit. We, the people have to take into account the oppresive contextualisation of fixated potentialities in a built environment and strive to realize a radical shift in what we conceive as an eco-alliance for a true interspecies biocoenosis based on the nature of an unbuilt environment as its founding principle.
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MAJA GORACINSKA
ACCEPTANCE OF DECAY, A PAINFUL AND NECESSARY STEP TOWARDS A MORE RESPONSIBLE ARCHITECTURE
Over the last couple of decades, the broader public gradually became accustomed to associating the whole field of architecture with colorful renderings portraying stylish, ethnically diverse people strolling in front of the soon-to-be-built shopping malls, all under clear blue skies. Other than renderings, Dezeen, Archdaily, and other mainstream media is regularly filled with images of recently completed buildings that are passionately promoted by private investors with quick profits in mind. Not much consideration is given to the building's further life cycles and in particular, one question remains avoided at all cost, the question of the eventual, inevitable demise of the building. Without exception, vital information remains omitted, such as for how long is the building intended to last, could it be easily adapted and repurposed in case of abandonment or could the materials be reused for new projects in the future once the building officially wears off?. It seems like a denial of topics such as decay in architecture stems from our collective emotional attachment to architecture that lasts ''forever'' and resists natural fluctuations. Although the idea of everlasting, resilient architecture remains prevalent in the public, in recent years an increasing number of architects started drawing attention to numerous pitfalls of the current paradigm. Today many believe that architect's reluctance to include "death" of the building in the process of planning actually robs them of their chance to build more responsibly. One such architect is Thomas Rau, a huge proponent of looking at cities as mines and
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handling waste in architecture with more innovation. He is the inventor of the register "Madaster", a cadastre for all materials that were used for a building, and that can be reused once that building gets demolished. Rau is just one of the architects whose responsible and wholesome approach to architecture I want to explore further in the essay.
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GENȚIANA DUMITRAȘCU
Together but alone, in the typeapartment building block [and in its surrounding spaces]
In the context of socialist realism, architecture becomes, like any other form of art, another instrument of dictatorship, a continuous deception of its users. Housing development is one of the priorities of the Communist Party’s agenda, as part of the continuous progress rhetoric, which the totalitarian rulers envisioned for the Romanian society. Between the years 1959-1989, the dwellings had to be designed taking into account the best possible economic efficiency and, also the Party’s ideals, which underlined the necessity of equality amongst all. Thus, the type-apartment – building is born. Mei The tortured body of Bucharest, as Roan Barris defines the experience of the city facing the effects of the Communist regime, still shelters the traumatic experiences of residents living in individual houses, who were forced to move and tried to fit their new lives in the typified building blocks, after the demolition of entire neighbourhoods. Because humans are tribal creatures, they still tried to form new communities, develop new connections, but the new architectural frame, in which they were pushed in, didn’t provide the best support for these actions. How can small architectural and social interventions help heal the (Bucharest) residents’ trauma? As a case study, the article will also present the analysis of the first two phases of the Type-apartment building blocks’ Diaries, a project which encourages the development of alternative ways of investigating, analyzing and
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building architecture, by reconsidering the hierarchical relationship between the architect and the user of space.
Ioan, Augustin. A (new) aesthetics of the reconstruction, 18. București: Paideia, 2002; Scarry, Elaine. The making and unmaking of the world, New York: Oxford University Press, 1985; Zahariade, Ana Maria. Architecture in the communist project. Romania 1944-1989, 44, 49. București: Simetria, 2011; Barris, Roann. “The Rape of Bucharest”, ARTMargins Online Journal, December 2001
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CÂNȚA DIANA
PALIMPSEST. THE STADIUM AS A CANVAS FOR NEW TYPES OF ARCHITECTURE
...from ecstasy to agony This is the fate of many stadiums in the whole world. After a short period of glory, these architectural objects become empty, abandoned, fragmenting the urban tissue they are inserted in. Many of them, being built in what was once the city’s periphery, due to demographic growth and urban expansion, they become enclosed in the core, but they cannot adapt to the new necessities. But what happens when a space designed for a singular purpose loses its function and primary meaning, due to current situation? How can it perform effective in a second life, while keeping in the same time the memory of the place? As Aldo Rossi said, “forms in the very act of being constituted go beyond the functions which they must serve”1. This implies that form transcends function and migrates towards adaptation and reuse. Also, in the perspective of demographic growth, overbuilding and pollution, these empty ‘shells’2 as Bachelard would say, are real opportunities of adaptive reuse and sustainable development.
1
Aldo Rossi, The Architecture of the City, translated in English by Diane Ghirardo andvJoan Ockman, reviewed by Aldo Rossi and Peter Eisenman. Cambridge, Massachussets:vMIT Press, 1982, 118, http://web.dfc.unibo.it/paolo.leonardi/materiali/vc/RossiAC.pdf
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Between a past-present duality, identity-alterity, the stadium is in between the decision of being kept or demolished. In this context, a question arises. Is tabula rasa the only effective option? Or can the stadium become a palimpsest, a ‘canvas-architecture’, a base that can sustain various architecture programs and perform well in the present? More than this, can it open itself and become a public space core and a catalyst of urban regeneration?
Access words: palimpsest, adaptive reuse, stadium, memory, collective memory, opening, integration, urban regeneration
2
Gaston Bachelard, The Poetics of Space (translated in English by Maria Jolas, with a new preface written by John R. Stilgoe, Boston: Beacon Press, 1994 (1958), 126.
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ENDRE VÁNYOLÓS
ABOUT THE ARCHITECTURE OF HUMAN(IZED) NATURE
„ […] Architects always claimed they can shape individual social groups positively with their buildings[…] specific evidence that they live up to this claim is never usually provided[…] the opposite argument on the other hand- that architecture can actually be a trigger for negative social deve-lopments-seems much easier to prove.”1 Human, humanize are terms basically with a positive content. So do words like building, constructing, constructive, all closely linked to human nature, to the concept of human evolution. But it is not always the case. Too much human presence, „humanizing” nature2, can be harmful. Urbanisation usu-ally means more building, that is often wasteful and with no responsability toward environment. Rethinking building as a human activity is needed: refurbishing, recomposing existing built and natural elements or even non-building3 are valid options. The role of nature, of green infrastructure is essential in this endeavour. Paradoxically, an increased pursuit for more green infrastructure can harm nature: instead of renaturalising the city often nature is „humanized”. Building or nonbuilding, over and underplanning, limiting human intervention/presence in nature or letting nature do its work are all very much present in current public debate. The metamorphosis of Întrelacuri quarter in Cluj, beginning from the middle of the 20th century, might help us better understand this complex phenomenon.
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See Lepik, Andres: Think Global, Build Social! in Builders/ Építők, pg. 22., Hellowood, Budapest, 2015. Though it refers primarily to the social effects of architecture, its understanding can be extended to the ecological effects.
1
2
3
Nature is the best planner, because it is untamed, „pure”, free of faulty human considerations.
Yona Friedman, a Hungarian born French architect and urban planner, defines nonbuilding as opposed to overbuilding, architecture as an act of structuring/ordering space instead of building.
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NOREȚU CARMEN-THEODORA
PEREC: ARCHITECTURE FROM LITERATURE
Georges Perec’s writings resonate from his inquisitiveness, experimentalism and self-imposed constraints and had an impact on the evolution of language and other fields which seek inspiration and unicity. Architecture, where all domains can find a congruence, has already embraced and is in continuous absorption of Perecquian ideas. A building, exhibition, art piece needs to take birth from an idea and to be supported by a story. The novels “A Void”, “Species of Spaces” and “Life A User’s Manual” comprehend the complexity of Perec’s endeavours to experiment with the text as nobody has ever done. His visionary mission was not applauded in his lifetime, but once the novels were translated in English and their popularity grew, architects and designers can realise, in a material, physical form, the Perecquian ideas. The lipogramatic form of “A Void” can be adapted to the architectural language to create buildings, monuments, designs related to the presence of absence, loss, identity and wounds, concreting the abstract into the material. “Species of Spaces” “scolds” people for the way they see the banal, trying to persuade in a ludic tone to actually see a space and not pass by blindly. Thus, Perec’s theory about infraordinary is meant to influence the perception and usage of space in a revolutionary, yet banal manner. Finally, in “Life A User’s Manual”, in which architecture and literature juxtapose, the connection between the fields of architecture and literature is realised through structure, scope and theme, determined by imposed constraints.
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Perec’s constraints give birth to fictive and non-fictive pieces in which his imagination strolls along the pages to see the infra-ordinary. The novels are a source of inspiration of how architecture can be re-invented by imposing constraints which give structure and regularity. If we are open to new concepts, then a visionary’s ideas can be assimilated and implemented into the design, resulting in complex accomplishments.
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ADELINA GABRIELA LUPU
FOR A POST-MILITARY REUSE
At present we notice that trend of constructing something new, seems unstoppable in the local picture. It’s hard to change mentalities, when society and its needs are in perpetual change and it’s always searching something new. Depending on the circumstances, building from scratch is not necessarily more sustainable and advisable than reusing a space. The concern of a re-use of the disused military fields is not new. Since the end of the Cold War and the dissolution of the USSR1, a lot of military fields have been disused around the world. The solutions concentrated on the revitalization of the urban area and the local economy or for preserving the local identity through tourism. The discussion about the recycling of the urban spaces started even way before the dissolution of the USSR. But the present local landscape doesn’t reflect such concerns or respect for the inherited space. We have to understand that we have a faulted way of thinking as a result of the communist ideology and the evolution of the urban space through the entire XXth century. Even if the socialist military bases appeared in Romania in a time of transition from the democratic to the communist world, after half of century many were abandoned, in a time of transition from the communist to the capitalist society. The military events helped shape history and develop technologies or even local economy. Their forced appearance may have led to the birth of dissonant feelings, but regardless the imprint on the public consciousness cannot be erased.
1
Covington, Stephen R., ” NATO and Soviet Military Doctrine, TheWashington Quarterly, 2010
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The military presence helped to shape a local community, to add at the local identity, whether we talk about tangible or intangible heritage. A society that forgets its history, no longer appreciates its cultural and individual values which leads to a vulnerable environment that generates health problems. The authorities made a commitment with NATO to integrate and convert the disused military bases, but such attempts are lacking2. Many of them are still unused or the conversion programs failed preferring demolition and new constructions in favor of re-use. Considering the advantages that an ex-military base can bring to a local community it is imperative to re-use with responsibility and vision the existing so a much more healthier and harmonious community to develop in an existing environment. In conclusion, knowing and understanding the military bases of the twentieth century can bring value and a better understanding of our history as a whole and as individuals, so that we can preserve and pass it on to future generations. Because a society that preserves all the historical layers it has gone through is a society much more responsible and aware of its local resources: material, cultural, historical, economic, etc.
2
www.nato.int : „Securitate prin parteneriat�, ONT/NATO, 2005
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ANDREEA ROBU-MOVILĂ
ARCHITECTURE OF ALTERITY
The paper is based on a terrain study conducted in two areas: the gold-mine village Roșia Montană and the city of Victoria (“Victory”) that was built to be a communist socialist utopia. The purpose of my observation address the matter of how the built environment is transformed by the second and third generation of users. As sociologists as Emile Durkheim have noticed, villages were built around the notion of “mechanical solidarity”, a social cement/binder, embodying a copyrepetition pattern that over time ensured a coherence in the housing architectural typologies. They were their own architects, helping each other; “architecture without architects”, or how Rudofsky would call it, “non pedigree architecture”. Lately, as mobility has increased, a “migrating architecture” (Stefanie Burkle) phenomenon occurred and it is not only people, but spaces and images that migrate too. Working abroad and coming back, lacking any professional training in housing construction, without enough architects to get involved (that in any case cover at the national level only a ratio of 0,5 architects per 1000 population) our cityscape and village landscape have been mishandled and corrupted by the house-owners. How can this issue be addressed? EDUCATION is the key. Responsibility towards the built environment is a matter that concerns not only the architectural profession but every citizen and this can be constructed only in time, through mass education. Understanding education as a cornerstone and considering that everyone can, in different ways, position bricks in this structure, the paper concludes illustrating how I have developed together with a team of students, over the last five years, an educational endeavour entitled “Arhitectura Celuilalt” (Architecture of Alterity)https://arhitecturaceluilalt.ro/.
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Cristian BLIDARIU
FASCINATION STREET
By the age of 30 we were all somewhat consumed. We had only briefly lived, worked and practiced architecture through the first speculative bubble of the Romanian economy, a time of never before seen spending and investment, when no one really had any time to stop, and look and think and take a breath... And then, it burst. All of a sudden, we had all the time in the world. Time for us, one realises in hindsight. But also, time to give, back where it was most needed; in our communities... and our community was that of the school. When it comes to responsibility it's hard to say what others should or should not do, so this will be mostly about us, the group of tutors teaching the first year studio at the Faculty of Architecture in Timisoara, and our decade long history of soul searching by looking at what unbuilt, therapeutic/ maieutic architecture can do. A time when we rediscovered the fascinating tool that architecture can be in forging groups and communities. We asked ourselves if we could engage 100 individuals to work together and prove their merit, not against one another but with each other? So, we built a city, a utopia, or heterotopia if one thinks of it more through Foucault’s mind. A city that is timeless, yet grounded in the problems of our time, limitless in its possibility to grow yet with a clear margin, styleless yet bound by form and
its relation to the space around it, defined by the minimal resources from which it is built, a ship on which to sail on. We turned learning into playing, the studio into a game, the project into a process of discovery, its inherent competition into cooperation. This will also be our students story, and how playing a game about cities took us from the speculative avant garde thinking of Constant’s New
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Babylon, the surrealism of Guy Debord's practice of derive, the dialectical thinking of Lefebvre’s production of space, Kevin Lynch’s behavioural observations on the image of the city, looking for complexity and contradiction not for form’s sake, but for life’s sake.
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LORENA BREAZĂ
KNOWLEDGE MOVING TOOLS
Aldous Huxley said ‘the essay is the literary device for saying almost everything about almost anything’. In The Structural Transformation of the Public Sphere, Alan Colquhoun says it moves knowledge from the hands of specialists to the hands of ’all educated people’. 1 Hiding behind Huxley’s affirmation, I’ll take a shot at this architect’s role which may or may not be still the fancy subject on the table. And I am doing it because it is exactly how I see this responsibility issue at the moment – you are able to ‘move’, to extract things from the elevated minds and pass them on to the simple people, you write good essays, it means you care at least about having a public. Exchanging weekly intelligent ideas in a closed bubble is the equivalent of writing academic papers that’ll have tens of readers in the best case. I think the essay should be the architect’s concern these days, as the way we tell the story doesn’t really matter that much - as long as we’re humble and the story is good, the world is saved twice because the days this character was supposed to save the world are long gone. And don’t get me wrong, I strongly believe he can save it, but exactly through the means he doesn’t really practice – those of exploring the interface between the charming yet complicated world of simple thoughts (inside which he should find charisma to succeed) and the intricate one of the (sometimes) complex subjects he has to keep up with. Because the troubled times we live in don’t (and shouldn’t) give him the luxury, with all the tools at hand, to simply continue designing. As an architect who has been active rather as a teacher, cultural manager and magazine editor lately, I wanted to see how people behave when they don’t 1
Thomas Weaver.Writing not Typing.ed.Pro Cultura, 2019, 70
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actually know you’re an architect for days, maybe weeks, and what happens when they find out. And of course, I’ll go on with the scary story on how many problems the society expects us to solve and how much responsibility we actually have, as architects.
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LORENA BREAZĂ
FLY
I literally had no intention of chasing the fly. She didn’t bother me and I could have written the abstract without her help as well. But soon after she entered, I realized she quickly arrives back to me in her insane exploration of my tiny apartment and thought about how bored she should be. I opened the door, and after she ran out, I realized the ceiling has exactly the same outline as the plan. Nothing special about that. I wondered then why we don’t draw the ceiling more often. The plan is something that you don’t actually see. Actually, it is the only thing you never get to see. You can see a perspective, a facade, even a section of a building from certain angles. But never the entire plan of it. Or at least, not by common means - of course you can walk with a drone inside the house. Yet, the first thing we teach students is how to draw a building’s plan. Unnaturally. And then we teach them how to think in plans when they’d rather lay down and draw the ceiling - a simple, modest, twin sister of the plan - the sister they can actually see. I am not saying the plan is not relevant, but we can get later to that – once the very essence of the space is truly understood through natural means. About this and about other simple things involving ourselves being responsible as architects, but mainly as teachers in the field, I’d like to talk further on.
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FULGA RADU
SCULPTURAL ARCHITECTURE ON THE SEASHORE – AN EXPRESSION OF ARTISTIC FREEDOM
The Romanian Black Sea coastline has it all. From the Danube Delta and its watery landscape, to the rocky cliff of Agigea or from the earthy tall shores of Tuzla and 2 Mai, to the modern resorts like Mamaia or Eforie with their big, sandy beaches. Also, there are complex urban and industrial segments of coastal development, as the Metropolitan Area of Constanta or the city of Mangalia and their shipping infrastructure like the Port of Constanta or the ports and shipyards of Cape Midia or Mangalia. In this vast array of coastal landscapes, the modern architecture found a fertile ground for spectacular forms and spatial configurations, but even before, the vernacular architecture made use of unusual shapes, inspired by the seashore landscape and the various natural materials available in the area of Dobrogea. Some of the best examples of modern Romanian architecture benefited from the touristic purpose for which they were intended, and they were created with a strong emphasis on the visual and spatial perception value. In the late ‘60s many seaside developments sought to combine the buildings with public artworks and even a certain sculptural approach of the architectural details or in the urbanism vocabulary. Today, unfortunately, many of these works (like beach pavilions, restaurants, public spaces,
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gardens, etc.) lie in degradation or have been overrun by poor judgment, just relics of what they were. The traditional household anexes in the Dobrogea seaside area were shaped with a very large creative freedom since the medieval times, and usually taking fluid sculptural shapes reminding us nowdays of the sculpted architecture of the Unal house or the Art Nouveau forms of Gaudi, but made in a simpler, more austere and perhaps sustainable way. There is a great potential of reestablishing a harmonious balance between architecture and art, by giving new purpose to the forgotten pieces of architectural heritage, reviving the Romanian shore landscape through manmade beauty.
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ELENA-GABRIELA CINZEACĂ
EXPERIMENT
It’s possible I have decoded my faculty’s strange passion for the Romanian traditional village and the authentic structures we are supposed to understand and master in the first two years of study. Perspicacious enough, we can observe that behind the -sometimes- dull, but undoubtly fruitful design themes lays the university’s manner to teach about the synergy the Architect is supposed to generate between the existing fabric and the newer intervention. Basically, they are trying to teach us about responsiblity in design. But to what extent is the student capable to decode the subtilities in the coursework? Are the design themes put in practice in the manner they were imagined to be? And where does the flaw occur, seeing that our educational process does not always points the students towards responsibility (and when it does, the approach seems to be rather utopian, out of context with the real life issues)? What solutions do these derailments in education imply? Thus, this essay is aimed to analyze the faculty’s slightly clumsy attempt to educate in the spirit of responsibility. I seek the answers to be brought to light by studens and teachers- this essay should just be as well considered an opportunity to research among the faculty’s community wheather the Architects of tomorrow are educated in the spirit of responsibility. Simply put, let’s juggle with analyzing issues in regards to education and solutions to complement the educational development of responsible future Architects. Just as playing is experiemental by definition, playing with these ideas, though this essay/research, is firstly supposed to grasp in an experimental way what „responsibility” means- in the eyes of the students as well as the teachers.
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The motivation is not cryptic at all: understanding how to educate responsible students of the present generates the armonious architectural interventions of tomorrow.
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Marcell Hajdu
Imagining an Aesthetics of Reuse
In 2017, a newcomer in Amsterdam, I visited ADM for the first time. The squat - home to more than 120 people – was then located in the western industrial port-area of the city. This haven of free cultural expression was celebrating its 20th birthday with a festival. I remember how a few days later a friend of mine who accompanied me to the event remarked: ‘This is how the world would probably look like, if it didn’t look how it does.’ The group’s cooperative, sustainable way of life unleashed the potential of its citizens’ creativity and produced an aesthetics that struck us, regular citydwellers, as something alien. I will argue in my essay for an ‘Aesthetics of Reuse,’ and show that a progressive political project partly organized around ecological issues that would challenge the current neo-liberal order could similarly transform how we see our built environment. My theoretical point of departure will be the political thought of the Essexschool of Discourse Analysis as developed by Ernesto Laclau and Chantal Mouffe, most importantly, Oliver Marchart’s recent book: Conflictual Aesthetics. A key feature of this school of thought is that through conceptualizing the political as the ontological dimension, it enables us to see every (architectural) object and action as politically meaningful. To illustrate that what we perceive as beautiful in architecture is contingent on the political, and not only in small communities defined by interpersonal relationships, but in any imagined community, I will turn to the development of contemporary Budapest. As the main challenge to the current hegemonic (post-) political order is the rise of right-wing populist powers, the example of Hungary will
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be instrumental to illustrate how this transformation in the perception of architecture can be thought. While the issue of sustainability is far from being central to right-wing populism, the shifting of the political frontier towards questions of nationhood has produced a characteristic architectural aesthetic in the last decades.
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ANDRĂ S CSEH
AFTER ENOUGH
: ? ! . ; At the current historical event of questioning all human history with its values, aims and accomplishments, architecture can be considered as the primary interface that indicates all the archeological imprints and projects possible future outcomes simultaneously. Enough: Architecture as inertia. Human existence became disproportionate to its historical use of the environment. When even as simple human activities as ploughing are re-evaluated as bad, architecture suffers to keep its traditional manifestations. Not building the physical reflection of fatherless children. Enough? Architecture as proof of life. It is evident that the complexity of human created spaces have been becoming more and more complicated with our intellectual development. Human life-span actions for occupying space could be adequate for our physical needs but the question of the everlasting soul complicates sustainable construction. Human history defies entropy. Enough! Architecture as weapon. The spatial manifestation of ideas in our buildings penetrate their material existence. Unused and unrefurbished buildings take spaces hostage, turning urban structures into a sporadic wasteland. How does architecture follow when we start taking down statues of fallen ideas? Enough. Architecture as space distribution. The discrepancy rises between the parceling of natural and built environment as the representation of past or current states of social hierarchy instead of the basic human values of equality and love. Architectural theory is
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also not prepared to honestly reflect on the role of space use as the ultimate expropriation between human beings. Enough; Architecture as language. The possibilities and hence responsibilities towards the built environment belong to everyone. Spatial perception and creation is ours by nature, nevertheless are un-practiced. To be able to create gentle postapocalyptic times we might need to accept that architecture is not enough. We are.
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MILJENA VUČKOVIĆ WHOSE (CITY - WHOSE) REPOSNSIBILITY // battle over building
Space is important resource, and relationship towards it shows characteristics of society. We live spatial consequences of turbulent socio-political changes of ‗90s. Market economy is building with exploitative interests, violently changing identities and destroying integrity of un/built areas, resulting in chaotic urbanization, sameness, banalization of urban areas, serious threats to ecosystems and cultural monuments. The governments are officially planning, changing laws and giving public space and infrastructure as endless resource for private projects. Anybody challenging this is labeled ―backward, against economic growth and development‖. Decision makers that should be responsible are abusing power, causing polarized citizens to react by protesting and organizing in various in/formal groups and initiatives. This struggle for space, heritage and way of life became political, proving value of it – financial for politicians and investors, and qualitative for citizens. Despite lack of skills and time, citizens are showing concern for urban development, putting common interest above private. Sheer variety of growing CSOs, combined with readiness to support each other and exchange experiences is important resource. As Vox populi, they ask hard questions. They may not (now) save the city but are good starting point. Today we produce future heritage by construction and destruction, so preservation of un/built and prevention of mayor irreparable interventions are crucial. As citizens, activists and professionals, we take responsibility not to repeat histories of
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development based on (desired) future while negating heritage of the (shameful) past, or miss/using heritage to produce tradition. Questions are how to enlarge effects of civic initiatives, professional gatherings, media attention and public pressure to positively influence future? How to prove that development is not just building – but so much more.
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NIKOLA MITROVIC
DELETE HISTORY : HIGHWAY E75
What is happening to the city that intersects the highway? Is that highway connected to the city or is it a foreign part of? What happens with the spaces next to it? This paper starts from the thesis that a responsibility of society and government is lacking in abandoned spaces next to infrastructure systems, such as highways. Are these spaces where construction is not an option? Accordingly, the subject of research is the highway E75 from the Mostar loop to the Autokomanda loop, in the old part of the city of Belgrade, where along with the line infrastructure there are several abandoned spaces: Belgrade beer industry, Topovska supa camp from WWII, abandoned construction sites, and complete absence of pedestrians. There are complex and parallel historical events in this area - the informal settlement Jatagan-mala was formed and removed, the creation of the Topovska supa camp, the construction of a city highway, which permanently divided two parts of the city, and the abandoned Belgrade beer industry factory, a symbol of the industrialization of Belgrade. It was built space, now is unbuilt, and the responsibility of society and government is the same - a space that is cut off from the city and intersects the city. According to Bill Hillier1, the movement of pedestrians is a circulation that allows economic, social and cultural exchange, which is not realized here. The paper tries to discover the cause of the abandonment of such spaces, as well as the appearance of such a relation in the complex socio-economic mechanism of the city.
1
Matthew Carmona. Public Places - Urban Spaces: the Dimensions of Urban Design. Amsterdam: Architectural Press, Elsevier, 2010, 309
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The method used in addition to historical research is the three-part-theory of spatial syntax. The theory was applied in the analysis of the mentioned abandoned spaces next to the infrastructure system. The relation is achieved between theory and separate architectural assemblies. The contribution of the paper is that it can serve as a reference for further research of socio-economic conditions in post-socialist and posttransition societies.
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PETRONELA D. SOLOVASTRU
BACK TO BASICS
“When the last tree is cut down, the last fish eaten and the last stream poisoned, you will realize that you cannot eat money” says an old prophecy of the Cree Indians. Many ancient civilizations acknowledged that human existence on planet Earth could strive only if in complete harmony with nature and its complex processes, seeing Mother Gaia as a living and breathing organism. Respect towards natural resources is a key teaching we need to apply in our society, since all that we consume in excess becomes toxic one way or the other. The “top of the food chain” principle we egoistically apply at macroeconomic scale is a poor approach, despite the circular economy’s principles attempt to fill in the gaps in the resource usability system. We need to integrate all knowledge available, socio-economic instruments and urban/rural architecture in order to reinvent our “living design ”. I dare you to dream about the City of The Future, a place where every human being contributes to creating new resources and clean energy effortlessly, ergo a continuously evolving society where we smartly use technological innovation and effective natural processes integration. A place where every building is properly integrated within its urban or rural environment and harmoniously designed to optimize the consumption of resources and their transformation into clean energy. The use of materialsvwith high transformation capacity can be the answer to many
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of our excess consumption issues. Aluminum is an excellent example, since this metal can be recycled literally ad infinitum1. The greatest inventions which made us evolve as human race were made by observing how the natural world works. So let’s go back to basics and apply Mother Gaia’s wise teachings: nothing is lost, everything transforms and it all happens in perfect equilibrium.
1 ad infinitum (lat.) : /ˌad ɪnfɪˈnʌɪtəm/ adverb: ad infinitum, again and again in the same way; forever. Definitions from Oxford Languages
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BORJAN BRANKOV
HOW EASY WE LOST COMMUNITY WITH THE LOSS OF COMMON AREAS
Architecture is dynamically changing with economic, social, and cultural shifts. The change is more frequent and dynamic and in the past 100 years, with architecture seen as a tool to minimize the economy and housing shortage crisis after both World wars and soon after become part of new futuristic concepts in the 1960s. Architecture is a strong element in connecting people or separating them. Living concepts, especially in the second half of the 20th century, tended to adequately respond to the change of family over time through new ideas in the housing. From the extended family with more generations under one roof to basic family (parents + children) and individuals1 - the primary community directly depends on the neighbors, especially in the form of housing that developed during the 20th century - multi-family housing. Residents joining building community directly depends on activities they
1
Karel Teige, The Minimum Dwelling, Massachusets: MIT Press, 2002
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perform together, whereby group acitivities are positioned in common areas of the building2. However, at the end of the 20th and the beginning of the 21st century, there is a significant degradation of common areas. The whole act of collectivity is reduced to necessity and the apartment becomes again a capsule for the user. In Serbia, at the end of the 20th century, common areas of the building are neglected and repurposed and users have lost part of their housing and the quality of the community. There is a need for common ground, a base space, where people in one building can build their community and relationships. It turns out that today’s community in building gathers only when they have a common problem. An important question is how to stimulate the user to use and care about something other than his dwelling?
2
Borjan Brankov, Common areas in development of multi-family housing, Arhitektura i urbanizam, 2019, No. 49, pp. 32-39.
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ADRIANA CHIRUTA
FRAGILE PINGUINS ON THE EDGE OF GRAVITATIONAL WAVES: Performative Tools for Architects
We are accustomed to the pleasure of thinking that we can project and programme anything: lives, relations, jobs, human beings, countries, along with the spaces in which all those take place. Beside this tense works, do we still know how the space is designing and programming us? Beyond focusing on abstract thinking, visual appeal and productivity, do we know what behaviors are generated by a certain change of an angle or color or texture or form? In such a century of multiple crises like ours, how can we avoid those “énormes natures mortes architecturales", useless and dead spaces with which no one happily interact? This study is a performative toolkit made of contemporary art and dance/theatre improvisation approaches, created especially for architects, a toolkit for training three main ingredients of responsibility toward build space: 1. Awareness of multiple relational contexts, questioning how a certain architectural or urban design will relate with its future inhabitants, in even the smallest and unexpected details. We see architecture as an art of long durations. Sooner or later all the seeds put into a project will emerge from it, some, if unknown, sabotaging in time the initial intentions. 2. Seeing architecture as an extended body in order to embrace a nonmechanical, biological paradigm for architectural thinking, learning from nature how we can create alive spaces. Performative training will enhance a sense of what`s superfluous, necessary, healthy or hostile to life.
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3. Attention to the power relations expressed by architects` work, as in Milgram Experiment, when responsibility is in charge obedience disappears. As the main end is to see how can we generate collaborative, polyphonic architectures that may transform our cities in huge fitness apparatuses for democratic, non-authoritarian, nondiscriminatory social and political relations?
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ANA STANOJEVIC
RECYCLING MILITARY ARCHITECTURE - MAKING SUSTAINABLE FUTURE OR COVERING THE PAST
Issues of recycling of available resources are no longer only in the focus of environmental protection, but are part of all sustainable strategies, so thinking about the future we are increasingly talking about recycling built space facilities and areas. In continuous attempts to revive environments and structures that are no longer active, the issue of attitudes towards military properties is vague around the world. Numerous examples from Western Europe persistently confirm that the conversion of military architecture is just as successful as the conversion of abandoned industrial, agricultural and other heritage, and that creativity enables a quality and comfortable life even in bunkers and other fortification structures. However, the question arises whether feasibility and financial profitability is a sufficient motive for that, especially given the sociological and psychological moment that accompanies these facilities, because they are recognized in the negative context of war events that the population reluctantly remembers. In addition, there are not many examples in the world and they are mostly a consequence of individual initiatives, and not the result of systematized national strategies. Is the reuse of military architecture a sustainable solution and the next step in the processes of regeneration of the brownfield areas? Do individual examples of the
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conversion of these buildings represent a necessary need to make use of existing resources or are they a reflection of rebellion and the promotion of freedom at the turn of the two centuries when peace, freedom of opinion and democracy are the foundations of modern society? Is living in buildings from which people's lives were endangered just an extreme experimentation in architecture or an apparent concealment of the past, or by converting into educational and cultural institutions, are we actually preserving the military part in the right way?
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ANA CURK
ARCHITECTURE OF RUINS
This essay is discussing the question of architectural ruins of war, as a selfcontained architectural form, instead of merely physical leftover of what used to exist as a functional object. In the post-war narrative, damaged, or even completely destroyed buildings, can take on new functions and gain newly attached symbolism. However, if a building destroyed by war is not reconstructed or revitalized with a new purpose, that architectural ruin eventually becomes an entity in itself, a separate category in which the word 'ruin' not only describes its destroyed condition, but also signifies its new, memorial, or even ideological nature. The ‘architectural ruin’ becomes a cultural structure that exceeds the building's physical character. Reconstruction of such areas therefore represents a specific task, which must take into account not only the economic aspect and the current needs of the community, but also collective memory and changed identity of the population. With the physical destruction of the built environment, the coherence of the population is also destroyed - the way of thinking and movement within the inhabited space is altered, daily habits and language are changed. In these circumstances, whether the state of ruins should be preserved or which approach in reconstruction should be taken, is the responsibility that lies upon the architectural profession. The treatment of the ruins reflects the kind of common memory reconstruction tends to maintain, or even create.
Photograph
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61 Fotografie Fénykép фотографија
Doftana Prison Zoran Popovici
The neighbours thought it was a science lab Mihai Șovăială
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L.A.P.T. Ioana Pîrvu
For the city Miruna Moldovan
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Mute City Sebastian Andrei Gruia
Hooligans in Bucharest Teodora-Georgiana Strugariu
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Chattels built without lord Szigeti Vajk Istvรกn
Life in Plastic Crenguța Gîtin
DISQUALIFIED
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Surreal Windows Paula Craioveanu
DISQUALIFIED
Irreversible Andreea Cel Mare
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The Louvre Cezar Bulliga
Plant Definition Ioana Ciolea
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Poverty urban planning Cătălina Bocan
Castel Banffy, Bonțida Ștefania Lupan
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Renașterea satului românesc Ștefania Lupan
Conac Petre P. Carp, Țibănești Ștefania Lupan
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Reciclarea unui simbol spiritual DragoČ™ Mircea Nistor
Preserving traditions, a responsibility for all Daniel Miroțoi
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Signs Roberta Curcă
backstage Ovidiu Zimcea
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Feeble attempt between the lines Andrei ChindriČ™
HOW TO DESTROY A SETTLEMENT Tamas Emanuel-Ioan
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The Phenomenon Tudor Constantinescu
Yellow fabric Andrรกs Weiszkopf
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Phantom Limb Cotetiu Stefan
Intervention Vlad Patru
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Ancient ruins from the \\\’60s Zsolt Edelmayer
The faces of silence Nistor Bianca - Olga
untouched Ovidiu Zimcea
Glitch Dejan Todorović
Up To Date Barbu Minu Cristian
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Raising monsters Č˜optelea Č˜tefan
Nesting Zoran Popovici
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1 minute in Berlin Ciobanu Cristina- Alexandra
Vitiligo on roof Ariana Popovici
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Revival Tiron Andrei
Porta 800 030 Mosorescu Bogdan
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Urban sprawl Cătălina Bocan
Urban urinal Cătălina Bocan
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Rural library Cătălina Bocan
Integration Pavel Sinka
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Dialog Alexandru Damian
untouched Ovidiu Zimcea
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opportunity Daniel Tellman
Living or surviving together Marius Vasile
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‘The Old Man and the Sea’ Secăreanu Andreea
About growth CRISTINA CIOSA
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expectancy Ovidiu Zimcea
I learned to swim here in 1999. Ovidiu Zimcea
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Covering the traces of the past Tamas Emanuel-Ioan
Guiding light Dan Purice
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Reprocess Hunor Bako
Protoportal Andrei DrÄ cea
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Vertical city Andrea Zobec
Point of No Return David Verberckt
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A City Sinking Fast David Verberckt
Crossroad of Narratives David Verberckt
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Under the Spotlight Sofija Mašović
Brutal Beton Ognjen Ranković
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Public Balconies Olivia Fero
post-storm troopers Ovidiu Zimcea
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