Patchwork: Human Position

PATCHWORK: HUMAN POSITIONS

PATCHWORK: HUMAN POSITIONS

Dimitrije Milić (Responsible Representative)

Haruka Maeda

Lea Scherer

Lauritz Bohne Marija Džolić

Belgrade 2022-23

APSTRAKT ABSTRACT

Patchwork - Human Positions formira unutar Srpskog paviljona participativnu arhitekturu inspirisanu dvema oštro suprotstavljenim slikama: S jedne strane, kulturna slika tradicionalnog srpskog enterijera ukrašenog bogatim ornamentima ćilima čini materijalizovanu refleksiju duboke kulturne podele i različitih izazova identiteta sa kojima se zemlja suočila. S druge strane, slika tkalačke radionice i njenih razboja okruženih skladištem materijala i konstruktivno oslonjenim na montažne elemente omogućavaju paviljonu da postane pravi prostor stvaralaštva koji projektuje moguću budućnost. Spajanjem i uobličenjem ovih karakteristika unutar jednog prostora, paviljon preispituje unapred postavljene kulturne identitete unutar složenih slojeva Srpskih uticaja, otvarajući istovremeno diskusiju o vrednosti istorije i njenoj poziciji u stvaranju prostora. Činom tkanja, posetioci su angažovani da postanu deo zajedničkog narativa: pačvorka koji stvara novu vrstu zajedništva, i formulisanja zajedničkih ljudskih pozicija za budućnost. Postignuta arhitektura se ne nameće svojim posetiocima, već je isti oblikuju zajedničkim trudom. Shvatanje kulturnog identiteta kao aktivnog i tekućeg procesa manifestuje se u prostoru koji jasno izražava: Identitet u izgradnji.

Patchwork — Human Positions forms within the Serbian Pavilion a participatory architecture inspired by two stark contrasting images: On the one hand, the cultural image of a traditional Serbian interior adorned with the rich ornaments of the kilim forms a materialized reflection on the deep cultural divide and the various challenges of identity the country has faced. On the other hand, the image of a weaving workshop and its looms surrounded by a material storage and structurally supported by prefabricated elements allow the pavilion to become a real space of construction that projects possible futures. Merging and spatialising these characters within one space, the pavilion challenges pre-set cultural identities within the complex layers of impacts of the country of Serbia, while opening up the discussion about history’s value and its position in space-making. By the act of weaving, visitors are engaged to become part of a shared narrative: A patchworked intervention that creates a new sort of togetherness and the formulation of shared human positions for the future. Therefore, the architecture created does not impose itself on its visitors but is in turn shaped by them and through collective effort. The understanding of cultural identity as an active and ongoing process manifests itself in a space that clearly expresses: Identity under construction.

BIOGRAFIJE

Dimitrije Milić

je arhitekta koji živi i radi u Beogradu i Roterdamu. Tokom 5 godina njegovog arhitektonskog obrazovanja koje se preklapa sa 7 godina prakse kao arhitekta, multimedijalni dizajner i kreativni direktor, razvio je način arhitektonskog izražavanja inspirisan psihologijom, data snimanjem/ analizom i muzikom. U poslednje 2 godine, Dimitrije je doprineo broju arhitektonskih istraživačkih publikacija i izložba u Holandiji dok je paralelno gradio svoje inženjerske veštine u korporativnom okruženju, dobijao nagrade za svoje realizovane projekte enterijera i započeo i vodio partnerstva sa međunarodnim kancelarijama (nedavno MVRDV). Zajedno sa Harukom je deo dizajnerskog dua Purple koji stvara preplitanjem arhitekture i muzike.

AUTORSKI TIM AUTHORS

PURPLE DESIGN DUO

DIMITRIJE MILIĆ

IR ARCHITECT

MSc of Architecture, Urbanism and Building Sciences (TU Delft)

BArch - RIBA Part I (Faculty of Architecture, University of Belgrade)

HARUKA MAEDA

IR ARCHITECT

MSc of Architecture, Urbanism and Building Sciences (TU Delft)

BSc of Architecture, Urbanism and Building Sciences (TU Eindhoven)

BSc of Architecture and Urbanism (UNISUL Brazil)

BSc of International Relations (UFSC Brazil)

ARCHITECTURE COLLECTIVE - META OFFICE

LEA SCHERER

IR ARCHITECT

MSc of Architecture, Urbanism and Building Sciences (TU Delft)

BSc of Architecture (TU Wien) + 2 semester additional curriculum: Digital Skills

LAURITZ BOHNE

IR ARCHITECT

MSc of Architecture, Urbanism and Building Sciences (TU Delft)

BSc of Architecture (TU Wien) + 2 semester additional curriculum: Digital Skills

MARIJA DŽOLIĆ

DIPLOMIRANI INŽENJER ARHITEKTURE

MArch - RIBA Part II (Faculty of Architecture, University of Belgrade)

BArch - RIBA Part I (Faculty of Architecture, University of Belgrade)

Haruka Maeda je diplomirala na fakultetu TU Delft i sada živi i radi u Roterdamu, Holandiji. Živela je upet različitih zemalja (Japan, Francuska, Sjedinjene Američke Države, Brazil i Holandija) i stekla jedinstvena kulturna iskustva kroz život i rad sa pojedincima iz različitih sredina. Kao rezultat ovih bogatih socio-kulturnih susreta, njeno interesovanje za arhitekturu je usmereno na razumevanje kako dizajn može dovesti do stvaranja okvira koji pomera ljude sa individualnog na kolektivniji i empatičniji način razmišljanja, koji teži stvaranju blagotvornog društvenog uticaja i razlika. Ona veruje da arhitekte imaju odgovornost da se uključe u diskurs zajednice kako bi zajedno kreirali rešenja koja prevazilaze konvencionalna razmatranja.

Purple Design Duo je rezultat dvogodišnje arhitektonske, muzičke i dizajnerske saradnje Dimitrija Milića i Haruke Maede. U svom radu, Purple daje prioritet kratkoročnim multidisciplinarnim projektima u odnosu na duge inženjerske angažmane. Njihova zajednička design filozofija je vođena arhitektonskim ambicijama, muzičkim istraživanjima i aktivnim umetničkim angažovanjem u izložbama, istraživanjima i realizacijama u i oko Roterdama. Nedavno, Purple je doprineo u data istraživanju za „1000 Ideas for Eindhoven“ i „1000 Ideas for Amsterdam“, knjizi i filmu koje je objavila The Why Factory –istraživačka dizajnerska grupa koju

vodi Wini Mass, osnivač MVRDV. „1000 Ideas for Amsterdam“ je predstavljeno u AMS – Amsterdam Institute for Advanced Metropolitan Solutions i ARCAM –Architecture Center Amsterdam u okviru izložbe EndLESS Amsterdam u februaru 2021.

Prevođenje svesti u umetnost je tehnika kojom se pokazuje fluidnost nečije ličnosti i ukazuje na potencijal psihološke adaptacije na dominantne stimuluse koji se izlažu u prostoru ili u zvuku. Ovaj oblik podsticane emocionalne transformacije kod posmatrača umetnosti je cilj kome teži Purple duo, a potom i analizama koje čine niz prikupljenih i upoređenih podataka između nezavisnih radova. Pored toga, svaki projekat karakteriše Design Manifesto, koji služi kao sažeti rezime praktikovane metode.

Architecture Collective - Meta OfficeLea Scherer i Lauritz Bohne su nedavno diplomirali arhitekturu na fakultetu TU Delft. Žive i rade u Beču i Roterdamu. Njihovo interesovanje je usmereno na presek arhitekture, dizajna i tehnologije. Nakon što su završili svoje Bachelor studije na fakultetu TU Wien (AT), Lea i Lauritz su stekli profesionalno iskustvo radeći u nekoliko dizajnerskih praksi uAustriji, Nemačkoj i Čileu. Njihov rad je osvojio nekoliko nagrada i dobili su stipendije, uključujući AIT stipendiju Sto fondacije, sa 24.000 evra. Njihovo istraživanje o skrivenom ljudskom radu iza veštačke inteligencije biće deo publikacije Datapolis koju su početkom 2023. objavili izdavači Nai010. Trenutno, projekat je takođe deo serije izložbi i onlajn publikacije Image Capital fotografa Armina Linkea i istoričarke medija Estel Blaške, a izložen je u Muzeju Folkvang (Esen, 09.11.22 - 11.12.23), Fondazione Mast (Bolonja, 22.09.22 - 08.01.23) i Centru Pompidu (Pariz, početak oktobra 2023).

Marija Džolić je arhitekta iz Beograda koja se bavi dizajnom enterijera, 3D modeliranjem i arhitektonskom vizuelizacijom. Pošto je posvećena velikom korporativnom sistemu više od 6 godina, povereno joj je da samostalno vodi projekte enterijera, od kojih su 2 dobila međunarodne nagrade i priznanja u Ljubljani, Slovenija 2021. i 2022. godine.

Ona ima višegodišnje iskustvo u onsite engineering, nadzoru u izvođenju radova i nabavci za velike projekte što

joj je omogućilo da razvije napredne softverske veštine za BIM i parametarsko projektovanje.

Pored karijere u arhitekturi, ona je nagrađivana, izlagana i prodavana vizuelna umetnica, specijalizovana za uljane slike.

BIOGRAPHIES

Dimitrije Milic is an architect living and working in Belgrade and Rotterdam. During the 5 years of his architectural education overlapped with 7 years in practice as an architect, multimedia designer and creative director he has developed a way of architectural expression inspired by psychology, data recording/analysis and music. In the last 2 years, Dimitrije has contributed to multiple architectural research publications and exhibitions in the Netherlands while in parallel building his engineering skills in the office environment, earning awards for his realized interior design projects, and commencing and leading partnerships with international offices (most recently MVRDV). Together with Haruka he is a part of the Purple design duo that creates by intertwining architecture and music.

Haruka Maeda has completed her master’s degree at TU Delft and now lives and works in Rotterdam, the Netherlands. She has resided in five different countries (Japan, France, the United States, Brazil, and Netherlands) and gained unique cultural experiences through living and working with individuals from different backgrounds. As a result of these rich sociocultural encounters, her interest in architecture is focused on understanding how design may lead to producing a framework that shifts people from individual to a more collective and empathic mindset, aspiring to create a beneficial social influence and differences. She believes that architects have a responsibility to engage in community discourse in order to cocreate solutions that go beyond conventional considerations.

Purple Design Duo is a result of 2 years of architectural, musical and design collaboration between Dimitrije Milic and Haruka Maeda. In its work, Purple prioritazes short-term multidisciplinary design projects over long engineering engagements. Their mutual deisng philosophy is guided by architectural ambitions, musical exploration and active artistic invovement in organizations, researchs and realizations in and around Rotterdam. Most recently, Purple has contributed to the data-architecture research

for ‘1000 Ideas for Eindhoven’ and ‘1000 Ideas for Amsterdam’, a book and a film published by The Why Factory - a research design group led by Winy Mass, the founder of MVRDV. ‘1000 Ideas for Amsterdam was presented at AMSAmsterdam Institute for Advanced Matropolitan Solutions and ARCAM - Architecture Center Amsterdam as part of the EndLESS Amsterdam exhibition in February 2021. Translation of mindfulness to art is a technique to display the fluidity of one’s personalities and to call out the potential of psychological adaptation to the dominant stimuli exhibited in both space or sound. This form of encouraged emotional transformation within the observers of the art is the goal to which Purple design aims, and later analyses making a series of collected and compared data between independent works. Additionally, every project is characterized by a design manifesto, serving as a compact summary of the used method.

Architecture Collective - Meta Office Lea Scherer and Lauritz Bohne are recent architecture graduates from TU Delft (NL) who live and work in Vienna and Rotterdam. Their interest focuses on the intersection of architecture, design and technology. After finishing their Bachelor of Science with distinction at TU Vienna (AT), Lea and Lauritz have gained professional experience working in several design practices in Austria, Germany and Chile. Their work has won several prizes and they received scholarships, including the AIT scholarship of the Sto Foundation, endowed with €24,000.

Their research on hidden human labour behind artificial intelligence will be part of the Datapolis publication issued in early 2023 by Nai010 publishers. Currently, the project is also a part of the exhibition series and online publication Image Capital by photographer Armin Linke and media historian Estelle Blaschke, and is displayed at Folkwang Museum (Essen, 09.11.22 - 11.12.23), Fondazione Mast (Bologna, 22.09.22 - 08.01.23) and Centre Pompidou (Paris, beginning October 2023).

Marija Dzolić

is an architect from Belgrade that specializes in interior design, 3D modeling, and architectural visualization. Being devoted to the large office system for more than 6 years, she has been entrusted to lead many interior design projects 2 of which have received international awards and recognition in Ljubljana, Slovenia in 2021 and 2022. She has multiple years of experience in on-site engineering, supervision of and procurement for large-scale projects and has

developed advanced softwares skills for BIM and parametric design. Apart from her career in architecture, she is an awarded, exhibited and sold visual artist, specializing in oil painings.

INSPIRACIJE

Dimitrije Milić

„Opažamo atmosfere kroz naš emocionalni senzibilitet – oblik percepcije koji funkcioniše neverovatno brzo (...) Uđem u zgradu, vidim sobu i – u deliću sekunde – imam taj osećaj u vezi sa njom”. Piter Zumtor ovim rečima opisuje svoj odnos prema najradikalnijim oblicima arhitekture, objašnjavajući ga kao osećaj atmosfere – nešto mnogo šire i više poetično od jednostavne percepcije strukture i forme. Moja filozofija u dizajnu se oslanja na pristup arhitekturi koji se ne razlikuje znatno od ovog opisa. Prostor shvatam kao okvir za ljudsko ponašanje gde ljudi igraju vitalnu ulogu u njegovoj definiciji. Još ubedljiviji efekat prostora je onaj koji izaziva specifične paterne ponašanja pojedinaca. Ti paterni zauzvrat definišu arhitekturu i daju kriterijume za valorizaciju njenog uticaja, a time i značaja. Individualni odgovori na prostorne stimuluse, zajedno sa sopstvenim već postojećim iskustvima i asocijacijama, stvaraju jedinstvenu dijadu između čoveka i objekta, što je, po mom mišljenju, ključni, ali često zanemaren, aspekt arhitekture koji prethodi svakoj vrsti društvenog ponašanja.

Srpski paviljon zamišljam kao društvenu i otvorenu razmenu mišljenja u atmosferi koja svakog čoveka ponaosob podstiče da se koncentriše, razmišlja, pa čak i meditira osopstvenom biću i svom odnosu i uticaju na okolne alate, tehnologije, sistem...

Haruka Maeda

Moja inspiracija za učešće u konkursnom predlogu za paviljon Srbije potekla je od iskustava i utisaka koje sam stekla tokom posete Beogradu prošle godine.

Od detinjstva sam živela u nekoliko zemalja 3 kontinenata, gde sam stekla jedinstvena kulturološka iskustva i usvojila nove filozofske perspektive.

Pre nekoliko godina sam se preselila u Holandiju i putovao po celoj Evropi, ali poseta Srbiji je bila iskustvo za pamćenje. Složeni slojevi istorije i arhitekture koji su se mogli videti u suprotstavljanju na tako kratkoj pešačkoj udaljenosti su me

ostavili bez daha, stvarajući jedinstven urbani i društveni pejzaž. Kao i u svakom evropskom gradu, uobičajeno je videti istorijske uticaje i stilove koji su tu vekovima ili decenijama, ali u isto vreme, novi razvoj i neboderi koji su se brzo pojavili u njihovom okruženju prave specifičnu sliku za Beograd. Bilo je moguće proći kroz razne slojeve i iskustva na kratkoj udaljenosti besciljnom šetnjom -Derivé, kako bi to nazvao filozof Gi Debor. Različiti akteri u razvoju nekretnina su uobičajeni prizor u zemljama u razvoju kao što je Brazil, gde sam ranije živela. Imajući takva iskustva u vidu nisam mogala a da ne razmišljam o ljudima u gradu i o tome kako se osećaju u vezi sa ovim promenama i mahnitim razvojem scenarija. Iako sam bila u drugoj sferi i drugom političkom scenariju, osećala sam nostalgiju i radoznalost da bolje razumem ove slojeve i šta oni znače za srpski narod. Sa mojim ciljem da ovim paviljonom obezbedimo premošćivanje društvenih i kulturnih jazova između ljudi iz različitih zemalja, sa iznenađenjem sam shvatila da će paviljon postići i isti rezultat upovezivanju segregiranih društvenih slojeva unutar srpske zajednice.

Lea Scherer

Moj pristup dizajnu je duboko ukorenjen u mom iskustvu u performativnim praksama. Kako je moje dosadašnje angažovanje u izvođačkim umetnostima stvorilo snažnu svest o ljudskom telu i njegovoj interakciji uprostoru, sekvence pokreta, različiti oblici tela i brzine su uvek značajni aspekti za mene. Trudim se da kontekstualizujem svoje arhitektonske projekte u okviru narativa i dramaturgija, metodologije koju crpim iz ljubavi prema pozorištu i iskustvu uscenskom dizajnu. Ovi narativi mogu privući pažnju na raznim skalama: bilo umalim detaljima koji mogu doprineti i manifestovati širu priču ili u koncepciji strukturalnih ritmova koji stvaraju određenu tenziju unutar prostora. Za mene je dizajn stoga prostorna naracija koja se može proživeti različitim brzinama i u različitim razmerama.

Lauritz Bohne

Moja inspiracija leži u interakciji arhitekture i tehnologije koja se često manifestuje u izgrađenim (infra) strukturama iza onoga što bismo mogli nazvati digitalnim. Digitalno, ne samo da otvara novu programibilnost prostora, već i omogućava novu perspektivu

na postojeće spoznavanje sveta. Integrisane u sve, od profanih uređaja do satelita, senzorske tehnologije nam omogućavaju da ispitujemo svet na drugim frekvencijama i otvorimo nove načine njegovog sagledavanja. Fascinantno i frustrirajuće u isto vreme, je da je naša planeta postala antropogena konstrukcija u kojoj je svaka materija oblikovana ljudskim delovanjem. U svetlu naše trenutne sociokulturne, ekonomske i klimatske krize, nova viđanja naših antropogenim aktivnosti moraju se shvatiti kao uzbune u svetu dizajna. „Mi bukvalno živimo u dizajnu, kao što pauk živi u mreži koju je konstruisalo njegovo sopstveno telo“. Potreba da stalno shvatamo naše samokonstruisano okruženje ne ostavlja drugu opciju osim da arheološki istražimo postojanje istog. Pri tome ćemo uvek naći put nazad do samog materijala. Na primer, svaki naizgled nematerijalan prenos podataka omogućen je iz skupa repetitivnih arhitektura koje obuhvataju mrežu antena, podmorskih kablova, data centara itd. širom sveta. Ove strukture su snažno podstaknute visokoprovodljivom materijom. Da bismo preneli podatke, moramo da iskoristimo neverovatne količine resursa koji zauzvrat transformišu naš svet na više načina. Ovaj uvid me motiviše da izazovem arhitekturu u njenoj često izolovanoj perspektivi i da vidim procese koji stoje iza njenog formiranja kao stvarnu srž dizajna.

Marija Džolić Inspiraciju za razvoj identiteta prostora unutrašnje arhitekture pronalazim u prirodnim elementima koji nas okruzuju. Forme, materijali i senke su me oduvek fascinirali. Heterogeni sastav niza činilaca uharmoničnoj kompoziciji rezultira prostornošću sa jasnom porukom i čvrstim identitetom. Unutrašnja arhitektura svojom egzaktnošću zahteva određeni karakter, njega kreiramo kroz niz istraživačkih koraka koji su neretko protkani inutivinim delovanjima proisteklim iz ličnog doživljaja prostora. Psihologija prostora je ono što filtrira jedinstveni pristup dizajniranju od pukog komercijlnog sagledavanja rešenja. Smatram da je unutrašnja arhitektura živa i definisana karakterom svog korisnika, doživotno se razvijajući zajedno sa njim. Trasnformabilnost arhitekture koja je rezultat svakodnevnog životom i korišćenjem prostora doprinosi posebnoj estetskoj draži. Neophodno

ju je predvideti čak i u inicijalnoj ideji razvoja. Razvojem softvera kroz savremen pristup projketovanju znatno se proširuju mogućnosti svakog projektanta, omogućavajući mu niz provera i izmena ujednom kompleksnom procesu razvoja. Sve od navedenih stavki predstavljaju moju dnevnu inspiraciju i fascinaciju na širokom polju unutrašnje arhitekture. Manipulacija minornim detaljima i njihiva međusobna povezanost kroz makro plan je nešto cemu težim u svakom projektu. Razumevanje, kombinovanje i definisanje svakog, pa i najsitnijeg detalja stvara celokupnu sliku jednog živog organizma.

INSPIRATIONS

Dimitrije Milic

“We perceive atmospheres though our emotional sensibility - a form of perception that works incredibly quickly (...) enter a building, see a room, and - in a fraction of a secon - have this feeling about it”. With these words Peter Zumthor describes his relationship with the most radical forms of architectures, explaining it as a sense of atmosphere - something much broader and poetic than soloely perception of structure and form. My design philosophy relies on an approach to architecture not so different from this description. understand space as a frameworks for human behavior where humans play a vital role in its definition. An even more compelling effect of the space is the one that provokes specific patterns of behavior within individuals which in turn, define the architecture and provide a criteria for valorization of its impact and consequently its importance. Individual responses to spatial stimuli, together with one’s own pre-existing experiences and associations, create a unique dyad between a human and a building, which is in my opinion, a crucial, yet often neglected, aspect of architecture that precedes any type of social demeanour.

I imagine the Serbian pavilion as a social and open interchange of opinions in an atmosphere that encourages every person individually to concentrate, reflect and even meditate on their own being and their relation and impact on the surrounding tools, technologies, system...

Haruka Maeda

My inspiration for participation in the design proposal for the Serbian pavilion came from firsthand experiences and impressions I had while visiting Belgrade last year. Since my childhood, have lived in several countries and continents, gaining unique cultural

experiences and philosophical perspectives.

I moved to the Netherlands several years ago and have traveled throughout Europe, but a visit to Serbia was a memorable experience. Complex layers of history and architecture that could be seen in juxtaposition in such a short walking distance astounded me, creating a unique urban and social landscape. As a European city, it is common to see historical influences and styles that have remained for centuries or decades, but at the same time, new developments and skyscrapers emerged in their suroundings rapidly. It was possible to walk through a variety of these layers and experiences in a short distance by taking an aimless stroll, or Derivé, as philosopher Guy Debord would call it. Divergent stakeholders in real estate development are a common sight in a developing country like Brazil, where I have previously lived. Through this, I couldn’t help but think about the people in the city, and how they feel about these changes and frantic developments. Even though I was in a different realm and political scenario, I felt a sense of nostalgia and curiosity to better understand these layers and what they mean for the Serbian people. With my goal for this pavilion set on bridging social and cultural gaps between people from different lands, I have been surprised to realize that the pavilion will also achieve the same result in connecting segregated social layes within the Serbian boarded.

Lea Scherer

My design approach is deeply rooted in my experience in performative practices. As my past involvement with the performing arts has created a strong awareness of the human body and its interaction in space, movement sequences, different body shapes and speeds are always significant aspects for me. I like to contextualise my architectural projects within narratives and dramaturgies, a methodology I draw from my love for the theatre and eperience in stage design. These narratives can get attention on a wide variety of scales: Whether in small details that may contribute to and manifest the larger story or in the conception of structural rhythms that create a certain tension within a space. For me, designing is therefore a spatial narration that can be lived through at different speeds and on different scales.

Lauritz Bohne

My inspiration lies in the interaction of architecture and technology that often manifests itself in the built (infra)structures behind what we might call the digital.

The digital not only opens up a new programmability of space but also enables a new perspective on the existing. Integrated into everything from profane devices to satellites, sensor technologies allow us to examine the world in other frequencies and open up new ways of seeing the world. Fascinating and frustrating at the same time - our planet has become an anthropogenic construct in which no matter has not been shaped by human action. In light of our current sociocultural, economic, and climatic crisis, those new awarenesses of our anthropogenic actions have to be understood as design emergencies.

„We literally live in design, like the spider lives in a net constructed by it´s own body“

The necessity to constantly comprehend our self-constructed environment leaves us no other option than to explore its existence archaeologically. In doing so, we will always find our way back to the material itself. Every seemingly immaterial data transmission, for example, is made possible from a set of repetitive architectures spanning a web of antennas, undersea cables, data centers, etc across the world. These structures are heavily fueled by highly conductive matter. To transmit data we have to extract incredible amounts of resources that in turn transform our world in multiple ways. This insight motivates me to challenge architecture in its often isolated perspective and to see the processes behind its formation as the actual core of design.

Marija Džolić

I find inspiration for the development of the identity of the interior architecture in the natural elements that surround us. Forms, materials and shadows have always fascinated me. The heterogeneous composition of a number of factors in a harmonious composition results in a spaciousness with a clear message and a solid identity. Interior architecture with its exactness requires a certain character. We create it through a series of research steps that are often interwoven with intuitive actions resulting from a personal experience of space. The psychology of space is what filters a unique approach to design from a purely commercial view of the solution. I believe that interior architecture is alive and defined by the character of its user, developing along with him throughout his life. The transformability of architecture, which results from everyday life and use of space, contributes to a special aesthetic appeal. It is necessary to foresee it even in the initial idea of development. The development of software through a modern approach to designing significantly expands the capabilities of each designer, allowing

him a series of checks and changes in one complex development process. All of the listed items represent my daily inspiration and fascination in the wide field of interior architecture. Manipulation of minor details and their interconnection through the macro plan is something I struggle with in every project. Understanding, combining and defining, even the smallest detail, creates the overall picture of a living organism.

KONSULTANTI CONSULTANTS

ISIDORA ĐURIĆ

FASHION DESIGNER

BA Fashion Design with Marketing - Womenswear (Central Saint Martins, Univeristy of The Arts London)

+Foundation Diploma in Art and Design (Central Saint Martins, Univeristy of The Arts London)

PROF. DR ZLATKO CVETKOVIĆ

ŠEF ODSEKA - TEKSTIL, VANDREDNI PROFESOR (Fakultet Primenjenih Umetnosti, Univerzitet u Beogradu)

PHD of Arts (Faculty of Applied Arts, University of Belgrade)

GORDON BERGER

CONTEMPORARY ARTIST / NFT & CRYPTO ARTIST

BA (Hons) Fine Art, (Central Saint Martins, Univeristy of The Arts London)

NIKOLA MILIĆ

CONSTRUCTION PROJECT MANAGER

MCPM (University of Westminster, London)

BArch (Faculty of Architecture, University of Belgrade)

BEcon (Faculty of Economics, Finance and Administration - FEFA)

MILICA VUKAŠINOVIĆ

DESIGN PROJECT MANAGER

MArch (Faculty of Architecture, University of Belgrade)

IVAN SAVIĆ

FURNITURE DESIGNER AND MANUFACTURER

Master of Interior Design (Faculty of Forestry, University of Belgrade)

SLAVICA CIRIĆ

DIREKTOR ASOCIJACIJE TKANJA DAMSKO SRCE PIROT

POZADINA I KONCEPTUALIZACIJA BACKGROUND & CONCEPTUALISATION

SADRŽAJ I ELEMENTI POSTAVKE CONTENTS & ELEMENTS OF EXHIBITION

REZULTAT RESULT

METODOLOGIJA METHODOLOGY

PREDLOŽENE AKTIVNOSTI SUGGESTED ACTIVITIES

IDEJNI PROJEKAT CONCEPT DESIGN

PLAN REALIZACIJE EXECUTION PLAN

SADRŽAJ CONTENT

POZADINA I KONCEPTUALIZACIJA BACKGROUND & CONCEPTUALISATION

16 Spinning the weft, enlarged detail

consecutive knots are made and then the thread is broken. This manner ofspinning was used for the spinning ofthe warp since it could be spun much thinner, straighter, stronger. For carpets, the best processed smooth and strong threads were prepared from the best quality hemp fibre.

In the second variation ofthe procedure, the fibres are pulled out and straightened with the left hand, while the right hand turns the spindle which is almost in a horizontal position, at the same time, spinning the thread. The spindle lies byits upper part (handle) in the palm, and the spinner, bycircular movements, primarily with the thumb and index finger, rolls the spindle in her hand (Photograph 16). The thread is shaped and let go bythe left hand, while the thread wound round the body ofthe spindle is not knotted, but is also spun at the same time. This gives an Sdirection to the twists.69 When the spindle is full of thread, the part from the upper portion ofthe spindle is unwound and wound around the stomach ofthe spindle, and then once again wound and spun. This second ofthe two basic and traditional techniques has been better preserved in the Vojvodina region. Spinning with the spindle in a horizontal position is better for obtaining softer, less spun threads which can be used for various purposes, but not for the warp in weaving (Drawing 17, 17а).

1.IDENTIFIKACIJA 1.IDENTIFICATION

Oni u manjini, na meti kolektivne, često medijski vođene karakterizacije, i dalje žive sa ‘dvostrukom svešću’ verni svojoj istoriji, a istovremeno neverni istoj, kako bi održali nadu u bolju budućnost koja dolazi sa prihvatanjima sveta sa druge strane granice. Dihotomija misli koja se javlja unutar člana okarakterisane grupe sukobljava se sa procesom samoekspanzije. Slično je opisao Gilber Rajl koji je rekao da „U potrazi za samim sobom, ne može se istovremeno biti i lovac i progonjeni.” U ovim okolnostima, pojedincima koji su imali sreću (ili nesreću) da se rode pod srpskom istorijom, smanjene su šanse da učestvuju ubudućnosti sveta, a ambicije unižene. Istorija nije uvek bila konstruisana predvidivo kao linearan proces i meta je spekulacija. Kroz suprotstavljena tumačenja srpske istorije, srpski narod se danas više nego ikad odvaja od ostatka sveta, zbog čega se pitamo „Koja nas nit još vezuje preko granice nakon što se nađemo u koži drugoga?“

in the double consciousness - the two sides of a narrative - or, referring to Du Bois „this sense of always looking at one’s self through the eyes of others.” Today, African-Americans for example are still forced to look at themselves through the eyes of the white majority, constantly reminding themselves about the differences pointed out in the social circles of the early 20th century. Although the portrayal of racial distinction as a ‘problem’ has largely, but not entirely, decreased since that time, the last 3 years have put again forward this cultural misunderstanding and separation.

Tema 18. Međunarodnog bijenala arhitekture, „Laboratorija budućnosti“, odražava svet u kome svi živimo, koji se poslednjih godina ponovo dramatično promenio. Poslednjih 36 meseci i događaji koje su doneli, kao što su posledice pandemije i tekući ratovi, doveli su do društveno-političkih pomeranja koje još jednom pokazuju dubinu i razmere društvenih nejednakosti, kao i podelu između nas i drugih. Kako navodi kustos Lesli Loko, svaki dan se pojavljuju nova neprijateljstva između različitih porodica, zajednica, nacionalnosti, kao i između stanovnika i njihovog okruženja. Prema Loko, deo složenosti leži u dvostrukoj svesti - dve strane naracije - ili, citirajući Du Boisa, „ovoj osećaj večitog posmatranja sebe kroz oči drugih„ Danas su Afroamerikanci, i dalje primorani da gledaju na sebe očima bele većine, neprestano se podsećajući na razlike na koje su ukazivali društveni krugovi početkom 20. veka. Iako se prikaz rasne razlike kao „problema“ u velikoj meri, ali ne u potpunosti, smanjio od tog vremena, poslednje 3 godine su ponovo iznele ovaj kulturni nesporazum i razdvajanje.

Potraga za prevazilaženjem dvostruke svesti i kokonstruisanjem zajedničkih identiteta i ljudskih pozicija je ključna za ono što laboratorija budućnosti u okviru Paviljona Srbije mora da ima. Kao arhitekte, moramo dizajnirati okvir u kome takva iskustva mogu da napreduju: Radionica koja odgovara na ispitivanje reči Ričarda Seneta kao prostora zajedničkih napora koji učvršćuju građanski život. To znači dizajnirati arhitekturu koja se ne nameće svojim posetiocima, ali koja je zauzvrat otvorena za oblikovanje kroz kolektivne napore. Mesto gde emancipacija pojedinca u okviru zajedničkog procesa može pokrenuti novu vrstu zajedništva i formulisanje zajedničkih ljudskih pozicija za budućnost.

The theme of the 18th International Architecture Biennale, “The Laboratory of the Future,“ reflects on the world we all live in, which has ever again changed dramatically in recent years. The last 36 months and the events they have brought, such as the pandemic‘s after-effects and ongoing wars, have resulted in socio-political shifts that once more manifest the depth and scale of social inequities, as well as the divide between us and others‘. As curator Lesley Lokko states, every day new hostilities emerge between different families, communities, nationalities, and between inhabitants and their environments. According to Lokko, part of the complexity lies

Those in minority, targeted by the collective, and often media-governed characterization, still live with ‘double consciousness’ true to their own history, and at the same time ignorant to it, in order to maintain hope for the better future that comes with the acceptance of the inspiring wide world. The dichotomy of thought occurring within a member of the characterized group clashes with the process of selfexpansion, as was described by Gilbert Ryle who said that “In searching for oneself, one cannot simultaneously be the hunter and the hunted.” In these circumstances, individuals that have been lucky (or unlucky) to be born under Serbian history, find their chances to participate in the future of the world reduced and their ambitions humbled. History has not always been constructed self-evidently as a linear process and is a target of speculation. Through opposing interpretations of Serbian history, Serbian people now find themselves more divided than ever from the rest of the world, which is why we ask “Which thread still binds us across the border after we find ourselves in the shoes of the other?”

Quests for overcoming double consciousness and for co-constructing shared identities and human positions are key to what the laboratory of the future within the Serbian Pavilion must hold. As architects, we must design a framework where such experiences can thrive: A workshop responding to Richard Sennet‘s examination of the word as a space of collaborative endeavor anchoring civic life. This means designing an architecture that does not impose itself on its visitors but that is in turn open to be shaped by them and through collective effort. A place where the emancipation of the individual within a shared process can trigger a new sort of togetherness and the formulation of shared human positions for the future.

PROSTOR

EMANCIPACIJABUDUĆNOSTTEHNOLOGIJAPREVOĐENJEPRAVDAPROCES

MANUS(RUKA)EKSPERIMENTRADIONICALABORATORIJAISTOVREMENOSTFILTRIRANJERASCEP SPACEEMAPNCIPATION FUTURETECHNOLOGYTRANSLATION JUSTICE PROCESSMANUS(HAND)EXPERIMENTWORKSHOPLABORATORYSIMULTANEOUSNESS FILTERINGSEPARATION

Identifikacija i dedukcija važnih ključnih reči za Bijenale

Identification and deduction of important keywords to the Biennale

“Which thread still binds us across the border after we find ourselves in the shoes of the other?”

TKANJE WEAVING

2.ZNAČAJ

2.SIGNIFICANCE

Srpska istorija se proteže preko dve hiljade godina, počev od ranih slovenskih naselja u šestom veku. Tokom vekova je bila pod uticajem brojnih kultura i carstava. Različiti izazovi, uključujući strane invazije, političke potrese i ekonomske poteškoće, stvorili su složene slojeve uticaja unutar zemlje i obogatili njeno kulturno nasleđe i oblikovali njene identitete. Kroz raznolika upravljanja i periode nezavisnosti, zemlja je bila ne samo eksperimentalno tlo za emancipaciju, već i za medijsku dezorijentaciju, stvarajući slike i narative ukojima su suprotstavljene sile pisale i tumačile istoriju različito, što je rezultiralo nerazumevanjem, pristrasnošću i povećanim nasiljem.

šare. Ženske figure koje poseduju znanje tkanja postale su pripovedačice, zatvorene na razboj kao primarno zanimanje doma, ali i kao zaštitnice i promoteri društvenih odnosa. Uobičajena pojava ćilima u tradicionalnim srpskim domovima, ali i njegova sastavna uloga u unutrašnjosti srpskih i jugoslovenskih dvorova, pokazala je ćilim kao reprezentativno tlo za proizvodnju vrednosti. U drugoj polovini 19. veka, kada je uticaj zapadnih interesa i kultura počeo sve više da prodire na Balkan, rasla je tendencija korišćenja evropskih dekorativnih motiva i manifestovao se još jedan pomak ka novoj geopolitičkoj orijentaciji.

influenced by numerous cultures and empires throughout the centuries. Various challenges including foreign invasions, political upheaval, and economic difficulties have created complex layers of impact within the country and have enriched its cultural heritage and shaped its identities. Through diverse governance and independence, the country has not only been an experimental ground for emancipation but also for media disorientation creating images and narratives in which history has been written and interpreted differently by opposing powers, resulting in misunderstanding, biases and increased violence.

The kilim’s common appearance in traditional Serbian homes but also its integral role within Serbian and Yugoslavian court interiors showcased the kilim as a representative ground for the production of values. In the second half of the 19th century, when the influence of Western interests and cultures started to increasingly penetrate the Balkans, the tendency of using European decorative motifs grew to manifest another shift towards a new geopolitical orientation.

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Kralj

Obrenović sa suprugom, Beograd 1900

King Aleksandar Obrenović and his wife, Belgrade 1930

Sledeća strana: Levi ćilim sa bliskoistočnim uticajem, desni ćilim sa evropskim uticajem

Following page: Left kilim with Middle-Eastern influence, Right Kilim with European influence

Jedan medij iz sveta dizajna i arhitekture koji najbolje odražava ovu podeljenu srpsku istoriju je ćilim. Danas na Uneskovoj listi baštine, ovaj oblik tradicionalne srpske tapiserije uvek je bio podložan uticajima Istoka i Zapada, koji su se preplitali u njenu mrežu i pratili novu kontekstualizaciju na teritoriji Srbije. Donesen i podučen srpskom narodu od Osmanlija, ćilim je u početku bio platno za bliskoistočne slikovne jezike, motive i

Kao takav, srpski ćilim ne treba shvatiti samo kao metaforu, već i kao medij izgradnje identiteta. Iako odražava prošlost, ćilim je i materijalizovana, večitopromenjiva projekcija budućnosti. Otvaranjem proizvodnje ćilima - i opšte, tkanja - široj javnosti, možemo pokrenuti i pregovarati o pitanjima učešća sa svima koji stupe u ulogu u ovoj mreži.

As Serbia‘s history spans over two thousand years, beginning with the early Slavic settlements in the sixth century, it has been

One medium from the world of design and architecture that best reflects this divided Serbian history is the kilim. Today listed as UNESCO heritage this form of traditional Serbian tapestry has ever been subject to both influences of East and West interwoven within its web and given a new contextualisation on Serbian territory. Brought and taught to the Serbian people by the Ottomans, the kilim was initially a canvas for middle-eastern image languages, motifs and patterns. The women figures holding the knowledge of weaving became storytellers, confined to the loom as their primary employment at home, but also as protectors and promoters of social relations.

As such, the Serbian kilim is to be understood not merely as a metaphor but as a medium of identity construction. As much as it reflects on the past it is also an ever-changing materialised image projecting a future. By opening up its production - its weaving - to a broader public we can raise and negotiate questions of participation with everyone taking on a role within its web.

“One medium from the world of design and architecture that best reflects this divided Serbian history is the kilim. Today listed as UNESCO heritage this form of traditional Serbian tapestry has ever been subject to both influences of East and West interwoven within its web and given a new contextualisation on Serbian territory.“

Tradicionalna srpska kuća sa ćilimom u izvedbi na arhitektonskom nivou

Traditional Serbian home with kilim performing on an architectural level

Aleksandar

“As a collaborative movement, the kilimproduction will be employed as a vehicle to build one’s own narrative upon its ground. Therefore the intervention within the Serbian Pavillion will materialize through the woven inputs of its visitorscooperating, negotiating and exchanging by weaving”

Kao rezultat, komunikacija unutar paviljona nije razgovor između dve osobe koje se poznaju i koje razumeju simbole i značenje svog jezika, već otvoreni dijalog između mnogih koji su još uvek stranci iz različitih sredina i sa različitim percepcijama. Razgovor koji može biti obeležen tumačenjima i nesporazumima, ali koji pak pronalazi harmoniju u jedinstvu zajednički istkanih temelja naše interakcije.

Nastali pačvork je oličje susreta različitih identiteta i objašnjava lepotu i važnost progresivnog preklapanja heterogenih komponenti koje stvaraju koherentnu sliku. U tom smislu, ćilim, kao medij svih poruka, postaje glavni fokus intervencije, što se bolje može opisati rečima koje bi Maršal Mekluhan upotrebio: Ćilim je poruka!

2.MATERIJALIZACIJA

2.MATERIALISATION

TKANJE

Kao kolaborativni pokret, proizvodnja ćilima će se koristiti kao sredstvo za izgradnju sopstvenog narativa na svom tlu. Stoga će se intervencija u okviru Paviljona Srbije materijalizovati kroz tkane inpute posetilaca – nastale sarađujući, pregovarajući i razmenjujući tkanja:

U okviru ove radionice, tkanje će delovati kao metod komunikacije, kao što je istorija tkanja istorija komunikacije. Tokom godina, tehnološki razvoj tekstilne proizvodnje omogućio je proizvodnju sve finijih tekstila. Prateći napredak u izradi, zauzvrat, omogućio je preciznije ugrađivanje šara i simbola u fino tkane proizvode. Ova koevolucija tehnologije i zanata povećala je rezoluciju proizvedenih slika, omogućavajući sve veći broj paterna, a time i poruka. Poruka čije primarno značenje često ostaje šifrovano za mnoge i koja može poprimiti potpuno drugačija značenja kroz različite asocijacije primalaca. Samo postojanje nečega tkanog sadrži poruku postojanja stvaralaca i svedoči o saradnji mnogih.

ZANAT, TEHNOLOGIJA, MATERIJALNOST

Svako čulo nam omogućava drugačiji pogled na svet. Dolazak u kontakt sa materijom je preduslov za aktivno učešće u paviljonu. Uporedo je i prilika za razumevanje zanata i za otkrivanje njegovih tehnoloških mehanizama. Razboj postaje pandan posetioca, pružajući svoje mogućnosti u rukovanju vremena i tkanja. Ruka istražuje ono što je u domenu mogućnosti, dok um, gotovo meditativno, može da obradi ono što se stvara. Tkanje omogućava ovo svesno suočavanje sa tehnologijom, pojmom koji se danas neretko meša ili poistovećuje sa digitalnosti. Progresivna minijaturizacija tehnologije uklanja je iz spektra ljudske percepcije i stoga se obično smatra nematerijalnom. Činjenica je, međutim, da dok se stepen tehnologizacije povećava, podjednako raste i potrošnja resursa i energije koja pokreće te tehnologije. Kako je čitav životni ciklus tkanog materijala otkriven i prostorno interpretiran unutar paviljona, posetilac se suočava sa materijalnošću i naporom koji je potreban: od resursa do proizvodnje, od proizvoda do upotrebe. Posetioci će komunicirati sa ovim stanjima i procesima kroz dodir, filtriranje, sečenje, kretanje, tkanje i polaganje materijala. „Manus“, ljudski najvitalniji instrument, će napraviti i otkriti promene stanja.

WEAVING

As a collaborative movement, the kilimproduction will be employed as a vehicle to build one’s own narrative upon its ground. Therefore the intervention within the Serbian Pavillion will materialize through the woven inputs of its visitors - cooperating, negotiating and exchanging by weaving:

Within this workshop, weaving will act as a method of communication, as the history of weaving is a history of communication. Over the years, the technological development of textile production allowed the manufacture of ever finer textiles. The accompanying improvement in craftsmanship, in turn, made possible the more precise incorporation of patterns and symbols into the finely woven fabrics. This co-evolution of technology and craft increased the resolution of the images produced, allowing for an ever-increasing number of patterns and eventually messages. Messages whose primary meaning often remains encrypted for many and can take on completely different meanings through the associations of the recipients. But the mere existence of something woven contains the message of the existence of a weaver and thus testifies to the collaboration of many.

As a result, the communication within the pavilion is not like a conversation between two familiar persons who understand the symbols and meaning of their language, but an open dialogue between many who are still strangers from the most diverse backgrounds and with the most diverse perceptions. A conversation that may be marked by interpretations and misunderstandings, but that nevertheless finds harmony in the unity of a jointly woven foundation on which we stand and communicate together.

The resulting patchwork acknowledges this process of diverse identities and explains the beauty and importance of the progressive overlapping of heterogeneous components that create a coherent image. In this sense, the spatialised kilim, as the medium of all the messages, becomes the main focus of the intervention, or to put it in the words Marshall McLuhan would have used: The Kilim is the message!

CRAFT, TECHNOLOGY, MATERIALITY

Each sense allows us a different perspective on the world. Coming into contact with matter is a clear prerequisite for active participation in the pavilion. But it is also an opening for understanding a craft and for revealing its technological mechanisms. The loom becomes a counterpart, granting us its possibilities in handling through time and weaving. The hand explores what is within the realm of possibility, while the mind, almost meditatively, can process what is happening. Weaving enables this conscious confrontation with technology, which today is usually confused or equated with the digital. Technology‘s progressive miniaturization removes it from the spectrum of human perception and is thus usually regarded as immaterial. The fact is, however, that while the degree of technologization increases, the consumption of resources and the energy fueling those technologies equally grows. As the entire lifecycle of the woven is covered and spatially interpreted within the pavilion, the visitor is faced with the materiality and effort needed: from resource to production, from product to use. Visitors will interact with these states and processes by touching, filtering, cutting, moving, weaving and laying of materials. It is the „manus“, the human‘s most vital instrument, that will make and reveal such changes.

reči ,,tehnologija“ Word origin of technology

Uzorni ćilim Typical kilim

Poreklo

3.CILJ 3.GOAL

Iako je snažno vezan za srpsku kulturu, ćilim istovremeno predstavlja uticaj različitih nacionalnosti i identiteta. Simboli i zanatsko umeće ugrađeni u transkulturalnu razmenu tokom sto godina biće inspiracija za dizajn paviljona. Unaprjeđujući ideju da „moderno, raznoliko i inkluzivno društvo“ može postojati samo ako shvatimo da svi delimo zajedničku istoriju, ćilim se može sagledati kao savršen medij za posredovanje u arhitekturi koja neguje upravo takve ideje. Ipak, izgled paviljona nije zamišljen samo tradicionalnim simbolima i materijalima ćilima, već i materijalima i elementima inspirisanim funkcionalnom savremenom radionicom. Uvođenje montažnih i standardizovanih elemenata u arhitekturu prekida tradicionalnu sliku koju ćilim evocira. Naglašavajući činjenicu da je formiranje identiteta stalni nelinearan proces, arhitektura će ukazati: Identitet u izgradnji!

čitaće i transformisati instalaciju različito, ali će ipak doprineti istoj prostornoj konstrukciji u kolektivnom poduhvatu. Danas se ljudi često osećaju zanemarenim urešavanju problema. Osećaju se nemoćno jer je njihov deo problema mali, a obim izazova zastrašujući. Arhitektura ovog paviljona jasno govori da svako može da napravi jednostavne promene koje zajedno čine veliku razliku. Slušanjem i započinjanjem dijaloga uklanjanjem barijera predrasuda i unapred stvorenih shvatanja.

The goal of the pavilion is to create a platform for a collective endeavour in constructing futures together through an intercultural and intertemporal exchange. It critically reflects on the cultural characterisations cemented over the course of history and explores alternative practices for their reinterpretation and translation into material reality.

kilim but of materials and elements inspired by a functional contemporary workshop. There, the introduction of prefabricated and standardized elements to the architecture break with the traditional image that a kilim evokes. Underlining the fact that identity formation is an ongoing non-linear process, the architecture shall express: Identity under Construction!

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Svaki glas, svaka ispletena linija ostavlja trag u demokratskom sistemu

Each vote, each woven line becomes leaves a trace in the democratic system

Cilj paviljona je da stvori platformu za kolektivno konstruisanje zajedničke budućnost kroz međukulturalnu i intertemporalnu razmenu. Paviljon kritički promišlja kulturološke karakterizacije koje su cementirane tokom istorije i istražuje alternativne načine za reinterpretaciju i prevođenje u materijalnu stvarnost.

Intervenciju treba shvatiti kao demokratski prostorni sistem, u kome posetioci svakim „glasom” ili ispletenom linijom ostavljaju svoj trag u paviljonu: kako po njegovoj slici, u smislu pokretanja mašte, tako i po njegovom obliku, u smislu izražavanja forme. U tom pogledu, arhitektura povezuje sliku i formu ugradnjom u jedan prostorni sistem. Ovaj sistem je inspirisan likom i izgledom srpskog ćilima. Specifična primena i pozicija tkanja utiču na promenu funkcije istog. Tkanje služi kao tepih i pre svega čini udobnu osnovu; raste preko klupa i postaje nameštaj; na zidu, njegova funkcija je ograničena na ukrašavanje kroz svoje bogate ornamente. Moglo bi se pomisliti da sam ćilim čini super-površinu koja podržava srpski identitet i čini idealnu osnovu za arhitektonsko eksperimentisanje u okviru laboratorije budućnosti.

Ovaj izraz će biti naglašen takozvanim mekim slojem ove arhitektonske intervencije: U svom programu i atmosferi. Inspirisana prostorima u kojima se nalaze tradicionalna srpska tkačka udruženja, gde se žene i danas okupljaju da prenose svoje veštine, arhitektura paviljona postaje mesto susreta i razmene znanja. Daje prostor obema organizovanim radionicama tkanja od strane stručnjaka, kao i samoinicijativnim eksperimentisanjima na razboju. Ćaskanje, žamor u prostoriji, smeh i zvuci razboja čine suptilne, ali značajne slojeve unutar paviljona. Slojevi koji se često zaboravljaju kao arhitektonski, sve dok nas Piter Zumtor ne podseti na suprotno u svojoj knjizi Atmosfere.

Arhitekte imaju odgovornost da se uključe u diskurs zajednice kako bi zajedno kreirali rešenja koja prevazilaze konvencionalna razmatranja. Stoga stvaramo prostor za delovanje, dok su posetioci aktivni transformatori prostora i atmosfere. Tako se jedan cilj paviljona može jasno navesti: prostor koji konstruiše samog sebe - menja se i razvija tokom vremena. Tokom šestomesečnog trajanja Bijenala, paviljon će biti potpuno transformisan doprinosom njegovih posetilaca - sečenjem, tkanjem, slaganjem -čineći ih autorima njegove arhitekturestvaraocima pačvorka. Različiti posetioci sa različitim pozadinama i različitim očima

The intervention is to be understood as a democratic spatial system, in which with every “vote” or woven line the visitors leave their trace within the pavilion: Both in its image, in the sense of triggering imagination, as well as in its appearance, in the sense of expressing form. In this regard, the architecture connects both image and form by embedding them into one spatial system. This system is in turn inspired by the image and appearance of the Serbian kilim. As diverse as the places of its application, is also the way the traditional woven is used, as it changes through its positioning in the room: As a carpet, it first and foremost forms a comfortable foundation; it grows over benches and becomes furniture itself; on the wall, its function is constrained to decorating through its rich ornaments. One could think that the kilim itself forms a super-surface that supports the Serbian identity and forms the perfect base for architectural experimentation within the laboratory of the future.

Although so strongly connected to Serbian culture the kilim simultaneously represents the influence of diverse nationalities and identities. The symbols and craftsmanship embedded by the transcultural exchange over a hundred years shall be an inspiration for the design of the Pavillion. Enhancing the idea that a “modern, diverse, and inclusive society“ can only exist by understanding that we all share a common history, the kilim is the perfect medium to mediate an architecture that fosters excactly such ideas. Nevertheless, the pavilion‘s appearance is not only conceived by the traditional symbols and materials of the

This expression shall be enhanced by the so-called soft layer of this architectural intervention: In its program and atmosphere. Inspired by the spaces that host traditional Serbian weaving associations, where women still come together today to weave and pass on their skills, the architecture here becomes a meeting place and a place to exchange knowledge: It gives space to both organised weaving workshops by practitioners as to self-initiated experimentation on the loom. The chat, the murmur in the room, the laughter, and the sounds of the loom, all form subtle yet significant layers within the pavilion. Layers one tends to forget are architectural until Peter Zumthor reminds us of the opposite in his book on Atmospheres

Architects have a responsibility to engage in community discourse in order to co-create solutions that go beyond conventional considerations. We therefore create a framework, the visitors are the active transformer of space and atmosphere. Thus one goal of the pavilion can be clearly stated: It is the construction of itself - changing and evolving over time. Over the course of the Biennale’s six months, the pavilion shall completely be transformed by the input of its visitors - cutting, weaving, stacking - making them authors of its architecture, patch-working it. Different visitors with different backgrounds and different eyes will read and transform the installation differently, nevertheless contributing to the same spatial construct in collective endeavor. Today, people often feel irrelevant in solving a problem. They feel powerless because their part of the problem is small and the scale of the challenge is daunting. The architecture of this pavilion clearly conveys that anyone can make simple, small changes that add up to make a big difference simply by listening and starting a dialogue by removing barriers of bias and preconceived notions.

“The vision of a modern, diverse, and inclusive society is seductive and persuasive, but as long as it remains an image, it is a mirage. Something more than representation is needed, and architects historically are key players in translating images into reality.”

-Lesley Lokko

REFERENCE REFERENCES

Christensen, K. (2020, April 27). Weaving and AI. Medium. Retrieved December 19, 2022, from https://towardsdatascience.com/weavingand-ai-35e4801f0473

Colomina, B., & Wigley, M. (2022). Are we human? notes on an archeology of Design. Lars Müller Publishers.

Empathy (Stanford Encyclopedia of Philosophy). (2019, June 27). https://plato.stanford. edu/entries/empathy/

Harari, Y. N. (2022). Sapiens: A brief history of humankind. Signal.

Huizinga, J. (2021). Homo Ludens, a study of the play element in culture (First Paperback Edition). The Beacon Press.

Idvorean-Stefanović, B., & Felbabov, V. (2009). Carpetweaving techniques among the Serbs in Vojvodina. The Museum of Vojvodina.

Jantzen, C. (2013, September 30). Chapter 8: Experiencing and experiences: a psychological framework. Elgar Online: The Online Content Platform for Edward Elgar Publishing.

Quarles, C., & Bois, W. D. E. B. (2022). Of Our Spiritual Strivings (Two Works). Walther Konig.

Morton, T. (2019). Humankind: Solidarity with Non-Human People (Reprint). Verso. Nebojésa Srpska Strana Rata, Drinka Popov, & Gojkoviâc. (2000). The Road to War in Serbia Trauma and Catharsis. Central European University Press EBooks.

Nussaume, Y., Berque, A., Picon, A., & Madec, P.(2021). Milieu et architecture: entretiens avec Augustin Berque, Philippe Madec et Antoine Picon. Hermann.

Szamuely, G. (2013). Bombs for Peace: NATO’s Humanitarian War on Yugoslavia. Amsterdam University Press.

Y.(2020, April 2). Technology & Craft. Medium. Retrieved December 19, 2022, from https:// medium.com/@strangerobot/technology-craftd1f66f10f063

Young, L. (2019). Machine Landscapes: Architectures of the Post Anthropocene. Wiley.

Veselinovic, M. (2014, December 22). Magic and mystery weaved through threads of Pirot carpets CNN. CNN. Retrieved December 19, 2022, from https://www.cnn.com/2014/12/22/ world/europe/pirot-carpets-serbia/index.html

Zuboff, S. (2020). The Age of Surveillance Capitalism: The Fight for a Human Future at the New Frontier of Power (Reprint). PublicAffairs.

SADRŽAJ I

Arhitektura paviljona omogućava stalnu transformaciju samog sebe, pretvarajući se u radionicu proizvodnje forme. Stoga svi elementi paviljona moraju biti opipljivi i savitljivi. Radionica nije zamišljena kao efikasna mašina, već kao kvalitetan prostor koji poziva ljude da u njoj borave i izuče ceo ciklus proizvedenog tekstila koji je prikazan i prostorno interpretiran: od materijala, preko proizvodnje, do proizvoda i konačne upotrebe. Ova odluka stvara provokativnu arhitekturu koja je inspirisana dvema izrazito kontrastnim slikama. S jedne strane, kulturna slika srpskog enterijera ukrašenog bogatim ornamentima ćilima će kod nekih izazvati osećaj doma. S druge strane, imidž mesta proizvodnje čine montažni i standardizovani elementi koji omogućavaju da paviljon postane prava radionica. Na taj način arhitektura dovodi upitanje unapred postavljenu kulturnu sliku i otvara diskusiju o vrednosti istorije i njenoj poziciji u stvaranju prostora. Shvatanja arhitekte o kulturnom identitetu kao aktivnom i trajnom procesu manifestuje se u arhitekturi koja jasno izražava: Identitet u izgradnji. Kako bi se to postiglo, svaki element se pojmi arhitektonski i čini sistem zavisnih i

komplementarnih delova. Na ovaj način svi elementi se istovremeno i međusobno služe.

Platforma (1) je teren za transformaciju gde se odvija tkanje i gde se novotkani komadi spajaju sa podlogom. Skladište materijala (2) mora biti ,,ubrano“ kako bi se omogućila pomenuta transformacija uz promenu samog izgleda. Razboji (3) emancipuju posetioce da učestvuju u prostornoj aproprijaciji platforme. Novi tkani tekstil (4) svedoči o interkulturalnom i intertemporalnom razgovoru koji se odvija tokom intervencije u paviljonu. Celokupnost ovih elemenata postaje očigledna kroz kruženje (5) u prostoru.

The architecture of the pavilion allows the constant transformation of itself, turning it into a workshop of space production. Therefore all its elements have to be tangible and malleable. Since the workshop is not conceived as an efficient machine, but as a qualitative space that invites people to stay, almost the entire cycle of the textiles produced is depicted and spatially interpreted: from the material, through production, to the product and the final use. This decision creates a provocative architecture that is inspired by two stark contrasting images. On the one hand, the cultural image of a Serbian interior adorned with the rich ornaments of the kilim will evoke a feeling of home to some. On the other hand, the image of a construction site is made by prefabricated and standardized elements that allow the pavilion to become a real workshop. Thereby the architecture challenges the preset cultural image and opens up the discussion of history‘s value and its position in space-making. The architect‘s understanding of cultural identity as an active and ongoing process manifests itself in the architecture that clearly expresses: Identity under construction. To

achieve the latter each element is understood architecturally and forms a system of parts that are mutually dependent and complementary. Thus all of them serve and are being served simultaneously.

The platform (1) is the ground for transformation where the weaving takes place and the newly woven pieces continuously patchwork the surface. The material storage (2) has to be harvested to allow the aforementioned transformation while changing its appearance itself. The looms (3)emancipate the visitors to take part in the spatial appropriation of the platform. The new woven textiles (4) give evidence to the intercultural and intertemporal conversation that is happening during the intervention in the pavilion. The totality of these elements becomes apparent through circulation (5) in space.

Ćilim sa evropskim uticajem Kilim motif with European influence

1.ZAJEDNIČKO TLO: TKANA PLATFORMA 1.COMMON

Platforma sa tkanjem je zajednička osnova na kojoj stojimo, razmenjujemo, komuniciramo i pletemo zajedno. Ona je pandan svetlarniku paviljona, koji osvetljava centralni element, konstruisan tragovima srpskog nasleđa. Pačvork od ćilima čiji različiti paterni i materijalnosti predstavljaju presek preovlađujućih vrednosti, pozicija i razmišljanja koja su upisana u istoriju Srbije.

Još od svoje pojave u Pirotu, ekspanzijom Osmanskog carstva na Balkanu u 14. veku, ćilim je predstavljao obračun različitih političkih snaga i kulturnih uticaja na srpskoj teritoriji. Nakon transfera znanja o tehnikama proizvodnje iz osmanske kulture na žene područja, uz podršku srpskih ustanova, očuvani su dominantni motivi i boje koje ukazuju na orijentalne uticaje u Srbiji. Uloga ćilima uprostorijama srpskih i jugoslovenskih objekata od političkog značaja prikazala je ćilim kao reprezentativnu podlogu za uspostavljanje odluka i vrednosti. U drugoj polovini 19. veka, kada je uticaj zapadnih interesa i kultura sve više prodirao na Balkan i nakon zavšetka vladavine Osmanlija, rasla je tendencija korišćenja evropskih dekorativnih motiva.

Time je manifestovano pomeranje ka novoj geopolitičkoj orijentaciji.

Platforma ćilima u srcu paviljona istovremeno je svedočanstvo o etnički slojevitoj prošlosti Srbije, ali i medij konfrontacije sa sadašnjom socijalnokulturološkom slikom. Kao zajednički napor različitih srpskih tkačkih inicijativa, kolektiva i akademija, pačvork otkriva različite tehnike tkanja, materijalnosti kao i simbole koji su ugrađeni i oblikovani tokom vremena. Drevne proizvodne tehnike i motivi susreću se sa umetničkom interpretacijom kao i sa savremenim načinima izrade. Ipak, što je najvažnije, niti utkane u platformu i oko nje – njeni materijalni i informativni inputi – biće lično reinterpretirani, reartikulisani i rekombinovani od strane posetilaca paviljona kako bi se kolektivno pregovaralo o ovoj zajedničkoj osnovi i preuzela uloga u njenoj daljoj izgradnji.

The woven platform is the common ground on which we stand, exchange, interact and weave together. It is the counterpart to the pavilion‘s skylight, which illuminates the central element, constructed by traces of Serbian heritage. A patchwork of kilims whose different patterns and materialities represent a cross-section of prevailing values, positions and thoughts that are inscribed into Serbia’s history:

Ever since its introduction to Pirot by the expansion of the Ottoman Empire in the Balkans in the 14th Century, the kilim has been a representation of the showdown of different political forces and cultural influences on Serbian territory. After the knowledge transfer of manufacturing techniques to local women by the Ottomans, and the further encouragement of kilim manufacture by Serbian authorities, it was mostly oriental motifs and colours that were prevailing underlining the middle eastern influence in Serbia. Its integral role in Serbian and Yugoslavian court interiors showcased the kilim as a representative ground for decision-making and the production of values. In the second half of the 19th century, when the influence of Western interests and cultures started to increasingly penetrate the

Ćilim sa bliskoistočnim uticajem Kilim motif with Middle-Eastern influence

Balkans and the rule of the Ottomans ended, the tendency of using European decorative motifs grew to manifest the shift towards a new geopolitical orientation.

The platform of kilims at the heart of the pavilion is both testimony of Serbia’s ethnically layered past as well as a medium of confrontation with the present cultural image it has created. As a collective effort between various Serbian weaving initiatives, collectives and academies, the patchwork exposes different weaving techniques, materialities as well as the symbols that are embedded and that have been shaped over time. Ancient production techniques and motifs meet their artistic interpretation as well as contemporary ways of producing. Yet most importantly the threads interwoven in and surrounding the platform - its material and informational inputs - are to be personally reinterpreted, rearticulated and recombined by the visitors of the pavilion to collectively negotiate on this common ground and take on a role in its further construction.

2.DEPOZIT MATTERIJALA: ZID OD NITI

2.MATERIAL DEPOSIT: THE WALL OF THREADS

consecutive knots are made and then the thread is broken. This manner ofspinning was used for the spinning ofthe warp since it could be spun much thinner, straighter, stronger. For carpets, the best processed smooth and strong threads were prepared from the best quality hemp fibre.

Da bismo gradili, moramo da se materijalizujemo. Zid od niti koji okružuje centralnu platformu je i izvor materijala za postojeće ćilime kao i skladište materijala za laboratoriju kojoj služidepozit informacija za dalju transformaciju oformljenog zajedničkog tla. Kao takav, zid od niti je podložan kontinuiranoj berbi materijala i pokreće prostornu operaciju koja postepeno izlaže originalnu strukturu paviljona svojim posetiocima dok istovremeno hrani rast platforme tokom vremena.

In the second variation ofthe procedure, the fibres are pulled out and straightened with the left hand, while the right hand turns the spindle which is almost in a horizontal position, at the same time, spinning the thread. The spindle lies byits upper part (handle) in the palm, and the spinner, bycircular movements, primarily with the thumb and index finger, rolls the spindle in her hand (Photograph 16). The thread is shaped and let go bythe left hand, while the thread wound round the body ofthe spindle is not knotted, but is also spun at the same time. This gives an Sdirection to the twists.69 When the spindle is full of thread, the part from the upper portion ofthe spindle is unwound and wound around the stomach ofthe spindle, and then once again wound and spun. This second ofthe two basic and traditional techniques has been better preserved in the Vojvodina region. Spinning with the spindle in a horizontal position is better for obtaining softer, less spun threads which can be used for various purposes, but not for the warp in weaving (Drawing 17, 17а).

Ipak, u svom početnom stanju, zapremina koju niti zauzimaju izgleda beskrajno, granice paviljona se ne mogu naslutiti. Niti štite i izoluju unutrašnjost da bi se stvorio intiman i autonoman prostor, udoban, koji omogućava da se pobegne iz difuzne oblasti Đardini. Ipak, polako ali sigurno napustiti ova zona udobnosti se mora napustiti kako bi se kritički preispitivalo i promišljalo: nit po nit, misao po misao, treba pokupiti i reinterpretirati kako bi se postalo deo nove priče unutar tkanog komada. Kako posetioci skidaju konce da bi sa njima tkali na centralnoj platformi, zid postaje sve propusniji, stvaraju se procepi. Berba materijala je u punom

toku. Pravljenje prostora se nastavlja. Ipak, prostor pronalazi svoju iscrpljenost. Potpuno iscrpljivanje zida znači potpuno izlaganje originalne arhitekture paviljona. Arhitektonska intervencija u njoj je postala izokrenuta: Okružena očišćenom stazom, platforma je prerasla u volumetrijski tekstilni pejzaž.

In order to build, we need to materialize. The wall of threads surrounding the central platform is both a material source to the existing kilims as well as the material storage to the laboratory it serves - a deposit of informational inputs to further transform the embedded shared ground. As such the wall of threads is subject to continual material harvesting and triggers a spatial operation that gradually exposes the pavilion’s original structure to its visitors while feeding the platform’s growth over time.

Yet in its initial state, the volume the threads occupy seems endless, the boundaries of the pavilion not graspable. The wall buffers and isolates the interior to create an intimate and autonomous space of comfort that allows one to escape the diffuse area of the Giardini. Nonetheless, one must slowly but surely leave this comfort zone of the given in order to critically question and rethink it: Thread by thread, thought by thought, is to be picked up and reinterpreted to become part of a new story within a woven piece. As visitors take down the threads to weave with them on the central platform, the wall is becoming more permeable, paths are created. The mining for materials is in full progress. The space-making proceeds.

Yet like every mine, this one too finds its exhaustion. The wall’s full depletion means the full exposure of the pavilion’s original architecture. The architectural intervention within it has become inverted: Surrounded by a cleared path, the platform has grown into a volumetric textile landscape.

Branje Materijala, procesovanje, prostorna transformacija u toku vremena Material Mining and Processing, Spatial transfomation over time

Branje materijala, ruka i konac Material Mining, The hand and the thread

3.ALATI ZA PRILAGOĐAVANJE PROSTORA: RAZBOJ 3.TOOLS OF SPATIAL APPROPRIATION: THE LOOM

Razboj, posrednički element između zida od niti i tkane platforme deluje kao alat za prilagođavanje prostora i produkciju. Nekoliko razboja različitih veličina zauzimaju platformu u raštrkanom rasporedu dok posetioci sede za njima, dok ih koriste i hrane koncima. Svaka nit čini jedan informativni ulaz u priču omnogima. Tkanje u paviljonu znači rekombinovanje i reinterpretaciju onoga što postoji i onoga što delimo, pronalaženje novih načina i doprinos tkanom delu koji će transformisati platformu u sve inkluzivnije okruženje.

Iako tkanje kao drevni zanat zahteva znanje i praksu, njegova primena u paviljonu može i mora biti intuitivna. Ljudi su pozvani da učestvuju u nekoj od dogovorenih radionica – kako bi gledali i učili kolektivno jedni od drugih i prateći stručnost različitih profesionalaca. Kao i da sami eksperimentišu. Pošto je jedan od ciljeva paviljona da promeni perspektive i paradigme posetilaca kroz iskustvo koje zahteva vreme i pažnju, lični eksperiment na razboju je od ključnog značaja. Ponavljajući pokreti polaganja - nit po nit, dovodi do meditativnog stanja uma. Fokus se pomera sa okolnog prostora na ono što

ruke mogu da urade da bi ga promenile. Čovek se suočava sa svojim ličnim odlukama, ograničenim na sopstvenu brzinu proizvodnje.

Razboj je mašina koja deluje u ljudskoj razmeri, što podstiče na posmatranje čovečanstva i tehnologije u stalno postojećoj koevoluciji i razumeme tehnike utom pogledu. Razboj otkriva ono što je danas skriveno iza crnih kutija: svoju tehnologiju, razmeru i mehanizam, šta je i šta radi. Alat je dokučiv i prisvojiv od strane korisnika u toku rada - uslovi koje postavljamo pred laboratoriju budućnosti. Kako je deo kontinuirane tehnološke evolucije, arhitektonska disciplina se suočava sa novim tehnološkim alatima razumevanja i kreiranja prostora. Samo ako je tehnologija dostupna svima, stvaranje prostora može biti participativno.

The loom as the mediating element between the wall of threads and the woven platform acts as a tool for space appropriation and production. Several looms of different sizes occupy the platform in a scattered arrangement and are to be sat on, used and fed with threads by the visitors. Each thread forms one informational input to a story of many. Weaving in the pavilion means recombining and reinterpreting what is there and what we share, finding new ways of doing and contributing to a woven piece that will transform the platform into an increasingly inclusive environment.

Even though weaving as an ancient craft requires knowledge and practice, its application in the pavilion can and must be intuitive. People are equally invited to participate in one of the arranged workshops -in order to watch and learn collectively from each other and from different professionals’ expertise - as well as to experiment on their own. As it is one of the pavilion’s goals to shift the visitors’ perspectives and paradigms through an experience that requires time and attention, the personal experiment at the loom is crucial. The repetitive gestures of laying thread by thread lead to a meditative state of mind. The focus shifts from the

surrounding space to what the hands can do in order to change it. One is confronted with one’s personal decisions, limited to one’s own speed of production.

The loom is a machine performing very much on the human scale, which helps to remind us to look at humanity and technology in an ever-existing co-evolution and to understand technicities in this regard. As such the loom exposes what is today hidden behind black boxes: Its technology, scale and mechanism, what it is and what it does, is comprehensible to and appropriable by its users, a demand we place on the laboratory of the future. As we are part of a continuous technological evolution, the architectural discipline is confronted with new technological tools of understanding and creating space. Only if technology is accessible for all, space making can be participative.

Razboj, S The Loom, S

Razboj, XL The Loom, XL

119

Transformativni

proces kroz vreme: Razboj kao alat za prilagođavanje prostora

A transformative process over time: The Loom as tool for space appropriation

4.PROSTORNI OTISAK: PROIZVOD LABORATORIJE

4.SPATIAL IMPRINT: THE PRODUCT OF THE LABORATORY

Svaki novotkani proizvod oblikuje i postaje deo prostora paviljona, njegove istorije i budućnosti tokom 18. Bijenala. On se valja, slaže ili presavija i svesno pozicionira unutar ambijenta - pretvarajući se u tekstilni pejzaž. Svaki posetilac postaje autor ostavljajući za sobom prostorni otisak na centralnoj platformi koji čeka da se po njemu prošeta, na njega nasloni, da se zauzme ili da se na njemu još tka. Istorija se u ovom kontekstu shvata kao kontinuirani proces ka budućnosti. U ovom procesu se nikada ne može razumeti budućnost, bez razumevanja prošlosti.

Svi tkani komadi koje posetioci paviljona proizvedu kroz zajednički trud, koji se prenosi sa jedne osobe na drugu, čine pačvork različitih pozicija, stavova –razgovor sa svakom tkanom linijom je reakcija na prethodnu. Tkanine, napravljene od materijalnih komponenti koje se nalaze u postojećoj platformi, mogu dodati, suprotstaviti se, ponoviti ili proširiti kulturnu sliku predloženu i upisanu u prvi, osnovni sloj tkanja. Deo kolektivno napravljenih produkta izgledaće nepotpuno ili manjkavo, ali zadivljujuće u svojoj disharmoniji.

Slika repetitivnih i jasno organizovanih obrazaca klasičnih ćilima se istovremeno razbija i dopunjava jukstapozicijom sa improvizovanom, promenljivom savremenom slikom koja uzalud pokušava da predstavi totalitet učesnika. Ipak, ovo potvrđuje nepotpunost reprezentacije i objašnjava njenu snagu. Lični stav posetilaca o onome sa čime se suočava biće jedan od mnogih koji karakteriše deo psihologije kolektivnog napora. Produkcija kroz raznovrsne identitete pokreće pomak od dvostruke ka kolektivnoj svesti unutar srpskog paviljona.

Each newly woven product shapes and becomes part of the pavilion’s space, its history and future during the Biennale 2023. It is rolled, stacked or plied and positioned consciously within the setting - transforming it into a textile landscape. Each visitor becomes an author leaving behind a spatial imprint on the central platform, waiting to be walked on, leaned on, occupied or woven over. History in this context is understood as a continuous process towards the future. In this process, we can never understand the future, without understanding the past.

As all woven pieces produced by the visitors are a collaborative effort, passed from one person to the next, they form a patchwork of different positions - a conversation with each woven line being a reaction to the last. Made out of the material components found in the existing platform, they may add to, oppose, repeat or extend the cultural image proposed and inscribed into this basic layer: Some of the collectively-made objects will appear incomplete or flawed, yet captivating in their disharmony. The image of repetitive and clearly organised patterns of the classical kilims is simultaneously broken and complemented by the juxtaposition with an improvised, changing contemporary image

that tries in vain to represent the totality of the participants. Nonetheless, this acknowledges the incompleteness of the representation and explains its strength.

The visitors’ personal take on what they are confronted with is a gaze of many which is to become part of a whole through collective effort. A diverse identity production triggers a shift from a double to a collective consciousness within the Serbian pavilion.

Transformacija platforme kroz vreme - Prostorni otisci Spatial imprints transforming the platform over time

5.OTKRIVANJE PAVILJONA: PRISTUP I CIRKULACIJA

5. EXPLORATION OF THE PAVILION: ACCESS AND CIRCULATION

Cirkulacija kao istraživanje povezuje različite elemente paviljona i čini ih uočljivim kao celinu. Ovo istraživanje počinje se ulaskom u pretprostor koji zahteva pre svega svesno rasterećenje za ono što sledi, ostavljajući cipele iza sebe. Čovek se psihički priprema da provede vreme u paviljonu. Nekoliko koraka dalje, blago nagnuta rampa vodi kroz dva metra debeo, tamponski zid od niti, ostavljajući posetioca na mekom i povišenom podu od tekstila. Stopala osećaju taktilnu razliku dok se kreću dalje, dok uši opažaju novu akustičnu postavku koju volumen niti donosi u prostor.

Centrirana platforma poziva posetioce da hodaju dalje, sednu, biraju niti sa bokova platforme, tkaju ili jednostavno posmatraju. Ipak, napuštanje platforme jeste opcija: oni koji žele da istraže nepoznate granice paviljona spuštaju se u prostor sa nitima - skladište materijala, i postaju deo zida od niti. Oni doživljavaju još jedan pogled od spolja: skriveni kao u šumi, mogu da uberu niti kako bi raščistili pogled na platformi. Kretanje i branje materijala otvara nove načine pristupa prostoru. Kako vreme napreduje, ova prostorna operacija se nastavlja. Sami posetioci su arhitekte koji projektuju stazu

oko platforme, raščišćavaju je i cirkulišu da bi konačno otkrili originalnu strukturu srpskog paviljona.

Circulation as an explorative practice binds together the pavilion’s different elements and makes them perceptible as a whole. One starts this exploration by entering the vestibule which requires first of all the conscious freeing up for what is to come by leaving one’s shoes behind. One mentally prepares to spend time in the pavilion. A few steps further on, the slightly inclined ramp leads up through the two-meter-thick, buffering wall of threads, leaving the visitor on a soft and elevated textile floor. The feet feel the tactile difference as they move on, while the ears perceive the new acoustic setting the volume of threads brings to the space.

The centred platform invites to walk further, sit down, pick threads from the surrounding sides, weave or simply to watch. Yet leaving the platform remains always an option: Those who want to explore the unknown boundaries of the pavilion descend into the material storage and become part of the wall of threads. They experience another view from outside: Hidden like in a forest, they can harvest it to clear the view on the platform.

Here, movement and the continuous mining of material open up new ways of accessibility. As time progresses, this spatial operation proceeds. The visitors themselves

are the architects to design the path around the platform, clearing it while circulating it to finally expose the original structure of the Serbian pavilion.

Ljudska interakcija: Noge na mekoj površini platforme

Human Interaction: The feet and the platform‘s soft ground

Ljudska interakcija: Ruka i razboj

Human Interaction: The hand and the loom

Ljudska interakcija: Telo i niti Human Interaction: The body and the threads

Ljudska interakcija: Međusobna interakcija Human Interaction: The one with the other

Stalno promenljivi paviljon, transformisan od strane posetioca An ever-changing pavilion transformed by the input of its visitors

Transformacija paviljona kroz vreme: Dan 1 The pavilion‘s transformation over time: Day 1

Transformacija paviljona kroz vreme: Dan 90 The pavilion‘s transformation over time: Day 90

Transformacija paviljona kroz vreme: Dan 180 The pavilion‘s transformation over time: Day 180

METODOLOGIJA U KONCEPTUALIZACIJI I OPERACIONALIZACIJI METHODOLOGY IN CONCEPTUALIZATION AND OPERATIONALIZATION

U profesiju koja se oslanja na utemeljenje, i konceptualno i fizički, fluidniji oblici teritorije, identiteta i epistemologije mogu izgledati preteće. Ali oni takođe mogu biti uzbuđujući faktori. Ponovno promišljanje termina i alata, prostora radionice, kao i ivica naše discipline je moćan način da se ponovo otkrije ne samo ono što arhitekturu čini posebnom, već i gde se ona susreće i stapa sa drugim disciplinama na načine koji nas sve obogaćuju.

Multikulturalni tim i njegovo proširenje na multidisciplinarne konsultante pomogli su razvoju paviljona kroz formaciju prikladnu cilju paviljona - premošćavanje kulturoloških razlika kroz kolektivno stvaranje unutar srpske radionice.

For a profession that relies on grounding, both conceptually and physically, more fluid forms of territory, identity and epistemology can seem threatening. But they can also excite. Rethinking the terms and tools, as well as the edges of our discipline is a powerful way to rediscover not only what makes architecture distinct, but also where it meets and merges with other disciplines in ways that enrich us all.

The multicultural team and its extension to multidisciplinary consultants has aided the development of the pavilion as such formation is appropriate to the goal of the spacebridging of cultural differences through a collective crеation inside a Serbian workshop.

BIENNALE THEME

OPEN CALL

INPUT KEYWORDS

IDENTIFICATION OF THE THEME

THEMATIZATION CONCEPT DESIGN FIRST PROPSAL DISCUSSION WITH THE JUSRY AND THE COMMISIONER

RESEARCH DESIGN MANIFESTO MEETINGS WITH CONSULTANTS

SPATIAL ORGANIZATION JURY SUGGESTIONS EXTENSION OF THE NEW TEAM

REIDENTIFICATION OF THE THEME CONCEPT DESIGN REVISION REVIZED SPATIAL ORGANIZATION

DETAILED DESIGN CONSTRUCTION DYNAMICS PLAN BILL OF QUANTITIES

IDENTIFICATTION OF ELEMENTS

PROCUREMENT & CONSTRUCTION LIST

DEFINITION OF ART PIECE(S)

MARKET RESEARCH TALKS WITH CONSULTANTS

TECHNICAL DOCUMENTATION PROGRAMME CONCEPTUALIZATION

TALKS WITH (WEAVING) ARTISTS

CHECKING GUESTS AVAILABILITY SHIPPING LOGISTICS TALKS WITH CONSULTANTS

PROGRAMME PROPOSAL

CONCEPT DEVELOPMENT PACKAGE FINAL PROPSAL

CONTRACT SIGNING CONTRTCTS WITH THIRD PARTIES (WEAVING ARTISTS)

PROCUREMENT OF MATERIALS CREATION OF THE PATCHWORK

PROJECT DEVELOPMENT SHIPPING OF PRE-MADE PIECES ASSEMBLING IN THE PAVILION

NECESSARY AVANS PAYMENT (ARTISTS & PROCUREMENT)

TEAM 1 (SUPERVISION) ARRIVAL

TEAM 2 (REMAINING AUTHORS & CRUCIALS MEMBERS) ARRIVAL

OPENING OF 18. VENICE ARCHITECTURE BIENNALE

PREDLOŽENE AKTIVNOSTI - ŽIVOT PAVILJONA

SUGGESTED ACTIVITIES - THE LIFE OF THE PAVILION

PREDLOŽENE AKTIVNOSTI - ŽIVOT PAVILJONA

SUGGESTED ACTIVITIES - THE LIFE OF THE PAVILION

U okviru šestomesečnog trajanja 18. arhitektonskog bijenala u Veneciji, u paviljonu (radionici) Srbije predivđene su grupne aktivnosti. Podsticaj na zajedničko stvaralaštvo pružiće primer kolaborativnog produkovanja.

Radionice tkanja i razgovori sa umetnicima preporučene su aktivnosti koje bi se mogle održavati mesečno.

During the six-months of the 18th Architecture Biennale in Venice, group activities are planned in the pavilion (workshop) of Serbia. Encouraging co-creation will provide an example of collaborative production.

Weaving workshops and artist talks are the recommended activities that could be held monthly.

20. maj 20 May 20. jun 20 June 20. jul 20 July 20. avgust 20 August

OPENING OF 18. VENICE ARCHITECTURE BIENNALE

Trajanje paviljona

Duration of the pavilion

WEBSITE UPLOAD: PATCHWORK STAGE 0

Virtualni život Pačvorka Virtual life of the Patchwork

1. jun 1 June 3. 4. jun 3, 4 June

1. 2. jul 1, 2 July

WEEKEND WORKSHOP 1: WEAVING LESSON

PATCHWORK DOCUMENTATION STAGE 1

WEEKEND WORKSHOP 2: WEAVING LESSON

PATCHWORK DOCUMENTATION STAGE 2

WEBSITE UPLOAD: PACHWORK DEVELOPMENT 1

WEBSITE UPLOAD: PACHWORK DEVELOPMENT 2

5. 6. avgust 1, 2 August 2. 3. septembar 2, 3 September

WEEKEND WORKSHOP 3: WEAVING LESSON

sredina avgusta mid August

7. 8. oktobar 7, 8 October 2. 3. novembar 7, 8 November

ROUNDTABLE TALK: TANGABLE AND NON-TANGABLE VALUES OF THE PATCHWOK

Suggested available guests: Gordon Berger

PATCHWORK DOCUMENTATION STAGE 3

WEEKEND WORKSHOP 4: WEAVING LESSON

PATCHWORK DOCUMENTATION STAGE 4

WEEKEND WORKSHOP 5: WEAVING LESSON

PATCHWORK DOCUMENTATION STAGE 5

WEEKEND WORKSHOP 6: WEAVING LESSON

20. septembar 20 September 20. oktober 20 October 26. novembar 26 November 85th BIRTHDAY OF THE SERBIAN PAVILION

PATCHWORK DOCUMENTATION STAGE 6

WEBSITE UPLOAD: PACHWORK DEVELOPMENT 3

WEBSITE UPLOAD: PRODUCT DEVELOPMENT 4

WEBSITE UPLOAD: PRODUCT DEVELOPMENT 5

WEBSITE UPLOAD: FINAL PRODUCT

IDEJNI PROJEKAT CONCEPT DESIGN

1.PLAN, MATERIJAL

1.PLAN, MATERIAL

Podužni presek 1:100 Longitudinal Section 1:100

Poprečni presek 1:100 Cross Section 1:100

420 400 180 180 42 420 200 380 180 42

Uveličan prikaz platforme 1:10

Zoom-in Platform 1:10

Uveličan prikaz raspreda 1:10 Zoom-in Loom 1:10

1.LOGISTIKA

1.LOGISTICS

KONSTRUKCIJA

Prostorne intervencije unutar paviljona oslanjaju se na dva konstruktivna elementa -platformu i zid od niti. Struktura oba elementa je zamišljena kroz module, komade koji se ponavljaju, lako slažu, otpremaju i sklapaju pri dolasku u Đardini.

PLATFORMA

Potkonstrukcija platforme se može formirati na dva načina kako bi se postigao zamišljeni oblik i visina. Koristeći sistem građevinske skele može se postići adekvatan oblik platforme. Ovaj sistem se jednostavno sklapa i može se efikasno pakovati za otpremu. Alternativno, statički otpornija potkonstrukcija može se napraviti od čeličnih okvira. Svaki okvir se sastoji od 5 podjedinica, a svaka dva okvira povezana su dodatnim čeličnim profilima na udaljenosti od 40cm. Sistem je dizajniran za lako slaganje.Oba rešenja potkonstrukcije bi trebalo obložiti OSB drvenim pločama koje stvaraju podlogu za pačvwork. Između drveta i pačvorka postavljen je sunđer od 5 cm. Za platformu se koristi 40 OSB ploča (120k250cm) i 22 sunđera (100k250).

THE THREAD VALL

Zid od navoja je napravljen od 200km pamučnih konaca koji vise, ravnomerno raspoređeni na površini plafona od oko 100 kvadratnih metara koja okružuje svetlarnik. Kako bi se minimalizovali zahvati bušenja na postojećem plafonu, u paviljonu je postavljen modularni spušteni mrežasti plafon. Sa ovih visećih mrežastih ploča (60k60cm), povezanih Armstrong sistemom, vise obojeni pamučni konci (ø6mm). Težina niti je 2kg po 1 kvadratnom metru, odnosno 1,2kg po mreži. Sistem spuštenih plafona može se efikasno spakovati i lako se montira u roku od 3 do 4 dana.

PAČVORK

Pačvork se sastoji od 30 povezanih ćilima. Većina ovih komada će biti spojena zajedno pre transporta, ostavljajući 4 nepovezana dela Patchvorka da se transportuju kao odvojene rolne. Po donošenju u paviljon, nakon što se završe svi ostali radovi, 4 dela će biti povezana i montaža srpskog paviljona biće završena.

Potkonstrukcija platforme Opcija 1: Skela

Platform Structure Option 1: Scaffolding

Potkonstrukcija platforme Opcija 2: Prefabrikovana čelični ramovi

Platform Structure Option 2: Pre-fab Metal framework

Elementi konstrukcije spremni za transport i spajanje u paviljonu

Puzzle pieces ready for shipping and assembling at the pavilion

STRUCTURES

The spatial interventions within the pavilion rely on two structural elements - the platform and the wall of thread. The structure of both elements is imagined throug modula, repetitive pieces that are easy to stack, ship and assamble once they arrive to Giardini.

THE PLATFORM

The substructure of the platform can be formed in two ways in order to achieve its envisioned shape and height. A system of scafolding elements can be assembled to create the adequate shape for the platform. It is easily assembled and can be efficiently packed for shipping. Alternatively, the statically more relient substructure can be created through steel frames. Each frame consists of 5 subunits, and each two frames are connected additional steel bars at the distance of 40cm. The system is designed for easy stacking. Both substructures are covered with OSB wooden boards that create a base for the Patchwork. Between the wood and the patchwork a 5cm sponge layer is positioned. Forty OSB boards (120x250cm) and 22 sponge boards (100x250) are used.

THE THREAD WALL

The thread wall is made out of 200km of cotton threads hanging, evenly spread over the ceiling surface of approximately 100 square meters surounding the skylight. In order to minimalize drilling interventions on the existing ceiling, a modular suspended mesh ceiling is installed in the pavilion. From these suspended mesh boards (60x60cm), connected with an Armstrong system, colored cotton threads (ø6mm) are hung.The weight of the threads equals 2kg per 1 square meeter, which is, 1,2kg per mesh.

The suspended ceiling system can be effectively packed and can be easily assebled within 3 to 4 days.

PATCHWORK BASE

The patchwork base conists of 30 connected kilim pieces. Most of these peaces will be stiched together before shipping, leaving 4 unconnected pieces of the patchwork to be transported as separate rolls. Once brought in to the pavilion, after all other works are done, the 4 pieces will be connected and the assembling of the Serbian pavilion will be completed.

Podloga pačvorka Pachwork Base

2.PREDMER SA CENAMA I GANTOGRAFKSI PRIKAZ

2.BILL OF QUANTITIES AND GANTT DIAGRAM

ZID NITI

WALL OF THREADS

1.Pamučni konac (550cm, O6mm)

1.Cotton thread (550cm, O6mm)

2.Viseći plafon (mreža)

2.Suspended ceiling (mesh)

PLATFORMA RADIONICE

THE WORKSHOP PLATFORK

3.Potkonstrukcija platforme i rampi 3.Platform and ramp structure

4.Obloga platforme 1 (OSB) 4.Platform surface 1 (OSB)

5.Obloga platforme 2 (Sunđer 5cm)

5.Platform surface 2 (Sponge 5cm)

5.Varenje i pakovanje 5.Welding and packing

EKSPONATI

THE EXHIBITS 8.Pečvork ćilim 8.Patchwork kilim 9.Autorski honorar 9.Authors‘ fee 10.Horizontalni razboj 10.Horizontal loom 11.Vertikalni razboj 11.Horizontal loom

12.Kamera za dokumentaciju procesa 12.Camera for process documentation

Izvođački radovi Exectuion works

Transport Shipping fee

Pamučne niti različitih boja vise sa mrežastog spuštenog plafona i mogu se povlačiti i seći pa zatim koristiti za tkanje u razbojima. Cotton threads of different colors hang from the mesh suspended ceiling and can be pulled and cut and then used for weaving in the looms.

Količina Quantity

Jedinična cena Price per unit

Ukupna cena Total price Opis Description

Platforma 21.5x4.25 metara služi kao podloga prostora za radionicu. Potkonstrukciju platforme je sačinjena od čeličnih ramova dimenzija 40x40mm (H50cm) zavarenih u element dimenzija 200x120cm. Potkonstrukcija je sačinjena od 36 ovakvlih elemenata.

Čelična potkonstrukcija prekrivena je OSB pločama (120x250cm) i pločama sunđera (100x220cm) preko kojih se prostire mozaik od ćilima (Patchwork). Pristup platformi obezbedjenj je rampama pozicioniranim ispred glavnog ulaza i izlaza za evakuaciju. 21.5x4.25m platform serves as the base of the workshop space. The substructure of the platform is made of 40x40mm steel frames (H50cm) welded into an element measuring 200x120cm. The substructure is made of 36 such elements.

The steel substructure is covered with OSB boards (120x250cm) and sponge boards (100x220cm), over which a carpet mosaic (Patchwork) is spread. Access to the platform is provided through ramps positioned in front of the main entrance and the emergency exit.

Mozaik od ćilima 21.5 x 4.25 metara. Pojedinačni delovi su dimenzija 69 x 425cm i izrađuju ih sručnjaci iz različitih delova Srbije pod kordinacijom profesora Fakulteta Primenjenih Umetnosti. U izradi ćilima učestvuje 5 osoba u periodu od 3 meseca. Razboji korišćeni za tkanje će biti transportovani zajedno sa mozaikom u Veneciju gde će služiti kao eksponati Paviljona Srbije. Razboji će se koristiti u prostoru za izradu novih tkanja.

Kilim mosaic 21.5 x 4.25 meters. Individual parts measure 69 x 425 cm and are made by crafts(wo)men in different parts of Serbia under the coordination of professors from the Faculty of Applied Arts. Five people will participate in the making of the kilims over a period of 3 months. The looms used for weaving will be transported together with the mosaic to Venice, where they will serve as exhibits of the Serbian Pavilion. Looms will be used in the area to make new weavings.

3 kamere suspendovane u prostoru iznad platforme

3 cameras suspended in space above the platform

Izvođački radovi se računaju u dnevnim nadoknadama za rad u inostranstvu

Execution works are calculated in daily fees for jobs aborad

Transport se vrši šlep kamionima do 50 kubnih metara.

Shippings are done with loading trucks up to 50 cu.m.

385KG (200km) - 1538 klupka (po 250g) 385KG (200km) - 1538 thead balls (250g each) 90m2 90m2 1 1 40 x 120/250 (18mm) 40 x 120/250 (18mm) 50 x 100/220 (50mm) 50 x 100/220 (50mm) 1 1 31 komada (jedan komad je 69x400cm) 31 pieces (one piece is 69x400cm) 1 1 3 3 3 3 3 3 5 radnika x 10 dana 5 workers x 10 days 2 (1 šleper po pravcu) 2 (1 truck per way)

938 RSD / kg 8 EUR / kg 9945 RSD 85 EUR / m2 320 000 RSD 2735 EUR 3220 RSD 27.5 EUR 1750 RSD 15 EUR 600 000 RSD 5130 EUR 30 000 RSD 255 EUR 240 000 RSD 2050 EUR 35 100 RSD 300 EUR 35 100 RSD 300 EUR 62 000 RSD 530 EUR 19 890 RSD 170 EUR 198 900 RSD 1700 EUR

531 000 RSD 3000 EUR 895 050 RSD 7 650 EUR 320 000 RSD 2735 EUR 128 800 RSD 1100 EUR 87 500 RSD 747 EUR 600 000 RSD 5130 EUR 930 000 RSD 7 950€ 240 000 RSD 2 050€ 105 300 RSD 900 EUR 105 300 RSD 900 EUR 186 000 RSD 1 590 EUR 994 500 RSD 8500 EUR 397 800 RSD 3400 EUR

3.REZULTAT I DOKUMENTACIJA

3.RESULT AND DOCUMENTATION

Pošto su vreme i proces važan aspekt unutar ovog paviljona, dokumentacija o njegovim različitim stanjima i oblicima je ključna za diskusiju o njegovom rezultatu. Kako će se zid od niti vremenom razviti u drugi arhitektonski element? Kako će se pojedinci ponašati i nastupati u pasivnom okruženju i kao akter i transformator prostora?

Dok posetioci dolaze i odlaze i dok ispunjavaju paviljon arhitekturamapretvarajući materijale u proizvode - svaka promena stanja biće dokumentovana kao memoar svih saradnika. Lebdeći visoko iznad platforme za tkanje, kamere će uhvatiti trenutke promene, stvarajući panoramski pogled na transformaciju paviljona koji se stalno razvija. Taktilna materijalnost tkanog proizvoda biće prevedena još jedan put - u digitalnu materijalnost, čineći posetioca ne samo delom fizičke lokacije već i kreacije digitalnog blizanca pačvorka. U tom smislu, tkanje u paviljonu bukvalno znači generisanje podataka, koji pored trenutne i fizičke lepote opipljivog proizvoda stvaraju sliku budućnosti koju treba oduzeti.

Kao skup podataka, kolekcija ovih slika može poslužiti kao eksperimentalna

osnova za ispitivanje intuitivnog dizajna, izazivajući usmerenost između arhitekata i korisnika prostora.

With time and process being an important aspect within this pavillion, the documentation of its different states and shapes is crucial to discuss its result.

How will the wall of threads evolve into another architectural element over time? How will individuals behave and perform in a passive environment as both actor and transformer of the space?

As vistors come and go and as they fill the pavilion with architectures - turning materials into products - each change in state will be documented as a memoir of all collaborators. Hovering high above the weaving platform, cameras will capture every moment of change, creating an ever-evolving panorama view of the pavilion’s transformation. The tactile materiality of the woven product will be translated yet another time - into digital materiality making the visitor not only part of the actual location but also its digital twin‘s creation. In this regard, weaving in the pavillion literally means generating data, which next to the momentary and physical beauty of the tangible product creates a future image to be taken-away.

As a data set, the collection of these images

may serve as an experimental ground for an examination of intuitive design, challenging the directionaliy between architects and users of space.

Pozicija kamera za dokumentaciju progresa Pačvorka Position of the cameras that will document the progress of the Patchwork