Over there is Here by Vukašin Nikolić

I I

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Design studio- Over there is here_ Singapore _temporary museum exibition in Belgrade,city of culture 2020 Studio- Tamo je ovde_Singapur _privremena muzejska postavka u Beogradu,gradu kulture 2020

content/sadrzaj _theme/tema

04 _group

photo/grupna

fotografija

_locations/lokacije _keywords/kljucne

reci

_first

models/pocetne

_projects/projekti

makete

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branka temunovi(_water (un)reality/vodena (ne)realnost 16 vukasin nikolic _transfigurations I transfiguracije

24 dalibor paji(_ethero- fluid/etero - fluid danka

krsti(_powerful/moc.

_ 32 _

ivana pepic_paths/putanje

48 jelena petkovi(_movement/kretanje

_ 56 jovana cvijetkovi(_barge is more/barza je vise

64 katarina

drazi(_surprise/iznenadenje

70 milica vuji(_parallel realities/paralelne stvarnosti 78

zeljko jevtovi(_dual/dvojnost.

84 _postcard/razglednica _impressum/impresum

90 _

When asked why he titled his famous novel 'The Name of the Rose",Umberto Eco responded by saying he was always intrigued by the title of Alexandre Dumas'novel "The Three Musketeers", for in fact it was the fourth musketeer,D'Artagnan, who was the main character.inspired by this,a question is asked what is it in architecture that exist beyond the obvious. Where is the fourth musket eer? Temporary museum exhibitions envision how a city-state of Singapore would present itself in Belgrade, the potential culturalcapi tal of Europe in 2020.Reality of the project is based on an assumption that the status of a cultural capital would enable Belgrade to establish contacts and exchanges of experience in all areas of culture, including architecture.Context of Singapore is a rich and in spiring one, with its clash of different traditions and progressiveness,accelerated pace of everyday life and time,set in the specific conditions of tropical Southeast Asia. The state,the city, the island, is declared as a "garden city". Students were asked to imagine the ways in which the culture of Southeast Asia would adapt in the context of Southeast Europe, and what would be the product of the encounter of a "young" country and an utterly different culture on the grounds of Belgrade,a city imbued with rich culture and history. By studying the complexity of functional, morphological and socio-cultural environment,students created architectural solutions that fulfill in equal parts conceptual, functional and structural requirements, simultaneously applying contemporary architectural approaches and paradigms. Each individual project of the pavilion,in its own, special, unique and creative way,depicts Singapore, showing distinctive fascinations of a rich and diverse culture,and presents its own interpretation of said culture simultaneously on semantic, descriptive and visual level. A particular charm of the project assignment was the fact that student have never been to Singapore, and that the architectural solutions are almost entirely a result of imagination and personal interpretation.

Upitan zasto je svom cuvenom romanu dao naslov "Ime ruze",Umberto Eko je odgovorio da ga je oduvek intrigirao naslov romana Aleksandra Dime "Tri musketara",jer je zapravo glavni lik cetvrti musketar, D'Artanjan. lnspirisani ovim postavlja se pitanje sta u arhitekturi postoji izvan ociglednog. Gde je cetvrti musketar? Privremene muzejske postavke predvidaju kako bi se grad-drzava Singapur prezentovao u Beogradu,potencijalnoj kulturnoj pre stonici Evrope u 2020-oj godini.Realnost projekta zasniva se na pretpostavci da bi status grada kulture Beogradu omogucio da us postavi kontakte i razmene iskustava u svim oblastima kulture,ukljucujuci Igraditeljstvo.Kontekst Singapura je bogat i inspirativan kao sudar razlicitih tradicija i progresivnosti, ubrzanog tempa zivota i vremena, sve u specificnim uslovima tropske jugoistocne Azije.Drzava,grad,ostrvo deklarise se kao "grad u vrtu". Studenti su upitani da zamisle na koji nacin bi se kultura jugoistocne Azije utopila u kontekst jugoistocne Evrope Ikakav bi bio proizvod utapanja jedne "mlade" zemlje I potpuno drugacije kulture u tlo Beo grada,grada prozetog bogatom kulturom I prosloscu. Studirajuci slozenost funkcionalne,morfoloske i socio kulturne sredine studenti su kreirali arhitektonska resenja koja ravnomerno zadovoljavaju konceptualne, funkcionalne i strukturalne zahteve, istovremeno primenjujuci savremene arhitektonske pristupe i paradigme. Objekti muzeja na posebne I jedinstvene, kreativne Isebi svojstvene nacine opisuju Singapur,prikazujuci pojedinacne zanimljivosti jedne bogate I raznovrsne kulture I predstavljajuci sopstvenu interpretaciju istih istovremeno na semantickom, deskriptivnom I vizuelnom nivou. Posebna car zadataka bila je cinjenica da studenti nikada nisu bili u Singapuru I da su resenja skoro u potpunosti rezultat maste, sopstvene interpretacija I imaginacije.

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==:;:,-"ff=r=lrCc)ntemplate under the water and you wil that she is never still...try to see deepof her soul and you wil find a hidden world here,world that you never even imagined that -there may be play with reality as waves play thereflectionofthemoon andfinal

h:"How's the water today? You might be sur-* Pavilion is presented as an aquarium in

ask which is life, new and unknown world, full o hidden and exciting things, completely differ-' ent from ours.Playing with the reality of everyday life, water changes aquarium life and cre ates surreal world of the festival. Pavilion exudes with the atmosphere of the Singaporean tradi tional festival and tells story about wealth of this culture through customs and legends, it speaks about colors, scents, sounds, and about joyful space which transforms again and again... the story is about the scene which plays with reality... Funnelis a set of stories and diver sities which multiplies to tell new story about new reality which occurs after fusion...

Posmatraj vodu i videces da nikada ne miruje... zagledaj se duboko u njenu dusu i pronaci ces skrivenisvet za koji nikada nisinislutio da maze da postoji... poigraj se realnim kao sto se talasÂˇ igraju odrazom meseca na povrsini... ina kraju, upitaj ribu:,Kakva je voda danas?" ... zacudices se! Paviljon je prikazan kao akvarijum u kame je I zivot, novi i nepoznati svet, punog skrivenog Âˇ ..â&#x20AC;˘ _ 1 uzbudljivog, potpuno razlicitog od naseg. Poigravajuci se realnoscu svakodnevnice v_oda menja zivot u akvarijumu i stvara surealni svet Ia, konstantnim izvrtanjem stv()rnog :P:.$estvarno. Paviljon odise atmosferom singapur- . kih tradicionalnih festiVala, pricajuci o bogat;;0 j edne

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o bojama, mirisima, zvucima,veselom prostoru koji se transformise i nova i iznova... sceni koja se igra realnoscu...}.evak je skup prica irazlicitosti kojise multiplikuje da bi pricao c:0 o novoj stvarnosti koja nastaje nakon fuzije...

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even now... I never knew if I like museums. I do not know I am presenting a city that I have never felt, people I have never met, different flows and networks.I am presenting a city.They are seek ing,copying, imitating,taking,and interpreting. They are obsessed. They seek. They are im mensely hospitable. They would do anything for you.You are here to pass and see.What? Bel grade. City.People. Yourself.Behind and inside yourself.They only exist with you. Can she survive here whole year? Ido not know. She must get attention. Vigorously. Invasive. Finely.Softly.Subtle.Glittering...she will annoy... When one city comes into another and wants to be noticed,she will come where she should not, where everybody can see and hear her, where is a mad rush, where genius loci fits her, where festivals, protests were held, falls and t changes, where was trading, where citi... s relaxed and enjoyed themselves. must be felt. All senses are activated. ical five all the rest somewhere insid them we disturb them and di out of ordinary.That is how we see is how we see different and new. we grasp what we have seen by now. how we gain experience. ikada nisam znao da li volim muzeJE>. Ni sad samuran... Prorkt·;ouli;om grad koji nikada nisam koJe nikada nisam upoznao, druga( kretanja. Predstavljam grad. tragaju, kopiraju, imitiraju, preuzt nrovnr1o Oni su opsesivni. Oni tragaju. Oni gostoprimljivi. Oni bi ucinili sve ste tu da prodete i vidite. Sta' Beogra Ljude.Sebe.lza sebe. li moze opstati ovde celu godinu'Ne zn ra skrenuti paznju na sebe. Snazno. In Fino.Meko.Suptilno.Bljestavo... c:m•=>r.: t·t> a jedan grad dode u drugi i zeli da nroono.•on doci ce gde ne sme, gde ce ga iii cuti, gde svi zure, gde u istoriJi m alazi nesto za sebe, gde su se odr.Zava festivali,protesti,rusenja i velike prome e je bila aktivna trgovina, gde se marao i opustao. se oseca. Aktiviraju se sva cula. P 5 i sva ostala negde tamo u nama. I na cula remetimo ih i izmestamo og. Tako vidimo jos. Tako vid i novo.Tako shvatamo sta smo gledal

.Tako sticemo iskustvo.

Ethereal Ethereal in architecture, which in it's appearance demands necessarily some physic and material form could not exist in ai;Jsolut state, so it could be observed on symbolical or metaphysical level as try of achieving it's natural state. The goal is to create suggestive move in the space allowing user to sense decreased feeling of physical interaction, leaving space for more emotional activation. "Ethericity" represents point of collision of material and non material and in such reaction material takes some attribute from non material and vice versa. Fluidity Fluidity inside architectural frame is ratio between nature of movement and transmited informational â&#x20AC;˘â&#x20AC;˘â&#x20AC;˘ and emotional content and this concept is result of relation between two physically and culturally ---distant locations which exists on same space, reflecting mutual values. Program is formed as - -""""' temporal bicycle and pedestrian station of slowed traffic subjected to linear and fluid communication. Etericnost Etericnost u arhitekturi koja u svom pojavnom obliku zahtjeva nuzno fizicki i materijalni oblik, ne moze da postoji u svom apsolutnom stanju,stoga je mozemo posmatrati na simbolickom iii metafizickom nivou kao istrazivanje i pokusaj dostizanja svog prirodnog stanja. Cilj ovakvog pokusaja je sugestivnim potezom u prostoru omoguciti korisniku aktivaciju onih cula koja bi dovela do osjecaja smanjene fizicke interakcije i time ostavila prostor za emocionalni nadrazaj. Etericnost predstavlja tacku dodira materijalnog i nematerijalnog, dozvoljavajuci da u takvoj interak ciji materijalnost preuzme odredene karakteristike nematerijalnosti i odbnuto. Fluidnost Fluidnost arhitektonskog okvira predstavlja odnos izmedu prirode kretanja i prenesenog informa tivnog i emocinalnog sadrzaja. Ovakva koncepcija je posljedica odnosa izmedu dva fizicki i kulturoloski razlicita i udaljena lokaliteta koja na odredenom prostoru treba da sazmu zajednicke vrijednosti. Program je formiran kao privremena biciklisticka i pjesacka stanica usporenog saobracaja podredena linearnosti i fluidnoj komunikaciji.

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is power? It does not have that power i through the human instinct, th for survival, but as an entire society that i ln,,\M,,.t,,l which is only credited for his surviva nd the level of power that is reached. umentality. Stability.Walls are powerful "' "•tlr"" the space they occupy or the materials consider them the most powerful segmen the house.Monumental and full of concreti lightweight and transparent materi but equally powerful. Know·leclae is power. the power of shopping! is our main tool, because in today' of shopping and connecting with all tha is material. Is it possible to "shopping kn•owledqe?' There are still powered by one of themes of this project. Shopping as some intangible.What is it immaterial? Knowl rest .. play, work, learning

je za nas moe? Ne mora seta moe izraiavat ljudski nagon,potrebu za opstanak,v celokupno drustvo koje je mocno, koje j zasluzno za svoj opstanak i nivo moCi koj dostigao. li zbog prostora koji zauzimaju iii zbog rna ala, smatramo ih najmocnijim segmento ce.Monumentalni i pun beton postaje l agan nco ;orPnT> n materijal, ali jednak0 mocan. Znanje je moe, soping je moe! nam je osnovno sredstvo, zato se 't1;on;oo<nloPn'\ SVetU SOping i povezuje Sa SVim St li je moguce. sopingovat se pokrece jos jedna od tema ov IPr<>iel<ta.Soping kao nesto nematerijalno. A st to nematerijalno? Znanje, iskustvo,odmor... rad, ucenje,kuvanje...

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Structure of the pavillion is formed around the way a visitor would percieve the program it's presenting- Singapore. Lines of communication are imagined as a layered,complex and continuous network of paths which serve as a platform for viewing and participating. Intersections of these paths form individual clusters of contents divided and grouped by the nature of it's program. These groupations create seperate objects, which can be percieved as a whole, or as a part of greater context. Main object this project aims for is to enable the visitor to choose his/her level of participation and interaction with the pavillion,thus creating an individual experience of Singapore.

Struktura paviljona se formira prema nacinu koji biposjetioc sagledavao program kojion predstavlja -Singapur. Linije komunikcije su zamisljene kao slojevita,kompleksna i kontinualna mreza nja koji sluze kao platforma za matranje i ucestvovanje. krstanja ovih putanja formiraju ndividualne grupacije sadr:Zaja koji su eni isastavljenisamom prirodom h programa. grupacije kreiraju zasebne objekte, i se mogu sagledavatikao cjelina, iii dio konteksta. lavni cilj kojim tezi projekat je da oguci posjetiocu da izabere svoj nivo i interakcije sa paviljonom,n nacin stvarajuCi individualno iskustvo ingapura.

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purpose of this temporary pavilion will create an attractive place where fun, d of use of space will have a home for r. inspiration_shipping container the project of pavilion will only porary, the concept was that it will build of similar cells to shipping containe II be construction element as well as it wou Each

possibility of movement of cells i witch will exist a crane that could lift a unit place for a particular arrangement. With different options the pavilion wil nction as playful structure full of for its users, full of su lj ovog pnvremenog paviljona ce b1t1 atraktivno mesto gde ce zabava iCit1 oblic koriscenja prostoralmati dom a godmu dana. luka ko ce paviljona biti privremenog cept je da ce se graditi od jedimca slicm skim kontejnenma. tejner iii nezavisna Jedimca ce stiti kao prostor za 1zlaganje. pomerljiva i promenjiva struktur paviljon od pokretmh jedinica â&#x20AC;˘ ce ISP . icu o Singapuru kroz mnoge razllc1to izajnirane zone

u metnos t_pri rod a_1stonja_ k ult u r a. postOJI mogucnost pomeranja postojace kran kao sekundarm element koji ce jedinice postaviJati u odreden raspored Sa svim ovim razlicitim opc1jama pav1 ce funkcionisati kao razlgrana struktura pun novih informacija za svoje korisnike, pun iznenadenja.

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The idea of the pavilion of Singapore in Bel grade is based on the idea of introducing the exibition of one city in the everydaylife of an other city. There are four pavilions as parts of a whole which form a parellel reality to existing one and which are positioned so the movement between them is continual. The elevated pavil ions have visual connection and point at each er.The pavilions become places where two iversities meet and where their complementa ty is shown.Those are the places where rnr\ Aâ&#x20AC;˘rt Of location iS taken from existing Belgrade and the exibition program ofSi re is what makes that space better and int<>r â&#x20AC;˘ctinn and so each pavilion has its own ram. The exibition program shows com m"â&#x20AC;˘nr;,.rnv and at the same time contrast in

..........Ideja o paviljonu Singapura u Beogradu se na idejiuvodenja izlozbe jednog grada u kodnevnicu drugog.Postoje cetiri paviljona ka delovi jedne celine koja predstavlja parale stvarnost postojecoj i pozicionirana su tako kretanje izmedu paviljona bude kontinualno Paviljoni su izdignuti, imaju vizuelnu vezu t svojim polozajem upucujujedan na drugog.Pa viljoni postaju mesta gde se dve razlicitosti susrecu i mesta koja pokazuju njihovu komple mentarnost.To su mesta gde je kontekst lokaci je uzet iz postojece beogradske realnosti, a sadrzaj izlozbe ono sto taj prostor nadopunjuje, sto ga cini boljim, zanimljivijim,pa tako i svaki paviljon ima poseban program.Taj program je time sto ima karakter komplementarnosti dobio i karakter suprotnog u odnosu na lokaci je i predstvalja novost, iznenadenje na mestu,a sve u cilju da se ova druga, nova real nost efektinje predstavi i intezivnije dozivi.

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impressum Over there is here/Tamo je ovde Design studio - Over there is here _ Singapore_ temporary museum exibition in Belgrade,city of culture 2020/ Studio - Tamo je ovde_ Singapur _privremena muzejska postavka u Beogradu,gradu kulture 2020 publisher/izdavac Faculty of architecture University of Belgrade IArhitektonskifakultet Univerziteta u Beogradu professor/nastavnik dr Ruzica Bozovic -Stamenovic associates/saradnici arh Marija Strajnic arh Nebojsa Stevanovic consultants /konsultanti mr Vladimir Milenkovic Yu Sern Hong Mervin Tan blog/blog http://tamojeovde.tumblr.com