UNIT D
15_16
edited by
OLIVIA CHESTER
15_16
UNIT D edited by
OLIVIA CHESTER contributions from
James Barrell Millie Gardiner Robert Goacher Rosie Helps Melissa Kinnear Will Thomas Alex Towler
02 03
Melissa Kinnear and Peter Newton, 2016.
Published by:
Blurb
This work is licensed under the Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License (see http://creativecommons.org/licenses/by-nc-sa/4.0/deed.)
Unit D: 15_16 Olivia Chester (ed)
CONTENTS
INTRODUCTION
04
ARCHITECTURE AS A POLITICS OF RESOURCEFULNESS
08
SARAJEVO, BOSNIA AND HERZEGOVINA
12
ARCHITECTURE AND CONFLICT: THEORY AND EXPERIENCE OF SARAJEVO
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CASE STUDIES
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TOWARD AN AUTONOMY by JAMES BARRELL LOST STORIES by MILLIE GARDINER ELEKTRICNI SOCIAL ENTREPRENEUR CENTRE by ROB GOACHER THE PEOPLE’S THEATRE by ROSIE HELPS SPACE FOR IDEAS | IDEAS FOR SPACE by WILL THOMAS
REFERENCES
Figure 01: (previous page) Untitled (Dexter Benjamin, 2015). Figure 02: (above) Mapping Conlict (Millie Gardiner, 2015).
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48 56 64
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04 05
With special thanks to the students from Unit D for all their hard work and commitment
INTRODUCTION
Figure 03: he Widows of the War (Una Ledaal, 2015).
06 07
401 118 inhabitants in Sarajevo
INTRODUCTION MELISSA KINNEAR
Figure 04: People of Sarajevo (Gina Dahl, 2015).
his book summarises the work of the 2015_16 academic year for undergraduate students in Unit D within the School of Architecture at Oxford Brookes University. he site of research for the year was the city of Sarajevo in Bosnia and Herzegovina. Unit D’s pedagogical framework evolves slightly each year allowing for speciicity of the site and place to be discovered, thereby enabling each student’s own project proposal to emerge. he book is divided into two sections. he irst part explains the project brief for the academic year of 2015_16 and relections on our visit to the city by Alex Towler, a co-tutor for the year. he second part includes ive student projects undertaken during the year. Each case study reveals individual insights and perceptions of the city of Sarajevo which feed into a unique design philosophy, approach and brief.
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ARCHITECTURE AS A POLITICS OF RESOURCEFULNESS
Figure 05: Exploring the City on Foot: an Outsider’s Impression (Unit D Students, 2015).
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ARCHITECTURE AS A POLITICS OF RESOURCEFULNESS MELISSA KINNEAR
Figure 06: An Architecture of Ressourcefulness (Una Ledaal, 2015).
1 MacKinnon, Danny. & Derickson, Kate. (2012) From resilience to resourcefulness: A critique of resilience policy and activism. Progress in Human Geography 37(2), pp. 253-270.
he brief for the year was framed as ‘Architecture as a Politics of Resourcefulness’. Students were encouraged to embrace the view that principles of resourcefulness (resilience) enable communities to adapt and transform in relation to the unpredictable outcomes of climate change and the increased potential for future conlict due to the scarcity of resources. he work that students developed included proposals that encouraged community development and mixed use social enterprise, where the designer had an additional activist role. To enable students to achieve project proposals that grew from the cultural context of the city of Sarajevo within its broader setting of Bosnia and Herzegovina, their research included: post conlict analysis and opportunities for conlict transformation; the potential for socio-ecological development; cultural diagnosis (including: Religion, Politics, Economics and Social Structures); the role of tangible and intangible heritage on memory and regeneration; spatial opportunities for “genuinely deliberative democratic dialogue” 1; analysis of temporary uses of space; the broader role of architecture; as well as resilience theory. In addition to the above mentioned research, particular tools of citywide and site speciic mapping and analysis were used alongside the more traditional development of architectural propositions. his multi faceted approach to the creative design process through the development of multiple iterations of drawings, models and collages enabled coherent, complex and evocative spatial and formal architectural proposals to unfold.
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SARAJEVO, BOSNIA AND HERZEGOVINA
Figure 07: Infrastructure and Demographics of Sarajevo (Sophia Edwards, 2015).
14 15
RUINS FROM CONFLICT
AUSTRO-HUNGARIAN
MODERN BUILDS
YUGOSLAVIAN COMMUNIST LATE
20TH
CENTURY
21ST
CENTURY
19TH
CENTURY
SARAJEVO, BOSNIA AND HERZEGOVINA MELISSA KINNEAR
Figure 08: Sarajevo a City of History (Sophia Edwards, 2015).
Bosnia and Herzegovina was previously part of Yugoslavia, a communist state which collapsed ater Josip Broz Tito, its leader died in 1980, causing the region to descend into war in the mid 1990’s. Today it is made up of the Republika Srpska and the Federation of Bosnia and Herzegovina and shares borders with Croatia, Serbia and Montenegro. Sarajevo, the capital of Bosnia and Herzegovina, is a city of nearly 300 000 inhabitants that straddles the Republic and the Federation. he city is steeped in history, a conluence of modern and traditional ideas, situated at the heart of the struggle between the Austro-Hungarian and Ottoman Empires. It is a city of multiple ethnicities, whose inhabitants are struggling to ind their feet post Communism, in order to transcend the memories of the four year siege of the city - one of the foci of the the 1990’s Balkans war. Evidence of the extreme destruction and devastation experienced during the siege is manifold even today, more than twenty years on from the end of the war. he disruption of human capital during the conlict continued in the resettlement years and is still deeply felt when you visit the city today. he stiling nature of an unwieldy governance framework, a legacy of the peace agreement, makes change diicult and cumbersome. here are many huge and ‘glossy’ buildings including hotels and shopping centres, built since the 90s visible throughout the city centre. Yet, there is also a very high unemployment rate, resulting in large numbers of young and educated people with few positive prospects to embrace. In addition, there seems to be a lack of appropriate regional solutions to support long term stability, ensuring an ongoing instability in people’s perception of their future.
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Figure 09: An Illegal Carpark Creating a Void in the City (Rosie Helps, 2015).
SARAJEVO, BOSNIA AND HERZEGOVINA
SITE
However, Sarajevo is also the fastest growing city in the country; it has a vibrant and lourishing arts and cultural sector and is becoming an increasingly popular tourist destination. It is these conditions that make for areas of opportunity, for arts and artists, activists and civil society organisations to bring about positive change. We chose two inner city sites for the students to work on. he irst of the two is an uninished building - a concrete ‘carcass’ neighbouring a building from the Austro-Hungarian era, adjacent to an allegedly illegal car park. he site is directly of Marsala Tita, the main route out of central Sarajevo. Trams, cars, buses and people move past the site frequently throughout the day. he southern side of the site faces onto the main road, which is mostly in shadow due to the four, ive and six story buildings across the road. It is located next to the declining fresh fruit and vegetable market and opposite the old meat market.
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TE ALYSIS
TIVITY LLAGE lage shows the activity in
ediate vicinity of the site.
Shops New Development
SUBURBIA RIVER THE CITY
Site behind, used as car park
Statue of WWII National Hero
Walk through area from car pa modern town to work in old cit
SARAJEVO, BOSNIA AND HERZEGOVINA N
Government building
Tram route Car route
Bank
ark/ ty
Figure 10: Električni Site Activity (Robert Goacher, 2015).
he second site is the ruin of a building directly of Obala Kulina Bala, the main route into central Sarajevo. his site has equal amounts of trams, cars and buses moving past it on the one way system into the old city centre as the irst site., However there are fewer pedestrians, as this site is further out of the centre of town, and feels more residential in nature. his site is situated on the north bank of the Miljacka River, across from CONCLUSION the south bank’s Centar Skenderija - an underground shopping The site is a riverbed of activity it as a monument of passersby, mall, an Arts Centresits and a large central square. On the edge of from pedestrians, and trams. It sits near a range of buildings, from the site is a memorial to Vladimir Peric-Walter, a casualty of government to shops. the second world war who died when a German soldier threw a hand grenade at him whist he was visiting a tobacco factory. he site is adjacent to the ruins of the irst electric power station in Sarajevo, built in the Austro-Hungarian era in 1895, it provided electricity until the war in the 90’s when it was hit during the irst few days of ighting and subsequently burnt down. It has remained abandoned ever since and remains a stark reminder of the damage and destruction of war.
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ARCHITECTURE AND CONFLICT: THEORY AND EXPERIENCE OF SARAJEVO
Figures 11, 12 & 13: Sarajevo: A Layered
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A Anon. (nd). [Online Image]. Available at: http://www.travelstories.gr/community/data/attachment-iles/2016/10/260681_b875f857ca47928cc233f93b63700610.jpg
B Anon. (nd). [Online Image]. Available at: http://www.travelstories.gr/community/data/attachment-iles/2016/10/260678_eecf0a5d08b8a3be726f0b3b5f6e9786. jpg
Figure 14: he Reconstructed Mostar Bridge (Olivia Chester, 2016).
ARCHITECTURE AND CONFLICT: THEORY AND EXPERIENCE OF SARAJEVO ALEX TOWLER
heory
2 Piquard, Brigitte. and Swenarton, Mark. (2011). Learning from architecture and conlict. Journal of Architecture. 16(1). 3 Coward, Martin. (2008). Urbicide: he Politics of Urban Destruction. New York: Routledge
Architects build, right? he destruction wrought by war would appear to be the antithesis of the design and construction of buildings. herefore this section provides a brief discussion of the potential role of architecture in conlict, with Sarajevo as the case study. he interlinked theories that I shall touch upon are: symbolic violence, urbicide and the deinition of space in conlict 2 + 3. I will then compare the theory and its limitations, with our personal experience of the city. As one of the most cited examples of symbolic violence during the conlict, the Mostar Bridge, south of Sarajevo in Herzegovina, is an obvious starting point. he 16th century Mostar Bridge was destroyed in 1993 during the Bosnian-Croat War. he bridge was a prime example of Islamic architecture produced during the Ottoman era. he city at the time of destruction was split across ethnic lines and the destruction widely considered to have little military importance. Symbolic violence can be considered to go beyond a functional military act of war, e.g. destruction of a factory or barracks, and ‘aims speciically to disrupt the roots, grounded values and symbolic expression of a group of people. It leads to feelings of vulnerability, weakness or powerlessness...’ 2 Within Sarajevo a large number of symbolic buildings were targeted. he destruction of the neomoorish National Library - a style unique to the city - is one of the strongest examples.
4 Sells (1996). In : Coward, Martin. (2007). ‘Urbicide’ Reconsidered. heory & Event. 10(2).
“Aida Mušanovic…had visited the hospital in Sarajevo and had seen the carnage brought by the war. Yet the burning of the library struck her with a special horror. In the ire of the National Library she realised that what she was experiencing was not only war but something else. he centuries of culture that fell back in ash onto the besieged city revealed a secret.” 4
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Genocide, or its euphemism ‘ethnic cleansing’, goes beyond war and attempts to entirely erase a people and their culture. he symbolic violence of destroying a library with little or no military signiicance is an example of how the targeting of culture and architecture may be used towards this aim. Yet, the ruins of the library also provided a symbol of resilience; during the siege cellist Vedran Smailović would play from within, demonstrating that culture could endure. Other prominent targeted buildings included the Executive Council Building (a key governmental building) and the National Museum. his selective destruction, when perpetrated against urban areas can be referred to as urbicide, although academic deinitions are still debated. 5 Further examples of urbicide, such as the targeting of Mosques, were observed during the Balkans war. It is worth observing that architecture and urbanism in these terms goes beyond the physical deinition of space. Rather than space being deined solely by walls and roofs 6 it is also what Lefebvre described as ‘socially produced’ 7. In the case of war, particularly an urban conlict, space, both physical and social, can become re-deined and controlled by violence and the threat of violence 2. Zoran Doršner’s ‘destructive metamorphosis’
Figure 15: Cellist Vedran Smailović in the rubble of the National Library (Mikhail Evstaiev, 1992). C Evstaiev, Mikhail. (1992). Cellist Vedran Smailović in the rubble of the National Library. [Online Image] Avaiable at: http://blogs.wfmt. com/ofmic/iles/2013/04/EvstaievMikhail-Sarajevo-cello1.jpg
5 Coward, Martin. (2007). ‘Urbicide’ Reconsidered. heory & Event. 10(2).
6 Schmarsow, August. (1893). he Essence of Architectural Creation. 7 Lefebrve, H. (1991) he Production of Space, Blackwell
ARCHITECTURE AND CONFLICT: THEORY AND EXPERIENCE OF SARAJEVO
Figure 16: Destructive Metamorphosis, Page 1 + 2 (Zoran Doršner, 1994). D Doršner, Zoran. (1994). Destructuve Metamorphosis. [Image]. In: Pilav, Armina. (2015) Collective Documenting of Extreme Urban Transformations: Evidence of Urban Resilience During the War in Sarajevo (1992–1996). Sheield: he University of Sheield School of Architecture. 8 Pilav, Armina. (2012). Before the war, war, ater the war: Urban imageries for urban resilience. International Journal of Disaster Risk Science. 3(1). pp.23-37.
drawings 8 give a demonstration of this in typical apartment buildings in Sarajevo. his change in spatial patterns during the Siege is documented by Armina Pilav 8 who kindly presented her work to Unit D. At an urban scale Sarajevo’s exposed streets became ‘sniper alleys’ which at the risk of death were avoided or crossed with extreme caution. In an attempt to redeine these spaces and make them safe, residents erected walls from burnt out vehicles or hung fabric to inhibit the sniper’s line of sight 8. he involvement of the UN resulted in a further spatial redeinition of the city. During the conlict the UN designated Safe Areas which were supposed to act as humanitarian corridors for the supply of aid, Sarajevo Airport was one such area. hese were criticised, as UN forces were oten unable to efectively protect the areas. his was tragically seen at Srebrenica, where the worst genocide since World War Two was perpetrated following the departure of UN troops from the Safe Area. A further issue with the notion of a safe area is that it can give legitimacy to acts of war outside of the designated perimeter. his has particular relevance in an urban conlict, where the diference between a civilian and a belligerent can be ambiguous. 5,434 civilians died and were oten directly targeted in the conlict, out of a total of 13,952 fatalities (UN igures).
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ARCHITECTURE AND CONFLICT: THEORY AND EXPERIENCE OF SARAJEVO
Experience Figure 17: Mortar Damage to Stonework in Sarajevo (Rob Goacher, 2015).
To the majority of Unit D participants, the war and siege of Sarajevo is a distant and faded memory from childhood. Our desktop research began to forge preconceptions that were oten revealed to be contradictory to our actual experience of the city two decades ater the siege. Upon our arrival, the legacy of the conlict was immediately apparent due to the great number of buildings that still bear shell, shrapnel and bullet damage, in addition to the ruins that perforate the urban landscape. Graiti sprawls across many of the walls, some of it political while some still relates to the war. In contrast, many new buildings in a generic globalised style have emerged in recent years. However of the four symbolic buildings described above, all have been rebuilt, leaving little trace of the conlict. I was stunned at the grace of the reconstructed Mostar Bridge, experiencing it as an object rather than an academic example of symbolic violence. he National Library has been rebuilt in its wonderful polychromatic idiosyncrasy and the international Parliament building shines with glass curtain walling. he National Museum, which according to our guide is the most beautiful building in the city, only recently reopened following its reconstruction and a series of funding problems. Furthermore, our visit to the Tunnel Museum was profound and almost baling in its current context. During the siege a tunnel was dug by the besieged forces that stretched beneath the airport and the UN safe area. It became the only way of transporting people and resources in and out of the city, notwithstanding UN humanitarian aid. he one time exit to the tunnel, is a normal looking house (now turned museum) in a non-descript suburb. his highlights the profound shit in the use of space from a wartime to a peacetime context.
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Limits of reconstruction he discussion so far has relected on architecture in conlict with a focus on symbolism and space. However this analysis does not provide an easy solution when considering a relevant architectural response in a post conlict setting. For example, it has been important to Mostar to rebuild its identity and its tourist industry through reconstruction which has focussed on the bridge. 9 Yet, It would be facile, if not naive, to believe that the symbolic reconstruction of said bridge, is matched by a ‘reconstructed’ post-conlict society. Post-conlict urban reconstruction can possibly lead to an ‘air-brushing’ of history. Anecdotal evidence from our conversations with Sarajevans suggests that they don’t want, or are not ready, to have the evidence of war removed from the city. he scars of war can have an important memorial aspect. he Sarajevo Roses
Figure 18: Sarajevo Rose (Rob Goacher, 2015).
9 Grodach, Carl. (2002). Reconstituting identity and history in post-war Mostar, BosniaHerzegovina. City 6(1) pp. 61-82.
ARCHITECTURE AND CONFLICT: THEORY AND EXPERIENCE OF SARAJEVO
are a strong example of this and represent a re-appropriation of symbolic violence. he ‘roses’ are red resin illed scars on the pavement created by mortar shells which killed one or more citizens. Seeing these remarkable memorials in the midst of a now bustling city provides a sobering reminder of urban warfare. Another example of the limitations of reconstruction is that of the Executive Council Building. It would be misguided to assume that the successful renovation of the building correlates to a well-functioning post-conlict political system. In reality, the Dayton Peace Agreement led to a highly convoluted form of governance which is ranked 76th in the international Corruption Perception Index 2015. herefore if simple reconstruction has limits, how might a relevant architectural response be developed? As described in the previous section, the concept of resourcefulness was used to develop the Unit D brief. An aim of the ield trip and subsequent research was to discover whether the resourcefulness documented during the conlict has continued into the 20th year post conlict. Our rapid (and by no means comprehensive) research suggested instead a collective fatigue that limited civic engagement. Older generations despite being malcontent of the economic and political situation seem understandably reluctant to agitate the situation. Young people with limited prospects in the city appear more keen to leave than to invest in shaping its future. his apparent apathy was taken into account as the students developed their projects, whilst also engaging in issues of relevance to a post conlict situation: fostering citizenship; exploring culture and identity; truth and reconciliation; creation of social enterprise. he following section contains ive case studies of individual student projects.
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Creating an inspirational environment for establishing new businesses in the calm and atmospheric old town while cooperating with the modern business area
CASE STUDIES
Site
Baščaršija The original business area from the Ottoman period Marin Dvor The newly developed and modern business area
Figure 19: Connecting the Modern with the Old (Gina Dahl 2015).
The area is now the traditional and relaxed old town of Sarajevo
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FEDERATION OF BOSNIA AND HERZEGOVINA REPUBLIKA SRPSKA
Bosnia and Herzegovina (BiH) is renowned for having one of the most complicated political systems in the world 10. One which the country’s citizens struggle to grasp, let alone anyone in the wider world. he nation built from the smouldering wreck of the Yugoslavian empire, is divided ethnically, geographically and politically. A government with three heads of state controls two distinct geographical entities, Republika Srpska and the Federation of Bosnia and Herzegovina, each with opposing religious views. herefore the country has struggled to rebuild itself ater one of the bloodiest wars of the late 20th Century. he politics of BiH are riddled with alleged corruption; meanwhile Bosnian citizens face one of the highest levels of unemployment in Europe, particularly prevalent in under 30s at 62.8% 11. In recent years, this has lead to an increase in violent civil unrest and protests. It seems that the people of Bosnia feel a lack of a sense of purpose and belonging. his is exempliied by the architecture of the country’s capital city, Sarajevo. Many of the buildings damaged during the war remain damaged today. Any repairs completed are poor and unsubstantial. Most investment in the country since the war has been from foreign superpowers like China and the Arab states, seemingly asserting their power
Figure 20: A City Deined by its Landscape (James Barrell, 2015). 10 Nardelli, Alberto & Dzidic, Dennis. (2014). Bosnia and Herzegovina: the world’s most complicated system of government?. [Online] Available at: https://www.theguardian. com/news/datablog/2014/oct/08/ bosniaherzegovinaelectionsthe worldsmostcomplicatedsystemofgovernment. 11 CIA. (2016). he World Factbook — Central Intelligence Agency. [Online] Available at: https://www.cia.gov/library/ publications/the-world-factbook/ geos/bk.html.
TOWARD AN AUTONOMY JAMES BARRELL
and inluence over the Bosnian Government. his investment has lead to a minor construction boom with capitalist shopping malls and towers appearing in the centre of the city. Although oten designed by local architects, these developments are devoid of local identity. he traditional balkan vernacular of the old town and the concrete brutalism of the communist era have been shunned in favour of blank glass facades and electronic billboards advertising the McDonald’s and Zara’s that they conceal. In 2016, twenty one years ater the end of the war, it is important to ask: has BiH beneited from this means of governance? Will continuing in this fashion ever improve the quality of life for the citizens of the country? Violent protests that began in 2014 and continue to occur sporadically, suggest not. he people of Bosnia are becoming less and less satisied with their current circumstances. Although the older generations remain predominantly complacent, the youth, who have little memory of the war are rebelling against a situation that has been thrust upon them. his is but the beginning of a potentially path-changing revolution, the success of which depends greatly on the ability of the youth to unite and rebuild without the tools they desperately need. My proposal emerged from the idea of enabling the citizens of Sarajevo to actively bypass the government and build a new future for themselves. he bypass would be created by engaging and enabling the citizens of the city to take control of issues that the government has traditionally taken responsibility for. his bottom-up approach would lead to the formation of an informal autonomous government that would actively engage more people in the decision making process than ever before. Further research questioned whether describing BiH as a
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Towards economical and political centres
Miljacka River
Meat Market Heavily war torn former Olympic Museum
5 minutes walk
alk es w inut
2m
1 minute walk
Fruit Market
Old Town
SITE Busy section of main ring road and tram route
High Achieving Catholic School and Bosniak High School
Concrete shell constructed by corrupt businessman on illegal carpark
Making a living by the side of the street k al es w inut 2m Kathedral Tram Stop
democracy was truly accurate. Democracy is perceived by many as simply voting for a chosen representative on polling day. More in depth study revealed that democracy is in fact about the perpetual motion of society towards an autonomy. In this autonomy, the majority of the population engage in the decision making process rather than a minority of representatives in parliament 12. he architectural manifestation of this is the People’s Parliament of Sarajevo, a structure that provides the amenities to engage the populous in the running of the country and spaces for them to rebuild its future. his structure would grow, lex and possibly die organically as engagement appears and disappears perpetually. Concrete walls become canvasses for political artists and activists, the walls are adorned and layered with the ever-changing political thought of the city’s residents. he selected site is dominated by an illegally built concrete structure and a car park that has earned notoriety for scamming its customers. Situated near the centre of the city on the tram route, it has the optimum position to engage with passing foot and vehicle traic travelling through the city. Furthermore, the site sits at a junction of the architectural languages of the city; tiny winding Austro-Hungarian streets extend to the east, severely damaged and dilapidated residential districts to the North and the more modern recent constructions to the south and west. hus, there is a perfect opportunity to create a new language that embodies the future of Sarajevo’s people powered revolution. he strategy to allow the people to take control of their own governance, unlike the recent civil unrests, would be considered and timely. he takeback would be separated
Figure 21: he Illegal Carpark (James Barrell 2015).
12 Purcell, Mark. (2013) he Down-deep Delight of Democracy. United Kingdom: Wiley-Blackwell.
TOWARD AN AUTONOMY
Figure 22: Occupying the Site (James Barrell, 2016).
into rough phases which would be mimicked by the phases of construction of the building. he initial phase would see the existing structure occupied and repurposed to become a beacon of engagement as well as a space that can be used to plan further phases of construction. From the outset, local residents are actively engaged in the design of the building. his participation in the design process allows them to feel that the resulting building is a relection of their own ideas and personality as much as it is a relection of the architect’s. he second phase would see the skeleton of the structure built and instantly occupied by local activist groups. he surfaces of this skeleton would be used as billboards for ongoing projects and the spaces they deine become the discussion chambers, meeting rooms, oice spaces and workshops for the activists to create their work. he building would be open and adaptable, walls are not deined by structure and spaces are not restricted to one arrangement. he citizens of Sarajevo that adopt the space have complete control in the way in which it is organised. he space can be used to create oices for NGO’s, business startups, for activist groups or community arts groups, the possibilities are endless. he structures that ill the open loor plates are intended to be completely organic, created by the people using any local materials and skills available. his approach leads to a collaborative network of knowledge sharing; when one person learns a new skill he/she teaches it to another. his not only helps them to build the spaces in the skeleton but would also help them to repair their homes; thus giving the people opportunity to take ownership of greater aspects of their life. his method of construction leads to a potential temporality to the occupation of the build that relects the way in which most
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people engage with the political process. hey remain until their motivations have been satisied. Additionally, fervent activists can build more permanent structures that mitigate issues such as air tightness with the guidance of the architect and local builders who are available to provide construction expertise. Included in the initial programme of the building are a few features that act as means to attract people to the People’s Parliament, almost incentivising engagement with the space. he cafe culture in BiH is very strong and cofee is an intrinsic element of everyday life. A cafe space is provided as a non-committal way to foster interaction with the building and provoke discussion. An air and watertight oice is also provided, used by those without the capabilities to build their own structure or used as an intermediary space while construction is ongoing. he oice is subdivided within a double height space using primarily single height walls, actively creating high levels of communication between projects while providing suicient privacy. he building’s roof space is enhanced with the creation of a garden, an urban oasis which entices people
Figure 23: Incremental Design Strategy (James Barrell, 2016).
TOWARD AN AUTONOMY
Figure 24: Core Circulation Space (James Barrell, 2016).
to travel through to its top. A place to watch the sunset while contemplating the city’s future and the activism taking place beneath. he roof garden also serves as a practical element of the building in a city known for looding and smog; it mitigates rainwater and is planted with oxygenating vegetation. he project aims to enable the disenfranchised and quashed citizens of the city to take back control. Its spaces provide the opportunity for these citizens to become activists rebelling against their situation and to crat a future for themselves. he architectural manifestation of this project will empower the citizens of Sarajevo to change their futures through increasing their cooperation with one another. he building is dynamic, ever-changing with the political mood, however it acts as a constant within the city providing opportunity indiscriminate of a person’s views. Although it would be optimistic to say that one building could change the direction of a troubled nation, such optimism is vital to empower the people with the belief that they have the ability to make their own future.
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CvijECe za Prijatelje
TOWARD AN AUTONOMY
Figure 25: Expressive Elevation(James Barrell, 2016). Figure 26: Section through the Atrium James Barrell, 2016).
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Sarajevo is tired, it’s citizens put all of their energy into living day to day, rather than ighting for political agendas or healing divides within the community. Subsequently, protests last but a day, activists are dormant and charities are thinly stretched. he position of the city at the bottom of a valley creates opportunities for winter tourism and skiing, but during the Balkans war in the 1990’s the same mountains made Sarajevo the site of the longest modern siege. To this day the mountains highlight social, political and environmental issues: economic inequality, air pollution, sound pollution, overcrowding, waste management, community engagement and a poor transport network. I explored these combined issues by creating my own crumpled valley upon my return from Bosnia and Herzegovina. hus a concept model was made by casting concrete – the most common building material in Sarajevo 13 – into crumpled paper. he ink from the text transferred onto the concrete’s surface, creating wrapped characters and hidden letters. he crumpling of the paper maximised on its folding capacity, but also recalls its highly disposable nature. A stark contrast to the conditions of the siege of Sarajevo, where every resource was precious 14. Today, the majority of the city’s trees are only 20 years old, as many were cut down for fuel during the war.
Figure 27: A Walk to Site (Millie Gardiner, 2015).
13 Oliver, Paul. (2006). Built to meet needs. 1st ed. Oxford: Elsevier Ltd. 14 Pilav, Armina. (2015) Collective Documenting of Extreme Urban Transformations: Evidence of Urban Resilience During the War in Sarajevo (1992–1996). Sheield: he University of Sheield School of Architecture. Figure 28: Cast Concrete Crumpled Valley (Millie Gardiner, 2016).
LOST STORIES MILLIE GARDINER
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15 he Dulwich Centre. (2016). What is Narrative herapy? - he Dulwich Centre. [Online] Available at: http://dulwichcentre.com.au/ what-is-narrative-therapy/.
C 5
4
Due to the current political situation - three presidents represent three respective ethnic groups (Serbian, Croatian and Bosnian) - many people are not fairly represented. his is especially true of the second hand victims of certain crimes committed during the war, namely the children who were brought into the world through less than loving circumstances. hirty thousand women were raped during the conlict and it is estimated that up to 100,000 children were born as a result of these crimes. hese children question their own existence due to a weakened sense of identity: “If my mum hated the man who made me, does she hate me?”, “Am I a criminal because of my father’s actions?” or “Will I be accepted by a society that condemns my father’s actions, when I am evidence of them?”. I decided to focus my proposal on helping these children and on changing the nature of a Bosnian child’s story back into an innocent, playful expression of culture and heritage. he children’s sense of identity would be strengthened through story therapy. he therapy uses a generated scenario to include the client as a subconscious member of a story. he use of this distancing technique enables them to work through their issues without ever tackling them directly. he subtle nature of story therapy makes it very useful in the treatment of children who might ight more conventional ways of counselling 15. he Story Centre would be located on a site sandwiched between the river, which is lanked by the old Olympic stadium and an area of mixed use buildings: lats, shops, banks, bars and a hospital building. here are existing buildings on the site, a derelict power station and distribution building. Both structures are in a bad state of repair due to bombings during the siege. Sarajevo is a city full of large scale, tree inhabited courtyards and parks wedged between high rise apartment blocks. he interchange between these public and private spaces turns the buildings and trees into screening. Consequently many of the buildings are quite enclosed and the parks are mostly inward
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looking. his internal facing aspect was an aesthetic that I wished to mimic in the Story Centre so that it would feel protected, safe and similar to the buildings in which the children live. he building requires exciting and playful internal spaces due to the project’s central focus on children. Children need comfort therefore the building can not be suggestive of a doctor’s surgery - oten cold and clinical. Instead it must be recognisable to the children as a safe space, one they recognise from their everyday lives. he children undergoing therapy require a variety of spaces to learn, play and heal: individual healing pods within a large play space, a group therapy space, a chill out kaleidoscope room and a library to store children’s stories and storytelling. Reconciling with the past is an important part of the children’s healing, so it’s important that the building does the same. Aspects of the old building are conserved and integrated into the design of the new building: existing façades, colour palettes, ratios of sizes and views onto the abandoned building next door. he use of these elements is intended to heighten children’s curiosity and draw them to the building. As a large part of the building
Figure 29: Triangular Canopies (Millie Gardiner, 2016).
LOST STORIES
Figure 30: A Folded Roof (Millie Gardiner, 2016).
is given over to the children’s play and imagination, views onto the ruin next door and the ruined façade along the north side of the building, are used to act as stimuli. Ruins oten generate excitement, interest and inspire the imagination; this is especially true of children, for whom the ruins become imaginary castles destroyed long ago by dragons. he retention of the ruined elements is but one of the techniques used to reconcile with the past. Sarajevo’s valley, suggestive of the mountains and the part they played in the siege, inspires the form of the roof and reclaims the peaks from the pain they caused. I designed it to wrap around the play space and over the ruined façade in order to unify the disparate elements. he roof became a much more regular, rational form, a space grid structure of pyramids. Some of these pyramids are raised while others are joined together; this creates a network of glass and copper triangles. he locations of these glass plates and the form of the roof inform the spaces below. he subtle nature of the therapy encourages the use of subtle spaces for it to occur in and nests and pods are recognised as naturally nurturing. hus, pods made out of triangular panels to mimic the roof, would
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LOST STORIES
Figure 31: Individual Pod Sketch (Millie Gardiner, 2016).
hang from the ceiling creating informal nooks for therapy. Each pod would be unique in shape, size, colour and illumination, so that each child undergoing therapy would be able to ind a space they felt comfortable in. Around these pods, children would be playing, generating stories and experiencing the innocence of youth divorced from their conception. his in itself would be a healing process and give the children a renewed sense of identity. Conlict leaves wounds that can be diicult to heal, some are obvious and skin deep and can heal quickly, others are opaque and remain underlying within a society for years ater they are created. he latter is certainly true of the children of Bosnia and Herzegovina. he Story Centre will attempt to alleviate the children’s sense of loss and confusion by creating a safe space they can take ownership of; a space where they can be carefree and play but also receive much needed therapy. Children are the future of a society, healing their wounds would in turn create a stronger generation. his generation of Bosnians could then proceed with less prejudice, to ix the political corruption and social issues which have existed since their birth.
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Figure 32: (above) Sectional Axonometric (Millie Gardiner, 2016). Figure 33: (right, top) Playroom Perspective (Millie Gardiner, 2016). Figure 34: (right, bottom) Perspective View up to the Roof (Millie Gardiner, 2016).
LOST STORIES
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Bosnia and Herzegovina is a hotbed of corruption due to political stalemates and socialist era monopolies that continue to be led by political elites and cause serious economic problems. 16+17 he country sufers from high unemployment (57.5%) 18 and a brain drain of talented young professionals to other European nations (10,000 a year) 19. I attempted to combat these problems with the design of the Električni Social Entrepreneur Centre; a space that enables local entrepreneurs to develop their businesses. he hope is that enabling entrepreneurship will increase the economic resilience of Bosnia and diversify its economy 20. he centre aims to serve the community; it will provide entrepreneurs with space, funding, employment opportunities and networks between established irms and startups. he site sits at the intersection of Sarajevo’s historic and modern quarters, with myriad vernacular architectural styles in its vicinity: Austro-Hungarian, Neoclassicism, Ottoman, Socialist Brutalism and Postmodernism. he site houses the ruins of an Austro-Hungarian power station, the irst in the city, built in 1895, bombed during the Bosnian War. Električni translates to Electric in Bosnian; the centre transforms a site historically used for the production of physical energy into a new social hub. he site’s location at the bottom of the valley allows it to be viewed from afar, engulfed by the city. It is a liminal space between two green zones, the riverbank and suburbs and the formalised city
Figure 35: Brief Diagram (Robert Goacher, 2016). 16 Bosso, Francesco. (2014). Bosnia and Herzegovina: Overview of Political Corruption. [Online]. Available at: http://www. transparency.org/iles/content/ corruptionqas/Bosnia_overview_ of_political_corruption_2014.pdf. 17 he Heritage Foundation. (2016). Bosnia and Herzegovina. [Online] Available at: http:// www.heritage.org/index/country/ bosniaherzegovina. 18 he World Bank. (2014). Unemployment, youth total (% of total labor force ages 15-24) (modeled ILO estimate). [Online] Available at: http://data.worldbank. rg/indicator/SL.UEM.1524.ZS. 19 Jukic, Elvira. (2013). Youth Emigration Causing Balkan ‘Brain Drain’. [Online]. Available at: http:// www.balkaninsight.com/en/article/ young-people-leave-serbia-bosniathe-most. 20 Afridi, Zoya. (2016). How Does Corruption Impact Entrepreneurship? [Online]. Available at: http:// www.ecosysteminsights.org/ how-does-corruption-impactentrepreneurship/
ELEKTRICNI SOCIAL ENTREPRENEUR CENTRE ROBERT GOACHER
(Reference?)
Figure 36: Programme Catalyst Proposal (Robert Goacher, 2016).
parks. Wedged between the river and a busy axial road, Hiseta, the riverside site is well connected to the city by public transport links, road and foot. An established commuter thoroughfare traverses the site, connecting the existing informal carpark to the city centre. Located near the Sarajevo City shopping centre, a hive of activity, the former Olympic site and the Government quarter, the site can be approached from and incorporated into a number of existing city routes. Public interaction with the site will be attracted by serving cofee from the car park to catch the commuters passing through on their way to work. he proposal will be introduced on the site with a week-long programme of lectures and seminars held by local business leaders to give entrepreneurs an initial sense of engagement. he hope is to develop an entrepreneurial base during this week that will encourage entrepreneurs to inhabit the new centre and inluence its design, directly connecting the project to the community. During our visit to Sarajevo, people expressed reluctance to talk about the war, hiding their opinions; this combined with the ruinous and chaotic nature of the city became the focus of my subsequent exploration of the notion of innovation as the disruption of tradition. Researching traditional oice layouts and working habits enabled me to design the spaces necessary to
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accommodate and provide for the entrepreneurs of the city. his was further developed with the integration of hot-desking and Bürolandschat, creating more unique and user friendly spaces. However, I felt that the building didn’t connect to the context or idea of innovation enough. herefore, I translated the vernacular architectural styles of the centre’s immediate surroundings into an idea of order and solidity for the cores of the building. hese cores are then disrupted by overhanging cantilevers, inspired by Lebbeus Wood’s idea of forms attacking/emerging from old buildings as they do in his work Walls of Change, Havana (1994-95). he elements of the building are combined and placed according to a grid that relates them to important locations of Sarajevo’s social and entrepreneurial fabric such as the Ottoman Ali Pasha Mosque and the Socialist era Olympic site. he position of the centre between the massive city blocks and more open suburbs is addressed in the building by playing once again on the concept of innovation as the disruption of tradition. Although taller than the adjacent buildings the building cuts into the site, mimicking the levels of the adjacent ruins that sit below the towering city blocks. Due to its high visibility the building could become an iconic landmark representative of the new Sarajevo. he design’s spatial response is clearly displayed at ground level, a central street recalls the historic bazaars of Sarajevo, bringing Sarajevans back to the river, and preserves the thoroughfare between the informal car park and city centre. An amphitheatre is created within the street, acting as a space for Sarajevans to meet, socialise and host public events in order to generate additional funding for the centre. A café intersects the street to provide a cofee-house atmosphere for informal meetings, working and socialising. he cafe provides employment opportunities for entrepreneurs unable to pursue
Figure 37: Spatial Arrangements on Site (Robert Goacher, 2016). Figure 38: Disruption of Vernacular Styles (Robert Gocaher, 2016).
ELEKTRICNI SOCIAL ENTREPRENEUR CENTRE
Figure 39: Riverside Perspective (Robert Goacher, 2016).
their projects without another source of income. he irst loor contains a variety of collaborative and more private workspaces, as well as work pods that loat above the atrium. he kitchenette and meditation room cantilever out above the river at this level, interacting with this relaxing and underused space. he second loor also contains workspaces and pods, as well as a roof terrace for outdoor events; privacy pods for making/receiving phone calls cantilever high above the street-side pavement. he building is designed to interact with the underused riverside; in the summer it opens up and incorporates the riverbank, creating an outdoor workspace and new social hub within the city. In contrast the street-side approach is far more closed of, shielding the buildings inhabitants from the noisy road. Advertising boards on cantilevers along the facade take advantage of this condition and provide opportunities for the promotion of products, companies and events to the busy road below.
Office Space Where entrepreneurs can work, collaborate and develop ideas for/build creative businesses. Different working spaces for different working types.
Young Bosnians, who are aspirational, educated, creative and socially/entrepreneurally aware. They want to be entrepreneurs and have ideas to develop into products and businesses.
PROVIDE
Aspiring
Entrepreneur
Outdoor Posters Incorporated into Centre membership, entrepreneurs gain free advertising for their creations via posters attached to the building next to one of Sarajevo’s busiest roads.
Figure 40: Entrepreneur Factory (Robert Goacher, 2016).
Permanent Storage Companies can mature within the centre gaining permanance and opportunity to mentor newer entrepreneurs.
ELEKTRICNI SOCIAL ENTREPRENEUR CENTRE
Meeting Rooms For meetings with investors, buyers or cllaborators, entrepreneurs will not have their own facilities.
Combat Youth Unemployment and Brain Drain. Increase Economic resilience, innovation and self determination combatting the monopolies prevalent in Bosnia.
Entrepreneur Success
Cafe A social space for entrepreneurs, and a source of funding for the centre and employment opportunities for low-income entrepreneurs.
Event Space For events, to educate entrepreneurs and hold public events for Sarajevo, to help fund the centre.
21 he World Bank. (2014). Unemployment, youth total (% of total labor force ages 15-24) (modeled ILO estimate). [Online] Available at: http://data.worldbank. org/indicator/SL.UEM.1524.ZS. 22 United Nations Oice on Drugs and Crime. (2011). Corruption in Bosnia and Herzegovina, Bribery as experienced by the population. [Online]. Available at: https:// www.unodc.org/documents/dataand-analysis/statistics/corruption/ Bosnia_corruption_report_web.pdf
he centre will provide space and opportunities for the city’s entrepreneurs to thrive, combatting unemployment 21 and corruption 22 through the creation of greater economic resilience. he building sits comfortably within its context due to the incorporation of vernacular styles and a legible grid. he centre becomes an “entrepreneurial factory�, providing space for mentoring, collaborating and business development and meetings with investors, buyers and collaborators. Outdoor advertisement boards are supplied to give entrepreneurs advertising opportunities whilst a cafe creates a social space, a source of funding and a space for networking, education and public events. hese allow the centre to provide, enable, adapt and sustain entrepreneurs and Sarajevo to build economic resilience, combat youth unemployment, and retain young talent by creating opportunities for innovation and self-determination.
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ELEKTRICNI SOCIAL ENTREPRENEUR CENTRE
Figure 41: (let) Ground Floor Plan (Robert Goacher, 2016). Figure 42: (below) Riverside Section (Robert Goacher, 2016). Figure 43: (bottom) Riverside Elevation (Robert Goacher, 2016).
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Walking through the heart of Sarajevo, capital city of Bosnia and Herzegovina, it is clear that the war that encompassed these streets twenty years ago is not a distant memory but a continuing factor of daily life. It remains embedded in the landscape of the city and the life of its residents. Sarajevo’s architecture narrates the struggles of a country divided by three separate governments, the conlicts between which have stagnated the repair and reconstruction of the damages. he surviving buildings are scarred with bullet holes whilst others are shells, uninhabitable and vandalised, strewn with anti-government graiti. hese constant reminders show that although the war ceased twenty years ago, the people of Sarajevo are still ighting a battle against a corrupt government system. here is increasing anger, resentment and depression; however many are resigned to the idea that nothing will ever change. Yet amongst the ruins are signs of hope and ingenuity. A door handle, for example, on a rotting and crumbling timber door, has been broken and ixed so many times with limited resources that the owner has had to use unusual materials in new ways. He must constantly innovate in order to survive, yet his work possesses an intriguing beauty to the outsider. hese hidden sparks of hope are all around; ruined buildings are unoicially repurposed, and thought-provoking graiti is hidden on back walls. A particularly poignant moment took
Figure 44: (above let, above right) Words on Walls (Rosie Helps, 2015). Figure 45: Programmatic Priorities (Rosie Helps, 2015).
THE PEOPLE’S THEATRE ROSIE HELPS
Figure 46: Beauty in Necessity Concept Model: Detail, Open and Closed (Rosie Helps, 2015).
place outside a tiny, dilapidated house close to the site. An entire length of wall is decorated with wobbly colourful chalk writing - quotes from novels about life: “To live is the rarest thing in the world. Most people exist, that is all” (Oscar Wilde). he idea that stories can allow a survivor to rise above ruins of the city, aspiring to something more than just survival, became embedded in the core concept of my design. As did inding sparks of hope within the beauty of people’s stories within the ruins of a country devastated by war. I created a concept model in order to capture these key ideas on both the site and the wider city. he result was a rough, split block of timber that I hinged together. Inside ran deep cracks; scars of a war-torn country. Some cracks were illed with shiny metal; sparks of light in times of conlict, contrasting the dull wood and creating an object of beauty. If the scars were never inlicted, the sparks would never have appeared. he site, an abandoned concrete structure situated on the edge of a car park between the old and new parts of the city, represents a microcosm of the corruption and disrepair of Sarajevo as a whole. he structure, originally built as an addition to the existing car park, stagnated midway through construction, leaving a shell of a building void of signiicant contribution to the urban landscape. Subsequently, many people avoid the area. In order to change perceptions of the site, the focus had to be removed from the political undertones formerly associated with the land. Accessibility from both the old and new parts of the city and close proximity to a large market made the site a prime area to bring people from all areas of the city together. Integrating aspects of storytelling and hope with the rehabilitation of those still sufering from the efects of the war created the concept of therapy through performance. he
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proletariat would be the targeted population, those that have been impacted the most yet have the least authority on change. An inability to progress past the conlict has let many lower income and informal workers distressed, leading to violent riots within the city and tension within the wider community. By introducing storytelling combined with drama therapy, people would be given a platform to release their emotions positively, thus relieving internal tension and connecting the community through shared experiences. he combination of therapy and performance presents an interesting architectural dynamic. Typical theatre performances require large regulated circulation spaces, in contrast to rehabilitation spaces that provide protection and a safe environment to deal with sensitive issues. Subsequently, the usual controlled environment of a theatre must be inverted to deepen the connection between audience and performer. What would happen if instead of walking through
Figure 47: Linking the Performance, the Process and the Client (Rosie Helps, 2015).
THE PEOPLE’S THEATRE
a closed corridor, the audience could view the inner workings of the theatre? he set and costume design workshops? he practice rooms and rehearsing performers? Understanding how the individual components of the theatrical machine combine and work together to generate a inished production creates a more intimate experience that unites audience and performer. hus, three types of spaces were designed: private performer spaces, where performers at the beginning of their drama therapy course can feel safe; semi-private performer spaces, where the audience can view the activities in the performer space from afar; and performer-audience spaces, where both performer and audience inhabit the same space and interact on equal ground. Each group navigates through the building in a diferent way, progressing through each stage according to their individual journeys. he performer’s path integrates with the steps of the therapy program, advancing through the building towards the rootop amphitheater as they improve and gain conidence. he performer entrance is private and protected, allowing the performer to feel safe upon entering at their most vulnerable; a contrast to the large open entrance used by the public. As performers progress, the spaces become more integrated with the audience’s circulation route.
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THE PERFORMER
he combination of the three aforementioned types of spaces allow the performer to test their abilities whilst maintaining a sheltered atmosphere to extend their sense of security. he combined circulation spaces for each user within the design were not only diferentiated through physical architecture but also by their individual materiality, texture and acoustics. Inspiration was taken from the concept model, combining contrasting materials to emphasise both the history and conlict of the city but also the ingenuity and creativity that has arisen from it. Just as metal wire held the repaired door handle together, the central circulating space has a metal handrail designed to entwine the performer and audience spaces. It creates a continuous link between the otherwise contrasting atmospheres; each space is not isolated but part of a
Figure 48: Intersecting Journeys (Rosie Helps, 2016).
THE PEOPLE’S THEATRE
THE AUDIENCE
larger network. Ultimately, the People’s heatre will not kick-start a revolution, entirely demolishing political corruption and ixing the conlicts of the past. Instead, the building’s manifesto encourages connections on a smaller scale, through stories told and experiences shared. hese connections have the potential to create a larger network that has voice and power greater than that of the individual. If Bosnian-Muslims, Bosnian-Croats and Bosnian-Serbs begin to unite with shared experiences then their respective governments must also communicate. he path to peace is always diicult, however through sharing stories and forging connections, the People’s heatre could become a microcosm of peace eventually emulated in Bosnian society as a whole.
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Figure 62: (below) Long Section Figure 49: Street Elevation (Rosie (Rosie Tillotson, 2015). Helps, 2016). Figure 62: (below) Long Section (Rosie Tillotson, 2015). Figure 50: Section through the Circulation Space (Rosie Helps, 2016).
THE PEOPLE’S THEATRE
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Sarajevo was the focal point of the Bosnian War, trapped for 1425 days in the longest siege of a capital city in modern history. During this time the city was heavily shelled, resulting in the desolation of the urban fabric and damaging 65% of Sarajevo’s buildings 23. Many ruins still exist today, 20 years later, in nooks all across the city. hese ruinous portals into the past exist on the streets of Bosnian daily life. Bullet holes and shell craters are laced with pain and memory. he Sarajevo Roses are a prime example of this, where shell holes are illed with red tar, forming a rose reminiscent of blood. I developed an understanding of how the material environment can play a role in memory and society post conlict, through examining the ruins as scars of the war. he works of Lebbeus Woods and John Ruskin were pivotal in the formation of the idea of the ruin as a physical manifestation of memory, acting as a potent reminder of the suferings of conlict. John Ruskin describes the physical environment as developing ‘the golden stain of time... hallowed by the deeds of men’ 24, causing it ‘to accumulate something of a voice’ 25. he theoretical works of Lebbeus Woods indicate value in ruined spaces and argue a case to prevent their restoration and the subsequent erasure of the memory they embody; this results in a glossing over of the past. His conceptual architectural interventions grow from
Figure 51: A Window (Will homas, 2015).
23 Bădescu, Gruia. (2014) City Makers, Urban Reconstruction and coming to terms with the Past in Sarajevo. In: Garcia, Soia & Kotzen, Bronwyn. eds. Reconstructing Sarajevo: Negotiating SocioPolitical Complexity. [Online] Available at: http://www.lse.ac.uk/ LSECities/citiesProgramme/pdf/ Reconstructing-Sarajevo.pdf.
24 Ruskin, John. (1889) he Seven Lamps of Architecture. 6th ed. Kent: George Allen. 25 Littleield, David & Lewis, Saskia. (2007) Architectural Voices: Listening to Old Buildings. United Kingdom: John Wiley & Sons Ltd.
SPACE FOR IDEAS | IDEAS FOR SPACE WILL THOMAS
Figure 52: A City Block (Will homas, 2016).
the damages of war, creating a new city within the old fabric, rather than replacing it. his creates a dynamic that facilitates society to move forward with an understanding of the past, conceptualising the healing process into built form. hese works illustrate the importance of the material environment, not just in the preservation of memory, but for post-conlict development. An initial pod would be located in the heavily pedestrianised area of BaĹĄÄ?arĹĄija Old Town next to a tram station, where it would be well connected to ruins across Sarajevo. he temporary project, a Capture and Share pod, would allow the inhabitant to take on the role of Architect-Activist and engage with the public. his is intended to encourage the citizens of Sarajevo to interact with and confront their past through the ruins, as both are intimately connected. he distribution of disposable cameras and sketchbook journals to local inhabitants would allow them to document the physical ruins throughout the city. Alongside this, they can record the feelings, memories, opinions and ideas that were conjured by these residual spaces. hese recordings would then form a book to begin a dialogue between citizens. Not only would the project aim to get local people to interrogate and face the past, but also to record the numerous ruin sites located around the city. his would form a visual database that laid the foundations for my proposal, Ideas for Space/Space for Ideas, an archive of ruined and disused spaces available for development by the public. his project explores the idea of ownership and the role it plays in a post-war environment. Many young people want to leave the country. People have lost their connection to Sarajevo. his has happened as they have distanced themselves from the past and consequently the city. In order to encourage people to
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Public
0mm
500 mm
1000mm
Figure 53: Public Interaction with the City Model (Will homas, 2016). Figure 54: Ideas for Community Projects (Will homas, 2016). Moving archive to front for views in
habitants can can be used as a tool as etc
1:1000 scale model of he city of srajevo
Examples of possible community projects, events or ideas Examples of possible community projects, events or ideas Examples of possible community projects, events or ideas
SPACE FOR IDEAS | IDEAS FOR SPACE
Figure 55: Site Panorama (Will homas, 2015).
26 PRSC. (nd) he People’s Republic of Stokes Crot. [Online] Available at: http://www.prsc. org.uk/.
take ownership of the city I aimed to actively engage them in its development, in a similar way to the People’s Republic of Stokes Crot (PRSC); ‘he Mission of PRSC is to help Stokes Crot to recognise its special qualities, by improving the streetscape through direct action, by creating a sense of identity, a sense of belonging and of self-worth’ 26. he public would become involved in the city’s future evolution through the creation of meanwhile projects for disused space. Meanwhile projects are temporary projects that can last for any range of time, between a site’s abandonment/disuse and its development. hey illustrate the potential value of disused urban space to the public and can range from art installations to community allotments and entrepreneurial business ventures. It beneits both the local community and the landowner, reintegrating the abandoned site into people’s daily lives and raising its proile. In turn this primes it for future use and development. Landowners would be provided with access to the resources to resolve the long standing land conlicts that remain following the war, that render their land undevelopable. he proposed site for the project is located on the waterfront of the Miljacka river, opposite the Olympic Skenderija Centre. Situated on what was once the frontline of the ighting, the riverfront is particularly dilapidated and abandoned. Ideas for Space/Space for Ideas would become a hub for development in the disused, yet potentially valuable riverfront located close to the city centre. hrough catalysing the regeneration of the waterfront, and in turn the growth of the city, the proposal would encourage Sarajevo’s citizens to become actively involved in its future. he new hub would provide an archive/ visualisation space which would house a 1:1000 scale model of Sarajevo, much like the NLA in London, or the Stadtmodelle in Berlin. hese models can be powerful tools that allow the public
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SPACE FOR IDEAS | IDEAS FOR SPACE
Figure 56: Pockets of Creativity (Will homas, 2016).
to visualise the city; they can be overlaid with information such as planning regulations, sightlines and ruin sites submitted by landowners. Here, the local people could identify a suitable site to implement their idea. he city model of Sarajevo would be itted underneath a gridded glass loor that would relate to numerous other larger scales models on wall shelves via a set of coordinates. he larger scale models would show the individual ruin sites available and their immediate context in greater detail. hese could be used as a design aid to test 3D printed concepts for community projects on site. It would also be a great tool to obtain planning permission for the project and to pitch the idea to the landowners. his process would in turn enable the public to experience city development and as a result rebuild a connection to their city. he building would provide the facilities necessary for the development of the project: consultancy, presentation to relevant shareholders and obtaining planning permission. As more people become involved in the enterprise there is a possibility to expand the building by adding to its adaptable timber Cidori structure, forming new spaces to work, meet and discuss ideas. his draws parallels with the self build aspect of the projects the inhabitants will be creating within. he project encourages teamwork and networking to strengthen and reconnect communities through the new central hub. It serves as a catalyst for the revitalisation of the city and its public space, consequently reconnecting the ruin sites to their surroundings. he public will be redesigning their own city, enabling them to take ownership of it as they move towards the future. hrough encouraging and inspiring creativity, the project strives to build resilience and facilitate Sarajevo’s citizens to play a key role in the future evolution of their city, gradually healing the scars of the war.
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Figure 57: Site Section of Development Hub (Will homas, 2016).
Figure 58: View of the Atrium from the Street (Will homas, 2016).
SPACE FOR IDEAS | IDEAS FOR SPACE
Figure 59: Individual Work Pod (Will homas, 2016).
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REFERENCES
Text References
Afridi, Zoya. (2016). How Does Corruption Impact Entrepreneurship? [Online]. Available at: http://www. ecosysteminsights.org/how-does-corruption-impactentrepreneurship/ Bădescu, Gruia. (2014) City Makers, Urban Reconstruction and coming to terms with the Past in Sarajevo. In: Garcia, Soia & Kotzen, Bronwyn. eds. Reconstructing Sarajevo: Negotiating Socio-Political Complexity. [Online] Available at: http://www. lse.ac.uk/LSECities/citiesProgramme/pdf/ReconstructingSarajevo.pdf Bosso, Francesco. (2014). Bosnia and Herzegovina: Overview of Political Corruption. [Online]. Available at: http://www. transparency.org/iles/content/corruptionqas/Bosnia_ overview_of_political_corruption_2014.pdf CIA. (2016). he World Factbook — Central Intelligence Agency. [Online] Available at: https://www.cia.gov/library/ publications/the-world-factbook/geos/bk.html. Coward, Martin. (2007). ‘Urbicide’ Reconsidered. heory & Event.10(2). Schmarsow, August. (1893). he Essence of Architectural Creation. Coward, Martin. (2008). Urbicide: he Politics of Urban Destruction. New York: Routledge he Dulwich Centre. (2016). What is Narrative herapy? - he Dulwich Centre. [Online] Available at: http://dulwichcentre. com.au/what-is-narrative-therapy/.
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Grodach, Carl. (2002). Reconstituting identity and history in post-war Mostar, Bosnia-Herzegovina. City 6(1) pp. 61-82.
he Heritage Foundation. (2016). Bosnia and Herzegovina. [Online] Available at: http://www.heritage.org/index/country/ bosniaherzegovina. Jukic, Elvira. (2013). Youth Emigration Causing Balkan ‘Brain Drain’. [Online]. Available at: http://www.balkaninsight.com/ en/article/young-people-leave-serbia-bosnia-the-most. Lefebrve, Henri. (1991). he Production of Space. Oxford: Blackwell Publishers. Littleield, David & Lewis, Saskia. (2007) Architectural Voices: Listening to Old Buildings. United Kingdom: John Wiley & Sons Ltd. MacKinnon, Danny. & Derickson, Kate. (2012) From resilience to resourcefulness: A critique of resilience policy and activism. Progress in Human Geography 37(2), pp. 253-270. Nardelli, Alberto & Dzidic, Dennis. (2014). Bosnia and Herzegovina: the world’s most complicated system of government?. [Online] Available at: https://www.theguardian. com/news/datablog/2014/oct/08/bosniaherzegovinaelectionsthe worldsmostcomplicatedsystemofgovernment. Oliver, Paul. (2006). Built to meet needs. 1st ed. Oxford: Elsevier Ltd.
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Image References
his book follows on from the irst three books about Unit D, one of the vertical design studios within the School of the Built Environment for undergraduate students at Oxford Brookes University, Oxford, United Kingdom. Within these pages we have captured the work for the academic year September 2015 – May 2016 where the focus of research was the city of Sarajevo in Bosnia and Herzegovina.