Kamenzind #7+8

MEĐUNARODNI ČASOPIS ZA ARHITEKTURU

IONAL INTERNAT AZINE E TUR MAG ARCHITEC

8 + 7

Kriza vrednosti - The Crisis of Values - Degradacija gradova - The Degradation of Cities - Nova škola arhitekture - The New School of Architecture - Regeneracija ‘od vrha naniže’ - Top-Down Regeneration - Novi modeli stanovanja - New Residential Models - Udruživanje u arhitekturi - Joint Business Models in Architecture - Novi fokus - New Focus - Ka kvalitetnijoj upotrebi prostora u javnoj svojini - Towards Better Use of Public Property - Časopis kao galerija, forum i umetničko delo - The Magazine as Art Form, Gallery, and Forum - O apolitičnosti i oportunizmu arhitekata - Regarding Opportunism and Architect's Political Views - Beton, beton, samo beton Concrete, Concrete, and More Concrete - O Crna Goro, što si tako divlja? - Montenegro, Why So Feral? - Šta zna kamen - What Stone Knows

Sadržaj

Contents

Kriza vrednosti

2

The Crisis of Values

Degradacija gradova

4

The Degradation of Cities

Nova škola arhitekture

9

The New School of Architecture

Regeneracija ‘od vrha naniže’

16

Top-Down Regeneration

Novi modeli stanovanja

21

New Residential Models

Udruživanje u arhitekturi

28

Joint Business Models in Architecture

Novi fokus

34

New Focus

Ka kvalitetnijoj upotrebi prostora u javnoj svojini

40

Towards Better Use of Public Property

Časopis kao galerija, forum i umetničko delo

46

The Magazine as Art Form, Gallery, and Forum

O apolitičnosti i oportunizmu arhitekata

53

Regarding Opportunism and Architect's Political Views

Beton, beton, samo beton

60

Concrete, Concrete, and More Concrete

O Crna Goro, što si tako divlja?

66

Montenegro, Why So Feral?

Šta zna kamen

74

What stone knows

IMPRESUM/IMPRINT No.7 and No.8, Dec, 2016.

Ilustracije na unutrašnjosti naslovnica preuzete iz Saopštenja (Nove škole), hvala Miloradu Mladenoviću

IZDAVAČ/PUBLISHED BY: Kamenzind Beograd / UREDNICA/EDITOR: Ljubica Slavkovic/ DIZAJN I KONCEPT/DESIGN CONCEPT AND LAYOUT: Ana Djordjevic-Petrovic and Leila Peacock/ PREVOD/TRANSLATED BY: English Language Institute / LEKTURA/EDITED BY: Kaya/ ŠTAMPA/PRINTER: 'DMD' štamparija/ TIRAŽ/RUN: 250 KONTAKT/CONTACT: ljslavkovic@gmail.com

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Grafit: Inspektor Yoda Zgužvani

KRIZA VREDNOSTI

THE CRISIS OF VALUES

Kada se obezvređuju zvanja, zdanja, procesi i ljudskost, traže se humanost, zajedništvo, reforma, nove ideje, a pre svega nepokolebljiv stav i preuzimanje odgovornosti svih koji shva­taju razmere krize u kojoj se čovečanstvo nalazi. A stav nije nešto sa čime se rađamo, već nešto što se oblikuje godinama kroz sticanje znanja i iskustva.

Stoga, kao temu ovog dvobroja biramo obrazo­ vanje.

Tokom dugog niza prethodnih godina naša sredina zapala je u "permanentnu krizu", u kojoj je obrazovanje drastično opalo na listi prio­ riteta i vrednosti, a samim tim i njegov kvaliltet.

Postoje institucije koje zavređuju međunarodnu pažnju, pojedinci koji inspirišu generacije, organizacije i inicijative koje me­njaju živote. Ipak, u sveukupnoj slici, obrazovanje kao da je jedna od najvećih žrtava stanja društva koje već decenijama čeka bolje dane.

Smatramo da obrazovanje ne može biti po­ sledica, već uzrok. Da ne može čekati bolje dane, već ih mora stvarati. I da nije u pitanju set info­rmacija već proces, način razvijanja samo-

When professions, structure, processes and human characteristics begin to be devalued, we seek humanity, unity, reform, new ideas, but above all, an undeterred stance and responsibility of all those who comprehend the scale of the crisis facing mankind. A point of view is not something with which we are born, but something which is formed through years of knowledge and experience.

Therefore, as the theme of this double issue we choose education.

During all the preceding years in our region which developed into a state of "permanent crisis", education has plummeted to the bottom of the lists of priorities, values, and quality. There certainly are notable exceptions - institutions that deserve international attention, individuals who inspire generations, organizations and initiatives that are changing lives. However, looking at the overall picture, education seems as one of the biggest victims of the sorry state of affairs which has for decades been waiting for "better days".

We believe that education is not a result, but

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stalnog mišljenja, kritičkog pogleda, obrade i upotrebe informacija i formiranje alata za stalni i kontinuirani rast. Odraz toga prisutan je na svakom koraku koji napravimo, u svakom prizoru koji ugledamo, u svemu što nas okružuje i što i sami činimo i stvaramo.

Na stranicama koje slede predstavljene su mnoge forme i oblici obrazovanja. Od reformi i promena školstva, preko borbi za bolje razumevanje u stručnim krugovima, primene i širenja znanja tamo gde je arhitektura zaista ta koja život znači, preko neformalnih platformi i novih oblika udruživanja, sve do upotrebe i istraživanja različitih medija u tom procesu razmene i onoga do čega reči naposletku i vode: dela.

Kada se pitamo kakve gradove želimo, zapravo pitamo kakve gradove stvaramo? Jer mi ih činimo i mi ih krojimo, svesno ili ne. Svojim delovanjem, ali i nedelovanjem, a budući da smo u ovim redovima mnogi i arhitekte, to nam je i životno pitanje. Gradovi se lako ruše, ali teško i sporo dižu. Njihova scenografija, o videli smo to toliko puta, može brzo nići - ali ono što ih gradovima čini – tome je potrebno vremena. Prave promene su spore i dugotrajne, a njihovo seme seje se obrazovanjem, da bi polako nicalo u svim porama društva.

Na kraju se prirodno vrećamo obrazovanju kao osnovi i početku. Kraju čega? Sva je prilika, izda­vanju ovog medija. Štampana reč „više nije potrebna“, pogotovo kada je arhitektura u pita­nju. Mi želimo (moramo!) da mislimo i verujemo drugačije i trudićemo se da to ne bude tako, a Vas pozivamo da nam u tome i pomognete – podelite Kamenzind (s) drugima, pridružite nam se na Facebook-u (www.facebook.com/kamenzindpage), javite se ako umete da pišete, ako Vas svrbe neke teme koje biste želeli da obradimo, a i ako imate komentare i sugestije.

rather, a cause - that it cannot wait for better days, but must instead create them. In question is not a simple set of data, but a process, a manner in which to develop independent thinking, critical views, the conduct and use of information and tools for the formation of steady and continuous growth. A reflection of that is present in every step we take, in every setting we observe, in all that surrounds us and in every single thing we do and create.

In the following pages, many forms and types of education are presented, from educational reform, to the struggle for more clarity and acceptance within professional circles, to the application and dissemination of knowledge there where architecture is truly a life-changing medium, to new forms of association, to the use and research of various types of media, to the modes of exchange, and that to which all words inevitably lead - actions.

When we ask ourselves "what kind of cities do we want?", we are actually asking "what types of cities are we creating?", because we do make them and we do alter them, consciously or not.

By our actions, equally as with our non-actions.

And given that many of us within these ranks are architects, these questions are vital, sometimes life-long pursuits. Cities are easily demolished, but slowly and painfully arisen. Their structure, and this we have seen many a time, can quickly shoot up, but that which makes them cities - that takes time. True change is slow and protracted, and its seed is sown through education, which slowly sprouts through all pores of society.

At the end, we naturally return to education as a base and beginning. But the end of what? In all likelihood, the publication of this periodical.

The printed word is "no longer required", especially when it comes to architecture. We want to (have to!) think and believe differently, and we will endeavor to make it so, and we invite you to help us - share Kamenzind with others, join us on Facebook (www.facebook. com/kamenzindpage), please contact us if you know how and what to write, if you have any pressing issues you would like us to consider, or if you just have any comments and suggestions. Thank you!

Hvala!

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Stanovi Izvor /Stanje Gradilista YouTube

DEGRADACIJA GRADOVA

THE DEGRADATION OF CITIES

NASIHA POZDER Baviti se urbanizmom i arhitekturom u društvu koje svoje regule i svoje standarde mijenja isključivo na osnovu impulsa investitora i njihovih zahtjeva, ponekad čak i vrlo bizarnih, nije naravno ni malo lako, ali je upravo zato vrlo zanimljivo i ne ostavlja ravnodušnim. Kada u ovu jednačinu uvedete i građane koji su izgubili povjerenje u sistem, koji su postali indolentni i sve manje uzimaju učešće u javnim raspravama ili diskusijama bilo koje vrste, onda je jedina poznata rezultat...a on nije ugodan.

Postalo je očito da kada ne razmišljate plane­ rski i razvojno, nego isključivo kroz prizmu dobiti i kratkoročnog finansijskog benefita bio on očekivan investitoru ili gradskim vlastima, kao što je trenutno slučaj u našem okruženju (pri tome mislim i na zemlje u regionu) stvarate preduslove za nezdrav grad, za razgradnju svega što smo godinama gradili ili nasljeđivali. Stvarate uslove za grad u kojem vam smeta vaš prvi komšija, ne zato što je Arap ili Rus, nego zato što vam je njegova kuća, njegov zid preblizu, CAMENZIND

by NASIHA POZDER Being engaged in urban planning and architecture in a society which amends its laws and standards solely on the whim of investors and their sometimes quite bizarre demands, is certainly no easy feat, but one cannot say that there is at any one time a dull moment. When you add to this equation a populace which has lost all faith in the system, has become utterly indifferent, and accordingly, seldom, if ever, takes part in public discourse, one expects a very predictable, if unsavory, result.

It has became obvious that when one operates through the opaque prism of simple short-term profit, whether it be expected by investors or by local agencies, rather than the broader view of urban planning and development, as is currently the case here (and by "here" I also mean other countries in the region), you create conditions for a sickly environment, and for the 4

zato što vam prozor ne gleda u zelenu, uređenu parkovsku površinu nego njegovu ogradu, njegovo auto parkirano na vašem trotoaru, zato što vam dijete nema mjesto u vrtiću jer zbog njegovog šoping centra nije bilo mjesta za vrtić u vašem naselju...i tada počnete primjećivati i njegovu boju kože, akcent ili odjeću. Ovdje želim da se referiram da je najmanje bitno odakle investicije dolaze. Da budem potpuno jasna investicije nisu problem, šta više, međutim način na koji ih mi kanališemo i usmjeravamo je sporan.

Bilo koji strani investitor će se prilagoditi vašem političkom, zakonskom, planerskom i administrativnom sistemu, jer želi da izvuče maksima­ lno za ono što ulaže. I to je potpuno legitimno.

Međutim, koliko dobro, koliko odgovorno i koliko profesionalno mi pristupamo planiranju i pripremanju lokacija i njihovih uslo­va za inve­ stitore je zapravo ključno. U osnovi zdravog urbanog planiranja jeste integracija svih aspe­ kata, od prirodnih do društvenih, a socijalna inkluzija je obavezan element. Danas nažalost svjedočimo upravo zanemarivanju svih ovih elemenata i parcijalnoj ili potpunoj razgradnji svega što je bilo sinonim za grad.

Dodatni podsticaj ovoj razgradnji je odsustvo konkursa u arhitekturi i urbanizmu ili barem dosljednosti u konkursu kada se on ipak desi.

Kažem "desi" s razlogom, jer kada ipak organizujemo konkurse oni su često samo alibi za rješenja koja su odavno napravljena ili alibi za ona koja čekaju u ladicama lokalnih moćnika.

Ovdje naravno možemo opet govoriti o (ne) spremnosti nas arhitekata, urbanista, da edukujemo investitore, da pokažemo da razumijemo prostor i potrebe građana prije svega pa tek onda značaj novca i važnosti njegovog "oplođavanja".

Iz svega rečenog, možemo lako zaključiti da na ovu vrstu degradacije gradova današnjice utiču svi podjednako ili razlikujući se u nijansama.

Lokalna vlast i njihova nespremnost, baš kao i onih na najvišem nivou, da dočekaju i kanališu investicije, da ih usmjere i oblikuju na način prihvatljiv gradu, ambijentu, pro­ storu, običajima, ljudima koji grad čine i koji u njemu žive; Građani koji su izgubili povjerenje u mehanizme pravnog društva i institucije

dismantlement of all we have inherited and have been building for decades. You create living conditions in which you are weary of your

Any foreign investor will adapt to local political, legal, and administrative systems, in so much as he seeks to extract the maximum return. next-door neighbor, not because he is an Arab or Russian, but because the walls of his compound are uncomfortably close to you, because you no longer have a view to a well-kept public park but instead his grandiose gate, because his car is parked on and blocking the sidewalk, because your child's kindergarten has been recommissioned as a shopping mall... and then you start to notice the color of his skin, his oddly unfamiliar accent or his unfitting clothes.

And I want to emphasize here that where an investment comes from is of absolutely of no importance, quite to the contrary, but rather, the manner in which that investment is appropriated - that's the crux of the problem. Any foreign investor will adapt to local political, legal, and administrative systems, in so much as he seeks to extract the maximum return. And this is completely legitimate. However, how we, the local community, approach the issues of planning and preparation of sites, as well as the conditions for investment, is actually crucial. At the core of successful urban planning lies a holistic, integrationalist approach, from environmental to social aspects, where inclusivity is a required element. Today, unfortunately, we bear witness to precisely the opposite - a total disregard for any these fundamentals, as well as the partial or complete deconstruction of all that has been synonymous with "the city".

Additional impetus to this degradation is the near total absence of a transparent, public bidding system in architecture and urban planning, or any consistency in the rare occasions they appear to occur. I say "appear" for a reason, since 5

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when bids are actually organized, they are often just a cover for contracts long since doled out, or for those waiting in the drawers of local strongmen. Here again, of course, we can talk about the (un)willingness of us architects and urban planners, to educate investors, to show that we understand the space and the needs of citizens first and foremost, and only then the significance of money and the importance of its dissemination.

From all the above, we can easily conclude that this type of degradation of our cities is affected by all actors alike, or, at best, in equal shades of similarity.

Local authorities' inability, much like that of those at the highest levels, to welcome and focus investments, to direct and shape them in a manner acceptable to the city, the surroundings, the space, the customs, the people who make up the city and who live in it. The citizens, having lost all confidence in the legal machinery of society and its institutions, who surrender easily and without a fight, who do not participate in public debates or, when they do act, do so disjointedly and unprepared. And finally, the profession, which has failed in every sense, ethically and vocationally.

Fortunately, there are those who still believe that it makes sense to fight and to seek accountability, to require expertise and knowledge, and believe in raising their voice. Such examples are far and few between, but they are there are from Zagreb, to Banja Luka, Sarajevo, Belgrade and Skopje. It is inspiring to see how a young group, gathered around the Centre for the Environment in Banja Luka, tirelessly educates citizens on how to participate in the decision-making process and the creation of urban planning documentation, or the groups "My Corner" and "Free Zone" which fight for the preservation and maintenance of the few remaining green oases in Sarajevo.

What I personally took to task is to educate our representatives and policy-makers, primarily through cooperation with the Friedrich Naumann Organization (Friedrich Naumann Stiftung), along with those who will soon or who are already shaping our urban environment,

pa se predaju lako i bez borbe, ne učestvuju na javnim raspravama ili djeluju nesinhronizovano i nespremno; I na kraju struka koja je zakazala i u profesionalnom i u etičnom smislu.

Na sreću, postoje i oni koji još vjeruju da ima smisla boriti se i tražiti odgovornost, zahtijevati stručnost i znanje i dizati glas. Takvih je primjera danas malo, ali ih ima od Zagreba, preko Banja Luke, Sarajeva, Beograda, Skoplja.

Divno je vidjeti kako mlada ekipa okupljena oko Centra za životnu sredinu u Banja Luci neumorno edukuje građane kako da partici­ piraju u donošenju odluka i kreiranju pro­ storno-planske dokumentacije, ili ekipa Dobih kota i Slobodne zone koji se u Sarajevu bore za preostale male, oaze unutar naselja i daju im nove impulse.

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Smatram nužnim da upravo don­ osioci odluka razumiju šta znači promjena namjene zemljišta, promjena gabarita "za samo 3 sprata" ili "za samo 500m2", da razumiju šta znači naseliti novih 5000 stanovnika bez društvene infrastrukture...

Ono što sam ja sam uzela sebi u zadatak je da prije svega kroz saradnju sa Friedrich Naumann organizacijom (Friedrich Naumann Stiftung), obrazujem naše političarke i političare, donosioce odluka, one koji će uskoro dobiti priliku ili već jesu da kreiraju našu prostornu stvarnost da razumiju prije svega koje i kakve reperkusije na život njihovih sugrađana i njih samih će imati jedan njihov pogrešan glas u radu općinskog ili gradskog vijeća. Saradnja se u najkraćem sastoji u tome da FNF radi sa političkim partijama liberalne orjentacije kroz tri različita segmenta. Jedan podrazumijeva regionalnu mrežu vijećnika/ca, odnosno odbornika/ca sa prostora bivše Jugoslavije, koji se svaka tri mjeseca okupljaju i razmjenjuju probleme, ideje, znanja iz različitih oblasti. Drugi vid saradnje se svodi na rad u sklopu projekta Smart City, a odnedavno i Responsive City, gdje na seminare i treninge namjenjene političarima/kama pozivamo predstavnike NGO sektora ili/i profesionalce, a potom govorimo o temama poput odgovornog planiranja, pametnih tehnologija, toplifikacije ili javnog gradskog saobraćaja. Kroz ove programe smo povezali one koji su na prvi pogled imali sukobljena razmišljanja i kroz debatu i razmjenu znanja i iskustava stvorili platformu koja je već polučila veći broj inicijativa u gradskim i općinskim vijećima.

Bila bih sretna da se edukacija političara u ovom segmetu radi sukscesivno, pa i kroz program političkih studija, da npr bar na nivou izbornog predmeta uvrstimo i Prostornu poli­ tiku jer smatram nužnim da upravo donosioci odluka razumiju šta znači promjena namjene

Foto: Chris Luth

and get them to understand, above all, the repercussions any one wrong decision will have on their own lives and the lives of their fellow citizens. In brief, the FNF is working with liberally oriented political parties in a multi-pronged cooperative approach. One involves a regional network of councilors from the former Yugoslavia, who gather every three months to share their various ideas, and exchange knowledge from within different areas. Another form of cooperation is to work as part of the "Smart City" project, and more recently the "Responsive City" project, where seminars and lectures intended for local government invite representatives of the NGO and private sector in order to discuss topics ranging from responsible urban planning, smart technologies, to district heating and public transportation. It is through these types of initiatives that we can bridge the divide between parties who at first glance have conflicting and opposing ideals, and through debate and knowledge exchange create a unified platform -one which has already received a growing number of initiatives in city and municipal councils.

I would be thrilled to see on-going training programs for representatives, and perhaps even a specific course of political studies concerning 7

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Izvor: Doktorska disertacija B. Folića*

Foto: Čitatelj/Klix.ba

zemljišta, promjena gabarita "za samo 3 sprata" ili "za samo 500m2", da razumiju šta znači naseliti novih 5000 stanovnika bez društvene infrastrukture itd.

Uticati na izgled grada i formirati njegovu sliku je velika odgovornost kojoj se očito danas ne pridaje značaj. Graditi je postalo imperativ bez reda i rasporeda, bez promišljanja o posljedicama djelovanja po sistemu ad hoc urbanizma i zato je vrlo važno da znate svoja građanska prava i načine na koje ih možete ostvariti. Da znate za alate kojima možete uticati i da ih kortistite, posebno kada uzmete u obzir koliko je prostor zanimljiva moneta u političkom svijetu i koliko je lako njome mahati, posebno kada je "društvena".

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the impact of urban development, as I believe it is of the utmost importance that decision makers be aware of the impacts of land-use changes, modifying dimensional parameters to allow "only" another 3 stories, or "only" another 500m2, that they understand what it means to populate an area with 5000 new residents without the appropriate infrastructure in place, etc.

Affecting the city's shape and appearance is a tremendous responsibility, to which at present, there is clearly attached very little importance.

Construction has become an imperative without regard for order or systematization, nor do we consider the consequences of conducting "ad-hoc urbanism". It is therefore paramount that people be aware of their rights, and how best to secure them - to be made aware of the tools available and how best to wield them, especially considering how much political capital "space" actually commands, and how easily it is being squandered, particularly when it is "public".

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THE NEW SCHOOL OF ARCHITECTURE

NOVA ŠKOLA ARHITEKTURE LJUBICA SLAVKOVIĆ

by LJUBICA SLAVKOVIĆ

S početkom 1968. godine studentski protesti menjali su školstvo širom Evrope i Amerike.

Dešavanja i revolt 1968. godine uzdrmali su i Beogradski univerzitet čiji studenti su prote­ stvovali u borbi za ekonomsku i političku demokratizaciju. Početkom sedamdesetih godina usledio je period radikalnih reformi obrazovanja na Arhitektonskom fakultetu u Beogradu.

U deceniji koja je prethodila došlo je do promena u obrazovanju arhitekata na svetskom nivou i američke arhitektonske škole prve uvode multidisciplinarnost i izučavanje integralne čovekove sredine, a svetski akcenat stavljen je na timski rad, uvođenje humanističkih disciplina i slobodnih umetnosti u arhitektonsko obrazova­ nje. Do tada je više puta reorganizovana nastava na Arhitektonskom fakultetu, čije analize i preglede publikuju prof. Branislav Milenković i prof. Ranko Radović, tadašnji učesnici u nasta-

Beginning in 1968, student protest movements began reforming educational institutions across Europe and America. The events of '68 also influenced the University of Belgrade, whose students protested in the struggle for economic and political democratization. The early seventies marked a period of radical reforms for the curriculum of the College of Architecture in Belgrade.

In the preceding decade, there was a worldwide shift in architectural education, and American schools are the first to include multidisciplinary and integral environmental studies. On the global level, there was a marked emphasis on teamwork and the introduction of humanities and liberal arts within the architectural curriculum. The course of studies at 9

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vi. Nova škola je bila najsveobuhvatnija i radikalnija reforma sprovedena na Arhitektonskom fakultetu, pa i sve do današnjih dana.

Među vodećim protagonistima reformi ističe se Bogdan Bogdanović, profesor i jedan od vodećih arhitekata vremena. Nakon desetomesečnog studijskog boravka u SAD, Bogdanović se vraća u Beograd, potvrđuje saznanja o modernizaciji studija i stupa na mesto dekana Arhitektonskog fakulteta 1970. godine, nakon čega otpočinje formiranje Nove škola arhitekture (1971-1973).

Formiran je Odbor za Novu školu koji je činila Tripartitna komisija, a koju su obrazovali naučno osoblje fakulteta, studenti i jedna od važnih novina - bivši studenti - mladi arhitekti koji imaju iskustvo u radu.

Belgrade's College of Architecture had been reformed several times by then, the analyses and reviews published by Prof. Branislav Milenković and Prof. Ranko Radović. The New School had been the most comprehensive and radical reform conducted at the College of Architecture, even to this day.

Among the leading reformists, Bogdan Bogdanović, a professor and one of the leading architects of the time, stands out. After a tenmonth visit to the United States, Bogdanović returns to Belgrade, confirming the findings of studies concerning modernization, becoming the Dean of the College of Architecture in 1970, and the formation of the New School of Architecture (1971-1973) truly takes off. The Committee for the New School is formed, a tripartite commission informed by faculty, students, and one of the most important newcomers - alumni - young architects with invaluable real-world work experience.

Educational reforms began with the first Declaration, out of a total of fourteen, published and distributed by the Tripartite Commission.

The purpose of these Declarations, was the exchange of knowledge and ideas, not only within the narrow professional and scholarly confines of academia, but with the intention of engaging the broader public, and professionals from all different fields. Thus, within these Declarations, along with proposals and analyses of professors, we find the voices of students and young architects, as well as attitudes and ideas from beyond the College of Architecture, experts from various fields, both from home and from abroad. Over time, the Declarations become grander in scope and show a tendency to grow into theoretical scientific periodicals devoted to the issues of education of architects, an innovative approach to which testifies the awareness of the formation and adoption of new terminology constantly present in the Declarations.

One of the guiding principles of the New School was that "it must be open to the public and exposed to public criticism, free of imposed subjective criteria and prejudice against individuals". Accordingly, the general public throughout the whole Federation closely fol-

Promene školstva počele su s prvim Sao­ pštenjem od ukupno 14, koje je izdavala i javno distribuirala Tripartitna komisija. Cilj ovih Saopštenja bila je razmena znanja i ideja, i to ne u uskom stručnom krugu, već sa namerom angažovanja šire kulturne javnosti i stručnjaka, iz različitih disciplina. Tako su se u Saopštenjima, uz predloge i analize profesora, ali i studenata i mladih arhtiekata, našli i staCAMENZIND

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lowed the changes within the College of Architecture, through numerous media reports and newspaper articles. The Declaration itself was published in over 1,000 copies and distributed to a large number of prominent cultural figures across the country.

Interdisciplinary studies, as one of the most important novelties, would be implemented in cooperation with teachers and students from other colleges, as well as professionals outside the academic community. The Declarations served as forecasts for the future development of the profession and, accordingly, the education of architects - increased productivity by the elimination of wasteful jobs and titles, automation, the need for a multidisciplinary transformation of their own profession. Particular emphasis was placed on the lack of courses concerning architectural theory and architects' own inexcusable lack of theoretical engagement, as well as critiquing "our own systems of education, which still trained architects to operate in a manner which is quickly dissipating, and which has not yet managed to achieve any semblance of control over the environmental medium." Some of the many other tantamount issues discussed were, for example, the importance of creativity as the main actor and driving force within architecture, opening doors to young professionals to impart their knowledge and experience at universities, the renewing and development of human resources. Learning two foreign languages became compulsory.

Teamwork became an all-important determinant , where the main interdisciplinary topic was the urban environment. After selecting a topic, students would create interdisciplinary teams composed of lower and upper level students, as well as teachers and associates, and would then propose their own agenda. Discussions became an indispensable part of research, and no less important were elements of work and play. Focus was put on the constant introduction of new courses and new methods in teaching as a process of continuous modernization, as well as its differentiation - for students to make their own decisions regarding their professional interests. These innovations and

Jedno od vodećih načela Nove škole bilo je da „ona mora biti stalno otvorena prema javnosti i izložena mogućnostima javne kritike a oslobođena svih subjek­ tivnih, nametnutih kriterijuma i predrasuda prema pojedincima“. vovi i ideje autora van Arhitektonskog fakulteta, stručnjaka iz različitih oblasti, domaćih kao i iz inostranstva. Saopštenja su vremenom postajala sve obimnija i pokazala tendenciju da prerastu u naučno-teorijsku periodiku posvećenu pita­ njima obrazovanja arhitekata, a o inovativnosti pristupa svedoči i svest o formiranju i usvajanju nove terminologije koja je stalno prisutna u Saopštenjima.

Jedno od vodećih načela Nove škole bilo je da „ona mora biti stalno otvorena prema javno­ sti i izložena mogućnostima javne kritike a oslobođena svih subjektivnih, nametnutih kriterijuma i predrasuda prema pojedincima“.

U skladu sa tim šira javnost čitave federacije pomno je pratila promene na Arhitektonskom fakultetu u Beogradu preko brojnih medijskih priloga i novinskih članaka. Sama Saopštenja štampana su u preko 1,000 primeraka i slana velikom broju kulturnih radnika i istaknutim ličnostima širom zemlje.

Interdisciplinarna nastava, kao jedna od važnih novina, sprovodila bi se u saradnji sa nastavnicima i studentima sa drugih fakulteta i stručnjacima van akademske zajednice. Kroz Saopštenja sagledavane su prognoze razvoja struke u budućnosti i obrazovanje arhitekata u skladu sa tim – ukidanje mnogih radnih mesta i profesija, automatizacija, potreba za višestrukim menjanjem lika sopstvene profesije.

Istaknut je dotadašnji nedostatak podučavanja najnovije arhitektonske teorije i nedopustivo malog teoretskog angažovanja većine arhitekata, kao i „naših sospstvenih sistema edukacije koji još uvek obučavaju arhitekte za delovanje u jed11

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Mali Popović, izvor radical-pedagogies.com, © ArchitekturzentrumWien

noj vrsti prakse koja uveliko nestaje i koja još nije uspela da ostvari kontrolu nad ambije­ntom“, kao i potrebno posvećivanje velike pažnje bo­ ljoj pripremi studenata za stvarnu praksu. Isto­ vremeno, navedeno je i obavezno učenje dva svetska jezika, isticano je pitanje i važnost kreativnosti kao glavne snage, pokretača arhitekture, ali i otvaranje mladim stručnjacima put do prenosa znanja na fakultetu, u cilju obnavljanja i razvitka kadrova, i još mnogo toga.

Timski rad bio je važna odrednica, gde je gla­ vna interdisciplinarna tema bila urbana sredina.

Nakon odabira tema studenti bi kreirali interdiciplinarne timove koji bi uključivali studente sa različitih godina, nastavnike i saradnike, i sami bi predlagali program rada. Diskusije su činile neizostavan proces istraživanja, a ništa manje važni nisu bili ni elementi rada i igre. Fokus je stavljen i na stalno lako i prirodno uvođenje novih kurseva i novih metoda u nastavi, radi stalnog osavremenjivanja nastave, kao i na njenu diferencijaciju – da studenti mogu sami da odlučuju o svom stručnom profilu. Novine i drugačija organizacija nastave imala je za cilj racionalizaciju vremena i iskoristivosti prostora: uvedeni su trimestri (jesenji, zimski i prolećni).

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changes in organization were aimed at streamlining time and the use of resources - trimesters (fall, winter, spring) were introduced.

The New School was based on a direct approach to working in smaller units. Offices were given a new role - suitably sized to accommodate small groups of about 15 students which become known as student boxes. At the same time, large lecture halls were easily downsized by the use of paneling. Boxes became the student's work units, and they were given the freedom to regulate them at their discretion. Another requirement of the New School was a professor's greater commitment to students, a more direct relationship, which was also reflected by the fact that each student had a permanent place in the box, which a professor would come visit.

After the New School's first trimester, differences among professors and general views on the education of architects came to the fore.

Also, third and fourth year students who had not studied under the auspices of the New School, as some of their first and second year colleagues had, demanded that they be. Some of the disputes related to the question of dealing with issues of urban and environmental plan12

Nova škola bazirala se na direktnom pristupu i radu u manjim jedinicama. Profesorski kabineti dobili su novu ulogu – pogodnih dimenzija da se u njima smesti manja grupa, od 15ak studenata, postali su studentski boksovi. Istovremeno, veće sale su bile lakim pregradama smanjivane.

Boksovi su bile radne jedinice studenata i data im je sloboda da ih urede po svom nahođenju.

Još jedan od zahteva Nove škole bila je veća posvećenost profesora studentima i direktnija veza, što se ogledalo i u tome da svaki student ima svoje stalno mesto u svom boksu, a profesor je taj koji posećuje.

Nakon prvog trimestra Nove škole do izražaja dolaze nesuglasice među profesorima i uopšte pogleda na obrazovanje arhitekata, kao i studenata nižih godina koji su pohađali Novu školu, i viših koji to nisu, a zahtevali su. Neke od nesuglasica odnosile su se na pitanje ba­vljenja problemima urbanizma i životne sredine još od prve godine, čemu se projektantska struja protivila, iako je takav, ranije postavljen pri­ stup u Saopštenjima prošao bez komentara,. Sa jedne strane isticana je „opasnost od shvatanja arhitekture kao društvene nauke“ i „hu­mani aspekt arhitektture sa elementima humane ekologije, sociologije i psihologije, što je dosad bila slabija strana savremenog tehnološkog društva, dok se kritičari te koncepcije zalažu za unikatnu arhitekturu koja čini svega pet odsto celokupne arhitekture“ s druge strane. Kritike su u velikoj meri bile usmerene i lično profesoru Bogdanoviću, te se sukob javlja i na tom nivou.

Pitanje neposrednosti odnosa između profesora i studenata, naročito prve godine, takođe je predstavljeno kao problem, kao i radikalno uvođenje promena i liberalizacija nastave.

Na mesto dekana dolazi profesor Branislav Milenković koji nastavlja napore za funkcionisanje Nove škole, a iz njegovih sećanja možemo izdvojiti specifičnost Nove škole u načinu rada sa studentima gde profesor i dekan provode radne dane u studentskim grupama, u zajedničkom radu i razgovoru, između ostalog i o sopstvenoj literaturi koja je donošena i sa studentima diskutovana. Problem upisa prve generacije Nove škole u treću godinu studija

ning beginning in the first year of study, an idea opposed by designers, even though such plans had already been proposed within the Declaration, and had passed without comment. On the one hand was the concern over "the danger of understanding architecture as a social science", while on the other hand was the view that the "humanistic aspect of architecture - replete with elements of ecology, sociology and psychology, so far the weaker parts of a modern technological society - whose critics favor a unique architecture which only makes up five percent of the whole." The criticisms were largely directed personally to Professor Bogdanović.

Also seen as a problem, was the question of the immediate relationship between teachers and students, especially during the first year, as well as the introduction of radical changes and the liberalization of courses. Professor Branislav Milenković takes over as dean, and continues efforts towards entrenching the New School.

His recollections vividly single out specific aspects of the New Schools, namely in working directly with students, where a professor or dean might spend their entire work day in student groups, in collaborative projects and discussions, sometimes even talking over their own publications. However, the problem of registering the first generation of New School students for a third year of study, traditionally meant to accept a vastly smaller number of students, was never resolved, and at the beginning of 1973/74, the decommissioning of student boxes, as well as the New School itself, began.

Although the New School was short-lived, many of its principles have continued to live through future programs, and, 35 years later, it has come to the fore again, this time from a completely different perspective - the introduction of the Bologna Declaration. There is a noticeable similarity between the studios of the Bologna Declaration and the ateliers of the New School, in the interdisciplinary approach, the selection of topics, as well as the introduction of a new scoring system and the principles of guiding students' studies, all actually present in the New School thirty-five years earlier.

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Even though the topic of reform of the College of Architecture has been important and has been ever-present, the work of the New School can be viewed through researching numerous archival material, but a distinctly contemporary emphasis can be viewed in merely two written works - Branislav Folić's doctoral dissertation "The New School of Architects in Belgrade and Changes in the Education of Architects, 1968 - 1974", Belgrade, 2015, and work "Comments on the ("Saopštenja ") of the New School (of architecture)", the SAJ, Belgrade 2011, by Milorad Mladenović.

koja je podrazumevala daleko manji broj studenata nije rešen i početkom 1973/1974. godine počinje razgradnja boksova i gašenje Nove škole.

Iako je Nova škola bila kratkog veka, brojna njena načela nastavila su da žive kroz dalji program fakulteta, a 35 godina kasnije zapravo postaju ponovno prisutna sa sasvim druge strane i izvora, uvođenjem Bolonjske deklaracije. Primetna je sličnost između studija Bolonjske deklaracije i ateljea Nove škole, u interdisciplinarnosti pristupa, odabiru tema na istovetnim principima, kao i uvođenje novog sistema bodovanja studenata i principa usmeravanja koji su zapravo bili prisutni 35 godina ranije u Novoj školi.

Bogdan Bogdanović's CZKD (Center for Cul­ tural Decontamination) project "Creativity and the Whole" touched upon these topics in an ex­ hibition in cooperation with the College of Ar­ chitecture and students in 2015, which brought together alumni of the New School, class of 1972.

The discussions were recorded on video (YouTube: Bogdan Bogdanović: uvod u celinu, izložba i ot­ vorena vrata, Arhitektonski fakultet)

Iako je tema reforme Arhitektonskog fakulteta u poslednjih 10 godina veoma važna i prisutna, rad Nove škole može se bliže upoznati kroz istraživanje brojnog arhivskog materijala, ali s današnjim osvrtom pisani izvor čine tek dva rada – doktorska disertacija *Branislava Folića „Nova škola arhitekata u Beogradu i promene u školovanju arhitekata 1968 – 1974., Beograd, 2015, i rad „Comments on („Saopštenja“) of the new school (of architecture), u SAJ, Beograd 2011, Milorada Mladenovića.

CZKD projekat Bogdan Bogdanović „Stvaralaštvo i celina“ dotakao se te teme izložbom u saradnji sa Arhitektonskim fakultetom i studentima 2015. godine, gde su okupljeni studenti polaznici Nove škole, generacija 1972., čiji razgovor je video zabeležen (Youtube: Bogdan Bogdanović: uvod u celinu, izložba i otvorena vrata, Arhitektonski fakultet)

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A School for the Philosophy of Architecture in the Village of Mali Popović Bogdanović, after the end of the New School at the College of Architecture, continues his experimental approach to students and the learning process in Mali Popović, where he establishes the so-called Village School for the Philosophy of Architecture (1976-1990). In the village of Mali Popović in the vicinity of Belgrade, Bogdanović repurposed an abandoned school to accommodate students that have shown an interest and potential for a different kind of teching. This “semi-private” alternative village school did not have a fixed schedule of classes, but instead developed new methods of approaching the practice of architecture that was based on heuristic discovery games.

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Much like the New School, the Mali Popović school focused on team work, while Bogdanović was more of a catalyst for knowledge than a tutor. This radical approach was ever more present here, where study groups would meet on weekends during the summer semester and create a fictional civilization through myth, using it as the basis for establishing a city. This seemingly innocent creative play was stressing the unbreakable bond between culture and the urban environment and the city as a cultural phenomenon.

The Village School for the Philosophy of Architecture represented a strange mixture of an urbanism workshop, artist performances and group therapy. Bogdanović and his students have seen this alternative village school over the past fifteen years, as a space of liberation from everyday routine, a place where they could freely play "city building". After his letter to the Central Committee of the Socialist Republic of Serbia in 1987, and after Slobodan Milošević's rise to power, the political oppresion of Bogdanović beggins and the village school is shut down and demolished.

Seoska škola za filozofiju arhitekture u Malom Popoviću) Nakon gašenja Nove škole na Arhitekto­ nskom fakultetu Bogdanović eksperimentalni pristup studentima i učenju nastavlja u Malom Popoviću, gde osniva tzv. Seosku školu za filozofiju arhitekture (1976 - 1990). U Malom Popoviću, nadomak Beograda, nalazi napuštenu seosku školu i daje joj novu namenu sa studentima koji su pokazali interesovanje i potencijal za drugačiju nastavu. "Poluprivatna" i alternativna seoska škola nije posedovala fiksan raspored predavanja, već je razvijala nove si­steme pristupa arhitektonskoj praksi, zasnovane na heurističkim, istraživačkim igrama.

Slično Novoj školi, u Malom Popoviću naglasak je bio na timskom radu, dok je sam Bogdanović bio pre katalizator znanja nego tutor. Radikalan pristup još više je došao do izražaja tu, gde se grupa okupljala vikendima tokom le­ tnjeg semestra i stvarala fiktivnu civilizaciju kroz mitove, kao osnovu za stvaranje grada.

Možda naizgled bezazlena, ovakva stvaralačka igra je radikalno naglašavala neraskidivu vezu između kulture i izgrađene sredine i grad kao kulturološki fenomen.

U Seoskoj školi za filozofiju arhitekture dešavala se neobična mešavina urbanističke radionice, umetničkog performansa i grupne terapije.

Bogdanović i studenti su 15ak godina alte­ rnativnu seosku školu doživljavali kao prostor oslobađanja od svakodnevnih prizora, kao me­ sto u kome su se slobodno igrali grada. Nakon Bogdanovićevog pisma Centralnom komitetu SK Srbije 1987. pošto je Slobodan Milošević preuzeo totalnu vlast, počinje politička opresija Bogdanovića i škola biva ugašena i opustošena.

The places where people cannot play cities are places where people cannot rethink their cities and their spaces too. Those are the places where a veritable city will never happen… The builders of illusion, all you have to do is to play cities.

Bogdanović, B. (1966.) The Urbanist My­ thologemes

Tamo gde ljudi ne umeju da se igraju gradova, tamo ne umeju ni da misle svoje gradove i svoje prostore. Tamo se ni pravi grad nikada neće do­ goditi… Graditelji iluzija, igrajte se grada.

Bogdanović, B. (1966). Urbanističke mitologeme.

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REGENERACIJA TOP-DOWN ‘OD VRHA NANIŽE’ REGENERATION ALEKSANDAR STANIČIĆ*

by ALEKSANDAR STANIČIĆ*

‘Arhitektura mora naučiti da transformiše

‘Architecture must learn to transform the vio­

nasilje, kao što nasilje zna kako da transformiše

lence, even as violence knows how to transform

arhitekturu’. (Lebeus Vuds, Rat i arhitektura,

architecture’. (Lebbeus Woods, War and archi­

1993)

tecture, 1993)

Potresne slike razorenih sirijskih gradova i reka ljudi koja spas od bombi traži u bespućima Ba­ lkana bude u nama neka bolna, dobro poznata sećanja. Nasilje nad gradovima u savremenim konfliktima poprimilo je sasvim novu dime­ nziju razvojem sofisticiranih vojnih sistema i sveprisutnog satelitskog osmatranja. Sa jedne strane, to je omogućilo hirurški precizan oda-

Harrowing images of devastated Syrian cities and the river of people who desperately seek salvation in wastelands of Balkans, awake in us some painful, well-known associations. Violence against cities in contemporary conflicts gained completely new dimension with the development of sophisticated military systems and omnipresent satellite surveillance. On the

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bir meta na osnovu njihove vojno-strateške, političke ili simboličke vrednosti (prisetimo se samo 1999-e). Sa druge, borbu ’prsa u prsa’ na otvorenom polju zamenilo je gerilsko ratovanje u urbanoj džungli. Kako je to nekoć slikovito uzviknuo irački ministar ministar spoljnih poslova Tarik Aziz, na opasku kako Irak nije Vijetnam, ’neka naši gradovi budu naše močvare, a naše zgrade naše džungle’! Vojnici se, dakle, u svojim akademijama i na poligonima obučavaju kako se efikasno kretati kroz tavanice i zidove (jer na ulici su tek glineni golubovi), dobijajući tako bolje arhitektonsko obrazovanje od samih arhitekata. Za posledicu, današnje panorame Alepa, Homsa i donekle Damaska su prikazi izbušenih ljuštura, napadnutih kako spolja tako i iznutra.

Shvatajući obim razaranja koje se odigrava pred našim očima, internacionalna platforma Ma­ tterBetter je raspisala otvoren međunarodni konkurs za nov koncept stanovanja u posle­ ratnoj Siriji. MatterBetter već dugo godina uspešno nudi arhitektonske i dizajnerske odgovore na neke od gorućih socijalnih i političkih pitanja širom sveta. Ovog puta, zadatak je bio da se ponudi efikasno rešenje za oskudicu stambenog prostora u razrušenim gradovima.

Zanimljivo, jedan od uslova je formulisan tako da predlog mora biti dovoljno ’atraktivan’ da privoli preko četiri miliona izbeglih Sirijaca na povratak. U malo više detalja, precizirano je da rešenje mora biti: (a) brzo izvodljivo, a opet dovoljno kvalitetno da posluži za na­ rednih pedeset godina; (b) prilagodljivo i za izgrađena i za neizgrađena područja; (c) sa jasno defi­nisanim odnosom prema oštećenim objektima; (d) takvo da omogućava fleksibilnost i prilagodljivost životnog prostora kroz vre­me; (e) adekvatno lokalnoj kulturi i materijalima; (f ) takvo da minimizira potrošnju energije kroz ino­vativni održivi dizajn. Suma sumarum, tražilo se rešenje koje bi u potpunosti redefinisalo koncept posleratnog stanovanja.

one hand, it made the precise selection of targets based on their strategic, political, or symbolic value easily achievable (let’s recall the 1999 Air War). On the other, hand-to-hand combat on open field is being replaced with guerilla warfare in urban jungle. As former Iraqi minister of foreign affairs Tariq Aziz famously exclaimed, responding to the remark that Iraq is not Vietnam: ‘Let our cities be our swamps, and our buildings our jungles’! Consequently, soldiers are being trained in their academies and on their mock-up sites how to move efficiently through the walls and ceilings (because on the street, they are no more than the clay pigeons), acquiring more advanced architectural knowledge than the architects themselves. Results are devastating – today’s panoramas of Aleppo, Holms and Damascus are displays of perforated shells, attacked from the inside as well as outside.

Comprehending the scale of devastation which takes place in front of us, international platform MatterBetter announced open architectural competition for the new concept of postwar housing in Syria. For several years MatterBetter has been offering architectural and design solutions to some of the most challenging social and political issues all around the World. This time, the task for architects was to propose an efficient solution for housing scarcity crisis in war-torn Syrian cities. Interestingly, one of the conditions implicitly required for the proposals to be ‘attractive enough for once displaced Syrians to return’. In more details, the projects had to meet the following criteria: (a) provision in short-term of qualitative solutions for mass social housing with at least fifty years lifespan; (b) adaptability to either developed or non-developed site; (c) defined approach towards existing constructions (damaged and/or ruined); (d) provision of flexibility and adaptability of living spaces/buildings through time; (e) taking into consideration local construction and living culture; (f) minimization of energy consumption by implementing innovations in the field of sustainable design. To summarize, the proposed solution had to redefine entirely the existing paradigms of postwar housing.

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PROJEKAT:

PROJECT:

Povlačenje paraleli između zgrada, gradova i živih organizama je široko primenjeno i nimalo strano u arhitektonskom diskursu, ali nigde to nije toliko prikladno kao u postupku regeneracije oštećenog urbanog (i organskog) tkiva. Ne radi se tu samo o suštinskoj otpornosti građenih i živih struktura na prirodne i veštačke katastrofe, već o samom procesu i različitim fazama zalečenja. Ovo je najpre primetio i detaljno opisao američki arhitekta i teoretičar Le­ beus Vuds koji je, kako u svojim crtežima tako i u pisanjima, identifikovao četiri stadujuma urbane regeneracije nakon konflikta: inekcija, krasta, ožiljak i novo tkivo (Radical reconstru­ ction, 1997). Naš projekat kreće upravo od tih teorijskih postulata i razvija svoj lični arhitektonski izraz i opšti pristup urbanoj regeneraciji koja će, nadajmo se, uslediti nakon intenzivne ratne destrukcije sirijskih gradova.

Polazeći od premise da je praktično nemoguće da jedan moderan grad bude potpuno uništen ili napušten, odlučili smo da razvijemo rešenje koje bi omogućilo efikasnu instalaciju nezavisnih jedinica za stanovanje iznad postojećih ruševina, istovremeno omogućavajući postepenu regeneraciju oštećenih struktura ispod. Proces se sastoji od četiri faze, analogno Vudsovoj teoriji regeneracije (urbanog) tkiva: a) oblačenje oštećene zgrade u montažni ‘kavez’ koji će služiti

Drawing parallels between buildings, cities, and living organisms is widely applied and hardly alien in architectural discourse, but nowhere is that more appropriate than in regeneration of wounded organic/urban tissue. And it’s not only about the quintessential resilience of built and living structures to the disaster, but about the very process and different stages of healing. This is well noticed and explained by architect and theoretician Lebbeus Woods, who, in his drawings as well as writings, identified four stages of urban regeneration after a violent conflict: injections, the scab, the scar, and new tissue (Radical reconstruction, 1997). Our project uses these theoretical postulates to develop its own architectural expression and general approach to urban recovery that follow severe war destruction of Syrian cities.

Starting from the premise that it is practically impossible for a city to be completely erased or abandoned, we decided to develop a solution that will allow efficient instalment of independent housing units over existing debris, while enabling gradual regeneration of damaged structures below. This process consists of four stages: a) enclosing of damaged building into ’cage’ scaffolding which will serve as temporary external skeleton of future regenerated building; b) filling the missing parts of the building

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kao privremeni spoljnji skelet budućeg regenerisanog objekta; b) popunjava­nje nedostajućih delova zgrade prefabrikovanim jedinicama za stanovanje tako što se one kače na postavljenu skelu i (gde je to moguće) naslanjaju na zemlju i/ili delove ruševine; c) postepena razgradnja ruševina, popunjavanje novonastalih praznina novim stambenim jedinicama i reparacija lakše oštećenih elemenata; d) kada je novo tkivo u potpunosti formirano a staro zaraslo, kavez se demontira.

Jedinice mogu biti organizovane tako da formiraju zajedničko dvorište (tradicionalna organizacija stanovanja u Siriji) ili nezavisne celine sa privatnim baštama. Takodje, mogu biti montirane i na potpuno praznom zemljištu, formirajući tako sasvim nove objekte pa i čitava naselja. Svaka jedinica se sastoji od ‘životnog’ i ‘tehničkog’ prostora, dok fasadu čine tri različite komponente – solarni panel, prozorska površina i ‘puni’ panel. Svaka tako formirana zgrada je potpuno samostalna, sa sopstvenim generatorima za struju, rezervoarima za vodu, sistemom za prerađivanje otpadnih voda i autonomnom staklenom baštom – dakle, u stanju da održava pristojan život svojih stanara do konačne obnove gradske infrastrukture.

Ključni princip, verujemo, za rekonstrukciju posleratne Sirije mora biti eksploatacija lokalnih resursa i snage u ljudstvu. Proces reciklaže gradjevinskog materijala nastalog od oštećenih zgrada bi oživeo sirijsku ekonomiju i uposlio

with prefabricated housing units so that they are hanged on the installed scaffolding and/ or leaned on the ground and parts of the ruin; c) gradual debris disintegration, sealing new emerging cavities with more housing units and reparation of lightly damaged parts; d) when the new tissue is fully formed and old repaired, scaffolding is being dismantled.

Units can be organized to form an open courtyard (traditional housing organization in Syria) or separate housing entities with private gardens. Also, they could be built on the completely empty ground as well, thus forming completely new buildings, even entire settlements. Each unit consists of living space and ’technical’ space, while façade is composed of three different modules – solar panel, window and ‘solid’ panel. Every building is fully independent, with its own electricity generators, water fountains, systems for wastewater treatment and autonomous greenhouse gardens, therefore capable of supporting life until the complete urban infrastructure is restored.

We believe that the key principle for rebuilding the post-war Syria should be exploitation of local resources and manpower. Recycling damaged building material would revive Syrian economy and employ substantial number of workers, while its reuse for the new construction would be in compliance with the principles of critical regionalism. Avoiding large-scale urban interventions and focusing on micro-ur19

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značajan broj radnika. Takođe, (re)upotreba lokalnih materijala za novu izgradnju je u skladu sa osnovnim principima kritičkog regionalizma. Izbegavanje krupnih urbanih inte­ rvencija i fokusiranje na mikrourbanističke zahvate pruža građanima mogućnost da oblikuju urbanu sredinu prema sopstvenim standardima i potrebama. Ovakav poduhvat bi zahtevao podučavanje građana osnovama urbanog i arhitektonskog zanata, što je veoma značajno kada se zna da podsticanje i stvaranje ‘arhitekture bez arhitekata’ ojačava ljudsku povezanost sa samim gradom. Nove studije su pokazale da umrežavanje i zajednički napor u obnovi grada nakon katastrofe pomaže obnavljanju veza među ljudima, što nosi posebnu težinu u zemlji rastrzanoj građanskim ratom.

Projekat ‘Top-Down Regeneration’ projekta­ ntskog tima u sastavu Dr. arh. Aleksandar Staničić, Dr. arh. Andrea Jelić i Dr. arh. Milan Šijaković osvojio je ‘Honorable mention’ nagradu na MatterBetter medjunarodnom takmičenju u konkurenciji 248 pristiglih radova.

banism instead, provides the citizens with the possibility to rebuild the urban environment according to their own standards and needs. This sort of endeavor requires educating the citizens on the basics of urban and architectural craft, which is particularly important since encouraging and creating ‘architecture without architects’ strengthens the human connection toward the city itself. Furthermore, new studies have shown that networking and joint effort in rebuilding the city after disaster helps rebuilding the human relationships as well - a necessity in a country torn by civil war.

Project ‘Top-Down Regeneration’, created by the following team of architects: Dr. Arch. Aleksandar Staničić, Dr. Arch. Andrea Jelić and Dr. Arch. Milan Šijaković, have won the ‘Honorable mention’ award at MatterBetter international competition among 248 submitted projects.

More information is available on http://matterbetter.com/blog/article/48 and http://www. archdaily.com/792525/matterbetter-announces-winners-of-syria-post-war-housing-competition.

Više informacija dostupno na veb stranici http://matterbetter.com/blog/article/48 i http:// www.archdaily.com/792525/matterbetter-announces-winners-of-syria-post-war-housingcompetition.

*Associate Research Scholar, The Italian Acad­ emy for Advanced Studies in America Columbia University in the City of New York

*Associate Research Scholar, The Italian Acad­ emy for Advanced Studies in America Columbia University in the City of New York

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Ilustracija iz publikacije Novi modeli stanovanja za ugrožene u poplavama

NOVI MODELI STANOVANJA

NEW RESIDENTIAL MODELS

ZA UGROŽENE U POPLAVAMA

FOR POPLE THREATENED BY FLOODS

Studenti Arhitektonskog fakulteta u Beogradu

Students from the College of Architecture, Belgrade

Kada su padavine velikih razmera dovele do brzog i neočekivanog podizanja nivoa reka u Republici Srbiji i poplava koje su za sobom osta­ vile velike gubitke, u maju 2014. godine, neko­ liko studenata Arhitektonskog fakulteta došlo je na ideju o pokretanju inicijative za delovanje i pružanje pomoći. Inicijativa „Novi modeli stanovanja za ugrožene u poplavama” proizve­ la je veliki odjek na fakultetu, širom institucija, među stručnjacima, studentima i široj javnosti, mnoštvo predloga i ideja, i daljeg delovanja. Tim povodom razgovarali smo sa studentima inici­ jatorima.

When over abundant rainfall led to the rapid and unexpected raise in water levels and subsequent flooding in the region in May of 2014, several students from the College of Architecture began ​​ an action-based initiative to provide assistance.

The "New Models of Housing for Flood-Prone and Vulnerable Areas" project quickly gained ac­ ceptance not only within the university itself, but many other institutions, professional bodies, and across the general population, garnering further ideas, suggestions, and action.With that in mind, we spoke to the initiating students.

Kako ste došli na ideju stvaranja Inicijative?

How did you come up with the idea for creat​​ ing this initiative?

Tokom tog perioda građani i različite inicijative organizovali su veliki broj kolektivnih i volonterskih akcija u cilju prikupljanja hrane, odeće i higijenskih sredstava za ljude koji su usled po­ plava ostali bez svojih domova. Kao studenti, nismo imali novac, odeću i hranu koju smo mogli da doniramo, ali ono što smo mogli i

During this unfortunate event, many citizens and various institutions organized a large number of voluntary programs, from collecting food, clothing and sanitary items, to donations for people left homeless as a result of the flooding.

As students, we did not necessarily have the money, clothing or food which we could donate, 21

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želeli da pružimo jesu energija i znanje. Imali smo želju da pomognemo ljudima, stavimo im se na raspolaganje, organizujemo se i pomognemo na različite načine u onoj oblasti koja je bliska našem radu i studijama: pri sanaciji kuća, izra­di idejnih rešenja jeftinih, montažnih kuća i privremenih objekata i da učestvujemo u plani­ranju bezbednih i zdravih gradova nakon popla­va. Putem društvenih mreža smo kontaktirali kolege sa Arhitektonskog fakulteta Univerziteta u Beogradu i uputili pisma profesorima.

but what we could, and wanted to offer was our knowledge and enthusiasm. We wanted to help people, to avail ourselves to them, to organize ourselves and help in ways and areas close to our spheres of knowledge and capabilities - remodeling, rehabilitating and re-building houses, creating inexpensive practical designs such as prefabricated houses and temporary emergency facilities, and to play a part in the planning of safe and sustainable post-flood residential areas. Through social media, we contacted our colleagues, and sent our ideas and letters to professors.

Uspeli ste nešto što se retko dešava - da studentski entuzijazam i ideje podignete na nivo institucija. U čemu je kvaka?

You succeeded in doing something very rare and unique - to raise student action to the level of institutional procedure. How did you do it?

Predlog o pokretanju inicijative pod nazivom „Novi modeli stanovanja za ugrožene u poplavama” izneli smo na sastanku Naučno nastavničkog veća 18. maja 2014. godine, dva dana nakon početka talasa poplava. Dobili smo podršku Dekana i profesora Arhitektonskog fakulteta i istog dana oformili Radnu grupu koju su činili brojni profesori Arhitektonskog fakulteta, nastavlno osoblje i studenti. Zatim smo uputili zvanična pisma nadležnim ministarstvima i državnim institucijama, u želji da ostvarimo komunikaciju i radi pružanja ekspe­ rtskog znanja.

Jedan od prvih koraka koje smo preduzeli bilo je formiranje baze podataka studenata koji su podržali Inicijativu. Nakon samo dva dana, 420 studenata sa različitih godina studija, putem online upitnika ostavilo je svoje kontakte i podatke, potvrđujući svoju želju za učešćem.

Zatim smo na sastancima Radne grupe studenata, profesora i studentske organizacije "Letnja škola arhitekture" razmatrali pitanje delovanja arhitekata u slučaju prirodnih nepogoda. Kao rezultat sastanaka je nastala ideja o održavanju Stručnog skupa i radionica.

We presented our proposal, entitled "New Residential Housing Models for Flood Victims", to the Academic Council on May 18th, 2014, two days after the onset of flooding. We immediately got the dean's support and assembled a working group comprised of numerous professors, teaching staff, and students. We then sent official letters to the relevant ministerial and state institutions, in order to open communication as well as provide a stream of expert knowledge.

One of the first steps we took was to create a database of students and supporters. After only two days, 420 students volunteered their contact information by way of an on-line questionnaire, confirming their desire to participate. We also held numerous working group meetings, composed of students, professors and the student organization "Architectural Summer School" on the topic of architects' roles during times of natural disasters, leading to the proposal for creating a continuing, permanent body of professionals along with relevant workshops.

As students, this approach to immediately solving seemingly insurmountable, pressing problems, including participation at the state level, was brand new. How did you cope?

We came up with a working plan for a profes-

Kao studentima ovakav pristup rešavanja u tom trenutku gorućih problema koji se čine nerešivim i na nivou države vam je bio sasvim nov. Kako ste se u toj sasvim novoj problematici snašli?

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Agendu stručnog skupa kreirali smo na osnovu istraživanja godišnjeg izveštaja Ujedinjenih nacija iz 2012. godine, gde smo izdvojili teme upravljanja rizikom i planiranja i projektovanja u područjima visokog rizika. Zajedno sa profesorima iz Radne grupe, definisali smo tri tematske celine: pre, u toku i nakon poplava i u skladu sa tim odlučili koje profesore, predstavnike rele­ vantnih institucija i organizacija bismo mogli da pozovemo u svojstvu predavača.

Stručni skup smo organizovali kao jednodne­ vni događaj tokom kojeg su predavanja održali profesori sa tehničkih i srodnih fakulteta i predstavnici Instituta za vodoprivredu „Jaroslav Černi“, Zavoda za statistiku i kompanije „GIS data“. Održano je petnaest predavanja o planiranju, projektovanju i izgradnji naselja ugroženih poplavama i klizištima. Rezultat je bio usvajanje zaključaka o značaju prevencije, prikupljanja informacija, kao i podizanja svesti i potrebe za multidisciplinarnim pristupom u delovanju usled prirodnih nepogoda.

sional body after doing research of the UN's Annual Report for 2012, where we concentrated on the topics of risk management and design planning in high-risk areas. Together with professors from the working group, we defined three core themes - before, during and after the floods - and accordingly, decided which professors, representatives, and relevant institutions we can invite as lecturers.

We organized the professional meeting as a oneday event during which lectures were held by professors from technical and related universities, as well as representatives of the Institute for the Development of Water Resources "Jaroslav Cerni", the Institute of Statistics, and the company "GIS Data". Fifteen lectures were held on the planning, design and construction of settlements vulnerable to flooding and landslides.

The conclusion was focused on the importance of prevention, information gathering, as well as raising awareness and the need for a multidisciplinary approach in response to natural disasters.

Pored teoretskih saznanja, dali ste i veoma konkretne rezultate i predloge, koji proces se krije iza toga?

In addition to theoretical knowledge, you also submitted very concrete results and proposals. What process lies behind this?

Radionice su bile osmišljene kao četvorodnevni mentorski rad studenata sa profesorima i sara­ dnicima na Arhitektonskom fakultetu, Pokrenuto je sedam radionica na sedam različitih tema, koje su mentori prepoznali kao ključne aspekte bavljenja problemom stanovanja ljudi ugroženih u poplavama, od procesa urbanog planiranja rizičnih područja, do projektovanja novih modela stanovanja za ugrožene grupe.

Više od 130 studenata, učesnika radionica, istraživalo je tipove privremenog i trajnog stanovanja, scenarija postupanja u vanrednim situacijama, zbrinjavanja ugroženih ljudi i implementacije predloženih projekata. Kreirana arhitektonska rešenja bila su bazirana kako na ispitivanju minimuma i optimuma lju­ dskih potreba i kvaliteta življenja u skladu sa zatečenim uslovima, primeni principa prefabrikacije, korišćenju lokalnih materijala i resursa i uključivanju lokalnog stanovništva u proces obnove. Neke radionice su u zatečenim

The workshops were designed as a four-day student mentoring program with professors and associates at the university. Seven workshops were created, covering seven different themes identified as key aspects of dealing with the problem of flood-victim housing, ranging from urban planning in high risk areas, to designing new models of housing for affected groups.

More than 130 students and workshop participants, researched various types of temporary and permanent housing, scenarios of emergency situations, care and management of victims, as well as the successful implementation of projects and proposals. The ensuing architectural designs were based on various parameters such as examining the minimal and optimal needs and quality of life issues under such extreme circumstances, the application of prefabrication principles, the use of local materials and resources, and local's involvement in the re23

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Ilustracija iz publikacije Novi modeli stanovanja za ugrožene u poplavama

construction process. Some workshops emphasized the immediacy of emergency health services, offering temporary space solutions for treatment centers. Participants have left an indelible, lasting impression of their commitment and outpouring of energy, thanks to which, in a short period of time, inspired by compassion and philanthropy, they produced a large number of high-quality solutions. Their energy has created an atmosphere that only confirms our position on the importance of the architectural profession in such situations.

The four-day campaign yielded a variety of results - conceptual designs for residential buildings, temporary health care centers, extreme situation housing typologies, as well as conceptual designs for reconstruction and administration of relief fund programs. At that time, these results were only the beginning of dealing with the problem of post-flood housing, with the aim of highlighting the importance of the strategic necessity of housing in emergency situations in the context of future urban development.

oko­lnostima isticale značaj očuvanja zdravlja i brzog zdravstvenog zbrinjavanja ugroženih, starih i bolesnih, nudeći rešenja privremenih prostora lečenja. Poseban utisak u toku radio­ nica učesnici su ostavili kroz svoju posvećenost i produktivnost, zahvaljujući kojoj su u kratkom vremenskom periodu, podstaknuti idejom humanosti, proizveli veliki broj kvalitetnih rešenja.

Njihova energija stvorila je atmosferu koja je samo potvrdila naš stav o značaju arhitektonske struke u ovakvim situacijama. Četvorodnevna akcija dala je raznovrsne rezultate: idejna rešenja stambenih objekata, privremenih objekata zdravstvenog zbrinjavanja, tipologije stanovanja u ekstremnim situ­ acijama, kao i idejna rešenja rekonstrukcije i programa apliciranja za pomoć različitih fondova. U tom trenutku ovi rezultati predstavili su samo početak bavljenja problemom stanovanja ugrožeih u poplavama, s ciljem isticanja značaja strateškog razmišljanja na temu stanovanja u vanrednim situacijama u kontekstu budućeg razvoja grada.

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Velika vrednost je upravo u tome što vaše delovanje nije ostalo samo u okviru stručnih skupova i zidova fakulteta, kako ste svoj rad dalje komunicirali?

Particularly of great value is the fact that your efforts did not remain solely in the sphere of academia and eclectic professional gatherings.

How did you spread the word?

Nas 120 je za manje od deset dana priredilo publikaciju sa osnovnim ciljem da prikažemo rezultate radionica i da ideje o novim modelima stanovanja učinimo dostupnim stanovnicima područja ugroženih poplavama u Srbiji i u regionu. Postavili smo je online, na ISSUU pla­ tformu, a statistika nam govori da za samo par meseci broji oko 2500 pregleda kako iz zemalja regiona, tako i iz ostatka Evrope i Amerike.

U naredne dve godine, inicijativu smo prezentovali na nekoliko stručnih manifestacija i za to smo bili nagrađeni (Specijalno priznanje na 23. Salonu Urbanizma i Specijalna preporuka i podrška saveta 37. Salona Arhitekture za afirmativnu akciju u arhitekturi). Ono čime se mi, kao inicijatori, posebno ponosimo jeste činjenica da su sve izložbe realizovane sa minimalnim troškovima, finansirane i priređene od strane studenata i profesora uz veliku pomoć ustanova u kojima smo izlagali. Pored ovih izložbi za stručnu javnost, imali smo priliku da rezultate inicijative prezentujemo i u Spo­ rtsko Kulturnom centru u Obrenovcu, koju su, zahvaljujući menadžeru ove institucije, obišli i đaci iz osnovnih škola u sklopu organizovanih poseta.

Some 120 of us had, in less than ten days, published a body of work showcasing our results, with the aim to have these new models available to residents of the affected areas throughout Serbia and the region. We set up online through ISSUU, and statistics tell us that in just a matter of months, we have received about 2500 views from within the region and the rest of Europe and America.

Over the next two years, we have presented our results at several professional events and have been awarded recognition - special mention at the 23rd Salon of Urban Planning, and special mention and support of the council of the 37th Salon of Architecture for Affirmative Action in Architecture. What makes us especially proud, is the fact that all the exhibitions were realized with minimal expenditures, financed and prepared by the students and teachers themselves, with great support from the institutions in which we participated. In addition to these exhibitions for the professional community, we also had the opportunity to present our results at the Sports and Cultural Center in Obrenovac, which was, thanks to that institution's director, visited by primary school students as part of an organized field-trip.

Ilustracija iz publikacije Novi modeli stanovanja za ugrožene u poplavama

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Kako sada, dve godine kasnije, gledate na vaš tadašnji rad i njegov dalji život, rezultate i značaj Inicijative?

Projekti, izložbe i priznanja su možda najdirektniji rezultati naše Inicijative, ali mi ovom prilikom želimo da ukažemo i na one indire­ktne, ali nama podjednako važne rezultate. Tako, tema novih modela stanovanja i planiranja područja ugroženih poplavama je već naredne godine uključena u nastavu na nekoliko pre­dmeta na Arhitektonskom fakultetu Univerziteta u Beogradu, dok smo mi, kao inicijatori, dobili priliku da učestvujemo na izra­di master projekata na Master programu Integralni Urbanizam. Pored toga, tim studenata je uz podršku Coca Cola kompanije osmislio i izgradio prvi Eko park u Obrenovcu dok druga grupa studenata, čak i nakon diplomiranja, i dalje aktivno deluje na polju arhitekture pod imenom TIM 8. Nakon Inicijative, u kojoj su članovi ovog tima učestvovali u radionici “SOS stanovanje”, članove tima je kontaktirao Ženski fond Rekonstrukcija u cilju rekonstrukcije i izgradnje objekata u Romskom naselju na Vidikovcu. Dizajn je bio vođen principima jefti­ nih materijala, jednostave i brze konstrukciije i lokalno dostupnih materijala (Dušmanović, et al. 2015). Ubrzo nakon izgradje, uz pomoć pomenutog fonda, autori su objavili knjigu “Modeli privremenog stanovanja – Od koncepta do realizacije na primeru Romskog naselja”. U knjizi je prikazan proces istraživanja ali i proces građenja dok detaljnost i jednostavnost prikaza čine pu­blikaciju dostupnom svakome. TIM 8 je za dve godine delovanja, izgradio nekoliko objekata za stanovništvo ugroženo u poplavama, koje je izlagao na stručnim manifestacijama i za koje je dobio značajna priznanja.

Možda publikacija nije zvanično objavljena, ali možda to i nije toliko važno. Dve godine nakon pokretanja ove studentske inicijative, većina nas se već zaposlila. Nekoliko nas radi na fakultetu gde imamo priliku da podelimo svoja iskustva sa mlađim kolegama ali i da ih motivišemo da sami pokrenu slične inicijative. Sa druge strane, zaposleni u biroima i članovi profesionalnih timova, uz podršku različitih fondova, imaju CAMENZIND

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Two years on, how do you view your initiative, its future, results and impact?

priliku da deluju u praksi i da pomognu porodicama u nevolji.

The various projects, exhibitions and awards may be the most direct and tangible gauge of our initiative, but we would like to use this opportunity to point out the less direct, but to us equally important, indices. Most notably, during the following academic year, the subject of housing and development in flood prone areas was incorporated in the curriculum at the College of Architecture in Belgrade. We also got the chance to participate in the development of master's level projects for the Master Studies in Integral Urbanism at the university. In addition, a team of students, with the support of Coca-Cola, designed and built the first eco-park in Obrenovac while another group remains active in the field of architecture under the name TIM 8. After the initiative, some members of this team were contacted by the Women's Reconstruction Fund and participated in the workshop "S.O.S. Housing", aimed at the reconstruction and development of facilities in the Roma settlement in the Vidikovac district.

The project concentrated around the use of economically viable materials, straightforward, rapid construction, and using locally available materials (Dušmanović, et al. 2015). Shortly after development, authors published the book "Models of Temporary Housing - From Concept to Implementation in the Case of the Roma Settlement" with the help of the fund. The book showcases everything from the research stage to the building process in a manner of clarity and ease of use making it accessible to everyone. TIM 8, during its two years of operation, has constructed a number of structures for victims of floods, some of which, after being showcased at professional events, received significant awards.

The fact that the initiative was never officially published, is perhaps not of crucial importance.

Two years after launch, most of us are already employed. A few of us work at the university, where we not only have the opportunity to share our experience with younger colleagues, but also to motivate them to set up their own

Verujemo da inicijative poput naše pokazuju da entuzijazam, posvećenost i udruženo delovanje studenata i nastavnika motivisanih humanošću mogu da doprinesu edukaciji i kreiranju nove prakse u domenu reagovanja u kriznim situacijama.

similar initiatives. On the other hand, our colleagues in the private and public sectors, with the support of various funds, have the opportunity to apply their knowledge and to help families in need.

We believe that initiatives like ours show that enthusiasm, commitment and joint action of students and teachers motivated by compassion, can contribute to education and the development of new crisis-management techniques.

Celu publikaciju rezultata stručnog skupa na temu: "Novi modeli stanovanja za ugrožene u poplavama" održanog u periodu od 12. do 15. juna 2014. godine na Arhitektonskom fakultetu u Beogradu možete po­ gledati online: https://issuu.com/redakcijaaf/docs/novi_modeli_ stanovanja_za_ugrozene_

The complete findings of the professional panel con­ cerning the theme of: "New Models of Housing for Flood Victims", held from the 12th to the 15th of June, 2014, at the College of Architecture in Belgrade can be viewed online. https://issuu.com/redakcijaaf/docs/novi_modeli_ stanovanja_za_ugrozene_

Ilustracija iz publikacije Novi modeli stanovanja za ugrožene u poplavama

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Foto: Ognjen Milošević

UDRUŽIVANJE U ARHITEKTURI

JOINT BUSINESS MODELS IN ARCHITECTURE

primjer Zadruge Otvorena arhitektura, Zagreb

"Open Architecture", an Example of Cooperative, Zagreb

IVA IVŠIĆ I IVAN VADANJEL

by IVA IVŠIĆ I IVAN VADANJEL

Svi smo mi društveni aktivisti i aktivistice i već dugi niz godina djelujemo unutar različitih progresivnih organizacija. Na taj način ula­ žemo svoje slobodno vrijeme u kolektivne akcije baveći se temama ljudskih, ekono­mskih, radničkih i socijalnih prava, odnosno uže gledajući temama vezanim uz pravo na (g)rad, javni prostor, stan, zdravlje i obrazovanje svih nas. Dugo smo razmišljali kako to djelovanje, ali i solidarne principe na kojima počiva rad u takvim organizacijama, prenijeti iz sfere slobodnih aktivnosti u radno vrijeme od 9-17 h i kako i na profesionalnom polju raditi bolje i u skladu s vrijednostima koje zastupamo.

Mnoge nevladine organizacije u kojima smo aktivni i u kojima su neki od nas i zaposleni, u pravilu ovise o projektnom financiranju – koje često zadaje stroge okvire, iziskuje velike napore

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We are all social activists and have, for many years now, been operating within a myriad of progressive organizations. In this manner, we invest our time in social activities of varying impact, threading through fields of human, economic, labor and social rights, as well as the incorporation of these issues in a range of legal areas including labor, public space, lodging, health and education. We have long been pondering exactly how, not only this type of work, but the founding principles of such an ethic, could translate from the sphere of volunteer work to actual 9 to 5 employment, and how to be competitive in accordance with the values ​​ that we represent.

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u podnošenju izvještaja donatorima i koje je nestalno i nesigurno. Razmišljali smo kako doskočiti problemu s jedne strane nesigurnog i često frustrirajućeg prekarnog položaja i s druge strane kako osigurati sredstva za aktivistički rad koji zaposleni po arhitektonskim uredima oba­ vljaju u slobodno vrijeme. Je li moguće povezati komercijalne aktivnosti kojima si postepeno možemo osigurati egzistenciju s našom borbom za društvenom promjenom? Ideja o osnivanju arhitektonske zadruge počela se razvijati prije koju godinu, no formalno smo Zadrugu osnovali u ožujku 2016. Mnogo je toga još uvijek u povojima i u fazi promišljanja, ali krenuli smo s radom. Imamo 7 članova, 6 arhitekata i arhitektica i jednu kineziologinju. Iako zadruga ima arhitektonski predznak nismo strukovno ograničeni i želja nam je u perspektivi u Zadrugu uključiti ljude koji se bave različitim disciplinama.

Many non-governmental organizations in which we are active and in which some of us work, as a rule, depend on project financing which often entails that rigorous parameters be met, require major efforts in submitting reports to donors and all within a framework which is transient and risky at best. We set to wondering how we could solve the dilemma of, on the one hand, being in a relatively precarious and often frustrating bargaining position while, on the other, providing the means for the visionary work employees perform in their free time.

Is it possible to incorporate commercial activities with which we could secure our struggle for social change?

The idea behind establishing an architectural co-op started to develop a few years ago, with the official founding having come in March of 2016. There is still much to resolve in its infancy, and we are certainly within the early stages of working out various issues, but the work has begun. As of now, we have seven members - six architects and one kinesiologist. And while the co-op has an architectural title, it is by no means vocationally limited, and we are eager to include a variety of people engaged in multidisciplinary endeavors.

Zašto zadruga?

Ideju o organiziranju u formi zadruge vučemo iz dugogodišnjeg iskustva rada po privatni­m pra­k sama ili kao freelanceri uglavnom za privatne investitore i na projektima koji su podređeni logici profita i zadovoljavanju parti­kularnih interesa i privatnog kapitala, bez odgovornosti prema prirodi, zajednici i društvu u cjelini. To nas je iskustvo, koje pre­ tpostavljamo da većina arhitekata/ica ima, navelo da razmišljamo o drugačijem načinu rada.

Djelovanjem kroz zadrugu želimo promovirati, zagovarati i rea­lizirati model vlasništva i upra­ vljanja poduzećem koji je različit od klasičnog, hijerarhijskog te pokazati da je udruživanje u ekonomiji po principima jednakosti i demokratičnosti moguće i potrebno. Osim toga, s obzirom da poslovanje kroz zadrugu pre­tpostavlja brigu o zajednici i društvu iz koje proizlazi i u kojoj djeluje, naša je ideja kroz zadrugu raditi na projektima koji su održivi (društveno, ekonomski i ekološki) te su u javnom i širem društvenom interesu. Graditi arhitekturu koja proizlazi iz zajednice te je u službi zajednice i društva u cjelini.

Why a cooperative?

The idea behind forming a cooperative stems from our many years' experience working in the private sector, or as freelancers for, primarily, private investors and projects usually subject to the logic of profit and satisfying particular interests and private capital with little regard for consequence, whether to the surroundings, the community, or society as a whole. This experience, and it is one which we assume most architects have, led us to contemplate a different approach. Through the cooperative model, we want to promote, advocate and implement an example of ownership and management which differs from the classical, hierarchical model, and to show that inclusion into the economy, based on principles of equality and democracy, is not only possible, but necessary. Additionally, since the co-op business model inherently as29

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sumes care for the community and society from which it stems and in which it operates, our goal is to be engaged in projects which are sustainable - socially, economically and environmentally - and are in the publics' general interest architecture which derives from the community and is thus in the interest of the community and society as a whole.

Unfortunately, the legislative framework in Croatia does not favor cooperatives, which in turn means that this type of model does not bring with it certain benefits in terms of ease of operating and conducting business. State and local governments mainly provide subsidies to a handful of private investors and corporations, who act solely within their own, exploitative interests, and thusly, the idea of creating ​​ a joint venture of like-minded interests seeking subsidies for socially beneficial engagements seems a bit surreal. We strongly believe that this state of affairs needs to be changed, and that, following the lead of well-known international precedents, we must fight to encourage these forms of association. In this sense, we can say, among other things, that establishment of a cooperative represents a political platform outlining what endeavors we are most willing to engage in, as well as promote the idea that society should invest in social interest, and that anything else is, to put it mildly, nothing more than a ruse.

Specifičnost arhitekture je u tome da kao dio građevinskog sektora predstavlja svojevrstan lakmus papir stanja u društvu.

Nažalost, legislativni okvir u Hrvatskoj ne favorizira zadruge na način da ovakav tip udruživanja donosi i određene beneficije u smislu lakšeg poslovanja i djelovanja. Državne i lokalne vlasti daju pregršt subvencija privatnim investitorima, korporacijama i sličnim akterima koji djeluju u privatnom interesu i eksploatiraju naše resurse, a ideja stvaranja udruženih i solidarnih aktera u ekonomiji koji zahtijevaju subvencije radi društveno korisnih angažmana stoji onkraj realnog. Smatramo da se takvo stanje treba promijeniti i da se, po uzoru na neke poznate primjere izvana, moramo izboriti da se ovakvi oblici udruživanja potiču. U tom smislu, možemo reći da je osnivanje zadruge, između ostalog, i pitanje političkog stava kojim poručujemo kakav tip rada želimo i ideje da društvo treba ulagati u društveni interes i one koji ga provode, a da sve što nije to, predstavlja, blago rečeno, podvalu.

Projektantsko aktivistički kolektiv

Architecturally activist collective

Specifičnost arhitekture je u tome da kao dio građevinskog sektora predstavlja svojevrstan lakmus papir stanja u društvu. Naime, s obzirom da je gradnja jedna troma, spora i jako skupa branša, a uporedo stvarna, vidljiva i materijalna - njezino je svojstvo da prva manifestira financijske krize, zadnja iz njih izlazi, a iz njezine pojavnosti - samih kuća, zgrada i naselja koja se grade - lako se iščitava politički i društveni trenutak u kojem nastaje. Lokalnu situaciju od devedesetih na ovamo možemo lako opisati terminima “investitorska gradnja” i “investitorski urbanizam”. Svojstva takve gra­dnje su maksimalne kvadrature, jeftini materijali i nikakav odnos prema javnom prostoru jer je to onaj dio građevine ili naselja koji se ne može nikome prodati. Istovremeno, možemo pratiti CAMENZIND

One of architecture's specificities, from a social perspective, is that it serves as a sort of litmus test of social conditions from whence it springs.

In fact, given that building is generally an enduring and expensive process, and an infinitely visible and tangible one, one of its main characteristic is that it is an area where financial crises are first evident, and from which it is usually the last to recover. Its manifestations - the very houses and buildings around us - makes it easy to read the political and social moment in which they were born. We can easily term the local situation from the nineties onward as "investment construction" and "investment urbanism". The properties of such works are 30

the development of hitherto unsellable areas of public space into private, for-profit projects, and building structures by over-maximizing square footage, using cheap materials, and having no spatial relationship to the surroundings as these were plots which were previously not open to sale. However, at the same time, we can trace the emergence of many positive initiatives, from those for the preservation and improvement of public spaces, to those which raise awareness for the need for environmental and energy efficient building, using natural materials, etc. This is a positive and progressive wave that we, through our own efforts, want to encourage. We are painfully aware that paramount decisions regarding our collective urban environment, from housing projects to public spaces, are carried out within a systematically non-transparent framework, subject to the basest market-driven incentives of pure profit, where the abhorrent adage "might makes right" prevails. These prevalent practices and policies are scarcely subject to change or influence by any one individual, which is why we see the cooperative model of organization as a viable and capable structure with which to promote change.

We view this newly established cooperative as an architecturally activist collective, or better yet, as a financial, infrastructural and logistical base for design work and socio-political engagement. One of the core principles we set out for ourselves is that, rather than working on projects in the classical "bureau" model, one-third of our time is invested in activist and political work in the community, and the promotion of environmentally responsible, public interest, alternative housing and urban policies, and other progressive projects. Our idea of a​​ cooperative implies engagement in projects which are not solely profit-driven, but rather serve as a platform for engaging in research work, public activities, and advocating different policies and practices in urban development, all of which necessitates a commitment to continued refinement of skills important to producing quality designs, and also the formulation of policies that are in the public interest. There is also the

i pojavu mnogih pozitivnih inicijativa, od onih za očuvanje i unaprijeđenje javnih prostora do onih koji podižu svijest o potrebi za ekološkom i energetski učinkovitom gradnjom, upotrebom prirodnih materijala itd. To je jedan pozitivan i progresivan val kojeg i mi svojim angažmanom želimo osnažiti. Svjesni smo da se važne odlu­ ke o stambenim, prostornim i drugim politikama sistemski donose netransparentno, da su podređene logici tržišta te da su ti procesi odlučivanja zatvoreni, a odluke se kroje u smjeru - ko jači, taj tlači. Na sve te dominantne politike i prakse mi kao atomizirani pojedinci ne možemo odgovoriti ni utjecati, a u zadružnom načinu organiziranja vidimo prostor u kojem možemo djelovati u smjeru promjena.

Novoosnovanu zadrugu promišljamo kao projektantsko aktivistički kolektiv, odnosno kao materijalnu, infrastrukturnu i logističku bazu za projektantski rad i društveno-politički angažman. Osnovni zadatak koji smo sebi posta­vili je da za razliku od arhitektonskog posla u “klasičnom” birou ovdje jednu trećinu svog angažmana ulažemo u aktivistički i politički rad u zajednici s ciljem promicanja odgovornosti prema okolišu, javnog interesa, alternativnih stambenih i prostornih politika i/ ili konkretnih progresivnih projekata i planova.

Na tragu toga, ideja zadruge koja proizvodi i zagovara živu i zajedničku arhitekturu za nas podrazumijeva uspostavu djelovanja koje nije u potpunosti orijentirano na potencijalnu dobit od projekata, već otvara prostor za bavljenje istraživačkim radom, javnim djelovanjem, zagovaranjem drugačijih politika i praksi u prostornoj produkciji te uključuje proizvodnju

Zadruga za etično f inanciranje

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znanja važnih za kvalitetan projektantski rad, ali i formuliranje politika koje su u javnom inte­ resu. Osim toga, tu se radi i o odnosu prema vlastitom radu i vlastitom znanju kao o nečemu što nije isključivo usmjereno na rješavanje vlastitih egzistencijalnih pitanja i/ili na ostvarivanje profita, već može biti i društveno korisno, odnosno o poimanju uloge arhitekta/ice kao aktivnog društveno-političkog subjekta.

individual perspective - our own work, experience and knowledge - which should not only be centered around solving our own existential problems, or simply building our own capital, but which should also be socially conscientious, namely, embodying the role of the architect as an active, participatory, socio-political entity.

The cooperative for ethical financing and networking

Zadruga za etično financiranje i umrežavanje

Additional impetus for the establishment of a cooperative, is certainly the phenomenon of the Cooperative for Ethical Financing (ZEF), a platform for individuals and businesses whose primary goal is the establishment of the Ethical Bank - a bank that will be 100% owned by a cooperative, namely all of its members and par-

Dodatni poticaj za osnivanjem arhitektonske zadruge svakako je pojava Zadruge za etično financiranje, platforme udruženih fizičkih i pravnih osoba čiji je primarni cilj osniva­ nje Etične banke. Radi se o banci koja će biti u 100% vlasništvu Zadruge, odnosno svih CAMENZIND

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njezinih članova/korisnika i čije upravljanje funkcionira po zadružnom principu 1 član - 1 glas, neovisno o visini uloženog kapitala. Etična banka ulaže u realnu ekonomiju i proizvodnju te ekonomski i ekološki održive projekte i ne potiče zaduživanje u cilju potrošnje. Kako je to zadružna banka ona je i socijalno osjetljiva te minimalno 90% profita vraća u zajednicu kroz investiranje u društveno korisne proje­ kte. Takav oblik bankarstva, iako još uvijek na marginama ekonomije, u Europi postoji već desetljećima i potpuno je stabilan. No ono što je posebno kod ovog modela koji se usposta­ vlja u Hrvatskoj je udruživanje članova ZEF-a u cilju poslovne suradnje, odnosno razmjene dobara i usluga te u smjeru stvaranja jedne paralelne ekonomije koja počiva na solidarnim principima. Suradnja i razmjena bi se u praksi trebale organizirati na razini regija i sekcija čiji je smisao udruživanjem na razini struke djelovati u zadovoljavanju zajedničkih interesa i uporedo banci pružati stručnu i logističku podršku pri procjenjivanju rizika ulaska u financiranje pojedinačnih projekata. U ZEF-u je nedavno osnovana i Sekcija graditeljstva i prostornog planiranja koja okuplja sve dionike u gradnji – projektante, proizvođače i izvođače.

Primarni cilj sekcije je objediniti i kontrolirati sve faze u gradnji od projektiranja do izvedbe povezivanjem gore navedenih dionika, a koji bi zajedničkim snagama i u suradnji s potencijalnim korisnicima te uz financiranje banke, radili na razvoju i implementaciji alternativnih, ekološki odgovornih i energetski učinkovitih sustava građenja.Vjerujemo da će se upravo na toj platformi ostvarivati velik broj poslovnih suradnji naše zadruge i da su ZEF i posljedično sekcija, na tragu ideja iza kojih stoji etična banka, idealan medij za ostvarivanje naših zadružnih ciljeva. Put dakako neće biti lagan, no važno je djelovati i poslovati u skladu sa zadanim principima i na taj način pronalaziti poslove i poslovne partnere/investitore, ali i suradnike koje vidimo kako u članovima/icama ZEF-a, tako i u mnogim fizičkim osobama, lokalnim upravama i samoupravama, javnim i državnim institucijama, sindikatima, drugim zadrugama i organizacijama civilnog društva.

ticipants, and whose management operates under the principle of one member - one vote, regardless of the amount of capital invested. The Ethical Bank invests in economically and environmentally sustainable projects, and does not encourage the borrowing-for-spending model.

As the bank is a cooperative, it is socially sensitive meaning that at least 90% of the profits are poured back into the community through investment in community-oriented projects.

This banking model, although still on the economical fringe in Europe, has been around for decades and is completely stable. Unique to its establishment in Croatia, however, is the association of ZEF members as business partners whose collaboration and exchange of goods and services serve to promote a parallel economy, built on principles of solidarity. Cooperation and exchange should, in practice, be organized on a regional vocational level, therefore best meeting various common-interest demands while also providing invaluable risk-assessment for specific projects. ZEF recently established its urban planning and construction department, meant to bring together all stakeholders in building and construction - designers, manufacturers and contractors. The primary objective of the department is to unite and streamline all phases of construction, from design to implementation, which would jointly and in collaboration with potential customers, along with the bank's financing, work on the development and implementation of alternative, environmentally responsible and energy efficient systems of construction. We believe this business model will generate a large number of projects between our co-op and ZEF, and all along the lines of ideals backed by the ethical bank model, an ideal medium for the realization of our cooperative objectives. The road ahead will not be an easy one, certainly, but we believe it important to act and operate in accordance with our founding principles, thus garnering jobs and business partners and investors, as we see ZEF's members, as well as the multitude of individuals, local governments and governments, public and state institutions, trade unions, cooperatives and other civil society organizations.

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U potrazi za rešenjem izazova dalje motivacije i edukacije studenata koji ceo dan provode pred ekranom, došli su do jedne veoma jednostavne ideje koja će kasnije prerasti u najveći projekat biroa4321.

NOVI FOKUS

NEW FOCUS

SANJA CVETKOVIĆ I ĐORĐE JOVIĆ

by SANJA CVETKOVIĆ I ĐORĐE JOVIĆ

Znatiželja i entuzijazam Sanje Cvetković i Đorđa Jovića je već tokom studija arhitekture uveliko prevazišla klasični kurikulum fakulteta.

Traganje za novim znanjima i iskustvima dovelo ih je u Beograd u CZKD, na nezavisnu platfo­ rmu za obrazovanje SCAPES:lab, i radionicu Ive Čukić. Od tog trenutka mlade kolege postaju nerazdvojni tim koji sledi zajedničku tragalačku viziju: Kako iskustvo i znanje stečeno van svog grada preneti u Niš? Koji su alternativni načini učenja i razumevanja arhitekture? Može li se postaviti izazov pred arhitektonsko obrazova­ nje? Kako da se sažme sopstveno iskustvo i kreira neko novo, za sebe i ostale studente?

U avgustu 2015. su prošli na konkursu Deli prostora - prostora za kreativno delovanje, i postali prva generacija stanara, iz najšireg spektra delatnosti kreativnih industrija. Tako je vizija dobila svoj dom, a i ime: biro4321.

Prvo što su realizovali je serija od tri kursa so­ ftvera koji se koriste tokom studija arhitekture,

Sanja Cvetković's and Đorđe Jović's curiosity and enthusiasm during their architectural studies far surpassed the classic university curriculum. Their search for knowledge and experience led them to the CZKD (Center for Cultural Decontamination) in Belgrade, to the independent program SCAPES:lab, and Ivo Čukić's workshop. From that moment onwards, the two become an inseparable team following a common inquisitive vision - How can their combined knowledge and experiences be translated to their hometown of Niš? What are some of the alternative ways of learning and understanding architecture? Can challenges be set prior to the study of architecture? How can one summarize their own experiences, and create new ones, both for themselves and other students alike?

In August 2015, after having won the Deli Space Competition (a center for creative activity) they became the first tenants, selected from the

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ali i u kasnijoj praksi. Polaznici su imali prilike da nauče osnove 2D i 3D modelovanja, kao i vizuelizacije i to od visokokvalifikovanih mentora, i tako steknu veštine alata neophodnih za rad u arhitektonskoj praksi, koje su se na fakultetima mahom podrazumevale, a u praksi smatrane obaveznima.

Sledeća inicijativa koju su pokrenuli je bila javnog karaktera i sledila je težnju ka delova­ nju orijentisanom prema potrebama korisnika. Česta tema lokalne zajednice krajem 2015. godine je bio urbanistički projekat uređenja dveju ulica u centralnoj zoni Niša, odnosno, njihove prenamene u pešačku zonu i kreativnu četvrt pa je u prostoru organizovana diskusija na temu projekta, otvorena za studente ali i širu javnost, uz jedinstvenu priliku da građani razgovaraju sa samim inicijatorima i autorima projekta. Nešto što bi (rani) javni uvid trebalo da podrazumeva, ali kod nas nažalost to nije uobičajena praksa.

U potrazi za rešenjem izazova dalje motivacije i edukacije studenata koji ceo dan provode pred ekranom, došli su do jedne veoma jednostavne ideje koja će kasnije prerasti u najveći projekat biroa4321. Organizovane su filmske projekcije arhitektonske tematike, u želji da se interesovanje ne zadrži samo na ekranu, sa studentima, profesorima i zainteresovanim građanima su vođeni razgovori o različitim temama. Kroz taj proces došlo je i do povezivanja sa autorima filmo­va koje su kontaktirali sa rečima: “Mi smo neprofitna organizacija, želimo da pružimo studentima priliku da uče na nekonvencionalan način, a Vaš film deluje kao odličan medijum”.

Od nekoliko eminentnih autora su dobili pozitivan odgovor za saradnju i u tom trenutku uz veliku pomoć i podstrek od strane arhitekte

broadest spectrum of members for the creative arts, and thus, their vision received a home... and a name - biro4321.

The first project they materialized, consisted of a three-series software course - software which is used not only as part of the collegiate curriculum, but also extensively in later practice.

Participants had the opportunity to learn the basics of 2D and 3D modeling and visualization, and to do so under the mentorship of highly qualified specialists, thus acquiring vital and indispensible operational skills necessary for work in the field of architecture.

Their next initiative was more public-based, weighed towards user-oriented activities. A frequent topic for local communities at the end of 2015, was the urban development project concerning two streets in Nis's center, namely their repurposing into a pedestrian zone and creative hub. They organized discussions open to students as well as the general public, with unique opportunities to converse with the project's creators and designers, a concept which early public access should naturally imply, but 35

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Nikole Andonova, ideja prerasta sa lokalne priče na globalnu. Tim se odlučuje da organizuje internacionalni festival arhitektonskog filma koji će za cilj imati iniciranje zaboravljenog i/ili marginalizovanog dijaloga o arhitekturi. Vođeni stavom da takva vrsta dijaloga ne bi smela da se svede na šačicu probranih, na prestonice, investitore i povlašćene studente, već da svi imaju pravo da iskažu mišljenje, jer su, na kraju krajeva, svi korisnici izgrađenog pro­stora, bilo je jasno da će lokacija festivala biti Niš, a ne prestonica. Takav potez teži da doprinese postavljanju novog fokusa na arhitektonskoj i kulturnoj sceni, njegovom izmeštanju u region željan promene i inovacije.

Tako se i sam naziv nametnuo – Internacio­nalni festival arhitektonskog filma – Novi Fokus Niš.

Ovakav koncept ima mogućnost da stvori nefo­ rmalno okruženje u kome se može učiti kako razmišljati, razgovarati i baviti se arhitekturom, neutralno područje za razmenu ideja. Kako bi se program organizovao kao celina odlučili su da definišu opštu temu festivala. Tema “Arhite­ ktura bez arhitekata”. nastala je kao odgovor na sve izraženiju pojavu delovanja civilnog sektora i generalno ljudi van arhitektonske profesije na ovu struku i životno okruženje.

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which is, unfortunately, in this region a less than common occurrence.

Looking for solutions to the challenges of the motivation and further education of students who spend all day in front of the computer screen, they came up with a very simple idea which would later evolve into biro4321's largest project. They organized architecturally-themed film screenings in order to keep interests not only on the screen, but also among students, teachers and the general public, with interviews concerning various topics. Through this process, they came into contact with the film's creators and directors, offering them a very simple slogan: "We are a non-profit organization which wants to offer students non-conventional learning methods, and your movie seems like the perfect medium."

They received positive support for cooperation with several notable authors, at which point, with the tremendous help and encouragement of architect, Nicholas Andonov, their efforts transcend from the local to the global scene.

The team decides to organize an international festival of architectural film, whose aim is to reinvigorate some perhaps forgotten and/or marginalized topics within architecture. Guided by

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the view that this kind of dialogue should not be limited to an audience of a select few, to the capitols, to merely the investors and a handful of privileged students, but rather that everyone has a right to express their opinion seeing as how, ultimately, we are all subjects to our constructed environment, it was clear that the festival's location would be Niš. This move aims to set up a new focus on the architectural and cultural scene, its relocation to a region eager for innovation and change.

Thus, the name almost imposed itself - The International Architectural Film Festival - New Focus Niš. This concept has the ability to create an informal environment in which to learn how to think, talk about and deal with architecture, a neutral point for the exchange of ideas. In order to organize the program as a whole, they decided to define the festival's general theme... and thus, the theme of "Architecture Without Architects", created as a response to the phenomenon of the function of the civil sector and laymen in the field of architecture, shaping its core and the environment around us.

Ideas grew and developed, despite a very limited budget, thus, in addition to screenings, the program included lectures and debates, as well as time allotted for networking and the free exchange of opinions. The ambitious program naturally required a growing team, now comprised of six members with various responsibilities, and fifteen volunteer architecture students from Niš. Without this kind of organization, the support of Mr. Andonov and Mr. Stojanović, and other representatives from the Deli Space, implementation would be impossible. The Deli Space was a focal point during the festival, in which all the ancillary activities took place, while screenings took place in the neighboring "Kupina" cinema.

The result of several months of work and planning was a two-day festival, held on the 1st and 2nd of April, 2016, with domestic and foreign films and guests. The festival's theme affected the selection of films, but still maintained a wide range of interests. Movies showcased the initiative of the civil sector, the architectural profession's pitfalls, and general changes tak-

Ideje su rasle i razvijale se uprkos vrlo ogra­ ničenom budžetu, pa su se tako, osim projekcije, u programu našla i predavanja i debate, ali i vreme predviđeno za socijalizaciju i slobodnu razmenu mišljenja. Ambiciozan program je naravno zahtevao i proširenje tima koji se sada sastojao od šestoro ljudi, bez hijerarhije, a sa različitim zaduženjima, a angažovano je i 15-oro volontera, studenata arhitekture iz Niša. Bez ovako koncipiranog tima, podrške N. Andonova, kao i Nenada Stojanovića i drugih predstavnika Deli prostora bilo bi nemoguće sprovesti sve što je planirano. Upravo je Deli prostor bio centar okupljanja za vreme festivala, gde su se dešavali i svi prateći sadržaji, a projekcije filmova su se odvijale u susednom bioskopu “Kupina”.

Rezultat višemesečnog rada je bio dvodnevni festival (1. i 2. april 2016.), na pomenutim lokacijama, sa domaćim i stranim filmovima i gostima. Unapred definisana tema festivala je uticala i na selekciju filmova, ali je ipak zadržan širok spektar oblasti. Prikazani fil37

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movi pre­dstavljaju civilne inicijative, propuste arhitektonske struke i generalno promene koje se dešavaju na svetskom planu te ova struka gubi na značaju i zahteva hitno prilagođavanje i promene, preko delovanja i načina rada savremenih arhitektonskih velikana, sve do estetskog i umetničkog doživljaja i stvaranja ambijenata, prostora i objekata. Pored tri dugometražna filma (Coast Modern, Rotterdam 2040 i Christiania – 40 Years of Occupation), filmski program su činili i brojni kratki filmovi, organizovani u više sesija (Mies Van Der Rohe Architecture as language, KAAN Architekten filmovi, filmovi Bjarke Ingels Group-a, filmovi Urban-Think Tank-a, Our Belgrade Waterfront i drugi).

Program je formiran tako da predstavlja tranziciju od arhitekture Moderne do neformalnih vidova delovanja u prostoru. U okviru jutarnje sesije drugog dana festivala, Ljubica Slavković je održala interaktivno predavanje na temu “Indifferent Architect”. Kao izuzetno postignuće naglašavamo debatu, koja je bila završni događaj na festivalu, urađenu u koorganizaciji sa londonskom grupom Turncoats.

Ova debata, provokativnog karaktera, druga je po redu u nizu Turncoats debata koja se organizuje van Londona, a prva na ovim prostorima. Inovativna je u svojoj unapred dobro osmišljenog i standardizovanoj formi iza koje leži ideja da su “arhitektonske debate dosadne”, te je i na tom polju hitno potrebna promena!

Tema je definisana kao “School’s out”, dok su učesnici bili Nikola Andonov, Jelica Jovanović, Borys Wrzeszcz i Milan Stevanović. Moderator je bila Ljubica Slavković, koja je svojom angažovanošću u organizaciji debate, predava­ nja i programa uopšte, gotovo postala deo tima i potvrdila je da nije važno mesto ni vreme, već zajednički rad i mnogo pozitivne energije.

Nakon par meseci sakupljanja impresija i materijala, biro4321, u proširenom sastavu, kreće sa planovima i organizacijom sledećeg Novog Fokusa. Poučeni ranijim iskustvom i svesni svih finansijskih, organizacionih i ostalih poteškoća, tim planira da sledeći festival bude još intenzivniji, sveobuhvatniji i bogatijeg programa. U planu je održavanje studentske radiCAMENZIND

ing place on a global scale contributing to the medium's losing significance requiring an urgent change and adaptation from contemporary architectural greats, to the very aesthetic and artistic experience creating our environments, space and facilities. In addition to three feature films ("Coast Modern", "Rotterdam 2040", and "Christiania - 40 Years of Occupation"), a number of short films were shown, organized in multiple sessions - "Mies Van Der Rohe - Architecture as Language", KAAN Architekten films, Bjarke Ingels Group's movies, Urban-Think Tank's films, the Our Belgrade Waterfront and others.

The program was formed so as to represent a transition from modern architecture to informal forms of action in space. The second day's morning session included a lecture by Ljubica Slavković, on the topic of "The Indifferent Architect". Worth emphasizing is also the closing ceremony, a provocative debate, created and co-organized with the London group Turncoats, the second in a series of debates to be held outside of London, and the first in this region.

It is innovative in its well thought out in advance and standardized form, behind which lies the idea that "the architectural debate boring", meaning it is also in urgent need of a change!

The theme was defined as "School's Out", and the participants were Nikola Andonov, Jelica Jovanović, Borys Wrzeszcz and Milan Stevanovic, with Ljubica Slavković as moderator whose involvement in organizing the debates, lectures and programs in general, almost made here part of the team, and who confirmed that neither time nor place matter, when joint effort and a lot of positive energy are combined.

After a few months of analysis, biro4321, now expanded, is moving forward with plans for another New Focus. Learning from their previous experience of dealing with all the financial, organizational and other problems, the team plans that its next festival be even more intense, comprehensive and richer in content, including organizing student workshops, extending the festival to three days, and the sooner engagement of volunteers, whose experience working at the festival proved an invaluable experience.

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onice, proširenje festivala na tri dana i ranije angažovanje volontera, kojima je aktivnost na festivalu bila jedinstveno iskustvo.

Novi fokus je svakako bio fantastično iskustvo kako za članove tima, tako i za sve učesnike i goste, jer je stvoreno vreme, prostor i mesto za drugačiji pogled na arhitekturu i grad, a time i njihovo promišljanje, za razmenu ideja i iskustava i prijateljski i iskren diskurs o ključnim problemima savremene prakse, i pre svega, za delovanje.

The New Focus festival was certainly a fantastic experience for the team members, as well as for all the participants and guests, as it created a space and time encompassing a different view of architecture and the city, and thus thinking, for the exchange of ideas and experiences, offering congenial and honest discourse concerning key issues of contemporary practice and, above all, function.

The complete program, full team bios and all the other information about the festival and biro4321's activities, can be found on the website www.novifokusnis.com, or by contacting organ­ izers by e-mail. Any suggestions or comment can be left at the following addresses: biro4321@ outlook.com, info@novifokus.com, novifokus@ gmail.com.

Kompletan program, pun sastav tima i sve ostale informacije o festivalu i aktivnostima biroa4321, možete pronaći na sajtu (www.novifokusnis. com), ili se obratiti organizatorima putem maila za sve kometare i sugestije (biro4321@outlook. com, info@novifokus.com, novifokus@gmail. com).

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KA KVALITETNIJOJ TOWARDS UPOTREBI PROSTORA BETTER USE OF PUBLIC PROPERTY U JAVNOJ SVOJINI IVA ČUKIĆ*

by IVA ČUKIĆ*

Gotovo svaki grad ili opština u Srbiji poseduje nezanemarljivi broj neiskorišćenih i napuštenih prostora koji su u javnoj svojini, ali čija primarna namena više nije održiva, odnosno za koje već duže vreme ne postoji interesovanje na tržištu. Finansijski troškovi održavanja, opadanje vrednosti objekta i zemljišta u delu grada u kome se nalazi, narušavanje kvaliteta života zajednice, samo su neki od brojnih problema sa kojima se lokalne uprave, odno­ sno građani nose, a koji su direktna posledica nekorišćenja ovakvih prostora. Sa druge strane, udruženja građana, grupe i pojedinici koji svojim delovanjem pokrivaju različite oblasti, svakodnevno su u potrazi kako za prostorom, tako i za modelima korišćenja koji bi sprovođenje

Most every city or municipality in Serbia has a perceptible and significant number of unused and abandoned public property areas, whose primary purpose no longer being viable, have for a long time received no interest in the market. High maintenance costs, decline in realestate and land value, the deterioration of the quality of life, are just a few of the multitude of problems that local governments and citizens must contend with, and which are a direct consequence of the disuse of such space. On the other hand, various citizens' associations, groups and individuals which cover a multitude of interests, are constantly searching for not only physical space, but models of sustainability for their various agendas. Quite often, their

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njihovih aktivnosti učinili održivim. Vrlo često, mesta njihovog interesovanja, jesu upravo nedovoljno iskorišćeni ili napušteni prostori u javnoj svojini.

Tranzicija, privatizacija, deindustrijalizacija, demilitarizacija i drugi poznati razlozi i procesi koji su imali direktne prostorne implikacije u Srbiji, gotovo su istovetno uticali i na ele­ mente prostorne strukture i korišćenje pro­ stora i u bivšim jugoslovenskim republikama.

Susretajući se sa brojnim negativnim efektima koje neaktiviranje napuštenog prostora donosi sa sobom, nosioci vlasti u pojedinim suse­dnim republikama osmislile su set mehanizama za ustupanje tih prostora organizacijama civi­ lnog sektora. Jedan od prvih primera dobre prakse jeste grad Pula u Hrvatskoj, koji ima nešto manje od 60 hiljada stanovnika. Godine 1998. gradska uprava ponudila je prostor bivše kasarne “Karlo Rojc” od skoro 30 000 m2 (što je najveća zgrada u gradu, površine 16.739 m2, s unutrašnjim dvorištem, besplatnim parkingom, sportskim igralištima i zelenim površinama) zainteresovanim udruženjma i grupama koje su izrazile potrebu za korišćenjem tog prostora.

U pitanju je bio jedan od prvih modela efikasne regeneracije napuštenog prostora i formiranje kulturno-društvenog centra, koji su činile neprofitne organizacije i udruženja pretežno iz oblasti kulture i umetnosti, ali i iz oblasti zaštite životne sredine, brige o osobama sa posebnim potrebama, o deci i mladima, kao i oblasti sporta i rekreacije. Danas, bez plaćanja naknade, prostor koristi preko 100 udruženja, dok zgradom upravlja Grad Pula, a postoji tendencija da se razvije novi i delotvorniji hibridni model javno-civilnog upravljanja zgradom. Važno je istaći da Grad Pula finansira održavanje zgrade sa otprilike 200.000 evra godišnje koje osiguravaju domarsku službu, usluge čišćenja zgrade, renoviranje, popravke i održavanje zgrade. Odlu­ka Gradske uprave da uloži deo budžeta u održavanje ovakvog centra, odraz je činjenice da je Grad Pula prepoznao pozitivne aspekte koje aktivnosti koje se sprovode u ovakvom prostoru imaju na život lokalne zajednice, a time i na samu lokalnu samoupravu.

U “Rojcu”, građani Pule učestvuju u mnogob-

interests converge on the issue of the improper use of public space.

Transition, privatization, de-industrialization, demilitarization and other well known processes which had direct spatial implications in Serbia, almost identically affected elements of spatial structures and issues of the use of space in the former Yugoslav republics. Confronted with the numerous negative effects of abandoned areas, officials in some neighboring republics have designed mechanisms for the transfer of such spaces to the civil sector.

One of the first examples of such good practices was in the city of Pula in Croatia, consisting of less than 60 thousand inhabitants. In 1998, the city administration offered the former army barracks "Karlo Rojc" - a space encompassing an area of almost 30,000 m2, with the largest building in town (16,739 m2), with an inner courtyard, free parking, sports fields and green areas - to interested groups which expressed the need to use that space. It was one of the first models of efficient reconstruction of abandoned spaces, accompanied by the creation of a whole community center, composed of a multitude of non-profit organizations and associations mainly in the fields of art and culture, but also in the fields of environmental protection, care for people with special needs, youth sport and recreation, etc. Today, the space is used by over 100 organizations, free of charge, while the building is managed by the City of Pula, and plans for developing novel and effective hybrid models of public-civil building management are in the works. It is important to point out that the City of Pula finances maintenance of the building to the tune of about 200,000 Euros a year, providing janitorial services, as well as renovation and repairs. The City's decision reflects the realization that such positive actions have a huge impact on the well-being of the community, and therefore translate into a positive relation to governance. "Rojc"offers Pula's residents participation in numerous sports activities, both recreational and professional, as well as community events such as festivals, exhibitions, forums, workshops, round tables, lectures and the like. The goal of these events 41

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Napušteni objekti i lokacije pre svega negativno utiču na kvalitet života zajednice, jer doprinose razvoju socijalne patologije, i imaju negativno psihološko dejstvo na građane u neposred­ nom okruženju, ali i na širu sliku identiteta lokacije koji biva ugrožen. rojnim sportskim aktivnostima, rekreativno ili profesiona­lno, a pored toga on nudi i manifestacije kao što su festivali, izložbe, tribine, radionice, okrugli stolovi, predavanja i sl. Smisao ovih manife­stacija je okupljanje što većeg broja ljudi u svrhu edukacije, razvijanja zajedništva, kritičkog mišljenja, specifičnih veština, po­ dsticanja građana da sopstvenim delovanjem unapređuju sebe i uzmu aktivno učešće u kreiranju svog okruženja. Sa druge strane, sa aspekta veće participacije građana, jačanja odgovornosti gradskih vlasti i poboljšanja infr­ a­­­strukture i usluga na nivou lokalne zajednice, ovaj pristup značajno doprinosi poboljšanju kvaliteta života svih građana Pule.

Kao i u Hrvatskoj, tako su i u Srbiji, lokalne samouprave i institucije u čijoj je nadležnosti održavanje prostora koji se ne koriste, izložene brojnim negativnim efektima koji se vezuju za neiskorišćene i zapuštene lokacije, kao što su visoki materijalni izdaci neophodni za održavanje ovakvih prostora i pripadajuće infrastrukture, i gubitak ekonomske vrednosti objekata i zemljišta koje ih okružuje. Treba napomenuti i da ekonomski faktori nisu jedini pokazatelj negativnog stanja, i nisu jedini argument za aktiviranje ovih prostora. Napušteni objekti i lokacije pre svega negativno utiču na kvalitet života zajednice, jer doprinose razvoju socijalne patologije, i imaju negativno psihološko dejstvo na građane u neposrednom okruženju, ali i na širu sliku identiteta lokacije koji biva ugrožen. Tako razlozi za aktiviranje ovih pro­ stora prvenstveno leže u potrebi da se unapredi

The primary motivation for rehabilitation lie in the need to improve the quality of life while also developing better, sustain­ able use of public space models.

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is to bring together as many people for the purposes of education, community development, vocational training, and simply to encourage citizens to take an active role in shaping their environment - an approach which significantly improves the quality of life of residents, in terms of community participation, accountability of local government, building infrastructure on the local level, and many others.

As in Croatia, local authorities in Serbia are confronted with the same problems of managing derelict public areas - high maintenance expenditures accompanied by the loss in real-estate value of surrounding areas. It should be noted that economic factors are not the sole negative indicators, nor the only argument in favor of

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kvalitet života zajednice, osmisle održivi mo­ deli upotrebe prostora i omogući kvalitetnije korišćenje prostora koji je u javnoj svojini.

Količina neiskorišćenog prostora u javnoj svojini, sa svim nabrojanim negativnim efektima na zajednicu koje takav status prati, navodi na potrebu da se osmisle modaliteti održivog i opšte korisnog upravljanja istim. Istraživanja rađena u Srbiji u poslednjih desetak godina, govore da više od polovine registrovanih organizacija civilnog društva ili ne poseduje prostor za rad ili ga mora uzeti pod zakup u slučaju da su u pitanju nepokretnosti u javnoj svojini. Stoga, brojne organizacije civilnog sektora, udruženja, grupe i pojedinci aktivni u različitim oblastima, od kulture preko socijalne zaštite do obrazovanja i sporta, već godinama aktivno rade na osmišljavanju različitih načina kako da dođu do prostora koje bi mogli da koriste za rad i prezentaciju programa kojima se bave. Međutim, srž problema nije u raspoloživosti prostora, jer prostora ima. Problem je u njegovoj dostupnosti, odnosno nepostojanju jasne regulative i mehanizama po kojima bi prostor u javnoj svojini mogao da se ustupi na korišćenje. Retki pri­ meri ustupanja prostora pod posebnim uslovima jesu pomak, ali većina ipak pokazuje da se postojećim mehanizmima dodele prostora ne pravi razlika između civilnog i komercijalnog sektora, te da se organizacije civilnog društva tretiraju kao privredni subjekt. Uz to, vrlo često je sam proces obeležen netransparentnim postupcima dodele, neodgovarajućim stimulativnim uslovima, i nedostatkom konkursa za dodelu prostora.

Imajući u vidu sve pozitivne efekte na društveni i kulturni život zajednice koji se aktiviranjem prostora ostvaruju, može se reći da je obaveza lokalne uprave da uloži dodatni napor u ra­ zvijanje mehanizama kojim bi neiskorišćene pro­store u javnoj svojini učinili dostupnim različitim korisnicima. Proaktivni i pra­gma­ tičan pristup podrazumeva vođenje precizne evide­ncije prostora u javnoj svojini, javno objavljivanjе registra, formulisanje kriterijuma za ustupanje neiskorišćenih prostora (bez naknade ili pod povlašćenim uslovima), raspisivanje konkursa, definisanje postupka vredno-

reconstruction and rehabilitation. Primarily, abandoned buildings and sites negatively impact a community's quality of life, contributing to the development of social pathology and apathy, not only having a deleterious psychological effect on residents in the immediate area, but also reverberating a broader chord identifying the entire region. Thusly, the primary motivation for rehabilitation lie in the need to improve the quality of life while also developing better, sustainable use of public space models.

The sheer number of unused public spaces, accompanied by all the aforementioned negative effects, strongly suggests the need to devise models for the sustainable and useful general management of the same. Research conducted in Serbia over the past decade shows that more than half of all registered civil sector organizations, lack appropriate work space, or are forced to take on injurious lease agreements when it comes to publicly-owned real estate. Therefore, numerous civil sector organizations, associations, groups and individuals active in various fields such as social services, education, sports, culture, etc., have for years been actively working on developing different strategies to meet their spatial needs. The core problem however, is not the LACK of space, as it is abundantly available, but rather its accessibility, namely the distinct lack of regulations concerning the transfer of ownership and re-zoning of publicspaces, making them untenable options. The few examples of re-assigning public space under special circumstances, are somewhat positive developments, but the existing framework wherein civil sector organizations are treated as purely commercial entities, remains as a major hurdle. In addition, very often the process itself is markedly non-transparent, accompanied by inadequate stimulatory incentives, and a lack of a competitive public bidding process.

Bearing in mind all the positive effects of rezoning such public property space, it should be local government's imperative to put extra effort into developing a comprehensive framework which would make these spaces available to a wide array of potential customers. A proactive and pragmatic approach involves keeping 43

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rmisanje i uključivanje javnosti, konkurs, podrška aktivnostima lokalne zajednice,…

appropriate spatial studies, highlighting temporary use as part of strategic planning, drafting new operational models as part of urban development policy, development of local action plans, more transparent processes of spatial and urban planning, more informed public involvement, competition, support for community projects, etc...

■ NEFORMALNI INSTRUMENTI: pri­ premanje kampanje za privremeno kori­šćenje, zai­nteresovati javnost, inicirati i omogućiti poklapanje interesa sva tri sektora, saradnja sa lokalnim udruženjima, pružanje tehničke pomoći oko korišćenja prostora – kako se u datim okolnostima može i treba postupati, info­ rmacije o potencijalnim izvorima finansiranja,…

vanja zainteresovanih organizacija, definisanje rokova, režima, namene, uslova održavanja i korišćenja prostora. U cilju transparentnog, odgovornog i održivog upravljanja prostornim razvojem, jedinica lokalne samouprave može razviti i instrumente nižeg ranga, kao što su:

accurate records of areas in public ownership, maintaining a public registry of such lots, formulating clear guidelines for re-assigning unused spaces (either on a free of charge basis, or under preferential conditions), creating a public bidding process, defining an evaluation process for interested organizations, defining the terms of use as well as maintenance guidelines, to name a few. With a view to a transparent, accountable, and sustainable process for managing urban development, local governments could create regulations such as:

■ FORMALNI INSTRUMENTI: formiranje registra lokacija, kreiranje pravnog okvira, priprema odgovarajućih prostornih studija, isti­ canje privremene upotrebe kao dela strateškog planiranja, osmišljavanje novih operativnih modela kao dela planskih politika, izrada lokalnih akcionih planova, transparentniji proces prostornog i urbanističkog planiranja, info­ CAMENZIND

■ FORMAL: the formation of a locations registry, creating a legal framework, conducting 44

■ INFORMAL: temporary use campaigns, stoking public interest, to initiate and facilitate joint sector interests (civil, private, public), cooperation with already established local associations, providing technical assistance - in what circumstances can and should one proceed, information about potential funding sources, etc...

Ovim modelom odgovornog i održivog upra­ vljanja, lokalne samouprave ostvaruju značajne benefite: (1) ekonomske: smanjenje troškova i obaveza koji terete nepokretnost, intenzivniji lokalni ekonomski razvoj i efikasnije upra­ vljanje javnim finasijama; (2) društvene: zadovoljavanje potreba građana, bolji kvalitet života građana; i (3) političke: veća odgovornost i transparentnost jedinice lokalne samouprave u oblasti korišćenja, upravljanja i raspolaganja imovinom; veće poverenje građana u političko rukovodstvo jedinice lokalne samouprave.

Treba imati na umu da ovi prostori čine veliki potencijal za stvaranje novih vrednosti, omladinskog i socijalnog preduzetništva, raznolike kulturne i umetničke ponude i šire zadovoljavanje potreba zajednice. Da bi celokupna zaje­ dnica osetila prednosti ovakvog upravljanja imo­vinom mora se najpre definisati, pa i afirmisati zajednički interes. Zadatak budućih kori­ snika biće da osmisle načine revitalizacije pro­ stora, a na lokalnim samoupravama i nadležnim insti­tucijama da definisanjem jasnih mehanizama i strategija, zainteresovanim građanima/ kama to i omoguće.

With this model of responsible and sustainable management, local governments would reap significant benefits: (1) economic - reducing costs and liabilities associated with unused real-estate, intensive local economic development and more efficient management of public finances; (2) social - meeting the needs and demands of citizens, better quality of life; and (3) policy - greater accountability and transparency of local governments in the use, management and disposal of assets; greater confidence in the political leadership and local governance.

It should be noted that these areas constitute tremendous potential for the creation of new capital, entrepreneurship, cultural and artistic developments, and meeting the needs of the wider community. However, in order for the community to reap these rewards, it must first define, and then promote the common interest.

The task of future potential tenants, therefore, is to suggest concrete ways of revitalizing these areas, while local governments devise a clear set of structures and strategies allowing interested parties to do so.

*Autorka ovog teksta doktorirala je na Arhitek­ tonskom fakultetu Univerziteta u Beogradu na temu aktiviranja prostora u javnoj svojini i stav­ ljanja na raspolaganje i korišćenje organizaci­ jama civilnog sektora, sa posebnim fokusom na analizu institucionalnog, regulativnog i legisla­ tivnog okvira.

* The author received her doctorate from The Col­ lege of Architecture at Belgrade University, con­ centrating on issues of re-use of publicly owned land for civil sector purposes, with special focus on analysis of institutional, regulative, and legal frameworks 45

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ČASOPIS KAO GALERIJA, FORUM I UMETNIČKO DELO

THE MAGAZINE AS ART FORM, GALLERY, AND FORUM

O neoavangardnim časopisima s područja bivše Jugoslavije

Concerning Neo-Avantgarde magazines from the former Yugoslavia

ANA RADOVANOVIĆ

by ANA RADOVANOVIĆ In a special edition of The Student - a publication by Belgrade students from September 1971- Bogdanka and Dejan Poznanović's Studio DT 20 published an article entitled: "The Journal as experiment and research", discussing the phenomenon of the artist's magazine.

The authors, along with a brief introduction, list 200 titles from around 20 different countries, among which are mentioned nine from Yugoslavia. Among their characterization of similarities concerning periodical publications, the Poznanović's particularly emphasize a journal's "self-governing" aspects. That particular edition, given its subject matter, was subsequently banned, so was read by almost no one. Its most notable impact, however, is the dissemination

U posebnom izdanju Studenta – časopisa beogradskih studenata iz septembra 1971. godine, Atelje DT 20 Bogdanke i Dejana Poznanovića u tekstu pod naslovom Časopis za eksperimente i istraživanja informiše o fenomenu časopisa umetnika*. Autori uz kratak uvod predlažu spisak od dvesta časopisa iz dvadesetak država iz celog sveta, među kojima je nabrojeno i devet jugoslovenskih izdanja. U opisu zajedničkih karakteristika periodičnih pu­ blikacija, Poznanovići najviše pažnje posvećuju aspektu časopisa kao 'samoupravnom' artefaktu. Ovaj broj studentskog glasila zbog svoje sadržine pretrpeo je zabranu, pa tako pomenuti članak zapravo skoro niko nije ni imao priliku da pročita. Njegov značaj međutim, jeste u plaCAMENZIND

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siranju ideje umetničkog časopisa kao samoupravnog artefakta. Predstavljanje ovog interna­ cionalnog fenomena alternativne štampe kroz prizmu samoupravljanja, deluje kao namerno osveštavanje ove pojave ne kao kontaminirajuće uvozne ideje, već kao fenomena bliskom savremenom, jugoslovenskom, socijalističkom mo­ delu društvenog delovanja.

Neoavangarda donosi pojave poput: dematerijalizacije umetničkog objekta, kao zamene materijalnog objekta konceptualnom propozicijom ili vremenski određenim događanjem; kao i uspostavljanja novih odnosa između ume­ tnika, institucije i društva, odnosno kanonskog trougla akademija-galerija-muzej. Ove pojave u specifičnoj su poziciji unutar okvira jugoslove­ nske scene i stoje u vrlo zanimljivom odnosu sa socijalističkim fenomenima kolektivnog delovanja i samoupravljanja.

Jugoslovenski socijalistički projekat, podrazumevao je kolektivno delovanje, gde je indi­ vidualnost bivala izjednačena društvenom, javnom i zajedničkom. U iščitavanju jugoslo­ venske istorije postoji nekoliko interpretacija koje povezuju neoavangardnu umetnost i socijalističko društvo u kome je nastala. Merenik tu pojavu vidi kao antagonizam dveju struja – kolektivizma i lične sfere. Radikalnim delovanjem, odnosno „ogoljavanjem sopstvenog intimnog“ umetnik se suprotstavlja tzv. crve­noj buržoaziji, odnosno novom, potrošačkom društvu socijalističkog građanina.

Sa druge strane, čini se da je upravo taj kolektivizam (svesno ili nesvesno) bio ukorenjen u mentalitetu socijalističkog građanina te su neoavangardni umetnici, nastavljajući liniju

of the idea of the journal as a self-governing artifact. Showcasing this international phenomenon of the alternative press through the prism of self-governance is more appropriate as commentary not on foreign influence contaminating sovereign ideals, but rather, and quite to the contrary, on the contemporary socialistYugoslav model of cultural behavior.

The neo-avantagrde brings about concepts such as the dematerialization of the artist's work as a substitute for the material through conceptual propositions or timed events, as well as establishing new relationships between artists, institutions and society, namely the canonical triangle the academy-the gallery -the museum.

These appear in very a specific context within the framework of the Yugoslav scene, and offer a very interesting relationship with the socialist phenomena of collective action and self-management.

The Yugoslav socialist experiment, assumed collective action, where the individual was equated with the social, the public and collective. In the reading of Yugoslav history, there are several interpretations which connected

Radikalnim delovanjem, odnos­ no „ogoljavanjem sopstvenog in­ timnog“ umetnik se suprotstavlja tzv. crvenoj buržoaziji, odnosno novom, potrošačkom društvu socijalističkog građanina.

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the neo-avantagrde arts to the socialist society from whence they emerged. Merenik regards this phenomenon as the antagonism between the two opposing currents - collectivism vs. the individual. Radically, or by "sloughing off their own intimate", the artist opposes the so-called red bourgeoisie, namely, the new, socialist consumer society. On the other hand, it appears that that very collectivism (whether consciously or unconsciously), so firmly rooted in the mentality of the socialist citizen, was equally so in the neo-avantagrde artists, who, continuing in the vein of the modernist collective wherein personal boundaries are obliterated, decided to pour his own privacy onto the public, social sphere.

The neo-avantagrde artist's magazine is a distinctive periodical creation of the conceptual artist. Unlike many Western examples, whose authors had intentions of wide commercial circulation, locals in this region were not a part of the market, and most often, neither affiliated with official art institutions. They represented the independent, self published niche, often with a very small circulation, whose audience was largely confined to supporters of neo-avantagrde art. An artistic magazine, in contrast to the book medium, usually involves the authorship of a small group of people, namely the editor and his associates, and periodic publication.

Art magazines in Yugoslavia, were, then, most often the product of informal art groups, movements and alternative art centers.

The Yugoslav art magazine began around the 60's, with the emergence of the Antičasopisa Gorgona [Anti-journal Gorgon] (1961), a protoconcept of the artist's magazine, which would receive official definition only later, during the 70's. This study is focused on publications which appeared in Yugoslavia from 1960 to 1990. Although in principle, the neo-avantagrde covers a period up to the 70s, some publications in the vein of the neo-avantagrde have appeared later on, and were thus included in the research.

The following publications are covered: Adresa [The Address], Akcent [The Accent], Breza [Birch], Bit International, Galerija 212 [Gellery 212], Gorgona [The gorgon], Edicija A [Edi-

modernistički kolektivnog, u kome se lične margine brišu, rešili da preliju sopstvenu privatnost u javni, društveni prostor.

Neoavangardni časopis umetnika je kara­ kterističan periodični izdavački produkt ko­ nceptualnih umetnika. Za razliku od mnogih zapadnih primera, čiji su autori imali intencije široke proizvodnje, ovdašnji nisu bili vezani za tržište, a najčešće ni za službene umetničke institucije. Oni predstavljaju nezavisnu, samizdat publikaciju, često malog tiraža, čija je pu­ blika uglavnom bila ograničena na simpatizere neoavangardne umetnosti. Časopis umetnika, u odnosu na knjigu umetnika, najčešće podrazumeva autorstvo grupe ljudi koji čine redakciju, odnosno urednika i njegove saradnike, i periodično objavljivanje. Jugoslovenski umetnički časopis je tako najčešće proizvod rada formalnih ili neformalnih umetničkih grupa, pokreta i alternativnih umetničkih centara.

Jugoslovenski umetnički časopis nastaje 60-ih godina, pojavom Antičasopisa Gorgona (1961.), kao protokoncepta časopisa umetnika, čija će se definicija službeno pojaviti tek 70-ih. Ovo CAMENZIND

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istraživanje, fokusirano je na časopise koji su se pojavili na jugoslovenskom tlu od 1960. do 1990. godine. Iako načelno neoavangarda obuhvata period do 70-ih godina, pojedine publikacije neoavangardnih odlika pojavile su se i kasnije, pa su deo istraživanja. Obuhvaćeni su sledeći časopisi: Adresa, Akcent, Breza, Bit International, Galerija 212, Gorgona, Edicija A, Katalog 143, Kontaktor, L.H.O.O.Q., Maj 75, Mentalni prostor, Mixed Up Underground, Moment bilten, Neuroart, Novine Galerije SC, Pe­ smos, PN, Postgorgona, Prvi broj, P.S. Gorgona, Rok, Second Manifesto, Signal, Total, Underground Elevator, Westeast, Wow. U kontekstu definisanja scene neoavanga­ rdnih časopisa bivše Jugoslavije, ocena učinka i dometa ovih publikacija čini se vrlo važnom.

Međusobno vrlo različiti po formi, tiražu i broju izdanja, časopisi su svakako imali drugačije sudbine i prijem kod umetničke publike.

Vojvođanske publikacije, poput: Adrese, Mixed Up Undergrounda, Pesmosa, Neuroarta, predstavljaju grupu niskotiražnih underground izdanja, koje su autori – književnici i umetnici, najčešće delili među sobom „iz ruke u ruku“ ili ih dostavljali putem pošte. Većina vojvođanskih publikacija, iako je po momentu nastajanja prednjačila u odnosu na neke druge, najčešće nije izlazila izvan uskog kruga neoavangardnih književnika i umetnika (osim publikacija Total i Second Manifesto koje su nastale nešto kasnije i koje su bile izrazito internacionalnog kara­ ktera). Sa druge strane, pojedini časopisi, poput L.H.O.O.Q. Slavka Bogdanovića, beogradskog Signala i slovenskog Westeasta, finansijsku i distribucijsku pomoć potražiće u časopisima Új symposion, Delo, Pitanja, Oko, Dialogi.

Navedene publikacije imale su tiraž od nekoliko hiljada primeraka. Stoga će ovakva vrsta „bratimljenja“ sa studentskim i književnim časopisima, umetničkim publikacijama doneti ne samo prostor na sceni, nego i mnogo veću vidljivost.

U skladu s anti-institucionalnim delovanjem, vojvođanski autori stvarali su publikacije čiji krajnji cilj nije bilo istorijsko dokumentovanje njihove umetničke produkcije, već privremeno izlaganje njihovih dela. Oni časopise

tion A], Katalog 143 [Catalogue 143], Kontak­ tor [The Contactor], L.H.O.O.Q., Maj 75 [May '75], Mentalni prostor [Mental Space], Mixed Up Underground, Moment bilten [The Moment Bulletin], Neuroart, Novine Galerije SC [The SC Gallery Newsletter], Pesmos, PN, Postgorgona [The Postgorgon], Prvi broj [Issue Number 1], P.S. Gorgona [P.S. Gorgon], Rok [Rock], Second Manifesto, Signal, Total, Underground Elevator, Westeast, Wow. Of crucial importance to defining the neoavantagrde publication scene in Yugoslavia, is an assessment of the impact and scope of these publications. These publications were all very different in terms of form, circulation and number of editions and certainly received diverse acclaim and met with varying fates within the art crowd. Publications from Vojvodina, such as The Address, Mixed Up Underground, Pesmos, and Neuroart, represent a group of small circulation underground publications, which the authors usually disseminated amongst themselves "from hand to hand" or delivered by mail. Most of the publications from Vojvodina, although at the time in the forefront of the emerging scene, usually didn't extend beyond the narrow circle 49

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odicals made an impact on the art scene outside the borders of the former Yugoslavia, and created a lasting impression within contemporary Western discourse. Publications with a strong emphasis on international cooperation were the Bit International, Signal, Westeast, Total, Second Manifesto, WOW, and Mixed Up Underground as a journal of the Hungarian national minority.

Within this neo-avantagrde scene, there were certainly publications whose main focus was on the region of the former Yugoslavia. Within their pages, artists, art historians, critics and theoreticians were fighting for a new definition of the artist in contemporary Yugoslav society, with the general propagation of new artistic practices. Another common feature of these publications, is their origin. In the context of anti-establishment action within the state run self-management system, in addition to publishing in extant student centers, artists formed their own working communities and private galleries. These initiatives, based on the principle of artists for artists, were not the equivalent of Western private galleries, in terms of the sale of art and the creation of capital. They represented an alternative meeting place for debate and presentation of the works of artists engaged in new practices.

Among the publications which aimed to change the status of art and artists on the domestic front and advocated a new social consciousness, were Novine Galerje SC [The SC Gallery Newsletter], Akcent [The Accent], Moment, Galerija 212[Gallery 212], and perhaps most notably Prvi Broj i Proširene Novine - PN [ISsue number 1 and the Supplemental Journal] which specifically dealt with the theme of the role of the artist in society.

In addition to the individual success of some of these publications, collaborative efforts between local and international representatives of the neo-avantagrde, these magazines often found audiences in the tight circles of sympathizers of neo-avantagrde art within Yugoslavia. The often self-referential and generally marginalized position of the artist contributed to the placidity of these publications outside artistic circles.

The intercontinental nature of these art periodicals made an impact on the art scene outside the borders of the former Yu­ goslavia, and created a lasting impression within contemporary Western discourse. of neo-writers and artists (of notable exception were the publications Total, and The Sec­ ond Manifesto, emerging some time later, and were of a pronounced international character).

On the other hand, some publications, such as Slavko Bogdanović's L.H.O.O.Q, Belgrade's The Signal, and the Slovenian Westeast, would find distribution and financial support through other magazines such as Új Symposion, Delo [Work], Pitanja [Questions], Oko [The Eye], Dialogi [Dialogues]. Those publications had a circulation of a several thousand copies. Therefore, this kind of "twinning" with student literary magazines, would bring the artistic publications not only a solid platform, but also much greater visibility.

In accordance with the anti-establishment ethos, authors from Vojvodina created publications whose goal was not to historically document their creative opus, but rather, as a contemporary stage on which to showcase their works.

They viewed each issue as separate from its predecessor, and thus gave each a new name. Within the covers of The Underground Free Press we can find today the magazine Pesmos. Its very next iteration was named Kontaktor. Even Maj 75 [May '75] with its larger circulation (100-200 copies), and Westeast (about 300 copies) share the concept of a magazine as a primary medium.

Westeast declared itself as a publication-gallery, while the actual three-dimensional counterpart was merely an extension of the publication process. In the foreword, we can read the declaration of an exhibition becoming action, and the magazine-catalog as a supplemental form of announcement.

The intercontinental nature of these art peri-

međusobno stapaju, dajući svakom nastavku novo ime i sl. U koricama Underground Free Pressa danas možemo naći časopis Pesmos.

Već naredni broj Pesmosa zvaće se Kontaktor.

I tiražniji Maj 75 (100-200 kopija), kao i Westeast (oko 300 kopija) dele koncept časopisa kao primarnog medija. Westest se deklariše kao časopis – galerija, dok je trodimenzionalna izložba produžetak te izdavačke delatnosti.

U uvodniku Maja 75 pak, čitamo deklaraciju o izložbi koja postaje akcija, te o časopisukatalogu, kao dopuni usmenog informisanja.

Internacionalnost periodičnih umetničkih publikacija određivala je njihov odjek na umetničkoj sceni izvan granica bivše Jugoslavije, a svakako i današnje postojanje u okviru savremenog zapadnog diskursa. Časopisi s izrazitim CAMENZIND

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naglaskom na međunarodnoj saradnji bili su Bit International, Signal, Westeast, Total, Second Manifesto, WOW i Mixed Up Underground kao časopis mađarske nacionalne manjine.

U okviru jugoslovenske scene neoavangardnih časopisa, postojala je grupa onih koji su većinski bili namenjeni jugoslovenskom području. Na njihovim stranama, umetnici, istoričari ume­ tnosti, kritičari i teoretičari borili su se za nov položaj savremenog umetnika u jugoslove­ nskom društvu, uz opšte propagiranje nove umetničke prakse. Još jedna zajednička karakteristika koja ove publikacije smešta u istu ka­tegoriju, jeste njihovo mesto nastanka. U okviru anti-institucionalnog delovanja i samoupravnog državnog sistema, pored postojećih studentskih centara unutar kojih su bili aktivni, umetnici osnivaju radne zajednice i privatne galerije. Ove inicijative po principu umetnici umetnicima, nisu bile ekvivalent zapadnih privatnih galerija, kao mesto kupoprodaje umetnina i stvaranja kapitala. One su predstavljale alternativna sastajališta, mesta za debatu i izlaganje radova umetnika nove prakse.

Među publikacijama koje su težile promeni sta51

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Even within today's contemporary framework, these neo-avantagrde publications, as a phenomenon, remain largely neglected or insufficiently documented by art historians. The few extant texts are mostly non-comprehensive, and mostly center on individual instances or only a small group of these magazines, without a comprehensive review of the complex and rich art magazine scene in the former Yugoslavia.

This situation is the result, on the one hand, of the political rift within the former Yugoslavia, which led to the discontinuity of art-research in general, where each of the newly created states concentrate mainly on a partial interpretation history, exemplifying only their own nationalist history, foregoing a holistic interpretation of the former Yugoslav states as a unified subject. On the other hand, the neo-avantagrde art magazine in the former Yugoslavia, as a product of new practices, which does not recognize art's material nature, is actually an equal member to any other form of artistic expression from that era. In this light, we view the art magazine as an egalitarian work of art. The importance of placing it within the collective framework, as an inseparable piece of the puzzle giving a complete picture of the Yugoslav neo-avantagrde art scene, is without reproach. http://yugoslavartistsperiodicals.tumblr.com/ http://dizajn.hr/blog/jugoslavenski-neoavangardni-umjetnicki-casopisi-1960-1990/

http://yugoslavartistsperiodicals.tumblr.com/ http://dizajn.hr/blog/jugoslavenski-neoavangardni-umjetnicki-casopisi-1960-1990/

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Letva. Londonderry, Sjeverna Irska/ Northern Ireland, 1971. Photo: Don McCullin.

O APOLITIČNOSTI I OPORTUNIZMU ARHITEKATA

www.theglobeandmail.com/news/national/famed-war-photographer-don-mccullinreflects-on-risk-war-and-guilt/article27946371/

tusa umetnosti i umetnika u domaćim okvirima i propagirali novu društvenu svest, bili su i časopisi studentskih centara (Novine Galerije SC, Akcent, Moment, kao i Galerija 212*), a možda najviše Prvi Broj i Proširene Novine PN koji su se eksplicitno bavili temom položaja umetnika u društvu.

I pored pojedinačnih uspeha časopisa, koji su bili plod saradnje domaćih i međunarodnih predstavnika neoavangarde, u jugoslovenskim okvirima ovi časopisi često su pronalazili publiku u uskim krugovima simpatizera neoavangardne umetnosti. Generalna marginalizovana pozicija kao i česta autoreferencijalnost ume­ tnika, doprinijeli su još većoj nezapaženosti ovih publikacija izvan umetničkih krugova.

Stoga je i u današnjim okvirima neoavangardni jugoslovenski časopis kao fenomen mahom zapostavljen, odnosno nedovoljno dokume­ ntovan od strane istoričara umetnosti. Nekoliko postojećih tekstova nisu obimni i većinom podrazumevaju pojedinačne primerke ili tek manju grupu časopisa, bez sveobuhvatnog pregleda kompleksne i bogate scene umetničkih časopisa u bivšoj Jugoslaviji.

Ova situacija posledica je s jedne strane političkog raskola unutar Jugoslavije koji je doveo do diskontinuiteta umetničko-istraživačke prakse, gde se svaka potonja država koncentriše isključivo na parcijalne interpretacije sopstve­ nih nacionalnih istorija, uz previđanje celokupne jugoslovenske slike. S druge strane, jugoslovenski neoavangardni umetnički časopis, kao produkt nove prakse koja ne priznaje materijalnost umetničkog djela, predstavlja zapravo ravnopravnog člana bilo kojoj drugoj formi umetničkog izraza toga doba. U ovom svetlu, umetnički časopis posmatramo kao ravnopravno umetničko djelo. Jasna je onda važnost njegovog umetanja u kolektivnu svest, kao neophodnog delića slagalice koji će upotpuniti sliku jugoslovenske neoavangardne umetničke scene.

REGARDING OPPORTUNISM AND ARCHITECT'S POLITICAL VIEWS

DOMINKO BLAŽEVIĆ

Je li arhitektura kulturni proizvod, ili je postala nešto drugo, nešto isplativije?

by DOMINKO BLAŽEVIĆ

Is architecture a product of society, or has it become something else, something more profitable?

Arhitekti nikad nisu stvarali u vakuumu. Oduvijek su trebali naručitelje; kraljeve, pokrovitelje, crkvu, mecene, investitore i partnere. Novac mora odnekud doći, razumije se. Arhitektura, odnosno realizacija arhitektonskih projekata, skupa je rabota, danas kao i kroz povijest. Pojednostavljeno gledano, arhitekti ovise o dva izvora financiranja. Ma koliko velik ili skroman neki projekt bio, novac uvijek dolazi ili od strane privatnih ili od strane javnih investitora. Iza oba modela stoje pojedinci, u pravilu moćniji od arhitekata, koji imaju vlastite vrijednosti, vlastiti svjetonazor, svoje lojalnosti, principe i svoj pogled na pitanja profita, za-

Architects have never operated within a vacuum . They have always required patrons: kings, the church, investors, partners... The money has to come from somewhere, naturally. Architecture, or more specifically the realization of architectural projects, is a rather expensive proposition, today as much as in the past. In simple terms, architects depend on one of two avenues of funding - either the private or the public sector, regardless of how big or small the project. Behind either model stand indi53

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Šah s ljudskim figurama, Sankt-Peterburg, Rusija, 1924. (?) /Human chess in 1924, St. Petersburg, Russia.

S pravom ili ne, arhitekti su si u prošlom, herojskom i avangardnom stoljeću utvarali da će promijeniti svijet, riskiravši vlastite karijere pa i živote na oltaru ideja i vizija. Pisali su manifeste, radili izložbe, družili se s nepodobnima – umjetnicima, anarhistima, pjesnicima i pija­ncima.

Vikali su, stvarali buku, izlagali se fizičkoj i političkoj pogibelji, zamjerali režimima. Njihova su djela odjekivala, i nešto predstavljala.

Zatvaralo ih se i progonilo.

Danas je postalo “mudrije”, odnosno oportunije stajati po strani, i čekati razvoj situacije, nadati se mrvicama narudžbi s gospodarevog postizbornog stola. Arhitekti se često u javnosti vole prezentirati manje-više nevinima i apolitičnima, ili panpolitičnima, u ime političke korektnosti, CAMENZIND

the beginning of a project, the architect tacitly agrees on some, more or less, defined system of values, and enters into a sort of "alliance" - either with the devil or an angel, either with white or black, blues or reds.

Whether rightly or wrongly, architects in this past heroic and avant-garde century, dreamed to change the world, risking their careers or even lives at the altars of ideas and visions.

They wrote manifestos, held exhibitions, hung out with the unsuitables - artists, anarchists, poets and drunks. They shouted, created noise, exposed themselves to physical and political dangers, criticized regimes. Their work echoed, and stood for something. They were imprisoned and persecuted.

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u ime neke profesionalne pristojnosti i diskrecije. Ali i kako si ne bi zatvorili nijedna vrata.

Oni se predstavljaju jednostavno profesiona­ lcima koji odrađuju svoj posao, rade ono za što ih plaćaju.

Ovakav je stav daleko manje rizičan od promišljanja i preuzimanja potpune odgovornosti, daleko sigurniji od dilema i sukoba, borbe za čistu savjest i pravedno društvo. Linijom manjeg otpora, javni diskurs danas ionako novac i kapital sve više opravdava i pere, oslobađajući ga negativnih konotacija: postaje sve manje bitno otkud novac dolazi i na čijoj muci ili kojom nepravdom je zarađen. Svejedno je radi li se o “krvavim” dijamantima, farmaceutskoj ili duhanskoj industriji, projektu za mafijaša, dilera ili ratnog zločinca. Nije bitno gradi li se velebna zgrada neke institucije u korumpiranom ili totalitarnom društvu (Rem Koolhaas, Zaha Hadid i brojni drugi), ili sjedište aferama opterećene banke ili osiguravajuće kuće. Udijelite li mu projekt, arhitekt je vaš yes man.

Today it has become "wiser", namely more opportune, to stand on the sidelines and wait, hoping to catch a morsel from the master's postelection table. Architects often present themselves to the public as being more or less innocent and apolitical, or panpolitical, in the name of political correctness, professional decency and discretion...and this also, in order not to shut any doors. They present themselves simply as professionals doing their job, doing what they are paid for.

Such an attitude is far less risky than thinking or taking full responsibility, far safer than engaging in dilemmas or conflicts, struggling for a clear conscience or an egalitarian society. Taking the path of least resistance, public discourse today is in any event defined by and excused by money and private interests, supposedly freeing it from negative connotations - it has becomes increasingly less and less important where the money comes from, by whose sweat and toil, or by what injustice, it was earned. It does not matter whether it comes from "blood"

Prizor iz videa / from single channel video > I Am the Architect, This is not Happening, This is Unacceptable, 2012. Autor/ Author> Henry Coombes.

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http://citygallery.org.nz/exhibitions/demented-architecture

viduals, generally more powerful than the architect, who hold dear their own set of values, their own worldview, their own loyalties and principles, and certainly their own interpretations regarding profit, the community, morality, and even justice. Whether they admit it or not, with every engagement, with each signature and

http://imgur.com/gallery/E2n730a

jednice, morala, pa i pravde. Priznali to ili ne, svakim svojim angažmanom, svakim potpisom i početkom rada na nekom projektu, arhitekti ujedno prešutno pristaju i na neki manje ili više definiran sustav vrijednosti, i ulaze u svojevrstan “savez” – bilo s vragom ili anđelom, bilo s bijelima ili crnima, plavima ili crvenima.

Umjesto kritičkog odmaka, arhitekti su najednom dobili Učiteljev blagoslov da slobodno služe slobodnom tržištu i novoj ekonomiji – bez zadrške.

U arhitektonskim krugovima, upravo je Rem Koolhaas bio jedan od glavnih ideologa ovog “novog pogleda na novac” – ali i politiku uopće.

Od ranih buntovnih studentskih projekata pod utjecajem revolucionarne 1968-e, ali i tekstova Bataillea i sličnih boraca protiv establišmenta i kapitala, protiv arhitekture kao izraza moći i represije, Koolhaas je prešao dug put i učinio – potpuni zaokret. Umjesto otpora i propitiva­ nja, Koolhaas je u devedesetima spindoktorski bezočno odlučio prigrliti, pa i glorificirati kapital koji mu je značio potencijalno veliku zaradu i osobnu promociju, učinivši go with the flow novom arhitektonskom mantrom. If you can’t beat ‘em, join ‘em. Ako ih već ne možeš pobijediti, pridruži im se.

Svojim brojnim tekstovima i knjigama, istraživanjima i predavanjima, uzdigao je sve ono što je arhitekte ne tako davno mučilo – koncepte bignessa, shoppinga, komodifikacije i konzumerizma, upitan moral klijenata i porijeklo novca – na pijedestal ne samo prihvatljivog i neizbježnog, nego i logičnog pa i obećanog i poželjnog. Poput futurista nekoć, i njihove oduševljenosti tehnologijom i brzinom, Koolhaas je oduševljen Novim svjetskim poretkom, deregulacijom i privatizacijom, korporativnom moći i kineskom brzinom gradnje.

Od Harvarda do AMO-a, pisalo se za kapital, ne protiv njega. Umjesto kritičkog odmaka, arhitekti su najednom dobili Učiteljev blagoslov da slobodno služe slobodnom tržištu i novoj ekonomiji – bez zadrške. Sve ono što je još u osamdesetima (a pogotovo u sedamdesetima) smatrano prijezira vrijednim, reakcionarnim ili bar moralno suspektnim, odjednom je postalo sasvim normalnim i, dapače, pozitivnim, čak konstruktivnim. Počelo je post-kritičko doba, u svakom smislu te riječi.

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www.reddit.com/r/pics comments/ 3xgnc0/the_golden_spiral/

diamonds, the pharmaceutical or tobacco industries, from mobsters, drug dealers or war criminals. It does not matter whether you're building a monument to an institution of a corrupt and totalitarian society (Rem Koolhaas, Zaha Hadid and many others), or the headquarters of a bank or insurance company embroiled in money laundering affairs. Merely award him a project, and the architect becomes your yes man.

Within architectural circles, it was Rem Koolhaas who became one of the major ideologues regarding this "new vision of money", as well as politics in general. From his early rebellious student projects, influenced by the revolutionary ideals of '68, the texts of Bataille and similar disestablishmentarians and anti-capitalists ranting against architecture as an expression of power and repression, Koolhaas came a long way and did a complete turnaround. Instead of being resistant and critical, Koolhaas, during the 90's decided to shamelessly and in true spindoctor fashion, not only embrace but even glorify profit and self-promotion, making go with the flow the new architectural mantra. If you can't beat 'em, join 'em.

With his numerous articles, books, studies and lectures, he consecrated ideals which, until recently, troubled architects - the concept of bigness, commoditization, consumerism, a client's moral ambiguity, and the origin of money - and placed them atop a pedestal making them not only acceptable and inevitable, but also logical and even desirable. Much like futurists of yore, enamored by emerging technologies and the break-neck speed of development, Koolhaas became infatuated with the New World Order, deregulation and privatization, corporate power and the speed of Chinese construction. From Harvard to AMO, he wrote in favor of capital, not against it. Instead of critical detachment, architects were suddenly encouraged to freely serve the free market and new economy - without question. Everything which was during the eighties (and especially during the seventies) considered despicable, reactionary or at the very least morally suspect, suddenly became quite normal and, indeed, positive, even con-

structive. The post-critical era had begun, in every sense of the word.

In this atmosphere, with this type of competition, is it WISE for an architect (especially in this region) to be politicized? MUST he be?

And to what extent? Are the politicized ones simply going off half-cocked and hasty, while the apolitical ones are more intelligent, sagely and realistic? Or are the politicized ones more courageous than their cowardly apolitical counterparts?

Maybe it's just a question of social, personal, professional and intellectual RESPONSIBILITY, a simple question of mental hygiene. The pointer on the scale of conscience. In the age after bonfires and persecution, money has become the only risk - more or less money. Unfortunately, money is now often the only motive behind any political action or inaction, even the background of any type of social action. Accordingly, the term "apolitical" here actually refers to those who are in fact very political those whose politics are money.

Someone less prone to the above mentioned "Koolhaas Reformation", would observe the bigger picture, and might pose entirely different questions. If architects decide to stand idly by whenever the temperature rises, or when political and cultural turmoil embroils, by which right do they expect their creations to one day be considered seriously, or even as products of culture and society? How could they be, measured by what criteria? Can an architect today be considered socially responsible? According to what design? If architects do decide to stand aside in times and crises like these, the question becomes why would society - or history - continue to perceive them as relevant social actors.

Why would they be trusted and awarded projects, if it merely becomes a question of professionals who, whether solely for money or out of self-interest, become immune to the interests of the society in which they work? The bar is being set lower and lower, yet the architect, stupefyingly, still expects the same regard and deference, despite the lack of ideology or platform, despite the plunge towards becoming a simple servant of capital. The customer is king. And

Trumpov zlatni rez The golden spiral

Odluče li arhitekti stajati pos­ trani u ovakvim vremenima i pripadajućim krizama, pitanje je zašto bi ih javnost – ili povijest – uopće nastavila percipirati kao relevantne društvene aktere.

U ovakvom svijetu, uz ovakvu konkurenciju, je li jednom arhitektu (pogotovo na ovim pro­ storima) danas MUDRO biti političan? MORA li arhitekt biti političan? Do koje mjere? Jesu li oni politični i angažirani tek nagliji, brzopletiji, a oni apolitični pametniji, zreliji, realističniji? Ili su politički odgovorni hrabriji, a oni apolitični kukavice?

Možda je to tek pitanje društvene, osobne, stručne i intelektualne ODGOVORNOSTI, pitanje mentalne higijene. Jezičac na vagi savjesti.

U vremenu nakon lomača i progona, jedini rizik je novac – više ili manje novca. (Nažalost, novac je danas često i jedini motiv iza bilo kakvog političkog djelovanja ili nedjelovanja, pa i iza društvenih angažmana.) Isto tako, ovdje se riječ “apolitičan” koristi za, ustvari, politične – one čija je politika novac.

Netko manje sklon spomenutom “kolhasovskom obratu”, pogledao bi širu sliku i posta­ vio sasvim drukčija pitanja. Naime, odluče li arhitekti stajati postrani svaki put kada se zakuha, svaki put kada se odvijaju političkokulturne bitke, kojim će pravom u budućnosti očekivati ih se shvaća ozbiljno, da se njihov 57

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the architect is no longer a public intellectual merely a mercenary.

"Well you gotta pay the bills somehow..." the hardened and experienced ones will say. It would be particularly silly to disengender yourself to the government (right) and all those with whom it cooperates, given the conservative nature of capital and the tendency of the wealthy to align themselves to the right's agenda. Why create any noise, why bite the hand which might one day feed you? Nevertheless, architects raised on the theoretical assumptions and beliefs of the radical seventies and eighties will always argue that there is something more, that there must be something noble, that there is something worth fighting for.

And after all of this, can architecture still be considered as a part of culture? Are architects cultural workers, and is architecture a product of culture, or is architecture today something else entirely, something more profitable and prosaic?

I refer here to a thought from my own writings regarding architectural education, in which, among other things, one question stood out as paramount - what type of architects do we, as a society, even want? That question remains as pertinent as ever. Do we want idealists and dreamers, or pragmatic businessmen? Or both?

Should the profession be political and vociferous, or, at least in appearance, apolitical, and subservient? Compromising or uncompromising? Do we need architects who are merely the servants of politics and capital, who unquestioningly follow their laws and decrees, or do we want architects who are politically active, building their own distinctive and individual creative and cultural interpretation?

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Arhitekt u potrazi za znakom./Architect in search of a sign.

li arhitekte koji služe politici i kapitalu, koji bespogovorno poštuju njihove zakone i odluke, ili arhitekte koji će biti politički aktivni i stvarati vlastiti kulturni i kreativni manevarski prostor?

Jedno je očigledno. Kako god odgovorili na sva ova pitanja i što god danas kao arhitekti odlučili, posljedice po struku bit će ozbiljne i vidljive, i, po svemu sudeći, konačne i neopozive. Povratka nema. Izgubi li arhitektura i ovo malo svog kredibiliteta, prokocka li i ovo malo ugleda koji joj je ostao, bit ćemo na pragu novog doba.

Doba jedne vrle nove…arhitekture.

https://www.reddit.com/r/funny/comments/2z0gll/it_says_god_give_me_a_sign/

Javni WC u Parizu, intervencija. Public restroom, Paris.

http://imgur.com/gallery/k2CSTre

proizvod uopće smatra kulturnim? Na koji način, mjeren kojim mjerilima? Može li se danas arhitekte smatrati društveno odgovornima?

Zbog kojih to poteza? Odluče li arhitekti stajati postrani u ovakvim vremenima i pripadajućim krizama, pitanje je zašto bi ih javnost – ili povijest – uopće nastavila percipirati kao rele­ vantne društvene aktere. Zašto bi im pokla­ njala povjerenje i buduće projekte, ako se radi o stručnjacima koji, ponad novca i vlastitog interesa, bilo kreativnog ili financijskog, nisu vođeni i interesom društva u kojem rade?

Letvica je doista sve niža, a arhitekti začudo i dalje očekuju i zahtijevaju jednako poštovanje i jednak društveni status, unatoč manjku otpo­ ra i ideologije, unatoč rapidnom srozavanju na puku uslužnost kapitalu. Klijent je kralj. A arhitekt više nije javni intelektualac nego – plaćenik.

Od nečega se mora živjeti, reći će oni okorjeli i iskusni. Pogotovo je glupo zamjeriti se (desnoj) vlasti i svima koji s njom šuruju, obzirom na konzervativnu prirodu kapitala i sklonost bogatih desnoj agendi. Zašto bučiti, zašto rezati granu na kojoj ćeš možda sutra udobno sjediti.

Pa ipak, arhitekti koji su obrazovani na teo­ retskim postavkama i uvjerenjima radikalnih sedamdesetih i osamdesetih, uvijek će tvrditi da postoji nešto više, da mora postojati nešto plemenitije, da se može učiniti više, da se vrijedi boriti.

Nakon svega ovog, je li arhitektura danas još uvijek dio kulture? Jesu li arhitekti kulturni radnici a arhitektura kulturni proizvod ili je arhitektura danas nešto drugo, nešto isplativije i prozaičnije?

Vraćam se ovdje na jednu misao iz vlastitog teksta o arhitektonskom obrazovanju, u kojem se, između ostaloga, ispostavilo da je ključno upravo sljedeće pitanje: kakve arhitekte uopće želimo, kao društvo? Kakve arhitekte trebamo, a kakve stvaramo? To se pitanje ponavlja i ovom prilikom. Želimo li idealiste i sanjare, ili pragmatične poslovne ljude? Ili i jedno i drugo? Treba li struka biti politična i snažna ili – prividno – apolitična, uslužna i poslušna?

Kompromisna ili beskompromisna? Trebamo

One thing is for certain. Regardless of how we, as architects, resolve any of these questions, the repercussions will be grave and perceptible, and most likely, ultimate and indisputable. There is no going back. If we lose what little credibility we have managed to hold on to, if we squander the last bit of respect we still command, we'll find ourselves at the precipice of a new era - an era of a very new form of..."architecture"...

Or whatever they deign to then call it.

Ili kako ju se tada već bude nazivalo.

Original text published on the Vizkultura portal, Apr/Dec 2016.

Izvorni tekst objavljen na portalu Vizkultura, Apr/Dec 2016

vizkultura.hr/o-apoliticnosti-i-oportunizmuarhitekata/

vizkultura.hr/o-apoliticnosti-i-oportunizmuarhitekata/ 59

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Barbican estate

BETON, BETON, CONCRETE, SAMO BETON CONCRETE, AND MORE LJUBICA SLAVKOVIĆ CONCRETE „Brutalizam se vratio.“ Tvrdnja koja je prepravila svetske medije poslednjih godina, društvene mreže fotografije objekata ovog stila, a brutalizam se sve češće čuje i u našim arhitektonskim krugovima. Zgrade koje stoje iza ovog pojma su sve vreme bile tu baš gde jesu, ali su preko 30 godina provele u slepom polju ili kao obje­ kti prezira, da bi jednog jutra osvanule opijene zracima obožavanja. Pre nego što ponovo padnu u zaborav, hajde da se pod tim svetlom zaustavimo i vidimo šta obasjava.

Sam pojam brutalizam već izaziva polemike.

Dok postaje prihvaćeno stanovište da su brutalističke zgrade brutalne u svom izrazu, nešto starija je škola da naziv potiče od Žan Dibifeove Art brut umetnosti (Jean Dubuffet) i francuskog béton brut – sirovi beton. Materijal u svom izvornom, neprerađenom obliku jedan je od načina izražavanja osnovnih posCAMENZIND

by LJUBICA SLAVKOVIĆ "Brutalism is back." In recent years, this claim can be heard reiterated trough the media, social networks, seen in photos, and often heard throughout architectural circles. The buildings that stand behind this concept have been here, but were, for the past three decades or so, all but forgotten or looked down upon with scorn, until, inexplicably, they dawned back upon us, awash with the light of adoration. Lest they fall back into the night, once again forgotten, we should observe what, exactly, the light has revealed.

The very concept of brutalism is cause for controversy. While it is becoming more and more accepted that Brutalist buildings are brutal in 60

tulata ovog stila, a to je iskrenost u arhitekturi.

Brutalizam se u tom smislu odnosio ne samo na materijal, već i na brutalnost, ali u smislu nemanja kompromisa u prikazivanju istinitosti.

Bez ikakvih opni, presvlaka ili obmana, vodeće odlike moderne arhitekture bile su forma sledi funkciju i da se materijali koriste u skladu sa svojim karakteristikama i bez sakrivanja. Je­ dnostavne forme, izostanak ukrasa i ornamenata, vidljivost konstrukcije i izbacivanje ko­ nstruktivnih elemenata na fasadu i u enterijer... oličenje su pristupa iskrenosti stvaranja arhitekture namenjene svim slojevima društva koji su željeni kao jednaki.

Knjiga Rejner Banama (Reyner Banham) iz 1966. godine „The New Brutalism: Ethic or Aestethic“ popularizovala je ovaj termin u Velikoj Britaniji, za koju je snažno vezan ovaj stil, gde je prvo naišao na veliku popularnost, zatim višedecenijski prezir, da bi poslednjih godina ponovo postao predmet pažnje i brojnih objektiva.

Nakon drugog svetskog rata razrušeni gradovi našli su se pred velikim izazovom obnove, što javnog, što stambenog fonda. Državni mehanizmi okreću se rešavanju ovog pitanja, koje je u mnogim gradovima bilo u kriznoj situaciji i pre još većeg razaranja ratom. Industrijalizacija, prefabrikacija materijala i beton kao jeftin i izdržljiv građevinski materijal omogućavaju masovnu proizvodnju koja odgovara zahtevima sve veće i brže urbanizacije.

Prve posleratne godine tako proizvode arhitekturu mahom monotonog izraza, sa velikim prisustvom istovetnih prefabrikovanih delova.

U godinama koje slede to se polako menja i arhitekte istražuju nove prostore i mogućnosti oblikovanja u dominantnom izrazu prefa­ brikacije, ali i stvaranja prostora za bolji život.

Dugački hodnici zamišljani su kao mesta su­ sreta, ravni krovovi kao zajedničke bašte i prostori za uživanja, uz brojne zajedničke prostorije namenjene tim mnogoljudnim zajednicama. U osnovi humane, ovakve ideje nametane odozgo nadole vremenom nailaze i na brojne osude od svojih krajnjih korisnika.

Funkcionalnost ove arhitekture i njenog izvođenja odgovarala je posleratnoj potrebi za

their appearance, an older school of thought contends that the concept derives from Jean Dubuffet's Art Brut movement and the French béton brut - raw concrete. Material in its original, unprocessed form, is one way of expressing the basic postulates of this style, namely "honesty" in architecture. Brutalism in this regard relates not only to the material used, but also in terms of uncompromising, brutal honesty.

Without any stylized facade or deception, the leading philosophy of modern architecture was form follows function, thus materials used relate solely to their characteristics - openly and

Essentially humane, such ideas scattered from the top down, and eventually faced widespread condemnation by its end users. plainly. Simplistic form, a lack of decoration and ornamentation, the visibility of construction both on the facade as well as the interior - the embodiment of creating architectural design equally for all levels of society.

Reyner Banham's 1966 book "The New Brutalism: Ethic or Aesthetic", popularized this term in the UK, a country to which this style is strongly linked, where it was at first greeted with great popularity, followed by decades-long contempt, until finally experiencing a revival in recent years, becoming the focus of numerous new projects and designs.

The aftermath of WW II, where entire cities were razed to the ground and laid to waste, called for massive reconstruction. Nations, in which many cities were in crisis even before the devastation of war, turned to address this need.

Industrialization, prefabrication and concrete, as a cheap and durable building material, enabled mass production which met the requirements of rapidly developing urbanization.

The first post-war years also produced mostly monotonous architectural expressions, with a noticeable presence of identical prefabricated parts. In the years that followed, this slowly changed as architects explore new spaces and 61

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possibilities within the dominant expression of prefabrication, but also begin thinking of quality of life issues. Long corridors envisioned as meeting places, flat roofs as well as community gardens and spaces for enjoyment, with many common rooms dedicated to highly populated communities. Essentially humane, such ideas scattered from the top down, and eventually faced widespread condemnation by its end users.

The functionality of this architecture and its performance, matched the post-war necessity to build a large stock of housing, but its aesthetics became a symbol of high-density, public-housing projects. Needless to say, not all projects were equally well made, many simply tacking on new structures on top of older ones unable to take on the load, as well as being "economical" with materials - the norm in the understandable post-war funding shortage. The most common factor in public housing, became the issue of ownership, directly correlated to the questions of funding and maintenance. Facilities in the public domain mostly remained deprived of adequate maintenance, which caused a considerable degree of deterioration, damage to installations, infrastructure, facades etc. Amidst a general lack of accountability with regards to disrepair and decay, brutalism became synonymous with the dysfunctional, if not the wholly unlivable.

Wherein then lies the secret for this new resurgent popularity of these imposed structures whose ceilings leak, whose facades are crumbling, and whose very existence, as many would argue, seemingly negate centuries upon centuries of accepted building standards?

We live in the era of the image. Social networks, Instagram, Tumblr, etc., separate this image from its boundaries, and, as in this instance, from any socio-political context. Brazen geometric forms, games of shadows and light, recognizable repetition, stalwart angles and elements, the unapologetic celebration of raw concrete - this is what we read in the new fetishization of brutalism and its aesthetics, the architecture of "ethics over aesthetics".

We also live in an era where space is a luxury.

izgradnjom velikog stambenog fonda i njena estetika postaje simbol socijalnog stanovanja i stanovanja za veliku gustinu ljudi. Nisu ni svi objekti rađeni jednako kvalitetno, mnogi su priključivani na postojeće infrastrukture koje nisu mogle da izdrže nova opterećenja i podizani su u posleratnim godinama gde se oskudevalo sa sredstvima. Ono što je zajednički činilac većini je pitanje vlasništva, koje direktno povlači i pitanje finansiranja i održavanja. Obje­ kti u javnom vlasništvu mahom su ostali lišeni adekvatnog održavanja, što je uslovilo brojna propadanja, oštećenja instalacija, infrastrukture, fasada itd. Umesto preuzimanja odgovornosti za zapuštenost i delovanja, brutalizam počinje da stiče svoju lošu reputaciju nefukcionalnih objekata.

U čemu onda leži tajna vaskrsle popularnosti ovih nametnutih struktura kojima tavanice prokišnjavaju, fasade otpadaju i koje negiraju vekove i vekove tradicije i prihvaćenih načina života, kako ih mnogi vide? Živimo u eri slike. Društvene mreže, Instagram, Tumblr i slično, oslobađaju sliku do krajnjih granica, a tako i ove objekte društvenopolitičkog konteksta u kojem su nastajali. Jake CAMENZIND

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geometrijske forme, igre senke i svetla, repeticija i jaki uglovi i elementi, kao i izražajnost sirovog betona ono su što se čita u fetišizaciji bruta­ lizma i njegove estetske uloge, arhitekture koja je nastajala na „etičkom, a ne estetskom“.

Takođe, živimo u eri kada je prostor luksuz.

Nema više velikog urbanizma kao takvog, nema brisanog prostora ratnog razaranja, velikih poteza i jakih struktura. Brutalistički objekti su masivni i impozantni u svom gabaritu i formi, neki kritičari u tome vide čak i želje mladih ka novim revolucijama i hrabrim činovima, ili poljuljanost vere u demokratiju i okretanje velikim vođama, a sa njima i onome što je diktirano odozgo i masivnom izrazu.

Ne treba zanemariti ni to da su objekti ovih sveprisutnih fotografija mahom stari skoro pola veka. Oni nisu više netaknuti, nisu više samo potezi velikog urbanizma, već u njima odavno cveta i Mali urbanizam, ili pre ovde mala arhitektura, na njegovim fasadama nije samo zub vremena već i otisci želja i potreba, a često i nesklada i nepoštovanja njegovih korisnika.

Pop kultura je ciklična, i dok je film "Paklena pomorandža" oslikao ova zdanja kao sinonim horora i užasa, današnji fokus je istovremeno i na povratku u gradove i na ponovnom otkrivanju starog, sirovog, realnog i ne plastičnog.

Ono što je bilo nepoželjno sada sa vraća kao ponovo željeno.

Ali, vratimo se i na pitanje vlasništva. Slikovita je Velika Britanija koja doživljava jednu od svojih najvećih stambenih kriza ikada. Nakon privatizacije osamdesetih godina i „prava na kupovinu“ koje uvodi Margaret Tačer, vlasničke strukture se polako menjaju i ova arhitektura osvaja nove poglede. S jedne strane, mnoge strukture u kojima sve više žive siromašniji slo-

There are hardly any more large-scale urban planning projects as such, there is no open space compared to the blank canvas of postwar destruction. Brutalist buildings are massive and imposing in size and shape, and some critics even see this as a sort of desire for revolution - a loss of faith in the multitude of democracy, replaced instead with adoration of massive, imposing "strong-men" leaders, issuing dictates from on high.

We should also not neglect the fact that these objects, subjects of the ubiquitous image, are almost half a century old. They are no longer pristine symbols of a new urban plan - they have become, as time grew upon them, expressions of "small urbanism" (or perhaps better fitting here, "small architecture"), on their facades not only the ravages of time but also expressions of wants and needs, and quite often the disdain and disrespect of its users.

Pop culture is cyclical, and while A Clockwork Orange painted these buildings as a synonym of horror, today's focus is a romantic "return to the urban center", the rediscovery of the "old" (seeing as how today, 50, 60, or 70 years ago is almost an eternity...), the raw, the real and the specifically "not plastic". That which was once undesirable, is now back in focus.

But back to the question of ownership. Picturesque seems the United Kingdom now, experiencing one of its largest housing crises ever.

Following the privatization of the eighties and the "Right to Buy" introduced by Margaret Thatcher, the ownership structure began to slowly change, and Brutalist architecture underwent a drastic shift in perspective. On the one hand, many of its structures, occupied in large part by an increasingly poorer population, were 63

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demolished, supported by city authorities with statements that Brutalist buildings were "ugly and monstrous". On the other hand, the privatized Barbican - a frequent winner of the title of the ugliest edifice in London - is today a hip popular place where the price of square footage is measured in the millions...

Gentrification is also beginning to claim more and more of these buildings, as each new realestate purchase or lease agreement increases the dizzying price of every square foot, and also through "from on high" organized express gentrification - incentivizing a new creative class to boost popularity (as well as the price...) of an area, until the real-estate value far supersedes the costs of maintenance and renovation of dilapidated structures, meaning demolition and accompanying eviction.

Although modern, post-war architecture styles such as Brutalism, Socialist Modernism and others, are becoming increasingly popular primarily for their aesthetics, we should not ignore, when estimating these facilities, the unseen.

These gargantuan residential projects, whose value still remains questionable, portray another function - a roof over-head, running water and (relatively)hygienic living conditions for a massive number of people, who, in absence of these projects, might not have, realistically, been able to sustain basic living conditions. Communal spaces, common areas, greenery, and all the supporting functions of housing, are also part of the basic thinking of architecture of that time.

Let's look at a case in point much more relevant to us - New Belgrade. Although a collection of concrete, identical, mammoth buildings - which today are looked upon with sheer disdain and resentment - it is nonetheless a reality that they solved, and in a relatively urbane, healthy manner, the housing crises of a war-ravaged country, and an explosively expanding Belgrade. New Belgrade flats remain an example of humane urban planning, and they adequately sustain the dynamic needs of its residents, where up to three generations share a living space. These buildings are bathed in sunlight, are well ventilated, and are positively drowning in greenery.

The streets might be a bit inconveniently far

Fetišizacija slike i gentrifikacija koja se tim putem odvija, nose brojne probleme, ali na našim prostorima novi fokus na mod­ ernu arhitekturu pruža nadu za njeno vrednovanje i istraživanje, ulaganje u obnavljanje i održavanje. jevi stanovništva suočene su sa rušenjem, koje je podržano od strane gradskih oca izjavama da su brutalistička zdanja „ružna i monstruozna“.

Sa druge strane, mahom privatizovani Barbican - nekadašnji česti dobitnik nagrade za najružnije zdanje Londona, danas je hip mesto u kome kvadrat iznosi miilone.

Gentrifikacija sve više zahvata ova zdanja koja ili sa svakim napuštenim stanom i novom kupovinom ili ugovorom o zakupu dostižu vrto­glave cene kvadrata, preko primera organizovane od vrha ekspresne gentrifikacije - planskog dovođenja kreativne klase kako bi se podigla popularnost objekta, sve do uništenja zgrada (a sa tim i evikcije stanara) jer je cena parcele je­ dnostavno veća od ulaganja u infrastrukturalno obnavljanje zgrada.

Iako su moderna posleratna arhitektura, brutalizam, socijalistički modernizam i dr. sve više popularni prvenstveno u svojoj estetici, pri sagledavanju ovih objekata ne bi valjalo zanema­ riti i ono što se ne vidi. U toj mnogoljudnosti stambenih zdanja čija vrednost ostaje upitna, krije se i druga slika – krov nad glavom, tekuća voda i higijenski uslovi stanovanja za veliki broj stanovnika, koji, bez te i takve arhitekture, pitanje je da li bi imali ostvarene osnovne uslo­ ve za život. Zelenila, javni prostori, zajednički prostori i prateće funkcije stanovanja, takođe su u osnovi mišljenja arhitekture tog vremena.

Vratimo se nama daleko bližem primeru, Novom Beogradu. Iako se gradu betonskih, isto­ vetnih „preogromnih“ zgrada danas mnogo zamera, previđa se da su ovi soliteri ti koji su na zdrav način rešili stambeno pitanje CAMENZIND

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Nemačka ambasada u Beogradu/German Embassy Belgrade

eksplodirajućeg Beograda. Novobeogradski stanovi su i dalje primer humanog projektovanja i adekvatnog odgovara na dinamične potrebe Beograđana gde i tri generacije dele isti životni prostor. Osunčani si, provetreni i plivaju u zelenilu. Ulice su nezgodno daleko od zgrada, ali stanovi Novog Beograda nemaju problem zagađenja i buke. A u neposrednoj blizini nalaze se jedine uređene obale reke Save i Dunava. U tom planiranju grada odozgo nadole mnogo toga nije izvedeno ili zaživelo po sanjanom, niti je završeno, a mnogo toga i vremenom uništavano. Ali danas, decenijama kasnije kada novi grad već uveliko živi i odozgo nagore, on se i organski razvija.

Fetišizacija slike i gentrifikacija koja se tim putem odvija nose brojne probleme, ali na našim prostorima novi fokus na modernu arhitekturu pruža nadu za njeno vrednovanje i istraživanje, ulaganje u obnavljanje i održavanje. Zgrada Nemačke ambasade Bogdana Ignjatovića u ulici Kneza Miloša nepovratno je srušena, bez puno buke i prašine, bez ustajanja stručne i šire javnosti. Bez imalo ustezanja premijer najavljuje podizanje spomenika i muzeja Stefanu Nemanji na jedinom beogradskom ostvarenju Nikole Dobrovića, zgradi Generalštaba. Univerzitetska dečja klinika u Tiršovoj Milana Zlokovića nije puno bolje prošla, a to su tek neki od primera. Popularnost brutalizma, a sa njim i drugih dela naših autora, možemo, i moramo iskoristiti i produbiti u cilju stvaranja proširenog pogleda na potencijale i vrednosti posleratne arhitekture, jer one jesu brojne, ali su mahom i dalje u slepom polju i prepušteni propadanju, a neretko i uništenju.

from buildings, but New Belgrade apartments don't have problems with noise or pollution.

And the only well-maintained banks of the Sava and Danube rivers are in immediate proximity. In this top-down urban planning approach, many issues may have been forgotten, many dreams not realized, or indeed structures finished, and certainly much has been destroyed over time. But today, decades later, when the new city is already living from the bottom up, much has fundamentally changed.

The fetishization of images and gentrification might pose a number of problems, but in this region, this new focus on modern architecture offers hope for its honest evaluation and further research, renewed investment, reconstruction and maintenance. The German Embassy building designed by Bogdan Ignjatović, was ignominiously and irrevocably demolished, without scantily a remark by either the architectural profession or the general public. Without any hesitation the prime minister announces plans for erecting a monument and museum dedicated to Stefan Nemanja, to replace the former Generalštab (the former Yugoslavia's Pentagon...) designed by Nikola Dobrović. The University Pediatric Clinic, designed by Milan Zloković, hasn't fared much better, and these are but a few examples. We have the opportunity now to take advantage of Brutalism's newfound popularity, and indeed we must do so in order to create an expanded view of the potentials and values of post-war architecture, numerous as they are, but, unfortunately, often overlooked, left to decay if not crumble entirely.

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O CRNA GORO, ŠTO SI TAKO DIVLJA?

MONTENEGRO, WHY SO FERAL?

KATARINA ŠOŠKIĆ

by KATARINA ŠOŠKIĆ In March of 2015, I came across an interesting book amongst my uncle's old things. A beautiful book from the sixties with black-and-white illustrations of the Montenegrin coast, especially "my" part around St. Stefan where I have spent my summers for the past two decades.

"The only part left untouched and unravaged", I often tell people in its defense when they recount their ten day vacation experience, remembering how filthy it was and how rude the waiters, and I would shout "You don't know, you haven't seen, you must see, there are oases, I'll take you to my uncle's place - my favorite place in the world - the village of Blizikuće."

But I always knew - from my uncle's hill it's easy to see that it is touched, and keeps being touched, in all the wrong and forbidden

U martu 2015. pronašla sam zanimljivu knji­ gu kod teče u starinarnici. Prelepa knjiga iz šezdesetih godina sa crno-belim reprodukcijama, prikazani su predeli sa crnogorskog primorja, tačno tog ‘mog’ dela oko Sv. Stefana kom se već dve decenije svakog leta vraćam, zahvaljujući tom istom teči domorocu. Jedini netaknuti deo, često sam govorila ljudima kako bih odbranila Crnu Goru kad oni brane svojih deset dana odmora pa se bune da je prljavo i da su konobari nepristojni, vikala sam, ne znate, niste videli, morate da vidite, ima skrivenih mesta, još uvek je lepo, vodim vas kod teče u selo – moje omiljeno mesto na svetu – Blizikuće.

A znala sam uvek, sa tog tečinog brda se lepo vidi da je taknuto i da se dira, sve u pogrešnu i zabranjenu stranu, osvaja susedna brda armiCAMENZIND

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rani beton sumnjivog porekla, divlja je priroda divljački oteta – to se sa tog brda dobro miriše.

Tu mi sve manje vredi da sklonim pogled ka pučini, kom kadru i sa najvišeg sprata stare kamene kuće smeta, ili doprinosi, maslinjak.

On ionako samo podseća da će za koju godinu možda i on biti maknut silinom odluke neprikosnovenog investitora ili nekog njemu bliskog.

U oktobru 2015. sam otišla u Blizikuće, posle puno traganja došla u posed knjige “Budva Sv. Stefan Petrovac“, saznala o autoru Miroslavu Luketiću, pročitala tekst i svoju davnu želju da fotografišem sve započete a nikad dovršene zgrade na potezu Petrovac-Budva sam prefo­ rmurisala i rešila da reprodukcije iz te knjige iskoristim kao početnu tačku za istraživanje nekolicine važnih pitanja, gde će mi fotografija poslužiti kao alat.

Dirnuta lepotom crnogorske prirode i otud zabrinuta za njeno sistematsko i sistemsko uništenje koje se sem na divotu predela još gore odražava na funkcionalnost lokaliteta i razvoj urbanizma i kom svedočim kao sentimentalni turista od svog ranog detinjstva, rešila sam da knjigu dr. Luketića i reprodukcije koje zatičem u njoj iskoristim kao parametar za poređenje, tihi dokaz da se promena dogodila i da se događa i kao poziv da se priroda te promene ispita.

Posetila sam 30 odabranih lokacija prikazanih u knjizi i fotografisala ih ponovo u oktobru 2015. Sakupljeni materijal poređan je u parove sa originalima koji su manje ili više očigledno ukazivali na promenu terena i razvoja pejzaža u poslednjih 50 godina. Poređenje samo po sebi nije govorilo ništa neočekivano, ali su iz njega, a posebno iz radikalnih ilustracija promene, proistekla interesantna pitanja i uvidi, da se kao izazov kroz fotografiju i tekst preispitaju. Neki su navedeni ovde, a većina ostaje da se brusi kroz tek započetu doktorsku dizertaciju u obla­ sti umetničkog istraživaja na temu turističkih zona, sezona i ne-(se)zona na obalama Evrope.

Obilazak lokacija i potraga za pravim uglovima praćeni su iznenađenjima, pa i uznemirenjem usled nemogućnosti prepoznavanja - neka od mesta su vrlo teško dostupna, ili ne postoje, a na mestu nekadašnjih vidikovaca sagrađena

places...the neighboring hillock conquered by reinforced concrete of suspect origin, the natural landscape unnaturally trodden upon, it's all painfully apparent from my uncle's hill.

Less and less has it become possible to simply avert my gaze to the sea, a view hampered by (or made even more beautiful) by an old olive tree which reminds me that maybe even it will be ravaged in a few years time, by decision of some unscrupulous investor.

I went to Blizikuće in October, 2015, and after much searching, found a book "Budva, Sv. Stefan, Petrovac". I found out about the author, Miroslav Luketić, and after reading the text, reinvigorated my desire to photograph all the building projects left unfinished in the stretch from Petrovac to Budva, realizing that that book would be a great starting point for my research into a multitude of important topics, where photography would be a very useful tool.

Touched by the sheer natural beauty of Montenegro, and gravely concerned by the systemic destruction of not only the natural environment, but the urban one as well, a process I have been witness to as a sentimental tourist from my early childhood onwards, I decided to use the illustrations from dr. Luketić's book as a gauge - silent witnesses to the multitude of distortions which took place, and still are, as well as a call to question their purpose.

I visited thirty select locations showcased in the book, in October, 2015, and photographed them. The results were compared to the originals, clearly indicating a change of terrain and landscape over the past fifty or so years. 50 years.

The comparison itself revealed nothing particularly unexpected, but what stands behind these changes, especially the more extreme ones, beg some interesting questions and offer insights to consider. Some are included here, but most remain to be hashed out through a recently begun doctoral dissertation on the subject of tourist zones in and out of seasons on European shores.

While visiting various locations in search of perfect angles, I was often surprised, if not outright disturbed, by the inability to recognize some of these - some are very hard to get to, or no longer exist, while in some instances, previ67

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je nova monstruozna kuća ili zgrada. Ili i kuća i zgrada. Ta i takve promene desile su se u vremenu, u okolnostima koje je teško i gotovo nemoguće slikom prikazati. Jer, nema iste slike sa istog mesta kao što nema ni istog mesta. Kada tamo odakle je nekad pogled sezao daleko i otvarao reprezentativnu panoramu turističkog lokaliteta nikne prepreka, i to u vidu bespravnog objekta, ona postaje sastavni deo novog kadra, novog izgrađenog pejzaža. Guraju se između nekadašnjeg vidikovca i obale da postanu reprezentativni prizor koji u stvari stoji za sadašnje stanje stvari. Broj ovih prepreka i gustina njihove rasprostranjenosti, način na koji se pojavljuju i funkcionišu otvara pitanje graniica i prava, prava na bolji pogled kao i pitanja privatnog i javnog.

ous look-out points have been replaced by some monstrosity of a building. Those changes occurred through time, in circumstances almost impossible to portray with pictures, since there is no comparative photograph from the same location if that location no longer exists. When a spot, where once one could look far and wide at the emblematic panorama, is obstructed by an illegally erected structure, it becomes an integral part of a new frame, a new man-made landscape. Jostling amongst former scenic points and the coast, these objects try to become the new quintessential view, and are, in fact, representative of the current, sorry, state of affairs. The sheer number of these structures, their spacing and all-encompassing nature, the manner in which they are approved and contin-

Arhivska fotografija*

Arhivska fotografija*

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Prilikom slaganja materijala u parove, uslovno nazvanih ‘pre i posle’, u mnogim primerima drastičnost promene ne dolazi u prvi plan.

Građevine koje u direktnom kontaktu deluju agresivno, divlje ili ružno (gde agresivno, div­ lje i ružno treba čitati u političkom, ekonomskom i kulturološkom ključu) posmatrane iz daljine gube tu oštrinu. Deluje kao da je to to, urbanizacija je u toku, turizam se razvija, prepreke nema… Ipak, one su tu, dodate i dodaju u ono što je oduvek bilo tu, pa je i te arhivske snimke umesto sa nostalgijom važno pregledati uz kritički osvrt na koji i ove nove fotografije pozivaju. Seciranje i beleženje kru­ pnog kadra promene kao i sva moguća čitanja njenih značenja smatram posebnim izazovom u korišćenju fotografije kao alata pri preispitivanju društvenih struktura.

ue to operate, beckon questions of boundaries and properties, both public and private.

During the pairing of materials, nominally the "before and after", in many cases, did not immediately reveal the drasticity of change.

Structures which, when in direct contact, are aggressive, barbarous, or ugly (where "aggressive", "barbarous", and "ugly" should be read through a political, economic and cultural lens) lose some of the poignancy of these attributes when viewed from a distance. It appears simply as it is what it is, development is in motion, tourism is blossoming, barriers are being torn down... They are, nonetheless, there, adding and in addition to the already extant, making it paramount that the archival footage also be

U potrazi za kadrovima iz knjige kojom sam se služila, sem promene koja me je uporno fa­ scinirala, pažnju mi je skretao i broj građevina rasutih van oboda kadra. Na putu koji je često zarastao i netaknut niču mnogobrojna napuštena gradilišta, hoteli i odmarališta u pe­ r­­ma­nentnoj izgradnji. Raštrkani po brdima, na ivicama turističke zone oni obeležavaju gra­ nicu između poznatog i nepoznatog, bivajući u nekom smislu suprotnost onim preprekama od malopre, onih prepreka odozdo, sa obale.

To su spomenici neuspelom poslovanju, mesta koja nisu postala popularne turističke destinacije niti primamljiva mesta za odmor, a koja bi, ironično, imala značajno bolji pogled od onih izgrađenih u podnožju. Ovo su mesta nevidljiva CAMENZIND

na razglednici, ali od značaja za razumevanje pozadine istih onih malverzacija koje su u svojoj uspešnoj izvedbi omogućile guranje prepreka u kadar, tj. zidanje što brže i što bliže moru.

Podsećaju nas na ograničenja i nemogućnosti, na neuspeh lokalnih biznismena, političara, investitora (i njihovih rođaka) da netaknuto iz prirode pretvore u nepoznato za turiste kom je da tobože bude otkriveno kroz čin putovanja i otkrivanja novog.

hillsides, at the very edges of tourist zones, they demarcate the border between the known and unknown. They are monuments to failed business ventures, places which never became popular, or simply failed to thrive, which, ironically, now have a much better view than their more successful counterparts chocking the foothills.

These are the places unseen on postcards, but essential in understanding the malfeasance behind those iterations, which in their success,

viewed not merely with nostalgia, but with the same voracious critique as evoked by contemporary developments. Dissecting and cataloguing the "big picture" of changes, along with all the various interpretations they invariably elicit, is what I consider to be particularly imposing when using photographs as a tool for the examination of communal structure.

While searching for the exact frames present in the book I was using, other than the marked changes in environment, I was also struck by the sheer number of new structures, lying outside the frame's borders. Abandoned building sites, hotels and spas under seemingly unending construction, sprout up along a road often overgrown and abandoned. Strewn along the 70

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U tehničkom smislu, kod parova poređenja sam se trudila da ustanovim uglove kadriranja identično onim sa originalnih fotografija, kod fotografia “prepreke” težila sam što čistijem novom reprezentativnom prizoru na kom naizgled nema ničeg problematičnog, dok su poslednje nedovršene građevine s namerom fotografisane lošom opremom ili sam se služila tehnikom naknadnog brutalnog uvećanja isecanjem motiva iz šireg kadra, u cilju potcrtavanja nemoći ne samo pomenutih moćnika, nego i sopstvene nemogućnosti raskrinkavanja dostupnim mi alatima. Samo u kombinaciji, i uz tekst, ove tri celine doprinose aktiviranju preispitivanja i vi­dljivog i nevidljivog prikazanog na fotografijama.

have crowded the frame, namely, developments as hurriedly erected and as close to the coast as possible. They stand as reminders to the limitations and impossibilities, to the failed businessmen, local politicians, investors (and their cousins...), who tried to convert the untouched in nature into the unknown for the tourist.

From a technical standpoint, when attempting to find comparative frames, I strove to achieve identical angles to the original photographs.

While photographing the various "barriers", I opted to lean towards a new, cleaner representation and frame which, at first glance, contains nothing problematic. Unfinished structures were purposefully shot with poor equipment, or were later edited by brutally enlarging the subject matter and cutting it out of its motif, in the desire to underline the powerlessness of not only the aforementioned businessmen, but also my own inability to decipher the subject with the tools at hand. Only in combination with text can these three separate wholes incite the discovery of both the seen and unseen in these photographs.

*Arhivske fotografije preuzete iz “Budva Sv.Stefan Petrovac“, Miroslav Luketić

Archival photos taken from "Budva Sv. Stefan Petrovac", Miroslav Luketić

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ago, covered in unforgiving vegetation which even goats do not consume.

Patiently, we started from the zero structure.

When raised, it looks homogeneous beyond recognition. In the beginning we were well trained. We did plant that corner stone, in true design fashion, but we observed and recorded the momentum awaiting us. Slowly did the intrigue emerge, having been growing for years, surpassing local boundaries.

Then came the first opportunity. Crowned by old glory, we received full blessings, and the task was very similar - how, with that old stone, to accommodate our, as well as the builder's, needs. And right here lies something which has accompanied us through to the now fourth project -the one building it, pays and plans for it. For us, that means that each development

Strpljivo, počeli smo od nulte strukture. Kada se načne, celo tkivo izgleda homogeno do neprepoznavanja. U početku smo se dobro izvežbali.

Jesmo dali tu glavnu crtu, projektantski, ali smo mnogo više posmatrali i beležili za zalet koji nas je čekao. Polako je nastala intriga koja sada već godinama raste i prevazilazi lokalne okvire.

Došla je prva prilika. Ovenčani starom slavom, dobili smo puno poverenje, a zadatak je bio vrlo sličan – kako u tom starom kamenu udovoljiti našim i potrebama onog koji to pravi. Upravo ovde leži nešto što nas prati kroz sada već četvrti projekat: onaj koji zida je i onaj koji sve to planira i plaća. Nama to od početka znači da svaka razmera razrade projekta nosi isti inte­n­ zitet obećanja, nema laganja i bežanja. Tada je sve načisto, a ostaje nam samo da se nađemo na istoj strani projekta.

Twin House

Village Stone Houses

ŠTA ZNA KAMEN

WHAT STONE KNOWS

NIKOLA ANDONOV, MADA

by NIKOLA ANDONOV, MADA

Dugo su tuda vrebali gusari, a lokalni ribari i seljaci dovijali su se na razne načine kako da izbegnu ili makar ublaže pustošenje svojih poseda. Pre nekoliko vekova konačno su se smestili na vrh poluostrva, ali ipak daleko od durbina. Tada su počeli da grade relativno skro­ mne, ali postojane kuće za život i rad u kojima su obavezno imali ili guvno, ili konobe ili sve zajedno. Krajnje pragmatično, odlučivali su se za kamen. Između gradivnog materijala, rađaju masline, grožđe, pravi se dobar sir i diše vazduh koji ima i pučine i zaliva u sebi.

Danas je to šarenoliki skup sela koja svoja ime­ na nose po vodećim porodicama i njihovim viđenijim članovima, a u samom selu obično se i ne nudi i ne vidi ono čime mi baratamo.

Mnoge od njih ostale su zatrpane u velikom zemljotresu pre skoro četiri decenije i tokom vremena obrasle u nemilosrdno rastinje koje ni kozama ne služi.

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Long had pirates been stalking there, where local fishermen and farmers devised ever newer ways to avoid, or at least lessen, the devastation wrought upon their lands. Centuries ago, they finally settled on the tip of the peninsula, far enough away from the spyglass. They started building relatively modest but stable homes to live and work in, which were sure to have threshing floors or taverns or both together. Infinitely pragmatic, they decided upon the use of stone. Between the buildings, they grew olives and grapes, made good cheese and breathed the open sea air.

Today it is a colorful collection of villages which bear the names of leading families and their prominent members. The village itself does not usually offer, nor do we see, that which we commanded. Many of them have remained buried by the great earthquake, nearly four decades 74

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Dobili smo dva entiteta koje je trebalo spojiti u jedno, ali raščlaniti na najmanje tri. Poseban izazov bilo je baratanje okvirnim dimenzijama u snažno denivelisanom prostoru i sve to na nivou enterijera. Usled gustog tkiva i morfo­ logije terena, posegnuli smo za zenitalnim osve­tljenjem kao glavnim sredstvom formiranja ambi­jenata u svim celinama, a uz datu zakonitost da se nijedan prostor ne ponavlja.

Druga prilika je došla odmah prekoputa. Ovaj put, kamen je bio svuda okolo i ispod, ali mi smo pravili od minus jedan. Ova nova, svakodnevna, skoro gradska situacija pomogla nam je da shvatimo šta su atributi mesta na kome delujemo. Pogled se jeste nametnuo kao imperativ, ali smo uživanje u njemu sveli na inde­ kse, odnosno, na posebne trenutke koji poput kratkih beležaka mogu da se razlikuju. Tim rasparčavanjem nastala je i atipična geometrija u sve tri ose, koja je posebno iritantna u ovoj kući.

project bears the same intensity of promise - no lying and no running away. From there on in, everything is clear - we just need to find ourselves on the same page.

We got two entities that were to be merged into one, but separated into at least three wholes. A particular challenge was handling the spatial dimensions of a deleveled area, on an interior level. Due to the dense strata and the morphology of the terrain, we resorted to zenithal lighting as the main means of forming ambiance within the aggregate, and all within the prerequisite that no space be repeated.

The second opportunity came from immediately across the way. This time, the stone was all around and below, but we built it from minus one. This new, daily, almost urban situation, helped us to understand the attributes of where we work. This view was imposed as an imperative, but we enjoyed reducing it to indices, namely, specific moments which, like short notes, are differentiated. This dismantling created an atypical geometry along all three axes, especially irritating in this house.

What followed was an opportunity we are currently employing. For the first time we are outwitting contemptible conditions by trying to convert them into advantages. On the one hand there is the ubiquity of topography, while on the other lies an extraneous interpretation, so wherever we are not otherwise compelled to, we split up the whole into a multitude of spaces.

The idea of building again is certainly seductive, but thrust upon us is nonetheless a mixture of our previous two houses.

Usledila je i prilika koju trenutno koristimo.

Prvi put se nadigravamo sa zloglasnim uslovima koje pokušavamo da pretvorimo u prednosti. Postoji jako prisustvo topografije sa jedne i egzotičnog pogleda sa druge polovine, tako da gde nismo uslovljeni pokušavamo da razdelimo celinu na mnoštvo manjih ambijenata. Zavodljivo deluje pomisao da ćemo ponovo graditi, ali ono što nam se ipak nameće je mešavina prethodne dve kuće.

In Process

"Konačno, kao zaključak ovih sažetih analiza, moglo bi se tvrditi da je u sredinama bivše Jugoslavije u ko-jima je delovao Ranko Radović u procesu kritičkog mišljenja stvorio nešto sasvim novo u polju arhitekture. To novo je, sa sigurnošću bih rekla, u tome što on proširuje modernistički koncept praxis (odnosno usko shvatanje T arhitektonske prakse), na postmodernistički koncept arhitekture kao diskurzivnog polja koncepata, ideja, stavova, verovanja, dijaloga, koji čine diskur­zivne prakse. Upravo tu, u tome što je svojim radom uspeo da u jednoj teorijski inertnoj sredini pokrene višesmerni, strukturisani, iterativni dijalog i vidim najznačajniji doprinos Ranka Radovića teorijskom polju arhitekture.“* Prof. Ljiljana Blagojević *u "Ranko Radović, profesor, urbanist, arhitekt i teoretičar arhitekture", Matica Crnogorska, 2011.

"Finally, as a conclusion of this analysis summary, it could be argued that in the area of the former Yu-goslavia, in the process of critical thinking in which Ranko Radovic acted created something completely new in the field of architecture. This is new, certainly I would say, in as much as it extends the modernist concept of praxis (i.e. the nar­row understanding of architectural practice), to the post­modern concept of architecture as a discursive field of concepts, ideas, attitudes, beliefs, dialogues, which make up the discursive practices. It is precisely there, in the fact that his work succeeded to initiate a multidisciplinary, structured, iterative dialogue in an otherwise theoretically inert medium, which I see as Ranko Radović's most significant contribution to the theoretical field of architecture."* Prof. Ljiljana Blagojević *in "Ranko Radović, professor, urbanist, architect and architecture theoretician", Matica Crnogorska, 2011.

CAMENZIND

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CIP - Каталогизација у публикацији Народна библиотека Србије, Београд 72 KAMENZIND : međunarodni časopis za arhitekturu = international architecture magazine / editor Ljubica Slavković . - 2005, nr. 1-2012, nr. 10 (dez.) ; 2013, br. 1- . - Belgrade : Camenzind, 2005-2012; 2013- ([Beograd] : DMD). - 26 cm Godišnje. - Od br. 1 (2005)-br. 10 (2012) izlazio u Švajcarskoj.

ISSN 1663-3350 = Camenzind COBISS.SR-ID 227880204

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