Endangered Modern: From Transformation to Ruins - Telecommunication Center by Janko Konstantinov by Angela Petrovska

Angela Petrovska

Janko Konstantinov

Telecommunication Center Skopje, North Macedonia, 1970-1981

Politecnico di Milano Scuola di Architettura Urbanistica Ingegneria delle Costruzioni M.Sc. Architecture and Urban Design Research Thematic Seminar Professors: Andrea Canziani, Maruša Zorec Teaching assistants: Andraž Kersic, Verdiana Peron, Michele Porcelluzzi AA 2020-2021

Table of contents

0. GENERAL DATA

p. 5

2.2 Space and Use

p. 57

0.1 Data for identification

p. 5

2.2.1 Analysis of the spaces: original vs now 57

p. 57

0.2 Status of protection

p. 5

2.2.2 Architecture: Space summary schemes

p. 58

2.2.3. Analysis of the use: original vs now

p. 62

1. SOURCES

p. 7

2. ANALYSIS

p. 15

2.1 History

p. 15

3.1 Tangible/intangible values

p. 72

2.1.1 1930s-1968 | Skopje Main Post Office

p. 15

3.2 Problematic issues

p. 79

2.1.2 1963-1965 | Skopje Earthquake and city rebuilding plan

p. 17

2.1.3 1953-1968 | The Post Office in the Skopje city center masterplan after

p. 20

the earthquake

2.2.4 Architecture: Use summary schemes

p. 64

3. EVALUATION

p. 72

4. CONSERVATION PROJECT 4.1 Possible scenarios

p. 98 p. 98

2.1.4 October 1968 - January 1969 | First version of the project (unrealised)

p. 22

4.2 References

p. 106

2.1.5 1970 - 1981 | Second version of the project (realised)

p. 26

4.3 Conservation strategy

p. 108

2.1.6.1972-1987 | Versions of the project for administrative building (unreali-

p. 40

4.4 Project for public space design

p. 110

4.5 Project for the interior of the building

p. 115

sed) 2.1.7.1987-1989 | Third version of the project / Final version of the project for

p. 40

the administrative building, designed by architect Zoran Shtaklev (realised)

p. 40

2.1.8 1997-1999 | Marketing Center for Macedonian Telecom (currently Ohrid

p. 40

Bank) 2.1.9 unknown time before 2013 | Changes to the inner layout of the Post

p. 42

Office (demolitions) 2.1.10 unknown time before 2013 | Changes to the inner layout of the Post

p. 42

Office (additions) 2.1.11 2013-2014 | Fire in the Post Head Office and the legal aftermath of it

p. 42

2.1.12 2010-ongoing | The Skopje 2014 project

p. 78

2.1.13Recognition of the Telecommunication Center

p. 50

Cover: Fig. 1: (Janko Konstantinov, Telecommunication Center, Skopje, North Macedonia), Aerial view of the complex from the building of the Government of the Republic of North Macedonia, 10.06.2021 © Personal archive, Petar Avramoski, 2021 Page 1: Fig. 2: (Janko Konstantinov, Telecommunication Center, Skopje, North Macedonia), Aerial view of the complex, 10.06.2021 © Personal archive, Petar Avramoski, 2021

0. GENERAL DATA 0.1 Data for identification: •

Current name: Macedonian Telecom, Post Head Office of Macedonia HQ, MEPSO

•

Former/original/alternate name: Telecommunications Center

•

Address + National topographical grid reference + GPS: Boulevard VMRO, 1000 Skopje, North Macedonia (for the Post Office), Street Orce Nikolov, 1000 Skopje, North Macedonia (For the Telecom and MEPSO buildings), 41.9981° N, 21.4254° E

•

Former/original/alternate use: administrative building for the Telecommunication company (currently Telecom), Post Head Office, Republic Dispatching Center

•

Current use: administrative building for the Telecommunication company (currently Telecom), Post Head Office (partly abandoned), administrative building for the electrical company MEPSO

0.2 Status of protection: Selected: 1 of the 7 Most Endangered programme 2021, by Europa Nostra1 • Date: 08.04.2020 • Remarks: The future of the Central Post Office is uncertain, as buildings of this form and construction are highly complex to restore. Raising public awareness on the importance of protecting and reusing the building is one of the main goals of the IECE. The nominator of the Central Post Office advocates for the repurposing of the building as a centre for cultural and social activities with focus on both local and international audiences. In the process of evaluation for listing of the Post Office: Protected Cultural Heritage of the Republic of North Macedonia2 • Date: 07.03.2021 (news), but in process since February, 2019 • Remarks: Elaborate for the valorisation of building as Protected Cultural Heritage is in the works since February, 2019. The re-use, following international practices, which mainly refers to cultural functions and content which is needed to the CIty of Skopje in its intention to candidate for European city of Culture. 1 / /, “Central Post Office, Skopje, NORTH MACEDONIA,” 7 MOST ENDANGERED (Europa Nostra, EIB Institute, Creative Europe, April 8, 2021), http://7mostendangered.eu/sites/central-post-office-in-skopje-north-macedonia/. 2 B. Nestoroska, “ИЗГОРЕНАТА КУЛТНА ШАЛТЕР САЛА НА СКОПСКАТА ПОШТА ЌЕ СТАНЕ КУЛТУРЕН ЦЕНТАР,” Сакам Да Кажам, March 7, 2021, https://sdk.mk/index.php/kultura/izgorenata-kultna-shalter-sala-na-skopskata-poshta-ke-stane-kulturen-tsentar/?fbclid=IwAR1Ay_7TFsT7ikuAx6dXZiJdedE7B0ALY-GYfpXWMdc7W-6vGYLCI0v7L8E.

PRODUCED BY AN AUTODESK STUDENT VERSION

Page 4: Fig. 3: (Janko Konstantinov, Post Office, Skopje, North Macedonia), Detail of the staircase window from outside, 13.02.2021

Fig. 4: / /, Поздрав Од Скопје, photograph, Private Postcard Archive of Marija Spasovska (Skopje, North Macedonia: /, 0AD), p. /-/. 5

PRODUCED BY AN AUTODESK STUDENT VERSION

Fig. 5: (Janko Konstantinov, Post Office, Skopje, North Macedonia), Perspective of the stairs leading towards the employee entrance, 13.02.2021 © Personal archive, Angela Petrovska, 2021 GF

PRODUCED BY AN AUTODESK STUDENT VERSION

1. SOURCES 1.1 Bibliography

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/, /. “BBC ON THIS DAY | 26 | 1963: Thousands Killed in Yugoslav Earthquake.” BBC News. BBC, July 26, 1963. http:// news.bbc.co.uk/onthisday/hi/dates/stories/july/26/newsid_2721000/2721635.stm. /, /. “Central Post Office, Skopje, NORTH MACEDONIA.” 7 MOST ENDANGERED. Europa Nostra, EIB Institute, Creative Europe, April 8, 2021. http://7mostendangered.eu/sites/central-post-office-in-skopje-north-macedonia/. /, /. “Inflation in Yugoslavia.” The New York Times. The New York Times, November 19, 1970. https://www.nytimes. com/1970/11/19/archives/inflation-in-yugoslavia.html. /, /. “Reconstruction Plan for Skopje.” Architectuul, May 15, 2020. http://architectuul.com/architecture/reconstruction-planfor-skopje. /, /. “Зградата На АД „Македонска Пошта’ Не Била Осигурана.” Академик, January 16, 2013. https://akademik.mk/ zgradata-na-ad-makedonska-poshta-ne-bila-osigurana-4/. /, /. Се Чистат Црнилата Во Изгорената Пошта (ФОТОГАЛЕРИЈА). January 18, 2013. МКД. https://www.mkd. mk/91229/foto-video-galerija/se-cistat-crnilata-vo-izgorenata-posta?pid=6475&page=24#1. /, /. Скопје 2014 под лупа. Призма, USAID, BIRN, January 5, 2018. http://skopje2014.prizma.birn.eu.com/mk. Antevska, A. “ГРАДЕЖНИОТ ИНСТИТУТ ЌЕ ПРАВИ ПРОЦЕНКА НА ФАСАДАТА НА МЕПСО ШТО ЈА ОТКОРНА ВЕТЕР ЗА ШТО „БЕТОН ШТИП’ НАПЛАТИЛ 11 МИЛИОНИ ЕВРА.” Сакам Да Кажам, February 27, 2020. https://sdk. mk/index.php/dopisna-mrezha/gradezhniot-institut-ke-pravi-protsenka-na-fasadata-na-mepso-shto-ja-otkorna-veter-za-shtobeton-shtip-naplatil-11-milioni-evra/. Chausidis, Noemi. “Скопје По ’63-Та: Интернационалниот Конкурс За Централното Градско Подрачје.” МАРХ, July 27, 2018. https://marh.mk/skopje_63_konkurs/. D., A. “Вредни Кубистички Фрески На Борко Лазески Се Уништени Во Пожарот Во Поштата.” МКД.мк, January 17, 2013. https://www.mkd.mk/90991/crna-hronika/vredni-kubisticki-freski-na-borko-lazeski-se-unisteni-vo-pozarot-vo-postata. Daskalova, Martina. “РЕВИТАЛИЗАЦИЈА НА ОБЈЕКТОТ НА ШАЛТЕР САЛАТА ВО СКОПЈЕ,” 2021. Development Programme, United Nations. “Chapter I: The Earthquake.” Essay. In Skopje Resurgent The Story of a United Nations Special Fund Town Planning Project, 26–26. New York, USA: United Nations, 1970. Europa Nostra, /. “About.” 7 MOST ENDANGERED, n.d.. http://7mostendangered.eu/about/. Fazlagic, Admir. “Преживеаните Скопјани Се Сеќаваат На Катастрофалниот Земјотрес Од 1963 Година.” Anadolu Ajansı, July 26, 2019. https://www.aa.com.tr/mk/%D0%B1%D0%B0%D0%BB%D0%BA%D0%B0%D0%BD/%D0%BF%D1%80%D0%B5%D0%B6%D0%B8%D0%B2%D0%B5%D0%B0%D0%BD%D0%B8%D1%82%D0%B5-%D1%81%D0%BA%D0%BE%D0%BF%D1%98%D0%B0%D0%BD%D0%B8-%D1%81%D0%B5-%D1%81%D0%B5%D1%9C%D0%B0%D0%B2%D0%B0%D0%B0%D1%82-%D0%BD%D0%B0-%D0%BA%D0%B0%D1%82%D0%B0%D1%81%D1%82%D1%80%D0%BE%D1%84%D0%B0%D0%BB%D0%BD%D0%B8%D0%BE%D1%82-%D0%B7%D0%B5%D0%BC%D1%98%D0%BE%D1%82%D1%80%D0%B5%D1%81-%D0%BE%D0%B4-1963-%D0%B3%D0%BE%D0%B4%D0%B8%D0%BD%D0%B0/1542154. Howarth, Dan. “MoMA’s Toward a Concrete Utopia Exhibition Presents the Architecture of Yugoslavia.” Dezeen, July 12, 2018. https://www.dezeen.com/2018/07/12/toward-a-concrete-utopia-architecture-of-yugoslavia-exhibition-museum-of-modern-art-moma-new-york/?utm_source=facebook.com&utm_medium=referral. ICOMOS, /. APPROACHES TO THE CONSERVATION OF TWENTIETH-‐CENTURY CULTURAL HERITAGE MADRID – NEW DELHI DOCUMENT. New Delhi, India: ICOMOS, 2017. ICOMOS, /. International Charter for the Conservation and Restoration of Monuments and Sites. Venice: ICOMOS, 1966. Ivanovski, Jovan, Ana Ivanovska Deskova, and Vladimir Deskov. Biography of an Architectural Work: Telecommunication Center - Skopje, Architect Janko Konstantinov. Skopje, North Macedonia: Museum of the City of Skopje, 2016. Koneski, Filip, and Ana Ivanovska Deskova. July 13, 2018. МАРХ Македонска АРХитектура. https://marh.mk/kon-betonska-utopija-moma-jugoslavija/. Koneski, Filip. “ВРАТЕНА ПОРАКАТА НА ЈОСИП БРОЗ ТИТО НА ИСТОЧНАТА СТРАНА НА МУЗЕЈОТ НА ГРАД СКОПЈЕ.” МАРХ, July 24, 2018. https://marh.mk/vratena-poraka-tito-muzej-na-grad-skopje/. Koneski, Filip. “Главната Пошта Во „Старото Скопје‘.” МАРХ. МАРХ, April 3, 2018. https://marh.mk/glavna-poshta-staro-skopje/. Koneski, Filip. “ЗЕЛЕН СВЕТЛОСЕН „REACT/OR‘ ВО ГРАДОТ.” МАРХ, January 31, 2021. https://marh.mk/zelen-svetlosen-reactor-vo-gradot/. Koneski, Filip. “Шалтер Сала На ПТТ / Јанко Константинов 1973.” МАРХ, June 23, 2015. https://marh.mk/%d1%88%-

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d0%b0%d0%bb%d1%82%d0%b5%d1%80-%d1%81%d0%b0%d0%bb%d0%b0-%d0%bd%d0%b0-%d0%bf%d1%82%d1%82-%d1%98%d0%b0%d0%bd%d0%ba%d0%be-%d0%ba%d0%be%d0%bd%d1%81%d1%82%d0%b0%d0%bd%d1%82%d0%b8%d0%bd%d0%be%d0%b2/. Marusic, Sinisa Jakov. “Macedonian Capital Restores Tito’s Message for Quake Anniversary.” Balkan Insight, July 16, 2018. https://balkaninsight.com/2018/07/16/macedonian-capital-brings-back-tito-s-solidarity-message-07-13-2018/. Marusic, Sinisa Jakov. “Skopje 2014 Forges Ahead Despite Macedonian Crisis.” Balkan Insight, June 7, 2012. https://balkaninsight.com/2012/06/07/skopje-2014-forges-ahead-despite-macedonian-crisis/. Milevski, Ivica. “Некои Податоци За Катастрофалниот Земјотрес Во Скопје Од 1963 Година.” ИГЕО-ПОРТАЛ, July 25, 2013. https://www.igeografija.mk/Portal/?p=4239. Mitreski, Dragan. ГАЛЕРИЈА: Македонска Пошта, Некогаш Достојна За МоМА, Денес На Листата На 12 Најзагрозени Споменици Во Европа. April 8, 2021. Слободен Печат. https://www.slobodenpecat.mk/galerija-makedonska-poshta-nekogash-dostojna-za-moma-denes-na-listata-na-12-najzagrozeni-spomeniczi-vo-evropa/. Nestoroska, B. “ИЗГОРЕНАТА КУЛТНА ШАЛТЕР САЛА НА СКОПСКАТА ПОШТА ЌЕ СТАНЕ КУЛТУРЕН ЦЕНТАР.” Сакам Да Кажам, March 7, 2021. https://sdk.mk/index.php/kultura/izgorenata-kultna-shalter-sala-na-skopskata-poshta-ke-stane-kulturen-tsentar/?fbclid=IwAR1Ay_7TFsT7ikuAx6dXZiJdedE7B0ALY-GYfpXWMdc7W-6vGYLCI0v7L8E. Pavlovska, E. “СУДЕЊЕ ПОЖАР – „ПОШТА’: Две Години Затвор За Арменд Фазлиу.” Академик, March 14, 2014. https://akademik.mk/sudenje-pozhar-poshta-dve-godini-zatvor-za-armend-fazliu/. Pedio, Renato. “Centro Di Telecomunicazioni a Skopje, Macedonia, Architetto Janko Konstantinov.” L’architettura, cronache e storia, no. 248 (June 1976): 88–93. Peleschuk, Dan. “The World Needs to Come Together. Here’s What It Did in 1963.” OZY, May 26, 2020. https://www.ozy. com/true-and-stories/the-devastating-earthquake-that-brought-the-world-together/88111/. Petrovska, Angela, and Erina Bogoeva. Instagram chat informal discussion. Other, n.d. Accessed March 2021. Petrovska, Angela, and Martin Dimitrijev. Instagram chat informal discussion. Other, n.d. Accessed March 0, 2021. Požar Otkrio Probleme Poslovanja Makedonskih Pošta. YouTube. YouTube, 2014. https://www.youtube.com/watch?v=2iZd-fD2F-s. Protesti Protiv Projekta Skopje 2014. - Al Jazeera Balkans. YouTube. YouTube, 2012. https://www.youtube.com/watch?v=EGqeWqNWiDg. Television Telma, /. “ФОТО: Изгорено, Напуштено, Уништено, 8 Години По Катастрофалниот Пожар Во Пошта, Архитектите Се Борат Да Го Спасат Како Наследство.” Telma, December 17, 2020. https://telma.com. mk/2020/12/17/%D1%84%D0%BE%D1%82%D0%BE-%D0%B8%D0%B7%D0%B3%D0%BE%D1%80%D0%B5%D0%BD%D0%BE-%D0%BD%D0%B0%D0%BF%D1%83%D1%88%D1%82%D0%B5%D0%BD%D0%BE-%D1%83%D0%BD%D0%B8%D1%88%D1%82%D0%B5%D0%BD%D0%BE-8-%D0%B3%D0%BE/. United Nations educational, cultural and scientific organization, /. Nara Document on Authenticity, Report of the Experts Meeting. /, /: United Nations educational, cultural and scientific organization, 1994. van Iersel, Michiel. “Masterplan for the City of Skopje.” Failed Architecture, September 25, 2011. https://failedarchitecture. com/masterplan-for-the-city-of-skopje-macedonia/. Порта 3, /. “Скулптуралната Експресивност На Натур Бетонот.” Окно. Порта 3, March 21, 2014. https://okno.mk/ node/36411. Прес24, /. “ФОТО: Гори Поштата Во Центар На Скопје.” MK NEWS, January 15, 2013. https://mkd-news.com/foto-gori-poshtata-vo-tsentar-na-skopje/. Проект “Скопје 2014” / Project “Skopje 2014”. YouTube. YouTube, 2010. https://www.youtube.com/watch?v=by8c3f3mW-E. Слободен печат Пред 7 месеци, /. “ГАЛЕРИЈА: Македонска Пошта, Некогаш Достојна За МоМА, Денес На Листата На 12 Најзагрозени Споменици Во Европа.” Слободен печат, April 8, 2021. https://www.slobodenpecat.mk/galerija-makedonska-poshta-nekogash-dostojna-za-moma-denes-na-listata-na-12-najzagrozeni-spomeniczi-vo-evropa/.

1.2 Iconographic resources

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/, /. Brutalismus Pod Skořápkou Historizujícího Dekoru. June 16, 2020. Photograph. EARCH. https://www.earch.cz/cs/revue/kdyz-brutalismus-ustoupi-balastu-jak-se-z-moderni-skopje-stal-balkansky-disneyland. /, /. Interior Being Used for Gallery Space, 2013. 2013. Architectuul. http://architectuul.com/architecture/st-agnes-kirche. /, /. June 22, 2020. @Jugoegzotika on Instagram. https://www.instagram.com/p/CBu8GkSn0tY/. /, /. Photograph. June 24, 2020. @Jugoegzotika, Instagram. https://www.instagram.com/p/CB0VPWmHIiS/. . /, /. Photograph. March 2, 2021. @Jugoegzotika, Instagram. https://www.instagram.com/p/CL6mY-yLXon/. /, /. Photograph. Окно. Порта 3, March 21, 2014. https://okno.mk/node/36411. Avramoski, Petar. June 10, 2021. Personal Archive. Bogoeva, Erina. Brutalist Music Box. December 2020. Behance. https://www.behance.net/gallery/112445031/Portraits-2020. Boshkova Micevska, Vidana. Да Прашам. ДАЛИ СТЕ НОРМАЛНИ? April 5, 2017. Twitter. https://twitter.com/VidanaDeSign/status/849589448878825472. build, /. Зградата На МЕПСО Добива Антички Столбови (Фото). May 10, 2016. Skopje Info. https://skopjeinfo.mk/zgradata-na-mepso-dobiva-antichki-stolbovi-foto. Coden, Francesca. Piazza San Nazaro in Brolo, Umberto Riva, Milano, 1989 - 1992, Novembre 2013. January 3, 2014. Tumblr. https://francescacoden.tumblr.com/post/72111048156/piazza-san-nazaro-in-brolo-umberto-riva. Deskov, Vladimir. Јанко Константинов, Телекомуникациски Центар Скопје / Прва [Нереализирана] Варијанта / Перспектива. November 10, 2016. Facebook. https://www.facebook.com/events/331098187248348/?active_tab=discussion. Fashion Weekend Skopje, /. It’s Time to Shine! April 14, 2020. @Fashionweekendskopje on Instagram. https://www. instagram.com/p/B-9vhgTHfkr/?utm_medium=copy_link&fbclid=IwAR3uCulF7O9c0jcdzfi2ukAmoCeK0gWcaYusUxlYS-icJZqhFjO0VDbwTqg. Fidanska, Elena. November 12, 2016. Facebook. https://www.facebook.com/photo?fbid=10211058205596258&set=gm.332418570449643. FWSK 21: IT’S TIME TO SHINE - ERINA BOGOEVA. YouTube. YouTube, 2020. https://www.youtube.com/watch?v=21mkirFPK4w. Gardner, Edwin. Main Post Office Skopje. March 4, 2010. Photograph. Flickr. https://secure.flickr.com/photos/edwingardner/4435495996/in/photolist-7KX5qU-6sYbNq-2bpbcta-Fyz6Wa-FyyRjz-5RoMgM-FErnrx-Fyz4LZ-EKc89i-7ssFW5-Czq24WY5UMF-a8vxqz-a8ypj3-a77MdT-2kRGLKm-vxHKNf-2i4o9cs-TpNSZh-9zuzYE-4TS4d4-4TS5TZ-2kf9UPE-Pgeq7d-FyySVv-FErp7M-FwfS5G-yx4ERZ-8DHmNj-PgeqxJ-7ssFMY-7ssG5m-28D5BSm-4M3GXE-4LYxTc-4TNvnM-6sYe3f-4LYy7a2bpbddr-7soHXX-2a1y8rt-2bjJVFy-4LYyd6-4LYy1c-nKaj92-7soHQH-4SJ8FJ-bcinKp-4GwmGc-Czwog. Helemo, Studio. Photograph. January 0, 2011. Studio Hellemo. http://www.audunhellemo.com/personal/2011/Balkan_Brutal/. Karanakov, Bojan. n.d.. Personal Archive. Licovski , Georgi. Main Post Office Hall - Current Condition. July 9, 2021. Photograph. Architectuul. https://blog.architectuul. com/post/656211109964021760/foma-46-rebuilding-a-city-building-a-society. Novitskova, Katja. Pattern of Activiation. 2014. BOROS COLLECTION. https://www.sammlung-boros.de/en/press. Penčić, Divna. Main Post Office Hall in the Past. July 9, 2021. Photograph. Architectuul. https://blog.architectuul.com/ post/656211109964021760/foma-46-rebuilding-a-city-building-a-society. Petrovska, Angela. February 13, 2021. Personal Archive. Petrovska, Angela. June 10, 2021. Personal Archive. Singer, Avery. Untitled and Topos. 2015. BOROS COLLECTION. https://www.sammlung-boros.de/en/press. Skopje Light Art District, /. August 23, 2020. Facebook. https://www.facebook.com/media/set/?vanity=SkLAD2019&set=a.1425418034335198. Tosheva, Irina, and Goran Popovski V. October 27, 2013. Facebook. https://www.facebook.com/tosheva.fashion/photos /a.676535389032598/676539932365477. ———. Archival Drawing by Janko Konstantinov. July 12, 2018. Dezeen. https://www.dezeen.com/2018/07/12/ toward-a-concrete-utopia-architecture-of-yugoslavia-exhibition-museum-of-modern-art-moma-new-york/?utm_source=facebook.com&utm_medium=referral. ———. October 27, 2013. Facebook. https://www.facebook.com/tosheva.fashion/photos

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/a.676535389032598/676541392365331. ———. Photograph. February 12, 2021. @Jugoegzotika, Instagram. https://www.instagram.com/p/CLMt2xArRPV/. ———. Photograph. May 9, 2020. @Jugoegzotika, Instagram. https://www.instagram.com/p/B_9w1XsH8zJ/. ———. Поздрав Од Скопје. Photograph. Private Postcard Archive of Marija Spasovska. Skopje, North Macedonia: /, n.d..

1.3 Archival sources

• • • • •

Deskov, Vladimir. Јанко Константинов, Телекомуникациски Центар Скопје / Прва [Нереализирана] Варијанта / Перспектива. November 10, 2016. Facebook. https://www.facebook.com/events/331098187248348/?active_tab=discussion. Ivanovski, Jovan, Ana Ivanovska Deskova, and Vladimir Deskov. Biography of an Architectural Work: Telecommunication Center - Skopje, Architect Janko Konstantinov. Skopje, North Macedonia: Museum of the City of Skopje, 2016. Pedio, Renato. “Centro Di Telecomunicazioni a Skopje, Macedonia, Architetto Janko Konstantinov.” L’architettura, cronache e storia, no. 248 (June 1976): 88–93. ———. Archival Drawing by Janko Konstantinov. July 12, 2018. Dezeen. https://www.dezeen.com/2018/07/12/ toward-a-concrete-utopia-architecture-of-yugoslavia-exhibition-museum-of-modern-art-moma-new-york/?utm_source=facebook.com&utm_medium=referral. ———. Поздрав Од Скопје. Photograph. Private Postcard Archive of Marija Spasovska. Skopje, North Macedonia: /, n.d..

Time period and type of source

1.4 Timeline of the sources 1970-1980 ARTICLES IN ARCHITECTURAL JOURNALS

31.12.1970 Janko Konstantinov, “Objekt Telekomunikacionog Centra P.T.T. u Skopju”, Čovjek i prostor, no.205: pg.12, uha.hr/objekt-

hr/telekomunikacijskiobjekt-skopje/

June 1976 Renato Pedio, “Centro di telecomunicazioni a Skopje, Macedonia, architetto Janko Konstantinov”, L’architettura, cronache e storia no.248: pg.88-93

Source photograph

Source information

telekomunikacionogcentra-p-t-t-u-skopju/

31.12.1975 /, “Ostvarenja: Telekomunikacioni Objekt Skopje”, Čovjek i prostor, no.262: pg.cover and 4-6, uha.

1980-2001 EXHIBITIONS AND PUBLICATIONS ABOUT THE AUTHOR OR THE BUILDING

06-25.06.1984 SAS / САС (Sojuz na Arhitekti na Skopje / Сојуз на Архитекти на Скопје), “Architect Janko Konstantinov / Архитект Јанко Константинов”, Museum of the city of Skopje / Музеј на град Скопје

2001 МАSA / МАНУ (Macedonian Academy of Sciences and Arts / Македонска Академија на Науките и Уметностите), “Architect Janko Konstantinov - 50 years of work / Архитект Јанко Константинов 50 години творештво”, Macedonian Academy of Sciences and Arts / Македонска Академија на Науките и Уметностите

2006 FEATURES IN WIDER-SCOPED P

2006 Krum Tomovski, “Architect Janko Konstantinov (1926)/ Архитект Јанко Константинов (1926)” in “Architecture on the soil of Macedonia from the middle of the XIX until the end of the XX century / Архитектурата на почвата на Македонија од средината на XIX до крајот на XX век, edited by Macedonian Academy of Sciences and Arts / Македонска Академија на Науките и Уметностите, Skopje 2006: pg. 151-1??, http:// www.mihailtokarev.mk/ images/knigi/kniga01.jpg

PUBLICATIONS

2006 Mihail Tokarev, “Architect Janko Konstantinov (1926)/ Архитект Јанко Константинов (1926)” in “100 years of Modern Architecture, book three, The Contribution of Macedonia and Yugoslavia (1918-1990) / 100 години Модерна Архитектура, книга трета, Придонесот на Македонија и Југославија (1918-1990), Skopje 2006: pg. 133, http://www.mihailtokarev. mk/download/100-godinimoderna-KNIGA-3.pdf

2016 EXHIBITION AND PUBLICATION-AUTHOR

11-18.11.2016 Jovan Ivanovski, Ana Ivanovska Deskova, Vladimir Deskov, “Biography of an architectural work: Telecommunication Center - Skopje, architect Janko Konstantinov”: Museum of the city of Skopje, Skopje, 2016

2018-2021 FEATURES IN WIDER-SCOPED EXHIBITION AND PUBLICATIONS

07-13.05.2018 Jovan Ivanovski, Ana Ivanovska Deskova, Vladimir Deskov, “Skopje’s Verticals / Скопските вертикали”: pg. 148, Museum of the city of Skopje, Skopje, 2018

15.07.2018 - 13.01.2019 Martino Stierli, Vladimir Kulić, Anna Kats, “Toward a Concrete Utopia, Architecture in Yugoslavia, 1948–1980”: MoMA, NYC, 2018

30.11-11.12.2018 Jovan Ivanovski, Ana Ivanovska Deskova, Vladimir Deskov, “Endangered Species / Загрозени видови”: Museum of Natural Sciences of Macedonia, Skopje, 2018

30.06.2019 Blue Crow Maps, “Modernist Skopje Map”

City of Skopje boundary

Small Ring of the city center

Fig. 6: Position of the Small Ring of the city center in relation to the boundaries of Skopje © Petrovska, Angela, 2021

Small Ring of the city center

Telecommunication Center

river Vardar

Stone Bridge

Square Macedonia

City Shopping Center (Градски Трговски Центар- ГТЦ)

Fig. 7: Position of the Telecommunication Center in relation to the Small Ring of the city center of Skopje © Petrovska, Angela, 2021

2. ANALYSIS 2.1 History 2.1.1 1930s-1968 | Skopje Main Post Office

Fig. 9: Archival photograph of the city center with the Skopje Main Post Office highlighted © Koneski, Filip. “Главната Пошта Во „Старото Скопје‘.” МАРХ. МАРХ, April 3, 2018. https://marh.mk/glavna-poshta-staro-skopje/

Before the 1963 earthquake the Main Post Office was positioned on the right bank of the Vardar River, close to the main city square. From what the website Macedonian Architecture (marh.mk) can date, the original building was constructed around the 1930s, with Jovan Rankovikj as the author, although this is supposed by the signature in the documents found.1 Fig. 12: (Jovan Rankovikj, Post Office, Skopje, North Macedonia) Plan of the Post Office, a building centered around 2 atriums as a typology © Koneski, Filip. “Главната Пошта Во „Старото Скопје‘.” МАРХ. МАРХ, April 3, 2018. https://marh.mk/glavna-poshta-staro-skopje/

According to photographic evidence, the authors of the article in the above-mentioned website, state that the building is definitely built after 1931. In 1963 the building is destroyed by the earthquake, as can be seen in Fig. 10 and 11. The photographs also show that it was partially used in the time period close after the disaster. Due to structural instability, the building was soon after demolished.

Fig. 10: The Skopje Main Post Office after the earthquake © Development Programme, United Nations. “Chapter I: The Earthquake.” Essay. In Skopje Resurgent The Story of a United Nations Special Fund Town Planning Project, 26. New York, USA: United Nations, 1970

1 Koneski, Filip. “Главната Пошта Во „Старото Скопје‘.” МАРХ. МАРХ, April 3, 2018. https://marh.mk/glavna-poshta-staro-skopje/ Page 14: Fig. 8: Archival image of the city center of Skopje as seen from the left river bank, the Stone Bridge takes center focus, in the background the Telecommunication Cnenter without the Post Office © / /, June 22, 2020, @ Jugoegzotika on Instagram, June 22, 2020, https://www.

Fig. 13: (Jovan Rankovikj, Post Office, Skopje, North Macedonia) Section of the Post Office, a building centered around 2 atriums as a typology © Koneski, Filip. “Главната Пошта Во „Старото Скопје‘.” МАРХ. МАРХ,April 3, 2018. https://marh.mk/glavna-poshta-staro-skopje/ Fig. 11: The Skopje Main Post Office back at work © Development Programme, United Nations. “Chapter I: The Earthquake.” Essay. In Skopje Resurgent The Story of a United Nations Special Fund Town Planning Project, 26. New York, USA: United Nations, 1970 15

Fig. 14: Photo of the damaged railway station in Skopje © Development Programme, United Nations. Skopje Resurgent The Story of a United Nations Special Fund Town Planning Project, 18. New York, USA: United Nations, 1970

2.1.2 1963-1965 | Skopje Earthquake and city rebuilding plan 26.07.1963 | The Skopje Earthquake During a peaceful summer night, at 5:17 o’clock in the morning, Skopje, the capital of the then Socialist Republic of Macedonia (a part of Yugoslavia), was hit by an earthquake with strength of 6.1 on the Richter Scale. «Eyewitnesses said buildings collapsed like packs of cards and people were running through the city to flee the carnage.»2 In this terrible event, it is stated that around 75% of the city was destroyed or damaged beyond repair.3 In figures we can list the following information: • felt at 50 000 sqkm • demolished 15 800 houses/apartments • damaged 28 000 houses/apartments • more than 200 000 citizens left without a roof over their head • 1 070 people lost their lives under the ruins • more than 4 000 citizens hurt4 The reasoning behind the vast destruction of the city is due to the fact that most of the buildings were not designed with seismological safety standards in mind. 5 2 /, /. “BBC ON THIS DAY | 26 | 1963: Thousands Killed in Yugoslav Earthquake.” BBC News. BBC, July 26, 1963. http://news.bbc.co.uk/onthisday/hi/dates/stories/july/26/ newsid_2721000/2721635.stm. 3 Peleschuk, Dan. “The World Needs to Come Together. Here’s What It Did in 1963.” OZY, May 26, 2020. https:// www.ozy.com/true-and-stories/the-devastating-earthquake-that-brought-the-world-together/88111/. 4 Fazlagic, Admir. “Преживеаните Скопјани Се Сеќаваат На Катастрофалниот Земјотрес Од 1963 Година.” Anadolu Ajansı, July 26, 2019. https:// www.aa.com.tr/mk/%D0%B1%D0%B0%D0%BB%D0%BA%D0%B0%D0%BD/%D0%BF%D1%80%D0%B5%D0%B6%D0%B8%D0%B2%D0%B5%D0%B0%D0%BD%D0%B8%D1%82%D0%B5-%D1%81%D0%BA%D0%BE%D0%BF%D1%98%D0%B0%D0%BD%D0%B8-%D1%81%D0%B5-%D1%81%D0%B5%D1%9C%D0%B0%D0%B2%D0%B0%D0%B0%D1%82-%D0%BD%D0%B0-%D0%BA%D0%B0%D1%82%D0%B0%D1%81%D1%82%D1%80%D0%BE%D1%84%D0%B0%D0%BB%D0%BD%D0%B8%D0%BE%D1%82-%D0%B7%D0%B5%D0%BC%D1%98%D0%BE%D1%82%D1%80%D0%B5%D1%81-%D0%BE%D0%B4-1963-%D0%B3%D0%BE%D0%B4%D0%B8%D0%BD%D0%B0/1542154. 5 Milevski, Ivica. “Некои Податоци За Катастрофалниот

competition.»9 (Also refer to Fig.16 for the look of the regional plan by Ciborowski).

Soon after Skopje becomes a “City of solidarity”6,with help and donations pouring in from all around the globe. The president of the Socialist Federal Republic of Yugoslavia, Josip Broz Tito, gives a promise to the citizens that the city will soon be restored to its former glory: «Skopje was struck by an unseen catastrophe but we will rebuild it again. With the help of our entire community, it will become our pride and a symbol of brotherhood and unity, of Yugoslav and of world solidarity.»7 This message stood on the Old Railway Station until 2001, and was restored in 2018.8 The station now stands partially demolished as a reminder of the terrible event, with a current function as The Museum of the city of Skopje.

Due to the fragility and importance of the center core of the city, an invatition-only competition is opened, lead by a committee of international experts with Ernest Weissmann as the head of it. 4 foreign and 4 local (Yugoslavian) architects are called by the committee and they are given certain reccommendations that their projects should adhere to. «The goal of the competition is to gather ideas that later the winning teams would develop together with the local authorities and experts, creating a final version of the urbanistic plan of the center of Skopje.»10 The competitors are as follows: • Edvard Ravnikar (in collaboration with Majda Kregar, Ana Mavko, Edo Ravnikar) | Ljubljana, Yugoslavia • Aleksandar Đorđević (in collaboration with the Urban planning department in Belgrade) | Belgrade, Yugoslavia • Slavko Brezovski (in collaboration with Studio Makedonijaproekt) | Skopje, Yugoslavia • Radovan Miščević and Fedor Wenzler (in collaboration with the Urban planning department of Croatia) | Zagreb, Yugoslavia • Maurice Rotival | New York, USA • Johannes van den Broek and Jaap Bakema | Rotterdam, Holland • Luigi Piccinato (in collaboration with Studio Scimemi | Rome, Italy • Kenzo Tange (in collaboration with Arata Isozaki, Sadao Watanabe, Yoshio Taniguchi) | Tokyo, Japan

The city center masterplan competition «The United Nations set up a special fund for preparing a master plan for the city. The Greek architectural firm Doxiades Associates and Polish architect Adolf Ciborowski drew up a regional plan for Skopje in 1964, but they left its center city - an approximately two-square kilometer area - open, with the intention of undertaking a more detailed study through an international

Земјотрес Во Скопје Од 1963 Година.” ИГЕО-ПОРТАЛ, July 25, 2013. https://www.igeografija.mk/Portal/?p=4239. 6 Fazlagic, Admir. “Преживеаните Скопјани Се Сеќаваат На Катастрофалниот Земјотрес Од 1963 Година.” Anadolu Ajansı, July 26, 2019. https:// www.aa.com.tr/mk/%D0%B1%D0%B0%D0%BB%D0%BA%D0%B0%D0%BD/%D0%BF%D1%80%D0%B5%D0%B6%D0%B8%D0%B2%D0%B5%D0%B0%D0%BD%D0%B8%D1%82%D0%B5-%D1%81%D0%BA%D0%BE%D0%BF%D1%98%D0%B0%D0%BD%D0%B8-%D1%81%D0%B5-%D1%81%D0%B5%D1%9C%D0%B0%D0%B2%D0%B0%D0%B0%D1%82-%D0%BD%D0%B0-%D0%BA%D0%B0%D1%82%D0%B0%D1%81%D1%82%D1%80%D0%BE%D1%84%D0%B0%D0%BB%D0%BD%D0%B8%D0%BE%D1%82-%D0%B7%D0%B5%D0%BC%D1%98%D0%BE%D1%82%D1%80%D0%B5%D1%81-%D0%BE%D0%B4-1963-%D0%B3%D0%BE%D0%B4%D0%B8%D0%BD%D0%B0/1542154.

It is key to mention that the soon-to-be architect of the new Telecommunication Center - Janko Konstantinov worked on competition entry for the city center masterplan as part of the team of Slavko Brezovski. This was his first contact with the project of the rebuilding of Skopje. Later on, he would design the Medical High School Panche Karagjozov and the Nikola Karev High School.

7 Marusic, Sinisa Jakov. “Macedonian Capital Restores Tito’s Message for Quake Anniversary.” Balkan Insight, July 16, 2018. https://balkaninsight.com/2018/07/16/ macedonian-capital-brings-back-tito-s-solidarity-message-07-13-2018/.

9 /, /. “Reconstruction Plan for Skopje.” Architectuul, May 15, 2020. http://architectuul.com/architecture/reconstruction-plan-for-skopje.

8 Koneski, Filip. “ВРАТЕНА ПОРАКАТА НА ЈОСИП БРОЗ ТИТО НА ИСТОЧНАТА СТРАНА НА МУЗЕЈОТ НА ГРАД СКОПЈЕ.” МАРХ, July 24, 2018. https://marh. mk/vratena-poraka-tito-muzej-na-grad-skopje/.

10 Chausidis, Noemi. “Скопје По ’63-Та: Интернационалниот Конкурс За Централното Градско Подрачје.” МАРХ, July 27, 2018. https://marh.mk/ skopje_63_konkurs/. 17

Fig. 15: Headlines in the local newspaper reporting about the earthquake one day after it happened, 27.07.1963, in translation the main titles read: <<Yesterday at 5:17 o’clock Catastrophic earthquake in Skopje>>, <<Tito gives his condolences to Vidoe Smilevski>>, <<Condolences from Kardelj to Smilevski>> © Нова Македонија newspaper , Milevski, Ivica. “Некои Податоци За Катастрофалниот Земјотрес Во Скопје Од 1963 Година.” ИГЕО-ПОРТАЛ, July 25, 2013. https://www.igeografija.mk/Portal/?p=4239.

Fig. 16: Proposed landuse and zoning for 1981 15 year development plan © Development Programme, United Nations. Skopje Resurgent The Story of a United Nations Special Fund Town Planning Project, 232. New York, USA: United Nations, 1970

Competition results and application of the Tange city center masterplan The competition award is divided between two of the teams: The Japanese team led by Tange (three fifths of the prize) and the Yugoslavian team led by Radovan Miščević and Fedor Wenzler (two fifths of the prize). Thus a ninth variation of the project is created, largely following the two main ideas of Tange’s project: the “City Wall” and the “City Gate”.11

time passed, related to the slow economic fall and inflation in Yugoslavia after 1970.13 Yet, by the end of the 1980s, the main characteristics were built14, among which the “CIty Wall” and the new Transportation Center, which is the only building/ infrastructure fully designed by Kenzo Tange. The “City Gate” was never fully realized, thus creating a visual and ideological disconnection between the Transportation Center, The City Shopping Center and the Telecommunication Center.

«In Tange’s vision, Skopje remained a planned city under an architect’s complete control. He later recalled that, when working on the Skopje project, he had to make a decision between two approaches to formulating the building guidelines. The first approach would “lean strongly in the direction of allowing the city to grow and alter in a dynamic and recurrent pattern;” the planner’s responsibility would mainly involve “establishing space usage and wall lines that guarantee open spaces and flow,” leaving other things for free construction and urban growth. With the second approach, “an ultimate form for the whole is designed on a virtually constitutional basis and all development is made to agree with this form;” this method would “make it possible to produce a total image. Tange chose the second approach because he felt that the Skopje project was less about stimulating the growth and redevelopment of a living city than it was about establishing a total image around which a devastated city could be resurrected.»12

Fig. 17: Kenzo Tange, Arata Isozaki, Sadao Watanabe, Yoshio Taniguchi, Model of the Skopje city center masterplan, Skopje, N. Macedonia, 1965 © Development Programme, United Nations. “Chapter VI: The City Centre.” Essay. In Skopje Resurgent The Story of a United Nations Spe-

The masterplan is used as a basis upon which local Macedonian architects would create their building designs. It would create a new axis of the city, counteracting the existing North-South one, spreading alongside the Vardar River banks going from West to East. As such, the plan would recognize the existing positions of certain characteristics from Skopje’s past, among which the position of the former Head Post Office, on which I would be focusing on in this research. Besides this, it is key to mention that even the ninth final version of the plan was not fully realised, mainly due to the exausting of funds as 11 /, /. “Reconstruction Plan for Skopje.” Architectuul, May 15, 2020. http://architectuul.com/architecture/reconstruction-plan-for-skopje.

13 /, /. “Inflation in Yugoslavia.” The New York Times. The New York Times, November 19, 1970. https://www.nytimes. com/1970/11/19/archives/inflation-in-yugoslavia.html.

12 /, /. “Reconstruction Plan for Skopje.” Architectuul, May 15, 2020. http://architectuul.com/architecture/reconstruction-plan-for-skopje.

14 van Iersel, Michiel. “Masterplan for the City of Skopje.” Failed Architecture, September 25, 2011. https://failedarchitecture.com/masterplan-for-the-city-of-skopje-macedonia/.

Fig. 18: Radovan Miščević, Fedor Wenzler, Skopje city center masterplan, Skopje, N. © Development Programme, United Nations. “Chapter tre.” Essay. In Skopje Resurgent The Story of a

Model of Macedonia, VI: The City United Nations

the 1965 CenSpe-

The Telecommunications complex is placed in the environment previously defined by the Skopje Main Post Office, alluding to the memory of the pre-earthquake city. In the final masterplan (ninth version) submitted by the joint JapaneseYugoslavian team it continues the west-east axis defined by the functional zone of buildings with commercial and business use, traced alongside the banks of the river Vardar. (Fig.19)

Fig. 19: T. Mihajlovska, M. Nikolikj, Analysis of the programme uses in the 9th version of the city center masterplan © Chausidis, Noemi. “Скопје По ’63-Та: Интернационалниот Конкурс За Централното Градско 1968 - Kenzo Tange masterplan Подрачје.” МАРХ, July 27, 2018. https://marh.mk/ skopje_63_konkurs/

«This aggregation of public uses begins on the east with the (mega)structure of the “City gate”. In that sense, the telecommunications complex represents and end point of the new east-west PRODUCED BY AN AUTODESK STUDENT VERSION axis which begins from the Transportation center, the building of the City shopping center towards the square Marshal Tito (today square Macedonia), on which programmes of different character are lined up.»15 The development of the buildings within the given to local architects, among which Janko Konstantinov and his collaborating team end up in charge of the new Telecommunication center. The project has three different versions, of which some parts are realised and others changed or fully abandoned. The project is developed from October 1968, until 1972.16

1974 - General Urban Plan masterplan is later

1999 - General Urban Plan

100

200

400

2021 - General Urban Plan

Fig. 21: Kenzo Tange, Arata Isozaki, Sadao Watanabe, Yoshio Taniguchi, Model of the Skopje city center masterplan, Skopje, N. Macedonia, 1965 © Development Programme, United Nations. “Chapter VI: The City Centre.” Essay. In Skopje Resurgent The Story of a United Nations Special Fund Town Planning Project, 302. New York, USA: United Nations, 1970

Fig. 20: Angela Petrovska, Analysis of the position of the Telecommunication Center within the urban fabric in the 9th version of the city center masterplan © Angela Petrovska

15 Ivanovski, Jovan, Ana Ivanovska Deskova, and Vladimir Deskov. Biography of an Architectural Work: Telecommunication Center - Skopje, Architect Janko Konstantinov, 28. Skopje, North Macedonia: Museum of the City of Skopje, 2016 16 Ivanovski, Jovan, Ana Ivanovska Deskova, and Vladimir Deskov. Biography of an Architectural Work: Telecommunication Center - Skopje, Architect Janko Konstantinov, 29. Skopje, North Macedonia: Museum of the City of Skopje, 2016

Legend residential building

Marketing Center for Macedonian Telecom/ Ohrid Bank

PRODUCED BY AN AUTODESK STUDENT VERSIO

DUCED BY AN AUTODESK STUDENT VERSION

2.1.3 1953-1968 | The Post Office in the Skopje city center masterplan after the earthquake

Fig. 22: Archival drawing done by Janko Konstantinov showing the first version of his project for the Telecommunication Center, with a small photo of the architect in the corner © Dan Howarth, This Poster for a 1984 Retrospective Exhibition of Work by Architect Janko Konstantinov Illustrates His Visionary Projects, July 12, 2018, Dezeen, July 12, 2018, https://www.dezeen.com/2018/07/12/toward-a-concrete-utopia-architecture-of-yugoslavia-exhibition-museum-of-modern-art-moma-new-york/?utm_source=facebook.com&amp;utm_medium=referral

2.1.4 October 1968 - January 1969 | First version of the project (unrealised) The inspiration behind the first version of the project can be traced to a variety of influences. As various authors state, they range from the professional life of Konstantinov outtside of North Macedonia, to the local influence of Tange’s Masterplan for Skopje. «Contact with the works of F.L.Wright and E.Saarinen, as well as the collaboration with architects from their schools will be of essential meaning to the relation of Konstantinov towards the architectural form. - Radomir Volinec.»17 «For this variant of the Telecommunication Complex, a concept of open spatial structure is envisaged in which the influence of American styles and metabolic Japanese architecture is clearly visible.» states M. Daskalova in her master’s thesis on the subject.18

Fig. 23: (Janko Konstantinov, Medical High School D-r Panche Karagjozov, Skopje, North Macedonia, 1970), © /, /. Photograph. May 9, 2020. @Jugoegzotika, Instagram. https://www.instagram.com/p/B_9w1XsH8zJ/.

Beyond this, the materiality choice for the complex has been “set in stone” from this moment” - reinforced concrete with a particularly expressive finish.19 As we can see in Fig. 28, the rich decoration and high sculpturality is done with curves derived from the concrete casting mould. Looking into the disposition of the masterplan, Fig. 27, the vertical communication are mainly placed within cylinders on the corners of the regular orthogonal shapes of the functional zones. The use of cylindrical forms is reflective of the previous work of Konstantinov, such as the Medical High School D-r Panche Karagjozov, 1970 and the Nikola Karev High School,1969 (Fig. 23 and 24 respectively).

Fig. 25: Janko Konstantinov (1926-2012) © /, /. Photograph. Окно. Порта 3, March 21, 2014. https://okno.mk/node/36411.

«This variant, due to its complexity, but above all due to the need for excessive financial support for its implementation, will not be approved despite the great similarities with the proposal of Kenzo Tange for the downtown area.»20 17 Ivanovski, Jovan, Ana Ivanovska Deskova, and Vladimir Deskov. Biography of an Architectural Work: Telecommunication Center - Skopje, Architect Janko Konstantinov, 31. Skopje, North Macedonia: Museum of the City of Skopje, 2016 18 Daskalova, Martina. РЕВИТАЛИЗАЦИЈА НА ОБЈЕКТОТ НА ШАЛТЕР САЛАТА ВО СКОПЈE, 29, 2021 19 Daskalova, Martina. РЕВИТАЛИЗАЦИЈА НА ОБЈЕКТОТ НА ШАЛТЕР САЛАТА ВО СКОПЈE, 30, 2021 20 Daskalova, Martina. РЕВИТАЛИЗАЦИЈА НА ОБЈЕКТОТ НА ШАЛТЕР САЛАТА ВО СКОПЈE, 30, 2021

Fig. 24: (Janko Konstantinov, Nikola Karev High School, Skopje, North Macedonia, 1969), Archival photograph of the student entrance (curved staircase), cylindrical volumes for library and the gym (cubic volume on the left) © /, /. Photograph. June 24, 2020. @Jugoegzotika, Instagram. https://www.instagram.com/p/CB0VPWmHIiS/. 22

Fig. 26: (Janko Konstantinov, Telecommunication Centre, Skopje, North Macedonia, 1968-69), Perspective of the first version of the project (unrealised) © Vladimir Deskov, November 10, 2016, Facebook, November 10, 2016, https://www.facebook.com/events/331098187248348/?active_tab=discussion.

Fig. 27: (Janko Konstantinov, Telecommunication Centre, Skopje, North Macedonia, 1968-69), Plan of the first version of the project (unrealised) © Daskalova, Martina. РЕВИТАЛИЗАЦИЈА НА ОБЈЕКТОТ НА ШАЛТЕР САЛАТА ВО СКОПЈE, 29, 2021

Fig. 21: (Janko Konstantinov, Telecommunication Centre, Skopje, North Macedonia, 1968-69), Сецтион of the first version of the project (unrealised) © Daskalova, Martina. РЕВИТАЛИЗАЦИЈА НА ОБЈЕКТОТ НА ШАЛТЕР САЛАТА ВО СКОПЈE, 30, 2021

2.1.5 1970 - 1981 | Second version of the project (realised) Project for the Complex «...He (Janko Konstantinov) faces various solutions, modifying them to obtain the consent of the governmental and urban authority; the aim is to seek an organic symbiosis between ancestral memories and modern program, to transform the legend of a Balkan Byzantine convent, in a new spatial structure, typical of the space age. The result is, in its light and shadows, a very subtle work, however stimulating and authoritative.»21 A simplified solution is presented by Konstantinov and his team, with three separate volumes with different functions within (Fig. 31): • The Telecommunication Centre • The Post Office (with the Main Counter Hall) • The Administrative building Renato Pedio would describe this composition in the following manner, as a part of his article for L’architettura magazine: «...it is a rectangle with a small square (the telecommunications centre): a larger square supported freely by the corners by four cylindrical stairways (the body the offices), and a circular building developed as a sculpture (telegraph offices, cash desk, etc.). The whole composition is connected by a platform that gradually descends towards the river bank. »22

grooves that through the façade plastic reflect the location of some of the structural elements. on the inside.»23 Accordingly the project stands in juxtaposition to the old citadel of the city, offering a different perspective from the one seen across the river Vardar.24 Project for the public space design and the square uniting the buildings of the Telecommunications center (unrealised) As seen in Fig. 30 the three previously-mentioned buildings are united by a square, which on the north-east side opens up towards the river front. With this the space unites the three functions and brings them closer to the public, through linking to the river front walkway (leading to the main city square on the east and towards the government building on the west). The shapes are analogue to the post office, with circles spreading outwards, colorised by the different pavement choices. Sadly this plan is never realised and the space is left empty with a diagonal foot path in simple paving and surrounded with greenery. Reasoning behind this is not to be found publicly.

Fig. 29: (Janko Konstantinov, Telecommunication Centre, Skopje, North Macedonia, 1968-69), Facades of the second version of the project © Daskalova, Martina. РЕВИТАЛИЗАЦИЈА НА ОБЈЕКТОТ НА ШАЛТЕР САЛАТА ВО СКОПЈE, 31, 2021

Due to this clear divide amongst buildings, the complex is realised in phases, with the Administrative buildings remains unrealised as a design solution, and is later re-designed (more in the following chapter). The buildings draw analogy to the historical landmarks of Skopje, such as the Kale Fortress and the Stone Bridge, with cylindrical segments and arching windows respectively. «The façade retains those sculptural, rhythmic elements and forms of natural concrete that appeared for the first time in the first variant of the project, by clearly showing the vertical grooves, horizontal 21 Pedio, Renato. “Centro Di Telecomunicazioni a Skopje, Macedonia, Architetto Janko Konstantinov.” L’architettura, cronache e storia, no. 248 (June 1976): 90

23 Daskalova, Martina. РЕВИТАЛИЗАЦИЈА НА ОБЈЕКТОТ НА ШАЛТЕР САЛАТА ВО СКОПЈE, 43, 2021

22 Pedio, Renato. “Centro Di Telecomunicazioni a Skopje, Macedonia, Architetto Janko Konstantinov.” L’architettura, cronache e storia, no. 248 (June 1976): 92

24 Pedio, Renato. “Centro Di Telecomunicazioni a Skopje, Macedonia, Architetto Janko Konstantinov.” L’architettura, cronache e storia, no. 248 (June 1976): 92

Fig. 30: (Janko Konstantinov, Telecommunication Centre, Skopje, North Macedonia, 1968-69), Public space/square design (unrealised) © Ivanovski, Jovan, Ana Ivanovska Deskova, and Vladimir Deskov. Biography of an Architectural Work: Telecommunication Center - Skopje, Architect Janko Konstantinov, 31. Skopje, North Macedonia: Museum of the City of Skopje, 2016

Fig. 31: (Janko Konstantinov, Telecommunication Centre, Skopje, North Macedonia, 1968-69), Masterplan of the second version of the project © Daskalova, Martina. РЕВИТАЛИЗАЦИЈА НА ОБЈЕКТОТ НА ШАЛТЕР САЛАТА ВО СКОПЈE, 31, 2021

As Ivanovski, Ivanovska Deskova and Deskov mention in their writings: «A wealth of architectural elements were used in the design of the Counter Hall: curvilinear concrete walls, cylindrical closed segments, large glazed surfaces, sculpturally treated repetitive concrete elements with a decorative character, reinforced concrete ribs that form a ring on which the center dome is laid. The zenithal lighting brings the expression of the exterior into the interior of the space, and the artistic treatment of the building is additionally enhanced through the presence of the wall paintings by Borko Lazeski.»27

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Fig. 33: (Janko Konstantinov, Nikola Karev High School, Skopje, North Macedonia, 1969), Archival photograph of the student entrance ©/, /. Photograph. March 2, 2021. @Jugoegzotika, Instagram. https://www.instagram.com/p/CL6mY-yLXon/.

Fig. 34: (Janko Konstantinov, Telecommunication Centre, Skopje, North Macedonia, 1968-69), Employee entrance GF of the Post Office, 13.02.2021 © Personal archive, Petrovska, Angela, 2021 PRODUCED BY AN AUTODESK STUDENT VERSION

Within the urban composition, it stands out due to the fact of being the only circular building surrounded by the orthogonally designed others (Fig.32). The position is a key one, as it strongly defines the corner of the street junction, becoming a place marker for the Small Ring of the city center. At the end it can be perceived as an urban monument due to the high sculpturality of the exterior. The “crown” is said to resemble a blooming flower- a reflection of the rebuilding of Skopje after the 1963 earthquake.

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The Post Office building is the last of the original complex’s plan to be realised. «The construction of the Counter Hall started in 1979, and in December 1981. the facility had been officially handed over for use.»25 The team involved with the design besides architect Janko Konstantinov was the main collaborator Dushanka Balabanovska, and collaborators Lenka Janeva, Kostadinka Pemova and Mimora Kapsarova, whilst the contractor was the famous Macedonian company Pelagonija.26

References to his previous work can be drawn in the curvilinear entrance for the employees if compared to the Nikola Karev High School student entrance, 1969 (Fig. 33 and 34). Besides this the window shapes of the Post Office with their oval shape, united with small rectangular side segments are reminiscent of the balcony decorations seen in the Medical High School D-r Panche Karagjozov, 1970 (Fig. 35 and 36). The skylight feature (Fig.38) is one of the main preoccupations of Konstantinov, and it is with this building that he brings it to the maximum of his abilities, after having started utilizing it for the first time in the design of the Museum of Aalborg, Denmark in 1958.28 The main pecularity of the interior is the divide of the front-of-the-counter and back-of-the-counter spaces, with the first presented as double height spaces. The main element of the design is the Counter Room, embelished with the cubistic frescoes done by renown Macedonian painter Borko Lazeski (Fig.39). Additionally, the way that the concrete was cast in place, we can see the grooves of the mould (Fig.37). Although the interior was painted, much of the quality of the atmoshpere came from the sculpturality of the wall mass and its combination with Jugoslavian modern design instalations(Fig.39).

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1979-1981 | Project for the Post Office

28 Порта 3, /. “Скулптуралната Експресивност На Натур Бетонот.” Окно. Порта 3, March 21, 2014. https:// okno.mk/node/36411.

25 Daskalova, Martina. РЕВИТАЛИЗАЦИЈА НА ОБЈЕКТОТ НА ШАЛТЕР САЛАТА ВО СКОПЈE, 32, 2021

Fig. 36: (Janko Konstantinov, Telecommunication Centre, Skopje, North Macedonia, 1968-69), Window and its RC GF sculptural framing, 13.02.2021 © Personal archive, Petrovska, Angela, 2021

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Fig. 35: (Janko Konstantinov, Medical High School D-r Panche Karagjozov, Skopje, North Macedonia, 1970), © /, /. Photograph. May 9, 2020. @Jugoegzotika, Instagram. https://www.instagram.com/p/B_9w1XsH8zJ/.

Fig. 32: (Janko Konstantinov, Telecommunication Centre, Skopje, North Macedonia, 1968-69), Archival photograph probably from the 1980s, shot from the Kale Fortress © /, /. Photograph. February 12, 2021. @Jugoegzotika, Instagram. https://www.instagram.com/p/CLMt2xArRPV/.

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27 Ivanovski, Jovan, Ana Ivanovska Deskova, and Vladimir Deskov. Biography of an Architectural Work: Telecommunication Center - Skopje, Architect Janko Konstantinov, 107-109. Skopje, North Macedonia: Museum of the City of Skopje, 2016

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26 Koneski, Filip. “Шалтер Сала На ПТТ / Јанко Константинов 1973.” МАРХ, June 23, 2015. https://marh.mk/%d1%88%d0%b0%d0%bb%d1%82%d0%b5%d1%80-%d1%81%d0%b0%d0%bb%d0%b0-%d0%bd%d0%b0-%d0%bf%d1%82%d1%82-%d1%98%d0%b0%d0%bd%d0%ba%d0%be-%d0%ba%d0%be%d0%bd%d1%81%d1%82%d0%b0%d0%bd%d1%82%d0%b8%d0%bd%d0%be%d0%b2/.

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Fig. 38: (Janko Konstantinov, Post Office, Skopje, North Macedonia, 1968-69), Interior of the Counter Hall, dome and overhead lighting of the space © Helemo, Studio. Photograph. January 0, 2011. Studio HelGF lemo. http://www.audunhellemo.com/personal/2011/Balkan_Brutal PRODUCED BY AN AUTODESK STUDENT VERSION

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Fig. 37: (Janko Konstantinov, Post Office, Skopje, North Macedonia, 196869), Entrance Hall, wall grooves in combination with a modern Yugoslavian lighting system design © Helemo, Studio. Photograph. January 0, 2011. StuGF dio Hellemo. http://www.audunhellemo.com/personal/2011/Balkan_Brutal

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Fig. 39: (Janko Konstantinov, Post Office, Skopje, North Macedonia, 1968-69), Interior of the Counter Hall, on the concrete walls behind the counters framed in oval shapes with rectangular extensions we see the cubistic frescoes of Lazeski © B. Nestoroska, “ИЗГОРЕНАТА КУЛТНА ШАЛТЕР САЛА НА СКОПСКАТА ПОШТА ЌЕ СТАНЕ КУЛТУРЕН ЦЕНТАР,” Сакам Да Кажам, March 7, 2021, https://sdk.mk/index.php/kultura/izgorenata-kultna-shalter-sala-na-skopskata-poshta-ke-stane-kulturen-tsenGF tar/?fbclid=IwAR1Ay_7TFsT7ikuAx6dXZiJdedE7B0ALY-GYfpXWMdc7W-6vGYLCI0v7L8E.

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Fig. 40: (Janko Konstantinov, Telecommunication Centre, Skopje, North Macedonia, 1968-69), Archival plan of the ground floor the Post Office © Daskalova, Martina. РЕВИТАЛИЗАЦИЈА НА ОБЈЕКТОТ НА ШАЛТЕР САЛАТА ВО СКОПЈE, 32, 2021

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2.1.6. 1972-1987 | Versions of the project for administrative building (unrealised) The Administrative building had several versions drafted by architect Konstantinov, but all remained unreaised. The original idea of a square base sees many modifications under various influences , and only in the 80s does it acknowledge the volume of the pre-existing building which will not be demolished and is set on the location. Yet, due to complications in the relation between Konstantinov and the coordinator of the building company Beton, Sveto Prokopiev, Konstantinov is no longer in charge of the project. An internal competition is opened within the company for the administrative building design.29

2.1.7. 1987-1989 | Third version of the project / Final version of the project for the administrative building, designed by architect Zoran Shtaklev (realised) The architect Zoran Shtaklev, chosen in the internal competition, is inspired by Konstantinov and takes into account the already-built segments of the Telecommunication Center and designs the Republic Dispatching Center which is built in the period between 1987 and 1989. A very important feature that Ivanovski, Ivanovska Deskova and Deskov point out in their book dedicated to the complex is: «The building finishes with a heavy arched reinforce concrete frieze with identical profilation as the Counter Hall building.»30

mir Deskov. Biography of an Architectural Work: Telecommunication Center - Skopje, Architect Janko Konstantinov, 136-138. Skopje, North Macedonia: Museum of the City of Skopje, 2016 29 Ivanovski, Jovan, Ana Ivanovska Deskova, and Vladi-

30 Ivanovski, Jovan, Ana Ivanovska Deskova, and Vladimir

Fig. 41: (Janko Konstantinov, Telecommunication Centre, Skopje, North Macedonia, 1968-69), Administrative building perspective (unrealised) © Ivanovski, Jovan, Ana Ivanovska Deskova, and Vladimir Deskov. Biography of an Architectural Work: Telecommunication Center - Skopje, Architect Janko Konstantinov, 136. Skopje, North Macedonia: Museum of the City of Skopje, 2016

Fig.

42:

Aerial

perspective

towards

the

Telecommunication

Center

Personal

archive,

Karanakov,

Bojan

Fig. 43: (Janko Konstantinov and Zoran Shtaklev, Telecommunication Center, Skopje, North Macedonia), The Complex as seen from across the river Vardar, 14.03.2010, The connection of the complex and river front. © Edwin Gardner, Main Post Office Skopje, March 4, 2010, photograph, Flickr, March 4, 2010, https://secure.flickr.com/photos/edwingardner/4435495996/in/photolist-7KX5qU-6sYbNq-2bpbcta-Fyz6Wa-FyyRjz-5RoMgM-FErnrx-Fyz4LZ-EKc89i-7ssFW5-Czq24-WY5UMF-a8vxqz-a8ypj3-a77MdT-2kRGLKm-vxHKNf-2i4o9cs-TpNSZh-9zuzYE4TS4d4-4TS5TZ-2kf9UPE-Pgeq7d-FyySVv-FErp7M-FwfS5G-yx4ERZ-8DHmNj-PgeqxJ-7ssFMY-7ssG5m-28D5BSm-4M3GXE-4LYxTc-4TNvnM-6sYe3f-4LYy7a-2bpbddr-7soHXX-2a1y8rt-2bjJVFy-4LYyd6-4LYy1c-nKaj92-7soHQH-4SJ8FJ-bcinKp-4GwmGc-Czwog.

After some time the function changes (yerar unknown), and it currently houses the Ohrid Bank administrational offices, with an addition of a floor in 2019. 2.1.9 unknown time before 2013 | Changes to the inner layout of the Post Office (demolitions) Based on the fact that currently the inner layout of the Post Office is different to the original, we can deduct that at one point before 2013 demolitions were made in the interior partitions. 2.1.10 unknown time before 2013 | Changes to the inner layout of the Post Office (additions) As seen in the following drawings changes were made to the inner layout of the building, mainly in the segment of the offices. As more and more functions that were from the front-of-the-counter typology became obsolete, the spaces for the workers was segmented into smaller dedicated offices. 2.1.11 2013-2014 | Fire in the Post Head Office and the legal aftermath of it On the 15th of January 2013, around 16:20, a fire breaks out in one of the offices within the building, with the main Counter Hall quickly catching fire.31

31 Прес24, /. “ФОТО: Гори Поштата Во Центар На Скопје.” MK NEWS, January 15, 2013. https://mkd-news.

At that moment Rosica Lazeska, the daughter of Lazeski stated: «My father advocated for public art, for works of art accessible to all, he always thought that art belonged to everyone, so his major works were placed in public places.»34 Sadly, the investigation of the causes took a long time, thus leaving the damages as is, with only the fully damaged furniture being thrown out and some minor cleaning of the site. Employees went back to their offices, whilst the front-of-thecounter spaces remained closed. In 2014, Al Jazeera Balkans recorded a new segment in which it was claimed that the metal doors were the reason for the fire not spreading into the rest of the building, but that still repairs

com/foto-gori-poshtata-vo-tsentar-na-skopje/ 32 / /, “Зградата На АД „Македонска Пошта’ Не Била Осигурана,” Академик, January 16, 2013, https://akademik.mk/zgradata-na-ad-makedonska-poshta-ne-bila-osigurana-4/ 33 A. D., “Вредни Кубистички Фрески На Борко Лазески Се Уништени Во Пожарот Во Поштата,” МКД.мк, January 17, 2013, https://www.mkd.mk/90991/crna-hronika/ vredni-kubisticki-freski-na-borko-lazeski-se-unisteni-vo-pozarot-vo-postata 34 A. D., “Вредни Кубистички Фрески На Борко Лазески Се Уништени Во Пожарот Во Поштата,” МКД.мк, January 17, 2013, https://www.mkd.mk/90991/crna-hronika/ vredni-kubisticki-freski-na-borko-lazeski-se-unisteni-vo-pozarot-vo-postata

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Fig. 45: (Janko Konstantinov, Post Office, Skopje, North Macedonia, 19679-81), FIre in the Post Office, 15.01.2013, Flames coming out of the Counter Hall’s roof whilst fire fighters are trying to put out the fire with 2 of their vehicles seen on the boulevard. © / /, “Зградата На АД „Македонска Пошта’ Не Била Осигурана,” Академик, January 16, 2013, https://akademik.mk/zgradata-na-ad-makedonska-poshta-ne-bila-osigurana-4/ PRODUCED BY AN AUTODESK STUDENT VERSION

Deskov. Biography of an Architectural Work: Telecommunication Center - Skopje, Architect Janko Konstantinov, 139. Skopje, North Macedonia: Museum of the City of Skopje, 2016

Fig. 44: Ohrid Bank building ath the corner of the block, 10.06.2021 © Personal archive, Angela Petrovska, 2021

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The changes of the location (block) begin in the end of the 90s. For the needs of the Macedonian Telecom company, a new building was added to the corner of the complex/s block, built between 1997 and 1999. The building is characterized by a monumental entrance portal and fully glazed facade. Only a small reminescence can perhaps be drawn to the MEPSO building, yet it is hard to tell, as this building stylistically is different from its surrounding.

A long time takes to turn out the fire, and news break out the following day that the building was not insured. The head of the Post Office, Rafiz Aliti announces during a press conference that: «The damages from yesterday’s fire in the main building of AD “Makedonska Posta” - Skopje are minimal because the server room and the archive were not damaged. The roof, counter hall and some offices on the second floor were damaged. The first floor is not damaged»32 Beyond this the fire also destroyedd the invaluable cubistic frescoes created by renown macedonian painter Borko Lazeski. During the investigation Pasko Kuzman, the director of the Office for Protection of Cultural Heritage claimed: «We have not yet inspected the site, because there are no conditions for that and we do not have any information on the condition of the mural. In such situations there is a procedure that we will follow. As a cultural good, it should have a special treatment. If there is minor damage, a conservation will be made.»33

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2.1.8 1997-1999 | Marketing Center for Macedonian Telecom (currently Ohrid Bank)

are to be made within the building. Although artists requested for the paintings to be repainted, the director at this point still had no plans of how to renovate the Main Counter Hall. According to investigations, a lot of irregularities were found with the functioning of the Post Office, opening up at this moment even a case with the Anticorruption Offices of the country,35 On the same day of publishing of the news segment by Al Jazeera Balkans (15.04.2014), a verdicct was reached in the casse of the culprit for the fire. «The Primary Court Skopje 1 sentenced to two years in prison the chief of staff of the director of AD “Makedonska Posta”, Armend Fazliu, who is charged with a serious crime against the general safety of people and property, ie for causing the fire that broke out last year in this state company and fortunately ended without human casualties, but caused more property damage.» wrote E. Pavlovska for news portal Akademik.36

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Fig. 47: (Janko Konstantinov, Post Office, Skopje, North Macedonia, 19679-81), Original look of the Counter Hall © Divna Penčić, Main Post Office Hall in the Past., July 9, 2021, photograph, Architectuul, July 9, 2021, https://blog.architectuul. GF com/post/656211109964021760/foma-46-rebuilding-a-city-building-a-society.

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35 Požar Otkrio Probleme Poslovanja Makedonskih Pošta, YouTube (YouTube, 2014), https://www.youtube.com/watch?v=2iZd-fD2F-s 36 E. Pavlovska, “СУДЕЊЕ ПОЖАР – „ПОШТА’: Две Години Затвор За Арменд Фазлиу,” Академик, March 14, 2014, https://akademik.mk/sudenje-pozhar-poshta-dve-godini-zatvor-za-armend-fazliu/.

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Fig. 46: (Janko Konstantinov, Post Office, Skopje, North Macedonia, 19679-81), State of the Counter Hall a year after the fire, 14.03.2014, looking into the damaged walls where once Borko Lazeski’s murals GF were. © Požar Otkrio Probleme Poslovanja Makedonskih Pošta, YouTube (YouTube, 2014), https://www.youtube.com/watch?v=2iZd-fD2F-s

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Fig. 48: (Janko Konstantinov, Post Office, Skopje, North Macedonia, 19679-81), Current look of the Counter Hall © Georgi Licovski , Main Post Office Hall - Current Condition, July 9, 2021, phoGF tograph, Architectuul, July 9, 2021, https://blog.architectuul.com/ post/656211109964021760/foma-46-rebuilding-a-city-building-a-society.com/ post/656211109964021760/foma-46-rebuilding-a-city-building-a-society.

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Legend: demolished/changed parts parts lost in the fire added parts

roof plan - changes

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Legend: demolished/changed parts parts lost in the fire added parts

In general, the “identity project” envisioned the change of many facades into what the government called a “a baroque style”, with the insertion of buildings for mainly governmental use within the empty pockets of the urban tissue. An uncountable amount of monuments praising various (to many people unknown) historical figures were also inserted in the city center and new bridges were planned to cross the river Vardar. As such the project was envisioned to cost 350 million euros38 (although official figures lacked). According to further analysis by non-governmental organisations in June 2017 it amounted to a spending of 683.39 million euros.39 «While the government defends the project as a necessary makeover for the shabby-looking city, opposition parties have criticized its cost. They say that at a time of economic uncertainty, building sculptures and mock-Classical facades cannot be seen as a worthwhile capital investment. Faced with a lack of official data on the cost of the project, they have calculated that the revamp may cost up to 500 million euro.»40 Alongside all the controversies, it is key to mention that many protests took place against

37 Проект “Скопје 2014” / Project “Skopje 2014”. YouTube. YouTube, 2010. https://www.youtube.com/watch?v=by8c3f3mW-E.

39 /, /. Скопје 2014 под лупа. Призма, USAID, BIRN, January 5, 2018. http://skopje2014.prizma.birn.eu.com/mk 40 Marusic, Sinisa Jakov. “Skopje 2014 Forges Ahead Despite Macedonian Crisis.” Balkan Insight, June 7, 2012. https://balkaninsight.com/2012/06/07/skopje-2014-forges-ahead-despite-macedonian-crisis/

The construction of the parking garage “Congress of Thessaloniki” began in 2011, and it was officially opened on 08.09.2014. As such it is the first automatised parking garage, boasting a restaurant on the rooftop, and one on the groundfloor which has closed in 2019. Placed on the previous square between the 3 Telecommunication Centre buildings, it filled up the only public space/square void the block had. The full concept of the Centre and its link to the river spree was thus disrupted. On the side facing the Post Office it presents a blind facade (Fig. 50), thus totally disregarding the context and the value of the entrance. At 29 meters tall, it also obstructs the important river views the Telecommunication Tower had.

Fig. 49: (Janko Konstantinov, Telecommunication Center, Skopje, North Macedonia), Aerial view of the complex with the Parking garage “Congress of Thessaloniki” in the middle, 10.06.2021 © Personal archive, Petar Avramoski, 2021

In their book “Biography of an Architectural Work: Telecommunication Center - Skopje, Architect Janko Konstantinov” authors Ivanovski, Ivanovska Deskova and Deskov will state about it: «The building of the multi-storey parking garage, neither with its relation to the peculiarities of the space, much less with the applied architectural language, tries to establish any connection with the valuable historical data, mistakenly and clumsily referring to the ironic architectural expression of the hotel “Fouquet Barrière” in Paris by architect Edouard François, in the given context has a caricatured appearance.»42

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41 Protesti Protiv Projekta Skopje 2014. - Al Jazeera Balkans. YouTube. YouTube, 2012. https://www.youtube. com/watch?v=EGqeWqNWiDg.

Fig. 50: (Janko Konstantinov, Telecommunication Center, Skopje, North Macedonia), Perspective from the entrance of the Post Office towards the blind wall of the parking garage, 10.06.2021 GF © Personal archive, Angela Petrovska, 2021 PRODUCED BY AN AUTODESK STUDENT VERSION

38 Marusic, Sinisa Jakov. “Skopje 2014 Forges Ahead Despite Macedonian Crisis.” Balkan Insight, June 7, 2012. https://balkaninsight.com/2012/06/07/skopje-2014-forges-ahead-despite-macedonian-crisis/

2011-2014 | Parking garage “Congress of Thessaloniki”

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Under the political rule of the VRMO-DPMNE party and the prime minister Nikola Gruevski, in 2010 the project Skopje 2014 was promoted via a walkthrough video. While the video37, in the style of a video game conquest, presented each monument, building and change within the limits of the center of the capital, questions were raised about the price and legitimacy of the many urbanistic and architectural choices.

the whole project or segments of it.41 The most successful contradiction to the project came in the form of the association Го сакам ГТЦ (I love GTC) thanks to which at the end the modernistic city shopping center by architect Zhivko Popovski was saved (from re-facading). Yet, a vast amount of buildings and projects were realised, with many of construction processes continuing today.

42 Ivanovski, Jovan, Ana Ivanovska Deskova, and Vladimir Deskov. Biography of an Architectural Work: Telecommunication Center - Skopje, Architect Janko Konstantinov, 147. Skopje, North Macedonia: Museum of the City of Skopje, 2016

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2.1.12 2010-ongoing | The Skopje 2014 project

2013-2015 | Change of the facade of the MEPSO building under the Skopje 2014 project

under the shape of the former Officer Home 4. building south-east of the first abovementioned and south of the one of the City of Skopje (future function is still unknown) The last two will not be considered as much in the following work as they are not in the exact block of my case study.

Among the first buildings to face the process of re-facading was the MEPSO building by architect Zoran Shtaklev. The process started in 2013 and imagined fake columns on the facade of the building and styrofoam coverings of the existing reinforced concrete elements. The style in which all of this was done was within the Skopje 2014 aesthetic, vaguely inspired by antiquity. The work was questionably done and although

promoted as making the building more energy PRODUCED BY AN AUTODESK STUDENT VERSION

1968 - Kenzo Tange masterplan

efficient and sustainable, later proved otherwise. «You can see for yourself how good the work was. They made an energy efficient building, and for 6 months we could not turn off the electricity 0 50 and our bills are 40% higher. - said Shukleva.»43 This information was shared in a briefing for news agencies after on the 27th of February, 1999 - General Urban Plan 2020, due to strong winds of around 70km/h that blew in Skopje, segments of the styrofoam of the facade came down on the private parking of the MEPSO building which is within its courtyard. (Fig. ?)

1974 - General Urban Plan

200

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2011-ongoing | Construction of other new buildings within the block As seen in Fig. 53 the previously-mentioned Parking garage was not the only addition to the block. Several buildings filled the available voids, with many of them still not being completed in 2021 as well as the transparency of future functions that will inhabit them. Giving the effort to list the interventions/buildings descriptively, they are as follows: 1. boat in the Vardar River, north-east of the MEPSO building 2. building on the corner between the Telecom and MEPSO buildings (future function is still unknown) 3. new building for the City of Skopje officials,

43 Antevska, A. “ГРАДЕЖНИОТ ИНСТИТУТ ЌЕ ПРАВИ ПРОЦЕНКА НА ФАСАДАТА НА МЕПСО ШТО ЈА ОТКОРНА ВЕТЕР ЗА ШТО „БЕТОН ШТИП’ НАПЛАТИЛ 11 МИЛИОНИ ЕВРА.” Сакам Да Кажам, February 27, 2020. https://sdk.mk/index.php/dopisna-mrezha/gradezhniot-institut-ke-pravi-protsenka-na-fasadata-na-mepsoshto-ja-otkorna-veter-za-shto-beton-shtip-naplatil-11-milioni-evra/.

Fig. 52: (Zoran Shtaklev, MEPSO building, Skopje, North Macedonia), Fallen pieces of the facade after strong winds, 27.02.2020 © Antevska, A. “ГРАДЕЖНИОТ ИНСТИТУТ ЌЕ ПРАВИ ПРОЦЕНКА НА ФАСАДАТА НА МЕПСО ШТО ЈА ОТКОРНА ВЕТЕР ЗА ШТО „БЕТОН ШТИП’ НАПЛАТИЛ 11 МИЛИОНИ Legend ЕВРА.” Сакам Да Кажам, February 27, 2020. https://sdk.mk/index.php/dopisna-mrezha/gradezhniot-institut-ke-pravi-protsenka-na-fasadata-na-mepso-shto-ja-otkorna-veter-za-shto-betonresidential building Marketing Center for Macedonian Telecom/ Ohrid Bank shtip-naplatil-11-milioni-evra/. Telecommunication Center urban idea

Post Head Office fire

Administrative Court

MEPSO facade change under the Skopje 2014 project

2. 4.

Fig. 53: Angela Petrovska, Analysis of the position of the Telecommunication Center within the urban fabric in the current city urban plan of 2021 © Angela Petrovska

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Fig. 51: (Zoran Shtaklev, MEPSO building, Skopje, North Macedonia), Change of the facade with styorofam elements © / /, Brutalismus Pod Skořápkou Historizujícího Dekoru, June 16, 2020, photograph, EARCH., June 16, 2020, https://www.earch.cz/cs/revue/kdyz-brutalismus-ustoupi-balastu-jak-se-z-moderni-skopje-stal-balkansky-disneyland.

100

2.1.13 Recognition Center

the

Telecommunication

After the many turmoils the complex faced, especially taking into account the Skopje 2014 project, public interest grew in the modern and brutalist heritage of Skopje. As such the building of the Post Office, and the Telecommunication Center as a whole, start making appearances into local promotional materials, fashion collection promo material, international exhibitions and publications as well as it becomes the base for light artworks. In the following sub-chapter I will list only the most prominent few. 27.10.2013 | Memento Mori, by Irina Tosheva Renown Macedonian fashion designer Irina Tosheva is amongst the first to decide to pay homage to her hometown’s brutalist architecture through the use of it as backdrop for her fall/winter ‘13/’14 collection Memento Mori. Photographer HLVK by Goran V. Popovski juxtaposes the models Ana Ezhova and Marko Avramoski in the window frame elements. (fig. 54 and 55) 11-18.11.2016 | “Biography of an architectural work: Telecommunication Center - Skopje, architect Janko Konstantinov” exhibition and publication Architects and university professors Jovan Ivanovski, Ana Ivanovska Deskova and Vladimir Deskov play the biggest role into the solidifation of Janko Konstantinov and his work on the Telecommunication Center as amongst the most prominent in the rebirth of Skopje. It is their published research that is the basis for this booklet in fact, but besides that their research has also been promoted on many online platforms and architectural conferences. The exhibition itself featured original archival drawings, models of the buildings and even a foldable model of the framing detail that the visitors could take home and assemble.(Fig. 56) 15.07.2018 - 13.01.2019 | Martino Stierli, Vladimir Kulić, Anna Kats, “Toward a Concrete Utopia, Architecture in Yugoslavia, 1948–1980” an exhibition and publication by MoMA, NYC, USA Perhaps one of the most prominent exhibition

that catapulted ex-Yugoslavian architecture and more precisely the architecture of the rebuilding of Skopje, into international acknowledgement was the exhibition in the Museum of Modern Art in New York City in 2018/19. Curators Martino Stierli, Vladimir Kulić and Anna Kats assembled a team of contributors from each former member state of Yugoslavia. It is previously mentioned architects and university professors Ivanovski, Ivanovska Deskova and Deskov that were the Macedonian contributors, with their previous work taken as a base and expanded into a special room dedicated solely to the reconstruction of Skopje. «Toward a Concrete Utopia: Architecture in Yugoslavia, 1948-1980 explores the use of building and urban planning to create a national identity for the country during its 45-year existence.»44 «One area is dedicated to the reconstruction of Skopje, which was devastated by an earthquake in 1963. Japanese modernist architect Kenzo Tange came up with a radical masterplan for the city, which included a vast City Gate and City Wall, although the majority of his was never built.»45 The Telecommunication Center stands out as one of the few realised building complexes of the time and is presented with a model and original archival drawings. (Fig. 57)

Fig. 54: Memento Mori, 27.10.2013, model Marko Avramoski seating on the window frame element. © Irina Tosheva and Goran Popovski V., October 27, 2013, Facebook, October 27, 2013, https://www.facebook.com/tosheva.fashion/photos /a.676535389032598/676539932365477

2020 | Fashion Weekend Skopje promotional video For the promotion of the spring/summer runway season Fashion Weekend Skopje created promotional material and videos featuring local creators. Among them photographer Erina Bogoeva was shown in the setting of the Telecommunication Center’s exterior, with the building as a backdrop. In the Fig. 58 and 59 we can see a part of the video and Instagram posts.

44 Dan Howarth, “MoMA’s Toward a Concrete Utopia Exhibition Presents the Architecture of Yugoslavia,” Dezeen, July 12, 2018, https://www.dezeen.com/2018/07/12/ toward-a-concrete-utopia-architecture-of-yugoslavia-exhibition-museum-of-modern-art-moma-new-york/?utm_source=facebook.com&utm_medium=referral. 45 Dan Howarth, “MoMA’s Toward a Concrete Utopia Exhibition Presents the Architecture of Yugoslavia,” Dezeen, July 12, 2018, https://www.dezeen.com/2018/07/12/ toward-a-concrete-utopia-architecture-of-yugoslavia-exhibition-museum-of-modern-art-moma-new-york/?utm_source=facebook.com&utm_medium=referral.

Fig. 55: Memento Mori, 27.10.2013, model Ana Ezhova standing on the window frame element. © Irina Tosheva and Goran Popovski V., October 27, 2013, Facebook, October 27, 2013, https://www.facebook.com/tosheva.fashion/photos /a.676535389032598/676541392365331

Fig. 56: Exhibition photograph of the setup in the Museum of the City of Skopje, 12.11.2016. © Elena Fidanska, November 12, 2016, Facebook, November 12, 2016, https://www.facebook.com/photo?fbid=10211058205596258&amp;set=gm.332418570449643.

Fig. 58: Opening shot of the promotional video of Fashion Weekend Skopje, 2020 © FWSK 21: IT’S TIME TO SHINE ERINA BOGOEVA, YouTube (YouTube, 2020), https://www.youtube.com/watch?v=21mkirFPK4w.

Fig. 57: Exhibition photograph of the setup in MoMA, 2018, The segment dedicatedd to the Telecommunication Center with the model and original archival drawings pictured within the room dedicated to the reconstruction of Skopje. © Filip Koneski and Ana Ivanovska Deskova, July 13, 2018, МАРХ Македонска АРХитектура, July 13, 2018, https://marh.mk/kon-betonska-utopija-moma-jugoslavija/

Fig. 59: Promotional Instagram post featuring Erina Bogoeva for the Fashion Weekend Skopje, 2020 © / Fashion Weekend Skopje, April 14, 2020, @Fashionweekendskopje on Instagram, April 14, 2020, https://www.instagram.com/p/B-9vhgTHfkr/?utm_medium=copy_link&amp;fbclid=IwAR3uCulF7O9c0jcdzfi2ukAmoCeK0gWcaYusUxlYS-icJZqhFjO0VDbwTqg.

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Fig. 61: Brutalist Music Box, Decmber 2020, a photo project featuring actress Natalija Teodosieva shot in the Telephone Hall of the Post Office ©Erina Bogoeva, December 2020, Behance, December 2020, https://www.behance.net/gallery/112445031/Portraits-2020. PRODUCED BY AN AUTODESK STUDENT VERSION

Fig. 60: Brutalist Music Box, Decmber 2020, a photo project featuring actress Natalija Teodosieva shot in the Counter Hall of the Post Office ©Erina Bogoeva, December 2020, Behance, December 2020, https://www.behance.net/gallery/112445031/Portraits-2020.

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December 2020 | The Brutalist Music Box, a photograph project by Erina Bogoeva in collab with Natalija Teodosieva Photographer Erina Bogoeva takes upon herself the task of presenting a more narrative project within the confines of the deteriorating Post Office building. Posing actress Natalija Teodosieva in broken body positions she reimagines the Halls as the walls of a music box. The project was promoted on her Instagram and Behance pages and featured on the Fashion Weekend Skopje page. (Fig. 60 and 61) January 2021 | REACT/OR, light instalation by Martin Dimitrijev (Borec)

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Fig. 62: REACT/OR light instalation, January 2021, exterior view © Personal archive, Dimitrijev, Martin, 2021 GF

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«At night, when the city sinks into darkness and only the street lights are visible on the city streets, in this remarkable building in the past period a green light is seen, which leaves the impression that a chemical or nuclear reaction is taking place in it. Skopje lighting designer Martin Dimitrijev with this dystopian installation reexamines the view of today’s city and its sights, which we have neglected and polluted from a physical aspect, but also from the aspect of human values. Nuclear and chemical reactions in the core of the building symbolize the creation of new energy, a new impulse to create and rethink urban spaces.»46

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Light artist Martin Dimitrijev utilized the building of the Post Office as a base for his green light instalation in January 2021. The project was done in collaboration with the CIty of Skopje and A.D. Post Office of North Macedonia - Skopje. (Fig. 62 and 63)

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Fig. of GF

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46 Filip Koneski, “ЗЕЛЕН СВЕТЛОСЕН „REACT/OR‘ ВО ГРАДОТ,” МАРХ, January 31, 2021, https://marh.mk/zelen-svetlosen-reactor-vo-gradot/

63: the

REACT/OR light instalation, January 2021, employee staircases © Personal archive,

interior Dimitrijev,

view of Martin,

one 2021

2.1.13 Listing as one of the 7 most endangered Europa Nostra 2020 According to their website : «The 7 Most Endangered Programme is a civil society campaign to save Europe’s endangered heritage. It raises awareness, makes independent technical assessments, proposes recommendations for action and seeks to rally support to save the selected endangered sites. Being on the 7 Most Endangered List often serves as a catalyst for action and as an incentive for mobilisation of the necessary public or private support.»47 In the 2021 call, the Post Office in Skopje was one of the nominated buildings as part of this programme.

will see the involvement of the Association of Architects in Macedonia.50 For the earlier steps, Jani Makraduli, general director of the Post Office, stated: «... one of the short-term measures will be the installation of a temporary roof to prevent further destruction of the building. In addition, a functional review of spatial possibilities through public discussions and debates is envisaged.»51 Accordingly it was also mentioned that the envisioned future function would be into the cultural ranks, but it was not specified more precisely exactly which one.

«The nomination of the Central Post Office to the 7 Most Endangered programme 2021 was submitted by the Institute for Research in Environment, Civil Engineering and Energy (IECE). It is supported by the state-owned jointstock company for postal traffic “POST of North Macedonia”-Skopje, the Ministry of Culture of North Macedonia, Fraunhofer IBP and the heritage and sustainability consultant Dr. Georgi Georgiev, both based in Germany.»48

Fig. 64: Jani Makraduli giving an interview in the Counter Hall, 08.04.2021. © Dragan Mitreski, April 8, 2021, Слободен Печат, April 8, 2021, https://www.slobodenpecat.mk/galerija-makedonska-poshta-nekogash-dostojna-za-moma-denes-na-listata-na-12-najzagrozeni-spomeniczi-vo-evropa/.

«The Board of Europa Nostra, on the basis of the opinion expressed by the Advisory Panel of the 7 Most Endangered Programme, stated: “The Central Post Office represents everything the 7 Most Endangered Programme is about: a heritage site of extraordinary significance that is a bold symbol of the rebirth of a city postearthquake. This site needs to be reborn a second time.”»49 With this statement the Post Office was listed as one of the 7 most endangered buildings of 2021. A 10 000 euro prize is to be used by the involved parties in order for the Post Office to once again reach its full potential. The treatment process

47 / Europa Nostra, “About,” 7 MOST ENDANGERED, 0AD, http://7mostendangered.eu/about/. 48 /, /. “Central Post Office, Skopje, NORTH MACEDONIA.” 7 MOST ENDANGERED. Europa Nostra, EIB Institute, Creative Europe, April 8, 2021. http://7mostendangered. eu/sites/central-post-office-in-skopje-north-macedonia/. 49 /, /. “Central Post Office, Skopje, NORTH MACEDONIA.” 7 MOST ENDANGERED. Europa Nostra, EIB Institute, Creative Europe, April 8, 2021. http://7mostendangered. eu/sites/central-post-office-in-skopje-north-macedonia/.

50 / Television Telma, “ФОТО: Изгорено, Напуштено, Уништено, 8 Години По Катастрофалниот Пожар Во Пошта, Архитектите Се Борат Да Го Спасат Како Наследство,” Telma, December 17, 2020, https://telma.com.mk/2020/12/17/%D1%84%D0%BE%D1%82%D0%BE-%D0%B8%D0%B7%D0%B3%D0%BE%D1%80%D0%B5%D0%BD%D0%BE-%D0%BD%D0%B0%D0%BF%D1%83%D1%88%D1%82%D0%B5%D0%BD%D0%BE-%D1%83%D0%BD%D0%B8%D1%88%D1%82%D0%B5%D0%BD%D0%BE-8-%D0%B3%D0%BE/. 51/ Слободен печат Пред 7 месеци, “ГАЛЕРИЈА: Македонска Пошта, Некогаш Достојна За МоМА, Денес На Листата На 12 Најзагрозени Споменици Во Европа,” Слободен печат, April 8, 2021, https://www.slobodenpecat.mk/galerija-makedonska-poshta-nekogash-dostojna-za-moma-denes-na-listata-na-12-najzagrozeni-spomeniczi-vo-evropa/.

Fig. 65: Feature announcing the selection of the Post Office as one of the 7 most endangered for 2021 on Europa Nostra’s website © /, /. “Central Post Office, Skopje, NORTH MACEDONIA.” 7 MOST ENDANGERED. Europa Nostra, EIB Institute, Creative Europe, April 8, 2021. http://7mostendangered.eu/sites/central-post-office-in-skopje-north-macedonia/.

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1968 - Kenzo Tange masterplan

Legend residential building

Marketing Center for Macedonian Telecom/ Ohrid Bank

Telecommunication Center urban idea

Post Head Office fire

Administrative Court

MEPSO facade change under the Skopje 2014 project

Telecommunication Center

new buildings under the Skopje 2014 project

Spatial timeline

???

1963

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1968

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Fig. 66: (Name of the architect, name of the building, location city, location country, if necessary), title, dates, short description. © Credits (e.g., Citation of the book/article or name of the Archive, name of the photographer, year of the photo).

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2.2 Space and Use 2.2.1. Analysis of the spaces: original vs now

ment of the circular main form of the building’s footprint.

The spaces within the Post Office have a clear division between front and back of the counter. With that being said in the following analysis I will divide the information in between 2 sub-chapters - one dedicated to the original layout that was realised and one to the changed layout which is the current state of the building. It is important to mention that the inner layout change of partitions has not been precisely dated back, but I speculate that based on the fact that no work was done within the building after the 2013 fire, it had to be executed before that year.

In the underground the central space is meant for the airconditioning systems with other spaces attaching to it in a ring disposition.

Original spaces and their disposition In the original disposition as private (employee only) segments we see the underground and first floor, whilst the ground floor is divided into a public (visitor) segment and a private (employee) one. As such at this level, identified in the plans (seen in Chapter 1) as 0.00m, there exist 2 entrances dedicate to the two typologies of users. The visitor entrance is opened at the north-east side, with a monumental staircase which originally lead towards the open square uniting the three buildings of the complex of the Telecommunication Center. Although the original paving design was not realised, there were 2 diagonal paths of which one lead straight towards it from the pedestrian river front walkway. On the other hand the employee entrance is presented through a spiral element on the southwest side. It is open towards the employee parking, which is at level -0.70m. This element can be seen in sub-chapter 2.2.2. This parking is not the sole in the confines of the building, in fact an exterior ramp from under what is now the Ohrid Bank building leads towards an underground one, which takes up also a seg-

Yet, similarly to the original disposition as private (employee only) segments we see the underground and first floor, whilst the ground floor is divided into a now abandoned (formerly public) segment and a private (employee) one. The employee segments still function, with a small exception.

The ground floor is defined by 5 halls dedicated for the public, presenting the front-of-the-counter segment. The rest of the employee dedicated back-of-the-counter spaces create a semi ring taking up the north-west side of the building. They are clearly divided from the visitor spaces, although openings are presented for movement of the employees who work at the counters. The offices attach to a central corridor in one part, and a side corridor into the other part of this segment.

The visitor entrance now looks into a blind wall of the “next door” parking garage, erected due to the Skopje 2014 project, and the space around it faces a state of disrepair. The employee entrance is still in use and has seen no changes.

On the first floor, the visitor spaces enjoy the double height, whilst 2 spiral staircases on the north-west side of the building lead to a central corridor on which more office spaces are linked.

In the underground the spaces have seen a partial restructuring with a few small rooms places in the west segment attached to the spiral staircase leading upwards. The interior ramp has been demolished and in its place on the east side we see a new broken line partition placed

The roof is unreachable for the public and for the employees alike. Current spaces and their disposition

On the ground floor new offices have taken up the space in the nort zone, formerly dedicated for the visitors and their needs. Now the employee ring takes up a larger segment of the plan, and has even seen an expansion linking up until the smaller rotunda. The office rooms are all linked to a continous central corridor.

Before the year of 2013 and the fire, the Post Office saw some interior modifications. This could be linked to the obsolescence of the functions of the Post Office, especially the need for telephone and telegram halls. As authors Ivanovski, Ivanovska Deskova and Deskov state: «In the conditions of a different society today (“post” - modern), which has survived the information revolution, digitalization, emergence and extreme expansion of mobile telephony, liberalization of the postal services market, etc., this type of facilities, where the program diagram in large measure determines the organization of space faces (to a greater or lesser extent) programmatic and functional ob-

On the first floor, we see a continuation of the restructuring efforts with a sub-division into smaller rooms, and the previously central corridor is now divided into 2 segments. On the south and west sides it is a central one, while on the northern side it is a side corridor looking onto the main rotunda of the former Counter Hall.

52 Ivanovski, Jovan, Ana Ivanovska Deskova, and Vladimir Deskov. Biography of an Architectural Work: Telecommunication Center - Skopje, Architect Janko Konstantinov, 147. Skopje, North Macedonia: Museum of the City of Skopje, 2016

Page 56: Fig. 67: (Janko Konstantinov, Post Office, Skopje, North Macedonia), South-west facade and employee entrance, 13.02.2021, perspective is from the parking lot for the employees © Personal archive, Angela Petrovska, 2021 PRODUCED BY AN AUTODESK STUDENT VERSION

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solescence.»52 As such, we can see the building, which after the fire had been heavily damaged in the segment of the 5 halls, being partially abandoned and with no new use planned even after 8 years have passed.

The roof is still unreachable for the public and for the employees alike, but now has openings in the places that were formerly covered with glass.

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2.2.2 Architecture: Space summary schemes original layout

demolitions

additions

lost in fire

1979-1981 | Construction

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3 1 1

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3 12 13 x3 x1 1 6

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-3.36

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2.2.3. Analysis of the use: original vs now The users of the building were meant to be the general public, which originally could solely rely on the public institution that was the Post Office for all of their postal and telephone related needs. As time passed and due to the previously mentioned obsolescence of such use, the building has seen a loss of users from the general public. Key to mention that this is also linked to the abandonment of the public segment and for the choice that after 2013 solely the employee part would be fully operational. While the general use within the employee zone has remained the same, due to the restructuring of the interior and its zoning and partitions we see more detailed office switches and new room uses dedicated for the workers. In the following sub-chapters I shall tackle the issue of the precise room dedication through text and schemes, first representing the comparison in chapter 2.2.5 and then zooming into each floor on its own strictly defining each space’s name according to detailed description of its user. Original uses and their disposition Following the layout from top to bottom, we see an underground floor dedicated to the employees and linked to the transport of post and the employees’ nutrition. As such we have rooms dedicated to the restaurant and its kitchen, parking spaces and the central zone is for the air conditioning systems. In the ground floor, the 5 halls are dedicated to various functions linked to the public’s needs: counters for letters, telephones, telegrams, package sending and receiving and an entrance segment. All of this spaces have a double height. On the other side within the ring, various offices meant for the employees are linked to the corridors, most of which linked to the process of sending post and the steps linked to it. The first floor is dedicated to the administration and foresees meeting rooms and specilized offices. The rooms in this part are not directly linked to the postal process but are the managing part of it, so we can perhaps says that the users are higher up in the hierarchy of the company.

Current uses and their disposition

2.2.4. compliance to the laws

The building currently faces a problem of abandonment in many of the segments, especially regarding what use to be the front-of-the-counter zone meant for the public. This is largely linked to the fire damage occured, but can speculatively be tied to the obsolescence of many functions and the modernized lifestyle of the employees.

The building itself in neither of the versions has been imagined to have full accessibility, and thus we immediately see a lack of elevators and ramps which would deem it fully accessible. Both for the original public visitor to reach the counters and fullfill their needs and for the employee to reach their workspace, we face several flights of stairs leading either from the outdoor public space to the interior or even between levels of public space.

As such, we immediately see in the underground floor the loos of the spaces meant for the kitchen and restaurant, and in fact half of the volume is abandoned. The air conditioning part is now storage, while solely the parking functions as originally intended even though the ramp has been demolished in an unknown period before 2013.

With the proximity of the river Vardar, there are many cascades present in the public space which vary in paving and present a labyrinth of different levels if seen in section. With regards to the fire safety, the 2013 fire proved that the building would mostly be proved safe, especially considering the use of thick metal doors in the movement from the front-of-thecounter to the back-of-the-counter zones. It is hard to judge today’s state of the materials and their fireproof levels as no publicly published research has been found. Reinforced concrete as the main building material is known to withstand a long time of being affected by fire, but due to the already occured damages, the value of withstanding will definitely be lower at least in the Counter Hall. Yet, it is important to mention that the newly structured expanded employee zones may prove to go against regulations as the path leading to the staircases (all normal staircases act as evacuation staircases) are longer than 25m if we look from the furtherst office.

Whilst for the most of the ground floor former-public zone the layout remains, we see how at one point two of the halls were restructured and dedicated to the employee needs- ordinary lettera part, telegram and telex hall. With the restructuralisation of the partitions we also notice how rooms become smaller in order to accomodate the “modern requirement” of dedicated office for each rank of employee. As such many of the rooms are now dedicated to directors, their secretaries and other “sidejobs” linked to the maintenance of the building or to the online and paper maintenance of the Post Office. Key to mention that now a new function of a buffet is put in place at this level alongside a special warehouse/storage room for it. Finaly, the first floor office ring also faces an expansion mirroring the one on the ground floor. It is on this floor that we now see the lower ranked employees which are part of the many sectors of the Post Office. Yet once again we do not see specialisation of rooms for the steps of the sending process, but zones based on levels of job positions such as finances, accounting...

Accordingly, the building most likely faces structural issues, most present in the Counter Hall, as that is the part most affected by the fire. Again the issue of publicly published research lacks also in this zone, although is probably being made after the selection as one of the 7 most endangered by Europa Nostra. These issues of questionable structurality can be seen in the following page in Fig. 68 and 69..

In general, with the layout change we also notice a functional change of how the Post Office runs in modern times and its segmentation into working fields.

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Fig. ring

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Fig. 68: RIbs and opened roof in the Counter Hall, 2020, Exposed wall with lost final covering and isolation © Official photographer for the City of Skopje, December 2020

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69: and

Wall in the Counter Hall, 2020, isolation © Official photographer for

Exposed wall with lost final the City of Skopje, December

cove2020

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2.2.4 Architecture: Use summary schemes Front of the counter zone out of function/storage

telephone booths

counters/telegrams/teletex

entrance hall

Behind of the counter zone parking

administration/offices

vertical connections

kitchen/restaurant/buffet

service rooms

toilets/changing rooms corridor

1979-1981 | Construction

underground level

ground floor level

first floor level 64

2013-today | After the fire and current state

underground level

ground floor level

first floor level 65

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underground floor plan - original

1 2

5 5

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1. 2. 3. 4. 5. 6.

PARKING VERTICAL COMMUNICATIONS HALL RESTAURANT KITCHEN ROOMS AIR CONDITIONING ROOM

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LEGEND 1

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underground floor plan - changes

1. 2. 3. 4. 5.

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PARKING VERTICAL COMMUNICATIONS WAREHOUSE FOR OLD THINGS SERVICES OUT-OF-FUNCTION ROOMS

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LEGEND

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ground floor plan - original

20 9

9 2

LEGEND 23

19 9 22

13 10

11 10

12 6 5

3 14

7 4

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ENTRY FOR OFFICIALS VERTICAL COMMUNICATIONS COUNTER ROOM HALL PHONES ENTRANCE HALL ENTRY TO THE COUNTER ROOM HALL TELEGRAM COUNTERS TELEX TOILETS WARDROBES WOMEN'S WARDROBES CIRCULAR CORRIDOR TICKET/BOX OFFICE/COUNTER WAREHOUSE CONTROLLER EXPEDITION PREPARATION DELIVERY EXPEDITION AND PREPARATION OF SHIPMENTS EQUIPMENT PAPER PACKAGES ORDINARY LETTERS PACKAGES

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1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23.

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ground floor plan - changes

LEGEND EMPLOYEE ENTRANCE VERTICAL COMMUNICATIONS/CORE CIRCULAR CORRIDOR CONCIERGE OUT-OF-FUNCTION ROOMS TOILETS CHAIRMAN OF THE SUPERVISORY BOARD ADVISORS DIRECTOR - MARKETING SECRETARY - MARKETING LEGAL SERVICE ARCHIVE DIRECTOR - IT SECRETARY - IT DIRECTOR - LEGAL AFFAIRS AND HR SECRETARY - HR WAREHOUSE MEETING ROOM FORMER BACKGROUND COUNTERS CLEANING STAFF DIRECTOR - FINANCE SECRETARY - FINANCE OFFICE SERVERS SECURITY TRANSLATORS DRIVERS IN CHARGE OF THE TRADE UNION BUFFET WAREHOUSE BUFFET GENERAL DIRECTOR SECRETARY - GENERAL DIRECTOR CHAIRMAN OF THE CABINET DEPUTY GENERAL SECRETARY - DEPUTY GENERAL DIRECTOR - POSTAL OPERATIONS SECRETARY - POSTAL OPERATIONS CHIEF FOR RECRUITMENT AND EDUCATIONAL AFFAIRS 39. STAFF AND EDUCATIONAL SERVICE

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1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. 36. 37. 38.

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first floor plan - original

9 9

4 5

3 3

LEGEND

11 2 1

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AIR SPACE VERTICAL COMMUNICATIONS ARCHIVE ADMINISTRATION MEETING ROOM MANAGER AUXILIARY MANAGER SECRETARY TOILETS REFERENT TECHNICAL DOCUMENTATION TYPICAL BUREAU

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first floor plan - changes

LEGEND

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AIR SPACE VERTICAL COMMUNICATIONS CIRCULAR CORRIDOR ACCOUNTING QUALITY CONTROL SERVICE TOILETS MANAGER OF FINANCE PLANNING AND ANALYSIS SERVICE DEPARTMENT OF FINANCE ACCOUNTING DEPARTMENT PROCUREMENT SERVICE MEETING OFFICE ADVISORS CUSTODIAN AND COPIER SECURITY SERVICE TRANSLATORS MARKETING DEPARTMENT SECTOR FOR POSTAL EXPLOITATION REVISION CIT

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1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20.

3. EVALUATION 3.1 Tangible/intangible values

As such we can see that this building complex is “good architecture” due to the relation to the context and the way of translating the traditional historical elements that have defined Skopje through the years. The architect suceeds in modernising them and translating their base values within the possibilities that beton brut offers especially in regards to the sculpturality of the facades. But, this is not the only analogy that the complex makes. The circular shape of the Post Office and its “crown” are meant to represent the rebirth of the city of Skopje after the disasterous 1963 earthquake. This top segment of the building’s exterior resembles a blooming flower.

As such we can conclude that in fact the architectural language does not necessarily link itself to one of the styles of the time, but is in fact an original mix of local influences, modern innovation and ideas of the way the space should be perceived and used. This adds towards the value of the building as a segment of the city’s urban fabric as an original element that defines Skopje and the corner and block to which it belongs. This point is further emphasized if we take into account Point 1.5 of the ICOMOS MadridNew Delhi document of 2017, which states: «To understand the contribution of context to the significance of a heritage place or site, its setting should be identified and assessed. Setting includes not only the physical/tangible 54 Jovan Ivanovski, Ana Ivanovska Deskova, Vla-

dimir Deskov, “Biography of an architectural work: Telecommunication Center - Skopje, architect Janko Konstantinov”: Museum of the city of Skopje, Skopje, 2016, page 109

Page 72: Fig. 70: (Janko Konstantinov, Telecommunication Center, Skopje, North Macedonia), Aerial view of the complex, 10.06.2021 © Personal archive, Petar Avramoski, 2021

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Fig. 71: (Janko Konstantinov, Post Office, Skopje, North Macedonia), North-east facade of the Post Office and surrounding buildings, 13.02.2021 © Personal archive, Angela Petrovska, 2021 GF

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53 https://okno.mk/node/34032

55 ICOMOS, APPROACHES TO THE CONSERVATION OF TWENTIETH-‐CENTURY CULTURAL HERITAGE MA-

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«The Telecommunication Center (1974), made with an analogous interpretation of the forms of the fortress located on the opposite bank of the river Vardar. This can be seen from the used cylindrical towers, arched window openings and the rough natural concrete facade. The arcade system on the first and last level is reminiscent of the arches of an adjacent old stone bridge.»53 This was published on the Macedonian website Okno, as part of their 50 years of the renewal and construction of Skopje edition of texts, written by Mihail Tokarev, a famous architectural historian and critic in the country. It is one of the main points of analogy and meaning behind the architectural design and language used for the Telecommunication Center.

environment, but also the relationships and interaction (such as visual, ecological, historic, spatial) between the place or site and its setting. Heritage places may be part of a complex system where the relationships extend beyond the boundaries of individual sites or places»55

If we try to define the architectural language within the confinements of architectural styles, we can look into the following quote from the book “Biography of an architectural work: the Telecommunication Center - Skopje, Architect Janko Konstantinov” by Ivanovski, Ivanovska Deskova and Deskov: «In that sense, in Konstantinov’s counter hall, only through materiality can he make a relation with brutalism; in the richness of shapes, lights and shadows and the visual impressions it carries within it, it is closer to the expressionism of the avant-garde years of the 20th century and the sketches of the “stadtkrone” - an object - a symbol of public character, intended for all.»54

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3.1.1. Architectural language in relation to the existing historical urban fabric and historic events

3.1.2. Connection to the River Vardar and the pedestrian axis following the river bank

reactivation of the building and requalificiation of both its external and external spaces.

The original idea behind the Post Office, and the Telecommunication Center as a whole, was to have adirect pedestrian connection to the river banks and the main city square. Even though this connection has been modified in recent years, we still see the most important segment as flowing outwards. As such we can notice the entrance stairs of the Post Office still have a link towards the pedestrian path linking the square to the public buildings on the river Vardar’s axis. There still exists a possibility today for this link to once again be established, as we must go against what has previously broken it. It is our jobs as architects to once again establish such spatial quality, but without disregarding the current situation, as per Article 6 of the ICOMOS International Charter for the conservation and restoration of monuments and sites (The Venice Charter 1964) which states: «The conservation of a monument implies preserving a setting which is not out of scale. Wherever the traditional setting exists, it must be kept. No new construction, demolition or modification which would alter the relations of mass and colour must be allowed.»56 Some efforts in the form of ideological drawings and plans for restablishing such a link had already been created by the Macedonian team representing the country in the 16th International Architecture Exhibition of the La Bienalle di Venezia 2018 in response to the theme of FreeingSpace. Author Aleksandra Shulevska, along with collaborators Marta Bruschy da Fonseca Galhardo and Lea Bradasevic, with their project Reconnecting, aim to provide this idealistic view of a pedestrian sky connection to the square and one on the ground to the river banks, but it is key to mention that this project has a disregard towards the previously mentioned Venice Charter 1964 Article 6, as we see penetrations through the urban fabric of the Telecommunication Complex and newly added Parking Garage Congress of Solun. Yet we must acknowledge their work towards bringing forward the debate on the topic of reconnection and the DRID – NEW DELHI DOCUMENT 2017, page 4 56 ICOMOS

International Charter for the conservation and restoration of monuments and sites (The Venice Charter 1964), page 2

Fig. 72: (Janko Konstantinov, Telecommunication Center, Skopje, North Macedonia), Aerial view of the complex from the Kale Fortress, 10.06.2021 © Personal archive, Petar Avramoski, 2021

3.1.3. Rich sculpturality and innovative use of materials as an aesthetic value

2017, which states: «The twentieth century was characterised by the introduction of innovative forms, structural solutions, building materials and construction techniques and these should be identified and their significance assessed.»58

In this building, architect Janko Konstantinov pushes the sculptural value that reinforced concrete can have. As Ivanovski, Ivanovska Deskova and Deskov mention in their writings: «A wealth of architectural elements were used in the design of the Counter Hall: curvilinear concrete walls, cylindrical closed segments, large glazed surfaces, sculpturally treated repetitive concrete elements with a decorative character, reinforced concrete ribs that form a ring on which the center dome is laid. The zenithal lighting brings the expression of the exterior into the interior of the space, and the artistic treatment of the building is additionally enhanced through the presence of the wall paintings by Borko Lazeski.»57

58 ICOMOS, APPROACHES TO THE CONSERVATION OF TWENTIETH-‐CENTURY CULTURAL HERITAGE MADRID – NEW DELHI DOCUMENT 2017, page 4

As such this sculpturality is an extension of Konstantinov’s previous architectural work linked to the rebuilding of Skopje after the 1963 earthquake, and presents the highpoint of expresiveness through plasticity. Elements such as the curved entrance portal of the Nikola Karev High School are repeated here but in a shorter curve representing the formal entrance for the Post Office employees. Besides this we can see how his use of a cilindrical element is further decorated through the use of curved mould for the concrete pour so as to obtain higher sculpturality of the wall’s surface. An interesting repetition of design element that is reflecting both on the inside and outside is the oval extended with two side rectangles, that is a boundary of the cubistic frescoes in the interior, but a shape of the tridimensional window framing on the outside. This element can also originally be seen in another variant as the pattern on the Medical High School Konstantinov designed, but solely as an imprint on the classroom terraces as seen from the outside. To further accentuate this topic as a strong point towards the acknowledgement of the quality of the assessed building, we may relate to point 1.4 of the ICOMOS Madrid-New Delhi document of PRODUCED BY AN AUTODESK STUDENT VERSION

57 Jovan Ivanovski, Ana Ivanovska Deskova, VlaPRODUCED BY AN AUTODESK STUDENT VERSION

Fig. 73: (Janko Konstantinov, Post Office, Skopje, North Macedonia), South-west facade and employee entrance, 13.02.2021, perspective is from the parking lot for the employees © Personal archive, Angela Petrovska, 2021 GF

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dimir Deskov, “Biography of an architectural work: Telecommunication Center - Skopje, architect Janko Konstantinov”: Museum of the city of Skopje, Skopje, 2016, pages 107 and 109

3.1.4. Skylights as architectural value The interior space, especially of the main 2 rotondas of the Telephone and Counter Hall heavily rely on the natural overhead lighting coming from the skylight ribs and the cupola. Besides this even some of the top office spaces rely on skylight openings. The disposition of the skylight disperses soft light through the space when encapsulated with a roof covering. Currently due to the loss of the covering of the cupola and skylight ribs the light is more direct inside the space.

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Fig. 74: Skylights in the Main Counter Hall, 2020, No roof covering is present as it was lost during the fire in 2013 © Official photographer for the City of Skopje, December 2020

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3.1.5. Social value as local monument / spatial marker Due to it’s characteristic position within the city’s urban fabric and the Small Ring, the Post Office has become a marker for locals. As such it holds significance in spatial orientation, to the point of the close-by bus stop bearing its name. The name is key for orienteering within the city fabric, especially when moving throught the city center.

Fig. 75: Close by bus stop named after the Post Office, 10.06.2021 © Personal archive, Angela Petrovska, 2021

3.1.6. Administrative value The disposition allows for the former function of the Post Office to be of central value to the living habits of the locals. With the expressivity of the building’s shape the importance is highlighted as oftentimes such an object is put on the sidelines or the function is implemented within a building with other uses.

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Fig. 76: (Janko Konstantinov, Telecommunication Center, Skopje, North Macedonia), North facade segment of the Post Office with the sign of the Post Office attached to it, 10.06.2021 © Personal archive, Angela Petrovska, 2021 PRODUCED BY AN AUTODESK STUDENT VERSION

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3.2 Problematic issues

3.2.1. Change of the urban context - Ohrid Bank building addition The first change in the architectural composition and urban context surrounding the Telecommunication Center came is the building of the former Marketing Center for Macedonian Telecom (current function: Ohrid Bank). The building was built in the time period between 1997 and 1999 and is positioned on the west border of the block. In 2019 an extra floor was added to the building, which is unrecognisable in the facade as it is a continuation of the curtain wall.

Telecommunication Center, its current one does not, at least in the tighter context. But, if we look at this whole zone of the city, on the north-west from the main square Macedonia, we can see how it is the closest Skopje comes to a bank district. Most of the buildings on the south of the one in question are in fact linked in their functionbank headquarters.

Compositionally, the building filled up the empty zone next to the residential building, and with that changed the whole area. One of the ramps for cars now goes around its perimeter, filling in the space in this newly defined corner. With that the idea of the south-west facade of the Telecom building is broken: the ramp now goes to the level of the offices, allowing the normal passer-by to see into the offices and their terraces. Besides this it also blocks sunlight from entering the previously mentioned building, due to its height (around 19 meters). Stylistically, the building fits into the contemporary style of the time, with a curtain wall facade that in this location reflects the surroundings. WIth that if one visits the back of the Ohrid Bank building, he/she can notice the dismorphed reflection of the Telecom building. Besides this the large entrance portal, defined by a grey panel frame distinguishes the building even more from the composition of the block to which it belongs. The strong cubic geometry also is a large difference from the fluent, curved, filleted edges of the whole complex of the Telecommunication Center. The only similar form to this is the residential building which, as previously mentioned, can be dated back to before 1963. Even though the original function of this building fit within the block and context of a

Fig. 77: Ohrid Bank building ath the corner of the block, 10.06.2021 © Personal archive, Angela Petrovska, 2021

3.2.2. Change of the urban context - parking garage addition and loss of the public square The plaza/square that was the main entering point for the Post Office and presented an open public space for the citizens was made into a building site in 2010. Due to the ideas presented and planned with the Skopje 2014 project, this position was taken as a point where a new parking garage should be positioned even though the space was particularly small. The construction of the parking garage “Congress of Solun” began in 2011, and it was officially opened on 08.09.2014. As such it is the first automatised parking garage, further on proving the point that the given plot for this function was too small for this building typology. Besides this the building boasts a restaurant on the rooftop, and one on the groundfloor which has closed in 2019. The garage encloses the access to the main stairs of the Post Office making them seem secondary to the form and breaks the clear ideology of the city promenade next to the river Vardar spree, which if taken previously would have the monumental stairs opening up towards the river front and the now-lost piazza. Due to this upon approaching the stairs we get a view of the “architecturally neglected side” of the above-mentioned parking garage, with its ventilation segments and blind wall. The space between the two buildings in question remains to be littered and badly lit (naturally) due to the height of the new addition. Besides this, at 29 meters tall, the parking garage disturbs the view from the Telecom building’s offices towards the river and the Fortress Kale, the two main landmarks of the city. The architectural language of the building is a weak effort at mimicking the beton brut of the surroundings but through a grey color of the facade and its decorative arches of the ground floor. In conclusion, with the obsolence of the plaza, the concept of the public space flowing inwards into the Post Office building is lost and the whole idea of the architectural composition of the Telecommunication center is broken.

Fig. 78: (Janko Konstantinov, Telecommunication Center, Skopje, North Macedonia), Aerial view of the complex from the building of the Government of the Republic of North Macedonia, 10.06.2021 © Personal archive, Petar Avramoski, 2021

3.2.3. Change of the urban context - Skopje 2014 buildings addition With the Skopje 2014 project the city centre became a construction site, where all voids/ open green spaces were transformed into building plots. Even through extensive research the function of many of the buildings promoted in 2010, which are still in 2021 under construction is unknown. As such on this segment I will identify the whole complex of buildings add to the south east side of the Telecommunication Center as problems. They are all disrupting the link through open green spaces between the Telecommunication Center and the main square of Skopje. With that also all the south-eastern facades of the included buildings within the complex are blocked from direct sunlight and at many places windows now face blind walls of these new constructions. An additional issue and problem was the loss of these green spaces and the cut of all the trees in this segment of the urban city fabric, leaving the center to become a “concrete jungle”. Stylistically, through what had been presented to the public in 2010, these new building will of course not fit the context of the Telecommunication Center, as they will be donned with “quasi neoclassical / quasi baroque facades” indifferent to the time of construction, only bearing resemblence to a past that the city has never had. All in all, under this list I clacify the following additions: • boat in the Vardar River, north-east of the MEPSO building • building on the corner between the Telecom and MEPSO buildings (future function is still unknown) • new building for the City of Skopje officials, under the shape of the former Officer Home • building south-east of the first abovementioned and south of the one of the City of Skopje (future function is still unknown) The last two will not be considered as much in the following work as they are not in the exact block of my case study. Fig. 79: New building on the corner between the Telecom and MEPSO buildings, 05.04.2017, The building in question is now hiding facades of both of the buildings mentioned ©Vidana Boshkova Micevska, Да Прашам. ДАЛИ СТЕ НОРМАЛНИ?, April 5, 2017, Twitter, April 5, 2017, https://twitter.com/VidanaDeSign/status/849589448878825472.

3.2.4. Change of the urban context - new facade of the MEPSO building The ideology behind the Skopje 2014 project had in mind also the change of the facades of many buildings within the Small Ring of the city, to new “energy efficient, quasi neoclassical / quasi baroque” styrofoam coated ones. Within that concept, the facade of one of the buildings within the Telecommunication Center was changed.

In addition to this, the so-called energy efficiency that the new facade was supposed to bring also proved to be a problem. «You can see for yourself how good the work was. They made an energy efficient building, and for 6 months we could not turn off the electricity and our bills are 40% higher. - said Shukleva.»60

Although, not part of the work of Janko Konstantinov, but done by his replacement in the company - Zoran Shtaklev, the MEPSO building originally fit perfectly within the context of the complex and translated the same ideas of shape and facade treatment. With the facade change, the pillars on the perimeter became adorned with large styrofoam decoration, new fake pillars were added and the glass curtain wall was also covered partially in styrofoam. Currently, at least on the outside the building fits better within the context of its new surroundings instead of the old ones. Besides stylistically changing the look of the building, the new facade decorations have proven to be dangerous as well due to the low quality of their making. On the 27th of February, 2020, due to strong winds of around 70km/h that blew in Skopje, segments of the styrofoam of the facade came down on the private parking of the MEPSO building which is within its courtyard. «The facade on one side of the building in the part where the official parking lot is located has been torn off. Pieces of styrofoam hang and can fall at any moment, air conditioners are uprooted and vehicles damaged. The Ministry of Interior made a report, damage assessments are being made. We are doing a complete audit of the building to see what has not been done. Once the analysis of the Civil Engineering Institute is completed, we will know if we will change the entire facade.»59 said Eva Shukleva, director of the electrical company MEPSO.

59 Antevska, A. “ГРАДЕЖНИОТ ИНСТИТУТ ЌЕ ПРАВИ ПРОЦЕНКА НА ФАСАДАТА НА МЕПСО ШТО ЈА ОТКОРНА ВЕТЕР ЗА ШТО „БЕТОН ШТИП’ НАПЛАТИЛ 11 МИЛИОНИ ЕВРА.” Сакам Да Кажам, February 27, 2020. https://sdk.mk/index.php/dopisna-mrezha/gradezhniot-institut-ke-pravi-protsenka-na-fasadata-na-mepsoshto-ja-otkorna-veter-za-shto-beton-shtip-naplatil-11-milioni-evra/.

60 Antevska, A. “ГРАДЕЖНИОТ ИНСТИТУТ ЌЕ ПРАВИ ПРОЦЕНКА НА ФАСАДАТА НА МЕПСО ШТО ЈА ОТКОРНА ВЕТЕР ЗА ШТО „БЕТОН ШТИП’ НАПЛАТИЛ 11 МИЛИОНИ ЕВРА.” Сакам Да Кажам, February 27, 2020. https://sdk.mk/index.php/dopisna-mrezha/gradezhniot-institut-ke-pravi-protsenka-na-fasadata-na-mepsoshto-ja-otkorna-veter-za-shto-beton-shtip-naplatil-11-milioni-evra/.

Fig. 80: Info,

Change May

the facade of the 10, 2016,

MEPSO building, 2016 © / build, May 10, 2016, Skopje https://skopjeinfo.mk/zgradata-na-mepso-dobiva-antichki-stolbovi-foto.

3.2.5. Public space and accessibility - Stairs which lead to a blind wall With the change of the public space came the obsolescence of the entrance stairs and their direcction. As seen in the photograph, the main stairs lead towards the facade of the parking garage. Additionally the access does not hold a ramp, so the space is not open for all users. The only ramp in the close proximity is in fact as part of the parking garage complex and leads solely to the lowest level of the terrain in front of the above-mentioned entrance stairs.

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Fig. 81: (Janko Konstantinov, Telecommunication Center, Skopje, North Macedonia), Perspective from the entrance of the Post Office towards the blind wall of the parking garage, 10.06.2021 © Personal archive, Angela Petrovska, 2021

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3.2.16. Use - Obsolescence of the front of the counter functions With the modernisation of the postal system and the new mode of package delivery up to the resident’s door, many of the uses that were housed within the building have become obsolete. This applies especially to the telegram and telephone hall segments, 2 uses which due to technological advancements have become obsolete. But also even hand-written letters have become practically obsolete due to the use of e-mail and social media communication, as well as cellphones. As such Post Offices in North Macedonia are solely used for paying bills, mostly by the elderly, or for paying school fees by students as the system of paayment slips (уплатници) is still used.

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Fig. 82: (Janko Konstantinov, Post Office, Skopje, North Macedonia), East facade and visitors entrance, 13.02.2021. © Personal archive, Angela Petrovska, 2021

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3.2.15. Layout - Change of interior partitions 3 9

1 13 2 x 3 x1 1 6

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first floor level

within

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Besides this the original entrance symmetry [resented by the small Telephone Hall rotonda versus the letter segment of the hall is lost with the enclosure of the second.

влез за службени лица

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As such, natural lighting in many segments of the building is questionable and many rooms remain unused or under-used.

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The interior changes which have been noted in the segment regarding the History and Space and Use chapters of the book are one of the main issues. Although the main front of the counter spaces were the least modified, we see a different disposition of offices and corridor use.

3 1

Petrovska

3.1.14 Concrete - Air conditioning (AC) systems on the facade Use of an outdated AC system which requires the cooling boxes to be put on the facade instead of a centralised system which would be hidden within the confounds of the building itself. Especially problematic, as in the original layout the underground floor had a dedicated room for the air condioning.

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Fig. 84: South west facade of the Post Office and the AC systems spread around the walls wherever possible, 10.06.2021, Missing top row of windows of the Entrance Hall (on the left) and broken window of the Telephone Hall (on the top right) © Personal archive, Angela Petrovska, 2021

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3.2.5. Concrete - Surface damage - Soot residue on the interior walls and ceiling The fire which occured inside the post office in 2013 has left the walls charcoaled and damaged. The original white paint of the walls has been lost, and the walls are stripped of their protective coating. The smoke and fire damages have been left untreated for 8 years. The black smoke marks are most prominent in the Counter Room, but they are also seen in the entrance hall and the Telephone Hall. The whole ceiling in the entrance hall is currently black and segments from the top paint coat have peeled off from time. In the photo on the right side we can see that most prominently, as what is shown is the portal between the entrance hall (second plan) and the Counter Room (front plan). «I can say that from the Post Office building around 70% is working normally. The only thing not functioning as intended is the Counter and Telephone Rooms which have been left untouched since the fire happened. It still smells like fire/burnt there and I have a few photos from there. The thing is the counter room is main cool and brutalist look/part of the whole building.» said Martin Dimitrijev (Borec), a light designer who in February 2021 had created a light installation within the Post Office and had the chance to enter the building.61

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61 Petrovska, Angela, and Martin Dimitrijev. Instagram chat informal discussion. Other, n.d. Accessed March 0, 2021.

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Fig. 85: Look towards the Entrance Hall from the Counter Room, 2020, Damaged walls and ceiling with black smoke marks © Official photographer for the City of Skopje, December 2020

3.2.10. Concrete - Structural / mechanical damage - Loss of layers of the interior walls Another problem caused due to the previously mentioned 2013 fire is the loss of final protective layers of the walls, and their current exposition of the interior layers. The hidden installations inside these segments of the Counter Room are now exposed and can be seen from the interior, as well as the damaged isolation layers. With that we can speculate that the fire resistance of the walls has fallen down, or been obliterated. The fact that this problem has been left untreated for 8 years has furthered the decay of the wall layers and most likely of the installations inside them as well. The fire has also damagedd the steel framing that held the final wall layers, as can be seen on the photo on the right side on this page.

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Fig. 86: Wall segment in the Counter Room, 2020, Damaged walls and exposed internal layers, damaged isolation layers, exposed installations, damaged steel framing © Official photographer for the City of Skopje, GF December 2020

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3.2.7. Concrete - Surface damage - Loss of the cubistic frescoes due to fire The interior of the Counter Room had priceless cubistic frescoes, the only one of their kind in North Macedonia, done by academic painter Borko Lazeski. The frescoes were done in acrylics. << Five large Cubist frescoes with motifs from the People’s Liberation Struggle in Macedonia, created in 1981, were destroyed. Borko Laseski’s frescoes on an area of more than 200 square meters were placed on the walls of the main hall of the main post office.>>62 The frescoes were done in the oval spaces on the walls, of which now only the oval outline remains. Efforts had been put in from the artists’ family for a restoration of the frescoes, but so far no move has been put forwards on the actual realisation of such an idea. When further looking into a solution for this problem of the obsolence, one must also take into consideration point 9.1 of the the ICOMOS Madrid-New Delhi document of 2017, which states: «Reconstruction of entirely lost heritage places or of their important elements is not an action of conservation and is not recommended. However, limited reconstruction, if supported by documentation, may contribute to the integrity and/or understanding of a cultural heritage place or site.»63 As such any future work must go in between the balance of respecting the wishes of the family of the author and the articles within this above-mentioned Charter which is a great base upon which future projects may be done.

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63 ICOMOS, APPROACHES TO THE CONSERVATION OF TWENTIETH-‐CENTURY CULTURAL HERITAGE MADRID – NEW DELHI DOCUMENT 2017, page 9

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62A. D., “Вредни Кубистички Фрески На Борко Лазески Се Уништени Во Пожарот Во Поштата,” МКД.мк, January 17, 2013, https://www.mkd.mk/90991/crna-hronika/ vredni-kubisticki-freski-na-borko-lazeski-se-unisteni-vo-pozarot-vo-postata.

Fig. 87: Interior view of the Counter Room, 2020, Leftover oval shapes on the walls whete the cubistic frescoes by Borko Lazeski used to stand © Official photographer for the City of Skopje, December 2020

3.2.6. Concrete - Surface damage - Wall damage in the Telephone Hall sue to the fire and the further abandonement When looking at the current state of the Telephone Hall, we can notice how the last layer of paint was as not damaged as in the other halls/rooms, but it still bears smoke marks, as well as some marks of water leakeage from the roof. Besides this on the spaces where furniture was removed due to the fire damage, we can notice the previous paint coats. In general due to abandonement, the interior walls are badly kept, with spider webs spreading at places. It is key to mention that some of the installations are left exposed or are in places detached from the walls, as we can see in the bottom left corner on the photograph on the right side of the page, where the heating elements’ pipes seem to be dangerously detached. Due to the abandonement, this can cause further problems due to the fall of the heating system which runs on water, and thus a possible flood or even worse damage of the Hall can be done even if the heating is turned off.

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Fig. 88: The wall damage inside the Telephone Hall, 11.12.2020, Exposed installations, wall paint peeling, smoke marks on the walls of the Telephone Hall © Dragan Mitreski, Sloboden Pechat, 11.12.2020, https://www.slobodenpecat.mk/galerija-makedonska-poshta-nekogash-dostojna-za-moma-denes-na-listata-na-12-najzagrozeni-spomeniczi-vo-evropa/

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3.2.8. Marble / Stone - Surface damage - Dirt covered floor in the Telephone and Entrance Halls Currently the state of the Telephone and Entrance Halls is such that we can see that the flooring is covered with a thick layer of dirt and dust. One can easily guess that this is due to the abandonement of these two halls and the entering of natural elements within them through the missing roof in the Counter Hall as well as some broken windows. The damage can probably be reversed, even though some bird droppings might have caused discoloration of the original flooring, which looking at the pictures is most likely to be marble tiling like in the Counter Room.

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Fig. 89: Dirty flooring in the Telephone Hall, 2020, Dirt, bird feathers and soil cover the original marble flooring © Official photographer for the City of Skopje, December 2020

3.2.11. Marble / Stone - Structural / mechanical damage - Floor tiles that have breaks, cracks and missing parts The original marble tile flooring in the Counter Room was firstly damaged by the fire, and afterwards, due to the ruined roof, rain, snow and other natural elements had continued the process of decay of the floor. Currently some of the tiles are broken, other missing, while those left in their places have dirt coverings and small fire marks. This condition of disrepair comes due to the neglect and abandonement of this segment of the building, causing this precious material to be destroyed beyond possibility for repair.

Fig. ne

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90: Aerial view through the missing cupola ring into the Counter Hall with the damaged flooring tiles, 2020, Many of the marble/stotiles are missing, there are also broken tiles and some of the dirty tiles are covered in soil © Petar Avramovski, Personal archive, 10 June 2020

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3.2.15. Marble / Stone - Vegetation The original marble tile flooring in the Counter Room was firstly damaged by the fire, and afterwards, due to the ruined roof, rain, snow and other natural elements had continued the process of decay of the floor. Currently in most of the floor we have plants growing out in the places where tiles are missing. This condition of disrepair comes due to the neglect and abandonement of this segment of the building, causing this precious material to be destroyed beyond possibility for repair. It seems as though the vegetation will uncontrolably spread if not addressed soon enough.

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Fig. 91: Damaged flooring in the Counter Room, 2020, Plants growing from where the marble tiles are missing, broken tiles, dirty tiles covered in soil © Official photographer for the City of Skopje, December 2020

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3.2.12. Glass - Structural / mechanical damage - Loss of the roof cover The original dome covering of the Counter Room and the arched roof strips that used to be the roof cover of the building were permamently destroyed in the fire in 2013. None of the metal framing of these glass roof coverings remains. Currently that leaves the space inside to be directly affected by natural elements, and is as well a cause for interior water leaks within a few of the offices on the perimeter of the Counter Room. «The main Counter Room and Telephone Hall are closed/abandoned alongside a few offices next to them. Everything else in the building is functioning. There are offices next to the counter room whose workers complain that there is leakeage when it rains because there is no roof over the counter room.» said Erina Bogoeva, a photographer who in 2020 had done a photographic project inside the two damaged rooms and had the chance to speak to some of the workers who still occupy offices within the Post Office.64

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64 Petrovska, Angela, and Erina Bogoeva. Instagram chat informal discussion. Other, n.d. Accessed March 2021.

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Fig. 92: Missing roof and dome in the Counter Room, February 2021, View from the top of the roof looking into the ribs where the glass roof cover was and the dome as well © Personal archive, Martin Dimitrijev (Borec), February 2021

3.1.13. Glass - Structural / mechanical damage - Damaged and broken windows Due to the fire, but also possibly due to neglect, the Entrance Hall and Telephone Hall have some of the top windows missing or have windows which are broken. This allows for the natural elements to reach within the two halls and thus cause even mmore damage and decay to the interiors of the building. It is important to mention that the windows which are not broken or missing have still faced some decay either due to fire (Entrance Hall windows are blacked up from the smoke) or due to neglect. However they are still standing and create a barrier so that no one can enter these previously front-office segments of the Post Office.

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Fig. 93: East facade of the Post Office and the main entrance of it,13.02.2021, Missing top row of windows of the Entrance Hall (on the left) and broken window of the Telephone Hall (on the top right) © Angela Petrovska, 13.02.2021

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3.1.14 Furnishings - Structural / mechanical damage - Damaged original furniture which can be repaired/restored Within the Telephone and Entrance Hall we can still notice original furniture and furnishings which most likely date back from when the building was opened. Starting from the lighting system of the Entrance Hall, we have a very typical lighting fixture designed in Yugoslavia, which I have noted was also used in the Sava Centar in Belgrade, designed by an architectural team lead by Stojan Maksimović, opened in 1977. This building is a contemporary of the Post Office and we can find many common design furnishings and furnitures linking both through the milleau of Yugoslavian design. In this zone the counters also exist, and have had some minor damage due to abandonment. We can suppose that there is a possibility of restoration as they do not seem to be very damaged by the fire. In the Telephone Hall, we have the original lighting fixture and seating arrangements still existing and need of minor repair or restoration. The Lighting pole is missing 3 balls from the top. The counters are more damaged and seem to have fallen in greater despair ue to the abandonement. Currently spider webs are all over this furniture and furnishings, and a discoloration has most likely occured. To support this point we may look into point 9.1 the ICOMOS Madrid-New Delhi document of 2017, which states: «Significant elements must be repaired or restored, rather than reconstructed...»65 As such, respecting the authenticity of these furnishings and furniture is a must in later work, as we have segments like these which have been saved and salvaged even though a tragic fire had occured inside the building in question.

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65 ICOMOS, APPROACHES TO THE CONSERVATION OF TWENTIETH-‐CENTURY CULTURAL HERITAGE MADRID – NEW DELHI DOCUMENT 2017, page 9

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Fig. 94: Current look of the Entrance ly damaged by fire and abandonment with

Hall, 2020, possibility of

The Yugoslavian design lighting repair © Official photographer

fixture and for the City

desks remain, only of Skopje, December

slight2020

3.2.9. Furnishings - Surface damage - Part of the original furniture and furnishings were thrown away due to fire damage Three days after the fire the damages, on 18.01.2013, office furniture and burnt out technical equipment was disposed off. With that many of the original furnishings, of which some could probably be dated back to the time in which the Post Office was opened, were lost. This furniture, and furnishings, were mainly part of the Counter Room, as in the Telephone Hall and Entrance Hall there are still some remaining, as we shall discuss in the following point.

Fig. 95: Workers throwing out damaged furniture in front of the Post Office, 18.01.2013, Furniture, electronic equipemnt and furnishings that were damaged in the fire are forming a pile of garbage that was disposed off three days after the fire occured © / /, January 18, 2013, МКД, January 18, 2013, https://www.mkd.mk/91229/foto-video-galerija/se-cistat-crnilata-vo-izgorenata-posta?pid=6475&amp;page=24#1. PRODUCED BY AN AUTODESK STUDENT VERSION

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4. CONSERVATION PROJECT 4.1 Possible scenarios

Scenario 1 Leave as ruin

Visualisation of the scenario

Type of possible scenario

amount of changes to the environment

Scenario 2 Leave as ruin but knock down Skopje2014 buildings in the block

Scenario3 Renovate only the Post Office

Scenario 4 Renovate the Post Office and knock down Skopje2014 buildings in the block

Scenarion5 Demolish the Post Office

4.1.1 Leave as ruin One of the possibilities is embracing the ruin characteristc of the building, leaving it as memory of the event of the fire. With that we as architects do nothing in the architectural sense. There are possibilities though on the social scale of work, which underlines education of the public. With that I see 3 possible outcomes of such a choice, based on what has been previously done in Skopje in similar situations. 5. The building would be left fully abandoned with no control of who can enter, thus due to its location it would be massively visited and most likely used for impromptu video shoots and photo shoots. Soon enough the authorities would see the potential of the central location and decide to knock down the building and build something else, most likely of residential function. (Factory Kuprom) 6. The building would be left fully abandoned with some control through fences of who can enter, thus due to its location it would be visited by scavangers and few creatives continueing to trash the place. Soon enough the authorities or owners may take into advantage of the position, but embracing the building’s history would renovate/restore it through a public call. (Sport Hall Partizan) 7. The building would be turned into a museum and its architectural contents and fire traces would deliver a permament exhibition on the event. Possibly would be used for short-term events such as exhibitions, fashion week catwalks, award ceremonies... Even though flexibly used, it would be rarely visited. (Museum of the City of Skopje- former Railway Station)

•

the setting, we are follwoing the advice of ICOMOS concerning the conservation of the original setting, disregarding the time of the construction of some of the objects. As critiques of the space, we can wonder whether these buildings which were not originally envisioned within the composition should be concerned as traditional setting, but it is better to not create grey zones within this Article, which is why I shall not disregard them from the mention. The Nara document on authenticity 1964, point 8: «...Responsibility for cultural heritage and the management of it belongs, in the first place, to the cultural community that has generated it, and subsequently to that which cares for it... »67 With the idea of leaving the building as ruin, part of the choice defies the idea in the Nara document, as we are intentionally deciding not to maintain the building and take an active responsibility

Charters on conservation in relation to this scenario proposition: • The Venice Charter 1964, Article 6: «The conservation of a monument implies preserving a setting which is not out of scale. Wherever the traditional setting exists, it must be kept. No new construction, demolition or modification which would alter the relations of mass and colour must be allowed.»66 Under this charter, with such a choice to not change

66 ICOMOS International Charter for the conservation and restoration of monuments and sites (The Venice Charter 1964), page 2 100

67 United Nations educational, cultural and scientific organization, Nara Document on Authenticity, Report of the Experts Meeting, November 1994, page 3

4.1.2 Leave as ruin but knock Skopje2014 buildings in the block

down

The Post Office,, and the whole Telecommunication Center, were meant to have direct contact with one another and the close surrounding. As such the buildings from the Skopje 2014 project are seen as disruptors of this flow. By demolishing the buildings we would once again create a cohesion between the buildings of the Center and the environment.

of mass and colour must be allowed.»68 In this case we would be finding a grey area within the article and going against our job as architects, which is to respect the charters put in place in the past.

Yet, this would not cover the re-establishing of the direct link of the Center and the City Square. With no other modifications and leaving the Post Office as ruin, a possibility remains that alongside the Post the whole context surrounding it would remain abandoned. The chance that the freed space remains unused is big, and thus would likely spark interests in the authorities to possibly knock down the Post Office and utilize a now-wider plot for future construction. With this scenario I propose for the Post Office to functionally remain as it currently is, with only the offices inside remaining active and the rest of the space to not undertake a new function. As such the possibility for the newly freed space to not be activated and proactively used by citizens is even bigger as there would be no programme drawing them in towards accessing it and utilizing it as intended. Instead it may be wrongfully used and as such present an even bigger threat towards the Post Office, as the current employees would feel unsafe in the close proximity of their work place. There is also a small possibility of the previously mentioned emptied space being used properly and proactively, with the Post as a crowning element of the small piazza, but that would largely depend on how the building would be managed as remaining ruin. Charters on conservation in relation to this scenario proposition: • The Venice Charter 1964, Article 6: «The conservation of a monument implies preserving a setting which is not out of scale. Wherever the traditional setting exists, it must be kept. No new construction, demolition or modification which would alter the relations 68 ICOMOS International Charter for the conservation and restoration of monuments and sites (The Venice Charter 1964), page 2 101

4.1.3 Renovate only the Post Office As the main damaged element we can see the renovation of the Post Office as a return to a more normal state of the block. As such, architecturally the interiors would mostly be adressed, with the only exteior change being the return of the missing dome and roof elements in the Counter Hall. There are many possibilities for renovations inside, but they depend largely on the function that would be added inside the now-unused spaces. Depending on the function we can imagine a few possible outcomes: 1. Post Office - returning the original function of the ruined space. A key note is that some of the original programme is now obsolete, such as the need for a telephone room and a telegram counter. subsequently, this large building may end up hosting only a small amount of visitors ending up as an economic problem for the maintenance of it. 2. Cultural functions - giving the building a cultural function would largely disrupt the disposition of programme through the block. As such the building may end up being confusing within its contect function-wise. Yet, this is the main goal of the current stakeholders and owners and the one most likely to be realised, even though the exact programme is nowhere to be mentioned. It is possible though to find a more public function within this realm, that could generate suffiecient revenue for the proper maintenance and economic efficiency of the building. 3. Hospitality - as a building with a key spatial disposition, this would underline a full use of the space if interested tourists appear in the city. Yet, in close proximity we find more than 3 hotels which means the building hosting a function related to hospitality may end up economically not viable as an option. Charters on conservation in relation to this scenario proposition: • The Venice Charter 1964, Article 5: «The conservation of monuments is always facilitated by making use of them for some socially useful purpose. Such use is therefore desirable but it must not change the lay-out or decoration of the building. It is within these limits only that modifications demanded by a change of function should be envisaged

102

•

and may be permitted.»69 As such the idea of a cultural function implemented within the building in question seems as the most supported, mainly because it would underline the least amount of changes. Although, as designers we must keep in mind the current active program within the building and not take away the function and workspaces already active. The Venice Charter 1964, Article 9: «The process of restoration is a highly specialized operation. Its aim is to preserve and reveal the aesthetic and historic value of the monument and is based on respect for original material and authentic documents. It must stop at the point where conjecture begins, and in this case moreover any extra work which is indispensable must be distinct from the architectural composition and must bear a contemporary stamp. The restoration in any case must be preceded and followed by an archaeological and historical study of the monument.»70 Following this charter, work should aim to just highlight the qualities the building originally had and restore it to a functional format. The Venice Charter 1964, Article 11: «The valid contributions of all periods to the building of a monument must be respected, since unity of style is not the aim of a restoration. ...Evaluation of the importance of the elements involved and the decision as to what may be destroyed cannot rest solely on the individual in charge of the work.»71 Following this, we must be careful when looking into removing the soot residues as they do form a part of the historical value of the interior. It is this charter article that in a way underlines that even the added buildings in the close proximity should be left, as they are contributions of various time periods, no matter if they do not present a unified stylistic compositional significance. The Venice Charter 1964, Article 12: «Replacements of missing parts must integrate harmoniously with the whole, but

69 ICOMOS International Charter for the conservation and restoration of monuments and sites (The Venice Charter 1964), page 2 70 as previous 71 ICOMOS International Charter for the conservation and restoration of monuments and sites (The Venice Charter 1964), page 3

•

• •

at the same time must be distinguishable from the original so that restoration does not falsify the artistic or historic evidence.>>72 Accordingly, when thinking about renovating the interior we must be careful with replacing missing wall layers, frescoes, furnishings... The Madrid - New Delhi document 2017, 6.1: «Adopt a cautious approach to change.»73 This charter will be taken into consideration the most upon detailing the design approach. The Madrid - New Delhi document 2017, 7.1: «Additions need to respect the cultural significance of the heritage place or site.»74 The Madrid - New Delhi document 2017, 9: «Interventions should enhance and sustain cultural significance.»75

72 ICOMOS International Charter for the conservation and restoration of monuments and sites (The Venice Charter 1964), page 3 73 ICOMOS, APPROACHES TO THE CONSERVATION OF TWENTIETH-‐CENTURY CULTURAL HERITAGE MADRID – NEW DELHI DOCUMENT 2017, page 8 74 ICOMOS, APPROACHES TO THE CONSERVATION OF TWENTIETH-‐CENTURY CULTURAL HERITAGE MADRID – NEW DELHI DOCUMENT 2017, page 8 75 ICOMOS, APPROACHES TO THE CONSERVATION OF TWENTIETH-‐CENTURY CULTURAL HERITAGE MADRID – NEW DELHI DOCUMENT 2017, page 8 103

4.1.4 Renovate the Post Office and knock down Skopje2014 buildings in the block As we have previously mentioned it is difficult to put aside the contecxt of the surrounding s when discussing the design of the Post Office. So in this scenario we image a combination of the outcomes of the previous 2 scenarios- we renovate the Post Office to its former look and we knock down the added buildings from the Skopje 2014 project in its close proximity. In this way there is a larger chance that the freed space would end up being used by citizens and the possibility of the Post Office to fully be embraced once again into everyday life. It is important to mention that the use of this space would largely depend on the function of the Post and whether it would return to the original one or embody a new one. It is my personal judgement that a more public and cultural function would be better suited in this case, so the use can flow outwards into the public space. Additions could be discussed in this scenario, but it is of my interest to keep them to a bare minimum, and solely as supporters of the functional needs. Charters on conservation in relation to this scenario proposition: All of the Charters mentioned in Subchapter 4.3 apply to this one as well, with the exception that the following one can be interpreted in another way: • The Venice Charter 1964, Article 11: «The valid contributions of all periods to the building of a monument must be respected, since unity of style is not the aim of a restoration. ...Evaluation of the importance of the elements involved and the decision as to what may be destroyed cannot rest solely on the individual in charge of the work.»76 It is this Charter article that makes an internal debate whether the compositional additions in close proximity to the Post Office should be considered as valid. This comes in especially as these additions are not ones direct to the Post Office, but to the block in which it is set

76 ICOMOS International Charter for the conservation and restoration of monuments and sites (The Venice Charter 1964), page 3 104

in place.

4.1.5 Demolish the Post Office Since the context has changed almost beyond recognition, somehow we might perceive that this scenario is the most logical one in some people’s mind. But, if we do realise it, we would become like the officials who we criticized so much in the first segments of this paper. A remarkable edition of post-earthquake Skopje would be lost, and any new possible changes of the urban fabric could end up disrupting the image and functioning of the city even more. Charters on conservation in relation to this scenario proposition: • The Nara document on authenticity 1964, point 8: «It is important to underline a fundamental principle of UNESCO, to the effect that the cultural hertitage of each is the cultural heritage of all. Responsibility for cultural heritage and the management of it belongs, in the first place, to the cultural community that has generated it, and subsequently to that which cares for it. However in addition to these responsibilites, adherence to the international charters and conventions developed for conservation of cultural heritage also obliges considerations of the principles and responsibilities flowing from them. Balancing their own requirements with those of other cultural communities is, for each community, highly desirable, provided achieving this balance does not undermine their fundamental cultural value.»77 With the idea of demolishing the building we are going against the main purpose of this document, we are ruining the cultural heritage itself. As such this document just further proves that this scenario is one we should never consider as the answer to our issues regarding heritage.

77 United Nations educational, cultural and scientific organization, Nara Document on Authenticity, Report of the Experts Meeting, November 1994, page 3 105

4.2 References 4.2.1 Piazza San Nazaro in Brolo, Umberto Riva, Milano, 1989 - 1992 The terrain inclination, acting as a hidden ramp within the square that serves the church entrance is to be referenced in a more drastic manner within my design project. The need for stairs is abolished, and this subtle type of intervention provides both access for all and fits well within the square’s design. 4.2.2 Conversion of the “Friedrichstrasse Imperial Railway Bunker” by Karl Bonatz under the supervision of Albert Speer into a contemporary art museum building of the Boros Collection, 2003-2007

annualy promote emerging international and local light artists through the use of various locations around the city. Oftentimes historically valuable buildings are chosen as a base for the installations highlighting their importance. An international competition is held especially for the facade of the MCM building next to the city park, with all artists receiving the architectural base of the fasade and given the opportunity to have their work interact with it. The Festival is looked up as reference for the interior of the Post Office’s Main Counter Hall, where the ovals where the cubistic frescoes by Lazeski were can be used as projection bases, alternating between new emerging light artists’ work and the images of the lost frescoes.

Fig. 96: (Piazza San Nazaro in Brolo, Umberto Riva, Milano, 1989 - 1992), Archival drawing of plan and section of the Piazza. © Francesca Coden, Piazza San Nazaro in Brolo, Umberto Riva, Milano, 1989 - 1992, Novembre 2013, January 3, 2014, Tumblr, January 3, 2014, https://francescacoden.tumblr.com/post/72111048156/piazza-san-nazaro-in-brolo-umberto-riva.

The choice is for the former bunker to house the private art collection of Karen and Christian Boros. Through the interior, only small changes are made, with most of the walls left with all their historical traces of time and with exposed concrete texture. This choice is to be referenced within my design projectm through the decision to not change the Main Counter Hall walls except where necessary for instalations. Accordingly the remaining of the space as a void to house artists’ work is also to be referenced in the further design choices of function within the design project for the Post Office. 4.2.3 Remodelling of St. Agnes-Kirche by Werner Düttmann, 1965-1967 into an exhibition center for emerging artists, 2011-2013 Due to financial reasons the church was available for rent, and in 2011 it was taken by Johann König to be re-used as an exhibition space. The choice of new use of the building and the choice to keep all work off the walls is seen as reference in my design project. 4.2.4 Skopje Light Art DIstrict Festival, annual event since 2018

Fig. 97: (Piazza San Nazaro in Brolo, Umberto Riva, Milano, 1989 - 1992), Archival photo of the church entrance in Piazza. © Francesca Coden, Piazza San Nazaro in Brolo, Umberto Riva, Milano, 1989 - 1992, Novembre 2013, January 3, 2014, Tumblr, January 3, 2014, https://francescacoden.tumblr.com/post/72111048156/piazza-san-nazaro-in-brolo-umberto-riva.

Skopje Light Art DIstrict has the idea to 106

Fig. 98: (Boros Collection Bunker, conversion done: 2003-2007), Look into the interior during an exhibition by Katja Novitskova, 2014. © Katja Novitskova, 2014, BOROS COLLECTION, 2014, https://www.sammlung-boros.de/en/press.

Fig. tion

Fig. 99: (Boros Collection Bunker, conversion done: 2003-2007), Look into the interior during an exhibition by Katja Novitskova, 2014. © Avery Singer, 2015, BOROS COLLECTION, 2015, https://www.sammlung-boros.de/en/press.

Fig. 101: Projection on the MCM building facade as part of the Skopje Light Art District Festival 2020. © / Skopje Light Art District, August 23, 2020, Facebook, August 23, 2020, https://www.facebook.com/media/set/?vanity=SkLAD2019&amp;set=a.1425418034335198.

107

100: (St. Agnes-Kirche, in place, 2013. ©/ /,

conversion done: 2013, Architectuul,

2011-2013), Interior view with an exhibi2013, http://architectuul.com/architecture/st-agnes-kirche.

4.3 Conservation strategy Following scenario 3 and developing it in depth the main driving points of the strategy are: • change only the most neccessary segments • keep as much of the original/current layout, design and materiality • do not change anything on the outer facade • embrace the ruin and void quality of the interior spaces Leave the office function to the building, with only a small reduction of the offices on the ground floor as a way of emproving the space that is to be used publicly. This small reduction of office numbers is a matter of compensation in order to have the Post Office offices still in the building, whilst allowing for a new public function to overtake the empty segments. The function that will prevail within the now -abandoned spaces and the segment in which the partition walls are imagined to be demolished is a multicultural open space, to be used flexibly, aka a void space used for events. This is due to the central position of the building, the fact that such spaces embrace the decay of walls and the sculpturality the space witholds, and the fact that the selection as 1 of the 7 Most Endangered programme 2021, by Europa Nostra underlines that the space should be used with such function. The Post Office as an institution is also in support of such programme, as read in newspaper articles, and it would present a good financial support for the maintenance of the space. It is key to mention that Skopje as a city lacks these type of more flexible void spaces for its cultural needs. Also, the position of the building is well placed within the “museum walk of the city”, a path which goes mainly north to south (from the Kale Fortress to the Museum of the City of Skopje), but also branches out in the city center and goes towards the west (Museum of Natural Sciences of Skopje). As such the Post Office is at the junction of the

shall be used for these additions, but it will be in a different color/shade, so as to fit the authentic segments of the architecture in materiality, yet be visually distinguishable.

main axis and the additional branch of the walk. With that being said, the choice is to only repair the most important segments: • Addition of dome and roof coverage in the space of the Counter Hall, as currently workers face leakeage inside their offices due to the lack there of. The roofing is to be done with contemporary framing, yet uphold the original shape. • Replacement of damaged windows, as even the current ones are not the original ones. • Coverage of the open rib segments within the Counter Hall, as the exposed installations are a threat to safety. To be done with gypsum boards on a metal under-construction, colored white, so as to be differentiated from the walls. • In the spaces where flooring tiles were broken or missing, replacement with new ones, of similar typology yet different shade, so as to be differentiated from the original. • In the places where the project envisions demolitions of walls, the flooring is envisioned to have a different material, giving a mosaic quality of remembrance to this change. • Furnishings that are kept and functioning will be maintained and repaired so as to reach their authentic look.

Fire safety was proven to work in the original project design, as even in the previous case, the fire damage was localised. With that the only idea is to provide an efficient evacuation plan, especially since it is of high importance to not do any changes to the outer look of the building. The changes to the surrounding envision a new public square on the current parking in front of the employee entrance and a redesign of the public space on the side of the river front. This will be done in support of The Madrid - New Delhi document 2017, point 9 (see page 83 for better explanation), as changes to the context are deeply required in order to re-activate the space and invite people into the building. Paving is to be done with limestone tiles.

Beyond this, it is a choice to leave the soot traces on the walls as a memory of the damaging event of the fire. This is linked to the idea of quality of the ruin, as this space envisioned with the project, should function as a void ruin, in which the architectural qualities and unique sculpturality are in the first place, supported in Chapter 3 with the value listing. Any new additions should be distinguishable yet fall into lines with the original project of architect Konstantinov and his materiality choices. In order for the space dedicated to the public to be fully accessible, all stairs will have a ramp addition, so as to easily reach all ground floor zones by the visitors. Besides a new ramp extension will be done on the south side of the building where a new entrance is envisioned. This new entrance does not require the opening of a new opening, but utilizes doors already present in the wall mass. Concrete 108

Problem Change of the urban context • Ohrid Bank building addition • parking garage addition and loss of the public square • Skopje 2014 buildings addition • new facade of the MEPSO building Public space and accessibility - Stairs which lead to a blind wall

Redesign of the public space surrounding the building, creation of a new square with ramps for better accessibility to the building

Use - Obsolescence of the front of the counter functions

Introduction of new function - cultural center which is to be flexibly used depending on the artists’ need

Layout - Change of interior partitions

Demolition of some of the partitions on the base of not being authentic and expansion of the new space on account of sufficient office space Concrete: • Remove ACs , implement interior AC system • Leave as they are, presenting a testament to the time changes occured • Enclose the openings on the base of need of safety of instalations and visitors • Leave zones as is, but mount projectors so as to either have new light art or a remembrance of the old • Leave as they are, with the exception of fixing the needed instalations deemed unsafe Marble/Stone: • Clean dirt on the floors • Fill in the spaces left empty with resin, whilst remaining tiles are cleaned, keep pattern of them • Remove vegetation on basis of structural safety

Concrete: • Air conditioning (AC) systems on the facade • Surface damage - Soot residue on the interior walls and ceiling • Structural / mechanical damage - Loss of layers of the interior walls • Surface damage - Loss of the cubistic frescoes due to fire • Surface damage - Wall damage in the Telephone Hall sue to the fire and the further abandonement Marble/Stone: • Surface damage - Dirt covered floor in the Telephone and Entrance Halls • Structural / mechanical damage - Floor tiles that have breaks, cracks and missing parts • Vegetation

Materiality

Solution The built urban context shall not be changed

Glass: • Structural / mechanical damage - Loss of the roof cover • Structural / mechanical damage Damaged and broken windows

Glass: • New roof cover with similar cupola typology, but of modern design and materiality • New glass for damaged windows

Furnishings: • Structural / mechanical damage Damaged original furniture which can be repaired/restored • Surface damage - Part of the original furniture and furnishings were thrown away due to fire damage

Furnishings: • Reparation of the less damaged furnishings and restoration of them, leaving in the places where they are currently • No new furnishings besides technical instalations such as lighting and electricity should be introduced, spaces to remain as voids for flexible use 109

• •

limestone paving concrete ramps cast into place

•

new interior AC system with hidden elements

•

Gypsum boards

•

Light, electrical and projector installation

•

pipes

•

resin/epoxy

• •

glass and metal framing to support it glass and metal framing

4.4 Project for public space design Paving surrounding the complex and Post Office building is currently executed with a variety of materials and patterns. (Fig. 102) There is a need for stronger cohesion of the design especially as this is the pedestrian axis that follows the river Vardar. As such I have devised 4 different variations (refer to sub-chapter 4.4.1 graphics) of a project which can be implemented within this zone, ranging from the amount of work done to the space. 1. Adding ramp on 1 side and a public space repaving with concentring circles coming out of the Post Office 2. Demolishing part of the stairs, adding ramps and a public space repaving with a normal square grid 3. Demolishing part of the stairs, adding ramps and a public space repaving with various concentring circles coming out of the 3 buildings of the authentic complex and out of the Post Office entrances 4. Demolishing the stairs, redesigning the public space with new concrete ramps and platforms A choice was made to follow Variation 2, as this solution makes the smallest impact visually, whilst also satisfying the accessibility needs posed by the building’s layout. Paving is done in limestone with a regular rectangular grid, whilst the circular platform segment’s design of the flower remains as is, due to its link to the other 3 platforms around the bridge’s corners which present the same design but mirrored position of the stairs leading towards the river front.

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Fig. 102: (Janko Konstantinov, Telecommunication Center, Skopje, North Macedonia), North facade view with public space, 10.06.2021, Variations of public space paving utilized in the surrounGF ding of the Post Office © Personal archive, Angela Petrovska, 2021

The segment of the north-western’s stairs which faces the blind wall of the parking garage “Congress of Thessaloniki” is demolished due to obsolescence of its use. In its place a ramp made out of concrete (different color/shade to the original material used for the building) is case in place. It follows the boundary of the stairs and leads users

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110

towards the entrance platform, whilst also satisfying accessibility standards with an inclination of 1:16.6. Each segment is 6 meters long and breaks of 1.5m are put in place at 4 parts. On the south side a new ramp is put in place as well, following the same standard as the one above, but only being 2 segments as the difference between the entrance platform and the currently-parking-lot level is 0.70m. This parking zone is transformed into a public piazza, and is made further accessible with the addition of the south-west stairs at the corner, which link the pedestrian path following the boulevard and the new piazza level. These 2 spaces hold a height difference of 0.75m. The paving is repeated in this zone of the new piazza as well. The reasoning for the creation of the piazza is supported by the value of the unifying public space, which was lost with the construction of the Parking garage. As compensation this new zone is cleared of parking, which is sufficient in the underground zone of the buildings/complex, and opened up for public use. With the movement through the building we achieve a new link of the river front and the boulevard which promotes the exploration of the complex by the public. What is important to mention is that the movement from the river front to the new piazza can also be done by exploring only the exterior of the building, as a passage still exists between the Telecommunication Center and the Post Office buildings.

4.4.1 Variations of public space design solutions

Type of possible scenario

amount of changes to the environment

Variation 1 Adding ramp on 1 side and a public space repaving with concentring circles coming out of the Post Office

Variation 2 Demolishing part of the stairs, adding ramps and a public space repaving with a normal square grid

Variation 3 Demolishing part of the stairs, adding ramps and a public space repaving with various concentring circles coming out of the 3 buildings of the authentic complex and out of the Post Office entrances

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Variation 4 Demolishing the stairs, redesigning the public space with new concrete ramps and platforms

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RESIDENTIAL BUILDING

OHRID BANK

-0.70

TELECOMMUNICATION CENTER

+7.98

MEPSO BUILDING

+7.98

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-2.46

MEPSO BUILDING

-2.46

-1.45

0.00

PARKING GARAGE 'CONGRESS OF THESSALONIKI'

+7.98

-2.46

-1.45

-2.46

M=1:500

10m

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10m

M=1:500

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MEPSO BUILDING

-1.45

-1.34

PARKING GARAGE 'CONGRESS OF THESSALONIKI'

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-1.45

PARKING GARAGE 'CONGRESS OF THESSALONIKI'

-2.46

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-0.22

-1.34

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-0.70

10m

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site masterplan - current stateRESIDENTIAL BUILDING OHRID BANK

TELECOMMUNICATION CENTER -0.70

-1.45

-1.34

-2.46

+7.98

M=1:500

Legend: „СВ. КИРИЛ И МЕТОДИЈ” УНИВЕРЗИТЕТ grass ФАКУЛТЕТ - СКОПЈЕ АРХИТЕКТОНСКИ entrance

10m

..\Документи за деканат\ukimarh.png

МАГИСТЕРСКИ ТРУД: „РЕВИТАЛИЗАЦИЈА НА ОБЈЕКТОТ НА ШАЛТЕР САЛАТА ВО СКОПЈЕ” ПРИЛОГ: ПОСТОЈНА СОСТОЈБА СИТУАЦИЈА

КАНДИДАТ: МАРТИНА ДАСКАЛОВА 7449 СКОПЈЕ, МАРТ 2021

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MEPSO BUILDING

PARKING GARAGE 'CONGRESS OF THESSALONIKI'

112

ЛИСТ БР.

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-0.22

site masterplan - demolitions

RESIDENTIAL BUILDING OHRID BANK

TELECOMMUNICATION CENTER -0.70

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-0.22 -1.45

-1.34

MEPSO BUILDING

PARKING GARAGE 'CONGRESS OF THESSALONIKI'

-2.46

+7.98

Legend: changes/elimination of public space design

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10m

site masterplan - additions

114

Legend: new paving in the public space design added architectural elements

4.5 Project for the interior of the building As the front-of-the-counter functions became obsolete due to technological advancement in the postal system of North Macedonia and due to the abandonement of this segment within the ground floor of the building, my project focuses on the reactivation of the public zone of the interior. The office ring will mostly not be affected by this change, with the exception of a small segment demolition (to be elaborated further in this chapter). Through the introduction of a new function, that is in correlation to the current wishes of the Post Office and Ministry of Culture as stakeholders, we look into creating a space that will be visited by the public and will provide extra income to the affected parties. A cultural center is envisioned, but what differentiates it from the others is that the space would be left as a void solely with basic installations for lighting put in place. Similarly to the Boros Collection and St. Agnes Kirche, the traces of time will be left over on the walls and paving. This envisions the soot remaining and the authentic paving, where present, being left as is. Small interventions will take place in the interior solely for safety purposes. Among them we list: • the enclosure of the ribs with gypsum boards on a metal construction, for the safety of the installations which will be hidden inside • the enclosure of the roof with a modern cupola and arches made of glass and steel • cleaning out the vegetation on the floor and pouring epoxy flooring where the authentic tiles are missing • pouring epoxy flooring where partition demolition will occur in the ring • replacement of damaged windows and doors with new ones • installation of projectors and lighting systems, especially focus on the ovals where Borko Lazeski’s cubistic frescoes used to stand

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Fig. 103: Interior view of the Counter Room, 2020, The Counter Room as seen from the roof openings, decay especially present on the paving, soot residues and damages on walls due to the 2013 GF fire © Official photographer for the City of Skopje, December 2020

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With the demolition of 2 zones within the office ring, we create a more fluid open space for the public that accentuates the use of the 2 entrances (authentic and new one). The demolition is done 115

taking into consideration that these partitions were restructured at an unknown time before 2013 and do not present an authentic layout as envisioned by architect Janko Konstantinov. Yet, being aware of The Venice Charter 1964, Article 5 (see sub-chapter 4.1.3 for more information) a big amount of these changed partitions are kept, working on a compromise. This compromise is between the enclosure of the zone north of the former-Telephone-Hall rotunda done around 2013 and the current opening up of the south zone. Thus the ratio of office versus public space is kept as in the authentic layout, but is moved around 45 degrees clockwise. Working with The Venice Charter 1964, Article 12 (see sub-chapter 4.1.3 for more information) a decision is made to utilize the oval spaces where the cubistic frescoes used to stand as “blank canvases” for light projections. In this case when needed a projection of the frescoes will be shown, whilst there would also be the possibility for young and emerging artists to reinterpret the space and make their own mark. WIth that, my project would be finding a new stakeholder within the Skopje Light Art District festival, which focuses on the promotion of light artists through projections. Designs are selected in an international competition, and thus the building of the Post Office would gain international importance as a space open to creatives. With that the public validation of the building will grow. In conclusion, this new function will be a device for a new public path of movement flowing between indoor and outdoor, blurring the boundaries of the two. It will facilitate Skopje’s creatives, but also be open for international collaboration, further pointing out the importance of the archt=itecture that houses it.

4.5.1 Architecture: Space summary schemes original layout

demolitions

additions

lost in fire

1979-1981 | Construction

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3 1 1

влез за службени лица

3 12 13 x3 x1 1 6

8x31 9x16

-3.36

±0.00

-0.64

1 3x3 6 4x1

-4.80 -2.72

-2.40

14x31 15x16

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-4.80 -4.80

±0.00

12x31 13x16

-0.22 ±0.00

-2.40

-0.12 12x31 13x16

PRODUCED BY AN AUTODESK STUDENT VERSION

14x31 15x16

PRODUCED BY AN AUTODESK STUDENT VERSION

1 3x3 6 4x1

-0.12 -0.12 -4.80

ground floor level

PRODUCED BY AN AUTODESK STUDENT VERSION

underground level

1 PRODUCED BY AN AUTODESK STUDENT VERSION PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

+2.08

+4.16

+2.08

12x31 13x16

+13.66

+4.16 -0.12

roof

PRODUCED BY AN AUTODESK STUDENT VERSION

first floor level

116

1 PRODUCED BY AN AUTODESK STUDENT VERSION

+7.98

PRODUCED BY AN AUTODESK STUDENT VERSION

12x31 13x16

-0.12

PRODUCED BY AN AUTODESK STUDENT VERSION

+4.16

PRODUCED BY AN AUTODESK STUDENT VERSION

+4.16

12 13 x3 x1 1 6

unknown time before 2013 | First internal changes

PRODUCED BY AN AUTODESK STUDENT VERSION

3 1 1

влез за службени лица

12 13 x3 x1 1 6

8x31 9x16

-3.36

±0.00

-0.64

1 3x3 6 4x1

-4.80 -2.72

-2.40

14x31 15x16

PRODUCED BY AN AUTODESK STUDENT VERSION

-4.80 -4.80

±0.00

12x31 13x16

-0.22 ±0.00

-2.40

-0.12 12x31 13x16

PRODUCED BY AN AUTODESK STUDENT VERSION

14x31 15x16

PRODUCED BY AN AUTODESK STUDENT VERSION

1 3x3 6 4x1

-0.12 -0.12 -4.80

ground floor level

PRODUCED BY AN AUTODESK STUDENT VERSION

underground level

1 PRODUCED BY AN AUTODESK STUDENT VERSION PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

+2.08

12 13 x3 x1 1 6

+4.16

-0.12

12x31 13x16

+2.08

PRODUCED BY AN AUTODESK STUDENT VERSION

+4.16

+13.66

+4.16 -0.12

roof

PRODUCED BY AN AUTODESK STUDENT VERSION

first floor level

117

1 PRODUCED BY AN AUTODESK STUDENT VERSION

+7.98

PRODUCED BY AN AUTODESK STUDENT VERSION

12x31 13x16

-0.12

PRODUCED BY AN AUTODESK STUDENT VERSION

12 13 x3 x1 1 6

+4.16

original layout

demolitions

additions

lost in fire

unknown time before 2013 | Second internal changes

PRODUCED BY AN AUTODESK STUDENT VERSION

3 1 1

влез за службени лица

9 12 13 x3 x1 1 6

8x31 9x16

-3.36

±0.00

-0.64

1 3x3 6 4x1

-4.80 -2.72

-2.40

14x31 15x16

PRODUCED BY AN AUTODESK STUDENT VERSION

-4.80 -4.80

±0.00

12x31 13x16

-0.22 ±0.00

-2.40

-0.12 12x31 13x16

PRODUCED BY AN AUTODESK STUDENT VERSION

14x31 15x16

PRODUCED BY AN AUTODESK STUDENT VERSION

1 3x3 6 4x1

-0.12 -0.12 -4.80

ground floor level

PRODUCED BY AN AUTODESK STUDENT VERSION

underground level

1 PRODUCED BY AN AUTODESK STUDENT VERSION PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

+2.08

12 13 x3 x1 1 6

+4.16

-0.12

12x31 13x16

+2.08

PRODUCED BY AN AUTODESK STUDENT VERSION

+4.16

+13.66

+4.16 -0.12

roof

PRODUCED BY AN AUTODESK STUDENT VERSION

first floor level

118

1 PRODUCED BY AN AUTODESK STUDENT VERSION

+7.98

PRODUCED BY AN AUTODESK STUDENT VERSION

12x31 13x16

-0.12

PRODUCED BY AN AUTODESK STUDENT VERSION

12 13 x3 x1 1 6

+4.16

2013-today | After the fire and current state

PRODUCED BY AN AUTODESK STUDENT VERSION

3 1 1

влез за службени лица

9 12 13 x3 x1 1 6

8x31 9x16

-3.36

±0.00

-0.64

1 3x3 6 4x1

-4.80 -2.72

-2.40

14x31 15x16

PRODUCED BY AN AUTODESK STUDENT VERSION

-4.80 -4.80

±0.00

12x31 13x16

-0.22 ±0.00

-2.40

-0.12 12x31 13x16

PRODUCED BY AN AUTODESK STUDENT VERSION

14x31 15x16

PRODUCED BY AN AUTODESK STUDENT VERSION

1 3x3 6 4x1

-0.12 -0.12 -4.80

ground floor level

PRODUCED BY AN AUTODESK STUDENT VERSION

underground level

1 PRODUCED BY AN AUTODESK STUDENT VERSION PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

+2.08

12 13 x3 x1 1 6

+4.16

-0.12

12x31 13x16

+2.08

PRODUCED BY AN AUTODESK STUDENT VERSION

+4.16

+13.66

+4.16 -0.12

roof

PRODUCED BY AN AUTODESK STUDENT VERSION

first floor level

119

1 PRODUCED BY AN AUTODESK STUDENT VERSION

+7.98

PRODUCED BY AN AUTODESK STUDENT VERSION

12x31 13x16

-0.12

PRODUCED BY AN AUTODESK STUDENT VERSION

12 13 x3 x1 1 6

+4.16

4.5.2 Architecture: Use summary schemes Front of the counter zone out of function/storage

telephone booths

counters/telegrams/teletex

entrance hall

Behind of the counter zone parking

administration/offices

vertical connections

kitchen/restaurant/buffet

service rooms

toilets/changing rooms corridor

1979-1981 | Construction

underground level

ground floor level

first floor level 120

2013-today | After the fire and current state

underground level

ground floor level

first floor level 121

ground floor plan - demolitions

3 1

влез за службени лица

1 10

6 1 13 2x3 x1 1 6

-0.64 2

±0.00

±0.00 16

3 19

4 3x316 4x1

±0.00

LEGEND

11 19 15

±0.00 23

12x31 13x16

-0.12

-2.40

5 12

12x31 13x16

3 38

EMPLOYEE ENTRANCE VERTICAL COMMUNICATIONS/CORE CIRCULAR CORRIDOR CONCIERGE OUT-OF-FUNCTION ROOMS TOILETS CHAIRMAN OF THE SUPERVISORY BOARD ADVISORS DIRECTOR - MARKETING SECRETARY - MARKETING LEGAL SERVICE ARCHIVE DIRECTOR - IT SECRETARY - IT DIRECTOR - LEGAL AFFAIRS AND HR SECRETARY - HR WAREHOUSE MEETING ROOM FORMER BACKGROUND COUNTERS CLEANING STAFF DIRECTOR - FINANCE SECRETARY - FINANCE OFFICE SERVERS SECURITY TRANSLATORS DRIVERS IN CHARGE OF THE TRADE UNION BUFFET WAREHOUSE BUFFET GENERAL DIRECTOR SECRETARY - GENERAL DIRECTOR CHAIRMAN OF THE CABINET DEPUTY GENERAL SECRETARY - DEPUTY GENERAL DIRECTOR - POSTAL OPERATIONS SECRETARY - POSTAL OPERATIONS CHIEF FOR RECRUITMENT AND EDUCATIONAL AFFAIRS 39. STAFF AND EDUCATIONAL SERVICE

27 28

6 12

±0.00

-0.12

35 30

33 31

Legend: changes/elimination of wall partitions or openings

1 3 M=1:250

PRODUCED BY AN AUTODESK STUDENT VERSION

±0.00 -0.22

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. 36. 37. 38.

PRODUCED BY AN AUTODESK STUDENT VERSION

20 5

влез

PRODUCED BY AN AUTODESK STUDENT VERSION

122

ground floor plan - additions

3 1

влез за службени лица -0.70

11 12

3 влез 1 за службени лица

9 10

6 1 13 2x3 x1 1 6

-0.64 2

±0.00

±0.00 16

4 1

3x316 4x1

±0.00

1 13 2x3 x1 1 6

-0.12 15

±0.00

1 3x3 6 4x1

±0.00

17 19

±0.00 23

20 5 22

±0.00 23

-0.22 -0.12

-0.12

12x31 13x16

±0.00 21

12x31 13x16

2239

12x31 13x16

±0.00

-0.12

5 12

-0.22

-2.40

-1.34

12x31 13x16

-2.40

2 38

39 37 3

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. 36. 37. 38.

PRODUCED BY AN AUTODESK STUDENT VERSION

LEGEND

-0.64

8 2

влез

±0.00

-0.12 29

27 34

28 35

12 30

33 31

±0.00

-0.12

35 30

-2.46

Legend: new paving addions for accessibility/spatial division/cover of instalations new instalations/repair of old instalations

33 32

3 1 3

M=1:250

PRODUCED BY AN AUTODESK STUDENT VERSION

123

PRODUCED BY AN AUTODESK STUDENT VERSION

section 1-1 - demolitions

+7.98

+4.16

±0.00

PRODUCED BY AN AUTODESK STUDENT VERSION

+13.66

-4.80

Legend: changes/elimination of wall partitions or openings

M=1:250

PRODUCED BY AN AUTODESK STUDENT VERSION 124

PRODUCED BY AN AUTODESK STUDENT VERSION

section 1-1 - additions

+7.98

+4.16

±0.00

PRODUCED BY AN AUTODESK STUDENT VERSION

+13.66

-4.80

Legend: new paving addions for accessibility/spatial division/cover of instalations new instalations/repair of old instalations

M=1:250

PRODUCED BY AN AUTODESK STUDENT VERSION 125

ground floor plan - ;ine of movement

-0.70

3 влез за службени лица

3 11 12

влез 1 за службени лица

9 10

6 1 13 2x3 x1 1 6

-0.64 2

±0.00

±0.00 16

4 1

3x316 4x1

±0.00

1 13 2x3 x1 1 6

-0.12 15

±0.00

1 3x3 6 4x1

±0.00

17 19

±0.00 23

20 5 22

±0.00 23

-0.22 -0.12

-0.12

12x31 13x16

±0.00 21

12x31 13x16

2239

12x31 13x16

±0.00

-0.12

5 12

-0.22

-2.40

-1.34

12x31 13x16

-2.40

2 38

39 37 3

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. 36. 37. 38.

PRODUCED BY AN AUTODESK STUDENT VERSION

LEGEND

-0.64

8 2

влез

±0.00

-0.12 29

27 34

28 35

12 30

33 31

±0.00

-0.12

35 30

-2.46

Legend: new line of movement (public space)

33 32

3 1 3

M=1:250

PRODUCED BY AN AUTODESK STUDENT VERSION

126

PRODUCED BY AN AUTODESK STUDENT VERSION

open ground floor axonometry

3 1

влез за службени лица

1 10

6 1 13 2x3 x1 1 6

-0.64 2

±0.00

±0.00 16

3 19

4 3x316 4x1

±0.00

LEGEND

11 19 18

±0.00 23

12x31 13x16

-0.12

-2.40

5 12

12x31 13x16

3 38

27 28

6 12

±0.00

-0.12

35 30

33 31

1 3 M=1:250

PRODUCED BY AN AUTODESK STUDENT VERSION

±0.00 -0.22

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. 36. 37. 38.

PRODUCED BY AN AUTODESK STUDENT VERSION

20 5

влез

PRODUCED BY AN AUTODESK STUDENT VERSION

127

Fig. 104: (Janko Konstantinov, Telecommunication © Personal archive, Angela Petrovska, 2021 PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

Center,

Skopje,

North

Macedonia),

Perspective

128

from

the

entrance

between

the

Post

Office

and

the

Parking

Garage

towards

the

stairs,

10.06.2021

PRODUCED BY AN AUTODESK STUDENT VERSION

Fig.

105:

Perspective

from

the

entrance

between

the

Post

Office

and

129

the

Parking

Garage

twards

the

stairs

and

ramps

Angela

Petrovska,

2021

PRODUCED BY AN AUTODESK STUDENT VERSION

Fig.

106:

South

west

facade

the

Post

Office,

10.06.2021,

Platform

leading

130

towards

door

for

office.

Personal

archive,

Angela

Petrovska,

2021

PRODUCED BY AN AUTODESK STUDENT VERSION

Fig. 107: South west

facade of the Post Office, 10.06.2021, Ramp leading towards the platform from which the new public entrance is reached, parking transformed into a piazza. © Angela Petrovska, 2021

131

PRODUCED BY AN AUTODESK STUDENT VERSION

Fig. 108: Interior view of the Counter Room, 2020, Leftover oval shapes on the walls whete the cubistic frescoes by Borko Lazeski used to stand © Official photographer for the City of Skopje, December 2020

132

PRODUCED BY AN AUTODESK STUDENT VERSION

Fig.

109:

Interior

view

the

Counter

Room,

projections

the

ovals

where

the

133

cubistic

frescoes

Borko

Lazeski

used

and

repaved

hall

Angela

Petrovska,

2021

PRODUCED BY AN AUTODESK STUDENT VERSION

134