Poznanj - Revitalizacija priobalja Varte

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Urednici: Vladan Djokić, Milica Milojević i Dimitrije Mladenović NASLOV KNJIGE: POZNANJ - REVITALIZACIJA PRIOBALJA REKE VARTE IZDAVAČ: Univerzitet u Beogradu, Arhitektonski fakultet ZA IZDAVAČA: Vladan Djokić, dekan RECENZENTI: Zoran Lazović, Ana Nikezić DIZAJN: Milica Milojević, Tijana Milanović i Danijela Vlahovljak TIRAŽ: 300 ŠTAMPA: Colorgrafx, Beograd MESTO I GODINA IZDANJA: Beograd, 2016 ISBN ISBN 978-86-7924-169-6

EDITORS: Vladan Djokić, Milica Milojević and Dimitrije Mladenović BOOK TITLE: Poznan - REVITALIZATION OF THE WARTA RIVERFRONT PUBLISHER: University of Belgrade, Faculty of Architecture FOR PUBLISHER: Vladan Djokić, the dean REVIEWERS: Zoran Lazović, Ana Nikezić DESIGN AND LAYOUT: Milica Milojević, Tijana Milanović and Danijela Vlahovljak NUMBER OF COPIES: 300 PRINT: Colorgrafx, Belgrade PLACE AND YEAR OF ISSUE: Belgrade 2016 ISBN ISBN 978-86-7924-169-6

CONTENT

REVITALIZATION OF THE WARTA RIVERFRONT THE WARTA RIVER worth of (knowing) poznan diploma projects

SADRŽAJ

Vladan Djokić & Milica Milojevic REVITALIZACIJA PRIOBALJA REKE VARTE

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Dimitrije Mladenović Reka Varta Poznanja vredna

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2013/14 2014/15 DIPLOMSKI PROJEKTI

POROSITY OF THE EMBANKMENT. Housing on the Warta riverfront

Aleksandar Orozović POROZNOST OBALOUTVRDE. Stanovanje na obali Varte

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MODULAR REANIMATION. Integrations of the river banks of the city of Poznan

Tamara Mašić MODULARNA REANIMACIJA. Integracija obala grada Poznanja

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Marija Vujić KONTRAPOZITIV. Rekonstrukcija stare fabrike gasa u Poznanju

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Marija Tomašević MEMORIJALNI PARK. Nova struktura kao deo istorijskog konteksta

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Danijela Vlahovljak BASTION. Novi bastioni globalnog društva

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Sara Vesić TOK. Tragovima starog toka Varte

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Marija Omanović MOST. Programska integracija obala Varte

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Tijana Milanović RUINA. Park napuštenih ideja

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Branka Ćirković UTVRDJENI GRAD. Novi gradski distrikt u istorijskom kontekstu ostrva Tumski

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Nikola Opačić MUZEJ REVOLUCIJA

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Mila Joksimović RITAM. Rekonstrukcija gradskog kvarta

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Nevena Lukić GRANICA/IMPROVIZACIJA. Muzički kvart u Poznanju

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COUNTERPOSITIVE. The reconstruction of the old gas factory in Poznan MEMORIAL PARK. New structure as the part of the historical context BASTION. A new bastion of global society A FLOW. Following the traces of the former Warta flow THE BRIDGE. A programme integration of the Warta’s banks THE RUIN. A Park of abandoned ideas THE FORTIFIED CITY. New city district within the historical context of the Tumski isle THE MUSEUM OF REVOLUTIONS A RHYTHM. The reconstruction of the city quart BOUNDARY/IMPROVISATION, Musical Quarter in Poznan

REVITALIZACIJA PRIOBALJA REKE VARTE Dve generacije diplomaca Master akademskih studija Arhitektura imale su priliku da svoje master teze i

projekte rade na temi revitalizacije priobalja reke Varte, u centralnoj zoni grada Poznanja, u Poljskoj.

U saradnji sa Odsekom arhitekture Politehnike u Poznanju omogućena je dostupnost projektnoj dokumentaciji, predavanja i stručne konsultacije sa autorima Studije aktiviranja prostora grada Poznanja na reci Varti. Studijsko putovanje u Poznanj uspešno je realizovano samo sa prvom generacijom diplomaca.

Boravak u gradu Poznanju omogućićo je i studentima i mentorima dodir sa kulturom za koju su, kroz istraživanje i projekat, osmišljene nove prepoznatljive i primerene strukture.

Grad Poznanj ima svoj istorijski kontinuitet od XV veka, mada je već početkom XI veka bio prestonica Poljske. To je grad sa karakterističnim odnosom prema reci Varti koja je sve do 1939. godine bila veoma značajan element njegove prostorne strukture. Velika razaranja u II svetskom ratu i odluke 60-tih godina XX veka o promeni toka reke posebno su devalvirali prostor priobalja. Poznanj, u skladu sa razvijenim evropskim gradovima transformiše industrijske zone u atraktivne stambeno-poslovne ili komercijalne distrikte, a priobalje Varte revitalizuje i planira kao okosnicu razvoja centra.

Master teze prikazane u ovoj publikaciji ispituju mogućnosti vraćanja Poznanja na terene priobalja, uključujući i ponovno otvaranje ranijeg korita Varte i kreiranju atipičnih vrednosti na mestima neposrednog kontakta grada sa svojom rekom.

Studenti su samostalno izabrali lokacije i program intervencija na predloženom širem području priobalja reke Varte. Dve generacije diplomaca ponudile su nove ideje za različite lokacije. Razmatrane su i predočene opcije za revitalizaciju zasutog starog korita Varte, ostrvo Tumski, kvartove Hvališeva, obalski potez univerzitetskog kampusa, stare fabrike gasa na Varti i prenamenu industrijske zonu u užem centru grada.

Kao proširenje univerzitetskog kompleksa Marija Omanović predlaže “most” sportskih i rekreativnih sadržaja preko ostrva Tumski do starog kanala Varte. Marija Vujić i Nikola Opačić dali su različite opcije za fabričke komplekse i njihovo povezivanje sa centrom Poznanja. Transformacijom blokovske strukture u starom jezgru grada bavile su se Mila Joksimović i Nevena Lukić. Branka Ćirković je razvila temu „grad na ostrvu“. Pitanju rekonstrukcije starog toka reke Varte posvetila se Sara Vasić, a novim kulturnim sadržajima priobalja Marija Tomašević, Tijana Milanović i Tamara Mašić. Bez namere da se uklopi u okruženje, izdvaja se projekat megastrukture na obaloutvrdi Aleksandra Orozovića.

Teze su proveravane kroz projekte i konkretizovane kroz različite forme i sa različitim arhitektonskim sredstvima. Neki su se bavili fleksibilnim strukturama i ispitali: moguće pravce pružanja: duž reke ili upravno na reku; odnosom oblika i strukture: definisana forma čija se unutrašnja struktura spontano popunjava ili definisana struktura koja se slobodno razvija ka spolja (videti radove Aleksandra Orozovića i Tamare Mašić).

Pojedini radovi se izdvajaju po simboličkoj vrednosti i izražajnosti do koje se došlo različitim pristupima:

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REVITALIZATION OF THE WARTA REVITALIZATION OF THE WARTA RIVERFRONT RIVERFRONT Two generations of the Master studies graduates had the opportunity to develop their master thesis and

projects on the subject of revitalization of the Warta riverfront in the central urban area of Poznan in Poland.

Cooperation with the The Faculty of Architecture, Poznan University of Technology has provided access to the site documentation, as well as lectures and expert consultations with the authors of the Study of Spatial Activation of the Warta Riverfront Area. Only one of two generations went to Poznan for the study tour, and the stay in Poznan provided the connection with the local culture to both the students and the mentors; so their research and design led to new recognizable and appropriate structures.

The City of Poznan has the historical continuity since the 15th century, although it became the capital of Poland at the beginning of the 11th century. It is the city with a distinguished approach towards the Warta River, which was a very significant element of its spatial structure until 1939. A massive destructions during the Second World War and the decision brought in the 1960s to change the river flow additionally devaluated the riverfront area. Following the examples of developed European cities, Poznan has being transforming industrial zones into the attractive residential, business and commercial districts, planning the revitalization of the Warta riverfront as the otline of the urban development.

Master thesis presented in this publication question the possibility to bring Poznan back to the riverfront area, including the reopening of the former riverbed and the creation of the unique values on the sites of the immediate contacts between the city and the river.

The students have chosen the locations and design briefs on their own out of the suggested wider area of the Warta River. Hence, two generations of graduates have suggested new ideas for different locations – revitalization of the dry old riverbed, Tumski isle, the Chwaliszewo quarts, coastal area around the University campus, old gas factories, as well as the conversion of industrial zone in the city centre.

As the solution for the broadening of the University complex, Marija Omanović suggested “the bridge” of the sports and recreational facilities across the Tumski isle to the old Warta riverbed. Marija Vujić and Nikola Opačić offered different sceneries for factory complexes and their connection with the Poznan centre.

Mila Joksimović and Nevena Lukić have been involved with the transformation of residential blocks within the old town area. Branka Ćirković has worked out the topic of “the city on the island”. Sara Vasić has dedicated her attention to the reconstruction of the former flow of the Warta River, while Marija Tomašević, Tijana Milanović and Tamara Mašićasović has dealt with the development of new cultural facilities. With no intention of fitting into the surroundings, a mega-structure design on the river bank by Aleksandar Orozović sticks out.

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stvaranjem potpuno nove tačke u gradu/u vodi arhitektonskom interpretacijom oblika nasleđene strukture (bedema) ili obeležavanjem već poznate lokacije u gradu koja je u veduti grada skulptorski akcentovana potpuno novom strukturom (videti radove Danijele Vlahovljak i Nikole Opačića). Čulnim senzacijama i simulacijama doživljaja grada i efektima koje scenske i druge umetnosti proizvode u fabričkim kompleksima i javnim prostorima vizualizovale su Nevena Lukić i Marija Vujić. Delovanje u javnim prostorima priobalja istražile su mogućnosti struktuiranja otvorenog prostora i memorije grada arhitektonskim elementima - minimalistički ili utopijski (videti projekte Marije Tomašević i Tijana Milanović). Efekti pozicioniranja svedene forme i opcije integrisanja javnih prostora i sadržaja u vitalne gradske poteza proveravani su na mestu starog toka Varte: objekat postavljen da utvrdi obalu, kao nasip i objekat postavljen da zatvori kanal, da zadrži vodu, kao brana (videti radove Sare Vesić i Marije Omanović).

Interpretacija tradicije kroz formiranje stambenog sklopa ili ekološkog distrikta, u formi gradskog bloka ili komune (videti projekte Mile Joksimović i Branke Ćirković).

Osmišljeni za različite lokacije, projekti se razlikuju i prema karakteru intervencije. Ta razlika u karakteru rezultat je mentorskog opredeljenja da se kroz rad na diplomskom projektu ohrabre raznovrsni istraživački pristupi i profesionalno ispolje različiti senzibiliteti. U tome su nam inspiraciju i nesebičnu stručnu, pedagošku i istraživačku pomoć pružili profesori Dimitrije Mladenović, Zoran Lazović i Budimir Sudimac i arhitekta Maja Žugić.

U publikaciji se pored sažetog opisa teze i prikaza projekta nalaze i lična predstavljanja diplomaca. Ovako uređenom publikacijom želimo da predstavimo ne samo kreativne zamisli i teme relevantne za revitalizaciju priobalje Poznanja, već diplomce kao posebne, mlade i energične ličnosti kojima tek predstoji afirmacija u Vladan Djokić i Milica Milojević polju arhitektonske i urbanističke struke.

Beograd, 2016 Ovo je prvi korak u tom pravcu i beleška našeg zajedničkog pomaka.

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The thesis have been checked out through the designs and concretized through various forms and by various architectural resources. Some have dealt with flexible structures and questioned: possible directions to reach out: along the river or perpendicularly; relations between shapes and structure: defined form whose interior structure is being spontaneously filled or defined structure which freely develops outwards (see the works of Aleksandar Orozović and Tamara Mašić). Certain works are distinguished by the symbolic value and the expressiveness achieved by various approaches: by creating a completely new spot in the city/on the water by the architectural interpretation of the shape of the inherited structure (rampart) or by marking the already existing location in the city which is sculpturally accented in the city veduta by a completely new structure (see the works of Danijela Vlahovljak and Nikola Opačić).

Sensory sensations and simulations of urban experiences, as well as effects that performing and other types of arts create in factory complexes and in public spaces have been visualized by Nevena Lukić and Marija Vujić. Research of the actions in public spaces of the riverfront led to the possibilities for structuring the open space and the memory of the city using architectural elements – in a minimalistic or in a utopian manner (see the works of Marija Tomašević and Tijana Milanović). Theeffects of the reduced forms and the options of integrating public spaces and contents into the vital city outlines have been checked for the Warta old riverbed: the structure placed in order to fortify the river bank, as an embankment, and to close the river canal, to hold the water, as a dam (see the works of Sara Vesić and Marija Omanović). The interpretation of tradition through design of residential complex or the ecological district, in the form of the city block or the commune (see the works of Mila Joksimović and Branka Ćirković).

Designed for various locations, these designsdiffer in terms of the character of the intervention. This difference is the result of the mentor commitment to encourage various research approaches and to enable expressing different professional sensibilities through the work on the final project. In this process, we had selfless professional, pedagogical and inspiring support from architect Maja Žugić and professors Dimitrije Mladenović, Zoran Lazović and Budimir Sudimac Along with the concise description of the thesis and designs review, this publication also includes graduates’ personal presentations. Our aim with this publication is to present not only the creative ideas and topics relevant for the revitalization of the Warta Riverfront, but also to present the graduates as young and Vladan Djokić & Milica Milojević energetic people, whose affirmation in the field of architectural and urban profession is yet to come. This is Belgrade, 2016 the first step towards that goal, as well as the record of our common improvement.

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Reka Varta Poznanja vredna Poznanj ima istorijski kontinuitet više od 800 godina, zapravo je nastao već u XI veku kada je jedno vreme

bio i prva prestonica Poljske države. Jednovremeno Poznanj je grad sa karakterističnim odnosom prema svojoj reci Varti. Urbanistička struktura grada vekovima je oblikovana u najčvršćem kaontaktu sa rekom Vartom, posebno u delu Hvališeva, naselja u meandru "lenje", ravničarske reke. Kroz taj prostor prolazio je kraljevsko-carski put od uzvišice Pšemislava, preko staroggradskog trga, do Katedrale na ostrvu Ostrov Tumski - do danas najznačajnijih prostora istorijskog graditeljskog nasleđa. Karakteristična urbana struktura nad rekom bila je već u XVII veku konkurentna Poznanju, a u XIX veku postala je sastavni deo njegove strukture. Tada je u Hvališevu izgrađeno mnogo lepih zgrada i nekoliko palata na najkarakterističnijem mestu zaokreta reke kod "Velikog mosta" koje su kao uzor imale poznate venecijanske palate nad vodom. Na drugoj strani reke izgrađene su prve industrijske građevine za potrebe gradske infrastrukture (gasa, vode), karakterističnog stila koje i danas predstavljaju u arhitektonskom smislu izrazitu likovnu vrednost. U drugom delu reke formirano je pristanište sa utvrđenom obalom. Jednom rečju, taj deo grada imao je posebnu, neponovljivu atmosferu, sadržaje za zabavu i šetnu promenadu. U vreme Drugogo svetskog rata taj deo Poznanja je doživeo je veliko razaranje a obnavljanje se odvijalo bez uvažavanja prethodnih graditeljskih i prostornih vrednosti. Najveća promena nastupila je kada je 1966-68 godine zatrpano rečno korito u tom meandru da bi se navodno ostvarili bolji hidrotehnički uslovi rečnog toka. Tako je počela devastacija jednog od najkarakterističnijih delova Poznanja koji za grad ima veliki značaj i velike pejzažne vrednosti. Lepa i karakteristična industrijska arhitektura sa kraja XIX veka ostala je trag tog prošlog vremena.

Godinama se u Poznanju obavljaju istaživanja i rade projekti vraćanja grada svojoj reci jer revitalizacija tih delova grada ima ogroman značaj ne samo iz sentimentalnih razloga. Stvaraju se tu mogućnosti realizacije ambicioznih funkcionalnih i prostornih programa namenjenim stanovnicima grada i turistima.

Sa svojim studentima u Poznanju godinama, takođe, istražujem mogućnosti transformacije i revitalizacije tih prostora. I kada je pre par godina potpisan sporazum o saradnji beogradskog Arhitektonskog fakulteta i Arhitektonskog odseka Politehnike u Poznanju pojavila se mogućnost da se priobalnim prostorima reke Varte bave studenti iz Beograda u okviru svojih master diplomskih projekata. Poslednje dve godine diplomci profesora Vladana Djokića i njegove saradnice docenta Milice Milojević kao i diplomci profesora Petra Arsića i njegovog saradnika Ivice Nikolića radili su različita rešenja za priobalne prostore, najčešće u zoni naselja Hvališeva i Starih pogona gasa i između njih prostorom starog, zasutog korita reke Varte.

Svoj doprinos saradnji dve arhitektonske škole, odnosno njihovih studenata sa zadovoljstvom sam pružio,upućujući beogradske studente na teme koje uvek predstavljaju analitičko utvrđivanje stanja u prostoru koji se rekonstruiše (menja) a takođe i davanjem nekih sugestija za moguće programe i moguće prostorne predloge. Čini mi se značajnim što su beogradski studenti sa mnogo mašte i novih ideja,

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THE WARTA RIVER WORTH OF KNOWING Founded in the 11th century, when for a while it was the first capital of Poland, Poznan has a historical poznan continuity of more than 800 years.At once, Poznan is the city with the specific treatment of the the Warta

River. For centuries the urban structure of the city has been shaped in the close relation to the river Warta, especially in the area of Chwaliszewo, the settlement located in the meander of the “lazy”, plain river. The Royal-Imperial road used to go through this area, from Pshemislav hill, across the old city square, to the Cathedral on the Tumski isle – today the most significant area of the historical architectural heritage. The distinctive urban structure by the river was competitive with Poznan city already in the XVII century, so in the XIX century it became included in the structure. At that time, many beautiful buildings and a few palaces were built in Chwaliszewo on the most prominent locations where the river turns by the “Great Bridge”, following the examples of famous Venetian palaces above water. On the other side of the river were built the first industrial buildings to provide the city infrastructure (gas, water), and those were distinguishing in style, which even nowadays is, in the architectural sense, an exquisite artistic value. In the further part of the river was built the embankment. In a word, this was the part of the city with special, unique atmosphere, hosting entertainment facilities and the promenade. During the Second World War this part of Poznan experienced massive destruction, while the restoration and reconstruction took place regardless to the previous architectural and spatial values. The biggest change was in 1966–68 when this part of riverbed was filled in with alleged purpose to improve hydro-technical conditions of the river flow. This is how begun the devastation of one of the most characteristic parts of Poznan, of great landscape values and of high importance for the city. Beautiful and recognizable industrial architecture from the end of the XIX century remained only the trace of that time.

Over the years, there were numerous researches and projects of returning the city to its own river, as the revitalization of this area is important not only for the sentimental reasons but for future development, rising possibilities for ambitious, functional and spatial programmes dedicated to the citizens and tourists.

I have been exploring the possibilities of the transformation and revitalization of this area with my students for years. So, when the cooperation agreement between the Belgrade Faculty of Architecture and the Department of Architecture at the Poznan University of Technology was signed couple of years ago, there occurred the possibility for students from Belgrade to get involved with the Warta Riverfront within the framewotk of their master thesis. For the last two years, the graduates mentored by the prof. Vladan Djokić and Milica Milojević and prof. Petar Arsić and Ivica Nikolić were working on the various solutions for the Warta riverfront, mostly in the zone of the settlement Chwaliszewo and the ormer gas factories, and between themin the zone of the old, filled riverbed of Warta.

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fragmentarnih ili celinskih dali svoj doprinos, baš kao što i moji poznanjski studenti radeći godinama na problematici priobalja reke Save daju doprinos saradnji dva grada, dve škole, predočavajući svoje vizije.

Podcrtavam ovom prilikom i veoma uspešnu saradnju sa profesorom Djokićem i njegovom saradnicom docentom Milicom Milojević i njihovim diplomcima prilikom njihovog boravka u Poznanju, verujući da će se ta saradnja nastavljati a očekujući da će i rezultati dosadašnjeg rada biti javno prezentirani u Poznanju i Šćećinu prvom mogućom prilikom. Želim novim mladim arhitektima mnogo uspeha u pozivu za koji su se opredelili a svojim kolegama Dimitrije Mladenović profesorima dug život, zdravlje i nove uspehe u osposobljavanju studenata za borbu za prave vrednosti Poznanj, 2016 Arhitekture.

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I have supported the collaboration of two architectural schools and their students with pleasure, directing the students from Belgrade to the topics which always represent the analytical determination of the spatial conditions to be reconstructed (altered), but also by giving some suggestions for the possible programmes and spatial solutions. It seems important to me that the students from Belgrade have contributed with a lot of imagination and new ideas, fragmented orcomprehensive, just like former students of mine from Poznan who for years worked on resolving the issues around the Sava riverfront, thus giving their contribution to the cooperation between the two cities and two schools. On this occasion I joyly emphasize very successful cooperation with prof, Djokić and Milica Milojević and their graduates during their stay in Poznan, hoping that the cooperation will continue and expecting the results of our so far work to be presented in Poznan and Szczecin at the earliest opportunity.

I wish a lot of success to young architects in the career they have chosen, and to my colleague professors Dimitrije Mladenović I wish a long life, health and new successes in training the students for the fight for the true values of Poznan, 2016 architecture.

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POZNAN DIPLOMA PROJECTS 2013/14 2014/15

W A R T A

DIPLOMSKI PROJEKTI 2013/14 2014/15

Aleksandar Orozović 13/12/1990/Beograd Arhitektura i muzika su stvari bez kojih ne mogu, one me najbolje definisu i pokazuju ko sam. Ono što me takođe ispunjava jeste boravak u prirodi. Avanturističkog sam duha, volim da putujem i upoznajem nova mesta.

Architecture and music are things which without I can’t, they best define me and show who I am. What also fulfills me is staying in the countryside. I’m an adventurous spirit, I love to travel and meet new places.

tema: POROZNOST OBALOUTVRDE. Stanovanje na obali Varte topic: POROSITY OF THE EMBANKMENT. Housing on the Warta riverfront

Aleksandar Orozović

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POROZNOST OBALOUTVRDE. Stanovanje na obali Varte

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POROSITY OF THE EMBANKMENT. Housing on the Warta riverfront

POZNANJ 2013/2014

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POROZNOST OBALOUTVRDE Aleksandar Orozović POROSITY OF THE EMBANKMENT

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Obale su mesta na kojima se kopno dodiruje sa vodom, bilo da je u pitanju reka, jezero ili more. To su atraktivne zona u kojima se različite domene susreću. Obala pripada reci podjednako koliko pripada i gradu. U knjizi, The Image of the city, Kevin Linč objašnjava značenja domena. One su ponekad ograđene snažnim prirodnim ogradama, kao što su morske obale, reke, planinski venci, koje u crtežima označavama „ivicama“. Ivice nisu putevi, one su obično, ali ne i uvek, granice između dve različite površine. Tako i obaloutvrda, izgrađena na ivici, preuzima sve osobine i uticaje koje obala sa sobom nosi, i još više ih pojačava zato što je podignuta kao zid, barijera između vode i grada.

Prema rečima Jana Borena u eseju Thick Edge, u postmodernom gradu u kome arhitekte zagovaraju umotavanje i slojevito komponovanje prostora, granice u svim svojim manifestacijama – zidovi, fasade, kapije, obale, prozori – nisu više konačne, one gube svoje jasne obrise i postaju zone pregovora. Drugim rečima postaju porozne. Zato je predmet istraživanja i projekta porozna megastruktura.

U programskom i oblikovnom smislu lokacija i tema obaloutvrde odredile su dalje razvijanje teze kroz projekat stanovanja na granici, uz vodu, između ostrva Tumski i centra Poznanja.

Lokacija megastrukture (stanovanje na granici) nalazi se na delu obalo-utvrde u neposrednoj blizini železničkog mosta, pruge i železničke stanice kao i kompleksa bivše klanice mesa, naspram kvartova značajnih ambijentalnih i kulturnih vrednosti. Lokacija je izazovna zato što na ovom mestu grad nema mogućnost izlaska na obalu iako moćnom utvrdom drži njeno korito. Monolitna forma potvrđuje prvobitnu namenu - barijeru. Pravac pružanja/razvijanja strukture prati nametnutu zakrivljenost obaloutvrde i toka reke, dok struktura, ošupljena da poprimi i javne i svakodnevne sadržaje ostvaruje vizuelnu poroznost granice između grada i njegove reke.

River banks are places where land meets the water. These are attractive zones in which different domains meet. The bank belongs to the river as much as it belongs to the city. In his book “The Image of the City” Kevin Lynch explains the concept of domains. They are sometimes enclosed by strong natural boundaries, such as sea coasts, rivers or mountain ranges, marked by “edges” in drawings. The edges are not roads, they are usually, but not always, the boundaries between two different areas. Such is the case with river bank, it is built on the edge and takes over all the characteristics and influences the bank carries along, even more it intensifies them because it was built as a wall, as a barrier between the water and the city.

According to the words of Ian Boren in the essay “Thick Edge”, in the post-modern city where architects promote and insist on the wrapped and layered composition of space, boundaries in all their manifestations – walls, facades, gates, windows – are no longer final, they lose their clear outlines and turn into the negotiation zones. In other words, they become porous. That is why the subject of the research and the design is a porous mega structure.

Concerning the programme and the shaping, the location and topic of the river bank defined the further development of the thesis through the design of housing on the borderline, by the water, between the Tumski isle and the centre of Poznan.

The location of the mega structure (housing on the borderline) is situated on the part of the bank in the immediate vicinity of the railway bridge and the station, as well as of the the former slaughterhouse, and opposite to the significant ambient and cultural values. The location was tempting because the city has no possibility of spreading towards the river bank in this area, although it holds the riverbed with powerful fortification. Monolithic form confirms the initial purpose – the barrier. The direction in which the structure spreads and grows follows the imposed curve of the embankment and river flow, whereas the structure, cleared out in order to host public and everyday facilities makes the visual porosity of the boundary between the city and the river.

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Aleksandar Orozović

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POROZNOST OBALOUTVRDE. Stanovanje na obali Varte

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POROSITY OF THE EMBANKMENT. Housing on the Warta riverfront

Tamara Mašić 10/11/1990/Beograd

Moj najveći talenat je svestranost. Pasionirani sam sportista, zaljubljenik u prirodu i putovanja...

Volim muziku, fotografiju, slikanje... Arhitektura ujedinjuje moje strasti, hobije i znanja dajući mi mogućnost da stvaram nešto kreativno i drugačije.

My greatest talent is versatility. Passionate athlete, nature lover, traveler...

I like music, photography, painting...The architecture combines my passions, hobbies and knowledge giving me the opportunity to create something creative and different.

tema: MODULARNA REANIMACIJA. Integracija obala grada Poznanja topic: MODULAR REANIMATION. Integrations of the river banks of the city of Poznan

Tamara Mašić

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MODULAR REANIMATION. Integrations of the river banks of the city of Poznan

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MODULARNA REANIMACIJA Tamara Mašić MODULAR REANIMATION

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Projekat ispituje pojam modularnosti i modulacije kroz praksu arhitekture modernizma, metabolista i kritičko-utopijskog mišljenja. Ideja modula proizašlih iz karakteristične morfologije gradske strukture ima za cilj spontano približavanje urbane sredine rečnom toku. Podsticanjem novih sadržaja reanimira se prostor priobalja i inicira ambijentalna interakcija obala kao i interakcija između korisnika i modularnog sklopa - aktivnih mostova. Reanimacijom poznanjskog priobalja modularnom strukturom, čija se dinamika prostire u više pravaca na više nivoa, stvaraju se mesta za nepredvidljive tokove i pokrete svakodnevnog života. Projekat se oblikuje kao otvoreni proces, putem struktura, obrazaca i raspoloženja, sjedinjavanjem racionalnog i iracionalnog, planiranog i spontanog.

Reanimacija kao intuitivno sredstvo oživljavanja prostora, sadrži u sebi reč animacija. Najjednostavnije animacija znači slike u pokretu. Ovom projektu daje značenje dinamičnosti, doživljaja arhitekture svim čulima, interakciju korisnika i objekta i daje novu dimenziju upotrebljivosti i aktivnog doživljaja ambijenta. Modul, jedna minimalna jedinica, kao predstava “idealnog” u malom, postaje pokretač za ceo niz pozitivnih promena izazvanih daljom modulacijom. Modulacija kao red, kao novi utopijski sistem, kao težnja za harmonijom. Sistem koji se širi, menja okolinu i ima sposobnost prilagođavanja istoj. Modulacija znači i promenu frekvencije, muzički izraz, čija je osnova zvuk. Dovodeći u vezu modulaciju kao zvuk i animaciju kao slike u pokretu kreira se realistički filmski ambijent ili spontana utopija. Kao što se i u životu prepliću logička i emotivna strana, tako bi i u arhitekturi trebalo da se prožimaju te dve strane i objektu daju celovitost. Sve to tako da viđenje arhitekture potiče iz dubine bića korisnika, iz dečjeg duha ljudskog bića, odande odakle potiče i kreativnost, energija i moralni kompas pravih vrednosti, a arhitekturi vraća humana dimenzija.

Na kraju, ne mogu se kontrolisati tumačenja, ali se može ostaviti prostor za njih, sa otvorenim krajem gde stvari nisu totalno predodređene, gde ima zona nemarnosti, pa čak destabilizacije.

The thesis questions modularity and modulation through the modern architecture practice, Metabolism and critical and utopian ideas. By applying the modulation, the “ideal” independent units are designed to be possibly grouped and modified into a system with the intention to reanimate the area around the river banks. The idea of modules, coming from the specific morphology of the city structure, is aimed at spontaneously bring the urban area closer to the river flow. By inspiring new facilities, the riverfront is being reanimated and the ambient interaction of the banks is being initiated, as well as the interaction between users and the modular assembly – the active bridges. The idea behind the reanimation of Poznan Riverfront is to create new places for for new unpredictable flows and movements of everyday life with the modular structure, whose dynamics spreadsin several directions on several levels. The design project is shaped as an open process, through structures, patterns and moods, by combining the rational with irrational, planned and spontaneous. The reanimation as an intuitive mean for the revival of space encloses the word animation within. The simplest animation means motion pictures. So, it gives the meaning of dynamics to this design project, enabling the experiencing of architecture with all senses, as well as the interaction between users and buildings. It gives new dimension of usability and active experience of the ambient. A module, a minimal unit, as the presentation of “ideal” in the small, becomes the driver for the entire series of positive changes caused by further modulation. The modulation as an order, as the new utopian system, as the aspiration for the harmony. A system which is spreading and changing the environment has also the ability of adaptation in that same environment.

The modulation as a musical expression means changing the frequency. By connecting the modulation as the sound and the animation as the motion pictures, a realistic film ambient or the spontaneous utopia is being created. The game creates the paradox. Rational and irrational, emotional and logical, arranged and spontaneous, free and systematized overlap; architecture should respect the tradition and to be contemporary, men-made and returned to the nature – the creative dynamics is emerging.

Just as logical and emotional sides overlap in life, these two sides should overlap in architecture as well, thus giving completeness to a structure. And all that in a way to understand the architecture from the bottom of the user`s being, from the childlike ear of the human being, from the place the creativity, energy and moral compass of true values originate from. At the same time, the human dimension returnes to the architecture. Finally, the interpretations cannot be controlled, so the extra space is left, with an open end, where things are not predestined, where there is neglect, even destabilization.

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Tamara Mašić

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MODULAR REANIMATION. Integrations of the river banks of the city of Poznan

Marija Vujić 27/01/1990/Pančevo Ranoranilac koji voli da spava do kasno, knjiški moljac i neostvareni muzičar, formalno arhitekta i ponosni vlasnik četiri mačke.

Volela bi da može da se teleportuje.

An early bird who likes to sleep late, a bookworm and an unaccomplished musician, formally trained in architecture and a proud owner of four cats. Her greatest desire is the ability of teleportation.

tema: KONTRAPOZITIV. Rekonstrukcija stare fabrike gasa u Poznanju topic: COUNTERPOSITIVE. The reconstruction of the old gas factory in Poznan

Marija Vujić

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COUNTERPOSITIVE. The reconstruction of the old gas factory in Poznan

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KONTRAPOZITIV Marija Vujić COUNTERPOSITIVE

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Osnovni problem kojim se ovaj rad bavi je rekonstrukcija industrijske arhitekture i prenamene u savremenom gradu uz uvažavanje arhitektonskih i istorijskih vrednosti građevina. Pitanje je kakva arhitektura omogućava korišćenje i revitalizaciju prostora, šta uvodi snažnu promenu u istorijski vredan kompleks, a istovremeno traje diskretnim prisustvom? Koncept kontrapozitiva je jedan od mogućih odgovora na ovo istraživačko pitanje.

Pored pojašnjenja termina kontrapozitiva rad ispituje ideje značajnih arhitekata i teoretičara iz perioda postmoderne (Piter Ajzenman, Bernar Čumi, Žan Nuvel i Žan Bodrijar) kao i odnos koncepta kontrapozitiva i efemerne strukture, a kroz analize projekata nove generacije arhitekata iz Japana naslućuje uticaj ovih ideja na promišljanje veze prirode i arhitekture.

Na osnovu uvida u istorijat stare fabrike gasa u Poznanju i morfogenezu rečnog korita Varte razmatrane su mogućnosti delovanja efemernim strukturama, scenskim i drugim umetnostima. Posvećen pitanju dematerijalizacije, Nuvel određuje svoj pristup projektovanju kao igru dubinom vizuelnog polja. Redefinisanjem koncepta kontrasta, povezivanja i ekstenzije kadrova dolazi do manipulacije memorijom. Prostori se doživljavaju i van vizuelne percepcije sećanjem na niz sekvenci koje su opažene kao da slede jedna iz druge. Najavljujući budućnost u kojoj će prednost imati sve ono što ne podrazumeva kompleksnu i zahtevnu infrastrukturu, odnosno, fokus će biti na lakoći i autonomiji infrastrukturnih sistema. Na osnovu Nuvelove arhitekture, Bodrijar daje predlog onoga što bi se moglo smatrati konceptom kontrapozitiva: ,,Uspešan objekat, u smislu da postoji izvan sopstvene stvarnosti, je onaj koji stvara dualističan odnos, odnos koji se pojavljuje iz diverzije, kontradikcije, destabilizacije, ali efektivno postavlja takozvanu realnost i radikalnu iluziju licem u lice“.

Tradicipnalno shvatanje je da je arhitektura koja se bavi čovekovom percepcijom uvek izrazito materijalna. Međutim perceptivni nivo može biti dosegnut i na drugačiji način. Inkorporiranjem efemerne strukture uz staru fabriku gasa i staro korito Varte dematerijalizuje se njihova razdvojenost.

The main topic of this work is the reconstruction and conversion of industrial architecture with the respect for architectural and historical significance of the buildings.

If the question is what kind of architecture would enable use and revitalization of space, or what would make the change in the historical complex and at the same time last being discretely present, one of possible answers would be the concept of counter-positive. Along with the elaboration of the concept of counter-positive, this work questions ideas of the eminent architects and theoreticians from the period of postmodernism (Peter Eisenman, Bernard Tschumi, Jean Nouvel and Jean Baudrillard), as well as the relationship between the concept of counter-positive and ephemeral structure while analyzing projects othe new generation of architects from Japan was observing influences of these ideas on the understanding of the relationship between the nature and architecture. Considering the history of the old gas factory in Poznan and morphogenesis of the Warta riverbed, possibilities of acting with ephemeral structures, performing and other arts were observed.

Dedicated to the question of dematerialization, Nouvel defines his designing approach as the play with the depth of visual field. By redefining concepts of contrast, connection and frames extension, a manipulation with the memory occurs. The spaces are perceived out of the visual observation through the memory on sequences’ series perceived as if they came one from another. Announcing the future where everything that does not assume complex and demanding infrastructure will have the advantage, the focus will be on the easiness and autonomy of infrastructural systems. Based on Nouvel’s architecture, Baudrillard suggests something that can be considered the concept of counter-positive: ”A successful building in the sense that it exists out of its own reality, is the one createing a dualistic relation, the relation that comes from diversion, contradiction, destabilization, but effectively sets up so-called reality and radical illusion face to face.”

Traditional is the idea that architecture dealing with human perception is always exclusively material. However, the level of perception can be reached in a different way.

Incorporating the ephemeral structure into to the old gas factory and former Warta riverbed their separation is being dematerialized.

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Marija Tomašević 08/06/1990/Milanovac Privlače me imaginarni svetovi i uvek sam nalazila lepotu u pronalaženju sebe u različitim kontekstima.

Bavljenje arhitekturom mi je omogućilo da sfere svojih interesovanja prilagodim prostorima i da ih upoznam na drugim nivoima.

I’m attracted to imaginary worlds and I always found beauty in finding myself in different surroundings.

Architecture practice made it possible for me to adjust my area of interest to the spaces I create and to get familiar with them on different levels.

tema: MEMORIJALNI PARK. Nova struktura kao deo istorijskog konteksta topic: MEMORIAL PARK. New structure as the part of the historical context

Marija Tomašević

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MEMORIJALNI PARK MEMORIAL PARK

Marija Tomašević

Memorijalni park lociran je u delu priobalja reke Varte, na ostrvu Tumski. Ostrvo Tumski, ili Ostrvo katedrala predstavlja jednu od najstarijih i najvrednijih celina Poznanja. Intervencije je locirana u neposrednoj blizini mosta Bolestawa Chrobrego, ispred najznačajnih objekata ostrva- stare katedrale i objekta akademije. Ova prepoznatljiva veduta Tumskog predstavlja kontekst u koji će se nenametljivo utisnuti nova struktura. Namera je da se trajno obeleži memorijalni karakter ovog mesta, ali u javnom prostoru, dostupnom svakome. Na ovom mestu, zidovi kadriraju a voda menja atmosferu doživljaja slike grada. Kako raste i opada vodostaj reke tako oscilira horizont. Plan memorijalnog parka ima geometrijsku sličnost sa konceptom Misovog paviljona u Barseloni. Po namera ova intervencije teži efektima i doživljaju kakav stvara Ajzenmanova realizacija Memorijala Holokausta u Berlinu. Osnovnim arhitektonskim sredstvima stvoriti mesto posebne snage iz kojeg okolne strukture deluju upečatljivo i večno, a reka prisutna.

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The memorial park is located on the Tumski isle within the area of the Warta Riverfront. The Tumski isle, or the Island of Cathedrals, is one of the oldest and the most valuable parts of Poznan. The design intervention covers the immediate vicinity of the Bolestawa Chrobrego Bridge, the front area of the most significant buildings onthe isle – old cathedral and academy building. This recognizable veduta of Tumski isle is the context into which a new structure will be unobtrusively imprinted with the intention to permanently mark the memorial character of this location within public spaces available to anyone. This is the place in which walls frame and water shift the experience of the image of the city. As the water level rises and falls, so the horizon oscillates. The memorial park plan is geometrically similar to the concept of the Barcelona Pavilion by Ludwig Mies van der Rohe, striving towards the effects and the experience of the Eisenman`s Holocaust Memorial in Berlin. By applying basic architectural resources, a place of strength is createdmaking adjacent structures to seem distinct and eternal, along with the presence of the river.

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Marija Tomašević

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MEMORIJALNI PARK. Nova struktura kao deo istorijskog konteksta

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MEMORIAL PARK. New structure as the part of the historical context

Danijela Vlahovljak 16/01/1990/Beograd Hedonista. Volim stolice, suši i stare stvari. Jednom godišnje idem negde gde nikad pre nisam bila.

Volela bih da postanem odličan ronilac.

Ja sam koja jesam i dobro mi je sa mnom.

Hedonist. I like chairs, sushi and old things. Once a year I go somewhere I’ve never been.

I’d like to become an excellent diver.

I am who I am and I’m fine with me.

tema: BASTION. Novi bastioni globalnog društva topic: BASTION. A new bastion of global society

Danijela Vlahovljak

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BASTION Danijela Vlahovljak BASTION

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Mi smo, prema Peteru Sloterdajku u „dobu kompleksnosti“i „dobu ekstrema“. Društvena i kulturološka stvarnost je dinamično polje, u okviru koga se odvijaju procesi spajanja stvarnog i virtuelnog, „implozije smisla u medijima“, nagomilavanja informacija i fragmenata informacija i naredbi, akumulacije pokretnih slika i prizora koji uspostavljaju određene tokove. Prema Delezu, društvena stvaranost se može opisati kroz apstraktnu priču od četiri epizode, u kojoj ne postoji nikakva razlika između slika, stvari i kretanja. U tom lancu slika svako od nas je na svom posebnom mestu, svako je u svojoj slici, i uhvaćen u mrežu ideja koje deluju kao naredbe.

Nove tehnologije projektovanja podrazumevaju nov način prikupljanja i rada sa informacijama. Brzina promena, dostupnost i brojnost informacija koja se javlja sa razvojem Interneta uslovljava nove pristupe u doživaljaju stvarnog i virtuelnog, istraživanju i interpretaciji istorije.

Interpretacije bastiona, fragmenata utvrđenja grada Poznanja upotrebom novih tehnologija je ideja vodilja ovog rada. Objekat nema sadržaj, koristi se kao osmatračnica i svetionik. Vizuelizacija provokativne ideje da se bastion (raz)gradi u prstenovima “kao čaša” u koju će stalno prelivati voda priziva apokaliptične prizore i ostavlja trag u memoriji. Rezultat projekta novog bastiona je upečatljiva slika koja nije locirana u vremenu.

According to Peter Sloterdijk, we live in the “era of complexities” and the “era of extremes”. Social and cultural reality is a dynamic field, in which following processes take place – merging real and virtual, “the implosion of the meaning in media”, piling up of the information and fragments of information and orders, accumulation of motion images and sights which establish certain trends. According to Deleuze, the social reality can be described through an abstract story consisting of four episodes, in which there is no difference between the images, things and motion. In that chain, each and every one of us is in his special position, everyone is in his own picture, caught in the web of ideas that seem like orders.

New designing technologies imply new way of gathering and processing information. The speed of changes, availability and the amount of information which appear with the development of the internet determine new approaches in experiencing the real and the virtual, as well as the new approaches in research and interpretation of history.

The use of the new technologies in the interpretation of a bastion, the fragment of the fortification of the city of Poznan was the guiding concept of this work. The structure does not include contents, it is used as a light house and an observation post. The visualization of the provocative idea that the bastion should be (de) composed in circles like “a glass” from which the water will constantly overrun evokes the apocalyptic sights and leaves a trace in the memory. The result of the design of new bastion is the impressive image, not located in time.

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Danijela Vlahovljak

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BASTION. Novi bastioni globalnog druĹĄtva

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BASTION. A new bastion of global society

Sara Vesić 21/08/1990/Beograd Lepotu nalazim u jednostavnosti, odmor u fiziÄ?koj aktivnosti, mir u prirodi, slobodu pod vedrim nebom, kilometre pod nogama, vetar u kosi...

I find beauty in simplicity, vacation in physical activity, peace in nature, freedom under the open sky, kilometers under my feet, wind in hair...

tema: TOK. Tragovima starog toka Varte topic: A FLOW. Following the traces of the former Warta flow

Sara Vesić

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TOK. Tragovima starog toka Varte

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A FLOW. Following the traces of the former Warta flow

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TOK Sara Vesić A FLOW

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Korito reke je jedinstven otisak njenog toka. Pokret i otisak su glavni motivi ovog istraživanja. Intervencija je locirana u starom, zatrpanom, delu korita reke Varte. Cilj intervencije je da se animira ovaj deo korita, ali ne vraćanjem starog toka reke, već parkovskim sadržajima i simulacijom oblika koji vodena masa vaja i ostavlja u tlu kojim protiče. Lokve, kanali, pećine su oblici novih javnih sadržaja skrivenim u parku na mestu starog toka Varte.

Mogućnosti oblikovanja terena pejzažnom i organskom arhitekturom ispitivano je u urbanističkim razmerama, dok je u arhitektonske razmere tema energije kretanja preneta na koncipiranje fasade. Fasada je inspirisana talasom kojim reka zapljuskuje grad, i pukotinama koje ostaju u osušenom tlu kada se reka povuče.

Objekat je pozicioniran na rubu leve strane starog korita, na špicu nekadašnjeg ostrva Hvališeva. Jednostavne, pravilne geometrije, svedene obrade i materijalizacije prema stambenom kvartu na Hvališevu, a sa drguge strane, prema parku primenom inovacionih tehnologija modelovana je dinamička fasada. Pored vizuelne ekspresije, ovakvo rešenje omogućava kontrolu klimatskih uslova i simulaciju i pojačavanje ambijentalnih vrednosti priobalja. I spolja i unutar objekta oseća se prisustvo lenje reke koja protiče sa jedne strane i projektovane reke ljudi koja teče parkom i obalom.

The riverbed represents the unique print of a river’s flow, so the motion and the print were main motives of this research. The design intervention encompasses the old, filled in riverbed of the Warta River. The aim was to animate this part of the riverbed, not by returning the former river flow, but via parks and simulation of the shapes water creates and leaves on its bottom. Pools, canals and caves are the forms of new public facilities hidden in the park located on the site of the former Warta flow.

The possibility to design the terrain through landscape and organic architecture were explored via urban design, whereas via architectural design the motive of energy movement was transferred into concept of the façade. The façade is inspired by river waves splashing the city, and by cracks remained in the dry soil after the river withdraws.

The building is positioned on the left-side edge of the former riverbed, on the peak of the former Chwaliszewo island. Regular geometry and reduced materialization face the Chwaliszewo residential quart, while on the other side, towards the park, use of innovative technology made for a dynamic facade. Along with the visual expression, such a solution enables the control of the climate conditions as well as the simulation of ambient values of the riverfront. Both inside and outside, the presence of the lazy river running from one side, and of the designed “river” of people walking through the park and down the river bank can be seen.

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Sara Vesić

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TOK. Tragovima starog toka Varte

Marija Omanović 02/02/1990/Beograd Želim da živim. Da vidim i osetim što više. Želim da učestvujem i ostavim trag.

Arhitektura je način koji sam izabrala.

I sada samo ne želim da stanem.

I want to live. To see and feel as much as I can. I want to participate and leave a trace.

Architecture is the way that I have chosen.

And now I just don’t want to stop.

tema: MOST. Programska integracija obala Varte topic: THE BRIDGE. A programme integration of the Warta’s banks

Marija Omanović

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THE BRIDGE. A programme integration of the Warta’s banks

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MOST Marija Omanović THE BRIDGE

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Poznanj je univerzitetski grad. U okviru ponude za strane studente koji dolaze da studiraju u Poznanju navodi se veliki broj zelenih površina, parkova i sportskih centara namenjenih za rekreaciju. Jedan od najpoznatijih rekreativnih zona je jezero Malta, koje se nalazi u neposrednoj blizini najveće studentske zone, Studentskog doma Tehničkih fakulteta.

Sportska zona namenjena studentima nalazi se na samoj obali reke Varte pored nove zgrade Politehničkog fakulteta. Sadrži više sportskih terena koji nemaju stalni zaklon ili su sa privremenom zaštitom od padavina tokom zime. Najveću površinu zauzima teren za fudbal i hokej, najuređeniji i najbrojniji su tereni za tenis, dok su tereni za odbojku i košarku zapušteni i izolovani u neuređenom delu sportske zone.

Ne postoji direktna veza između fakulteta, sportskih sadržaja i studentskog doma, kao i reke Varte na čijoj se obali nalaze.

Zone koje obuhvataju teren, fakultet i studentski dom, sa zonom istorijskog centra, starog korita i stare luke reke Varte ujedno predstavljaju i prostore koje studenti najviše koriste u slobodno vreme.

Cilj projekta je povezivanje univerzitetskog i istorijskog dela grada preko reke Varte formiranjem nove rekreativne zone, koja će obuhvatati sportsku halu, terene na otvorenom i most preko ostrva Tumski do starog rečnog korita.

Most ostvaruje vezu između dva dela grada kako bi se revitalizovali zapušteni prostori priobalja. Deo mosta su i novi javni sadržaji na otvorenom (tereni za sportove na travi i vodi) i prateći sportski objekti (tereni za grupne sportove). U oblikovanju ovog gradskog poteza preko Varte, posebna pažnja posvećena je dispoziciji bazena i kulturnih sadržaja kako bi se programski utemeljio prelaz preko Varte.

As a university city Poznan offers to foreign students coming to study here many green areas, parks and sports centres. One of the most famous recreational areas is the lake Malta, which is located in the immediate vicinity of the largest Student Residence of the Technical Faculty.

The sports zone for students is located on the very bank of the Warta River next to the new building of the University of Technology. It consists of several sports courts which do not have a permanent cover or have only temporary protection from rainfall. Football and hockey courts take the largest area, tennis courts are the most numerous and the best decorated ones, whereas the volleyball and basketball courts are neglected and isolated in the disorganized part of the sports zone.

There is no direct connection between the university, sports facilities and student residence, as well as the Warta River, on whose bank they are located. The zones which include courts, university and student residence, along with the zones of the historical centre, former riverbed and former river port of the Warta are the spaces that the students use the most in their free time.

The aim was to design the connection between the academic and the historical part of the city over and through the Warta River by forming the new recreation zone, which will include the sports centre, open courts and the bridge from the Tumski isle to the former riverbed.

The bridge exercises the connection between the two parts of the city in order to revitalize neglected areas of the riverfront. New public facilities are also part of the bridge (courts for grass and water sports), as well as the accompanying sports buildings (group sports). While designing this part of the city, the special attention was paid to the disposition of the swimming pool and cultural facilities, so that the crossing over the Warta River could be established.

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Marija Omanović

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MOST. Programska integracija obala Varte

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THE BRIDGE. A programme integration of the Warta’s banks

Tijana Milanović 16/10/1990/Beograd U potrazi za srećom, nastojim da živim život punim plućima.

Na tom putu otkrivam čudesne osobe, mesta i radnje, spajajući ih i razdvajajući u svojoj glavi.

Takvom alhemijom, nadam se da ću napraviti zlato.

In pursuit of happiness, I try to live life to the fullest.

On that path I discover wondrous people, places and actions, merging and splitting them in my head.

With such alchemy, I hope to make gold.

tema: RUINA. Park napuštenih ideja topic: THE RUIN. A Park of abandoned ideas

Tijana Milanović

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RUINA. Park napuštenih ideja

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THE RUIN. A Park of abandoned ideas

POZNANJ 2013/2014

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RUINA Tijana Milanović THE RUIN

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U istraživanju se traga za hibridom arhitekture i pejzaža, prirode i kulturnih obeležja, rasta i raspada, budućnosti i prošlosti. Ruina, kao ne-konačan objekat, je bezvremena i posebna u materijalnom smislu, ali i predmet iskustva i vremena u nematerijalnom. U tom odsustvu doživljaja materije uspostavlja se dijalog između materijalnog i nematerijalnog, koji stvara subjektivni doživljaj pojedinca o objektu koji nestaje, propada, kopni i postaje pejzaž. Šta je korito reke Varte odnelo u zaborav, a šta je sačuvalo, nataložilo u sebi kao trag kulture i istorije grada?

Ruine se javljaju kao zapušteni prostori koji su nekada imali svrhu. U koritu reke Varta nalazimo više lokaliteta, čak se i sama reka može posmatrati kao ruina. Kako se Varta smanjivala a vodostaj opadao, lenja reka je stvorila oko sebe prostrana ali na pojedinim deonicama toka neprohodna tla koje odaju utisak ruine.

Teza zastupana u istrazivanju je da ruina nije negativna pojava, element koji treba odstraniti ili izlečiti, isceliti (zdravo/celo), već naprotiv, da ruina obuhvata i prostore i objekte davnih vremena, pune istorije i prošlosti, u čemu treba videti snagu za iskorak i inovaciju. Kako delovati na ta mesta, a zadržati izvanvremenska veličanstvenost ruina?

Pored pejzaža, javljaju se i ruine kao objekti - stare fabrike, koje su izgubile prvobitnu svrhu. One su mahom dobile nove stalne ili povremene namene. Ovi objekti funkcionišu nezavisno, a napuštanjem stare tehnologije nestaje i njihova povezanost unutar kompleksa. Da bi ove ruine doprinele oživljavanju poznanjskog priobalja potrebno je integrisati ih u širi/regionalni sistem evropskog industrijskog nasledja. Projekat parka u kojem je slobodno interpretirana tipologija industrijskih objekata – svaki cilindar silosa je tačka u utopijski prikazanom parku. Park je geometrijski pravilan, idealan sistem kreativnih prostora / kuća i kula za svaku vrstu neformalnog ili formalnog stvaralaštva mladih.

This research seeks for the hybrid of architecture and landscape, nature and cultural landmarks, growth and disintegration, thefuture and the past. The ruin, as the non-final object is timeless and special in the material sense, but it is also the subject of the experience and time in immaterial. In that absence of the experience of the matter, the dialogue between material and immaterial has emerged, which creates the subjective experience of the individual about the object which disappears, decays, vanishes and turns into the landscape.

What did the Warta riverbed take to the oblivion, and what was kept, accumulated as the trace of the culture and the history of the city?

Ruins are neglected areas which used to have some purpose. In the Warta riverbed we can find several locations, and even the very river can be seen as the ruin. As the Warta was reducing in size and water level was falling, the lazy river created spacious, but on some locations impenetrable land, which gives the impression of the ruin.

The research thesis is that the ruin is not a negative phenomenon, an element to be removed or healed, cured (healthy/complete); but on the contrary, the ruin includes spaces and structures of ancient times, full of history and past, which should be seen as the driving force for the step forward and innovation. The question is how to affect those places while still keep the timeless magnificence of the ruins?

Apart from landscapes, built structures also appear as ruins – old factories which lost their initial purpose. They mostly obtained new permanent or temporary purpose and facilities. These buildings function independently, and by abandoning the old technology, their connection within the complex is being disappearing. In order for these ruins to contribute to the revitalization of Poznan riverfront, it is necessary to integrate them into a wider/regional system of European industrial heritage. In the design of the park, where typology of industrial facilities is freely interpreted – every silos cylinder is the spot in the utopian manner park. The park is of a regular geometrical shape, an ideal system of creative spaces/houses and towers for any type of formal and informal creativity of young people.

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Tijana Milanović

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RUINA. Park napuštenih ideja

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THE RUIN. A Park of abandoned ideas

Branka Ćirković 26/01/1990/Kragujevac Voli da započne dan toplom šoljicom kafe i da ga začini odgovarajućom dozom humora.

Inspirišu je izazovi i uživa u pomeranju sopstvenih granica.

Nigde ne žuri i svuda stiže. Živi na moru sa svojom porodicom.

She likes to start the day with a hot cup of coffee and spices it with the appropriate dose of humor.

Challenges inspired her and she enjoys shifting her borders.

She no hurry and everywhere arrives. She lives at sea with her family.

tema: UTVRDJENI GRAD. Novi gradski distrikt u istorijskom kontekstu ostrva Tumski topic: THE FORTIFIED CITY. New city district within the historical context of the Tumski isle

Branka Ćirković

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UTVRDJENI GRAD. Novi gradski distrikt u istorijskom kontekstu ostrva Tumski

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THE FORTIFIED CITY. New city district within the historical context of the Tumski isle

POZNANJ 2013/2014

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UTVRDJENI GRAD Branka Ćirković THE FORTIFIED CITY

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Utvrđeni Grad na ostrvu Tumski osnovan je u 10. veku. Bedemi koji su podignuti na ostvu okruživali su i štitili naselje. Drveni bedemi su zadivljujuće tehnološko dostignuće tog vremena. Struktura bedema je rekonstruisana i predstavljena maketom u Arheološkom muzeju u Poznanju. Čvrstina i složenost ove strukture inspirisali su rad na temi formiranja novog stambenog distrikta na ostrvu.

Istraživanje adekvatne matrice i forme fizičke strukture rezultiralo je odlukom da se naselje organizuje kao komuna, u pravilnoj formi obruča koji tangiraju reke Varta i Cibina. Obruč čine kuće u nizu koje su upućene na međusobnu saradnju po pitanju energetske efikasnosti. Saradnja je podstaknuta na različitim prostornim nivoima: nivo dve susedne kuće, nivo segmenta (manjih grupacija), nivo komune (ostrva). Nivo dve susedne jedinice - zajednički rezervoar kišnice. Susedne kuće razdvaja zid-rezervoar kišnice koji susedi dele koristeći za potrebe tehničke vode i zalivanje bašti. Nivo grupacije (segment obruča) - zajednički prilaz i pristan na reci. Vreme provedeno na vodi je vredan deo svakodnevnih rekreativnih, relaksirajućih i društvenih aktivnosti. Reka i kontakt sa vodenom površinom značajni su za celu komunu ali ostvaruju se u fragmentima, fleksibilno i pristupačno stanovništvu u malim grupacijam, a ne masovno. Nivo distrikta/komune - zeleno rezervoar ostrva. Zelena poljana u središtu naselja, “opkoljena” nizom kuća i rekreativnom stazom predstavlja glavni motiv zajedništva ove komune.

Zajedničke ekološke vrednosti, stil zdravog života u skladu sa prirodom, duh mesta (nekad prestoni grad poljske države) objedinjuje ovu zajednicu, obezbeđuje uslove za društvenu i teritorijalnu koheziju nove zajednice “na temeljima” utvrđenog grada.

The fortification on the Tumski isle was founded in the 10th century. The walls built on this isle surrounded and protected the settlement, whilst the wooden walls ar a magnificent industrial achievement of that time. The walls structure is reconstructed and represented by the model in the Museum of Archaeology in Poznan. The strength and the complexity of this structure inspired the work on the formation of the new residential district on the river island.

Searching for the adequate pattern and form of the physical structure resulted in the decision to organize the settlement as the commune, in the proper shape of a circle alongside the rivers Cybina and Warta. The circle consists of the semi-detached houses, which enables energy efficiency principles to be applied. The connection is conducted on different spatial levels: two adjacent houses, a segment or smaller groups and the commune (the river island).

Two adjacent units share common rainwater tank; that is that the wall separating these houses is the rainwater tank which neighbours use as technical water or for gardens watering.

The segment or group level share common approach and river dock. The time spent on the river is an important part of everyday recreational, relaxing and social activities. The river and the contact with the water surface are important for the entire community, but are accomplished in fragments, flexible and accessible to citizens in smaller groups and not massively.

District level /commune – green tank of the island. Green field in the middle of the river island “surrounded” with the row of houses and the recreational trail represents the key motive of the union of this commune.

Common ecological values, healthy life style in harmony with nature, the spirit of the place (former capital of the Polish country) unite this community, providing conditions for social and territorial cohesion of the new community “on the foundations” of the fortified city.

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Branka Ćirković

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UTVRDJENI GRAD. Novi gradski distrikt u istorijskom kontekstu ostrva Tumski

Nikola Opačić 19/12/1990/Beograd

Volim sve vezano za arhitekturu i prostor.

Smatram da sam jako konkretan, znam šta želim i kako da dodjem do toga.

Obožavam da putujem i upoznajem nove kulture i ljude.

Za mene arhitektura nije struka nego pristup životu.

I love everything related to architecture and space (not in cosmic meening).

I believe that I am very pragmatic, I know what I want and how to get to it.

I adore to travel and meet new cultures and people.

For me, architecture is not a profession it is a way of life.

tema: MUZEJ REVOLUCIJA topic: THE MUSEUM OF REVOLUTIONS

Nikola Opačić

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MUZEJ REVOLUCIJA

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THE MUSEUM OF REVOLUTIONS

POZNANJ 2014/2015

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MUZEJ REVOLUCIJA THE MUSEUM OF REVOLUTIONS

Nikola Opačić

Poznanjski jun (pobuna radnika koja se dogodila u fabrici za obradu metala „Josif Staljin” 1956. godine u gradu Poznanju) doveo je do revolucionarnih društvenih i ekonomskih promena u Poljskoj. Rad se bavi simbolikom i tragovima tih dešavanja i transponuje ih u arhitektonski diskurs. Tema projekta je muzej ravolucija, a rezultat je objekat-eksponat, arhitektonski i skulptorskog izraza, koji objedinjuje dva značenja revolucije: društvena/ideološka revulucija i revolucija u arhitekturi.

Lokacija fabrike Josif Staljin je aktuelizovana međunarodnim konkursom za regeneraciju industrijske zone u blizini starog centra Poznanja. Kakva je budućnost ovog objekta u novom elitnom stambeno-poslovnom distriktu?

Projektom je zagovaran jedan scenario – u ekskluzivnom distriktu, ostaci srušene fabrike opkoljeni su rovovima i novim strukturama utisnutim u tlo. Slomljeni toranj centralni je motiv simulacije zanosa, uspona i sunovrata revolucionarne ideje. Muzej revolucija je nov javni sadržaj u samom jezgru ekskluzivnog distrikta – kao kreativan izraz i mesto novih preokreta.

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The Poznan June (the workers’protest in the metal processing factory “Josif Stalin” in 1956 in Poznan) caused revolutionary social and economic changes in Poland.

So this work deals with the symbolism and traces of those events and interpret them into the architectural discourse. The subject topic is the Museum of Revolutions and the result is the structure an exhibit of architectural and sculptural expression, which combines two meanings of the revolution: social/ideological revolution and the revolution in architecture.

The location of “Josif Stalin” factory is actualized through the international competition for the regeneration of the industrial zone in the vicinity of the former Poznan centre. What is the future of this structure in the new elite residential and business district?

The design advocated for one scenario –the remains of the demolished factory in the exclusive district are surrounded by the trenches and the new structures embedded in the ground. The broken tower is the central motive of the simulation of an enthusiasm, the rise and the fall of revolutionary idea. The Museum of Revolutions is a new public facility in the very core of the exclusive district – as the creative expression and the place for new changes.

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Nikola Opačić

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MUZEJ REVOLUCIJA

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THE MUSEUM OF REVOLUTIONS

Mila Joksimović 11/06/1991/Leskovac

Život čine male stvari, ljudi i arhitektura.

Imam prenatrpan raspored, kreativne misli i (skoro) uvek sve postižem. Živim od starih i nadam se novim uspomenama putujući, upoznavajući nove ljude i stvarajući.

Life consists of a small things, people and architecture.

I have a busy schedule and creative mind, and (almost) always accomplish everything.

I live for memories and hope for making a new ones by traveling, meeting people and creating.

tema: RITAM. Rekonstrukcija gradskog kvarta topic: A RHYTHM. The reconstruction of the city quart

Mila Joksimović

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RITAM. Rekonstrukcija gradskog kvarta

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A RHYTHM. The reconstruction of the city quart

POZNANJ 2014/2015

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RITAM Mila Joksimović THE RHYTHM

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Poznanj je bio trgovački grad koji je dostigao najveću ogranizacijsku i oblikovnu visinu zajednica u srednjem veku. Glavna odlika ovakvih gradova je pijaca koja zauzima centralnu poziciju u gradu kako u fizičkom tako i u društvenom smilu. Ona je centar svih dešavanja i shodno tome se oblikuju navike ljudi a samim tim i geometrija grada. U urbanističkom smislu, pijaca je proširenje linearnog saobraćajnog sistema i čini kičmu planiranja. Otvara se na sve strane i ima oblik pravilnog pravougaonika, a ulice se ulivaju na uglovima trga i teku tik uz njegove stranice. Na trgu se, u središtu, nalazi gradska većnica kao centralni motiv i slobodnostojeći objekat, a nizovi kuća prepoznatljivog kolorita predstavljaju zidove trga. Tremovi u prizemlju kuća povezuju privatni, unutrašnji, prostor sa javnim, spoljašnjim.

Ritmika i skladni proporcijski odnosi su glavna karakteristika kuća u ovim delovima grada. Svaka kuća koja izlazi na trg mogla je da ima 9.6 m i spratnost od 2 do 3 sprata sa potkrovljem, što je bila propisana norma. Odstupanja su bila samo kod pojedinih reprezentativnih objekata. Kuće se razlikuju po bo boji i stilskoj obradi, a mogle su da se razvijaju po dubini što nije narušavalo vizuelni utisak na trgu. Ta ritmičnost sa trga odnosi se i na ostale gradske kvartove.

Iz traga se nastavlja ortogonalna matrica sa zgradama u nizu i na regulaciji. Kako se udaljava od trga, ortogonalna matrica prerasta u krivolinijsku, ali se i dalje zadržava neprekinuti niz kuća na regulaciji.

Na primeru kvarta Hvališevo vidljivi su principi parcelacije bloka u blago zakrivljenoj ortogonalnoj matrici i formiranja niza karakterističnih gradskih kuća. Pojedini objekti su srušeni iz različitih razloga i sada je taj niz prekinut, a red narušen. Cilj ovog rada je uspostavljanje ritma i reda savremenim arhitektonskim izrazom, u skladu sa ekološkim standardima rekonstrukcije priobalja i tradicijom ivične gradnje poznanjskih kvartova.

Poznan was the trade city which reached its highest organizational and design peak of the communities in the Middle Ages. The main characteristic of such cities is the market, which takes the central position in the city, both in the physical and social sense. It is the venue of all events and according to it, the habits of people, as well as the geometry of the city, are shaped. In the urban sense, the market is the extension of the linear traffic system and makes the frame of the planning. It opens o0n all sides and is of a rectangular shape, and the streets flow on the corners and proceed along the sides. In the centre there is a square, and on the square there is a city hall as the central motif and a free standing structure, and the rows of houses of recognizable colouring represent the walls of the square. The porches on the ground floor of the houses connect the private, inner space with the public, outer one.

The rhythmics and the harmonious proportions are the main characteristics of the houses in this part of the city. Every house facing the square could be 9,6 metres high and could have two or three floors and the attic, which was the prescribed standard. The only allowed tolerance was applied for some of the representative buildings and structures. The houses differed by colour and stylistic processing, and they could be further enlarged in the depth, which did not disturb the visual impression of the square. That rhythmics of the square refers to other city quarts as well.

The orthogonal pattern continues with the buildings in a row and on regulation. As it moves away from the square, the orthogonal pattern turns into the curvilinear, but the incessant row of houses continues on the regulation.

On the example of Hvalishevo quart, the principles of the parcelling of the block is visible in the mildly curved orthogonal pattern and the formation of the row of characteristic urban houses. Some of the buildings were destroyed for various reasons, and now that line is interrupted, and the order is violated. The aim of this work is establishing the rhythm and order through modern architectural expression, in accordance with the ecological standards of the bottomland reconstruction, and the tradition of the construction of the Poznan city quarts on the border.

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Mila Joksimović

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RITAM. Rekonstrukcija gradskog kvarta

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A RHYTHM. The reconstruction of the city quart

Nevena Lukić 06/03/1991/Beograd Stalno negde trčim, ali ne žurim...Radim, učim i uživam istovremeno.

Glasno se smejem.

Važne momente obeležim fotografijom i poput scene iz filma začinim nekom dobrom muzikom u pozadini, ponekad je i otpevam naglas.

Always running, but never rushing...Working, always learning and enjoying life - laughing loudly.

I capture every moment with a photo and perceive, as I’m in a movie, with some awesome music in the background, which I occasionally perform out loud. .

tema: GRANICA/IMPROVIZACIJA. Muzički kvart u Poznanju topic: BOUNDARY/IMPROVISATION, Musical Quarter in Poznan

Nevena Lukić

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GRANICA/IMPROVIZACIJA. Muzički kvart u Poznanju

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BOUNDARY/IMPROVISATION, Musical Quarter in Poznan

POZNANJ 2014/2015

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G R A N I C A / I MP R O V I Z A C I J A B O U N D A R Y / I MP R O V I S A T I O N

Nevena Lukić

Improvizacija i granica su dva suprotstavljena pojma koja isključuju jedan drugi. Cilj ovog rada je da ukaže na neodvojivost ova dva pojma, nisu suprotstavljena već su međusobno uslovljena. Odnosno, uslov da se improvizacija izvede je postojanje granice, ograničenja. Rad ispituje načine improvizacije i njene manifestuje u arhitekturi, šta su granice improvizacije i koji faktori utiču na njih.

Pojmovi su najpre definisani kroz teoriju muzike, sa akcentom na džez kao muzički pravac u kojem dominira improvizacija i kritičkim osvrtom na tekstove iz arhitektonske teorije, društvene teorije i estetike. Nakon sagledavanja teorijskih pristupa analizirani su primeri i principi interpretacije granice i improvizacije, a kroz projekat istražena je njihova primena na konkretnoj lokaciji priobalja Varte u Poznanju.

Objekat predstavlja okosnicu muzičkog kvarta. Efekat oblikovanja nove strukture prevazilazi percepciju objekta i proširuje se na okruženje - priobalje i staro jezgro grada. Sadržajima upotpunjuje umetnički distrikt a oblikovanjem integriše javne prostore centra i priobalja. Struktura jasnih ivica ali nejasnih granica oformljena je nizom ramova. Repeticija ramova uspostavlja varljiv odnos unutra-spolja, dok prava, stroga osovina daje čvrstinu strukturi i snažno zadire u reku provocirajući njeno nepredvidivo delovanje, u skladu sa tezom: Granica omogućuje improvizaciju, a improvizacija pomera granice.

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Improvisation and boundary are two different conflicted matters which often exclude each other. The scope of this work is to point out the inseparable nature of these matters, that they are not conflicted but conditioned. In other words, the condition for improvisation to be performed is the existence of boundary that indicates it. This works aim is to explore different ways of improvising and it’s manifestations in architecture, as well as seeking for defined boundaries of improvisation and factors that influence them.

Terms are defined trough theory of music, whit accent on jazz as music movement whit dominant influence of improvisation, as well as critical review of architecture theory, social theory and esthetics. After theoretical approach on this matter, different examples and principals of interpretation were analyzed. Through architectural project their use is examined on exact location of Varta riverside in Poznan.

The object represents the brim of musical quarter. The effect of creating this new structure goes beyond perceiving object itself and expands on surroundings - both riverside and old city center. It’s function complements art district, and it’s form integrates public spaces of city center and riverside. Structure of clear and defined edges, but blurry boundaries is created with series of frames. Repetition of frames establishes specious relation inside-outside, while it’s firm, strict base gives structural rigidity and makes a statement bursting strongly into the river surface - provoking it’s unpredictability, all in accordance with the thesis: Boundary allows improvisation, while improvisation moves boundaries.

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Nevena Lukić

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GRANICA/IMPROVIZACIJA. Muzički kvart u Poznanju

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BOUNDARY/IMPROVISATION, Musical Quarter in Poznan

CIP - Каталогизација у публикацији Народна библиотека Србије, Београд 711.533.4(438)(082) 72.012(084.12) [POZNANJ] : revitalizacija priobalja reke Varte / [urednici Vladan Djokić, Milica Milojević i Dimitrije Mladenović] = Poznanj : revitalization of the Warta riverfront / edit by Vladan Djokić, Milica Milojević and Dimitrije Mladenović. - Beograd : Arhitektonski fakultet = Belgrade : Faculty of Architecture, 2016 (Beograd = Belgrade : Colorgrafx). - 83 str. : ilustr. ; 24 cm “Dve generacije diplomaca Master akademskih studija Arhitektura imale su priliku da svoje master teze i projekte rade na temi revitalizacije priobalja reke Varte, u centralnoj zoni grada Poznanja, u Poljskoj.” --> str. 4. - Uporedo srp. tekst i engl. prevod. - Slike autora. - Tiraž 300. - Str. 4-6: Revitalizacija priobalja reke Varte / Vladan Djokić i Milica Milojević. - Str. 8-11: Reka Varta Poznanja vredna / Dimitrije Mladenović.

ISBN 978-86-7924-169-6 a) Урбанистичко планирање - Приобаље - Пољска - Zbornici b) Зграде - Пројекти - Албуми COBISS.SR-ID 226506508