AARHUS SCHOOL OF ARCHITECTURE
STUDIO 2B
COMPUTATIONAL BUILDING DEVELOPMENT AND TRANSFORMATION
THESIS SUMMARY RERORT VILDANA DUZEL
ZOT
АЗОТАРА CURATING THE NARRATIVE OF REVIVAL IN VITKOVIĆI
2
Figure 1, Vitkovici, Bosnia & Herzegovia
INDEX INTRODUCTION 4
SITE & RESEARCH
10
SITE & ANALYSIS
18
AZOT NOVO
46
NOTES
73
Vildana Duzel Supervised by Jan Buthke Aarhus School of Architecture 2020
3
MOTIVATION
I. INTRO
4
INTRODUCTION I bring forward this quote to state my initial motivation in introducing this thesis. This thesis will seek to instigate a new curated narrative of revival in Bosnia & Herzegovina, with a specific interest in retelling the story of Vitkovici - an area with overlapping layers of history - with a motivation to disclose the post-war human living in a continuously shifting era, as Lebbeus Woods mentions: “However, when society can no longer define itself in classically deterministic, objective terms, but only in terms of continuously shifting, fluid-dynamical fields of activity, then architecture must forsake the monumental, because there is no hierarchy to volarize, no fixed authority or body of knowledge external to human experience to codify.“2 Wars and broken national identities gave birth to poverty and hatred, followed by a timeless sorrow that pushed citizens into emmigrating from their country instead of staying to stitch it back together.The multiple layers of history has sowed the seeds for the country’s self-defeat which has given me a departure point in curating a new narrative for the 21st century individual living in Bosnia & Herzegovina. The understanding of these multiple layers of history leads me to my personal investigation into intervention within the current situation in the country, disclosing the importance of revival in a destroyed country where as Mujanovic states: “Coercion is and has remained the primary mode of production in the Balkans.”3 This leads me to the initial starting point of my research. Coercion is understood to be the act of persuasion, Mujanovic brings forward this comment in relation to the county’s poor development, politically, economically and culturally. This comment still speaks to the current situation in Bosnia & Herzegovina - a concerning issue that enslaves the population to this day. The system is broken and operates under the influence of bad politics and broken promises. Machinic production has experienced the minimal technological modernisation since the Yugoslav Wars. The lack of modernisation in this industry is causing its younger population to lose interest in staying in the country. Now, almost 30 years later, I'm interested in understanding how to change it and address this crucial national problem through my architectural design intervention.
“Reality is recognized in its wholeness only as it shatters to bits”1
MOTIVATION
I. INTRO
5
Figure 2 - photograph, A3OTAPA, 2020 Vitkovici, BIH
MOTIVATION
I. INTRO
6
MOTIVATION On the route from Sarajevo to Gorazde evidence of past human cruelties is clearly displayed on the roads, vegetation, and most importantly, marked on buildings. Pictured is the suburb of Gorazde, Vitkovici - recognised around the 1950s for having the largest chemical factory in Yugoslavia which was concentrated on producing nitrogen-based chemicals. With the founding of the factory, the employment rate grew and brought in people from around Yugoslavia populating the area and bringing notoriety. Vitkovici is now dominated by industrial factories, producing synthetic fertilizer and expanding their main economic interests in the carseat-production4. Vitkovici has expanded its industry, which brings me to question its role as a suburb to Gorazde. While the production of synthetic fertilizer contributes to the country's societal and industrial progression, it is also suffocating it by feeding its earth with synthetic poison. How can the country's current industrial production be projected onto a structure that captures the country's social challenges, keeping the youth in the country and in shutting down industrial factories? The motivation for this thesis is therefore to understand, analyse and interpret a destroyed land, with a narrative that rewrites its present and its future. My main question can be traced back to the country's post-war melancholia: Can the production of synthetic fertilizer be influenced or combined by modern technology commonly used by its younger generation to foster a new interest in the local area? Can this also spark interest in stitching back together a national identity amongst its younger generation? Will the connection to the virtual of modern technology support this ignition? As Grosz mentions in her Architecture from the Outside: “perhaps the most striking transformation effected by these technologies is the change in our perceptions of materiality, space and information, which is bound directly to affect how we understand architecture, habitation and the buit environment.�5 This passage indicates the possibilities of modern technology and the virtual to change how we live or change architecture the built environment. Introducing modern technology will speak to the younger generation and their understanding of the non-physical space of the virtual and the need for modern technology to be included in their present and future. My architectural approach will use technology to guide the build up of a new and positive future from the fragments of the country's past history.
MOTIVATION
I. INTRO
7
Figure 3 - Old A3otapa in Vitkovici, 1998, BIH
AMBITION
I. INTRO
AMBITION
“It is natural to want to replace something important lost to the destruction of war.”6 The qualities of manufacturing and social hierarchy developed in Vitkovici over time is the foundation for developing a new one divided into collective spaces, that speaks a language of the present. In a frozen landscape, how does a remnant skeleton of a factory morph itself into a body that tells multiple stories of lives of the people who live in Vitkovici? As Elizabeth Grosz mentions in reference to Henri’s work:
8
“[...] we did not need to wait for the computer screen or the movie projector in order to enter virtual space; we have been living in its shadow more or less continually.”7 Composing the narrative for the present inevitably will need to address the non-physical space of the virtual. Grosz says the virtual has been present for a while, and reflecting on today’s nature of human habits - can my proposed architectural intervention then be available virtually as well as physically? Architecture should call for spaces sensitive to the changing motions and behaviors of people living in a frozen time. The proposed architectural intervention should be the supporting structure of the dynamic shifts within people and its surrounding present. Additionally, it should be responsive to its history but foster new opportunities for working and socialising. This leads me to the social aspect of the project, the objective to activate future ideal jobs for the young people living in the nearby area. Viktovici has a potential to become a representative kernel for the future generation that responds to their current needs and dreams. At such a moment of recovery, it is crucial that new directions and new choices are articulated through an architecture that will speak a language that connect people to spaces physically as well as virtually. This thesis will take a position towards an architecture that engages towards the better, without total erasure of the past. Instead this thesis will elaborate on Bosnia & Herzegovina's tragic past with an aim to support its present state with the influence of technology and the human connectivity to the virtual space.
AMBITION
I. INTRO
9
Figure 4 - photograph, A3OTAPA, 2020, Vitkovici, BIH
10
Figure 5, Vitkovici, Bosnia & Herzegovia
SITE & HISTORY
"But what could arhitecture possibly take from the withered remains it seems to have leave us with?"8
The following chapter collects the key elements in understanding the site and its falsities and facts. Historical events; politics, culture and wars colour the land and its people in Bosnia & Herzegovina. It has been in my interest to address the importance of reading and collecting information from accessible sources, and display the accuracy of the told (and untold) personal stories from the past. Personal stories from past events are key layers in composing a new beginning. A new solid structure requires a new language that can stitch together a new body. The following research helps to curate a new narrative with the remains of past events.
II.
11
II. RESEARCH
SITE & HISTORY
HNO3 + NH3 = NH4HO3 + Q
The factory A3OTAPA is set in Vitkovici, Bosnia & Herzegovina. Vitkovici is versatile in its character, previously the heart and core of the working dynamics in Gorazde district, including Gorazde and Foca (figure 6). The factory Азоt was built in 1953 by Germans, seemingly as a "band-aid" to repair the damage left from WWII9. The factory was built within a few months, with the Germans leaving it to be finished by the hands of Yugoslavians - workers all eager to start building up a new life after the war. The factories were left to be transformed into what the Yugoslavians at that time found to be a key element in a growing collective economy; specialising in the production of nitrogen-based chemicals10.. The factories opened the doors to new beginnings in 1953, creating new jobs and allowing people from all over Yugoslavia to join the growing factory of Azot. Soon the industrial area in Vitkovici grew in popularity, expanding in size and requiring temporary as well as permanent places for workers to live. The growing economy resulted in even more job positions in the factories, reaching a total number of approx. 2,500 employees. New residences had to be built to house the employees and their families which expanded the village and improved the social life. This allowed the formation of a football stadium, a school, kindergarden, cafés and a mosque to accompany the growing lives of the families.
12
The first years of the Azot factory were spent manufacturing ammonium-nitrate;
Figure 6
Gorazde Vitkovici
Foca
"Ammonium nitrate is the ammonium salt of nitric acid. It has a role as a fertilizer, an explosive and an oxidising agent. It is an inorganic molecular entity, an ammonium salt and an inorganic nitrate salt."11 Since the birth of the Azot factories, the main production of this chemical (1950-1965) was directed towards the weapons-industry; producing extremely calamitous explosives in case of any future human conflicts such as war.
a rin
D SITE & HISTORY
II. RESEARCH
“what divides and joins?" Figure 7
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Vitkovici, Bosnia & Herzogovina a rin D
SITE & HISTORY
II. RESEARCH
14
HISTORICAL HIGHLIGHTS The area around Vitkovici has experienced multiple changes culturally, economically, politcally and socially. The diagram on the right illustrates a historic timeline with the main periodic highlights pointed out. The emphasis is put on the country's tradegies, its prime time and how the social life is currently growing. In 1954, when A3otapa was built it activated a huge job interest, that brought people to the area, giving life to a new suburb to Gorazde, Vitkovici. In addition to the rising popularity of the area a motel was built, the Motel Bazeni, which was supported by the Azot Factories. The water from Rijeka Drina was filtered and purified for the pools to be built. The Motel Bazeni became an attractive social meeting point for people in and around Vitkovici. Today a social and cultural event, Festival Prijateljstva is held in Gorazde. This festival joins music, arts, performances and sports together and gathers people from around Europe to join for shared festivities.
Motel Bazeni, Vitkovici (2010)
People at the pool, Vitkovici (1977)
Vitkovici, 1966
2020 Gorazde
untouched house, Gorazde 2016
2015 2009
untouched house, Gorazde 2016
muslim burial, Gorazde, 1994
Gorazde, bombed buildings (1993)
„Džamija Kajserija“ 2009
2000 1995
Gorazde Festival, 2019
Азоtара,Vitkovici (2011)
1990
15
drina
boy in Gorazde (1993)
on the road (1992)
1954
men holding guns (1991)
1945 1940
Vitkovici
drin
a
Figure 8
na
dri
SITE & HISTORY
II. RESEARCH
Азоtара,Vitkovici (1996)
Азоtара,Vitkovici (1994)
Азоtара in Vitkovici, latest layer of transformation - experienced a demolition of its circulation-tower, staircase and escalator has been torn down due to its structural expiration date.
The factory here has been left for it to decay. The spaces are vacant and unused, next to these empty buildings new factories are being established and rising quickly. These factories are being built to house the growing interest in the production of car-seats.
SITE & HISTORY
II. RESEARCH
including the country’s culture and traditions that existed prior to the war. %
16
65
Азоtара
60
55
Industrial growth?
50
45
40
1995
2000
2005
2010
2015
Азоtара in Vitkovici standing empty three years after the end of the civil war. Nature being its only defeat? All important elements that existed prior to the war still stand.
Азоtара in Vitkovici, left and emptied towards the end of the civil war. All production terminated, the buildings are left emptied to the landscape.
Азоtара in Vitkovici, having a working production of synthetic fertilizer in the heart of Vitkovici. The factory placed next to Motel Bazeni - where the pools work as a social magnet - bringing old and young people to Vitkovici.
Contin
ue?
of what?
production?
2011
connection
new generation new narrative
ina Dr
2020
SITE & HISTORY
II. RESEARCH
aim?
demolish ?
16%
1990
metals
export
a rin D
2020 interactions
1994 reconstruct ?
machines
Figure 9
9%
10%
car-seat production
13%
1998
which direction ?
1
defeat = leaving?
17
mineral production
2003
18
Figure 10, Vitkovici, Bosnia & Herzegovia
SITE & ANALYSIS
"The most architectural thing about this building is the state of decay in which it is?"12
The language of the past is a layer floating next to that of the present. In this chapter the current language of the site in Vitkovici, Bosnia & Herzegovina, is analysed; found on and inside the ground. Rotten bricks, cracked concrete and rusty steel eaten by toxic soil, with an eagerness to stay alive. The remains of A3otapa can be seen from a 5 km radius, standing as a monument in a damaged landscape opposed to the raging Rijeka Drina collecting plastic scraps and human waste in its hurry through the country. Huso Bjedic, once an employee at A3otapa told me his personal experience while working in the NĂtrogen factory; its social popularity and how architecture suddenly gave birth to a new cultural era in Vitkovici and its surrounding cities.
III.
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III.
SITE & ANALYSIS
SITE & ANALYSIS
RESIDENTIAL
PERSONAL EXPERIENCE THROUGH THE SITE
RESIDENTIAL
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INDUS
A3OTAPA anno 1966
STRIAL
INDUSTRIAL
VITKOVICI SITEPLAN
SITE & ANALYSIS
SITE & ANALYSIS
III.
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SITE & ANALYSIS
Vitkovici
FIELD NOTES
III.
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SITE & ANALYSIS
Gorazde
VITKOVICI АЗОТАРА
FIELD NOTES
III.
HUSO BJEDIC'S HOME
field notes: 04.03.2020
coffee - permission to enter the factories, owned by Enisa Bekto. - guided by Erwin Bekto - buildings 2, 3, 4 scanned - time allowed: until 15.00 - scanned site + photographed the buildings for 6h - interview with Huso Bjedic (man, 86, previous worker at Азотара - video recording his story about the factories - original documents received by Huso Bjedic concerning the old Азотара, magazines, books, siteplan, etc. - restaurant meeting with Opština (the authorities) - data/permission
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SITE & ANALYSIS
04.03.2020 in 1989 the employees were all given a pin, celebrating the 35 year anniversary of Azot, later that year the employees went on a strike. The book underneath containing detailed information on the different parts in the production of chemicals. Which machines were being used and how these machines work, mechanically. Detailed information on the chemicals is also decribed in the book.
FIELD NOTES
III.
"Pređi na stvar."
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Below is a photograph of Huso Bjedic's wife. She spends her day sitting on the couch unable to physically move around too much. While Huso tells his story she would interupt, comment and complain on his descriptive storytelling. Huso is detailed in his storytelling, explaining according to what he remembers, meticulously. Meanwhile, his wife is offering some orange juice.
On this day I arranged an interview with Huso Bjedic, 87, who previously worked at Азотара, responsible for the chemical procedure. His story was recorded (1h). From him I received a collection of documents on the Azot factories; newspapers, articles, photographs, regulatory plans, diagrams etc. This one book (Урбаниотички Завод Нрбих, торажде, тенерални Урбанистички План) was found and collected by Huso Bjedic on the street during the civil war in 1992, not knowing the important informations it contained. In this book, photographs, description on Vitkovici and the Azot area, regulatory plans dated back to 1955 and the original
A PERSONAL STORY TOLD BY HUSO BJEDIC, AN OLD EMPLOYEE AT АЗОТАРА (FROM 1954 - 1989). I WAS INVITED TO HIS HOUSE IN GORAZDE, NEXT TO THE MOSQUE.
siteplan 1:1000 of Vitkovici from 1966. Huso told me about his personal experience at the Azot factories, the communities and the socializing. He explained the transportation to and from work every day, how Azot became the most important industrial area in Yugoslavia, people moved from around the country to work at A3otapa. With a totalt of 2,500 employees the industry grew to the end of 1970s. After Tito's death in 1980, the industry experienced a downfall, a decrease in the wage growth. Salaries were reduced to the minimum and this resulted in a strike in 1989. Later that year the factories slowly started to shut down.
FIELD NOTES
SITE & ANALYSIS
III.
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FIELD NOTES
III.
26
SITE & ANALYSIS
SITE & ANALYSIS
field notes: 04.03.2020
FIELD NOTES
III.
(left) inside the circulation tower, scanned from several angles to capture its closures, openings, its height and width. The bricks, holes and smaller bits left on each floor challenging the scans of the spaces. (right) the open space reaches its top on 6th floor, where bricks fall from the top, piece by piece. (danger zone)
27
field notes: 04.03.2020
(left) a view to the landfill, the chimney actively used to burn materials such as plastic and metals; waste station. (right) an accessible roof with connecting stairs to the upper floor.
SITE & ANALYSIS
curating a narrative of revival, through models: This model represents the interpretation of the various historical events that happened in Gorazde, Bosnia & Herzegovina. This model functions as an archive machine, that can be employed into the architecture. A storage space for momentums.
VIRTUAL
MODELS
III.
28
virtual representation of the Azot factories,
archive machine
SITE & ANALYSIS
curating a narrative of revival, through models: This model represents an understanding of the site, with emphasis on the main characteristics found on site; elements that contribute to the new architecture, and which indicate a new beginning. This model points towards utilizing machinery, part automatic part manmade
VIRTUAL
MODELS
III.
30
virtual representation of Vitkovici Bazeni
production machine
SITE & ANALYSIS
curating a narrative of revival, through models: The visit on site unfolded through the design of the city's facade typologies. The positioning of the facades follow a linear route from A to B through Vitkovici, meeting the Mosque (Dzamija) at the end of the main street.
VIRTUAL
MODELS
III.
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virtual representation of Vitkovici Dzamija
typology & character
INTERPRETATIONS & PRODUCTION MACHINE
34
ARCHIVE MACHINE
& SITE IMPRESSIONS a narrative guided by past events to provoke a new architecture, articulated through interactive interpretations of site and information
TYPOLOGY & CHARACTER
35
SITE & ANALYSIS
SITE STITCHING DESIGN PRINCIPLES
DESIGN PRIINCIPLES
III.
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the 3D spatial scans contirbute in documenting the site as well as a leading FORMAL LANGUAGE TO A3OT NOVO.
#01
a structure delicately touching the fragile ruins, breaking through openings in the existing ruins, the structure should continue as veins meeting and merging from one building to the other; leaving vacant space in-between for spaces to penetrate.
DESIGN PRIINCIPLES
SITE & ANALYSIS
III.
37
III.
SITE & ANALYSIS
field notes: 04.03.2020
(left) inside what was previously recognised as the heart of the production of nitrogen, the large atrium existed because of the containers located at ground floor, the toxic chemicals require space.
#02
DESIGN PRIINCIPLES
DESIGN PRINCIPLES
38
the continuous decay of the buildings are celebrated through the voids filling the bare structures. A new seed will be planted where once toxic chemcicals were brought to life. Excavating what has been erased over time will help navigate a new beginnning. Contemporary architectural settings are usually experienced as having their origin in singular moments of time. They evoke an experience of flattened or rejected temporality. Yet, the existential task of architecture is to relate us to time as much as to space... The mental roles of these two fundamental existential dimensions are curiously reversed. In terms of space, we yearn for specificity, whereas in our temporal experience we desire a sense of continuity. Consequently, architecture has to create a specificity of space and place, and at the same time, evoke the experience of temporal continuum.13
DESIGN PRIINCIPLES
SITE & ANALYSIS
III.
"time becomes a precise place where to think about a form"14
39
SITE & ANALYSIS
DESIGN PRIINCIPLES
III.
#03
40
a horisontal and linear circulation will be introduced to the site, functioning as a spine for future growth of additional spaces that contribute to the expansion of Azot Novo. The spine should grow out as expandable organs for future use of the new tissue.
field notes: 06.04.2020
'New types of spaces woven into the existing structural frame, create a dialectic between timeless and timebound, a network of the unknown that inspires both dialogue and innovation.'
III.
SITE & ANALYSIS
scan 064
scan 062
scan 063
DESIGN PRIINCIPLES
scan 065
scan 061 scan 059
41
scan 060
scan 058
scan 057
ORAF
%98
snacs weiverP _35nacS
scan 056 scan 055
scan 054 scan 053
scan 052
DESIGN PRIINCIPLES
III.
42
SITE & ANALYSIS
The nature surrounding the Azot factories is fertile and expands in size every year given the ideal weather conditions. The marked area across the river drina is manmade, hills that came to exist during the active years of the Azot factories. The chemical waste from the factories was tossed to the other side of the river, not knowing the damage it would do to the landscape. Now, the soil around the factories and accross the river has left a toxic footprint only to be erased by the sheep grazing nearby.
planting trees and plants that help clean damaged soil
DESIGN PRIINCIPLES
SITE & ANALYSIS
A3OTAPA
toxic landscape
III.
04.03.2020 a view out to what might seem as a mild nutturing landscape. These hills are not natural, they are artificially made of the poisionous chemicals once produced at the factory, the leftover matter from the production of ammonium nitrate / the waste was trashed to the other side of the river, left to be dissolved in the landscape. Now, sheep graze and farmers use the soil to feed and sell to the local area.
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140 mm 120 mm 100 mm
Jun 3 66 mm
80 mm 60 mm 40 mm
Oct 5 63 mm
Aug 5 47 mm
Jun 19 32 mm
20 mm 0 mm
12 am
Jan
Feb
Mar
Apr
May
Jun
Jul
Aug
Sep
Oct
Nov
freezing
Dec
freezing
8 pm warm
4 pm
comfortable
12 pm 8 am 4 am 12 am
freezing
cold
cold
cool
freezing very cold
Jan
Feb
Mar
Apr
May
Jun
Jul
Aug
Sep
Oct
Nov
Dec
III.
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SITE & ANALYSIS
III.
SITE & ANALYSIS
this collage is a collection board of concepts that can contribute to the programmatic organisation of a new proposal to the site. These concepts derive from the site visit; the interviews with locals in and around Vitkovici.
45
46
CONSTRUCTING
AZOT NOVO "A building must eat, in order to live."15
And as they sat down to write about their new findings, Ermin came in to join their talk. He was hesitant at first but then quickly he found his voice and shared his excitement: "Azotara je jednom bila jedina fabrika u bivšoj Jugoslaviju, tada su proizvodili otrovne hemikalije i upropastili su zemlju. Danas sam napravio metalni filter koji pomaže u čišćenju zemlje ovdje oko AZOT NOVE! Moram vam pokazati kako sam to uradio na svom telefonu.."* * [Azotara was once the center in the whole of Yugoslavia, then they made poisonous chemicals, they ruined the country.Today I made a metal filter that helps clean the ground here around AZOT NOVO! I have to show you how I did it on my phone.]
AZOT NOVO will introduce new interactions, inventions and events that communicate past stories and events whilst innovating on what has been left to decay..
IV.
47
CONSTRUCTING AZOT NOVO
A3OT NOVO
DESIGN PROPOSAL
IV.
48
axonometric diagrammatic illustration of Azot Novo
A3OTAPA (BUILDING NO. 3) A3OTAPA (BUILDING NO. 2) GAS STATION
a
rin
A3OTAPA (STORAGE)
ad ek rij
A3OTAPA (BUILDING NO. 1)
A3OTAPA (STORAGE)
A3OTAPA (STORAGE) A3OTAPA (WATER PLANT)
PREVENT
AZOT STADION
SUPERMARKET MOTEL BAZENI DŽAMIJA
Vitkovići, Bosnia & Herzegovina
CONSTRUCTING AZOT NOVO
program guidelines
SCHEMATIC DESIGN
IV.
4
50 current
PRIVATE PUBLIC
entranc et
o site
1
LANDFILL - METALS & PLASTICS
2
БЕХКТО FACTORY
3
GAS STATION
4
PREVENT
A3OTAPA
FLEX SPACE assisting the concept of open spaces suitable for entrepreneurs to innovate on the reinvented materials processed at the MATERIAL LAB, where metals and plastics are treated and transformed from their original useless state once processed at the RECYCLING STATION all whilst being held together by the strong historic spine, THE ARCHIVE, exposing the multiple layers of historic scars at site.
1 3 2
e
Total footprint: 6000 M2
SCHEMATIC DESIGN
CONSTRUCTING AZOT NOVO
IV.
51
DESIGN PROPOSAL
IV.
CONSTRUCTING AZOT NOVO
As Hadid remarked in her 2004 Pritzker Prize acceptance speech: "I believe that the complexities and the dynamism of contemporary life cannot be cast into the simple platonic forms provided by the classical canon, nor does the modern style afford enough means of articulation. We have to deal with social diagrams that are more complex and layered when compared with the social programs of the
early modern period."16
52
I introduce this quote by Hadid to mark the significance of the social conditions at the site. The agenda for this thesis has been to communicate a narrative driven by the site and its people, and design an architecture that projects layers of history programmatically as well as aesthetically speaking.
CONTEMPORARY LEVELS OF SOCIAL COMPLEXITY "I must say that the paradigm of the ‘critical’ is in my opinion part of the intellectual models that became operative in the early 20th century and presumed that in order to succeed we should take a kind of ‘negative’ view towards reality, in order to be
creative, in order to produce new possibilities. In my opinion, today the critical individual practice that has characterized intellectual correctness for most of the 20th Century is no longer particularly adequate to deal with a culture determined by processes of transformation on a scale and complexity difficult to understand … you have to be fundamentally engaged
in the processes and learn to manipulate them from the inside. You never get that far into the process as a critical individual. If we talk in terms of the construction of subjectivity, the critical belongs to Freud a Lacan [sic], what I called ‘productive’, to Deleuze."17
It is vital for the architecture to grow in a brighter direction, but before architecture can transform its shape it has to face its cultural position. In this thesis the cultural position is that of a frozen one in Vitkovici. To design AZOT NOVO the understanding of history and culture will be vital programmatically as well as formally in the architecture.
CONSTRUCTING AZOT NOVO
SCHEMATIC DESIGN
IV.
1
2
OVERLAPS:
54
this option explores the idea of stacking the different program - gradual change in height
SEPARA
the volumes have been s ing circulation has been the vo
ATIONS:
separated and a conncectn introduced - circling all olumes.
SCHEMATIC DESIGN
CONSTRUCTING AZOT NOVO
3
IV.
SHIFTS:
continuing on the initial volumes; introducing angles and directions in the volumes to connect them visually. The circulation is divided into two to separate machinery (green) from computerbased work (yellow).
4
SPINE:
the circulation is now the main horisontal connector, a "spine" from where the volumes grow.
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DESIGN PROPOSAL
IV.
56
CONSTRUCTING AZOT NOVO
HIERARCHY/DIAGRAM
4
3
DESIGN PROPOSAL
CONSTRUCTING AZOT NOVO
FORMGENERATION & PARAMETERS
IV.
57 OVERLAPS & LAYERS this diagram illustrates the mulitple layers guiding the program of the new A3OT Factory; Metals and plastic scraps are processed at the A3OT recycling (1), connected to the current landfill. Attached to the recycling space is the A3OT material lab (2), where processed materials find new innovative use. Innovation of these new artefacts are managed at A3OT flex space (3), offices and rentable space for entrepreneurs/ innovators. A3OT archive (4), THE SPINE, is navigated by the historic events in Vitkovici whilst exposing the highlights of the A3OT ruins (public).
2
1
CONSTRUCTING AZOT NOVO
SCHEMATIC DESIGN
IV.
58
CONTINUITY
ATTRACTION
the continuous decay of the buildings is celebrated, metaphorically speaking.
these geometries are traced voids inside the existing ruins.
The intention is to let the ruins continue in new language that will have its departure point from specific points found inside each of the buildings (while at site). The new architecture will appear from LINES THAT CONNECT THE EXISTING BUILDINGS. These lines are predetermined, in terms of the length and their behaviors.
This parameter INTRODUCES PREDEFINED GEOMETRY to generated continuous lines. This geometry is the attraction component, allowing the lines to penetrate the geometric shapes and connect themselves to their opposing geometry shape-magnet.
FORMGENERATION & PARAMETERS
SCHEMATIC DESIGN
CONSTRUCTING AZOT NOVO
IV.
59
DISSOLUTION this option explores the idea of a CONTINUITY in terms of internal circulation, as well as a clear division of these continuous lines. The lines are SPLIT once met with a geometry; lines dissolve and result in spaces in-between. Volumes have been designed to fit the maximum BETWEEN THE EXISTING BUILDINGS.
LINES THAT CONNECT THE EXISTING BUILDINGS.
SCHEMATIC DESIGN
IV.
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CONSTRUCTING AZOT NOVO
RECYCLE DIAGRAM Crushed and sorted bulk scrap are collected and processed to recover high purity, high density iron and non-ferrous metals. Rethinking and integrating the waste cycle into the recreation of the Azot area will allow for a revitalisaiton of the area, whilst connecting the existing qualities of the current state of the site.
SCHEMATIC DESIGN
CONSTRUCTING AZOT NOVO
IV.
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1. Collection 2. Sorting 3. Steel slugging 4. Grinding 5. Furnace 6. Forming 7. Flatter 8.End products
CONSTRUCTING AZOT NOVO
FORMAL LANGUAGE
DESIGN PROPOSAL
IV.
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diagrammatic plan of planned directions in terms of organisation of volumes
diagrammatic plan of planned directions in terms of organisation of volumes
IV.
CONSTRUCTING AZOT NOVO
DESIGN PROPOSAL
conceptual axonometry
this illustrates the programmatic organisation in the proposed architecture. With shifting overlapping separate layers that visually connect to one another. The hiararchy is supported by tightly placed slim columns, penetrating each floor slab to support the height of the roofs. The proposal is vertically supported by in-situ concrete columns merging with the floor slabs allowing for complexy in the geometry.
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materials ROOF CLADDING: stainless steel panels
1
FACADE: glass (transparent - transluscent)
2
3
STRUCTURE: concrete,mushroom slab construction, (distance between column; 4000mm)
DESIGN PROPOSAL
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CONSTRUCTING AZOT NOVO
AZOT NOVO is here presented as an elevation diagram. Its structure growing out from the poisoned ground to stabilize its new beginnning. The building is activated by following programs.
AZOT ARCHIVE
AZOT FLEX the northern end of the AZOT NOVO connecting the existing building (NO.3). An auditorium will be introduced to portroy the historic highlights on site.
AZOT M AZOT FLEX spaces are designed to portray the working environment of the current generation of young entrepreneurs - digitally innovating on local materials. This allows for flexible spaces, free of rigid wall separations.
AZOT ARCH A horisontal an tunnel that exp history of Vitk the archive of A This exhibtion the past and the involved whose are now being h exposed to the
A WALKTHROUGH
MAT LAB
HIVE. nd linear poses the kovici, and Azotara. celebrates e people e stories heard and public.
AZOT RECYCLE AZOT MATERIAL LAB, the processed materials; metals and plastics find new purpose. These spaces are designed to promote the creativity by opening the plan and introduce shared working station facing east and west.
AZOT RECYCLE; plastics and metals from the landfill are imported to be the recycled at the new recycling station. Here new technoloogy and robots process the materials, transforming and improving materials for local purposes.
DESIGN PROPOSAL
CONSTRUCTING AZOT NOVO
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connecting Rijeka Drina to AZOT NOVO. Repeating past success by purifying the water from the river to reactivate Motel Bazeni.
CONSTRUCTING AZOT NOVO
DESIGN PROPOSAL
IV.
AZOT NOVO the concept proposes new dynamics within existing decay. The new building combines the understanding of the historical highlights on site, especially how information on these events have been stacked on top of each other. The building proposal seeks to point at new directs with a new formal language that tranfers past events through a new era guided by education and innovation. 1
AZOT RECYCLE High-Tech recycle station
2
AZOT MAT LAB Combining digital and handcraft
A
3
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A
4
roof plan
3
4
AZOT ARCHIVE A physical experience through a curated historical archive AZOT STORAGE New plant base to help clean the contaminated soil
CONSTRUCTING AZOT NOVO
SCHEMATIC DIAGRAMS/ PROCESS closed volumes
internal circulation
horisontal circulation
vertical circulation
DESIGN PROPOSAL
IV.
67 AZOT NOVO diagrammatic section 2
1
1. FL
2. FL
2½ FL
3. FL
4. 23.89 FL
25 m
5. FL PROGRAMS
170 m
AZOT FLEX 172.01
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SCHEMATIC PLAN ORGANISATION
CONSTRUCTING AZOT NOVO
DESIGN PROPOSAL
IV.
AZOT MAT LAB AZOT RECYCLE AZOT ARCHIVE
6. FL
ROOF
CONSTRUCTING AZOT NOVO
DESIGN PROPOSAL
25 m
170 m
IV.
ROOFPLAN 1:1000
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DESIGN PROPOSAL
IV.
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CONSTRUCTING AZOT NOVO
AZOT NOVO these views from AZOT NOVO promote the contrasting character of a new proposed base for aspiration, innovation and social life. Visiting the AZOT ARCHIVE whilst being exposed to the surroundings, the existing ruins and being led by curacted historical highlights. The pointed directions of the volumes have a clear interest in exposing the decay of the the REMAINS OF A3OTAPA to the new. Time will eat the remaining ruins, and leave AZOT NOVO to grow.
DESIGN PROPOSAL
CONSTRUCTING AZOT NOVO
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CONSTRUCTING AZOT NOVO
DESIGN PROPOSAL
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The ruins A3OTAPA will continue to grow inside the body of AZOT NOVO
1
Mehmedinovic, Semezdin.
2
Woods. Lebbeus, War and Architecture, p. 6, Pamplet Architecture, Princeton Architectural Press, New York, 1993
3
Mujanovic. Jasmin, Hunger and Fury, The Crisis of Democracy in the Balkans, Hurst & Company, London, 2018
4
https://oec.world/en/profile/country/bih/ - Bosnia & Herzegovina
6
Woods. Lebbeus. War and Architecture, pp. 10, Pamplet Architecture, Princeton Architectural Press, New York, 1993
7
Grosz. Elizabeth. Architecture from the Outside, pp. 79, Massachusetts Institute of Technology, Library of Congress CID, 2001
8
Cairns, Stephen. Buildings Must Die, pp. 36, Cambridge Massachusetts MIT Press, 2017.
9
In verbal dialogue with Ferid Ziljak, previously employed at the Azot Factories
10
Industrija Azot - Gorazde-Vitkovici (Priručnik iz Zaštite na Radu), KOSMOS, 1976
11
Pubchem.ncbi.nlm.nih.gov. 2020. Ammonium Nitrate. [online] Available at: <https://pubchem.ncbi. nlm.nih.gov/compound/Ammonium-nitrate> [Accessed 17 March 2020].
Tschumi, Bernard, Advertisements for Architecture. 1976-1977.
13
Pallasmaa, Juhani. The Space of Time. Oz. v.20 1998, pp54-57
14
Quirpa.com. 2020. Enric Miralles: Architecture Of Time - Quirós, Makenzie, Mcmurray. [online] Available at: http://www.quirpa.com/docs/architecture_of_time__enric_miralles.html> [Accessed 7 April 2020].
12
15
16
17
Cairns, Stephen, Buildings Must Die, pp. 26, B. Cambridge Massachusetts MIT Press, 2017.
Hadid, Zaha. Pritzker Acceptance Speech, 2004, www.pritzkerprize.com/laureates/2004/_downloads/2004_Acceptance_Speech.pdf. [archive]
Educating the Architect: Alejandro Zaera-Polo in Conversation with Roemer van Toorn, https://www.roemervantoorn.nl/Resources/Educating%20the%20architect.pdf [Accessed 29 April 2020].
Grosz. Elizabeth. Architecture from the Outside, pp. 75, Massachusetts Institute of Technology, Library of Congress CID, 2001
5
NOTES
V. NOTES
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