18
avgust / septembar / oktobar 2010 / projekti
19
osnova i presek eko jedinice
the plan and section eco unit
osnova eko jedinice
eco unit floor plan
Predmet: višeporodično stanovanje
Autor: Vuk Đorđević
Projektovano: maj 2009. godine
Sajt: www.behance.net/Renovatio
Subject: Multifamily housing
Author: Vuk Đorđević
Designed: May 2009
Web page: www.behance.net/Renovatio
ECO housing
ECO housing
Objekat Su+P+4 je predstavljen kao sklop stambene
jedinice i energetske. Stambena jedinica u svom sastavu
sadrži lokale koji su smešteni u prizemlju i 14 stanova
koji se prostiru na četiri etaže. Energetska jedinica je
inteligentna i samoodrživa funkcionalna jedinica koja je
zasebno komponovana i projektovana, iako predstavlja
fizički nerazdvojivu celinu od stambenog objekta.
Jedinica radi na principu dva prirodna izvora energije.
Prvi izvor je sunce sa svojim zracima koje preovlađuje sa
južne i zapadne strane, gde su orjentisane solarne ploče
i paneli. Ovaj vid energije se pretežno koristi tokom leta
i proleća kada je dnevna osunčanost i jačina sunčevih
zraka maksimalna. Drugi izvor energije je vetar tj.
Košava. Vetar se praktično usisava turbinama koje su
smeštene na istočnoj i zapadnoj fasadi zgrade. Oba tipa
energije omogućavaju pokretanje turbina proizvodeći
struju koja se koristi kao utrošak kolektivne energije.
A building Su+P+4 has been presented as an assembly
of the housing and energy unit. Housing unit in its own
shape contains office spaces located on the ground
floor and 14 flats spreading on four flours. The energy
unit is intelligent and self-sustainable functional unit,
separately composed and designed, even though it
represents physically inseparable entity of the housing
building. The unit operates on the basis of the principle
of two natural energy sources. The first one is the Sun
with its rays prevailing on the south and west part,
where the solar blocks and panels are oriented. This
kind of energy is mostly used during summer and spring
time, when the daily exposure to Sun and power of Sun
rays reach the maximum. The second source of energy
is wind, i.e. Košava. The wind is practically vacuumed
by the turbines, located in the east and west facade of
the building. Both types of the energy allow starting
24
avgust / septembar / oktobar 2010 / projekti
25
poslovni objekat
office building
Projektovano: 2008/09. god.
Autor i glavni projektant: Mustafa Musić
Projektanti saradnici: Ela Nešić, Vanja Panić, Aleksandra
Kirn, Jelena Krupež, Mirjana Todorović, Boris Vasović
Projektni biro: «ZENIT – inženjering», Beograd
Designed: 2008/09
Author and main designer: Mustafa Musić
Associate designers: Ela Nešić, Vanja Panić, Aleksandra Kirn,
Jelena Krupež, Mirjana Todorović, Boris Vasović,
Design bureau: «ZENIT – engineering», Belgrade
požeška 118
projekat/project:Nemačka ambasada, Beograd, German Embassy, Belgrade, competition entry, 2009
adresa/address: Ulica Miloša Kneza 74-76, Belgrade, Serbia
klijent/client: Federal Office for Building and Regional Planning, Berlin, Germany
ukupna podna površina/total floor area: 5600 m2
projektantski tim/project team: Matija Bevk, Vasa J. Perović, Gerrit Neumann, Anja Vidic, Jure Grohar, Gonzalo Piqueras, Tina Marn, Ida Sedušak, Blaž Hartman
bevk & perović arhitekti
nemačka ambasada u beogradu
33
german ambassy in belgrade
avgust / septembar / oktobar 2010 / arhitektura
41
Tekst/Text: Luigi Centola
40
U
Italiji postoji šest hiljada aktivnih kamenoloma a
napuštenih ima deset hiljada ili više. Samo u Kampaniji
nema manje od dve hiljade. Italijansko tlo je prekriveno
ranama. Naravno, neophodno je pronalaziti materijale
po mogućnosti u blizini, kako bi se gradila neophodna
infrastruktura i poboljšavala ekonomija, ali je neprihvatljivo
da se nastavlja sa masakriranjem i uništavanjem italijanskih
pejzaža. To je svačije nasleđe, jedinstveno na svetu. Ne
mogu se u potpunosti zaštititi farmeri od beskrupuloznosti,
ponekad čak i u predelu zaštićenom UNESCO-a.
Projekat BioVallo je stvoren i razvija se uz pomoć Planinarske
zajednice, gradonačelnika, službenika i građana Vallo di
Diana. U petnaest opština, bilo je sedamdeset nadgledanih
napuštenih kamenoloma, dok u provinciji Salerno, nažalost,
postoji preko šest stotina. Region Campanie, u pokušaju da
ohrabri rešavanje problema, u skorašnjem Reagionalnom
planu aktivnosti miniranja, izlaže mogućnost da se kultivišu
napušteni kamenolomi, parcialno i za određen vremenski
period, i da se odobri odgovarajući projekat unapređenja
i vraćanja prirodi. U praksi, javni i privatni sektor može da
iskoristi ovu priliku da konačno napravi “lica”kamenoloma
bezbednim oblikujući postojeće stanje u prostor za
rekreaciju, sportske i kulturne događaje, turizam i aktivnosti
u harmoniji sa prirodom, stvarajući pozitivan vizuelni utisak.
T
here are nearly six thousand of active quarries in Italy
and there are ten thousand abandoned ones or more.
Only in Campania there are no fewer than two thousand.
Italian territory is covered with wounds. Certainly it is
necessary to find materials, preferably locally, to build
essential infrastructure works and development, welfare
and economy, but it is unacceptable that we continue to
massacre and injure the Italian landscapes. It is everyone’s
heritage, unique in the world. We cannot fully protect
farmers from unscrupulous, sometimes even in the context
of UNESCO.
The project BioVallo was created and is being developed
with the invaluable assistance of the Mountain Community
of Mayors, administrators and citizens of Vallo di Diano.
In fifteen municipalities, there were seventy surveyed
Vallo disused quarries, while the province of Salerno,
unfortunately, has over six hundred. The Campania Region,
in order to encourage the resolution of the problem in the
recent Regional Plan for Mining Activities (PRAE), provides
the opportunity to cultivate the abandoned quarries,
partially and for a limited period of time, with the approval
of an appropriate project to upgrade and re-naturalize. In
practice, public and private sector can use this opportunity
to finally make safe the dangerous quarry faces, mitigating
Tekst/Text: Ivana Miletić
regiona, nivou zajednice
i četvrti do nivoa samog
objekta i arhitektonske
tipologije i izraza. Iako su se
svi složili da treba insistirati
na implozivnom rastu grada
unutar postojećih granica,
kada se radi o vrsti i “težini”
intervencije ni ovog puta
nisu zaobiđene debate na
temu soliteri da ili ne, čelik i
staklo da ili ne, odbacivanja
modernizma,
pitanja
odnosa prema nasleđu….
PETER
CALTHORPE,
arhitekta i urbanista, je od strane Newsweek
Magazine proglašen za jednog od 25 inovatora
avangarde(“innovator on the cutting edge”) za
svoj rad na modelima urbanog i suburbanog
rasta u Americi. Kroz svoje projekte širom sveta
implementira ideju dizajna zajednice sa fokusom
na održivom okružju i ljudskoj razmeri. Osnivač
je Novog urbanizma: uspešno mesto, bilo da
se radi o četvrti, selu ili gradskom centru, mora
da ima različitu namenu, različite korisnike, da
bude walkable i transit-oriented i enviromentaly
sustainable.
On urbanizam vidi kao glavno oružje u borbi
protiv klimatskih promena. Solarni kolektori i
novi izvori energije nisu dovoljni za održivi život u
gradu. On budućnost grada vidi bez automobila, u
tradicionalnom načinu života, i u fokus postavlja
pešački gradski sistem. Jedini održivi grad je istorijski
grad od kojeg treba učiti.
Ljudska razmera ne zavisi od dimenzija i visina
zgrada, čemu u prilog govori npr. grad New York, već
od detalja i javnih prostora, mogućnosti da se šeta
ulicom. Stari gradovi su se bazirali na ovome i novi
grad treba da inkorporira restauraciju i konzervaciju
i da se ispravi ambijentalna šteta.
Zastupa
Transit-oriented
design,
stvaranje
kompaktnih pešačih zajednica koncetrisanih oko
Short overview on the reality…..
In case when more than a half of the world population live in cities, it is expected that more than
75% of the population will be urbanized until 2050
(London School of Economics). The other capitals
resolved successfully the situation in which Rome is
now, while the other will have to face that problem.
Uncontrolled urban growth world-wide does not
have as its consequence creation of mega-cities such
as London and New York, but meta-cities which overcome the number of 20 million of inhabitants. Financial Times (Edwin Heathcote, Cities of hope: growing
populations need new solutions) defines north-east
Europe as successful meta - city thanks to its infrastructure. Efficient public transportation, communications and management have enabled them to
make it through the situation of the halt of the traditional industry using the economic knowledge and
financial growth. The connection is essential for the
physical exchange of meta-cities wherein the digital
networking cannot be put aside and which led to urbanization of the rest of the planet.
Most of the cities have, to a significant degree, gone
beyond their original limits and the UN-HABITAT in
the State of the World Cities 2010/2011: Bridging
the Urban Divide mentions as new trends urban corridors, mega regions and city regions representing
new engines of the global and regional economies.
The World Bank, in its annual repost, advises moving to the cities defining them as guides on the road
towards the innovations and seeking the response to
the climate change, energy efficiency and economic
development. Cities promise jobs, earning and efficient health protection.
In which way archi - stars see the solution of the
problem…
A simple division of a city into a city centre and
PETER CALTHORPE, architect and town planner, proclaimed to be one of 25 innovators of avant-garde
(“innovator on the cutting edge”) by Newsweek
Magazine. For his work related to models of town
and suburb growth in America. In his projects worldwide he implements an idea of community design
focusing on sustainable environment and human exchange. The founder of the New Town Planning: a
successful place, either it concerns a quarter, village
of city centre; it has to have different purpose, different users, to be walkable and transit-oriented, as
well as environmentally sustainable.
He sees the town planning as a main tool to fight
against the climate change. The solar collectors and
new sources of energy are not sufficient for a sustainable life in a city. He sees the future of the city
with no cars, in a traditional life style, and he focuses
on pedestrian city system. The sole sustainable city is
the historical city from which we should learn.
Human exchange does not depend upon dimension
and altitude of a building, which is supported by
example of the city of New York, but by its details
and the public space, possibilities to walk along the
outskirts without previously putting in into a wider
content is insufficient to see all possible challenges
and problems. Debate showed that a huge gap still
existed between town planners and designers. While
the first still see the city of the future as the city from
the past, where the passabilities, density and complexity, represent the elements to be insisted on,
while, the latter refuse the universalist approach to
the problem favouring the intervention in the context with no fear from experiments, construction of
high-raise buildings and use of up-to-day technologies and materials. Different questions arose at the
level of region, community and quarters up to the
level of the sole building and architectural typology
and expression. Despite the fact that all of them
agreed that it was necessary to insist in implosive
growth of a city within its existing boundaries. When
it comes to type and “difficultness” of an intervention, this time debate on subject whether or not the
skyscrapers, whether or not steel and glass, rejection
of modernism, issue related to the heritage...
avgust / septembar / oktobar 2010 / urbanizam
new models of the urban transformation 2010-2020
ith the intent to define the Strategic Plan
for Rome Development, the
city administration has activated the huge participative
process called Millennium
Project. The goal is to reach
the ultimate call of the city
through various workshops
and conferences in order to
realize a dialog between the
institutions and the citizens
on the future investments.
The overall project is followed by the open consultations with every citizen
through public assemblies
and internet forums. The
ambition of this project is, besides the preparation
of the Rome candidacy to host the 2020 Olympic
Games, to make a transformation of the city development in the following decade. The two-day debate
represents the first step towards the implementation
and revision of the new General Regulation Plan with
the intent to focus on two problems:
- City core (historical town): neglected zones as
provocation of the development
- Outskirts of town: from the expansion to reconstruction of identity
Thanks to the fact that all world prominent names in
architecture and town planning have gathered in one
place for the first time: Richard Burdett, Santiago Calatrava, Peter Calthorpe, Stefano Cordeschi, Massimiliano Fuksas, Leon Krier, Richard Meier, Renzo Piano and Paolo Portoghesi (except for the invited: Zahe
Hadid) together with officials of one city and mayor
of Rome (Giovanni Alemanno), the significance of
this debate went beyond the Rome framework. The
international character of the meeting has contribut-
W
se nalazi Rim neke prestonice su već manje-više
uspešno rešile, a druge taj problem tek čeka.
Nekontrolisani urbani rast u svetu za posledicu
nema više stvaranje mega-gradova poput Londona
i Njujorka, vec meta–gradova koji prevazilaze brojku
od 20 miliona stanovnika. Financial Times (Edwin
Heathcote, Cities of hope: growing populations
need new solutions) severno-zapadnu Evropu već
definiše kao uspešan meta-grad zahvaljujući svojoj
infrastrukturi. Efikasan javni transport, komunikacije
i upravljanje su omogućili da se kroz ekonomsko
znanje i finansijski rast snađu u situaciji zastoja
tradicionalne industrije. Povezanost je krucijalna za
fizičku razmeru meta-grada gde se ne može izuzeti
digitalno umrežavanje koje je nasuprot očekivanjima
odvelo do urbanizacije ostatka planete.
S’obzirom na to da je većina gradova uveliko izašla
izvan svojih originalnih granica i UN-HABITAT u State
of the World Cities 2010/2011: Bridging the Urban
Divide kao nove urbane trendove navodi urbane
koridore, mega regione i gradske regione koji su
novi motori globalnih i regionalnih ekonomija.
Svetska banka u svom godišnjem izveštaju savetuje
selidbu u gradove definišući ih kao vođe na putu
ka inovacijama i traženju odgovora na klimatske
promene, energetsku efikasnost i ekonomski razvoj.
Gradovi obećavaju posao, zaradu i efikasniju
zdravstvenu zaštitu.
Na koji način arhi-starovi vide rešavanje
problema…
Jednostavna podela grada na centar i periferiju
bez smeštanja u širi kontekst je nedovoljna da se
sagledaju svi izazovi i problemi. Debata je pokazala
da još uvek vlada veliki jaz između planera i
projektanata. Dok prvi i dalje vide grad budućnosti
kao grad iz prošlosti, gde su prohodljivost, gustina
i kompaktnost, elementi na kojima treba insistirati,
drugi pak, odbijaju univerzalistički pristup
problemu, zalažući se za intervencije u kontekstu
bez straha od eksperimenata, gradnje u visinu
i upotrebe savremenih tehnologija i materijala.
Nametnula su se pitanja različite razmere, na nivou
ed towards the de-contextualization of the subject of
new models of town planning transformation, moving it from Rome to the global town planning problems. At the same time, the direct confrontation of
different opinions and currents took place, as well as
in a specific moment a conflict between traditional
and high/eco inclined town planners.
S
Internacionalni Workshop, 8. i 9. April 2010
Auditorium_Parco della Musica_sala Petrassi
a namerom da se definiše Strateški plan
razvoja Rima, Uprava grada je aktivirala
širok participativni proces nazvan Milenijumski
projekat. Cilj da se kroz niz radionica i konferencija
dođe do finalnog saziva grada kako bi se odigrao
dijalog između institucija i građana na temu
budućih intervencija. Čitav projekat je propraćen
otvorenim konsultacijama sa svakim građaninom
putem javnih skupština i internet foruma.
Ambicija ovog projekta je, pored pripreme rimske
kandidature za domaćina Olimpijskih igara 2020,
da se u tekućoj deceniji da preokret razvoju grada.
Dvodnevna debata je prvi korak ka implementaciji
i reviziji Novog generalnog regulacionog plana sa
namerom da se u fokus postave dva problema:
- gradsko jezgro (istorijski grad): zapuštene zone
kao provokacija razvoja
- periferije: od ekspanzije do rekonstrukcije
identiteta
Zahvaljujući činjenici da su se po prvi put na jednom
mestu sastala svetski značajna imena arhitekture
i urbanizma: Richard Burdett, Santiago Calatrava,
Peter Calthorpe, Stefano Cordeschi, Massimiliano
Fuksas, Leon Krier, Richard Meier, Renzo Piano i Paolo
Portoghesi (izuzev pozvane Zahe Hadid) zajedno sa
čelnicima jednog grada uključujući i gradonačelnika
Rima (Giovanni Alemanno), značaj ove debate
prevazilazi rimski okvir. Internacionalni karakter
skupa je doprineo i dekontekstualizaciji teme novih
modela urbane transformacije, pomerajući je sa
Rima na globalne urbane probleme. Istovremeno,
dat je prostor direktnoj konfrontaciji različitih
mišljenja i struja, a u određenim momentima i
sukobu između planera tradicionalista i high/ecotech pristalica.
Kratak osvrt na realnost…..
U situaciji kada više od polovine svetskog
stanovništva živi u gradovima, očekuje se da će do
2050-te više od 75% populacije biti urbanizovano
(London School of Economics). Situacija u kojoj
novi modeli urbane transformacije 2010-2020
International workshop
8 and 9 April 2010
Auditorium_Parco
della
Musica_conference hall
Petrassi
46
47
avgust / septembar / oktobar 2010 / projekti
Centar za energetski efikasne tehnologije,
Ningbo, Kina
autor projekta: Mario Cucinella Architects
fotografije: Daniele Domenicali
tekst: Gordana Petković, dipl. ing. arh.
Center for energy efficient technology, Ningbo,
China
Author of Design: Mario Cucinella Architects
Photos: Daniele Domenicali
Text: Gordana Petković,BSc Arch.
FUNKCIJA I FORMA - POD UTICAJEM SUNCA I
VETRA
FUNCTION AND FORM – INFLUENCED BY THE
SUN AND WIND
Centar za energetski efikasne tehnologije kroz
funkciju i formu nosi dualitet sunca i vetra kao
ideju za pokretanje instituta te vrste, i inspiraciju
za arhitektonsko oblikovanje. Objekat u sebi
sadrži funkciju proučavanja alternativnih vidova
energije, među kojima solarne i energije vetra.
Dizajnersko tumačenje funkcije izraženo je
kroz formu objekta, koja kao da se pokreće
prilagođavajući se vazdušnim strujanjima i
upadnim uglovima sunčevih zraka.
Center for energy efficient technologies,
through its function and form, carries duality
of the sun and wind as an idea for foundation
of an institute of that kind, and an inspiration
for architectural shaping. The object contains
function of alternative energies research, among
which, solar and wind energy. Designer function
interpretation is expressed through the object’s
form, which seems to be moving accommodating
to air flow and to sun rays angles of incidence.
57
ENERGY EFFICIENCY
56
Savremeno doba je svakako era traženja alternativnih
rešenja za proizvodnju energije, s obzirom da se razvila
svest o iscrpljivosti klasičnih izvora energije i strah od
potpunog uništenja planete zagađenjem nusproduktima
postojećih tehnologija proizvodnje.
Kako savremeni građevinski objekti troše velike količine
energije da bi postigli odgovarajući komfor (osvetljenje,
grejanje, klimatizacija, korišćenje električnih uređaja)
energetska efikasnost postala je opšte prihvaćeni
princip projektovanja, a „pametne kuće“ više nisu
samo eksperimentalni primeri već svebrojniji održivi
građevinski fond.
Contemporary time presents an era of alternative
solutions for energy production findings since
consciousness on classic energy resources exhaustion has
developed as well as fear of total planet destruction by
the by-products of the existing production technologies.
As contemporary construction objects spend great
energy quantities in order to achieve appropriate
comfort (lightning, heating, air-conditioning, electric
devices usage) energy efficiency became a generally
accepted design principle, and “smart houses” are no
longer experimental examples but more and more they
became a sustainable construction fund.
Tekst/Text: Aleksandra Njagulj
65
Prvi govor: 30 maj 1984.
princ Čarls/Prince Charles
Čelzi baraks /Chelsea barracks, London
The Royal Institute of British Architects (RIBA) invited Prince Charles
to make a speech at the 150 anniversary celebration and also present
Gold Medal for Architecture to the Indian architect, Charles Correa.
The Prince, however, had a slightly different plan. What ensued could
be likened to an “underwater detonation” - and the consequences
for architectural practice in the United Kingdom emanating from this
deceivingly quiet epicentre have been far reaching and permanent.
Kraljevski institut britanskih arhitekata (Royal Institute of British Architects
- RIBA) u okviru proslave 150 godina od svog osnivanja pozvao je princa
Čarlsa (Prince Charles) da održi prigodni govor i dodeli Kraljevsku zlatnu
medalju za arhitekturu indijskom arhitekti Čarlsu Korei (Charles Correa).
Princ je, međutim, imao nešto drugačiji plan... Ono što je zatim usledilo može
se uporediti sa “podvodnom detonacijom” - a posledice po arhitektonsku
profesiju u Ujedinjenom Kraljevstvu proistekle iz ovog varljivo tihog epicentra
su, po svemu sudeći, dalekosežne i trajne.
Šta se zapravo desilo? Princ Čarls je iskoristio priliku da zatečenom zboru
najistaknutijih arhitekata predoči svoje viđenje njihovog rada - naročito se
usredsredivši na tadašnji konkurs za proširenje Nacionalne galerije (National
Gallery) na londonskom centralnom trgu Trafalgar, odnosno na pobednika
tog konkursa, arhitektonsku firmu Arends Barton Koralek (Ahrends Burton
Koralek). Rešenje ABK je bio radikalno modernistički projekat, koji je princ
uporedio sa «čudovišnim čirom na licu voljenog i otmenog prijatelja». To je,
izgleda, bilo dovoljno da pobednički projekat bude odbačen. Umesto toga je
podignuta zgrada po - za princa daleko pitkijem - postmodernističkom projektu
Roberta Venturija (Robert Venturi) i Deniz Skot Braun (Denise Scott Brown).
Ova arhitektonska tvorevina diči se «razvodnjenim» korintskim pilastrima
poput onih na fasadi originalne Nacionalne galerije, koja ih je, opet, reciklirala
od starih Grka. Negde u isto vreme u Francuskoj Luvr (Louvre) dobija svoju
slavnu piramidu, arhitekte I.M.Peija (I.M.Pei). Taj govor princa Čarlsa poznat
je kao «Govor o čiru» (Carbuncle Speech), a inspirisao je, između ostalog,
i osnivanje Karbankl kupa (Carbuncle Cup). Naime, poznati časopis «Dizajn
u građevinarstvu» (Building Design) od 2006.g. za najgore arhitektonsko
ostvarenje tokom prethodne godine, pobedniku kao nagradu dodeljuje
drvenu kašiku. Piter Arends (Peter Ahrends), jedan od čelnika firme Arends
Barton Koralek, kasnije je tvrdio da je ovaj skandal uništio njegovu karijeru. First Speech: 30 May 1984
What exactly happened? Prince Charles used the opportunity
to present to a stunned audience of architects his view of their
work - especially regarding the competition for the extension to
the National Gallery on Trafalgar Square in London and its winner,
architectural practice Ahrends Burton Koralek. ABK’s proposal was a
radically modernist design, which the Prince likened to “a monstrous
carbuncle on the face of a much loved and elegant friend”.
Arends Barton Koralek /Ahrends Burton Koralek
Nacionalna galerija /National Gallery/, London
This seems to have been quite enough for the winning project to
be abandoned. Instead, a building was erected according to a much
more Prince-friendly post modern design by Robert Venturi and
Denise Scott Brown. This edifice boasts diluted Corinthian pilasters
mirroring the ones featured on original National Gallery building,
themselves recycled from ancient Greece.
At about the same time, in France, the Louvre got its famous pyramid
by architect I.M.Pei. The speech by Prince Charles is now known as
“the Carbuncle Speech”, and has inspired, among other things, the
Carbuncle Cup. Since 2006, a well-known architectural publication,
Building Design, gives a wooden spoon as a reward for the worst
architectural achievement of the preceding year. Peter Ahrends, one
of the leaders of Arends Barton Koralek, later claimed this scandal
ruined his carreer.
Drugi govor: 12. maj 2009.
Second speech: 12 May 2009
U maju 2009, prvi put posle dvadeset i pet godina, predsednik RIBA Sunand
Prasad (Sunand Prasad) poziva princa Čarlsa da ponovo održi govor, ali vode
su i dalje daleko od mirnih. Sam princ nije mnogo učinio da u svom govoru
smiri strasti, već je ponovio sve svoje stavove iz 1984. g.. Grupa naijistaknutijih
svetskih arhitekata tim povodom poslala je otvoreno pismo uglednom listu
Sandej tajms (Sunday Times) pozivajući princa da, “umesto što iskorištava
svoj privilegovan položaj da bi ometao jedan od najznačajnijih stambenih
projekata u Londonu u narednih pet godina, uzme učešće u otvorenoj i
transparentnoj javnoj raspravi”. Ova poslednja napomena aludirala je na
odbijanje Klarens Hausa (Clarence House), zvanične rezidencije princa Čarlsa,
a u ovom kontekstu sinonima za samog princa, da učestvuje u javnoj debati
na koju ga je pozvao arhitekta Ričard Rodžers povodom sporenja oko projekta
Čelzi baraks (Chelsea barracks) u Londonu. Među potpisnicima ovog pisma bili
su arhitekte Žak Hercog (Jacque Herzog) i Pjer de Mejron (Pierre de Meuron),
Lord Foster (Foster), Zaha Hadid (Zaha Hadid), Renco Pjano (Renzo Piano)
i Frenk Geri (Frank Gherry), kao i Nikolas Serota (Nicholas Serota), direktor
Tate muzeja, Riki Bardet (Ricky Burdett), profesor arhitekture i Dejan Sudjić
(Deyan Sudjic), direktor londonskog Muzeja dizajna. Pored toga, Viliam Alsop
(William Alsop) je sa više vodećih britanskih arhitekata u pismu objavljenom
u poznatom levičarskom dnevniku Gardijan
In May 2009, when the then president of RIBA, Sunand Prasad,
invited Prince Charles to address RIBA again for the first time in 25
years, passions were still running high. The Prince himself did little
to alleviate them: he reiterated all his opinions from 1984. A group
of the world’s most prominent architects issued an open letter in
the London broadsheet, The Sunday Times, calling on the Prince
“to engage in an open and transparent debate” rather than “use
his privileged position to intervene in one of the most significant
residential projects likely to be built in London in the next five years”.
(The Guardian) pozvao na bojkot prinčevog govora pred članovima RIBA.
osnova postojećeg stanja/existing situation
Lord Ričard Rodžers /Lord Richard Rogers
This last comment alluded to the refusal of Clarence House (the
official residence of Prince Charles, and here synonymous with the
Prince himself) to engage in a public debate on the Chelsea Barracks
project dispute when invited by the architect, Richard Rogers.
Among the signatories of this letter were architects Jacque Herzog
and Pierre de Meuron, Lord Foster, Zaha Hadid, Renzo Piano and
Frank Gherry, and also Nicholas Serota, director of Tate Museum,
Ricky Burdett, professor of architecture and Deyan Sudjic, director
of Design Museum in London. In addition, William Alsop, along with
several other leading British architects, called for a boycott of the
Prince’s speech to members of RIBA in a letter published in the well
known left-of-centre London daily, The Guardian.
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75
82
avgust / septembar / oktobar 2010 / projekti
83
ulični izgled
street elevation
Idejni projekat stambenog objekta,
ul. Kladovska 9, Beograd
Preliminary design of residental object,
9 Kladovska St., Belgrade
Autor: Ela Nešić,dia
projektovano 2008/9.
Author: Ela Nešić, architect
designed in 2008/9.
O
O
bjekat se nalazi u kontekstu ne baš podsticajne
arhitekture novijeg vremena, tako da se pri
osmišljavanju koncepta rešenja svesno išlo ka tome da
se objekat posmatra kao nezavisan.
U oblikovnom smislu namera je bila da se jednostavnošću
i odmerenošću upotrebljenih materijala, objekat
distancira od postojećeg izgrađenog okruženja.
Tendencija ka upotrebi apstraktnih ortogonalnih
geometrijskih formi– ramovi oko otvora, pristupna
pergola i sl., prati osnovnu ideju, dok povremeni akcenti
daju vizuelni identitet.
Funkcionalna
organizacija
stambenih
jedinica
koncipirana je tako da se glavne funkcije stanova
orijentišu ka ulici, odnosno dvorištu, dok su sporedne
prostorije postavljene na bočnim stranama.
Bočni prilaz omogućava diskretan pristup objektu i
unutrašnjem dvorištu, ali je i funkcionalno i vizuelno
rasterećenje glavnih fasada.
idejni projekat stambenog objekta u kladovskoj ulici u beogradu
bject is situated within the context not specifically
encouraging architecture nowadays, so the main
thought in conceptual solution preparation was to realize this object as an independent unit.
In regard to shape of the object, the intention was to disassociate object from current environment by simplicity and measuredness of the materials used. Tendency
to use abstract orthogonal geometric forms– frames
around openings, accessible pergolas follows basic idea
while temporary accents give some visual identity.
Functional organization of residential units was drafted
so that the main apartments’ functions are oriented towards street or to court while secondary rooms are situated on rear sides of the building.
Side approach to the object enables direct approach
both to the object and inner court and at the same time
functionally and visually unburdens primary facades.
preliminary design of residental object in kladovska st. in belgrade
intervju
/
interview
bjarke ingels
Na ovogodišnjem Belgrade Desig Week-u razgovarali smo sa
Bjarke Ingelsom, danskim arhitektom čiji rad ima posebno
mesto u arhitekturi današnjice, koji je na pitanje kako je tako
mlad uspeo da uradi toliko velikih projekata, rekao: “Kada sam
završio fakultet imao sam sreću da moji roditelji nisu imali
prijatelje kojima je trebao projekat vikendice ili nešto slično,
tako da sam odmah bez gubljenja vremena krenuo da radim i
osvajam velike konkurse”.
Da li vam se čini da u pogledu inovativnosti i progresije svetska
arhitektura polako posustaje zbog ekonomske situacije?
Puno projekata je obustavljeno. Može se reći da više
avanturistički projekti koji su bili izvodljivi pre dve ili tri godine
sada nisu mogući. Istovremeno ja mislim da inovacije na
možda manje spektakularan ali više dosetljiv i inteligentan
način, su tražene. Kao što sada ne biste naručili neki ludi,
spektakularni, skupi nemogući arhitektonski projekat, već bi
pre naručili projekat objekta koji na inteligentan način koristi
resurse, projekat koji može proizvesti manje spektakularnu ali
dosetljiviju inovativnu formu. Potreba je majka svih inovacija,
tako da u vreme krize potreba može biti još zahtevnija tako da
češće dovodi do inovacije.
A da li mislite da je recesija prouzrokovana nedostatkom ideja
možda, i da se dve recesije dešavaju istovremeno?
Ja ne mislim da živimo u vremenu u kojem nedostaju ideje,
naprotiv, mislim da zbog istovremene razmene ideja, tekuća
evolucija inovacija zapravo ubrzava. Mislim da je učestalost
inovacija danas veća nego pre 20 godina. Ne znam da li
znaš američki futurista Ray Kurzweil napisao je knjigu pod
nazivom “Sličnost je blizu” gde on govori o ideji da od izuma
točka, frekvencija i brzina inovacija ubrzava i bilo koja
vrsta eksponencijalne krive ide ka maksimumu gde postaje
vertikalna. U skladu sa ovim proračunima u narednih 20 ili 30
godina dostićićemo tačku gde će inovacija biti skoro trenutna.
Mi u našem birou pratimo sa dosta interesovanja njegova
razmišljanja i njegova zapažanja.
Kakva su Vaša iskustva vezano za globalnu svest o arhitekturi i
koliko je stvarno ta svest važna za arhitekturu?
Ja mislim da je Gugenhaim muzej u Bilbau postao prvi “dogajđaj”
arhitekte kao zvezde. Frenk Geri je bio prvi. On je radio veoma
poželjne objekte, a pored njega i Norman Foster i neki drugi,
i ja mislim da su arhitekte siviše često kritikovane, kao da je
tu u pitanju natprirodno obožavanje idola. Dobra stvar oko
toga i oko arhitekture je da je ta kultura obožavanja poznatih
orijentisana ka objektima, i u drugu ruku ona prouzrokuje da se
šira publika interesuje za arhitekturu, iako na veoma površan
način. Na primer, možete da idete i gledate film zato što ste
89
O
n this year’s Belgrade Design Week we have talked
with Bjarke Ingels, a Danish architect whose work has
significant position in architecture today and who responded
to our question how it happened that he developed so many
great designs so young, as follows: “When I graduated from the
faculty I was lucky enough to have parents who did not have
friends who needed resting house design or similar so I started
immediately, without wasting any time, to work and participate
on great competitions”.
Does it seem to you that progression and innovation in
architecture around the world is in the slow recession because
of economic crisis?
A lot of projects got killed with a crash, you can say that more
adventures and risky projects that were feasible two or three
years ago are now not feasible, in the same time I think that
maybe innovation on perhaps less spectacular but more ingenious and more intelligent way has become more in demand,
like now you would not commission some kind of crazy spectacular, expensive, impossible architecture but you might commission really intelligent way of using the recourses of a project
in a smart way that might create less spectacular but more ingenious form of innovation. Necessity is the mother of all inventions, so in the time of crisis necessity might be higher so
that true innovation might be more frequent.
And do you think that recession is caused by the lack of the
ideas maybe, and that two recessions are happening at the
same time?
I don’t feel that we live in the age starved of ideas, but on the
contrary, I think, since there is instant exchange of ideas, ongoing evolution of innovation is accelerating. I think that the
frequency of innovation today is probably higher than it was
20 years ago. I don’t know if you know that American futurist
Ray Kurzweil wrote a book called „Singularity is near“ where
he is talking about an idea that since invention of the wheel
the frequency of paradigm change and the speed of innovation has been accelerating and any sort of exponential curve
goes towards singularity where it comes vertical and according
to this calculations within the next 20 or 30 years we will reach
this point where innovations will be almost instantaneous and
like I am in our office and we are following with a lot interest his
thinking and his observations.
What are your experiences regarding global conscience about
architecture and how really important is that conscience about
architecture existence?
I think that Gugenhaim museum in Bilbao became the advent
of the star architect. Frank Garhy was the first one. He made
TARZAN
IN
ENERGETIC
FIELD
avgust / septembar / oktobar 2010 / arhitektura
TARZAN
U
ENERGETSKOM
POLJU
96
97
Projekat: Konkursni rad za predstavljanje Republike
Srbije na 11. međunarodnoj izložbi arhitekture u
Veneciji, 2008.
Project: Competition work for the Republic of Serbia
presentation on the 11th international exhibition of architecture in Venice, 2008.
Projektovano: 2008. god.
Autor i glavni projektant: Dipl.Ing.Arh. Mustafa Musić
Projektant: Dipl.Ing.Arh. Vanja Panić
Projektni biro: «ZENIT – inženjering», Beograd
Designed: 2008
Author and main designer: Mr Mustafa Musić, BSc Arch.
Designer: Ms Vanja Panić, BSc Arch.
Project bureau: «ZENIT – engineering», Belgrade
bog
dan
bog
danović
102
avgust / septembar / oktobar 2010 / arhitekti
Ideja redakcije našeg časopisa je bila da napravi serijal
od tri članka posvećena Bogdanu Bogdanoviću. Pred
vama je prvi, drugi ćete moći da pročitate u sledećem
broju, dok treći na žalost nismo uspeli da pripremimo
zato što je u njemu predviđen intervju sa Bogdanom
Bogdanovićem koji, kao što možda znate, više nije sa
nama.
Our redaction’s idea was to create a serial consisting
of three articles dedicated to Mr Bogdan Bogdanovic.
Below you will find the first one, the next will be
published in the following number while the third,
unfortunately we were not able to prepare (the
interview with Mr Bogdan Bogdanovic was planned)
since, as you may know, Mr Bogdanovic passed away.
tekst: mr Irena Kuletin Ćulafić
103
Bogdan Bogdanović je rođen 20. avgusta 1922. godine u Beogradu, u porodici
levičarski orijentisanih intelektualaca. Otac Milan bio je ugledni književni kritičar,
predsednik Saveza književnika i direktor Narodnog pozorišta u Beogradu.
Nakon završene II Muške gimnazije, Bogdanović upisuje Arhitektonski fakultet
u Beogradu čije studiranje prekida usled izbijanja Drugog svetskog rata. Kao
partizan učestvuje u pružanju pokreta otpora nemačkim okupacionim snagama.
Po završetku rata nastavlja studije arhitekture i diplomira 1950. godine, sa
radom iz urbanizma kod profesora Nikole Dobrovića. Godine 1953. postaje
asistent Katedri za urbanizam Arhitektonskog fakulteta u Beogradu. Godine
1964. imenovan je za predsednika Jugoslovenskog udruženja arhitekata.
Godine 1970. godine postaje dekan Arhitektonskog fakulteta, a tri godine
kasnije redovni profesor. Za dopisnog člana Srpske akademije nauka i umetnosti
izabran je 1970. godine, a jedanaest godina kasnije samoinicijativno napušta
Akademiju.
U napuštenom selu Mali Popović u okolini Beograda 1976. godine Bogdanović
pokreće alternativnu nastavu u prirodi. Škola u Malom Popoviću bila
je usmerena na filozofske studije arhitekture zasnovane na istraživanju
simbologije formi. Škola nije posedovala fiksan raspored predavanja, razvijala je
nove sisteme pristupa arhitektonskoj praksi kao što su metode bliske slobodnim
asocijacijama i geomantiji. U periodu od 1982. do 1986. godine Bogdanović je
bio gradonačelnik Beograda, a 1987. godine dodeljen mu je status profesora
emeritusa. Imenovan za člana nekoliko značajnih međunarodnih institucija:
član je osnivačkog veća Internacionalne akademije arhitekture (1987), član
Ruske akademije arhitekture (1994), dopisni član Bavarske akademije lepih
umetnosti (1998), član kolegijuma Evropskog Univerziteta u Jeni (2000), počasni
član Akademije nauka i umetnosti Bosne i Hercegovine (2002).
Pojavom Slobodana Miloševića na političkoj sceni krajem osamdesetih,
Bogdanović se protivi nacionalizmu i osuđuje nasilničke i anti-urbane akcije koje
nova vlast nosi sa sobom. Miloševiću i Centralnom komitetu saveza komunista
Srbije upućuje antinacionalističko pismo u dužini od preko 60 stranica teksta,
nakon čega Bogdanović doživljava pretnje i biva isključen je iz Centralnog
komiteta SKS. Po izbijanju rata na jugoslovenskim prostorima, sa suprugom
odlazi u emigraciju i nastanjuje se u Beču, gde je živeo do smrti.
A
rhitekta-vajar, urbanista i vanserijski pisac o gradu njegovom nastanku, životu i smrti, tvorac vanvremenskih
spomenika i celina memorijalne arhitekture, teoretičar i istoričar
arhitekture i urbanizma čija pisana reč odiše visokim nivoom
intelektualizma, pisac eseja-traktata nadahnutih izvanrednim
senzibilitetom za fantaziju, maštu i nadrealno, nekadašnji profesor
i dekan Arhitektonskog fakulteta u Beogradu, bivši gradonačelnik
Beograda, dobitnik značajnih nagrada i priznanja, ličnost čije je
ime zapisano u svetskim enciklopedijama.
Mr. Bogdan Bogdanović was born on 20 August 1922 in Belgrade, in the family of
politically left oriented intellectuals. His father Milan was a respectable literature
reviewer, president of the Society of writers and Director of the National Theater
in Belgrade. After graduating 2nd Male Secondary School, Bogdanović enrolls the
Faculty of Architecture in Belgrade and stops the studies because of the Second
World Was outburst. As a partisan, he participates in giving resistance to German
forces. He continues with studying after the war finished and graduates in 1950
with graduation work in the area of town planning, mentored by Professor Nikola
Dobrović. In the year of 1953 he becomes the assistant professor on the Department
for town planning of the Faculty of Architecture in Belgrade. He was elected as a
president of Yugoslav society of architects in 1964. In the year of 1970 he becomes
the Dean of the Faculty of Architecture and three years after, a Professor. He was
elected associate member of the Serbian Academy of Science and Art in 1970 and
eleven years later he abandons the Academy on self – initiative.
In the abandoned village called Mali Popović close to Belgrade, Bogdanovic runs
alternative education held in nature in 1976. The school in Mali Popović was
directed to philosophic studies of architecture based on form symbolism research.
School did not posses fixed lectures’ schedule, it developed new approach systems
in architectural practice as the methods close to free associations and geometry.
Between 1982 and 1986, Mr Bogdanović was the Mayor of Belgrade, and in 1987 he
was appointed Professor Emeritus. He was nominated member in several significant
international institutions: member of Founding Council of the International
Architecture Academy (1987), member of Russian Architecture Academy (1994),
associate member of Bavarian Fine Arts Academy (1998), member of collegiums of
the European University in Jena (2000), honorary member of the Academy of Science
and Arts of Bosnia and Herzegovina (2002).
Appearance of Slobodan Milošević at the political scene in the eighties, Bogdanović
stands against nationalism and judges violent and anti – urban action that new
government carries with itself. He writes an anti – nationalist letter of 60 pages to
Mr Milošević and Central Committee of Communist Society of Serbia after which
Bogdanovic experiences threats and exclusion from the Central Committee of CSoS.
After outburst of war in former Yugoslavia, he emigrates together with his wife and
settles in Vienna, where he died.
A
n architect – sculptor and an extraordinary writer on town - its
creation, life and death, a creator of timeless monuments and
memorial architecture complexes, theoretician and architecture and
urban planning historian whose written word emits with high level of
intellectualism, a writer of essays – tractates inspired by exceptional
sensibility for fantasy, imagination and surreal, former professor and
the Dean of the Faculty of Architecture, University of Belgrade, former
Mayor of Belgrade, winner of significant prizes and acknowledgment,
a person whose name is recorded in world encyclopedia.
113
Photographer: Oskar Da Riz
We selected an Italian bureau
MONOVOLUME for publishing (apart
from Francesco Gatti whose interview
we published in previous number)
out of the Italian group of architects
published in “top 10 below 40”, within
issue no. 4. The thing we liked the
most is their characteristics to treat
both exterior and form equally good
as well as the object’s interior where
one cannot define whether interior or
the object’s architecture is dominant in
light of efficiency. We also liked the fact
for being in opportunity to publish the
photos of their constructed objects,
which is a curiosity with younger
architects who usually compete for the
personal accomplishment awards with
not-constructed designs and threedimensional presentation.
sezione c
Italijanski biro MONOVOLUME (pored
Frančeska Gattija čiji smo intervju,
dat za naš časopis, objavili u prošlom
broju) izabrali smo da objavimo iz grupe
italijanskih arhitekata objavljenih u
“top 10 ispod 40” u broju 4. Ono što
nam se najviše dopalo jeste njihova
karakteristika da podjednako dobro
tretiraju eksterijer i formu, kao i
enterijer objekta, gde se ne može
definisati da li je po pitanju uspešnosti
dominantan enterijer ili spoljašnja
arhitektura. Takođe nam se dopala i
činjenica što smo bili u mogućnosti da
objavimo fotografije njihovih izvedenih
objekata, što je kuriozitet kod mlađih
arhitekata koji u konkurenciji za
nagrade za lično ostvarenje uglavnom
ulaze sa neizvedenim projektima i
trodimenzionalnim prikazima.
“Rothoblaas” je kompanija specijalizovana za
sklapanje sistema i električnih alata za drvnu
industriju. Skladište i prodaja su smešteni u
prizemlju pored administracije, soba za sastanke i
izložbeni salon su na gornjem spratu. Cilj projekta
je bi da se stvori kompaktan vrlo prepoznatljiv
objekat. Objekat kao korporacijski identitet,
moderan i reprezentativan za kompaniju.
Ovo je dovelo do funkcionalne, kompaktne
konstruktivne opne, obezbeđene staklom.
Materijal glavnog objekta je drvo, kako bi se
pokazali sopstveni proizvodi.
sezione b
sezione b
-1,10
±0,00
±0,00
sezione a
sezione a
0
1
2
3
4
5m
piano terra
sezione c
Foto / Photographer: Oskar Da Riz
The „rothoblaas“ office is a large-scale commercial
operation specializing in assembling systems
and power tools for the woo­dworking industry.
Warehouse and commissioning are situated
on the ground floor whereas administration, a
meeting room and a showroom can be found
on the upper floor. The aim of the project was
to create a compact building with a high level of
recognition. The building as corporate identity of
the enterprise; contemporary and representative
of the company. This has lead to a functio­nal,
compact structural shell, provided with a glass
envelope. The main building material employed
is wood in order to show the own products.
osnova prizemlja
ground floor
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