Lejla Duran - Dom Kulture Dobrinja - Academy of Architecture

Dom kulture Dobrinja Sarajevo, Bosnia and Herzegovina

Redefining Houses of Culture

Commitee members Wouter Kroeze (mentor) Sasa Radenovic Yttje Feddes

This is Sarajevo, look at it, look at it!

Look on the ground, look on the walls Look at the architecture that falls Look at the roads and the bridge Ooh, the bridge.. where they killed Look down on my city and enjoy the view from the mountain like a king This is my city, my heart and my soul Look, enjoy and let me show you all Let me show you the hills, the old houses on the hills the new towers in the South and the cable lane in the North Let me share with you my love for our architecture All the architecture we’re proud of Proud of the modern ones with the glass and the older ones with the holes The empty ones with Nature and the Lived in ones with the holes Ooh, the bullet holes.. they tell the whole story Be my guest in my beautiful home Let me take you to the museums, churches markets and mosques Let me take you to the old and the new Let me show you our Library Ooh, the library.. you could have had more I want to tell you all about it All about Tito, Milo, Princip Gavrilo Franz Ferdinand and his unfortunate wife Ooh, the wife.. that could be called Bosnia and Herzegovina Sarajevo, beautiful Sarajevo Please, keep your scars and don’t hide the truth because Lejla loves you Poem written by Hoeshmand Mahmoed, July 2017 Project in background: ‘Walter’, Lejla Duran, 2015

- preface

- personal dedication/inspiration

- introduction

- definition & history - what are Houses of Culture? What was their role and meaning in the 20th Century?

- then and now - comparison of the business models in Ex-Yugoslavia and Bosnia and Herzegovina - references - case study Ex-Yugoslav Houses of Culture

- location

- analysis I - introduction to Sarajevo - analysis II - Dobrinja - analysis III - users, functions, surroundings

- design

- building in context - getting to know the neighbourhood

- programme - functions required

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- inspiration - connection and reference to the Ex-Yugoslav Houses of Culture - principles - used for the design - the building - plans, sections, facades - elaboration - materials, details

’eight hours labor, eight hours recreation, eight hours rest.’ 1

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Robert Owen, Formulation of the goal of the eight-hour workday, 1817

preface

- personal dedication/inspiration

This is a letter that I sent to the administration and municipality Centar in Sarajevo when I found out that the House of Culture Gorica, where I spent most of my teenage years, will be closed due to the lack of money to maintain it.

I am Lejla Duran, I am 24 years old and currently live in The Netherlands. I'm studying architecture and now I'm in the third year of my Master's degree in Amsterdam.

The Gorica Center for Youth meant a lot to me. I gathered here with people who later became my good friends. I attended the acting and the singing courses, so the Gorica Youth Center was a regular station for me during the week. In that period (since January 2010) I was in high school.

Here is where I, for the first time in my life, had contact with professional actors and singers. I was looking forward to each and every one of the classes and learning how to act from professional actors Damir Kustura and Sanjin Arnautovic and other members. For the first time I acted in a play and we sometimes played twice a month in other Youth Centers around whole Bosnia, for example, the Youth Center in Konjic. During the classes we were honest, we cried, discussed multiple topics, but we also laughed a lot.

I had my first solo performance as a part of the Singing course under the direction of the professional singer Latif Mocevic. I am very grateful for the opportunities provided by the Youth Center because this is a period in my life that I like to remember. Together with Latif and the choir of Mostar I had a solo performance at a concert in Mostar in front of 2000 people. I am still thankful to Latif, who taught me everything I know about singing and Damir, who taught me what it is like to be an actor. These people happily and unconditionally shared their knowledge with us all.

I think the concept of the Center was wonderful and besides all the school responsibilities, it provided young people with hobbies and thus allowed to develop creativity and openness. Also, the classes were for free for the students, which made it available to everyone who wanted to take courses in various sections.

Kind regards, Lejla Duran

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September 2017.

Acting group ‘Ti i ja cinimo igrajuci se’ doing a play in House of Culture Konjic, 2009.

My parents have always been talking about the ‘golden’ time in the 80s when they were young and Bosnia and Herzegovina was a part of Ex-Yugoslavia. They told me stories about how during this time everyone was working, travelling, socializing and feeling safe and secure all the time. This golden time was unfortunately stopped by the Bosnian war of 1991-1995. Since I am born in 1993, I created a picture of Ex-Yugoslavia that my parents presented and of which they were sensitive about. I have never lived in that period so I cannot compare. But they can, and the political, financial and social situation in Bosnia and Herzegovina after the war is not the best one.

Since I was a member of the House of Culture Gorica, I was very much fascinated by the buildings we would visit to have concerts and play plays and the architecture of them. I later found out they were all Houses of Culture of the different cities we would visit. Every one of them was unique and different than the others. In my memory they were beautiful.

I wanted to see and understand what my parent were talking about with so much passion and respect. And the only way in my opinion I could do that, was to read and examine the architecture.

Another reason I chose to do this is because people in Western Europe would compare Yugoslavia with the Former Soviet Union. But I was thought that was not like that. I quickly realized that the architects had much more freedom in showing their ideas and styles and the Houses of Culture in general were not so much used as political propaganda.

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introduction and inspiration

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definition & history

During the 1950s, the Houses of Culture (further referred to as HoC) played a big role in the development of the entire post-war society. The Second World War disrupted education of many people and left broken cycles that needed to be replaced. In the early post-war period, the HoC together with the local communities and primary schools were the main centers for the development of social, cultural, artistic, educational and entertainment life in the city.

Most of the HoC were built in municipalities and local communities in the late 50s or early 60s of the last century (although in some countries they appeared earlier). In these Houses, lectures and various educational courses as well as art evenings and concerts were organized.

In the industrial areas of some cities, the HoC also functioned as centers that created new communion and socialization and education. They were also the focus of this new landscape, where professional culture, cultural amateurism, popular culture and entertainment, education and political activities were all intertwined. As such, they were meant to create innovative forms of public space where different social groups could meet outside of the work-family pattern, and culture, free time and political life could all benefit from each other.2 One of the most important roles of the HoC was to serve as a tool for cultural emancipation of the people. Since it was open to everyone, young people and adults of all social classes were joining the language courses, or taking a part in the large spectrum of the program.

Can you achieve cultural enlightenment through the model of the Houses of Culture?

Is it possible for that model to survive nowadays?

What can we learn from the past and adjust how to use that now?

2

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Martino Stierli and Vladimir Kulić, „Toward a concrete utopia: architecture in Yugoslavia 1948-1980“, The Museum of Modern Art New York, 2018, p. 50

model of cultural enlightenment & emancipation

family education

Reproduction in education can be produced through different Pedagogical Actions (PA). First, there is family education, which is the foundation and base of everyone’s educational cycle. It is education which is taught at home, by one’s family group members. Second, when one starts to go to school, one starts learning and upgrades their level of education. This education is given by professionals who inculcate knowledge and information. This is called institutional education. Everyone has rights to these two PA’s, no matter which social class one belongs to. Third, to create hobbies, but also to help to choose the specification of higher education, there is diffuse education, which is exerted by all the educated members of a social group. 3 The main tool to transfer these methods of education is through communication. A very important

institutional education

thing that one learns through family education is the use of language and the influence of linguistic capital. The influence of linguistic capital is shown mostly in the first years of education. How one understands the various methods of education and, for example, assessments from teachers, depends on the practical use of the mother language. Moreover, language is not simply an instrument of communication: it also serves, together with a richer or poorer vocabulary, as a tool to understand more complex structures, which partly depends on the complexity of the language learnt in the family education PA. The strength of family education, but also the other two methods is shown in one example. Students that are from upper-class origin (and highly selected working-class students) are more likely to have been taught classical drama or avant-garde theatre or listen to jazz. The behavior of those students and the language use will probably be more academic than from the average working-class students.

diffuse education

The importance of cultural emancipation was to be seen in all three countries that are being compared. In all of them, the main tool to achieve the emancipation was through culture. Most of the times, diffuse education was given in cultural institutes, for example Houses of Culture. Although all the systems were based on the idea of culture, there were some differences in the way it was approached and used.

3

Pierre Bourdieu and Jean Claude Passeron, „Reproduction in Education, Society and Culture “, Sage Publications Ltd, 1977, p. 5

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then - cultural situation in Ex-Yugoslavia

family education

The extensive development of the Houses of Culture and cultural policy in the former Yugoslavia was comparable to the project of decentralizing the French culture in the 1960s by André Malraux.

Culture had an emancipatory and educational role in society.

After the Second World War, HoC played a great role in the development of the entire post-war society. They were founded as a part of the manufacturing process as a form of constructed ideology, politics and culture of the working class. A new model of cultural production, which was a joint action by people to build and revitalize towns and villages. The HoC also served as a tool to help people to get to know each other. The Houses created new places in cities and town where socialization and broader education was provided.

institutional education

While the cultural life in large urban centers was mainly organized through networks of existing institutions, the development of new cultural centers occurred mainly in smaller towns of less developed regions. It was precisely under such peripheral conditions that HoC initiated new forms of social life, new lifestyles and new architectural cultures. 4 In one of the books that rarely systematically dealt with the theme of the HoC ‘Cultural centres, Houses of Culture and Social Houses in the Republic of Croatia’, authors Ivan Rogić and Andrija Mutnjaković expressed what the role of the cultural policy was towards the HoC. They stated that it was necessarily 'to fulfill the human working and living everyday life with cultural activities, so that culture becomes a way of living, signifying the creative work and life of each individual so that every individual while creating life and work becomes an intellectual, remaining in the imperative of ne-

diffuse education

cessity as much as it is historically necessary, and in the imperative of freedom as much as it is in the power of their social creation of the liberty of work and freedom of work (if the difference between the working and non-working time is still viable).’ 5 From 1947 till the end of 1960s, the main cornerstone of the cultural policy was the literacy of people through diffuse education and socially-cultural animation. To complete this way of education, the Houses, centers of cultural action and libraries were used. In the 1970s was the second wave, where the HoC were marked as the new boiling points for culture. Their main role did not change, but they got a new role next to it and that was social integration on the level of the local community.

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4

Martino Stierli and Vladimir Kulić, „Toward a concrete utopia: architecture in Yugoslavia 1948-1980“, The Museum of Modern Art New York, 2018

5

Ivan Rogić and Mutnjaković, Andrija, „Centri kulture, domovi kulture i društveni domovi u SR Hrvatskoj“, Zagreb: Zavod za kulturu Hrvatske, p. 13

now - cultural situation in Bosnia and Herzegovina

family education

In the Second ZAVNOBiH session in 1944 it was said: ‘Our educational work must not stop at elementary school and the illiterate course. All successes would remain unfruitful if we understand basic literacy as the ultimate goal and not as a tool of general educational and cultural raising of the people. ,.., The houses of culture which will be the central points of the entire cultural life of the people. Their main task should be to deepen literacy and raise enlightenment through libraries, reading rooms, radio and theater events.’6 ZAVNOBiH was formed in 1943 as the highest governing organ of the anti-fascist movement in Bosnia and Herzegovina. During the Second World War it developed to be the bearer of the Bosnian statehood. As mentioned, one of the main points and decisions made was about the HoC, cultural emancipation and culture throughout Bosnia and Herzegovina.

institutional education

With the collapse of the former Yugoslavia, most of the HoC ceased to exist. In the last couple of years, the HoC in Bosnia and Hercegovina and Sarajevo are fighting to exist and the program changed. Specific cultural strategies do not exist in Sarajevo now and there are only a couple of Houses left in Sarajevo whose full function is cultural. A lot of young people do not have access to higher cultural institutions or are not able to pay for it. The public libraries are not in best conditions and ceased to exist. It feels like the last 50 years of cultural enlightenment and emancipation are erased and the country has to start all over.

However, cultural manifestations, events and various festivals are happening more often in Sarajevo but also in other cities and the development of culture is growing again. Also, various non-governmental organizations tend to activate young people and children through diffuse education by teaching them different things in a variety of sections. Unfortunately, after school activities such as coming together and playing outside, doing quizzes or singing in the school choir decreased. Now-

diffuse education

adays, children create their own world and creativity is produced through a tablet or smartphone.

The newer generations have little general knowledge and are not taught so much about it in institutional education institutes. Therefore, it is necessary to ‘return’ to the model of the HoC, as the main model of diffuse education, where they will be able to share, learn about general knowledge and widen their perspectives besides what they have been taught through methods of institutional education.

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Vojislav Kecmanović, “Drugo Zasjedanje ZAVNOBiHa”, Sanski Most, 1944

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then and now - comparison of business models in Ex-Yugoslavia and Bosnia and Herzegovina

Ex-Yugoslavia - then

Administration and financing of the Houses of Culture In the former Yugoslavia the flow and popularity were mainly stopped by the Civil war in 1991-1995.

During the war, many HoC were destroyed and demolished. Most HoC have been renovated but their function did not, in a sense that their main values changed. Culture was then a public good, a social good, but it demanded that people help and that the Houses were self-sustaining, since the municipalities did not work that much on the renovating. Placement of the HoC under the jurisdiction of municipalities resulted in municipalities solving their problems of managing and controlling public services in the existing buildings of some former HoC (police stations, ambulances, ...). For example, in Bosnia and Herzegovina, of all the 25 HoC, now only 5 Houses are fully functioning as

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cultural buildings. Furthermore, as a society, people lost the memory of the Houses of Culture in general. It was not enough to physically repair the HoC, but also to 'refurbish' them essentially. In some of the cities they do function. But most of the time, like in Poland, it is a place for seniors and children to come together and use the institutions. Especially in smaller cities, because the young people move to bigger cities/capitals so these generations are almost missing in towns. In the bigger

Bosnia and Herzegovina - now

cities, for example in Sarajevo, most of the content has been commercialized. Non-governmental organizations have taken over some of the houses but are not working on the affirmation of the local community.

Placing the HoC at a disposal of private initiatives (the use of space as a catering/hospitality space) has been a characteristic of the privatization market model applied in all countries with the disappearing disintegration in the former Yugoslavia. The replacement of the emancipatory state model, which was characterized by the former Yugoslavia’s cultural policy, was never systematically discussed in the countries of the former Yugoslavia, nor was there an explicitly granted new model after the war, but the cultural policies of the now independent countries continued to live on the

?

? $

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remains of the cultural policy of the former state.

proposal of a business model for a new House of Culture in Bosnia and Herzegovina

Only by a financing that is from more organisations and would come in the Houses of Culture di-

diaspora

rectly, the Houses of Culture and cultural buildings could be maintained and could work.

The awareness of the people about cultural institutions and how they are forming society would have to be much stronger and present.

(2 million Bosnians live abroad)

By giving people the opportunity to be a part of building such a cultural structure and ‘web’, they will most likely want to be involved more and will be aranged more. There would be a small amount of money which the users would have to pay as a subscription, where the people working there would be paid by, but also a multy-used programme would be an option. For example, the retired people who could help students with their homework, would spend the time doing something what they can do and would like to do. This all would happen with the help of the local community.

For example, a cafe planned in the building would also bring profit and could be self-sustainable in maintaining.

Also, the city (example - Sarajevo) would have to know that by financing and putting culture as one of the main agendas of a municipality, the city would only benefit from it. Not only would the people

NGOs local firms and industries

have a possibility to be culturally enlightened, but also it would attract more tourists and visitors from across the country.

There are a lot of Bosnian people living abroad. Calculations state that one of the main sources of money for a lot of families in Bosnia and Herzegovina is from ‘diaspora’. Diaspora are the Bosnian people that live throughout the world and send money and help to their families that are living in Bosnia. For example, the renovation of the Trebevic cable car was financed fully by a diaspora from Australia.

In the last 10 years lots of young people have come together and have started NGO’s. In this way,

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municipality

they avoid being connected to the corrupted system and organisations that are ruled by the state and seek for loans or do tenders to try and make bigger steps in the improvement of the situation in Bosnia and Herzegovina.

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Topography of Konjic, Bosnia and Herzegovina

Topography of Hrasnica, Bosnia and Herzegovina

Topography of Kolašin Montenegro

Topography of Nikšić, Montenegro

Topography of Krupanj, Serbia

Topography of Mrkonjić Grad, Bosnia and Herzegovina

references - case study Ex-Yugoslav Houses of Culture

Since I was so fascinated by the HoC throughout Ex-Yugoslavia, I decided to visit the ones I could, and check the ones I couldn’t on google. I noticed that the buildings were all so unique, but the pictures nor the information about them didn’t do them justice, because there was almost none. I started to analise them and draw them, so first I, but also others could see these hidden gems that are spread out on the Balkans. What I tried to understand was the typology of the buildings, the style, when they were built and what they had as interesting facts. By sketching the HoC and editing them, I tried to create an environment what I saw when I looked at them.

It made me wonder whether some of these buildings were built for a time that has yet to come.

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Đurđevac Zagreb (Dubrava) Virovitica

CROATIA

Beograd

Mrkonjić Grad

Krupanj

SERBIA

Bosnia and Herzegovina Kupres

Split

Sarajevo (Hrasnica)

Bor

Čačak

Konjic

Kolašin Nikšić

MONTENEGRO

Map of Former Yugoslavia (including: Slovenia, Croatia, Bosnia and Herzegovina, Serbia, Montenegro, Macedonia)

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BOSNIA AND HERZEGOVINA

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Konjic typology according to form: ‘Z’ form

FACT: - when the House of Culture Konjic was built, it was called the ‘most modern building in Europe’ in that time 21

Mrkonjic Grad typology according to form: ‘I’ form

FACT: - former buidling where the ZAVNOJ session was held These acts simultaneously express the determination of the people of BiH that their country, is neither Serbian, nor Croatian, nor Muslim, but also Serbian and Muslim and Croatian 22

Kupres typology according to form: ‘Z’ form

FACT: - ‘Days of moaning’ - international festival of folklor is held every year 23

Hrasnica typology according to form: ‘U’ form

FACT: - opened by the president of Former Yugoslavia, Josip Broz Tito 24

SERBIA

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Bor typology according to form: ‘I’ / ‘L’ form

FACT: - has a library of 1113 m2 and this library has 53 other libraries under their administration in the municipality of Bor 26

Cacak typology according to form: ‘O’ form

FACT: - as a special rarity, the largest ficus (Ficus elastica decora) in Serbia and even in the Balkans that grew up indoors, is located in the entrance hall of the Cultural Center. The ficus is a protected monument of nature.

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Krupanj typology according to form: atipical form

FACT: - on October 20, 1941, the Germans set fire to Krupanj. The first building to be built was the old buidling of the Cultural Center.

In 1980, the new building was opened and served mostly as the head library of the whole municipality.

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MONTENEGRO

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Kolasin typology according to form: ‘I’ form

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FACT: - a few years ago, the local authorities considered demolishing it in order to build a new tourist complex on the site. However, the plan to demolish Spomen Dom has been stalled by the economic crisis.

- once built as an anti-fasist memorial, now the active part of the building hosts the Serbian fasist political party

Niksic typology according to form: atipical form ‘There is something mystical at the same time fascinating in this architectural mess and spectacle. Instead of a place of culture and education, the building became a monument to the failed ambitions of a time. A caricature of the emancipatory original idea of the homes of culture’ - Betonski spavaci, Maroje Mrduljas

FACT: - the Dom Revolucije, or Home of Revolution, is among the most massive and interesting ruins of Socialist-era Yugoslavia. Designed as a large exhibition and cultural centre and memorial, the building was begun in the late 1970s and due to lack of funds work ended with it still incomplete in the late 1980s. It is never finished

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CROATIA

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Dubrave, Zagreb typology according to form: ‘T’ form

Djurdjevac typology according to form: ‘O’ form

FACT: FACT: - since the City of Zagreb didn’t know and couldn’t decide who the owner of the plot was where the Cultural - a few years ago, the local authorities considered demolishing it in order to build a new tourist complex on the site. However, the plan to demolish Spomen Dom has been stalled by the economic crisis.

Center is located, noone was the owner of the building that was built in the 1970s.

- once built as an anti-fasist memorial, now the active part of the building hosts the Serbian fasist political Because of this, they only renovated and renewed the facade of this building. party

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House of Culture that is active and still a cultural building

House of Culture that still works but the function changed

House of Culture that is slowly being abandoned and demolished by no maintenance

Konjic

Hrasnica

Kolasin

1945 - 1965 characteristics of the Hoc: - architects were influenced by modernism and that is visible in the buildings - a lot of simple geometry is visible in both the exterior and interior of the buildings - clear horizontal lines with a lot of glass - almost all the HoC built in this period have flat roofs - the complexity of the building is not directly visible in the uniform facades

1970 - 1990 characteristics of the Hoc: - architects were influences by the context they were building in (lots of contextual architecture) - complexity of the function is reflected in the division and appearance of the building - more dynamic forms and volumes are visible, with different sizes and heights

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I was more fascinated by the HoC that were built in between 1945 and 1965. I went with my father to visit the ones that we could see. The ones we visited were HoC Hrasnica, HoC Konjic and HoC Vogosca in Sarajevo. We went to see them every now and then. In HoC Hrasnica the concierge of the building helped us so much. He showed us all the rooms and spaces and let us go on the roof terrace. He was actually surprised that we were interested and told us all the stories of before the war and also how the building is functioning today.

My father told me that he really enjoyed talking to me and exchanging opinions about the HoC. He also said he learnt a lot from the research I did.

The idea was to also document the HoC better, since the information online or books was very little and vague. I tried to imagine and analyse how the building was built, and what the main ideas were behind it. I took pictures of the parts that I found interesting and analyzed the structure and building elements that I found as inspiration and fascination. After looking back at my pictures, I discovered that there are some elements and main points/ideas that are similar for the HoC and divided them into three components (rhythme, separation of public and private and spacial elements and details).

I also loved going back to Konjic and visit the HoC where I was doing a play with my theatre group.

I wanted to see what the essence of the buildings is and capture the buildings as good as possible.

I sometimes have the feeling that I look at these buildings as fragile structures that are waiting to have an opportunity to shine again.

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HoC Hrasnica

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HoC Konjic

HoC Hrasnica

HoC Vogosca

HoC Konjic

HoC Konjic

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HoC Konjic

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HoC Konjic

HoC Hrasnica

HoC Hrasnica

HoC Hrasnica

HoC Konjic

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HoC Hrasnica

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HoC Hrasnica

HoC Hrasnica

HoC Hrasnica

HoC Konjic

HoC Vogosca

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analysis I - introduction to Sarajevo

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6 www.milvusmap.eu 4

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analysis I - introduction to Sarajevo

Ottoman empire

Austrian-Hungarian monarchy

1463-1878.

1878-1918.

Kingdom of Yugoslavia - modernism 1918-1939.

Former Yugoslavia 1945-1992.

Republic of Bosnia and Herzegovina 1992- now 47

analysis I - introduction to Sarajevo

- illustrations showing the history of Sarajevo and the meaning of the mountains surrounding the city

48

1551.

1984.

1992.

2020.

Sarajevo NOW

49

- location

- analysis II - Dobrinja

When I was chosing the location for the HoC, I almost immediately knew it could be in Dobrinja.

Canton Sarajevo

Dobrinja is a neighbourhood in the western outskirts of Sarajevo, part of the municipality of Novi

(inhabitants per municipality in % in 2012)

Grad. It is estimated to have a population of 40,000 inhabitants. Its name comes from the small river Dobrinja that flows through it and lies just north of the Sarajevo International Airport.

The neighbourhood was built for the 1984. Winter Olympic Games held in Sarajevo.

Ilijaš

4,3%

The first phase of construction was completed in 1983. with the areas of Dobrinja I and Dobrinja II, which were used as olympic villages for the accommodation of sportspeople and foreign journalists in Sarajevo for the Winter Olympics. They included two residential neighbourhood, one school, and a trolleybus line to link it with the city centre. Dobrinja III, with its primary school, was the next

5,8%

9,6%

Novi Grad

13,7%

Centar

28,5% Novo Sarajevo

Ilidža

Stari Grad

Vogošća

15,7% 16,7%

phase in the second half of the 1980s. By the early 1990s Dobrinja IV and V were built and occupied.

The newest blocks. These newest settlements suffered most damage during the Siege of Sarajevo, as they were repeatedly bombed by the Army of Republika Srpska, and all three schools and many buildings were destroyed. Overall, during the Siege of Sarajevo (1992–95), Dobrinja was the most bombed neighbourhood of Sarajevo.

After the war, Dobrinja had a long recovery proces to overcome and a lot of people moved out or flee from the neighbourhood. It took some time until Dobrinja stopped being the ghetto of Saraje-

5,2%

Hadžići

vo, and start to rebuild. Because the neighbourhood was only a couple of years old when the war started, it didn’t have time or the opportunity to grow in a social and cultural way. The plan was that after the Winter Olympics, that would be the next step. Dobrinja doesn’t have any cultural functions Trnovo

0,6%

or programme. For all the people that would like to see a play or go to a library, they need to go all the way to the city center, which is not convinient to do every day.

In the last couple of years, Dobrinja has become the ‘new’ area for young couples and families to live there. Since it is a planned neighbourhood, all the building blocks have enough parking and parks surrounding it. It has become much safer and nicer to live. The variety of the people, the green and the overseen streets and some commercial functions in the ground floors of the building block are making the neighbourhood live again.

50

51

Sarajevo

Dobrinja

52

53

Sarajevo House of Culture Dobrinja

54

cultural buildings and functions in the city now one collective cultural building in Dobrinja for the municipality Novi Grad

Sarajevo divison of cultural functions and activities in the city NOW

Sarajevo planned as one unified function House of Culture Dobrinja

cinema

choir

cinema choir

acting

reading/ studying

singing

yoga

ballet

ballet

reading/ studying

acting

yoga

singing

55

56

57

58

59

a walk through the neighbourhood

60

I went to visit the site and wanted to capture the essence of the neighbourhood so I tried to sketch what I see and what I discovered while walking. Some buildings have been renovated, some still have shrapnels and some balconies are still destroyed and not yet fixed or renovated. But the main ‘shopping’ street is very much alive and lots of people are doing their daily shopping or looking for a cafe to have their coffee break or lunch.

What I also noticed is that wherever I stand, I see straight lines and edges of the building blocks, which gives a very modular neighbourhood feeling but also gives a feeling of organized planning and building, which I liked. All the buildings have a ballustrate of the first housing floors. It is almost like a border and separation of the housing and commercial part. On one side of the buildings is the commercial part and on the other side are the entrances to the buildings and the houses.

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scheme of functions around the neighbourhood

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existing market

While I was walking through the neighbourhood to find a potential location, the spot of the current market caught my attention. This market was actually a semi-illegal market, in a was that they just built floors on top of each other without any checks or permits. In the market you can buy clothes, do you nails, but inside there is also an art gallery. Architectually it is a part of the buildings that were built after the war and desperately tried to fit in the surroundings, by using bricks as the residential building blocks. This group of buildings is in my opinion making Dobrinja look random and it is not. The urban structure is very much visible and should stay that way.

But this location has one of the best spots in the whole area. It is centralized, has a great connection to all the sides and areas around it and is on the main street. The plot is surrounded by cafes and shops so there are always people passing by, but not too specific for the market itself.

FACT The Sarajevo Tunnel, also known as Tunel spasa (English: Tunnel of rescue) was a tunnel constructed between March and June 1993 during the Siege of Sarajevo in the midst of the Bosnian War. It was built by the Bosnian Army in order to link the city of Sarajevo, which was entirely cut off by Serbian forces, with Bosnian-held territory on the other side of the Sarajevo Airport, an area controlled by the United Nations.

The tunnel linked the Sarajevo neighborhoods of Dobrinja and Butmir (giving it the name “Tunnel D-B”), allowing food, war supplies, and humanitarian aid to come into the city, and allowing people to get out. The tunnel became a major way of bypassing the international arms embargo and providing the city defenders with weaponry.

The spot where the people would exchange goods or sell it in order to get food was the spot of thecurrent market. So this location is very dear to the inhabitants of Dobrinja, as it carries a ‘memory of the place’ significance.

64

65

existing situation - plan (with market)

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existing situation - section (with market)

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people/users

Since Dobrinja is in a municipality that has the most inhabitants of Sarajevo, the variety of the people living there is very big and different. As already mentioned, after the war, it took some time for Dobrinja to heal and get back to the polite and safe neighbourhood it was. But nowadays, Dobrinja is a very nice and pleasant area to live in. It is easily accesible with bus, trolley bus, bike or car. In the last couple of years, it has become the neighbourhood where almost every newly wed couple or young families are looking for an appartment. It is so popular because it has a lot of green spaces, parks and elementary schools. Also, new buildings are built and they do it in the similar stamp as the ‘80s building blocks so you don’t see it so obvious.

The only thing missing in the neighbourhood is a cultural function. For a big part of the local population, sending their child to see a movie or go to a library in the city center carries a considerate financial burden, taking in account the bus tickets, lunch, tickets etc.

When visiting Sarajevo, I got the chance to talk to two ladies who told me their daily to-do lists , where they go and where they find it.

Nihada Alfirevic is a 70 year old woman and lives in Dobrinja since it was built. She very much enjoys

+65 years old, retired person

the neighbourhood, and loves to take her grandchildren to the parks, or have coffee or a wine with her friends. She has worked as the head of student services at the Faculty of electrical engineering and loves to work with young people and help them. She said that she is a member of a elderly club but that they have no proper space or location where they can do various activities. They meet in eachother’s houses instead. Because of this, they meet not so frequently as they would. She stated that all these people have had higher education and are still very capable of being involved in the local community and help in any way.

Nejra Foco is a working mother of a 3 year old girl and is married. She has lived in Dobrinja since she was born and says that she would not move. Her daughter also likes it a lot. The only problem is that there is a daycare but it is a bit further away. She wishes that the daycare would be more central in the neighbourhood so she could drop her daughter there before going to work.

Dobrinja is unfortunately also the neighbourhood with the most war veterans. Since the line of defense of the city was in Dobrinja, lots of people have lost their lives, anded in a wheelchair or got

34 years old woman, married, one daughter 3 years old

wounded. There is a community of war veterans, and they meet everyday in a cafe in the existing market and talk about what happened 1992. They ofter are neglected by society and although they are the heroes, they sometimes feel worthless, although they are such brave, smart and handy men.

A lot of times their stories stay in between them and are not shared with the younger generations.

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69

‘mahaluse’chitchat ladies

housewifes/ stay home parents

teenagers

disabled people/ children with special needs

start ups

reered people

war veterans

single parents

students

newly weds

young families

70

design

71

inspirational elements from location and forming of the building

72

existing situation, context + market

possbile area/plot to build (footprint of the existing market)

all the surrounding buildings have sharp angle and straight lines all over the building. Because of this, when you walk through the neighbourhood, all you see are straight lines and edges of buildings. For this reason, the atmosphere is very rigid and almost strict.

another very strong accent in the context is the horizontal line that is positioned above the plinth where the commercial functions are situated (such as shops, pharmacys, dentist,..). This line continues through the whole neighbourhood

possbile volume

the form also comes from the existing lines of pathways and view sites. From both west and east the building is in sight, which means it should not hide a building and the view on the park, but rather accentuate it.

in order to connect the two neighbourhoods, the footprint gets narrower. By doing that, a space is created between the plot and the surrounding buildings, other than just a walk through

all of the previous analysis result in rounding up the edges so smooth edges are created, in contast with the surroundings and the hard egdes on the buildings. This also means that the building does not have a front and back facade. 73

there are two functional groups in the neighbourhood; housing and commercial functions. Since the neighbourhood was built to accommodate as much people for the Winter Olympics 1984., the primary functional group was housing, and still is. The second group is commercial functions that appeared after the Bosnian war 1992-1995. location

74

the accent vertically could be done by using pillars to support the buildings and to make an elegant structure on site so the views and connections are not interrupted

the functional group that is missing completely is a cultural function. That means that the House of Culture should consist out of multiple cultural and social disciplines. since the function of the building is a new functional group in the neighbourhood, contrasts are used to form the curved volumes of the building. location

the accent horizontally could be done by using slabs as floors. This would be a great combination with the pillars mentioned earlier. This way, an open space could be possible to achieve

The people that are walking around the area, are not aware that the housing blocks have big terraces on the first floor. The ballustrade as the horizontal accent mentioned earlier is the ballustrade of this terrace. Now there is no connection at all. These terraces are quite big areas that the residents of the blocks use for community parties they have. Whatever is being built nowadays does not consider these terraces and the people end up looking at roofs or the back of a building, while it would be the best if both the residents and the people that are in the surrounding would have a visible connection, even if it was just an eye-connection.

The building would have to be open, inviting, light, airy, visible and have a welcoming appearance, but also different, unique and for the people. It should not stand in the way, but invite the people passing by it in by things that are happening inside. It would be the magnet of the neighbourhood where everyone meets, goes to in the weekend or during the week. It should be for everybody, for every user.

People should be able to connect, share knowledge, learn, entertain and be entertained, fall in love, educate and be educated.

It will be the heart of Dobrinja.

75

programme and functions

After analyzing the HoC and their functions and programme, a program of requirements was made. All the functions that would be needed in the new HoC were written down and examined.

Mostly, the guidance to writing it were the functions that are not existing in Dobrinja at all.

All the elements (locatioin, users, plot available etc) were taken in account and a list came out of it.

By analyzing how much users would be using the building and what they would need, the number of spaces and m2 were fitting the areas and all the rules and restrictions going with it.

76

analysis of the spaces and the m2 needed according to the functions

77

volumes and m2 needed for the spaces

Some functions need a higher floor height. This is due to the amount of people that would use the space and because of the different needs of furniture, lighting, but also due to acoustic issues.

As a result to this, the building offers three types of spaces.

78

status/levels of the spaces according to the use

public

semipublic

private

connection between the functions

The functions are separated by size and by the level of openess. There are private spaces, public spaces and semi public spaces.

By analyzing the functions, I realized that the functions could be connected or even double used. It a certain schedule would be made, the functions could have one space and more ways to use it.

Some functions have a similarity in the spatial qualities of the spaces, and some could be almost puzzeled into eachother.

79

small groups of functions that could work together and be connected according to use and level of private/public

80

The functions in the building are divided into groups where they can function together. Although there are different function groups in the building, the building works and functions as one whole uniformed building. It allows the functions to overlap and use the spaces multifunctional.

spaces

1.

3m space - the spaces which can host the maximum of 20 people in the room

2.

4,5m space - the spaces which can host the maximum of 50 people in the room

3.

6m space - the spaces which can host the maximum of 120 people in the room

Because small groups of functions are created, and those functions sometimes have a different number of visitors, which means different heights and ‘rules’, the functions can be stacked and arranged next to eachother, but also ‘though’ eachother.

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workshop

When visiting Sarajevo, with the help of my former teacher of Bosnian, I arranged a workshop in her class with 15-16 year old students. Since they are all born around 2004-2005, I was wondering if they had ever heard of the term Houses of Culture. It was a very interesting meeting and it opened my eyes in a lot of ways. First, no, they didn’t hear of the term House of Culture, but when I explained what it was, one student said ‘ That is exactly what we need in the city!’. They told me that they have activities that would be organized by the school and controlled by the teachers and they didn’t like that too much. They said that there are no interesting buildings where they could go to after school to do their homework or study or meet with friends. One girl is a contestant in math on a regional level and she said that she is studying at home or the restaurant section of a shopping mall. She said that she misses a place where you can chose if you want to be isolated and alone and study or you want to be in a group to do a groups assignment.

I learnt that they really do miss the diffuse education in their circle. Most of them do have hobbies and play sports, which is great and made me happy. I (very judgemental) somehow thought that the generations today are only hanging on their phone, but they proved me wrong.

One boy said that if there would be a cafe, he would come. I found that comment very funny because it is actually very true. In Bosnia ‘kafana’ (coffee place) and ‘haj na kafu’ (let’s go grab a coffee) are the two most common things to say.

Druga gimnazija Sarajevo, my high school 82

conclusions of the comments from the workshop

building is architectually attractive and interesting

viewpoint to know where you are and what the context is

possibility to also be alone and concentrated

meeting space like a cafe

possibilities to meet and cross paths

feeling like a collective and being a part of society 83

inspirational elements from HoC

rhythme

rhythme visible in all the architectural elements in buildings, as columns, beams, windows, doors, fences,..

84

13a

13a

2a

a

a

a

b b b b b b c c c

d

b b

d

a c

b

b

b

b

3a

2a

3a 3a

2a

a

2a

a

2a a

2a a

shadow play beautiful because of the rhythme

3a 3a

a

a

a

a

3a

85

inspirational elements from HoC

separation of public and private difference in private/public spaces done by opening and closing spaces and dividing the spaces by open/semi open and closed panels

86

levels of open/private/public/private marble in 3 different scales transition from public to private

1) outside stairs

2) stairs at balcony

3) stairs at II balcony towards the more closed/private functions

closed glass panel translucent glass detail allowing the stair to come inside the hallway on the ground floor so the visitor gets ‘dragged in’ and directed to the first floor

different levels of open space - balcony differing the public/private spaces in the building

Levels of open/closed plates and spaces show the usage of the spaces, where the closed spaces are private and the open ones are public.

The gradient of private/public functions done by leveling the balconies in the building

87

inspirational elements from HoC

spacial experience/ details architectural solutions ‘cover’ the technical parts of the buildings but are done so beautifully so that you are still able to experience the spaces. However, still the technical parts are not completely hidden

88

2. acoustic ‘catchers’ of excess sound

1. light element is hidden in the ceiling so it gives a subtle lighting and feeling while being in the room

ceiling stage audience

dragging down the view perspective of the audience towards the stage

(1.) the railing is being there to hold the handrail (2.) and is usually on second place, in this building it is almost primary

the railing on the fence is done in one connected movement throughout the whole building

closed facade- behind this wal on the first floor is the stage/auditorium

ventilating of the instalation room on the ground floor

way of ventilating the inside of the building but also hide the function behind the wall

inside

metal tubes that allow the acoustics to thrill/go through the walls into the space or get catched by the ceiling

outside

stones used as facade so it can connect with the stones used on the street

combination of the wood + green tubes

89

important themes and elements - ‘GRENZENLOOS GEBOUW’

continuity of the materials (seamless connections)

90

hidden window frames, railings (not where I need to find the dynamic of the building)

the curves NEED TO stay recognisable and visible (refers to a simplicity of the building)

rhythme (the same rhythme is used in glass and frames, doors, floors, construction,..)

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inspirational elements from HoC

The HoC I visited with my father are my main inspiration. The pictures that I took and the things that I have memorized are very special to me. I discovered a whole other side and story of each and every one of them. Every time that I have the opportunity I go and see them again.

But when I had to make my House of Culture for Dobrinja, I found it so hard to critize the HoC I analyzed, since I wanted to research if the HoC can be redefined and how could they work today.

When I finally let go, I started to be critical and found some main elements that I think could not be welcoming or the best solution for todays HoC. I do think that the buildings that were made in that HoC Konjic

HoC Hrasnica

HoC Kolasin

time were perfect for that type of learing and that society. But the buildings didn’t change as society and time did. Also, the methods for which these buildings were made changed. Nowadays, people are used to have open spaces, to be shown everything and to avoid dangerous angles or spaces, have a lot of open, airy and friendly forms and spaces. Also, courses and classes are held in bigger groups and public buildings should be inviting.

One of the main things I discovered was that the connection of the street with the HoC examined was very limited and almost not visible. People from the street would not be invited by the content in the building, since they would now be able to see it at all.

Also, the learning spaces and ‘classrooms’ were all on one floor and next to eachother. This made the floors very dull and not inviting, since there was one hallway and 50 doors. The visitor would not be able to see what is behind the doors or explore. This also lead to numerous hallways and dead end paths and halls. It was a very black&white structure of the building. I think that this should not be the case now. All the floorplans should be an open space, where there are no barriers. There should be no hallways or doors for public functions. The visitors should be invited into spaces and and the people on the street should be able to see what is happening inside and be invited by the people and lights.

Transparency of spaces should help the people to feel safe and inviting.

HoC Hrasnica

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Concept HoC Ex-Yu

huge barriere in between the users and the building and functions that are supposed to be public uniformed movement of users no surprises or inviting spaces

closedness of spaces can confuse the users about the funtions happening in the HoC

Concept HoC Dobrinja

by the configuration of the floorplans, the users can walk around and wander through the building no hallways or doors for public functions - NO BARRIERS materials on the floor guide you through the building and to the public functions that anyone can use

transparency of spaces are inviting people to enter the building and people passing by to come back to check

93

??????????????????????????? spaces

crossroad - a junction where four roads meet 94

agora - (in ancient Greece) - a public open space where social life took place, but it has also various other functions, such as political, social and commercial intentions - often called a meeting space (rendezvous)

square - a public open space/area in a city, often surrounded by buildings

- design

95

the building is open, see through, inviting, romantic, has a human scale, a contrast in the context but also fitting in very well, a building where the user is important but also the people that are passing by, light, sunny, a whole experience, a crossroad - an open public space

96

97

“Such a refreshment for Dobrinja- finally a building that she needs and deserves”

“Architecturally modern, yet nostalgic building is open for visitors”

“Sarajevo needs more buildings like these”

98

“Dobrinja gained a central place for people to meet and for the whole city to see”

“I would like other municipalities to follow the model of the Dom Kulture Dobrinja. The people of Sarajevo are waiting for those buildings”

“It is as it was always there! I cannot imagine what Dobrinja looked like without the Dom kulture Dobrinja”

Local population about Dom kulture Dobrinja

99

100

101

102

103

site plan

Dom kulture Dobrinja is reachable from all sides of Dobrinja. If one comes from over the bridge, one can go through the building and see what is going on inside. The functions that are public are more transparent than the ones that are semi public. The walk line of the people passing by is not interrupted by the building, but guided. The building is fitting in the urban context but is surrounded by green and the park. In this way, all the spaces and functions on the ground floor have a outside space where the people can rest or do activities. In the green, with a little distance from the building, there is a curved bench where people that are having a break can sit and relax. From this spot the mountains around Sarajevo with the forests are very well visible.

The building is positioned like that that it doesn’t block any view from whichever side you approach it. The green roof landscape provides a nice view on the building from the surrounding residential buildings, but also gives the people of Dobrinja an opportunity to do gardening in an urban context.

Dom kulture Dobrinja consists of three floors: ground floor, first floor and second floor, and a roof.

G+2

104

It has two elevators and two stairs.

G+2

105

106

107

108

109

Ground floor

110

First

floor

Second floor

111

ground floor 1. Cafe public - also the entrance and main meeting area - completely transparent 2. Market space 5 3

public 4

5

- market in the morning till the afternoon and then a food corner where people cook, sell, and share their specialties - completely transparant to the main streets 3. Healthy aging and daycare semi public - combined because the elderly club could meet here and have their own space and look out for the children - semi transparent, closed to the paths that are passed by daily, open to the main streets with a green zone in between as ‘barriere’, controlled entrances 4. Workshop space

5 1

5

2

semi public - during the day it is a workshop where the war veterans can meet, share their stories but also teach students and young people to work with materials, or whatever they would need at that point. In the evening it could be a practic are for young bands to practice - semi transparent, open to the main streets with a green zone in between, connected to the outside exhibition space 5. secundary functions private - these spaces are positioned in the cores of the building and are closed since it is private - functions as toilets, storage, kitchens etc,..

112 Ground floor

113

114

115

116

cafe

117

118

reception

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market space

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healthy aging

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daycare

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workshop- daytime

workshop- other use, practice room 127

first floor

5. secundary functions private - these spaces are positioned in the cores of the building and are closed since it is private - functions as toilets, storage, kitchens etc,..

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6. Amphitheatre public - the amphitheatre is a space that is in the heart of the building. It has 6

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a central position and is acoustically closed from the rest of the build7

ing. Since there are extra light installations and ventilation needed, this space has a double height in the area of the stage. In the back, an emergency exit and changing rooms are situated.

7. Balcony public - the balcony is the outside space of the building and is continuing

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around the whole building. Because of this, the visitors have a beautiful view on the mountains and on the airport and the building is connected to the terrace of the surrounding buildings. All around the balcony, people can enjoy exploring Dobrinja and knowing where the Dom kulture is a part of.

128 First floor

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auditorium- presentation

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auditorium- concert

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second floor

5. secundary functions private - these spaces are positioned in the cores of the building and are closed since it is private - functions as toilets, storage, kitchens etc,..

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8. Open study space public - this space is visually separated into two parts. One space has a floor

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height of 3 m and the other one of 4 m. The reason why this is made is

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because the 3m high space is more for concentrated learning and studying. The 4 m high space is more for group studies etc. The two spaces are ‘separated’ with a library and a big ‘desk’ where you can sit alone and do your homework concentrated or you can also sit in small groups and

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work. The stairs provide the building with an extra small tribune spot

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where small events can take place, such as a book reading. For extra sunlight and daylight, roof openings/windows are created, which also gives a special spatial quality.

9. Concentration spaces public

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- to provide also enough concentration spaces, concentration ‘cabinets’ 8

are situated in the open 3 m high space.

10. Meeting space/local community semi public - in the area is also a meeting space and a local community open office space. These spaces are semi public and are separated with wooden slats.

136 Second floor

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library and study space

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section 1-1

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Section 1-1

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section 2-2

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Section 2-2

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scenario sketches

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The functions are separated by size and by the level of openess. There are private spaces, public spaces and semi public spaces.

By analyzing the functions, I realized that the functions could be connected or even double used. It a certain schedule would be made, the functions could have one space and more ways to use it.

Some functions have a similarity in the spatial qualities of the spaces, and some could be almost puzzeled into eachother.

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materials and elaboration of the design

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description of construction The footprint of the building is 49.5 m x 43 m and the building is 13.5 m high. The building has a public function, so constant and payloads on the structure are taken in account in accordance with applicable standards.

Floors of the building are: Ground floor + 1st floor + 2nd floor.

The vertical load-bearing structure consists of a combination of concrete canvases, structural cores and concrete or steel columns. Concrete canvases are located on the ground floor and are also appearing on the 1st floor, and the cores are arranged throughout the building. These structural elements have an asymmetrical arrangement in the plans. The thicknesses of these elements are 30 cm.

The pillars/columns are symmetrically arranged in the base of the building and extend mainly through one floor, while some individual pillars extend through two floors. They are made of reinforced concrete with a circular cross section of a diameter of 50 cm. One outer pillar extends through all three floors and is designed to be made as steel profile HEA 550. Through the steel profile, the water drainage of the roof is solved.

The horizontal elements consist of reinforced concrete slabs that are 35 cm thick, point-supported on reinforced concrete pillars and on the balcony on the 1st floor, the slab is 25 cm thick (minimum thickness 8m / 0.35 = 0.228 cm). The reinforced concrete slab is reinforced with ‘halfen’ reinforcement couplers at the point of connection with the column due to the penetration of the slab.

In the part of the construction where the architectural design plans an amphitheater, instead of pillars (due to the specificity of the space), the slab rests on cross reinforced concrete beams with a cross section of 30x50 cm.

The construction is based on a foundation slab of reinforced concrete, 50 cm thick, with an additional egde reinforcement. The ‘vorstrand’ is a foundation rib that is poured on the floor and ensured a frost-free construction.

The foundation is done as the following layers: - charged gravel that is compacted to meet geomechanical characteristics; - lean unreinforced concrete approx. 10 cm; - waterproofing tapes; 152

- thermal insulation.

set up rules

1. all the rounded ends and angles stay empty an are a part of the space (exception: 1st floor) 2. the main interior addition and elements are the interior islands 3. all the doors on the islands are curved, as the walls themselves and dissappear in the walls 4. the toilets, storages, elevators and other secundary functions are situated in the interior islands 5. the interior island are made in the same material and style 6. all the facade walls are free from program (exception: 1st floor) 7. the spaces inside can be used multifunctional 8. the layout and setup of the spaces give an opportunity for visitors to walk around 9. there are no sharp angles in the exterior and facades 10. the building does not have a main facade, nor a ‘service’ facade. All are important equally 11. because the material of the outside floor on the ground floor is the same as in the interior floors on the ground floor, the visitors should feel like they entered a new public space and that the public space continues to the inside

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important themes and elements - ‘GRENZENLOOS GEBOUW’

continuity of the materials (seamless connections)

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hidden window frames, railings (not where I need to find the dynamic of the building)

the curves NEED TO stay recognisable and visible (refers to a simplicity of the building)

rhythme (the same rhythme is used in glass and frames, doors, floors, construction,..)

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materials

white brick on walls

terracota tiles on floor

materials used for the market

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concrete for construction

yellow brick on walls

The complexity of the building, should be seen in some parts of the building, for example the denivelations. The simplistic appearance of the building should hide the things the visitors are not interested in.

The multicolored bricks that are used to build the buildings on Dobrinja are one of the main characteristics of this neighbourhood. The bricks were made in a brick factory nearby that stopped working after the war of ‘92.

The clay contained soil found on the site and it resulted in bricks that have various options of colors, but the most recognizable is the yellow brick.

To build the House of Culture Dobrinja, the existing market is demolished and the new building is built. In order to respect the recognisable brick and use the materials that the market was made of, the bricks are coming back in the facade of the new building. By mixing the crushed bricks with concrete, a terrazzo coarse stucco is created. Before that, a facade plate made out of vertical cem. plates that are connected onto horizontal multiplex plates is made. This is the plate the stucco will be put on. The plates can follow the curves, since the multiplex plates are cut in the curves where needed. The facade plates are supported on a steel tube profile, and are connected with a slanted support beam. To create a ‘borderless’ buildings, the facade has to be continuing in the curves and the facade should be seamless. The connections cannot be seen. The final layer of stucco is sanded.

The columns of the building are made of concrete, which has the bricks in as well. Only in this method the bricks are of smaller granulation (0.5-1 cm), so it looks more solid but still gives a texture with the bricks in it.

The outer facade of the building on the ground floor and first floor are metal curved/waved sheets in white.

Also the terrazzo cast floor is continuing throughout the whole building. It starts outside and enters the building in all the spaces on the ground floor. In this way there is no border, everyone is welcome and the building should feel like an open space.

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facades

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facades

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Detail 1

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Detail 3

Detail 2

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Ground floor

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First floor

Second floor

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experiments - variations on wall finishing that could provide good room acoustics through the building and also help to create a nice pleasant spatial feeling

vertical elements give verticality, a con- bigger scale of elements make the spa- these form show a dynamic in the wall bigger scale of elements make the tinuous structure and extension of the tiality not in human scale but could look slightly childish or ‘too elements too big and closing the room walls much’ rather than also decorating it 166

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materials

references of colors that will create a calm, harmonized feeling

felt as a material that provides good absorbtion of acoustics

interior ideas/references

reference - House of Culture Hrasnica materials in the theater room give a dynamic feeling, yet a harmonized picture that does not disturb the visitor. Meanwhile, the materials and forms used provide exellent acoustics in the room 168

acoustic elements on ceiling that are used where additional echoes are possible

forms that are used as a mask on walls

As seen in the analysis of the context, the verticality in the context is very strong. In order not to lose that feeling, and to see it back in the HoC Dobrinja, the building is enriched by materials that put an accent those elements and where the textures change according to the function of the spaces.

Another important factor are the acoustics. Since the building is made out of concrete and the spaces are spatious and can seem like hollow, the walls, ceilings and details are providing an acousticly good space. By using a form that (when needed) absorbs or reflects sound, the variations of scale and size are determened by the function of the space. For the layer on the cores, felt is used.

Since the furniture is mostly simple, the walls and ceilings are showing a dynamic and playfulness of design in the rooms. By coating the cores with the wavey material, this verticality is continuing throughout the whole building. If there are no cores, then the wooden slabs take over that function.

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ventilation and lighting

Since the spaces are separated in heights, the differences and the suspended ceiling are giving space for the installations to go through. All the spaces have natural ventilation. This is achieved by following the rhythme in the facade with the windows and allowing the sliding windows to be above the doors. This provides the spaces with fresh air.

Where needed, extra ventilation is put in the suspended ceilings, not visible for the people.

The warm air is going out of the spaces with the help of ventilation systems that are hidden in he spaces and is collected in shafts in the cores.

The lighting is done subtle and warm where that is possible, and light and strong according to the function and space. The style of the lamps is in all the spaces the same, so there is a unified appearance from the outside.

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process sketches

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process sketches

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List of sources Books Martino Stierli and Vladimir Kulić, „Toward a concrete utopia: architecture in Yugoslavia 1948-1980“, The Museum of Modern Art New York, 2018 Srdjan Jovanović Weiss, „Socialist architecture – the reappearing act“, The Green Box, 2017 Anne Weiss, „De-Stalinization and the House of Culture: Declining State Control Over Leisure in the USSR, Poland and Hungary 1953-1989“, Taylor & Francis Ltd, 1990 Pierre Bourdieu and Jean Claude Passeron, „Reproduction in Education, Society and Culture“, Sage Publications Ltd, 1977 Vladimir Kulić, Maroje Mrduljaš and Wolfgang Thaler, „Modernism in-between – the mediatory architectures of socialist Yugoslavia”, jovis Verlag GmbH, 2012 Articles Augustin Girard (1997), “French cultural policy from André Malraux to Jack Lang: A tale of modernisation, International Journal of Cultural Policy”, 4:1, 107-125, DOI:10.1080/10286639709358065 André Malraux, “for a maison de culture”, 152-157, E 1966-045 Lejla Kreševljaković, “Katalog izložbe- Domovi kulture u Sarajevu”, Udruženje ‘Akcija’, 2018 Vojislav Kecmanović, “Drugo Zasjedanje ZAVNOBiHa”, Sanski Most, 1944 The documentary series ‘Betonski spavaci’, 2016-2019 and other literature of architects that inspire me, including Alvar Aalto ,SANAA, Le Corbusier, Herman Herzberger, Juraj Neidhardt and others

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Special thanks to Sanela, Refik and Jasna Faris Asja Hasanovic and Sekta Laura Rokaite Lindsey, Joske, Hanna and Liza Damir and Ivan Lejla Kresevljakovic Ton, Veha, Faruk Ivera and Dirk Adila Salibasic and Druga gimnazija Sarajevo Tetka Nida and Nejri all of my family members that helped and/or listened about the project all my friends that I have neglected the last couple of months all the people that listened about my fascinations about the Houses of Culture and will continue to do so

Dom kulture Dobrinja Lejla Duran lejladuran@gmail.com instagram: le.du.il

© Lejla Duran

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