"3650 Days of Contemporary Architecture in Sarajevo" book preview by DA / Days of Architecture Sarajevo

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3650 DAYS OF CONTEMPORARY ARCHITECTURE IN SARAJEVO 3650 DANA SAVREMENE ARHITEKTURE U SARAJEVU

In May 2017, the festival Days of Architecture Sarajevo marked its tenth anniversary. In 2008, the lectures were delivered using an overhead projector - a device all but forgotten nowadays. Nine years later, the festival opened with a video mapping of the National Museum of Bosnia and Herzegovina building. This is a good illustration of not only how the Days of Architecture have matured, but also of the scale of technological advances during the past decade... U maju 2017. godine festival Dani arhitekture Sarajevo održan je deseti put. Tokom predavanja koja su činila program prvog izdanja 2008. korišteno je danas gotovo zaboravljeno sredstvo vizuelne prezentacije - grafoskop. Devet godina kasnije festival je otvoren videomapiranjem objekta Zemaljskog muzeja Bosne i Hercegovine. Ova razlika na dobar način ilustruje ne samo sazrijevanje Dana arhitekture već i razmjer tehnološke mijene u deceniji iza nas...

FOREWORD PREDGOVOR ARHITEKTURE?

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INTRODUCTION UVOD

WHY #? ZAŠTO #?

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WHY DAYS OF ARCHITECTURE? ZAŠTO DANI

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CHRONOLOGICAL OVERVIEW OF DAYS OF ARCHITECTURE

(2008-2017) HRONOLOŠKI PREGLED DANA ARHITEKTURE (2008.-2017.) p20 17/03/2008 p33 AMIR VUK ZEC

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SEND ARH, DAVOR SENEČIĆ

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JADRIC ARCHITEKTUR

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PETER SÄGESSER p104 STEALTH.UNLIMITED, ANA DŽOKIĆ & MARC NEELEN p106 11/05/2012 p109 YOUNG ARCHITECTS FROM GERMANY p110 24/12/2012 p115 24/12/2012 p119 16/05/2013 p121 ECOSISTEMA URBANO p122 15/05/2013 p125 17/05/2013 p127 ATELIER D’ARCHITECTURE AUTOGÉRÉE p128 RADIONICA ARHITEKTURE p130 RAUMLABORBERLIN SALA FERUŠIĆ 23/05/2014

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IVA MARČETIĆ, PULSKA GRUPA

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25/05/2014 p155 ARCHITECTUUL - B&H UNFINISHED p156 HIDDEN COMMONS IN MARIA’S YARD SKRIVENO ZAJEDNIČKO U MARINDVORSKOM BEVK PEROVIĆ ARHITEKTI

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DEKLEVA GREGORIČ ARHITEKTI

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OSNAP p182 30/05/2015 p185 30/05/2015 p187 URBAN-THINK TANK p188 31/05/2015 p191 DAYS OF ARCHITECTURE @ EUROPE p192 19/05/2016 p195 JEAN MARC IBOS MYRTO VITART p196 19/05/2016 p199 SAAHA/AHAKNAP p200 21/05/2016 22/05/2016

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HRVOJE NJIRIĆ 22/05/2016

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NUMEN/FORUSE 24/11/2016

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VHS ARCHITECTURE

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CONTINUOUS INTERIOR KONTINUIRANI ENTERIJER p224 17/05/2017 p227 17/05/2017 p229 DINKO PERAČIĆ PLATFORMA 981 p230 17/05/2016 p233 MDH ARKITEKTER p234 18/05/2017 p237 20/05/2017 p239 DA2017 PANEL DISCUSSIONS p240 20/05/2017 p243 OFIS ARHITEKTI p244 20/05/2017 p247 BERNARD KHOURY, DW5 p247 # p254

14 3650 DAYS OF CONTEMPORARY ARCHITECTURE IN SARAJEVO

FOREWORD PREDGOVOR HANS IBELINGS

Architecture days, weeks, biennials, and triennials are like the religious holidays on the calendar, structuring the year and the seasons. Festivals of architecture highlight the special moments in between the everyday activities of the profession. They offer the occasions for architects to step out of their routine and to liberate the discipline momentarily from the grind of the daily practice. They offer the world of architecture the opportunities to celebrate, to revel, to relax, and to feel a sense of belonging. Like many traditions, architectural festivals are a fairly recent invention. With a few exceptions - the Triennale of Milan and the São Paulo Architecture Biennale come to mind - most festivals of architecture only began after 1980. The first Venice Architecture Biennale was held 1980 and the first Day of Architecture initiated by the International Union of Architects was in 1986. From then on, architectural events rapidly multiplied. The proliferation of these events coincided with the creation of a new generation of architectural museums, particularly in Europe, such as the Institute français d’Architecture in Paris (1981), the Deutsches Architekturmuseum in Frankfurt (1984), the Schweizerisches Architekturmuseum in Basel (1984) and the Netherlands Architecture Institute in Rotterdam (1989). Both architecture museums and architecture festivals are interconnected with a prevailing postmodern idea of architecture as a cultural project. Part and parcel of this idea is the conviction that architecture can exist in other forms

Dani, sedmice, bijenala i trijenala arhitekture su kao religijski praznici u kalendarima, oni godini i godišnjima dobima daju strukturu. Festivali arhitekture su specijalni trenuci, drugačiji od svakodnevnih profesionalnih aktivnosti. Arhitektima je to prilika da iskorače iz svoje rutine i disciplinu nakratko istrgnu iz žrvnja dnevne prakse. Oni su svijetu arhitekture prilika za slavlje, praznovanje, opuštanje i osjećaj pripadanja. Kao i mnoge tradicije, festivali arhitekture su prilično skorašnja pojava. Uz nekoliko izuzetaka – recimo, Milanski trijenale i Bijenale arhitekture u São Paulu – većina festivala arhitekture nastali su od 1980. godine naovamo. Prvi Venecijanski bijenale arhitekture održan je 1980. godine, a Međunarodno udruženje arhitekata pokrenulo je Dane arhitekture 1986. godine. Od tada su se arhitektonski događaji ubrzano umnožavali. Poplava ovakvih događaja vremenski se podudara s nastankom nove generacije muzeja arhitekture, naročito u Evropi gdje se otvara Institute Français d’Architecture u Parizu (1981. godine), Deutsches Architekturmuseum u Frankfurtu (1984. godine), Schweizerisches Architekturmuseum u Baselu (1984. godine) i Nizozemski arhitektonski institut u Rotterdamu (1989. godine). I muzeji arhitekture i festivali arhitekture povezani su s preovladavajućom postmodernističkom idejom o arhitekturi kao kulturnom projektu. U osnovi ove ideje je uvjerenje da arhitektura može postojati i u drugim oblicima i medijima osim građevina. Osim što su potvrda ove kulturalne dimenzije, festivali također arhitekturi pružaju utočište: sigurno okruženje gdje arhitektura može postojati nesputana

and media than building. Festivals are both the affirmation of this cultural dimension, and provide architecture its sanctuaries: safe environments where architecture can exist, unhindered by everyday constraints. This parenthetical existence reveals both the strength and weakness of this culture of architecture. It may be taken as an indication of weakness when architecture can only flourish if it is shielded from an outside world. But festivals can also be seen as signs of strength, as places and occasions where architecture can unleash its full potential. The Days of Architecture are a bit of both. Bosnia and Herzegovina is definitely one of the many places where architecture isn’t always self-evident. An architecture festival can administer an antidote to the dilution of architectural culture. It is clear that architecture often struggles to convincingly make the point that it can represent other values than those of money, and other functions than those of utility. But over the last ten years, the Days of Architecture have increasingly demonstrated that they can carve out a provisional free space to discuss what those values and functions could be, what else architecture can be, with a multitude of activities catering to a professional audience and, to a certain extent, to a general public as well. With each subsequent edition the scope, both in terms of geography and topics, has broadened, building and intensifying the connections between a local scene and an international discourse. Yet the Days have kept their local base, with a focus on the architectural scene of Sarajevo, and its neighbouring countries. Events like the Days of Architecture act both as an accelerator of exchange and as a site for production of architecture culture itself. After the event both what it has produced and what it has mediated can become subject of further mediation (similar to the process in which a subject is mediated in a book, and thereafter mediated in a book review). In this book the organizers of the Days of Architecture take the lead in their own mediation. As the Estonian semiotician Yuri Lotman has observed, a mere event becomes a historical fact if someone retrospectively attaches significance to it. Historical significance is rarely clear at the very moment something happens, and a deeper significance usually only reveals itself in the light of what comes after. The first Venice Architecture Biennale for instance attracted a mere 36,000 visitors, a fraction of today’s numbers. But it acquired an unsurpassed importance in the history of postmodernism, and eventually also in the history of the Venice Architecture Biennale itself. Similarly, an avant-garde magazine from between the two world wars with a negligible print run of only a couple of hundred copies per issue and virtually no distribution, can still be of pivotal importance in art history. In other words, it 16 3650 DAYS OF CONTEMPORARY ARCHITECTURE IN SARAJEVO

svakodnevnim ograničenjima. Ova njena sporedna egzistencija ujedno otkriva i jakosti i slabosti kulture arhitekture. Mogući je pokazatelj slabosti kad arhitektura uspijeva doživjeti procvat samo ukoliko je zaklonjena od vanjskog svijeta. Ali na festivale se također može gledati kao na znak jakosti, kao na mjesta i prilike gdje arhitektura može pokazati svoj puni potencijal. Dani arhitekture su pomalo i jedno i drugo. Bosna i Hercegovina je definitivno jedno od mnogobrojnih mjesta gdje arhitektura nije uvijek očigledna. Festival arhitekture tu može djelovati kao protuserum razvodnjavanju arhitektonske kulture. Jasno je da se arhitektura često bori da uvjerljivo argumentuje svoju sposobnost da predstavlja druge vrijednosti osim novčanih, i druge funkcije osim upotrebnih. Međutim, tokom zadnjih deset godina, Dani arhitekture su svaki put sve uspješnije demonstrirali da su u stanju stvoriti slobodni prostor za diskusiju o tome šta bi te vrijednosti i funcije mogle biti, šta to još arhitektura može biti, uz mnogobrojne aktivnosti čija publika su ljudi iz struke, ali, u izvjesnom smislu, i šira javnost. Sa svakim narednim izdanjem opseg se proširivao, kako geografski tako i tematski, gradeći i jačajući veze između domaće scene i međunarodnog diskursa. I pored toga, Dani arhitekture zadržali svoju lokalnu bazu, s fokusom na arhitektonsku scenu Sarajeva i zemalja u susjedstvu. Događaji poput Dana arhitekture djeluju kao katalizator razmjene, i ujedno kao mjesto za proizvodnju arhitektonske kulture. Po završetku događaja, ono što su proizveli, kao i ono u čemu su posredovali, može postati predmet daljeg posredovanja (slično procesu u kojem se subjektom posreduje u knjizi, a potom se njime posreduje u osvrtu na knjigu). U ovoj knjizi, organizatori Dana arhitekture preuzimaju na sebe vlastito posredovanje. Kao što je to primijetio estonski semiotičar Yuri Lotman, puki događaj postaje istorijska činjenica ako mu neko naknadno pripiše važnost. Istorijski značaj rijetko je očigledan u trenutku kada se nešto dešava, a dublji značaj se obično otkriva tek u svjetlu događaja koji mu uslijede. Naprimjer, prvo Venecijanski bijenale arhitekture privuklo je svega 36 hiljada posjetitelja, što je samo djelić današnjih brojki, ali je zato steklo nenadmašiv značaj u istoriji postmodernizma, a konačno i u istoriji samog bijenala. Isto tako, avangardni magazin iz perioda između dva svjetska rata, sa svojim zanemarljivim tiražem od svega par stotina kopija i praktično nepostojećom distribucijom, svejedno može biti od ključnog značaja u istoriji umjetnosti. Drugim riječima, slobodno se može pretpostaviti da značaj prvih deset godina Dana arhitekture nije ograničen samo na te dane, nego ima širi i trajniji uticaj. Praveći knjigu o Danima arhitekture, organizatori su preuzeli inicijativu da napišu vlastitu istoriju. Knjiga dokumentuje impresivan broj ljudi, projekata i prezentacija, i podužu listu

is safe to assume that the significance of the first ten years of the Days of Architecture isn’t limited to the actual days themselves but to their broader and abiding impact.

“hashtagova”, ukazujući na raznolikost tema kojima se bavilo tokom decenije, decenije koja se tačno podudara s prvih deset godina upotrebe pametnih telefona.

By making a book about Days of Architecture the organizers have taken the initiative to write their own history. The book documents an impressive number of people, projects, and presentations and an extensive list of hashtags, indicating the variety of themes that have been addressed over the course of a decade, a decade that exactly coincides with the first ten years of smart phones.

Hashtagovi očito aludiraju na rastući značaj uloge društvenih medija koji su se pojavili s pametnim telefonima i koji omogućuju trenutno posredovanje, bilježenje događaja dok se dešavaju, a ljudima koji nisu mogućnosti učestvovati pružaju priliku da svjedoče događajima u direktnom prenosu. I dok društveni mediji neosporno doprinose trenutačnoj efektnosti događaja, upitno je u kojoj mjeri i kako oni osiguravaju trajnije naslijeđe. Dvadeset i četiri sata su cijela vječnost na Twitteru ili Instagramu, što društveno posredovanje čini prolaznim gotovo jednako kao i događaj koji ono bilježi. I otud ova knjiga koja će, zahvaljujući svom staromodnom mediju, imati veću trajnost.

The hashtags obviously allude to the growing importance of the role of social media which came along with the smart phone and which now allow for instant mediation, for capturing events while they happen, and offering people who are not able to participate in events to witness them at the very moment they take place. Whereas social media undeniably help to increase the immediate impact of events, it is debatable if and how they may secure an enduring legacy. Twenty-four hours is an eternity on Twitter or Instagram, making social mediation almost as fleeting as the captured event itself. Hence this book, which in an old-fashioned way will have more permanence. In its iconography the book sends a clear message. First, the book is dense and rich, reflecting the experience of compression and concentration festivals can offer. Second, the book’s two main genres of images are on the one hand photos, renderings and drawings of architecture presented, discussed and shown during the Days of Architecture, and on the other hand pictures of people gathering at lectures and discussions, openings of exhibitions, and inaugurations of installations. One obvious way of reading this juxtaposition is to assume a relationship between the images of architecture and the people shown talking, listening, looking. This relationship is what everyone familiar with the tropes of television series and movies should be able to recognize. If you see a shot of a skyscraper and the following scene is set in an office, everyone will assume that this office is in that tower. In a similar way this book contains the suggestion that this architecture must be embodied, in the minds and hands of the people shown in the pictures. This immersive message of the book’s imagery is underlined by the ti“tle. The actual number of days of the Days of Architecture is a fraction of the 3650 days of the title, but the intention is to let every day be a Day of Architecture, and to give the culture of architecture a ubiquitous presence.

Svojom ikonografijom knjiga šalje jasnu poruku. Prvo, sadržaj je gust i bogat, što odražava iskustvo sabijanja i koncentracije koje festivali nude. Drugo, dva glavna vizuelna žanra u knjizi su, s jedne strane, fotografije, vizualizacije i crteži arhitekture koja se prezentovala, diskutovala i prikazala tokom Dana arhitekture, a s druge strane, fotografije posjetilaca i učesnika predavanja i diskusija, te otvorenja izložbi i instalacija. Ovako usporedno posložene fotografije mogu se vrlo jednostavno tumačiti kao pretpostavka postojanja odnosa između prikazane arhitekture i ljudi koji razgovaraju, slušaju, gledaju. Svako ko se susreo s popularnim TV serijama i filmovima trebao bi moći prepoznati takav odnos. Ako vidite prizor nebodera, a u sljedećoj sceni radnja se dešava u uredu, svako će pretpostaviti da se ured nalazi u tom neboderu. Na sličan način sadržaj ove knjige nagovještava da se ova arhitektura ostvaruje u umovima i rukama ljudi prikazanih na fotografijama. Sveobuhvatnost koju grafički aspekt knjige komunicira uočava se i u njenom naslovu. Stvarni broj dana trajanja Dana arhitekture samo je djelić onih 3650 dana iz njenog naslova, ali namjera je učiniti da svaki dan bude Dan arhitekture, te da kultura arhitekture postane sveprisutna.

INTRODUCTION UVOD

U maju 2017. godine festival Dani arhitekture Sarajevo održan je deseti put. Tokom predavanja koja su činila program prvog izdanja 2008. korišteno je danas gotovo zaboravljeno sredstvo vizuelne prezentacije - grafoskop. Devet godina kasnije festival je otvoren videomapiranjem objekta Zemaljskog muzeja Bosne i Hercegovine. Ova razlika na dobar način ilustruje ne samo sazrijevanje Dana arhitekture već i razmjer tehnološke mijene u deceniji iza nas.

Over the ten years, Days of Architecture (DA) have progressed from a student project to one of the most important events for the contemporary architecture of Bosnia and Herzegovina and a recognised point on the map of Sarajevo’s cultural events. The period is marked by a continuous broadening of cooperation with architects, researchers and professionals from other disciplines and geographies, and a gradual evolution of the approach in “designing” the festival and the community. Today, DA’s focus is on development of a regional platform for networking and complementary education of architects and students of architecture.

Dani arhitekture (DA) su tokom deset godina prešli put od studentskog projekta do jednog od najznačajnijih događaja za savremenu arhitekturu Bosne i Hercegovine, postavši prepoznatljiva tačka na mapi kulturnih događaja Sarajeva. Ovaj period je obilježen kontinuiranim razvojem saradnje sa arhitektama, istraživačima i profesionalcima iz drugih disciplina i geografskih zona, te, postepenom evolucijom pristupa “projektovanju” festivala i zajednice. Danas su DA usmjereni ka razvijanju regionalne platforme za okupljanje i dodatnu edukaciju arhitekata i studenata arhitekture.

The enthusiasm of one particular generation of students of architecture played a pivotal role in the ten years of DA. A huge amount of energy invested and an intensive cooperation are the reason why DA continued to happen year after year. This book is therefore, in the first instance, a reminder of the collective efforts which, despite extremely unfavourable circumstances in Bosnia and Herzegovina, had ensured the continuity and helped build a recognisable character of the festival. 18 3650 DAYS OF CONTEMPORARY ARCHITECTURE IN SARAJEVO

Entuzijazam jedne generacije studenata arhitekture odigrao je presudnu ulogu u deset godina DA. Ogromna količina uložene energije i intenzivni zajednički rad, osnovni su razlozi zbog kojih su se DA dešavali iz godine u godinu. Tako, ova knjiga u prvom redu služi kao podsjetnik na kolektivni napor koji je, u izrazito nepovoljnim okolnostima u Bosni i Hercegovini, uspio održati kontinuitet i izgraditi prepoznatljivi karakter.

This book reconstructs the evolution of content and format of DA over ten years, but is not intended as a detailed guide through programmes of past DAs, nor does it attempt to offer any definitive assessment of DA’s significance.

Knjiga rekonstruiše evoluciju sadržaja i formata DA tokom deset godina, ali nema namjeru da bude detaljni vodič kroz program svih izdanja, ili da ponudi bilo kakvu definitivnu ocjenu značaja DA.

The contents are classified into two formally and thematically different parts which alternate in chronological order. The first part consists of archive photos highlighting some of the significant moments and events of the festival, accompanied by brief comments. The second part, organised as a collage of short authored texts, photos, diagrams and drawings, represents a selection of lectures, exhibitions and workshops from the decade of DAs.

Sadržaj knjige čine dva formalno i tematski različita dijela koji se smjenjuju hronološkim redoslijedom. Prvi dio sadrži pojedinačne arhivske fotografije dopunjene kratkim komentarima u vezi sa nekim značajnim trenutcima i događajima festivala. Drugi dio, organizovan kao kolaž dijelova autorskih tekstova, fotografija, dijagrama i crteža, predstavlja izbor iz predavanja, izložbi i radionica iz svih izdanja DA.

The # symbol, a type of metadata tag widely used in communication on social networks – identified by the word hashtag – serves as a connecting element whose purpose is to establish links within and between the two parts of the book. This treatment is an attempt to retroactively deduce some common themes, problems and formal issues established over the ten years. In doing so, we have created an initial, open and flexible database of hashtags which can be added to, edited and refined with future issues of the Days of Architecture.

Znak #, raširen oblik meta-indeksiranja u komunikaciji na društvenim mrežama – na engleskom “hashtag” - služi kao uvezujući element koji nastoji uspostaviti veze unutar i između dva dijela knjige. Time se retrospektivno pokušavaju deducirati neki zajednički tematski, problemski i formalni orijentiri uspostavljeni tokom deset godina. Ovim se formira početna, otvorena i fleksibilna, baza “hashtagova” koja se s budućim izdanjima Dana arhitekture može dalje dopunjavati, mijenjati i rafinirati.

17/03/2008 SEVERAL MONTHS BEFORE THE FIRST DAYS OF ARCHITECTURE, AN INFORMAL SPACE OF CAFÉ SO.BA ON THE PREMISES OF THE FACULTY OF ARCHITECTURE IN SARAJEVO BECOMES THE CENTRAL POINT OF A CONVERSATION ABOUT A JOINT ACTION OF STUDENTS OF ARCHITECTURE. AN IDEA ABOUT ORGANISING PUBLIC EVENTS BECOMES THE SEED OF THE FIRST CONCEPT OF DA. AN EXHIBITION ‘ARCHITECTURE IN ARCHITECTURE’ IS ORGANISED IN THAT SAME CAFÉ. THE FORMAL OPENING OF THE EXHIBITION WAS DELIBERATELY OMITTED AND THE THREE-DIMENSIONAL FLYERS, REPRESENTING A SIMPLIFIED MODEL OF A HOUSE, WERE THE ONLY SIGN THAT THE EXHIBITION WAS ‘DESIGNED’. DEPARTURE FROM THE CONVENTIONAL AND AFFINITY TOWARDS THE EXPERIMENTAL WILL BECOME A RECOGNISABLE FEATURE OF FUTURE DAYS OF ARCHITECTURE. NEKOLIKO MJESECI PRIJE PRVIH DANA ARHITEKTURE, NEFORMALNI PROSTOR KAFEA SO.BA U ZGRADI ARHITEKTONSKOG FAKULTETA U SARAJEVU POSTAJE SREDIŠTE RAZGOVORA O ZAJEDNIČKOM DJELOVANJU STUDENATA ARHITEKTURE. FORMULIŠU SE IDEJE O ORGANIZOVANJU JAVNIH DOGAĐAJA, IZ KOJIH ĆE SE RAZVITI PRVI KONCEPT DANA ARHITEKTURE. IZLOŽBA ‘ARHITEKTURA U ARHITEKTURI’ ORGANIZUJE SE UPRAVO U PROSTORU KAFEA. FORMALNI ČIN OTVARANJA SVJESNO JE ZANEMAREN, A TRODIMENZIONALNI LECI U FORMI POJEDNOSTAVLJENOG MODELA KUĆE BILI SU JEDINI ZNAK DA JE IZLOŽBA ‘PROJEKTOVANA’. OTKLON OD KONVENCIONALNOG I SKLONOST PREMA EKSPERIMENTALNOM, POSTAT ĆE OBILJEŽJE I BUDUĆIH DANA ARHITEKTURE.

PHOTO: ADNAN LINGO

#self_organization EXHIBITION ‘ARCHITECTURE IN ARCHITECTURE’ CAFÉ SO.BA, FACULTY OF ARCHITECTURE SARAJEVO

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“Just as it was nothing short of a miracle when, back in 1986, in the then Yugoslavia, Amir Vuk Zec and Mirko Marić Mara won the Borba republic architectural award for their jewellery shop in Sarajevo’s Baščaršija (Borba award had the same importance for Yugoslav architects as the Mies van der Rohe award has for European architects), it is equally nothing short of a miracle that in this post-war Bosnia the same Zec, now almost fifty, still runs a successful practice, and creates notable body of architectural work. His extensive production, which includes some great, inspirational and lucid pieces of work, as well as commercial projects, but also some you probably might not like, deserves the attention, publication and valuation in the so-called open, wider critical scene. Anyone who had not visited Bosnia may find it difficult to grasp the challenge of creating such body of architectural work.” 1 “Kao što je davne 1986. gotovo bilo čudo da su u tadašnjoj Jugoslaviji Amir Vuk Zec i Mirko Marić Mara dobili republičku nagradu Borbe za arhitekturu za svoju Zlataru na sarajevskoj Baščaršiji (nagrada Borbe je tada za arhitekte u Jugoslaviji imala značaj kakav danas ima nagrada “Mies van der Rohe” za arhitekte u Europi), tako je i danas gotovo čudo da u ovakvoj poslijeratnoj Bosni i iz nje djeluje, stvara, napreduje, ostvaruje zapaženo arhitektonsko djelo uskoro pedesetogodišnji isti onaj Zec iz “hiljadu devetstotina osamdeset i šeste”. Ta silna produkcija u kojoj ima sjajnih, inspirativnih, lucidnih djela, u kojoj ima i komercijalnih projekata i u kojoj se nađe nečega što vam se neće dopasti, zaslužuje pažnju, izlazak i valorizaciju na, kako se to kaže, otvorenu, širu, publicističku, kritičku scenu. Tko nije bio u Bosni možda će teško razumjeti težinu zadatka da se stvori i dalje stvara takvo arhitektonsko djelo.” 1

#infill TURKISH CULTURAL CENTER, SARAJEVO BOSNIA AND HERZEGOVINA (2003) AMIR VUK ZEC

The essence is not in the facade but in what lies within. Such is the case with this house with a “single facade”. The building opens to the outside along its street-facing facade, the 8 meters of it, and yet it is full of light and air. The airiness of the interior space is enabled by open wooden stairs and a glassenclosed courtyard which allow zenithal light inside. Suštinu ne čini fasada nego nutrina. Tako je i kod ove kuće “jedne fasade”. Otvorena je samo prema uličnoj fasadi, u tih prednjih osam metara, ali puna svjetla i zraka. Ta vazdušastost unutarnjeg prostora omogućena je upadom zenitalnog svjetla kroz otvorene drvene stepenice i zastakljenu avliju.

#critical_regionalism

All local building regulations had to be observed. This requirement had informed a glass-enclosed courtyard which acts as a link between the small front house (the embryo) whose height was prescribed by the urban regulatory plan (ground floor + first floor) and a corpus of gallery floors which culminate with a vaulted café-tea house. The emphasised eaves of the roof above the “doksat”, which vertically descend onto the pavement, create a frame – a frame for the white doksat, an architectural statement and the basic element of the country’s tradition which had influenced the architecture of Bosnia.

#minimal

Sve što našim zakonom nije dozvoljeno ovdje se moralo poštovati. To je uslovilo zastakljenu avliju, koja je poslužila kao veza između prednje male kuće (embriona), čija je spratnost bila uslovljena regulacionim planom P+1 (prizemlje + sprat), i korpusa galerija spratova, koji kulminira polusvodnom kafe-čajdžinicom. Naglašena streha krova nad doksatom koja se okomito spušta na trotoar pravi frame – okvir za bijeli doksat, iskaz arhitekture i osnovni element tradicije zemlje koja je uticala na arhitekturu Bosne.

40 3650 DAYS OF CONTEMPORARY ARCHITECTURE IN SARAJEVO

The task was to fit, within the space 8m wide and 32m deep, located on the very edge of the protected zone ‘Čaršija’ alongside tramlines and pavements, a 1000m2 cultural centre of the Republic of Turkey. The plot borders with Austro-Hungarian buildings to the left and some derelict, nondescript buildings to the right. A typical heterogeneous urban situation in Sarajevo - the surrounding buildings with poor foundations and arbitrary window openings which we had to respect during the construction of the Centre. Na samom rubu granice obuhvata zaštićene zone čaršije, uz tramvajsku prugu, uz trotoar, u širini od 8 m i dubini od 32 m trebalo je upakovati 1000 m2 površine kulturnog centra republike Turske. S lijeve strane parcele počinju austro-ugarski objekti, a s desne strane trošni i nedefinisani objekti. Tipična heterogena urbana situacija u Sarajevu - okolni objekti loših temelja i bespravno probijeni prozori koje smo morali poštovati pri izgradnji objekta.

#minimal

The holiness of one’s intention had turned this ordinary cottage into a place of contemplation. It was born out of good intentions (niyyah – Islamic concept) of one man in particular, an inhabitant of the village. It was their niyyah to erect, with the help of the inhabitants of the village Ostojići and sponsors, a rural mosque. The concept emerged from these well-meaning needs.

#human_ scale

Običnu kolibu svetošću namjere učinili smo prostorom kontemplacije. Plod je dobre namjere (nijjeta) prije svega jednog čovjeka, stanovnika sela. Nijjet je bio da se uz pomoć seljana sela Ostojići i uz sponzore podigne seoska džamija. Koncept je i proizašao iz tih dobronamjernih potreba. The plan takes an oval form and stems from the shape a Muslim’s hands form in prayer; or perhaps this is a form which ‘gathers’ the locals. A roof typical of these parts is raised above the form. The intention was to build an ordinary cottage, but one with a wooden minaret which determines its holy character as a house of God and points to its relationship with the Almighty. A cosmic message of verticality! In front of it is a veranda, the surrounding oval body made from vertical wooden beams which cover any openings, whilst shingles make for the cover. The interior space is not a product of design but a contribution by the locals.

#human_scale AMIR VUK ZEC, STUDIO ZEC (B&H)

#context MOSQUE OSTOJIĆI, BJELAŠNICA, B&H (2006) AMIR VUK ZEC

Tlocrtna forma je ovalna, a proizlazi iz forme ruku pri molitvi muslimana, ili je to ujedno i forma koja “okuplja” mještane. Nad takvom formom dignut je krov tipičan za taj kraj. Tendencija je bila da to bude obična koliba - kuća kojoj drvena munara određuje taj sveti karakter božije kuće i ukazuje na relaciju sa svevišnjim. Kozmička poruka vertikalnosti! Ispred je trijem, okolno ovalno tijelo je rađeno od vertikalnih drvenih greda, koje skrivaju otvore, a pokrov je šindra. Unutarnji prostor nije plod dizajna, on je doprinos mještana.

Every connection should be short and clear. Therefore, all exhibitions on the bridge by the Academy of Fine Arts are unnecessary. There are already two other bridges in its vicinity. The society’s focus in this case should be on revival of the Radićeva street as an art-centre.

#common_space COMPETITION RADIĆEVA STREET SARAJEVO, B&H (2007) AMIR VUK ZEC

Svaka konekcija treba da je kratka i jasna. Zato su sve egzibicije na mostu kod Akademije likovnih umjetnosti nepotrebne. On je tako blizu između dva postojeća mosta. Ono što bi trebalo da bude koncentracija društva na ovom problemu je aktiviranje Radićeve ulice u art-centar.

The management of the Radićeva street parterre should promote galleries and bookshops – there should be more shops like Buybook, more cafés and art workshops. Their greater concentration will drive quality. Exhibitions, concerts, performances and gardens could be housed within the perimeter of the enclosed ring. In its texture, the inner space is treated like a sheet, layered and divided into spaces whose texture caters to the pedestrians: sand, grass, cobblestones, pebbles, a stone cube, wooden platforms, etc. Politika ekonomisanja parterom u Radićevoj ulici trebala bi da forsira galerije, prodavnice knjiga - više Buybooka, kafeterija, art radionica. Koncentracija istih podstiče kvalitet. U obodnom nadkrivenom prstenu bi se mogle dešavati izložbe, koncerti, performansi, bašte... Unutarnji prostor je u teksturi tretiran kao ponjava, slojevito izdijeljen u parcele koje su teksturom svojstvene pješaku: pijesak, trava, kaldrma, oblutak, kamena kocka, drvene platforme.

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1 ANDRIJA RUSAN, ORIS IX-47-07 AMIR VUK ZEC, STUDIO ZEC - DA2008

15/05/2008 AMIR VUK ZEC BEGINS THE LECTURE WITH HIS READING OF THE LOCAL TRADITIONAL ARCHITECTURE: ‘BOSNIAN HOUSE IS ENTWINED WITH DUALITY, AS IS OUR BEING. IT IS DIVIDED INTO THE PUBLIC AND INTIMATE, OPEN AND CLOSED, HEAVY (WALLS) AND LIGHT (PORCHES), SOKAK (STREET) AND AVLIJA (INNER COURTYARD). IT IS LIKE A JAPANESE HOUSE - A HOUSE WITHOUT FURNITURE - A FILLED VOID.’ BY ANALYSING HIS OWN PROJECTS, HE DEMONSTRATES DIFFERENT INTERPRETATIONS OF THAT READING IN CONTEMPORARY ARCHITECTURAL PRACTICE. AMIR VUK ZEC ZAPOČINJE PREDAVANJE ČITANJEM LOKALNE TRADICIONALNE ARHITEKTURE: ‘BOSANSKA KUĆA JE PROTKANA DUALNOŠĆU KAO I NAŠE BIĆE I DIJELI SE NA POJAVNO I INTIMNO, OTVORENO I ZATVORENO, TEŠKO (ZIDOVI) I LAGANO (VERANDE), SOKAK (ULICA) I AVLIJU (UNUTRAŠNJE DVORIŠTE). TO JE KAO JAPANSKA KUĆA - KUĆA BEZ NAMJEŠTAJA - ISPUNJENA PRAZNINA.’ ANALIZOM VLASTITIH PROJEKATA POKAZUJE RAZLIČITE INTERPRETACIJE OVOG ČITANJA U SAVREMENOJ ARHITEKTONSKOJ PRAKSI.

PHOTO: ERVIN PRAŠLJIVIĆ

#preserved_tradition DAYS OF ARCHITECTURE 2009 LECTURE ‘BURENCE’, FACULTY OF ARCHITECTURE SARAJEVO

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Studio non stop is one of the leading contemporary architectural practices in Bosnia and Herzegovina. With the capital Sarajevo as home base and principal work site, the architects of Studio nonstop have built a number of impressive works since 1999. With their architectural and urban design work, they are contributing not only to the reconstruction of war-ravaged Bosnia and Herzegovina, but also to the reconstruction of an architectural culture of the Balkans, which was also thrown off balance by the civil war and the laborious transition from a stagnating socialism to an imperfect capitalism. 1 Studio nonstop je jedna od vodećih savremenih arhitektonskih praksi u Bosni i Hercegovini. Sa sjedištem u Sarajevu, koje im je ujedno i glavno područje djelovanja, arhitekti Studija Nonstop su od 1999. godine realizirali brojne impresivne projekte. Svojim arhitektonskim radom i urbanističkim rješenjima oni ne samo da doprinose rekonstrukciji ratom razrušene Bosne i Hercegovine, već i rekonstrukciji arhitektonske kulture Balkana, koju su iz ravnoteže izbacili građanski rat i mučna tranzicija iz stagnirajućeg socijalizma u nesavršeni kapitalizam. 1 URBAN CONTEXT

Given the need for short and speedy communication between the different functional units, the hospital facility is designed as a compact structure with ground-floor pavilions connected by circulation corridors. Each pavilion is painted a different pastel colour, which creates an intimate atmosphere that is intended to soothe BARRACKS and reassure patients. MILITARY RAJLOVAC PAVILLION URBAN STRUCTURE

#compact ARMOURED HOSPITAL EMERGENCY MEDIAL CENTRE, EUFOR CAMP, RAJLOVAC, BOSNIA AND HERZEGOVINA (2002-2004) STUDIO NONSTOP, SANJA GALIĆ, IGOR GROZDANIĆ

S obzirom na potrebu za kratkom i efikasnom komunikacijom između različitih funkcionalnih jedinica, objekat bolnice projektovan je kao kompaktna struktura s prizemnim paviljonima koje povezuju hodnici. Svaki paviljon je obojen u drugu pastelnu boju, što stvara intimnu atmosferu s ciljem da umiri i ohrabri pacijente.

EMERGENCY MILITARY CENTER COMPACT BUILDING STRUCTURE

This sensitive interior world is protected from external impacts by a concrete architectural “armour” that envelops each pavilion individually. Camouflage patterns, and metal sun-shades alluding to the caterpillar treads of armoured combat vehicles, offer an extra layer of protection in a language familiar to patients and staff. Ovaj osjetljivi unutarnji svijet zaštićen je od vanjskih utjecaja betonskim arhitektonskim “oklopom” oko svakog pojedinačnog paviljona. Maskirni uzorak na fasadi i metalni zasloni na prozorima koji podsjećaju na gusjenice oklopnih borbenih vozila i pružaju dodatni sloj zaštite na jeziku koji pacijenti i osoblje poznaju.

MEGABLOCK

STICK STRUCTURE

FROM 1980’S

FROM 1950-60’S

CITY SQUARES FROM XVIII-XIX cent.

#meaning

#compact STUDIO NONSTOP (BOSNIA AND HERZEGOVINA)

CHARSHIJA STRUCTURE FROM XVI-XVIII cent.

#programmatic_layering 44 3650 DAYS OF CONTEMPORARY ARCHITECTURE IN SARAJEVO 3650 DANA SAVREMENE ARHITEKTURE U SARAJEVU

MULTILAYERED CITY, OTOKA CITY CENTRE, SARAJEVO, B&H (1996) SANJA GALIĆ, IGOR GROZDANIĆ, STUDIO NON STOP

#hybrid BALKAN PUZZLE - IMPORTANNE CENTRE, SARAJEVO, BOSNIA AND HERZEGOVINA (2005-2010) SANJA GALIĆ, IGOR GROZDANIĆ, STUDIO NONSTOP

#density

Importanne Center Sarajevo is a twenty-first century hybrid that merges the static nineteenth-century perimeter block and the dynamic verticality of the twentieth century office and apartment tower. This dualism is reinforced by the contextual use of material, with fibre-cement panels reminiscent of nineteenthcentury stucco and glass curtain walls referencing modernist architecture. Each tower has its own expression, yet they combine to form a homogeneous overall composition. The absence of green space is compensated by compact green terraces and vertical gardens. Importanne Centar Sarajevo je hibrid 21. vijeka – spoj statičnog bloka zgrada devetnaestog i dinamične vertikale stambeno-poslovnog tornja dvadesetog vijeka. Kontekstualna upotreba materijala dodatno pojačava ovaj dualizam, s fiber cementnim panelima koji podsećaju na štuku devetnaestog vijeka, dok obješena staklena fasada referira na modernističku arhitekturu. Svaki toranj ima svoj izraz, ali zajedno formiraju homogenu kompoziciju. Odsustvo zelenih površina nadoknađuju kompaktne zelene terase i vertikalne bašte.

#mat_building

#openness

Offices, dwellings and the hotel are located in the towers, which are functionally and formally independent, but integrated into a single block. The vertical and horizontal circulation systems allow for a range of functional interconnections and clusters to meet market expectations and tenant’s requirements. The towers share a base containing three levels of underground parking topped by three above ground levels of shopping area. Uredi, stanovi i hotel nalaze se u tornjevima, koji su funkcionalno i formalno neovisni, ali su integrisani u jedan blok. Vertikalni i horizontalni sistemi komunikacije omogućavaju čitav niz funkcionalnih interkonekcija i kombinacija prema očekivanjima tržišta i potrebama stanara. Tornjevi dijele osnovicu u kojoj je podzemni parking na tri etaže, a iznad nivoa zemlje tri etaže trgovina.

The model is an entry for a competition whose aim was to counterbalance the mono-functionality of the development by adding a varied programme of education, retail, sports, offices, hotels and social and religious facilities. In this proposal the urban programme has been given an equally urban shape. The general idea is the superimposition of different layers in the urban landscape: a longitudinal ‘magnetic’ strip accentuating the central zone, transverse lines structuring the landscape, points defining playgrounds for children and sport facilities, and the built substance of the mega-block. Model je prijava za takmičenje čiji je cilj bio uspostaviti protutežu monofunkcionalnosti novogradnje uvrštavanjem raznolikog programa obrazovnih, prodajnih, sportskih, uredskih, hotelskih, društvenih i vjerskih sadržaja. U ovom prijedlogu urbani program dobio je jednako urbani oblik. Generalna ideja je bila posložiti različite slojeve u urbanom pejzažu: uzdužna ‘magnetna’ traka koja naglašava centralnu zonu, poprečne linije koje struktuiraju pejzaž, tačke koje definišu igrališta za djecu i sportske objekte, i izgrađenu materiju mega-bloka. STUDIO NON STOP, SANJA G ALIĆ-GROZDANIĆ, IG OR GROZDANIĆ - DA2008 HANS IBELINGS: STUDIO NON STOP, THE ARCHITECTURAL OBSERVER, AMSTERDAM/MONTREAL, 2012

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#minimal

STUDIO NONSTOP (BOSNIA AND HERZEGOVINA)

27/03/2009 AFTER DA2008, COOPERATION WITH DIFFERENT ORGANISATIONS GROWS STRONGER AND LINKS BETWEEN ARCHITECTURE AND OTHER DISCIPLINES ARE GRADUALLY ESTABLISHES, AND EQUALLY QUESTIONED. IN COOPERATION WITH THE SARAJEVO CENTRE FOR CONTEMPORARY ART, AS PART OF THE ARTATAK SARAJEVO PROJECT, AN UNCONVENTIONAL PHOTO EXHIBITION TAKES PLACE. THE “BURENCE” VENUE IS COMPLETELY TRANSFORMED BY FLOATING CUBES AND AN AUDIO INSTALLATION, AND THE AUDIENCE GETS AN OPPORTUNITY TO EXPERIENCE A DISTINCTIVE AUDIO-VISUAL EVENT. NAKON DA2008, JAČA SARADNJA SA DRUGIM ORGANIZACIJAMA I POSTEPENO POČINJU DA SE STVARAJU ALI I ISPITUJU VEZE ARHITEKTURE I DRUGIH DISCIPLINA. U SARADNJI SA CENTROM ZA SAVREMENU UMJETNOST SARAJEVO, U OKVIRU PROJEKTA ARTATAK SARAJEVO, REALIZUJE SE NEKONVENCIONALNA IZLOŽBA FOTOGRAFIJA. SALU BURENCE POTPUNO TRANSFORMIŠU LEBDEĆI KUBUSI I ZVUČNA INSTALACIJA, A PUBLIKA DOBIJA PRILIKU DA DOŽIVI POSEBNO AUDIO-VIZUELNO ISKUSTVO.

PHOTO: ERVIN PRAŠLJIVIĆ

#experimental THE COLD NIGHT EXHIBITION, 2009 ‘BURENCE’, FACULTY OF ARCHITECTURE SARAJEVO

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50 3650 DAYS OF CONTEMPORARY ARCHITECTURE IN SARAJEVO

... Look at all other disciplines and how they’ve evolved over the last one hundred years, from 1914 to 2014 – our understanding of chemistry, of mathematics, of physics, of computers… of every single discipline. Look at where we were five years ago, where we are today. We are no longer impressed with progress that is registered on the mechanical front. Certainly not in the building industry and what it has produced over the last one hundred years. ... Pogledajte sve druge discipline i kako su se razvile u zadnjih sto godina, od 1914. do 2014. godine – naše razumijevanje hemije, matematike, fizike, kompjutera... svake druge discipline. Pogledajte gdje smo bili prije pet godina, a gdje smo danas. Napredak koji se bilježi u mašinstvu nas više ne impresionira. Zasigurno ne u građevinskoj industriji i onome što je proizvela u zadnjih sto godina. - Bernard Khoury, DA2017

08/05/2009 DURING DA2009, FIRST DESIGN INTERVENTIONS HAPPEN IN THE PUBLIC SPACE IN FRONT OF THE SARAJEVO FACULTY OF ARCHITECTURE. THAT ACTION ILLUSTRATES AN INTENTION, WHICH WILL BECOME EVEN MORE EXPLICIT WITH FURTHER EDITIONS OF DA – TO INTERVENE IN PUBLIC SPACES AND ENHANCE BUILT CITY ENVIRONMENT. U TOKU DA2009, IZVODE SE I PRVE DIZAJNERSKE INTERVENCIJE U JAVNOM PROSTORU ISPRED ARHITEKTONSKOG FAKULTETA U SARAJEVU. OVAJ POSTUPAK ILUSTRUJE NAMJERU KOJA ĆE U NAREDNIM IZDANJIMA DA POSTAJATI SVE EKSPLICITNIJA - DA SE INTERVENIŠE U JAVNOM PROSTORU I UNAPRIJEDI IZGRAĐENO OKRUŽENJE GRADA.

PHOTO: NEDIM MUTEVELIĆ

#placemaking DAYS OF ARCHITECTURE 2009 PUBLIC INTERVENTION FACULTY OF ARCHITECTURE SARAJEVO

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20/05/2009 THOUGH ORGANISED SPONTANEOUSLY, THE ACTION ‘RECLAIM THE CITY FOR PEDESTRIANS’ BECOMES A VERY IMPORTANT PART OF DA2009. A TEMPORARY OCCUPATION OF THE SPACE IN FRONT OF THE ETERNAL FIRE MONUMENT CRITICALLY INTERVENES IN THE PUBLIC SPACE, WITH THE VIEW TO DRAWING ATTENTION TO POSSIBLE NEGATIVE CONSEQUENCES OF A GROWING TREND OF PRIVATISATION OF SARAJEVO’S PUBLIC SPACES. SPONTANO ORGANIZOVAN, ALI IZUZETNO VAŽAN DIO DA2009, POSTAJE AKCIJA ‘VRATIMO PJEŠAKU GRAD’. PRIVREMENA OKUPACIJA PROSTORA ISPRED VJEČNE VATRE KRITIČKI INTERVENIŠE U JAVNI PROSTOR SA NAMJEROM DA SKRENE PAŽNJU NA MOGUĆE NEGATIVNE POSLJEDICE SVE SNAŽNIJEG TRENDA PRIVATIZACIJE JAVNOG PROSTORA SARAJEVA.

PHOTO: ERVIN PRAŠLJIVIĆ

#right_to_the_city DAYS OF ARCHITECTURE 2009 PUBLIC INTERVENTION THE ETERNAL FLAME SARAJEVO

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#context

A four-year long research resulted in the construction especially designed and fabricated exclusively for this project. Each part of the bridge was an industrially designed and manufactured product that was assembled on site. The 150 tons heavy steel bridge structure was produced in a local shipyard, and carried in one piece on a specifically designed barge to the location. As the Memorial Bridge had to pass under two existing bridges on its way to the site, the barge was designed so that it can sink during low tide and go under the existing bridges with its burden. Četverogodišnje istraživanje rezultiralo je konstrukcijom posebno dizajniranom i proizvedenom isključivo za ovaj projekt. Svaki dio mosta je dizajniran kao industrijski osmišljen i proizveden produkt i zatim sastavljen na lokaciji. 150 tona teška čelična konstrukcija mosta proizvedena je u lokalnom brodogradilištu i u jednom komadu prevezena na posebno izrađenoj barži morskim putem na lokaciju. Kako je most na svom putu prema lokaciji morao proći ispod dva postojeća mosta, barža je dizajnirana tako da u vrijeme najnižeg vodostaja može potonuti i proći zajedno sa svojim teretom ispod postojećih mostova.

The Memorial Bridge is a spatial intervention and an urban public object, a construction with tactile properties and symbolism. It is a pedestrian bridge that embodies the utilitarian function and a memory of veterans of the Croatian war of Independence, a place of memory and piety, but also a social gathering and socializing spot.

#design_as_research MEMORIAL BRIDGE,RIJEKA, CROATIA (1997-2001) 3LHD

Most hrvatskih branitelja je prostorna intervencija i urbani javni objekt, konstrukcija s taktilnim svojstvima i simbolizmom. To je pješački most koji u sebi osim utilitarne funkcije utjelovljuje i memoriju na hrvatske branitelje, to je mjesto memorije i pijeteta, ali istodobno i društvenog okupljanja i druženja.

The project for the new sports hall has been faced with the rich historical, cultural and social Mediterranean context. Therefore, any new architectural interpolation had to have a respectful approach to the environment. The solution has been found in interpreting the traditional ways of building with new technologies.

#context

Projekat nove sportske dvorane se suočio s bogatim povijesnim, kulturnim i društvenim mediteranskim kontekstom. Zbog toga je interpolacija imala poseban odnos prema zatečenom. Rješenje je nađeno u interpretaciji tradicionalnih načina gradnje uz pomoć novih tehnologija.

#human_scale 3LHD (CROATIA)

The sports hall concept has been made to meet the design and construction time schedule of 11 months, which was possible only by using RC prefabricated elements. All the bearing and facade elements of the sports hall have been made from prefabricated parts. Its mimicry and adaptation to the environment is deliberate, by setting as small a scale as possible, using the landscape, as well as the facade cladding made from a local stone that is closer to the appearance of old traditional houses.

#in_situ SPORTS HALL BALE, BALE, CROATIA (2005-2007) 3LHD

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Koncept dvorane je potpuno prilagođen traženom roku projektovanja i izvedbe od 11 mjeseci, što je bilo moguće izvesti samo s AB prefabrikovanim elementima. Svi nosivi i fasadni elementi su izvedeni AB prefabrikovanim dijelovima. Njeno mimikriziranje i prilagođavanje okolišu je namjerno, postavljanjem što manjeg mjerila, korištenjem krajolika, ali i fasadne obloge iz lokalnog kamena koja dvoranu približava izgledu starih kuća.

#modular RIVA SPLIT WATERFRONT, SPLIT, CROATIA (2005-2007) 3LHD

The Split waterfront is a 1,700 years old urbanized, public, open and accessible space. It stands in front of Diocletian’s Palace, once the home of the Roman Emperor. The modular Roman form of the palace in the latter phase became the framework that shaped the city and directed its expansion. In the same way, the dimensions, materials and form of the modular network of concrete elements laid on Riva directed the arrangement and positions of all the other elements of the public space. Splitska Riva je urbani, javni, vrlo otvoreni i pristupačni prostor star 1.700 godina. Nalazi se ispred Dioklecijanove palače, nekadašnjeg doma rimskog Cara. Modularna forma palače postala je okosnica iz koje je tokom stoljeća nastao grad. Na isti način su dimenzije, materijal i oblik modularne mreže betonskih elemenata postavljenih na Rivu diktirali razmještaj svih ostalih elemenata javnog prostora.

#pixel 3LHD (CROATIA)

3LHD is a collaborative architectural studio, particularly interested in the integration of architecture, design, art and (urban) landscape. Our design approach is each time with different realities, and with many different parameters that we give ourselves and which are given to us, it is integral, analytical and iterative. It is based on modification of opinions of different people, that we seek to bring into production. 3LHD je interdisciplinarni arhitektonski studio, zainteresovan za integraciju raznih disciplina: arhitekture, urbanog i pejzažnog krajolika, dizajna, umjetnosti. Pristup projektovanju je svaki put s različitim realnostima, s mnogo različitih parametara koje si zadajemo i koji su nam zadani, on je integralan, analitičan i iterativan. Zasnovan je na izmjeni mišljenja različitih ljudi, koje nastojimo uvesti u produkciju.

#pixel

The hotel’s identity is recognized through the external design of the building, with a facade that is defined by dominant horizontal lines. The site’s complex terrain with dramatic altitude changes determined the locations of internal facility spaces through a dynamic interweaving of public areas and guest suites at all levels. The specific Y shaped ground plan enabled a rational and functional organizational scheme, quality views from all rooms, and the grouping of public facilities around a central vertical lobby. The main lobby connects common spaces on all levels, creating a central volume of impressive height and scale with interesting views in and around where all vital functions of the hotel take place. Identitet hotela prepoznatljiv je kroz oblikovanje pročelja na kojem dominiraju horizontalni potezi. Kompleksan teren s velikim visinskim razlikama uvjetovao je raspored unutrašnjih sadržaja kroz dinamično preplitanje javnih prostora i smještajnih jedinica na svim nivoima. Specifični “Y” tlocrt omogućio je racionalnu organizacijsku šemu, kvalitetan pogled iz svih soba i okupljanje svih javnih sadržaja oko centralnog lobija koji vertikalno povezuje sve etaže hotela. Na taj se način dobio prostor impresivne veličine i visine sa zanimljivim vizurama u kojem i oko kojega se odvijaju sve vitalne funkcije hotela.

#context HOTEL LONE, ROVINJ, CROATIA (2006-2011) 3LHD

The conceptual assumptions used in the design of the hotel and its interior show evidence of a deep respect towards the achievements of hotel architecture on the Adriatic Coast from the previous century, combining it with a strong modernity expressed primarily in materials, functions and typologies and consequently in architectural forms.

#common_space TXT

3LHD - DA2010

Konceptualne pretpostavke pri projektovanju hotela kao i oblikovanje dizajna interijera inspirisano je projektantskim postignućima hotelske arhitekture prošlog stoljeća nastale na prostorima Jadrana, uz snažnu crtu savremenosti izraženu u materijalima, funkcijama i tipologijama, pa tek posljedično i u formama.

After the city was devastated in World War II, the chaotic reconstruction shaped a part of the seafront as a nondescript concrete wall. Before the reconstruction, that part was decayed and neglected. The citizens of Zadar, who like to go for a walk on the seafront, rarely went to that spot, although it is the best place to watch the famous Zadar sunset, which Hitchcock said was the most beautiful in the world when he stayed in Zadar in 1964.

#context

Nakon razaranja grada u II svjetskom ratu, jedan dio obale saniran je u stihijskom procesu obnove kao betonski zid neartikuliranog profila. Prije rekonstrukcije, ovaj dio obale bio je derutan i zapušten. Građani Zadra, koji rado šetaju obalom, nerado su se zadržavali na ovom prostoru, iako se iz njega može najbolje promatrati čuveni zadarski zalazak sunca za koji je Hitchcock prilikom boravka u Zadru 1964. god. ustvrdio da je najljepši na svijetu.

Sea organ has the shape of a flight of steps leading to the sea, inducing people to change their walking pattern, to stop and come down to the sea. Under the stone steps, divided into seven 10-meter sections, there are polyethylene tubes of various sizes. The air, pushed by waves, flows from wider to narrower tubes, accelerating and producing sound in the pipes located in the resonating cavity below the promenade, with mystical openings in the stone letting out the sound. The instrument has seven clusters with five selected tones each, derived from the matrix of the traditional Dalmatian a cappella singing.

#in_situ

Morske orgulje oblikovane su u stepenastom obalnom profilu koji treba stimulirati promjenu u kretanju obalom, zadržavanje i silazak do mora. Ispod kamenih skalina, podjeljenih u sedam desetmetarskih sekcija ugrađene su polietilenske cijevi različitih profila. Zrak potisnut valom struji iz šireg u uži cijevni profil, dobiva ubrzanje i proizvodi zvuk u sviralama smještenim u rezonantnom hodniku ispod obalne šetnice, odakle zvuk, kroz mistične otvore u kamenu, izlazi u prostor. Instrument ima sedam klastera po pet biranih tonova izvedenih iz matrice dalmatinskog tradicijskog klapskog pjevanja.

#efficiency NIKOLA BAŠIĆ (CROATIA)

#human_scale SEA ORGAN AND GREETING TO THE SUN, ZADAR, CROATIA (2005-2008) NIKOLA BAŠIĆ

Unlike the Sea organ, an almost archaic structure functioning like a perpetuum mobile, Greeting to the sun is a very sophisticated installation involving experts from Croatia and some other European countries. It is an urban installation inserted into the seafront stone pavement, which is, by help of photovoltaic modules, exchanging energy with the sun and turning it into a play of light. The same energy is used for the general illumination of the seafront making Greeting to the sun a device for producing energy from alternative sources. To face infinity means to face the real image of one’s own soul. Architect Nikola Bašić created a contemporary space manifesting itself in the unity of physics and metaphysics, aesthetics and ethics. This should presumably be a good measure for the fullness of void. 1 Suočiti se s beskonačnošću znači suočiti se sa stvarnom slikom vlastite duše. Arhitekta Nikola Bašić stvorio je savremeni prostor koji se manifestuje u jedinstvu fizike i metafizike, estetike i etike. Ovo bi vjerovatno trebala biti dobra mjera ispunjenosti praznine. 1

To face infinity means to face the real image of one’s own soul. Architect Nikola Bašić created a contemporary space manifesting #void itself in the unity of physics and metaphysics, aesthetics and ethics. This should presumably be a good measure for the fullness of void.

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Za razliku od morskih orgulja, koje predstavljaju gotovo arhaičnu konstrukciju koja funkcionira kao perpetuum mobile, Pozdrav suncu vrlo je sofisticirana instalacija u čijoj realizaciji su sudjelovali eksperti iz Hrvatske i iz nekoliko Europskih zemalja. Radi se o urbanoj instalaciji interpoliranoj u kameno opločenje obale, koja posredstvom fotonaponskih modula razmjenjuje energiju sa suncem i pretvara je u svjetlosnu igru. Ista energija koristi se i za osvjetljenje obale, pa tako spomenik suncu također ima karakter uređaja za proizvodnju energije iz alternativnih izvora.

#context

On the rocky Kornat landscape, in undisclosed circumstances in 2007, a blaze of fire swallowed lives of twelve young firemen. The tragedy created in Croatian society a trauma caused by feeling of helplessness and collective guilt. Dry stone cross signs were built on the place of every fireman’s death. Crosses of megalithic dimensions communicate in large panoramic views of the archipelago land and sea area. Na kornatskom kamenjaru, u dosad nerazjašnjenim okolnostima, 2007. godine oganj je pokosio dvanaestoricu mladih vatrogasaca. Tragedija je proizvela u hrvatskom društvu nezapamćenu socijalnu traumu izazvanu osjećajem nemoći i kolektivne krivice. Na mjestu nesreće izgrađeni su suhozidni znakovi križa, obilježavajući mjesto stradanja svakog pojedinog vatrogasca. Križevi „megalitskih“ dimenzija sagledavaju se u širokim panoramama arhipelaškog prostora.

#in_situ

#meaning

#participation FALLEN FIREMEN MEMORIAL ON KORNAT ISLAND, CROATIA (2010) NIKOLA BAŠIĆ

With bare hands 3,ooo volunteers from all over Croatia in exceptionally difficult and quite dangerous effort, learning from local experts the forgotten skill of dry stone construction, “built” themselves into the memorial, becoming its mental substance. They are witnesses and participants of an act of social repentance which created a feeling of cathartic redemption becoming ever more part of people’s memory. Golim rukama, tri tisuće dragovoljaca iz cijele Hrvatske, savladavajući, pod vodstvom lokalnih znalaca, zaboravljenu vještinu građenja suhozida, “ugradili“ su sebe u spomenik, postajući njegovom mentalnom supstancijom. Oni su svjedoci i sudionici jednog čina socijalne pokore koji je proizveo osjećaj katarzičnog iskupljenja od osjećaja krivice. Taj čin sve više postaje dijelom narodne memorije. The front of the building facing the square carries a strong singlestory vestibule above which a residential complex unfolds with its pronounced horizontal division and windows, in front of which slide three-dimensional blinds made of the same perforated aluminium. The pulsating whiteness is a monochromatic gesture which has the Mediterranean as its paradigmatic and conceptual source.

The concept of the residential unit layout, referred to in literature as “Bašić’s apartment”, is characterised by an alternative residential space – a loggia, which serves as an entryway as well as the residential building equivalent of a veranda or a front yard. Koncept prostorne organizacije stambene jedinice, koja je u literaturi afirmisana pod imenom “Bašićev stan”, okarakteriziran je alternativnim prostorom stana – loggia, koji služi kao ulazna komunikacija ali i kao rezidencijalni ekvivalent verandi ili dvorištu. In this improved version, the blinds made of perforated aluminium protect the intimacy of the living space and reduce its exposure to sun, while the structure and partition walls ensure maximum adaptability of the space for different uses. U ovoj inačici unaprijeđen je sjenilima od perforiranog alu-lima, koja štite intimnost stambenog prostora i smanjuju njegovu izloženost osunčanju, a konstrukcija i pregradni zidovi omogućavaju maksimalnu otvorenost prostora za njegovu prilagodbu različitim potrebama.

Pročelje okrenuto prema trgu nosi snažan jednoetažni trijem iznad kojeg se razvija stambeni korpus zgrade sa izraženom horizontalnom raščlambom i prozorima ispred kojih klize trodimenzionalna sjenila (mušepci) od istog perforiranog lima. Pulsirajuća bjelina monokromatska je gesta čije je paradigmatsko i programatsko ishodište Mediteran.

#pattern

#foldable_curtain STAMBENO POSLOVNI KOMPLEKS TIZ, ZADAR, CROATIA (2005) NIKOLA BAŠIĆ 1

ŽELJKA ČORAK, P.111 IN FAVOUR OF PUBLIC SPACE - TEN YEARS OF THE EUROPEAN PRIZE FOR URBAN PUBLIC SPACE, ACTAR, 2010 TXT NIKOLA BAŠIĆ - DA2010

13/05/2011 DA2011 INTRODUCE A NEW ELEMENT TO THE FESTIVAL’S IDENTITY – LARGE 3D BOLD LETTERS IN INTENSIVE POP COLOURS. LETTERS D AND A BECOME A RECOGNISABLE LOGO WHICH WILL SIGNIFY THE PRESENCE OF DAYS OF ARCHITECTURE AT VARIOUS LOCATIONS IN SARAJEVO IN THE YEARS TO COME, AND WILL GENERATE DIFFERENT ACTIVITIES, EVENTS AND INTERACTIONS. DA2011 UVODE NOVI ELEMENT IDENTITETA FESTIVALA - TRODIMENZIONALNA ‘BOLD’ SLOVA VELIKIH DIMENZIJA, U PALETI INTENZIVNIH POP BOJA. SLOVA D I A POSTAJU PREPOZNATLJIV ZNAK KOJI ĆE U NAREDNIM GODINAMA OBILJEŽAVATI PRISUSTVO DANA ARHITEKTURE NA RAZLIČITIM LOKACIJAMA U SARAJEVU, TE STVARATI RAZLIČITE AKTIVNOSTI, DOGAĐAJE I INTERAKCIJE.

PHOTO: SABINA HODOVIĆ

#environmental_graphic_design DAYS OF ARCHITECTURE 2011 OPENING, FACULTY OF ARCHITECTURE IN SARAJEVO

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We do not submit to it lightly, nor do we adopt it uncritically. We also do not propose a mere replacement where hashtag is just another word in place of a key word. The # carries a seductive uncertainty of generic and metacommunicative mediation of reality. The # is the proof of openness of architecture, its worldliness, and its historical relevance. A symbol surpasses a word, and polyvalency a fixed meaning. Ne preuzimamo ga jednostavno niti nekritički usvajamo. Ne predlažemo ni puku zamjenu u kojoj će hashtag biti tek druga riječ za ključnu riječ. # otvara zavodljivu neizvjesnost generičkog i metakomunikacijskog posredovanja stvarnosti. # svjedoči o otvorenosti arhitekture, o njenoj svjetovnosti, istoričnosti. Znak prestiže riječ, a polivalencija čvrsto značenje. - 3650 Days of Contemporary Architecture in Sarajevo

14/05/2011 AN ACTION, WHICH INVOLVED WALKING FOR MORE THAN TWO KILOMETRES, FROM THE FACULTY OF ARCHITECTURE TO THE SUSAN SONTAG SQUARE WHILE CARRYING LARGE AND HEAVY LETTERS, GIVES BIRTH TO A GENERIC TITLE: ‘THE DAYS OF ARCHITECTURE LETTERS’. THE ACTION TURNS INTO A COMPLETELY SPONTANEOUS PUBLIC PERFORMANCE. PLACED IN FRONT OF THE NATIONAL THEATRE, THE LETTERS TEMPORARILY BECOME AN EVENT IN THE PUBLIC SPACE OF SARAJEVO. PRILIKOM AKCIJE TOKOM KOJE JE BILO POTREBNO NOSITI VELIKA I TEŠKA SLOVA, I TO PREĆI VIŠE OD DVA KILOMETRA OD ARHITEKTONSKOG FAKULTETA DO TRGA SUSAN SONTAG, NASTAJE GENERIČKI NAZIV: “SLOVA DANA ARHITEKTURE”. AKCIJA SE PRETVARA U POTPUNO SPONTANI JAVNI PERFORMANS. ISPRED NARODNOG POZORIŠTA, SLOVA PRIVREMENO POSTAJU DOGAĐAJ U JAVNOM PROSTORU SARAJEVA.

#identity DAYS OF ARCHITECTURE 2011 BREAK NATIONAL THEATRE SARAJEVO

PHOTO: SABINA HODOVIĆ

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Can architecture exist outside form-making? Can architecture exist outside the syntax of architecture and the constant references to architectural history, when it was based and it evolved in the world that was very different? Can we produce architecture today that is architecture of events, architecture of situations, and that no longer relies on a conventional perception of space? Može li arhitektura postojati izvan stvaranja formi? Može li arhitektura postojati izvan sintakse arhitekture i stalnog osvrta na arhitektonsku istoriju, budući je nastala i razvijala se u bitno drugačijem svijetu? Možemo li danas stvarati arhitekturu koja je arhitektura događaja, arhitektura situacija i koja se više ne oslanja na konvencionalnu percepciju prostora?. - Bernard Khoury, DA2017

#inhabited_wall DAYS OF ARCHITECTURE 2012 OPENING NIGHT ART CINEMA KRITERION SARAJEVO

10/05/2012 THE MAIN PROGRAMME VENUE OF DA2012 IS THE ART CINEMA KRITERION, AN INDEPENDENT CINEMA WHICH OPENED THE YEAR BEFORE. MOST OF THE ORGANISERS OF DAYS OF ARCHITECTURE COMPLETE THEIR FORMAL EDUCATION. AS YOUNG ARCHITECTS, THEY MAKE A CONSCIOUS CHOICE TO FOREGO OPPORTUNITIES IN FORMAL PUBLIC INSTITUTIONS IN FAVOUR OF LESS FORMAL SETTINGS, MORE SUITED TO THE SENSIBILITIES AND EXPECTATIONS OF YOUNGER GENERATIONS. GLAVNI PROGRAM DA2012 REALIZUJE SE U KINU KRITERION, NEZAVISNOM KINU OTVORENOM GODINU DANA RANIJE. VEĆINA ORGANIZATORA DANA ARHITEKTURE DOVRŠAVA FORMALNO OBRAZOVANJE, TE KAO MLADI ARHITEKTI I ARHITEKTICE SVJESNO ODLUČUJU DA FORMALNE JAVNE INSTITUCIJE ZAMIJENE MANJE FORMALNIM PROSTORIMA, PRILAGOĐENIM SENZIBILITETU I OČEKIVANJIMA MLADIH GENERACIJA.

PHOTO: SABINA HODOVIĆ

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STUDIO UP ranges from five to ten people. It approaches projects in a dynamic and interdisciplinary way, taking on a variety of scales - from pavilions to megaforms and urban design. Boldness and flexibility within the office are enhanced through collaboration with young people, students, artists (Silvio Vujičić and Ivana Franke) and designers (Damir Gamulin).

#mono-volume GYMNASIUM 46º09’N-16º50E, KOPRIVNICA, CROATIA (2003-2007) STUDIO UP

STUDIO UP broji od pet do deset ljudi. Projektima pristupamo na dinamičan i interdisciplinaran način, baveći se različitim mjerilima – od paviljona do megaformi i urbanizma. Kroz kolaboraciju s mladim ljudima, studentima, umjetnicima (Silvio Vujičić i Ivana Franke) i dizajnerima (Damir Gamulin), potiče se fleksibilnost i žestina.

The site of the high school building and sports hall, on the edge of an American-like suburb, is located at the end of a series of ambitious urban interventions - mega elements. “Tabula rasa”; The contact area of these “two worlds” is radically divided into two parts, black and green, full and empty, spiritual and physical, one facing the city and the other facing the suburbia. Zgrada srednje škole i sportska dvorana smještene su na rubu predgrađa nalik američkom, i nalaze se na kraju serije ambicioznih gradskih intervencija - mega elemenata. ‘Tabula rasa’; Kontaktna strana ova “dva svijeta” radikalno je podijeljena na dva dijela, crnozeleno, puno i prazno, duhovno i fizičko, jedna koja se suočava s gradom, a druga sa stambenim predgrađem.

#periphery #skin

The “common place” concept examines the stability of the hybrid and enables the most diverse interpretations both in terms of use and interpretation of significance of the building. Koncept “zajedničkog mjesta” ispituje stabilnost hibrida i omogućava najrazličitija tumačenja kako u smislu korištenja, tako i tumačenja značaja zgrade.

#transparency

#hybrid STUDIO UP (CROATIA)

The selection of an abstract mono-volume with a transparent membrane is a radical break with the modernist tradition of building schools and sports facilities as three-dimensional interpretations of bureaucratic disposition schemes. Along with the public-private partnership in construction of the school and sports hall in Koprivnica, the idea of building two complementary urban facilities in a single building also arose. Izbor apstraktnog mono-volumena, s providnom membranom, predstavlja radikalni prekid sa modernističkom tradicijom gradnje škola i sportskih objekata kao triodimenzionalne interpretacije birokratskih dispozicijskih šema. Pored javno-privatnog partnerstva u izgradnji gimnazije i sportske dvorane u Koprivnici, nastala je i ideja izgradnje dva komplementarna gradska objekta u jednoj zgradi. 104 3650 DAYS OF CONTEMPORARY ARCHITECTURE IN SARAJEVO

#social_condenser

#in-between

The task was to reconstruct an existing building into the Headquarters of the Spectator Group so that the members, who had up until then been operating from several different locations across the city, are provided with equally good working conditions. At the start of the project, as the building site was opened and work began on excavation and protection of the construction pit, the project’s character was defined. The existing frame made of reinforced concrete was kept, and modifications in construction largely concerned the staircase cores. The idea/work methodology was to preserve, as far as possible, all constructive elements as originally designed and to keep the interventions to a minimum.

#transparency SPECTATOR GROUP’S HEADQUARTERS, ZAGREB, CROATIA (2008–2009) STUDIO UP

‘Work pods’ are inserted into the construction frame. Given the limitations of the existing building (relatively low construction height, insufficient depth) the sides of workstations are reflective making the space appear significantly larger. The system of workstations is fluid, there are no partitions facing the communication area (a new type of office space – a cross between honeycomb-like cells and a fully open space).

#minimal

Zadatak je bila rekonstrukcija postojeće zgrade za sjedište Spectator Grupe, čije su članice do tada djelovale na nekoliko lokacija u gradu, tako da sve imaju jednako dobre uvjete za rad. U trenutku početka angažmana otvoreno je gradilište, te su započeti radovi na iskopavanju i zaštiti građevinske jame, što je odredilo karakter projekta. Prethodno projektovani armiranobetonski skeletni sistem je zadržan, a modifikacije u konstruktivnom sistemu uglavnom se tiču jezgre stubišta. Ideja/metodologija rada bila je zadržati projektovano stanje konstruktivnih elemenata u što većoj mjeri, a intervenisati laganim konstrukcijama.

#modular STUDIO UP (CROATIA)

‘Radne kapsule’ se umeću između konstruktivnog skeleta. S obzirom na limitirane prostorne uvjete zatečenog projekta (relativno mala konstruktivna visina, plitka dubina) stranice radnih prostora visoko su reflektivne, te se prostor perceptivno doima znatno većim. Sistem radnih prostora je fluidan, nema pregrada prema prostorima komunikacija (novi tip uredskog prostora – između sačastih ćelija i potpuno otvorenog principa).

#in-between The “Savo” building, located in the Split city centre, was converted into a shopping mall at the beginning of this century and, in a guerrilla action in 2010, was transformed into a hostel in just 100 days. “Savo”, koja se nalazi u samom centru grada Splita, pretvorena je u tržni centar početkom ovog vijeka, a gerilskom akcijom 2010. godini, transformisana je u hostel u roku od 100 dana.

#minimal

#enivronmental_ graphic_design

HOSTEL GOLLY±BOSSY, SPLIT, CROATIA (2010) STUDIO UP

The building communication - escalators, panoramic elevator and the staircase - were kept, and shop areas were partitioned by a system of walls, ensuring each unit contained everything necessary, including beds, showers and toilets. This project represents an urban metropolitan character, as well as a continuation of the public space within a historical membrane.

#compact

Zgrada Javne komunikacije - eskalatori, panoramski lift i stepenište - su zadržani, a trgovački prostori su podeljeni sistemom zidova, tako da svaka jedinica sadrži sve neophodno, uključujući krevete, toalete i tuševe. Ovaj projekat predstavlja urbanistički metropolitanski karakter, kao i nastavak javnog prostora unutar historijske membrane. TXT

STUDIO UP - DA2012

3RW arkitekter landscape projects comment on topics representing some of our time’s biggest challenges – climate change, profound mutation of the rural landscape, global economy and tourism, and the aftermath of terror. They therefore also reflect on a national scale a set of paradigm shifts happening in Norway today. One is to do with the way we use the rural part of the country, and how the cultivation of these landscapes is changing; another is to do with how placemaking and quality of life in towns and cities in Norway is evolving. Norway is developed along the western coastline of a highly challenging territory. The culture is founded upon the proximity to marine resources and the possibilities they provide onshore. This is still the case today, and one might say that the shift from decentralized primary use of marine resources (small scale fisheries) towards the more centralized and intense use of offshore resources (oil and gas) represents a shift towards a more non-site-specific culture.

#paradigm-shift

3RW arhitekter projekti u oblasti pejzaža komentarišu teme koje predstavljaju neke od najvećih izazova našeg vremena – klimatske promjene, potpunu mutaciju ruralnog krajolika, globalnu ekonomiju i turizam, te posljedice terora. Oni su stoga i odraz nekoliko paradigmi koje se trenutno događaju na nacionalnom nivou u Norveškoj. Jedna od njih se odnosi na način na koji koristimo ruralni dio zemlje, te kako se kultivisanje tih krajolika mijenja. Druga se odnosi na unapređenje kvaliteta života i procesa kreiranja javnih prostora po mjeri čovjeka diljem norveških gradova.Norveška se razvila duž zapadne obale na izuzetno zahtjevnom terenu. Kultura se zasniva na blizini morskim resursima i mogućnostima koje oni pružaju na obali. To je i danas slučaj, i reklo bi se da pomak od decentralizovane primarne upotrebe morskih resursa (mala ribolovišta), ka više centralizovanoj i intenzivnijoj upotrebi resursa (nafta i plin) predstavlja pomak ka kulturi koja nije vezana za lokaciju. The river on the Ørnesvingen site is guided over a glazed front, forming a cultivated waterfall on the very edge of the viewpoint giving an atmospheric sound to the place. An information board in glass explains specific locations in the scenery of interesting traces of civilization, such as old farms placed in incredible places on the steep mountainsides. This story of culture and nature tells about the cultivated landscape that in first hand seems untouched by man.

#storytelling ØRNESVINGEN VIEW POINT, PICNIC AREA, GEIRANGER, MØRE OG ROMSDAL, NORWAY (2006) 3RW ARKITEKTER

Riječni tok na lokaciji Ørnesvingen preusmjeren je na zastakljenu platformu, time formirajući kultivisani vodopad na samom rubu vidikovca, što ovom mjestu daje ambijentalan zvuk. Staklena informativna tabla objašnjava specifične lokacije u okruženju gdje se nalaze zanimljivi tragovi civilizacije kao što su stare farme smještene na nevjerovatnim mjestima na strmim planinskim padinama. Ova priča o kulturi i prirodi govori o kultivisanom pejzažu koji na prvi pogled izgleda netaknut.

Ørnesvingen is the most spectacular viewpoint along the Ørne (eagle) road, a zig-zag pathway along the steep valley sides of Geiranger-fjord in Møre and Romsdal. Located at one of its many bends, the viewpoint gives tourists breathtaking views over the recently acknowledged world heritage site, making it one of Norway’s major tourist attractions. The project consists of three overlapping white concrete slabs overhanging the edge of a 455-meter vertical drop, enabling the observer to step out into the airspace. The horizontal slabs form an amphitheater towards the view and reflect the calm fjord in contrast to the dramatic mountains.

#user_experience

Ørnesvingen je najspektakularniji vidikovac duž ceste Ørne (orao), vijugavog puta koji vodi strmim obroncima fjorda Geiranger u okrugu Møre i Romsdal. Vidikovac se nalazi na jednom od brojnih zavoja, s pogledom na nedavno na listu Svjetske baštine uvršteni lokalitet od kojeg zastaje dah, što ga čini jednom od najvećih turističkih atrakcija u Norveškoj. Projekat se sastoji od tri smaknute bijele betonske ploče koje se nadnose nad vertikalnom liticom visokom 455 metara, i omogućavaju posmatraču da zakorači u zračni prostor. Horizontalne ploče čine amfiteatar i odražavaju smirujući fjord nasuprot dramatičnim planinama.

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#preserved_tradition REST-STOP AREA, FLYDALSJUVET, GEIRANGER, NORWAY (2006) 3RW ARKITEKTER

#user_experience

Askvågen Viewpoint is situated along the Atlantic Ocean Road in Møre and Romsdal, near the small fishing village Askvågen. The existing pier is lined with large natural rocks and was originally designed to make a breakwater. A big piece of vistdalitt stone (a local variation of gneiss) enclosed by glass plates was placed at the very tip of the pier. Overhanging the existing platform, it brings tourists even closer to the Atlantic Ocean and offers views over derelict fishing villages on numerous islands on the horizon. Vidikovac Askvågen nalazi se na Putu Atlantskog okeana u okrugu Møre i Romsdal, u blizini malog ribarskog sela Askvågen. Postojeći nasip je obložen velikim prirodnim stijenama i izvorno je osmišljen kao lukobran. Veliki blok kamena vistdalitta (lokalna varijacija gnajsa) je postavljen na sam kraj nasipa i ograđen staklenim stjenkama. Nadnoseći se na postojeću platformu, vidikovac turiste još više približava Atlantskom okeanu i nudi im pogled na oronula ribarska sela na brojnim ostrvima na horizontu.

This project comments on the continuous change of the Norwegian landscape, always modified, altered and advanced by cultural ambitions to improve local conditions and chances of survival. The current change from societies based on agriculture, fisheries and providing food, towards the service minded global hosts, providing adventure, constitutes the contemporary context for an increasing number of coastal communities in Norway. For a period of time, the two paradigms will probably coexist in the many soon-to-be-abandoned communities. The ambitions of projects interacting with this transformation should be to design a way that connects these two images, not as conflicting ones, but as a continuous expression of “the cultivating Man”.

#placemaking VIEWPOINT ASKVAAGEN, MØRE OG ROMSDAL, NORWAY (2006) 3RW ARKITEKTER

#minimal 3RW ARKITEKTER (NORWAY)

Ovaj projekat komentariše kontinuiranu promjenu norveškog pejzaža kojeg se stalno modifikovalo, mijenjalo i poboljšavalo u nastojanju da se unaprijede životni uslovi i šanse za preživljavanje. Aktuelna preobrazba iz društava zasnovanog na poljoprivredi, ribarstvu, i opskrbi hranom, u globalne domaćine koji pažljivo osmišljaju svoje usluge i nude avanturu, savremeni je kontekst za sve veći broj priobalnih mjesta u Norveškoj. Obje paradigme će vjerovatno neko vrijeme postojati usporedo u mnogim uskoro napuštenim mjestima. Nastojanja projekata koji su u interakciji s ovom transformacijom trebala bi biti da osmisle način kako da povežu ove dvije slike, ali ne kao uzajamno suprotne, već kao kontinuirani izraz “kultivišućeg čovjeka”.

#paradigm_shift

This is an homage to an old local building tradition preserved for the future. A several hundred-year-old timber logs building floating on a modern glass construction. Flydalsjuvet is a canyon at the end of the Geiranger Fjord. The resting area is located on one of the steep mountain sides leading to the fjord, across the valley from Ørnesvingen. The main task at Flydalsjuvet was to secure a safe access for the numbers of visitors from the upper plateau where disembarking from buses and car parking is located, down through a ramp to the viewpoint at the lower level. On the lower level there are three individual buildings placed on a terraced concrete floor with narrow pathways between them leading to the partly secured ridge of the mountain.. Ovim smo odali poštovanje staroj lokalnoj tradiciji gradnje i sačuvali je za buduće generacije. Nekoliko stotina godina stara građevina od balvana lebdi na modernoj staklenoj konstrukciji. Flydalsjuvet je kanjon na kraju fjorda Geiranger. Odmorište se nalazi na jednoj od strmih strana planine kojom se dolazi do fjorda, dolinom od Ørnesvingena. Glavni zadatak na Flydalsjuvetu bio je osigurati siguran pristup brojnim posjetiocima koji se rampom spuštaju s gornjeg platoa, gdje se nalazi parkiralište i autobusi iskrcavaju putnike, do vidikovca na donjem nivou. Na donjem nivou su tri pojedinačne građevine postavljene na terasastoj betonskoj podlozi s uskim stazama između njih, kojima se dolazi do djelomično osiguranog grebena planine. TXT

3RW ARKITEKTER - DA2012

#preserved_tradition

24/12/2012 THE ORGANISATION GATHERED AROUND DAYS OF ARCHITECTURE PERIODICALLY UNDERTAKES PUBLIC INTERVENTIONS OUTSIDE THE FESTIVAL. AT THE END OF 2012, A TEMPORARY INSTALLATION IS REALISED IN THE SUSAN SONTAG SQUARE, IN FRONT OF THE NATIONAL THEATRE. ORGANIZATORI DANA ARHITEKTURE I IZMEĐU FESTIVALSKIH DANA PODUZIMAJU POVREMENE JAVNE INTERVENCIJE. KRAJEM 2012. GODINE REALIZUJE SE PRIVREMENA INSTALACIJA NA TRGU SUSAN SONTAG ISPRED NARODNOG POZORIŠTA.

PHOTO: ERVIN PRAŠLJIVIĆ

#continuous_interior PUBLIC INTERVENTION ‘ARCHITECTURAL STUDIO’, 2012 THE SUSAN SONTAG SQUARE SARAJEVO

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Continuous Interior cancels typology, reflects new and unexplored areas of architecture that are defined by the changing programs and events in the space. Continuous Interior occurs through a different understanding and a new understanding of the public, social and common space. Continuous Interior questions the morality and ethics, considers the new architecture of work, housing and leisure. Kontinuirani Interijer poništava tipologije, promišlja nova i neistražena područja arhitekture koja se definiraju promjenjivim programima i događajima u prostoru. Kontinuirani Interijer nastaje kroz drugačije shvaćanje i novo poimanje javnog, društvenog i zajedničkog prostora. Kontinuirani Interijer propituje morale i etike, promišlja novu arhitekturu rada, stanovanja i dokolice. - Idis Turato, DA2017

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IDIS TURATO - DA2017

16/05/2013 THE CINEMA KRITERION REMAINS THE MAIN VENUE OF DA2013, AND THE 2013 EDITION BRINGS ABOUT A NUMBER OF IMPROVEMENTS WITH REGARDS TO DEFINITION OF TOPICS AND THE OVERALL APPROACH TO DESIGNING THE FESTIVAL. THE CENTRAL TOPIC – ‘COMMON SPACE’ – IS AIMED AT THE YOUNGER POPULATION OF ARCHITECTS IN THE FIRST PLACE. THE TOPIC FACILITATES THE QUESTIONS AROUND ARCHITECTURAL PRACTICE IN THE GAPS BETWEEN THE PRIVATE AND THE PUBLIC; GAPS CREATED BY INTRUSION OF THE PRACTICE OF MANAGING AND PRODUCTION OF THE SO-CALLED ‘COMMONS’ INTO THE PRACTICE OF SPATIAL DESIGN, SPATIAL RELATIONSHIPS AND PHENOMENA. KINO KRITERION OSTAJE GLAVNA LOKACIJA DA2013 ALI OVO IZDANJE DONOSI NIZ POMAKA KADA JE U PITANJU TEMATSKO ODREĐENJE I PRISTUP PROGRAMIRANJU FESTIVALA. CENTRALNA TEMA - ‘ZAJEDNIČKI PROSTOR’ - NASTOJI PRVENSTVENO PRIVUĆI INTERES MLADIH ARHITEKATA. POD OVIM NASLOVOM, PO PRVI PUT SE PRED LOKALNOM PUBLIKOM OTVARAJU PITANJA ARHITEKTONSKE PRAKSE U PROCJEPIMA IZMEĐU PRIVATNOG I JAVNOG; PROCJEPIMA OTVORENIM PRODOROM PRAKSE UPRAVLJANJA I PROIZVODNJE TAKOZVANIH ‘ZAJEDNIČKIH DOBARA’ U PRAKSU OBLIKOVANJA PROSTORA, PROSTORNIH ODNOSA I FENOMENA.

PHOTO: SABINA HODOVIĆ

#common_space DAYS OF ARCHITECTURE 2013 BREAK, ART CINEMA KRITERION SARAJEVO

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17/05/2013 THE PARTICIPANTS OF DA2013 DISCUSS THEIR PRACTICAL EXPERIENCES FROM VERY DIFFERENT PERSPECTIVES, BUT WITH COMMON FOCUS ON SOCIAL QUESTIONS AND PROBLEMS. DEBATES ARE OPENED WITH QUESTIONS OF COMPLEX RELATIONS WHICH DECISIVELY SHAPE URBAN SPACES AND IDENTITY - RELATIONSHIPS BETWEEN THE PRACTICE OF ARCHITECTURE AND URBAN PLANNING ON THE ONE HAND, AND USERS AND DECISION-MAKERS ON THE OTHER. UČESNICI DA2013 IZ VRLO RAZLIČITIH PERPEKTIVA RASPRAVLJAJU ISKUSTVA IZ PRAKSE USMJERENE PRIJE SVEGA NA SOCIJALNA PITANJA I PROBLEME. DEBATE OTVARAJU PITANJA KOMPLEKSNIH ODNOSA KOJI PRESUDNO OBLIKUJU URBANE PROSTORE I IDENTITET: IZMEĐU PRAKSE ARHITEKTURE I PLANIRANJA, S JEDNE, TE KORISNIKA I DONOSIOCA ODLUKA, S DRUGE STRANE.

PHOTO: DANI ARHITEKTURE SARAJEVO

#participation DAYS OF ARCHITECTURE 2013 BREAK ART CINEMA KRITERION SARAJEVO

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“If something marks us out, then it is contextuality. We do not have prefabricated answers, every time we start from scratch. Which is why we also do not have a ‘style’. We analyse and consider, as best as we know, spatial, topographic, climatic and other features of the site we are building on and thus try to find the ‘formula’ for the house we are designing. We also believe it important to show that it could only be done today, at this particular point in time, neither better nor worse than any other times.” “Ako nas nešto obilježava, onda je to kontekstualnost. Nemamo unaprijed pripremljene odgovore, nego svaki put počinjemo od nule. Zato nemamo ni ‘stil’. Analiziramo i uvažavamo, najbolje što znamo, prostorne, topografske, klimatske i druge osobine mjesta na kojem gradimo i tako pokušavamo naći ‘formulu’ kuće koju projektiramo. Također nam je važno pokazati da je to moglo nastati samo danas, u ovom našem isječku vremena, ni boljem ni gorem od drugih vremena.”

#context

#in_situ RADIONICA ARHITEKTURE (CROATIA)

#social_condenser

NARONA ARCHAEOLOGICAL MUSEUM, VID, CROATIA (2001-2007) RADIONICA ARHITEKTURE, GORAN RAKO

Scales which define “containers” from smaller to larger are firstly: the scale of artefacts from daily Roman life and the scale of the sculptures discovered are those which determine proportions of exhibition halls. Second: the scale of the temple, the square/forum, houses which surround the museum, and the olive groves and vineyards on the ascent to the church, determine the proportions of the building, its position and size. And third, above all scales, as the “overarching revision”, the scale of visitors who pass through the exhibition halls, staircases, terraces. Mjerila koja određuju “kontejner”, od manjeg prema većem su prvo: mjerilo artefakata iz rimske svakodnevnice i mjerilo otkrivenih skulptura mjerila su koja dimenzioniraju izložbene prostore. Drugo: mjerilo hrama, trga / foruma, kuća koje ga danas okružuju, gomila koje formiraju maslinike i vinograde penjući se prema crkvi, mjerila su koja dimenzioniraju zgradu, njen položaj i oblik. I treće: iznad svih mjerila, kao „krovna revizija“, mjerilo posjetitelja koji koračaju izložbenim prostorima, stubištima, terasama.

The Forum was the central democratic space in an ancient city. The one in Vid was buried for more than a thousand years. The excavated Narona testifies of the culture whose integral forces had created Europe as we know it today. It was its cities that carried and realised Europe’s continuity.

After a thousand years, we activate the archaeological site of Narona, thus reconnecting the “cut cord”. The regeneration process takes account of today’s diversities and complexities. We anticipate activities which will leave a mark of current times on the site. We introduce new elements, seek new vitality. We reject stage sets. We choose geometry as the grammar which will convert the space above the ancient temple into a museum, into a living archaeology.

Forum je bio središnji demokratski prostor antičkog grada. Ovaj u Vidu bio je zakopan više od tisuću godina. Otkopana Narona svjedoči nam kulturu koja je svojim integralnim silama pripremila Europu kakvu poznajemo. Upravo kroz urbano, taj kontinuitet potvrđivao se i ostvarivao neprekidno.

U Vidu nakon tisuću godina aktiviramo prostor arheologije Narone, spajamo “precvikani kabel”. Obnavljajući proces uvažavamo raznolikost i kompleksnost današnjice. Pretpostavljamo aktivnosti kojima će mjesto biti označeno vremenom u kojem upravo nastaje. Unosimo nove elemente, tražimo novu životnost. Odbacujemo kulise. Zati m odabiremo geometriju kao gramatiku kojom će prostor iznad antičkog hrama postati muzej, živuća arheologija.

#in_situ

Tensions caused by this clash of archaeology and new developments, relationship between urban and rural, countless interspaces, elements compatible in style as well as those which appear accidental, all those “pixels” create an image full of meaning. We see our task as creating a shape that will connect the regional language developed over a thousand years and the contemporary “container” of archaeology.

#meaning

Napetosti izazvane sudarom arheologije i postojeće izgradnje, odnosi urbanog i ruralnog, bezbrojni međuprostori, stilski nasuprot elementima koje kao da je nanijela voda, svi ti “pikseli” stvaraju sliku nabijenu značenjima. Svoj zadatak vidimo u formiranju oblika koji će povezati regionalni jezik nadograđivan tisuću godina i suvremeni “kontejner” arheologije.

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#inhabited_wall ISTANBUL DISASTER PREVENTION AND EDUCATION CENTER, TURKEY (2011) RADIONICA ARHITEKTURE

concept = micro-world = lawn, garden, park, deck, living room, terrace, playground = a place where solidarity of individuals and collectives is apparent = the place one should remember as a “positive piece of the universe” = ladybird, leaves, dew, snow, bees, swallow, laughter, wind...

#void ŠEGRT HLAPIĆ KINDERGARTEN, SESVETE, CROATIA (2004-2008) RADIONICA ARHITEKTURE

koncept = mikrosvijet = livada, vrt, park, trijem, dnevni boravak, terasa, igralište = mjesto na kojem je očigledna uzajamnost jedinki i kolektiva = mjesto koje treba pamtiti kao “pozitivni komadić svemira” = bubamara, lišće, rosa, snijeg, pčela, lastavica, smijeh, vjetar...

The kindergarten is surrounded by a cemetery, private houses and large residential buildings. The layout is very simple, viewed as one long building with 14 kindergarten and nursery units. The competition propositions had envisaged a town planning marker, which we ignored and instead made a kindergarten which occupies the entire site so that it can be built as a single-storey building, with each unit having direct access to the outdoor.

#context

Vrtić je smješten između groblja, obiteljskih kuća i velikih kolektivnih zgrada. Tlocrt je vrlo jednostavan, možemo ga gledati kao jednu dugačku zgradu u kojoj se niže 14 vrtičkih i jasličkih jedinica. U natječajnom programu je bila zamišljena urbanistička markica, koju smo ignorirali i napravili vrtić zauzimajući cijelu lokaciju iz razloga da bi cijeli vrtić bio u prizemlju, da bi sva djeca iz prizemlja mogla izlaziti i koristiti vanjski prostor.

#void

#social_condenser

RADIONICA ARHITEKTURE, GORAN RAKO (CROATIA)

Unlike so many incredible places in the city of Istanbul, the context in which the Istanbul Disaster Prevention and Education Centre is situated does not merit much consideration. We therefore do not waste energy on trying to fit in. Instead of “competing” with large and architecturally inarticulate buildings which surround the site, we choose to “ignore” them. We then create a microworld, traditional and contemporary in equal measure. Among high rise buildings we build a single-storey building. We establish new/old rules, proposing a space where visitors and employees would have a piece of a different, better universe. Kontekst u kojem će biti smješten Istanbul Disaster Prevention and Education Centre, za razliku od mnogih nevjerovatnih mjesta u gradu Istanbulu, nije vrijedan prevelikog uvažavanja. Zato se ne mučimo s nepotrebnim uklapanjem u okolinu. Umjesto “takmičenja” s velikim i arhitektonski neartikuliranim građevinama kojima je okruženo mjesto za gradnju, biramo “ignoriranje”. Zatim formiramo novi mikrosvijet, podjednako tradicionalan i suvremen. Među visokim zgradama, gradimo prizemnicu. Uspostavljamo nova/stara pravila, predlažemo prostor u kojem će posjetitelji i zaposlenici imati komadić drugačijeg, boljeg svemira. TXT

G ORAN RAKO, RADIONICA ARHITEKTURE - DA2013

#infill

“Yes, we do love the great ideas of the 60s and 70s and the optimism inherent in changing the world for the better at the stroke of a pen. But we strongly believe that complexity is real and good, and our society today does need a more substantial approach. Therefore, our spacial proposals are small-scale and deeply rooted in the local condition. BYE BYE UTOPIA!” “Da, mi volimo velike ideje šezdesetih i sedamdesetih i optimizam svojstven mijenjaju svijeta nabolje jednim potezom olovke. Međutim, duboko vjerujemo da je kompleksnost stvarna i dobra, a naše društvo danas traži temeljitiji pristup. Stoga su naši prostorni prijedlozi malih razmjera i duboko ukorijenjeni u lokalnim uvjetima. ĆAO ĆAO, UTOPIJO!”

#participation

#temporary THE KITCHEN MONUMENT, BERLIN, DUISBURG, GIESSEN, HAMBURG, LIVERPOOL, MÜLHEIM, WARSCHAU, ENGLAND, GERMANY, POLAND (2006) RAUMLABORBERLIN

Our mobile activators open urban space for temporary collective uses, explore its qualities and possibilities and interact with architectural and social spaces. Naši mobilni aktivatori otvaraju urbani prostor za privremenu kolektivnu upotrebu, istražuju njegove kvalitete i mogućnosti, i u interakciji su s arhitektonskim i društvenim prostorima.

#mono-volume

#transparency RAUMLABORBERLIN (GERMANY)

The Kitchen Monument (Berlin, Duisburg, Giessen, Hamburg, Liverpool, Mulheim, Warschau, England, Germany, Poland - 2006) is a mobile sculpture which has two states of being. This zinc sheet-clad sculpture can be extended into public space by a pneumatic spatial mantle that transforms it into a temporary collective space. Different programmes are staged in different places. Its broad spectrum of uses includes a banquet hall, conference room, cinema, concert hall, ballroom, dormitory, boxing arena and steam bath. The Kitchen Monument (Berlin, Duisburg, Giessen, Hamburg, Liverpool, Mulheim, Warschau, Engleska, Njemačka, Poljska – 2006) mobilna je skulptura koja postoji u dva stanja. Ova pocinčana skulptura može se proširiti u javni prostor uz pomoć pneumatskog prostornog plašta koji tako postaje privremeni kolektivni prostor. Različiti programi se postavljaju na različita mjesta. Širok spektar upotrebe uključuje banket salu, salu za konferencije, kino, koncertnu dvoranu, plesnu dvoranu, spavaonicu, bokserski ring i saunu. 138 3650 DAYS OF CONTEMPORARY ARCHITECTURE IN SARAJEVO

During the descent to the roof garden, visitors arrive directly in the inner courtyard. This open and at the same time protected event space of the roof terrace is the heart of the Kulturhaus and gives spatial expression to Aalto’s concern for common cultural experience. The inner courtyard will once again become the centre of the house with a temporary café and various concerts and events.. Spuštajući se na krovni vrt, posjetioci stižu izravno u unutrašnje dvorište. Ovaj otvoreni a istovremeno zaštićeni prostor na krovnoj terasi je srce Kulturhausa, te daje prostorni izraz Aaltovoj brizi za zajednički doživljaj kulture. Privremeni kafić, te razni koncerti i događaji ovo će unutrašnje dvorište ponovo učiniti središtem kuće.

#adaptive_reuse THE SHORTCUT, WOLFSBURG, GERMANY (2012) RAUMLABORBERLIN

On the occasion of the Aalto Festival, the project “Shortcut” consists of a 50-meter-long temporary staircase/bridge that leads from the forecourt of the Alvar Aalto Kulturhaus over the roofscape directly into the sheltered courtyard on the roof terrace. The staircase construction is not just a “shortcut” - an open-air bar invites you to linger. Shortcut takes up the basic idea of Alvar Aalto to understand the building as an active part of the urban landscape. The unexpected possibility to climb the house allows the guests to discover completely new perspectives and to detect the direct connection of the outside space with the interior of the culture house.

#pattern THE SHORTCUT, WOLFSBURG, GERMANY (2012) RAUMLABORBERLIN

A play of colours: the woven coloured ribbons accompany the staircase construction; shimmering and slightly interwoven, they show the architectural quality of material and detail in the temporary form of a play of colours.

U toku Aalto festivala, projekat “Prečica“ je privremeno stepenište/ most dug 50m, koje vodi od predvorja Alvar-Aalto-Kulturhausa, preko krova izravno u zaštićeno dvorište na krovnoj terasi. Stepenište nije samo prečica – bar na otvorenom poziva vas da se zadržite. Prečica preuzima osnovnu ideju Alvara Aalta da građevinu tretira kao aktivni dio urbanog krajolika. Neočekivana mogućnost penjanja na zgradu omogućuje gostima da otkriju potpuno novu perspektivu i nađu direktnu vezu vanjskog prostora i unutrašnjosti doma kulture.

RAUMLABORBERLIN (GERMANY)

#temporary

Igra bojama: tkane vrpce u boji prate strukturu stepeništa; blistave i blago isprepletene, one pokazuju arhitektonsku kvalitetu materijala i detalja u privremenoj formi igre boja.

Architecture as a social practice: with our project we want to emphasize the aspect of the “lived democracy” of Alvar Aalto’s architecture. We want to motivate people to take an active part in public life and to adhere to the democratic demand for equal access to education and culture. To achieve this, we often have to overcome obstacles and find new approaches; architecture serves as a catalyst. The colours give the room an individual complexity and cheerfully invite the visitor to explore. If the manner of the woven tapes is a reference to Alvar Aalto’s attention to detail, the colourfulness and the selection of colours reflects the new counterpart.

#common_space

#temporary

Boje prostoru daju osobnu kompleksnost i veselo pozivaju posjetioca da istražuje. Ako je karakter tkanih vrpci referenca na Aaltovu pažnju spram detalja, šarenilo i izbor boja odraz su njegovih novih istomišljenika.

Arhitektura kao društvena praksa: ovim projektom želimo naglasiti aspekt „življene demokratije“ u arhitekturi Alvara Aalta. Želimo motivirati ljude da aktivno učestvuju u javnom životu, te da se pridržavaju demokratske potrebe za jednakim pristupom obrazovanju i kulturi. Da bismo ovo postigli, često moramo prevazilaziti prepreke i pronalaziti nove pristupe; arhitektura tu služi kao katalizator..

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RAUMLABORBERLIN - DA2013

18/05/2013 IN THE INTRODUCTION TEXT FOR THE EXHIBITION ‘UNFINISHED MODERNISATIONS BETWEEN UTOPIA AND PRAGMATISM’, MAROJE MRDULJAŠ STATES ABOUT THE HISTORY MUSEUM OF BIH, THE FORMER MUSEUM OF THE REVOLUTION, AND THE IMPORTANCE OF ITS LOCATION FOR THE MUSEUM’S COLLECTION: „THE BUILDING BECOMES PART OF THE COLLECTION, NOT JUST AS AN OBJECT BELONGING TO THAT PAST, BUT ALSO AS A SPATIAL RESOURCE CAPABLE OF ABSORBING CONTENTS WHICH ARE COMPLEMENTARY TO ITS ORIGINAL PURPOSE – AFFIRMATION OF PROGRESSIVE ASPIRATIONS EVIDENT IN BOTH THE MUSEUM’S PROGRAMME AND ITS ARCHITECTURE.” U UVODNOM TEKSTU IZLOŽBE „NEDOVRŠENE MODERNIZACIJE: IZMEĐU UTOPIJE I PRAGMATIZMA“ MAROJE MRDULJAŠ GOVORI O ZNAČAJU LOKACIJE HISTORIJSKOG MUZEJA BIH (BIVŠEG MUZEJA REVOLUCIJE) ZA SAMU POSTAVKU: ‘ZGRADA POSTAJE DIO POSTAVA, ALI NE SAMO KAO OBJEKT KOJI PRIPADA PROŠLOSTI, NEGO KAO PROSTORNI RESURS SPOSOBAN PRIHVATITI SADRŽAJE KOJI SU KOMPLEMENTARNI NJENOJ IZVORNOJ NAMJENI – AFIRMACIJI PROGRESIVNIH STREMLJENJA KOJI SU SADRŽANI I U PROGRAMU MUZEJA ALI JEDNAKO TAKO I U NJEGOVOJ ARHITEKTURI.”

PHOTO: EMINA KUJUNDŽIĆ

#unfinished DAYS OF ARCHITECTURE 2013 EXHIBITION HISTORICAL MUSEUM OF BOSNIA AND HERZEGOVINA FORMER MUSEUM OF REVOLUTION SARAJEVO

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“We refer to modernisations in the plural, for we see them as multiple and fragmented processes: the history of the region is crucially marked by interruptions, attempts at establishing continuity, and the repeated revisions of the concepts of modernisation. These processes, whether intentionally or consequentially, showed a certain degree of independence or divergence from how they played out in international centres of modernity, which was essentially affected by the in-between position: between socialist East and capitalist West, the economically developed North and the underdeveloped South, progressive cultural experiments and retraditionalization, between innovative political conceptions and repressive mechanisms of ideological control.” 0

#in_between

“Mi o modernizacijama govorimo u množini jer ih vidimo kao višestruke i fragmentirane procese: historija regije je presudno obilježena prekidima, pokušajima uspostavljanja kontinuiteta i ponovljenim revizijama koncepata modernizacije. Ti procesi, bilo namjerno ili posljedično, pokazali su određeni stupanj neovisnosti ili odstupanja od onog kako su se odigravali u međunarodnim središtima modernosti, na šta je bitno uticao položaj “između”: između socijalističkog Istoka i kapitalističkog Zapada, ekonomski razvijenog Sjevera i nerazvijenog Juga, progresivnih kulturnih pokusa i povratka tradicionalizmu, između inovativnih političkih ideala i represivnih mehanizama ideološke kontrole.“ 0

Over the centuries, Sarajevo was defined by the coexistence of different ethnicities and religions. It was the westernmost large urban settlement of the Ottoman Empire, with all the concomitant specificities of social life, until the Austro-Hungarian Monarchy occupied Bosnia in 1878 and began the modernisation of the city. In the period between the World Wars, the town also cultivated a local modernism, though on a relatively modest scale. After the war, the need arose to build a new, modern centre in the area of Marijin dvor, west of the historical centre. Architect Juraj Neidhardt had spent years researching this area, inspired by the perceived affinities between the local urban culture and modernism. Neidhardt proposed a dense fabric of free-standing buildings in greenery, consisting of compact sets of horizontal slabs, and avoiding hierarchical relations and monumental axes. The programme included government administration, university facilities, museums and housing - a specific modern vision of a city center. Neidhardt’s ideas remained mostly unbuilt. The societal changes in the late phase of socialism replaced his dominantly public content with post-modernist business and commercial buildings, a process that continues to this day across the historical gap created by the devastation of Sarajevo during the recent war. 1

#non-hierarchical DIORAMIC VIEW, MARIJIN DVOR, SARAJEVO, BOSNIA AND HERZEGOVINA THIRD VERSION OF THE URBAN PLAN (1955)JURAJ NEIDHARDT

Sarajevo je kroz vijekove definisao suživot različitih etniciteta i religija. To je bilo najzapadnije veliko urbano naselje Osmanskog carstva, sa svim pratećim specifičnostima društvenog života, sve do 1878. godine, kada je Austrougarska monarhija okupirala Bosnu i započela modernizaciju grada. U periodu između svjetskih ratova grad je također njegovao lokalni modernizam, iako na relativno skromnoj razini. Nakon rata, pojavila se potreba za izgradnjom novog, modernog centra na području Marijin dvora, zapadno od historijskog centra grada. Arhitekt Juraj Neidhardt godinama je proučavao ovo područje, inspirisan uočenim afinitetima između lokalne urbane kulture i modernizma. Neidhardt je predložio gusto tkivo samostojećih građevina okruženih zelenilom, koje bi se sastojalo od kompaktnih setova horizontalnih ploča, pritom izbjegavajući hijerarhijske odnose i monumentalne osovine. Program je uključivao sadržaje javne uprave, univerzitetske ustanove, muzeje i stambene zgrade - specifičnu modernu viziju centra grada. Neidhardtove ideje mahom su ostale nerealizovane. Društvene promjene u kasnoj fazi socijalizma zamijenit će njegovu viziju dominantno javnog sadržaja post-modernističkim poslovnim i tržnim zgradama, što je proces koji se nastavio do danas, premostivši historijski jaz nastao uništavanjem Sarajeva tokom nedavnog rata.1

#programmatic_layering MARIJIN DVOR, SARAJEVO, BOSNIA AND HERZEGOVINA THE FOURTH VERSION OF THE URBAN PLAN (1960)

#density

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At Marijin Dvor, where the modern meets the historical Sarajevo, in the area which Juraj Neidhardt had researched for decades as the place of synthesis of urban modernistic experiences and the Ottoman architecture, the point of reconciliation between „the rational West and emotional East“, architects Magaš, Šmidihen and Horvat place the Museum of Revolution/ Liberation, architecture which belongs to a different form of modernity and which, just like Neidhardt once did, questions traditional and modernist conventions. Neidhardt’s work is based on a direct experience of creating in centres of modernisation and his exceptional empathy for the environment where he arrived as an already established author. 2 Na Marijin Dvoru, mjestu spoja između povijesnog i modernog Sarajeva, u prostoru kojeg Juraj Neidhart desteljećima istražuje kao prostor sinteze urbanih iskustava modernizma i otomanske arhitekture, izmirenja „racionalnog zapada i emotivnog istoka“, arhitekti Magaš, Šmidihen i Horvat upisuju Muzej Revolucije/Oslobođenja, arhitekturu koja pripada jednoj drugačijoj inačici modernosti i, jednako kao i Neidhardt, preispituje i tradicionalne i modernističke konvencije. Neidhardtov rad počiva na neposrednom iskustvu rada u centrima modernizacije i izuzetnoj empatiji prema sredini u koju dolazi kao već afirmirani autor. 2

Boris Magaš, Edo Šmidihen and Radovan Horvat were educated at the local Zagreb school of architecture, under the wing of Vladimir Turina, an authentic avant-garde, and had shown an ambition to take on modernism as a challenge, not a model. in discussing his laboratory architectural work at the Zagreb University, Magaš says: „If Mies had managed to solve a problem with four lines, we would research a solution requiring only three.“ One of the most convincing manifestations of this ambition is the Museum of Revolution/Liberation in case of which a straight-line link to some of the international architectural tendencies of the time would be a far too simplistic interpretation. 3

#design_as_research MUSEUM OF REVOLUTION, SARAJEVO, B&H (1958-1963) BORIS MAGAŠ, EDO ŠMIDIHEN, RADOVAN HORVAT

Boris Magaš, Edo Šmidihen i Radovan Horvat obrazovali su se na lokalnoj zagrebačkoj školi, „pod kabanicom“ autentičnog avangardiste Vladimira Turine i pokazuju ambiciju kojoj je matrica modernizma izazov, a ne model. Magaš tako govori o laboratorijskom projektantskom radu na zagrebačkom fakultetu: „Ako je Mies riješio neki problem sa četiri linije, mi smo istraživali rješenje sa tri.“ Jedan od najuvjerljivijih iskaza te ambicije upravo je Muzej Revolucije/Oslobođenja koji bi bilo previše jednostavno dovoditi u pravolinijsku vezu s nekim od internacionalnih arhitektonskih tendencija. 3 This project of Magaš, Šmidihen and Horvat is based on a disciplined application of modernistic treatments which does not belong to the domain of architecture alone, but that of the culture as a whole (the reduction of language, the autonomy of artistic form with respect to the content, focus on research, etc.). The project is a result of an active dialogue with other, “central” cultures, and Magaš states that the Museum is in tangential relation with the leading modernist architectural tendencies, but quotes Mondrian as the intellectual source. Recognisable references (crossed section pillars, modular rasters of black glass panels) do not disguise their origin and are part of a universal form-making vocabulary, but are applied within the framework of an authentic syntax which anticipates solutions later seen in the centres of modernism (for example, its ambiguous disposition in which the “pedestal” is both the means of “monumentalisation” and an active part of the museum’s layout as it forms the intimate space of the atrium). 4 Projekt Magaša, Šmidihena i Horvata bazira se na disciplinovanom usvajanju modernističkih postupaka koji ne spada samo u domenu arhitekture, nego kulture u cjelini (redukcija jezika, autonomija umjetničke forme u odnosu na sadržaj, usmjerenost prema istraživačkom, itd). Projekt je rezultat aktivnog dijaloga s drugim, “centralnim” kulturama, a Magaš ističe da Muzej ima tangencijalne elemente s vodećim modernističkim arhitektonskim tendencijama, ali u prvi plan ističe Mondriana kao intelektualno ishodište. Prepoznatljive reference (stupovi križnog presjeka, crni modularni raster staklenih ploha) ne kriju svoje porijeklo i dio su univerzalnog oblikovnog vokabulara, no primijenjene su unutar okvira autentične sintakse koja anticipira rješenja koja će se tek kasnije pojaviti u centrima modernizma (primjerice, višeznačna dispozicija u kojoj je “postament” istovremeno sredstvo “monumentalizacije”, ali i aktivni dio prostornog scenarija muzeja jer formira intimni prostor atrija…). 4 12

#unfinished MUSEUM OF REVOLUTION, SARAJEVO, BOSNIA AND HERZEGOVINA

Within the corpus of local architectures, the Museum of Revolution/Liberation is the project that most closely reflects what is typically understood as universal and international, whilst its attribution to the corpus of “other modernisms” is determined by a host of locally recognisable features explained by specific connections between different intellectual, political and other circumstances. Namely, its nativeness is not contained in any individual layer of the project, as much as it is in the network of relationships built into its concept and design methods. The project is a result of a developed tradition of architectural precision and the then popular practical research cultivated in Zagreb at that period (e.g. EXAT-51), it was realised in Sarajevo as part of local ambitions to create a modern city center with a specifically programmed composition (amalgamated cultural, educational, political, commercial and residential contents), and it serves the function of Yugoslav anti fascist heritage and the struggle for emancipation which is equally shared by all nations of the region and is a universal value. The Museum, like many other building projects across the former state and over the period stretching far beyond the socialist era, therefore reveals itself to those who know and care to read it, as the place where multiple parallel histories intertwine, thereby connecting different levels of “local” with the “universal”. 5

Unutar korpusa lokalnih arhitektura, Muzej Revolucije/Oslobođenja jedan je od radova koji se sasvim približio univerzalnom i internacionalnom, a njegova pripadnost korpusu “drugih modernizama” određena je nizom lokalnih posebnosti koje treba tražiti u specifičnim vezama između različitih intelektualnih, političkih i drugih okolnosti. Naime, pojedinačni slojevi projekta nisu toliko lokalizovani, koliko je to mreža odnosa koji su ugrađeni u njegovo zasnivanje i projektantske postupke. Projekt je rezultat razvijene tradicije projektantske preciznosti i tada aktuelnih plastičkih istraživanja kultiviranih u Zagrebu (npr. EXAT-51), ostvaren je u Sarajevu kao dio lokalnih napora ka formiranju modernog gradskog centra sa specifičnim programskom kompozicijom (kulturni, obrazovni, politički, poslovni i stambeni sadržaji su amalgamirani), a u funkciji jugoslovenske baštine antifašizma i borbe za emancipaciju koja jednako pripada svim narodima u regiji i univerzalna je vrijednost. Tako se Muzej, kao i mnoge druge građevine diljem nekadašnje države i u periodu znatno dužem od socijalističkog, onome tko ih zna i želi pročitati razotkriva kao mjesto preplitanja višestrukih paralelnih historija, povezujući raznolike stupnjeve “lokalnog” i “univerzalnog”. 5

0 UNFINISHED MODERNISATIONS - BETWEEN UTOPIA AND PRAGRAMATISM, UHA/CCA, ZAGREB, 2012 2 3 4 5 MAROJE MRDULJAŠ, VLADIMIR KULIĆ -DA2013 NINA UGLJEN ADEMOVIĆ, ELŠA TURKUŠIĆ ‘SARAJEVO MARIJIN DVOR, THE FORMATION OF A NEW CITY CENTRE’ UNFINISHED MODERNISATIONS, ZAGREB, 2012

23/05/2014 DA2014 – TITLED ‘ACTIONS FOR COMMON SPACE’ – IS THEMATICALLY LINKED WITH THE PREVIOUS EDITION, BUT THE APPROACH TO DESIGNING THE FESTIVAL IS COMPLETELY NEW. THE INNER COURTYARD OF THE BUILDING KNOWN AS MARIJIN DVOR BECOMES THE CENTRAL VENUE, AND THE FESTIVAL IS A COMBINATION OF PRACTICAL ACTIVITIES AND A DISCURSIVE PROGRAMME. DA2014 POD NAZIVOM ‘AKCIJE ZA ZAJEDNIČKI PROSTOR’ TEMATSKI SE UVEZUJU SA PRETHODNIM IZDANJEM, ALI DONOSE POTPUNO NOVI PRISTUP PROJEKTOVANJU FESTIVALA. CENTRALNA LOKACIJA SADA JE UNUTRAŠNJE DVORIŠTE ZGRADE POZNATE POD IMENOM MARIJIN DVOR, A PROGRAM SE REALIZUJE KAO KOMBINACIJA PRAKTIČNIH RADOVA I DISKURZIVNOG PROGRAMA.

#do-tank DAYS OF ARCHITECTURE 2014 WORKSHOP MARIJIN DVOR, SARAJEVO

PHOTO: DANI ARHITEKTURE SARAJEVO

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25/05/2014 IN COOPERATION WITH ARCHITECTUUL BERLIN AND ICOMOS IN B&H, DA ORGANISES A CONVERSATION ABOUT ARCHITECTURAL HERITAGE IN BOSNIA AND HERZEGOVINA TITLED ‘BOSNIA AND HERZEGOVINA UNFINISHED’. THE STARTING POINT FOR THE CONVERSATION IS AN ASSERTION FROM THE BOOK ‘THE ARCHITECTURE OF BOSNIA AND THE WAY TO MODERNITY’, ABOUT MIXED INFLUENCES OF THE EAST AND THE WEST, AND THE IMPACT OF POLITICAL POWER ON THE CONTEXT OF CONTEMPORARY ARCHITECTURE, WHERE INDIVIDUAL IMPROVISATIONS REPLACE ANY KIND OF JOINT APPROACH. U SARADNJI SA ARCHITECTUUL BERLIN I ICOMOS U BIH REALIZUJE SE RAZGOVOR O ARHITEKTONSKOM NASLIJEĐU U BOSNI I HERCEGOVINI POD NAZIVOM ‘BOSNIA AND HERZEGOVINA UNFINISHED’. POLAZNE TAČKE ZA RAZGOVOR ČINE TEZA GRABRIJANA I NEIDHARDTA IZ KNJIGE ‘ARHITEKTURA BOSNE I PUT U SAVREMENO’, O POMJEŠANOM UTICAJU ISTOKA I ZAPADA, TE TEZA O UTICAJU POLITIČKE MOĆI NA KONTEKST SAVREMENE ARHITEKTURE, U KOJEM POJEDINAČNE IMPROVIZACIJE ZAMJENJUJU BILO KAKVU VRSTU ZAJEDNIČKOG PRISTUPA.

PHOTO: HARIS SAHAČIĆ?

#unfinished BOSNIA AND HERZEGOVINA UNFINISHED, SARAJEVO, DA2014

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Contemporary architectural thought in Bosnia and Herzegovina brings about a synthesis of modern and traditional thought which is related to the country’s historical experiences. After the First World War, Bosnian architects developed a very specific architectural language. The foundations of modern tendencies have been inscribed in the work of many local architects who all trained in Central European cultural centres, amongst them H. Baldasar, M. Baylon, J. Finci, D. Grabrijan, L. Kabiljo, R. Kadić, M. Kadić, D. Smiljanić, I. Reis and E. Šamanek. Their works promoted an international functionalism which went hand in hand with high social awareness. The meeting of Western and Oriental cultures results in a unique approach which respected local cultural traditions and combined it with the postulates and principles of Modernism. But the most important contribution came from Juraj Neidhardt, a student of Peter Behrens and Le Corbusier. He arrived in Sarajevo from Zagreb in 1938 and created the theoretical basis for Bosnia’s take on Functionalism. He proceeds to create an extensive opus which traces the idea of continuity of human architectural thought, by transposing the positive values of heritage into contemporary language, in a very particular, original and visionary way. In 1957, together with Dušan Grabrijan, he published a book “Architecture of Bosnia and the Way to Modernity”. Savremena arhitektonska misao u Bosni i Hercegovini može se pratiti kroz sintezu modernog i tradicionalnog izraza, koji se oslanja na historijska iskustva države. Nakon Prvog svjetskog rata, bosanski arhitekti su razvili vrlo specifičan arhitektonski jezik. Temelji modernih stremljenja upisani su u radu mnogih lokalnih arhitekata školovanih po srednje-europskim centrima, kao što su H. Baldasar, M. Baylon, J. Finci, D. Grabrijan, L. Kabiljo, R. Kadić, M. Kadić, D. Smiljanić, I. Reis, te E. Šamanek. Njihovi radovi promovišu internacionalni funkcionalizam koji se direktno veže uz visoku socijalnu osviještenost. Susret zapadne i orijentalne kulture stvara jedinstven pristup koji je poštivao tradiciju domaće kulture i kombinovao je sa postulatima i principima Moderne. Ali, najvažniji doprinos stiže od Juraja Neidhardta, studenta Petera Behrensa i Le Corbusiera. Dolaskom u Sarajevo iz Zagreba 1938. on stvara teoretsku podlogu za bosanski pristup funkcionalizmu. Time započinje široki stvaralački opus na putu ideje kontinuiteta humane arhitektonske misli, unutar kojeg na vrlo osebujan, originalan i vizionarski način transponira pozitivne vrijednosti naslijeđa u savremeni jezik. Zajedno sa Dušanom Grabrijanom 1957. godine izdaje knjigu „Arhitektura Bosne i put u savremeno“.

#in-between

ANALYSIS OFURBAN ELEMENTS, EXCERPT FROM BOOK ARCHITECTURE OF BOSNIA AND THE WAY TO MODERNITY’ (1957)

Grabrijan and Neidhart stress that the architecture of Bosnia “is about two fields of influence – eastern and western – that in this ambiance seek reconciliation. Here we see the intertwining of the western influence with the eastern emotional. (…) Because the opposites attract, it is no coincidence that the Oriental so adores technology and that the Westerner is so attracted by eastern architecture. We want to forge a synthesis of the rational and emotional, we care about harmonious contemporary architecture, which will match new needs, new materials and technologies and will be, in our language, understandable to our people”. Grabrijan i Neidhart naglašavaju da je arhitektura Bosne rezultat „dva polja utjecaja – istočnog i zapadnog – koji u ovom okruženju teže pomirenju. Ovdje vidimo splet zapadnjačkih utjecaja i istočnjačke emocionalnosti. (…) Suprotnosti se privlače, te nije slučajnost da Orijent tako obožava tehnologiju, a da Zapadnjake toliko privlači istočnjačka arhitektura. Mi želimo stvoriti sintezu racionalnog i emocionalnog, stalo nam je do harmonične suvremene arhitekture koja će odgovoriti novim potrebama, novim materijalima i tehnologijama, i koja će, našim jezikom rečeno, biti razumljiva našim ljudima“. “This book has helped me to dispel an ambiguity against which I have been fighting all my life: lazy people always appeal to folklore and copy forms grown out of a definite ethical outlook, a way of life and technique which are very specific, exactly defined and in most cases, thoroughly out of date. (…) There is still another method of continuity - a continuity of spirit and continuity of evolution, including also revolutions that may mark the way. (…) Grabrijan and Neidhardt have felt all this. The extraordinarily copious book they are publishing needs no commentary. These pages will eloquently speak of their sentiments, their technique, their aesthetics etc. For me personally, who have visited Yugoslavia forty years ago and loved its landscape, its houses and its people, it has been a great pleasure to find in this book by Grabrijan and Neidhardt the modern spirit of the world harmoniously united with the things I had retained in a pleasant memory.“ 0 “Ova knjiga mi je pomogla odagnati dvosmislenost protiv koje sam se uvijek borio: lijeni ljudi se uvijek pozivaju na folklor i kopiraju forme proizašle iz preciznog etičkog stava, načina života i tehnike koji su u pravilu vrlo specifični i tačno definisani, i mahom potpuno prevaziđeni. (…) Postoji i jedna druga metoda kontinuiteta - kontinuitet duha i kontinuitet evolucije, uključujući i revolucije koje obilježavaju put. (…) Grabrijan i Neidhardt su sve to osjetili. Vanredno obimna knjiga koju objavljuju ne treba komentare. Ove stranice će elokventno svjedočiti o njihovim osjećajima, tehnikama, estetikama, itd.. Meni lično, koji sam posjetio Jugoslaviju prije četrdeset godina i ostao zaljubljen u njene krajolike, njene kuće i njene ljude, bilo je veliko zadovoljstvo pronaći u knjizi Grabrijana i Neidhardta svjetski duh novog vremena skladno ujedinjen sa stvarima koje su mi ostale u prijatnom sjećanju.” 0 162 3650 DAYS OF CONTEMPORARY ARCHITECTURE IN SARAJEVO

0 LE CORBUSIER, PREFACE “ARCHITECTURE OF BOSNIA AND THE WAY MODERNITY” NEIDHARDT AND GRABRIJAN: ARCHITECTURE OF BOSNIA AND THE WAY MODERNITY, SARAJEVO, 1957.

Time period from late 60s to mid-80s presents a mature contemporary architecture production in Bosnia and Herzegovina. In that period Sarajevo Architectural School was established, that has been characterized by the existence of two parallel poles of architectural thoughts and approaches. Institutional generation of architects which present the first pole (A. Džuvić, E. Jahić, M. Ovadija and A. Polić) were profiled to develop regional expression with their distinctive contemporary artistic expression. The second pole is more internationally oriented and merely manifested by public buildings (I.Štraus, B. Bulić, D. Đapa, Ž. Janković, M. Kušan, H. Salihović, H. Muhasilović, M. Gvozden, B. Krupjel, at al.) A specific place is occupied by Zlatko Ugljen with his research approach towards a new discourse of multi-layered reinterpretation of space. 1 Period od kraja šezdesetih do sredine osamdesetih godina vrijeme je najzrelije savremene arhitektonske produkcije u Bosni i Hercegovini. U tom periodu nastala je sarajevska škola arhitekture koju su karakterisala dva pola arhitektonske misli i pristupa. Institucionalizirana generacija arhitekata koji predstavljaju prvi pol (A. Džuvić, E. Jahić, M. Ovadija i A. Polić) profilirali su se u razvoju regionalnog izraza sa svojim prepoznatljivo savremenim umjetničkim izrazom. Drugi pol je više međunarodno orijentisan i samo se manifestuje u javnim zgradama (I.Štraus, B. Bulić, D. Đapa, Ž. Janković, M. Kušan, H. Salihović, H. Muhasilović, M. Gvozden, B. Krupjel, i drugi). Posebno mjesto zauzima Zlatko Ugljen sa svojim istraživačkim pristupom ka novom diskursu višeslojne reinterpretacije prostora. 1

#non-hierarchical ŠEREFUDIN WHITE MOSQUE VISOKO, B&H (1983) ZLATKO UGLJEN

#paradigm-shift ‘BOSNIA AND HERZEGOVINA UNFINISHED’ DAYS OF ARCHITECTURE 2014 SARAJEVO

In 2012, Ugljen Ademović Turkusić, Ibrišimbegović stress that varying local socio-political constellations cause change in the appearance of the urban context thus integrating its concrete intentions into emerging architecture. This is most visible in small countries in which transitional processes are still very much present. “The transition present in Bosnia and Herzegovina has marked transition from social to private ownership in all segments of life and also marked the space and its architectural articulation.” The authors single out three current tendencies in the construction of redefining cultural identity of Bosnia and Herzegovina. 2

#mono-volume MUSEUM OF AVIATION, BELGRADE (1969-1989) IVAN ŠTRAUS

2012. godine, Ugljen Ademović, Turkusić i Ibrišimbegović ističu da različite lokalne socio-političke konstelacije dovode do promjene u izgledu urbanog konteksta, čime se njene konkretne namjere integrišu u nastajuću arhitekturu. Ovo je najočitije u malim zemljama gdje su tranzicijski procesi još uvijek vrlo prisutni. “Tranzicija kroz koju prolazi naša zemlja obilježila je prelaz iz društvenog vlasništva prema privatnom vlasništvu u svim segmentima života, pa tako i kada govorimo o prostoru i njegovoj arhitektonskoj artikulaciji.” Autori izdvajaju tri aktuelne tendencije u procesu redefiniranja kulturnog identiteta Bosne i Herzegovine. 2 The first is politically and ideologically oriented and starts from primordial notions of identity construction, while rejecting modern heritage or valorisation of the socialist period architecture. The aim is to create a homogeneous cultural identity as an element of social stability and a sense of belonging in the transition process. The second tendency is based on a market-oriented relationship of architecture and society, which unfortunately does not attempt any innovative or even neutral architectural forms that could contribute to the cultural context. 3 Prva je političko-ideološki orijentirana i polazi do primordijalnog shvaćanja identitetske konstrukcije, pri čemu se odbacuje moderno naslijeđe odnosno alorizacija arhitekture socijalističkog perioda. Cilj je kreiranje homogenog kulturnog identiteta kao elementa društvene stabilnosti i osjećaja pripadnosti u procesu tranzicije. Druga tendencija polazi od tržišno orijentiranog odnosa arhitekture i društva, koja nažalost ne pokušava nikakve inovativne pa čak ni neutralne arhitektonske forme koje bi mogle doprinijeti kulturalnom kontekstu. 3 The third tendency, starting from the value of the truth that is found continuously, to do with regenerating role of culture through the recognition and preservation of the evolutionary basis for the promotion of cultural diversity, is the least present. One reason for this situation is the fact that this tendency is the most difficult one. It requires questioning and analysis within the “process by which social actors build their own meaning according to cultural attributes.” (M.Castells) This also engages socially responsible role of architects. In this transitional moment, where the first two tendencies are dominant, such a role can be realized through an educational process that starts with research. This process is certainly the noblest and most time-consuming one. 4

#unfinished MARIJIN DVOR, SARAJEVO, BOSNIA AND HERZEGOVINA (2014)

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Treća tendencija, koja polazi od vrijednosti istine koju se kontinuirano pronalazi, tiče se regeneracijske uloge kulture kroz prepoznavanje i očuvanje evolucijske osnove za promoviranje kulturalnih različitosti, je najmanje prisutna. Jedan od razloga ovakvog stanja je to što je ova tendencija najteža. Ona zahtijeva propitivanje i analiziranje unutar „procesa kojim društveni akteri grade svoje vlastito znčenje u skladu s kulturalnim atributima.” (M.Castells) Time se aktivira i socijalno odgovorna uloga arhitekte. U ovom tranzicijskom momentu, gdje su prve dvije tendencije dominantne, takva se uloga može realizovati kroz edukativni proces koji započinje s istraživanjem. Ovaj proces je zasigurno najplemenitiji ali i najdugotrajniji. 4

UGLJEN ADEMOVIĆ, TURKUSIĆ, IBRIŠIMBEGOVIĆ ‘THE PROCESS OF REDEFINING CULTURAL IDENTITY IN SOCIETIES IN TRANSITION; CASE STUDY: HISTORICAL MUSEUM OF BOSNIA AND HERZEGOVINA’, CONFERENCE PAPER, 2014

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Yes, we do love the great ideas of the 60s and 70s and the optimism inherent in changing the world for the better at the stroke of a pen. But we strongly believe that complexity is real and good, and our society today does need a more substantial approach. Therefore, our spacial proposals are small-scale and deeply rooted in the local condition. BYE BYE UTOPIA! Da, mi volimo velike ideje šezdesetih i sedamdesetih i optimizam svojstven mijenjaju svijeta nabolje jednim potezom olovke. Međutim, duboko vjerujemo da je kompleksnost stvarna i dobra, a naše društvo danas traži temeljitiji pristup. Stoga su naši prostorni prijedlozi malih razmjera i duboko ukorijenjeni u lokalnim uvjetima. ĆAO ĆAO, UTOPIJO! - RaumlaborBerlin, DA2013

The building of Marijin dvor (Marienhof, Maria’s Yard) is one of the most significant examples of the Austro-Hungarian (Central European) palace in Sarajevo. It is a typical example of Italian neo renaissance. Situated in the city centre, it is one of the first residential palaces of such dimensions in Sarajevo. It was built in stages between 1885 and 1899 as a residential and commercial two-storey building shaped as a closed four-sided block with a big inner courtyard. Zgrada Marijin dvor (Marienhof, Maria’s Yard) jedan je od najznačajnijih primjera austrougarske (srednjoeuropske) palače u Sarajevu, a predstavlja tipičan primjer talijanske neorenesanse. Smještena u središtu grada, predstavlja jednu od prvih stambenih palača takvih dimenzija u Sarajevu. Izgrađena je u etapama između 1885. i 1899. godine kao stambeno-poslovna dvokatnica u obliku zatvorenog bloka unutar kojega se nalazi veliko dvorište.

#density MARIJIN DVOR, SARAJEVO, BOSNIA AND HERZEGOVINA (2014)

#context

The building was designed by a renowned Czech architect Karlo Paržik. According to some sources, it was a model building (Musterhaus) of the Austrian industrialist August Braun (AB), the producer of building materials and clay products. The building is named after August Braun’s wife Maria Braun and the whole neighbourhood is officially called Marijin dvor, after this building. Projektirao ju je poznati češki arhitekt Karlo Paržik. Prema nekim izvorima, to je bila ogledna zgrada (Musterhaus) industrijskog proizvođača Augusta Brauna (AB), proizvođača građevinskih materijala i proizvoda od opeke. Zgrada je dobila ime po Mariji Braun, supruzi Augusta Brauna, a čitava se četvrt, po ovoj zgradi, službeno naziva Marijin dvor.

Four streets – Kralja Tvrtka, Augusta Brauna, Dolina and Maršala Tita – make out the bounds of the largest inner courtyard in the city, commonly called Marindvorsko (Maria’s Yard). In 2007, the Commission for the Preservation of National Monuments of Bosnia and Herzegovina declared this historic building a national monument. Četiri ulice - Kralja Tvrtka, Augusta Brauna, Dolina i Maršala Tita – čine vanjski prostor najvećeg unutarnjeg dvorišta u gradu, obično nazvan Marindvorsko. 2007. godine, Komisija za očuvanje nacionalnih spomenika Bosne i Hercegovine proglašava ovu istorijsku građevinu, zgradu Marijin Dvor, nacionalnim spomenikom.

#common_space MARINDVORSKO, SARAJEVO, BOSNIA AND HERZEGOVINA (2014)

#context MARIJIN DVOR, SARAJEVO (B&H)

Isolated from the noise of the often hectic Marijin dvor neighbourhood, this beautiful courtyard affords some peace and quiet. The inner courtyard of Marijin dvor is 2,332 m2 in surface and is the largest courtyard of this kind in Sarajevo. As many as ten staircases lead from the palace onto the courtyard. Along with four plane trees, which miraculously survived the recent war, the courtyard also features a few broken benches and a little improvised garden. Izolirani od buke dinamičnog marindvorskog kvarta, u ovom prekrasnom dvorištu možete uživati i naći mir. Unutrašnje dvorište Marijin dvora površine 2.332 m2, najveće je dvorište ove vrste na području grada Sarajeva. Na ovo dvorište usmjereno je čak 10 stepeništa sa Marijindvorske palate. Pored četiri velika drveta platana, koja su nekim čudom preživjela protekli rat, u dvorištu se nalazi i nekoliko razvaljenih klupa i jedan mali, improvizirani vrt. 166 3650 DAYS OF CONTEMPORARY ARCHITECTURE IN SARAJEVO

#void

For years the yard had been used as a hangout place for the Sarajevo youth, but the residents of the block did not appreciate the noisy “guests”. Consequently, they locked the main entrance into the yard, after which the yard was used very rarely and exclusively by the residents. In 2013, two local organizations, Association for Culture and Art CRVENA and LIFT moved their offices to this block and, soon after, they decided to engage in making the inner yard a common place again. Godinama je dvorište korišteno kao mjesto za druženje sarajevske mladeži, ali stanovnici bloka nisu cijenili bučne “goste”. Kao posljedicu toga, zaključavaju glavni ulaz u dvorište, koje od tada koriste isključivo stanovnici bloka, i to vrlo rijetko. 2013. godine, dvije lokalne organizacije, Udruženje za kulturu i umjetnost CRVENA i LIFT, sele svoj ured u blok i uskoro se odlučuju angažirati i od dvorišta opet napraviti zajedničko mjesto.

#do-tank

#think-tank

#participation The intervention in Maria’s Yard involved several steps. First, we started taking our breaks in the courtyard and holding meetings on different topics. Soon, after we got to know some of our neighbours and informed them about our initiative, we organised a workshop for the residents where we discussed different ideas and plans for the improvement of the space. Intervencija u Marindvorskom se sastojala od nekoliko koraka. Prvo smo u dvorištu počeli provoditi pauze, ali i održavati sastanke s različitim temama. Uskoro, nakon što smo upoznali neke od naših susjeda i informirali ih o našoj inicijativi, organizirali smo radionicu za stanovnike bloka u sklopu koje smo razgovarali o različitim idejama i planovima za poboljšanje ovog prostora. We also made contacts with the local community representatives of Marijin dvor-Crni Vrh (the lowest administrative and political level), as well as the Centar Municipality, after which, with their support, we delivered an educational and discursive program through the festival Days of Architecture 2014. Također smo uspostavili kontakte s mjesnom zajednicom Marijin dvor - Crni Vrh te njihovim službenim predstavnicima, kao i s Općinom Centar, nakon čega smo, uz njihovu podršku, organizirali obrazovni i diskurzivni program kroz festival Dani arhitekture 2014. TXT

CRVENA/LIFT - DA2014

#right_to_the_city WORKSHOP ‘HIDDEN COMMONS IN MARIA’S YARD’ DAYS OF ARCHITECTURE, 2014 SARAJEVO, B&H

#do-tank LIFT + CRVENA, SARAJEVO (B&H)

The goal of the initiative was to rediscover and reclaim the hidden commons of Maria’s Yard and to initiate citizens’ participation. From the very beginning, the process was open, leaving enough space for all interested individuals to part-take in shaping the process and next steps. Different methods were used at different stages of the process, from information exchange, workshops and interviews, to non-formal meetings, cleaning actions, exhibitions, etc. Za cilj je postavljeno otkrivanje i obnavljanje skrivenog zajedničkog prostora unutar Marijinog dvorišta i iniciranje građanskog učešća. Od samog početka, proces je bio otvoren, ostavljajući dovoljno prostora svim zainteresovanim pojedincima da učestvuju u oblikovanju procesa i narednih koraka. Korištene su različite metode u različitim fazama procesa: od razmjene informacija do radionica, intervjua, neformalnih sastanaka, akcija čišćenja, razgovora, izložbi, itd.

07/10/2014 THE WORKS IN THE MARIJIN DVOR COURTYARD CONTINUE FOR SEVERAL MONTHS AFTER DA2014 OFFICIALLY ENDED, UNTIL COMPLETION OF THE MARIJIN DVOR BENCH PROJECT. THE PROJECT TITLED ‘HIDDEN COMMONS IN MARIA’S YARD’ IS NOMINATED FOR THE EUROPEAN PRIZE FOR URBAN PUBLIC SPACE, WHOSE MISSION IS TO ‘RECOGNISE AND FOSTER PROJECTS OF REHABILITATION AND PROTECTION OF PUBLIC SPACES IN OUR CITIES’. RADOVI U MARINDVORSKOM DVORIŠTU NASTAVLJAJU SE NEKOLIKO MJESECI NAKON ZVANIČNOG PROGRAMA DA2014, SVE DO DOVRŠAVANJA PROJEKTA MARINDVORSKE KLUPE. PROJEKAT KLUPE POD NASLOVOM ‘SKRIVENO ZAJEDNIČKO U MARINDVORSKOM DVORIŠTU’, UVRŠTAVA SE NA LISTU NOMINOVANIH PROJEKATA EUROPSKE NAGRADE ZA GRADSKE JAVNE PROSTORE ČIJI JE CILJ ‘PREPOZNATI I OHRABRITI PROJEKTE OBNOVE I ODBRANE JAVNIH PROSTORA U NAŠIM GRADOVIMA’.

PHOTO: SABINA HODOVIĆ

#common_space MARIJIN DVOR, SARAJEVO, 2014

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04/03/2015 PROMPTED BY THE NEED OF ARCHITECTS TO INTERACT THROUGHOUT THE YEAR, THE CONCEPT OF INDIVIDUAL EVENTS – NIGHTS OF ARCHITECTURE – IS CONCEIVED AS COMPLEMENTARY TO THE FESTIVAL DAYS OF ARCHITECTURE. IT FOCUSES ON CURRENT ARCHITECTURAL THEMES AND TAKES DIFFERENT FORMATS: FILM SCREENINGS, LECTURES AND DISCUSSIONS. THE EVENT IN SARAJEVO ATTRACTS A LARGE NUMBER OF VISITORS, AND SEVERAL ORGANISATIONS FROM THE NEIGHBOURING COUNTRIES ADOPT THE SAME CONCEPT. IZ POTREBE KONTINUIRANOG OKUPLJANJA ARHITEKATA TOKOM CIJELE GODINE NASTAJE KONCEPT POJEDINAČNIH DOGAĐAJA - NOĆI ARHITEKTURE, KAO KOMPLEMENTARNI DIO FESTIVALA DANI ARHITEKTURE. USMJERAVA SE NA AKTUELNE TEME U OBLASTI ARHITEKTURE KROZ RAZLIČITE FORMATE: PROJEKCIJE FILMOVA, PREDAVANJA I RAZGOVORE. DOGAĐAJ PRIVLAČI VELIKI BROJ POSJETITELJA U SARAJEVU, A SLIČAN KONCEPT SLIJEDE POJEDINE ORGANIZACIJE IZ SUSJEDNIH DRŽAVA.

PHOTO: SABINA HODOVIĆ

#experimental NIGHTS OF ARCHITECTURE 01, CINEMA MEETING POINT SARAJEVO

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28/05/2015 DA2015 ARE REALISED WITH NEW APPROACH TO DESIGNING THE FESTIVAL. THE FORMAT IS OPTIMISED THROUGH SELECTION OF LOCATIONS AND TOPICS WHICH ARE PRIMARILY OF INTEREST TO THE AUDIENCE OF ARCHITECTS. AT THE SAME TIME, THE FESTIVAL RETAINS LOCATIONS OPEN FOR ALTERNATIVE AND FRINGE SOCIAL-SPATIAL PHENOMENA, AND NEW CONTENTS. VIDEO MAPPING, REALISED IN RECORD TIME THANKS TO GREAT ENTHUSIASM OF DAYS OF ARCHITECTURE AND THEIR PARTNERS BLOWUP, WALTER AND BILLAIN, ATTRACTS THE ATTENTION OF THE WIDER AUDIENCE. DA2015 SE REALIZUJU SA NOVIM PRISTUPOM U PROJEKTOVANJU FESTIVALA, OPTIMIZIRAJUĆI FORMAT KROZ ODABIR LOKACIJA I TEMA PRIHVATLJIVIH PRVENSTVENO ARHITEKTONSKOJPUBLICI. ISTOVREMENO SE ZADRŽAVAJU LOKACIJE OTVORENE ZA ALTERNATIVNE I RUBNE DRUŠTVENO-PROSTORNE FENOMENE, TE NOVE PROGRAMSKE SADRŽAJE. VIDEOMAPPING REALIZOVAN U KRATKOM VREMENSKOM PERIODU ZAHVALJUJUĆI VELIKOM ENTUZIJAZMU DANA ARHITEKTURE I PARTNERA BLOWUP, WALTER I BILLAIN, POSTAJE PRIMIJEĆEN OD STRANE ŠIRE PUBLIKE.

PHOTO: SABINA HODOVIĆ

#programmatic_layering DAYS OF ARCHITECTURE 2015 OPENING NIGHT, HISTORICAL MUSEUM OF BOSNIA AND HERZEGOVINA

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The whole of the ground floor is partitioned with glass walls, creating a sense of openness and defying the idea of hierarchical organisation - spaces for communal study face onto bicycle storage via glass walls, fitness space and laundry open directly to the corridor - in an attempt to establish a ‘platform’ of communal and social activities of the complex. The ground floor revolves around the central green patio space, offering a relaxing green zone in the middle of the small student community.

#foldable_curtain STUDENT HOUSING POLJANE, LJUBLJANA, SLOVENIA (2004-2006) - BEVK PEROVIC ARHTIEKTI

#meaning

Cijelo prizemlje je izdijeljeno staklenim zidovima, koji stvaraju osjećaj otvorenosti i prkose ideji hijerarhijske organizacije - zajednički prostori za studiranje kroz staklene zidove gledaju na ostavu za bicikla, a prostor za fitness i vešeraj se otvaraju direktno prema hodniku - u pokušaju uspostavljanja “platforme” zajedničkih društvenih aktivnosti kompleksa. Prizemna etaža izgrađena je oko centralnog ozelenjenog unutarnjeg dvorišta, nudeći zelenu zonu za opuštanje usred male studentske zajednice.

Dining rooms, the main living zones of the units, appear on the elevation of the buildings as huge openings - windows like “eyes”, overlooking the street. They act as “signs” of domesticity - offering the glimpse of domestic lives within the units to the city inhabitants passing by. Adjoining student bedrooms are, in turn, screened from the street by series of folding shutters in aluminium sandwich panelling, intricately perforated, creating a kind of foldable “curtain”, protecting private lives of inhabitants from the street bustle below.

#openness

Trpezarije, kao glavne zone života u studentskim stanovima, pojavljuju se na vanjskim ovojnicama zgrada u vidu velikih otvora - prozora koji poput „očiju“ gledaju na ulicu. Oni djeluju kao „znakovi“ domaćinstva - nudeći prolaznicima letimični pogled u živote unutar stanova. Za razliku od njih, studentske spavaće sobe su zaklonjene od ulice serijom sklapajućih brisoleja od aluminijumskih sendvič-panela, kompleksno perforiranih, koji stvaraju neku vrstu sklopive „zavjese“, štiteći privatnost života stanara od ulične vreve.

#openness BEVK PEROVIC ARHITEKTI (SLOVENIA)

#in_situ

House D, located in the prestigious neighbourhood in the vicinity of the city centre of Ljubljana, built for a couple with a specific lifestyle, is an exercise in programmatic layering. The “base”, containing all additional programs: pool, gym, workspaces etc, covers the entire site, creating a new zero level, a large terrace perforated by patios. From this level the “real” house emerges, consisting of one living room and one bedroom.

Built entirely in concrete cast in situ, enabling for large spans and specific structural concepts to be implemented, the house has been sanded and hand polished, revealing sedimental character of the material. The house’s outside appearance is enigmatic, entirely different from the houses in the neighbourhood. The closed cubic forms visible from the street reveal nothing of the intimate world hiding inside. . Izgrađena u potpunosti betoniranjem na gradilištu, što je omogućilo primjenu velikih raspona i specifičnih konstrukcijskih koncepata, kuća je ošmirglana i ručno polirana, otkrivajući sedimentni karakter materijala. Vanjski izgled kuće je zagonetan, posve drugačiji od kuća u susjedstvu. Zatvorene kubične forme, vidljive s ulice, ne otkrivaju ništa o intimnosti svijeta koji se skriva unutra.

#programmatic_layering HOUSE D, LJUBLJANA, SLOVENIA (2005-2008) BEVK PEROVIC ARHTIEKTI

Kuća D, smještena u prestižnom susjedstvu u blizini centra grada Ljubljane, izgrađena za par sa specifičnim životnim stilom, vježba je programskog raslojavanja. “Baza” - koja sadrži sve dodatne programe: bazen, teretanu, radne prostorije itd., zauzima cijelu površinu, stvarajući novi nulti nivo, veliku terasu perforiranu unutrašnjim dvorištima. Iz ovog nivoa izranja “prava” kuća, koja se sastoji od jednog dnevnog boravka i jedne spavaće sobe.

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#openness

The work of Bevk Perovic arhitekti (Matija Bevk and Vasa J. Perovic ) is characterized by continuous research into programmes and possibilities of their reinterpretations in contemporary architectural practice. In past years the office has received wide international recognition; they have been awarded numerous national and international prizes and were widely published. In order to understand and comprehend their work, one must examine their “dedicated choice” to follow conditions in which a building emerges. These conditions range from political and social, to environmental and material - their simple, yet complex architectural solutions strive to answer those conditions beyond bare function.

#context Ovo slikovito mjesto je tipična slovenačka prigradska situacija “ruralno predgrađe” - u blizini grada, a istovremeno ruralno, okruženo poljoprivrednim zemljištem i seoskim strukturama. Smještena na vrhu brežuljka, koji dominira okolnim krajolikom, kuća se pojavljuje poput dugog prozirnog ekstrudiranog objekta koji liči na kuću, a po mjerilu je nalik izduženim seoskim stajama i skladištima za žito. Unatoč svom dominantnom položaju, kuća kao da se spaja s krajolikom.

This picturesque site is a typical Slovenian suburban situation - a “rural suburbia” - close to the city but rural at the same time, surrounded by farmland and village structures. Situated on top of a low hill, dominating the surrounding landscape, the house appears like a long, transparent extruded house-like object, similar in scale to elongated rural stables and grain storage buildings. Despite its dominant position, the house seems to merge with the landscape.

Once near the house, one discovers the whole floor of the house is ‘submerged’ into the hill - the whole top of the hill has been excavated, hiding the private areas of the house - bedrooms, bathrooms, garden, swimming pool. While the lower structure is built in concrete and is oriented towards the hidden patio, the upper structure is made of steel structure, entirely glazed, transparent along the longer edges of the building and covered in huge sheets of aluminum doubling as side elevation and roof.

#transparency HOUSE HB, LJUBLJANA PIRNIČE, SLOVENIA (2005-2007) BEVK PEROVIC ARHTIEKTI

Prilaskom kući, otkriva se da je cijeli sprat “uronjen” u brdo - iskopan je cijeli vrh brda, skrivajući privatne prostore kuće - spavaće sobe, kupaonice, vrt, bazen. Dok je donja struktura izgrađena od betona i orijentirana prema skrivenom unutrašnjem dvorištu, gornja struktura je izrađena od čelične konstrukcije, potpuno ostakljena, po dužim stranama prozirna i prekrivena velikim aluminijskim pločama koje ujedno tvore krov i zabate.

The project Social Housing Polje became the exercise in “dissolution” and rearrangement of the original problematic urban plan - trying to establish the central open strip of land as a kind of a “social condenser” park-like area, with small artificial green hills acting as separation “walls” between different age groups of users. In a social housing project, where all the apartment units are subject to strict regulations and necessarily minimized, this space became an “extension” of inhabitants’ living rooms, a public (and unregulated) zone of social interaction and exchange. Projekt Socijalno stanovanje Polje postao je vježba “rastakanja” i preuređenja izvornog problematičnog urbanističkog plana - pokušaj uspostavljanja središnje otvorene trake zemlje, kao neke vrste parkovskog prostora “društvenog kondenzatora”, gdje mala umjetna zelena brda djeluju kao razdvajajući “zidovi” između korisnika različite starosne dobi. U projektu socijalnog stanovanja, gdje su sve stambene jedinice podložne strogim propisima i nužno minimizirane, taj prostor je postao “produžetak” dnevnih soba stanara, javna (i neregulirana) zona društvene interakcije i razmjene. Rad Bevk Perović arhitekata (Matija Bevk i Vasa J. Perović) karakterizira kontinuirano istraživanje programa i mogućnosti njihove reinterpretacije u savremenoj arhitektonskoj praksi. Posljednjih godina ured je stekao široko međunarodno priznanje; dodijeljene su im brojne državne i međunarodne nagrade, te su višestruko objavljivani. Da bismo razumjeli i spoznali njihov rad, moramo ispitati njihov “posvećeni izbor” da slijede uvjete u kojima nastaju zgrade. Ti uvjeti kreću se od političkih i društvenih, do ekoloških i materijalnih - njihova jednostavna, a ipak složena arhitektonska rješenja nastoje odgovoriti na te uvjete nadilazeći puku funkciju.

#social_condenser

Drugi aspekt projekta, koji se bavio rigidnom urbanom kompozicijom naselja, bio je pokušaj da se „rastoče“ unaprijed zamišljeni volumeni zgrada - time je svaka strana zgrade dobila drugačiji „profil“, prepoznatljivu siluetu koja se odbija „utopiti“ u volumetrijsko čitanje cijelog objekta kao „jednog“ volumena, već postaje zbirka različitih „lica“ svake zgrade. TXT

BEVK PEROVIĆ ARHITEKTI , DA2015

#pattern

Another aspect, dealing with a rigid urban composition of the settlement, was an attempt to try and “dissolve” the preconceived volumes of the buildings - each side of the building therefore attaining a different “profile”, a recognizable silhouette that refuses to “fuse” into a volumetric reading of the whole object as “one” volume, but rather a collection of differing “faces” of each building.

#user_experience SOCIAL HOUSING POLJE, LJUBLJANA, SLOVENIA (2002-2005) BEVK PEROVIC ARHTIEKTI

30/05/2015 IN HIS PRESENTATION ‘GLOBAL TOOLBOX LOCAL IMPACT: INBETWEEN BALKANS’, ALFREDO BRILLEMBOURG, A PROFESSOR AT THE ETH ZURICH, INTRODUCES AN OPERATING MODEL AND A RANGE OF ‘TOOLS’ WHICH URBAN-THINK TANK EMPLOYS IN PROJECTS ACROSS THE WORLD, USING AS EXAMPLES SEVERAL PROJECTS WHERE THE FOCUS OF INTERDISCIPLINARY DESIGNER PRACTICE WAS ON ‘SOCIAL ARCHITECTURE’ AND ‘INFORMAL DEVELOPMENT’. U OKVIRU PREZENTACIJE ‘GLOBAL TOOLBOX LOCAL IMPACT: INBETWEEN BALKANS’ ALFREDO BRILLEMBOURG, PROFESOR NA ETH ZURICH PREZENTUJE MODEL RADA I NIZ ‘ALATA’ KOJE URBAN-THINK TANK KORISTI U PROJEKTIMA ŠIROM SVIJETA TE NEKOLIKO PROJEKATA INTERDISCIPLINARNE DIZAJNERSKE PRAKSE FOKUSIRANE NA ‘DRUŠTVENU ARHITEKTURU’ I ‘NEFORMALNI RAZVOJ’.

PHOTO: SABINA HODOVIĆ

#think-tank DAYS OF ARCHITECTURE 2015 LECTURE CINEMA MEETING POINT SARAJEVO

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31/05/2015 THE DA2015 PROGRAMME CLOSES WITHOUT AN OFFICIAL CLOSING CEREMONY. THE INTEREST OF THE GENERAL PUBLIC AND REACTIONS OF THE ARCHITECTS EXCEED ALL EXPECTATIONS. SINCERE SMILES AND SATISFACTION ON THE FACES OF PEOPLE IN THE ORGANISATION TEAM ARE A TESTIMONY AND A CONFIRMATION OF THIS IMPORTANT STEP FORWARD. PROGRAM DA2015 SE ZAVRŠAVA BEZ ZVANIČNOG ZATVARANJA. JAVNI INTERES KAO I REAKCIJE ARHITEKATA NADMAŠUJU SVA OČEKIVANJA. ISKRENI OSMJESI I ZADOVOLJSTVO NA LICIMA CIJELOG ORGANIZACIJSKOG TIMA OSTAJU PEČAT I POTVRDA OVOG VAŽNOG ISKORAKA.

PHOTO: DANI ARHITEKTURE SARAJEVO

#xoxo DAYS OF ARCHITECTURE 2015 CLOSING NIGHT CINEMA MEETING POINT SARAJEVO

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198 3650 DAYS OF CONTEMPORARY ARCHITECTURE IN SARAJEVO

DAYS OF ARCHITECTURE SARAJEVO @ EUROPE

19/05/2016 THE OPENING CEREMONY OF DA2016 IS ORGANISED IN THE GLITTERY SPACE OF THE RECENTLY RENOVATED CITY HALL. THE FESTIVAL OPENS WITH THE EXHIBITION ‘YOVA3 – YOUNG VIENNESE ARCHITECTS’. THE EVENT IS ATTENDED BY FOREIGN DIPLOMATS WHICH GIVES IT A TOUCH OF DISTINCTION, ALONG WITH THE CLASSICAL MUSIC PLAYING IN THE BACKGROUND. FORMALNI DOGAĐAJ OTVARANJA DA2016 ORGANIZIRA SE U BLJEŠTAVOM PROSTORU NOVOOBNOVLJENE VIJEĆNICE. DOGAĐAJ OTVARANJA JE IZLOŽBA ‘YOVA3 - MLADI ARHITEKTI IZ BEČA’. NOTU DOGAĐAJU DAJU PRISUSTVO AMBASADORA I PREDSTAVNIKA DRŽAVNIH INSTITUCIJA TE KLASIČNA MUZIKA U POZADINI.

PHOTO: SABINA HODOVIĆ

#void DAYS OF ARCHITECTURE 2016 OPENING NIGHT SARAJEVO CITY HALL

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#context

MUSEUM OF FINE ARTS, LILLE, FRANCE (1992 -1997) JEAN-MARC IBOS MYRTO VITART

The Museum of Fine Arts in Lille is representative of a solemn architecture, based on mass, shade and light, majestic proportions and beautiful enfilades. Reduced by half from the outset, the building suffered many an affront over time, leading to a general congestion of its inner space. The museum gradually turned in on itself. The concept behind the extension project was to render a sense of normality to the building. Demolishing the extensions reinstated the various connections, depths and perspectives; the arcades were cleared. The museum is thus, literally, projected onto the exterior with, as a backdrop, a slender structure that reveals the initial scale of the original project, which was never realised. Muzej likovnih umjetnosti u Lilleu je tipičan primjer klasične arhitekture, zasnovane na masi, sjeni i svjetlu, veličanstvenim proporcijama i prelijepim amfiladama. Sagrađena upola manja nego što je to bilo zamišljeno, zgrada je tokom godina pretrpila brojne intervencije, što je dovelo do opšteg zagušenja njenog unutrašnjeg prostora. Muzej se postepeno povukao u sebe. Iza ovog projekta proširenja stoji koncept stvaranja osećaja normalnosti u zgradi. Rušenjem proširenja ponovo su uspostavljene različite veze, dubine i perspektive; arkade su očišćene. Na taj način se muzej doslovno projektuje na spoljašnjost, s vitkom strukturom kao pozadinom koja otkriva prvobitne razmjere izvornog projekta, nikad realizovanog.

“The architecture of Jean-Marc Ibos and Myrto Vitart is measured, accurate in its insertion and impeccable in its execution. But this is only one facet of their work. Their perfectly controlled artefacts are not just functional, rational objects. They are also very precise, efficient and active ‘urban sensors’. They are designed to elicit lasting emotions and fuel our imagination. A study of their major buildings and projects shows how, whilst working within the discipline of architecture and its fundamentals – plan, section, facade – and maintaining the focus on functional requirements, these architects open their projects up to a new and what might be called ‘fictional’ dimension.” 1

#in_between The facade indicates the museum’s function by embodying the idea of a painting. With, as a reference to the past, the still reflection of the main building into which the present is introduced via the movement of clouds reflected in the mirrors, characters moving within the frame or people inadvertently stepping into the field of the painting and going from being observers to being observed. Utjelovljujući ideju slike, fasada ukazuje na funkciju muzeja. Nepomični odraz glavne zgrade, kao podsjećanje na prošlost, u koji se sadašnjost uvodi kroz refleksiju putujućih oblaka, likova koji se kreću unutar okvira i ljudi koji nehotično zakorače u polje slike, te tako od posmatrača postaju predmet posmatranja.

#meaning JEAN-MARC IBOS MYRTO VITART (FRANCE)

#in_between

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#enivronmental_ graphic_design

„Arhitektura Jean-Marca Ibosa i Myrtoa Vitarta je odmjerena, precizna u svojoj postavci i besprijekorna u izvedbi. Ali ovo je samo jedan aspekt njihovog rada. Njihovi savršeno kontrolisani artefakti nisu puki funkcionalni, racionalni objekti. Oni su također vrlo precizni, efikasni i aktivni ‘urbani senzori’. Osmišljeni su da izazovu trajne emocije i podstaknu našu maštu. Studija njihovih glavnih projekata i građevina pokazuje kako su, djelujući u okvirima arhitektonske prakse i njenih fundamentalnih elemenata – osnova, presjek, fasada – i zadržavajući fokus na funkcionalnim zahtjevima, ovi arhitekti otvarali svoje projekte prema novoj i takorekuć ‘izmišljenoj’ dimenziji.“ 1

#skin MUSEUM OF FINE ARTS, LILLE, FRANCE (1992 -1997) JEAN-MARC IBOS MYRTO VITART

The project to convert the Seegmuller warehouse into a multimedia library, involving a doubling of the existing surface area, is in line with the main design principles governing the location. The silo is left untouched, as a vertical sign within the landscape. The depot that backs onto it is partly preserved, namely its fine concrete structure. The extension strictly expands vertically and horizontally from it. Libraries, contrary to warehouses, call for natural light. A new glass skin, replacing the brick cladding on the existing depot, acts as a continuation of the extension’s exterior and unifies the development. Projekat preinake skladišta Seegmuller u multimedijalnu biblioteku, uključujući udvostručenje postojeće površine, u skladu je s glavnim projektantskim principima ove lokacije. Silos je ostavljen netaknut, kao uočljivi vertikalni znak. Depo koji se na njega naslanja je djelimično sačuvan, tačnije njegova fina betonska struktura. Nadograđeni dio se širi isključivo vertikalno i horizontalno iz te strukture. Biblioteke, za razliku of magacina, traže prirodno svjetlo. Nova staklena koža postojećeg depoa, koja je zamijenila izvornu oblogu od opeke, deluje kao nastavak eksterijera nadograđenog dijela i objedinjuje cijelo zdanje.

#skin ANDRE MALRAUX LIBRARY STRASBOURG, FRANCE (2003-2008) JEAN-MARC IBOS MYRTO VITART

#minimal JEAN-MARC IBOS MYRTO VITART (FRANCE)

A long, red ribbon, traced directly onto the building, links the floors of the library. Graffiti-like signage guides visitors to the upper floors. The floors are left sparse. Light bounces off the floors and is thus channelled into the building. Floors dissect the landscape horizontally, linking both branches of the canal. Mirrors capture the glimmer of the waterway. Duga, crvena traka, izvučena direktno po zgradi, povezuje spratove biblioteke. Oznake nalik grafitima posjetioce vode na gornje spratove. Spratovi su ostavljeni oskudno opremljeni. Svjetlost se odbija od podove i na taj način prodire u zgradu. Spratovi presijecaju pejzaž horizontalno, povezujući oba ogranka kanala. Ljeskanje vode odražava se u ogledalima.

#enivronmental_ graphic_design

#efficiency

Every aspect of life in a fire station relates to the notion of efficiency. Efficiency in handling emergencies, an absolute necessity which requires centralised information as well as highly organised spaces to optimise the firefighters’ gathering time. Efficiency in managing the facility to achieve the best possible fit of areas to functions. It is from the way it solves these issues that the building derives its aesthetics, its perfect intelligibility in terms of how it operates being raised to the level of representing its very function.

#efficiency FIRE STATION, NANTERRE, FRANCE (2003-2004) - JEAN-MARC IBOS MYRTO VITART

Svaki aspekt života u vatrogasnoj stanici povezan je s pojmom efikasnosti. Efikasnost u hitnim slučajevima, apsolutna neophodnost koja zahtjeva centralizaciju informacija kao i izuzetno organizovane prostore, kako bi se maksimalno skratilo vrijeme potrebno za okupljanje vatrogasaca. Efikasnost u upravljanju objektom kako bi se postigao najbolji raspored prostorija prema funkcijama. Upravo je način na koji zgrada rješava ove probleme to što određuje njenu estetiku, njena savršena razumljivost u pogledu načina na koji funkcioniše podignuta je na nivo na kojem ona predstavlja samu funkciju. 1

DOMINIQUE BOUDET, JEAN MARC IBOS MYRTO VITART / ARCHITECTURE AND THE CITY, 2013 TXT JEAN MARC IBOS MYRTO VITART, DA2016

19/05/2016 DA2016 CONTINUES WITH THE PRACTICE OF WORKSHOPS FOR ITS YOUNGEST AUDIENCE WITH THE AIM TO DEVELOP THEIR ‘CULTURE OF SPACE’. THIS YEAR’S WORKSHOP FOCUSES ON PERCEPTION AND MINIMAL DEFINITION OF SPACE, AS WELL AS THE SUBJECT OF MEASURES. IT ADDRESSES DIFFERENT PERCEPTIONS OF SPACE BY EMPLOYING A GRADUAL TRANSITION FROM TWO-DIMENSIONAL TO THREE-DIMENSIONAL, AND THROUGH INTERPRETATION OF A CUBE, AN ANGLE AND THE RELATIONSHIP BETWEEN HUMAN SCALE AND ABSTRACT SHAPES. DA2016 NASTAVLJAJU I PRAKSU ORGANIZACIJE RADIONICA ZA NAJMLAĐU PUBLIKU I RAZVOJ ‘KULTURE PROSTORA’. RADIONICA TOKOM OVOG IZDANJA SE USMJERAVA NA PERCEPCIJU I MINIMALNU DEFINICIJU PROSTORA, TE NA PITANJA MJERILA. KROZ POSTUPNI PRELAZAK SA DVODIMENZIONALNOG U TRODIMENZIONALNO INTERPRETIRAJUĆI PRIKAZ KOCKE, KUTA I ODNOSA LJUDSKOG MJERILA PREMA APSTRAKTNIM OKVIRIMA DOVODI SE PITANJE PERCEPCIJU PROSTORA PROMATRAJUĆI I. PLAŠTEVI KOCKE IZRAĐENIH OD KOLAŽNOG PAPIRA U BOJI KORISTE SE ZA RAZVIJANJE IDEJA O PROSTORU, KUĆI, URBANOM MOBILIJARU.

PHOTO: DANI ARHITEKTURE SARAJEVO

#minimal DAYS OF ARCHITECTURE 2016 WORKSHOP FOR CHILDREN NETWORKS SARAJEVO

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SAAHA/AHAKNAP is an international architectural practice working on a wide range of architectural topics, from active involvement in urbanism and planning projects, creative solutions for complex and large building programs, to smaller living quarters, museum and design projects. Through working closely with a large network of world leading consultants, we believe in innovation through interdisciplinary collaboration. AHAKNAP/SAAHA je međunarodna arhitektonska praksa sa širokim poljem djelovanja, od aktivnog učešća u urbanom planiranju, kreativnih rješenja programski kompleksnih zadataka, pa do manjih projekata iz oblasti stanovanja i dizajna. Vjerujemo da bliskom interdisciplinarnom saradnjom unutar široke mreže vodećih svjetskih konsultanata našim klijentima dajemo optimalna rješenja.

#void OUROBOROS - COMPETITION FOR THE NEW VIKING SHIP MUSEUM OSLO, NORWAY (2016) SAAHA / LALA / DOF

Our project “Ouroboros” represents a circular loop as a symbol of nature’s eternal cycle. Architecturally, we rely on Arneberg’s iconographic building and his intentions to finalize the cruciform. “Ouroboros” adds a circular extension towards the north-west which is based on and developed from the existing museum’s geometry and architectural logic. This allowed us to integrate the existing Viking Ship Museum as the continued natural focal point. Naš projekat “Ouroboros” predstavlja kružnu petlju kao simbol vječnog kruženja u prirodi. U arhitektonskom smislu, projekat je produžetak Arnebergove ikonografske građevine i njegove nakane da finalizira njen križni tlocrt. “Ouroboros” dodaje kružni nastavak prema sjeverozapadu koji je zasnovan na geometriji i arhitektonskoj logici postojećeg muzeja. To nam je omogućilo da integrišemo postojeći Viking Ship Museum kao prirodnu fokalnu tačku cjelokupnog zdanja.

#adaptive_reuse

#context SAAHA / LALA / DOF (NORWAY)

Through interpreting some of the building’s historic readable principles and logic, our winning entry “I love Nydalen” creates a robust and flexible framework for the project’s future development. The central nave is transformed into a greenhouse, a community room where residents can meet with each other and the public. Interpretirajući neke od prepoznatljivih historijskih principa zgrade i njenu logiku, naš nagrađeni prijedlog “Volim Nydalen” stvara snažan i fleksibilan okvir za budući razvoj projekta. Centralni brod transformisan je u staklenu baštu, zajedničku prostoriju gdje se stanovnici mogu susretati jedni s drugima i s javnošću.

#adaptive_reuse This is Nydalen’s grand hall and urban commons both in summer and winter. With low temperature active house concept the building’s nave can hold Mediterranean climate all year round. The project creates a lush, green space, an attractive destination, a room with unique qualities for all inhabitants and guests of Nydalen, all year round. Ovo je velika dvorana i zajednički prostor Nydalena kako ljeti tako i zimi. Zahvaljujući svom konceptu aktivne kuće za hladna područja, u brodu zgrade je mediteranska klima tokom cijele godine. Projekat stvara bujni, zeleni prostor, atraktivnu destinaciju, prostoriju s jedinstvenim kvalitetama za sve stanovnike i goste Nydalena, tokom cijele godine. 206 3650 DAYS OF CONTEMPORARY ARCHITECTURE IN SARAJEVO

#ecological_attitude I LOVE NYDALEN, OSLO, NORWAY (2016) SAAHA / LALA / DOF / GETHER

#void

Sarajevo Waves project is the first phase (49 units) of the large housing development (220 units). It is situated in Otes, the suburban neighbourhood of Sarajevo, with the river and mountains as its close and distant surroundings. While the inner facade of the building is clad in warm wooden ribs, outside is kept simple in white plaster with metal screens providing additional visibility protection to the apartment terraces.

#minimal WAVE HOUSING, SARAJEVO, BOSNIA AND HERZEGOVINA (2016) AHAKNAP/SAHAA

Sarajevo Waves je projekat stambeno-poslovnog kompleksa od 220 jedinica, čija je prva zgrada s 49 stambenih jedinica završena 2016. godine. Nalazi se u Otesu, predgrađu Sarajeva, na obali rijeke Željeznice iz čega je proizašao oblikovni koncept. Dok je unutrašnja fasada sačinjena od drvenih letvica koje joj daju toplinu, vanjski dio fasade je zadržao jednostavnu i čistu plastiku sa zaštitnim metalnim mrežama koje terasama daju dodatnu intimnost. In order to extend the interior space of the apartment towards outside and the views, the wavelike structure is added to the regulated building volume from the 2nd floor upwards. In this way, each unit is given a lavish and unique outdoor area/terrace, making it a defining architectural element of the project. Da bi se proširio unutrašnji prostor stanovanja te povezao sa eksterijerom, dodana je valovita struktura koja počinje od drugog sprata naviše. Ovim potezom ne samo da se definisao ključni element arhitektonskog oblikovanja - val, nego se stambenom prostoru dao poseban i jedinstven vanjski prostor u vidu velikih terasa.

#skin

#in-between

AHAKNAP/SAAHA (B&H/NORWAY)

The starting point of the Opal Design Hotel project was the transformation of the existing office building into a small design hotel. Brutality and scale of the existing building situated in the historic heart of Sarajevo and behind the Despica House, a protected national monument, made this task additionally challenging.

+19'98

+18'38 PROHODNI RAVNI KROV +17'60

SPRAT V +14'28

SPRAT IV +11'28

SPRAT III +8'46

SPRAT II +5'64

PRIZEMLJE ±0'00

-1'02

-2'61

SUTEREN -3'09

AHAKNAP/SAAHA DA 2016

SPRAT I +2'82

#adaptive_reuse AUTORI: KENAN BRČKALIJA d.i.a. ADNAN HARAMBAŠIĆ siv.ark .mnal PROJEKTANT/I SARADNIK/CI: AMER SADIKOVIĆ d.i.a ASMIR ŠABIĆ d.i.a HANA KEVILJ d.i.a MERDŽANA MUJKANOVIĆ d.i.a.

A wooden facade that acts as a respectful backdrop for the historic city is giving a new face to the building. The wooden ribs at the same time function as the curtain for the hotel rooms that have large glass portals, allowing for maximum daylight and views towards historical surroundings. Južna fasada postaje kulisa koja se svojim jednostavnim oblikovnim izrazom s poštovanjem odnosi prema historijskom naslijeđu. Drveni paneli daju neutralan karakter u odnosu prema eksterijeru, dok prema enterijeru funkcionišu kao zastori velikim staklenim portalima u sobama, koji propuštaju maksimalne količine dnevnog svjetla. TXT

SA AHA/AHAKNAP - DA2016

Hotel Opal je projekat adaptacije postojećeg poslovnog objekta u historijskoj jezgri grada Sarajeva i redizajna u mali dizajnerski hotel. Mjerilo i brutalnost postojećeg objekta u zaleđu historijskog spomenika Despića kuće učinio je zadatak još izazovnijim.

#skin OPAL DESIGN HOTEL, SARAJEVO, B&H (2016) AHAKNAP/SAHAA

21/05/2016 THE MAIN PROGRAMME AT THE CINEMA MEETING POINT EXPLORES SOME OF THE BURNING QUESTIONS AND CHALLENGES THE DISCIPLINE IS DEALING WITH: COMPROMISES INEVITABLE IN THE DAILY PRACTICE, MULTIPLE FORCES WHICH LIMIT THE IMAGINATION AND SET STANDARDS OF VALUE, THUS DETERMINING THE RELATIONSHIP BETWEEN ARCHITECTURAL CONCEPTS AND SOCIO-POLITICAL STRATEGIES IN GLOBAL NEOLIBERAL SYSTEM. GLAVNI PROGRAM U MEETING POINTU ISPITUJE GORUĆA PITANJA I IZAZOVE ZA DISCIPLINU: KOMPROMISE KOJI SU DIO SVAKODNEVNE PRAKSE, VIŠESTRUKE SILE KOJE POSTAVLJAJU GRANICE IMAGINACIJE I VRIJEDNOSNE OKVIRE, TE ODNOSE IZMEĐU ARHITEKTONSKIH KONCEPCIJA I DRUŠTVENO POLITIČKIH STRATEGIJA U GLOBALIZIRANOM NEOLIBERALNOM SISTEMU.

PHOTO: SABINA HODOVIĆ

#paradigm-shift DAYS OF ARCHITECTURE 2016 LECTURES CINEMA MEETING POINT SARAJEVO

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The main idea was to transform the whole building into a convulsive mind/body organism whose slippery inner limits a motivated explorer has yet to trace and confront. The stretched biomorphic skin of Tape Paris is marking the entry point to the whole experience, being a literal incarnation of an inner-directed, regressive environment - the sense of descent into the primordial always lingering around its openings.

#transparency TAPE PARIS, PALAIS DE TOKYO, PARIS, FRANCE (2014-2015) NUMEN/FORUSE

It took twelve people ten days to wrap-up the concrete pillars in the great entrance hall of Palais de Tokyo into a maze of accessible translucent passageways, which coil 50 meters through the gallery space and reach the total height of 6 meters. Trebalo je 12 ljudi i deset dana da se betonski stubovi u velikom predvorju Palais de Tokyo zamotaju u labirint pristupačnih providnih tunela dug 50 metara, koji vijuga kroz galerijski prostor i doseže ukupnu visinu od 6 metara.

Osnovna ideja je bila transformisati zgradu u konvulzivni um/tijelo organizam čije skliske unutarnje granice motivirani istraživač tek treba ispratiti i s njima se suočiti. Razvučena biomorfna koža Tape Paris označava ulaznu tačku za cijelo iskustvo, kao doslovno utjelovljenje regresivne okoline koja je sama sebi mjera - osjećaj zaranjanja u praiskonsko uvijek je prisutan oko njenih otvora.

#diy NUMEN/FORUSE (CROATIA/AUSTRIA)

NET Linz is an inhabitable/climbable social sculpture serving as an experimental staircase in the exhibition space. The nets are suspended from the ceiling and stretched with the weight of sand bags attached to their base. Although the system from previous Net installations remained the same, the vertical orientation results in a specific, canyon-like appearance and different sensation while visiting the structure.

#inhabited_wall NET LINZ, OK CENTER FOR CONTEMPORARY ART LINZ, AUSTRIA (2014) NUMEN/FORUSE

NET Linz je nastanjiva društvena skulptura na koju se može penjati i koja služi kao eksperimentalno stepenište u izložbenom prostoru. Mreže vise sa stropa i rastegnute su pomoću vreća pijeska koje su pričvršćene za njihove krajeve. Iako je sistem isti kao i kod prethodnih NET instalacija, vertikalna orijentacija je rezultirala specifičnim izgledom koji podsjeća na kanjon i drugačijim osjećajem prilikom posjete strukturi.

#in-between

NET consists of multiple layers of flexible nets suspended in the air. The flat layers of the net are subsequently connected to one another on counterpoints thus forming a “floating landscape” open for visitors to climb in and explore. The result is an op-art social sculpture (or a community hammock) relating to topics of instability, levitation and regression. The installation refers to biomorphic architecture and urban dream images from previous decades. The social concern behind NET is to create a public balcony – a transparent space, accessible to a population alienated by suburban living, reconnecting backyards to form community spaces. NET se sastoji od više slojeva fleksibilnih mreža koje vise u zraku. Slojevi ravne mreže naknadno su spajani po suprotnim tačkama i na taj način formiraju ‘lebdeći krajolik’ otvoren za posjetioce da se popnu i istražuju ga. Rezultat je op-art društvena skulptura (ili zajednička viseća ležaljka) koja se poistovjećuje sa temama nestabilnosti, levitacije i regresije. Instalacija se odnosi na biomorfnu arhitekturu i slike urbanog sna iz prethodnih desetljeća. Društveni interes NET instalacija je kreirati javni balkon transparentni prostor, dostupan stanovništvu otuđenom životom u predgrađu, koji će povezati dvorišta kako bi se formirali zajednički društveni prostori. 212 3650 DAYS OF CONTEMPORARY ARCHITECTURE IN SARAJEVO

#paradigm-shift NET, OPERNWERKSTÄTTEN BERLIN (2013) NUMEN/FORUSE

#context NUMEN/FORUSE (CROATIA/AUSTRIA)

Numen / For Use gathered in late 1990s as an informal platform uniting a group of graphic and product designers with the goal of knowledge integration and enhanced cooperation. From the very beginning, Numen / For Use established its position on the international scene with projects for the world’s most prestigious furniture producers. However, their interests have since expanded and now include scenography and spatial installations. Keeping in mind the diversity of their activities, it is not easy to summarize Numen / For Use’s work. However, in all of their projects they focus on precision and attempt to master the technical and cultural parameters.

#minimal

Numen / For Use se okuplja krajem devedesetih godina kao neformalna platforma u kojoj sudjeluje grupa grafičkih i produkt dizajnera, a s ciljem integracije znanja i razvoja saradnje. Numen / For Use se već u početku svog djelovanja afirmiraju na internacionalnoj sceni kroz projekte za najuglednije svjetske proizvođače namještaja, no njihova interesovanja se potom proširuju na scenografije i prostorne instalacije. S obzirom na raznolikost njihovih aktivnosti, nije lako sumirati rad Numen / For Use-a. Zajednički element u svim njihovim projektima je akcent na preciznosti i nastojanje da se u što većoj mjeri ovlada tehničkim i kulturalnim parametrima. “Each project is a form of selfrealization. A designer, naturally, addresses the needs of the client, but we think that the only way to do something is to do it for yourself as well. You cannot design something if you only consider objective factors, like the demands of ergonomics, construction, etc. You also have to have a motive to establish some criteria, and it is only you who can lay them down.” 1

#skin TAPE PARIS, PALAIS DE TOKYO, PARIS, FRANCE (2014-2015) NUMEN/FORUSE

#modular WATERFRONT SPLIT, CROATIA (2007) NUMEN/FORUSE + 3LHD

“Svaki projekt je jedan oblik samoostvarenja. Naravno da dizajner prati potrebe naručitelja, tržišta, ali mislim da možeš nešto stvoriti jedino tako da radiš i za sebe. Ne možeš dizajnirati prateći samo objektivne parametre, potrebe ergonomije, konstrukcije itd., moraš imati motiv da bi se formirali kriteriji. Te kriterije jedino možeš sam postavljati.” 1

“All the projects we worked on were the projects that we would have chosen to do ourselves. We never created something we believed to be good only for the market.” 2 “Svi projekti koje smo radili su projekti koje bismo mi sami htjeli imati. Nismo nikad napravili nešto što mislimo da je samo za tržište.” 2

#storytelling

The city of Split and its waterfront, Riva, are among the most interesting and most specific sites in the Mediterranean. Split waterfront is an urbanized, public space, 1700 years old. It stands in front of the Diocletian’s Palace, the summer residence of the Roman Emperor. Grad Split i njegova Riva među najzanimljivijim su i najspecifičnijim mjestima na Mediteranu. Splitska riva je urbaniziran javni prostor star 1700 godina. Nalazi se ispod Dioklecijanove palače, ljetne rezidencije rimskog cara.

All urban equipment was especially designed for this project. The design is deliberately contemporary, providing a new level of urban tissue, complementary to the existing one. This kind of contrast is characteristic for the city of Split, which is positively filled with confrontations of old and new, successfully cohabiting within the same urban locations. Sva urbana oprema je posebno dizajnirana za ovaj projekat. Dizajn je namjerno savremen i tvori novi nivo urbanog tkiva, komplementaran postojećem. Ova vrsta kontrasta je karakteristična za grad Split, koji je pozitivno ispunjen sukobima starog i novog u uspješnom suživotu na istim gradskim lokacijama.

#infill

NIKOLA RADELJKOVIĆ, INTERVIEW ORIS 101, 2016 NUMEN / FOR USE - DA2016

TXT

21/05/2016 ALONGSIDE THE MAIN PROGRAMME, AN EXPERIMENTAL WORKSHOP ‘VHS ARCHITECTURE’ IS FACILITATED BY NIKOLA RADELJKOVIĆ OF THE COLLECTIVE NUMEN/FOR USE AT ONE OF THE MOST SIGNIFICANT CONTEMPORARY PUBLIC BUILDINGS IN SARAJEVO – NEW BUILDING OF THE ACADEMY OF PERFORMING ARTS, UNDER CONSTRUCTION AT THE TIME. THE WORKSHOP PROVIDES STUDENTS OF ARCHITECTURE AND DESIGN WITH AN OPPORTUNITY TO COLLABORATE AND WORK WITH AN UNUSUAL MATERIAL. IT ALSO SEEKS TO DRAW ATTENTION OF THE WIDER COMMUNITY TO THE BUILDING WHOSE CONSTRUCTION IS SUSPENDED AS THE RESULT OF NUMEROUS ADMINISTRATIVE AND FINANCIAL OBSTACLES. PARALELNO SA GLAVNIM PROGRAMOM – NA JEDNOM OD NAJZNAČAJNIJIH SAVREMENIH JAVNIH OBJEKATA U SARAJEVU, NOVOJ ZGRADI AKADEMIJE SCENSKIH UMJETNOSTI U PROCESU GRADNJE – REALIZUJE SE EKSPERIMENTALNA RADIONICA ‘VHS ARHITEKTURA’ POD MENTORSTVOM NIKOLE RADELJKOVIĆA IZ KOLEKTIVA NUMEN/FOR USE. RADIONICA NASTOJI OMOGUĆITI STUDENTIMA ARHITEKTURE I DIZAJNA ISKUSTVO KOLEKTIVNOG RADA SA NEUOBIČAJENIM MATERIJALOM, TE SKRENUTI PAŽNJU ŠIRE ZAJEDNICE NA OBJEKAT ČIJU SU IZGRADNJU ZAUSTAVILE BROJNE ADMINISTRATIVNE I FINANSIJSKE PREPREKE.

PHOTO: SABINA HODOVIĆ

#unfinished DAYS OF ARCHITECTURE 2016 WORKSHOP ‘VHS ARCHITECTURE’ ACADEMY OF PERFORMING ARTS SARAJEVO NEW BUILDING

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VHS ARCHITECTURE, a ‘site-specific’ experimental workshop realised as part of Days of architecture 2016, under the mentorship of Nikola Radeljković (Numen/ForUse), was hosted in an unfinished new building of the Academy of Performing Arts. The main goal of the workshop was to provide the students of architecture and design with the experience of collective engagement through research, practical work and designing of a public event, but also to draw the public attention to this important example of modern architecture in Sarajevo whose construction was abruptly put on hold due to numerous administrative and financial challenges. VHS ARHITEKTURA je ‘site specific’ eksperimentalna radionica realizovana u okviru Dana arhitekture 2016, pod mentorstvom Nikole Radeljkovića (Numen/ForUse), unutar nedovršenog objekta nove Akademije scenskih umjetnosti u Sarajevu. Cilj radionice je bio pružiti studentima arhitekture i dizajna iskustvo kolektivnog rada kroz faze istraživanja, praktičnog rada i projektovanja javnog događaja, ali i skrenuti pažnju šire zajednice na značajan primjer savremene arhitekture u Sarajevu čiju su izgradnju zaustavile brojne administrativne i finansijske prepreke.

#experimental WORKSHOP ‘VHS ARCHITECTURE’ DAYS OF ARCHITECTURE, SARAJEVO, B&H (2016)

The search for an optimal location began several months prior to the workshop. The key criteria in selecting the location were its social significance for Sarajevo, its importance in the context of contemporary architecture in BiH and its availability for use in public events. At the same time, a spontaneous choice of VHS tape as the medium had provided an opportunity to engage the wider community in a recycling process. Potraga za optimalnom lokacijom je započela nekoliko mjeseci prije same radionice. Ključni kriteriji pri odabiru lokacije bili su: opšti društveni značaj za Sarajevo, značaj u kontekstu savremene arhitekture Bosne i Hercegovine, te mogućnost organizacije javnog događaja. S druge strane, spontani odabir VHS trake kao osnovnog materijala za radionicu, omogućio je uključivanje šire zajednice u proces reciklaže.

Describing his award-winning design for the new Academy of Performing Arts building, Jonus Ademović (Archipelagos, New York) says: “At their core, all performing arts carry a contradiction between the introvert character of art production and the extrovert nature of its public presentation. The building of the Academy of Performing Arts must be open to its surroundings (the public), but at the same time it must provide for the isolated artistic creation”.

The first stage of the workshop was held on the Networks premises in Sarajevo. Nikola Radeljković presented Numen / For Use and inducted students into researching different uses of magnetic (VHS) tape by presenting several examples of similar spatial installations. Prva faza radionice je održana u prostorijama Networksa u Sarajevu. Nikola Radeljković je predstavio rad kolektiva Numen / For Use i uveo učesnike u istraživanje o različitim upotrebama magnetne (VHS) trake kroz nekoliko primjera sličnih prostornih instalacija.

#context

#experimental

U opisu idejnog rješenja nove zgrade Akademije scenskih umjetnosti, nagrađenom na internacionalnom arhitektonskom konkursu, Jonus Ademović (Archipelagos, New York) naglašava: “Sve scenske umjetnosti u svom temelju sadrže kontradiktornost između introvertnog karaktera umjetničke produkcije i ekstrovertnosti njenog prezentiranja u javnosti. Zgrada Akademije scenskih umjetnosti mora biti otvorena prema svom prostornom okruženju (javnosti), ali istovremeno mora omogućiti prostor za izolovano umjetničko stvaranje”

Following the initial research and an attempt at physical modelling, the participants quickly realised certain advantages of this material, as well as its unexpected limitations. Thus they obtained important experience even before visiting the location and commencing work in a space exposed to challenging weather conditions.

#pattern

Već nakon inicijalnog istraživanja i pokušaja fizičkog modeliranja, učesnici radionice su uočili različite prednosti, ali i neočekivana ograničenja materijala. Tako je stečeno bitno iskustvo prije samog odlaska na lokaciju i rada u prostoru izloženom promjenjivim vremenskim uslovima.

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#void

The second stage of the workshop which took place inside the new Academy building, was envisaged as group work. One group of participants was tasked with securing the space to make sure it is safe for the public and the participants, and with designing the public event where the results of the workshop would be presented. Druga faza radionice, unutar objekta nove zgrade Akademije scenskih umjetnosti, podrazumijevala je rad u odvojenim grupama. Jedna grupa učesnika je pristupila osiguravanju prostora za sigurno kretanje učesnika i publike, te procesu projektovanja javnog događaja kojim bi se prezentovali rezultati radionice.

#diy WORKSHOP ‘VHS ARCHITECTURE’ DAYS OF ARCHITECTURE 2016, SARAJEVO

The other group proceeded to explore the possibilities of VHS tape in-situ and to test different formal proposals by means of sketching and computer modelling. A digital model scaled 1:50 further aided their selection of the optimal solution and the construction approach.

#site_specific WORKSHOP ‘VHS ARCHITECTURE’ DAYS OF ARCHITECTURE SARAJEVO, B&H (2016)

The design that showed most potential, shaped in the form of a hyperbolic paraboloid, matched the centralised scenography of the space and the character of this artistic performance. The existing steel structure was used for the installation and it also enabled safe movement of the workshop participants. Prijedlog koji je pokazao najveći potencijal, oblikovno sličan hiperboličnom paraboloidu, odgovarao je centraliziranoj scenografiji javnog događaja i umjetničkog performansa. Postojeća konstrukcija u vidu prostorne rešetke je poslužila kao osnova za realizaciju instalacije, ali i za sigurno kretanje učesnika radionice. The first few VHS tapes were used for testing, in order to determine the best way to affix the fluttering material. In time, a working method emerged whereby several participants would stand at different height, cross-lacing segments of tape in parallel. This had significantly sped up the completion. Prvih nekoliko VHS traka je iskorišteno za testiranje i traženje optimalnog načina fiksiranja lepršavog materijala. Vremenom je uspostavljen model rada u kojem je nekoliko osoba paralelno, na različitim visinama, učestvovalo u preplitanju pojedinačnih magnetnih traka, što je značajno ubrzalo proces realizacije. TXT

VHS ARCHITECTURE, LIFT - DA2016

#unfinished

Druga grupa učesnika radionice je nastavila istraživati mogućnosti upotrebe magnetnih traka na licu mjesta, ali i testirati različite formalne prijedloge kroz skice i kompjuterske modele. Pri odabiru optimalnog rješenja i načina realizacije dodatno je pomogla izrada digitalnog modela u mjerilu 1:50.

22/05/2016 IN HIS STATEMENT FOR THE MEDIA, AMIR VUK ZEC, A FRIEND OF DAYS OF ARCHITECTURE, SAYS: “FOR ME THIS IS THE BIGGEST ARCHITECTURAL AND CULTURAL EVENT IN B&H. THESE ‘KIDS’ HAVE TAKEN THE MATTERS IN THEIR OWN HANDS, THEY ARE EAGER TO LEARN AND EDUCATE THEMSELVES... EVERYONE SHOULD SUPPORT THEM, BUT FEW DO. EVEN THE FACULTY FROM WHICH THEY GRADUATED DOES VERY LITTLE TO SUPPORT THIS. THIS YEAR’S THEME IS VERY IMPORTANT - IT’S ABOUT THE RELATIONSHIP BETWEEN THE INVESTOR AND THE ARCHITECT. THESE YOUNG PEOPLE WILL GROW TO ACHIEVE GREAT THINGS! THEY HAVE LAID FOUNDATIONS FOR SOMETHING THAT WILL CHANGE SARAJEVO”. U IZJAVI ZA MEDIJE, PRIJATELJ DANA ARHITEKTURE, AMIR VUK ZEC KAŽE: “ZA MENE JE TO NAJVEĆI ARHITEKTONSKI I KULTURNI DOGAĐAJ U BIH. TA ‘DJECA’ SU SAMA UZELA STVAR U SVOJE RUKE, DA SE EDUKUJU, OBRAZUJU... TO BI TREBALI SVI PODRŽATI, A RIJETKO KO TO I URADI. PA ČAK I FAKULTET, NA KOJEM SU SE OBRAZOVALI, VRLO SLABO. OVE GODINE TEMA JE VRLO BITNA, A TIČE SE INVENSTITORA I ARHITEKTE. OD OVIH MLADIH LJUDI ĆE IZRASTI NEŠTO VELIKO! ONI SU POSTAVILI TEMELJE NEČEGA ŠTO ĆE PROMIJENITI SARAJEVO”.

PHOTO: SABINA HODOVIĆ

#paradigm-shift DAYS OF ARCHITECTURE 2016 CLOSING NIGHT ‘VHS ARCHITECTURE’ ACADEMY OF PERFORMING ARTS SARAJEVO NEW BUILDING

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17/05/2017 AS ONE OF THE FIRST RESEARCH PROJECTS REALISED BY DAYS OF ARCHITECTURE, THE EXHIBITION ‘CONTINUOUS INTERIOR’ SIGNIFICANTLY EXPANDS DA’S NETWORK OF CONTACTS. THE THEME OF THE EXHIBITION IS FURTHER EMPHASISED BY A SHOWCASE OF DESIGNER FURNITURE OF SEVERAL B&H BRANDS WHICH HAVE BECOME HIGHLY RECOGNISABLE OUTWITH BOSNIA AND HERZEGOVINA OVER THE LAST FEW YEARS. IZLOŽBA ‘KONTINUIRANI ENTERIJER’, KAO JEDAN OD PRVIH ISTRAŽIVAČKIH PROJEKATA U PRODUKCIJI DANA ARHITEKTURE, USPIJEVA ZNAČAJNO PROŠIRITI MREŽU KONTAKATA. TEMA IZLOŽBE SE DODATNO NAGLAŠAVA POSTAVKOM DIZAJNERSKOG NAMJEŠTAJA NEKOLIKO BOSANSKOHERCEGOVAČKIH BRENDOVA KOJI SU, U POSLJEDNJIH NEKOLIKO GODINA, STEKLI VELIKU PREPOZNATLJIVOST IZVAN GRANICA BOSNE I HERCEGOVINE.

PHOTO: IVAN DOROTIĆ

#continuous_interior DAYS OF ARCHITECTURE 2017 EXHIBITION ‘CONTINUOUS INTERIOR’ NATIONAL MUSEM OF BOSNIA AND HERZEGOVINA

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Vodice is a tourist town on the Croatian coast, heavily expanded in recent transitional decades by numerous small private investments. Public domain was put aside and the priority was set on individual interests. The result was a superprivate condition with small areas left for improvement of common spaces and services.

#pattern

Vodice su primarno turistički grad nastao uglavnom slabo kontrolisanim širenjem turističke infrastrukture i sadržaja. U situaciji gdje je gotovo sav raspoloživi prostor privatni i izgrađen, gradske vlasti nastoje pronaći načine da podignu razinu kvalitete javnog prostora i javnih usluga The project was conceived with the view to renovating the market and also creating a new element that would bring some order in this fragmented and degraded context. The shape of the roof was influenced not only by functional and aesthetic logic but also by the contours of existing irregular roofs. The shape of the new roof connects existing back side of the complex into an articulated architecture. The end result demonstrates that successful improvements of public spaces are possible even in almost entirely privately-owned areas.

#common_space HARBOUR MARKET IN VODICE, CROATIA (2011-2015) DINKO PERAČIĆ

Projekat uređenja tržnice započeo je kao uređenje pješačke i trgovačke ulice s nišom za zelenu tržnicu i ribarnicu. Novi krov postavljen je na način da pomiri i uredi neujednačene i dijelom devastirane volumene starog trgovačkog centra. Prvo, usvojeno rješenje, do realizacije je reducirano i mijenjano kroz više intervencija susjeda i drugih okolnosti koje su odredile konačne sadržaje i gabarite nove tržnice. Rezultirajuća izgradnja i uređenje pokazuju mogućnosti dosega javne uprave da unaprijedi javni prostor u superprivatnom okruženju.

Another aim was to enhance local building skills by introducing new materials and solutions in order to raise the level of building quality. Computer-cut laminated wooden beams, Teflon-coated textile roof, exposed white concrete columns, and installations within the concrete floor which is also the building’s foundation, are all proofs that demanding projects are still possible in areas which have surrendered to tourism and where local skills have been lost or have not kept pace with technological advances.

#minimal

Odabranim materijalima i rješenjima pomakle su se granice uobičajene gradnje u lokalnom kontekstu Vodica. Vidljivi bijelii betonski stubovi, betonski brušeni pod s ugrađenim instalacijama koji je ujedno temeljna ploča, kompjuterski rezana drvena lamelirana građa i hi-tech samoperiva teflonska membrana dokazuju da ih je moguće izvesti u krajevima koji su izgubili ili nisu razvijali svoje građevinske vještine i koji su se prepustili turističkoj industriji.

Dinko Peračić is described as a “Curator of space who produces works of sizeable width. His architecture does not easily fit any one discipline. He sees his works not merely as shapes aimed to capture one’s attention but also as means of interaction with the surroundings”. He is a member of an architectural collective Platforma 9,81, who base their practice on equitable and sustainable use of space and participation of all citizens in urban development. Arhitektonsko djelovanje Dinka Peračića mediji često opisuju kao „Kustosa prostora čiji radovi imaju veliku širinu. Nije ga lako svrstati u samo jednu discipinu arhitekture. Svoje radove ne promatra samo kroz oblike koji privlače pažnju u prostoru već i kroz interakciju svojih projekata na okolinu“. Dio je Arhitektonskog kolektiva Platforma 9,81, koji svoju djelatnost temelji na pravednom i održivom raspolaganju prostornim resursima i sudjelovanju svih građana u prostornom razvoju. 236 3650 DAYS OF CONTEMPORARY ARCHITECTURE IN SARAJEVO

#paradigm-shift WE NEED IT, WE DO IT, 15TH VENICE ARCHITECTURE BIENNALE, ITALY (2016) DINKO PERAČIĆ, MIRANDA VELJAČIĆ, EMINA VIŠNIĆ, SLAVEN TOLJ

The Urban plan had dictated the volume of the Faculty of Civil Engineering as an interpolation of a prescribed shape, slotted in between other planned buildings. It opens out on its shorter sides, and its longer facades are oriented towards the narrow, tall spaces separating it from the nearest buildings. The cross section is profiled in order to get more natural light and air. A narrow passage in the west was widened into the hall and portico with their larger common areas. By slanting the facade in the east, more light was allowed into classrooms and lecture rooms. The building opens along the middle with a number of terraces and skylights which serve as areas for informal interaction, studying and work. Natural light reaches all the way to the ground floor, and air to the centre of the building.

#infill CIVIL ENGINEERING FACULTY IN OSIJEK, CROATIA (2016) DINKO PERAČIĆ I ROMAN ŠILJE

Volumen nove zgrade Građevinskog fakulteta određen je urbanističkim planom gotovo kao interpolacija, zadanog oblika, ugrađen u sklop planiranih zgrada. Otvoren je na kraćim stranicama, a njegova dulja pročelja orijentirana su na uski i visoki međuprostor prema susjednim zgradama. Da bi se unutar zgrade obezbijedilo prirodno svjetlo i zrak, njen poprečni presjek je profiliran. Na zapadnoj strani uski prolaz je proširen povezivanjem s holom i trijemom, s većim zonama za zadržavanje. Na istočnoj strani skošenjem pročelja dobilo se više svjetla za učionice i predavaonice. Sredina zgrade rastvorena je po cijeloj duljini nizom unutrašnjih terasa i svjetlarnika, koje su mjesta za neformalnu interakciju, učenje i rad. Prirodno svjetlo prodire sve do prizemlja, a zrak do svih prostora u sredini zgrade. Movement through the building is a cinematographic experience with scenes changing quite dramatically; an array of separate, uniquely characteristic spaces form an interior shaped into countless variations by the building’s construction and its light.

#user_experience

Kretanje kroz zgradu predstavlja kinematografski doživljaj u kojem se nižu vrlo različite scene; niz pojedinačnih, karakternih prostora koje povezuje ambijent oblikovan nosivom konstrukcijom i svjetlom u bezbroj varijacija.

#common_ space

“We need contemporary culture and art, places of critical interaction and we need spaces where this can develop. We do not wait for ideal conditions, we create them. We are starting to use abandoned places, we adapt them through use, content develops together with architecture which serves it. Architecture is no longer just a framework for events, it becomes one of the protagonists of social change.” 1 “Trebamo suvremenu kulturu i umjetnost, mjesta kritičke društvenosti i trebamo prostore koji su prilagođeni da se u njima oni razvijaju. Ne čekamo idealne uvjete, već ih realiziramo. Počinjemo koristiti napuštene prostore, prilagođavamo ih i istovremeno koristimo, sadržaj se razvija zajedno s arhitekturom koja mu služi. Arhitektura prestaje biti okvir za događanja i postaje jedan od protagonista društvenih događanja.” 1

#identity

There is a room in the Venetian Arsenal whose interior brings together three cultural scenes from three buildings in three Croatian cities (Rijeka, Zagreb, Split) into a new common place. It is, at the same time, a small museum which maps the history of those buildings and their usage, an infrastructure for contemporary events, prominent artists and their works, as well as a vision of those spaces and contents in the times to come. 2

#do-tank PLATFORMA 981 (CROATIA)

U jednoj prostoriji u Venecijanskim arsenalima izgrađen je ambijent koji objedinjuje tri kulturne scene iz tri stare zgrade u tri grada u Hrvatskoj (Rijeka, Zagreb, Split) u jedno novo zajedničko mjesto. Istovremeno, on je muzej u malom, koji mapira povijest korištenja ovih zgrada, infrastruktura koja okuplja današnja događanja, aktuelne umjetnike i njihove radove, kao i vizija ovih prostora i sadržaja u vremenu koje dolazi. 2

Longitudinal section emphasises the importance of communication spaces in contemporary education, set out as places for individual and informal group work, meetings, smaller and bigger events. The building is accessible from its basement to the top floor by way of wide communication passages which also have different additional uses, including an open classroom, cafeteria, audience seating next to the Students’ club, terraces, porticos, administration lobby, bike parking area, or access to an archaeological site below the building. Uzdužni presjek naglašava važnost komunikacijskih prostora u suvremenoj edukaciji, oblikovanih kao mjesta individualnog i neformalnog grupnog rada, susreta, većih i manjih događanja. Zgrada je prohodna od podruma do zadnje etaže kroz niz širokih komunikacija koje imaju različite dodatne funkcije; kao otvorena učionica, kantina, tribine uz studentski klub, terase, trijemovi, predvorje uredskog dijela, parkiralište za bicikle ili prilaz arheološkom nalazištu koje se nalazi pod zgradom.

#adaptive_reuse MUSEUM OF MODERN AND CONTEMPORARY ART IN RIJEKA, CROATIA (2016) 12

DINKO PERAČIĆ, MIRANDA VELJAČIĆ, EMINA VIŠNIĆ, SLAVEN TOLJ TXT DINKO PERAČIĆ, PLATFORMA 981 - DA2017

17/05/2017 KLABIKA COLLECTIVE MAKES A SIGNIFICANT CONTRIBUTION TO THE DESIGN OF THE OPENING CEREMONY OF THE 2017 DAYS OF ARCHITECTURE. THE COMBINATION OF LUSH VEGETATION OF THE BOTANICAL GARDEN AND ELECTRONIC MUSIC CREATES A SPECIAL ATMOSPHERE WHICH QUICKLY EXTENDS TO THE FESTIVALS MAIN VENUE – CINEMA MEETING POINT – AND CARRIES ON THROUGHOUT THE FESTIVAL. VAŽAN DOPRINOS PROJEKTOVANJU OTVARANJA DANA ARHITEKTURE 2017. DAJE KLABIKA COLLECTIVE. SPOJ BUJNE VEGETACIJE BOTANIČKE BAŠTE ZEMALJSKOG MUZEJA I ELEKTRONSKE MUZIKE STVARA POSEBNU ATMOSFERU KOJA UBRZO OSVAJA I MJESTO CENTRALNOG PROGRAMA - KINO MEETING POINT I TRAJE SVE DO KRAJA FESTIVALA.

PHOTO: SELVER UČANBARLIĆ

#programmatic_layering DAYS OF ARCHITECTURE 2017 OPENING NIGHT, NATIONAL MUSEM OF BOSNIA AND HERZEGOVINA

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#efficiency

The main vestibule comprises a closed, technical part made in concrete, and a public part made in steel and glass. Large steel girders in the ceiling make the room open and column-free, and the many skylights open up the space for changing lighting conditions throughout the day. Three different escalators with interconnected passages provide for a varied spatial sequence on the way down to the platform. The station hall is a mountain tunnel with a middle platform and a natural vaulted shape.

#continuous_interior

The neighbourhood of Løren, a former industrial area and military camp, has in recent years emerged as a new, attractive residential district. As a further development of the area a new metro station was planned. The station is located 27 meters underground and accessed from two entrances by stairs, escalators or lifts. Naselje Løren, nekadašnje industrijsko područje i vojni logor, posljednjih je godina postalo nova, atraktivna stambena četvrt. U cilju daljeg razvoja ovog područja planirana je i nova metro stanica. Stanica se nalazi 27 metara pod zemljom i pristupa joj se s dva ulaza stepenicama, pokretnim stepenicama ili liftovima.

#do-tank MDH ARKITEKTER (NORWAY)

#in-between LØREN METRO STATION, OSLO, NORWAY (2016) ARNE HENRIKSEN ARKITEKTER & MDH ARKITEKTER

Glavno predvorje sastoji se od zatvorenog, tehničkog dijela izvedenog u betonu, i javnog dijela od čelika i stakla. Zahvaljujući velikim čeličnim nosačima u stropu, prostor je otvoren i bez stubova, a brojni prozori dopuštaju prostoru promjenu svjetlosnih uslova tokom dana. Tri seta pokretnih stepenica s međusobno povezanim prolazima zaslužni su za raznolike prostorne sekvence na putu do platforme. Prostor stanice je oblikovan kao planinski tunel s platformom u sredini i prirodno zakrivljenim svodom.

#void #void

The extensive technical installations have been a contributing factor to the architectonical concept, exposing it rather than attempting to hide it. This gives the station a robust and a industrial atmosphere - a giant machine in steel and concrete bringing people up and down into the metro system. Opsežne tehničke instalacije doprinjele su ovom arhitektonskom konceptu u kojem se one izlažu radije nego pokušavaju sakriti. To daje stanici robusnu i industrijsku atmosferu džinovska mašina od čelika i betona koja ljude uvodi u i izvodi iz sistema podzemne željeznice.

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#minimal

Student housing often plumbs the depths of mediocrity, with simple units stacked on top of each other in the cheapest way possible and left to themselves without supporting programs. The Moholt 50|50 project is a reaction to this. By injecting new collective oriented housing units, support services for students and public programs into an existing student village built in the sixties, a new active central area is created, erasing the psychological border between the student village and the surrounding area. Studentski smještaj često ispituje granice osrednjosti, s jednostavnim jedinicama naslaganim jedna na drugu na najjeftiniji mogući način, prepuštenim sebi bez ikakvih dodatnih sadržaja. Projekat Moholt 50|50 je reakcija na to. Ubacivanjem novih kolektivnih stambenih jedinica, servisa za podršku studentima i javnih programa u postojeće studentsko selo izgrađeno šezdesetih godina prošlog stoljeća, stvoreno je novo aktivno centralno područje, čime se briše psihološka međa između studentskog sela i okruženja.

#ecological_attitude MOHOLT TIMBER TOWERS, TRONDHEIM, NORWAY (2016) MDH ARKITEKTER

#density

Moholt 50|50 je najveći projekat u Evropi kada je u pitanju lijepljeno lamelirano drvo (Cross Laminated Timber - CLT). Podrum i prizemlje su izrađeni od izljevenog armiranog betona. Od prvog do devetog sprata, struktura se sastoji od CLT elemenata. Pri gradnji CLT-om namjera je bila iskoristiti prednost fabrički obrađenih površina kako bi drvo bilo što više vidljivo u enterijeru. Koristeći tehničke i estetske kvalitete sistema CLT, postignut je odvažan i iskren izraz. Moholt 50|50 is the largest Cross Laminated Timber (CLT) project in Europe. The basement and ground floor levels are made in cast reinforced concrete. From the first floor to the ninth floor the structure consists of prefabricated CLTelements. The approach to building with CLT was to take advantage of the finished surface of the CLT elements and expose as much of the wooden structure as possible in the interiors. By utilizing the technical and aesthetic qualities of the CLT system, a robust and honest expression was achieved.

The project title, Moholt 50|50, represents a turning point in the history of the student village. Fifty years after the inauguration of the first student units at Moholt student village, a competition for young architects was arranged, looking for a vision for the coming fifty years. True to the ideals of the student organization – offering both private space for individual needs and collective space promoting collaboration, social responsibility and tolerance - the winning project proposed Y-shaped towers where each floor is one student collective. Every collective consists of fifteen units with individual bathrooms. The habitants share a kitchen, dining/ living room and an entrance hall with wardrobes.

Naziv projekta Moholt 50|50 označava tačku zaokreta u istoriji studentskih sela. Pedeset godina nakon uspostavljanja prvih studentskih jedinica u studentskom selu Moholt, u potrazi za vizijom za narednih pedeset godina, upriličeno je takmičenje za mlade arhitekte. Vjeran idealima studentske organizacije – nudeći privatni prostor za lične potrebe, kao i zajednički prostor koji podstiče na saradnju, društvenu odgovornost i toleranciju – pobjednički projektni prijedlog bili su neboderi u obliku slova Y u kojima je svaki sprat jedna studentska zajednica. Svaka zajednica se sastoji od petnaest jedinica s vlastitim kupatilima. Stanari dijele kuhinju, dnevnu sobu i hodnik s garderoberom.

#minimal

The towers, with their relatively short spans and Y-shaped volumes, were statically optimal for this type of load bearing wood construction. The use of CLT (Cross Laminated Timber) has reduced the CO2 in building materials by 57%. The CO2 emissions associated with energy use are reduced by approximately 70% compared to standard Norwegian requirements.

#modular

Sa svojim relativno kratkim rasponom i osnovom u obliku slova Y, zgrade su statički optimalne za ovu vrstu nosive drvene konstrukcije. Izborom CLT-a, emisija CO2 u građeviskom procesu smanjena je za 57%, a emisije CO2 u pogledu utroška energije smanjene su za oko 70% u odnosu na standardne norveške zahtjeve. TXT

MDH ARKITEKTER - DA2017

20/05/2017 CENTRAL TO THE DA2017 PROGRAMME ARE PANEL DISCUSSIONS DEDICATED TO DIFFERENT DIMENSIONS OF WHAT THE CURATOR IDIS TURATO CONSIDERS THE MAIN TASK OF ARCHITECTURAL PRACTICE - DESIGNING. IN LIVELY AND ENGAGING DISCUSSIONS AND IN THE FESTIVAL HIGH, DA2017 EXPLORES THE QUESTIONS OF DESIGNING ARCHITECTS, CONTENT, MEDIA, SOCIETY AND FUTURE. CENTRALNI DIO PROGRAMA DA2017 ČINI NEKOLIKO PANELA POSVEĆENIH RAZLIČITIM DIMENZIJAMA, ONOGA ŠTO ZA KURATORA IDISA TURATA PREDSTAVLJA GLAVNI ZADATAK ARHITEKTONSKE PRAKSE - PROJEKTOVANJA. U ŽIVIM I UZBUDLJIVIM RASPRAVAMA, U ATMOSFERI FESTIVALSKE UŽURBANOSTI, ISPITUJU SE PITANJA PROJEKTOVANJA ARHITEKATA, SADRŽAJA, MEDIJA, DRUŠTVA I BUDUĆNOSTI.

PHOTO: DAYS OF ARCHITECTURE SARAJEVO

#paradigm-shift DAYS OF ARCHITECTURE 2017 PANEL CINEMA MEETING POINT SARAJEVO

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20/05/2017 THE AUDIENCE OF DA2017 SHOWS A PARTICULAR INTEREST FOR THE LECTURE GIVEN BY BERNARD KHOURY (LEBANON) WHO ENGAGINGLY DISCUSSES HIS OWN PRACTICE. IN THE INTERVIEW FOLLOWING THE LECTURE, KHOURY RAISES SOME OF THE KEY QUESTIONS FOR ARCHITECTURAL PRACTICE TODAY. BY COMPARING THE CONTEXT IN WHICH HE OPERATES WITH THAT OF SARAJEVO IN HIS CHARACTERISTICALLY MILITANT LANGUAGE, HE CONFIRMS THE RELEVANCE OF THE DAYS OF ARCHITECTURE SARAJEVO. POSEBNU PAŽNJU PUBLIKE NA DA2017 PRIVLAČI PREDAVANJE BERNARDA KHOURYJA (LIBAN) KOJI NA ZAVODLJIV NAČIN GOVORI O SVOJOJ PRAKSI. U INTERVJUU NAKON PREDAVANJA, KHOURY POSTAVLJA NEKA OD KLJUČNIH PITANJA ZA ARHITEKTONSKU PRAKSU DANAS, TE UPOREĐUJUĆI KONTEKST IZ KOJEG DOLAZI SA SARAJEVOM, SVOJIM KARAKTERISTIČNIM MILITANTNIM JEZIKOM AFIRMIŠE VAŽNOST DANA ARHITEKTURE SARAJEVO.

PHOTO: SABINA HODOVIĆ

#storytelling BERNARD KHOURY AT DAYS OF ARCHITECTURE 2017 CINEMA MEETING POINT SARAJEVO

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#placemaking B018, BEIRUT, LEBANON (1998) DW5, BERNARD KHOURY

B018 is a music club, a place of nocturnal survival. In the early months of 1998, the B018 moved to the “Quarantaine”, on a site that was better known for its macabre aura. The “Quarantaine” is located in the proximity of the port of Beirut. During the French protectorate, it was a place of quarantine for arriving crews. In the recent war it became the abode of Palestinian, Kurdish and South Lebanese refugees (20,000 in 1975). In January 1976, local militia men launched a radical attack that completely wiped out the area. The slums were demolished along with a kilometre-long bordering wall that isolated the zone from the city. Over twenty years later, the scars of war are still perceptible through the disparity between the scarce urban fabric of the area and the densely populated neighbourhoods located across the highway that borders the zone.

B018 je muzički klub, mjesto noćnog preživljavanja. Početkom 1998. godine, B018 se premjestio u “Quarantaine”, na prostor do tad poznatiji po svojoj jezivoj auri. “Quarantaine” se nalazi u blizini bejrutske luke. Za vrijeme francuskog protektorata, tu je bio karantin za dolazeće posade. U nedavnom ratu, postao je prebivalište palestinskih, kurdskih i južnolibanskih izbjeglica (1975. godine njih 20.000). U januaru 1976. godine, lokalna paravojna jedinica izvela je radikalan napad koji je u potpunosti uništio područje. Slamovi su porušeni zajedno s kilometarskim graničnim zidom koji je ovu zonu izolirao od grada. Preko dvadeset godina kasnije, ratni ožiljci još uvijek su vidljivi u razlici između gotovo nepostojećeg urbanog tkiva na tom području i gusto naseljenih četvrti koje se nalaze s druge strane autoceste koja graniči s ovom zonom.

#shelter BERNARD KHOURY, DW5 (LEBANON)

“When you come out of war, there is a tendency for amnesia. Politicians become amnesic and they do not address problematic questions that have to do with your recent past. As Beirut was trying to portray itself as a party place, like a phoenix coming out of its ashes, I am commissioned to build a nightclub on a site of a former refugee camp that was burned down to the ground. We have brought life to this desolate area, and I think it is a form of cultural resistance, and it is also a form of political resistance. It was not an amnesic project.” “Kada izađete iz rata, postoji sklonost amneziji. Političari razvijaju amneziju i ne bave se problematičnim pitanjima koja se tiču vaše skore prošlosti. Dok se Bejrut nastoji prikazati kao mjesto zabave, kao feniks koji se diže iz pepela, ja dobivam narudžbu da izgradim noćni klub na mjestu nekadašnjeg izbjegličkog kampa spaljenog do temelja. Mi smo udahnuli život u ovo pusto područje i mislim da je to oblik kulturalnog otpora, a također i oblik političkog otpora. Ovaj projekat ne pati od amnezije.”

#void

B018, BEIRUT, LEBANON (1998) #social_condenser DW5, BERNARD KHOURY

The project is built below ground. Its facade is pressed into the ground to avoid the over exposure of a mass that could act as a rhetorical monument. The building is embedded in a circular concrete disc slightly above tarmac level. At rest, it is almost invisible. It comes to life in the late hours of the night when its articulated heavy metal roof structure retracts hydraulically. The opening of the roof exposes the club to the world above and reveals the cityscape as an urban backdrop to the patrons below. Its closing translates as a voluntary disappearance, a gesture of recess. Projekat je izgrađen ispod nivoa zemlje, njegova fasada je utisnuta u zemlju, kako bi se izbjegla pretjerana izloženost mase koja bi mogla predstavljati retorički spomenik. Objekat je smješten unutar kružnog betonskog diska koji je malo iznad nivoa asfalta. Kada miruje, skoro je nevidljiv. U kasnim noćnim satima oživljava i tada se teška, metalna krovna struktura hidraulički povlači. Rastvoreni krov izlaže klub svijetu iznad njega i posjetiocima kluba razotkriva panoramu grada kao urbanu pozadinu. Njegovo zatvaranje prevodi se kao dobrovoljni nestanak, gesta povlačenja. 254 3650 DAYS OF CONTEMPORARY ARCHITECTURE IN SARAJEVO

#foldable_curtain

Plot #4371 is the first development of its kind in Lebanon. The project aims at providing non-typical working/living lofts for the emerging creative scene in Beirut. It is located in the vicinity of the NBT railway station, the Damascus highway, the National Museum district and the intersection of the major east-west and north-south road networks of the city. The site consists of a 1,200-square-meter plateau in a district that is in the process of gentrification and urban renewal, attracting alternative programs and activities, as well as new developments that consist of rehabilitating old industrial structures into residential apartments. Plac #4371 je prva građevina ovakve vrste u Libanonu. Cilj projekta je ponuditi stasavajućoj kreativnoj sceni Bejruta netipične prostore za život i rad. Nalazi se u blizini željezničke stanice NBT, autoputa za Damask, distrikta Nacionalnog muzeja i raskrsnice glavnih putnih mreža grada u pravcu istok-zapad i sjever-jug. Parcela je plato površine 1200 kvadratnih metara u distriktu koji je u procesu gentrifikacije i urbanog oporavka, i koji privlači alternativne programe i aktivnosti, kao i projekte izgradnje koji se sastoje od preinake starih industrijskih zdanja u stambene jedinice.

#void

#experimental PLOT #4371, BEIRUT, LEBANON (2015) BERNARD KHOURY - DW5

The project is implemented in the centre of the site, allowing for relatively generous setbacks from the property limits on all sides. The circular floor slabs are organized around a central octagonal platform, onto which a freight elevator opens, serving all the studios individually and providing direct vehicular access to every loft for the displacement of large scale items such as artwork, musical instruments and collectors cars.

Projekt je smješten u središtu parcele, što je omogućilo relativno velikodušan odmak od okolnih parcela. Kružne podne ploče organizovane su oko središnje osmougaone platforme, na koju izlazi teretni lift koji opslužuje sve jedinice, te omogućava izravan kolski pristup svakoj jedinici radi lakšeg transporta velikih predmeta poput umjetničkih djela, muzičkih instrumenata i kolekcionarskih automobila.

#paradigmshift “I am very much obsessed by the specificities of the situations I deal with, and one of the greatest specificities of these situations are the people that you meet as you work. They define context to me much more than anything else.” “Opsjednut sam sa specifičnostima situacija s kojima se nosim, a jedna od najvećih specifičnosti ovih situacija su ljudi koje upoznajem dok radim. Oni mi definišu kontekst daleko više od bilo čega drugog.”

The 360-degree glazed facade allows for full exposure on all orientations, and with clear floor heights of 4.5 to 5.5 meters as well as wall-to-wall and floor-toceiling openings, the spatial quality of the proposed lofts is reminiscent of artist studios from the early modern period. Despite the radial configuration of the apartments on the floor plates, an orthogonal geometry governs the individual layouts of all the interiors. The seven-story building consists of 24 types of apartments with a total of 29 units. Tristo šezdeset stepeni ustakljene fasade pruža neometan pogled u svim smjerovima, a zahvaljujući spratovima svijetle visine od 4,5 do 5,5 metara, kao i otvorima od zida do zida i od poda do plafona, prostorni kvalitet stambenih jedinica na tragu je umjetničkih studija iz vremena ranog modernizma. Usprkos radijalnoj konfiguraciji stanova, pojedinačni tlocrti svih unutrašnjih prostora vode se ortogonalnom geometrijom. Ova sedmokatnica se sastoji od 24 tipa stanova s ukupno 29 stambenih jedinica. TXT

BERNARD KHOURY, DW5 - DA2017

#context

#storytelling INTERVIEW WITH BERNARD KHOURY DAYS OF ARCHITECTURE 2017 CINEMA MEETING POINT SARAJEVO

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I still venture into American territory and Western Europe, where I still do give lectures and crits and studios, but I find them to be very dormant. I feel much more at home here in the sense that I feel there’s a far more curious audience. Maybe because you haven’t gone to sleep yet, you’re still awake, and I think that’s wonderful. Maybe in certain ways we are similar in that sense - we survive in territories that are not very secure, and we have to remain very much alert in everything we do. Ja još uvijek zalazim na teritorije Amerike i Zapadne Evrope, gdje i dalje držim predavanja i radionice, ali meni su oni jako uspavani. Ovdje se daleko više osjećam kod kuće u smislu da nailazim na mnogo znatiželjniju publiku. Možda zato što se još uvijek niste uspavali, još uvijek ste budni, i mislim da je to prekrasno. Možda smo na izvjestan način u tom smislu slični - preživljavamo na teritorijama koje nisu baš sigurne, i uvijek moramo biti na oprezu u svemu što radimo. - Bernard Khoury, DA2017

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#adaptive_reuse

#compact

#continuous_interior

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Buildings get old and lose purpose for which they were originally built, so we adapt them to be used in new ways. This process ensures that every part of the building in good condition is kept. Derek Latham defines factors that affect decisions for adaptive reuse as: archaeological value, visual/cultural contribution, economic sense, and functional as well as psychological value. London’s Bankside Power Station conversion into Tate Modern museum, designed by Herzog & de Meuron, is considered as one of the most famous and successful projects of this type, with its minimal interventions that not only kept building’s historical appearance, but also referenced the industrial character of original design. Građevine stare i gube svrhu zbog koje su prvobitno pravljene, pa ih mi adaptiramo da bi se iskoristile na nove načine. Ovaj proces omogućuje da se sačuva svaki očuvani dio zgrade. Derek Latham definira faktore koji utječu na odluke za prilagodljivu ponovnu upotrebu kao što su arheološka vrijednost, vizuelna/kulturna vrijednost, ekonomski smisao, te namjenska i psihološka vrijednost. Preobrazba Londonske Bankside elektrane u Tate Modern muzej, koji su dizajnirali Herzog & de Meuron, se smatra jednim od najpoznatijih i najuspješnijih projekata ovog tipa, sa svojim minimalnim intervencijama koje ne samo da su sačuvale historijski izgled građevine, već i upućuju na industrijski karakter originalnog dizajna.

During the ‘90s, at the discussion on “sustainable city”, the compact city concept was presented as one of the solutions for the global issue of sustainable urbanization, which promoted high density housing, mixed-use functions and good public transport connectivity. In the year 2004, Studio NonStop designed the Emergency Medical Center near Sarajevo, as a dense compact structure in order to make the communication between its functional units more effective. Today, it is often used to describe small structures, related to various lifestyles of younger generations who live in motion, avoid big cities or cannot afford “normal housing”. 90-ih godina, u raspravi o „održivom gradu“, koncept kompaktnog grada je zastupljen kao jedno od rješenja za globalni problem održive urbanizacije, a koji potencira visoku gustoću naseljenosti, miješane funkcije i dobru povezanost javnim transportom. Godine 2004. Studio NonStop projektuje Hitni medicinski centar pored Sarajeva kao gustu kompaktnu strukturu s ciljem skraćivanja i ubrzavanja komunikacije između funkcionalnih jedinica iste. Danas se #compact često koristi za opisivanje malih struktura, koje se vežu za razne životne stilove pripadnika mlađih generacija koji žive u pokretu, izbjegavaju velike gradove ili nisu u mogućnosti da si priušte „normalno stanovanje“.

“… is more than space and has no permanent purpose. Continuous Interior is a condition. Continuous Interior cancels typology, reflects new and unexplored areas of architecture that are defined by the changing programs and events in the space. Continuous Interior occurs through a different understanding and a new understanding of the public, social and common space. Continuous Interior questions the morality and ethics and considers the new architecture of work, housing and leisure.” - a statement published in November 2016 by Idis Turato and Days of Architecture Sarajevo, at the moment when the topic was defined for the next year festival. A couple of months later, in January 2017, OMA/AMO used the same title for “2017 FW Prada Men’s and Women’s Show” project. „… je više od prostora i nema stalnu namjenu. Kontinuirani Interijer je stanje. Kontinuirani Interijer poništava tipologije, promišlja nova i neistražena područja arhitekture koja se definiraju promjenjivim programima i događajima u prostoru. Kontinuirani Interijer nastaje kroz drugačije shvaćanje i novo poimanje javnog, društvenog i zajedničkog prostora. Kontinuirani Interijer propituje morale i etike i promišlja novu arhitekturu rada, stanovanja i dokolice“ - izjava koju su objavili Idis Turato i Dani arhitekture Sarajevo u novembru 2016., kada je određena buduća tema festivala. Par mjeseci poslije, u januaru 2017. OMA/AMO koriste isti naziv za projekat modne revije Prada jesen/zima 2017.

Derek Latham. Creative Reuse of Buildings: Volume One (Lower Coombe: Donhead Publishing, 2000) https://www.archdaily.com/429700/ ad-classics-the-tate-modern-herzog-and-de-meuron

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The city space that the citizens themselves choose and shape according to their needs. It can be temporary and permanent, depending on the length of use. #common_space is more determined by spontaneous use and the potential it demonstrates through interaction with people than the formal and legal function that is allocated to such area. Legally, #common_space is a result of collective activities and the need for its use which are very often in direct opposition with the legal and economic definitions of public and private space. This is one of the frequently picked topics during Days of Architecture Sarajevo and one that has brought not only a lot of mutual joy, but also discord. Prostor grada koji građani i građanke sami izaberu i na njega djeluju prema vlastitim potrebama. U odnosu na dužinu trajanja korištenja, ovaj prostor može biti privremeni ili stalni. Zajednički prostor je određen više spontanim korištenjem i potencijalom naglašenim kroz interakciju prostora i ljudi nego formalno-pravnom funkcijom koja mu je dodijeljena. Zajednički prostor u pravom smislu i nastaje kao rezultat kolektivnih aktivnosti i potrebe za korištenjem koji su često u direktnoj suprotnosti sa pravno-ekonomskim definicijama javnog i privatnog prostora. Ovo je česta tema za Dane arhitekture Sarajevo koja je proizvela mnogo zajedničke radosti, ali i razdora u organizaciji. http://www.gradologija.ba/ The Hidden Commons in Maria’s Yard Sarajevo (European Prize for Urban Public Space 2016 nominee)

Elizabeth Burton, Mike Jenks, Katie Williams. The Compact City: A Sustainable Urban Form (Abingdon :Routledge, 1996) https://www.muji.com/jp/mujihut/en.html

http://www.idisturato.com/2016/11/27/continuous-interior-sarajevo-2017/

#context

http://oma.eu/projects/2017-fw-prada-men-s-and-women-s-show

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#critical_regionalism

“A work never exists in isolation. There is always a context in which it is situated, and in which a relationship to that context is established. And while that relationship can be platonic, casual, symbiotic, or detrimental, it is the specifics of that context and the ways in which it is interpreted that establish the terms of dialogue.” Randic-Turato’s Krsto Frankopan Elementary School creates that dialogue with reconstructed old city wall, and together, they create one inseparable whole, in dialogue with the town of Krk and its surrounding area. Sensitive approach to building in specific context is evident in work of Portuguese masters, like Álvaro Siza, whose architecture blends within its environment like it has always been a part of it. „Djelo nikada ne postoji u izolaciji. Uvijek postoji neki kontekst u kojem se nalazi i u kojem se uspostavlja odnos prema tom djelu. I dok taj odnos može biti platonski, neformalan, simbiotski ili štetan, specifičnosti konteksta kao i načini kojima je tumačen, uspostavljaju uvjete dijaloga.“ RandićTuratova Osnovna škola Krsto Frankopan stvara taj dijalog s rekonstruiranim starim gradskim zidom, a zajedno čine jednu neodvojivu cjelinu, u dijalogu s gradom Krkom i okruženjem. Osjetljivi pristup izgradnji u specifičnom kontekstu očituje se u radu portugalskih majstora, poput Álvara Size, čija arhitektura se uklapa u svoje okruženje kao da je oduvijek bila dio istoga. Andrea Simitch and Val Warke, The language of Architecture: 26 Principles Every Architect Should Know Ivan Rupnik, A Peripheral Moment: Experiments in Architectural Agency: Croatia 1999-2010 (Barcelona, New York: Actar, 2010)

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An approach to modern architecture that maintains its international and universal humanistic qualities, but, at the same time, fits the unique characteristics of the place where it’s being built. For A. Tzonis and L. Lefaivre, it is “a bridge over which any humanistic architecture of the future must pass”, for Kenneth Frampton, “an Architecture of Resistance”. In Alvar Aalto’s Säynätsalo Town Hall, built in 1951., the main route leading to council chambers demonstrates a tactile and tectonic experience resisting domination of universal values over local, while at Sherefudin’s White Mosque in Visoko, Zlatko Ugljen created tension between archetypal plan and atypical complex roof. Pristup modernoj arhitekturi koji održava svoje internacionalne i univerzalne humanističke kvalitete, ali je istovremeno, osjetljiv i odgovarajući prema jedinstvenim karakteristikama mjesta u kome se gradi. Za A. Tzonisa i L. Lefaivrea, to je “most preko kojeg bilo koja humanistička arhitektura budućnosti mora preći”, za Kennetha Framptona, “Arhitektura otpora”. U Alvar Aaltovoj Säynätsalo Gradskoj vijećnici, 1951., glavna ruta vodi do prostorija vijeća, demonstrirajući taktilno i tektoničko iskustvo koje se odupire dominaciji univerzalnih vrijednosti nad lokalnim, dok u Šerefudinovoj bijelog džamiji u Visokom Zlatko Ugljen stvara tenziju između arhetipskog plana i netipičnog kompleksnog krova. Kenneth Frampton. “Towards a Critical Regionalism: Six points for an architecture of resistance”. in “Anti-Aesthetic. Essays on Postmodern Culture.”(Seattle: Bay Press, 1983) Alexander Tzonis and Liliane Lefaivre. “The Grid and the Pathway: An Introduction to the Work of Dimitris and Suzana Antonakakis” in “Architecture in Greece 15” (1981) Stane Bernik. Arhitekt Zlatko Ugljen, monografija (Tuzla : Međunarodna galerija portreta, 2002)

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#density

#diy

#ecological_attitude

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p106 p122 p146 p147 p149 p160 p206 p210

p86 p128 p178 p200 p234

“In general terms it can be said that high density optimises land use, lessens the pressure on agricultural land, reduces the need to travel and the risk of traffic accidents, makes public transport more profitable and creates areas of urban activity that favour trading and cultural exchanges.” Already in 1961, Jane Jacobs quoted “sufficiently dense concentration of people, for whatever purpose” as one of four indispensable conditions to “generate exuberant diversity in city’s streets and districts”. To help create optimal density, Christopher Alexander proposed the “Density rings” pattern, which employs a gradient of different densities of population in semi-circles placed around the “eccentric nucleus”. „Općenito govoreći, može se reći da visoka gustoća optimizira korištenje zemljišta, smanjuje pritisak na poljoprivredno zemljište, smanjuje potrebu putovanja i rizik od prometnih nesreća, čini javni prijevoz profitabilnijim i stvara područja urbane aktivnosti koja favoriziraju trgovačku i kulturnu razmjenu.“ Već 1961. godine Jane Jacobs navodi „dovoljno gustu koncentraciju ljudi, bez obzira na svrhu“, kao jedan od četiri neophodna uvjeta za „generiranje bujne raznolikosti na gradskim ulicama i distriktima“. Kako bi se stvorila optimalna gustoća, Christopher Alexander je predložio uzorak „Prstenova gustine“ koji primjenjuje gradijent polukrugova različite gustoće stanovništva smještenih oko „ekscentrične jezgre“.

You, as architects, can initiate projects yourself and even realize them. RaumlaborBerlin projects show exactly that. Their “The Big Crunch” #experimental installation (2011) features a heap of everyday objects, such as fridges, windows or furniture, and shows how they can be used for gatherings and public events. During the Days of Architecture 2014, in one beautiful but unfortunately publicly unavailable city block courtyard in Sarajevo, “Marindvor bench” was completed as a scaled model of the block it was named after. It still remains as an element of urban furniture and a testimonial of the “do it yourself” character of Days of Architecture Sarajevo. Da kao arhitekti možete sami inicirati, pa čak i realizovati projekt, pokazuje arhitektura RaumlaborBerlin. Njihova „The Big Crunch“ eksperimentalna instalacija (2011) predstavlja gomilu svakodnevnih predmeta poput frižidera, prozora ili namještaja te pokazuje kako se oni mogu koristiti za okupljanja i održavanje javnih događaja. Tokom Dana arhitekture 2014. je u jednom prelijepom, ali nažalost javno nedostupnom blokovskom dvorištu u centru Sarajeva, napravljena „Marindvorska klupa“ – umanjena maketa istoimenog bloka. I danas ostaje kao element urbanog mobilijara i kao potvrda „uradi sam“ karaktera samih Dana arhitekture Sarajevo.

“Increased environmental awareness prompted by climate change and resource depletion has turned sustainability into a significant issue that determines how the building design industry operates.” That in turn became a politically correct mantra and, often, an excuse for bad architecture. For E.S. de Moura, “There is no ecological architecture, no intelligent architecture, no fascist architecture, no sustainable architecture – there is only good and bad architecture”. Good architecture, one that respects context, nature and culture, that adapts to climatic conditions and responds to human physical and psychological needs, is the goal for Glenn Murcutt, showcased in architecture of the Simpson-Lee house, among his other buildings. “Povećana svijest o ekološkim izazovima, potaknuta klimatskim promjenama i iscrpljenošću resursa, je pretvorila održivost u značajno pitanje koje oblikuje način rada industrije projektovanja građevina” koje se zatim pretvorilo u politički opravdanu mantru i, često, izgovor za lošu arhitekturu. Za E.S. de Mouru, „Nema ekološke arhitekture, niti inteligentne arhitekture, niti fašističke arhitekture, niti održive arhitekture - postoji samo dobra i loša arhitektura“. Dobra arhitektura, ona koja poštuje kontekst, prirodu i kulturu, koja se prilagođava klimatskim uvjetima i odgovara ljudskim fizičkim i psihološkim potrebama, je cilj Glen Murcutta, demonstriran, između ostalih njegovih građevina, u arhitekturi kuće Simpson-Lee.

Aurora Fernandez Per and Javier Mozas. Density: New Collective Housing (Vitoria-Gasteiz:A+T Editores, 2004), Christopher Alexander, Sara Ishikawa, Murray Silverstein, Max Jacobson, Ingrid Fiksdahl-King, Shlomo Angel. A Pattern Language: Towns, Buildings, Construction (Oxford : Oxford University Press, 1977) http://densityatlas.org/

http://raumlabor.net/the-big-crunch/ https://www.radiosarajevo.ba/metromahala/teme/ skriveno-dvoriste-u-sarajevskom-naselju-marijin-dvornominirano-za-evropsku-nagradu/219742

#do-tank p136 p145 p160

#design_as_research p60 p135 p142 p178 p188

“If Mies solved some problem with four lines, we researched a solution with three lines.” (arch. Magaš on laboratory design work at the Faculty of Architecture in Zagreb). On one hand, research is a necessary part of design methodology (because, how do you design, if you don’t understand the problem), on the other, it is a popular “justification” of designs, often vaguely explained and done with too little systematics and methodology to be called “research”. AMO as a research studio and #think-tank counterpart of OMA apply architectural thinking into media, fashion, communication and publication. „Ako je Mies riješio neki problem sa četiri linije, mi smo istraživali rješenje sa tri.“ (arh. Magaš o laboratorijskom projektantskom radu na Arhitektonskom fakultetu u Zagrebu). S jedne strane, istraživanje je neophodan dio metodologije dizajna (jer kako uopšte raditi dizajn ako ne razumijete problem), a s druge strane, popularno „opravdanje“ projekata, često nejasno objašnjeno i rađeno bez dovoljno sistematičnosti i metodologije da bi se moglo zvati „istraživanjem“. AMO kao istraživački studio i #think-tank OMA-e primjenjuju arhitektonsko razmišljanje na medije, modu, komunikacije i izdavaštvo. Maroje Mrduljaš, Vladimir Kulić, Unfinished Modernisations, Exhibition at DA2015 Sarajevo (2015) http://dekleva-gregoric.com/studio/profile-thinking/ http://oma.eu/office

As humans, we learn more from doing than we do from thinking. To go against the grain often means to go against what is popular - and what is popular is to theorise but not act, to be radical in thought but not to implement. Only by doing can we see the problem for what it is and be effective. #do-tank is a group of individuals from diverse skill-sets brought together to target problems and implement solutions. Mi kao ljudska bića više učimo radeći nego razmišljajući. Biti drugačiji često znači odudarati od onog što je popularno, a ono što je popularno jeste razmišljati, a ne činiti, biti radikalan u misli, ali ne i sprovoditi je u djelo. Međutim, tek kada pokušamo nešto sprovesti u djelo možemo uvidjeti problem i biti efikasni. #do-tank je grupa pojedinaca različitih sposobnosti koji zajedno rješavaju probleme. https://www.devex.com/news/why-the-world-economic-forumlaunched-a-do-tank-on-the-technological-revolution-89924 http://www.dotank.city/ http://www.l-i-f-t.org/

Francis D. K. Ching, Building Construction Illustrated (New Jersey: Wiley, 2014) Edward Schwarz, Basic Needs: First Forum - Holcim Forum 2004 in Zurich (Zurich: Holcim Foundation for Sustainable Construction, 2005) https://www.pritzkerprize.com/sites/default/files /inline-files/2002_essay.pdf

#efficiency p86 p104 p110 p196 p182 p234 p247

To reduce the damage done to our environment, we are supposed to use natural resources with greater efficiency. To reduce the growing strain on the infrastructure, we need to manage our cities more efficiently. Internet of Things is an attempt of doing that by making the buildings/cities “smart”. But what if more efficiency leads to more consumption and faster exploitation of resources? Is it an efficiency trap? Are we increasing efficiency for a sustainability approach that doesn’t work? Da bismo uklonili štetu po naš okoliš, trebali bismo koristiti prirodne resurse sa većom efikasnošću. Da bismo smanjili rastuće opterećenje na infrastrukture naših gradova, trebamo njima upravljati efikasnije. Internet of Things je pokušaj da se građevine/gradovi učine „pametnim“. Ali, šta ako više efikasnosti vodi u veću potrošnju i bržu eksploataciju resursa? Da li je to zamka efikasnosti? Da li povećavamo efikasnost za pristup održivosti koji ne funkcioniše? https://www.curbed.com/2017/11/17/16670378/smart-citysidewalk-labs-bill-gates-elon-musk https://www.fairobserver.com/more/global_change/new-urban-agendasmart-cities-sustainable-development-climate-news-65431/ Steve Hallett. The Efficiency Trap: Finding a Better Way to Achieve a Sustainable Energy Future (Prometheus Books, 2013)

#environmental_ graphic_design

#foldable_curtain

#hybrid

p68 p174 p247

p38 p86 p62 p98 p138

As a cross-discipline that blends boundaries between many disciplines, it shows how graphic design can encompass and redefine #context of space, have a functional role through the creation of way finding and information system, and shape all of that into a unique #user_experience. The hostel Golly±Bossy in Split, Croatia, designed in 2010, can be taken as one such example. StudioUP uses EGD to invite users from outside and to clearly guide them from hostel’s #common_space to dormitories and then into beds. Kao međudisciplina koja stapa granice između više disciplina, „prostorni grafički dizajn“ (EGD) nam ukazuje kako grafički dizajn može obuhvatiti i redefinisati „kontekst“ prostora, imati funkcionalnu ulogu kroz stvaranje identiteta i sistema usmjeravanja i informisanja u prostoru, te na kraju, sve to uobličiti u jedno posebno „korisničko iskustvo“, pa tako, na primjeru hostela Golly±Bossy u Splitu dizajniranog 2010. godine, StudioUP koristi EGD da pozove korisnike izvana te ih jasno vodi od “zajedničkih prostora” hostela do spavaonica, pa do kreveta.

A recognizable formal element of building design or an architectural design tool. It can change qualities of interior space. It can change levels of privacy, allow or deny a view into the building or even protect from sun and noise. It often acts as a second skin which is continuously in a state of change, depending on the needs, necessities or mood of the inhabitants, now partially open, now fully closed. Nikola Bašić wrapped the inside of upper residential floors of the TIZ building in Zadar, in 2003, with foldable curtains, thus leaving never-ending building exterior “design” to its residents, unaware of this. Prepoznatljiv formalni element dizajna građevina ili alat za arhitektonski dizajn. Može mijenjati kvalitete unutrašnjosti prostora. Može promijeniti nivoe privatnosti, dopustiti ili uskratiti pogled u građevinu, te zaštititi od sunca i buke. Često je u ulozi drugog omotača koji je se kontinuirano mijenja prema potrebama korisnika, sad djelimično otvoren, sad potpuno zatvoren. Nikola Bašić je tako zamotao gornje stambene spratove zgrade TIZ u Zadru, 2003. godine sklopivim zastorima, time prepuštajući neprestani „dizajn“ eksterijera stanarima nesvjesnim toga.

According to S. Holl, “The hybrid building is a specimen of opportunity which has the mixed-use gene in its gene code. It turns against the combination of the usual programs and bases its whole raison d’etre on the unexpected mixing of functions. The hybrid is the consequence of a rant against tradition, giving typology the one finger salute”. “Linked hybrid” in Beijing, “promotes interactive relations and encourages encounters in the public spaces” by offering various programmes and by connecting them on different levels. Prema S. Hollu, “Hibridna građevina je rezultat slučaja koji posjeduje gen mješovite namjene u svom genetskom kodu. Buni se protiv kombinacije uobičajenih programa i temelji svoj raison d’etre na neočekivanoj mješavini funkcija. Hibrid je posljedica vike protiv tradicije, dajući tipologiji pozdrav jednim prstom”. “Povezani hibrid“ u Pekingu „promoviše interaktivne odnose i potiče na susrete u javnom prostoru“ tako što nudi raznovrsne programe i među njima stvara veze na različitim nivoima.

http://blog.array-architects.com/kc/environmental-graphic-designtransforming-a-space-into-an-experience

Hrvoje Njirić, “Sotto vocce estetika za zadarsku krstaricu”, Oris Magazine nr.49 (Zagreb: Arhitekst, 2008)

http://architypereview.com/form-space-experience-architecture-andenvironmental-graphic-design/

https://www.archdaily.com/1580/ caranbachel-housing-foreign-office-architects

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Aurora Fernández Per, Javier Mozas, Javier Arpa. This is Hybrid: An Analysis of Mixed-Use Buildings (Vitoria-Gasteiz: A+t Architecture Publishers, 2014) http://www.stevenholl.com/projects/beijing-linked-hybrid https://inhabitat.com/tag/hybrid-architecture/

#identity p71 p83 p230 p224

#experimental p41 p136 p147 p167 p181 p210 p247

All new ideas are the result of an experimental thought, for example, Bernard Khoury’s Yabani architecture or experimental projects during the Days of architecture Sarajevo whose effects were analysed through years and conclusions applied in further organization. “Experimental architecture” was introduced into architectural discourse by Peter Cook in 1970 and further explored by Lebbeus Woods who visited Sarajevo in 1993, when the city was under attack. His work “War and Architecture” showcased experimental guiding principles for the reconstruction of particular buildings as it was case in the study of what a post-war Bosnian parliament should be: “New types of spaces woven into the surviving Cartesian structural frame create a dialectic between timeless and time bound and a network of the unknown that inspires both dialogue and innovation”. Sve su nove ideje rezultat eksperimentalne misli, kao na primjer Yabani zgrada Bernarda Khouryja ili eksperimentani projekti tijekom Dana arhitekture Sarajevo, čiji se utjecaj analizirao godinama i zaključci primijenili u kasnijoj organizaciji. Pojam „eksperimentalne arhitekture“ je u arhitektonski diskurs uveo Peter Cook 1970. godine, te ga je zatim dalje istražio Lebbeus Woods koji je posjetio Sarajevo 1993. godine, kada je grad bio pod opsadom. Njegov rad „Rat i arhitektura“ je pokazao eksperimentalne principe rekonstrukcije pojedinih zgrada, kao što je bio slučaj u studiji koja je razmatrala kako bi to izgledao poslijeratni bosanski parlament: „Novi tipovi prostora utkani u ostatke kartezijanskog strukturalnog okvira grade dijalektiku između nečeg što je ograničeno vremenom i nečeg bezvremenskog, te stvaraju mrežu koja inspriše kako dijalog, tako i inovativne ideje“. Peter Cook, Experimental Architecture (New York: Universe Books, 1970) https://lebbeuswoods.wordpress.com/2011/12/15/ war-and-architecture-three-principles https://www.bernardkhoury.com/project.php?id=153

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#human_scale p34 p68 p72 p80 p86 p104

With great enthusiasm, Grabrijan and Neidhardt have described Sarajevo’s oriental architecture, built according to unwritten laws, where “everything is on a human scale”, offering solutions and making parallels with, according to them, unfulfilled aspirations of contemporary European architecture, of that time. So for example, charshiya is described as “low, horizontally developed business district” criss-crossed by hundreds of narrow streets and dotted with shops, where everything “gradually and pyramidally rises from man over roofs of shops, hans...” where monotonous horizontal feature of low houses situated in gardens and nature is interrupted with vertical accents of minarets and poplar trees, where heights of shops are “on the human scale”... Grabrijan i Neidhardt sa oduševljenjem opisuju orijentalnu arhitekturu grada Sarajeva, građenu prema nepisanim zakonima, po kojima je „sve u mjerilu čovjeka“, nudeći rješenja i povlačeći paralele sa tada, po njima, neostvarenim težnjama savremene evropske arhitekture. Tako je, na primjer, čaršija opisana kao „nizak horizontalno razvijen poslovni dio grada“ sa stotinu sokaka i hiljadu dućana, gdje se sve „stepenuje i piramidalno uzdiže od čovjeka preko krovova dućana, hanova...” gdje je monotonija horizontalizma niskih kuća u bašćama i prirodi prekinuta vertikalnim akcentima minareta i jablanova, gdje su visine dućana tolike da je „sve na dohvat ruke“... Dušan Grabrijan and Juraj Neidhardt, Architecture of Bosnia and the Way Modernity (Ljubljana: Državna založba Slovenije, 1957)

Promoting #critical_regionalism, Kenneth Frampton contended that only architecture in arriére garde position “has the capacity to cultivate a resistant, identity-giving culture while at the same time having discreet recourse to universal technique”. Many believe that national, regional and other identities have been partially lost with the arrival of industrial age, modernity and globalization (look at Airbnb apartments). Maybe that is a natural process, whose consequence will be formation of a new global identity. “I am an American writer, born in Russia and educated in England where I studied French literature, before spending 15 years in Germany.” (V. Nabokov on his national identity, 1964). Promovišući #critical_regionalism, Kenneth Frampton je tvrdio, da jedino arhitektura u arriére garde poziciji „ima kapacitet da gaji kulturu koja je otporna i koja daje identitet, a istovremeno ima diskretan regres prema univerzalnoj tehnici“. Po mnogima, nacionalni, regionalni i ostali identiteti arhitekture su dijelom izgubljeni sa dolaskom industrijskog doba, modernosti i globalizacije (pogledajte Airbnb apartmane). Možda je to prirodan proces, čija će posljedica biti nastanak jednog novog globalnog identiteta. „Ja sam američki pisac, rođen u Rusiji i obrazovan u Engleskoj gdje sam studirao francusku književnost prije nego što sam proveo 15 godina u Njemačkoj.“ (V. Nabokov o svom nacionalnom identitetu, 1964.) Kenneth Frampton. “Towards a Critical Regionalism: Six points for an architecture of resistance”. in “Anti-Aesthetic. Essays on Postmodern Culture.”(Seattle: Bay Press, 1983.) Toffler, Alvin: “Playboy Interview: Vladimir Nabokov”. Playboy (Chicago, IL), 11 (1), Jan 1964, pp.35-41, 44-45 https://architectureau.com/articles/national-identity-in-architecture-aninterview-with-rem-koolhaas/

#in-between

#inhabited_wall

#mat_building

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Transitional spaces were part of unwritten laws of Sarajevo’s oriental architecture. As a boundary between two different worlds (public and private, street and building), they prepared people for a change of impressions and scale just like “engawa” (porch) did in Japanese traditional houses. Herman Hertzberger states: “The threshold provides the key to the transition and connection between areas with divergent territorial claims and, as a place in its own right, it constitutes essentially, the spatial condition for the meeting and dialogue between areas of different orders.” For these reasons, “in-between spaces”, “transitions”, “thresholds”, however called or described, are represented all around the world. Prijelazni prostori su bili dio nepisanih zakona orijentalne arhitekture Sarajeva. Kao granica između dva različita svijeta (javnog i privatnog, ulice i građevine), pripremali su ljude za promjenu utisaka i mjerila, kao što je to „engawa“ (trijem) radio u japanskoj tradicionalnoj kući. Herman Hertzberger navodi: „Granični prostor pruža ključ prijelaza i povezanosti između područja s različitim teritorijalnim pretenzijama i, sa punim pravom, u osnovi predstavlja prostorni uvjet za sastanak i dijalog između područja različitih uređenosti“. Zbog ovih razloga su „prostori između“, „prijelazni prostori“, „granični prostori“, kako god nazivani ili opisivani, zastupljeni širom svijeta.

Create a thick enough wall, build in an alcove as a place for rest and retreat (like C. Alexander proposes), use it as an in-between space that establishes formal transitions between interior and exterior (like Aires Mateus or Pezo von Ellrichshausen does) and if it is an inside wall, turn it into a space that serves main rooms as maintenance area or storage (like Louis Kahn did, with “servant and served” spaces). Sarajevo’s oriental architecture often made use of walls, which is seen in examples where walk-through closets divide corridors from rooms, where cabinets are built in walls and where the seating is a continuous line of sofas attached to the walls as well, leaving the inside of the room empty, spacious and clear. Sagradite zid dovoljne debljine, napravite u njemu nišu kao mjesto za odmor i povlačenje (kao što C. Alexander predlaže), koristite ga kao „prostor između“ koji stvara formalne prijelaze između unutrašnjosti i spoljašnosti (kao Aires Mateus ili Pezo von Ellrichshausen), a ako je unutrašnji zid, pretvorite ga u prostor koji služi glavne sobe (kao što je Louis Kahn radio, sa „služećim i služenim“ prostorima). Orijentalna arhitektura Sarajeva je često koristila zidove, što se vidi u primjerima gdje prohodni ormari dijele hodnike od soba, gdje su plakari ugrađeni u zidove i gdje je garnitura za sjedenje u vidu kontinuiranih sofa priljubljenih uz iste, čime se unutrašnost sobe ostavlja praznom, prostranom i čistom.

An “autonomous collective (...) based on interconnection, close-knit patterns of association, and possibilities for growth, diminution and change”, as defined by Alison Smithson. It is an architecture of “open form”, where the process of creation of building is more important than its form, and, as the Smithsons believed, a reflection of contemporary society (60’s-70’s) on architecture. Free University of Berlin or “groundscraper” (Candilis, Josic, Woods and Schiedhelm, 1963), is one of the most recognizable examples then built, an orthogonal double-level grid structure with juxtaposed, decentralized and #non-hierarchical spaces, connected by series of pathways, ramps, escalators, built with the aim to create a different educational environment that is able to evolve as needed. „Autonomni kolektiv (…) zasnovan na međupovezanosti, blisko vezanim uzorcima asocijacija i mogućnostima za rast, umanjenje i promjenu“, kako je to definisala Alison Smithson. To je arhitektura „otvorene forme“, gdje je proces stvaranja građevine bitniji nego njegov oblik, i, kako su Smithsonovi vjerovali, refleksija savremenog društva (60-te i 70-te) na arhitekturu. Slobodni univerzitet Berlina ili „zemljoder“ (Candilis, Josic, Woods and Schiedhelm, 1963.), je jedan od najprepoznatljivijih izgrađenih primjera tada, ortogonalna mrežasta struktura na dva nivoa, sa naspramno postavljenim, decentraliziranim i nehijerarhijskim prostorima, povezanim nizovima staza, rampi, eskalatora, sagrađen s ciljem stvaranja drugačijeg obrazovnog prostora, koje je u stanju da evoluira po potrebi.

Herman Hertzberger. Lessons for Students in Architecture (Rotterdam: 010 Publishers, 2005) Dušan Grabrijan and Juraj Neidhardt, Architecture of Bosnia and the Way Modernity (Ljubljana: Državna založba Slovenije, 1957)

#infill p34 p64 p72 p80 p110 p132 p230

Tokyo is a tight city, full of small non-standard houses on odd locations, designed by young architects with a lot of imagination and enthusiasm. So, it is not surprise that Atelier Bow-Wow coined the term “pet architecture” describing the phenomenon of “small buildings in odd spaces” that are like “pets in urban spaces”, unlike “decent buildings standing in decent spaces” that could be considered “human beings”. Challenge for young architects: find an infill site on a disadvantaged location, get all the information needed, do an amazing-creative-unexpected proposal that draws all of the qualities offered by location, and maybe even gives more. Or even better, raise funds and build it, like Innocad architects did with “Golden Nugget” in Graz. Easy as pie! Tokio je tijesan grad, prepun malih nestandardnih kuća na čudnim lokacijama, koje su projektovali mladi arhitekti s pregršt mašte i entuzijazma. Tako, i nije iznenađenje da je Atelier Bow-Wow skovao izraz „ljubimac-arhitektura“ kojim opisuje fenomen „malih građevina u čudnim prostorima“ koje su „poput ljubimaca u gradskim prostorima“, za razliku od „pristojnih građevina u pristojnim prostorima“, koje se mogu smatrati „ljudskim bićima“. Izazov za mlade arhitekte: pronađite lokaciju s nedostacima koja se može ispuniti, prikupite sve potrebne informacije, uradite nevjerovatno-kreativno-neočekivan prijedlog koji koristi sve kvalitete lokacije i možda daje još više. Ili još bolje, prikupite finansije i izgradite ga, kao što su Innocad arhitekti uradili sa „Golden Nugget“-om u Gracu. Prelako! Adam Mornement, Annabel Biles. Infill: New Houses for Urban Sites (London: Laurence King Publishing Ltd, 2009) Atelier Bow-Wow. Pet Architecture Guide Book (Japan : World Photo Press, 2002)

Christopher Alexander, Sara Ishikawa, Murray Silverstein, Max Jacobson, Ingrid Fiksdahl-King, Shlomo Angel. A Pattern Language: Towns, Buildings, Construction (Oxford: Oxford University Press, 1977) Dušan Grabrijan and Juraj Neidhardt, Architecture of Bosnia and the Way Modernity (Ljubljana: Državna založba Slovenije, 1957)

#in_situ p60 p68 p130 p160 p174

A Latin expression for “on site” or “in position”, “locally”, “on the premises” or “in place”, that indicates that something remains in its original place. It is used in many contexts. In the context of architecture and civil engineering, it generally refers to method of construction executed at the building site using raw materials, but mostly, it has become a synonym for concrete construction, where liquid concrete is poured into formworks with reinforcements, at the building site, forming “in situ concrete”. Latinski izraz za „na mjestu“, „na poziciji“, „lokalno“ ili „na prostoru“, koji označava nešto što nije promijenilo originalni položaj. Koristi se u raznim kontekstima. U kontekstu arhitekture i građevinarstva, odnosi se na metode građenja koji se dešavaju na samom gradilištu koristeći sirove nepripremljene materijale, ali najčešće usvojeno kao sinonim za gradnju betonske konstrukcije koja se priprema na gradilištu, sipanjem betona u pripremljenu oplatu sa armaturom. Martin Peck, Modern Concrete Construction Manual: Structural Design, Material Properties, Sustainability (Munich: Institut für internationale Architektur-Dokumentation, 2014) https://www.britannica.com/technology/building-construction /Low-rise-commercial-institutional-and-industrial-buildings

Domingo-Calabuig, Débora & Castellanos Gómez, Raúl & Ramos, Ana. (2013) The Strategies of Mat-building. Architectural Review. CCXXXIV. 83. Alison Smithson „How to Recognize and Read Mat-building“, Architectural Design, September 1974 http://socks-studio.com/2015/10/29/the-free-university-of-berlin-candilisjosic-woods-and-schiedhelm-1963

#meaning p38 p80 p130 p136 p160 p196 p204

Modern architecture is criticized for univalence of meanings, symbols and functions, while on the other hand, the issue for postmodern architecture is, according to Jencks, how to fight with pluralism of its polyvalence? Metaphors, perception codes, signs, symbols, enigmatic signifiers... architecture conveys messages, that is, communicates with us. Interpretations of meanings are based on our individual or collective experiences, education and upbringing and framed by cultural and social norms. Like if you spotted “ducks” or “decorated sheds” in your city in 2018! Moderna arhitektura je kritikovana zbog jednovalentnosti značenja, simbola i funkcija, dok je s druge strane, pitanje za postmodernu arhitekturu, prema Jencksu, kako se izboriti sa pluralizmom polivalencije istih? Metafore, kodovi percepcije, znaci, simboli, enigmatski označitelji... arhitektura prenosi poruke tj. komunicira sa nama. Interpretacije značenja su zasnovane na našim individualnim ili kolektivnim iskustvima, edukaciji i odgoju i uramljeni kulturnim i društvenim normama. Lajkujte, ako ste uočili „patke“ ili „ukrašene šupe“ u svome gradu u 2018! Alban Janson and Florian Tigges. Fundamental Concepts of Architecture (Basel: Birkhäuser, 2014) Charles Jencks, The New Paradigm in Architecture: The Language of Postmodernism, (New Haven and London: Yale University Press, 2002) Robert Venturi, Vincent Scully and Arthur Drexler. Complexity and Contradiction in Architecture (New York: The Museum of Modern Art, 1977)

23/05/2018 TWO YEARS IN THE MAKING, THE PROJECT “3650 DAYS OF CONTEMPORARY ARCHITECTUREIN SARAJEVO” IS PRESENTED TO THE PUBLIC FOR THE FIRST TIME AT THE OPENING OF THE DAYS OF ARCHITECTURE 2018, AT THE ARS AEVI ART DEPOT. THE PRE-LAUNCH IN THE FORM OF AN EXHIBITION SERVED AS A REMINDER OF THE PAST DECADE MARKED BY FAST-PACED TECHNOLOGICAL AND SOCIAL CHANGES WHICH, FROM ONE YEAR TO ANOTHER, INFORMED THE CONTENT AND FORMAT OF DAYS OF ARCHITECTURE SARAJEVO. NAKON DVIJE GODINE PRIPREME, PROJEKAT “3650 DANA SAVREMENE ARHITEKTURE U SARAJEVU” SE PRVI PUT PREDSTAVLJA PUBLICI PRILIKOM OTVARANJA DANA ARHITEKTURE 2018, U PROSTORU ARS AEVI DEPOA. PREDPROMOCIJA KNJIGE U FORMATU IZLOŽBE POSLUŽILA JE KAO PODSJETNIK NA PRETHODNU DECENIJU UBRZANIH TEHNOLOŠKIH I DRUŠTVENIH PROMJENA KOJE SU IZ GODINE U GODINU UTICALE NA SADRŽAJ I FORMAT DANA ARHITEKTURE SARAJEVO.

PHOTO: SABINA HODOVIĆ

#storytelling EXHIBITION ‘3650 DAYS OF CONTEMPORARY ARCHITECTURE IN SARAJEVO’ DAYS OF ARCHITECTURE 2018, ARS AEVI DEPOT SARAJEVO

3650 DAYS OF CONTEMPORARY ARCHITECTURE IN SARAJEVO 273

title naziv 3650 Days of Contemporary Architecture in Sarajevo 3650 Dana savremene arhitekture u Sarajevu

hashtags translation and copyediting prijevodi i lektura hashtagova Selma Đuliman

publisher izdavač Buybook

recenzenti reviewers Ognjenka Finci, Nikola Carević

for the publisher za izdavača Damir Uzunović

printed by štampa Dobra knjiga

production produkcija Lift

number of copies tiraž 1000

editor urednik Nedim Mutevelić

video video Sabina Hodović

technical editors tehnički urednici Katarina Bošnjak, Boriša Mraović, Asmir Mutevelić

endorsment by podržano od Ministarstvo kulture i sporta Kantona Sarajevo, Općina Centar Sarajevo, Walter, Grohe, BlowUp, Igepa Group

archive dokumentacija Jasmin Sirčo, Gorica Mehić, Ervin Prašljivić, Jelena Šarović, Farah Zubović, Ilma Begičević, Enes Vilić, Besnik Derviši, Irma Softić, Dunja Krvavac, Harun Čerkez, Asima Maglić design dizajn Nedim Mutevelić translation and copyediting prijevod i lektura Irena Žlof proofreading korektura Hana Čolić

with special thanks to posebno se zahvaljujemo Ana Dana Beroš, Ana Bosankić, Boštjan Bugarič, Mersel Bujak, Sanja Cindrić, Danijela Dugandžić, Relja Ferušić, Ognjenka Finci, Adnan Harambašić, Vesna Hercegovac-Pašić, Sanja Galić Grozdanić, Mersiha Halilović, Adnan Harambašić, Farah Hasanbegović, Enes Huseinčehajić, Senka Ibrišimbegović, Vedad Islambegović, Ibrica Jašarević, Jelica Jovanović, Emil Jurcan, Jonus Ademović, Aleksandra Nina Knežević, Emina Kujundžić, Elma Krasny, Ladislav Krasny, Adis Kutkut, Ismet Lisica, Aleksandar Levi, Elša Turkušić-Jurić, Nina Ugljen Ademović, Kenan Vatrenjak, Almir Palata, Andrija Rusan, Haris Sahačić, Ivan Štaus, Idis Turato, Miranda Veljačić, Studio NonStop, Studio Zec, Filter, Osnap, Walter, Oris

text credits autori tekstova p12-p31 Nedim Mutevelić, Boriša Mraović p34 Amir Vuk Zec, Studio Zec, Andrija Rusan p38 Studio Non Stop, Sanja Galić-Grozdanić, Igor Grozdanić, Hans Ibelings p48 Davor Senečić, Nenad kondža p60 3LHD p64 Leo Modrčin, Dominko Blažević, Andrej Hrausky p68 Nikola Bašić, Željka Čorak p72 Randić-Turato, Saša Randić, Idis Turato p80 Mladen Jadrić p86 Volume 3, Ademir Volić p98 Studio UP p100 3RW Arkitekter p104 Peter Sägesser p106 Stealth.unlimited, Ana Džokić, Marc Neelen p110 International relations - Young architects from Germany, FAR frohn&rojas, Marc Frohn, Mario Rojas Toledo, Ian Mark Shaw, ian shaw architekten, Yu-Han Michael Lin, behet bondzio lin architekten p122 Ecosistema urbano, Geir Cock p128 Atelier d’architecture autogérée p130 Goran Rako, Radionica arhitekture p132 raumlaborberlin p136 Saskia Beer, John Wiley & Sons Ltd p137 Iva Marčetić, Pulska grupa p138 SalaFerusic, Relja Ferušić, Carles Sala p142 Nedovršene modernizacije, Unfinished modernisations, Maroje Mrduljaš, Vladimir Kulić, Nina Ugljen Ademović, Elša Turkušić p146 RaumlaborBerlin p147 ON/OFF p156 Architectuul, Boštjan Bugarič, Nina Ugljen Ademović, Elša Turkušić, Senka Ibrišimbegović p160 Danijela Dugandžić p174 Bevk Perović arhitekti p178 Dekleva Gregorič arhitekti p182 OSNAP p188 Urban-Think Tank p196 Jean Marc Ibos Myrto Vitart, Dominique Boudet p200 Saaha/Ahaknap, Adnan Harambašić, Kenan Brčkalija p204 Hrvoje Njirić, njirić+ p206 Numen / For use, Nikola Radeljković p210 Dunja Krvavac, Nedim Mutevelić p224 Idis Turato p230 Dinko Peračić, Platforma 981 p234 MDH arkitekter p244 Ofis arhitekti p247 Dw5, Bernard Khoury, p256-264 Asmir Mutevelić, Katarina Bošnjak, Farah Hasanbegović, Nedim Mutevelić photo and illustration credits autori fotografija i ilustracija p34 Studio Zec, Sandro Lendler p38 Studio Non Stop, Sandro Lendler, p48 Davor Senečić, Damir Fabijanić p60 3LHD, Aljosa_Brajdic, Damir Fabijanić, Domagoj Blažević p64 Leo Modrčin, UredArch, Rober Leš p68 Nikola Bašić, Velid Jakupović, Stipe Surać, Filip Brala, Ivo Pervan, Damir Fabijanić p72 Randić-Turato, Sandro Lendler, Robert Leš, Želimir Gržančić p80 Mladen Jadrić, Jadric Architektur, Angelo Kaunat, Peter Kurz, Hans Leitner, Peter Matha, Pez Hejduk, Fritz/ Frassl p86 Volume 3, Ademir Volić p98 Studio UP, Robert Leš p100 3RW Arkitekter, Hayn, Jarle Wæhler, Ken Schluchtmann, Lanzine, Simon Skreddernes, Jiri Havran, Per Ritzler, Vegar Moen p104 Peter Sägesser p106 Stealth.unlimited, Andres Galeano p110 International relations - Young architects from Germany, Institut für Auslandsbeziehungen, Cristobal Palma, Thomas Ott, Christian Richters p122 Ecosistema Urbano, Emilio P. Doitzua, Christoffer H. Nilsen p128 Atelier d’architecture autogérée, Andreas Lang p130 Radionica arhitekture, Goran Rako, Boris Cvjetanović, Miljenko Bernfest p132 raumlaborberlin, Rainer_Schlautmann, Lars Landmann p136 Saskia Beer, Michel Mölder, TransformCity p137 Pulska grupa, Iva Marčetić p138 SalaFerusic, Relja Ferušić, Carles Sala, Eric Fischer p142 Nedovršene modernizacije, Unfinished modernisations, Momir Hrisafović p146 RaumlaborBerlin p147 ON/OFF p156 Architectuul - B&H Unfinished, Juraj Neidhardt, Midhat Mujkić, Jacques Betant p160 Hidden commons in maria’s yard, Crvena, LIFT, Artur Krzykowiak, Nedim Mutevelić, Ervin Prašljivić, Danijela Dugandžić, Haris Sahačić, Sabina Hodović p174 Bevk Perović arhitekti, Miran Kambič, Matevž Paternoster p178 Dekleva Gregorič arhitekti, Miran Kambič p182 OSNAP - open south north architecture practice p188 ETH Zurich Urban-Think Tank, Daniel Schwartz, Baier Bischofberger, Charlie Koolhaas, Iwan Baan p196 Jean Marc Ibos Myrto Vitart, Dominique Boudet, Georges Fessy, Gaston, Phillipe Ruault p200 Saaha/Ahaknap, Anida Krečo p206 Numen/ForUse p210 njirić+, Domagoj Blažević, Damir Fabijanić p210 VHS architecture, LIFT, Kenan Muslić, Sarka Svobodova, Dunja Krvavac, Sabina Hodović, Nedim Mutevelić p230 Dinko Peračić, Platforma 981, Damir Žižić p234 MDH arkitekter, Ivan Brodey Tomas Bekkavik p244 Ofis arhitekti, Tomaž Gregorič, Janez Martinčič p247 Dw5, Bernard Khoury, Jon Shard, Ieva Saudargaite, Bahaa Ghoussainy p249 DW5, Joseph Chartouni, Joe Kesrouani The documents and data used in the book are those submitted by the authors. Every attempt has been made to locate the sources of all material used in this publication to obtain full reproduction rights but in a very few cases we have been unable to identify the copyright holder, for which we offer our apologies. Za izradu knjige korišteni su podaci i dokumentacija dostavljeni od strane autora. I pored najbolje volje da se lociraju izvori materijala koji su korišteni u ovoj publikaciji, sa namjerom da se obezbijede autorska prava, u jednom malom broju slučajeva nismo bili u mogućnosti identifikovati nosioce autorskih prava, te se zbog toga autorima ispričavamo.

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