Year 2_Yugonostalgia Research Portfolio

СКЕНДЕРИЈА / SKENDERIJA

A R C H I V E F O R Y U G O N O S TA L G I A

[ RESEARCH + PORTFOLIO ]

YUGOSTALGIA Marija Milosevic Oxford Brookes University 2017/18 VOL 3

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CONTENTS 8

OSA Article - Archive for Yugonostalgia IMPRESSIONS + SITE

13 14 18 20 24 28

01 02 03 04 05

43 45 49

FILTERING YUGONOSTALGIA 06 / Yugonostalgia 07 / Pop Culture

51 52 54 68 80

08 09 10 11

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Pop Culture Today Cinemetrics Fragmentation Projections

85 88 90 96 100 108 110

12 13 14 15 16 17

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Concept Concept Plan Development Sketches Development of Orthographics Interaction and Projections Archive for Yugonostalgia

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Igman Ski Jumps Skenderija + Olumpics Skenderija takes Centre Stage Skenderija + Its Role Yugoslavian Architectural Language

YUGO POP CULTURE

VISUALISING YUGONOSTALGIA

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MANIFESTO

Skenderija is the physical embodiment of the Yugoslavian socialist ideals.

It is the place which shaped Sarajevo’s youth, encouraged their cultural development, affection for sports and transformed the city’s public hub. With the disintegration of the Socialist Republic and the consequences it brought with it, the society left behind the once cherished values. Today they remain the nostalgic and often illusional memories which are relived through the pop culture, surroundings and people. As Skenderija represents a significant place in Sarajevan and Yugoslavian history, the project aims to restore the essence of the complex through exploration of elements that constitute Yugonostalgia and potentially evoke it - a nostalgic yearning for a period or a home that may have never existed.

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[ OSA MAGAZINE ARTICLE ]

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А Р Х И В А З А Ј У Г О Н О С Т А Л Г И Ј У / A R C H I V E F O R Y U G O N O S TA L G I A

With the extensive destruction left behind by the Yugoslavian War of the 1990s, the nation disintegrated and erected physical and mental borders that remain today. While combing through the significant Yugoslavian moments and memories in attempt to define the peak of the ‘great’ socialist state, focus on popular culture began emerging. The pop culture represented an act of rebellion, the beginning of the freedom of speech era - a new wave.

This period of Yugoslavian entertainment becomes an integral part of cultural identity as borders, languages, nationalities and gender roles become blurred.

Many citizens of the former Yugoslav nations may not identify themselves with that name today but nostalgia and yearning for this prosperous age of social, economic and political security is experienced by a part of the population, particularly in Bosnia and Herzegovina and Serbia. A collective memory which citizens of the former state do not wish to erase from their identities is the incredibly rich pop culture: films, music, books and architecture produced throughout the late 20th century. These remain a symbolic bond between all Yugoslavian generations and former nations. nostalgia

/nɒˈstaldʒə/ The appropriate definition of nostalgia to the context of Yugonostalgia is delineated by Svetlana Boym as a longing for a place, a home which no longer exists or perhaps never existed. Boym deconstructs the definition of nostalgia further, differentiating between the two types - restorative and reflective nostalgias. Restorative nostalgia puts an emphasis on the nostos and aims to reconstruct the lost history of the home and memories. Reflective nostalgia on the other hand deals with the algia part of the term – dwells on the longing and belonging to a home or land – romanticising the illusion.

Restorative nostalgia therefore sees the past as the absolute truth while the reflective nostalgia brings the truth into question.

What is it then about Yugoslavia that evokes the sensation of nostalgia? In order to comprehend the term, one ought to observe the contrast between the past and the present political and economic situations of the ‘nostalgic’ countries. The focus of the article is on Sarajevo, the capital city of Bosnia and Herzegovina which endured the longest military siege in the history of modern warfare in 1992 - 1,425 days during which if suffered a significant loss of inhabitants, livelihoods and lives, infrastructure and housing while making a standstill in the economy.

The incredibly welcoming and sociable citizens of Sarajevo did not hesitate to share their experiences through impromptu storytelling. The exploration of the concept of nostalgia begins in the Bosnian capital – the striking presence of Yugoslavian elements, artefacts and affection for the former dictator Josip Broz Tito (1892-1980) are evident around the city, although subdued. This sets Bosnia apart from other former nations as the city physically exhibits its nationalistic longing for a better time. Generalisation should be addressed here as the opinions and emotions for the socialist state are very much divided across the Balkans.

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Nevertheless, the common thread among the testimonials of the interviewed Yugoslav citizens is the physical and mental health as well as financial and political security they enjoyed at the peak of the socialist reign.

“We had very nice lives, enough wealth to live comfortably” – the country’s economic and political systems appeared a safe haven for its citizens. The entertainment industry was booming, the opportunities for emerging artists, filmmakers, musicians seemed infinite. The unemployment rate was low while citizens enjoyed numerous subsidies and financial and physical involvements in the building of country’s infrastructure.

The entire socialist system was directed towards creating the ‘Novi Covek’ (New Human). The socialist ideals are embodied in the architecture of the era – aiming to promote education, sports, wellbeing, creativity, personal development, employment and business opportunities. In line with these ideals came cultural and sports buildings and complexes with the aim of inclusion of the ordinary man and woman. The citizens were given an opportunity to be equal, exercise their passions and fulfil their interests and ambitions.

This agenda for creating a New Yugoslav was set out to eventually bring communism to the state regime.

One such place holds a significant spot in the history of Sarajevo – Skenderija Sports and Cultural Complex (Centar Skenderija Sarajevo – CSS). With its strategic location in the heart of the city, Skenderija created a nodal point, transforming the social hub while embodying the socialist ideals Yugoslavia exemplified throughout the second half of the 20th century.

Musicians were given opportunities to create and practice their music in the basement rooms, while holding concerts for the masses in one of the large halls above. Various sports, from table tennis to ice hockey were practiced in all three halls (dvorana), with national and international games held at the largest ones. At the peak of its life, Skenderija housed some of the Winter Olympic sports in 1984 – emphasising its role in the community.

However, war brought physical and social destruction with it.

The society held together while the economy and politics crumbled and communities disintegrated. The social scene has found its way around the shelling and the bombing. Feeding from their passion for music and film, pop culture continued booming, more rebellious than ever, reflecting the society’s attitude towards the political system and the changing regime. Skenderija Centre was damaged in the war and therefore seized to be used. The 1990’s generation grew up without experiencing its importance and the place as a social hub of the city as it took over a decade to return to its original function.

Along with the physical infrastructure, the war shattered the Yugoslavian dream. What was left were mere memories of a once interwoven community, security and stability. Or were they illusions? It could be argued that Yugonostalgia does not exist. It may exist as a term to define a longing for an illusion or a warped memory. It serves as an escape thought from the current political and economic situation in the central Balkan countries. One acknowledges the benefits of the past situations, focusing on the very best parts of it, yearning to bring the good elements to the present. If one removes the Yugonostalgic goggles, they will see the stern political reign, lack of speech freedom and severe punishments for whoever stands up to the system or the dictator – the very same concepts that created security and prosperity.

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Although the new wave era in the entertainment industry represented a rebellious attitude, the government and state were kept out of the scripts. The music and movies were becoming more explicit and graphic and, in that sense, they began the freedom movement towards capitalism rather than communism as set out. The music industry involved artists from around Yugoslavia. People from various geographical areas, speaking different languages and dialects who came together to create music before broadcasting it to all parts of the country. The music, movies and literature transcended borders, cultures and religions which Yugoslavian state aimed to erase during Tito’s dictatorship. It remains as one of the purest elements produced by the socialist era which ties the former nations. The music, videos, characters, places and materials transport an individual to the time of their youth, riddled with biased and filtered memories they romanticise.

The project set in Skenderija’s derelict Ice Hall aims to create a dynamic space in which various physical and sensory elements allude to the feeling of nostalgia with the intention of evoking memories. The Archive for Yugonostalgia comprises of music, film and literature pavilions, set inside the shell of the once functioning Ice Hockey Hall. Using cinemetrics of the renowned music videos produced during the 1980’s, the form of the building begins to emerge. Through fragmentation of a rock music video and extractions of manipulated senses, the concept of the building program and the physical journey through the pavilion are shaped. The building will be transformed by the projections in the evening hours while during the daylight, it will manifest itself as a blank canvas or symbolically a blank space – alluding to the blankness which could have been there without the popular culture the former nations of Yugoslavia share today.

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САРАЈЕВО / SARAJEVO

IMPRESSIONS + SITE

[ RESEARCH ]

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IGMAN SKI JUMPS ИГМАН СКАКАОНЕ

N O S TA L G I A F O R PA S T

Strong impressions the derelict Igman Ski jumps left on me have sparked the quest for Yugonostalgic elements, artefacts and inspiration - searching for the identity lost in the war of 1992.

Igman Ski Jumps were used during the Sarajevo 1984 Winter Olympics as one of the mountain sites. Today it stands derelict, unused and damaged by the war and shelling - a ghost of its past.

The powerful images on the right hand side show the atmosphere that may never manifest itself again on this site.

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Left: Photographs of Igman Ski Jumps from Sarajevo field trip.

Right: Photographs of the Sarajevo Winter Olympics and Igman Ski Jumps being used.

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A S C E N D V S FA L L

Drawing showing juxtaposition between the destruction of the Igman Ski Jumps Press Building and the ski lift which still operates, taking passengers up and down the mountain with the only attraction being the view and a ski slope further away.

The irony of the image is the timber struts holding up a monolith and highly damaged concrete building which cantilevers in all directions.

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SKENDERIJA + OLYMPICS

СКЕНДЕРИЈА + ОЛИМПИЈСКЕ ИГРЕ

Top Left: Ice Hockey Game in the Main Skenderija Hall, today Mirza Delibasic Dvorana Top Right: Figure Skating, Winter Olympics ‘84 in Ice Hall (Ledena Dvorana)

W I N T E R O LY M P I C S ‘ 8 4 + SKENDERIJA The focus shifts onto Skenderija complex which played an important role in the Winter Olympics and in the community prior to the event. The sports and cultural complex was expanded for the Olympic Games, adding the second large hall for the games. Ice Hockey and ice skating was held at the Ice Hall (Ledena Dvorana). With its strategic location and multifunctional uses, the complex represented a nodal point in the urban organisation of Sarajevo.

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Top: Award ceremony in Skenderija complex during Winter Olympics ‘84.

Bottom: Ice Hall Facade, recent photograph

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SKENDERIJA TAKES CENTRE STAGE СКЕНДЕРИЈA

Archive photographs of events and holiday (national, political and cultural) celebrations held in Skenderija during the 1970s and 1980s.

Prior to the ‘84 Olympics, Skenderija Sports and Culture Complex still held an important place in the community.

As it was ceremonially opened by Josip Broz Tito, the Yugoslavian symbol of socialist ideals, the citizens cherished the new addition to the city’s cultural and sports scene. It became the main venue for large and significant events, holiday celebrations and premieres.

Please refer to group booklet DS4 Sarajevo for further details.

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Archive photographs of the famous Skenderija fairs (beverage, fashion, cars, books, interior design, furniture, etc)

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Photographs of Skenderija today.

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SKENDERIJA + ITS ROLE СКЕНДЕРИЈА + УЛОГА

SKENDERIJA TIMELINE

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Sarajevo, Location Map of Skenderija

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SKENDERIJA BRIDGE / EIFFEL BRIDGE 28

YOUTH CENTRE / DOM MLADIH

ARS AEVI COLLECTION

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SKENDERIJA SPORTS HALLS

SHOPPING CENTRE / PRIVREDNI GRAD

ICE HALL / LEDENA DVORANA 29

Skenderija in Context

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SPORTS

MUSIC

FAIRS

THEATRE

CONCERTS

CINEMA

GALLERY

Activities at Skenderija during the peak of its function and Yugoslavian socialist regime.

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Skenderija in Context - Building use in surroundings

Right: View from hill above Skenderija complex towards the main avenue axis - Hamze Hume Street and river Miljacka.

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Y U G O S L AV I A N I D E A L S A N D S K E N D E R I J A

Throughout the mid 20th century, Yugoslavian architects have been massively appointed on the designs of the new multiuse cultural and sports complexes. Such complexes featured large arenas, small practice halls, exhibition spaces, commercial and retail outlets, concert halls, cafes and lecture theatres.

The buildings represented an outreach to the public community, its mass education, benefit, achievement and satisfaction with the current governing system.

However, less superficially evident, these buildings aimed to shape the youth and the NEW MAN / NOVI ČOVEK, who would take the country from socialist to communist. Prosperous and content society had the power to transform the country through its creativity, intelligence and faith in its leaders.

Skenderija is the literal embodiment of these ideals which Tito brought to the society. It immediately became the heart of Sarajevo, a hub for musicians, a space for artists’ exhibitions, a place of sport and manufacturers’ fairground.

Photographs show some of the iconic socialist structures and similar complexes which have, just like Skenderija, fallen into decay.

1 25 May Sports Complex - Belgrade, Serbia 2 Boro and Ramiz Sports & Culture Centre - Pristina, Kosovo 3 Spens Arena - Novi Sad, Serbia 4 Pinki Sports Centre - New Belgrade, Serbia

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Y U G O S L AV I A N Y O U T H

Roads, railroads and even entire cities have been built by the youth of Yugoslavia who has volunteered to better their country in return for education, recognition and personal satisfaction.

Skenderija has not been built using the exact system although the public plays a major role. It was funded by the people to be built for the people. Households were contributing a percentage of their salary towards the cultural sports complex which is now owned by the Kanton Sarajevo. The government ownership hence contributes to the poor condition of the place, lack of investments and renovations.

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SKENDERIJA HALLS

The drawing is a trace of the original three dimensional image draughted by architects, Z. Jankovic and H. Muhasilovic during the 1960s.

The image identifies the main halls and most prominent colours associated with the spaces - extracted from archived photographs.

Please refer to booklet SPARKS OF NOSTALGIA for Yugonostalgic colour quest.

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YUGOSLAVIAN ARCHITECTURAL LANGUAGE ЈЕЗИК ЈУГОСЛОВЕНСКЕ АРХИТЕКТУРЕ

The exploration of Yugoslavian architecture serves as an inspiration or a source of nostalgia - an attempt to denote the architectural language of the era and identify commonalities. Common factors in these buildings are the monolith, concrete and solid aesthetic that creates the sense of grandeur, regardless of the function of the building (example: diving pool tower in Poljud by Ivan Antic, depicted on next page).

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Ј У Г О С Л А В И Ј А / J U G O S L AV I J A

F I LT E R I N G Y U G O N O S TA L G I A

[ RESEARCH ]

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Haludovo Resort, Island Krk, Croatia Juxtaposition of photographs showing derelict Haludovo Resort lobby and 1970s, same polished, grand lobby.

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YUGONOSTALGIA ЈУГОНОСТАЛГИЈА

The appropriate definition of nostalgia to the context of Yugonostalgia is delineated by Svetlana Boym as a longing for a place, a home which no longer exists or perhaps never existed. Boym deconstructs the definition of nostalgia further, differentiating between the two types - restorative and reflective nostalgias. Restorative nostalgia puts an emphasis on the nostos and aims to reconstruct the lost history of the home and memories.

Reflective nostalgia on the other hand deals with the algia part of the term – dwells on the longing and belonging to a home or land – romanticising the illusion.

Restorative nostalgia therefore sees the past as the absolute truth while the reflective nostalgia brings the truth into question.

“ To unearth the fragments of nostalgia one needs a dual archaeology of memory and of a place and a dual history of illusions and of actual practices. “ S. Boym 2001, xviii

As part of the research of Yugonostalgia, various personal interviews were conducted with individuals who lived in Yugoslavia, who remember Tito, his reign and the war.

The common thread among the testimonials of the interviewed Yugoslav citizens is the physical and mental health as well as financial and political security they enjoyed at the peak of the socialist reign. “We had very nice lives, enough wealth to live comfortably” – the country’s economic and political systems appeared a safe haven for its citizens.

The following montages aim to portray the atmosphere using a sentence from an interviewee describing the situation in Yugoslavia as they remember it. The images are illusions, surrealistic in appearance, alluding to the warped and filtered memories of Yugoslavian citizens who yearn to the past since the present and future cannot live up to the past.

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H O L I D AY Every larger company would provide a subsidy, ‘regres’ to their employees when one decides to go on a holiday.

A company would provide extra income if one decides to take annual leave and these employees would conveniently stay at one of the company’s resorts. The resorts were not owned by companies but they would form an agreement where the employees could enjoy up to 75% discount. One could choose from Croatian and Montenegrin seaside, Serbian mountain ski resorts or a natural spa - if they were lucky to work for a large employer.

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OPPORTUNITY Yugonostalgia most often revolves around economic and social security - opportunities for the youth, and in fact the entire population. Well paid, secure jobs, opportunities to advance, financial support and stability.

The image above depicts an industrial, booming city, brutalist concrete buildings scraping the polluted sky.

The fast developing country with wealthy residents was unsustainable from the very beginning, similarly to its industry. The image therefore paints a dual picture of the wealth and self inflicted factor of implosion.

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POP CULTURE ПОП КУЛТУРА

While combing through the significant Yugoslavian moments and memories in attempt to define the peak of the ‘great’ socialist state, focus on popular culture began emerging. The pop culture represented an act of rebellion, the beginning of the freedom of speech era a new wave. This period of Yugoslavian entertainment becomes an integral part of cultural identity as borders, languages, nationalities and gender roles become blurred A collective memory which citizens of the former state do not wish to erase from their identities is the incredibly rich pop culture: films, music, books and architecture produced throughout the late 20th century.

These remain a symbolic bond between all Yugoslavian generations and former nations.

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Ј У Г О С Л А В И Ј А / J U G O S L AV I J A

Y U G O P O P C U LT U R E

[ TECHNOLOGY I ]

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POP CULTURE TODAY ПОП КУЛТУРА ДАНАС

Skenderija played an important role in the making of many artists, bands and musicians during the 1970s and 1980s. Some of the most famous bands emerged during this time - their music became timeless and a common denominator in the identity of nations across Yugoslavia. The pop culture of this time still transcends borders, languages and cultures. Rather than being branded as Bosnian, Croatian, Serbian or Macedonian artists, they remain referred to as Yugoslavian. The music created during this time is still listened to today across the Balkans. It evokes good memories in those who lived during this time and to us, younger generations, it stimulates phantom nostalgia, transporting us back to our parent’s youth.

Frames extracted from GIF illustration portraying some provocative elements of the ‘80s music video Soba 23 / Room 23 such as dark lighting with neon accents, smoke, satin sheets and light white curtains which create a sensual atmosphere.

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CINEMETRICS

КИНЕМЕТРОГРАФИЈА

Using Brian McGrath and Jean Gardner’s principles of cinemetric drawings, popular songs / music videos were analysed in attempt to imagine or reimagine the spaces that create the appropriate atmosphere for the music an lyrics.

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Using the principles of the ‘impulse image’ the characters’ energies impulses are noted as well as the setting they inhabit. The camera movements and pans are noted and accentuated in the drawings in order to understand the music set which is modelled solely from the human / camera man’s perspective.

Through careful analysis of the space, atmosphere is perceived more intimately, each movement of the character becoming purposeful.

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denis & denis - soba 23 / room 23

denis & denis - soba 23 / room 231985, synthpop 1985, synthpop

Fig 1.1 - Video set in one room, camera panning mostly from the centre of the room, all walls shown in the video. End Fig 1.1 - Video set in one room, camera panning mostly fromscene closes the video with an overview of the room, showing the performer and singer exit the room. Most shots pan from the centre of the room, all walls shown in the video. End a single point or are a close up of the singer. scene closes the video with an overview of the room, showing

the performer and singer exit the room. Most shots pan from a single point or are a close up of the singer.

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denis & denis - soba 23 / room 23 1985, synthpop Fig 1.2 - Camera follows the singer across the room. the dash spacing indicates the speed of the camera movement. The camera is positioned in the middle of the room, panning from right to left, zooming out in the process to reveal the actor, before moving onto a close up scene of the two performers.

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Fig 2.1 - Introducion scene into the video, war-movie like scene (filmed before the Yugoslavian war) of two men arriving in front of a building in a truck. The camera is stationary, panning around to follow the vehicle and set the mood for the video. The scene is filmed at sundusk to suggest the justification for the bar and music. The camera zooms out to reveal the building after the men leave the truck and approach the main entrance.

1984, folk rock

bijelo dugme - lipe cvatu / lindens blossoming

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bijelo dugme - lipe cvatu / linden blossoms 1984, folk rock Fig 2.2 - Introducion scene into the video, war-movie like scene (filmed before the Yugoslavian war) of two men arriving in front of a building in a truck. The camera is stationary, panning around to follow the vehicle and set the mood for the video. The scene is filmed at sundusk to suggest the justification for the bar and music. The camera zooms out to reveal the building after the men leave the truck and approach the main entrance.

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bijelo dugme - lipe cvatu / linden blossoms 1984, folk rock Fig 2.3 - The camera follows the men into the hall where a large space is revealed to the viewers. More audience sits at the tables and observs the two men walking into the room, making them the focal point. The shots are continuously panning around the room with occasional close up of the singer and a view to the stage band.

The closing shot shows the entire room on the stage, while the camera steadily pulls away from the stage shot to reveal the entire space.

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IMMERSED EXPERIENCE I enter the hall through the white painted solid wood double door. Only one wing is open. The floor is clear, not many wooden tables around the room, about 6 or 7 with 3 chairs each, facing the small wooden stage. The walls are painted blue from half way up to the tall ceiling – it is appears to be a small village performance hall.

The tables are covered with white and blue chequered table cloths and they are all taken but one. Alcoholic beverages cover all of the tables, people are cheering which what appears to be Rakija and beer. The band is playing on the small solid stage, lined with planks of light blue/grey wood. Colourful glued linoleum blue and maroon tiles cover the floor in a diagonal chequered pattern, standing out in every scene, making it appear almost a sterile like environment. Solid wooden bench boxes line the corner walls besides the double door entrance. Right above them hang heavy winter coats off of wooden hooks, drilled into the wall. Not an ordinary place for coat hooks in a performance hall.

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Section - set of Atomsko Skloniste

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Floor plan - set of Atomsko Skloniste

Gibraltar

EVANS

Gibraltar

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FRAGMENTATION ФРАГМЕНТАЦИЈА

A popular rock song video was de-constructed in order to define and exaggerate the atmosphere of the scenes. The group’s name Atomsko Skloniste is the literal translation of Nuclear Shelter and all their music videos reflect the atmosphere of such a space - usually filmed in a basement-like space with bright white lighting, crumbling concrete walls and long corridors.

Videos shot during the 1980s are usually set in one space or place, rarely changing the scene and often reflecting the lyrics and the tone of the song.

Fragmented_Atomsko Skloniste_Treba Imat Dusu link: https://vimeo.com/267972263

Please refer to Video Guide to view original booklet.

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PROJECTIONS ПРОЈЕКЦИЈЕ

The interior south facade has a large presence in the derelict building. It is three dimensional, with columns appearing to hold up the balconies on the interior of the hockey ground, while large openings on the first floor emit darkness, triggering curiosity as to what might be behind the walls and in the depths of the opened floor.

A conceptual physical model was created in order to experiment with the materials and depth of an object, observing the effect on the final projected image.

Images projected to the back of the facade / building have appeared larger, distorted and pixalated. The eye of the viewer is therefore prompted to chase the image across the facade, attempting to create a full image in her head.

Model Projections_Atomsko Skloniste, Treba Imat dusu https://vimeo.com/267983024

Right: Frames extracted from projection videos, Denis & Denis, Soba 23

Model Projections_Denis&Denis_Soba 23 https://vimeo.com/267983275

Virtual model of the existing South interior facade denoting projection area. Front white wall in part of proposal.

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Frames extracted from music video, Atomsko Skloniste, Treba imat dusu

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СКЕНДЕРИЈА / SKENDERIJA

V I S U A L I S I N G Y U G O N O S TA L G I A

[ DEVELOPMENT ]

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WHAT IS POP CULTURE TODAY? ПОП КУЛТУРА ДАНАС

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BREND БРЕНД

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CONCEPT КОНЦЕПТ

This conceptual drawing illustrates the analysis of elements used in my project proposal. Using music videos, I am exploring an experience the spaces would provide for the visitors of the pavilions. Fragments of music video (room 23) have been extracted to create a tunnel of visual memories. One of the elements of this synth pop video that stands out to me is the vivid colours of background lighting used to exaggerate the atmosphere of the room. When entering the pavilion through the tunnel like portal, one will be stricken by the colours before experiencing fragments of the video loop playing on different locations but visible from the single point in the middle of the building.

The folk rock music video makes references to the more traditional setting of a former Yugoslavian tavern / bar. Extracting patterns and mood or atmosphere from these screenshots translates into the building through the interiors. The three distinctive spaces or branches of the music pavilion would make reference to the different bands and their filming styles, room shapes, camera movements, visibilities and props.

The flag-like poles could serve as additional screens on the exterior of the proposed building, facing the interior façade of the Ice Hall. This part of the former ice hall will be physically archived so that the new build will not have a physical interaction with the existing building / façade, only virtual / digital.

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CONCEPT PLAN КОНЦЕПТ ОСНОВЕ

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05 door offset from natural procession route, disorientating?

08 projections on existing facade, views manipulated through windows and interior form that visitors come into contact with.

06 holographic projection close up / first impression of space, reveal after dark space.

focused views on projections

01 main entrance no. 1 portal door to another time and space

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02 light and air buffer lobby

03 portal door 04 dark space, projections on ceiling, making visitor look up. restart senses, quiet and dark / suspense.

07 long hallway to simulate slow motion. windows and views to slow down visitors to the main space intriguing factor on the journey.

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Please refer to the Video Guide booklet for references of the journey / plan organisation

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DEVELOPMENT SKETCHES СКИЦЕ

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DEVELOPMENT OF ORTHOGRAPHICS РАЗВОЈ ОРТОГРАФСКИХ ЦРТЕЖА

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Arrangements of internal and external walls in line with the journey outlined in concept plan drawing previously.

Section through projection hall. Process drawing.

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Elaborate concept plan, encompassing the projection hall / corridor and screening cinema room.

Two points of entrance, from the pleateau on the north and from the shops alley on the east.

Parts of the Ice Hall left unaltered and archived, with only interaction being the projection.

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INTERACTION OF PROJECTIONS ИНТЕРАКЦИЈА И ПРОЈЕКЦИЈЕ

Frames of GIF image showing the interiors and exterior during the night time projection.

The GIF was used as a tool for experimentation of atmosphere creation and space aesthetic.

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ARCHIVE FOR YUGONOSTALGIA АРХИВА ЗА ЈУГОНОСТАЛГИЈУ

Poster created for a weekend event at the Archive for Yugonostalgia.

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